{ "objects" : [ { "embark_ID" : 14701, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14701", "Disp_Access_No" : "1986.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Untitled #8 (Petrouchka)", "Alt_Title" : "", "Obj_Title" : "Untitled #8 (Petrouchka)", "Series_Title" : "", "Disp_Maker_1" : "Nicholas Africano", "Sort_Artist" : "Africano, Nicholas", "Disp_Dimen" : "172.8 cm x 244.2 cm (68 1/16 in. x 96 1/8 in.)", "Disp_Height" : "172.8 cm", "Disp_Width" : "244.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil, acrylic, magna and fabric on canvas", "Support" : "canvas", "Disp_Medium" : "Oil, acrylic, magna and fabric on canvas on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The 1986 Friends of the Archer M. Huntington Art Gallery Purchase", "Copyright_Type" : "All BUT merchandise for museum store", "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/1986.47.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.47.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.47.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.47.tif", "IsPrimary" : "1", "_SurrogateID" : "1401", "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" : 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"https://webkiosk.gallerysystems.com/Objects-1/info/14841", "Disp_Access_No" : "1985.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Dancing with an Old Pair of Legs", "Alt_Title" : "", "Obj_Title" : "Dancing with an Old Pair of Legs", "Series_Title" : "", "Disp_Maker_1" : "John Alexander", "Sort_Artist" : "Alexander, John", "Disp_Dimen" : "228.6 cm x 254.6 cm (90 in. x 100 1/4 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "254.6 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, Michener Acquisitions Fund, 1985", "Copyright_Type" : "all but internet (needs to be asked for internet)", "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/1985.24.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.24.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.24.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.24.tif", "IsPrimary" : "1", "_SurrogateID" : "1320", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19623, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19623", "Disp_Access_No" : "2011.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "Untitled #6 (Sleek, MAC)", "Alt_Title" : "", "Obj_Title" : "Untitled #6 (Sleek, MAC)", "Series_Title" : "", "Disp_Maker_1" : "Jesse Amado", "Sort_Artist" : "Amado, Jesse", "Disp_Dimen" : "33.9 cm x 28.6 cm (13 3/8 in. x 11 1/4 in.)", "Disp_Height" : "33.9 cm", "Disp_Width" : "28.6 cm", "Dimen_Extent" : "sight", "Medium" : "Lipstick on lead", "Support" : "", "Disp_Medium" : "Lipstick on lead", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Barrett Collection, Dallas, Texas, gift of the Dallas Museum of Art, 2011", "Copyright_Type" : "all but internet (needs to be asked about internet)", "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/2011.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2011.3.tif", "IsPrimary" : "1", "_SurrogateID" : "8337", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19823, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19823", "Disp_Access_No" : "2012.45.1/6-6/6", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "We went to the tailor together...", "Alt_Title" : "", "Obj_Title" : "We went to the tailor together...", "Series_Title" : "", "Disp_Maker_1" : "Ken Aptekar", "Sort_Artist" : "Aptekar, Ken", "Disp_Dimen" : "228.6 cm x 152.4 cm (90 in. x 60 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "Installed", "Medium" : "Oil on wood with sandblasted glass and bolts", "Support" : "", "Disp_Medium" : "Oil on wood with sandblasted glass and bolts", "Info_Page_Comm" : "After Bronzino (1503-1572), Portrait of a Young Man, and Luis Eugenio Melendez (1716-1780), Portrait of the artist holding a life study TEXT: We went to the tailor together. I had only dreamed of Mr. Randazzo cutting me a suit out of glen plaid worsted, or aquamarine shantung, like the ones he made my dad. No matter that all I really wanted was a plain black three-button model with side vents, cut from a lightweight wool that wouldn’t itch. I knew that who I was would change more from wearing the suit than from turning 13. That’s when you become a Man, they said. I couldn’t wait to grow as tall as my brothers; I longed for the day my face would look like it did when I sucked in my cheeks. I lift the suit out of its zippered bag, slip into the luxurious fabric, and rise to my feet in front of the assembled congregation. Stepping up to the microphone, I aim the silver pointer in my trembling hand at the words of the Torah. I take a breath. Now tall and handsome, I am singing in my perfect suit. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Cindy and Howard Rachofsky, 2012", "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/2012.45.1-6_6-6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2012.45.1-6_6-6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2012.45.1-6_6-6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2012.45.1-6_6-6.tif", "IsPrimary" : "0", "_SurrogateID" : "9610", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "Photo obtained from donor.", "View" : "" } , ] },{ "embark_ID" : 14695, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14695", "Disp_Access_No" : "1987.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Homo-Fragile", "Alt_Title" : "", "Obj_Title" : "Homo-Fragile", "Series_Title" : "", "Disp_Maker_1" : "Luis Cruz Azaceta", "Sort_Artist" : "Azaceta, Luis Cruz", "Disp_Dimen" : "183.5 cm x 305.4 cm (72 1/4 in. x 120 1/4 in.)", "Disp_Height" : "183.5 cm", "Disp_Width" : "305.4 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, Archer M. Huntington Museum Fund, 1987", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1987.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.1.tif", "IsPrimary" : "1", "_SurrogateID" : "6425", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14346, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14346", "Disp_Access_No" : "1997.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Sleepless", "Alt_Title" : "", "Obj_Title" : "Sleepless", "Series_Title" : "", "Disp_Maker_1" : "Luis Cruz Azaceta", "Sort_Artist" : "Azaceta, Luis Cruz", "Disp_Dimen" : "190.6 cm x 244.5 cm x 28.6 cm (75 1/16 in. x 96 1/4 in. x 11 1/4 in.)", "Disp_Height" : "190.6 cm", "Disp_Width" : "244.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Charcoal, acrylic, gesso, metal studs, photographs, coins and shellac on plywood", "Support" : "Wood", "Disp_Medium" : "Charcoal, acrylic, gesso, metal studs, photographs, coins and shellac on plywood", "Info_Page_Comm" : "Luis Cruz Azaceta's works explore what poet/critic John Yau calls "the frailty of human existence amidst a world full of social anarchy, historically mandated violence, and natural chaos." In a profoundly moving body of work spanning more than twenty-five years, Azaceta has described his personal fears and anxieties. Like many expressionists, he has created much of his imagerywithin the framework of self-portraiture, but never simply to tell his own tale. Convinced that art should try to educate and provoke change, he pushes his audience toward empathy and self-recognition. At the same time, his unfailingly dynamic and inventive use of materials and sense of composition push the technical and aesthetic boundaries of painting as a discipline. Sleepless provides a bridge to the Collection's strong urban scene paintings of the 1930s by Philip Evergood and Reginald Marsh, and especially to the painting Transients by Raphael Soyer. Both Azaceta and Soyer literally put themselves ‘in the picture’ (Soyer’s self-portrait yawns toward the rear of the room); their identification with these men who are without work or shelter challenges viewers to look beyond the numbing repetition of daily news headlines to the totally personal, dehumanizing effects of societal indifference. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1997", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.46.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.46.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.46.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.46.tif", "IsPrimary" : "1", "_SurrogateID" : "1684", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14347, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14347", "Disp_Access_No" : "1997.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "By the River", "Alt_Title" : "", "Obj_Title" : "By the River", "Series_Title" : "", "Disp_Maker_1" : "Radcliffe Bailey", "Sort_Artist" : "Bailey, Radcliffe", "Disp_Dimen" : "208.3 cm x 208.3 cm x 25.4 cm (82 in. x 82 in. x 10 in.)", "Disp_Height" : "208.3 cm", "Disp_Width" : "208.3 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic, oil stick, Plexiglas, photographs, beeswax, gourd and tar", "Support" : "wood", "Disp_Medium" : "Acrylic, oil stick, Plexiglas, photographs, beeswax, gourd and tar on wood", "Info_Page_Comm" : "This vivid construction is Radcliffe Bailey’s deeply felt homage to his ancestors and their journeys through the African diaspora. Richly symbolic, it is an ambitious testament to history and the means of its transmission and interpretation. The literal centerpiece of By the River is a black-and-white reproduction of a photograph of a dignified African American woman, the picture of a long-ago relative given to the artist by his grandmother. Bailey has embellished the picture, surrounding it with distinctly African references as well as numerous words, numerals, and images relating to the slave trade. The photo’s placement recalls Congolese Nkisi statues, votive sculptures carved out of wood whose presumed supernatural powers are indicated in their belly regions. The bright blue that surrounds the picture evokes Oshun, the Yoruban goddess of rivers, while the gourd painted bright red connotes Shango, the god of thunder. Many of the work’s allusions suggest water, recalling Bailey’s grandfather and father, both avid fishermen, as well as symbolizing physical, psychological, and spiritual passage. Bailey views his works as articles of healing. Employing a wealth of texture and detail, he reconstitutes narratives of the past from a respectful, contemporary perspective. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1997", "Copyright_Type" : "Web use only. 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He has a particular affinity for folk or self-taught artists such as William Edmondson (1874–1951), whom he considers the “Brancusi of folk artists.” Using a photo of Edmondson’s studio taken by Edward Weston, Bates depicts the fellow artist in work clothes, carving an angel out of limestone. In the early 1930s, after working for nearly twenty-five years as a janitor at a women’s hospital, Edmondson began carving tombstones for his neighbors in the Nashville, Tennessee “sculpture yard” depicted in this painting by Bates. Edmondson was in his late fifties at the time and described his newfound passion as a vision he received from God. Less than a decade later, in 1937, the Museum of Modern Art gave Edmondson an exhibition, making him the first African American to receive a solo show at the institution. 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Meredith Patricia and Laurence Lasater Miller in memory of their grandmother Frances Cole Miller; and Michener Collection Acquisitions Fund, 1984", "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/1984.37.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.37.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.37.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.37.tif", "IsPrimary" : "1", "_SurrogateID" : "3371", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14368, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14368", "Disp_Access_No" : "1994.38", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Dallas Chaos", "Alt_Title" : "", "Obj_Title" : "Dallas Chaos", "Series_Title" : "", "Disp_Maker_1" : "Peter Dean", "Sort_Artist" : "Dean, Peter", "Disp_Dimen" : "172.7 cm x 183.4 cm (68 in. x 72 3/16 in.)", "Disp_Height" : "172.7 cm", "Disp_Width" : "183.4 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 Lorraine Dean and Gregory Dean, 1994", "Copyright_Type" : "all but internet (permission granted pre-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/1994.38.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.38.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.38.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.38.tif", "IsPrimary" : "1", "_SurrogateID" : "1644", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14367, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14367", "Disp_Access_No" : "1994.39", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Dallas Chaos II", "Alt_Title" : "", "Obj_Title" : "Dallas Chaos II", "Series_Title" : "", "Disp_Maker_1" : "Peter Dean", "Sort_Artist" : "Dean, Peter", "Disp_Dimen" : "212.3 cm x 244 cm (83 9/16 in. x 96 1/16 in.)", "Disp_Height" : "212.3 cm", "Disp_Width" : "244 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Born to Jewish parents on the eve of World War II, Peter Dean and his family fled Germany in 1938 and settled in upper Manhattan. After he matured, Dean pursued a career in geology while teaching himself to paint. Undoubtedly seeing a connection between the two fields, he once noted admiringly that “geological formations break all the rules.” Two aesthetics dominated the scene during Dean’s early career—Abstract Expression and Minimalism—neither of which particularly suited him. Allying himself with a cohort of likeminded painters, he practiced figuration and addressed political issues at a time when both were out of fashion. His subjects were often dark moments in history, including John F. Kennedy’s assassination (in Dallas Chaos, also in The Blanton’s collection) and that of Lee Harvey Oswald (in Dallas Chaos II). The latter presents a garish mash-up of contorted figures rendered with a broad range of expressionistic painting techniques, from centuries-old sgrafitto, in which impasto is incised with lines, to the modern use of glitter to animate surfaces. The composition centers on Jack Ruby’s gun, but a variety of threats proliferate, including the voracious gaze of the media. 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Combining an array of painting techniques, Passed Out depicts a group of adolescent boys in an empty parking lot. The surrounding buildings are painted in a heavy gray impasto that emphasizes their dull, monotonous forms and contrasts with the flat application of paint that renders the sky and pavement. Faceless figures bear unexpected hot pink haloes, an effect of Dorland’s underpainting that separates the group from its otherwise nondescript setting. Two teens stand above a third, sprawled on the cement, while another stands off to the side. Although their activities are concealed, the mischievous nature of their conduct is clear. Dorland’s investigation affirms the re-emergence of narrative as subject matter and displays a rich and nuanced understanding of the language of painting.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Houston Endowment, Inc., in honor of Melissa Jones, 2008", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Canadian", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.150.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.150.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.150.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.150.tif", "IsPrimary" : "1", "_SurrogateID" : "8786", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14275, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14275", "Disp_Access_No" : "2001.94", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Evidence of Houdini's Return", "Alt_Title" : "", "Obj_Title" : "Evidence of Houdini's Return", "Series_Title" : "", "Disp_Maker_1" : "Vernon Fisher", "Sort_Artist" : "Fisher, Vernon", "Disp_Dimen" : "236.2 cm x 236.2 cm x 25.4 cm (93 in. x 93 in. x 10 in.)", "Disp_Height" : "236.2 cm", "Disp_Width" : "236.2 cm", "Dimen_Extent" : "", "Medium" : "Oil, blackboard slating, wooden shelf with cast and painted polyurethane", "Support" : "board", "Disp_Medium" : "Oil, blackboard slating, wooden shelf with cast and painted polyurethane on board", "Info_Page_Comm" : "Vernon Fisher creates complex visual narratives from enigmatic combinations of images, objects, and text. By placing together seemingly disjunctive elements—a photograph, a chalkboard, a cartoon—he challenges viewers to invent their own meanings from what they see. Fisher’s constructions primarily explore processes of memory. Working in his studio from an ever-expanding archive of texts and images, he shuffles and rearranges maps, charts, diagrams torn from scientific journals, personal photographs, and pictures appropriated from magazines and newspapers. When he can see a story unfolding, he embellishes it with drawings and handwritten text, presumably authentic statements in the artist’s hand. But sleight-of-hand invariably trumps authenticity in these impeccably crafted works. Evidence of Houdini’s Return is one in a series of blackboard paintings that trick the eye with illusions. What is real? What is fabricated? What and how do we believe what we see? His tour-de-force trompe l’oeil painting technique is as sly as a magician’s act. The fictional visual tale reads like memory itself—shifting, open-ended, and ambiguous. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Michener Acquisitions Fund and with support from Linda Pace, 2001", "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/2001.94.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.94.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.94.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.94.tif", "IsPrimary" : "1", "_SurrogateID" : "2833", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.94installnote.pdf", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.94installnote.pdf", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.94installnote.pdf", "IIIF_URL": "http://iiif.gallerysystems.com/2001.94installnote.pdf", "IsPrimary" : "0", "_SurrogateID" : "5501", "Image_Type" : "Scan", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16619, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16619", "Disp_Access_No" : "2002.2840", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Tenth St., #10", "Alt_Title" : "", "Obj_Title" : "Tenth St., #10", "Series_Title" : "", "Disp_Maker_1" : "Caio Fonseca", "Sort_Artist" : "Fonseca, Caio", "Disp_Dimen" : "198 cm x 125.6 cm (77 15/16 in. x 49 7/16 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "125.6 cm", "Dimen_Extent" : "sheet", "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 the artist and Charles Cowles, 2002", "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/2002.2840.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2840.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2840.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2840.tif", "IsPrimary" : "1", "_SurrogateID" : "5017", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16665, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16665", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Ellen Gallagher", "Sort_Artist" : "Gallagher, Ellen", "Disp_Dimen" : "198 x 173 cm (77 15/16 x 68 1/8 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "173 cm", "Dimen_Extent" : "canvas", "Medium" : "Ink, acrylic, graphite on paper", "Support" : "canvas", "Disp_Medium" : "Ink, acrylic, graphite on paper on canvas", "Info_Page_Comm" : "The compositional simplicity and luminosity of Gallagher’s Untitled at first recalls the minimalism of painter Agnes Martin,a source Gallagher acknowledges. On closer inspection, one finds a wholly different narrative embedded—an alternative history told obliquely through small, subliminal details. The pattern of dots and lines resolve into cartoon-like lips, eyes and locks of hair that are shorthand for derogatory caricatures of African American features. 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Untitled (Hands/Stranger in the Village) features an excerpt from “Stranger in the Village,” a 1953 essay in which the late African American writer James Baldwin reflects on the year he spent living in a small town in Switzerland. This text is superimposed on a photograph taken during the Million Man March in Washington, DC, in 1995. In Baldwin, Ligon found a writer who spoke directly to his own experience of isolation and displacement as a gay black man. Yet if Baldwin functions as a point of identification for the artist, the opposite is true of the Million Man March. Organized by Louis Farrakhan and the Nation of Islam, the march, with its emphasis on patriarchy and heterosexuality, served to affirm the value of black men but was widely criticized for the invisibility of black women and queer black men. Ligon transferred the excerpt from “Stranger in the Village” to canvas using stencils and coal dust, a byproduct of crushed coal often used to sandblast buildings. In addition to serving as an artistic material, coal dust functions here as a symbol of racial prejudice. It also purposefully obscures the Baldwin text, underscoring the precarious position and visibility of black people in American life.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 2000", "Copyright_Type" : "Contact artist on a case by case basis for all uses", "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/2000.29.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.29.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.29.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.29.tif", "IsPrimary" : "1", "_SurrogateID" : "1728", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14725, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14725", "Disp_Access_No" : "1986.289", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Perseverance", "Alt_Title" : "", "Obj_Title" : "Perseverance", "Series_Title" : "", "Disp_Maker_1" : "Bert Long", "Sort_Artist" : "Long, Bert", "Disp_Dimen" : "76 cm x 61.6 cm (29 15/16 in. x 24 1/4 in.)", "Disp_Height" : "76 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic, hydrostone, and collage", "Support" : "canvas", "Disp_Medium" : "Acrylic, hydrostone, and collage on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Nadine Cochran Vickery, 1986", "Copyright_Type" : "all but internet (needs to be asked for internet)", "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/1986.289.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.289.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.289.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.289.tif", "IsPrimary" : "1", "_SurrogateID" : "1342", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14945, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14945", "Disp_Access_No" : "1983.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Official", "Alt_Title" : "", "Obj_Title" : "Official", "Series_Title" : "", "Disp_Maker_1" : "Kim MacConnel", "Sort_Artist" : "MacConnel, Kim", "Disp_Dimen" : "237.5 cm x 303.5 cm (93 1/2 in. x 119 1/2 in.)", "Disp_Height" : "237.5 cm", "Disp_Width" : "303.5 cm", "Dimen_Extent" : "Cloth", "Medium" : "Acrylic on cotton cloth", "Support" : "Cloth", "Disp_Medium" : "Acrylic on cotton cloth on Cloth", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Huntington Art Gallery Purchase", "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/1984.36.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.36.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.36.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.36.tif", "IsPrimary" : "1", "_SurrogateID" : "1291", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14896, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14896", "Disp_Access_No" : "1984.58", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Painting with Big Bird", "Alt_Title" : "", "Obj_Title" : "Painting with Big Bird", "Series_Title" : "", "Disp_Maker_1" : "Sam Messer", "Sort_Artist" : "Messer, Sam", "Disp_Dimen" : "212.8 cm x 174.6 cm (83 3/4 in. x 68 3/4 in.)", "Disp_Height" : "212.8 cm", "Disp_Width" : "174.6 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1984", "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/1984.58.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.58.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.58.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.58.tif", "IsPrimary" : "1", "_SurrogateID" : "3374", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14857, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14857", "Disp_Access_No" : "1985.169", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Zebras and Hyenas", "Alt_Title" : "", "Obj_Title" : "Zebras and Hyenas", "Series_Title" : "", "Disp_Maker_1" : "Melissa Miller", "Sort_Artist" : "Miller, Melissa", "Disp_Dimen" : "183.7 cm x 213.1 cm (72 5/16 in. x 83 7/8 in.)", "Disp_Height" : "183.7 cm", "Disp_Width" : "213.1 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "In Melissa Miller’s allegorical narratives, animal behavior mimics human foibles and follies. In this vividly expressive work completed early in her career, panicked hyenas have driven a herd of zebras into a stampede in response to a huge fire raging in the distance. Chaos ensues. One can almost hear the sounds of the animals’ terror, and smell the dust and acrid smoke in the claustrophobic scene. Teeming with sensory alerts, the lushly painted surface and the complex formal harmonies and contrasts of color and shape reinforce the image’s urgency. Miller poses tough painterly problems—all those stripes!—in a dramatic tableau that calls attention to catastrophic forces both within and beyond human control. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1985", "Copyright_Type" : "Blanton use only. 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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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Huntington Museum Fund, 1984", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.93.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.93.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.93.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.93.tif", "IsPrimary" : "1", "_SurrogateID" : "3379", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14306, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14306", "Disp_Access_No" : "1999.84", "_AccNumSort1" : "", "Disp_Create_DT" : "1990", "_Disp_Start_Dat" : "1990", "_Disp_End_Date" : "1990", "Disp_Title" : "Still Further South", "Alt_Title" : "", "Obj_Title" : "Still Further South", "Series_Title" : "", "Disp_Maker_1" : "Carl Ostendarp", "Sort_Artist" : "Ostendarp, Carl", "Disp_Dimen" : "152.6 cm x 152.6 cm (60 1/16 in. x 60 1/16 in.)", "Disp_Height" : "152.6 cm", "Disp_Width" : "152.6 cm", "Dimen_Extent" : "Outer dimension", "Medium" : "Oil and foam urethane on linen over board", "Support" : "Board", "Disp_Medium" : "Oil and foam urethane on linen over board on Board", "Info_Page_Comm" : "In Still Further South, Carl Ostendarp has layered a sculptural mound of foam urethane onto a traditional stretched, flat canvas. The resulting effect is startling, suggesting oozing heaviness; the smooth, candy-colored surface is disrupted by the lumpy brown foam relief that threatens to overtake the painting below it. Adding to the work’s disconcerting qualities is Ostendarp’s choice of unusually sweet colors. These expansive color areas make reference to works by the color-field painters of the 1960s, as can be seen here in close juxtaposition (to your right, across the gallery). Like Jules Olitski, Ostendarp uses the medium itself as the form, the image and the content of the work of art. But Ostendarp complicates the matter by reflecting the three-dimensional investigations of sculptor Lynda Benglis’s 1969-70 poured polyurethane foam sculptures as well. This synthesis of two- and three-dimensional formats creates a hybrid object, more painting than sculpture, but painting still. Its precarious fight with gravity from its wall-bound site of presentation raises questions about painting’s ‘behavior.’ In Still Further South and related works, Ostendarp has attempted to combine major elements of formalist abstraction with self-conscious, almost comical references to art history. The resulting parodic reading of formalist painting is very typical of works made in New York in the early 1990s by artists of Ostendarp’s generation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Nancy and Robert Mollers, 1999", "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/1999.84.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.84.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.84.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.84.tif", "IsPrimary" : "1", "_SurrogateID" : "1721", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19583, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19583", "Disp_Access_No" : "2010.84", "_AccNumSort1" : "", "Disp_Create_DT" : "2009", "_Disp_Start_Dat" : "2009", "_Disp_End_Date" : "2009", "Disp_Title" : "Arrangement in Subtle Tones: Elsie", "Alt_Title" : "", "Obj_Title" : "Arrangement in Subtle Tones: Elsie", "Series_Title" : "", "Disp_Maker_1" : "Graydon Parrish", "Sort_Artist" : "Parrish, Graydon", "Disp_Dimen" : "44.5 cm x 31.8 cm (17 1/2 in. x 12 1/2 in.)", "Disp_Height" : "44.5 cm", "Disp_Width" : "31.8 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Richard Hartgrove and Gary Cooper, 2010", "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/2010.84.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.84.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.84.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.84.tif", "IsPrimary" : "1", "_SurrogateID" : "7260", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14274, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14274", "Disp_Access_No" : "2001.97", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Deadline, No. 2", "Alt_Title" : "", "Obj_Title" : "Deadline, No. 2", "Series_Title" : "", "Disp_Maker_1" : "John Pomara", "Sort_Artist" : "Pomara, John", "Disp_Dimen" : "182.88 cm x 121.92 cm (72 in. x 48 in.)", "Disp_Height" : "182.88 cm", "Disp_Width" : "121.92 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil enamel on aluminum panel", "Support" : "", "Disp_Medium" : "Oil enamel on aluminum panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 2001", "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/2001.97.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.97.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.97.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.97.tif", "IsPrimary" : "1", "_SurrogateID" : "1750", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16614", "Disp_Access_No" : "2002.2836", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "#476", "Alt_Title" : "", "Obj_Title" : "#476", "Series_Title" : "", "Disp_Maker_1" : "David Reed", "Sort_Artist" : "Reed, David", "Disp_Dimen" : "86.9 cm x 280.1 cm (34 3/16 in. x 110 1/4 in.)", "Disp_Height" : "86.9 cm", "Disp_Width" : "280.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil and alkyd", "Support" : "linen canvas", "Disp_Medium" : "Oil and alkyd on linen canvas", "Info_Page_Comm" : "Reed’s abstract paintings-about-painting combine aspects of historical styles—the dramatic lighting of Baroque painting, Abstract Expressionism’s expansive gestures, Minimalism’s pristine application of paint—with forward-looking techniques that stress fluidity and motion. Speed builds, stops, and builds again in works whose cinematic horizontality conveys the passage of narrative time. Here the vertical line dividing the image suggests a mirror or parts in dialogue. Lush but artificial color adds urgency to looping painterly gestures whose paradoxical precision appears almost photographic. Reed’s paintings examine moments of time as if they were palpable and visible. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 2002", "Copyright_Type" : "all uses approved including 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/2002.2836.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2836.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2836.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2836.tif", "IsPrimary" : "1", "_SurrogateID" : "2010", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14837, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14837", "Disp_Access_No" : "1985.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Five Nudes with Still Life", "Alt_Title" : "", "Obj_Title" : "Five Nudes with Still Life", "Series_Title" : "", "Disp_Maker_1" : "Judy Rifka", "Sort_Artist" : "Rifka, Judy", "Disp_Dimen" : "243.8 cm x 280.6 cm x 31.7 cm (96 in. x 110 1/2 in. x 12 1/2 in.)", "Disp_Height" : "243.8 cm", "Disp_Width" : "280.6 cm", "Dimen_Extent" : "HLW", "Medium" : "Oil on two linen panels", "Support" : "canvas", "Disp_Medium" : "Oil on two linen panels on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Inspired by a twelve-page musical score, this painting is one from a series in which Roden transcribed sound into image by assigning every note in the musical arrangement a visual character—line, shape, color, etc.—in order to explore the relations between relative systems of art and communication. In gray clouds and faint drones resonating, Roden’s vigorous juxtapositions of color, line, and form make the canvas appear to pulsate. Musical notes translated into visual form generate a sophisticated composition of an entirely different kind.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the 2007-2008 Blanton Contemporary Salon, 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/2008.158.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.158.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.158.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.158.tif", "IsPrimary" : "1", "_SurrogateID" : "5355", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20635, "URL" : 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My work reflects those little pieces of insanity we so cleverly disguise … whether it is through the written word, the formal elements of the painting or the figurative image. These “stories” are never complete, but only fragments of something bigger than painting. Random everyday experiences, idle conversations, diverse memories, and thoughts about love, life and society provide the main sources of inspiration for Mark Todd’s paintings and poems. However incidental and private the impulses of the works, Todd’s canvases raise pertinent questions about the anxieties of modern life and the limits of human relationships. His paintings seem to remind the viewer of the troublesome and absurd sides of human existence, the distressing part of life most of us have chosen to repress, or cleverly disguise, in order to lead comfortable lives. Todd’s canvases are multi-layered, fragmented, and disjointed. The material, as well as the formal visual and textual elements, seem to be the result of a process of modification, erasure, addition, and revision. The viewer can envision the artist at work in his studio: first applying the paint with fervent brushstrokes, then scraping, scratching and incising the paint with scribbles, images and words. The artist’s working process is captured in the paint, and the viewer is a witness to this involved labor. It is tempting to compare Todd’s paintings to old, graffiti-covered walls where text and images do not correspond in a singular relationship. The connection between the elements of his works is complex, ambiguous and disorienting, and the viewer’s quest for meaning remains unresolved. 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Waddell", "Sort_Artist" : "Waddell, Theodore J.", "Disp_Dimen" : "121.9 cm x 183.3 cm (48 in. x 72 3/16 in.)", "Disp_Height" : "121.9 cm", "Disp_Width" : "183.3 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, Michener Acquisitions Fund, 1984", "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/1984.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.86.tif", "IsPrimary" : "1", "_SurrogateID" : "3377", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "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" : 19288, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19288", "Disp_Access_No" : "2008.139", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Tattoo VI", "Alt_Title" : "", "Obj_Title" : "Tattoo VI", "Series_Title" : "", "Disp_Maker_1" : "Janice Urnstein Weissman", "Sort_Artist" : "Weissman, Janice Urnstein", "Disp_Dimen" : "119.4 cm x 135.9 cm (47 in. x 53 1/2 in.)", "Disp_Height" : "119.4 cm", "Disp_Width" : "135.9 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 Alan Weissman, 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/2008.139.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.139.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.139.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2008.139.TIF", "IsPrimary" : "1", "_SurrogateID" : "9556", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14973, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14973", "Disp_Access_No" : "1983.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Food Descending the Starecase", "Alt_Title" : "", "Obj_Title" : "Food Descending the Starecase", "Series_Title" : "", "Disp_Maker_1" : "William T. Wiley", "Sort_Artist" : "Wiley, William T.", "Disp_Dimen" : "218.9 cm x 287.3 cm (86 3/16 in. x 113 1/8 in.)", "Disp_Height" : "218.9 cm", "Disp_Width" : "287.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal and acrylic", "Support" : "canvas", "Disp_Medium" : "Charcoal and acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "all (needs to be contacted about internet)", "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/1983.1.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.1.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.1.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1983.1.TIF", "IsPrimary" : "1", "_SurrogateID" : "9562", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14839, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14839", "Disp_Access_No" : "1985.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Mrs. Jenkins' Late Night Dinner in Her Room, Alone (While, Out in the Hall Leading to Her Room, Her Small Friends were Sleeping)", "Alt_Title" : "", "Obj_Title" : "Mrs. Jenkins' Late Night Dinner in Her Room, Alone (While, Out in the Hall Leading to Her Room, Her Small Friends were Sleeping)", "Series_Title" : "", "Disp_Maker_1" : "Donald Roller Wilson", "Sort_Artist" : "Wilson, Donald Roller", "Disp_Dimen" : "127 cm x 182.9 cm (50 in. x 72 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "182.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The title of Mrs. Jenkins’ Late Night Dinner in Her Room, Alone (While, Out in the Hall Leading to Her Room, Her Small Friends Were Sleeping) and a poem that accompanies it tell part of a sprawling story while the haunting and realistic large-scale canvas tells another. With words and images, Donald Roller Wilson weaves a Southern Gothic of sorts. In the painting we do not see Mrs. Jenkins, who is invoked in the poem, or the surreal cast of characters that recur in many of Wilson’s canvases, often animals dressed in vintage clothing. Employing the painting techniques of seventeenth-century Dutch masters such as Rembrandt van Rijn, Wilson paints from life, filling his studio with scouted artifacts. He attends to every detail with photographic precision and the finest of touches: here, the wrinkles and folds of the fabric covering the chairs, the halos of stains coming through the paint on the walls, and the evocative play of light and shadow dancing across the room. Mrs. Jenkins’ late night dinner in her room, alone (While, out in the hall leading to her room, her small friends were sleeping) Mrs. Jenkins set her table Made it look like two Had dined together in her room last night And in the morning—through her keyhole Most who peeked inside Had seen the plates but none had seen the light And very few who saw caught on For most were fooled—it seemed And those who knew had tried to be polite They knew that though she played her tricks Down deep, she was inside And, in the end, that she would be allright Donald Roller Wilson, 6:32 p.m., Saturday evening, July 14 ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the 1985 Friends of the Archer M. Huntington Art Gallery", "Copyright_Type" : "all approved (6/17/11)", "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/1985.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.33.tif", "IsPrimary" : "1", "_SurrogateID" : "1322", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14649, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14649", "Disp_Access_No" : "1987.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Cry, What Shall I Cry?", "Alt_Title" : "", "Obj_Title" : "Cry, What Shall I Cry?", "Series_Title" : "", "Disp_Maker_1" : "Dee I. Wolff", "Sort_Artist" : "Wolff, Dee I.", "Disp_Dimen" : "200.7 cm x 254 cm (79 in. x 100 in.)", "Disp_Height" : "200.7 cm", "Disp_Width" : "254 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, Michener Acquisitions Fund, 1987", "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/1987.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.4.tif", "IsPrimary" : "1", "_SurrogateID" : "1477", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16611, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16611", "Disp_Access_No" : "2002.2833", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Selah", "Alt_Title" : "", "Obj_Title" : "Selah", "Series_Title" : "", "Disp_Maker_1" : "Dee I. Wolff", "Sort_Artist" : "Wolff, Dee I.", "Disp_Dimen" : "134.5 cm x 167.4 cm (52 15/16 in. x 65 7/8 in.)", "Disp_Height" : "134.5 cm", "Disp_Width" : "167.4 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Acrylic, gold leaf and oil ", "Support" : "canvas", "Disp_Medium" : "Acrylic, gold leaf and oil on canvas", "Info_Page_Comm" : "“Selah” is a Hebrew word that means the pause at the end of a line of a hymn before the next line begins. It is a moment for waiting and gathering, an instant of suspended alertness that shapes what is to come.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2002", "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/2002.2833.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2833.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2833.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2833.tif", "IsPrimary" : "1", "_SurrogateID" : "4150", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14886, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14886", "Disp_Access_No" : "1984.80", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Triangle", "Alt_Title" : "", "Obj_Title" : "Triangle", "Series_Title" : "", "Disp_Maker_1" : "Robert Yarber", "Sort_Artist" : "Yarber, Robert", "Disp_Dimen" : "168.8 cm x 168.8 cm (66 7/16 in. x 66 7/16 in.)", "Disp_Height" : "168.8 cm", "Disp_Width" : "168.8 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, Michener Acquisitions Fund and the Archer M. Huntington Museum Fund, 1984", "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/1984.80.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.80.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.80.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.80.tif", "IsPrimary" : "1", "_SurrogateID" : "1303", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }