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"painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2006.2.tif", "IsPrimary" : "1", "_SurrogateID" : "3732", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15120, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15120", "Disp_Access_No" : "1977.98", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "El artista ante el cuadro-nocturno", "Alt_Title" : "", "Obj_Title" : "El artista ante el cuadro-nocturno", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Cienfuegos Browne", "Sort_Artist" : "Cienfuegos Browne, Gonzalo", "Disp_Dimen" : "89.5 cm x 109.9 cm (35 1/4 in. x 43 1/4 in.)", "Disp_Height" : "89.5 cm", "Disp_Width" : "109.9 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, Barbara Duncan Fund, 1977", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1977.98.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1977.98.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1977.98.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1977.98.tif", "IsPrimary" : "1", "_SurrogateID" : "4947", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17371, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17371", "Disp_Access_No" : "1989.105.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1988", "_Disp_Start_Dat" : "1988", "_Disp_End_Date" : "1988", "Disp_Title" : "La lumpérica (tríptico) [La lumpérica (Triptych)]", "Alt_Title" : "", "Obj_Title" : "La lumpérica (tríptico) [La lumpérica (Triptych)]", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Díaz", "Sort_Artist" : "Díaz, Gonzalo", "Disp_Dimen" : "69.2 cm x 91.4 cm x 12.7 cm (27 1/4 in. x 36 in. x 5 in.)", "Disp_Height" : "69.2 cm", "Disp_Width" : "91.4 cm", "Dimen_Extent" : "each panel", "Medium" : "Paint, photography, silkscreen, photomechanical process and mylar on mat board a", "Support" : "", "Disp_Medium" : "Paint, photography, silkscreen, photomechanical process and mylar on mat...", "Info_Page_Comm" : "Díaz’s epic works depict the difficulties confronted by Chilean society under its military dictatorship regime (1973–90). Using collage as his principal technique, he combines varied materials into single compositions that depict symbols from Chile’s history. Through his work Díaz criticizes Chile’s main institutions of control, the military regime and the Catholic Church, as a protest against oppression. Among Díaz’s key symbolic references are the Chilean artist and writer Diamela Eltit and Sor Teresa, Chile’s first saint. By including Eltit, Díaz evokes an artist who subverts the regime’s censorship measures and breaks numerous social conventions, while he uses Sor Teresa to represent the conservatism that characterizes Chile’s elite. By pitting conflicting icons against one another, Díaz creates a complex narrative about repression in his homeland. Both Eltit and Sor Teresa feature in the triptych La lumpérica (tríptico) [The Underclass (Triptych)]. In the middle panel of the triptych Díaz fuses the women together by collaging a photograph of Eltit performing the play Zona de dolor III [Zone of Pain III] (1983) over a portrait of Sor Teresa. The title of the triptych itself speaks to Díaz’s fascination with Eltit, whose 1983 novel, Lumpérica, focuses on marginal members of society who reclaim a public plaza from the government. By coupling Eltit with Sor Teresa, Díaz underscores the tensions between the dominant and dissenting elements of Chilean society during the dictatorship, while illustrating the power of images to symbolize freedom and liberty. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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By displaying the effects of time on the ordinary objects that form the backdrop to our lives, she draws our attention to the slow processes of decay that are implicit in life. In Delirios the artist used the brocade wall fabrics typical of upper-class Chilean houses at the beginning of the last century. By removing sections of this fabric from a turn-of-the-century home and exhibiting them in a gallery, she evokes in the viewer a sense of nostalgia for the missing house. The darker ghostlike forms on the panels are a trace of the objects (pictures or mirrors) that once hung on them. These negative forms, created by the bleaching effects of the sun on the uncovered fabric around them, serve as a double memory: the shadow of a vanished object and the record of passing time in this once domestic space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2005", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.191.2-5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.191.2-5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.191.2-5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.191.2-5.tif", "IsPrimary" : "0", "_SurrogateID" : "7541", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.191.3-5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.191.3-5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.191.3-5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.191.3-5.tif", "IsPrimary" : "0", "_SurrogateID" : "7542", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.191.1-5_5-5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.191.1-5_5-5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.191.1-5_5-5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.191.1-5_5-5.tif", "IsPrimary" : "1", "_SurrogateID" : "3881", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18086, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18086", "Disp_Access_No" : "2005.192", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "Recado a Gabriela Mistral [Message to Gabriela Mistral]", "Alt_Title" : "", "Obj_Title" : "Recado a Gabriela Mistral [Message to Gabriela Mistral]", "Series_Title" : "", "Disp_Maker_1" : "Nury González", "Sort_Artist" : "González, Nury", "Disp_Dimen" : "265 cm x 428 cm (104 5/16 in. x 168 1/2 in.)", "Disp_Height" : "265 cm", "Disp_Width" : "428 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Embroidered cashmere", "Support" : "", "Disp_Medium" : "Embroidered cashmere", "Info_Page_Comm" : "Nury González pays homage to Chilean poet and diplomat Gabriela Mistral, the first Latin American author to win a Nobel Prize for Literature (1945). Mistral also penned art criticism, calling her texts “recados” or “messages” that she sent to the artists she reviewed. González returns the favor in this work, saluting the writer with a selection of quotes from her poems. Embroidered on twelve panels of pin-striped fabric, the lines were chosen because they mention the word "lengua", Spanish for “tongue” or “language.” The jacket sewn on the surface allude to the tailored cashmere suits that became a trademark of Mistral’s public persona.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2005", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192.tif", "IsPrimary" : "0", "_SurrogateID" : "3884", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192 detail a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192 detail a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192 detail a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192 detail a.tif", "IsPrimary" : "0", "_SurrogateID" : "3907", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192 detail b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192 detail b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192 detail b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192 detail b.tif", "IsPrimary" : "0", "_SurrogateID" : "3908", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192-2019.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192-2019.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192-2019.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192-2019.tif", "IsPrimary" : "1", "_SurrogateID" : "18848", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192-detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192-detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192-detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192-detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "18849", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.192-detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.192-detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.192-detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.192-detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "18850", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18087, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18087", "Disp_Access_No" : "2005.193.1/72-72/72", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "La vigilia [The Vigil]", "Alt_Title" : "", "Obj_Title" : "La vigilia [The Vigil]", "Series_Title" : "", "Disp_Maker_1" : "Josefina Guilisasti", "Sort_Artist" : "Guilisasti, Josefina", "Disp_Dimen" : "299.7 cm x 597.6 cm x 25.4 cm (118 in. x 235 1/4 in. x 10 in.)", "Disp_Height" : "299.7 cm", "Disp_Width" : "597.6 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Oil on canvas (72 paintings) on wooden shelves", "Support" : "", "Disp_Medium" : "Oil on canvas (72 paintings) on wooden shelves", "Info_Page_Comm" : "In the 72 paintings comprising La vigilia, 12 different aluminum pots and pans are shown, full scale, against a plain background and from six different angles. The vantage point from which each object is seen, emphasized by the shadow it casts, correlates precisely to the painting’s location within the grid of wooden shelves. Guilisasti’s attention to how perspective within the artwork corresponds to the viewer’s point of view heightens the trompe l’oeil effect of these realistically rendered still lifes. Emphasizing simulation, repetition, and variation, the paintings invite thought and contemplation. The work exudes qualities such as quiet and stillness that are associated with vigils in the United States. In Chile, the artist’s homeland, a common form of peaceful protest is the cacerolazo, a noisy citywide demonstration during which citizens bang pots and pans within their homes to express their discontent. This form of protest emerged as early as the 1970s and occurred frequently in the early 1980s during Augusto Pinochet’s dictatorship. Thus, while this work can be appreciated solely on the basis of form and technique, or as an elegant elevation of the simple and everyday, it can also be seen within the context of Chilean society as a call for action and a demand for change. 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Taking this notion literally, Gumucio places his “models”—three sleeping bags—behind a transparent acrylic pane. Despite the everyday nature of the sleeping bags, the formal arrangement recalls the frieze on the Parthenon built in the 5th century BC on the Acropolis in Athens, Greece. Thus, he takes an ideal of beauty in Classical sculpture as his point of departure. Critics have called Gumucio a Renaissance artist in exile, referring to the Classical references in his work and his mastery of unconventional painting techniques. His work explores the emptiness of illusion and reality, reflected in the vacant, body-less sleeping bags. 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The vacant lot represents emptiness, absence, and abandonment. This work is based on the artist’s own photograph of a totally charmless neglected lot in Santiago. In the distance we see a white concrete house, a reference to Chile’s construction boom of 1996–97 that promised the creation of a new prosperous and coherent city, eliminating violence and social problems. Below the landscape there is a painted image of a book with two figures. This image is taken from a 19th-century medical textbook illustration of women suffering attacks of hysteria. For Jarpa, this representation of hysteria functions as a metaphor for the vacant lot. Just as hysterical symptoms are physically manifested in a patient, they can also be represented in a city in a vacant lot. The title alludes to the 16th-century artist Hieronymus Bosch’s famous painting, The Garden of Earthly Delights. Jarpa has a special predilection for this artist who was concerned, above all, with human wickedness and perversion. 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"Support" : "canvas", "Disp_Medium" : "Egg tempera, and oil mixed with varnish on canvas on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1977", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1977.111.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1977.111.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1977.111.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1977.111.tif", "IsPrimary" : "1", "_SurrogateID" : "1157", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1977.111.tif", "ThumbnailPath" : 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"Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.39.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.39.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.39.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.39.tif", "IsPrimary" : "1", "_SurrogateID" : "2411", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14081, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14081", "Disp_Access_No" : "G1971.3.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Carmen Silva", "Sort_Artist" : "Silva, Carmen", "Disp_Dimen" : "102.2 cm x 122.5 cm (40 1/4 in. x 48 1/4 in.)", "Disp_Height" : "102.2 cm", "Disp_Width" : "122.5 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 John and Barbara Duncan, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Chilean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.47.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.47.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.47.tif", "IIIF_URL": 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The artist was interested in creating a mark-making technique that would avoid abstract gestural brushstrokes on the surface. Her materials (paste, molding medium, rubber and industrial materials) do not belong to the fine arts, but rather refer to pop culture and to the materials of urban poverty. For this exhibition, she decided to paint the entire wall in order to reference the billboard quality in her work. 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