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.
From September 20, 2014 – February 15, 2015, the Blanton will present a selection of approximately 70 works from the collection. Entitled La línea continua, the 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.
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!
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.
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.
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.
Enjoy festive music, hot beverages, special discounts and a prize drawing!
‘Tis the season to shop local, and Austin’s Cultural Campus is offering a shopping event to get everyone in the holiday spirit! Downtown Austin is a cultural destination, where unique shops within walking distance of one another offer museum-quality gifts that allow you to make meaningful purchases that support art, history and science in your city.
The Blanton Museum of Art, Bullock Texas State History Museum, Harry Ransom Center, LBJ Presidential Library, Texas Memorial Museum, and the Visual Arts Center have joined forces to present the 2013 Holiday Museum Crawl on Saturday, December 7, with festive music, hot beverages and special discounts for those who mention the Austin Cultural Campus.
By shopping in Austin museums and cultural centers, you can find distinctive gifts, such as original art work, nature-themed jewelry, dinosaur goodies, collectibles, souvenirs or the official state ornament. For a gift that lasts all year, purchase a membership and receive a free gift at some locations while supplies last. Sign up at any location to be entered in a special prize package drawing.
The Visual Arts Center is thrilled to kick off the spring season last Friday with a fantastic opening reception for its five exciting exhibitions! Exhibitions this spring inspire distinct interpretations of the VAC’s versatile and sweeping galleries through the creation of spaces within spaces and the use of repurposed materials. Drawing on a diverse set of disciplines and art practices, including architecture, performance, and the use of found objects, this spring’s artists invite viewers to engage with these disparate environments, both controlled and chaotic, which are created throughout the VAC. Couldn’t make it to the opening? Don’t fret! Exhibitions are on view through March 9, with the exception of Diffuse Reflection Lab, which runs through May 11.
Another great way to experience the VAC’s current exhibitions is through Walk-In, a series of guided public tours happening every Saturday at 2pm. Each weekly tour will feature a different theme and conversation topic as a launching pad for visitors to enjoy. A VAC guide will meet participants at the front desk for a tour through the galleries with plenty of time for questions about the work on display. Tours will last approximately 45minutes and no reservation is necessary.
“El Anatsui: When I Last Wrote to You about Africa,” on view at The Blanton through January 22, has received praise from local, state, and national critics. The Wall Street Journal (9/24/2011) said “Don’t miss,” the exhibition, Texas Monthly selected it as one of five stand-out shows this season, and closer to home, The Austin American-Statesman described the works as “breathtaking.” Learn more about the exhibition in this behind the scenes video: El Anatsui at The Blanton