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Blanton Acquires Okay Mountain Installation



The Blanton Museum of Art announced the acquisition of Roadside Attractions, a 2012 installation by Okay Mountain, an artist collective founded in Austin in 2006. On view at the Blanton beginning March 24, Roadside Attractions represents the first work of art that the museum has acquired by the group. To mark the occasion, the Blanton will host a lecture with all nine current members of Okay Mountain on Saturday, April 4 at 2 PM—the first time that the entire group has ever spoken together in Austin. Additionally, the Blanton has commissioned the collective to create an outdoor mural at 4th Street and Colorado in downtown Austin, as part of the mural program operated by Frank Public Art Wall.

Veronica Roberts, modern and contemporary curator at the Blanton, remarks, “I have long admired Okay Mountain’s work. The collective has been a major force in Austin’s artistic community and I am thrilled to be giving this smart, irreverent installation a permanent home at the Blanton.”

Okay Mountain was formed in Austin in 2006 as an artist collective and alternative gallery space. Recognized by The New York Times for its “inventive construction, loving attention to detail and keen-eyed connoisseurship,” the group played a major role in the burgeoning visual arts scene in Austin in the first decade of the 2000s and continues to elevate the city’s national cultural profile. Okay Mountain has produced a wide range of collaborative projects across a variety of media, including drawing, video, sound, performance, prints, zines, murals, and large-scale sculptural installations. Their artworks, informed by the unique perspective provided by a group dynamic, emphasize the artist’s hand, and are always leavened by a sense of humor, whimsy, and larger-than-life Texan spirit.

Roadside Attractions is a smart, playful riff on the ubiquitous brochure stands found in hotel lobbies, tourist centers, and museum information desks across the United States. For the installation, the members of Okay Mountain designed 100 different rack cards that mimic and mock the campy tone and dense mishmash of styles often found in brochures. The cards—all of which are available for museum visitors to take—hawk activities that range from obscure and irreverent to the absurd: “Quiltin’ the Colorado!” (quilting and rafting tours); “Enjoy the Majesty of Mt. Rushmore without leaving the state!” (a half-scale version of the monument); “Visit the Second Largest Night Court Museum!” Other brochures possess a more biting humor that hint at the kind of ignorance and prejudice that can also be found in every state: for example, “The Vaguely African Museum” or “Crew Cut Clan” (haircuts designed like Klansmen hoods).

Although the work is unapologetically humorous and at times even deliberately crude, it also captures a distinctly American spirit—a combination of brazen self-promotion, local pride, and a do-it-yourself attitude. Like other works by the group, Roadside Attractions plays on the conventions and absurdities of contemporary consumer culture. For members of Okay Mountain, the sculpture also possesses a certain poignancy. When the group made the work, the members were scattered across the country (as they are now) and as a result, the only time they spent together was when they were on the road, preparing to install or de-install a show. Traveling cross-country together, the hotels they stayed in became their de facto studio. Drawing upon pop graphics and styling, the spirit of the installation is smart, playful, and intelligent, just like the artists themselves.

Installation of Mural At Frank Public Art Wall | March 29-30

(Mural will be on view the entire month of April)

The public is invited to watch members of Okay Mountain as they create a mural at the public art wall at Frank (4th and Colorado). The installation will culminate with an opening reception at Frank on April 15 from 6-9PM.

Lecture with Okay Mountain | Saturday, April 4, 2PM, Blanton Museum of Art

Join all nine current members of Okay Mountain for a discussion of Roadside Attractions and the role that the collective played in the Austin art scene of the 2000s. Free with museum admission.

The Blanton Museum of Art at The University of Texas at Austin is one of the foremost university art museums in the country, and has the largest and most comprehensive collection of art in Central Texas. The Blanton’s permanent collection of more than 17,000 works is recognized for its European paintings, an encyclopedic collection of prints and drawings, and modern and contemporary American and Latin American art.

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Blanton Presents Two Exhibitions on Acclaimed American Artist Charles White



Charles White, Sound of Silence II, 1978, color lithograph, 25 x 35 1/4 in., Gift of Susan G. and Edmund W. Gordon to the units of Black Studies and the Blanton Museum of Art at The University of Texas at Austin, 2014 © The Charles White Archives

The Blanton Museum of Art and the Art Galleries at Black Studies (AGBS) at The University of Texas at Austin will present two exhibitions featuring works by Charles White. In 2014, Drs. Susan G. and Edmund W. Gordon gifted their collection of White’s works to the university; the collection is stewarded by the units of Black Studies and the Blanton. The Gordons’ gifts and select acquisitions make UT home to one of the most significant collections of works by Charles White, with 23 drawings and prints, as well as a rare large-scale painting.

The AGBS exhibition Charles White and the Legacy of the Figure: Celebrating the Gordon Gift will be on view in the Christian-Green Gallery from August 28 to November 30, 2019. The Blanton’s exhibition Charles White: Celebrating the Gordon Gift will be on view in the museum’s Paper Vault from September 7, 2019 to December 1, 2019. The exhibitions are accompanied by a catalogue published by Tower Books, an imprint of UT Press.

“With these exhibitions, we are honored to celebrate the Gordons’ generous gift to the university and Charles White’s enduring legacy alongside our collaborators at Black Studies,” said Blanton director Simone Wicha. “The University is proud to display works by one of the most accomplished draftsmen and influential arts educators of the 20th century. White’s strikingly rendered images of both heroic and everyday Black figures imbued with power and dignity are sure to provide inspiration and resonate with both the audiences we welcome and the students we teach here at the university.”

“It is Black Studies’ honor to celebrate Drs. Susan and Edmund Gordon, whose donation made The University of Texas at Austin a crucial destination to research Charles White, African American art, and social realism,” said Dr. Cherise Smith, Chair of the African and African Diaspora Studies (AADS) Department, the founding executive director of the Art Galleries at Black Studies, and curator. “Lifelong friends, the Whites and Gordons were dedicated to advocating for children, education, and equity for Black people. We hope visitors will take home a new-found appreciation of White’s significant contribution to 20th-century art.”

Charles White, Awaken from the Unknowing, 1961, compressed charcoal and brown and gray vine charcoal with scratching out, blending, and erasing on cold-pressed illustration board, 31 x 56 in., Gift of Susan G. and Edmund W. Gordon to the units of Black Studies and the Blanton Museum of Art at The University of Texas at Austin, 2014 ©The Charles White Archives

“UT is a fitting home for these works and exhibitions given both White’s and the Gordons’ shared commitment to education,” said Veronica Roberts, Blanton curator of modern & contemporary art and co-curator of the exhibition. “White believed that education is crucial to fostering a more just society and taught at numerous institutions throughout his career. We’re honored to celebrate his legacy through these exhibitions on campus.”

Charles White and the Legacy of the Figure at Christian-Green Gallery considers the long shadow cast by White on the art world, in particular how younger generations of artists have engaged the tradition of portraying the human body that he championed. As seen in his Homage to Sterling Brown (1972) and Harriet (1972), White committed his prodigious talents mainly to representing African Americans and everyday African American culture in a realistic style.

The exhibition focuses on key visual themes that emerge from White’s art. Deborah Roberts’s Stinney (Nessum Dorma) (2019), for instance, contemplates how treacherous childhood can be for African Americans, while Elizabeth Catlett’s “For the boys and girls who grew up in spite of these things…” (1992) glories in the innocence of the Black child in the face of challenges. John Biggers’ Study #2A (1965), Robert Pruitt’s Pimp and Circumstance (2004), and Henry Taylor’s Take Out (2006) demonstrate the artists’ commitment to monumental figures, a trait they share with White. In works by Kara Walker, Belkis Ayón, and his former student Kerry James Marshall, viewers will see an exploration of Black identity through the use of black materials. Charles White and the Legacy of the Figure examines how representing the human body allows artists to meditate on formal and political concerns.

The Blanton’s exhibition foregrounds White’s connection to his contemporaries and his participation in larger social and political movements in his life-long career as an artist, activist, and educator. In particular, the exhibition places White’s career-long interest in the human figure in dialogue with Mexican modernists, including artists who worked out of the Taller de Gráfica Popular, where White visited and worked in 1947. Drawn from the Blanton’s renowned collection of Latin American art, works by Luis Arenal, Leopoldo Méndez, and David Alfaro Siqueiros illuminate the connections between White’s graphic depictions of powerful Black figures and Mexican political printmaking and drawing traditions.

The exhibition is divided into three sections. The first section, “Social Realism,” includes works by White and other artists that exposed pressing economic and social issues of the 1930s and 1940s. A diverse group of artists including Harry Sternberg, Fletcher Martin, and John Biggers call attention to issues including discrimination, segregation, and struggles of the Black working class, with a special focus on the human form. Included in this section is White’s drawing Can A Negro Study Law in Texas (1946) that portrays Heman Sweatt, a plaintiff in the Supreme Court case to integrate the law school at The University of Texas at Austin, as a heroic, muscular figure. The drawing was originally commissioned by New Masses, a magazine associated with the Communist Party in the US, emphasizing the intertwined nature of White’s art and politics, even at an early point in his career.

Highlighting White’s extraordinary ability to depict the human body, the second section focuses on “Heroic Figures.” White’s portraits of activists such as Sojourner Truth and Harriet Tubman as well as idealized Black women are displayed alongside works on paper by leading Mexican modernists involved in the anti-fascist movement. Also included in this section are several striking color lithographs from White’s later experimentations with color, including Love Letter III (1977) and Prophet II (1975).

The last section titled, “Black Lives Matter,” frames White as an “advocate for Black history and social equality” according to exhibition co-curator and Susan G. and Edmund W. Gordon Family Fellow at the Blanton, Phillip A. Townsend. This section includes two large-scale drawings from White’s iconic Wanted Poster Series, based on runaway slave posters and advertisements for slave auctions. “Functioning as poignant social commentary, these innovative drawings encapsulate the artist’s life-long commitment to make visible the systems that fueled slavery and made possible the subsequent subjugation of Black people,” elaborated Townsend. This section also includes eight album covers and one journal that were published with illustrations by White from the personal collection of Eddie Chambers, UT Professor of Art History, African Diaspora Art. These items demonstrate White’s career-long commitment to accessibility and the widespread reach of his empowering depictions of Black people throughout the 20th century.

The exhibitions will be accompanied by a catalogue, which includes essays each of the 23 works by White; an interview with Dr. Edmund W. Gordon about his and his wife’s close friendship with White; and a section of first-person recollections and tributes to White from artists, writers, actors, activists, and students whose lives he touched.

The Blanton’s exhibition is curated by Veronica Roberts, Blanton curator of modern & contemporary art, Carter E. Foster, Blanton deputy director for curatorial affairs, Phillip Townsend, Drs. Susan G. and Edmund W. Gordon Fellow in African American art at the Blanton, and Dr. Cherise Smith. The AGBS exhibition is curated by Dr. Cherise Smith, founding executive director of AGBS, Chair of African and African Diaspora Studies, and associate professor of AADS and Art History at UT.

Support for Charles White: Celebrating the Gordon Gift at the Blanton is provided in part by Ellen and David Berman.

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Lily Cox-Richard: She Wolf + Lower Figs.



Lily Cox-Richard, 2018. Photo credit: Emily Peacock

The Blanton Museum of Art will present She-Wolf + Lower Figs., an installation by sculptor Lily Cox-Richard, in the Contemporary Project space from July 27 to December 29, 2019. The installation is the first of entirely new work made for the Contemporary Project.

“We’re thrilled to be presenting new work by Lily Cox-Richard in the Blanton’s Contemporary Project,” said Claire Howard, the Blanton’s assistant curator of modern & contemporary art and curator of the exhibition. “Cox-Richard’s work methodically examines the history and meaning of both artistic and everyday materials. Her sculptural installation at the Blanton focuses on plaster reproductions of classical sculpture, raising questions about their role in perpetuating notions of physical perfection and whiteness as ideals.”

The installation responds to the Blanton’s William J. Battle Collection of Plaster Casts. Containing around 70 replicas of ancient Greek and Roman sculptures made in the 19th century, sets of casts like these were once an integral part of artistic training. The Battle Cast Collection is one of the few remaining collections of this kind in the United States and is still used for teaching today.

Cox-Richard’s installation questions the equation of the physical whiteness of classical sculptures and their casts with cultural and aesthetic standards that they were thought to embody, such as beauty, purity, and taste. Many Greek and Roman marble sculptures were originally polychromed but lost their pigmentation over time. White plaster casts reinforced the myth that these sculptures and the ancient people they represented were all white. Cox-Richard subverts this narrative by adding color to sculptures she made from 3D scans, near-perfect indices of artworks much like plaster casts.

Lily Cox-Richard, She-Wolf and Ramp in progress, 2019. Photo courtesy of the artist

A highlight of the installation is a colorful sculpture of a she-wolf based on 3D scans of casts taken from the bronze original (5th century BCE–12th century CE) in the Capitoline Museum in Rome. Cox-Richard’s She-Wolf (2019) is made of scagliola, a handmade artificial marble used in ancient Rome and revived in the Renaissance. By recasting the she-wolf in color, Cox-Richard envisions a different mythology—in technicolor—for this sculpture. She-Wolf + Lower Figs. also includes an intervention using casts from the Battle Collection that evokes the original sculptures’ polychroming.

Lily Cox-Richard. Callus (detail), 2018. fiber-reinforced concrete, urethane foam, pigment 11 x 63 x 91 in. / Photo credit: Paul Hester, courtesy DiverseWorks, Houston

Cox-Richard’s Ramp (2019) is a thirty-foot-long sculpture of seven concrete slabs that resembles a long sidewalk. Ramp visualizes the Western canon of art and civilization—founded on the models of ancient Greece and Rome—as a form of infrastructure challenged by alternative narratives. The slabs are pushed upward by an oozing substance, and their corners have been ground down to reveal a colorful aggregate including fragments of casts made using 3D scans of the Battle Casts’ heads.

“The stylization of hair, the aggregate in a sidewalk—so much information is packed into these details,” said Cox-Richard. “In translating objects into other materials, through processes like mold-making and scanning, some details are obscured, and others accumulate.”

This installation is organized by Claire Howard, Assistant Curator of Modern & Contemporary Art.

Major funding for the Contemporary Project is provided by Suzanne McFayden.

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Jeffrey Gibson: This Is the Day



Jeffrey Gibson. PEOPLE LIKE US, 2018.Custom-printed polyester satin and neoprene, cotton, silk Ikat velvet, wool, repurposed quilt, tapestry, and vestment, with glass, plastic, and stone beads, nickel and brass studs, brass grommets, cultured pearls, nylon ribbon, and artificial sinew on canvas,suspended from tipi poles with rawhide ties,85 x 74 x 5 in. (215.9 x 188 x 12.7 cm). Courtesy of the artist; Roberts Projects,Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. Photograph by Caitlin Mitchell. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College.

The Blanton Museum of Art at The University of Texas at Austin will present Jeffrey Gibson: This Is the Day from July 14 to September 29, 2019. This exhibition is organized by the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, New York, and features over fifty works Gibson made between 2014 and 2018 including intricately beaded wall hangings and punching bags, paintings, ceramics, garments, helmets, and a new video commissioned for the exhibition entitled I Was Here (2018). Gibson intertwines polyphonic cultural references into works of art that are powerful affirmations of the identities we possess and embody.

Jeffrey Gibson. ALIVE!, 2016. Glass beads, tin jingles, steel and brass studs, nylon fringe, and artificial sinew on acrylic felt, mounted on canvas, 100 x 61 ¼ in. (254 x 155.6 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson. Photograph by Pete Mauney.

“The Blanton is delighted to bring this vibrant exhibition of Jeffrey Gibson’s recent work to Austin,” said Blanton director Simone Wicha. “Gibson’s stunning garments, elaborately beaded wall hangings, and bold paintings are hopeful, celebratory works that are sure to resonate with diverse audiences. While his art is rooted in his own identity and heritage, it also demonstrates the importance of inclusivity and community. We look forward to presenting Gibson’s art to our many audiences, and for the conversations these complex works will foster.”

In his practice Gibson brings together his Choctaw and Cherokee heritage and queer identity with a range of diverse artistic and cultural influences to explore race, sexuality, religion, and gender. Gibson’s art often joins exuberant colors, patterns, and materials with text borrowed from such authors as James Baldwin and Simone de Beauvoir or song lyrics by Grace Jones, Boy George, and other musicians. The title of the exhibition “This Is the Day,” references the 1983 song of the same title by the band The The, reflecting both the celebratory spirit of Gibson’s recent work and his interest in pop culture, especially during his own coming of age in the 1980s and 1990s. Gibson’s work highlights the unexpected connections between ceremonies and performances found in Native American powwow rituals, dance clubs, drag shows, and fashion shows, underscoring the complex vitality of his eclectic sources.

Jeffrey Gibson, Without You I’m Nothing, 2018, Custom-printed polyester satin and neoprene, polyester, and batting, with glass, plastic, stone, and bone beads, brass grommets, acrylic yarn, polyester laces, acrylic paint, and artificial sinew on acrylic felt and canvas, suspended from tipi poles with rawhide ties, 121 x 74 1/4 x 7 1/2 in. (307.3 x 188.6 x 19.1 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson.

“The Blanton is thrilled to present Gibson’s work during a such a significant year in his career,” said Blanton curator of modern and contemporary art Veronica Roberts, managing curator of the exhibition. “He is included the 2019 Whitney Biennial on view from May 17 to September 22 and is prominently featured in other museum exhibitions across the country from the Seattle Art Museum to the New Museum in New York. Gibson’s expansive practice will offer many points of connection for our audiences: it demonstrates exceptional craftsmanship and draws from pop culture, queer identity, Native American rituals and art forms, and art history. Presenting This Is the Day builds upon our larger mission to build a collection and host exhibitions that reflect diverse cultures and perspectives, while showcasing one of the most exciting contemporary artists working today.”

Jeffrey Gibson. PEOPLE LIKE US, 2018. Custom-printed polyester satin and neoprene, cotton, silk Ikat velvet, wool, repurposed quilt, tapestry, and vestment, with glass, plastic, and stone beads, nickel and brass studs, brass grommets, cultured pearls, nylon ribbon, and artificial sinew on canvas,suspended from tipi poles with rawhide ties, 85 x 74 x 5 in. (215.9 x 188 x 12.7 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson. Photograph by Caitlin Mitchell.

A major theme of the exhibition is ritual adornment and contemporary dress. Drawing from powwow regalia, movements associated with subcultures, and fashion, Gibson investigates how clothing can be used to communicate and transcend identity. The exhibition includes seven garments that are hung from tipi poles attached to the gallery ceiling. The longest garment is approximately ten feet tall and most are approximately six feet wide with their sleeves outstretched. They are composed from a wide range of materials including plastic beads, jingles, repurposed quilts and other textiles, as well as news headlines and images of Gibson’s previous works digitally printed onto custom fabrics. With their larger than-life size and deliberately ambiguous gender identification, they are powerful assertions of inclusivity.

Jeffrey Gibson. Love, 2018. Epoxy clay with glass beads, metal, resin, and plastic heart charms, amethyst geode, steel wire, nylon thread, and pigmented acrylic gel medium, 25 ½ x 14 x 15 ¾ in. (64.1 x 35.6 x 40 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson. Photograph by John Bentham.

“I rarely see my body represented in popular culture,” Gibson explains. “But my practice is where I call the shots, and I am trying to make the world I envision.” Similarly, the helmets weigh between 35 and 55 pounds and are ornamented with organic material such as quartz crystals, an amethyst geode, and coral, as well as found objects such as toys, charms, and cake toppers. Each explores a singular theme of death, love, peace, the ocean, and the archetype of the clown.

Jeffrey Gibson. Death, 2018. Epoxy clay with copper beads, steel and brass tacks, cultured pearls, pyrite, labradorite, quartz crystal, tourmaline, glazed ceramic, wood skull, nylon thread, and pigmented acrylic gel medium, 25 ¼ x 13 x 12 ¾ in. (64.1 x 33 x 32.4 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson. Photograph by John Bentham.

The form of the garments references the type of shirt associated with the Ghost Dance movement, a pacifist movement which believed in a peaceful return of land and way of life to Native tribes originating with the Paiute people in the 19th century and ending with the Wounded Knee Massacre. Practitioners of the Ghost Dance, which was a central ritual of the movement, wore hand-sewn shirts that were believed to repel bullets. At the same time, Gibson cites contemporary struggles for indigenous political autonomy. For example, Tribes File Suit To Protect Bears Ears (2018) features fabric printed with headlines of news coverage focused on the recent reduction of the size of Bears Ears public lands in Utah, which are held in common by five tribes.

Jeffrey Gibson. I Was Here (still), 2018. Duration 8 minutes, 15 seconds. Collection of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Commission, Daniel W. Dietrich ‘64 Arts Museum Programming Fund. © Jeffrey Gibson. Videography by Brett Novak.

This Is the Day also includes the video work I Was Here (2018), which was commissioned by the Wellin Museum of Art for the exhibition. Blurring the lines between documentary and fantasy, I Was Here is centered around Macy, a trans woman and member of the Choctaw Nation. Set on the Choctaw reservation in rural Mississippi where Gibson’s family is from, the film explores ideas related to the performance of gender identity, relationship to landscape, spirituality, and rituals. The title comes from the Beyoncé song of the same name, which Macy described as one of her personal anthems; the soundtrack was composed and performed by Tanya Tagaq, a Canadian Inuk throat singer.

Jeffrey Gibson. LOOK HOW FAR WE’VE COME!, 2016. Glass beads, tin jingles, copper cones, steel, nickel, and brass studs, nylon fringe, artificial sinew, and acrylic paint on wool blanket, mounted on canvas, 69 x 73 x 7 in. (175.3 x 185.4 x 17.8 cm). Courtesy of the artist; Roberts Projects, Los Angeles; Sikkema Jenkins & Co., New York; and Kavi Gupta, Chicago. © Jeffrey Gibson. Photograph by Pete Mauney.

The exhibition also includes ceramic sculptures, beaded panels, tapestries, weavings, abstract geometric paintings, and punching bags. Also on view will be LIKE A HAMMER (2016), a multi-media installation comprising a video of the artist donning a heavily ornamented robe in which he dances, drums, and creates a series of seven oil stick and graphite drawings, included in the display alongside the adorned cloak suspended from tipi poles. Jeffrey Gibson will speak with Veronica Roberts and Tracy L. Adler, Johnson-Pote Director of the Ruth and Elmer Wellin Museum of Art at Hamilton College and curator of the exhibition, at the Blanton on Friday, July 12 at 6 p.m.

12jul6:00 PM7:00 PMArtist Conversation with Jeffrey Gibson6:00 PM - 7:00 PM Blanton Museum of ArtCategories:VisualAges:All Ages

Jeffrey Gibson: This Is the Day is organized by the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, New York.

Generous funding for this exhibition at the Blanton is provided by Jeanne and Michael Klein, with additional support from Suzanne Deal Booth and Bridget and Patrick Wade.

26jul6:00 PM10:00 PMFeaturedB Scene: A Love Supreme6:00 PM - 10:00 PM Blanton Museum of ArtCategories:VisualAges:All Ages

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