Join Landmarks for a guided-tour of the original 40 acres and talk to some of UT’s oldest residents!
The guided tour is in conjunction with Hello Lamp Post Austin, an exciting new city-wide art project that allows people to interact with objects around town.
How does Hello Lamp Post work? First, you’ll need to find an inventory or identifying number on the piece of street furniture that looks the chattiest. Let’s use 1234 as an example. Text hello lamp post #1234 (or traffic light, moontower, etc.) to 512-580-7373. You’ll receive a response–what you do with it is up to you!
Tour participants meet Sunday, 12 April at 11 a.m. at the southern entrance to the Main Building. Free and open to the public.
Kids and families will make and take home their own artifacts in this art workshop. Each workshop features a short talk followed by hands-on art making. Ideal for families with children ages 8 and up, this experience is about 40 minutes in length. Museum members may make advance reservations by calling 512-936-4649. Otherwise, the program is first come, first served and space is limited. Pick up a boarding pass (free with Museum admission) when you arrive.
HARRY RANSOM CENTER FAMILY DAYS
SATURDAY, APRIL 25, 10 A.M.–5 P.M. & SATURDAY, MAY 9, 10 A.M.–5 P.M.
Visit Alice’s Adventures in Wonderland and enjoy activities for the young and young at heart. Participate in writing activities with teaching artists from Austin Public Library Friends Foundation’s Badgerdog Creative Writing Program or engage with Lewis Carroll-inspired math activities with local math literacy organization Math Happens. University of Texas at Austin museum theater students perform alongside items in the galleries. Additional activities include docent-led exhibition tours and story times in the theater. Family days are generously supported by a grant from the Austin Community Foundation, with in-kind support provided by Terra Toys.
The Visual Arts Center (VAC), housed in the Department of Art and Art History, celebrates the graduation of its senior art students. Up+Up presents work by 39 emerging artists. The exhibition will be on display through April 4, 2015.
During the rest of the semester, the VAC will present Christine Sun Kim Sound+Vision artist in resident, 2015 Student Thesis Exhibitions for students graduating with their Studio Art MFA, Design MFA, and Design BFA degrees, among additional programming. Check out the calendar of events or sign up for the VAC newsletter to stay updated!
One of my joys as a Mellon fellow has been researching the prints of Francisco Goya (1746–1828). Produced after the artist’s fiftieth birthday, Goya’s four mature etching series are emblematic of his technical mastery and inventiveness. The first series, Los Caprichos (1797-99), is exemplary of the artist’s satirical social criticism. LosDesastres de la Guerra (1810-20) followed Caprichos, expressing the artist’s anguish at the events of the Peninsular War and its aftermath. Shifting subject matter, Goya’s La Tauromaquia (1815-16) series then portrayed the history of bullfighting as an Iberian ritual played out between humankind, nature, and fate.
Having spent many hours with these series—all worthy of careful consideration—it is Goya’s next series, Los Disparates (1816-24), that most captures my interest. And it is that series which I wish to explore here. The twenty-two works that make up Disparates date to after the war but before the artist’s move to Bordeaux in 1824. Goya did not publish the series during his lifetime. Instead, in 1864 The Royal Academy of San Fernando produced an edition, issued under the title Los Proverbios, from the eighteen plates in their possession. Because of this appellation, scholars long sought to match the works with common sayings. Proofs discovered in the twentieth century, however, bore titles in the artist’s hand, all beginning with the word disparates (follies/ absurdities). With that revelation, the works’ meaning suddenly appeared incomprehensible. Difficultly in deciphering the series likely contributed to the comparable lack of attention, relative to its predecessors, that the series has received ever since.
Los Disparates teems with uncanny chimeras: beings at once familiar and unfamiliar. Recognizable things also inhabit the prints—cats, horses, people in sacks, soldiers, etcetera. Nonetheless, any promise of clear symbolic meaning that these things might offer is empty. Such strangeness is not unique in Goya’s output. Painted on the walls of the artist’s Madrid home (Quinta del sordo), around the same time that the artist etched Disparates, Goya’s “Black Paintings” are equally difficult to understand. Unlike those paintings, however, Goya made Disparates in a reproducible and distributable medium. For me, this suggests an important question: who did Goya make Disparates for, and what ideas did he hope to impart to that audience?
Rather than trying to discover hidden meanings in the symbolism of Disparates —a futile task, I believe—I want to consider Goya’s space. More to the point, I have been thinking recently about Goya’s backgrounds. Throughout the series, Goya typically places his action against (or in) an amorphous darkness, as with Disparate General, or else in a realm falling from light into obscurity and emptiness.
In our daily lives, background is a relative thing that supports the way we see the world. Physically near or distant, it is always that which shifts always away from our focus, acting as a substrate for reality as well as a part of it. The laptop in front of me, for instance, stands out as a form only because my mind separates it from everything else that I call background. To put it simply, without background there is no foreground.
In order for the world to appear as something stable and intelligible, our mind makes use of such systematic arrangements. Were we to experience the world in its specificity, nothing would make sense. A river flows, constantly renewed, different from moment to moment, and yet we recognize it as the same entity across expanses of time. We represent things with names and generalized ideas of their forms. Similarly, we unconsciously organize the space around us. In art, this basic need to regulate our world through representation becomes most obvious. Humanity has invented countless methods for organizing space: hierarchal registers, the upturned and flattened space of Japanese prints, the geometries of Renaissance perspective where paintings became windows, the abstracted spaces of maps, and many others.
When I look at Giorgio Ghisi’s School of Athens after Raphael (1550), I feel as if I could climb those steps and pass under those archways. The perspectival method that produces this space is a convention. Background here is a diffuse spatial symbol, reliant upon a vanishing point—a mathematical twinkling star. Every diagonal line in the print relates to an invisible point of convergence, like railroad tracks receding into the distance and meeting on the horizon. The artifice of Ghisi’s space functions only if the viewer possesses the perquisite understanding of such coded space. By contrast, the darkness of Disparates severs the tether of that old logic. Goya sets us adrift. His vanishing point fills the world.
Shifting from the Renaissance to the modern era, what other comparisons might we make? A German contemporary of Goya, the Romantic poet Novalis wrote, “I turn away from the light to the holy, inexpressible mysterious night.” This same nocturnal womb would later haunt the Surrealists. It emerges clearly in Casting the Runes, 1951, by Leonora Carrington (1917-2011). Like Disparates, Carrington’s painting dispenses with perspectival space. Her boundless twilight-green ground supports a cast of uncanny beings. This darkness is a magical field where irrationalism speaks, and where dream and wakefulness might be reconciled.
In contrast to Carrington’s work, I suggest that Goya’s backgrounds in Disparates can be read as negations of rationalism, bereft of the Surrealist optimism for reconciliation. If Goya’s artwork retains any conceptual residue of the renaissance painting as window, it now opens onto madness and the failure of reason. Goya witnessed firsthand the challenges to the Spanish Enlightenment, ranging from abuses of power to the superstition, intellectual conservatism, and jingoism of the masses. And while the Bourbon monarchs managed halting reforms, the war caused this to falter and cease. Goya’s experiences surely shook his belief in the idea of human perfectibility under reason. After all, unreason had brutalized Spain in the name of Napoleon, France, and enlightened principle.
Nevertheless, I do not read Disparates as mere catharsis. The “Black Paintings” might have been that, but these were prints, meant to reach out into the world. It seems to me that Goya had a purpose in setting his Disparates in non-places, evacuated of coherent, rational meaning. By doing so, he revealed the unknowable void beneath civilization and world. With Disparates, Goya stood upon the threshold of the world, showing it the reflection of its essential, underlying madness.
I say “essential” because the artist knew that the formless night is equally generative and destructive. It is the primordial material from which reason and light first emerged, and it is the only background against which the rational mind can discern itself. Still, it is troubling. In glimpses of the borderless night, did Goya recognize the dissolution of all that we are? Was he unwilling or unable to forget (as we habitually do) that such darkness persists, a leviathan just beyond every limit of reason? Writer Georges Bataille once mused, “The philosopher through his discourse . . . ‘mirrors the empty sky’ with less honesty than the madman. . . .” Goya—who painted the inhabitants of Spanish asylums—might have added that since the madman’s irrational honesty is unintelligible from this side of reason, art is left to bridge the gulf, communicating the most difficult truths.
Douglas Cushing earned his BFA at the Rhode Island School of Design and his MA in art history at the University of Texas at Austin. His master’s thesis, written under the supervision of Linda Dalrymple Henderson, examines Marcel Duchamp’s relationship with the writings of the Comte de Lautréamont. Douglas is currently a PhD student in art history at the University of Texas at Austin working on exchanges between art and literature in the avant-garde. He is the Andrew W. Mellon Fellow in Prints and Drawings, and European Paintings at the Blanton Museum of Art.
For further reading:
Bataille, Georges. “Nietzsche’s Madness.” Trans. Annette Michelson. October, special issue: George Bataille: Writings on Laughter, Sacrifice, Nietzsche, Un-knowing. Vol 36 (1986): 42-55.
Breton, André. Manifestos of Surrealism. Trans. Richard Seaver and Helen Lane. Ann Arbor: University of Michigan, 1969.
Fort, Ilene Susan, Teresa, Dawn Ades, and Terri Geis. In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. Los Angeles: Los Angeles County Museum of Art, 2012.
Michel Foucault, History of Madness. Trans. Jonathan Murphy. London: Routledge, 2006.
Goya and the Spirit of Enlightenment. Exh. Cat. edited by Alfonso E. Pérez Sánchez and Eleanor A. Sayre. Boston: Museum of Fine Arts, 1989.
Harris, Tomás. Goya: Engravings and Lithographs. Oxford: Bruno Cassirer, 1964.
Herr, Richard. The Eighteenth-Century Revolution in Spain. Princeton, NJ: Princeton University Press, 1958.
Hughes, Robert. Goya. New York: Alfred A. Knopf, 2003.
La Tauromaquia: Goya, Picasso and the Bullfight, Exh. Cat. edited by Verna Curtis and Selma Holo. Milwaukee Art Museum, 1985.
Paquette, Gabriel B. Enlightenment, Governance, and Reform in Spain and Its Empire, 1759-1808. New York: Plagrave Macmillan, 2008.
Pérez Sánchez, Alfonso E., and Julián Gállego. Goya: The Complete Etchings and Lithographs. New York: Prestel, 1995.
Schulz, Andrew. “Moors and the Bullfight: History and National Identity on Goya’s Tauromaquia.” The Art Bulletin, Vol. 90, No. 1 (June, 2008): 195-217.
Tomlinson, Janis A. Francisco Goya Y Lucientes, 1746-1828. London: Phaidon, 1994.
Tomlinson, Janis A. “Francisco José Goya y Lucientes: Approaching Los Disparates.” Romance Quarterly, Vol. 54m No. 1 (2007): 3-8.
Venture down the rabbit hole with Landmarks on a docent-led tour of public art on campus. Explore the nonsensical and the curious, and ponder some of the unanswerable questions surrounding contemporary works of art. The tour will conclude at the Harry Ransom Center where the exhibition Alice’s Adventures in Wonderland will be on view with a docent-led tour at noon.
Meet at 11 a.m. on Sunday, March 1 at Magdalena Abakanowicz’s Figure on a Trunk in front of Bass Concert Hall near 23rd Street and Robert Dedman Drive. Free and open to the public.
Sunday walking tours commence rain or shine. Please dress accordingly.
The Harry Ransom Center celebrates 150 years of Alice’s Adventures in Wonderland with an exhibition for the curious and curiouser of all ages. Learn about Lewis Carroll and the real Alice who inspired his story. See one of the few surviving copies of the first edition of Alice’s Adventures in Wonderland. Discover the rich array of personal and literary references that Carroll incorporated throughout Alice. Explore the surprising transformations of Alice and her story as they have traveled through time and across continents. Follow the White Rabbit’s path through the exhibition, have a tea party, or watch a 1933 paper filmstrip that has been carefully treated by Ransom Center conservators. The Center’s vast collections offer a new look at a story that has delighted generations and inspired artists from Salvador Dalí to Walt Disney.
The exhibition can be seen in the Ransom Center galleries, Monday through Friday from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. Daily public tours are offered at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.
Volunteers at the Blanton have a variety of opportunities to see first-hand what it takes to run an art museum. Currently, there are nearly 60 university students from UT and other Austin-area colleges and universities who are exploring options for museum careers by helping us operate the Blanton on a daily basis. If museum work is something that interests you, spending time at the Blanton will help you learn what our various departments do, what individual staff members work on, and how it all comes together for an exhibition opening or day-to-day school tours.
Volunteer jobs are often as simple as providing visitors with information or monitoring galleries during parties and events. Even though they are easy to do, we couldn’t run the museum’s programs and events without this extra help. In exchange, volunteers get to experience the programs, events, films, lectures, etc. and learn more about how we do what we do. It’s like having an appointment twice a month to come to the museum and catch up on the latest exhibitions while helping us keep things lively and engaging for various audiences.
One story of a current volunteer involves an early decision to pursue a career as a curator. As a high school student, being a museum curator seemed like a fascinating career journey that would combine complex ideas, travel, visual creativity, administration of projects, and working with high level donors. After several years of helping in various routine jobs around the museum, this volunteer is still at the Blanton and now a junior at UT. After a summer on a Fulbright scholarship to Russia she is back again, this time for a different type of volunteer job. She will be helping in the Prints and Drawings department with research and background work on various works of art and exhibitions. She is one step closer to her dream and also to finding out if this is the career path for her.
Something great about volunteering that might seem to be a bummer at first glance is finding out you DON’T want to work at a museum. I recently heard from a summer intern who let me know that her experience here was very valuable. She learned about the museum and the various career opportunities in general that a museum offers and decided that these careers were not a perfect fit for her. She says now that it helped her so much to rule those possibilities out of her career journey. She wrote:
I know it has been a while, but I just wanted to thank you for giving me such a positive internship experience. Although I’ve decided to pursue another career path in art, I really think my time at the Blanton gave me the push towards assessing my professional strengths and interests. Because it was my first internship, I might have been too anxious to really appreciate the time you took to explain things to me. I have had a few more internships since then and have learned that not all places properly mentor their interns let alone engage with them. I know this e-mail seems quite out of the blue, but I’ve just been thinking about my experiences lately and wanted to share some of my thoughts.
Having worked in art museums for over 16 years, I know that I enjoy the culture, staff members and visual stimulation that this environment provides. If you know someone who is considering a museum career, encourage them to spend time in a museum on the other side of the information desk. It will help them to imagine if museums are a good fit for their career or not. Every personality and every set of skills can be utilized at a museum. It’s more about the type of work we do that may stand the test of time and feel like the right fit.
Martha Bradshaw joined the Blanton in 2005, where she has been Manager of Visitor and Volunteer Services for almost ten years. For information about volunteering at the Blanton, email Martha at email@example.com.
The Harry Ransom Center will be closed on Christmas Eve Day (Wednesday, December 24) and Christmas Day (Thursday, December 25). However, the Ransom Center Galleries will be open the rest of winter break on Mondays, Tuesdays, Wednesdays, and Fridays from 10 a.m. to 5 p.m., Thursdays from 10 a.m. to 7 p.m., and on Saturdays and Sundays from noon to 5 p.m. Additional member-only hours will be available from 10 a.m. to 12 p.m. on Saturday and Sunday.
Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Saturday, December 20, through Thursday, January 1.
Free docent-led gallery tours of The Making of Gone With The Wind occur daily at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on the closed days of Wednesday, December 24 or Thursday, December 25.) The public tours meet in the lobby, and no reservations are required. On weekends, a selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater at 1:30 p.m. and 3:30 p.m.
Admission is free. Your donation will support the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.