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The photograph of Antoni balancing a clay vessel on her head has been inverted so the exact opposite appears true. Simply by changing the orientation of the photograph, Antoni has relieved the female body of the tasks it has historically performed either as a domestic laborer or as a caryatid, a draped figure used as a support in classic architecture. The same vessel that “supports” Antoni in the photograph now lies shattered on the gallery floor, a mystery the artist leaves up to the viewer to solve. Interweaving sculpture, photograph, and performance, Caryatid is a deliberately elusive work of art. 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Domestic linens appear prominently in Centurión’s earlier work as well: in the early 1990s he explored notions of beauty, sexuality, and femininity through a series of large painted or embroidered blankets. Towards the end of his life he began working on a smaller scale due to his weak and bedridden circumstances. These embroidered pillows and linens articulate the passion, desire, and despair of Centurión’s emotional and mental states at that time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.175.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.175.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.175.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.175.tif", "IsPrimary" : "1", "_SurrogateID" : "2935", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17278", "Disp_Access_No" : "2004.180", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1996", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "2001", "Disp_Title" : "Sueña [Dream]", "Alt_Title" : "", "Obj_Title" : "Sueña [Dream]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "22 cm x 31 cm (8 11/16 in. x 12 3/16 in.)", "Disp_Height" : "22 cm", "Disp_Width" : "31 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered pillow", "Support" : "", "Disp_Medium" : "Hand embroidered pillow", "Info_Page_Comm" : "In Buenos Aires in the 1990s, a new generation of artists responded enthusiastically to the recent democratically elected government and to the air of social tolerance that came with it. Feliciano Centurión was a central figure in the Arte Light movement, known for irreverent works that embodied progressive attitudes about lifestyle and sexuality. Centurión embroidered “Sueña” at the hospital where he received treatment for the HIV-related complications that led to his early death. In this work, pillows are recognized as being both familiar and evocative: in their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Weak and bedridden towards the end of his life, Centurión embroidered linens and smaller-scale pillows, such as this one, that express his grief and acceptance of his illness. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.180.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.180.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.180.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.180.tif", "IsPrimary" : "1", "_SurrogateID" : "2716", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17275, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17275", "Disp_Access_No" : "2004.177", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1996", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "2001", "Disp_Title" : "Reposa [Rest]", "Alt_Title" : "", "Obj_Title" : "Reposa [Rest]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "22 cm x 38 cm (8 11/16 in. x 14 15/16 in.)", "Disp_Height" : "22 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered pillow", "Support" : "", "Disp_Medium" : "Hand embroidered pillow", "Info_Page_Comm" : "Few objects are as common and as evocative as pillows. In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.177.tif", "IsPrimary" : "1", "_SurrogateID" : "2714", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17276", "Disp_Access_No" : "2004.178", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1996", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "2001", "Disp_Title" : "Soledad [Solitude]", "Alt_Title" : "", "Obj_Title" : "Soledad [Solitude]", "Series_Title" : "", "Disp_Maker_1" : "Feliciano Centurión", "Sort_Artist" : "Centurión, Feliciano", "Disp_Dimen" : "26 cm x 43 cm (10 1/4 in. x 16 15/16 in.)", "Disp_Height" : "26 cm", "Disp_Width" : "43 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Hand embroidered pillow", "Support" : "", "Disp_Medium" : "Hand embroidered pillow", "Info_Page_Comm" : "Few objects are as common and as evocative as pillows. In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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In their place at the “head” of the bed, they are associated with our bodies as we rest, love, convalesce, sleep, and die. Feliciano Centurión embroidered these pillowcases at the hospital where he received treatment for the HIV-related complications that led to his early death. The blue eyes with frilly lace lashes of “Luz divina del alma” are both comic and poignant when paired with the embroidered title. In “Soledad,” the delicate handwriting of the embroidery radiates vulnerability, making the decorative lace along the edge (an important tradition in the artist’s native Paraguay) all the more moving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Museum purchase with funds provided by Donald R. 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Mullins, Jr., 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "textile", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.179.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.179.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.179.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.179.tif", "IsPrimary" : "1", "_SurrogateID" : "2936", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16666, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16666", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Castle Number One", "Alt_Title" : "", "Obj_Title" : "Castle Number One", "Series_Title" : "", "Disp_Maker_1" : "Anne Chu", "Sort_Artist" : "Chu, Anne", "Disp_Dimen" : "96.5 cm x 76.2 cm x 78.7 cm (38 in. x 30 in. x 31 in.)", "Disp_Height" : "96.5 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "HWD", "Medium" : "Painted wood and resin, with fiberglass and wood base", "Support" : "", "Disp_Medium" : "Painted wood and resin, with fiberglass and wood base", "Info_Page_Comm" : "Anne Chu’s enigmatic sculpture morphs from solid to void and from surface to volume, its idiosyncratic forms suggesting both ancient and contemporary art. Mixing up seemingly disjunctive references to Western European medieval architecture (a castle with parapet), Chinese landscape painting (the way the castle merges with the carved ripples of the jagged hillside), and modernist design (the assertive but clunky rectangular base), Chu has created an odd and unexpected hybrid that blends artistic styles and iconic images from diverse traditions. Fluent in the art of watercolor as well as sculpture, Chu gives her three-dimensional works an intentionally unfinished appearance, while embellishing them with traces of color that define motion rather than form. As massive and bulky, even ungainly, as Castle Number One is, it feels like a quick sketch, like something mutable and transitory. Wondering what the tensions between painting and sculpture, abstraction and representation, and Eastern and Western cultural idioms “look” like, she has arrived at an open-ended conclusion—much as the base of the sculpture itself is open-sided at its back. Interrogatory by nature, Chu’s quirky castle comments on the unprecedented change and flux that characterize contemporary life and affect our perceptions of the world. ", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2001", "Copyright_Type" : "Educational use on Internet and scholarly publications; not merchandise, images", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2001.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.2.tif", "IsPrimary" : "1", "_SurrogateID" : "2766", "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" : 16846, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16846", "Disp_Access_No" : "2003.83", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1986", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1991", "Disp_Title" : "Untitled, from El síndrome de Marco Polo [The Marco Polo Syndrome]", "Alt_Title" : "", "Obj_Title" : "Untitled, from El síndrome de Marco Polo [The Marco Polo Syndrome]", "Series_Title" : "", "Disp_Maker_1" : "Flavio Garciandía", "Sort_Artist" : "Garciandía, Flavio", "Disp_Dimen" : "99.1 cm x 129.5 cm (39 in. x 51 in.)", "Disp_Height" : "99.1 cm", "Disp_Width" : "129.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic and glitter ", "Support" : "canvas", "Disp_Medium" : "Acrylic and glitter on canvas", "Info_Page_Comm" : "Flavio Garciandía has been a leading figure in contemporary Cuban art since the 1970s. In “The Marco Polo Syndrome" series, Garciandía transforms the well-known comic-book character Cap. Elpidio Valdés, who fought against colonialism in Cuba, into a contemporary Marco Polo. Like the famed thirteenth-century Italian traveler, this Valdés goes to China, where he adopts the local language and dress. In this painting, Garciandía combines motifs appropriated from kitsch and popular culture to highlight how we tend to think about cultures different than our own in stereotypical terms. When Valdés returns home to the island, he is perceived through a filter of cultural clichés and he is no longer understood by his people. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Fran Magee and Gallery 106, 2003", "Copyright_Type" : "all approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.83.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.83.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.83.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.83.tif", "IsPrimary" : "1", "_SurrogateID" : "2146", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16913, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16913", "Disp_Access_No" : "2003.108", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Buenos Aires (I Used to Love that Suicide World)", "Alt_Title" : "", "Obj_Title" : "Buenos Aires (I Used to Love that Suicide World)", "Series_Title" : "", "Disp_Maker_1" : "Diego Gravinese", "Sort_Artist" : "Gravinese, Diego", "Disp_Dimen" : "121.3 cm x 152.4 cm (47 3/4 in. x 60 in.)", "Disp_Height" : "121.3 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "While Photorealism is usually explained as a uniquely American artistic style, it has also had important contributions in Latin America. Gravinese, a young artist from Argentina, is a leading figure within the contemporary re-birth of this style. The precise realism of this painting, based on a photograph, is contradicted by the loose, gestural marks on the surface, which remind the viewer that this is a painting, not a photograph. This work was painted while the artist was in New York, and the title refers to his nostalgia for Buenos Aires’s frantic nightlife. The photograph of a frozen suspended image, and its animated surface, recall the bitter-sweet experience of nostalgia, memory, and longing.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 2003", "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/2003.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.108.tif", "IsPrimary" : "1", "_SurrogateID" : "2105", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16910", "Disp_Access_No" : "2003.107", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Alt_Title" : "", "Obj_Title" : "Esfera (Serie desequilibrios) 1-I [Sphere (Imbalance Series) 1-I]", "Series_Title" : "", "Disp_Maker_1" : "Víctor Grippo", "Sort_Artist" : "Grippo, Víctor", "Disp_Dimen" : "44.1 cm x 34.3 cm x 11.6 cm (17 3/8 in. x 13 1/2 in. x 4 9/16 in.)", "Disp_Height" : "44.1 cm", "Disp_Width" : "34.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Glazed wooden box, plaster and paint ", "Support" : "", "Disp_Medium" : "Glazed wooden box, plaster and paint ", "Info_Page_Comm" : "In the 1980’s, Victor Grippo created a series of stage set-like sculptures called “Balance” that featured small scenes illustrating physical acts of cause and effect. He followed it with a complementary series called “Imbalance” that includes “Esfera.” On the left side a red ball rests on a shelf next to a shattered white crucible. An unbroken crucible rests next to the shards, painted above it is red and black circle. Grippo’s puzzling tableau contrasts real objects with their two-dimensional images and unsettles scientific rules that connect cause with its possible effects. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.107.tif", "IsPrimary" : "1", "_SurrogateID" : "2104", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17732, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17732", "Disp_Access_No" : "2005.173.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Untitled (diptych)", "Alt_Title" : "", "Obj_Title" : "Untitled (diptych)", "Series_Title" : "", "Disp_Maker_1" : "Jorge Gumier Maier", "Sort_Artist" : "Gumier Maier, Jorge", "Disp_Dimen" : "192 cm x 200 cm (75 9/16 in. x 78 3/4 in.)", "Disp_Height" : "192 cm", "Disp_Width" : "200 cm", "Dimen_Extent" : "outer dimension (approx.)", "Medium" : "Acrylic", "Support" : "carved wood", "Disp_Medium" : "Acrylic on carved wood", "Info_Page_Comm" : "As director of the Centro Cultural Ricardo Rojas during the 1990s, Gumier Maier was one of the key promoters of the “Arte Light” movement that replaced the angst-ridden and politically charged work of the 1980s with a new taste for the showy and irreverent. He uses curvilinear forms to produce an ironic commentary on art history, particularly the tension between the serious, so-called masculine aspirations of geometrical abstraction and the “effeminate” arabesques of the Baroque. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Blanton Latin American Circle, 2005", "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/2005.173.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.173.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.173.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.173.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "6500", "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. His prolific body of work is the result of an encyclopedic knowledge of high and low art forms and a fertile imagination.", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2001", "Copyright_Type" : "edu; promo; merch; 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/T2001.3_detail1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.3_detail1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.3_detail1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.3_detail1.tif", "IsPrimary" : "0", "_SurrogateID" : "12929", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2001.3_detail2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.3_detail2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.3_detail2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.3_detail2.tif", "IsPrimary" : "0", "_SurrogateID" : "12930", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2001.3_detail3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.3_detail3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.3_detail3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.3_detail3.tif", "IsPrimary" : "0", "_SurrogateID" : "12931", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2001.3_detail4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.3_detail4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.3_detail4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.3_detail4.tif", "IsPrimary" : "0", "_SurrogateID" : "12932", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2001.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2001.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2001.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2001.3.tif", "IsPrimary" : "1", "_SurrogateID" : "12934", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17304, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17304", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "Buddha with Wall", "Alt_Title" : "", "Obj_Title" : "Buddha with Wall", "Series_Title" : "", "Disp_Maker_1" : "Rachel Harrison", "Sort_Artist" : "Harrison, Rachel", "Disp_Dimen" : "203.2 cm x 208.3 cm x 101.6 cm (80 in. x 82 in. x 40 in.)", "Disp_Height" : "203.2 cm", "Disp_Width" : "208.3 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Wood, Styrofoam, white Portland cement, Parex adhesive, acrylic paint, and plastic statue on plywood base", "Support" : "", "Disp_Medium" : "Wood, Styrofoam, white Portland cement, Parex adhesive, acrylic paint, and plastic statue on plywood base", "Info_Page_Comm" : "Known for her startling, often humorous combinations of found objects, Rachel Harrison questions notions of value and meaning in her sculptures. In "Buddha with Wall," the viewer encounters a rough, concrete-covered wall incised with goldpainted lines that form an overall abstract composition. The wall sits on the floor without explanation, blurring distinctions between architecture, sculpture, and painting, and teasingly obscures something from sight. Behind it, a large, grinning plastic Buddha wearing a white and gold robe unexpectedly greets the viewer. The Buddha, salvaged from a defunct storefront church by the artist, contradictorily represents both a mass-produced kitsch object and a hand-painted religious sculpture. Composed of two seemingly disparate elements, the work employs figuration and abstraction to explore themes of religion and commodification, as well as modes of production and display. For Harrison, her work is about “putting subjects together, not objects together.”", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "All", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.1.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.1.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.1.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.1.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "2767", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17088, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17088", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2002", "_Disp_Start_Dat" : "2002", "_Disp_End_Date" : "2002", "Disp_Title" : "Night Before Last", "Alt_Title" : "", "Obj_Title" : "Drawing from Night Before Last 5R", "Series_Title" : "", "Disp_Maker_1" : "Arturo Herrera", "Sort_Artist" : "Herrera, Arturo", "Disp_Dimen" : "175 cm x 251.5 cm (68 7/8 in. x 99 in.)", "Disp_Height" : "175 cm", "Disp_Width" : "251.5 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Graphite on paper", "Support" : "", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "Elegant lines create languid, looping rhythms and abstract forms of equal parts positive and negative space. Layering shapes that look fluid, viscous, and vaguely familiar, Herrera has established an associative imagery with snippets of body parts from children’s animated films, cropped landscape elements recalling fairy tales, and silhouetted drips and flows that resemble paint. The resulting visual jumble discourages specific and logical readings, and makes the process of perception self-conscious and disorienting. This grid of sixteen intriguing drawings serves as an atlas of images that has generated much of Herrera’s work in the past few years.", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2003", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Venezuelan", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2003.3.1-16_16-16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2003.3.1-16_16-16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2003.3.1-16_16-16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2003.3.1-16_16-16.tif", "IsPrimary" : "1", "_SurrogateID" : "2568", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17305, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17305", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "Patrick", "Alt_Title" : "", "Obj_Title" : "Patrick", "Series_Title" : "", "Disp_Maker_1" : "Oliver Herring", "Sort_Artist" : "Herring, Oliver", "Disp_Dimen" : "106.7 cm x 45.7 cm x 69.8 cm (42 in. x 18 in. x 27 1/2 in.)", "Disp_Height" : "106.7 cm", "Disp_Width" : "45.7 cm", "Dimen_Extent" : "HWD", "Medium" : "Foam core, matboard, digital chromogenic prints, and polystyrene", "Support" : "", "Disp_Medium" : "Foam core, matboard, digital chromogenic prints, and polystyrene", "Info_Page_Comm" : "Oliver Herring often takes his studio with him on the road, where he seeks out people he wouldn’t meet under normal circumstances. A man named Patrick posed for Herring in several studio sessions in which the artist photographed the model’s body in intimate detail. Herring invites his subjects to determine how they wish to present themselves physically, and Patrick chose a pose from French sculptor Auguste Rodin’s famous work "The Thinker." Herring then carved a shape of Patrick’s body out of foam core and covered it with a patchy skin made of photographs. For Herring, the work comes out of his interest in video. “I took thousands of close-up photos of Patrick’s body from every angle,” he recently told the Blanton, “and if I pasted those together and made a stop-motion video, you could retrace the movement of the camera as I’m discovering and exploring his body. That time-based activity is incorporated into the work. . . . These photo-sculptures presented an outlet for me to dig a little deeper into a particular human story I wouldn’t normally have access to.”", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "Scholarly publications; reproductions for educational study; merchandising; non-profit, educational web use", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "German", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.2.tif", "IsPrimary" : "0", "_SurrogateID" : "2768", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.2-2017-detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.2-2017-detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.2-2017-detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.2-2017-detail.tif", "IsPrimary" : "0", "_SurrogateID" : "15058", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.2-2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.2-2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.2-2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.2-2017.tif", "IsPrimary" : "1", "_SurrogateID" : "15059", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17306, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17306", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2002", "_Disp_Start_Dat" : "2002", "_Disp_End_Date" : "2002", "Disp_Title" : "From Texas with Love", "Alt_Title" : "", "Obj_Title" : "From Texas with Love", "Series_Title" : "", "Disp_Maker_1" : "Emily Jacir", "Sort_Artist" : "Jacir, Emily", "Disp_Dimen" : "1:00", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Video installation", "Support" : "", "Disp_Medium" : "Video installation", "Info_Page_Comm" : "Jacir asked a group of Palestinians, “If you had the freedom to get in a car and drive for an hour without being stopped (imagine that there is no Israeli military occupation, … no Israeli checkpoints and roadblocks…), what song would you listen to?” Video footage of the vast West Texas desert serves as a backdrop to their responses. As a symbol of the freedoms that many Americans take for granted, this landscape also contrasts sharply and poignantly with the fantasies of mobility shared among Palestinians living in the occupied territories. 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II", "Series_Title" : "", "Disp_Maker_1" : "Wangechi Mutu", "Sort_Artist" : "Mutu, Wangechi", "Disp_Dimen" : "93.9 cm x 64.7 cm (36 15/16 in. x 25 1/2 in.)", "Disp_Height" : "93.9 cm", "Disp_Width" : "64.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Ink, acrylic, collage, and mixed media", "Support" : "mylar", "Disp_Medium" : "Ink, acrylic, collage, and mixed media on mylar", "Info_Page_Comm" : "A disturbing subtext underlies Wangechi Mutu’s beguiling work. Violence and brutality, not to mention graphic sexuality, haunt these two images of what appear, from a distance, like elegant, slightly abstracted depictions of glamorous women. This tension between beauty and horror results in large part from the diverse array of materials that Mutu employs. From fashion, pornographic, and ethnographic magazines as well as books on aerial photography, Mutu collects, crops, and assembles found photographs, supplementing them with layers of ink and acrylic to create highly personalized and strongly politicized images of the female form. Mutu’s half-human, half-monsters address such charged issues as gender relations, feminine beauty, and social and ethnic conflict in Africa. ", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Kenyan", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.4.tif", "IsPrimary" : "1", "_SurrogateID" : "3469", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17308, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17308", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "In Whose Image?", "Alt_Title" : "Untitled (face looking left)", "Obj_Title" : "In Whose Image?", "Series_Title" : "", "Disp_Maker_1" : "Wangechi Mutu", "Sort_Artist" : "Mutu, Wangechi", "Disp_Dimen" : "91.4 cm x 69.2 cm (36 in. x 27 1/4 in.)", "Disp_Height" : "91.4 cm", "Disp_Width" : "69.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Ink, acrylic, collage, and mixed media", "Support" : "mylar", "Disp_Medium" : "Ink, acrylic, collage, and mixed media on mylar", "Info_Page_Comm" : "A disturbing subtext underlies Wangechi Mutu’s beguiling work. Violence and brutality, not to mention graphic sexuality, haunt these two images of what appear, from a distance, like elegant, slightly abstracted depictions of glamorous women. This tension between beauty and horror results in large part from the diverse array of materials that Mutu employs. From fashion, pornographic, and ethnographic magazines as well as books on aerial photography, Mutu collects, crops, and assembles found photographs, supplementing them with layers of ink and acrylic to create highly personalized and strongly politicized images of the female form. Mutu’s half-human, half-monsters address such charged issues as gender relations, feminine beauty, and social and ethnic conflict in Africa. ", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Kenyan", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.5.tif", "IsPrimary" : "1", "_SurrogateID" : "3470", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17379, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17379", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "Everything that stands will be at odds with its neighbor and everything that falls will perish without grace", "Alt_Title" : "", "Obj_Title" : "Everything that stands will be at odds with its neighbor and everything that falls will perish without grace", "Series_Title" : "", "Disp_Maker_1" : "Robyn O'Neil", "Sort_Artist" : "O'Neil, Robyn", "Disp_Dimen" : "239.4 cm x 396.3 cm x 6.35 cm (94 1/4 in. x 156 in. x 2 1/2 in.)", "Disp_Height" : "239.4 cm", "Disp_Width" : "396.3 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Graphite on paper", "Support" : "", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "Over three months, using only pencil and paper, O’Neil crafted an alternate universe whose expansive size, meticulous detail, and disturbing subject matter have a powerful impact on the viewer. Here a mountainous landscape sets the stage for an absurdist narrative: slightly overweight men in identical sweatsuits run, crawl, and fall seemingly without purpose or direction. The composition’s deliberate allusion to Hieronymous Bosch’s early sixteenth-century altarpiece The Garden of Earthy Delights, as well as the title, whose cadence recalls Old Testament prophesies of impending disaster, create a strong sensation of dread. ", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2004", "Copyright_Type" : "all approved", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2004.2.1-3_3-3_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2004.2.1-3_3-3_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2004.2.1-3_3-3_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2004.2.1-3_3-3_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "5468", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2004.2.1-3_3-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2004.2.1-3_3-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2004.2.1-3_3-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2004.2.1-3_3-3.tif", "IsPrimary" : "1", "_SurrogateID" : "6495", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17288, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17288", "Disp_Access_No" : "2005.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Disecciones reales, núm. 23 [Real Dissections, No. 23]", "Alt_Title" : "", "Obj_Title" : "Disecciones reales, núm. 23 [Real Dissections, No. 23]", "Series_Title" : "", "Disp_Maker_1" : "Roberto Obregón", "Sort_Artist" : "Obregón, Roberto", "Disp_Dimen" : "55.8 cm x 76.2 cm (21 15/16 in. x 30 in.)", "Disp_Height" : "55.8 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Petals on paper", "Support" : "", "Disp_Medium" : "Petals on paper", "Info_Page_Comm" : "Obregón’s work, like that of Feliciano Centurión (also in this gallery), deals with the poetry of small gestures. Obregón spent many years obsessively dissecting and cataloguing flower petals. This repetitive and ultimately futile activity suggests the meticulous focus of scientific analysis, but it is more importantly a search for the essence of love through the artist’s determined attempt to somehow get inside one of love’s most powerful symbols. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Tinta and Pablo Henning, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Venezuelan", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.3.tif", "IsPrimary" : "1", "_SurrogateID" : "2719", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16837, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16837", "Disp_Access_No" : "2003.77", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Poli IV (Cop IV), from the series Orillese a la orilla (Edge Over to the Edge)", "Alt_Title" : "", "Obj_Title" : "Poli IV (Cop IV), from the series Orillese a la orilla (Edge Over to the Edge)", "Series_Title" : "", "Disp_Maker_1" : "Yoshua Okón", "Sort_Artist" : "Okón, Yoshua", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Color video with sound", "Support" : "", "Disp_Medium" : "Color video with sound", "Info_Page_Comm" : "Okón generally invites ordinary people to act in his videos, offering them a fee in exchange for working with him to broadly define and perform a storyline. Poli IV is one of a series of six videos the artist created in collaboration with different Mexico City policemen. In this case, Okón asked an officer to repeat a baton-twirling routine he had performed on the street. For the filming, the policeman embellished his performance, displaying a combination of martial-arts movements, bodybuilding poses, and sexual gestures. Okón shot the video straight-on with a handheld camera, against a plain backdrop, giving the video an amateurish look. When the piece is displayed, the life-size projection of the figure creates a one-to-one relation with the viewer. The unfiltered and extravagant performance undermines and implicitly ridicules the policeman’s authority. Visitor response to the work ranges from amusement to disgust at what might be seen as the acting out of arrogant, testosterone-fueled fantasies by a uniformed law enforcer. Meanwhile the viewer, as anonymous as the policeman, is a voyeur watching a private performance for entertainment. Ultimately, the work unsettles the customary relations between policemen and citizens as well as blurs the distinction between fictional and authentic displays of power", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Art Acquisition Endowment Fund, 2003", "Copyright_Type" : "all", "Disp_Obj_Type" : "time based media", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.77-1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.77-1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.77-1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.77-1.jpg", "IsPrimary" : "0", "_SurrogateID" : "7590", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : 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"https://webkiosk.gallerysystems.com/Media/images/2003.77-3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.77-3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.77-3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.77-3.jpg", "IsPrimary" : "0", "_SurrogateID" : "7579", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.77-2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.77-2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.77-2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.77-2.jpg", "IsPrimary" : "0", "_SurrogateID" : "7578", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17737, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17737", "Disp_Access_No" : "2005.174", "_AccNumSort1" : "", "Disp_Create_DT" : "2005", "_Disp_Start_Dat" : "2005", "_Disp_End_Date" : "2005", "Disp_Title" : "Trabajo forzado [Forced Labor]", "Alt_Title" : "", "Obj_Title" : "Trabajo forzado [Forced Labor]", "Series_Title" : "", "Disp_Maker_1" : "Liliana Porter", "Sort_Artist" : "Porter, Liliana", "Disp_Dimen" : "5 cm x 110 cm x 26 cm (1 15/16 in. x 43 5/16 in. x 10 1/4 in.)", "Disp_Height" : "5 cm", "Disp_Width" : "110 cm", "Dimen_Extent" : "shelf", "Medium" : "Shelf, plastic figure, mulch", "Support" : "", "Disp_Medium" : "Shelf, plastic figure, mulch", "Info_Page_Comm" : "A major figure in the development of Conceptual art since the 1960s, Porter continues to produce work with a unique blend of humor and literary or philosophical references. In Trabajo forzado, a tiny figure seems to be engaged in the monumental task of moving a large amount of mulch onto the floor. Given the sizes of the figure and pile, the little man must have been hard at work for a very long time. Unlike Camnitzer, Porter avoids severity and chooses to address injustice in a playful and absurd fashion. Through the use of humor, she is able to call attention to the plight of the ordinary person, long-standing social inequalities, and the punishingly hard nature of continuous physical labor. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2005", "Copyright_Type" : "all approved.", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.174_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.174_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.174_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.174_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "3616", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.174.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.174.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.174.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.174.tif", "IsPrimary" : "1", "_SurrogateID" : "6501", "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" : 17280, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17280", "Disp_Access_No" : "2004.182", "_AccNumSort1" : "", "Disp_Create_DT" : "2003-2004", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2004", "Disp_Title" : "Hippies and a Ouija Board (Everyone Needs to Cling to Something)", "Alt_Title" : "", "Obj_Title" : "Hippies and a Ouija Board (Everyone Needs to Cling to Something)", "Series_Title" : "", "Disp_Maker_1" : "Dario Robleto", "Sort_Artist" : "Robleto, Dario", "Disp_Dimen" : "106.7 cm x 58.4 cm x 48.3 cm (42 in. x 23 in. x 19 in.)", "Disp_Height" : "106.7 cm", "Disp_Width" : "58.4 cm", "Dimen_Extent" : "HWD", "Medium" : "Suitcase, Ouija board, bottles, medicine, and records", "Support" : "", "Disp_Medium" : "Suitcase, Ouija board, bottles, medicine, and records", "Info_Page_Comm" : "Extended medium and support: Suitcase: cast and carved dehydrated bone calcium and bone dust from every bone in the body, microcrystalline cellulose, cold cast iron and brass, rust, antique syringe, crushed velvet, leather, thread, water extendable resin, and typeset. Ouija board, bottles, and medicine: cast and carved dehydrated bone calcium and bone dust from every bone in the body, typeset, home-brewed moonshine (potato-derived alcohol), homemade wine health tonics (water, sugar, fermented black cherries, yeast, gelatin, tartaric acid, pectinase, sulfur dioxide, oak flavoring, fortified with: 100-year-old hemlock oil, Devil’s Claw, witch hazel bark, swamp root, powdered rhubarb, pleurisy root, belladonna root, white pine tar, coal tar, dandelion, sarsaparilla, mandrake, mullein, skullcap, cramp bark, elder, ginseng, horny goat weed, tansy, sugar of lead, mercury with chalk and tin-oxide, calcium, potassium, creatine, zinc, iron, nickel, copper, boron, vitamin K, crushed amino acids, home-cultured antibiotics, chromium, magnesium, colostrums, ironized yeast, ground pituitary gland, ground wisdom teeth, ground sea horse, shark cartilage, coral calcium, iodine, and castor oil). Records: various 1960’s 45-rpm records cast in prehistoric whale bone dust, and typeset. In this remarkable work, a young artist schooled in DJ culture and alchemy has collapsed multiple imagined and appropriated histories into one fictional narrative that allows a reconsideration of questions of faith (and faith healing) from a fresh point of view. The meticulous list of media answers the question: What reassurances, comforts, and potions would a 1960s hippie need today to heal the ailments from which he might be suffering?", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Brown Foundation, the Michener Acquisitions Fund, and the Blanton Contemporary Circle, 2004", "Copyright_Type" : "All approved", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.182.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.182.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.182.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.182.tif", "IsPrimary" : "1", "_SurrogateID" : "2206", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17309, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17309", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "Epiphany Model 5: Expedition", "Alt_Title" : "", "Obj_Title" : "Epiphany Model 5: Expedition", "Series_Title" : "", "Disp_Maker_1" : "Peter Rostovsky", "Sort_Artist" : "Rostovsky, Peter", "Disp_Dimen" : "132 cm x 182.8 cm (51 15/16 in. x 71 15/16 in.)", "Disp_Height" : "132 cm", "Disp_Width" : "182.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Painting: Oil on linen; Sculpture: Super-Sculpey, aluminum wire, copper tube, plumber''s putty, balsa wood, plastic, tape, acrylic, steel nails, Styrofoam flakes with pigment, matboard, Bondo, epoxy glue", "Support" : "", "Disp_Medium" : "Painting: Oil on linen; Sculpture: Super-Sculpey, aluminum wire, copper tube, plumber's putty, balsa wood, plastic, tape, acrylic, steel nails, Styrofoam flakes with pigment, matboard, Bondo, epoxy glue", "Info_Page_Comm" : "The tiny mountaineers take in a breathtaking view that is, in fact, a flat, generalized representation of grandeur. Removed from the painted wilderness by the tangible space that we as viewers also occupy, these meticulously rendered sculptural figures are our scouts, our stand-ins. Rostovsky has countered the sublime meditations of nineteenth-century Romanticism with the artifice of Internet-derived photographs, model replicas, and a hyper-realistic attention to expedition details. He comments on our inability today to experience and comprehend the natural world without some form of mediation—and perhaps the inability of art, painting in particular, to any longer support utopian ideals. ", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Russian", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.6.1-2_2-2_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.6.1-2_2-2_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.6.1-2_2-2_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.6.1-2_2-2_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "3617", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.6.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.6.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.6.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.6.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "6489", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.6-figure dtl- front.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.6-figure dtl- front.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.6-figure dtl- front.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.6-figure dtl- front.tif", "IsPrimary" : "0", "_SurrogateID" : "10065", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "NOT OF REPRODUCTION QUALITY", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2005.6-figure dtl- right.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2005.6-figure dtl- right.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2005.6-figure dtl- right.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2005.6-figure dtl- right.tif", "IsPrimary" : "0", "_SurrogateID" : "10066", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "NOT OF REPRODUCTION QUALITY", "View" : "" } , ] },{ "embark_ID" : 17588, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17588", "Disp_Access_No" : "2005.155", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Sin título", "Alt_Title" : "", "Obj_Title" : "Sin título", "Series_Title" : "", "Disp_Maker_1" : "Omar Schiliro", "Sort_Artist" : "Schiliro, Omar", "Disp_Dimen" : "98 cm x 38 cm x 38 cm (38 9/16 in. x 14 15/16 in. x 14 15/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "HWD", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "Within two weeks of hearing he had contracted HIV, Schiliro began a short but extremely important career as an artist. At once gaudy and kitschy, but also disturbing and melancholy, his lamp sculptures have come to symbolize the baroque sensibility of the “Arte Light” movement in Buenos Aires during the 1990s. The contrast between the flamboyant forms and the dim light inside is a poignant and moving commentary on morality, sexuality, joy, and sadness. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Fran Magee Fund, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.155.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.155.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.155.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.155.tif", "IsPrimary" : "1", "_SurrogateID" : "6498", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17377", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Intimacy", "Alt_Title" : "", "Obj_Title" : "Intimacy", "Series_Title" : "", "Disp_Maker_1" : "Shahzia Sikander", "Sort_Artist" : "Sikander, Shahzia", "Disp_Dimen" : "27.9 x 20.3 cm (11 x 8 in.)", "Disp_Height" : "27.9 cm", "Disp_Width" : "20.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Digital video animation, color, sound with framed watercolor and dry pigment on Wasli paper", "Support" : "", "Disp_Medium" : "Digital video animation, color, sound with framed watercolor and dry pigment on Wasli paper", "Info_Page_Comm" : " Sikander experiments with the highly stylized and image-oriented genre of Indian and Persian miniature painting. In exquisitely rendered vignettes, she questions the meaning of both centuries-old and present-day painting traditions and the cultural conventions behind them. Mindful of the ways Eastern art is read in the West, she explores the fascinating disruptions that occur when elements of Muslim, Hindu, and Western iconography are mixed. By fragmenting, then recombining these images, Sikander creates intentionally ambiguous and open-ended narratives in her work. Intimacy, created during her residency at ArtPace in San Antonio and the first work in which she incorporated animation technology, was a groundbreaking achievement for the young artist. 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"Disp_Title" : "Díptico (En el desierto) [Diptych (In the Desert)]", "Alt_Title" : "", "Obj_Title" : "Díptico (En el desierto) [Diptych (In the Desert)]", "Series_Title" : "", "Disp_Maker_1" : "José A. Toirac", "Sort_Artist" : "Toirac, José A.", "Disp_Dimen" : "95.9 cm x 129.5 cm (37 3/4 in. x 51 in.)", "Disp_Height" : "95.9 cm", "Disp_Width" : "129.5 cm", "Dimen_Extent" : "each panel", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For several years José Toirac has been investigating and taking apart the meaning of Cuba’s official media images. This painting is based on a newspaper photograph of Fidel Castro taken in the northern Chilean desert in 1970. The large scale of this work and the beautifully painted abstract desert draw attention to the heroic, quasi-religious way that the Cuban leader is routinely portrayed in the country’s popular media. The first panel shows the original image untouched by obvious artistic intervention. But by blurring that precise photo-realism in the second panel, the artist has undermined the apparently stable documentary nature of the image. The work reclaims for painting the ability to produce a less black-and-white version of how history is told.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Fran Magee and Gallery 106, 2003", "Copyright_Type" : "all approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.85.1-2_left panel.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.85.1-2_left panel.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.85.1-2_left panel.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.85.1-2_left panel.tif", "IsPrimary" : "0", "_SurrogateID" : "7524", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.85.2-2_right panel.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.85.2-2_right panel.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.85.2-2_right panel.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.85.2-2_right panel.tif", "IsPrimary" : "0", "_SurrogateID" : "7525", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.85.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.85.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.85.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.85.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "3365", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16622, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16622", "Disp_Access_No" : "2002.2841", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Anima", "Alt_Title" : "", "Obj_Title" : "Anima", "Series_Title" : "", "Disp_Maker_1" : "Bill Viola", "Sort_Artist" : "Viola, Bill", "Disp_Dimen" : "41.3 cm x 190.5 cm (16 1/4 in. x 75 in.)", "Disp_Height" : "41.3 cm", "Disp_Width" : "190.5 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Color video triptych shown on three LCD flat panels", "Support" : "", "Disp_Medium" : "Color video triptych shown on three LCD flat panels", "Info_Page_Comm" : ""Anima," which means “soul” in Latin and is the root of the word animation, is from a series of works inspired by Renaissance paintings of figures against neutral backgrounds. The panels show three people who have been directed to express a series of emotions in a specific order—joy, sorrow, anger, and fear. Bill Viola shot the original footage of the complete emotional cycle in one minute; by slowing the speed of the video playback to 81 minutes and 30 seconds, he has made it nearly impossible to discern any movement, blurring the distinction between portraits made with still photography and those made with film. Through these portraits of three anonymous individuals, Viola both conveys the idea that time is eternal and addresses the notion of the changing self.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Blanton Ball Purchase, 2002", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "time based media", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2841.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2841.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2841.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2841.tif", "IsPrimary" : "1", "_SurrogateID" : "2014", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }