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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. 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"Disp_Medium" : "Oil and acrylic on wood", "Info_Page_Comm" : "Dorland’s paintings draw from his own upbringing in small-town Alberta to reveal the unexpected beauty and sordid underside of suburban life. 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" : 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. By referencing cultural stereotypes and their effect on perception and communication, Gallagher teases the authority of the modernist grid.", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2001", "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/T2000.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2000.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2000.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2000.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2560", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16664, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16664", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Painter and Loid Struggle for Soul Control", "Alt_Title" : "", "Obj_Title" : "Painter and Loid Struggle for Soul Control", "Series_Title" : "", "Disp_Maker_1" : "Trenton Doyle Hancock", "Sort_Artist" : "Hancock, Trenton Doyle", "Disp_Dimen" : "261.6 cm x 302.3 cm (103 in. x 119 in.)", "Disp_Height" : "261.6 cm", "Disp_Width" : "302.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Mixed media", "Support" : "canvas", "Disp_Medium" : "Mixed media on canvas", "Info_Page_Comm" : "Trenton Doyle Hancock is a storyteller. His practice, from painting to performance, is built on a wild and elaborate mythology that unfurls with each new work he produces. This allegorical assemblage introduces viewers to Painter and Loid, superheroes who battle for the departing soul of the recently deceased Legend, the striped, mound-shaped character in the lower right of the work. Painter is represented by strokes of hot, bright color, and Loid by the black-and-white text branches that twist and turn throughout this work. In Hancock’s ever-growing narrative, Legend is the first of the Mounds, a species of striped half-human, half-plant mutants under siege by another group called the Vegans. Painter and Loid are in a heated battle at a turning point in Hancock’s story. 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