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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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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. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1999", "Copyright_Type" : "All but merchandise. Request must be made for merchandise use.", "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/1999.89.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.89.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.89.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.89.tif", "IsPrimary" : "1", "_SurrogateID" : "1724", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15020, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15020", "Disp_Access_No" : "1982.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Trilce II", "Alt_Title" : "", "Obj_Title" : "Trilce II", "Series_Title" : "", "Disp_Maker_1" : "César Paternosto", "Sort_Artist" : "Paternosto, César", "Disp_Dimen" : "166.3 cm x 166.3 cm x 10.5 cm (65 1/2 in. x 65 1/2 in. x 4 1/8 in.)", "Disp_Height" : "166.3 cm", "Disp_Width" : "166.3 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "César Paternosto began his career as a hard-edge geometric artist, but in the late 1970s he set out to research ancient American sources of geometrical abstraction. Traveling throughout the Andean region of northern Argentina, Peru, and Bolivia, he studied and acquired scholarly expertise about traditional textiles and Inca stonework, finding in them a source of artistic inspiration. This painting, titled in homage to Peruvian César Vallejo’s 1922 book of poetry "Trilce," exemplifies Paternosto’s artworks after his Andean travels. The four parallel lines, stacked symmetrically in the center, reference the symbolism of numbers within Andean culture, while the earthy monochrome evokes the texture of stone or sand.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1231", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 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" : 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" : 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" : "" } , ] }, ] }