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2008

Marcelo Pombo is one of the key figures to emerge from the 1990s art scene in Argentina, and was part of the movement know as Arte Light, which was formed by a group of artists associated with the Centro Cultural Rojas. His paintings make use of industrial paint and sparkling polishes to depict fantasy worlds that combine graphic design, comic culture, geometric abstraction, and surrealist influences. For this installation, he presents six new large–scale paintings, all commissioned by the Blanton.

A groundbreaking exhibition of work by artists associated with the Park Place Gallery, a prominent artists' cooperative space in 1960s New York. With their specific aesthetics, the group was often at odds with the predominant style of many artists of the era, and as a result, their work has largely been ignored in chronicles of 1960s art. The exhibition features approximately 40 works and examines the impact of this little known but influential cadre of artists.

On view September 28, 2008 to January 18, 2009, the exhibition of over 70 works examines the Conceptualist movement of the 1960s and '70s through the printmaking practices of the New York Graphic Workshop (NYGW). The show also serves as a Latin American counterpart to Reimagining Space, an exhibition focusing on the Park Place Gallery Group in 1960s New York.

A special exhibition of Japanese woodblock prints from the James A. Michener Collection of the Honolulu Academy of Arts. The exhibition provides viewers a rare opportunity to examine the history of the medium from its inception in the 17th century through the 20th century, highlighting the techniques, processes and subjects that characterize these remarkable works. It includes fifty prints from master Japanese printmakers including Kitagawa Utamaro, Katsushika Hokusai and Utagawa Hiroshige.

Argentine artist Fabián Bercic will provide a contemporary reinterpretation of the traditional Zen Garden in his site-specific installation for WorkSpace.

The works in this exhibition by José Luis Cuevas, Francisco Toledo, and Tonel all feature grotesquely distorted, maimed, metamorphosed, or transgressive human figures.

Printmakers in Texas made defining marks in the 1930s and 1940s. Two camps predominated the landscape: the etchings of the Fort Worth Circle embraced variants of avant-garde European Modernism, while the Dallas Nine defined Texas regionalism though social-realist lithographs.

Raphael Invenit, The Baroque in Central Europe, and Masters of the Etching Revival

Conceived as an introduction to this distinctive medium, the exhibition includes more than 100 rare works from the museum's collection, with examples from Albrecht Dürer, Rembrandt, Francisco Goya, Roy Lichtenstein, Henri Matisse, Carol Bove, and many others.

The art faculty exhibition returns with a revised format to a new home at the Blanton. This year, James Elaine, esteemed 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.

Many of the artists in WorkSpace: In Katrina's Wake have initiated projects whose scale and shape extend well beyond the physical confines of an exhibition viewing space. These artists, including Paul Chan, Jan Gilbert, Jana Napoli, Rondell Crier, Carol Bebelle, Douglas Redd, and the collaborative Transforma Projects, have used the Internet as both documentation of their efforts and as a live forum for their continuation.

The exhibition features 55 miraculous paintings from South America during the days of Spanish Colonialism in the Viceroyalty of Peru, which encompassed present-day Peru, Paraguay, Uruguay, Bolivia, Ecuador, Colombia, parts of Chile and Argentina, and Panama.

A self-described "spiritual exploration of her own consciousness," this artistic investigation offers a forum for exploring questions of faith. Wolff is a student of many religions, as well as Jungian psychology. Her works are personal reflections, but they are open to multiple interpretations.

Manipulating paper as a means to its own end, these artists favor simple, elegant gestures to convey spiritual, perceptual, or political concerns.

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