{ "objects" : [ { "embark_ID" : 13878, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13878", "Disp_Access_No" : "P1976.10.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Large Decoy [Reclama grande]", "Alt_Title" : "Señuelo grande", "Obj_Title" : "Large Decoy [Reclama grande]", "Series_Title" : "", "Disp_Maker_1" : "Marcelo Bonevardi", "Sort_Artist" : "Bonevardi, Marcelo", "Disp_Dimen" : "228.6 cm x 193 cm x 10.2 cm (90 in. x 76 in. x 4 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "193 cm", "Dimen_Extent" : "Canvas", "Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Support" : "", "Disp_Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1976.10.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1976.10.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1976.10.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1976.10.1.tif", "IsPrimary" : "1", "_SurrogateID" : "4217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13906", "Disp_Access_No" : "P1973.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Progresión 36 [Progression 36]", "Alt_Title" : "", "Obj_Title" : "Progresión 36 [Progression 36]", "Series_Title" : "", "Disp_Maker_1" : "Nedo M.F.", "Sort_Artist" : "Nedo M.F.", "Disp_Dimen" : "98 cm x 66.5 cm (38 9/16 in. x 26 3/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "66.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted wood and compressed cardboard assembly", "Support" : "", "Disp_Medium" : "Painted wood and compressed cardboard assembly", "Info_Page_Comm" : "Considered one of the pioneers of contemporary graphic design in Venezuela, Nedo M.F.’s visual art exhibits his deep consideration of line, form, and color. He created “Progresión 36” as part of his larger “Progresión” series, abstract works made from wood and cardboard in a white on white monochromatic color scheme that he first exhibited in Caracas in 1968. Here, Nedo creates a visual tension through the verticality of the raised rectangles and their intersection with a horizontal area of concave space. With no clear focal point, the viewer is left to contemplate the spatial interaction of the forms and light. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.4.tif", "IsPrimary" : "1", "_SurrogateID" : "2996", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14019", "Disp_Access_No" : "G1976.11.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Alt_Title" : "Tilted Blue and Black", "Obj_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43 cm x 38 cm x 5.5 cm (16 15/16 in. x 14 15/16 in. x 2 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "HLW", "Medium" : "Wood and metal construction", "Support" : "Wood", "Disp_Medium" : "Wood and metal construction on Wood", "Info_Page_Comm" : "A leading figure in the Kinetic and Op art movements, Jesús Rafael Soto investigated ways to dynamically engage the viewer. In this piece, which Soto produced while living in Paris, he suspended a blue and black rod in front of a panel of thinly painted white lines. When the visitors move in front of the work, their changing view of the rod against the striped background generates optical effects along the rod’s tilted edges that ripple with vibrations.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1976.11.48.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.11.48.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.11.48.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.11.48.tif", "IsPrimary" : "1", "_SurrogateID" : "2461", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14711, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14711", "Disp_Access_No" : "1986.333", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Physichromie No. 394 [Physichromy No. 394]", "Alt_Title" : "", "Obj_Title" : "Physichromie No. 394", "Series_Title" : "", "Disp_Maker_1" : "Carlos Cruz-Diez", "Sort_Artist" : "Cruz-Diez, Carlos", "Disp_Dimen" : "121.3 cm x 62.2 cm x 6.3 cm (47 3/4 in. x 24 1/2 in. x 2 1/2 in.)", "Disp_Height" : "121.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "HLW", "Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Support" : "", "Disp_Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Info_Page_Comm" : "Carlos Cruz-Diez began his "Physichromie" series in 1959 and continues it today. Its title is a combination of the words “physical” and “chromatic,” a reflection of Cruz-Diez’s lifelong ambition to create situations in which viewers could experience color not only visually, but also physically. According to the artist, “color is constantly in the making . . . it happens in time.” "Physichromie No. 394" is composed of parallel columns of plastic strips, whose colors are reflected and refracted through other translucent plastic strips, thereby generating colors and forms that change depending on the perspective of the moving viewer.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Irene Shapiro, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.333.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.333.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.333.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.333.tif", "IsPrimary" : "1", "_SurrogateID" : "1346", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14720", "Disp_Access_No" : "1986.304", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Hidroluz [Hydrolight]", "Alt_Title" : "Hydrolight", "Obj_Title" : "Hidroluz [Hydrolight]", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "120.7 cm x 51.1 cm x 24.8 cm (47 1/2 in. x 20 1/8 in. x 9 3/4 in.)", "Disp_Height" : "120.7 cm", "Disp_Width" : "51.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Plexiglas, light, motor, and water in a wooden case", "Support" : "", "Disp_Medium" : "Plexiglas, light, motor, and water in a wooden case", "Info_Page_Comm" : "Science, or more specifically science fiction, has been at the heart of Gyula Kosice’s work since he co-founded the avant-garde Madí movement in Buenos Aires in 1946. At that time he was a pioneer in introducing movement into sculpture and letting the viewer manipulate the work. By the 1960s he was experimenting with modern materials like Plexiglas, neon, and electrical motors. His utopian belief in the ability of science to create new and better worlds led in the early 1970s to his project for the Hydrospatial City, an imaginary environment suspended in space where artworks are no longer necessary because the aesthetic experience has been dissolved into everyday life. Hidroluz with its modern materials is typical of the work he was making as he developed his plans for the City. The jet of water against the Plexiglas sphere creates an infinite variety of forms and a dematerialized sculptural experience. While many of Kosice’s avant-garde colleagues of the 1940s abandoned art altogether or turned to more conventional work, Kosice continued to believe in the transformative power of art and the need to create new utopian models for living. As much as a wall relief, Hidroluz can be considered a fragment of a new living environment.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.304.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.304.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.304.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.304.tif", "IsPrimary" : "1", "_SurrogateID" : "1345", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 20477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20477", "Disp_Access_No" : "2019.106.a-?", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Continuel Mobile [Continual Mobile]", "Alt_Title" : "", "Obj_Title" : "Continuel Mobile [Continual Mobile]", "Series_Title" : "", "Disp_Maker_1" : "Julio Le Parc", "Sort_Artist" : "Le Parc, Julio", "Disp_Dimen" : "98.4 cm x 40 cm x 8.3 cm (38 3/4 in. x 15 3/4 in. x 3 1/4 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "40 cm", "Dimen_Extent" : "HWD", "Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Support" : "", "Disp_Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20512, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20512", "Disp_Access_No" : "2019.119", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Alt_Title" : "", "Obj_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43.2 cm x 26.7 cm x 9.2 cm (17 in. x 10 1/2 in. x 3 5/8 in.)", "Disp_Height" : "43.2 cm", "Disp_Width" : "26.7 cm", "Dimen_Extent" : "HWD", "Medium" : "Plastic, silkscreen, and metal", "Support" : "", "Disp_Medium" : "Plastic, silkscreen, and metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] }, ] }