Celebrating Latin American Art at the Blanton this Fall

Lothar Charoux

Lothar Charoux
Composicao I, 1950
Oil on canvas,
23 13/16 x 19 1/16 in.
Promised gift of Judy and Charles Tate

As you may have seen in the Houston Chronicle, Hyperallergic, and elsewhere, we are thrilled to share that the Blanton has been gifted approximately 120 modern and contemporary Latin American artworks from UT alumni Judy and Charles Tate of Houston. In addition, the Tates have made a major contribution towards the endowment that supports the museum’s Latin American curatorship. Their collection—the entirety of which will ultimately come to the Blanton—includes painting, drawing, prints, sculpture, and mixed media works by artists Tarsila do Amaral, Lygia Clark, Frida Kahlo, Carlos Mérida, Wifredo Lam, Armando Reverón, Diego Rivera, Alejandro Xul Solar, and Joaquín Torres-García, among others. Spanning the early 20th century to the present, the gift features many of the artists who were key to the creation of modernism in Latin America.

For over fifteen years, the Tates have built a collection that complements the museum’s existing holdings of more than 2,100 Latin American objects. Highlights include: an ethereal painting by Armando Reverón from the 1920s; a 1946 graphite drawing by Frida Kahlo and a cubist period drawing by Diego Rivera; two paintings and an ink drawing by Wifredo Lam spanning his time in France in the late 1930s to his return to Cuba in the 1940s; a 1951 surrealist painting by Leonora Carrington; a 1953 glass mosaic by Carlos Mérida—a playful fusion of abstraction and figuration; mid-20th-century kinetic and concrete works by important artists Jesús Rafael Soto, Carlos Cruz-Diez, Lygia Clark, Willys de Castro, Lothar Charoux, Mira Schendel, and Hélio Oiticica; and contemporary works by Fernando Botero, Waltercio Caldas, Jorge Macchi, and Sebastián Gordín. 

Enio Iommi

Enio Iommi
Línea continua, c. 1949-52
Stainless steel,
9 5/8 x 11 ¾ x 11 ¾ in.
Promised gift of Judy and Charles Tate

From September 20, 2014 – February 15, 2015, the Blanton will present a selection of approximately 70 works from the collection. Entitled La línea continuathe exhibition takes its name from an elegant sculpture from the collection by Enio Iommi: a stainless steel “line” that traces an infinite loop in space. The work is also a fitting metaphor for the continual and nourishing connection between Judy and Charles Tate, the University of Texas, and the Blanton.

To bookend and contextualize the works in La línea continua, the Blanton has organized two counterpart installations that together span much of the history, culture, and geography of Latin America.

Doris Salcedo Untitled, 1995 wood, cement, steel, glass and cloth Diane and Bruce Halle Collection

Doris Salcedo
Untitled, 1995
wood, cement, steel, glass and cloth
Diane and Bruce Halle Collection

 Re-envisioning the Virgin Mary: Colonial Painting from South America features seven paintings on loan from two of the country’s most distinguished collections of colonial South American art—the Patricia Phelps de Cisneros Collection, New York, and the Marilynn and Carl Thoma Collection, Chicago. The paintings, created in what are now the countries of Peru and Venezuela, represent devotions to Mary that were popular in Spain in the 17th and 18th centuries and brought to the Americas by Spanish colonists.

On the contemporary front, a selection of works from internationally recognized artist Doris Salcedo will be displayed. Salcedo addresses themes of loss and mourning with works that cross international boundaries. Employing domestic objects such as furniture and clothing—once activated and personal—her sculptures explore the history of violence and oppression in her native Colombia and beyond, giving voice to the marginalized, missing, or deceased.

Looking for more Latin American art from our collection? Visit our website, or check out our Pinterest board with works from the collection and the Tate gift. Don’t miss seeing these incredible works of Latin American art at the Blanton this season!

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What Happens in One Place Affects Us All: A Conversation with Artist Adriana Corral

University of Texas at Austin MFA grad Adriana Corral has been working with themes of gender-based violence since she came to UT in 2010.  Based in San Antonio, she has exhibited at the Visual Arts Center at UT Austin, Mexic-Arte Museum in Austin, the Grounds for Sculpture in Trenton, New Jersey, the Bellevue Art Museum in Seattle and will be featured in the upcoming exhibition “Invasive Species: Landscapes by Justin Boyd, Adriana Corral, and Joey Fauerso” at Artpace, in San Antonio, opening September 11.  

Curatorial Assistant Amethyst Beaver caught up with Corral to talk about growing up in El Paso, her experience at UT, the first time she went to the Blanton, her process of breaking the silence about violence against women and her upcoming project at Artpace.

Amethyst Beaver:  Lets start from the beginning.  Who were some of your earliest influences?

Adriana Corral: There are four people that I think really shaped me into the person that I have become today: my mother, my father, my aunt Marti and my uncle Charlie.  My aunt Marti was an anesthesiologist and my uncle Charlie is a cardiovascular and thoracic surgeon.

AB: You mentioned that your mother, aunt Marti and uncle Charlie all worked together and that you grew up in their offices.  When did you attend your first surgery?

AC: I went to one of the first surgeries when I was about eight or nine.  It was a family environment. My uncle performed the surgery, my aunt put the patients under and then my mom did the autotransfusions. One of their dearest friends was the nurse. They would play music and they would be in their environment.  Now looking back, watching them extend the lives of these patients really had a strong affect on me.

At an early age, the idea of life and death was an important thing that they taught us.  My mother fought with all of the physicians and nurses for my older brother and sister to be in the operating room when I was born because she said to watch life is extremely important.  It is the most beautiful thing that you could ever witness and that is life in its purest form.

AB: Did you witness death in the operating room?

AC: I didn’t experience that in the operating room.  My aunt Marti was the physician and then became the patient when she was diagnosed with breast cancer.  During undergrad I would take her to chemo and radiation. I think going with her to chemo and radiation I was seeing the reality of it. And I was watching her body deteriorate, literally, in front of me.

As I was taking my aunt to chemo she would look over my drawing anatomy homework and say “Okay, the anatomy on that is not correct.” (Laughter) “You’re not doing this right.” And she knew it. She was very honest with no sugar coating.  She was probably the toughest person on me: her and my dad.  They were extremely critical. They pushed me in a good way.

AB: They were your advocates as well as your challengers.

AC: Yes. My aunt wanted me to pursue medical school.  She saw that I was an artist but she just wanted me to go to medical school. She said “you can do so much when you are in the medical field.  When you are a physician you can save lives and really help people.”  But I had this love to make art and once I proved my dedication she understood.

AB: When did you know you wanted to be an artist?

AC: When I was junior in high school I fell ill with Epstein Bar—it’s when you have over exerted yourself and your body basically shuts down. I was out of school for three months. I started drawing, working with pastels, and I started painting. It was then that I decided this is what I want to do; I knew it.  During that time my aunt Marti gave me art books and she gave me my first journal.  And that has been a huge part of my practice; journaling, sketching and writing. I have so many, many, many journals and it all was because she gave me my very first one.

AB: How did your parents react to your decision to be an artist?

AC: I remember sitting down with my parents and saying, “I am going to go to undergrad, and then I am going to go to grad school and that is what I am going to do.”  They said, “what about pursuing medical school?” When I was young, my aunt would take me to conferences encouraging young kids to go into the medical profession.  And I loved it, but there was something that was just really pulling me to do art.

AB:  You completed your BFA at UT El Paso in 2008. When did you first look into UT Austin for grad school?

AC: I went to stay with my sister and her husband in Austin and I asked Margo [Sawyer, a UT professor] if she would meet with me.  She graciously did and I remember sitting with her in the sculpture studio. I asked her a lot of questions about the program, about her practice and her work.  I showed her my work and she said, “I am going to fight for you. I believe in you. I believe in your work.”

AB: This was your first meeting?

AC: It was an instant bonding and the conversation was wonderful. It was just an amazing connection with someone. I left so enthusiastic. I returned to El Paso and then a few weeks later I got into a severe car accident, which put me out of commission for almost two years.

AB: Oh no! That’s terrible. Someone was going to fight for you, you were going to apply to grad school, you were ready to take on the world and then—

AC:  —then the world said, “Whoa, slow down girl.” I had severe upper body injuries.  I was in physical therapy, Monday through Saturday, three hours each day for a year and a half.  When the accident happened, I wrote an email to Margo and told her that I wouldn’t be applying to any grad schools, I can’t even lift myself out of bed, we’re going to have to put everything on hold.  Probably the most amazing thing to come of that was an email from Margo who said, “If we can’t physically do anything, mentally we can prepare you.” She would send me TED talks, lectures and artists to look at.

Margo Sawyer and Adriana Corral in front of Momento, 2012 at the VAC.

Margo Sawyer and Adriana Corral in front of Campo Algodon Cuidad Juarez, 21 Febrero del 2007.

AB: That is incredible.

AC: I lived for those emails. My dreams of being an artist were not lost.

While I was recovering, I went to Austin to visit my sister and Margo told me that the one thing I had to do was go to the Blanton.

AB:  Really? 

AC: She said, “I think that this artist is going to inspire you.” That was in 2009 and that was when I first discovered Teresita Fernández’s work.

AB: That was the exhibition, Teresita Fernández: Blind Landscape (November 2009—January 2010)It was in the downstairs gallery, right?

AC: Yes. My sister said, “Well, we have to go see it.” And we went with my two nephews and I was shuffling around in my neck brace. I thought, “Who is this person? This is amazing!”

AB: Was that your first time at the Blanton?

AC: I think it was the first time.

AB: What most inspired you about the exhibition?

AC: I think it was the fact that she was a strong woman making work of this magnitude. Her use of materials blew me away!  It was just so hopeful for me. I felt like I could do it, that I had to keep fighting for this. And so for me, it was that moment of thinking, “yes, you have to apply to school. You need to get through this.”  I remember leaving the Blanton and just being floored.

Installation shot of exhibition Teresita Fernandez: Blind Landscape (November 2009-January 2010), photo by Rick Hall.

Installation shot of exhibition Teresita Fernández: Blind Landscape (November 2009-January 2010), photo by Rick Hall.

AB: So then there seems like it wasn’t even a question, you had to go to UT? 

AC: Of course I considered other schools; I wanted to go outside of Texas!  But when I applied to grad school, I decided that I wanted to work with someone who had already invested so much time in me. If Margo had a commitment like that, she was going to have a lifelong commitment to me.  She introduced me to other art faculty and grad students and told me about amazing resources on campus.

AB: You mentioned that you had family in Juarez and you would travel frequently back and forth.  Can you talk a little bit about your personal experience of living in El Paso and your relationship to Juarez?

AC: We would go to Juarez to eat, to be with family.  My father became a site selector for American companies looking for maquiladoras [factories] in Juarez and New Mexico. There were times when I would go with my father and he would show me what they were making in all of the maquiladoras. But the questions started to arise, “Well, what kind of conditions are these people in? What are they doing? Why do American companies have to go somewhere else to make something?” Being young and constantly asking these questions “Why? Why? Why?”  I think my dad wanted to say, “Why are you asking so many questions?”  (Laughter.)

Adriana Corral

Adriana Corral transferring the revered names of the women slain in Juarez, Chihuahua, Mexico, for her installation at Artpace, San Antonio. Photo by Vincent Valdez.

AB: When did you begin focusing your work on violence against women and the femicidios (women murders) in Juarez?

I would constantly read about the slain women in the Diario or the El Paso Times and to me it was just unbelievable. It wasn’t just an issue in Mexico; I saw it as a universal issue. I was reading about what had and has happened to women in parts of Africa and Pakistan.  To me there weren’t these separations; it was the question of “Why is this happening, overall? Why are women targets weather it’s a drug war or a civil war?”  I kept seeing in the newspaper about what was happening in Juarez and I remember thinking, “Why aren’t people doing anything about it?”  I knew that it was a complex issue and yes there was some work being done about it, but I felt that there needed to be more awareness.

AB: It seems like this relationship between Juarez and El Paso is a vital part of your work.

AC: It is, it is extremely important.  I think that growing up next to another country is very important to consider. Even though El Paso and Juarez are considered sister cities, twin cities, there is still a division.  There is that line. I think that had a huge impact on me.

Why is Juarez one of the most dangerous cities in the world when El Paso is one of the safest cities in the nation?  That dichotomy, that juxtaposition, that really made me start questioning things.

Voices of the Lost

Adriana Corral, Quebrar el silencio [Break the Silence], performance, 2011. Four hundred and fifty one ceramic body bag tags.

AB:  In 2011 you performed Quebrar el silencio [Break the Silence] where you smashed approximately 451 clay tiles that you had specifically made to look like body bag tags with the names of the victims. What brought you to this work and how did you start doing performance art?

AC: I had first heard about one of Yoko Ono’s performances when I was in undergrad. It was where she was in a white–

AB: –Cut Piece?

AC: Yes, Cut Piece. And for me that was just the power behind that. For me, that was just amazing. The fact that she was left nude and in such a vulnerable state due to the actions of others.

AB: That is a really powerful work, also because she asked other people to cut her clothing off of her.

AC: Yes. They were using scissors to cut and just that closeness of a blade, something caressing you that is so threatening, right?   That really resonated with me.

At that point I had done Voces de las perdidas [Voices of the Lost] (2010) at Mexic-Arte in Austin.  For that installation I worked with a tile company based out of Dolores Hidalgo, Mexico.  They made me clay body bag tags from the soil collected from the site of the Campo Algodonero (cotton field) murders.  The tags are suspended from the ceiling.

Quebrar el silencio

Adriana Corral, Voces de las perdidas [Voices of the Lost], site-specific installation, 2010. Ceramic body bag tags, soil from crime site, dimensions vary.

[UT Professor] Teresa Hubbard was conducting critiques and she pulled me aside. I remember we were right in the middle of all of these hanging ceramic body bag tags—and she held one of the tags and she said, “You know, this piece is really quiet. Now, to go forward with this, what if something happens to these?  What if they’re not so silent anymore?  What if there is a break of some kind?” I thought, “This is great!” (Laughter) I thought, “What if I can work with this company again and they can make me more tags and I can break them?”  Literally breaking that silence.

AB: Could you describe the sound of the breaking tiles?

AC: When I first started to break them, you hear that loud crashing break and inadvertently, this circle started to form from all of the shards evenly cascading out into the space. As I continued, that circle started to close and it became harder to break those tiles. The sound became muffled.

The performance concludes after I have finished picking up all of the pieces of the broken tiles and put them back in the boxes that I received them in. I was thinking about how we have to be vocal about this but we need to be tactful in the way we address this.  It is the mothers, the fathers and family members who often have to clean up after these atrocities. Of course there was anger that came over me, but it was also about letting go of that anger and looking towards solutions and continuing to bring an awareness.

The other works I was creating were quiet.  They were more contemplative spaces, a way to mourn the loss of these women.  So this point for me was the breaking of the silence.  There is this fear too.  When you are vocal about these issues, things can happen.

AB: You mean you bring danger to yourself when you speak out?

AC: Yes, and I think about that. Look at what has happened and is currently happening to journalists. I try to be very strategic because you have to be cautious.  It is not only in Juarez. When you are vocal, you have to be very careful at the same time, because threats can accompany exercising rights.  This piece was really important in that I was trying to break that silence too.

AB: Would you ever want to perform Quebrar el silencio in Juarez or redo that performance in other locations? 

AC: Yes, yes and yes.  After I had done that performance, I really wanted to go back to Juarez and actually wanted to go back to the site where the eight young girls were found, regarding the Campo Algodonero case. But right at that time, you had the drug war in its prime. It would have been a great opportunity but not the right time.

AB: What are some of the questions your professors would ask you about your work?

AC: They would ask me questions about authenticity: Why are you doing this?  What is the importance of it? Think about how the universal is in the specificity.

My second year I met [former UT professor] Michael Ray Charles and I worked with him my last two years. He became another amazing mentor for me. He would sit with me and talk about writers or music. One day I was with Michael Ray and he said, “We need to listen to some music,” so he put on Jimi Hendrix’s The Star Spangled Banner. He said, “Listen to that. Do you feel that? Do you feel the intensity?” He had me put earphones on and said, “You got to listen to it really, really loud.”  We would listen to Billie Holiday, old blues! Gosh! Miles Davis and Thelonious Monk are some of my faves. And we would sit there and listen to this music and you would feel it in your gut. And he said, “You want your work to do that to your insides.” He was another one who pushed me.  No sugar coating. Always asking me “How can you propel this work further?” He was just so incredible to have and still have in my life.

AB: You mentioned to me earlier that you had a dream team of professors that you worked with during your time at UT.  Can you tell me a bit about them? 

AC: In the art department I worked closely with Beili Liu, Jeff Williams, Mike Smith, Amy Hauft, Michael Mogavero, Michael Ray Charles, Ann Johns and Ken Hale.  I worked very closely with Ariel Dulitzsky from the law school and he introduced me to Luis Cárcamo-Huechante who was the lead in creating a human rights working group at the Rapoport Center. Ariel also put me in touch with Cecilia Balli, an anthropology professor at UT who has been working in Juarez for many years and Héctor Domínguez-Ruvalcaba from the Spanish and Portuguese department. I had so many supporters throughout campus. I should also mention Charlie Hale the LILAS director. He was great.

Adriana Corral

Adriana Corral installing Per legem terrae [By the Law of the Land] at Artpace, San Antonio, 2014. Photo by Vincent Valdez.

AB: It seems like you have had some significant mentors and advocates in your life. You met Amada Cruz, the director of Artpace in San Antonio and she has asked you to be a part of a group show.  Can you tell me a little more about the work you are currently installing, Per legem terrae [By the Law of the Land] and the process you go through when creating site-specific work?

AC: Amada has been an amazing advocate. It is a tremendous honor to be in this exhibition. Amy Hauft, Jeff and Margo really helped me greatly when it came to site-specific work.  They provided great readings and advised me to sit in the space. It is important to be aware of your environment, to be very considerate of the space, to study the architecture. At Artpace I would go and I sit in the space for periods at a time, then I photographed it, and I made mock ups of my ideas in the studio.  Then I would put it all into Photoshop to see the layout. I finalized some images and I took those to Amada and we had a discussion about the work.

I wanted to create a counter-monument. For this work I have created a rhombus (diamond) shape of the names of the women who have been murdered. Once the names were transferred to the wall, I obliterated, erased and blurred them. For me the obliterated text is commenting on the failure of a system that is not prosecuting these violent acts.

On the floor, mirroring that wall of names, I have installed a large rectangular shape made of half ashes and half soil. I obtained the soil from along the border.  I was thinking about this line that divides us, this unnatural line. And just because these atrocities are happening in our neighboring country doesn’t mean, like you said, that it doesn’t happen here or concern us. What happens in one place affects us all.

Invasive Species: Landscapes by Justin Boyd, Adriana Corral and Joey Fauerso” will be on view in the Artpace Hudson (Show)Room from September 11, 2014 through January 4, 2015.

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Play, Investigate, Interpret, and Explore: Outdoor Odysseys at the Blanton

Backpack for Outdoor Odysseys: Fountain Expedition

Backpack for Outdoor Odysseys: Fountain Expedition

About 10,000 K-12 students visit the Blanton Museum of Art each year, and for most, it’s their first trip to an art museum. Sometimes groups are so large that they cannot be accommodated for gallery lessons at the same time. In these cases, half of the students wait outside on the Blanton’s plaza, while the other half of the group explores the museum with gallery teachers and docents. After an hour, the groups switch. What do teachers and students do while waiting in this “plaza purgatory?” Typically they eat a sack lunch and then have free time to lounge and linger. Noticing this lag time got the Blanton’s education team asking: What can we do to make waiting more productive and engaging for young visitors? What if they learned about UT with the aid of a walking map? Could a scavenger hunt across campus help kids envision themselves as college students?

A design-thinking workshop was convened to figure out where a map could guide K-12 students and what they might do along the way. Meredith Word, the Blanton’s graphic designer, and education staff and interns trekked around campus putting themselves in the shoes of the average fifth grader. This small team of “design thinkers” came up with four distinctive activity maps that could each be completed within thirty minutes. The design-thinking team also decided that the activity maps should have the common feel of campus exploration and investigation. Each path would engage K-12 visitors with important aspects of campus life and get them curious about college.

Francesca Balboni and Sarah Abare

Francesca Balboni and Sarah Abare discuss
post-it comments during the design process

The ideas from this initial design-thinking session have evolved into a series of Outdoor Odysseys, which the Blanton will be launching this September. Each Outdoor Odyssey includes a map with activities; two backpacks containing supplies will also be available for groups to check out at the Blanton’s Visitor Services Desk (one per group). Outdoor Odyssey maps will include activities that can be accomplished with and without the backpacks. The maps, available for download on the Blanton’s K-12 webpage, highlight Landmarks (public sculptures around campus) and promote the development of looking skills.

Outdoor Odyssey: Go Green will be the first of the series available and focuses on green spaces adjacent to the Blanton Museum of Art. There are team-building games like Zip-Zap-Zop as well as classic field games like sculpture tag and keep-away Frisbee. Another game, Investigator, asks students to use magnifying glasses to make observational drawings and oil-based clay to create relief prints. Through these activities, participants are encouraged to play, investigate, interpret, and explore.

Francesca Balboni

Francesca Balboni jots down ideas for what will become Fountain Expedition

Next in the series will be Outdoor Odyssey: Longhorn Loop. While Outdoor Odyssey: Go Green concentrates on staying near the Blanton to engage in play, Outdoor Odyssey: Longhorn Loop walks in the steps of those who attend UT, taking K-12 students to Gregory Gym, the Darrell K Royal-Texas Memorial Stadium, and around the dorms at Jester Center. The accompanying Texas orange backpack includes compasses, binoculars, and sketching materials. The third and fourth installments of the Outdoor Odyssey series will be released in the spring— with Outdoor Odyssey: Library Lookout (a scavenger hunt) and Outdoor Odyssey: Fountain Expedition (a longer walk with a worthwhile payoff). Each of these four maps and backpacks will encourage teachers and students to view the UT campus in new and empowering ways. Curiosity is welcome, inside the galleries and outside.

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Austin’s Felines

At the beginning of our exhibition, In the Company of Cats and Dogs, we invited Austinites to submit photos of their kitties and pooches to be included in a slideshow alongside the works of art in the exhibit. The response was incredible, with over 450 submissions, underscoring how animal-friendly Austin is! Although we couldn’t include stories of the animals on the slideshow, we wanted to highlight a few that were submitted. Having already spotlighted some of Austin’s dogs, this installment focuses on two special cats in the Austin community, as described by their owners.

Novio

NovioIn my experience, orange male cats have always been the sweetest cats. They love to cuddle and I had always dreamed of adopting one, but my finicky older cat, Pipoca, always kept me from going for it. One day, I saw a little kitten tumble into the street (out of a car?) and I immediately adopted her and took her home. Tenten, the new kitten, was so sweet, and although Pipoca was annoyed with her, they were able to coexist, which gave me hope to add an orange kitten to our family.

Months later, still kitten obsessed, my boyfriend at the time, Jonny, took me to the animal shelter to “just look” and I fell in love with this tiny, 8 week old orange male kitten. The kitten was a little sick and underweight, and the counselor almost didn’t let us take him home that day, but we promised we would take good care of him.

Juliana and Novio after the proposal

Juliana and Novio after the proposal

While waiting for our adoption paperwork to be wrapped up we were thinking of names, and Jonny suggested Novio, which means boyfriend/fiance in Spanish. I agreed that it was a great name and that I wouldn’t mind calling my orange male dream cat mi Novio. We brought Novio home and Jonny started setting up a room for him to begin acclimating to a new home.

Next thing I know, Jonny is on his knee and presents to me Novio and asks me to marry him. Novio was carrying the engagement ring on his collar! I said yes.

A few months later, Jonny and I got married and now I feel like the luckiest woman to have gained a husband and kept my boyfriend!

- Juliana Castillo, Southeast Austin

Peeks

PeeksIn May 2011 Peeks was about 4 weeks old when a friend of mine, Barbara (who has 2 cats), was on the 183N feeder at the Oak Knoll light behind an SUV. When the light turned green, she noticed a tiny kitten that fell off the top of the SUV in front of her! She came to a dead stop right over the kitten that was scrambling underneath the car behind her, crawling up into the wheel well. Barbara got out of her car to look for the kitten but couldn’t see her. Luckily a homeless man at the corner was watching the whole thing and ran to the car, grabbed the kitten from the wheel well and gave it to Barbara. Barbara immediately called me because I had recently lost a cat about six months prior. She brought over this tiny, scared kitten and I was hooked.

PeeksAbout two years ago I gave Peeks to Stephanie, my daughter who needed a therapy pet after losing a very close friend in an auto accident. I get to visit Peeks often, and see she’s being loved and cared for beyond belief. Stephanie and Peeks are perfect for each other. Peeks is obsessed with hair bands and climbing to high places. Her nickname is hair bandit because no matter where you hide your soft hairbands (the $$ ones that look like elastic ribbons), she’ll find them! She loves to nap at the top of “cat castle” (a six foot tall cat tower). Stephanie is in her final year of college, and Peeks is the perfect roommate for her.

- Sharon Barrett, Hyde Park

In the Company of Cats and Dogs is on view through September 21, 2014.

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An Interview with Filmmaker Nancy Schiesari

Canine SoldiersOn Thursday, August 21 at 6:30PM, award-winning filmmaker and University of Texas professor Nancy Schiesari presents a sneak preview of her film-in-progress, Canine Soldiers, which tells the story of military working dogs and their relationships with their soldier handlers. Schiesari will speak about her experience researching and shooting the film, which documents the usage of dogs in the U.S. Army in recent military actions in Afghanistan, and will also screen excerpts. Adam Bennett, Manager of Public Programs at the Blanton, recently sat down with Schiesari to discuss the film.

When did you realize that this idea would translate into subject matter for a film?

I tend not to think in terms of narrative or individuals, but about the ideas behind a film. I learned about military working dogs in 2005 when I was working on Tattooed Under Fire [Schiesari’s most recent documentary] I heard that if a Military working Dog is caught and killed by the insurgency—they’ll have their ear cut off because the serial number of the dog is written there, and this proof can fetch up to $15,000 per dog. So that piqued my interest.

Canine SoldiersBut I was also thinking about how dogs are essential in these wars, in which two out of three American deaths are the result of improvised explosive devices—bombs hidden under the ground. Robots cannot detect them, but a dog can. So here we have another species leading our species through danger, almost like Saint Christopher leading us to safety. So that image of humans being led by another species stayed with me for a long time.

It’s incredibly humbling to think about humans depending on another species—it just shows us that we’re not top dog in everything on the planet, and how much we owe other animals. This is something that the biologists we’ve featured in the film talk about, that humans survived over time because of their cooperation with dogs. That we have evolved with dogs as a companion species over thousands of years brings us to this point where our survival in these wars depends on them.

And then I learned about the strong bond between the dog and the handler, which they need in order to function as a team, and that the bond is based on love and trust: the dog helps the handler because he or she wants to, they want to please the handler. So handlers have to keep this bond of love alive in a situation which is surrounded by death and danger, and where everybody else around them has a kill-or-be-killed mentality. The dog handler and the dog have a completely different relationship.

offlimitsWhen I started meeting dog handlers, I was so struck by the way they looked, they had a very different quality about them from regular soldiers. But then I learned that they all had been regular soldiers first. Every handler I talked to had first-hand experience in the infantry in Afghanistan or Iraq, had seen what bombs had done to their friends, and decided to go back and train as dog handlers, because they wanted to save lives. The handlers whole mentality is about saving lives—they have a saint-like quality. I don’t mean to idealize them, but they really have an extraordinary aura. That could be because they have to get into the sensory world of the dog in order to be a good dog handler, so they’re using their intelligence in a different way, outside of the military mindset where you do what you’re told.

That’s so interesting that you could detect that difference between the handlers and the non-handlers, even though these handlers are soldiers and used to serve in that very different role. 

caninesoldiersThey actually still have to carry a gun, and be able to defend themselves and shoot back if they’re in a firefight, so they’re still wearing two hats—handler and soldier.

There are a lot of people who object to dogs going to war. We have a volunteer army, so soldiers have a choice about whether to enlist or not, but dogs are bred to do this or are selected and don’t have a choice. So there’s a question of ethics about including dogs in human violence. The biologist Marc Bekoff talks in the full-length film about this; he’s very opposed to using animals in war.

Why did you make the choice to shoot in 3-D?

About three years ago, I was thinking about different ways to represent a dog’s perspective. So I thought: wouldn’t it be nice to shoot in 3-D to bring the audience into that world, which isn’t eye-level with human perspective but is further down and has a lot more movement. So it’s interesting to create a different sort of movement through space that we experience from a non-human perspective, not your typical point-of-view shot of a 6-foot person looking across a landscape.

I also felt that the war had been represented for the last ten years on television in two-dimensional, very flat images that are khaki- and sand-colored, and perhaps we had become numb to what the war was really like. So I wanted to try 3D to increase realism and the sensory experience of the film.

This event is hosted in conjunction with In the Company of Cats and Dogs, currently on view at the Blanton. For more information, visit our website.

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Five Ancient Andean Objects Not to Miss

The Blanton’s special exhibition Between Mountains and Sea: Arts of the Ancient Andes closes this Sunday, August 17. If you have only half an hour to peruse the show between now and then, here are five objects you shouldn’t overlook: 

Mantle Peru, south coast, Paracas culture,  c. 300-100 B.C. Camelid fiber 51 1/2 x 110 in. (130 x 279.4 cm) Dallas Museum of Art, The Eugene and Margaret McDermott Fund in Memory of John O'Boyle, 1972.4.McD

Mantle
Peru, south coast, Paracas culture,
c. 300-100 B.C.
Camelid fiber
51 1/2 x 110 in. (130 x 279.4 cm)
Dallas Museum of Art, The Eugene and Margaret McDermott Fund in Memory of John O’Boyle, 1972.4.McD

Paracas culture, 900–200 BCE
Mantle with birds (first gallery) 

Though it is displayed under low light to protect its natural dyes and fibers, the oldest and largest textile in Between Mountains and Sea is impossible to miss. This exquisite mantle from the Paracas culture consists of an embroidered checkerboard of squares in indigo and red that is densely populated with an intricate, stylized bird design–likely a representation of the majestic Andean condor. Mantles like this one were sometimes used to adorn the bodies of the dead, forming a “mummy bundle.” The incredible state of this textile owes in part to the extremely arid desert in which it was buried and to the alpaca or vicuña fibers from which it was woven, which are highly effective at retaining dye.

-800 CE Stirrup spout bottle of Supernatural Crab Being

Moche Culture, 100 -800 CE
Stirrup spout bottle of Supernatural Crab Being
Ceramic, slip paints
Collection of The University of Texas at Austin, courtesy
the Department of Art and Art History

Moche culture, 100–800 BCE
Stirrup spout bottle of Supernatural Crab Being (third gallery)

Peer into the mirror positioned behind this ceramic vessel to fully understand its enigmatic designation as a “Supernatural Crab Being.” The figure depicted on the bottle boasts a human face, a decorated shell for a back, both human and crab legs, and pincers for hands. Its feline headdress and protruding fangs connect it to a Moche deity known today as Wrinkle Face. Moche ceramicists often drew upon local fauna, particularly marine life, to depict supernatural beings in a highly narrative and naturalistic style. Though seemingly readable to the modern eye, such objects are embedded with religious and secular symbolism, much of which remains a mystery to archaeologists and historians.

Single spout bottle with Sicán Lord and two attendants

Sicán Culture, 750–1350 CE
Single spout bottle with Sicán Lord and two attendants
Ceramic
Collection of The University of Texas at Austin, courtesy the Department of Art and Art History

Sicán culture, 750–1350 CE
Single-spout bottle with Sicán Lord and two attendants (fourth gallery)

The Sicán culture is known in part for its advancements in metalwork, and blackware ceramics like this one reflect that interest. The bottle was made using a reduce-fire technique: during firing the amount of oxygen entering the kiln was limited, allowing smoke to darken the clay of the vessel. The surface was then burnished, or polished, to create a striking metallic sheen. The heads depicted on the bottle belong to the Sicán Lord, a mythical ruler, at center, and two attendants, who flank him on either side. 

Anthropomorphic Effigy (cuchimilco) Peru, Central Coast, Chancay culture, Late Intermediate Period  (900-1400 CE) ceramic, slip paints

Anthropomorphic Effigy (cuchimilco)
Peru, Central Coast, Chancay culture,
Late Intermediate Period
(900-1470 CE)
ceramic, slip paints, Collection of The University of Texas at Austin, courtesy the Department of Art and Art History

Chancay culture, 900–1470 CE
Anthropomorphic effigy (fourth gallery)

The Chancay produced some of the largest human-like figurines, known today as cuchimilcos, in the Andes. This figurine was likely made to accompany a funeral bundle and may have been dressed in textiles, which explains its undecorated nude torso. The holes along the head crest are typically associated with female figurines. Though technically crude, such effigies are visually appealing, with their outstretched arms, anatomical detail, and black painted decorations, which sometimes represent tattoos or have animal associations.

Sea Lion, Chimu Culture

Chimu? Culture, 900 –1470 CE
Stirrup spout bottle as sea lion
Ceramic,
Collection of The University of Texas at Austin, courtesy the Department of Art and Art History

Chimú culture, 900–1470 CE
Stirrup spout bottle as sea lion (final gallery)

Like the Moche culture that preceded them on the northern coast of what is now Peru, the Chimú demonstrated an affinity for naturalistic renderings of local marine life. This sea lion bottle is remarkable both for its elegant simplicity and the ceramicist’s sensitivity to detail, from the whiskers to the earflaps. North coast cultures like the Chimú placed symbolic importance on this sea mammal, which relied on the same marine resources as humans and was equally disrupted by the climatic changes brought on by El Niño events. 

Beth Shook is the Blanton’s Curatorial Research Associate for Latin American art.

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Volunteering at the Blanton

Huzefa Sakerwalla

Huzefa Sakerwalla standing next to the WorkLAB Satellites at the Blanton

As a UT student studying business and science, it made absolutely no sense for me to apply for an internship at the Blanton Museum of Art. Even after accepting the internship, I was still worried I would not be able to fit in the museum environment.  I am as far from artistic as you can get. I think paintbrushes are best used for cleaning dust. Oil painting is when I pour vegetable oil in a frying pan. The most artistic I get is tying my shoelaces every morning.

Yet two months after working there, it was nothing like I thought it would be. There were no upper class intellectuals discussing how Picasso’s brushstrokes at 35 degrees give a painting a guileless nature, or Edward Hopper’s sketch of a cat showed that he preferred Petco over Petsmart. There were just kind, sweet, down-to-earth staff members and volunteers who were focused on one thing: how to get everyone to enjoy the art.

UntitledAn art museum is a unique place to volunteer. The environment is serene and soothing. Stacked Waters, the immersive art installation within the museum’s atrium, and the architecture of the building promote tranquility. It’s a place built to calm you and isolate you from the busy outside world. People take their time and stroll around at their own leisure, quietly inhaling the beauty. There is hardly any sense of urgency. Naturally, the environment provokes creativity and thought. The mix of culture and color leaves you in a daze, with your head spinning as you move from one exhibit to the next. In one room you can be surrounded by Greek plasters and feel like throwing on a toga, and within a few steps you are in an ancient time period where you suspiciously check your shoes for sand. If you enjoy working with children, you can help at the stations that are set up for them to make their own art. Their creativity is contagious; just walking by, you feel like making something meaningful of your own. Even I managed to pick up some skills, using my free time to learn origami.

There are numerous places you can give your time to help the community: food banks, homeless shelters, hospitals. But at the Blanton Museum of Art you will find a place of peace and quiet that will help you learn about cultures and their art as well as yourself. If you get a chance to volunteer there, I recommend you take it because the museum and the art can make you a more colorful person.

Huzefa Sakerwalla is a student at UT studying business management and pre-med classes. He found the Blanton internship opportunity on the AccessUT web site for students and alumni and is working with Visitor Services helping to manage summer volunteers.

 

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Let’s Talk: Gallery Teaching and Conversations about Art

Villinski_Passage

Paul Villinski, Passage, 2011, Salvaged wood, found aluminum cans, wire, soot, and steel, Courtesy of the artist and Morgan Lehman Gallery.

It’s been almost a year, but I still remember how nervous I was on that morning last September when I led my first gallery visit for Art Central, the Blanton’s multi-visit education program developed in partnership with AISD. It felt like the butterflies from Paul Villinski’s Passage had invaded my stomach, bringing nausea and anxiousness with them. I had already finished a year of my M.A. program in Art History by the day of my first tour, so I was fairly confident in my ability to effectively present my ideas to a group of my peers, but Art Central is a program for fourth and fifth grade school groups. I was acutely aware that speaking to a group of nine year olds about art would be a much different exercise than doing the same with a class of art history graduate students.

My mind raced with terrifying thoughts:

“What if they think the art is boring?”
“What if they think I’m boring?”
“What if I ruin museums for them for the rest of their lives?”

I felt so much pressure to be a teacher, but at the same time, I was not entirely sure what it really meant to be a teacher in the art museum.

Despite my fears that first morning, I successfully led three groups of fifteen students each through the Blanton. My tours were far from flawless, but I made it through them and realized that while I had a great deal to learn about gallery teaching, I also had the ability and the desire to do so.

Each new tour that I gave was a learning experience and soon I began to develop a teaching philosophy based on the idea that teaching should not mean lecturing or knowing all the answers. Ray Williams, Director of Education at the Blanton, had emphasized this idea from my first day on the job, but I needed to have some tours under my belt before I was able to completely grasp the importance of speaking with my tour groups, not to them.

Matias Duville,

Matias Duville, Espiritú guardián, 2008, acrylic on board, Susman Collection, 2008.

The value of this approach to art museum education hit home for me during a discussion about the painting Espiritu guardian [Guardian Spirit] by Matias Duville. The work is quite large (91 in. x 144 in.) and striking in its chaotic composition, but I am ashamed to admit that before Andrea [Saenz Williams], educator and head of school and teacher programs at the Blanton, pointed out its potential for a gallery lesson, I had never really considered it carefully. Thankfully, at Andrea’s suggestion, I used it in my next tour and the discussion was nothing short of exciting. Not only were the students fascinated by the curious scene before them, they were also incredibly observant, wanting to make sense of the seemingly discordant parts of the painting. In our discussion, I found that the students were able to see things in the painting that I had never noticed. In other words, I was the teacher, but I was also the student.

Conversations like this one have taught me what I did not fully understand on that first day of teaching: When people are invited to share their observations about a work of art, they encourage others, including myself, to consider a different perspective, and more often than not, taking a different point of view results in finding something new and exciting. Effective teaching in the art museum means facilitating the visitor’s experience, not directing it.

Sarah teaching in the galleries

Sarah teaching in the galleries

Now, ten months after my first gallery lesson, I’ve led over 75 tours and though I still have a tremendous amount to learn about art museum education, I do feel confident enough in what I’ve already learned to leave you with a suggestion. The next time you find yourself with some free time, I encourage you to go to the Blanton with a few companions, walk upstairs, and stand in front of Espiritu Guardian and pose the following prompt: “Let’s take a moment to look at this work. Think about what you see and, after a minute of observation, let’s talk.”

I have a feeling you’ll learn something.

- Sarah Abare

Sarah worked as Graduate Teaching Fellow at the Blanton during the 2013-2014 school year.  She graduated with her Master’s in Art History from the University of Texas in May 2014 and will be starting as the Administrative Coordinator for the Education Department at the Blanton next month.

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George Gershwin In An Imaginary Concert Hall

Blanton volunteer Ray McLeod shares his research into one of the most popular works hanging in our galleries, David Alfaro Siqueiros’ portrait of musician George Gershwin, a painting on long-term loan from the Harry Ransom Center.

George Gershwin

David Alfaro Siqueiros, Portrait of George Gershwin in a Concert Hall, 1936, oil on canvas, 66 7/8 x 90 5/8 in., Long-term loan from the Harry Ransom Center, The University of Texas at Austin.

American composer George Gershwin went to Mexico in 1935 and met Mexican muralist David Alfaro Siqueiros. As Siqueiros and Gershwin got to know each other better, they realized how much they had in common.  For one thing, they both experienced a sensory phenomenon called synesthesia—when one type of sensation produces a stimulation of another.  When Gershwin viewed a Siqueiros painting, he heard sounds made by the colors, and when Siqueiros listened to a Gershwin melody, he could see colors produced by the music. On a visit to New York City, Siqueiros painted George’s portrait, now hanging in the Blanton Museum on loan from the Harry Ransom Center.  What was originally intended to be a simple portrait turned into a concert scene with members of Gershwin’s family and close friends depicted in the front rows, including Siqueiros.  Siqueiros also painted the frame, with the colors bleeding from the canvas onto the frame.  Along the bottom edge of the frame are small nameplates identifying the viewers who George wanted to be in attendance in the imaginary concert.

The Faces on the Left Side

photo 1

From the left, on the front row, are Siqueiros, Mabel Schirmer, Mr. and Mrs. Leo Godowsky, Jr., Gregory Zilboorg, Mrs. and Mr. Ira Gershwin, and Leo Godowsky.  On the second row, at the left-hand end is Oscar Levant, and the third person from the left is Harry Botkin.  All were important figures in George Gershwin’s life for various reasons.   David Siqueiros, known for painting murals with social themes, developed a personal commitment to protecting the rights of the oppressed.  A member of the Communist Party, in 1938 he went to Spain to join the Republican Army and fight Francisco Franco.  Two years later he was arrested in Mexico for an attempted assassination of Leon Trotsky, a Russian Marxist who was a guest of Diego Rivera’s. In 1951 Siqueiros won second prize for foreign artists at the 25th Venice Biennial, and in 1967 he was awarded the Lenin Peace Prize. Next to Siquieros is Mabel Schirmer, of the G. Schirmer sheet music printing business, who helped George buy taxi horns like those he had heard in Paris and then used in composing “An American in Paris.” Leopold Godowsky, an inventor of such products as Kodachrome film was also a gifted pianist, composer and teacher, known as “a pianist for pianists.”   Dr. Gregory Zilboorg was a psychoanalyst whose patients included Kay Swift, Lillian Hellman, Marshall Field, and George Gershwin.  Ira Gershwin is famous for collaborating with his younger brother to write some of the most popular Broadway music, including “Embraceable You.”  Ira was the lyricist and George was the composer.  Oscar Levant, another famous musician and composer is represented in the painting along with George’s cousin Henry Botkin, the person who suggested that George contact Mexican painters when he went to Mexico in 1935.

The Faces on the Right Side

photo 2

Across the aisle are Gershwin’s parents Mr. and Mrs. Morris Gershwin, George’s older brother Arthur, Mrs. and Mr. Louis M. Paley, Kay Swift, and William Merrigan Daly. Mr. and Mrs. Morris Gershwin, were originally from St. Petersburg, Russia and immigrated to the United States in the late 19th century. They bought a used piano for eldest son Ira’s practice but George, at age twelve, couldn’t resist playing it. Arthur Gershwin, George’s brother, was not a musician and would introduce himself as the “unknown Gershwin.”  Mr. and Mrs. Louis M. Paley were both Gershwin supporters. She was the Gershwin boys’ younger sister and gave George the novel Porgy, which stimulated him to compose the opera Porgy and Bess.  Her husband, Lou Paley, was a lyricist who collaborated with both George and Ira during their early careers.

Kay Swift and George Gershwin 

Kay Swift was the most important woman in George’s life other than his mother.  George and Kay were romantically involved for about ten years. Kay made her own name in show business, being the first woman to score a complete musical.  She also wrote the music for “Can’t We Be Friends?” and “Can This Be Love?”  Proof that she was directly involved with George’s work appears in the form of her handwriting on some of his music, including Porgy and BessWilliam Merrigan Daly was a composer who helped George on many projects, including Concerto in F, possibly the music that George played in the concert that Siqueiros painted.  Max Dreyfus, a music publisher, hired George in 1918 to write songs.  The pay was $35 a week.  His first hit was “Swanee,” which became an Al Jolson standard.

A few years after the painting was complete, George began having dizzy spells and headaches.  He had an operation for a brain tumor but died the next day on July 11, 1937 at the age of 38. After his death, George received an Academy Award nomination for Best Original Song, “They Can’t Take That Away From Me,” which he had composed with Ira.  The Congressional Gold Medal was awarded to both George and Ira in 1985. The only other songwriters to be so recognized were George M. Cohan, Irving Berlin, and Harry Chapin. Gershwin’s legacy lives on in both his music, and through Siqueiros’ portrait.

Ray McLeod, Blanton Museum of Art Volunteer

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Artist Claude van Lingen on Art of the Moment

Austin Artist of the Year and Blanton volunteer Claude van Lingen traces how artists have been influenced by the ideologies and technologies of their time from the Impressionism to Contemporary art movements.

“Call that art?” “My child can do better!”

Exclamations such as these have reverberated ever since the Impressionists first exhibited their work.

Frederic Emile Jean Baptiste Ragot

Frederic Emile Jean Baptiste Ragot, French Landscape, not dated, oil on canvas, Gift of Latane Temple, 1985.

The question is often, “Why do artists create strange work?” The answer: adventurous artists do not work in an accepted style but develop new ideas within the philosophy and zeitgeist of the times in which they live, a concept—central to the creative process—that is not stressed in most books or classrooms.

Impressionism came about because of changed thinking inspired by the French and Industrial Revolutions, technological innovations such as the camera, train travel, and paint tubes, and new ideas about light and color. The Impressionists revolted against the rules of the Academy (a national organization that controlled the art world) and wished to paint daily life with the speed of the camera rather than subjects, such as ancient Greek myths, that were favored by the Academy. Critics and the public alike ridiculed their subject matter and use of brilliant color and quick, visible brush strokes—an attitude difficult to comprehend today.

Max Weber

Max Weber, New York at Night, 1915, oil on canvas, Gift of Mari and James A. Michener, 1991.

Around the beginning of the 20th century, inventions such as flight, the automobile, the electric light bulb, the X ray, telephone, radio, movies, the elevator, and Einstein’s Theory of Relativity changed the concept of space and time for everyone. In keeping with these new technologies, and in contrast to photographs and perspective renderings (the representation of objects from a single point of view at a single moment in time) the Cubists painted objects seen from different points of view at different moments in time. This method comes naturally to art created by children and to all cultures before the discovery of the rules of perspective during the Renaissance. In contrast to the perspective-type vision of the right brain, it is the way in which the left brain perceives reality. As Picasso said, “I draw what I know, not what I see.”

Theosophy (with its teaching that all major religions have at their core the same basic beliefs and that their different offshoots added details to suit their needs) led artist Piet Mondrian to remove all recognizable details from his work and search for the core truths in art. Although ridiculed at the time, Mondrian’s ideas permeate our lives to this day. His influence can be seen in modern architecture, furniture, and interior and graphic design.

Joan Mitchell

Joan Mitchell, Rock Bottom, 1960-61, oil on canvas, Gift of Mari and James A. Michener, 1991.

In the WWI era, artists reacted against the war by forming the anti-establishment Dada movement. Freud’s ideas about the subconscious were the source for Surrealism. Dada and Surrealism’s ideas about chance and the subconscious, combined with post WWII Existentialism, underlay Abstract Expressionism. In turn, the products of our consumerist society became the “landscape” within which Pop Art flourished.

Today, for many reasons, individuality is paramount. Therefore, contemporary artists find something to say or do and use or develop the means most appropriate for communicating their ideas, whether those means be sharks, digital media, army tanks, blood, bottle tops—whatever.

The lesson is this: to begin to understand what any artwork is about, one has to research the philosophy of the times and delve into the artist’s background to discover what he or she is trying to communicate—even if it’s a realistic still-life painting. Understanding contemporary art is not always easy, even for those who are well versed in the history of art, but it can always be interesting.

- Claude van Lingen, Blanton Volunteer and Austin Artist of the Year

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Curiosity Unbound: Docent Training at the Blanton

Storytime tour at the Blanton

Luz Marie joined the Blanton Docent Program in September 2013, and now regularly leads school groups and Spanish/bi-lingual guided visits in the galleries. Here, she leads Storytime in the summer’s special exhibition, In the Company of Cats and Dogs. (Photo by Jerri Starbuck, 2014.)

Annually, hundreds of groups comprised of K-12 schools, community organizations, and university classes visit the Blanton. We hope these visitors come with a measure of curiosity and a desire to explore, and we expect them to leave changed in some way, perhaps possessing a better understanding of themselves and others, inspired by the limitless possibilities of human creativity on view in the galleries. This thirst for exploration is nurtured by the Blanton’s volunteer docents, a fantastic group which includes artists, educators, business professionals, students, faculty members, mothers, fathers—women and men representing the surrounding, vibrant Austin city area. Here at the Blanton, docents are teachers who generously give of their time to help visitors enjoy a meaningful experience, and the galleries are classrooms, where each work of art has the potential show us something new about the world, each other, and ourselves.

Throughout the academic year, Blanton docents participate in continuous training to prepare them for working with the broad range of groups who visit the museum. Between one and two sessions are scheduled monthly, covering topics such as teaching methods for school groups, led by our Museum Educator for K12 Audiences Andrea Saenz Williams, and special exhibition training for new shows at the museum, such as In the Company of Cats and Dogs, led on June 23rd by curator Francesca Consagra and graduate intern Douglas Cushing. In keeping with the model we promote for group visitors—that the best learning happens in front of the works of art—we host as many of our training sessions in the galleries as possible.

To give us a more personal insight into the process of docent training at the Blanton, Iris Cahill, Coordinator of Docents and Tours, asked three of our newest docents who recently underwent a rigorous year of preparation between September 2013 and May 2014 to share some of their thoughts.

Jeannie, Blanton DocentJeannie:

One of my goals in retirement was to be a Blanton docent so I could combine my passion for teaching with my love of art.  However, just because I’m a teacher by training and I love art didn’t immediately change me in to a docent who could conduct a tour.  That took the Blanton’s talented education staff.  Our training, which is ongoing, is interesting and always thought provoking.  My favorite training takes place in the galleries where we can sit in front of a work and drink it in. We learn about the art itself while also exploring techniques that teach us and our audiences to look deeply, responding to the art without demanding a specific answer.  Because of these techniques, my viewing of art has changed, becoming deeper and more rewarding for me, and I try to pass that along to the groups I take on tours.

I give tours to all age groups.  My favorites are the school children because they tend to ask more questions than adults.  This summer I’ve done Storytime with younger children, which is an interesting challenge because the books that are used have to be loosely matched to a work of art.  The big thing I’ve learned while working with younger children is they are quite accepting of abstract art and love to look at the colors and brushstrokes in the paintings.  Each tour, no matter what age, is always different, many times rewarding and usually fun.

Rosie, Blanton DocentRosie:

I love art.  I enjoy the docent program because of the opportunity it affords me to interact with others surrounding works of art. I am most appreciative of the opportunity to glean knowledge from the tours that are led by the curators at the Blanton Museum.  Initially, my most memorable experience and favored exhibition was Lifelike.  Now, my favorite has changed.  It changed because of the tour of In the Company of Cats and Dogs.  This training session, led by curator Francesca Consagra, was exceptional and most memorable.  She uses a beautiful technique that lulls you while she is speaking.  Her narrative gives you the sensation that she is caressing the works as she engages and interacts with the audience while discussing a selected piece of art. After she moves to another piece of art, I am left savoring the prior discussion while I attempt to absorb all of the information that she has provided. I am sure that I am not the only trainee who longs to mature to the level of Francesca in discussing art.

The group training sessions are an asset to the program. I am particularly fond of the in-gallery sessions because they are fun and thought provoking.  I very much enjoy the research pursuit while preparing for a tour as well as completing the tour outline.  I feel a sense of accomplishment when I lead a successful tour, and I appreciate the support, the understanding, and the availability of the managers and of the directors for this program during our training challenges.  It is hard to believe that in September, we will have participated in this program for one year. I am so proud that many of us have led many tours.  We appreciate that the management have enough faith in us to allow us to transition through our own metamorphosis.

Michele:

It seemed only natural for me to be interested in becoming a docent. I enjoy people and love art. I was delighted when I was selected to be in the 2013 training program at the Blanton.

The training involves learning about the collection from the knowledgeable curators. We regularly have great lectures about various works of art in the collection and from special exhibits. We each do our own research from the resource room organized just for docents. This room is full of books and papers written by curators and past docents about the works owned by the Blanton.

The education staff has taught us many things, one of them is how to address groups of adults and children using current techniques, like visual thinking skills. It has been really fulfilling to engage the children in a conversation about art using this technique. I was amazed at how many school groups and summer programs tour the Blanton.

There is great support from the experienced docents and we newbies help each other when we can.  I always look forward to my assignments and training sessions. This has been a wonderful experience for me.

For more information on the Blanton docent program or to schedule a guided visit, please contact tours@blantonmuseum.org.

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Branding Between Mountains and Sea: Arts of the Ancient Andes

The first encounter visitors have with Blanton exhibitions often occurs well before our shows even open. For each exhibition, a look or “graphic identity” is developed to help set the tone of what visitors will find in the galleries. Used on our website, on signage on the side of our building and around Austin, in advertisements, and elsewhere, the graphic identity provides context for each presentation and is an important component for engaging our audiences. How are these graphic identities created? Blanton Graphic Designer Meredith Word explains the process:

Between Mountains and SeaEvery new exhibition at the Blanton brings with it the welcome challenge of designing a graphic identity to help brand the exhibition and convey the scope of the artworks included. Each logotype has to be able to function across multiple platforms: for promotional purposes in print collateral, web ads, and signage, and internally as the primary component of the gallery graphics.

My standard approach begins with an overview of the object checklist to get a sense of the tone of the collection of work. Next I delve into a little historical research, looking for any hints of typographic style. I am a sucker for typography and can spend an irrational amount of time admiring and drawing inspiration from fonts, logos, packaging, hand-painted signs, menus, movie credits, you name it. Needless to say, given that no written language existed in the Andes until after the Spanish conquest in 1532 there was not much to draw from typographically for Between Mountains and Sea. But the abundance of stylistic elements exemplified in these artifacts and the mammoth geoglyphs known as the Nazca lines pointed to block-style lettering, primitive but precise. Kimberley Black, a free font available on dafont.com, ended up working surprisingly well despite the fact that it was based on corporate/industrial logotypes from the 1970s–although maybe that makes it an appropriate fit for an ancient culture renowned for their technological achievements!

Andes title graphicsFrom the outset I imagined some kind of geometric icon needed to be incorporated into the design. Guest curator Dr. Kimberly Jones suggested using a step and volute, which functioned as an iconic element for the North coast of Peru and is believed to symbolize the intrinsic connection between the mountains and sea—the perfect symbol to illustrate the title of the exhibition. Usually comprised of three ‘steps’ that culminate in a scroll or ‘volute’ which curls back over the top step, the icon appears in various configurations painted on ceramics and woven into textiles by the Moche and Chimu. Using various examples as a template I refined the step and volute to reflect characteristics of the type, and inserted it as bookends to the subtitle. Finally, taking into consideration the limited but rich palette of earthy reds, yellows, and oranges, a color palette was chosen to enhance the logotype and complement the objects on view in the exhibition.

We invite you to see how Meredith’s designs augment this special exhibition by visiting Between Mountains and Sea: Arts of the Ancient Andes, on view through August 17.

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Austin’s Cats and Dogs

As part of our new exhibition, In the Company of Cats and Dogs, we invited Austinites to submit photos of their kitties and pooches to be included in a slideshow alongside the works of art in the exhibit. The response has been incredible, with over 150 submissions to date, underscoring how animal-friendly Austin is! Although we couldn’t include stories of the animals on the slideshow, we wanted to highlight a few that were submitted. For this installment of the blog, we will focus on dogs, but a blog dedicated to cat stories we’ve received will be coming up soon!

BorrisThis is Boris, who was found nine years ago, living on the streets in downtown Austin. He had heart worms and a bad skin condition when I found him, so it took about 3-4 months to nurse him back to health, then we spent about a year training and getting ready for therapy dog work. I’ve had him over nine years, and he’s still going strong. He’s one of the mellowest Chihuahuas ever. This photo, taken in his Bouldin Creek neighborhood, shows that he still has undeniable street cred. - Joyce Bertolacini

CassidyThis is a picture of “Hop a Long” Cassidy, my beloved, magical, 3 legged wonderdog.  She lives in South Austin with my wife, Amy Davis, and me, in the Western Trails neighborhood.  She’s slowing down a bit in her old age, but she’s a courageous dog who loves to play and swim and go for walks on the greenbelt, despite having to put in a little extra effort because of the missing front leg. – Jason Steans

Photo by Oscar Ricardo Silva

Photo by Oscar Ricardo Silva

This photo is of my husband, Joel Chapman, our chocolate lab, Muddy, and our German Shepherd, Reba. It was taken by our friend Oscar Ricardo Silva in 2011 at Red Bud Isle. About a week before this photo was taken, we’d learned that Muddy had cancer, and it had metastasized. So Oscar, who IS NOT a morning person, met us at Red Bed at 7:00 on Labor Day to do photos with us. This is one of my very favorite photos for so many reasons, but mostly because how I remember how much we all loved one another, and Oscar captured that. – Erin Randall

BrunoOur 1-year old Viszla, Bruno (yes, Mars) loves to chase model airplanes in Zilker park, play keep-away, and generally be adorable :-)  - Britt Menendez

Want your cat or dog to be part of this slideshow? Email catsanddogs@blantonmuseum.org with a photo of your kitty or pooch (include yourself, if you want) along with your pet’s name and neighborhood or hometown. High-res files preferred, but cell phone photos work, too! The slideshow is updated weekly, so keep checking back throughout the exhibition to see your pet!

In the Company of Cats and Dogs is on view through September 21, 2014.

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An Interview with Peter Stopschinski, curator of Beat the Rush

Composer and musician Peter Stopschinski is the current curator of Beat the Rush, the Blanton’s innovative monthly music series held as part of Third Thursday programming. In a recent interview with Adam Bennett, the museum’s manager of public programs, Peter discussed his ideas for the series and his interests in art and music:

Peter Stopschinski. Photo courtesy of the artist.

Peter Stopschinski. Photo courtesy of the artist.

Q: What are you looking for when you select performers for Beat the Rush?

A: I’m trying to find a wide variety of musicians and music to present that reflects the diversity of art in the museum as well as the diversity of music and musicians in Austin.  Within this eclectic mix I’m looking for musicians that are inspired by extra-musical ideas: cinema, art, poetry, performance.  Many musicians play music but there is a smaller sub-category of musicians to which music plays a central role, but is not the entire story of their creative impetus.

This fall we will present a world premiere harp concerto, the scathing and twisted blues-rock of Churchwood, the cinematic instrumental music of Justin Sherburn (who is the pianist in Okkervil River), choral wonders from Convergence and Texas Choral Consort. Also the striking sounds of Line Upon Line percussion.

Q: Who else are you looking forward to hearing at the Blanton?

I invited Datri Bean, who’s the leader of Minor Mishap Marching Band, to play some of her solo work. Minor Mishap is inspired by New Orleans and Balkan brass bands, but they really shred and create events rather than just concerts. Datri has a million other musical outlets which get less attention than the Minor Mishap explosions of costume and raucous music, so I can’t wait to see what she has in store for us! And I am always happy to see what my friend Graham Reynolds is up to.  Guaranteed it will be exciting and beautiful and his knowledge and relationship with visual art is incomparable.  I could keep going.  I really can’t wait to see all of these shows.  I chose them all so it’s the perfect series for me!

Q: You’re premiering your harp concerto this month at the Blanton. I know it’s written for a larger ensemble, so how is it going to be different during Beat the Rush?

A: It went through several different versions to get to this point.  It was initially conceived as a string quartet with piano and electronics and premiered by the Tosca String Quartet at a Golden Hornet Project show at Lamberts here in Austin.  Next I created a solo piano version to perform by myself.  Then I took the slow movement and built an entire five-movement symphony that premiered alongside Graham Reynolds’ Difference Engine Triple Concerto and Jonny Greenwood’s Popcorn Superhet Receiver. This was at a Golden Hornet Project concert which won the Austin Critic’s Table award for Best Symphonic Performance in 2012.

Elaine Barber, Harpist

Elaine Barber, Harpist

So it was in this symphonic version of the piece, which was then titled Rough Night with Happy Ending that I first introduced the harp.  Elaine Barber, harpist from the Austin Symphony, agreed to play the part and at the concert we decided to put her in the front of the orchestra instead of behind the strings which is where the harp usually lives.  Up to this point the harp played a supporting role but by physically putting her in front of the orchestra I began to see how the harp was really the spirit of the piece. Then last year Elaine submitted Rough Night to the American Harp Society who agreed to feature the piece at this year’s American Harp Society Orchestra Gala Night in New Orleans and Elaine and I began to really beef up the harp part and create an entirely new version of this music in which the harp played the lead role.  As we worked on this Harp Concerto with Orchestra we also created a version for piano and harp that we could perform as a duo.

Q: I love hearing about how many different permutations a single piece can have. I know that piece on your last album (Now Would Be a Good Time) and can’t imagine how it will sound for only harp and piano. One last question: what’s your favorite style of art?

Dallas Chaos II

Peter Dean, Dallas Chaos II, 1982, oil on canvas, Gift of Lorraine Dean and Gregory Dean, 1994.

My taste in visual art varies; there’s no one style or artist that I love above all the others. I have a special attraction to Bosch and Dali. I was never a huge fan of Picasso and I always wondered why. The most “blown away” I’ve ever been by a painting was a Chuck Close self portrait. At the Blanton I am continually impressed by Luis Jiménez’s Border Crossing, the crazy painting of Jack Ruby and Lee Harvey Oswald [Peter Dean's Dallas Chaos II], and I’ve recently found myself loving the non-conformity of the medieval stuff in the permanent collection.

Peter Stopschinski performs at Beat the Rush tonight at the Blanton at 5:30 PM.

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Francesca Consagra on In the Company of Cats and Dogs

Hiroaki

Takahashi Hiroaki (Shotei), Published by Fusui Gabo,
Cat Prowling Around a Staked Tomato Plant, 1931
Woodblock print, The Museum of Fine Arts Houston, Gift of Stephanie Hamilton in memory of Leslie A. Hamilton

To introduce our new exhibition,  In the Company of Cats and Dogs, curator Francesca Consagra shares a preview of the show and what visitors can expect to encounter.

This week, our exhibition In the Company of Cats and Dogs opens and it provides a wonderful opportunity: the enjoyment of looking at amazing works of art depicting cats and dogs by such important artists as Louise Bourgeois, Pieter Brueghel, Albrecht Durer, Paul Gauguin, Francisco Goya, Edward Hopper, Jacob Lawrence, Pablo Picasso, Jan Weenix, and Andrew Wyeth. Also on display are beautiful works from Ancient Egypt, third-century China and Mexico, and some of YouTube’s most popular cat videos. That is a surprising mix, no? It is because we want to explore the profoundly different ways that people have perceived and interacted with cats and dogs, and how these attitudes have changed over time.

As the curator of the exhibition, I encourage you to look closely at the art, to read the labels and wall texts, and to listen to the audio guide in the hopes that you will begin to think more about the roles that cats and dogs play in your own life and culture.  We collaborated with faculty and students at the University of Texas at Austin, who study the interactions between human and non-human animals. The exhibition’s wall texts, audio guide, and labels discuss a wide range of topics, including the psychological, cultural, and biological underpinnings of human attachments to cats and dogs, to which the artists themselves may have been responding.

David Bates

David Bates, The Whittler, 1983, Oil on canvas, Michener Acquisitions Fund, 1983.

Some works in the exhibition, for instance, demonstrate anthropomorphism, the desire to give human form and characteristics to objects and animals. They also reveal a tendency to associate cats with women and dogs with men, and the inclination to connect these two animals with the beginning and the end of human life. We discuss how the rise of Christianity ushered in an era of unusual suspicion and the maltreatment of cats and dogs up until the thirteenth century.  Then, dogs began to be rendered more as loyal companions, healers, and signifiers of a person’s high moral and social status. Cats, on the other hand, remained mostly symbols of evil, cruelty, and sin in European art well into the eighteenth century. We also consider how the empathy-governing hormone oxytocin is produced in response to contact with our companion animals. When you pet your dog, a recent study concluded, both human and animal oxytocin levels increase, and numerous works in the exhibition offer a glimpse into the empathy and affection that the artists themselves felt for their cats and dogs.

Near the end of the exhibition, you will find a resource room organized by Ray Williams, Director of Education and Academic Affairs. This room features a slideshow of Austin’s pets, children’s books, and other readings that may help you think about pet ownership and care. The Blanton has also organized some great events, so keep an eye on the museum’s Facebook and Twitter pages for announcements throughout the summer.

We look forward to seeing you soon!

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We love our Members!

Membership Appreciation MonthWith free admission, member-only tours and events, and exclusive previews of new exhibitions, membership at the Blanton offers some of the finest cultural experiences in Austin! While we love all our visitors, June is Member Appreciation Month at the museum: a time when we extend a special thank you to all of our members for their generous support and friendship! To celebrate, we’re offering extra special member perks all month long.

Are you looking for an enjoyable evening out?  Come to B scene: Blue Hawaii on Friday, June 20.  Guests will dance to the hot tunes of Dalevis (Dale Watson’s Elvis-inspired alter ego), enjoy a cash bar with specialty cocktails, snack on yummy bites like Elvis’ favorite peanut butter, banana, and bacon sandwich, and much more! And Blanton Members will have extra special perks at the event, including an exclusive outdoor member lounge, complete with special seating, light bites, a private cash bar, and an art activity just for them.  Plus, B scene is now always free for members!

Members at the BlantonDo you have kids or grandkids that are looking for fun, creative activities in a cool setting?  Join a Storytime Tour or stop by the WorkLAB, the museum’s open studio ensured to inspire all art enthusiasts.  We’re also showing several family-friendly movies in the auditorium this summer.

Want to learn more about the art on view at the museum? While we offer weekly tours, members can beat the crowds and take part in a Member Tour of the new summer exhibition, In the Company of Cats and Dogs.  Organized by the Blanton, this exhibition takes a multifaceted look at our relationship with felines and canines through the ages.

Have company visiting this summer?  The Blanton is a perfect place to beat the heat! Members enjoy special Friends and Family Fridays, where they’re invited to bring unlimited additional guests for free general admission every Friday in June.

Blanton MembershipAll of these activities are free for Blanton members.  For a complete list of programs and events be sure to look at the Summer Calendar of Events for dates, times, and descriptions.

Not a member yet… but want to be one?  You are in luck.  We have a special, limited-time offer going on right now.  Joining is easy!

Thank you, again, members, for all you do to support the Blanton.

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WorkLAB Satellites: An Interview with Artist Leslie Mutchler

To further its efforts to serve as a hub for inspiration and site for creativity, the Blanton has commissioned artist Leslie Mutchler to create new works of art to be used as creativity stations within the museum. Titled WorkLAB Satellites,the 40 x 90 inch mobile and flatpack workstations will supplement the Blanton’s WorkLab program—a series of open studio experiences offered to children and their families each summer.

Photo by Deborah Cannon for Austin360

Leslie Mutchler in front of the WorkLAB Satellites. Photo by Deborah Cannon for Austin360

Cut from birch plywood on a CNC router, each of the workstations is designed to be configured and reconfigured in a multitude of ways; changing the look of the work environment in conjunction with new projects. Window-like openings will enable visitors of all ages to engage in conversation as they create.  The stations will be stocked with everyday materials such as tape, paper, pencils, stencils and chipboard. Simple directives in English and Spanish will offer instruction for creating paper sculpture, collage and weaving, among other projects.

To introduce the project, we sat down with Leslie to interview her about her creative process and how WorkLAB Satellites came to be.

How did the idea for these creativity stations originate? What drew you to collaborating with the Blanton on this project?

For the last six years, my work has become more and more participatory. I installed a project titled tumblrEAL at Gensler Global Architecture in Austin in the spring of 2012. The project consisted of cardboard (temporary) furniture (shelving, sawhorses, and wall frames) that housed a large assortment of digitally printed images sourced from my personal tumblr site. I installed the project as a way to give the architects at Gensler (sitting behind computers and surrounded by gray cubicles) something visually striking to look at and also something to physically engage in. All of the prints were hole punched and could be easy moved from one location to another, providing endless ways in which an interested viewer could sort through and curate visual information. This level of participation has been increasingly more important in my work in the last few years as I am invested in collaboration and the notion of flux within my work. In late 2012 I developed TrendFACTORY as a production-based participatory project, in which I ask the audience to make three-dimensional forms from printed and pre-scored chipboard using limited materials and tools. I provide the maker with simple instructions and ask that the final object be documented (by the use of a smartphone or camera) and uploaded to an online archive.

Ray Williams, Director of Education and Academic Affairs at the Blanton Museum, approached me in the late spring of 2013, after he had seen TrendFACTORY at the Visual Art Center on UT Campus. He and I talked at length about the project, our interests in creating a work space for people to make and share with one another, and thus he asked me if I was interested in proposing a similar project to the Blanton, but on a larger scale. I was thrilled to engage in such a challenge- and we were off and running.

Can you explain the significance of the name “WorkLAB Satellites?” What do you hope to connote with this title?

I think there is a common misconception that an artist spends time in their studio messing around in hopes that something good might come from the time spent. While play is an important aspect of the artist’s studio practice more important is the notion of work. When I go to my studio, I work. I read, I research, I study materials and processes, I calculate and imagine outcomes and most importantly I work hard to design and create installations or projects that will invite a particular response and read from my viewer. In short- working in my studio is work. It’s the work that I’m most happy to engage in, but it’s work none-the-less. The word “lab” is in reference to the idea of the laboratory- or a place where experimentation and play takes place.

The word “satellites” references the modularity and ever-changing composition and make-up of the work environment. WorkLAB Satellites can be installed and deinstalled quickly; it can change formation; house different materials and processes; and is in constant dialogue with the Blanton’s permanent hands-on studio for making, WorkLAB.

Photo by Deborah Cannon for Austin360

The WorkLAB Satellites installed at the Blanton. Photo by Deborah Cannon for Austin360

Why are these artworks designed to be interactive, and what do you hope participants will get out of the experience?

It is my hope that through these guided projects, making use of simple but rich materials and processes, the user can experience a high-level of engagement with the making of a creative work. I believe a person, regardless of familiarity with the art world, can bring a wide range of aesthetic and cultural knowledge to their creative work practice. Essentially, they put themselves into that thing. This too is what artists do; it’s why we become so attached to the things that we make. As artists we know that work starts with an idea (whether that be small or grand). One can imagine and perhaps see it in their mind, but ultimately the thing that they are making/ writing/ composing never ends up looking like what was imagined. This, I think, is the lynchpin of creative practice; learning to see and appreciate results that might not have been planned. I want to give that experience to a person (a non-maker/ non-artist) so that they might find a new appreciation for the trials and tribulations of the creative practice.

The IKEA effect, coined by Associate Professor, Michael Norton at the Harvard Business School, is a study that proves the increase of valuation for handmade products. This psychological phenomenon essentially tells us that our labor leads to love. People that make an object with their hands (from baked goods to IKEA furniture) are inclined to be more attracted to their results as opposed to those results stemming from external efforts. By giving an individual materials and guidelines for making I am empowering that person to find value in using their hands.

What role does social media play in the artwork? What is the importance of documenting the work, and how do you achieve that in your directions?

The photos I ask the maker to take and upload exist as a way to document what happens in the work space. The online archive serves as a way for people to revisit that experience of making and for people from around the world to view that experience without actually having to be there or participate. The archive also serves a cross-section of the cyclical nature of aesthetics and a look into the current hand skills of the public.

We are surrounded by social media in all other aspects of our lives. We document experiences, travel, events and moments and send it out into the world for instant gratification. Why shouldn’t we want the same from our creative endeavors and struggles. It’s my belief that social media, while primarily is a social tool, also facilitates learning and investigation. We research, seek and engage with like- minded people and projects, and we seek to connect to a larger world to achieve greatness.

WorkLab Satellites is made possible by a grant from Texas Women for the Arts.

tx

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Summer Midday Music Series at the Blanton

To kick off our summer Midday Music Series, Kress Interpretive Fellow Natalie Zeldin provides a look at what to expect from this monthly musical event.

Picture the scene: It’s a Tuesday afternoon and you’re about to whip out the Tupperware for lunch at your desk. Why not try something more refreshing this week? At noon on the last Tuesday of each month, the Midday Music Series offers an opportunity for you to break away from the thick of the grind. Treat yourself to an uplifting encounter with music and art instead.

Midday Music Series

Photo: Ashley Stanford

The Blanton’s Midday Music Series features diverse one-hour programs that explore the relationship between musical and artistic technique, form, and style. The connections that we find through deep looking, listening, and discussion cast new light on both the music and the art presented. These concerts provide the unique opportunity to reflect on one art form in relation to another. In one recent concert, students and faculty from the UT Jazz Composition Department wrote short works in response to the same painting by Fernando de Szyszlo. In this program, the musicians celebrated the variety of interpretation possible in response to the same work.  In another concert, the UT Harp Ensemble compared the ways that harpists and painters use their technique to evoke a particular mood or setting, comparing their practice to that of landscape artists of the American West.

This is the first year we are continuing the Midday Music Series through the summer, and to kick off the season, we are offering a 20% discount at the museum shop and a cookie-and-coffee deal at the Blanton Cafe following the program from 1pm to 3pm! (As a reminder, these programs are always free for members and UT students, faculty, and staff.)

Enjoy a preview of our upcoming summer lineup:

MAY 27:

Hendrick Goltzius, Helios, from Pairs of Deities, circa 1588-1590, Chiaroscuro woodcut from three blocks, tone blocks printed in ochre and brown, Archer M. Huntington Museum Fund, 1983.

Hendrick Goltzius, Helios, from Pairs of Deities, circa 1588-1590, Chiaroscuro woodcut from three blocks, tone blocks printed in ochre and brown, Archer M. Huntington Museum Fund, 1983.

This Tuesday, we’ll discuss what a sixteenth-century print has in common with a violin and cello duo. The musicians of Mohinya perform works by Maurice Ravel and Zoltán Kodály and discuss the challenging process of learning chamber music. Then, we’ll compare their rehearsals to chiaroscuro woodcut by the master Dutch printmaker Hendrick Goltzius. The meticulous use of layering to create a range of textural and colorful effects is key to the success of both the music and art. Afterwards, we will head to the Blanton’s Julia Matthews Wilkinson Center for Prints and Drawings for a special treat–an up-close look at the Goltzius print.

JUNE 24:

This concert will feature flute and guitar duo Duo Epsilon, performing works by Bulgarian composer Atanas Ourkouzounov and the Argentine tango composer, Astor Piazzolla. The art featured in the discussion will be Quipus 58 B by Peruvian artist Jorge Eielson. The concert celebrates the ways that visual artists and composers incorporate regional folk idioms into their work to assert pride in their cultural identity. In our discussion, we will highlight the variety of techniques artists use to celebrate cultural traditions in their work.

JULY 29:

This concert is part of our summer collaboration with the Austin Chamber Music Center. This woodwind quintet concert will feature works that depict animals, in conjunction with our summer exhibition In the Company of Cats and Dogs. The cornerstone of this program will be a bilingual presentation of Peter and the Wolf [Pedro y el lobo], narrated by KUT’s All Things Considered host, Nathan Bernier.

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Perception Unfolds on Arts in Context

We’re thrilled to share that the Blanton’s current exhibition, Perception Unfolds: Looking at Deborah Hay’s Dance, was recently the subject of an Arts in Context episode.  An Emmy-winning arts documentary series exploring the process of creation, Arts In Context is produced by Austin’s PBS affiliate KLRU, and is syndicated in national markets including New York, Boston, Los Angeles, and Philadelphia.

The series’ April 24 episode spotlighted the Blanton’s current exhibition and examined Deborah Hay’s creative process surrounding her modern dance choreography. Through interviews with Hay, Blanton staff and others, it underscored how Hay has challenged, for decades, the dance world’s expectations and assumptions while creating pieces that enthrall and entertain.

Watch the trailer for Perception Unfolds below, then head over to KLRU’s website to watch the episode in its entirety. The exhibition is in its final days and closes May 18, so make sure to visit the Blanton to experience this groundbreaking show that CultureMap Austin calls a “kinetic, sensual experience.”

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The research behind “In the Company of Cats and Dogs”

In the Company of Cats and DogsThis summer, the Blanton is excited to present In the Company of Cats and Dogs. On view from June 22 – September 21, the exhibition features approximately 150 works by masters such as Albrecht Dürer, Jean-Honoré Fragonard, William Blake, Francisco Goya, Paul Gauguin, Takahashi (Shotei) Hiroaki, Pablo Picasso, Henri Cartier-Bresson, Edward Hopper, Louise Bourgeois, and others. Examining the ever-changing roles of cats and dogs and our enduring fascination with them, the presentation includes Egyptian sculpture, Chinese and Pre-Columbian ceramics, medieval and Renaissance manuscripts, and prints, books, photographs and paintings from the Blanton’s collection and those of  the Museum of Fine Arts, Houston; the Yale Center for British Art; UT’s Harry Ransom Center, and other public and private collections. In anticipation of the exhibition opening, we invited intern Douglas Cushing to provide insight into the research and preparation for the show. 

In September of this past year, I began as an intern in the Print and Drawings and European Paintings department at the Blanton. Since then, I have been working on the upcoming exhibition, In the Company of Cats and Dogs, and I have been extremely fortunate to have been included in the process of researching and selecting works for the show. Additionally, I have been able to follow the evolution of the exhibition space. In the process, I have learned quite a bit from the show’s curator, Francesca Consagra, and from other members of the Blanton community, and I have enjoyed every minute of the work! Among the most rewarding aspects of this position have been the opportunities and challenges in researching objects that span diverse cultures and epochs. Expanding my horizon constantly has been a joy!

Otto Dix, Katze in Mohnfeld [Cat in Poppyfield]

Otto Dix, Katze in Mohnfeld [Cat in Poppyfield], 1968, Five-color lithograph, Gift of Charles and Dorothy Clark, 1986.

With so many wonderful objects in this show, picking a favorite is difficult, though I found one that I recently researched particularly moving. In the last few years of his life, after suffering a stroke that paralyzed his left hand and left him quite weak, German artist Otto Dix produced a multi-color lithograph of a cat in a field of poppies that I think stands apart in his oeuvre. Earlier in his career, Dix’s critical view of German society produced some unflinching images of war. He also allegorized the decadence of the bourgeoisie, portraying their excess with grotesque eroticism that he often contrasted with the marginalized veterans of the Great War. When the Nazis took power, Dix became a pariah, but he continued to make work.

Now, at the end of his life, the artist was dealing with the subject of his own decline. During this period, Dix produced a self-portrait of himself as a stroke victim, and another of himself as a skull. Here, however, he chose to depict a hunting cat. Claws out, eyes wide, lithe, it stalks its prey among the flowers. Despite Dix’s frenetic and seismic mark making, the fluidity of the cat’s movement is manifest. I cannot help but see this as a self-portrait as well. His mind was on the track of an idea. Illness had diminished Dix’s manual control, but his will to express himself visually remained strong. He was determined to make a print that remained powerful and affecting. When Dix died the next year, a painting of a solitary arrangement of flowers remained on his easel. The cat, now absent, had apparently completed its hunt.

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Inside the creation of a Sol LeWitt wall drawing

Sol LeWitt Wall Drawing 797

A student drafter at work

This past February, the Blanton team was hard at work preparing to open Converging Lines, our exhibition celebrating the friendship between Eva Hesse and Sol LeWitt. As part of that process, 49 University of Texas students ranging from PhDs to undergrads, Electrical Engineering to Art History majors, worked over 11 days alongside trained drafters from the LeWitt estate to bring Wall Drawing #797 to life. We invited Art History major Julie Timte to reflect on her experience helping to create this site-specific work:

I have always been interested in contemporary art, and I have always admired Sol LeWitt for his initiative in involving students in his process.  As soon as I heard about the Converging Lines exhibition at the Blanton and the opportunity to participate in the installation of Sol LeWitt’s work, I rushed to apply.  I was lucky enough to be selected as a participant in the installation of a LeWitt wall drawing.

Sol LeWitt Wall Drawing 797

Milinda Hernandez works on tracing the line above

When I arrived to the Blanton on my assigned night, I met a senior drafter from the LeWitt Estate and my fellow student drafters. We received broad instruction, and then climbed onto the scaffolding to begin the installation.  The piece we worked on consisted of alternating red, yellow, and blue lines.  Each installer was assigned a color, and all we had to do was follow the line immediately above ours.  For such a straightforward task, I was quite nervous at first, paranoid that I would pick up the wrong color or lead the line askew.  However, with time, I got the hang of the technique, rotating the marker with increased ease.  And as we progressed, I became amazed at the organic patterning that emerged.  When I was close to the work as I was installing it, I focused on the distance between the lines and where one line deviated from the next.  However, when I stepped back to watch the other students work, the distinct colors were barely visible.  At a distance, the waves almost appeared three dimensional, undulating in space.  The whole time I was installing the work, I was thinking of the childhood game “telephone,” where one person whispers a message into the ear of the next, and the sentence is completely transformed by the end.  The same process occurred in our work on the wall drawing.  With the touch of many different, and imperfect, hands, lines were transformed to create a dynamic piece.

Sol LeWitt Wall Drawing 797

The completed wall drawing (click the image for a larger version)

One of my favorite elements of this experience was being trained by a senior drafter and gaining knowledge about the handling and installation of art.  From being mindful of the distance between the scaffolding and the wall to the technique of creating the line, I learned so much about the physical creation of contemporary art.  I have to say I loved being behind the scenes.  I also enjoyed meeting my fellow wall drafters.  Both happened to be foreign exchange students, and getting their perspective on the art was intriguing.  Using my hands and collaborating with so many others to create a work of art was truly a unique and rewarding experience.

Converging Lines: Eva Hesse and Sol LeWitt is on view at the Blanton through May 18, 2014. Photos by Mary Myers. 

Wall Drawing #797: The first drafter has a black marker and makes an irregular horizontal line near the top of the wall. Then the second drafter tries to copy it (without touching it) using a red marker. The third drafter does the same, using a yellow marker. The fourth drafter does the same using a blue marker. Then the second drafter followed by the third and fourth copies the last line drawn until the bottom of the wall is reached, 1995

Black, red, yellow, and blue marker on wall
Installation view, Blanton Museum of Art
LeWitt Collection, Chester, Connecticut
© 2014 Estate of Sol LeWitt/Artist Rights Society (ARS)

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Meet the Musicians of SoundSpace

This Sunday at 2pm, the Blanton is excited to present SoundSpace, a visual and sonic experience with musical performances throughout the museum. In a recent article in the Austin American-Statesman, writer Jeanne claire Van Ryzin states,”The Blanton Museum of Art’s SoundSpace easily claims must-see status.” 

In conjunction with the exhibition Converging Lines, this iteration of SoundSpace – Downtown NYC 1960- features dynamic experimental works by composers based in lower Manhattan in the 1960s such as Steve Reich, La Monte Young, Terry Riley, and Philip Glass, as well as more recent compositions inspired by this movement. Artistic Director Steve Parker interviewed some of SoundSpace’s composers and participants in anticipation of this weekend’s event.

Roland DahindenSwiss Composer Roland Dahinden

What can you tell us about your friendship with Sol Lewitt?

The American composer Alvin Lucier (I studied with him and was his assistant 1992 -95 at Wesleyan University, CT) introduced me to Sol. We visited him in his home and atelier in Chester, CT, 1992, because we were invited to do a collaboration for the Kunstmuseum Zug, Switzerland. This was the beginning of our friendship. As a young student, I was deeply touched by the openess and kindness of both Sol and Alvin – two great artists. Our work together was very fruitful and I learned a lot.

How did your collaboration with Sol come about?

The collaboration was based on a horizontal line of the Swiss Alps; Sol did a wall drawing, Alvin wrote a composition for trombone and piano (for my wife Hildegard Kleeb and myself) and I did a sound installation. A few weeks later, Sol gave me a painting of himself to thank me for the collaboration – what a generosity! Three years later the interdisciplinary art festival Steirischer Herbst Graz, Austria, commissioned a collaboration for Sol and myself; Sol did a wall drawing and I did a sound installation and a concert. Again, the collaboration was very fruitful and again, Sol gave me a painting of himself, to thank me for the collaboration. So, I’m thankful for our friendship, the collaborations, and the paintings I’ve been enjoying every day since.

How is your work inspired by the visual arts?

As a composer I’m often inspired by visual beauty – works by visual artists or landscapes, structures of stones, mountains, forests, water, rain on the water, wind in the air, leaves.  Artists who inspired my work are Agnes Martin, Sol LeWitt, Robert Ryman or Brice Marden, Swiss Artists Philippe Deléglise, Stéphane Brunner and Rudolf de Crignis, Austrian Inge Dick and German Lali Johne. It’s the vibrations of the art work, how they resonate in me – in fact, I’m listening to the paintings.

What are you currently working on?

Hildegard Kleeb and I are currently working on the new program, entitled RECALL POLLOCK – music for trombone and piano. The music is inspired by paintings of Jackson Pollock. We have worked about three years on the music and done several concerts and a CD recording. Now we are trying to develop the music and a second concert program, including a second CD recording.

line upon line percussionMatt Teodori, of line upon line percussion

What will you be performing on SoundSpace on April 27th?

Steve Reich’s Clapping Music and Drumming Part I

You’ve just launched a successful series at Canopy.  What appeals to you about performing at art galleries and museums?

For us, the idea of spaces being specific to one use is a bit unfortunate. I think we welcome ways for any space, not just art spaces, to be used for music performance.

line upon line percussion has has a history of great hybrid arts collaborations.  What are some of the highlights for you, and can you tell us about your collaborative process?

Our site-specific work with Norma Yancey, seeing times are not hidden, for custom chimes hung under the Waller Creek Bridge, stands out. For us, collaboration is vital. We have a need to work with others, not only to learn, but to find ways for percussion to be more useful in contemporary art-making.

What do you have in the works for 2014-2015?

Looking ahead to 2014-15, we’ll premiere several new works and continue touring the States. We’re also really excited to present the 2nd year of our series at Canopy. We’re making an effort to curate the front half of those shows next year as a way of bringing some folks doing interesting things to Austin.

Jason Phelps in The Intergalactic Nemesis Buzz Moran in The Intergalactic Nemesis © Sarah Bork HamiltonJason Phelps of the Intergalactic Nemesis

What will you be performing at the Blanton?

I have assembled a group of 6 performers to do an interpretation of LaMonte Young’s Composition 1960 # 15 to Richard Huelsenbeck, “This piece is little whirlpools out in the middle of the ocean.”

What appeals to you about Lamonte Young’s work?

He creates open ended compositions that can be interpreted in a myriad of ways. It appeals to the multi-disciplinarian artist in me to take his structures and create anything. I love the endless possibilities that can be explored with such evocative images. Like a haiku. Like a breeze. Like a beam of sunlight illuminating. Like the sound of a bell…

What are some of your most prized collaborations?

I love working with artists-actors, dancers, musicians, photographers, filmmakers, digital artists- who can be open to the limitless possibilities of making something live in a given moment. How can we enliven this space, now!? How can we create an experience that will change how an audience sees, hears, think and feels? This has happened for me in a photo shoot, during a play rehearsal, creating a dance theatre moment, listening/responding improvisationally with a musician/live dj.

How does movement, sound, and the visual arts inspire your work?

To me, these art forms are interconnected by rhythm and/or the absence of rhythm. It requires a specific kind of listening and finding a place to tap into and get inside and explore. Sound is everywhere and I am constantly inspired by the feedback I receive from it. Movement is life. Everything moves. When there is movement harmony, then life is flowing. When there is movement dis-harmony, there is tension and something is trying to get free. This back and forth is constantly compelling to me. The visual arts esp, photography, sculpture, painting, and film inspire me to view the world in chaotic and beautiful newness.

The Invincible CzarsJosh Robins of The Invincible Czars

What will you be performing on the April 27th SoundSpace show?

Terry Riley’s In C.  This will be fairly true to form though certainly not as long as most performances of the piece.

What are some of your favorite cross-disciplinary collaborations?

It’s very difficult to say but —- there are plenty of them happening right now at Fusebox!  I guess I’m partial to the stuff that simply can’t be replicated without some major planning.  The real spectacles – like Graham Reynolds writing dance music for dump trucks.  I also like the live music/live art events where there’s live music and multiple visual artists making art right there in front of you.

The Czars always come up with such interesting and novel adaptations of existing scores.  Can you tell us a little about this process?

In my mind, there are two facets to the process: 1) choosing the piece and what to do with it and 2) dealing with the realities of arranging it that way and for our line up.

Choosing the piece ultimately it comes down to this question: is our version of this work going to be necessary, good and/or entertaining? In other words – will we like it and if so, will it matter to anyone else? Working up an arrangement of a composed work for an event like SoundSpace isn’t like learning a quick cover song to play at a club show.  The audience will (probably) be more sober, attentive and critical.  So we need to do more than just entertain ourselves. From piece to piece, those three factors  can vary in ease of achievability.

1812 Overture was a no-brainer with regard to necessity.  We’re the only rock band to have ever performed it in its entirety to my knowledge.  That makes our version remarkable – meaning it’s at least worth mentioning.  Making it good and entertaining was the challenge.  It’s not an easy piece and it took years to get right.  Making it entertaining live can be tough, too, because we’re so focused in that moment on simply playing it correctly.

In C is the opposite.  Our version will certainly be good and entertaining but because it’s not a particularly difficult piece to play, there are tons of versions of it out there.   We won’t be the first rock band to play it.  We’re not even the first to play it this month in Austin!  We won’t be the first to incorporate loops or dancers or non-orchestral instruments or to play a shorter version.

However, the improvisational nature of the piece makes nearly every performance of it unique!  Plus, this piece is truly essential to the theme of the event and we’ll be proud to be performing it such a special location.  I’d also wager that the performance will be most of the attendees’ first exposure to the piece.  That’s necessary enough for us.

Dealing with the realities of arranging the piece for ourselves is often more time consuming than difficult.  It’s an incubation process that can’t be rushed. It takes becoming intimately familiar with the original score, doing some individual and group experimentation and then, ironically, stepping away just enough in order to have an “a ha!” moment in the shower or while doing the dishes.  Then there’s the tedious task of notating all our changes to the original – tempo, rhythm, meter, expression, phrasing, dynamics or what have you.  Of course,  then we sometimes wind up back at the drawing board if it doesn’t sound good in our practice room.

When I country-fied the Miniature Overture (from The Nutcracker), I was relatively new to both instrumental country music and arranging classical music for a rock band.  So I simultaneously learned a lot about conventional country playing, Tchaikovsky’s orchestration/composition styles and the limitations/strengths of the band and instrumentation I had to work with!

What are some interesting projects you have coming up?

The Invincible Czars Play Reynolds and Stopschinski:  We just released an short-run EP of music by Austin composers Graham Reynolds and Peter Stopschinski entitled The Invincible Czars Play Reynolds and Stopschinski Vol. 1.  We plan to return to the same studio and record several more Reynolds/Stopschinski pieces for a full album.  You can listen to the EP here and buy a copy here.

An Album of Original Works: We’ve been so taken up with playing other peoples’ music and creating silent film scores that it’s been way too long since we released any of our own non-film compositions.  We plan to change that later this year.

Pictures at an Exhibition: Years ago we decided to team up with local jazz scientists Bee vs. Moth to re-imagine Mussorgsky’s Pictures at an Exhibition.  It’s taken a very long time but that project is nearly done and I’m very excited about it.  Fans of Emerson Lake and Palmer will be glad to know that our version is a far cry from ELP’s rendition.  Like our version of The Nutcracker, it’s all over the map genre-wise.

The Wind at Texas A&M: We’ll be performing our score for the silent film The Wind at Texas A&M in the fall.  Very excited to do this.  Phil and I went out to College Station and spoke to the music appreciation classes last November and had a great time. I’m sure we’ll do another performance in Austin and Houston, too.

More In C: Now that we’ve worked it up for the Blanton, we plan to take our version on the road the next time we hit it!

SoundSpace: Downtown NYC 1960 is on Sunday, April 27 from 2pm – 4pm and is included with museum admission. For more information, visit our website.

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Archaeologist Steve Bourget Presents New Findings from a Dig in the Andes

On Saturday, April 26th at 2pm, the Blanton will host Dr. Steve Bourget, Director of Scientific Research, Museum of Ethnography, Geneva in a free public lecture in the Blanton auditorium. In this special presentation, Dr. Bourget will discuss exciting new discoveries at the Moche archaeological site of Huaca Dos Cabezas in the Jequetepeque Valley in northern Peru.

Huaca Dos Cabezas, Jequetepeque Valley, Peru.

Huaca Dos Cabezas, Jequetepeque Valley, Peru.

The site of Huaca Dos Cabezas pertains to the Moche culture, which dominated the north coast of Peru during the Early Intermediate Period (200-800 CE). The archaeological site includes a vast urban settlement with a central adobe pyramid, which once towered over 30 meters above the surrounding landscape. The damage in the center, presumed to result from Colonial-period looting, produced two peaks on the north-facing structure suggestive of two heads, or Dos Cabezas (see photo).

The site of Dos Cabezas was excavated between 1994-2001 by Dr. Christopher B. Donnan, from the University of California, Los Angeles (UCLA). Through his investigations, Dr. Donnan uncovered three intact elite tombs on the southwest corner of the adobe pyramid. These impressive burial contexts have recently been published in a detailed volume available through Cotsen Institute of Archaeology Press (Donnan 2007).

Adobe wall with aligned post holes, Huaca Dos Cabezas Archaeological Project.

Adobe wall with aligned post holes, Huaca Dos Cabezas Archaeological Project.

During the first season of renewed archaeological investigations in 2011, research at the site entailed cleaning the surface erosion and interior cavity of the central adobe building in order to determine the sequence of building construction. This resulted in the definition of at least three superimposed buildings during the Moche occupation of the site, with potential corresponding superimposed floor levels within the north patio or plaza.

During the second field season in 2013, investigations sought to clarify this sequence of site construction through focused efforts on the northwest corner of the building. These excavations led to the exciting discovery of a semi-circular structure that appears to have functioned as an observation point. The nature of this discovery will be the center of Dr. Bourget’s conversation at the Blanton. Following an introduction to the site, its layout and excavation history, Bourget will discuss the recently discovered structure and its implications for the ongoing research and interpretation of Moche material culture.

Dr. Bourget’s lecture is presented in conjunction with Between Mountains and Sea: Arts of the Ancient Andes, on view through August 17 at the Blanton and guest-curated by Dr. Kimberly L. Jones. Dr. Jones is the Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas at the Dallas Museum of Art and previously served as curator of the Art and Art History collection in the Art and Art History department at The University of Texas at Austin.

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Sebastian Smee on Artist Friendships

It is rare when a speaker absolutely grabs you the moment he or she opens their mouth, but Sebastian Smee did exactly that.  As an expert storyteller, and a smart and lyrical writer, the audience was smitten.  This past Saturday April 12, the Pulitzer Prize winning, Boston Globe art critic, Sebastian Smee, presented a portion of his working manuscript for his book on artistic friendships. While the forthcoming book will focus on four sets of artistic friendships including: Édouard Manet and Edgar Degas, Henri Matisse and Pablo Picasso, Jackson Pollack and Willem de Kooning, Smee presented only a portion of his research on the lesser-known and extremely complex friendship between Lucien Freud and Francis Bacon. The story he wove was fascinating and filled with unexpected twists. Smee’s ability to convey the details and nuances of a personal and complex relationship allowed his listeners to deeply connect to the characters and maybe even make connections to their own lives and histories. Although he apologized for reading parts of his manuscript, the audience was unfazed and hung on his every word.

Freud's Wanted PosterSmee began his story by focusing on a troubling event. In 1988, Freud’s portrait of Francis Bacon was stolen from a Lucien Freud retrospective at the Neue Nationalgalerie in Berlin. The stolen portrait, a study of Bacon’s face, was a small painting, seven inches by five inches, and bursting with latent tension. The art critic, Robert Hughes, compared the intensity of the likeness to that of a grenade a fraction of a second before it explodes. As Freud was preparing for his 2002 retrospective at the Tate Modern in London, he made an uncharacteristic plea in the press for the return of the painting, politely asking, “would the person who holds the painting kindly consider allowing me to show it in my exhibition next June?”  Freud even created a wanted poster featuring plain lettering, a black and white image of the stolen work and a generous reward. The publicity team tasked with trying to recover the painting, plastered 2,500 of these posters throughout Germany, and it was reproduced in international newspapers and websites. Freud’s painting of Bacon was never returned and the Tate retrospective took place without it.

The painting was important to Freud not only because it bridged the divide between his early work and his later, more mature style, but also because it was Freud’s connection to—as Smee asserts—the most important relationship of his life.  From Smee’s description, Bacon was the charismatic and spontaneous life of the party whose penchant for gambling often led him to the roulette tables of Monte Carlo. Bacon’s ability to charm and gather people around him mesmerized Freud.  His artwork was revolutionary and captured his electrifying emotion and grenade-like tenacity that was not only his painting style, but also his lifestyle.

Bacon portrait of Freud

Francis Bacon, Three Studies of Lucian Freud (detail), 1969, oil on canvas, © The Estate of Francis Bacon. All rights reserved.

Freud himself professed that it was Bacon’s attitude that he admired most and commented that the way in which Bacon worked as an artist related to how he felt about life.  Bacon believed that “only by going too far can you go far enough,” which is how many describe his artwork.  According to Freud’s friend and early lover, Ann Dunn, Freud harbored a hero, worshipping crush on Bacon.  Smee made it clear that Freud was very different than his boisterous friend, quoting the critic Laurence Gowing who said that Freud’s effect on others was not social or intellectual, but rather visceral; a “coiled vigilance, a sharpness which one could imagine venom.”

Smee reminded the audience that both men carried the names of their famous relatives; Lucien Freud was the grandson of the psychoanalyst Sigmund Freud and Francis Bacon was a descendant of Sir Francis Bacon, the English Renaissance philosopher and chancellor.  Freud had arrived in London in 1933; he and his family had narrowly escaped Nazi Germany, due, in large part to his family name and high-level intercessions at the government level. Bacon had arrived in London in 1926 at the age of sixteen when his father, a belligerent, retired army captain, had thrown him out of the house when he caught his son wearing women’s clothes.

Smee expertly details the story of their intense friendship and honors his readers and listeners by not shying away from the complexity of it.  He notes that the relationship between Freud and Bacon was asymmetrical; Bacon was eleven years older and more established as an artist.  Since Bacon’s paintings were selling well, he would often give Freud money without hesitation.  They spent decades fostering a very intense friendship. There were periods of many years where they would see each other every day, spending hours in each other’s studios and homes. They both embarked on amorous relationships that sparked self-destructive behavior in each.  Freud left his wife for Caroline Blackwood, an heiress.  Bacon found himself in a sado-masochistic relationship with the ex RTA fighter pilot and accomplished piano player, Peter Lacey. When Freud’s marriage to Blackwood dissolved five years later, Freud spiraled into despair.  Bacon would ask mutual friends to keep an eye on Freud and make sure he didn’t hang himself.

Sebastian SmeeIt was clear that Smee had done his research. Throughout the lecture Smee quoted his interview with Freud, bringing the story to life by noting how the artist recalled his friendship with tenderness and sadness. According to Smee, Freud marks the beginning of the deterioration of the friendship to the moment when Bacon was hospitalized after Lacey threw him out of a window.  When Freud saw Lacey with Bacon in the hospital, he reacted angrily and Bacon was upset with Freud for interfering with his love life.  For many years they continued to see each other within their circle of friends, but they were never able to regain the closeness they once had.

Smee notes that life and relationships are messy and complex, and they are very rarely as reductive as they are often portrayed.  As is the case with Sol LeWitt and Eva Hesse, Lucien Freud and Francis Bacon’s friendship was surrounded by a circle of friends and co-conspirators.  As Lucy Lippard points out, “Influence among artists is never as specific as art historical shorthand makes it out to be.” What we gain from multiple perspectives and accounts of history allows for a fuller, more nuanced depiction of a period of time and relationships between people.

I, like many in the crowd last Saturday, am anticipating the publication of Smee’s book so that I might learn more about the inner lives of other artists I have long admired.

Amethyst Beaver is a curatorial assistant at the Blanton Museum of Art.

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Art City Austin 2014

At the Blanton, we like art and we like parties, so we’re thrilled to be partnering with Art Alliance Austin for this year’s Art City Austin Festival, April 12-13. Part art festival, part block party, this iconic local event transforms downtown in a celebration of art, culture and creativity. Taking place in the streets, plazas, and open spaces along Cesar Chavez and the 2ND Street District, this year’s event promises to be a truly great time. With outdoor booths featuring art from nationally recognized artists, local food trailers, cocktails, live music, and interactive projects for kids of all ages, the festival brings the community together to celebrate Austin’s vibrant creative culture. The Blanton will have a booth stationed in front of City Hall, so stop by to say hello and learn more about our current and upcoming exhibitions and programs. Plus, Blanton members get in FREE. All you need do is show your membership card at the gate to the festival’s admissions team.

For kiddos and their families, the festival will feature an area where children can create tissue paper stained glass windows, masks, and more, and also can take photos in costumes from different eras and cultures. The festival will also feature a pop-up gallery with art work by students from Austin High.

Art City Austin

Image via the Austin Chronicle

Musicians currently scheduled include Nakia, Elizabeth McQueen, Emily Bell, The Rocketboys, Erin Ivey, Mobley and Grace London, in a special day stage presented by KUTX Music 98.9. In coordination with the Austin Busker Project, the festival will also have two stages for street performers who will perform throughout the day for applause and tips.

Food trucks including Chi’Lantro BBQ, The Best Wurst, Taco Baby, Heros Gyros and micro brews by Infamous Beer will be on hand to provide fuel for the party.

Come spend a day (or night) celebrating and supporting Austin’s vibrant cultural scene. We hope to see you there!

For more information, please visit www.artallianceaustin.org.

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