{ "objects" : [ { "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" : 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" : 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" : 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" : 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" : 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" : 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/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" : 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" : 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" : 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" : 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" : 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" : 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" : 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" : "" } , ] }, ] }