{ "objects" : [ { "embark_ID" : 4614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4614", "Disp_Access_No" : "2019.008", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled (Badlands)", "Alt_Title" : "", "Obj_Title" : "<i>Untitled (Badlands)</i>", "Series_Title" : "", "Disp_Maker_1" : "Juventino Aranda", "Sort_Artist" : "Aranda, Juventino", "Disp_Dimen" : "57 x 77 x 2 in. (144.78 x 195.58 x 5.08 cm)", "Disp_Height" : "57 in.", "Disp_Width" : "77 in.", "Dimen_Extent" : "", "Medium" : "Oil on wool Pendleton blanket", "Support" : "", "Disp_Medium" : "Oil on wool Pendleton blanket", "Info_Page_Comm" : "Juventino Aranda created this painting by applying oil stick and paint to a striped Badlands National Park blanket from Pendleton Woolen Mills. The resulting fields of color evoke the paintings of Abstract Expressionist Mark Rothko (1903–1970) but are interrupted by a dripping mass of black paint that references the extraction of oil and other natural resources on national lands. Pendleton has produced blankets based on Native American designs since the late 1800s. The blankets are often given as gifts and used in ceremonies in tribal communities, but in recent years they have also become expensive commodities trendy among consumers who have little knowledge of the designs’ origins or meanings. After touring one of Pendleton’s factories near his hometown of Walla Walla, Washington, Aranda began making works using the company’s discarded products, highlighting the ongoing appropriation and exploitation of Indigenous culture in American society. ", "Dedication" : "Gift of Todd B. Rosin & R. Todd Armstrong, 2019.008", "Copyright_Type" : "", "Disp_Obj_Type" : "Mixed media", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.008_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.008_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.008_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.008_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "10098", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4617", "Disp_Access_No" : "2019.011.01", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Dress for Success", "Alt_Title" : "", "Obj_Title" : "<i>Dress for Success</i>", "Series_Title" : "", "Disp_Maker_1" : "Rose Nestler", "Sort_Artist" : "Nestler, Rose", "Disp_Dimen" : "24 x 18 x 5 in. (60.96 x 45.72 x 12.7 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Leather, thread, batting, grommets, hooks ", "Support" : "", "Disp_Medium" : "Leather, thread, batting, grommets, hooks ", "Info_Page_Comm" : "Brooklyn-based artist Rose Nestler describes her sculptures as having an “alert softness” that reflects the tension between the exterior and the interior self. <i>Dress for Success</i> realizes this duality by pairing its armored facade of conical breasts with its soft, deflated form. The sculpture is part of Nestler’s <i>Power Suit</i> series. In this ongoing body of work, she reinterprets iconic items of clothing that were originally designed to conceal, shield, or enhance women's bodies. The term “power suit” refers to the wide-shouldered, angularly cut business attire worn by many women during the 1980s in the corporate sector, a space historically dominated by men.", "Dedication" : "Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 2019.011.01", "Copyright_Type" : "", "Disp_Obj_Type" : "3-D Object", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.011.01_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.011.01_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.011.01_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.011.01_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15254", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4608, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4608", "Disp_Access_No" : "2019.005", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "this trembling turf (the shallows)", "Alt_Title" : "", "Obj_Title" : "<i>this trembling turf (the shallows)</i>", "Series_Title" : "", "Disp_Maker_1" : "Mary Ann Peters", "Sort_Artist" : "Peters, Mary Ann", "Disp_Dimen" : "60 x 48 in. (152.4 x 121.92 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "object", "Medium" : "White ink", "Support" : "clayboard", "Disp_Medium" : "White ink on clayboard", "Info_Page_Comm" : "<i>this trembling turf (the shallows)</i> is part of a series in which Seattle-based artist Mary Ann Peters explores ways of marking the overlooked or hidden evidence of subjugated peoples. Using white ink on black clayboard, the artist created an intricately textured surface composed of spikes and “blips,” as she has called them. The rhythmic pattern references the sound waves used by archaeologists to uncover buried traces of ancient civilizations. Peters started her <i>this trembling turf</i> series in 2017 following an artist residency in Beirut, where she learned that the lush fairways of a local golf club are thought to overlay a mass grave: in 1982, a militia linked to the right-wing Maronite Christian Phalange party killed hundreds, if not thousands, of Palestinian refugees and Lebanese civilians in two refugee camps in West Beirut. Though created with these specific places and events in mind, Peters’s work is abstracted, opening broader questions she has posed when discussing the series, such as, “Is there a country on the planet that doesn't have the same kind of tormented past?” ", "Dedication" : "Purchased with funds provided by Seattle Art Fair, 2019.005", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.005_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.005_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.005_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.005_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15253", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }