{ "objects" : [ { "embark_ID" : 14287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14287", "Disp_Access_No" : "2000.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Alt_Title" : "", "Obj_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Series_Title" : "", "Disp_Maker_1" : "Regina Silveira", "Sort_Artist" : "Silveira, Regina", "Disp_Dimen" : "96.52 cm x 421.64 cm (38 in. x 166 in.)", "Disp_Height" : "96.52 cm", "Disp_Width" : "421.64 cm", "Dimen_Extent" : "floor space, installed", "Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Support" : "", "Disp_Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Info_Page_Comm" : "In the late 1970s, Regina Silveira became interested in 15th-century treaties on perspective and especially intrigued by anamorphosis (the controlled distortion of images that could be made to appear normal when viewed from a particular perspective). She produced a series of works where she used the anamorphic distortions of objects from everyday life—chairs, hammers, nails, motorcycles, bookshelves—to create ominous shadows made of adhesive vinyl. In the 1980s, she began to use seminal works from the canon of Western art history as a point of departure. “Masterpieces (In Absentia)” depicts the elongated shadow of a famous “readymade” sculpture of a bicycle wheel on a stool by Marcel Duchamp. In this work, the border between absence and presence, the real and the dematerialized, the original and the copy becomes indistinguishable. The shadow, liberated from its origin, represents the legacy of Western modernism as it looms large over Brazil and the ways Brazilian artists have consumed and transfigured that tradition.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Archer M. Huntington Museum Fund, 2000", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.92.tif", "IsPrimary" : "0", "_SurrogateID" : "3473", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.92.tif", "IsPrimary" : "0", "_SurrogateID" : "3476", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.92-2019_3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.92-2019_3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.92-2019_3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.92-2019_3.tif", "IsPrimary" : "0", "_SurrogateID" : "19606", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.92-2019_2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.92-2019_2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.92-2019_2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.92-2019_2.tif", "IsPrimary" : "0", "_SurrogateID" : "19605", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.92-2019_1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.92-2019_1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.92-2019_1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.92-2019_1.tif", "IsPrimary" : "1", "_SurrogateID" : "19604", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14341", "Disp_Access_No" : "1998.76", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Alt_Title" : "", "Obj_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Series_Title" : "", "Disp_Maker_1" : "Cildo Meireles", "Sort_Artist" : "Meireles, Cildo", "Disp_Dimen" : "249.94 cm x 345.95 cm x 345.95 cm (98 3/8 in. x 136 3/16 in. x 136 3/16 in.)", "Disp_Height" : "249.94 cm", "Disp_Width" : "345.95 cm", "Dimen_Extent" : "varies with installation", "Medium" : "600,000 coins, 800 communion wafers, 2000 cattle bones, 80 paving stones, and black cloth", "Support" : "", "Disp_Medium" : "600,000 coins, 800 communion wafers, 2,000 cattle bones, 80 paving stones, and black cloth", "Info_Page_Comm" : "Cildo Meireles’s installation was first commissioned for an exhibition about the history of the Jesuits in southern Brazil. The artist created a contemplative space that functions as a critique of Jesuit missions established during colonial times to contain the indigenous Tupi-Guaraní people and convert them to Catholicism. The work’s symbolic elements reveal the complicit relationship between material power (coins), spiritual power (communion wafers), and tragedy (bones), while the black shroud and overhead lighting evoke ideas of life and death. Meireles’ use of cattle bones references the importance of ranching within the region’s colonial economy. Yet the bones’ physical resemblance to the human femur also alludes to the human losses associated with forced acculturation. 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