{ "objects" : [ { "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" : 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" : 13990, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13990", "Disp_Access_No" : "G1976.21.3", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1886", "_Disp_Start_Dat" : "1881", "_Disp_End_Date" : "1891", "Disp_Title" : "Indian Canoe", "Alt_Title" : "", "Obj_Title" : "Indian Canoe", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "69.2 cm x 90.8 cm (27 1/4 in. x 35 3/4 in.)", "Disp_Height" : "69.2 cm", "Disp_Width" : "90.8 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "During his training at the Arts Academy of Düsseldorf, Albert Bierstadt engaged deeply with the spiritual and sensory tenets of German Romanticism. The movement, both intellectual and aesthetic, emphasized sublime or transcendent experience—a concept that lent itself well to depicting the American West. In landscapes like "Indian Canoe," Bierstadt aimed to convey a sense of the divine through nature. The diminutive figure set amidst the vast sky and towering trees has no individual traits, and serves as a stand-in for the awing experience of the sublime. The sun setting behind a lone Indian may also be read as a signal of the looming decline of Native Americans’ traditional way of life.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. Smith, 1976", "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/G1976.21.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.21.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.21.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.21.3.tif", "IsPrimary" : "1", "_SurrogateID" : "2480", "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" : 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" : 14043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14043", "Disp_Access_No" : "G1974.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1906", "_Disp_Start_Dat" : "1906", "_Disp_End_Date" : "1906", "Disp_Title" : "The Charge [A Cavalry Scrap]", "Alt_Title" : "", "Obj_Title" : "The Charge [A Cavalry Scrap]", "Series_Title" : "", "Disp_Maker_1" : "Frederic Sackrider Remington", "Sort_Artist" : "Remington, Frederic Sackrider", "Disp_Dimen" : "124.5 cm x 348 cm (49 in. x 137 in.)", "Disp_Height" : "124.5 cm", "Disp_Width" : "348 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In 1906, the Knickerbocker Hotel in New York City commissioned artist Frederic Remington to paint a largescale work for its inauguration. "The Charge" (Remington’s largest painting) served as a monument to the tenacity of the frontiersman, theatrically depicted mid-battle. But Remington took equal delight in the musculature of the galloping horses—evidence of the artist’s awareness of recent photographic studies of horses in motion. The artist periodically traveled westward from his Brooklyn home to satisfy East Coast curiosity for tales of the American West, returning with images that helped shape popular notions of the “Wild West.” As the backdrop to the hotel’s lively Grille Room, this teeming panorama provided an exotic parallel to the hubbub of the hotel’s moneyed crowd.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Miss Ima Hogg, 1943", "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/G1974.20.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20.tif", "IsPrimary" : "0", "_SurrogateID" : "2724", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.20_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "2773", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.20-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18069", "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" : 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. 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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/G1968.133.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.133.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.133.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.133.tif", "IsPrimary" : "1", "_SurrogateID" : "2335", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.133.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.133.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.133.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.133.mp3", "IsPrimary" : "0", "_SurrogateID" : "8473", "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" : 14196, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14196", "Disp_Access_No" : "G1968.118", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Besped", "Alt_Title" : "", "Obj_Title" : "Besped", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Showell", "Sort_Artist" : "Showell, Kenneth", "Disp_Dimen" : "274.3 cm x 228.6 cm (108 in. x 90 in.)", "Disp_Height" : "274.3 cm", "Disp_Width" : "228.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Sprayed acrylic", "Support" : "canvas", "Disp_Medium" : "Sprayed acrylic 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" : "edu., promo., web, merch", "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/G1968.118.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.tif", "IsPrimary" : "1", "_SurrogateID" : "2321", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.118.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.mp3", "IsPrimary" : "0", "_SurrogateID" : "8457", "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" : 14198, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14198", "Disp_Access_No" : "G1968.116", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Night Town", "Alt_Title" : "", "Obj_Title" : "Night Town", "Series_Title" : "", "Disp_Maker_1" : "Raymond Saunders", "Sort_Artist" : "Saunders, Raymond", "Disp_Dimen" : "135 cm x 81 cm (53 1/8 in. x 31 7/8 in.)", "Disp_Height" : "135 cm", "Disp_Width" : "81 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/G1968.116.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.116.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.116.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.116.tif", "IsPrimary" : "1", "_SurrogateID" : "2319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14208, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14208", "Disp_Access_No" : "G1968.106", "_AccNumSort1" : "", "Disp_Create_DT" : "1964-1968", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1968", "Disp_Title" : "Green Rose", "Alt_Title" : "", "Obj_Title" : "Green Rose", "Series_Title" : "", "Disp_Maker_1" : "Jules Olitski", "Sort_Artist" : "Olitski, Jules", "Disp_Dimen" : "207 cm x 298 cm (81 1/2 in. x 117 5/16 in.)", "Disp_Height" : "207 cm", "Disp_Width" : "298 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. 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/G1968.106.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.106.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.106.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.106.tif", "IsPrimary" : "1", "_SurrogateID" : "2311", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.106.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.106.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.106.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.106.mp3", "IsPrimary" : "0", "_SurrogateID" : "8454", "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" : 14265, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14265", "Disp_Access_No" : "G1960.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "La Puerto Del Sol", "Alt_Title" : "The Port of the Sun", "Obj_Title" : "La Puerto Del Sol", "Series_Title" : "", "Disp_Maker_1" : "Norman Wilfred Lewis", "Sort_Artist" : "Lewis, Norman Wilfred", "Disp_Dimen" : "130.2 cm x 161.9 cm (51 1/4 in. x 63 3/4 in.)", "Disp_Height" : "130.2 cm", "Disp_Width" : "161.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "From 1950 until his death in 1979, Norman Lewis was a leading figure in Abstract Expressionist painting circles in New York—a relative rarity for an artist of color at the time. 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; 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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" : 14412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14412", "Disp_Access_No" : "1991.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "The Golden Hour", "Alt_Title" : "", "Obj_Title" : "The Golden Hour", "Series_Title" : "", "Disp_Maker_1" : "Thomas Moran", "Sort_Artist" : "Moran, Thomas", "Disp_Dimen" : "41.9 cm x 52.4 cm x 7.6 cm (16 1/2 in. x 20 5/8 in. x 3 in.)", "Disp_Height" : "41.9 cm", "Disp_Width" : "52.4 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Moran’s romanticized view of the towering cliffs of the Green River in southwestern Wyoming is notable for the operatic power of its imagery, despite the picture’s modest scale. An impossibly fiery sunset suffuses the jagged outcroppings in a golden light that exaggerates the glories and grandeur of nature. Americans back east were eager to discover the uninhabited western landscape through paintings like this and through reproductions. To make an even more compelling picture, Moran took certain liberties with features of the undeniably spectacular landscapes he observed on his trips to Wyoming during the summers of 1871 and 1872. Loosely and impressionistically painted, The Golden Hour is neither a major nor a typical work by Moran, but its magical intensity successfully communicates the artist’s deep fondness for the first western site he ever sketched. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.42.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.42.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.42.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.42.tif", "IsPrimary" : "1", "_SurrogateID" : "2703", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16550, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16550", "Disp_Access_No" : "1991.41", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1858 - 1874", "_Disp_Start_Dat" : "1858", "_Disp_End_Date" : "1874", "Disp_Title" : "Wind River Mountain Range Scene", "Alt_Title" : "The Sirens Were Singing From the Tops of the Peaks", "Obj_Title" : "Wind River Mountain Range Scene", "Series_Title" : "", "Disp_Maker_1" : "Alfred Jacob Miller", "Sort_Artist" : "Miller, Alfred Jacob", "Disp_Dimen" : "25.5 cm x 40.9 cm (10 1/16 in. x 16 1/8 in.)", "Disp_Height" : "25.5 cm", "Disp_Width" : "40.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "When Alfred Jacob Miller traveled to the Wind River mountain range of Wyoming in 1837, he was the first non-native artist to explore this virtually undisturbed western wilderness. Hired to record the encounters and events of a fur-trading expedition to the Rocky Mountains, he spent six months absorbing landscapes like no other. Years later he was still painting from his sketches of the trip, especially views incorporating his favorite subject: the area’s pristine alpine lakes, such as the one at the center of this luminous painting. With its dramatically lit sky and narrative foil in the lower left corner—leading the viewer to wonder what announcement will be made—the jewel-like canvas offers a serene romantic vision of a sheltered paradise on the brink of change.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.41.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.41.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.41.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.41.tif", "IsPrimary" : "1", "_SurrogateID" : "1590", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.41.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.41.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.41.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.41.tif", "IsPrimary" : "0", "_SurrogateID" : "2701", "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" : 14533, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14533", "Disp_Access_No" : "1991.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1859", "_Disp_Start_Dat" : "1859", "_Disp_End_Date" : "1859", "Disp_Title" : "Sioux Village near Fort Laramie", "Alt_Title" : "", "Obj_Title" : "Sioux Village near Fort Laramie", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "31.8 cm x 49.3 cm (12 1/2 in. x 19 7/16 in.)", "Disp_Height" : "31.8 cm", "Disp_Width" : "49.3 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "When Albert Bierstadt painted this intimate study of a native encampment in 1859, he was twenty-nine years old and on his first journey to the American West. Accompanying an army expedition as its recorder, he sketched firsthand impressions of the new landscape and its people in pencil and pen-and-ink. Bierstadt’s spectacular western landscapes would lead within a decade to his celebration as the leading American painter of the West, but in this modest early work, it was the comparatively mundane details of native family life that captured his interest. Certain features are rendered with notable virtuosity—the lone, tall tree and the left-most teepee—but in general this work embodies a sense of quiet repose and timelessness, different from the theatrical vistas and stunning sites for which the artist is best known. Bierstadt was one of the first American observers and recorders of native life, but his intent was less scientific and anthropological than artistic: back in the studio, where he composed his monumental oil paintings, he often combined images from very different locales for dramatic effect. The camera tripod visible in this work is a remnant of another study trip by Bierstadt, who inserted it presumably to testify to his presence at the scene.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22.tif", "IsPrimary" : "1", "_SurrogateID" : "1524", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22.tif", "IsPrimary" : "0", "_SurrogateID" : "2700", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22_detail_1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22_detail_1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22_detail_1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22_detail_1.tif", "IsPrimary" : "0", "_SurrogateID" : "5894", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22_detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22_detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22_detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22_detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "5895", "Image_Type" : "Digital image", "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" : 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" : 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" : 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. 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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. 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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. 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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. 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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" : 18648, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18648", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2006", "_Disp_Start_Dat" : "2006", "_Disp_End_Date" : "2006", "Disp_Title" : "Daughters of Wounds and Relics", "Alt_Title" : "", "Obj_Title" : "Daughters of Wounds and Relics", "Series_Title" : "", "Disp_Maker_1" : "Dario Robleto", "Sort_Artist" : "Robleto, Dario", "Disp_Dimen" : "76.2 cm x 48.3 cm x 8.4 cm (30 in. x 19 in. x 3 5/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "48.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Hair braid made of stretched and curled audiotape recordings of the last known Union Civil War soldier’s voice and the last known Confederate Civil War widow’s voice, homemade paper, pulp made from sweetheart letters written by soldiers who did not return", "Support" : "", "Disp_Medium" : "Hair braid made of stretched and curled audiotape recordings of the last known Union Civil War soldier’s voice and the last known Confederate Civil War widow’s voice, homemade paper, pulp made from sweetheart letters written by soldiers who did not return", "Info_Page_Comm" : "Daughters of Wounds and Relics, as well as the sculpture, A Sadness Silence Can’t Touch, belong to a recent body of work by artist Dario Robleto that pays tribute to the families of Civil War soldiers. Placing himself in the imagined role of a wife, mother, or sister, Robleto resuscitates the tradition of mid 19th-century domestic handicrafts, which gave form to collective experiences of grief, trauma, endurance, and recovery. Robleto’s poignant gestures suggest the redemptive power of culture and creativity. Both Daughters of Wounds and Relics and A Sadness Silence Can't Touch, which the artist has compared to the A and B sides of the same recording, ask us to reflect on the often forgotten effects of war beyond the battlefield. ", "Dedication" : "Promised gift of Jeanne and Micheal Klein, 2007", "Copyright_Type" : "edu, web, merch, promo", "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/PG2007.13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13.tif", "IsPrimary" : "0", "_SurrogateID" : "10062", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "IMAGE IS NOT REPRODUCTION QUALITY", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2007.13-detail1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13-detail1.tif", "PreviewPath" : 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"https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18076", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18934, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18934", "Disp_Access_No" : "2007.93", "_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" : "https://webkiosk.gallerysystems.com/Media/images/2007.93-view_1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.93-view_1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.93-view_1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.93-view_1.tif", "IsPrimary" : "0", "_SurrogateID" : "5018", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "photo from artist''s gallery", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.93-view_2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.93-view_2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.93-view_2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.93-view_2.tif", "IsPrimary" : "0", "_SurrogateID" : "5019", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "photo from artist''s gallery", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.93-instal.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.93-instal.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.93-instal.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.93-instal.tif", "IsPrimary" : "1", "_SurrogateID" : "9976", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.93-install_b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.93-install_b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.93-install_b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.93-install_b.tif", "IsPrimary" : "0", "_SurrogateID" : "10030", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19606, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19606", "Disp_Access_No" : "2010.99.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Parade (diptych)", "Alt_Title" : "", "Obj_Title" : "Parade", "Series_Title" : "", "Disp_Maker_1" : "Mequitta Ahuja", "Sort_Artist" : "Ahuja, Mequitta", "Disp_Dimen" : "243.8 cm x 406.4 cm (96 in. x 160 in.)", "Disp_Height" : "243.8 cm", "Disp_Width" : "406.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Enamel", "Support" : "canvas", "Disp_Medium" : "Enamel on canvas, two panels", "Info_Page_Comm" : "Mequitta Ahuja’s work explores the construction of identity, including her own. Recognizing that there is always an element of invention when it comes to depicting oneself, the artist refers to her heavily manipulated self-portraits as “automythography.” The term was inspired by a genre invented by the writer Audre Lorde, who braided personal history together with mythology in her “biomythography,” published in 1982. Ahuja’s process of self-documentation begins with photographs. Using a remote shutter control, she performs privately for the camera. Then, through a series of sketches and preparatory drawings, she introduces inventive, often fantastical elements into the resulting images. Her final works wed the real with the surreal, nonfiction with fiction. Parade captures this complicated marriage, offering in two parts the primary modes of painting: figuration and abstraction. The artist appears, poised mid-stride, on the right-hand canvas. Bright colors describe her figure and emanate from her black hair, which, as it carries over toward and onto the left-hand canvas, expands to become a dense cloud of increasingly abstract markings. The brushwork conveys Ahuja’s lively kinetic process in laying down pigment. She has referred to her interest in “the psychic proportions hair has in the lives of Black people,” which here dominates the composition, both physically and conceptually.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Melanie Lawson and John F. Guess, Jr., in honor of Jeanne and Michael Klein, 2010", "Copyright_Type" : "All uses approved.", "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/2010.99.1-2_with space between panels.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1-2_with space between panels.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1-2_with space between panels.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1-2_with space between panels.tif", "IsPrimary" : "0", "_SurrogateID" : "21721", "Image_Type" : "Study Image", "Photo_Credit" : "", "Remarks" : "permission to share the image provided by the artist via email 12/1/2019 (Shelby Lakins 12/2/19)", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.99.1_2-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1_2-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1_2-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1_2-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "22909", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.99.1_2-2_2-2_crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1_2-2_2-2_crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1_2-2_2-2_crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1_2-2_2-2_crop.tif", "IsPrimary" : "0", "_SurrogateID" : "23783", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19139, "URL" : "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" : 19326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19326", "Disp_Access_No" : "2008.159", "_AccNumSort1" : "", "Disp_Create_DT" : "2009", "_Disp_Start_Dat" : "2009", "_Disp_End_Date" : "2009", "Disp_Title" : "Stacked Waters", "Alt_Title" : "", "Obj_Title" : "Stacked Waters", "Series_Title" : "", "Disp_Maker_1" : "Teresita Fernández", "Sort_Artist" : "Fernández, Teresita", "Disp_Dimen" : "609.6 cm x 2019.3 cm x 1424.9 cm (240 in. x 795 in. x 561 in.)", "Disp_Height" : "609.6 cm", "Disp_Width" : "2019.3 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Cast acrylic", "Support" : "", "Disp_Medium" : "Cast acrylic", "Info_Page_Comm" : "Stacked Waters is a site-specific installation created for the cavernous entrance space of the Blanton Museum of Art. The work consists of 3,100 square feet of custom-cast acrylic that covers the walls in a striped pattern. The horizontal, saturated blue bands gradually shift in color as they move up, creating a colored abstraction that fades from deep blue to white at the top. The title is a reference to Donald Judd’s stack pieces as well as to his presence in Texas. While pointing directly to illusion rather than negating it, Stacked Waters is a nod to Judd’s exploration of the interior of the box. The space suggests a container of colored light and places the viewer on the inside. Flooded with natural light from immense skylights overhead, the reflective, watery quality of the acrylic’s surface functions like a blue mirror. Viewers see vaporous, reflections of themselves, the space and others in the surface, turning the work into a kind of projection marking the real-time activity of the museum. The reflections also become a changing portrait of the Texas light, appearing somber and shadowy when overcast or at the end of the day, and drenched in saturated blue color and glare on bright days. The work integrates the existing complex of arches and stairs into an image: that of a deep volume of water. The physical space is blurred by becoming an illusion that shifts with the movements of museum-goers. As one moves up the stairs, the horizontal lines that mark the pool’s depth shift in relation to one’s body, until, at the top of the fifty steps, the viewer “emerges” from the blue area into the galleries. ", "Dedication" : "Commissioned by the Blanton Museum of Art through the generosity of Jeanne and Michael Klein, 2008", "Copyright_Type" : "All but merchandise approved.", "Disp_Obj_Type" : "installation", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.159-detail14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.159-detail14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.159-detail14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.159-detail14.tif", "IsPrimary" : "0", "_SurrogateID" : "12461", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.159-detail13.tif", "ThumbnailPath" : 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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. 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For the past twenty years, Moffett has been unraveling the conventions associated with painting, perpetually renegotiating the terms of the most vaunted medium in the history of art. In works like this, part of a larger group of canvases Moffett calls “gutted” or “flayed,” he literally turns painting inside out, painting only the insides of their unzipped flaps. Zippers remind us of bodies they were designed to conceal. The yellow center of this painting is, upon close looking, not canvas at all, but rather the wall itself—a normally invisible backdrop recast as a focal point. In Moffett’s practice, centers and margins frequently switch places, leaving us to catch up with the changing rules of his game. Moffett established himself as an artist in the midst of the AIDS crisis and was a founding member of Gran Fury, an AIDS activist collective formed in 1989 in New York and famous for murals and posters they produced with slogans such as “Kissing Doesn’t Kill: Greed and Indifference Do.” Although Moffett’s political work and his painting practice are often examined separately, the AIDS epidemic has undoubtedly contributed to the persistent presence of the human body in his work. Even some of his most abstract-looking paintings register the body and hint at the pleasures it enjoys and the pains it endures. 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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" : 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" : 20715, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20715", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Untitled, from The Strangest Fruit", "Alt_Title" : "", "Obj_Title" : "Untitled, from The Strangest Fruit", "Series_Title" : "", "Disp_Maker_1" : "Vincent Valdez", "Sort_Artist" : "Valdez, Vincent", "Disp_Dimen" : "233.68 cm x 139.7 cm (92 in. x 55 in.)", "Disp_Height" : "233.68 cm", "Disp_Width" : "139.7 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The title of this series of paintings, "The Strangest Fruit," hints at the history that inspired them. In 1939 Billie Holiday recorded “Strange Fruit,” a haunting song about the lynching of African Americans in the United States. Vincent Valdez painted the series of ten life-size Latino men after extensively researching what he refers to as the “erased” history of the lynchings of Mexican immigrants in Texas in the late nineteenth and early twentieth centuries. Valdez isolates his subjects against stark white backdrops and deliberately does not include nooses around their necks. Rather than directly summon difficult images from the past, he depicts this history in the present tense, underscoring the continued persecution and struggles that immigrants and minorities face in the United States today. He explains, “Presenting this historical subject in a contemporary context enables me to present the noose as a metaphor and to suggest that the threat of the noose still looms over the heads of the young Latino males in American society.”", "Dedication" : "Promised gift of Jeanne and Michael Klein, 2016", "Copyright_Type" : "Scholarly publications and online educational 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/PG2016.12_overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2016.12_overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2016.12_overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2016.12_overall.tif", "IsPrimary" : "1", "_SurrogateID" : "13018", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20716, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20716", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Untitled, from The Strangest Fruit", "Alt_Title" : "", "Obj_Title" : "Untitled, from The Strangest Fruit", "Series_Title" : "", "Disp_Maker_1" : "Vincent Valdez", "Sort_Artist" : "Valdez, Vincent", "Disp_Dimen" : "233.68 cm x 139.7 cm (92 in. x 55 in.)", "Disp_Height" : "233.68 cm", "Disp_Width" : "139.7 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The title of this series of paintings, "The Strangest Fruit," hints at the history that inspired them. In 1939 Billie Holiday recorded “Strange Fruit,” a haunting song about the lynching of African Americans in the United States. Vincent Valdez painted the series of ten life-size Latino men after extensively researching what he refers to as the “erased” history of the lynchings of Mexican immigrants in Texas in the late nineteenth and early twentieth centuries. Valdez isolates his subjects against stark white backdrops and deliberately does not include nooses around their necks. Rather than directly summon difficult images from the past, he depicts this history in the present tense, underscoring the continued persecution and struggles that immigrants and minorities face in the United States today. He explains, “Presenting this historical subject in a contemporary context enables me to present the noose as a metaphor and to suggest that the threat of the noose still looms over the heads of the young Latino males in American society.”", "Dedication" : "Promised gift of Jeanne and Michael Klein, 2016", "Copyright_Type" : "Scholarly publications and online educational 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/PG2016.13_overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2016.13_overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2016.13_overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2016.13_overall.tif", "IsPrimary" : "1", "_SurrogateID" : "13023", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20722, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20722", "Disp_Access_No" : "2016.150", "_AccNumSort1" : "", "Disp_Create_DT" : "2008", "_Disp_Start_Dat" : "2008", "_Disp_End_Date" : "2008", "Disp_Title" : "Madam C. J. Walker", "Alt_Title" : "", "Obj_Title" : "Madam C. J. Walker", "Series_Title" : "", "Disp_Maker_1" : "Sonya Clark", "Sort_Artist" : "Clark, Sonya", "Disp_Dimen" : "309.88 cm x 220.98 cm (122 in. x 87 in.)", "Disp_Height" : "309.88 cm", "Disp_Width" : "220.98 cm", "Dimen_Extent" : "overall", "Medium" : "Combs", "Support" : "", "Disp_Medium" : "Combs", "Info_Page_Comm" : "Sonya Clark composed this formidable ten-foot-tall portrait of Madam C.J. Walker entirely of plastic hair combs. Born Sarah Breedlove in 1867, shortly after the end of slavery, Madam Walker is said to be the nation’s first self-made female millionaire. Orphaned as a child and widowed with a daughter at twenty, Walker earned her fortune and fame by building a prosperous beauty empire. As a businesswoman, she employed thousands of African American women who would have otherwise been relegated to low-paying jobs. Walker flourished as an entrepreneur despite the odds, before women’s suffrage and long before the civil rights movement. Her life is captured in her famous statement: “I am a woman from the cotton fields of the South. I was promoted to the washtub. I was promoted to the kitchen. I promoted myself to the business of hair . . . on my own ground.” “I used 3,840 fine-toothed pocket combs to assemble this image of Walker, based on a photo taken around the start of her career,” Clark commented recently. “Combs speak to Walker’s career as a pioneer of hair care. I also used them because they capture our national legacy of hair culture, and the gender and race politics of hair. As disposable objects, they parallel the low social status of African American women born in the late 1800s. But together, the thousands of combs become a monumental tapestry, signifying Walker’s magnitude and success despite her humble beginnings.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Marilyn D. Johnson; Beverly Dale; Buckingham Foundation, Inc.; Jeanne and Michael Klein; Fredericka and David Middleton; H-E-B; Joseph and Tam Hawkins; Carmel and Gregory Fenves; The National Council of Negro Women (Austin Section); Lone Star (TX) Chapter of The Links, Incorporated; Town Lake (TX) Chapter of The Links, Incorporated; National Society of Black Engineers-Austin Professionals; Greater Austin Black Chamber of Commerce; National Black MBA Association Austin Chapter; and other donors.", "Copyright_Type" : "edu; promo; merch; web", "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/2016.150.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150.tif", "IsPrimary" : "1", "_SurrogateID" : "14276", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "15797", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15798", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-side.tif", "IsPrimary" : "0", "_SurrogateID" : "15799", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21114, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21114", "Disp_Access_No" : "2017.3", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Siphonophora", "Alt_Title" : "", "Obj_Title" : "Siphonophora", "Series_Title" : "", "Disp_Maker_1" : "Thomas Glassford", "Sort_Artist" : "Glassford, Thomas", "Disp_Dimen" : "1272.5 x 487.7 x 330.2 cm (501 x 192 x 130 in.)", "Disp_Height" : "1272.5 cm", "Disp_Width" : "487.7 cm", "Dimen_Extent" : "overall", "Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Support" : "", "Disp_Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Info_Page_Comm" : "Thomas Glassford's sculptures, large-scale installations, and public projects explore the intersections of art, design, architecture, community, and the natural world. First installed at the University Museum El Chopo, part of the National Autonomous University of Mexico, "Siphonophora" is inspired by the giant ocean creatures of the same name that appear to be single organisms, but are instead interdependent communities of different animals, each with different functions that allow the organism to flourish. For this work, individual concrete and plaster sculptures based on forms found in nature have been painted white and strung together, merging into one enormous floating colony. The work, like the ocean organism, serves as a metaphor for our interdependence with the natural world and, by extension, our ecological survival.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Moody Foundation, 2017", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3.tif", "IsPrimary" : "1", "_SurrogateID" : "15159", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-atrium.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-atrium.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-atrium.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-atrium.tif", "IsPrimary" : "0", "_SurrogateID" : "16697", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-from below.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-from below.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-from below.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-from below.tif", "IsPrimary" : "0", "_SurrogateID" : "19044", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21132", "Disp_Access_No" : "2016.147", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "The Broad", "Alt_Title" : "", "Obj_Title" : "The Broad", "Series_Title" : "", "Disp_Maker_1" : "Ramiro Gomez", "Sort_Artist" : "Gomez, Ramiro", "Disp_Dimen" : "183 x 183 cm (72 x 72 in.)", "Disp_Height" : "183 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Ramiro Gomez paints from personal experience. In 1986, he was born to undocumented Mexican immigrants in the Inland Empire area east of Los Angeles. Growing up, his mother worked as a school janitor and his father as a trucker. Beginning in 2009, Gomez worked as a live-in nanny to a Beverly Hills family and began to paint figures of women over luxury magazine spreads discarded by his employer. That two-and- a-half-year experience—one of simultaneous assimilation and alienation—has fueled much of his artistic practice since. Gomez has been painting housekeepers, pool cleaners, nannies, and gardeners at work in well-to-do homes and other Los Angeles locations since 2012; the city is an ideal subject for this work as it boasts the largest Latino population in the country. Here we see a woman pushing a large trash can down an empty block outside the recently opened Broad Museum. Gomez’s work reminds us that the manicured hedges, glassy swimming pools, and sun-drenched buildings of the Southern California landscape are often made possible by Latino and immigrant workers. The people in his paintings are always faceless “in part to suggest the way they were taken for granted and overlooked, but in part also because somehow the viewer read more into them that way; they were less threatening, more inwardlooking and as such they more readily called forth the viewer’s empathy.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Ellen Susman Collection, 2016", "Copyright_Type" : "edu", "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/2016.147-crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.147-crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.147-crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.147-crop.tif", "IsPrimary" : "1", 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The numbers 1–9 overlaid on the pages allude not only to the number assigned to individual horses, but also to the statistics used by spectators to create elaborate equations to handicap the odds. As Barnette explains, “I wanted the many obsessive hours of my drawing labor to match the obsessive nature of gambling.” Barnette has described the racetrack as a space where escapism, fantasy, and chance collide with everyday realities of class in America. 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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. 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In his best-known works, Smith assumes the role of his performance persona “Mike,” a wide-eyed, and somewhat inept everyman figure. Curator Annette DiMeo Carlozzi, who organized a major show of Smith’s work at the Blanton in 2007, has described the character “Mike” as “a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, its also stop-you-in-your-tracks hilarious and poignant, too.” Smith’s "Sears Class Portraits" blur the line between Smith, the professor and artist, and the theatrical persona of “Mike.” The artist has stated that he tries “to deal with clichés through Mike,” and for this series he adopts the timeworn vocabulary of the class portrait. The portraits are an ongoing project, begun at UT Austin in 1999. Each semester, Smith takes his class to a portrait studio to have a group photo taken. “I ask them to wear their Sunday’s best; however, if this is too difficult for them to manage, they are welcome to wear their normal everyday attire.” Students smile, while Smith adopts the facial expression of “Mike”: his closed mouth is upturned in a half smile and his eyebrows are raised in what appears to be a mood of both pride and comical self-resignation. The "Sears Class Portraits" series currently comprises seventy such photographs, showing hundreds of college-aged students with Smith positioned “Where’s Waldo”-like among them, against stock portrait studio backdrops. Photographic technology visibly advances, backgrounds vary, and Smith continues to grow older, but the students stay the same age. The work underscores the realities of aging and the passage of time, both in the transition from analog to digital photography and the changes in retail that have put many companies out of business over the past decades: following the recent widespread closure of Sears stores, Smith moved on to Picture People, until they closed. He currently takes his students to J.C. Penney for their class portraits. 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