{ "objects" : [ { "embark_ID" : 132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/132", "Disp_Access_No" : "1982.12.7/10", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1950-1952", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1952", "Disp_Title" : "Los paracaidistas [The Squatters], plate 7 from Arquitectura funcional [Functional Architecture]", "Alt_Title" : "The Squatters, plate 7 from Functional Architecture", "Obj_Title" : "Los paracaidistas [The Squatters], plate 7 from Arquitectura funcional [Functional Architecture]", "Series_Title" : "", "Disp_Maker_1" : "Francisco Dosamantes", "Sort_Artist" : "Dosamantes, Francisco", "Disp_Dimen" : "40.3 cm x 49.7 cm (15 7/8 in. x 19 9/16 in.)", "Disp_Height" : "40.3 cm", "Disp_Width" : "49.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Museum of Modern Art, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.12.7-10.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.12.7-10.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.12.7-10.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1982.12.7-10.TIF", "IsPrimary" : "1", "_SurrogateID" : "11060", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13878, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13878", "Disp_Access_No" : "P1976.10.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Large Decoy [Reclama grande]", "Alt_Title" : "Señuelo grande", "Obj_Title" : "Large Decoy [Reclama grande]", "Series_Title" : "", "Disp_Maker_1" : "Marcelo Bonevardi", "Sort_Artist" : "Bonevardi, Marcelo", "Disp_Dimen" : "228.6 cm x 193 cm x 10.2 cm (90 in. x 76 in. x 4 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "193 cm", "Dimen_Extent" : "Canvas", "Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Support" : "", "Disp_Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1976.10.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1976.10.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1976.10.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1976.10.1.tif", "IsPrimary" : "1", "_SurrogateID" : "4217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13887", "Disp_Access_No" : "P1975.25.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "No. 415 [Núm. 415]", "Alt_Title" : "", "Obj_Title" : "No. 415 [Núm. 415]", "Series_Title" : "", "Disp_Maker_1" : "Sérgio de Camargo", "Sort_Artist" : "Camargo, Sérgio de", "Disp_Dimen" : "19.6 cm x 18.1 cm x 10.5 cm (7 11/16 in. x 7 1/8 in. x 4 1/8 in.)", "Disp_Height" : "19.6 cm", "Disp_Width" : "18.1 cm", "Dimen_Extent" : "HLW", "Medium" : "White Carrara marble", "Support" : "", "Disp_Medium" : "White Carrara marble", "Info_Page_Comm" : "Sérgio de Camargo explored the rhythmic abstract geometry favored by the proponents of Kinetic and Op art that he met while living in Paris during the 1960s and 1970s. "No. 415" is an assemblage of marble blocks of various sizes cut at different angles. By playfully alternating flat areas with triangular wedges, Camargo produced changing patterns of light and shadows. The cohesive organic quality and dynamic geometry of this sculpture lend it a monumental presence.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.25.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.25.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.25.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.25.1.tif", "IsPrimary" : "1", "_SurrogateID" : "5187", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13893, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13893", "Disp_Access_No" : "P1975.23.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Elemento B [Element B]", "Alt_Title" : "[B Element]", "Obj_Title" : "Elemento B [Element B]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "124.3 cm x 149.3 cm (48 15/16 in. x 58 3/4 in.)", "Disp_Height" : "124.3 cm", "Disp_Width" : "149.3 cm", "Dimen_Extent" : "Canvas", "Medium" : "Lacquer", "Support" : "canvas", "Disp_Medium" : "Lacquer on canvas", "Info_Page_Comm" : "Manuel Felguérez was a pioneer in the development of geometric abstraction in Mexico during the 1960s and 1970s, participating in the international art scene during the post-war period. Interested in science and computers, he sought to create artworks that functioned as aesthetic machines, often using mathematics to determine variations in shape and color. The results test our visual perception and suggest the existence of multiple spaces. For instance, here the black shape on the left implies three-dimensional spaces located, at the same time, before and behind the gray and red plane.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.23.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.23.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.23.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.23.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2553", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13906", "Disp_Access_No" : "P1973.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Progresión 36 [Progression 36]", "Alt_Title" : "", "Obj_Title" : "Progresión 36 [Progression 36]", "Series_Title" : "", "Disp_Maker_1" : "Nedo M.F.", "Sort_Artist" : "Nedo M.F.", "Disp_Dimen" : "98 cm x 66.5 cm (38 9/16 in. x 26 3/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "66.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted wood and compressed cardboard assembly", "Support" : "", "Disp_Medium" : "Painted wood and compressed cardboard assembly", "Info_Page_Comm" : "Considered one of the pioneers of contemporary graphic design in Venezuela, Nedo M.F.’s visual art exhibits his deep consideration of line, form, and color. He created “Progresión 36” as part of his larger “Progresión” series, abstract works made from wood and cardboard in a white on white monochromatic color scheme that he first exhibited in Caracas in 1968. Here, Nedo creates a visual tension through the verticality of the raised rectangles and their intersection with a horizontal area of concave space. With no clear focal point, the viewer is left to contemplate the spatial interaction of the forms and light. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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In 1962, Noé understood chaos as a tension between opposite forces. In a bold, expressionistic style he presents a Catholic prelate in a dominant position above talking heads trapped in a black grid. As the nation’s official religion, Catholicism played a complex role in shaping Argentine society. A controversial 1963 law assigned the Church the function of rating plays and films for the Argentine public. The red cross here is an ambiguous symbol, offering comfort to the alienated while enforcing through censorship officially sanctioned Western and Christian values.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.3_2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.3_2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.3_2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.3_2017.tif", "IsPrimary" : "1", "_SurrogateID" : "15810", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13909, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13909", "Disp_Access_No" : "P1973.11.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Vivir: a los saltos [To Live: By Leaps and Bounds]", "Alt_Title" : "[To Live: By Leaps and Bounds]", "Obj_Title" : "Vivir: a los saltos [To Live: By Leaps and Bounds]", "Series_Title" : "", "Disp_Maker_1" : "Rómulo Macció", "Sort_Artist" : "Macció, Rómulo", "Disp_Dimen" : "183.2 cm x 183 cm (72 1/8 in. x 72 1/16 in.)", "Disp_Height" : "183.2 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic, tempera and/or poster paint, and pencil", "Support" : "particle board", "Disp_Medium" : "Acrylic, tempera and/or poster paint, and pencil on particle board", "Info_Page_Comm" : "Rómulo Macció’s title for this painting implies both a positive call to action and an ironic critique of mass media and consumer society. The central rectangle recalls a television screen, and the influence of popular media was indeed one of the hotly debated political issues of the 1960s. He interrupts the composition—as commercials interrupt a seamless television show—to suggest a sinister presence lurking behind our everyday lives. Macció’s incorporation of masks and deformed faces adds to the painting’s sense of horror and may reflect the currency of Jean-Paul Sartre’s philosophical ideas of existentialism in Buenos Aires.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.2.tif", "IsPrimary" : "1", "_SurrogateID" : "2545", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.2.tif", "IsPrimary" : "0", "_SurrogateID" : "2725", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13910", "Disp_Access_No" : "P1973.11.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Armadura, serie no. 18 [Armor, series no. 18]", "Alt_Title" : "[Armadura serie no. 18]", "Obj_Title" : "Armadura, serie no. 18 [Armor, series no. 18]", "Series_Title" : "", "Disp_Maker_1" : "Agustín Fernández", "Sort_Artist" : "Fernández, Agustín", "Disp_Dimen" : "169.2 cm x 140.3 cm (66 5/8 in. x 55 1/4 in.)", "Disp_Height" : "169.2 cm", "Disp_Width" : "140.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.1.tif", "IsPrimary" : "1", "_SurrogateID" : "4695", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13918, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13918", "Disp_Access_No" : "P1970.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Formas [Forms]", "Alt_Title" : "", "Obj_Title" : "Formas [Forms]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Hernández Gómez", "Sort_Artist" : "Hernández Gómez, Manuel", "Disp_Dimen" : "139 cm x 139 cm (54 3/4 in. x 54 3/4 in.)", "Disp_Height" : "139 cm", "Disp_Width" : "139 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.9.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.9.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.9.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.9.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2543", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13923", "Disp_Access_No" : "P1970.6.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Gran tensión no. 2 [Great Tension no. 2]", "Alt_Title" : "Great Tension No. 2", "Obj_Title" : "Gran tensión no. 2 [Great Tension no. 2]", "Series_Title" : "", "Disp_Maker_1" : "Ary Brizzi", "Sort_Artist" : "Brizzi, Ary", "Disp_Dimen" : "150 cm x 150 cm (59 1/16 in. x 59 1/16 in.)", "Disp_Height" : "150 cm", "Disp_Width" : "150 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.6.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.6.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.6.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.6.2.tif", "IsPrimary" : "1", "_SurrogateID" : "9094", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13929, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13929", "Disp_Access_No" : "P1970.16.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1918", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1918", "Disp_Title" : "Synchromy in Purple Minor", "Alt_Title" : "", "Obj_Title" : "Synchromy in Purple Minor", "Series_Title" : "", "Disp_Maker_1" : "Stanton Macdonald-Wright", "Sort_Artist" : "Macdonald-Wright, Stanton", "Disp_Dimen" : "61 cm x 51 cm (24 in. x 20 1/16 in.)", "Disp_Height" : "61 cm", "Disp_Width" : "51 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the first decades of the twentieth century, many American painters struggled to understand the visual properties of light, color, form, and space. A new analytical approach to art flourished, rooted in the painterly investigations of the French Impressionists and in a burgeoning public understanding of recent scientific advances. Working in Paris among an international community of painters who were all pushing the boundaries of established ideas, American artists Stanton Macdonald-Wright and Morgan Russell developed a system of abstract painting based on color harmonies and their alignment with Western musical structures. Synchromy in Purple Minor, painted by Macdonald-Wright after his return to New York, is considered one of the masterworks of this system, called Synchromism. Using his studies of Michelangelo’s sculpture, the Pieta, he described the abstracted female figure’s sculptural dimension primarily through color, rather than line or form. Using color’s capacity to suggest depth through juxtapositions that imply receding or advancing space, the artist generated illusionistic form without using traditional techniques. Synchromy in Purple Minor charts an essential step in the evolution of this new abstract language, whose roots stem from the artistic and scientific discoveries of the day. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1970", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.16.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.16.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.16.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.16.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2535", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13937, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13937", "Disp_Access_No" : "P1970.10.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Runa Macii [My Fellow Man]", "Alt_Title" : "Quechua for Fellow Man", "Obj_Title" : "Runa Macii [My Fellow Man]", "Series_Title" : "", "Disp_Maker_1" : "Fernando de Szyszlo", "Sort_Artist" : "Szyszlo, Fernando de", "Disp_Dimen" : "151.15 cm x 123.2 cm (59 1/2 in. x 48 1/2 in.)", "Disp_Height" : "151.15 cm", "Disp_Width" : "123.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Peruvian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.10.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.10.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.10.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.10.1.tif", "IsPrimary" : "1", "_SurrogateID" : "9100", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13939, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13939", "Disp_Access_No" : "P1969.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Gloucester: Landscape with Farm Buildings", "Alt_Title" : "", "Obj_Title" : "Gloucester: Landscape with Farm Buildings", "Series_Title" : "", "Disp_Maker_1" : "Peter Blume", "Sort_Artist" : "Blume, Peter", "Disp_Dimen" : "41 cm x 51 cm (16 1/8 in. x 20 1/16 in.)", "Disp_Height" : "41 cm", "Disp_Width" : "51 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Erect, truncated ship riggings against a foreboding sky; severe lines of architectonic forms; a contrast of caged and free chickens near a thorn bush in the center foreground: these introduce slight unrest into an otherwise traditional bucolic New England scene. In just a few colors—black, red, grey, green, and yellow—Blume creates dramatic contrasts, yet his agile composition keeps the eye moving from one strong form to the next, ultimately allowing a sense of resolution and balance. Ten years after he completed this painting, Blume’s interest in balance and contrast came to fruition when he spent two years in Italy. His subsequent works of social surrealism sounded political outcry against oppression in Fascist Europe. As Picasso’s Guernica of 1937 raged against Franco of Spain, Blume’s The Eternal City in the same year raised a shrill cry against Mussolini, and simultaneously issued a warning sign to a detached America. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.9.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.9.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.9.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.9.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2527", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13941, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13941", "Disp_Access_No" : "P1969.7.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Woman on Trapeze", "Alt_Title" : "", "Obj_Title" : "Woman on Trapeze", "Series_Title" : "", "Disp_Maker_1" : "Karl Zerbe", "Sort_Artist" : "Zerbe, Karl", "Disp_Dimen" : "135 cm x 95 cm (53 1/8 in. x 37 3/8 in.)", "Disp_Height" : "135 cm", "Disp_Width" : "95 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and encaustic", "Support" : "canvas", "Disp_Medium" : "Oil and encaustic on canvas", "Info_Page_Comm" : "Inspired by Zerbe’s brief travels with the Barnum and Bailey Circus in 1945, Woman on Trapeze raises provocative questions. The intrepid trapeze artist stares beyond the viewer from a bird’s-eye perspective high above the crowd below—so where are we? And why is the young woman’s expression so self-contained while her muscular body practically crashes into the viewer’s own? The acid green and strong contrasts of light and dark give the scene a surreal, even ominous, tone. Although normally a site of family entertainment, this circus vignette presents an unsettling mystery. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.6.tif", "IsPrimary" : "1", "_SurrogateID" : "2525", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13944, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13944", "Disp_Access_No" : "P1969.7.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1945", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1945", "Disp_Title" : "Galera Romana", "Alt_Title" : "", "Obj_Title" : "Galera Romana", "Series_Title" : "", "Disp_Maker_1" : "Enrico Donati", "Sort_Artist" : "Donati, Enrico", "Disp_Dimen" : "75 cm x 101 cm (29 1/2 in. x 39 3/4 in.)", "Disp_Height" : "75 cm", "Disp_Width" : "101 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.3.tif", "IsPrimary" : "1", "_SurrogateID" : "2523", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13946, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13946", "Disp_Access_No" : "P1969.7.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Some Drink! Some Drink!", "Alt_Title" : "", "Obj_Title" : "Some Drink! Some Drink!", "Series_Title" : "", "Disp_Maker_1" : "Romare Bearden", "Sort_Artist" : "Bearden, Romare", "Disp_Dimen" : "63 cm x 81 cm (24 13/16 in. x 31 7/8 in.)", "Disp_Height" : "63 cm", "Disp_Width" : "81 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "Sharp, black outlines and geometric flashes of color punctuate a stark white background in Romare Bearden’s Some Drink! Some Drink!. One of his early ventures away from representational social realist painting to abstraction, Bearden uses ambiguous shapes, forming a whirl of color, line, and figures. The subject, one of a series of paintings by Bearden, comes from the stories of French writer François Rabelais. During this period of his career, Bearden frequently drew inspiration from such diverse sources as the Bible, literature, Old Master painting, and cubism. Bearden's early works were realistically painted urban scenes, but after World War II, he began experimenting with abstraction. The shift from realism to abstraction was natural for Bearden who emphasized the creative process and energy of art more than realism as a means to express his ideas ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2522", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13950", "Disp_Access_No" : "P1969.6.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Lavender High", "Alt_Title" : "", "Obj_Title" : "Lavender High", "Series_Title" : "", "Disp_Maker_1" : "Alice Baber", "Sort_Artist" : "Baber, Alice", "Disp_Dimen" : "191.8 cm x 191.8 cm (75 1/2 in. x 75 1/2 in.)", "Disp_Height" : "191.8 cm", "Disp_Width" : "191.8 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.6.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2520", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13953, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13953", "Disp_Access_No" : "P1969.19.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1966-1967", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1967", "Disp_Title" : "Offering to the Adi-Buddha, Amoghasiddha", "Alt_Title" : "", "Obj_Title" : "Offering to the Adi-Buddha, Amoghasiddha", "Series_Title" : "", "Disp_Maker_1" : "Charmion von Wiegand", "Sort_Artist" : "Wiegand, Charmion von", "Disp_Dimen" : "127 cm x 69 cm (50 in. x 27 3/16 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "69 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.19.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.19.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.19.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.19.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2517", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13964", "Disp_Access_No" : "P1969.12.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1912", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1917", "Disp_Title" : "Woman in Brown", "Alt_Title" : "", "Obj_Title" : "Woman in Brown", "Series_Title" : "", "Disp_Maker_1" : "Manierre Dawson", "Sort_Artist" : "Dawson, Manierre", "Disp_Dimen" : "92 cm x 71.4 cm (36 1/4 in. x 28 1/8 in.)", "Disp_Height" : "92 cm", "Disp_Width" : "71.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In Woman In Brown, Manierre Dawson responds—and pays homage—to European modernism in his version of Picasso's legendary portrait, Gertrude Stein, of 1906. The monochromatic brown palette and fragmentation of the subject alludes to experiments of the Paris Cubists as much as it does Cézanne's late work. Yet, Dawson's painting exhibits an independent American approach to problems of subject, contour and volume in pictorial construction.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.12.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.12.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.12.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.12.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2509", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14019", "Disp_Access_No" : "G1976.11.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Alt_Title" : "Tilted Blue and Black", "Obj_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43 cm x 38 cm x 5.5 cm (16 15/16 in. x 14 15/16 in. x 2 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "HLW", "Medium" : "Wood and metal construction", "Support" : "Wood", "Disp_Medium" : "Wood and metal construction on Wood", "Info_Page_Comm" : "A leading figure in the Kinetic and Op art movements, Jesús Rafael Soto investigated ways to dynamically engage the viewer. In this piece, which Soto produced while living in Paris, he suspended a blue and black rod in front of a panel of thinly painted white lines. When the visitors move in front of the work, their changing view of the rod against the striped background generates optical effects along the rod’s tilted edges that ripple with vibrations.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1976.11.48.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.11.48.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.11.48.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.11.48.tif", "IsPrimary" : "1", "_SurrogateID" : "2461", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14026, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14026", "Disp_Access_No" : "G1975.6.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Desert Ranges", "Alt_Title" : "", "Obj_Title" : "Desert Ranges", "Series_Title" : "", "Disp_Maker_1" : "Lafayette Maynard Dixon", "Sort_Artist" : "Dixon, Lafayette Maynard", "Disp_Dimen" : "86.9 cm x 99.7 cm (34 3/16 in. x 39 1/4 in.)", "Disp_Height" : "86.9 cm", "Disp_Width" : "99.7 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. Smith, 1975", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.6.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2456", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.6.1.tif", "IsPrimary" : "0", "_SurrogateID" : "4885", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14031, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14031", "Disp_Access_No" : "G1975.35.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1964", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1969", "Disp_Title" : "X en la calle 13 [X on 13th Street]", "Alt_Title" : "(X on 13th Street)", "Obj_Title" : "X en la calle 13 [X on 13th Street]", "Series_Title" : "", "Disp_Maker_1" : "Sarah Grilo", "Sort_Artist" : "Grilo, Sarah", "Disp_Dimen" : "101.8 cm x 102 cm (40 1/16 in. x 40 3/16 in.)", "Disp_Height" : "101.8 cm", "Disp_Width" : "102 cm", "Dimen_Extent" : "Canvas", "Medium" : "Mixed media", "Support" : "canvas", "Disp_Medium" : "Mixed media on canvas", "Info_Page_Comm" : ""X en la calle 13" reflects Sarah Grilo’s experiences of living in New York City during the 1960s. This period marks an important transition in her work as she moved away from her earlier geometric paintings focused on color harmonies. Here, she mixed the techniques of Informalism with the use of language to suggest the graffiti and splashes of color one finds on a gritty urban wall. Her operation is somewhat paradoxical since it is the walls themselves that acquire the look of abstract paintings over time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jordan Metzger, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.35.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.35.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.35.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.35.1.tif", "IsPrimary" : "1", "_SurrogateID" : "3024", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14037, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14037", "Disp_Access_No" : "G1975.22.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Sozinho em verde [Alone in Green]", "Alt_Title" : "", "Obj_Title" : "Sozinho em verde [Alone in Green]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Henrique Amaral", "Sort_Artist" : "Amaral, Antonio Henrique", "Disp_Dimen" : "151 cm x 150 cm (59 7/16 in. x 59 1/16 in.)", "Disp_Height" : "151 cm", "Disp_Width" : "150 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Following the 1968 military coup in Brazil, many artists left that country for New York. Antonio Henrique Amaral, who arrived in 1973, become one of the most successful of those artists, both critically and commercially, earning fame with his iconic images of bananas. Critics have read Alone in Green, with its overripe, tied, and bruised banana, as a metaphor for political violence and torture, pointing out that the vertical prongs of the fork in the upper half of the painting recall prison bars. But the predominant yellow and green colors of the painting are the same as those of the Brazilian flag, meaning the banana can also be interpreted as an ironic comment on the popular perception of Brazil as an idyllic tropical paradise. Like many Latin American artists of the 1970s, Amaral heavily coded his denunciation of a cruel political system by subverting the stereotypes that dominate international perceptions of Latin American culture. Amaral’s deadpan realistic style shows links to contemporary American Pop art, yet his political double-meanings and his emphasis on the banana’s vulnerability suggest a world far removed from a straightforward fascination with consumer society.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1975", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.22.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.22.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.22.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.22.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2450", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14041, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14041", "Disp_Access_No" : "G1974.6", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1928", "_Disp_Start_Dat" : "1923", "_Disp_End_Date" : "1933", "Disp_Title" : "Composition with Vegetables", "Alt_Title" : "", "Obj_Title" : "Composition with Vegetables", "Series_Title" : "", "Disp_Maker_1" : "Arshile Gorky", "Sort_Artist" : "Gorky, Arshile", "Disp_Dimen" : "71.3 cm x 91.6 cm (28 1/16 in. x 36 1/16 in.)", "Disp_Height" : "71.3 cm", "Disp_Width" : "91.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Albert Erskine to the Mari and James A. Michener Collection, 1974", "Copyright_Type" : "case by case basis", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6.tif", "IsPrimary" : "0", "_SurrogateID" : "2448", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.6-2018-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6-2018-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6-2018-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6-2018-frame.tif", "IsPrimary" : "0", "_SurrogateID" : "19358", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.6-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "19359", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14058", "Disp_Access_No" : "G1973.12.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Caída de conciencia [Loss of Consciousness]", "Alt_Title" : "Loss of Consciousness", "Obj_Title" : "Caída de conciencia [Loss of Consciousness]", "Series_Title" : "", "Disp_Maker_1" : "Jorge de la Vega", "Sort_Artist" : "Vega, Jorge de la", "Disp_Dimen" : "130.6 cm x 110.4 cm (51 7/16 in. x 43 7/16 in.)", "Disp_Height" : "130.6 cm", "Disp_Width" : "110.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil, glass, and fabric", "Support" : "canvas", "Disp_Medium" : "Oil, glass, and fabric on canvas", "Info_Page_Comm" : "Jorge de la Vega relied on experimental techniques to generate an imaginary universe populated by monstrous beasts and distorted figures. The poetic title of this work is a pun on the common Spanish expression "toma de conciencia" [becoming aware]. It suggests that existence becomes conflicted by our inability to resolve the contradictions between gaining and losing awareness. De la Vega seems inspired by existentialism as he literally splits the self in two, using collaged linen to represent a male figure and its distorted double. This elongated image was created by rubbing linen directly over the wrinkled canvas. The resulting copy was then stretched and glued onto the surface of the work. The figure and his elongated doppelgänger float in close proximity, but their relationship remains unsettled.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1973.12.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1973.12.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1973.12.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1973.12.16.tif", "IsPrimary" : "1", "_SurrogateID" : "2438", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14073, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14073", "Disp_Access_No" : "G1971.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Luis Arenal", "Sort_Artist" : "Arenal, Luis", "Disp_Dimen" : "91.5 cm x 91.5 cm (36 in. x 36 in.)", "Disp_Height" : "91.5 cm", "Disp_Width" : "91.5 cm", "Dimen_Extent" : "Board", "Medium" : "Oil, gesso, and wood relief", "Support" : "panel", "Disp_Medium" : "Oil, gesso, and wood relief on panel", "Info_Page_Comm" : "The Arenal family immigrated to the United States when Luis was young. He studied architecture and sculpture in Los Angeles an spent time at the University of Arizona in the 1920s. In 1932, Arenal learned the art of fresco painting from David Alfaro Siqueiros, who was active in Los Angeles at that time, becoming long lasting collaborators. In 1936, Arenal represented Mexico at the First Congress of American Artists against Fascism in New York City. He remained in the city for a year, during which he participated in Siqueiros’ Experimental Workshop. Produced during that period, this untitled piece represents the anxiety Mexicans felt at the rise of fascism in Europe. An indigenous mother reacts with deep concern as her children must bear witness to the destruction of war. The innovative treatment of the surface and the three-dimensional elements of this work heighten the immediacy of the impending danger. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Chase Manhattan Bank, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.5.tif", "IsPrimary" : "1", "_SurrogateID" : "2979", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14080, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14080", "Disp_Access_No" : "G1971.3.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Inkarri", "Alt_Title" : "", "Obj_Title" : "Inkarri", "Series_Title" : "", "Disp_Maker_1" : "Fernando de Szyszlo", "Sort_Artist" : "Szyszlo, Fernando de", "Disp_Dimen" : "150.5 cm x 150.5 cm (59 1/4 in. x 59 1/4 in.)", "Disp_Height" : "150.5 cm", "Disp_Width" : "150.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic", "Support" : "wood", "Disp_Medium" : "Acrylic on wood", "Info_Page_Comm" : "Fernando de Szyszlo is one of several Latin American abstract artists who claim a non-European, specifically indigenous tradition in their work. Inkarri has long been considered one of his masterpieces. The title, which is in Quechua, the indigenous language of the Andes, is indicative of de Szyszlo’s interest in connecting to ancient American traditions. Although the painting seems totally abstract at first, the title points to a specific narrative, allowing us to read the painting in symbolic rather than purely formal or abstract terms. Inkarri refers to a legend in which the last Inca ruler, Tupac Amaru, whose body was torn to pieces in 1572 by the Spanish, returns to reclaim his kingdom from the colonizers. Unlike the earlier generation of Peruvian indigenistas, de Szyszlo used a totally abstract and contemporary language to communicate this revolutionary narrative. Rather than record the historical details of the Tupac Amaru legend, Szyszlo has suggested the ruler’s resurrection in floating and altarlike forms that summon an evocative and magical universe.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "all", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Peruvian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.48.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.48.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.48.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.48.tif", "IsPrimary" : "1", "_SurrogateID" : "2414", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14084, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14084", "Disp_Access_No" : "G1971.3.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "María Luisa Pacheco", "Sort_Artist" : "Pacheco, María Luisa", "Disp_Dimen" : "99 cm x 104.3 cm (39 in. x 41 1/16 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "104.3 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil and wood", "Support" : "canvas", "Disp_Medium" : "Oil and wood on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Bolivian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.40.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.40.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.40.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.40.tif", "IsPrimary" : "1", "_SurrogateID" : "2973", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14090, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14090", "Disp_Access_No" : "G1971.3.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Paisaje con muros [Landscape with Walls]", "Alt_Title" : "Landscape with Walls", "Obj_Title" : "Paisaje con muros [Landscape with Walls]", "Series_Title" : "", "Disp_Maker_1" : "Armando Morales", "Sort_Artist" : "Morales, Armando", "Disp_Dimen" : "182.7 cm x 147.4 cm (71 15/16 in. x 58 1/16 in.)", "Disp_Height" : "182.7 cm", "Disp_Width" : "147.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic on base of gesso and modeling paste", "Support" : "canvas", "Disp_Medium" : "Acrylic on base of gesso and modeling paste on canvas", "Info_Page_Comm" : "Landscape with Walls is one of Morales’ paintings from his early abstract expressionist phase. Morales’ work from this period is dominated by the use of black, white, gray, and the incorporation of a thick impasto recalling of the work of American abstract expressionist painter Robert Motherwell and Spanish informalists such as Antonio Tapiés. In Spain, lyric abstraction had a strong anti-fascist undertone, as a counteractive force to government-mandated artistic styles. The Nicaraguan artistic group Praxis, active from 1963–73, similarly linked the artistic innovation associated with abstract expressionism to progressive politics supportive of the Sandanistas, a revolutionary group opposed to Anastasio Somoza Debayle, one of a family of authoritarian leaders of Nicaragua. In Landscape with Walls, Morales uses abstract expressionism as it was filtered through the Spanish informalists and the Praxis group, possibly to express anti-Somoza sentiments", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Nicaraguan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.33.tif", "IsPrimary" : "1", "_SurrogateID" : "2409", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14094, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14094", "Disp_Access_No" : "G1971.3.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Mansión del agua [Water Mansion]", "Alt_Title" : "Water Mansion", "Obj_Title" : "Mansión del agua [Water Mansion]", "Series_Title" : "", "Disp_Maker_1" : "Günther Gerzso", "Sort_Artist" : "Gerzso, Günther", "Disp_Dimen" : "81 cm x 100 cm (31 7/8 in. x 39 3/8 in.)", "Disp_Height" : "81 cm", "Disp_Width" : "100 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Both Gunther Gerzso and José Luis Cuevas, in very different ways, challenged the supremacy of the Mexican Muralist movement led by Diego Rivera, José Clemente Orozco, and David Álfaro Siqueiros. While Cuevas concentrated on the grotesque, scenes of urban life, and caricature, Gerzso took the opposite path toward abstraction, spirituality, and meditation. In Mansión del agua, a painting from his mature period, the subtle tonal gradations and overlapping forms create a mysterious, otherworldly sensation. While the Muralists represented Mexico’s vast indigenous traditions in a figurative and political manner, Gerzso concentrated on the abstract geometrical structures and figures found in Aztec stonework. The title of this work also alludes to the importance of water for Maya civilizations. While the composition seems to depict a stone construction, there is nothing illustrative or archaeological about the painting. Instead we have a more intuitive evocation of the ancient world. Although Gerzso was somewhat marginalized in Mexico, his search for a contemporary relationship between abstract art and ancient American civilizations strongly echoed the interests of South American artists such as Jorge Eielson and César Paternosto.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "all approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.22.tif", "IsPrimary" : "1", "_SurrogateID" : "2405", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14097, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14097", "Disp_Access_No" : "G1971.3.19", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Al gran pueblo argentino...[To the Great Argentine Nation...]", "Alt_Title" : "To the Great Argentinean Nation...", "Obj_Title" : "Al gran pueblo argentino...[To the Great Argentine Nation...]", "Series_Title" : "", "Disp_Maker_1" : "José Antonio Fernández-Muro", "Sort_Artist" : "Fernández-Muro, José Antonio", "Disp_Dimen" : "176 cm x 145 cm (69 5/16 in. x 57 1/16 in.)", "Disp_Height" : "176 cm", "Disp_Width" : "145 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic wash over aluminum foil gilt construction", "Support" : "canvas", "Disp_Medium" : "Acrylic wash over aluminum foil gilt construction on canvas", "Info_Page_Comm" : "José Antonio Fernández-Muro rose to national attention in Argentina as a pioneer of the lyrical geometrical abstraction common in the 1950s. His work of the period already showed an interest in the tension between strict geometry and more tactile expressions. Then in 1963 he moved to New York, where he began to use metal foil to emboss signs and manhole covers for inclusion in his work, thus introducing elements from the real world while still keeping a commitment to formal geometry. Here he has placed the foil manhole cover among a jumble of letters and numbers embossed from street signs. The whole has an urban, gritty feel, but the arrangement of the elements in the image also recalls the Argentine national flag, a reference that is underscored by the title, which comes from the national anthem: "Al gran pueblo argentino, salud! [Good health to the Great Argentine People!]." To complete the quoted reference, the word salud ("good health") appears written out along the bottom of the painting. While the overall somber mood of this work may seem to suggest a difficult or complex relationship to his homeland, the artist has denied any overt political intention in his work. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.19.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.19.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.19.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.19.tif", "IsPrimary" : "1", "_SurrogateID" : "2403", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14101, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14101", "Disp_Access_No" : "G1971.3.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Superficie activada núm. 2 [Activated Surface no. 2]", "Alt_Title" : "Activated Surface No. 2", "Obj_Title" : "Superficie activada núm. 2 [Activated Surface no. 2]", "Series_Title" : "", "Disp_Maker_1" : "Ary Brizzi", "Sort_Artist" : "Brizzi, Ary", "Disp_Dimen" : "170.5 cm x 168.9 cm (67 1/8 in. x 66 1/2 in.)", "Disp_Height" : "170.5 cm", "Disp_Width" : "168.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Ary Brizzi’s geometric paintings are elegant, technically rigorous, and conversant with Kinetic and Op art of the 1960s. At the time, Brizzi painted compositions of thin parallel bands that generated optical vibrations. In this example, the subtle color gradations and precise change in trajectory of the blue, black, and gold lines suggest two mirrored shapes that seem to overlap in a shallow space. Brizzi’s use of a diamond-shaped canvas and vibrating cerulean blues enhances the dynamism of this piece.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.12-old.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.12-old.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.12-old.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.12-old.tif", "IsPrimary" : "0", "_SurrogateID" : "6353", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.12.tif", "IsPrimary" : "1", "_SurrogateID" : "14274", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14116", "Disp_Access_No" : "G1968.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Ream", "Alt_Title" : "", "Obj_Title" : "Ream", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "198 x 244 cm (78 x 96 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "244 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "From 1963 to 1964, Lee Lozano took hardware—screwdrivers, hammers, wrenches—as her pictorial focus. Here, Lozano takes a reamer (a device used to drill holes) as her subject. Ensconced in a male-dominated art world, Lozano preyed on the provocative connotations of tools to poke fun at the chauvinistic climate in which she found herself. The artist manipulated and anthropomorphized her subjects to imbue them with new (often humorous, sexualized) meaning. At the same time, the sci-fi quality of these mechanized images tapped into the popularity of science fiction at that time— in art historian Helen Molesworth’s words, we might think of Lozano’s tool paintings as “cyborg fantasies of a complete merger of body and machine.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.92.tif", "IsPrimary" : "1", "_SurrogateID" : "2383", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.92.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.92.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.92.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.92.mp3", "IsPrimary" : "0", "_SurrogateID" : "8449", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14120, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14120", "Disp_Access_No" : "G1968.88", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Tadaaki Kuwayama", "Sort_Artist" : "Kuwayama, Tadaaki", "Disp_Dimen" : "163.8 cm x 163.8 cm (64 1/2 in. x 64 1/2 in.)", "Disp_Height" : "163.8 cm", "Disp_Width" : "163.8 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas with aluminum", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Japanese", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.88.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.88.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.88.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.88.tif", "IsPrimary" : "1", "_SurrogateID" : "9191", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14136, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14136", "Disp_Access_No" : "G1968.72", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1943", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1948", "Disp_Title" : "Untitled (Girl with Kitten)", "Alt_Title" : "", "Obj_Title" : "Untitled (Girl with Kitten)", "Series_Title" : "", "Disp_Maker_1" : "Marsden Hartley", "Sort_Artist" : "Hartley, Marsden", "Disp_Dimen" : "102 cm x 77 cm (40 3/16 in. x 30 5/16 in.)", "Disp_Height" : "102 cm", "Disp_Width" : "77 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.72.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.72.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.72.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.72.tif", "IsPrimary" : "1", "_SurrogateID" : "3138", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.72.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.72.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.72.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.72.mp3", "IsPrimary" : "0", "_SurrogateID" : "8441", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14137", "Disp_Access_No" : "G1968.71", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Mountain Woman", "Alt_Title" : "", "Obj_Title" : "Mountain Woman", "Series_Title" : "", "Disp_Maker_1" : "Grace Hartigan", "Sort_Artist" : "Hartigan, Grace", "Disp_Dimen" : "234 cm x 184 cm (92 1/8 in. x 72 7/16 in.)", "Disp_Height" : "234 cm", "Disp_Width" : "184 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.71.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.71.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.71.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.71.tif", "IsPrimary" : "1", "_SurrogateID" : "2369", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14139, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14139", "Disp_Access_No" : "G1968.69", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Alchemist", "Alt_Title" : "", "Obj_Title" : "The Alchemist", "Series_Title" : "", "Disp_Maker_1" : "Philip Guston", "Sort_Artist" : "Guston, Philip", "Disp_Dimen" : "155 cm x 171 cm (61 in. x 67 5/16 in.)", "Disp_Height" : "155 cm", "Disp_Width" : "171 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All except merchandise (postcards and posters are o.k.)", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.69.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.69.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.69.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.69.tif", "IsPrimary" : "1", "_SurrogateID" : "2368", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.69.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.69.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.69.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.69.mp3", "IsPrimary" : "0", "_SurrogateID" : "8440", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14154", "Disp_Access_No" : "G1968.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Snap Roll", "Alt_Title" : "", "Obj_Title" : "Snap Roll", "Series_Title" : "", "Disp_Maker_1" : "Dean Fleming", "Sort_Artist" : "Fleming, Dean", "Disp_Dimen" : "167 cm x 253 cm (65 3/4 in. x 99 5/8 in.)", "Disp_Height" : "167 cm", "Disp_Width" : "253 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "“Space-warp,” “timeline,” “optic energy,” “eye-ibel,” “reversibility,” and “weightlessness.” These are just a few of the terms adopted by the Park Place Group, a New York-based collective that included such artists as Mark di Suvero, Robert Grosvenor, David Novros, and Ed Ruda. Dean Fleming was a founding member of the Park Place Group. He also served as co-director of the Park Place Gallery, which opened in 1963 and then closed in 1967, the same year the Park Place Group itself disbanded. In addition to providing members (and eventually non-members) with a large, open space in which to exhibit their work, thereby freeing them from the pressures associated with showing at mainstream galleries, the gallery hosted concerts, performances, symposia, and even anti-Vietnam war rallies. The artists affiliated with the Park Place Group worked in a variety of media and produced highly individual bodies of work. Nonetheless, they embraced a shared set of concerns—physics, mathematics, engineering, and science fiction among them. (Fleming himself studied aeronautical engineering at California Polytechnic State University and worked for the Douglas Aircraft Company in the 1950s.) As critic David Bourdon wrote in 1966, the “Park Place artists take the Space Age for granted and try to get it across in their work.” Fleming’s own paintings are austere in form yet dynamic in effect. Snap Roll consists of interlocking planes of high-contrast color. A parallelogram occupies the center of the canvas. The parallelogram, in combination with the geometric forms attached to its right and left sides, create a zig-zag pattern that “shunts the eye” from one edge of the painting to the other. This optical activity is accompanied by a sense of spatial ambiguity, which is exacerbated by Fleming’s use of irregular, asymmetrical shapes like the parallelogram. “If an open viewer allows the reading to be in his own time,” Fleming once wrote of his work, “he can participate in the reversals of space and apparent contradictions between stillness and sudden motion, weight and gravitationlessness."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.54.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.54.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.54.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.54.tif", "IsPrimary" : "1", "_SurrogateID" : "2358", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14163", "Disp_Access_No" : "G1968.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Barge, Trees, Silver Ball", "Alt_Title" : "", "Obj_Title" : "Barge, Trees, Silver Ball", "Series_Title" : "", "Disp_Maker_1" : "Arthur Garfield Dove", "Sort_Artist" : "Dove, Arthur Garfield", "Disp_Dimen" : "59 cm x 83 cm (23 1/4 in. x 32 11/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "83 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and silver paint", "Support" : "beaver board", "Disp_Medium" : "Oil and silver paint on beaver board", "Info_Page_Comm" : "In Barge, Trees, Silver Ball, blue-black and green organic trees float in front of a silver form that recalls the sun or moon suspended over a sliver of barge. The forms are barely identifiable, even with the aid of the painting’s title. Dove worked from 1910 until his death in 1946 to extract the pictorial essence of forms and recast them in his compositions, often leaving little or no visible trace of his point of departure.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "all approved, except some types of merchandise. See remarks below.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.44.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.44.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.44.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.44.tif", "IsPrimary" : "1", "_SurrogateID" : "2350", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.44.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.44.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.44.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.44.mp3", "IsPrimary" : "0", "_SurrogateID" : "8436", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14176, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14176", "Disp_Access_No" : "G1968.31.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Horizontals Tiered ", "Alt_Title" : "", "Obj_Title" : "Horizontals Tiered ", "Series_Title" : "", "Disp_Maker_1" : "Jo Baer", "Sort_Artist" : "Baer, Jo", "Disp_Dimen" : "132.1 cm x 182.9 cm (52 in. x 72 in.)", "Disp_Height" : "132.1 cm", "Disp_Width" : "182.9 cm", "Dimen_Extent" : "Each panel", "Medium" : "Oil and synthetic resin", "Support" : "canvas", "Disp_Medium" : "Oil and synthetic resin on canvas", "Info_Page_Comm" : "At first glance, "Horizontals Tiered" may appear as two empty canvases. But as she wrote in 1967, artist Jo Baer believed that “most sensation is the edge of things.” By painting thin belts of color between areas of white and black, Baer strove to induce an optical phenomenon: on the inner edge of the band, the color appears lighter; on the outer edge, it appears darker. In privileging the peripheries of the canvas, Baer questioned conventional ways of looking at art. Baer’s attention to the edges of her work aligns her not only with other Minimalist artists, but also with color theorists such as Josef Albers, whose book, "Interaction of Color," was published just three years before this work was made. Explaining her process, Baer said, “I was always curious why the color on the palette was different than the color on the painting. I knew what I wanted something to look like, and I found that the means to do it were so different than the end result.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.31.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.31.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.31.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.31.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "6356", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14181, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14181", "Disp_Access_No" : "G1968.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Capitalist Masterpiece #26", "Alt_Title" : "", "Obj_Title" : "Capitalist Masterpiece #26", "Series_Title" : "", "Disp_Maker_1" : "Peter Ford Young", "Sort_Artist" : "Young, Peter Ford", "Disp_Dimen" : "244 cm x 336 cm (96 1/16 in. x 132 5/16 in.)", "Disp_Height" : "244 cm", "Disp_Width" : "336 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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In his travels to Spain in the 1950s, Lewis studied the paintings at the Museo Nacional del Prado—a short walk from Puerta del Sol, one of the busiest public squares in Madrid. Lewis’s tight clusters of varying colors suggest moving masses of people. “When I was in Madrid,” Lewis recalled in an interview, “one of the things in my own self-education was the discouraging fact that painting pictures didn’t bring about any change.” In later paintings, Lewis used this compositional technique to mimic crowds of protestors during the Civil Rights Movement. Works like "La Puerto del Sol" prefigure Lewis’s paintings of the 1960s and 1970s, which strive to convey the African American struggle through abstraction.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Longview Foundation, Inc., 1960", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1960.10.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1960.10.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1960.10.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1960.10.tif", "IsPrimary" : "1", "_SurrogateID" : "2280", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14276", "Disp_Access_No" : "2001.82", "_AccNumSort1" : "", "Disp_Create_DT" : "1967-1970", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1970", "Disp_Title" : "Stroke", "Alt_Title" : "", "Obj_Title" : "Stroke", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "106.68 cm x 106.68 cm (42 in. x 42 in.)", "Disp_Height" : "106.68 cm", "Disp_Width" : "106.68 cm", "Dimen_Extent" : "each panel", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "By the mid-1960s, Lee Lozano was known for her monumental paintings of hardware. In the latter half of that decade, however, Lozano shifted gears, translating her signature style into a more sculptural language. With "Stroke" the artist broke free of the constraints of the canvas by perforating and layering canvases themselves. Using tools rather than depicting them, Lozano moved beyond two-dimensional painting to engage “real space” both in her process and in her finished work. Indeed, she referred to this body of work as “energy paintings,” aiming to capture “the energy which emanates from the forever conflict in painting between . . . its static solid-matter surface and the passages of movement and time it evokes in the mind.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Judith Rothschild Foundation and the Michener Acquisitions Fund, 2001", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.82.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82.tif", "IsPrimary" : "0", "_SurrogateID" : "1747", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.82-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82-1.tif", "IsPrimary" : "1", "_SurrogateID" : "15800", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14285, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14285", "Disp_Access_No" : "2001.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Harriet Korman", "Sort_Artist" : "Korman, Harriet", "Disp_Dimen" : "182.88 cm x 213.36 cm (72 in. x 84 in.)", "Disp_Height" : "182.88 cm", "Disp_Width" : "213.36 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Miles Bellamy, 2001", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.100.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.100.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.100.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.100.tif", "IsPrimary" : "1", "_SurrogateID" : "4102", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14287", "Disp_Access_No" : "2000.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Alt_Title" : "", "Obj_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Series_Title" : "", "Disp_Maker_1" : "Regina Silveira", "Sort_Artist" : "Silveira, Regina", "Disp_Dimen" : "96.52 cm x 421.64 cm (38 in. x 166 in.)", "Disp_Height" : "96.52 cm", "Disp_Width" : "421.64 cm", "Dimen_Extent" : "floor space, installed", "Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Support" : "", "Disp_Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Info_Page_Comm" : "In the late 1970s, Regina Silveira became interested in 15th-century treaties on perspective and especially intrigued by anamorphosis (the controlled distortion of images that could be made to appear normal when viewed from a particular perspective). She produced a series of works where she used the anamorphic distortions of objects from everyday life—chairs, hammers, nails, motorcycles, bookshelves—to create ominous shadows made of adhesive vinyl. In the 1980s, she began to use seminal works from the canon of Western art history as a point of departure. “Masterpieces (In Absentia)” depicts the elongated shadow of a famous “readymade” sculpture of a bicycle wheel on a stool by Marcel Duchamp. In this work, the border between absence and presence, the real and the dematerialized, the original and the copy becomes indistinguishable. The shadow, liberated from its origin, represents the legacy of Western modernism as it looms large over Brazil and the ways Brazilian artists have consumed and transfigured that tradition.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Archer M. 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"Disp_Medium" : "Oil and wax on twenty panels", "Info_Page_Comm" : "A skillful fusion of abstraction and representation in painting, "Synecdoche" is a potent statement about identity. Arranged in a grid, these monochrome panels replicate the skin color of twenty individuals that Byron Kim encountered at random on The University of Texas at Austin campus. As such, "Synecdoche" may playfully literalize a comment made by modernist painter Brice Marden, who once referred to the surfaces of his own monochromatic paintings as “skin. ”Synecdoche" is an ongoing series of more than 410 individual panels that Kim began in 1991 and has continued to the present day. Borrowed from literary criticism, the term “synecdoche” refers to a figure of speech in which a part represents a whole. Here the color of each panel stands in for the individual sitter, while all of the panels together represent the university population. Yet in this context, the work points to the futility—the absurdity even—of defining human beings by their skin color alone.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1998", "Copyright_Type" : "edu; study; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.tif", "IsPrimary" : "1", "_SurrogateID" : "1698", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77.1-20_20-20 audioEng.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.1-20_20-20 audioEng.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.1-20_20-20 audioEng.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.1-20_20-20 audioEng.mp3", "IsPrimary" : "0", "_SurrogateID" : "8190", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77.1-20_20-20 audioSpan.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.1-20_20-20 audioSpan.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.1-20_20-20 audioSpan.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.1-20_20-20 audioSpan.mp3", "IsPrimary" : "0", "_SurrogateID" : "8191", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist1.tif", "IsPrimary" : "0", "_SurrogateID" : "9533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist2.tif", "IsPrimary" : "0", "_SurrogateID" : "9534", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist3.tif", "IsPrimary" : "0", "_SurrogateID" : "9535", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist4.tif", "IsPrimary" : "0", "_SurrogateID" : "9536", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14341", "Disp_Access_No" : "1998.76", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Alt_Title" : "", "Obj_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Series_Title" : "", "Disp_Maker_1" : "Cildo Meireles", "Sort_Artist" : "Meireles, Cildo", "Disp_Dimen" : "249.94 cm x 345.95 cm x 345.95 cm (98 3/8 in. x 136 3/16 in. x 136 3/16 in.)", "Disp_Height" : "249.94 cm", "Disp_Width" : "345.95 cm", "Dimen_Extent" : "varies with installation", "Medium" : "600,000 coins, 800 communion wafers, 2000 cattle bones, 80 paving stones, and black cloth", "Support" : "", "Disp_Medium" : "600,000 coins, 800 communion wafers, 2,000 cattle bones, 80 paving stones, and black cloth", "Info_Page_Comm" : "Cildo Meireles’s installation was first commissioned for an exhibition about the history of the Jesuits in southern Brazil. The artist created a contemplative space that functions as a critique of Jesuit missions established during colonial times to contain the indigenous Tupi-Guaraní people and convert them to Catholicism. The work’s symbolic elements reveal the complicit relationship between material power (coins), spiritual power (communion wafers), and tragedy (bones), while the black shroud and overhead lighting evoke ideas of life and death. Meireles’ use of cattle bones references the importance of ranching within the region’s colonial economy. Yet the bones’ physical resemblance to the human femur also alludes to the human losses associated with forced acculturation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Peter Norton Family Foundation, 1998", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76.tif", "IsPrimary" : "0", "_SurrogateID" : "1696", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "1697", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76 detail b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76 detail b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76 detail b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76 detail b.tif", "IsPrimary" : "0", "_SurrogateID" : "4477", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76 detail c.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76 detail c.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76 detail c.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76 detail c.tif", "IsPrimary" : "0", "_SurrogateID" : "4478", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_detail_d.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_detail_d.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_detail_d.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_detail_d.tif", "IsPrimary" : "0", "_SurrogateID" : "9093", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_2017-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_2017-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_2017-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_2017-1.tif", "IsPrimary" : "1", "_SurrogateID" : "15804", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_2017-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_2017-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_2017-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_2017-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15805", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76-2017-straight.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76-2017-straight.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76-2017-straight.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76-2017-straight.tif", "IsPrimary" : "0", "_SurrogateID" : "22497", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14401, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14401", "Disp_Access_No" : "1992.272", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "No. 62.A.A.A.", "Alt_Title" : "", "Obj_Title" : "No. 62.A.A.A.", "Series_Title" : "", "Disp_Maker_1" : "Yayoi Kusama", "Sort_Artist" : "Kusama, Yayoi", "Disp_Dimen" : "178 cm x 202 cm (70 1/16 in. x 79 1/2 in.)", "Disp_Height" : "178 cm", "Disp_Width" : "202 cm", "Dimen_Extent" : "Canvas", "Medium" : "Paint, mattress stuffing, and cardboard egg crates ", "Support" : "canvas", "Disp_Medium" : "Paint, mattress stuffing, and cardboard egg crates on canvas", "Info_Page_Comm" : "Yayoi Kusama helped forge a new awareness of women artists as audacious experimenters. Her unconventional paintings, constructions, objects, installations, and performances give public expression to her private compulsions. Kusama, a Japanese artist who worked in New York from 1958 to 1972, suffers from an obsessive-compulsive disorder that causes proliferating patterns to dominate her field of vision. Beginning with small gouache paintings covered with vivid fields of repeated dots and cell-like shapes, she began employing collage techniques in the early 1960s to make her paintings more three-dimensional. No. 62 A.A.A. is a pivotal work. It is constructed of square egg cartons—the sort used for bulk egg deliveries in the 1960s and readily found in street garbage—arranged in a grid and joined by cotton stuffing salvaged from discarded mattresses. An overall coat of spray paint has unified the individual forms into one serial relief of concave hemispheres. By using real-world objects, Kusama’s painted construction anticipated the principles of both Pop art and Minimalism, yet it also refers explicitly to her own unique perceptual experience. The rhythms of its projecting and receding voids mimic the pulsations of the expanding fields she sees, translating the sensations of her body into concrete form. The Blanton owns a rich assortment of other Kusama works, including an important large diptych painting from 1987, 11 mixed media paintings on paper from the 1950s, and an archive of materials from the artist’s years in New York. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Center for International Contemporary Arts; Emanuel and Charlotte Levine Collection, 1992", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Japanese", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.272.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.272.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.272.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.272.tif", "IsPrimary" : "1", "_SurrogateID" : "1616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14411, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14411", "Disp_Access_No" : "1991.420", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "El académico [The Academic]", "Alt_Title" : "The Academic", "Obj_Title" : "El académico [The Academic]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Seguí", "Sort_Artist" : "Seguí, Antonio", "Disp_Dimen" : "150 cm x 150.2 cm (59 1/16 in. x 59 1/8 in.)", "Disp_Height" : "150 cm", "Disp_Width" : "150.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and industrial lacquer", "Support" : "canvas", "Disp_Medium" : "Oil and industrial lacquer on canvas", "Info_Page_Comm" : "Antonio Seguí moved to Paris in 1963 and shared a studio with Romulo Macció. They had in common an interest in expressionistic figuration, which Seguí pursued for the rest of his career. “El académico” is part of a gallery of ironic portraits produced in the early 1960s, through which Seguí challenged authority figures. Here, a learned man seems to hold court on a throne-like chair. The clear labeling and his unsettled expression suggests that he is no longer an agent validating knowledge, but an historical subject put on display. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1991", "Copyright_Type" : "Approval on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.420.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.420.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.420.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.420.tif", "IsPrimary" : "1", "_SurrogateID" : "3354", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14413, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14413", "Disp_Access_No" : "1991.418", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Dos diagonales [Two Diagonals]", "Alt_Title" : "Two Diagonals", "Obj_Title" : "Dos diagonales [Two Diagonals]", "Series_Title" : "", "Disp_Maker_1" : "Rogelio Polesello", "Sort_Artist" : "Polesello, Rogelio", "Disp_Dimen" : "161 cm x 161 cm (63 3/8 in. x 63 3/8 in.)", "Disp_Height" : "161 cm", "Disp_Width" : "161 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.418.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.418.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.418.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.418.tif", "IsPrimary" : "1", "_SurrogateID" : "8800", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14420, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14420", "Disp_Access_No" : "1991.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1945", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1945", "Disp_Title" : "Picacho Valley, Chávez Ranch", "Alt_Title" : "", "Obj_Title" : "Picacho Valley, Chávez Ranch", "Series_Title" : "", "Disp_Maker_1" : "Peter Hurd", "Sort_Artist" : "Hurd, Peter", "Disp_Dimen" : "75.2 cm x 133.4 cm (29 5/8 in. x 52 1/2 in.)", "Disp_Height" : "75.2 cm", "Disp_Width" : "133.4 cm", "Dimen_Extent" : "frame", "Medium" : "Egg tempera on gessoed panel", "Support" : "Board", "Disp_Medium" : "Egg tempera on gessoed panel on Board", "Info_Page_Comm" : "Artist Peter Hurd once described art as “an enduring record of man’s emotional response to his existence.” In this painting, Hurd records his deep love for and familiarity with the landscape of the Southwest, depicting a scene near his home in San Patricio, New Mexico. Hurd has included small details that evoke the quiet peacefulness of local life. Windmills dot the scene and a lone figure stands in the yard feeding chickens. Though the landscape is vast, Hurd treats it like a figure well known. The gentle, shadowed curves of the hills suggest a warm, bodily presence. Painted in tempera made using yolks from Hurd’s own chickens, the painting is a testament to the relationship between land and home.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.36.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.36.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.36.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.36.tif", "IsPrimary" : "0", "_SurrogateID" : "1583", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.36-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.36-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.36-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.36-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18070", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14427", "Disp_Access_No" : "1991.338", "_AccNumSort1" : "", "Disp_Create_DT" : "1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "New York at Night", "Alt_Title" : "", "Obj_Title" : "New York at Night", "Series_Title" : "", "Disp_Maker_1" : "Max Weber", "Sort_Artist" : "Weber, Max", "Disp_Dimen" : "87 cm x 55.9 cm (34 1/4 in. x 22 in.)", "Disp_Height" : "87 cm", "Disp_Width" : "55.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Max Weber was one of the first American artists to fully synthesize the principles of European modernism and adapt them to a specifically American subject matter. Well acquainted with the debates and practices of Gertrude Stein, Pablo Picasso, Henri Matisse, Henri Rousseau, and other leading European artists and intellectuals whom he met while living in Paris, Weber helped introduce their avant-garde ideas to artists working in the United States when he returned to New York. His own influential pulpit was Alfred Stieglitz’s journal Camera Work. In its pages he proposed his most important concept, the notion of a fourth dimension, or the extension of space into another realm beyond the three dimensions of the visible world. His speculative ideas found clear expression in the paintings he executed around 1910, which incorporated representations of movement and time. New York at Night, completed five years later, reduces his impressions of time and place to a basic vocabulary of colorful geometric shapes and intersecting planes seen from multiple perspectives and enhanced by illusions of motion and reverberating sound. In works like this, Weber conveyed the speed, the action, and the dynamic energy of the city more abstractly than ever before in American painting. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.338.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.338.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.338.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.338.tif", "IsPrimary" : "1", "_SurrogateID" : "1579", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14430, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14430", "Disp_Access_No" : "1991.335", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Light Pink Octagon", "Alt_Title" : "", "Obj_Title" : "Light Pink Octagon", "Series_Title" : "", "Disp_Maker_1" : "Richard Tuttle", "Sort_Artist" : "Tuttle, Richard", "Disp_Dimen" : "144.2 cm x 134.7 cm (56 3/4 in. x 53 1/16 in.)", "Disp_Height" : "144.2 cm", "Disp_Width" : "134.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Canvas dyed with Tintex", "Support" : "", "Disp_Medium" : "Canvas dyed with Tintex", "Info_Page_Comm" : "Richard Tuttle’s Light Pink Octagon challenges notions of what a work of art can be. A hybrid object—neither painting nor sculpture nor drawing, but containing aspects of all three—the modest, seemingly offhand work is from a pivotal early series that established Tuttle’s interest in how objects define the spaces around them. Light Pink Octagon commands attention, embodying the artist’s unique sense of possibility and play. Made from a piece of cloth cut into an octagonal shape, hemmed on all sides, and dyed pale pink, it can be hung at any height on the wall and from any side or angle, or placed unceremoniously on the floor. Permanently wrinkled during the dyeing process, it looks more like a castoff than a work of art. Indeed, its humble appearance and presentation deny the status most works of art seek to claim. Tuttle’s means of making art is a way of asking questions. His unexpected and poetic use of materials embraces the value of looking without prior judgment—of observing with an open mind. In 2008, The Blanton’s holdings of Tuttle’s work increased significantly with a gift from legendary art collectors Dorothy and Herbert Vogel, in concert with the National Gallery of Art, of 34 works on paper made by the artist between 1970 and 1982. These compelling works—some quite small—expand on the artist’s ongoing interests in line, color, and space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "all approved by artist.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.335.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.335.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.335.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.335.tif", "IsPrimary" : "1", "_SurrogateID" : "1577", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14435", "Disp_Access_No" : "1991.329", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "C-109", "Alt_Title" : "", "Obj_Title" : "C-109", "Series_Title" : "", "Disp_Maker_1" : "Tadasky", "Sort_Artist" : "Tadasky", "Disp_Dimen" : "172.8 cm x 172.8 cm (68 1/16 in. x 68 1/16 in.)", "Disp_Height" : "172.8 cm", "Disp_Width" : "172.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : " “It’s a little like staring at a turning record while trying to read the label,” wrote Jacqueline Barnitz in a review of Tadasky’s first one-person show in 1965. Barnitz, now a professor of art history at the University of Texas at Austin, aptly describes the work of Japanese-born, New York-based artist Tadasky. In the mid-1960s, Tadasky adopted the style that first brought him public recognition: circles composed of concentric rings that alternate between black and various combinations of complementary colors, such as the rusty orange-red and synthetic forest-green of C-109. It is the strong contrast between these colors that creates the illusion of movement noticed by Barnitz. Tadasky’s circles seem to wobble and spin, expanding out into the viewer’s space or, alternately, receding deep into the canvas. Visual agitation, accompanied by a sensation of physical disorientation, is the sum of an encounter with a painting like C-109. Tadasky worked with the aid of a machine in the 1960s, which accounts in large part for his paintings’ precision, exactitude, and regularity. After placing a canvas on the machine’s flat surface, Tadasky would hold his brush over the support. The machine rotated at an even pace, allowing the artist to create concentric rings of uniform width. This method also had the result of expelling any trace of the artist’s unique touch from the painting. In both form and effect, Tadasky’s circles lend themselves to a comparison with Marcel Duchamp’s Rotary Glass Plates (Precision Optics) (1920), Disks Bearing Spirals (1923), Rotary Demisphere (Precision Optics) (1925), and Rotoreliefs (Optical Disks) (1935), which likewise sought to investigate the optical properties of abstract (specifically circular) motifs. What distinguishes Duchamp from Tadasky is that the latter used abstract motifs to generate the impression of movement—what we might think of as virtual movement—while the former set his abstract motifs in motion electrically. Duchamp exerted a profound influence on postwar American artists, particularly after his 1963 retrospective at the Pasadena Art Museum, which was responsible for prompting renewed interest in the artist’s work.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.329.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.tif", "IsPrimary" : "1", "_SurrogateID" : "1574", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.329.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.mp3", "IsPrimary" : "0", "_SurrogateID" : "8644", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14456, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14456", "Disp_Access_No" : "1991.308", "_AccNumSort1" : "", "Disp_Create_DT" : "1959-1965", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1965", "Disp_Title" : "Tempesta", "Alt_Title" : "", "Obj_Title" : "Tempesta", "Series_Title" : "", "Disp_Maker_1" : "Beverly Pepper", "Sort_Artist" : "Pepper, Beverly", "Disp_Dimen" : "149.6 cm x 199.5 cm (58 7/8 in. x 78 9/16 in.)", "Disp_Height" : "149.6 cm", "Disp_Width" : "199.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "All BUT merchandise", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.308.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.308.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.308.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.308.tif", "IsPrimary" : "1", "_SurrogateID" : "6370", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.308.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.308.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.308.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.308.mp3", "IsPrimary" : "0", "_SurrogateID" : "8542", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14466, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14466", "Disp_Access_No" : "1991.280", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Split Spectrum", "Alt_Title" : "", "Obj_Title" : "Split Spectrum", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Noland", "Sort_Artist" : "Noland, Kenneth", "Disp_Dimen" : "177.6 cm x 177.6 cm (69 15/16 in. x 69 15/16 in.)", "Disp_Height" : "177.6 cm", "Disp_Width" : "177.6 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "unsized canvas", "Disp_Medium" : "Acrylic on unsized canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.280.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.280.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.280.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.280.tif", "IsPrimary" : "1", "_SurrogateID" : "2966", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14471", "Disp_Access_No" : "1991.276", "_AccNumSort1" : "", "Disp_Create_DT" : "1960-1961", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1961", "Disp_Title" : "Rock Bottom", "Alt_Title" : "", "Obj_Title" : "Rock Bottom", "Series_Title" : "", "Disp_Maker_1" : "Joan Mitchell", "Sort_Artist" : "Mitchell, Joan", "Disp_Dimen" : "198.1 cm x 172.7 cm (78 in. x 68 in.)", "Disp_Height" : "198.1 cm", "Disp_Width" : "172.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Joan Mitchell made this painting on Long Island, New York in the summer of 1960; it is one of the only works she painted outside of France. Mitchell often looked to nature for her abstraction, and the cobalt blue paint that dominates this frenetic work is a color she begins to use frequently after her summer on the Long Island shores. Mitchell often painted scenes as seen through the filter of her memory, describing her works as “remembered landscapes . . . [which] become transformed” through the act of painting. In a review of her first solo show in Paris, which opened the year this painting was made, French critic Pierre Schneider wrote that Mitchell’s works divulged “conflicting hesitations and mutually abolishing decisions.” With its raw energy, dramatic drips, and emphatic gestures, "Rock Bottom" reveals the agency Mitchell exercises in her approach to abstraction, movement, color, and the picture. “It’s a very violent painting,” the artist once said of this painting. “And you might say [about] sea . . . rocks.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "none", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.276.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.276.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.276.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.276.tif", "IsPrimary" : "1", "_SurrogateID" : "1554", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.276.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.276.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.276.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.276.mp3", "IsPrimary" : "0", "_SurrogateID" : "8540", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14487, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14487", "Disp_Access_No" : "1991.264", "_AccNumSort1" : "", "Disp_Create_DT" : "1936-1937", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1937", "Disp_Title" : "Down for the Count", "Alt_Title" : "", "Obj_Title" : "Down for the Count", "Series_Title" : "", "Disp_Maker_1" : "Fletcher Martin", "Sort_Artist" : "Martin, Fletcher", "Disp_Dimen" : "75.6 cm x 120.7 cm (29 3/4 in. x 47 1/2 in.)", "Disp_Height" : "75.6 cm", "Disp_Width" : "120.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fletcher Martin painted this smoky social realist boxing scene to symbolize the condition in which African Americans lived during the Depression. Martin spent his early career in California with Mexican muralist David Alfaro Siqueiros, whose influence is traceable here both in palette and in the artist’s empathy for oppressed African Americans. Martin produced "Down for the Count" after participating in the American Artists’ Congress in February 1936, during which many artists drew parallels between European fascism and racism in America. Martin’s works often feature men in conflict or experiencing trauma, even those that date to before his time as an artist-correspondent for LIFE magazine during World War II. Here Martin used linear perspective not only to create dramatic depth, but also to clearly demonstrate that these men are not on a level playing field.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.264.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.264.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.264.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.264.tif", "IsPrimary" : "1", "_SurrogateID" : "14272", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14489", "Disp_Access_No" : "1991.262", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Movement: Sea, Ultramarine and Green; Sky, Cerulean and Grey", "Alt_Title" : "", "Obj_Title" : "Movement: Sea, Ultramarine and Green; Sky, Cerulean and Grey", "Series_Title" : "", "Disp_Maker_1" : "John Marin", "Sort_Artist" : "Marin, John", "Disp_Dimen" : "55 cm x 70.2 cm (21 5/8 in. x 27 5/8 in.)", "Disp_Height" : "55 cm", "Disp_Width" : "70.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Water's surface, blue and aquamarine, merges with a red sun; whitecaps shimmer on the horizon; a bright sky clouds over: this is John Marin's slivered glimpse of a windy seascape, painted toward the end of his long career. Here, patches of color, painted in oil, communicate with the cool transparency of watercolor, the medium Marin had formerly preferred. In the 1930s and '40s, interested in oil's textures, he applied his free brushwork to the new medium and to the seascape, a favorite expressive subject. In the year he made this work, Marin observed: "I'm calling my pictures this year Movements in Paint and not Movements of Boat, Sea or Sky, because in these new paintings, although I use objects, I am representing paint first of all, and not the motif primarily." For years Marin was associated with the avant-garde art circle centered around Alfred Stieglitz's gallery in New York, with artists such as Marsden Hartley and Georgia O'Keeffe. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approval on case by case basis", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.262.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.262.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.262.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.262.tif", "IsPrimary" : "1", "_SurrogateID" : "6889", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.262.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.262.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.262.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.262.mp3", "IsPrimary" : "0", "_SurrogateID" : "8538", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14494, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14494", "Disp_Access_No" : "1991.257", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Water-Shot", "Alt_Title" : "", "Obj_Title" : "Water-Shot", "Series_Title" : "", "Disp_Maker_1" : "Morris Louis", "Sort_Artist" : "Louis, Morris", "Disp_Dimen" : "214.7 cm x 135.3 cm (84 1/2 in. x 53 1/4 in.)", "Disp_Height" : "214.7 cm", "Disp_Width" : "135.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic on unsized canvas", "Support" : "", "Disp_Medium" : "Acrylic on unsized canvas", "Info_Page_Comm" : "Helen Frankenthaler’s canny development of new working methods inspired other mid-century painters who were concerned less with artistic meaning and metaphor than with the formal and visual properties and processes of abstract painting. Morris Louis, a Washington, D.C.–based artist who was introduced to Frankenthaler by critic Clement Greenberg, took her staining process a step further, devising ways of soaking the canvas that involved neither brush nor gesture. By pouring Magna acrylic paint down the surface of a vertically tilted canvas and aggressively manipulating its flow with careful movements, he avoided any personal touch or texture that would divert attention from the purely optical effects and the resulting dynamic striations of color. Greenberg said about the method, “The fabric, being soaked in paint rather than merely covered by it, becomes paint in itself, color in itself.” Louis’s career was short, and he completed few series of paintings, although each was extraordinary in its own lyrical way. Water-Shot is from Stripes, his final series. Using nine hues to form the primary stripes, he achieved a complex chromatic range through overlaps and adjacencies, producing unexpected lushness with an economy of means. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "website (72 dpi, non-downloadable image) and publication approval (see form)", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.257.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.257.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.257.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.257.tif", "IsPrimary" : "1", "_SurrogateID" : "1547", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.257.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.257.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.257.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.257.mp3", "IsPrimary" : "0", "_SurrogateID" : "8509", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14499, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14499", "Disp_Access_No" : "1991.252", "_AccNumSort1" : "", "Disp_Create_DT" : "1924-1925", "_Disp_Start_Dat" : "1924", "_Disp_End_Date" : "1925", "Disp_Title" : "Waitresses from the Sparhawk", "Alt_Title" : "", "Obj_Title" : "Waitresses from the Sparhawk", "Series_Title" : "", "Disp_Maker_1" : "Yasuo Kuniyoshi", "Sort_Artist" : "Kuniyoshi, Yasuo", "Disp_Dimen" : "74.7 cm x 105.5 cm (29 7/16 in. x 41 9/16 in.)", "Disp_Height" : "74.7 cm", "Disp_Width" : "105.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Waitresses from the Sparhawk" is an early work by Yasuo Kuniyoshi, painted just two years after his first solo gallery show in New York. Set in a popular resort in Ogunquit, Maine, where the artist spent his summers for many years, the work presents a seemingly delightful vignette about female friendship—except for that brooding sky and the slightly sinister tone of the surroundings. This odd but intriguing combination of stylized figures, abstracted landscape forms, and narrative references reflects the distinctive synthetic approach taken by Kuniyoshi and many American artists during this period following World War I. Painted in advance of the artist’s first trip to Europe, the work is an amalgam of undigested influences, reflecting his interest in Japanese prints, the modernist landscapes of Paul Cézanne, and American folk art. Characteristically quirky and mysterious, "Waitresses from the Sparhawk" is an important early painting by Kuniyoshi, the first living artist ever to be accorded a career retrospective exhibition at the Whitney Museum of American Art, New York.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "web use only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.252.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.252.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.252.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.252.tif", "IsPrimary" : "1", "_SurrogateID" : "1545", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14504, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14504", "Disp_Access_No" : "1991.248", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Black and White No. 2", "Alt_Title" : "", "Obj_Title" : "Black and White No. 2", "Series_Title" : "", "Disp_Maker_1" : "Franz Kline", "Sort_Artist" : "Kline, Franz", "Disp_Dimen" : "203.9 cm x 155 cm (80 1/4 in. x 61 in.)", "Disp_Height" : "203.9 cm", "Disp_Width" : "155 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "case by case basis", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.248.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.248.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.248.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.248.tif", "IsPrimary" : "1", "_SurrogateID" : "1543", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.248.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.248.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.248.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.248.mp3", "IsPrimary" : "0", "_SurrogateID" : "8506", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14509, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14509", "Disp_Access_No" : "1991.243", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Highball on the Redball Manifest", "Alt_Title" : "", "Obj_Title" : "Highball on the Redball Manifest", "Series_Title" : "", "Disp_Maker_1" : "Robert Indiana", "Sort_Artist" : "Indiana, Robert", "Disp_Dimen" : "152.4 cm x 127 cm (60 in. x 50 in.)", "Disp_Height" : "152.4 cm", "Disp_Width" : "127 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Indiana has characterized the iconic text and numberfilled canvases he produced in the 1960s as paintings of “the American scene.” Indeed, their fonts and formats are reminiscent of quintessentially American subjects such as midcentury roadside signs, pinball machines, or roulette wheels. The large circle emblazoned on this canvas resembles the front of an old-fashioned steam train and contains stenciled letters with arcane locomotive terminology. Although Indiana’s paintings are visually arresting, the phrases he chooses are often more complex and layered than they initially appear. “Highball,” for example, refers to a signal used to start a train, usually given by lights or a hand gesture. It also refers to a cocktail served in a tall glass historically served on trains. Similarly, the number in the center—“25”—suggests the number of the train but may also serve as a nod to his address at the time: 25 Coenties Slip. While words have long been Indiana’s chosen medium, he only began to incorporate bold colors and hard edges into his paintings after a romantic relationship with artist Ellsworth Kelly. The two met in 1956 in New York when Kelly purchased a Matisse postcard that Indiana had displayed in the window of a store where he worked at the time. They subsequently became neighbors in a building on the Coenties Slip in the southeastern edge of lower Manhattan where a community of artists, including Agnes Martin and James Rosenquist, lived. Indiana later explained: "My painting life began with Ellsworth. Before Coenties Slip, I was aesthetically at sea. With Ellsworth, my whole life perspective changed. All of a sudden I was in the twentieth century. . . . I never thought about color until I knew Ellsworth.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approved web site; all other uses must be approved on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.243.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.243.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.243.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.243.tif", "IsPrimary" : "1", "_SurrogateID" : "3353", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.243.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.243.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.243.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.243.mp3", "IsPrimary" : "0", "_SurrogateID" : "8504", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14514, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14514", "Disp_Access_No" : "1991.239", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Elysium", "Alt_Title" : "", "Obj_Title" : "Elysium", "Series_Title" : "", "Disp_Maker_1" : "Hans Hofmann", "Sort_Artist" : "Hofmann, Hans", "Disp_Dimen" : "214 cm x 127.7 cm (84 1/4 in. x 50 1/4 in.)", "Disp_Height" : "214 cm", "Disp_Width" : "127.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "German immigrant Hans Hofmann founded art schools in the mid-1930s in New York and Provincetown, Massachusetts, and quickly became the most influential art teacher of his generation. He provided countless American students with a thorough understanding of the principles of the European avant-garde, and stressed to them the importance of establishing a dynamic equilibrium of image, surface, and composition in abstract painting. Noted for his brilliant understanding of theory and technique, Hofmann was the kind of gifted instructor who encouraged students to branch out in their own independent directions. Among those who studied with him were Louise Nevelson, Alfred Jensen, and Larry Rivers. In his own vibrant works, including three in the Blanton’s collection, Hofmann used a Cubist-like, grid-based pictorial structure to impose order upon the wild expressiveness of his high-keyed, opposing colors and rich, impastoed surfaces. His best paintings, like Elysium, created when he was eighty years old, achieve harmony within intensity, and embody both tension and balance. About the title, Hofmann said to collector James Michener, “It’s where old artists go when they die. It’s very clean and simple—only a nest of squares, but they tell everything.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Approval on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.239.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.239.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.239.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.239.tif", "IsPrimary" : "1", "_SurrogateID" : "1147", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.239.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.239.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.239.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.239.tif", "IsPrimary" : "0", "_SurrogateID" : "1537", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14519, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14519", "Disp_Access_No" : "1991.234", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Al Held", "Sort_Artist" : "Held, Al", "Disp_Dimen" : "230 cm x 183 cm (90 9/16 in. x 72 1/16 in.)", "Disp_Height" : "230 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic resin", "Support" : "linen canvas", "Disp_Medium" : "Acrylic resin on linen canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.234.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234.tif", "IsPrimary" : "0", "_SurrogateID" : "1532", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.234.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234.mp3", "IsPrimary" : "0", "_SurrogateID" : "8501", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.234-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "18074", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14521, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14521", "Disp_Access_No" : "1991.232", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "New Mexico Recollection #12", "Alt_Title" : "", "Obj_Title" : "New Mexico Recollection #12", "Series_Title" : "", "Disp_Maker_1" : "Marsden Hartley", "Sort_Artist" : "Hartley, Marsden", "Disp_Dimen" : "76.6 cm x 101.7 cm (30 3/16 in. x 40 1/16 in.)", "Disp_Height" : "76.6 cm", "Disp_Width" : "101.7 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Works from this series by Marsden Hartley are an exercise in memory. Hartley completed this painting from his Berlin studio, where the American painter produced several remembrances of his time in the jagged, arid New Mexico landscape. In one of his essays on New Mexico, Hartley described the Southwest as “essentially a sculptural country.” In "Recollection #12," Hartley carved the barren topography into undulating waves of deep brown mountains, kicking up rolling gray clouds and woody green sagebrush. The landscape is highly stylized, influenced in part by his exposure to German Expressionism in Berlin in the years following World War I.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.232.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.232.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.232.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.232.tif", "IsPrimary" : "1", "_SurrogateID" : "1531", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.232.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.232.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.232.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.232.mp3", "IsPrimary" : "0", "_SurrogateID" : "8500", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14529, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14529", "Disp_Access_No" : "1991.223", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "The Dialogue of the Edge (Study for Dark Green)", "Alt_Title" : "", "Obj_Title" : "The Dialogue of the Edge (Study for Dark Green)", "Series_Title" : "", "Disp_Maker_1" : "Arshile Gorky", "Sort_Artist" : "Gorky, Arshile", "Disp_Dimen" : "81.5 cm x 104.4 cm (32 1/16 in. x 41 1/8 in.)", "Disp_Height" : "81.5 cm", "Disp_Width" : "104.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Arshile Gorky, a charismatic émigré painter working in New York, helped forge the development of a more sophisticated language of American abstraction. His fluid, spontaneous style anticipated the achievements of the Abstract Expressionists in the late 1940s and 1950s. Exploring Surrealist ideas of automatic writing (drawing not consciously controlled), Gorky developed a singularly energetic line, which he combined with a variety of loose, painterly effects—the liberal use of thin washes of paint, occasional drips countered with heavily impastoed brushwork, and frequent scrubbing and scraping. In this work, one of numerous studies Gorky made for a painting now owned by the Philadelphia Museum of Art, the right zone is dominated by the erotic allusion to an opening into deep space that reveals fragments of human anatomy. On the left, a single pinched form seems to approach the painting’s divide. All the marks float in fields of amorphous color. Gorky likely painted this mysterious and somewhat disturbing work on his in-laws’ farm in Virginia in the summer of 1946, while recovering from both a studio fire that destroyed most of his recent paintings and cancer surgery a month later. During this period of extreme personal trauma, Gorky painted prolifically, creating some of his greatest works. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approved for web site; must approve other uses on a case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.223.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.223.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.223.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.223.tif", "IsPrimary" : "1", "_SurrogateID" : "1528", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14540, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14540", "Disp_Access_No" : "1991.213", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Over the Circle", "Alt_Title" : "", "Obj_Title" : "Over the Circle", "Series_Title" : "", "Disp_Maker_1" : "Helen Frankenthaler", "Sort_Artist" : "Frankenthaler, Helen", "Disp_Dimen" : "213.7 x 221 cm (84 1/8 x 87 in.)", "Disp_Height" : "213.7 cm", "Disp_Width" : "221 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Helen Frankenthaler produced this work on the floor of her Provincetown, Massachusetts, studio, standing and kneeling inside the black-rimmed circle and applying color with rollers, cloths, and palette knives. Using her signature staining technique, the artist overlapped translucent washes of color with gestural punches of pigment on unprimed canvas; diluted oil paint seeps from the edges of the forms as a result. Frankenthaler had begun working with rolls of unprimed canvas directly on the floor years earlier, inspired in part by Jackson Pollock’s action painting approach. “You could become a de Kooning disciple or satellite or mirror,” she said, “but you could depart from Pollock.” This work finds Frankenthaler’s practice at its most reductive, her composition pared down to an amorphous image floating in space, just over the circle.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Approval on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.213.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.213.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.213.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.213.tif", "IsPrimary" : "1", "_SurrogateID" : "13531", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14543", "Disp_Access_No" : "1991.210", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "Dance Marathon", "Alt_Title" : "", "Obj_Title" : "Dance Marathon", "Series_Title" : "", "Disp_Maker_1" : "Philip Evergood", "Sort_Artist" : "Evergood, Philip", "Disp_Dimen" : "152.6 cm x 101.7 cm (60 1/16 in. x 40 1/16 in.)", "Disp_Height" : "152.6 cm", "Disp_Width" : "101.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An activist as well as an artist, Philip Evergood was committed to creating art that exposed social injustice. Dance Marathon depicts a phenomenon that swept the United States during the Great Depression, in which couples competed for a cash prize by dancing for as long as possible. In this complex and luridly colored painting, Evergood combines realistic details, such as the exhausted couples and crude prize announcements, with symbols, like the skeletal hand, that convey his attitude toward the dismal spectacle. Evergood’s work of social critique, while rooted in the Depression, is a powerful reminder of the timelessness of human desperation and cruelty.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.210.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.mp3", "IsPrimary" : "0", "_SurrogateID" : "8641", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.210.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.tif", "IsPrimary" : "1", "_SurrogateID" : "13533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14547, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14547", "Disp_Access_No" : "1991.205", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Lawn and Sky", "Alt_Title" : "", "Obj_Title" : "Lawn and Sky", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "47.3 cm x 57.5 cm (18 5/8 in. x 22 5/8 in.)", "Disp_Height" : "47.3 cm", "Disp_Width" : "57.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis frequently thought of his compositions in relation to jazz, which he considered the musical counterpart to abstract art. This is evident in "Lawn and Sky," in which Davis superimposed several views of his summer retreat in Gloucester, Massachusetts, within a single composition. The work hints at musicality in colorful symbols scattered throughout the picture: a pink squiggle resembles a bass clef, egg-like spheres appear like a two-note chord, and the red infinity symbol, or gruppetto, indicates a sequence of notes that boomerang up and down before returning to their principal note. Artist Robert Henri, who mentored Davis and who is also represented in the Blanton’s collection, encouraged his students to pursue spontaneity in their work. As in jazz, Davis’s decisions regarding the composition of "Lawn and Sky" are both harmonious and spontaneous, generating a visual rhythm.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "web use only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.205.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.205.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.205.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.205.tif", "IsPrimary" : "1", "_SurrogateID" : "6389", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14564, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14564", "Disp_Access_No" : "1991.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Romance", "Alt_Title" : "", "Obj_Title" : "Romance", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "115 cm x 84.5 cm (45 1/4 in. x 33 1/4 in.)", "Disp_Height" : "115 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Egg tempera, gesso, and oil varnish glazes", "Support" : "board", "Disp_Medium" : "Egg tempera, gesso, and oil varnish glazes on board", "Info_Page_Comm" : "A painter and muralist celebrated for his regional scenes of daily life in the southern, midwestern, and western United States, Thomas Hart Benton was committed to portraying images of progress and satisfaction in the American heartland. Born to a family of statesmen, Benton was a patriot who saw his art as a means to generate social and political reform. His nostalgic and uplifting scenes of hard work, self-reliance, and individualism garnered broad popular appeal in post–World War I America. This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.187.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.187.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.187.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.187.mp3", "IsPrimary" : "0", "_SurrogateID" : "6887", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.187.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.187.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.187.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.187.tif", "IsPrimary" : "1", "_SurrogateID" : "1511", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14578, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14578", "Disp_Access_No" : "1991.177", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Plus Reversed", "Alt_Title" : "", "Obj_Title" : "Plus Reversed", "Series_Title" : "", "Disp_Maker_1" : "Richard Joseph Anuszkiewicz", "Sort_Artist" : "Anuszkiewicz, Richard Joseph", "Disp_Dimen" : "189.6 cm x 148 cm (74 5/8 in. x 58 1/4 in.)", "Disp_Height" : "189.6 cm", "Disp_Width" : "148 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like a scientist observing objective data, Richard Anuszkiewicz regards his paintings as experiments, investigations, and studies of color. A student of Josef Albers, the leading professor of color theory in the United States, Anuszkiewicz has developed a compelling painting style that gives visual form to scientific principles. Plus Reversed is a key example of what has been called Optical art or Op art in the United States—a painting whose color and pattern conjunctions cause involuntary perceptual effects in its viewer. Here the artist paired the complementary colors of red and green in repetitive patterns of plus-shaped signs, reminiscent of the voltage symbols on a battery. The juxtaposition of colors intensifies their vividness and induces a flickering retinal effect. The patterning creates a further reverberation of its own by changing colors as it expands outward, suggesting movement. Plus Reversed is one of Anuszkiewicz’s most accomplished early works; shown in important exhibitions, it received wide critical review in the 1960s. It is also the first painting the artist ever sold: according to collector James Michener, who saw it displayed in a gallery window on Madison Avenue in New York, “It quite knocked me over and I bought it on the spot.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "web use only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.tif", "IsPrimary" : "1", "_SurrogateID" : "1508", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.177.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.mp3", "IsPrimary" : "0", "_SurrogateID" : "8477", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14711, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14711", "Disp_Access_No" : "1986.333", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Physichromie No. 394 [Physichromy No. 394]", "Alt_Title" : "", "Obj_Title" : "Physichromie No. 394", "Series_Title" : "", "Disp_Maker_1" : "Carlos Cruz-Diez", "Sort_Artist" : "Cruz-Diez, Carlos", "Disp_Dimen" : "121.3 cm x 62.2 cm x 6.3 cm (47 3/4 in. x 24 1/2 in. x 2 1/2 in.)", "Disp_Height" : "121.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "HLW", "Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Support" : "", "Disp_Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Info_Page_Comm" : "Carlos Cruz-Diez began his "Physichromie" series in 1959 and continues it today. Its title is a combination of the words “physical” and “chromatic,” a reflection of Cruz-Diez’s lifelong ambition to create situations in which viewers could experience color not only visually, but also physically. According to the artist, “color is constantly in the making . . . it happens in time.” "Physichromie No. 394" is composed of parallel columns of plastic strips, whose colors are reflected and refracted through other translucent plastic strips, thereby generating colors and forms that change depending on the perspective of the moving viewer.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Irene Shapiro, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.333.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.333.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.333.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.333.tif", "IsPrimary" : "1", "_SurrogateID" : "1346", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14719, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14719", "Disp_Access_No" : "1986.309", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1970", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1975", "Disp_Title" : "Espacio horizontal limitado [Limited Horizontal Space]", "Alt_Title" : "Limited Horizontal Space", "Obj_Title" : "Espacio horizontal limitado [Limited Horizontal Space]", "Series_Title" : "", "Disp_Maker_1" : "Carlos Rojas", "Sort_Artist" : "Rojas, Carlos", "Disp_Dimen" : "126.3 cm x 126.2 cm (49 3/4 in. x 49 11/16 in.)", "Disp_Height" : "126.3 cm", "Disp_Width" : "126.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Carlos Rojas emerged in the mid-1960s and soon established himself as one of the leading contemporary abstract artists in Colombia. This painting is part of his series "Ingeniería de la visión [Engineering of Vision]." Inspired by urban architecture, Rojas undertook a rational exploration of the square with the utmost economy of means. Here his visual vocabulary is limited to narrow stripes in black and white, composed of dashed and solid lines, which run parallel and turn at right angles on a black field. With a few lines Rojas implies a complex geometric configuration.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.309.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.309.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.309.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.309.tif", "IsPrimary" : "1", "_SurrogateID" : "6428", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14720", "Disp_Access_No" : "1986.304", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Hidroluz [Hydrolight]", "Alt_Title" : "Hydrolight", "Obj_Title" : "Hidroluz [Hydrolight]", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "120.7 cm x 51.1 cm x 24.8 cm (47 1/2 in. x 20 1/8 in. x 9 3/4 in.)", "Disp_Height" : "120.7 cm", "Disp_Width" : "51.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Plexiglas, light, motor, and water in a wooden case", "Support" : "", "Disp_Medium" : "Plexiglas, light, motor, and water in a wooden case", "Info_Page_Comm" : "Science, or more specifically science fiction, has been at the heart of Gyula Kosice’s work since he co-founded the avant-garde Madí movement in Buenos Aires in 1946. At that time he was a pioneer in introducing movement into sculpture and letting the viewer manipulate the work. By the 1960s he was experimenting with modern materials like Plexiglas, neon, and electrical motors. His utopian belief in the ability of science to create new and better worlds led in the early 1970s to his project for the Hydrospatial City, an imaginary environment suspended in space where artworks are no longer necessary because the aesthetic experience has been dissolved into everyday life. Hidroluz with its modern materials is typical of the work he was making as he developed his plans for the City. The jet of water against the Plexiglas sphere creates an infinite variety of forms and a dematerialized sculptural experience. While many of Kosice’s avant-garde colleagues of the 1940s abandoned art altogether or turned to more conventional work, Kosice continued to believe in the transformative power of art and the need to create new utopian models for living. As much as a wall relief, Hidroluz can be considered a fragment of a new living environment.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.304.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.304.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.304.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.304.tif", "IsPrimary" : "1", "_SurrogateID" : "1345", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14724, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14724", "Disp_Access_No" : "1986.290", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Tres sectores circulares [Three Circular Sectors]", "Alt_Title" : "Three Circular Sectors", "Obj_Title" : "Tres sectores circulares [Three Circular Sectors]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "30.5 cm x 40.1 cm x 12.8 cm (12 in. x 15 13/16 in. x 5 1/16 in.)", "Disp_Height" : "30.5 cm", "Disp_Width" : "40.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted metal", "Support" : "", "Disp_Medium" : "Painted metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Carol Straus, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.290.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.290.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.290.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.290.tif", "IsPrimary" : "1", "_SurrogateID" : "1343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14807, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14807", "Disp_Access_No" : "1986.175", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1957", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1962", "Disp_Title" : "Le Modèle II", "Alt_Title" : "Le Modèle", "Obj_Title" : "Le Modèle II", "Series_Title" : "", "Disp_Maker_1" : "Tamara De Lempicka", "Sort_Artist" : "De Lempicka, Tamara", "Disp_Dimen" : "76.2 cm x 46.9 cm (30 in. x 18 7/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "46.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Kizette de Lempicka Foxhall, 1986", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Polish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.175.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.175.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.175.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.175.tif", "IsPrimary" : "0", "_SurrogateID" : "3450", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.175-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.175-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.175-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.175-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18063", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14838, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14838", "Disp_Access_No" : "1985.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Pantheon II", "Alt_Title" : "", "Obj_Title" : "Pantheon II", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "205.8 cm x 148 cm (81 in. x 58 1/4 in.)", "Disp_Height" : "205.8 cm", "Disp_Width" : "148 cm", "Dimen_Extent" : "Outer dimension", "Medium" : "Acrylic on canvas and polyurethane enamel on aluminum", "Support" : "", "Disp_Medium" : "Acrylic on canvas and polyurethane enamel on aluminum", "Info_Page_Comm" : "In the late 1960s Sam Gilliam helped liberate painting from its traditionally constricted presentation by loosely draping stained canvases on the wall. During the following decade, when abstract painting was still equated with the modernist dogma “less is more”, the artist employed increasingly complex and geometric internal structures in his studio works and his large-scale public commissions. The profuseness of visual elements, which has led critics to call Gilliam’s art “baroque”, imparts a dazzling and almost theatrical quality to the works and seems to reflect the dynamism of modern life. Yet the rich and energetic aspects of Gilliam’s work are typically counterbalanced by a sense of coherence and harmony. In fact, Gilliam’s art can best be described as seeming spontaneous and eccentric, while being predetermined and rigorous. Pantheon II is one of a series of multiple-plane collages referring to the Greek word “pantheon”, a place inhabited by gods. The rhythms of shapes, colors and textures in the series echo the harmonies, dissonances and counterpoints of musical composition. Gilliam’s works have always possessed an extraordinary awareness of and power over the contexts in which they are seen; their intense coloration of clashing and complementary hues electrifies the surrounding space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.35.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.35.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.35.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.35.tif", "IsPrimary" : "1", "_SurrogateID" : "3387", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14887", "Disp_Access_No" : "1984.8", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1945", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1950", "Disp_Title" : "Acrobats", "Alt_Title" : "", "Obj_Title" : "Acrobats", "Series_Title" : "", "Disp_Maker_1" : "Mary Callery", "Sort_Artist" : "Callery, Mary", "Disp_Dimen" : "104.5 cm x 168.8 cm (41 1/8 in. x 66 7/16 in.)", "Disp_Height" : "104.5 cm", "Disp_Width" : "168.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Bronze with patina", "Support" : "", "Disp_Medium" : "Bronze with patina", "Info_Page_Comm" : "Mary Callery’s playful sculpture depicts two acrobats, one balanced atop the other. The elongated limbs and continuous forms of the two figures suggest their graceful, flowing movements and create a sense of airiness within the sculpture. Callery’s experimentation with the positive and negative spaces of sculpture reflects her close knowledge of modern art, gained firsthand through her friendship with and collecting of work by Pablo Picasso, Fernand Léger, and others during the decade Callery spent in Paris before returning to New York in 1940. Although better known today as a collector than as an artist, Callery exhibited her sculpture widely from the 1940s through the 1960s, executed public commissions at venues such as the Metropolitan Opera at Lincoln Center, and was a member of the summer faculty at the celebrated, experimental Black Mountain College in North Carolina.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Hester Diamond, 1984", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.8.tif", "IsPrimary" : "1", "_SurrogateID" : "6432", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14928, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14928", "Disp_Access_No" : "1984.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Oil Field Girls", "Alt_Title" : "", "Obj_Title" : "Oil Field Girls", "Series_Title" : "", "Disp_Maker_1" : "Jerry Bywaters", "Sort_Artist" : "Bywaters, Jerry", "Disp_Dimen" : "75.3 cm x 62.2 cm (29 5/8 in. x 24 1/2 in.)", "Disp_Height" : "75.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "board", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Though Jerry Bywaters enjoyed a long and multifaceted career as an artist, writer, critic, teacher, arts administrator, and museum director, he is best remembered today for his participation in the Dallas Nine, an enterprising group of young painters active in the 1930s who helped establish a regional artistic identity for Texas art. Like "Oil Field Girls," Bywaters’s most popular work, their paintings portray local conditions in expressive detail even as they acknowledge a wide range of sophisticated painterly influences gained from the artists’ studies in New York, Mexico City, and Europe. In "Oil Field Girls," Bywaters used a somber palette to describe the bleak and thinly populated west Texas landscape. With its economically depressed vistas, the town (if it can be called that) is clearly godforsaken. By contrast, the women poised to hitch a ride out of those sad environs are vivid and forceful; although they are most likely working as prostitutes, Bywaters made no apparent judgment of them, instead vesting them with a vitality, even ambition, that offers the picture’s only hope. A canny mixture of reportage and editorial commentary, "Oil Field Girls" is a history painting that captures a surprisingly humane narrative of a specific time and place.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1984", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.1.tif", "IsPrimary" : "1", "_SurrogateID" : "1288", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14951", "Disp_Access_No" : "1983.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1971-1975", "_Disp_Start_Dat" : "1971", "_Disp_End_Date" : "1975", "Disp_Title" : "Graneros III [Graneries III]", "Alt_Title" : "Granaries III", "Obj_Title" : "Graneros III [Graineries III]", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Fonseca", "Sort_Artist" : "Fonseca, Gonzalo", "Disp_Dimen" : "20.3 cm x 54 cm x 50.1 cm (8 in. x 21 1/4 in. x 19 3/4 in.)", "Disp_Height" : "20.3 cm", "Disp_Width" : "54 cm", "Dimen_Extent" : "Base", "Medium" : "Red travertine", "Support" : "", "Disp_Medium" : "Red travertine", "Info_Page_Comm" : "Gonzalo Fonseca’s fascination with history led him to spend time traveling through Latin America, the Middle East, and Europe to see the excavated remains of ancient cities. "Graneros III" suggests the experience of the modern visitor confronting such archaeological sites. The unexplainable architectural features may be puzzling, but their mystery captures our imagination. Fonseca enhances the need to engage directly with the piece by providing movable objects that can be placed in different areas of the work—if one only had access and permission from the curator. Alas, the piece must remain a tempting yet remote enigma.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_side.tif", "IsPrimary" : "0", "_SurrogateID" : "1117", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14.tif", "IsPrimary" : "0", "_SurrogateID" : "1275", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_corner.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_corner.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_corner.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_corner.tif", "IsPrimary" : "1", "_SurrogateID" : "1276", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15017, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15017", "Disp_Access_No" : "1982.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Alt_Title" : "Llama Series No. 2, Diptych", "Obj_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "245 cm x 243.8 cm x 8.9 cm (96 7/16 in. x 96 in. x 3 1/2 in.)", "Disp_Height" : "245 cm", "Disp_Width" : "243.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Support" : "", "Disp_Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Info_Page_Comm" : "Miguel Angel Ríos’s works reference landscapes and cultural traditions of his homeland in rural Catamarca via formal motifs of late Modernism. While living in New York City, Ríos created a monochromatic grid from highly abstracted images of the llama, an animal essential to the Andean way of life. Catamarca once formed the southernmost reach of the Inca empire, and Ríos’s llamas may evoke ancient pictograms or the patterning of local textiles made from the animal’s wool. Within the Post-Minimalist grid, the llamas also suggest a negotiation of Ríos’s identity between cultures and an implicit critique of the Eurocentric biases underlying artistic Modernism. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.188.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.188.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.188.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.188.tif", "IsPrimary" : "1", "_SurrogateID" : "13146", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15020, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15020", "Disp_Access_No" : "1982.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Trilce II", "Alt_Title" : "", "Obj_Title" : "Trilce II", "Series_Title" : "", "Disp_Maker_1" : "César Paternosto", "Sort_Artist" : "Paternosto, César", "Disp_Dimen" : "166.3 cm x 166.3 cm x 10.5 cm (65 1/2 in. x 65 1/2 in. x 4 1/8 in.)", "Disp_Height" : "166.3 cm", "Disp_Width" : "166.3 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "César Paternosto began his career as a hard-edge geometric artist, but in the late 1970s he set out to research ancient American sources of geometrical abstraction. Traveling throughout the Andean region of northern Argentina, Peru, and Bolivia, he studied and acquired scholarly expertise about traditional textiles and Inca stonework, finding in them a source of artistic inspiration. This painting, titled in homage to Peruvian César Vallejo’s 1922 book of poetry "Trilce," exemplifies Paternosto’s artworks after his Andean travels. The four parallel lines, stacked symmetrically in the center, reference the symbolism of numbers within Andean culture, while the earthy monochrome evokes the texture of stone or sand.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1231", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15034", "Disp_Access_No" : "1982.1253", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Annual Anatomy Study #2", "Alt_Title" : "", "Obj_Title" : "Annual Anatomy Study #2", "Series_Title" : "", "Disp_Maker_1" : "Arnold Belkin", "Sort_Artist" : "Belkin, Arnold", "Disp_Dimen" : "102.2 cm x 76.4 cm (40 1/4 in. x 30 1/16 in.)", "Disp_Height" : "102.2 cm", "Disp_Width" : "76.4 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Robert and Carol Straus, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1253.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1253.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1253.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1253.tif", "IsPrimary" : "1", "_SurrogateID" : "3219", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15038, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15038", "Disp_Access_No" : "1982.1130", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "La cañada [The Glen]", "Alt_Title" : "The Glen", "Obj_Title" : "La cañada [The Glen]", "Series_Title" : "", "Disp_Maker_1" : "Alice Rahon", "Sort_Artist" : "Rahon, Alice", "Disp_Dimen" : "25.2 cm x 36.8 cm (9 15/16 in. x 14 1/2 in.)", "Disp_Height" : "25.2 cm", "Disp_Width" : "36.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "French poet Alice Rahon traveled to Mexico in 1939 and decided to stay when war broke out in Europe, joining a group of fellow expatriates interested in Surrealism. She began painting in the 1940s. In this almost abstract work, she borrows the condensed style and technique of ancient petroglyphs. She lightly scratches the surface with patterns that suggest a nocturnal landscape of trees, flowers, hills, and distant buildings. Their iridescent colors shine like gems in the dark green air of the night. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1966; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1130.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1130.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1130.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1130.tif", "IsPrimary" : "1", "_SurrogateID" : "3208", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15039", "Disp_Access_No" : "1982.1129", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Luciérnagas [Fireflies]", "Alt_Title" : "", "Obj_Title" : "Luciérnagas [Fireflies]", "Series_Title" : "", "Disp_Maker_1" : "Alice Rahon", "Sort_Artist" : "Rahon, Alice", "Disp_Dimen" : "35.2 cm x 98.6 cm (13 7/8 in. x 38 13/16 in.)", "Disp_Height" : "35.2 cm", "Disp_Width" : "98.6 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil and sand", "Support" : "canvas", "Disp_Medium" : "Oil and sand on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1977; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1129.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1129.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1129.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1129.tif", "IsPrimary" : "1", "_SurrogateID" : "3207", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15057", "Disp_Access_No" : "1981.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Variations on a Rhythm-G", "Alt_Title" : "", "Obj_Title" : "Variations on a Rhythm-G", "Series_Title" : "", "Disp_Maker_1" : "Raymond Jonson", "Sort_Artist" : "Jonson, Raymond", "Disp_Dimen" : "96.8 cm x 83.8 cm (38 1/8 in. x 33 in.)", "Disp_Height" : "96.8 cm", "Disp_Width" : "83.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An undulating yellow arc forms the reflection of a letter G. Shapes and lines echo each other throughout the composition, repeating the letter and mirroring elements of its form, such as the ball and pedestal, in both foreground and background. He often deconstructed the lines and patterns in an analytical yet playful fashion, as he has done with the Variations of a Rhythm series from 1931", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Thomas Gilcrease Foundation, 1948", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.54.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.54.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.54.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.54.tif", "IsPrimary" : "1", "_SurrogateID" : "1196", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.54_backing.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.54_backing.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.54_backing.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.54_backing.tif", "IsPrimary" : "0", "_SurrogateID" : "5971", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15059, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15059", "Disp_Access_No" : "1981.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Constructif en rouge et ocre [Construction in Red and Ochre]", "Alt_Title" : "Construction in Red and Ochre", "Obj_Title" : "Constructif en rouge et ocre [Construction in Red and Ochre]", "Series_Title" : "", "Disp_Maker_1" : "Joaquín Torres-García", "Sort_Artist" : "Torres-García, Joaquín", "Disp_Dimen" : "86.5 cm x 58.9 cm (34 1/16 in. x 23 3/16 in.)", "Disp_Height" : "86.5 cm", "Disp_Width" : "58.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "Joaquín Torres-García characteristically organized his works using an underlying grid containing universal archetypes. The figure, temple, heart, clock, hammer, bottle, and vessel with its anchor symbolize different aspects of human existence, ranging from the natural, emotional, intellectual, and spiritual. "Constructif en rouge et ocre" also demonstrates Torres-García’s understanding of abstraction as a process of simplification, accomplished in part through the use of a limited palette. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of the Eugene McDermott Foundation in honor of Barbara Duncan, 1981", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14375", "Rel_Obj_Title" : "Sueño de las alturas [Dream of the Heights]" },{ "Rel_Obj_ID" : "9573", "Rel_Obj_Title" : "Untitled" },{ "Rel_Obj_ID" : "5092", "Rel_Obj_Title" : "Composición [Composition]" },{ "Rel_Obj_ID" : "9989", "Rel_Obj_Title" : "Untitled" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.40.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.40.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.40.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.40.tif", "IsPrimary" : "1", "_SurrogateID" : "1194", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15067, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15067", "Disp_Access_No" : "1980.76", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Cuauhtémoc", "Alt_Title" : "", "Obj_Title" : "Cuauhtémoc", "Series_Title" : "", "Disp_Maker_1" : "David Alfaro Siqueiros", "Sort_Artist" : "Siqueiros, David Alfaro", "Disp_Dimen" : "50.75 cm x 58.6 cm (20 in. x 23 1/16 in.)", "Disp_Height" : "50.75 cm", "Disp_Width" : "58.6 cm", "Dimen_Extent" : "Frame", "Medium" : "Pyroxylin", "Support" : "masonite", "Disp_Medium" : "Pyroxylin on masonite", "Info_Page_Comm" : "The tradition of narrative history painting experienced a renaissance during the 1920s following the Mexican Revolution. Here David Alfaro Siqueiros set his scene in 1521, when, during the conquest of the Aztec Empire, Hernán Cortés tortured the emperor Cuauhtémoc by burning his feet. Cuauhtémoc’s refusal to reveal the location of hidden Aztec wealth embodies indigenous resistance to colonization. The revolutionary Siqueiros treats the subject dramatically by using radical foreshortening, with fire in the foreground and the figure receding in space. Instead of oil paint he favored Pyroxylin, an industrial material utilized for painting cars. The combination of Mexican history, contemporary politics, and artistic experimentation makes this a characteristic work by Siqueiros. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1980", "Copyright_Type" : "Approval on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1980.76.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1980.76.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1980.76.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1980.76.tif", "IsPrimary" : "1", "_SurrogateID" : "1191", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1980.76-date_of_view2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1980.76-date_of_view2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1980.76-date_of_view2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1980.76-date_of_view2.tif", "IsPrimary" : "0", "_SurrogateID" : "8637", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15084, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15084", "Disp_Access_No" : "1980.110", "_AccNumSort1" : "", "Disp_Create_DT" : "1950", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1950", "Disp_Title" : "El tronco luminoso [The Luminous Tree Trunk]", "Alt_Title" : "", "Obj_Title" : "El tronco luminoso [The Luminous Tree Trunk]", "Series_Title" : "", "Disp_Maker_1" : "Guillermo Meza Alvarez", "Sort_Artist" : "Meza Alvarez, Guillermo", "Disp_Dimen" : "71.1 cm x 91.4 cm (28 in. x 36 in.)", "Disp_Height" : "71.1 cm", "Disp_Width" : "91.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1980", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1980.110.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1980.110.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1980.110.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1980.110.tif", "IsPrimary" : "1", "_SurrogateID" : "3143", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15089, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15089", "Disp_Access_No" : "1979.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1968-1969", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1969", "Disp_Title" : "Fave", "Alt_Title" : "", "Obj_Title" : "Fave", "Series_Title" : "", "Disp_Maker_1" : "Brice Marden", "Sort_Artist" : "Marden, Brice", "Disp_Dimen" : "183.5 cm x 167.7 cm (72 1/4 in. x 66 in.)", "Disp_Height" : "183.5 cm", "Disp_Width" : "167.7 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and beeswax", "Support" : "canvas", "Disp_Medium" : "Oil and beeswax on canvas", "Info_Page_Comm" : "Brice Marden named this diptych "Fave" because it was the artist’s favorite of the time. While it may appear reductive at first glance, Marden considers his paintings to be subjective, contemplative objects whose truths are disclosed slowly over time. “I believe these are highly emotional paintings not to be admired for any technical or intellectual reason, but to be felt,” Marden once proclaimed. UT Austin art historian Richard Shiff argues that the tension between stillness and movement in "Fave" stems from Marden’s careful observations of the Hudson River in New York, where the artist lives and works. "Fave" calls to mind the color shifts of water as it reflects atmospheric changes. Marden once described the sky above the sea as “blue, gray, yellow, sulphur, turquoise, yellow, blue,” indicating his ability to see multiple layers of color at once.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1979", "Copyright_Type" : "approved web site; must get approval for any other uses on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.30.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.30.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.30.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.30.tif", "IsPrimary" : "1", "_SurrogateID" : "1179", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15096", "Disp_Access_No" : "1979.25", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Mary Corse", "Sort_Artist" : "Corse, Mary", "Disp_Dimen" : "275 cm x 276 cm (108 1/4 in. x 108 11/16 in.)", "Disp_Height" : "275 cm", "Disp_Width" : "276 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic with glass microspheres", "Support" : "canvas", "Disp_Medium" : "Acrylic with glass microspheres on canvas", "Info_Page_Comm" : "Mary Corse intends for her monochromatic paintings to be immersive experiences. In 1968 the artist began a series of large-scale, white grid paintings, mixing acrylic paint with glass microspheres—a material used to give road signs and dividing lines their reflective look—to transform the flat canvas into a luminescent plane. The result encourages movement around the work’s surface, inviting us to engage with its projected light from a variety of angles and distances. Indeed, viewers must encounter it experientially, as it cannot accurately be captured in photographs. As Corse explained in an interview, “When I first started putting glass microspheres in paint, I was really putting the light inside the painting. I didn’t want to paint a picture of the experience of light—I wanted the painting to be the light experience itself.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1979", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.25.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.25.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.25.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.25.tif", "IsPrimary" : "1", "_SurrogateID" : "14287", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.25_detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.25_detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.25_detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.25_detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "15806", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.25_detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.25_detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.25_detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.25_detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15807", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.25_detail-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.25_detail-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.25_detail-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.25_detail-3.tif", "IsPrimary" : "0", "_SurrogateID" : "15808", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15102, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15102", "Disp_Access_No" : "1979.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Yellow Dawn", "Alt_Title" : "", "Obj_Title" : "Yellow Dawn", "Series_Title" : "", "Disp_Maker_1" : "Gloria Klein", "Sort_Artist" : "Klein, Gloria", "Disp_Dimen" : "157.5 x 152.4 cm (62 x 60 in.)", "Disp_Height" : "157.5 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Buffie Johnson, 1979", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1979.21.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.21.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.21.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1979.21.TIF", "IsPrimary" : "1", "_SurrogateID" : "9560", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15119, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15119", "Disp_Access_No" : "1978.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Andamento [Walking]", "Alt_Title" : "", "Obj_Title" : "Andamento [Walking]", "Series_Title" : "", "Disp_Maker_1" : "Iberê Camargo", "Sort_Artist" : "Camargo, Iberê", "Disp_Dimen" : "130 cm x 184 cm (51 3/16 in. x 72 7/16 in.)", "Disp_Height" : "130 cm", "Disp_Width" : "184 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1978", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1978.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1978.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1978.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1978.1.tif", "IsPrimary" : "1", "_SurrogateID" : "1167", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15139, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15139", "Disp_Access_No" : "1977.25", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Ambiguas vecindades [Ambiguous Neighborhoods]", "Alt_Title" : "Ambiguous Neighborhoods", "Obj_Title" : "Ambiguas vecindades [Ambiguous Neighborhoods]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Ocampo", "Sort_Artist" : "Ocampo, Miguel", "Disp_Dimen" : "127 cm x 152.5 cm (50 in. x 60 1/16 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "152.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of St. Joe Minerals Corporation, 1977", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1977.25.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1977.25.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1977.25.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1977.25.tif", "IsPrimary" : "1", "_SurrogateID" : "8867", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16616, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16616", "Disp_Access_No" : "2002.2838", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "# 56", "Alt_Title" : "", "Obj_Title" : "# 56", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "192.3 cm x 151.9 cm (75 11/16 in. x 59 13/16 in.)", "Disp_Height" : "192.3 cm", "Disp_Width" : "151.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. Inspired in part by his instructor Almir Mavignier, Colmer sought to convey a sense of instability and fluctuation in his paintings. #54 and #56 are among the last works on canvas the artist produced before committing to a life as a filmmaker (and eventually a photographer). Colmer first began to experiment with film in 1971, while he was in residence at the University of Iowa’s Intermedia Program. There he learned that in film he could capture what had so far eluded him in painting: real (as opposed to virtual) movement. As Colmer stated in a 1975 interview, “There’s no way of arriving at real movement with painting. With film and video you automatically have that. So for a kinetic painter to go to film seems to be a natural transition.” Colmer’s paintings of the 1970s share a great deal with his films of the same period. Most importantly, both impart to color what one writer described as “an almost liquid quality.” This is especially true of #54 and #56. Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2838.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2838.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2838.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2838.tif", "IsPrimary" : "1", "_SurrogateID" : "2012", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16615, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16615", "Disp_Access_No" : "2002.2837", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "# 54", "Alt_Title" : "", "Obj_Title" : "# 54", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "193.4 cm x 152.6 cm (76 1/8 in. x 60 1/16 in.)", "Disp_Height" : "193.4 cm", "Disp_Width" : "152.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. Inspired in part by his instructor Almir Mavignier, Colmer sought to convey a sense of instability and fluctuation in his paintings. #54 and #56 are among the last works on canvas the artist produced before committing to a life as a filmmaker (and eventually a photographer). Colmer first began to experiment with film in 1971, while he was in residence at the University of Iowa’s Intermedia Program. There he learned that in film he could capture what had so far eluded him in painting: real (as opposed to virtual) movement. As Colmer stated in a 1975 interview, “There’s no way of arriving at real movement with painting. With film and video you automatically have that. So for a kinetic painter to go to film seems to be a natural transition.” Colmer’s paintings of the 1970s share a great deal with his films of the same period. Most importantly, both impart to color what one writer described as “an almost liquid quality.” This is especially true of #54 and #56. Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2837.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2837.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2837.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2837.tif", "IsPrimary" : "1", "_SurrogateID" : "2011", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16832, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16832", "Disp_Access_No" : "2003.74", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1938", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1943", "Disp_Title" : "Composición", "Alt_Title" : "", "Obj_Title" : "Composición", "Series_Title" : "", "Disp_Maker_1" : "Esteban Lisa", "Sort_Artist" : "Lisa, Esteban", "Disp_Dimen" : "26.4 cm x 19.7 cm (10 3/8 in. x 7 3/4 in.)", "Disp_Height" : "26.4 cm", "Disp_Width" : "19.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Oil", "Support" : "cardboard", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "Esteban Lisa was a pioneer of abstraction in Argentina, although he chose not to exhibit or sell his art. He believed art making was a spiritual, ethical, and philosophical endeavor and considered art and science to be intimately related. He found in abstraction a means to communicate a subjective vision of the cosmos. In the early 1940s, Lisa played with dynamic contrasts of geometric and organic forms, solid and patterned areas, as well as light and dark tones. His muted color palette evokes the hues of the natural world. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Fundación Esteban Lisa in honor of Dr. Gabriel Pérez-Barreiro, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.74_recto.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.74_recto.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.74_recto.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.74_recto.tif", "IsPrimary" : "1", "_SurrogateID" : "1127", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.74_verso.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.74_verso.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.74_verso.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.74_verso.tif", "IsPrimary" : "0", "_SurrogateID" : "2138", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16910", "Disp_Access_No" : "2003.107", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Alt_Title" : "", "Obj_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Series_Title" : "", "Disp_Maker_1" : "Víctor Grippo", "Sort_Artist" : "Grippo, Víctor", "Disp_Dimen" : "44.1 cm x 34.3 cm x 11.6 cm (17 3/8 in. x 13 1/2 in. x 4 9/16 in.)", "Disp_Height" : "44.1 cm", "Disp_Width" : "34.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Glazed wooden box, plaster and paint ", "Support" : "", "Disp_Medium" : "Glazed wooden box, plaster and paint ", "Info_Page_Comm" : "In the 1980’s, Victor Grippo created a series of stage set-like sculptures called “Balance” that featured small scenes illustrating physical acts of cause and effect. He followed it with a complementary series called “Imbalance” that includes “Esfera.” On the left side a red ball rests on a shelf next to a shattered white crucible. An unbroken crucible rests next to the shards, painted above it is red and black circle. Grippo’s puzzling tableau contrasts real objects with their two-dimensional images and unsettles scientific rules that connect cause with its possible effects. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.107.tif", "IsPrimary" : "1", "_SurrogateID" : "2104", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17064, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17064", "Disp_Access_No" : "2003.154.1/19-19/19", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Two in One", "Alt_Title" : "", "Obj_Title" : "Two in One", "Series_Title" : "", "Disp_Maker_1" : "George Sugarman", "Sort_Artist" : "Sugarman, George", "Disp_Dimen" : "247.6 cm x 726.4 cm x 340.4 cm (97 1/2 in. x 286 in. x 134 in.)", "Disp_Height" : "247.6 cm", "Disp_Width" : "726.4 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Polychromed wood installation of nineteen elements", "Support" : "", "Disp_Medium" : "Polychromed wood installation of nineteen elements", "Info_Page_Comm" : "George Sugarman came to art making relatively late in his life, but he was a real “artist’s artist”—someone whose commitment and talent were highly respected by his peers. A disciplined and inventive artist, he found some measure of critical and popular success, but he is best remembered by those who observed his tenacious working process and admired his idiosyncratic innovations. A pioneer of modern sculpture, Sugarman moved sculpture off the pedestal and across the floor sooner than most. He was committed to color as an indispensable aspect of sculpture, experimenting with unusual and vivid hues that reinforced the mass and weight of his muscular forms. Like Stuart Davis, who was one of his inspirations, Sugarman was a student of jazz and sought lively visual corollaries to its atonal structure and syncopated rhythms. Davis’s painterly concept of simultaneity encouraged Sugarman to experiment with multiple and interchangeable sculptural forms. Two in One is among Sugarman’s masterpieces. Looking like elements of an abstract painting that have spilled off the wall, nineteen joyfully painted, eccentric organic and geometric forms sprawl across the floor with palpable energy and determination, claiming the ground plane as an arena for raucous visual activity. 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"fiberglass", "Disp_Medium" : "Epoxy resin on fiberglass", "Info_Page_Comm" : "<SPAN>Shortly after moving to New York City in 1960, Eleanore Mikus debuted her characteristic tablet paintings, so called for the tablet’s connotations of recordkeeping and history. While tapping into trends that were pervasive at the time—a monochrome palette, the grid, unconventional materials—Mikus managed to achieve a unique tactility in her work. As artist Luis Camnitzer recalled, her nuanced paintings were “the perfect antidote to the times, an oasis in the desert.” <BR/>The tablets are the products of repetition and chance. To make them, Mikus laid irregular pieces of fiberglass on her studio floor, “the more uneven, the better.” Mikus composed her tablets blindly, bracing each block facedown and gluing it to the next, “all the time thinking how the front would look without actually seeing it.” In <SPAN STYLE="font-style:italic">Tablet 164</SPAN>, the foundation dips and pleats beneath layers of epoxy resin. These protrusions bear the impression of the artist’s hand, giving the work a corporeal quality. Shadows pool around peaks and valleys on the surface, simultaneously evoking a Minimalist grid and topographical model. </SPAN>", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Gabrielle Burns, courtesy the Artist and Mitchell Algus Gallery, 2004", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.107-2017-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.107-2017-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.107-2017-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.107-2017-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "15055", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.107-2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.107-2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.107-2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.107-2017.tif", "IsPrimary" : "0", "_SurrogateID" : "15057", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17177, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17177", "Disp_Access_No" : "2004.129.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Pintura abstracta: Rust, Gold, Black", "Alt_Title" : "", "Obj_Title" : "Pintura abstracta: Rust, Gold, Black", "Series_Title" : "", "Disp_Maker_1" : "César Paternosto", "Sort_Artist" : "Paternosto, César", "Disp_Dimen" : "107.9 cm x 106.7 cm (42 1/2 in. x 42 in.)", "Disp_Height" : "107.9 cm", "Disp_Width" : "106.7 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "In 1970, soon after moving to New York from Buenos Aires, César Paternosto began a series of paintings in which he explored, literally, the limits of the painted surface by leaving the front of the canvas white and painting forms on the edge of the stretcher. These works were a synthesis of earlier Argentine explorations into the sculptural possibilities of painting (by the Madí group in the 1940s) and more recent American developments in Minimalism. By 1974 he was making multipart paintings, such as Pintura abstracta, in which the white wall between the panels further complicates the physical and sculptural presence of the work. To look at this work, the viewer has to physically move around it, reconstructing a composition that cannot be seen from a single viewpoint. Although responding to Minimalism, Paternosto was also making a claim for the continued relevance of painting by rejecting the industrial materials favored by his American peers. Pintura abstracta was one of Paternosto’s last paintings in this stark style; when a 1977 trip to Peru and Bolivia opened his eyes to a more ancient tradition of abstract art in Inca stonework and textiles, he embarked on a long and fruitful investigation into the pre-Columbian sources of abstraction.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Cecilia Buzio de Torres, 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3.tif", "IsPrimary" : "0", "_SurrogateID" : "2179", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3_detail_Info.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3_detail_Info.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3_detail_Info.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3_detail_Info.tif", "IsPrimary" : "0", "_SurrogateID" : "2180", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3_detail_left.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3_detail_left.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3_detail_left.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3_detail_left.tif", "IsPrimary" : "0", "_SurrogateID" : "2181", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3 _detail_right.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3 _detail_right.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3 _detail_right.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3 _detail_right.tif", "IsPrimary" : "1", "_SurrogateID" : "2182", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17243, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17243", "Disp_Access_No" : "2004.159", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Reo Reo", "Alt_Title" : "", "Obj_Title" : "Reo Reo", "Series_Title" : "", "Disp_Maker_1" : "Edwin Ruda", "Sort_Artist" : "Ruda, Edwin", "Disp_Dimen" : "91.4 cm x 609.6 cm (36 in. x 240 in.)", "Disp_Height" : "91.4 cm", "Disp_Width" : "609.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "In the late 1950s, Edwin Ruda made frequent road trips between El Paso, where his fiancée lived, and Austin, where he taught at The University of Texas. He wondered then how one might paint the vastness of the west Texas landscape. After his return to New York City in 1960, Ruda drew on this experience as he began to explore “the possibilities of space related to the body” through oversized, dynamically shaped canvases that engulf the viewer, with colors that interact to produce what he termed “optic energy.” The blue lozenges that flank the corners of his twenty-foot diamond-shaped painting, Reo Reo, are meant to engage the viewer’s peripheral field of vision and evoke the sensation of moving down a road. The work’s title could allude to the space between two rivers—the Rio Grande and the Colorado—that Ruda traversed on his drives, or function as a tongue-in-cheek homage to his friend, artist Leo Valledor.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2004", "Copyright_Type" : "all ", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159.tif", "IsPrimary" : "1", "_SurrogateID" : "4239", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 artist.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 artist.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 artist.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 artist.jpg", "IsPrimary" : "0", "_SurrogateID" : "5152", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 window.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 window.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 window.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 window.jpg", "IsPrimary" : "0", "_SurrogateID" : "5153", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "Painting was too large to go down stairs or elevator, so was taken out through the studo window.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 byebye.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 byebye.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 byebye.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 byebye.jpg", "IsPrimary" : "0", "_SurrogateID" : "5154", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 street.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 street.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 street.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 street.jpg", "IsPrimary" : "0", "_SurrogateID" : "5155", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 truck.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 truck.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 truck.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 truck.jpg", "IsPrimary" : "0", "_SurrogateID" : "5156", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17270, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17270", "Disp_Access_No" : "2004.172", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Composición sobre fondo negro [Composition on Black Background]", "Alt_Title" : "", "Obj_Title" : "Construcción sobre fondo negro [Construction on Black Ground]", "Series_Title" : "", "Disp_Maker_1" : "Francisco Matto", "Sort_Artist" : "Matto, Francisco", "Disp_Dimen" : "38.1 cm x 45.7 cm (15 in. x 18 in.)", "Disp_Height" : "38.1 cm", "Disp_Width" : "45.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Oil", "Support" : "cardboard", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "In 1942 Francisco Matto became one of the founders of the Taller Torres-García through which he continued to develop his early interest in pre-Columbian art and to explore its relationship to contemporary abstraction. The gridlike composition of this work is rendered in a somewhat gestural style, resonating with references to Navajo weaving, Inca stonework, Nazca pottery, and the grids of European abstract artists such as Piet Mondrian. In common with other members of the Taller, Matto sought a universal, transcultural, nonreductive meaning for abstract art. The two circles in the middle of the grid, which can be read as eyes even without a realist representation as such, have an anthropomorphism and humor that is typical of Matto’s work, linking it to ancient cultures where utilitarian objects often contain suggestions of human forms. The brown cardboard ground is visible in several places, reinforcing the Taller’s interest both in poor materials and in the inherent flatness of painting, the latter a topic of debate in North American art of the same period, notably in Color Field painting.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2004", "Copyright_Type" : "all approved by rep. of Matto's widow (Oscar Prato)", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.172_with_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.172_with_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.172_with_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.172_with_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "3847", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.172.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.172.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.172.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.172.tif", "IsPrimary" : "1", "_SurrogateID" : "3846", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17285, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17285", "Disp_Access_No" : "2005.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1969-1975", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1975", "Disp_Title" : "Dawn's Presence - Two Columns", "Alt_Title" : "", "Obj_Title" : "Dawn's Presence - Two Columns", "Series_Title" : "", "Disp_Maker_1" : "Louise Nevelson", "Sort_Artist" : "Nevelson, Louise", "Disp_Dimen" : "294.6 cm x 170.2 cm x 78.7 cm (116 in. x 67 in. x 31 in.)", "Disp_Height" : "294.6 cm", "Disp_Width" : "170.2 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Painted wood", "Support" : "", "Disp_Medium" : "Painted wood", "Info_Page_Comm" : "Manhattan frequently inspired Louise Nevelson. She saw the city as a monumental and ever-changing sculpture. “All I need is to feel New York coming through the wall,” she told a reporter the year this work was first exhibited. Composed of found wooden objects from lower Manhattan and seen in the round, "Dawn’s Presence—Two Columns" evokes a city-like perspective; just as buildings in a skyline appear to shift as the viewer walks around them. Nevelson built her career on the color black, which first coated her monochromatic sculptures and wooden installations in the 1950s. She exhibited her first white-painted sculptural installation in 1960. The artist broke up the larger pieces of the installation and reintroduced them later as discrete sculptural works such as this—a frequent practice of hers. The artist first exhibited "Dawn’s Presence—Two Columns" in New York in 1976 as part of a larger work comprised of several loosely arranged sculptural towers. Nevelson explained, “If you paint a thing black or you paint a thing white, it takes on a whole different dimension. I feel that white permits a little something to enter . . . a little more light, just as you see it in the universe.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift in memory of Laura Lee Scurlock Blanton by her children, 2005", "Copyright_Type" : "approved web site; must get approval for any other uses on case by case basis.", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.1.tif", "IsPrimary" : "1", "_SurrogateID" : "6486", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17328, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17328", "Disp_Access_No" : "2005.21", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1983", "_Disp_Start_Dat" : "1978", "_Disp_End_Date" : "1988", "Disp_Title" : "Longhorns", "Alt_Title" : "", "Obj_Title" : "Longhorns", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "172.7 cm x 65.4 cm x 30.5 cm (68 in. x 25 3/4 in. x 12 in.)", "Disp_Height" : "172.7 cm", "Disp_Width" : "65.4 cm", "Dimen_Extent" : "HWD", "Medium" : "Painted fiberglass", "Support" : "", "Disp_Medium" : "Painted fiberglass", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "requires approval on a case by case basis", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.21.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.21.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.21.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.21.tif", "IsPrimary" : "1", "_SurrogateID" : "2787", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17584, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17584", "Disp_Access_No" : "2005.154.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Estructura (3 panels)", "Alt_Title" : "", "Obj_Title" : "Estructura (3 panels)", "Series_Title" : "", "Disp_Maker_1" : "Alejandro Puente", "Sort_Artist" : "Puente, Alejandro", "Disp_Dimen" : "190 cm x 160 cm x 200 cm (74 13/16 in. x 63 in. x 78 3/4 in.)", "Disp_Height" : "190 cm", "Disp_Width" : "160 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of Margaret McDermott in honor of Barbara Duncan, and Judy S. and Charles W. Tate, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.154.1-3_3-3.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.154.1-3_3-3.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.154.1-3_3-3.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2005.154.1-3_3-3.TIF", "IsPrimary" : "1", "_SurrogateID" : "10023", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18820, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18820", "Disp_Access_No" : "2007.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1950", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1950", "Disp_Title" : "Obra articulada y móvil en bronce [Articulated and Mobile Work in Bronze]", "Alt_Title" : "", "Obj_Title" : "Obra articulada y móvil en bronce [Articulated and Mobile Work in Bronze]", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "73 cm x 35 cm x 25 cm (28 3/4 in. x 13 3/4 in. x 9 13/16 in.)", "Disp_Height" : "73 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "HWD", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Gyula Kosice was a pioneer of Concrete and Kinetic art. In the late 1940s, he co-founded Madí, whose experimental approach led him to use unorthodox materials, such as metal slats, neon lights, and Plexiglas. He wanted to engage the public in playful and dynamic ways. For example, "Obra articulada y móvil en bronce" has no predetermined shape. The flat bronze slats are riveted at joints so they can be pivoted in various directions, thereby generating any number of potential forms.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2007", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.22-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.22-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.22-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.22-2.tif", "IsPrimary" : "0", "_SurrogateID" : "12913", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : 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"_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Reticule", "Alt_Title" : "", "Obj_Title" : "Reticule", "Series_Title" : "", "Disp_Maker_1" : "Liz Larner", "Sort_Artist" : "Larner, Liz", "Disp_Dimen" : "187.9 cm x 284.5 cm x 203.2 cm (74 in. x 112 in. x 80 in.)", "Disp_Height" : "187.9 cm", "Disp_Width" : "284.5 cm", "Dimen_Extent" : "HWD", "Medium" : "Cast polyurethane", "Support" : "", "Disp_Medium" : "Cast polyurethane", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2007", "Copyright_Type" : "All approved but merchandise, which needs case by case approval.", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : 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"https://webkiosk.gallerysystems.com/Objects-1/info/19139", "Disp_Access_No" : "2008.86.1/6-6/6", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Warhol's Marilyn Monroe", "Alt_Title" : "", "Obj_Title" : "Warhol's Marilyn Monroe", "Series_Title" : "", "Disp_Maker_1" : "Richard Pettibone", "Sort_Artist" : "Pettibone, Richard", "Disp_Dimen" : "6.3 cm x 5 cm (2 1/2 in. x 1 15/16 in.)", "Disp_Height" : "6.3 cm", "Disp_Width" : "5 cm", "Dimen_Extent" : "each panel", "Medium" : "Acrylic and silkscreen on canvas, six panels", "Support" : "", "Disp_Medium" : "Acrylic and silkscreen on canvas, six panels", "Info_Page_Comm" : "Since the 1960s, Richard Pettibone’s practice has involved taking images and artworks from other modern and contemporary artists and displaying them as his own. These tiny silkscreened reproductions of Andy Warhol’s iconic portraits of Marilyn Monroe are part of a larger body of work, which includes Pettibone’s remakes of Warhol’s Campbell’s Soup Cans, Brillo Box sculptures, and countless paintings. In "Warhol’s Marilyn Monroe," Pettibone mixes craftsmanship with an eye for puns and process, taking the concept of appropriation and transforming it into a gesture of appreciation. Pettibone’s work does more than merely salute its sources; his compositions question the authorship of images and point to critical engagements between style and substance, art and influence. When asked why he began copying Warhol’s work in the 1960s, Pettibone replied, “He was already copying, so why not copy the copy?”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support of the National Endowment for the Arts and the Institute of Museum and Library Services, 2008", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.tif", "IsPrimary" : "1", "_SurrogateID" : "4730", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.86.1-6_6-6 audioEng.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.1-6_6-6 audioEng.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.1-6_6-6 audioEng.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.1-6_6-6 audioEng.mp3", "IsPrimary" : "0", "_SurrogateID" : "8196", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.86.1-6_6-6 audioSpan.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.1-6_6-6 audioSpan.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.1-6_6-6 audioSpan.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.1-6_6-6 audioSpan.mp3", "IsPrimary" : "0", "_SurrogateID" : "8197", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19869, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19869", "Disp_Access_No" : "2013.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Cruzando El Rio Bravo [Border Crossing]", "Alt_Title" : "", "Obj_Title" : "Cruzando El Rio Bravo [Border Crossing]", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "320.04 cm x 101.6 cm x 129.54 cm (126 in. x 40 in. x 51 in.)", "Disp_Height" : "320.04 cm", "Disp_Width" : "101.6 cm", "Dimen_Extent" : "overall", "Medium" : "Painted fiberglass", "Support" : "", "Disp_Medium" : "Painted fiberglass", "Info_Page_Comm" : "Totem-like in stature, "Border Crossing" is a fiberglass sculpture by Texas native Luis Jiménez. In this monumental work, Jiménez depicts a Mexican man carrying a woman and infant on his back across the Rio Grande River—Jiménez was inspired by his father and grandmother’s illegal immigration to the United States in the early 1920s. "Border Crossing" is a tribute the artist’s grandfather and to the determination of the thousands of immigrants who have traveled across the southwestern border in search of a better life. As Jiménez later described: “I had wanted to make a piece that was dealing with the issue of the illegal alien….People talked about aliens as if they landed from outer space, as if they weren’t really people. I wanted to put a face on them: I wanted to humanize them.” Born in El Paso in 1940, Jiménez began studying art as an undergraduate at The University of Texas at Austin and received his Bachelor’s degree in 1964.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2013", "Copyright_Type" : "requires approval on a case by case basis ", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.9-side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.9-side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.9-side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2013.9-side.tif", "IsPrimary" : "0", "_SurrogateID" : "10496", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2013.9.tif", "IsPrimary" : "1", "_SurrogateID" : "10498", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20377", "Disp_Access_No" : "2014.91", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Homage to Sterling Brown", "Alt_Title" : "", "Obj_Title" : "Homage to Sterling Brown", "Series_Title" : "", "Disp_Maker_1" : "Charles White", "Sort_Artist" : "White, Charles", "Disp_Dimen" : "101.6 cm x 152.4 cm (40 in. x 60 in.)", "Disp_Height" : "101.6 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Susan G. and Edmund W. Gordon to the units of Black Studies and the Blanton Museum of Art at the University of Texas at Austin", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.91.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.91.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.91.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.91.tif", "IsPrimary" : "1", "_SurrogateID" : "14265", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20414, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20414", "Disp_Access_No" : "2017.258", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Hombre constructivo [Constructive Man]", "Alt_Title" : "", "Obj_Title" : "Hombre constructivo [Constructive Man]", "Series_Title" : "", "Disp_Maker_1" : "Julio Alpuy", "Sort_Artist" : "Alpuy, Julio", "Disp_Dimen" : "55.9 cm x 33 cm (22 in. x 13 in.)", "Disp_Height" : "55.9 cm", "Disp_Width" : "33 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Julio Alpuy studied and taught at the Taller Torres-García [Torres-García Workshop], founded in 1943 with the objective of shaping a new generation of modern artists in Uruguay. "Hombre constructivo" exemplifies the lessons about constructive art taught at the workshop. Students learned to reduce the representation of objects to their basic visual elements of line, form, and color. Then they integrated figures into a grid created through the Golden Mean, a system of proportions developed in Ancient Greece. To emphasize the abstract quality of the work, instructors taught pupils to paint with limited colors. In this painting, Alpuy tries to balance these principles with a more personal style, favoring bright colors and establishing a looser relation between figure and geometric structure.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20416, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20416", "Disp_Access_No" : "2016.88", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Desmaterialización II [Dematerialization II]", "Alt_Title" : "", "Obj_Title" : "Desmaterialización II [Dematerialization II]", "Series_Title" : "", "Disp_Maker_1" : "Julián Althabe", "Sort_Artist" : "Althabe, Julián", "Disp_Dimen" : "57.8 cm x 40.6 cm x 61 cm (22 3/4 in. x 16 in. x 24 in.)", "Disp_Height" : "57.8 cm", "Disp_Width" : "40.6 cm", "Dimen_Extent" : "HWD", "Medium" : "String and wire with black paint", "Support" : "", "Disp_Medium" : "String and wire with black paint", "Info_Page_Comm" : "Julián Althabe became interested in abstraction in the 1950s. He was especially curious about the concept of the fourth dimension, a popular scientific subject that inspired many modern artists to explore spatial realities existing beyond perception. In "Escultura," Althabe interlocks two sets of winglikeshapes made with string and wire. The internal rhythms of the triangular frames suggest that their rotation takes place simultaneously along vertical and horizontal axes in an invisible dimension. Althabe’s early interest in science and virtual movement made him a pioneer of Kinetic art in Argentina.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20418", "Disp_Access_No" : "2016.90", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Jaune-Bleu [Yellow-Blue]", "Alt_Title" : "", "Obj_Title" : "Jaune-Bleu [Yellow-Blue]", "Series_Title" : "", "Disp_Maker_1" : "Carmelo Arden Quin", "Sort_Artist" : "Arden Quin, Carmelo", "Disp_Dimen" : "54.3 cm x 36.2 cm x 2.9 cm (21 3/8 in. x 14 1/4 in. x 1 1/8 in.)", "Disp_Height" : "54.3 cm", "Disp_Width" : "36.2 cm", "Dimen_Extent" : "panel", "Medium" : "Enamel on wood", "Support" : "", "Disp_Medium" : "Enamel on wood", "Info_Page_Comm" : "Carmelo Arden Quin co-founded with Gyula Kosice the Madí group in Buenos Aires in 1946. In "Jaune-Bleu," the artist explores essential aspects of Madí: the polygonal frame echoes the forms depicted, balancing an economy of means with a playful approach to geometry. The motif of lines and points on a white surface recurs in many wood panels produced by Arden Quin in the early 1950s.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20427", "Disp_Access_No" : "2016.94", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Martín Blaszko", "Sort_Artist" : "Blaszko, Martín", "Disp_Dimen" : "41.4 cm x 34.3 cm (16 5/16 in. x 13 1/2 in.)", "Disp_Height" : "41.4 cm", "Disp_Width" : "34.3 cm", "Dimen_Extent" : "", "Medium" : "Oil on cardboard", "Support" : "", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "Madí artists were among the first to make shaped canvases that echoed the composition, rather than allow the standard rectangle frame to determine its form. Martín Blaszko’s untitled painting is a prime example. The shape of the polygonal frame follows the dynamic rhythm of crisscrossing diagonals, contrasting colors, and playful patterns. Using the classical system of proportion called the Golden Section, Blaszko delighted in balancing opposing forces and creating a sense of visual harmony. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20434, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20434", "Disp_Access_No" : "2016.95", "_AccNumSort1" : "", "Disp_Create_DT" : "1951", "_Disp_Start_Dat" : "1951", "_Disp_End_Date" : "1951", "Disp_Title" : "Casting the Runes", "Alt_Title" : "", "Obj_Title" : "Casting the Runes", "Series_Title" : "", "Disp_Maker_1" : "Leonora Carrington", "Sort_Artist" : "Carrington, Leonora", "Disp_Dimen" : "76.7 cm x 45.4 cm (30 3/16 in. x 17 7/8 in.)", "Disp_Height" : "76.7 cm", "Disp_Width" : "45.4 cm", "Dimen_Extent" : "sight", "Medium" : "Oil tempera with gold metallic paint on wood", "Support" : "", "Disp_Medium" : "Oil tempera with gold metallic paint on wood", "Info_Page_Comm" : "Painter and writer Leonora Carrington settled in Mexico in 1943, joining a group of fellow surrealist émigrés. She drew inspiration from a wide variety of subjects, ranging from ancient history and Celtic mythology to Mexican healing traditions. Informed by these sources, her otherworldly paintings often have elusive meanings. In "Casting the Runes" a golden bird protects an egg under the gaze of strange beings. At bottom, two hooded female figures seem to engage in an ancient ritual involving runes, perhaps to divine the future of the golden creature in their care.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.95.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.95.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.95.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.95.tif", "IsPrimary" : "1", "_SurrogateID" : "21738", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20435", "Disp_Access_No" : "2016.96", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Sem título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sem título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Willys de Castro", "Sort_Artist" : "Castro, Willys de", "Disp_Dimen" : "66.4 cm x 59.7 cm (26 1/8 in. x 23 1/2 in.)", "Disp_Height" : "66.4 cm", "Disp_Width" : "59.7 cm", "Dimen_Extent" : "sight", "Medium" : "Oil on wood", "Support" : "", "Disp_Medium" : "Oil on wood", "Info_Page_Comm" : "The emergence of the Concrete art movements in Brazil in the early 1950s encouraged artists like Willys de Castro, a graphic and theater designer active in São Paulo, to experiment with geometric abstraction. Here Castro avoids the mathematical rigor favored by concrete artists in order to play freely with form and color, which resulted in the creation of a more fluid sense of space. The lighter, neutral tones in the center of this painting suggest depth, while the darker, interlocking shapes anchored in each corner emphasize the flatness of the plane. This preoccupation with the ambiguity of perception became a key aspect in Castro’s later production.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.96-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.96-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.96-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.96-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "14281", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20436, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20436", "Disp_Access_No" : "2016.97", "_AccNumSort1" : "", "Disp_Create_DT" : "1977–83", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Pluriobjeto [Pluriobject]", "Alt_Title" : "", "Obj_Title" : "Pluriobjeto [Pluriobject]", "Series_Title" : "", "Disp_Maker_1" : "Willys de Castro", "Sort_Artist" : "Castro, Willys de", "Disp_Dimen" : "199.4 x 5.1 x 14.6 cm (78 1/2 x 2 x 5 3/4 in.)", "Disp_Height" : "199.4 cm", "Disp_Width" : "5.1 cm", "Dimen_Extent" : "HWD", "Medium" : "Chromed iron, oxidized iron and anodized matte aluminum", "Support" : "", "Disp_Medium" : "Chromed iron, oxidized iron and anodized matte aluminum", "Info_Page_Comm" : "Willys de Castro combined his experience as a concrete artist and designer to create artworks that invite a more active participation of the viewer. "Pluriobjeto" exists in an in-between space: Its minimal, interlocking shapes made with industrial materials lay flat against the wall. Only after viewers engage in closer examination of the work do they see how the object reaches into the space of the gallery. This hybrid of painting and sculpture challenges the separation between virtual and real space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.97-rightside.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.97-rightside.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.97-rightside.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.97-rightside.tif", "IsPrimary" : "1", "_SurrogateID" : "14283", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20443", "Disp_Access_No" : "2016.99", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "La edad de la razón [The Age of Reason]", "Alt_Title" : "", "Obj_Title" : "La edad de la razón [The Age of Reason]", "Series_Title" : "", "Disp_Maker_1" : "Ernesto Deira", "Sort_Artist" : "Deira, Ernesto", "Disp_Dimen" : "129.7 cm x 195 cm (51 1/16 in. x 76 3/4 in.)", "Disp_Height" : "129.7 cm", "Disp_Width" : "195 cm", "Dimen_Extent" : "sight", "Medium" : "Enamel on canvas", "Support" : "", "Disp_Medium" : "Enamel on canvas", "Info_Page_Comm" : "During the 1960s, Ernesto Deira often titled his works after his literary, philosophical, and political concerns. This painting shares its title with the first volume of Jean-Paul Sartre’s trilogy "The Roads to Freedom," a masterpiece of existentialist writing. The influence of Sartre’s Marxist-inspired existentialism in Argentina was profound. Here Deira meditates on human existence through visual means. His figures are built through layered splashes, thick brushstrokes, and dripping colors that do little to solidify their substance. These presences remain open, conflicted and undefined, as they oscillate between the spectral and the grotesque.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20444, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20444", "Disp_Access_No" : "2016.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Composición [Composition]", "Alt_Title" : "", "Obj_Title" : "Composición [Composition]", "Series_Title" : "", "Disp_Maker_1" : "Juan Del Prete", "Sort_Artist" : "Del Prete, Juan", "Disp_Dimen" : "31.8 cm x 19.8 cm (12 1/2 in. x 7 13/16 in.)", "Disp_Height" : "31.8 cm", "Disp_Width" : "19.8 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Composed of flat, geometric planes of color that overlap and intersect, this painting by Juan Del Prete predicts the hard-edge brand of geometric abstraction that would come to dominate Argentine art in the 1940s. Though Del Prete was a pioneer of geometric abstraction in Latin America, his brushwork often betrayed a more expressive sensibility. The painterly texture of "Composición," with its uneven line, warm palette, and gentle gradations in tone, lends the composition an unusual intimacy.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20469", "Disp_Access_No" : "2016.105", "_AccNumSort1" : "", "Disp_Create_DT" : "1949", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1949", "Disp_Title" : "Formas en el plano [Forms on the Plane]", "Alt_Title" : "", "Obj_Title" : "Formas en el plano [Forms on the Plane]", "Series_Title" : "", "Disp_Maker_1" : "Alfredo Hlito", "Sort_Artist" : "Hlito, Alfredo", "Disp_Dimen" : "80 cm x 60 cm (31 1/2 in. x 23 5/8 in.)", "Disp_Height" : "80 cm", "Disp_Width" : "60 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A cofounder of the Association of Concrete Art and Invention, Alfredo Hlito synthesized his interests in abstraction and Marxism. Many leftist artists favored social realism. Hlito, however, believed figurative art was deceptive and illusionism interfered with the perception of reality. He advocated instead an art made of concrete plastic elements such as color, line, and form. In this painting, Hlito generates a sense of visual harmony through simple curves in complementary red and green. While members of the Association valued precision, his approach to geometry is intuitive and never exact. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.105.tif", "IsPrimary" : "1", "_SurrogateID" : "15818", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20470", "Disp_Access_No" : "2016.106", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Línea continua [Continuous Line]", "Alt_Title" : "", "Obj_Title" : "Línea continua [Continuous Line]", "Series_Title" : "", "Disp_Maker_1" : "Enio Iommi", "Sort_Artist" : "Iommi, Enio", "Disp_Dimen" : "24.4 cm x 29.8 cm x 29.8 cm (9 5/8 in. x 11 3/4 in. x 11 3/4 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "29.8 cm", "Dimen_Extent" : "HWD", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "Enio Iommi joined the Association of Concrete Art and Invention as a teenager and participated in its activities until the group dissolved in 1950. "Línea continua" exemplifies three key aspects of Iommi’s work: the rational approach to geometry promoted by the Association, a fascination with shaping space, and the use of newly available industrial materials. Here Iommi made a loose knot from stainless steel rod to convey the sense of an endless Möbius strip moving through three-dimensional space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20477", "Disp_Access_No" : "2019.106.a-?", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Continuel Mobile [Continual Mobile]", "Alt_Title" : "", "Obj_Title" : "Continuel Mobile [Continual Mobile]", "Series_Title" : "", "Disp_Maker_1" : "Julio Le Parc", "Sort_Artist" : "Le Parc, Julio", "Disp_Dimen" : "98.4 cm x 40 cm x 8.3 cm (38 3/4 in. x 15 3/4 in. x 3 1/4 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "40 cm", "Dimen_Extent" : "HWD", "Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Support" : "", "Disp_Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20479, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20479", "Disp_Access_No" : "2016.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1954", "_Disp_Start_Dat" : "1954", "_Disp_End_Date" : "1954", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Llorens", "Sort_Artist" : "Llorens, Antonio", "Disp_Dimen" : "53.3 cm x 73 cm (21 in. x 28 3/4 in.)", "Disp_Height" : "53.3 cm", "Disp_Width" : "73 cm", "Dimen_Extent" : "sight", "Medium" : "Enamel", "Support" : "wood panel", "Disp_Medium" : "Enamel on wood panel", "Info_Page_Comm" : "Trained as an artist and designer in Uruguay, his adopted country, Antonio Llorens embraced abstraction early in his career. In Montevideo, he participated in the local Madí group, and later joined others dedicated to abstraction, such as Arte No-Figurativo [No-Figurative Art] and Grupo 8 [Group 8]. This untitled painting shows Llorens’s predilection for hard-edge geometry, bright solid colors, and bold compositional structures shaped by his interest in graphic design. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.108.tif", "IsPrimary" : "1", "_SurrogateID" : "15788", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20480, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20480", "Disp_Access_No" : "2016.109", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Llorens", "Sort_Artist" : "Llorens, Antonio", "Disp_Dimen" : "99 cm x 30.8 cm x 35.6 cm (39 in. x 12 1/8 in. x 14 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "30.8 cm", "Dimen_Extent" : "HWD", "Medium" : "Enamel on iron and wood base with enamel", "Support" : "", "Disp_Medium" : "Enamel on iron and wood base with enamel", "Info_Page_Comm" : "In 1960, Antonio Llorens joined Grupo 8 [Group 8], an association of artists active in Montevideo whose objective was to pursue an individualized and experimental approach to art rather than develop a shared aesthetic. Llorens favored flat planes of solid color in his paintings and graphic work. He employed the same formal elements in this three-dimensional sculpture. The result is a graceful composition of elegant shapes that extend outward in space with restrained yet decisive energy.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20489", "Disp_Access_No" : "2019.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Carlos Mérida", "Sort_Artist" : "Mérida, Carlos", "Disp_Dimen" : "117.8 cm x 60.5 cm (46 3/8 in. x 23 13/16 in.)", "Disp_Height" : "117.8 cm", "Disp_Width" : "60.5 cm", "Dimen_Extent" : "sight", "Medium" : "Petroplastic with gold metallic paint over red ground", "Support" : "wood panel", "Disp_Medium" : "Petroplastic with gold metallic paint over red ground on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Guatemalan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20512, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20512", "Disp_Access_No" : "2019.119", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Alt_Title" : "", "Obj_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43.2 cm x 26.7 cm x 9.2 cm (17 in. x 10 1/2 in. x 3 5/8 in.)", "Disp_Height" : "43.2 cm", "Disp_Width" : "26.7 cm", "Dimen_Extent" : "HWD", "Medium" : "Plastic, silkscreen, and metal", "Support" : "", "Disp_Medium" : "Plastic, silkscreen, and metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20563, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20563", "Disp_Access_No" : "2014.67", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "Cord Painting 14", "Alt_Title" : "", "Obj_Title" : "Cord Painting 14", "Series_Title" : "", "Disp_Maker_1" : "Regina Bogat", "Sort_Artist" : "Bogat, Regina", "Disp_Dimen" : "182.9 cm x 152.4 cm (72 in. x 60 in.)", "Disp_Height" : "182.9 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic with nylon and satin cords on canvas", "Support" : "", "Disp_Medium" : "Acrylic with nylon and satin cords on canvas", "Info_Page_Comm" : "During the 1960s and 1970s, many artists opened their practices to a wider range of media; they often incorporated pliable materials such as yarn, string, and rope into their work. Although Regina Bogat considers this a painting, the only painted element is its cadmium red background. After the artist drilled holes into the canvas, she arranged the cords systematically using a grid and a repeated sequence of colors. She then subverted the careful logic of her composition by knotting the dangling cords at irregular lengths. This is one of a series of fifteen cord paintings Bogat made in the 1970s from her home in Glen Ridge, New Jersey, where she moved in 1972 with her husband, painter Alfred Jensen. “I missed my art supply store in Manhattan,” she recently recalled. “In its stead, I found a local trimmings shop that had a beautiful array of embroidery threads and cord trimmings. I had been influenced by my friend Eva Hesse’s recent use of unorthodox materials in her art; and perhaps, I was also unconsciously influenced by the hair phenomenon of the early seventies.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Houston Endowment, Inc., in honor of Melissa Jones, 2014", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.67_detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "15879", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.67_detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15880", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.67_install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_install.tif", "IsPrimary" : "1", "_SurrogateID" : "15881", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , ] },{ "embark_ID" : 20625, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20625", "Disp_Access_No" : "2010.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Farrah Fawcett", "Alt_Title" : "", "Obj_Title" : "Farrah Fawcett", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "101.6 cm x 101.6 cm (40 in. x 40 in.)", "Disp_Height" : "101.6 cm", "Disp_Width" : "101.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Synthetic polymer paint and silkscreen", "Support" : "canvas", "Disp_Medium" : "Synthetic polymer paint and silkscreen on canvas", "Info_Page_Comm" : "This painting of University of Texas alumna and "Charlie’s Angels" star Farrah Fawcett typifies Andy Warhol’s portrait style of the 1970s and 1980s. The artist photographed starlets like Fawcett, Grace Jones, Blondie’s Debbie Harry, and Dolly Parton; their bare shoulders serve as a nod to classical portraiture. Working from a Polaroid, Warhol sent the negative to a photo lab to have it enlarged and transferred onto a sheet of acetate. Once a silkscreen was made from the sheet, Warhol and his assistants squeegeed ink through the screen onto a pre-painted canvas, using punches of color to highlight the glamour of his subjects.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Farrah Fawcett, 2010", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.100.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.100.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.100.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.100.tif", "IsPrimary" : "1", "_SurrogateID" : "12201", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20642, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20642", "Disp_Access_No" : "2015.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Honor Roll", "Alt_Title" : "", "Obj_Title" : "Honor Roll", "Series_Title" : "", "Disp_Maker_1" : "May Stevens", "Sort_Artist" : "Stevens, May", "Disp_Dimen" : "108 cm x 91.4 cm (42 1/2 in. x 36 in.)", "Disp_Height" : "108 cm", "Disp_Width" : "91.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Honor Roll" refers to the academic distinction usually bestowed upon students who excel at school. In the context of this 1963 canvas, however, the phrase takes on profound implications. The canvas honors the bravery of seven young African American men, women, and children who were among the first to attempt to integrate schools in the south in the early 1960s. May Stevens renders their names in childlike lettering that looks like it was carved into a tree or wet cement, in the hope that we might remember them. Stevens, a white artist, credits her passion for civil rights in part to the friendship she and her husband developed with Charles White, the virtuosic African American draftsman whose work is on view nearby. When Stevens first exhibited this painting at a New York gallery in 1963, Martin Luther King Jr. contributed a brief but powerful introduction to the catalogue that accompanied it: "The men and women who rode the Freedom Buses through Alabama, who walked in Montgomery, who knelt in prayer in Albany, who hold hands and sing We Shall Overcome Someday in the face of hostile mobs—their acts cry out for songs to be sung by them and pictures to be painted of them." Who was Clyde Kennard? Nineteen sixty-three was a watershed year in the history of school desegregation. During that year, James Meredith became the first African American to graduate from the University of Mississippi. May Stevens’ painting was likely inspired by the tragic story of his fellow freedom fighter Clyde Kennard, an unsung hero of the civil rights movement. In the late 1950s, Kennard attempted to enroll at Mississippi Southern College for his final year of college in order to be close to his widowed mother and to help run her chicken farm. The FBI, local police, and Mississippi Southern College did everything they could to dissuade him from applying and referred to him as an “integration agitator.” When he remained undeterred and attempted to apply to the school for the third year in a row, they resorted to framing him for crimes he did not commit. In 1960, after ten minutes of deliberation, an all-white jury sentenced Kennard to seven years in high-security prison for stealing five bags of chicken feed, on the basis of testimony by an illiterate white teenager. Placed in a high-security prison, Kennard was forced to perform manual labor in spite of developing colon cancer. Shocked by the travesty of his sentencing for a crime he did not commit and by the brutal physical labor he was being forced to endure, the NAACP and Medgar Evers took up Kennard’s case. In 1963, the governor of Mississippi released him for fear that he would become a martyr if he died in prison. Kennard died shortly thereafter, on July 4. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Amon G. Carter Art Acquisition Fund and Archer M. Huntington Museum Fund, and made possible by generous support from Alessandra Manning-Dolnier and Kurt Dolnier in memory of Ruth Seay, Charles Irvin, Jeanne and Michael Klein, Anthony Meier, Fredericka and David Middleton, and an anonymous donor, 2015", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2015.26.tif", "IsPrimary" : "1", "_SurrogateID" : "14768", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20731, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20731", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Logo Scape", "Alt_Title" : "Out of Style (?)", "Obj_Title" : "Logo Scape", "Series_Title" : "", "Disp_Maker_1" : "Gene Beery", "Sort_Artist" : "Beery, Gene", "Disp_Dimen" : "61 x 61 cm (24 x 24 in.)", "Disp_Height" : "61 cm", "Disp_Width" : "61 cm", "Dimen_Extent" : "", "Medium" : "Oil on Masonite", "Support" : "", "Disp_Medium" : "Oil on Masonite", "Info_Page_Comm" : "", "Dedication" : "Promised gift of the LeWitt Collection in honor of Ellen and Steve Susman, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2017.002.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2017.002.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2017.002.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2017.002.tif", "IsPrimary" : "1", "_SurrogateID" : "18534", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21469", "Disp_Access_No" : "2017.25", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1933", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1938", "Disp_Title" : "Head of a Dancer: Harald Kreutzberg", "Alt_Title" : "", "Obj_Title" : "Head of a Dancer: Harald Kreutzberg", "Series_Title" : "", "Disp_Maker_1" : "Richmond Barthé", "Sort_Artist" : "Barthé, Richmond", "Disp_Dimen" : "32 x 19 x 16 cm (12 1/2 x 7 3/8 x 6 1/8 in.)", "Disp_Height" : "32 cm", "Disp_Width" : "19 cm", "Dimen_Extent" : "HWD", "Medium" : "Bronze on original stone base", "Support" : "", "Disp_Medium" : "Bronze on original stone base", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Tom and Carmel Borders and Jeanne and Michael Klein, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 22758, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22758", "Disp_Access_No" : "2019.66", "_AccNumSort1" : "", "Disp_Create_DT" : "1925", "_Disp_Start_Dat" : "1925", "_Disp_End_Date" : "1925", "Disp_Title" : "Picos con naranja [Picos with Orange]", "Alt_Title" : "", "Obj_Title" : "Picos con naranja [Picos with Orange]", "Series_Title" : "", "Disp_Maker_1" : "Diego Rivera", "Sort_Artist" : "Rivera, Diego", "Disp_Dimen" : "67.9 x 55.9 cm (26 3/4 x 22 in.)", "Disp_Height" : "67.9 cm", "Disp_Width" : "55.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Joe R. Long, Austin, Texas, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.66.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.66.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.66.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2019.66.tif", "IsPrimary" : "1", "_SurrogateID" : "21460", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23683, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23683", "Disp_Access_No" : "2018.94", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Gotas transparentes [Transparent Drops]", "Alt_Title" : "", "Obj_Title" : "Gotas transparentes [Transparent Drops]", "Series_Title" : "", "Disp_Maker_1" : "Leda Catunda", "Sort_Artist" : "Catunda, Leda", "Disp_Dimen" : "156 x 100 x 10 cm (61 7/16 x 39 3/8 x 3 15/16 in.)", "Disp_Height" : "156 cm", "Disp_Width" : "100 cm", "Dimen_Extent" : "", "Medium" : "Acrylic and oil on plastic and canvas cloth", "Support" : "", "Disp_Medium" : "Acrylic and oil on plastic and canvas cloth", "Info_Page_Comm" : "Leda Catunda participated in Geração 80, an artist group that sought to reevaluate the boundaries of painting and sculpture. Catunda’s “drops,” a recurring element in her art, are made with heavy plastic sheeting sewn on top of shaped and painted canvas. She states, “I am interested in images that are already in the world, with which I can interfere. And that is directly linked to the idea of appropriation of pictures and objects, or the meanings of the things that I bring to the work, are constantly changing, transforming themselves, varying all the time.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Patricia Phelps de Cisneros in honor of Ellen Susman, 2018", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.94-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.94-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.94-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2018.94-install.tif", "IsPrimary" : "1", "_SurrogateID" : "22764", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23816, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23816", "Disp_Access_No" : "2018.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1997-98", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Patient", "Alt_Title" : "", "Obj_Title" : "Patient", "Series_Title" : "", "Disp_Maker_1" : "Frank C. Moore", "Sort_Artist" : "Moore, Frank C.", "Disp_Dimen" : "125.7 x 166.4 x 8.9 cm (49 1/2 x 65 1/2 x 3 1/2 in.)", "Disp_Height" : "125.7 cm", "Disp_Width" : "166.4 cm", "Dimen_Extent" : "frame", "Medium" : "Oil on canvas over wood panel in artist''s red pine frame", "Support" : "", "Disp_Medium" : "Oil on canvas over wood panel in artist's red pine frame", "Info_Page_Comm" : "In "Patient," Frank Moore turns a hospital bed into a landscape of loss. Water pools over the sheets and cascades off the side of the bed like a waterfall. Symbols of the seasons—fall-colored leaves, snowflakes, and a songbird—suggest life cycles and the passing of time. Diagnosed as HIV-positive in 1987, Moore responded to the AIDS crisis through his art and as an activist. The snowflakes screen-printed onto this painting depict actual molecular structures, including the AIDS virus. As a key member of the organization Visual AIDS, he was instrumental in helping to create the red AIDS ribbon to help raise public awareness and empathy for those afflicted with the disease. "Patient" reflects an artist grappling not only with his own mortality (the hospital blood bag bears his own name and O+ blood type) but also mourning the loss of friends and loved ones who died of AIDS-related complications. He always aspired for his art to have universal resonance that, as he put it, “ultimately transcends the personal level and the specificity of issues such as gay and lesbian rights or AIDS.” In "Patient," the bed is left empty for us to fill with our own memories of those whom we have lost. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Gesso Foundation, 2018", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.73.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.73.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.73.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.73.jpg", "IsPrimary" : "1", "_SurrogateID" : "22698", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25345, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25345", "Disp_Access_No" : "2017.762", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "I saw a Pop Idol Sneer at a Dying Kid", "Alt_Title" : "", "Obj_Title" : "I saw a Pop Idol Sneer at a Dying Kid", "Series_Title" : "", "Disp_Maker_1" : "Dario Robleto", "Sort_Artist" : "Robleto, Dario", "Disp_Dimen" : "16.5 x 11.4 x 14 cm (6 1/2 x 4 1/2 x 5 1/2 in.)", "Disp_Height" : "16.5 cm", "Disp_Width" : "11.4 cm", "Dimen_Extent" : "HWD", "Medium" : "Melted vinyl record, resin, and spray paint", "Support" : "", "Disp_Medium" : "Melted vinyl record, resin, and spray paint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase with funds from Melba Whatley, 2000; Gift from The Contemporary Austin to the Blanton Museum of Art, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Robetlo-I_Saw_a_Pop_Idol-5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Robetlo-I_Saw_a_Pop_Idol-5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Robetlo-I_Saw_a_Pop_Idol-5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/Robetlo-I_Saw_a_Pop_Idol-5.tif", "IsPrimary" : "0", "_SurrogateID" : "22733", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Robleto-I Saw_ a_Pop_Idol-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Robleto-I Saw_ a_Pop_Idol-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Robleto-I Saw_ a_Pop_Idol-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/Robleto-I Saw_ a_Pop_Idol-1.tif", "IsPrimary" : "1", "_SurrogateID" : "22734", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Robleto-I_Saw_a_Pop_Idol-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Robleto-I_Saw_a_Pop_Idol-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Robleto-I_Saw_a_Pop_Idol-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/Robleto-I_Saw_a_Pop_Idol-2.tif", "IsPrimary" : "0", "_SurrogateID" : "22735", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Robleto-I_Saw_a_Pop_Idol-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Robleto-I_Saw_a_Pop_Idol-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Robleto-I_Saw_a_Pop_Idol-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/Robleto-I_Saw_a_Pop_Idol-3.tif", "IsPrimary" : "0", "_SurrogateID" : "22736", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Robleto-I_Saw_a_Pop_IDol-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Robleto-I_Saw_a_Pop_IDol-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Robleto-I_Saw_a_Pop_IDol-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/Robleto-I_Saw_a_Pop_IDol-4.tif", "IsPrimary" : "0", "_SurrogateID" : "22737", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25665, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25665", "Disp_Access_No" : "2017.209.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Tape Project, Akron Art Institute", "Alt_Title" : "", "Obj_Title" : "Tape Project, Akron Art Institute", "Series_Title" : "", "Disp_Maker_1" : "Jaime Davidovich", "Sort_Artist" : "Davidovich, Jaime", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "dimensions variable", "Medium" : "Clear tape", "Support" : "", "Disp_Medium" : "Clear tape", "Info_Page_Comm" : "Jaime Davidovich first began exploring texture in his early monochromatic works. He later experimented with the real and conceptual boundaries of his paintings by eliminating their frames and taping them directly to the wall. By the early 1970s, he worked specifically with adhesive tape, placing it on walls, floors, stairways, sidewalks, and TV monitors. Through these creative actions and interventions, he expanded the spaces where art could be displayed. "Tape Project, Akron Art Institute," which originally took place in Ohio, is one of Davidovich’s first tape installations. The clear tape highlights imperfections of the wall and the mode of installation results in an uneven surface marked with bubbles, folds, and wrinkles. Davidovich made the conceptual leap from actual tape to video tape, becoming an early innovator in video art and in using public television as a platform for performance.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dario Werthein under the Acquisition Programs for Museums of ArteBA Foundation, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "21751", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "21752", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-3.tif", "IsPrimary" : "0", "_SurrogateID" : "21753", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-overall.tif", "IsPrimary" : "1", "_SurrogateID" : "21754", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }