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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. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the American Academy and Institute of Arts and Letters, 1984", "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/1984.41.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.41.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.41.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.41.tif", "IsPrimary" : "1", "_SurrogateID" : "1293", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14223, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14223", "Disp_Access_No" : "G1964.4", "_AccNumSort1" : "", "Disp_Create_DT" : "not dated", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Taos Landscape", "Alt_Title" : "", "Obj_Title" : "Taos Landscape", "Series_Title" : "", "Disp_Maker_1" : "Bill Bomar", "Sort_Artist" : "Bomar, Bill", "Disp_Dimen" : "94.9 cm x 126.9 cm (37 3/8 in. x 49 15/16 in.)", "Disp_Height" : "94.9 cm", "Disp_Width" : "126.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift Of D.D. Feldman, 1964", "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/G1964.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.4.tif", "IsPrimary" : "1", "_SurrogateID" : "2303", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14383, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14383", "Disp_Access_No" : "1993.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Religious Visitor", "Alt_Title" : "", "Obj_Title" : "Religious Visitor", "Series_Title" : "", "Disp_Maker_1" : "Derek Boshier", "Sort_Artist" : "Boshier, Derek", "Disp_Dimen" : "223.5 cm x 350.5 cm (88 in. x 138 in.)", "Disp_Height" : "223.5 cm", "Disp_Width" : "350.5 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 the artist, 1993", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1993.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1993.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1993.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1993.6.tif", "IsPrimary" : "1", "_SurrogateID" : "2933", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14699, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14699", "Disp_Access_No" : "1986.52", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Texas Windstorm", "Alt_Title" : "", "Obj_Title" : "Texas Windstorm", "Series_Title" : "", "Disp_Maker_1" : "Charles T. Bowling", "Sort_Artist" : "Bowling, Charles T.", "Disp_Dimen" : "45.7 cm x 60.8 cm (18 in. x 23 15/16 in.)", "Disp_Height" : "45.7 cm", "Disp_Width" : "60.8 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "Charles T. Bowling was known both for his paintings and his lithographs. He was affiliated with the Texas regionalist group known as the Dallas Nine, credited with putting Texas on the art world map in the 1930s and 40s. An Art Digest review of the 1936 Texas Centennial stated: “Texas is Big… and whether New York knows it or not, the commonwealth… (is) contributing a vital element to the nation’s art.” Bowling did not study fine art seriously until his mid-thirties, although he was not without artistic sensibilities—he developed skills in draftsmanship during a 49-year career as a civil engineer for Texas Power and Light Company. Texas Windstorm exemplifies Bowling’s stylistic tendencies—austere rural landscapes and urban scenes in grays, ochres, and taupes—but the darkened sky creates a sense of doom that could be representative of the storms Texans know so well, or perhaps it alludes to hardships and uncertainty present during the Depression years. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1986", "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/1986.52.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.52.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.52.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.52.tif", "IsPrimary" : "1", "_SurrogateID" : "3413", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14222", "Disp_Access_No" : "G1964.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Outpost", "Alt_Title" : "", "Obj_Title" : "Outpost", "Series_Title" : "", "Disp_Maker_1" : "Jack Boynton", "Sort_Artist" : "Boynton, Jack", "Disp_Dimen" : "124.5 cm x 215.9 cm (49 in. x 85 in.)", "Disp_Height" : "124.5 cm", "Disp_Width" : "215.9 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift Of D.D. Feldman, 1964", "Copyright_Type" : "All BUT merchandise", "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/G1964.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.5.tif", "IsPrimary" : "1", "_SurrogateID" : "4598", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14928, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14928", "Disp_Access_No" : "1984.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Oil Field Girls", "Alt_Title" : "", "Obj_Title" : "Oil Field Girls", "Series_Title" : "", "Disp_Maker_1" : "Jerry Bywaters", "Sort_Artist" : "Bywaters, Jerry", "Disp_Dimen" : "75.3 cm x 62.2 cm (29 5/8 in. x 24 1/2 in.)", "Disp_Height" : "75.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "board", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Though Jerry Bywaters enjoyed a long and multifaceted career as an artist, writer, critic, teacher, arts administrator, and museum director, he is best remembered today for his participation in the Dallas Nine, an enterprising group of young painters active in the 1930s who helped establish a regional artistic identity for Texas art. Like "Oil Field Girls," Bywaters’s most popular work, their paintings portray local conditions in expressive detail even as they acknowledge a wide range of sophisticated painterly influences gained from the artists’ studies in New York, Mexico City, and Europe. In "Oil Field Girls," Bywaters used a somber palette to describe the bleak and thinly populated west Texas landscape. With its economically depressed vistas, the town (if it can be called that) is clearly godforsaken. By contrast, the women poised to hitch a ride out of those sad environs are vivid and forceful; although they are most likely working as prostitutes, Bywaters made no apparent judgment of them, instead vesting them with a vitality, even ambition, that offers the picture’s only hope. A canny mixture of reportage and editorial commentary, "Oil Field Girls" is a history painting that captures a surprisingly humane narrative of a specific time and place.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1984", "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/1984.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.1.tif", "IsPrimary" : "1", "_SurrogateID" : "1288", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14267, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14267", "Disp_Access_No" : "G1943.1.51", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1935", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Early Spring", "Alt_Title" : "", "Obj_Title" : "Early Spring", "Series_Title" : "", "Disp_Maker_1" : "Regina Tatum Cooke", "Sort_Artist" : "Cooke, Regina Tatum", "Disp_Dimen" : "62 cm x 75 cm (24 7/16 in. x 29 1/2 in.)", "Disp_Height" : "62 cm", "Disp_Width" : "75 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, Deposit from the Work Projects Administration, United States Government, 1943", "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/G1943.1.51.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1943.1.51.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1943.1.51.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1943.1.51.tif", "IsPrimary" : "1", "_SurrogateID" : "2278", "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. 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