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Feliciano Centurión was a central figure in the Arte Light movement, known for flamboyant, irreverent works that embodied progressive attitudes about lifestyle and sexuality. By using cheap blankets as the support for large-scale paintings, he sought a new type of beauty through the language of kitsch, humor, and theatricality. Centurión painted his most poignant and personal work, "Sacrificed Lamb," the day he was diagnosed with AIDS. The timing of the work, along with the Christian symbol of the sacrificial lamb, reflects a somber undercurrent in his humor and a sense of impending mortality.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.174.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.174.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.174.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.174.tif", "IsPrimary" : "1", "_SurrogateID" : "2713", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17273, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17273", "Disp_Access_No" : "2004.175", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Me adapto a mi enfermedad, de la serie Flores del mal de amor [I Adjust to My Illness, from the series Flowers of Love Sickness]", "Alt_Title" : "", "Obj_Title" : "Me adapto a mi enfermedad, de la serie Flores del mal de amor [I Adjust to My Illness, from the series Flowers of Love Sickness]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "54 cm x 36.5 cm (21 1/4 in. x 14 3/8 in.)", "Disp_Height" : "54 cm", "Disp_Width" : "36.5 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered blanket", "Support" : "", "Disp_Medium" : "Hand embroidered blanket", "Info_Page_Comm" : "The artist produced this pillow as he was dying from complications related to AIDS. Domestic linens appear prominently in Centurión’s earlier work as well: in the early 1990s he explored notions of beauty, sexuality, and femininity through a series of large painted or embroidered blankets. Towards the end of his life he began working on a smaller scale due to his weak and bedridden circumstances. These embroidered pillows and linens articulate the passion, desire, and despair of Centurión’s emotional and mental states at that time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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Centurión was a central figure in the “Arte Light” movement, which came to symbolize this new spirit. By taking blankets, which were associated with poverty, and using them as the support for paintings of large, extravagant forms like this white octopus, Centurión sought a new type of beauty through the language of kitsch, humor, and theatricality. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.177.tif", "IsPrimary" : "1", "_SurrogateID" : "2714", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17276", "Disp_Access_No" : "2004.178", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1996", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "2001", "Disp_Title" : "Soledad [Solitude]", "Alt_Title" : "", "Obj_Title" : "Soledad [Solitude]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "26 cm x 43 cm (10 1/4 in. x 16 15/16 in.)", "Disp_Height" : "26 cm", "Disp_Width" : "43 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered pillow", "Support" : "", "Disp_Medium" : "Hand embroidered pillow", "Info_Page_Comm" : "Few objects are as common and as evocative as pillows. In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.179.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.179.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.179.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.179.tif", "IsPrimary" : "1", "_SurrogateID" : "2936", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17278", "Disp_Access_No" : "2004.180", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1996", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "2001", "Disp_Title" : "Sueña [Dream]", "Alt_Title" : "", "Obj_Title" : "Sueña [Dream]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "22 cm x 31 cm (8 11/16 in. x 12 3/16 in.)", "Disp_Height" : "22 cm", "Disp_Width" : "31 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered pillow", "Support" : "", "Disp_Medium" : "Hand embroidered pillow", "Info_Page_Comm" : "In Buenos Aires in the 1990s, a new generation of artists responded enthusiastically to the recent democratically elected government and to the air of social tolerance that came with it. Feliciano Centurión was a central figure in the Arte Light movement, known for irreverent works that embodied progressive attitudes about lifestyle and sexuality. Centurión embroidered “Sueña” at the hospital where he received treatment for the HIV-related complications that led to his early death. In this work, pillows are recognized as being both familiar and evocative: in their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Weak and bedridden towards the end of his life, Centurión embroidered linens and smaller-scale pillows, such as this one, that express his grief and acceptance of his illness. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.181.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.181.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.181.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.181.tif", "IsPrimary" : "1", "_SurrogateID" : "4452", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17375", "Disp_Access_No" : "2005.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Tres casas [Three Houses]", "Alt_Title" : "", "Obj_Title" : "Tres casas [Three Houses]", "Series_Title" : "", "Disp_Maker_1" : "Alejandro Corujeira", "Sort_Artist" : "Corujeira, Alejandro", "Disp_Dimen" : "190 cm x 190 cm (74 13/16 in. x 74 13/16 in.)", "Disp_Height" : "190 cm", "Disp_Width" : "190 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "The subtle and sensitive use of paint in Corujeira’s work draws attention to the surface and to the trace of the artist’s hand. The simplicity and minimalism of the composition do not generate a hard-edged mathematical and rational experience. Instead we see each individual brushstroke and hesitation, drawing attention to the uncertainty and fragility of the human experience. 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In these photographs, he took advantage of the shadows cast by windows on the floor of his temporary studio in Rotterdam to stage a series of recurrent imaginary scenes featuring two toy cars. He transforms the darkened floors into an urban grid devoid of traffic or human presence. Such emptiness cannot prevent the toy cars’ fatal attraction, challenging the very notion of an accident.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Donald R. 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Rococo in their physical form, his “paintants,” or mutant paintings, aim to subvert the traditional conventions of late modernist painting by representing linguistic, poetic, political, existential, formal, and spatial realities in one cacophonous expression. Tautly stretched over hidden braces that intermittently push the surface of the work out toward the viewer, these vibrant constructions suggest complex systems that could interact in unpredictable ways. Total Paintant confounds the logic of how we usually look at a painting and challenges every assumption about what we expect to find within seemingly static works of art. Macro to micro and back again, Marcaccio’s discrete clusters of imagery, like little theaters of activity, spread virus-like across the work’s panoramic expanse. By offering us this analogue to the flux, speed, and daily intensity of contemporary life, the New York–based artist stakes a claim to the relevance—indeed the urgency—of art as a necessary discourse. 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Traveling throughout the Andean region of northern Argentina, Peru, and Bolivia, he studied and acquired scholarly expertise about traditional textiles and Inca stonework, finding in them a source of artistic inspiration. This painting, titled in homage to Peruvian César Vallejo’s 1922 book of poetry "Trilce," exemplifies Paternosto’s artworks after his Andean travels. The four parallel lines, stacked symmetrically in the center, reference the symbolism of numbers within Andean culture, while the earthy monochrome evokes the texture of stone or sand.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1231", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8021, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8021", "Disp_Access_No" : "1998.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "Makuñ", "Alt_Title" : "", "Obj_Title" : "Makuñ", "Series_Title" : "", "Disp_Maker_1" : "Teresa Pereda", "Sort_Artist" : "Pereda, Teresa", "Disp_Dimen" : "50.2 cm x 38.1 cm (19 3/4 in. x 15 in.)", "Disp_Height" : "50.2 cm", "Disp_Width" : "38.1 cm", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor", "Support" : "", "Disp_Medium" : "Watercolor", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Marcos Curi, 1998", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.21.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.21.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.21.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.21.tif", "IsPrimary" : "1", "_SurrogateID" : "6291", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18927", "Disp_Access_No" : "2010.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Casper", "Alt_Title" : "", "Obj_Title" : "Casper", "Series_Title" : "", "Disp_Maker_1" : "Marcelo Pombo", "Sort_Artist" : "Pombo, Marcelo", "Disp_Dimen" : "110 cm x 220 cm (43 5/16 in. x 86 5/8 in.)", "Disp_Height" : "110 cm", "Disp_Width" : "220 cm", "Dimen_Extent" : "canvas", "Medium" : "Mixed media", "Support" : "canvas", "Disp_Medium" : "Mixed media on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Michael Chesser, 2010", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.78.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.78.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.78.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.78.tif", "IsPrimary" : "1", "_SurrogateID" : "7258", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15063, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15063", "Disp_Access_No" : "1981.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "The Unending Story [Historia sin fin]", "Alt_Title" : "[Historia sin fin]", "Obj_Title" : "Historia sin fin [The Unending Story]", "Series_Title" : "", "Disp_Maker_1" : "Liliana Porter", "Sort_Artist" : "Porter, Liliana", "Disp_Dimen" : "158 cm x 214.7 cm (62 3/16 in. x 84 1/2 in.)", "Disp_Height" : "158 cm", "Disp_Width" : "214.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic, silkscreen, drawing, and collage", "Support" : "canvas", "Disp_Medium" : "Acrylic, silkscreen, drawing, and collage on canvas", "Info_Page_Comm" : "Liliana Porter’s art is traversed by a deep concern for language, which shapes works like this one in unexpected ways. Her favorite writer is her compatriot Jorge Luis Borges, known for blurring the line between reality and illusion in his stories. Porter plays with this idea by combining two-dimensional images with three-dimensional objects glued onto the canvas, the latter demanding close observation to be perceived as volumetric. She further challenges our perception of the real by visually quoting another writer, Lewis Carroll. The main character in "Alice in Wonderland" grapples with a confusing dreamlike world she found on the other side of the mirror. Such interest in language also shaped the way Porter arranged objects on the canvas, as if they were a sentence written on a page whose corner lifts slightly near the bottom edge. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Barbara Duncan Fund in memory of Rocío Duncan, 1981", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.31.tif", "IsPrimary" : "1", "_SurrogateID" : "1192", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.31.tif", "IsPrimary" : "0", "_SurrogateID" : "4222", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7882, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7882", "Disp_Access_No" : "1993.86", "_AccNumSort1" : "", "Disp_Create_DT" : "1988", "_Disp_Start_Dat" : "1988", "_Disp_End_Date" : "1988", "Disp_Title" : "The Fallen Jar", "Alt_Title" : "", "Obj_Title" : "The Fallen Jar", "Series_Title" : "", "Disp_Maker_1" : "Liliana Porter", "Sort_Artist" : "Porter, Liliana", "Disp_Dimen" : "105 cm x 74.6 cm (41 5/16 in. x 29 3/8 in.)", "Disp_Height" : "105 cm", "Disp_Width" : "74.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Offset lithograph, two-color etching, softground etching, and screenprint; 30/35", "Support" : "", "Disp_Medium" : "Offset lithograph, two-color etching, softground etching, and screenprint; 30/35", "Info_Page_Comm" : "Though Porter has created what is essentially a still life, she challenges the conventions of that genre through the use of spontaneous, gestural drawing and the suggestion of movement. Both help to create a dynamic image that transforms a traditionally formal and static genre. Porter, however, uses a typical aspect of still life painting, the momento mori, to comment on the passage of time. The momento mori, usually a decaying flower or skull, in this case a fallen jar, suggests the transient nature of life. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 1993", "Copyright_Type" : "All", "Disp_Obj_Type" : "print", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1993.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1993.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1993.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1993.86.tif", "IsPrimary" : "1", "_SurrogateID" : "1630", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7692, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7692", "Disp_Access_No" : "1985.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Untitled, from the series Templos de las ventanas ciegas [Temples of the Blind Windows]", "Alt_Title" : "Untitled, from "The Temples of the Blind Windows"", "Obj_Title" : "Untitled, from the series Templos de las ventanas ciegas [Temples of the Blind Windows]", "Series_Title" : "", "Disp_Maker_1" : "Raquel Rabinovich", "Sort_Artist" : "Rabinovich, Raquel", "Disp_Dimen" : "79.3 cm x 60.7 cm (31 1/4 in. x 23 7/8 in.)", "Disp_Height" : "79.3 cm", "Disp_Width" : "60.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Ink and graphite on hand-made paper", "Support" : "", "Disp_Medium" : "Ink and graphite on hand-made paper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Yvonne Tabbush, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.32.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.32.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.32.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.32.tif", "IsPrimary" : "1", "_SurrogateID" : "3386", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15017, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15017", "Disp_Access_No" : "1982.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Alt_Title" : "Llama Series No. 2, Diptych", "Obj_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "245 cm x 243.8 cm x 8.9 cm (96 7/16 in. x 96 in. x 3 1/2 in.)", "Disp_Height" : "245 cm", "Disp_Width" : "243.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Support" : "", "Disp_Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Info_Page_Comm" : "Miguel Angel Ríos’s works reference landscapes and cultural traditions of his homeland in rural Catamarca via formal motifs of late Modernism. While living in New York City, Ríos created a monochromatic grid from highly abstracted images of the llama, an animal essential to the Andean way of life. Catamarca once formed the southernmost reach of the Inca empire, and Ríos’s llamas may evoke ancient pictograms or the patterning of local textiles made from the animal’s wool. Within the Post-Minimalist grid, the llamas also suggest a negotiation of Ríos’s identity between cultures and an implicit critique of the Eurocentric biases underlying artistic Modernism. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.188.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.188.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.188.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.188.tif", "IsPrimary" : "1", "_SurrogateID" : "13146", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7672, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7672", "Disp_Access_No" : "1994.122", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Andalhuala", "Alt_Title" : "", "Obj_Title" : "Andalhuala", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "77.4 cm x 125.7 cm (30 1/2 in. x 49 1/2 in.)", "Disp_Height" : "77.4 cm", "Disp_Width" : "125.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Hand colored molded paper", "Support" : "", "Disp_Medium" : "Hand colored molded paper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1994", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1994.122.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.122.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.122.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.122.tif", "IsPrimary" : "1", "_SurrogateID" : "1633", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14375", "Disp_Access_No" : "1994.123.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Sueño de las alturas [Dream of the Heights]", "Alt_Title" : "", "Obj_Title" : "Sueño de las alturas [Dream of the Heights]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "127 cm x 123.5 cm x 12.7 cm (50 in. x 48 5/8 in. x 5 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "123.5 cm", "Dimen_Extent" : "Each panel", "Medium" : "Ceramic, paint and wire on canvas over wood", "Support" : "Board", "Disp_Medium" : "Ceramic, paint and wire on canvas over wood on Board", "Info_Page_Comm" : "Ríos combines geometric abstraction with pre-Colombian craft traditions and ancient symbols to reference complex issues such as the colonization and cultural conquest of Latin American territory, history and language. Sueño de las alturas [Dream of the Heights] is part of a series of works focusing on different forms of earth. The ceramic ovoid shapes attained their color by being fired with a variety of plants indigenous to Ríos’ birthplace in the Argentinean Andes Mountains. Arranged in a grid, the spheres are incised, painted and modeled with markings that evoke an indecipherable language and the rhythm of textile patterns native to the region.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1994", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "15059", "Rel_Obj_Title" : "Constructif en rouge et ocre [Construction in Red and Ochre]" },{ "Rel_Obj_ID" : "9573", "Rel_Obj_Title" : "Untitled" },{ "Rel_Obj_ID" : "5092", "Rel_Obj_Title" : "Composición [Composition]" },{ "Rel_Obj_ID" : "9989", "Rel_Obj_Title" : "Untitled" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1994.123.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.123.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.123.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.123.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "6359", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14355, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14355", "Disp_Access_No" : "1996.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Caí con mi padre por el espacio, enamorado locamente de la Tierra II [I Fell with My Father Through Space, Madly in Love with the Earth II]", "Alt_Title" : "", "Obj_Title" : "Caí con mi padre por el espacio, enamorado locamente de la Tierra II [I Fell with My Father Through Space, Madly in Love with the Earth II]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "426 cm x 426 cm (167 11/16 in. x 167 11/16 in.)", "Disp_Height" : "426 cm", "Disp_Width" : "426 cm", "Dimen_Extent" : "Outer dimension", "Medium" : "Mixed media", "Support" : "canvas", "Disp_Medium" : "Mixed media on canvas", "Info_Page_Comm" : "In this painting, Miguel Angel Ríos establishes a dialogue with David Shapiro, a poet and art historian. Ríos cites his poem “To the Earth,” dedicated to the well-known art historian Meyer Schapiro, and quotes the first and last lines, both in English and in Spanish. The poem begins with father and son falling through space towards our planet, and then continues with a meditation on how artists from different parts of the world create art, until it ends with the safe landing of their space module in Texas. Ríos interprets the poet’s journey by turning the canvas into Earth itself. Its enormity is circumscribed by the lines of the poem written on its edges, and its surface animated by the colors of ancient deserts. Numerous marks and pictographs seem to claim Earth for its indigenous artists, who loved it first.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 1996", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1996.187.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.187.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.187.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.187.tif", "IsPrimary" : "0", "_SurrogateID" : "1669", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1996.187-2019-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.187-2019-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.187-2019-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.187-2019-install.tif", "IsPrimary" : "0", "_SurrogateID" : "18851", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1996.187-2019.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.187-2019.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.187-2019.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.187-2019.tif", "IsPrimary" : "1", "_SurrogateID" : "18852", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1996.187-detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.187-detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.187-detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.187-detail.tif", "IsPrimary" : "0", "_SurrogateID" : "18853", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17156, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17156", "Disp_Access_No" : "2004.109", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Awakening of the Words, No. 3", "Alt_Title" : "", "Obj_Title" : "Awakening of the Words, No. 3", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "147.3 cm x 307.3 cm (58 in. x 121 in.)", "Disp_Height" : "147.3 cm", "Disp_Width" : "307.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Charcoal and acrylic on pleated cardboard with push pins", "Support" : "", "Disp_Medium" : "Charcoal and acrylic on pleated cardboard with push pins", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 2004", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.109.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.109.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.109.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.109.tif", "IsPrimary" : "1", "_SurrogateID" : "2170", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17588, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17588", "Disp_Access_No" : "2005.155", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Sin título", "Alt_Title" : "", "Obj_Title" : "Sin título", "Series_Title" : "", "Disp_Maker_1" : "Omar Schiliro", "Sort_Artist" : "Schiliro, Omar", "Disp_Dimen" : "98 cm x 38 cm x 38 cm (38 9/16 in. x 14 15/16 in. x 14 15/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "HWD", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "Within two weeks of hearing he had contracted HIV, Schiliro began a short but extremely important career as an artist. At once gaudy and kitschy, but also disturbing and melancholy, his lamp sculptures have come to symbolize the baroque sensibility of the “Arte Light” movement in Buenos Aires during the 1990s. The contrast between the flamboyant forms and the dim light inside is a poignant and moving commentary on morality, sexuality, joy, and sadness. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Fran Magee Fund, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.155.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.155.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.155.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.155.tif", "IsPrimary" : "1", "_SurrogateID" : "6498", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14392, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14392", "Disp_Access_No" : "1992.297", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "El rey de terracotta [The King of Terracotta]", "Alt_Title" : "[The King of Terracota]", "Obj_Title" : "El rey de terracotta [The King of Terracotta]", "Series_Title" : "", "Disp_Maker_1" : "Andrés Waissman", "Sort_Artist" : "Waissman, Andrés", "Disp_Dimen" : "196.3 cm x 147.3 cm (77 5/16 in. x 58 in.)", "Disp_Height" : "196.3 cm", "Disp_Width" : "147.3 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 Dr. Julio A. Aranovich, 1992", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.297.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.297.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.297.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.297.tif", "IsPrimary" : "1", "_SurrogateID" : "2704", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }