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Mandel, M.D., 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "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/1983.154.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.154.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.154.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.154.tif", "IsPrimary" : "1", "_SurrogateID" : "5390", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3992, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3992", "Disp_Access_No" : "G1966.2.272", "_AccNumSort1" : "", "Disp_Create_DT" : "1858", "_Disp_Start_Dat" : "1858", "_Disp_End_Date" : "1858", "Disp_Title" : "Rag Pickers, Quartier Mouffetard, Paris", "Alt_Title" : "", "Obj_Title" : "The Rag Gatherers", "Series_Title" : "", "Disp_Maker_1" : "James Abbott McNeill Whistler", "Sort_Artist" : "Whistler, James Abbott McNeill", "Disp_Dimen" : "21.85 cm x 31.5 cm (8 5/8 in. x 12 3/8 in.)", "Disp_Height" : "21.85 cm", "Disp_Width" : "31.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and drypoint", "Support" : "", "Disp_Medium" : "Etching and drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the children of L.M. 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Recording vignettes along the river, these plates were realist in subject and naturalistic in conventions going back 17th-century Dutch etching and recently revitalized by etchers like Meryon and Bracquemond in Paris. They became the virtual constitution of the Etching Revival in England and the United States. Rotherhithe is the largest and most complex plate in the Set. The informal subject, mixing harbor view and genre scene, is typical. The composition, however, is unusual in its proportions, cropping, and divisions, which diminish any conventional middleground and emphasize the perimeter. These indicate Whistler’s awareness of Japanese prints as well as photography, and predict the modernist character of his later etchings. This impression is distinguished by rich plate tone that gives the sky weight, meticulous wiping that makes the horizon luminous, and dark brown ink that warms the entire scene. 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Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "6381", "Rel_Obj_Title" : "Study for Icarus" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.105.tif", "IsPrimary" : "1", "_SurrogateID" : "9097", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14326", "Disp_Access_No" : "1998.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1978", "_Disp_Start_Dat" : "1978", "_Disp_End_Date" : "1978", "Disp_Title" : "Untitled (Slave Couple)", "Alt_Title" : "", "Obj_Title" : "Untitled (Slave Couple)", "Series_Title" : "", "Disp_Maker_1" : "Rev. Johnnie Swearingen", "Sort_Artist" : "Swearingen, Rev. 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Smith, 1991", "Copyright_Type" : "public domain", "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/1991.45.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.45.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.45.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.45.tif", "IsPrimary" : "1", "_SurrogateID" : "6361", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14423", "Disp_Access_No" : "1991.341", "_AccNumSort1" : "", "Disp_Create_DT" : "1959", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1959", "Disp_Title" : "The Guilty II", "Alt_Title" : "", "Obj_Title" : "The Guilty II", "Series_Title" : "", "Disp_Maker_1" : "Hiram Williams", "Sort_Artist" : "Williams, Hiram", "Disp_Dimen" : "244.5 cm x 183.3 cm (96 1/4 in. x 72 3/16 in.)", "Disp_Height" : "244.5 cm", "Disp_Width" : "183.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "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/1991.341.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.341.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.341.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1991.341.TIF", "IsPrimary" : "1", "_SurrogateID" : "9239", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14433", "Disp_Access_No" : "1991.330", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "The Potter's Family", "Alt_Title" : "", "Obj_Title" : "The Potter's Family", "Series_Title" : "", "Disp_Maker_1" : "Sabina Teichman", "Sort_Artist" : "Teichman, Sabina", "Disp_Dimen" : "111.8 cm x 133.5 cm (44 in. x 52 9/16 in.)", "Disp_Height" : "111.8 cm", "Disp_Width" : "133.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "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/1991.330.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.330.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.330.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.330.tif", "IsPrimary" : "1", "_SurrogateID" : "8881", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14460, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14460", "Disp_Access_No" : "1991.287", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Ten Faces of King Saul", "Alt_Title" : "", "Obj_Title" : "Ten Faces of King Saul", "Series_Title" : "", "Disp_Maker_1" : "Perli Pelzig", "Sort_Artist" : "Pelzig, Perli", "Disp_Dimen" : "151.5 cm x 182.3 cm (59 5/8 in. x 71 3/4 in.)", "Disp_Height" : "151.5 cm", "Disp_Width" : "182.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "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/1991.287.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.287.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.287.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.287.tif", "IsPrimary" : "1", "_SurrogateID" : "8569", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.287.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.287.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.287.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.287.mp3", "IsPrimary" : "0", "_SurrogateID" : "8642", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14487, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14487", "Disp_Access_No" : "1991.264", "_AccNumSort1" : "", "Disp_Create_DT" : "1936-1937", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1937", "Disp_Title" : "Down for the Count", "Alt_Title" : "", "Obj_Title" : "Down for the Count", "Series_Title" : "", "Disp_Maker_1" : "Fletcher Martin", "Sort_Artist" : "Martin, Fletcher", "Disp_Dimen" : "75.6 cm x 120.7 cm (29 3/4 in. x 47 1/2 in.)", "Disp_Height" : "75.6 cm", "Disp_Width" : "120.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fletcher Martin painted this smoky social realist boxing scene to symbolize the condition in which African Americans lived during the Depression. Martin spent his early career in California with Mexican muralist David Alfaro Siqueiros, whose influence is traceable here both in palette and in the artist’s empathy for oppressed African Americans. Martin produced "Down for the Count" after participating in the American Artists’ Congress in February 1936, during which many artists drew parallels between European fascism and racism in America. Martin’s works often feature men in conflict or experiencing trauma, even those that date to before his time as an artist-correspondent for LIFE magazine during World War II. Here Martin used linear perspective not only to create dramatic depth, but also to clearly demonstrate that these men are not on a level playing field.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "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/1991.264.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.264.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.264.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.264.tif", "IsPrimary" : "1", "_SurrogateID" : "14272", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14491, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14491", "Disp_Access_No" : "1991.26", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1949", "_Disp_Start_Dat" : "1944", "_Disp_End_Date" : "1954", "Disp_Title" : "Wealth of 1849", "Alt_Title" : "", "Obj_Title" : "Wealth of 1849", "Series_Title" : "", "Disp_Maker_1" : "Dean Cornwell", "Sort_Artist" : "Cornwell, Dean", "Disp_Dimen" : "128.2 cm x 92.7 cm (50 1/2 in. x 36 1/2 in.)", "Disp_Height" : "128.2 cm", "Disp_Width" : "92.7 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, Bequest of C.R. Smith, 1991", "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/1991.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.26.tif", "IsPrimary" : "1", "_SurrogateID" : "6378", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14524, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14524", "Disp_Access_No" : "1991.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1861", "_Disp_Start_Dat" : "1861", "_Disp_End_Date" : "1861", "Disp_Title" : "The Weak Never Started, October 19, 1861, after Charles Ferdinand Wimar", "Alt_Title" : "", "Obj_Title" : "The Weak Never Started, October 19, 1861, after Charles Ferdinand Wimar", "Series_Title" : "", "Disp_Maker_1" : "J.M. Boundy", "Sort_Artist" : "Boundy, J.M.", "Disp_Dimen" : "90.8 cm x 134 cm (35 3/4 in. x 52 3/4 in.)", "Disp_Height" : "90.8 cm", "Disp_Width" : "134 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas glued to masonite board", "Support" : "canvas", "Disp_Medium" : "Oil on canvas glued to masonite board on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 1991", "Copyright_Type" : "public domain", "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/1991.23.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.23.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.23.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.23.tif", "IsPrimary" : "1", "_SurrogateID" : "3461", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.23.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.23.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.23.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.23.tif", "IsPrimary" : "0", "_SurrogateID" : "3467", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14543", "Disp_Access_No" : "1991.210", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "Dance Marathon", "Alt_Title" : "", "Obj_Title" : "Dance Marathon", "Series_Title" : "", "Disp_Maker_1" : "Philip Evergood", "Sort_Artist" : "Evergood, Philip", "Disp_Dimen" : "152.6 cm x 101.7 cm (60 1/16 in. x 40 1/16 in.)", "Disp_Height" : "152.6 cm", "Disp_Width" : "101.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An activist as well as an artist, Philip Evergood was committed to creating art that exposed social injustice. Dance Marathon depicts a phenomenon that swept the United States during the Great Depression, in which couples competed for a cash prize by dancing for as long as possible. In this complex and luridly colored painting, Evergood combines realistic details, such as the exhausted couples and crude prize announcements, with symbols, like the skeletal hand, that convey his attitude toward the dismal spectacle. Evergood’s work of social critique, while rooted in the Depression, is a powerful reminder of the timelessness of human desperation and cruelty.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "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/1991.210.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.mp3", "IsPrimary" : "0", "_SurrogateID" : "8641", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.210.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.tif", "IsPrimary" : "1", "_SurrogateID" : "13533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14564, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14564", "Disp_Access_No" : "1991.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Romance", "Alt_Title" : "", "Obj_Title" : "Romance", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "115 cm x 84.5 cm (45 1/4 in. x 33 1/4 in.)", "Disp_Height" : "115 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Egg tempera, gesso, and oil varnish glazes", "Support" : "board", "Disp_Medium" : "Egg tempera, gesso, and oil varnish glazes on board", "Info_Page_Comm" : "A painter and muralist celebrated for his regional scenes of daily life in the southern, midwestern, and western United States, Thomas Hart Benton was committed to portraying images of progress and satisfaction in the American heartland. Born to a family of statesmen, Benton was a patriot who saw his art as a means to generate social and political reform. His nostalgic and uplifting scenes of hard work, self-reliance, and individualism garnered broad popular appeal in post–World War I America. This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Smith, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.83.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.83.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.83.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.83.tif", "IsPrimary" : "1", "_SurrogateID" : "1332", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.83.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.83.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.83.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.83.tif", "IsPrimary" : "0", "_SurrogateID" : "4884", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14819, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14819", "Disp_Access_No" : "1985.82", "_AccNumSort1" : "", "Disp_Create_DT" : "1850", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1850", "Disp_Title" : "Halt on the Prairie", "Alt_Title" : "", "Obj_Title" : "Halt on the Prairie", "Series_Title" : "", "Disp_Maker_1" : "William T. 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Smith, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.82.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.82.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.82.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.82.tif", "IsPrimary" : "1", "_SurrogateID" : "1331", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14855, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14855", "Disp_Access_No" : "1985.170", "_AccNumSort1" : "", "Disp_Create_DT" : "1941", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1941", "Disp_Title" : "The Lead Steer", "Alt_Title" : "", "Obj_Title" : "The Lead Steer", "Series_Title" : "", "Disp_Maker_1" : "Tom Lea", "Sort_Artist" : "Lea, Tom", "Disp_Dimen" : "81.4 cm x 107.2 cm (32 1/16 in. x 42 3/16 in.)", "Disp_Height" : "81.4 cm", "Disp_Width" : "107.2 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 C.R. 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Neal Miller and Michener Collection Acquisitions Fund, 1984", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.47.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.47.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.47.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.47.tif", "IsPrimary" : "1", "_SurrogateID" : "3373", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14918, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14918", "Disp_Access_No" : "1984.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "The Fugitive", "Alt_Title" : "", "Obj_Title" : "The Fugitive", "Series_Title" : "", "Disp_Maker_1" : "Richard Bosman", "Sort_Artist" : "Bosman, Richard", "Disp_Dimen" : "228.6 cm x 167.6 cm (90 in. x 66 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "167.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1984", "Copyright_Type" : "all but internet", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.35.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.35.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.35.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.35.tif", 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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" : 17376, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17376", "Disp_Access_No" : "2001.50.1/8-8/8", "_AccNumSort1" : "", "Disp_Create_DT" : "1970-2001", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "2001", "Disp_Title" : "Trademarks", "Alt_Title" : "", "Obj_Title" : "Trademarks", "Series_Title" : "", "Disp_Maker_1" : "Vito Acconci", "Sort_Artist" : "Acconci, Vito", "Disp_Dimen" : "35.5 cm x 193.1 cm (14 in. x 76 in.)", "Disp_Height" : "35.5 cm", "Disp_Width" : "193.1 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Suite of seven black and white photographs and one text panel", "Support" : "", "Disp_Medium" : "Suite of seven black and white photographs and one text panel", "Info_Page_Comm" : "Vito Acconci began his career as a poet. He has maintained his commitment to language throughout many decades of creating performance and photo-based works, film and video pieces, installations, interactive sculptures and playscapes, site-specific commissions, and more recently, architectural projects, both realized and theoretical. Highly influential and always ahead of their time, Acconci’s multifaceted works trace the trajectory of avant-garde ideas in the late twentieth century. His themes have remained constant throughout: the distinctions between private and public acts, the shrinking of critical distance between self and subject, the transformative capacities of both body and culture, as well as the value of play. Trademarks, the early photodocumentation of an important performance piece of 1970, was reissued in a new edition in 2001. Here photographs and text record Acconci’s attempt to bite as many parts of his nude body as he could possibly reach. In the final image, prints from the bite marks confer a presumably collectible value upon the proof of this abject act. In 1970 many artists were protesting U.S. foreign intervention in symbolic and allegorical ways. In this and other body-centered performances, Acconci drew attention to pointedly discomfiting and repugnant personal acts, thereby evoking the violence of the Vietnam era. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 2001", "Copyright_Type" : "All but merchandise. 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Playing with cognitive expectations, he raises questions about the psychology of looking. For Swimmer Lundberg had scaffolding built over a residential swimming pool from which he filmed a man elegantly cutting back and forth. When projected in the gallery, the work disrupts the space by implying the pool’s configuration sliced into the floor. The illusion is further heightened by the film’s soundtrack of splashes, which overflows into adjacent exhibition spaces. With this and other works, Lundberg capitalizes on film’s sensory potential. Sound is as integral to Swimmer as are the visual components. The piece is presented within a darkened room, which sharpens the viewer’s experience of the recorded stimuli—the water and the movements of its traverser—while diminishing awareness of the gallery itself. An emeritus professor of transmedia at the University of Texas at Austin, Lundberg recently retired with his wife, artist Regina Vater, to her native Brazil. 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