The University of Texas at Austin
  • Blanton Museum of Art showcases faculty

    By Brady Dyer
    Brady Dyer
    Published: April 17, 2008

    At The University of Texas at Austin, many respected artists of national and international reputation successfully create their own bodies of work while teaching and supervising the work of the next generation of artists. This month, the always-popular art faculty exhibition returns with a revised format to a new home at the Blanton Museum of Art. The show will now occur on a triennial basis with works selected by guest curators invited from across the country.

    This year, James Elaine, curator of the Hammer Projects series at the Hammer Museum of Art at UCLA, has selected an intriguing cross-section of works from amongst the faculty’s broad range of artistic production.

    “Before coming to Austin, I was unaware of the breadth of talent of the university’s faculty,” Elaine said. “I was thrilled and excited by the level of talent and commitment I saw from every artist in every discipline and department.

    Elaine said he hopes the exhibition and subsequent triennials will bring attention to the university’s talented faculty and attract students from across the nation to the university.

    Among the exhibiting faculty are former and current participants of the Whitney Biennial, widely exhibited, internationally recognized artists, and artists who are included in the collections of some of the country’s most prominent museums.

    “One of the reasons that Austin is known as one of the nation’s most creative cities is that there is an incredible group of professional artists here at the University of Texas,” said Annette DiMeo Carlozzi, the Blanton’s director of curatorial affairs and curator of American and contemporary art. “They devote much of their lives to teaching and shaping future generations of artists. In our new museum, we can showcase the best of their own studio work in a world-class setting.”

    Exhibition highlights include the provocative paintings of Michael Ray Charles, in which race, class and identity is examined, while Tim High’s prints juxtapose media images of historical tragedies with the canonical imagery of nineteenth-century master paintings.

    Landscape is a theme explored by many of the faculty members, each of whom approaches it from a unique perspective.

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