Blanton Museum gives 500 artworks to 17 Texas museums

The Blanton Museum of Art is passing out of 500 works of art to 17 other Texas museums. These are part of the historic collection of 700 pieces transferred last year to the University of Texas museum from the Contemporary Austin. The Blanton will keep 200 pieces that match its current collecting strategies more closely.

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Margo Sawyer’s ‘Blue,’ 1998, detail of wood tempera and gold and silver leaf. Collection of the Grace Museum, gift of the Blanton Museum of Art, 2018, transfer from the Contemporary Austin, partial gift of the artist, with funds generously provided by ArtPace, A Foundation for Contemporary Art/San Antonio; Deborah and Tom Green; William F. Stern; Lee M. Knox, Juan and Carmen Creixell, and an anonymous donor.

In 2017, the rapidly growing Contemporary decided to part ways with its eclectic collection collected put together rather haphazardly by its predecessors, including the Laguna Gloria Art MuseumAustin Museum of Art, Texas Fine Arts Association and Arthouse. 

RELATED: What move of Contemporary Austin collection means to the Blanton.

Its leaders will concentrate instead on the Marcus Sculpture Park at Laguna Gloria and its “museum without walls” program that places art around the city. It will continue to stage temporary shows at its downtown Jones Center location.

RELATED: Austin museum picks winner of $800,000 art prize.

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Julie Speed’s ‘Portrait of Mr. Magritte,’ 2000. Gouache and collage on 19th century engraving 15 1/2 x 12 3/4 x 1 1/2 inches. Collection of the Witliff Collections at Texas State University, gift of the Blanton Museum of Art, 2018, transfer from the Contemporary Austin, purchase through funds provided by the Sarah and Ernest Butler Family Fund, 2002.

For its part, the Blanton continues to add to its collection of nearly 18,000 objects. It displayed some of the work transferred from the Contemporary in a special show that highlighted Texas and Austin artists, including UT grads Jules Buck Jones, Lance Letscher and Eduardo Muñoz Ordoqui.

Some of the works transferred to other Texas museums — hungry to have them — were pieces by distinguished artists such as Alexander Calder, Dorothy Hood, Luis Jiménez, Alex Katz and Robert Rauschenberg.

“As part of this large and thriving arts ecosystem, the Blanton is proud to support other Texas institutions in serving their communities,” Blanton director Simone Wicha says, “while also preserving this important collection of Texas art for future generations.”

Participating institutions included the Amarillo Museum of Art; Art Museum of Southeast Texas, Beaumont; Art Museum of South Texas, Corpus Christi, affiliated with Texas A&M University-Corpus Christi; the Grace Museum, Abilene; International Museum of Art & Science, McAllen; Kerr Arts and Cultural Center, Kerrville; Longview Museum of Fine Arts, Museum of Texas Tech University, Lubbock; Nancy Fyfe Cardozier Gallery, Odessa at the University of Texas Permian Basin; Pearl Fincher Museum of Fine Arts, Spring; Regional Arts Center, Texarkana; San Angelo Museum of Fine Arts; the Wittliff Collections and Texas State Galleries, San Marcos; Tyler Museum of Art; Visual Arts Gallery, Brownsville at the University of Texas Rio Grande Valley; and Wichita Falls Museum of Art at Midwestern State University.

 

Austin artist, musician Steve Parker wins $15K Tito’s Prize

Big Medium, which marshals some of the city’s most precious visual art resources, could not have chosen a more timely winner for its $15,000 Tito’s Prize.

Artist and musician Steve Parker has won the 2018 Tito’s Prize. Contributed

A musician, artist and curator, Steve Parker has been involved in some of the city’s outstanding collaborative projects, beloved by the public as well as critics and colleagues, including work on the city’s much-discussed grackle population.

The prize comes with a solo exhibition at the Big Medium Gallery, Oct. 19-Nov. 18, as well as a key spot on the East Austin Studio Tour (Nov. 10-18).

Parker’s public art is embraced by just about everyone. Contributed by Philip Rogers.

RELATED: Zack Ingram won 2017 Tito’s Prize.

Three judges — Andrea MellardDennis Nance and Veronica Roberts, all arts insiders — joined voices in picking Parker.

Parker is also part of the Austin community fascinated by grackles. Contributed

RELATED: Sex, race and grackles — Fusebox Festival covers many moods.

“Parker exemplifies the way contemporary artists push beyond the boundaries of genres and media towards the pursuit of creativity,” Mellard says. “His strong artistic practice in new music performance, in sites ranging from parks to parking lots, has expanded into public sound sculptures and more recently installations. His generous approach brings together groups of trained performers and even invites curious members of the public to participate in his scores.”

SOMEWHAT RELATED: More Grackle Week 2018.

For the first time in 10 years, Blanton Museum of Art raises ticket prices

The home of Ellsworth Kelly‘s “Austin” and Vincent Valdez‘s “The City” will soon become more expensive for some guests to visit.


RALPH BARRERA / AMERICAN-STATESMAN

As of Sept. 1, the adult ticket price at the Blanton Museum of Art will increase from $9 to $12 and the senior price will increase from $7 to $10.

RELATED: UT unveils large-scale painting of Klan members

In comparison, top ticket prices at the Museum of Fine Arts-Houston are $23; San Antonio Museum of Art are $20; Dallas Museum of Art are $16; Fort Worth’s The Modern are $16; Fort Worth’s Kimbell Art Museum are $14; SMU’s Meadows Museum of Art are $12

The Menil Collection in Houston and Blaffer Art Museum at the University of Houston are free. Also, the Kimbell’s magnificent permanent collection, as opposed to its special exhibitions, is free.

Admission to the Blanton remains free on Thursdays and to certain subsets of visitors. It also remains closed on Mondays.

Vincent Valdez’s work “The City” is on display at the Blanton Museum of Art. In a forum on Tuesday for the unveiling, Valdez talked about the quiet ubiquity of white supremacy in American life. Rodolfo Gonzalez for American-Statesman

RELATED: Ellsworth Kelly’s “Austin” worships light.

Complete price list as of Sept. 1:

Members: Free

UT Faculty/Students/Staff (with valid ID): Free

Adults: $12

Seniors (65+): $10

College Students (with valid ID): $5

Teachers (with valid school ID): Free

Youths (13-21): $5

Children 12 & under: Free

Active Military: Free

UPDATE: Added info about the Kimbell to this post.

Winners rejoice for 2018 Austin Critics Table Awards

Seems like yesterday when we sat down at Katz’s Deli to vote on the first Austin Critics Table Awards. Now a whole new generation of arts journalists are making the decisions. We could not be happier.

The following individuals and groups were honored Monday night at Cap City Comedy Club. (If I missed any, let me know.)

CRITICS TABLE AWARDS 2018

THEATER

Production (tie)

“Henry IV,” The Hidden Room Theatre

“Ragtime,” Texas State University Department of Theatre and Dance

RELATED: “Ragtime” is an American classic.

Direction

Jason Phelps, “The Brothers Size”

David Mark Cohen New Play Award

“Wild Horses,” Allison Gregory

Performance by an Individual

John Christopher, “The Brothers Size”/”Fixing Troilus and Cressida”

Chanel, “Lady Day at Emerson’s Bar and Grill”

Jennifer Coy Jennings, “Wild Horses”

Sarah Danko, “The Effect”/”Grounded”

Judd Farris, “Henry IV”/”The Repentance of Saint Joan”

Joseph Garlock, “The Immigrant”

Performance by an Ensemble

“The Wolves,” Hyde Park Theatre

Periphery Company

“Wimberley Players,” Wimberley

Improvised Production
“Orphans!,” The Hideout Theatre
“Speak No More,” Golden

DESIGN

Set (tie)

Stephanie Busing, “The Curious Incident of the Dog in the Night-Time”

Chris Conard/Zac Thomas, “Pocatello”

Costume

Buffy Manners, “Shakespeare in Love”

Lighting

Rachel Atkinson, “Scheherazade”/”Twenty-Eight”/”Catalina de Erauso”/”The Curious Incident of the Dog in the Night-Time”/”Con Flama”

Sound

Lowell Bartholomee, “Grounded”

Digital (tie)

Lowell Bartholomee, “The Effect/Wakey Wakey”/”The Repentance of Saint Joan”/”Grounded”

Robert Mallin, “Enron”

DANCE

Concert

(“Re)current Unrest”, Charles O. Anderson/Fusebox Festival

Short Work

“Four Mortal Men,” Ballet Austin

Choreographer

Jennifer Hart, “Fellow Travelers”/“Murmuration”

Dancer

Anika Jones, “Belonging, Part One”

Rosalyn Nasky, “Come In!!!”/”Pod”/”There’s No Such Thing as a Single Stripe”

Jun Shen, “Belonging, Part One”

Ensemble

“Exit Wounds”/”Masters of Dance,” Ballet Austin

RELATED: Ballet Austin aims for the heart with “Exit Wounds.”

CLASSICAL MUSIC

Concert/Opera

“Southwest Voices,” Chorus Austin

Chamber Performance

Golden Hornet Young Composers Concert, Golden Hornet

Original Composition/Score

“I/We,” Joseph V. Williams II

Singer

Marina Costa-Jackson, “La Traviata”

Jenifer Thyssen, “An Early Christmas”/”It’s About Time: Companions”/”Complaints Through the Ages”

Veronica Williams, “Songs of Remembrance and Resistance”

Ensemble

“Invoke, Beerthoven”/Golden Hornet Smackdown IV

Instrumentalist (tie)

Bruce Colson, “It’s About Time: Companions”

Artina McCain, “Black Composers Concert: The Black Female Composer”

VISUAL ART

Solo Gallery Exhibition

“Claude van Lingen: Timekeeper,” Co-Lab Projects

Group Gallery Exhibition

“Yo soy aqui / I am here,” ICOSA

Museum Exhibition

“The Open Road: Photography and the American Road Trip,” Blanton Museum of Art

Independent Project

2017 Texas Biennial

Gallery, Body of Work

Co-Lab Projects

Artist

Michael Anthony Garcia

SPECIAL CITATIONS

John Bustin Award for Conspicuous Versaility: Mary Agen Cox, Jeff Mills

Deacon Crain Award for Outstanding Student Work: Connor Barr, Kat Lozano, UT; Ben Toomer, Texas State

Outstanding Music Direction: Austin Haller for “Ragtime”

Outstanding Choreography: Natasha Davison for “The Drowsy Chaperone”

Horn of Plenty Award: Benjamin Taylor Ridgeway & Jennifer Rose Davis for the masks in “Rhinoceros”

Jurassic Spark Award: The Hatchery for creating the raptors in “Enron”

One Singular Sensation Award: Kaitlin Hopkins for the Texas State University Musical Theatre Program

RELATED: Kaitlin Hopkins takes Texas State to the top.

Always a Safe Flight Award: Barry Wilson & Team for Rigging Design & Execution in “Belonging, Part One”

Outstanding Touring Show, Dance: Johnny Cruise Mercer and Fusebox Festival for “Plunge In/To 534”

Architecture is Art Award: Blanton Museum of Art for Ellsworth Kelly’s “Austin”

Mount Everest Award: Vortex Repertory Theatre for “Performance Park”

Flip the Table Award: David Wyatt and John Riedie for meritorious service to the Austin Critics Table

AUSTIN ARTS HALL OF FAME INDUCTEES

Norman Blumensaadt (Different Stages) – company founder, artistic director, director, actor

Kathy Dunn Hamrick (Kathy Dunn Hamrick Dance Company, Cafe Dance) – company founder, artistic director, choreographer, dancer, educator

Michael and Jeanne Klein (Blanton Museum of Art, The Contemporary Austin, Ransom Center, et al.) – patrons, board members, civic leaders, arts advocates

Anuradha Naimpally (Austin Dance India, Cafe Dance) – company founder, artistic director, dancer, choreographer, educator

We salute $43 million Bloomberg arts gifts, Austin Opera, Austin Art League and more

As reported in the New York Times, Bloomberg Philanthropies is putting $43 million into small and midsize arts group in seven new cities, including Austin.

Former New York City Mayor Michael Bloomberg. AP Photo/J. Scott Applewhite

“We wanted to reach cities that we thought had a really strong mix in the way they were serving up arts and culture,” Kate Levin, who oversees arts programs for Bloomberg, told the Times.

The other cities new to the project are Atlanta, Baltimore, Denver, New Orleans, Pittsburgh and Washington, D.C. Already, the program has given $65 million to smaller groups in New York, Boston, Chicago, Dallas, Detroit, Los Angeles and San Francisco.

By invitation, the arts groups are offered unrestricted support up to 10 percent of their budgets along with management training.

We’ll update this report when names of the local arts groups are revealed.

Austin Opera

Notes on Austin Opera‘s recent production of “La Traviata.”

• Just as with Austin Symphony‘s concert that included Beethoven‘s Fifth, the opera company can fill a house with a favorite. Yes, just as patron Robert Nash said as he passed me going in, this was something like my 5,000th “La Traviata,” but who is counting? I like a full, enthusiastic house and a fresh interpretation of a classic.

• Every “La Traviata” is about Violetta, the fallen woman who finds love, abandons it in sacrifice, then dies. Yet everything about this production at the Long Center for the Performing arts centered expressly on Marina Costa-Jackson, who could fill an sporting arena with her charisma, her nuanced acting and her gorgeously tawny voice. She now moves up to spot No. 2 after Patricia Racette on my list of favorite Violettas.

RELATED: How Austin Opera got its groove back.

• Every conductor from here on out must be considered a candidate for the position of Austin Opera artistic director. That’s not the official line, but it’s customary. What can we say about Steven White, who conducts around the world including at the Metropolitan Opera in New York? Judged by this one show, his sound is clean, unassuming and solidly in support of the artistic whole.

• While we loved the whirlwinds of activity elicited by stage director David Lefkowich, as well as the simplicity of his intimate scenes, we were of two minds about the costumes, sets and lights. The first act was appropriately suggestive of a bordello with a hint of luxury, each subsequent scene looked more and more bleak, less and less polished.

• Alfredo is, by nature, a pallid character. And that’s the way tenor Scott Quinn played him from beginning to end. Even during scenes of rage or regret. Germont, on the other hand, offers a mature range of responses. Although he looked young for the role of Alfredo’s father, Michael Chioldi proved forceful, then dignified, although he was less convincing as he warmed to Violetta.

Austin Art League

They have been meeting for more than 100 years. The Austin Art League started regularly examining and discussing art in social settings in 1909. They continue to do so.

Apoorva Jain, Lulu Flores and Laura Bauman during the Art League Luncheon at Tarry House. Michael Barnes/American-Statesman

During a light luncheon at Tarry House, a private club in Tarrytown on a former estate that belonged the Reed family, they covered a multitude of subjects, but got down to business handing out scholarships to Austin Community College art students Apoorva Jain and Laura Bauman. A third recipient of the $1,500 grants was not present.

They can do so because, a few years ago the group sold a collection of art that they owned, but had been closeted at the Austin History Center for decades. That secret stash brought in $200,000, part of a story I want to tell in full.

In the custom of legacy women’s clubs, members have at times been identified only by their husbands’ names, at other times by their given first names and married last names. Looking over a list of first 100 or so presidents, I spied some social celebrities right off: Mrs. Walter E. Long, Mrs. Harry Bickler, Mrs. T.P. Whitis, Mrs. R.L. Batts, Mrs. T.S. Painter, Mrs. Z.T. Scott, Mrs. Fred. S. Nagle, Mrs. Austin Phelps, Mrs. Martha Deatherage, Mrs. G. Felder Thornhill III, Mrs. D.J. Sibley, Jr. and Mrs. Frank Starr Niendorff.

Leonard Lehrer

We did not know accomplished artist, teacher and administrator Leonard Lehrer, but he spent his last years in the Austin area. He died on May 8.

Leonard Lehrer

Lehrer was a founding trustee and current honorary member of the International Print Center New York and emeritus professor of art from New York University, among other titles. His art was the subject of 48 solo exhibitions and multiple group shows. His work is in the collections of the Museum of Modern Art, Metropolitan Museum of Art, National Gallery, Corcoran Gallery, Library of Congress as well as other museums and private collections.

Lehrer studied at the Philadelphia College of Art and the University of Pennsylvania. He taught at or led programs at the Philadelphia College of Art, University of New Mexico, University of Texas at San Antonio, Arizona State University, Columbia College Chicago and New York University. His last position was a director of the printmaking convergence program at the University of Texas.

A celebration of his life will be held at 3 p.m. June 2 at Thurman’s Mansion in Driftwood.

Get an early look at what’s coming up at Creek Show 2018

Creek Show, the annual procession of light art staged by the Waller Creek Conservancy, turned a corner of sorts last year.

What started as mostly elegant minimalist efforts along downtown Austin’s eastern waterway went maximalist in 2017 with masses of pink flags for “Night Garden” by Daniel Woodroffe (lead), Kim Harding, Francisco Rosales, Ethan Primm and Kevin Sullivan.

UPDATE: Credits for “Night Garden” appeared incorrectly in a previous version of this post.

“Night Garden” was a hit for the Creek Show in 2017. Created by Daniel Woodroffe (lead), Kim Harding, Francisco Rosales, Ethan Primm and Kevin Sullivan. Contributed by DWG via creekshow.com

The designs for year five — the free event will be Nov. 9-17 — were recently announced and promise to continue the large-scale experience. In 2017, more than 20,000 people attended Creek Show, sampling the kind of attractions planned for a transformed Waller Creek. For 2018, Creek Show will be in a different section of Waller Creek — between Ninth and 11th streets — and include Symphony Square, where the “Creek Show Lounge” will be located.

Here’s a look at early renderings of what’s planned for 2018, along with the teams behind the designs:

“Tentsion”

By Perkins + Will

Chet Morgan, Assoc. (lead)

Jenny Adair

Caitlin Admire

Aaron Manns

Emilie Ogburn

Ellen Saathoff

Paul Ward

“Ambedo βeta”

By Polis

Daniel Goodwin (lead)

Brianna Graves

Olivia Nguyen

Bruce Wilcoxon

“Parabolus”

By aod

Jose Roberto Corea (lead)

Courtney Jones Burton

Gretchen Leigh Du Pré

Jeff Fletcher

“Light Lines”

By Campbell Landscape Architecture + Tab Labs

Cameron Campbell (lead)

Bill Baird

Taurin Barrera

Stuart Campbell

Jenny Janis

Viddhi Jhaveri

“La Noria”

By Drophouse Design

Christian Klein (lead)

Matt Satter

Christy Taylor

“Urban Scrim”

By Lemmo Architecture and Design

Ryan Lemmo, (lead)

Stephanie Lemmo, Assoc. (lead)

Jonathan Butler

Julia Martinelli

 

 

 

Setting the highest standards for the Art Dinner at Laguna Gloria

Etherial location. Elegant crowd. Exquisite cuisine. Excellent art.

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The S.S. Hangover at Laguna Gloria. Michael Barnes/American-Statesman

For the past five years, the Art Dinner at Laguna Gloria has benefited the Contemporary Austin. Hosts expertly employ the arboreal setting on the grounds of the Clara Driscoll villa to create an elevated atmosphere at dusk and into the evening. This year, that effort included the passage of the S.S. Hangover through the lagoon with members of an Austin music collective playing a dirge-like piece.

Visual and musical artists do love a bit of theater!

Guests were in no hurry to pass up cocktails at key points in and around the villa, but the seated dinner took place under tents on the front lawn. Happily, I was placed next to designers Lydia G. Cook and Geoff Fritz from the Cambridge, Mass. firm of Reed Hilderbrand Landscape Architecture. They helped explained the company’s master plan for the Contemporary’s Marcus Sculpture Park, including connectivity to nearby Mayfield Park.

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Scene from the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

RELATED: Imagine a new welcome at Laguna Gloria.

The modest but tasty dinner arrived courtesy of restaurateur Tyson Cole along with chefs Ed Sura of Uchiko and Joe Zoccoli of Uchi. (Note to other Austin charity hosts: You don’t need a big slab of animal protein to satisfy.) The evening climaxed with an unusually civilized live auction featuring work by artists close to projects at the Contemporary.

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Dr. Sam Rumi and Dr. Meena Vendal at the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

“When all was said and done, we raised more than $500,000 in the live and silent auctions,” reported the museum’s spokeswoman, Nicole Chism Griffin. “One hundred percent of these funds will go to support exhibitions at both of our locations. We also raised  $325,0000 toward the purchase of Ai Weiwei’s “Iron Tree Trunk.” Our goal had been $100,000 for the evening! This $325,000 will go toward fulfilling the Edward and Betty Marcus Foundation’s challenge grant of $500,000 (for the purchase).”

I hear that some guests danced till the wee hours.

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Andre Revilla and Rachel Imwalle at the Art Dinner at Laguna Gloria. Michael Barnes/American-Statesman

Austin Symphony

Some notes on the Austin Symphony‘s recent concert at the Long Center.

• One way to fill a house: Schedule Beethoven‘s Fifth. It is the duty of artistic leaders such as Peter Bay to expand tastes and lead audiences in new directions. Still, the Fifth — if well done, and it was — satisfies and enlightens with each fresh interpretation. It comes with the added benefit of a standing-room-only crowd.

RELATED: Why I adore the Austin Symphony.

• I’ve tried to sit in every part of the Long Center house since it opened 10 years ago. Row 4 on the orchestra level was not the right place to take in the concert’s opening piece, Michael Torke‘s “Bright Blue Music.” All I heard was the lower range of the strings and all I saw were the polished shoes of the musicians.

• Turns out the same seat was ideal for Leonard Bernstein‘s “Serenade (after Plato’s Symposium) for Solo Violin, Strings, Harp and Percussion.” Here, only the strings really mattered and they came together beautifully in conjunction with violinist Vadim Gluzman‘s playful then profound solo turn. Booked as part of the “Bernstein at 100” celebration, this near-concerto is a gem to revive more often.

• Bay has proven time and again that he can take epic forms to ever higher heights. Last season, it was Mahler‘s Sixth, an almost brutally difficult symphony to get right. With Beethoven’s Symphony No. 5 in C Minor, the challenge instead is overfamiliarity. Bay and his always advancing ensemble treated the first movement with rhythmic clarity, the second with architectural balance, the third with taut force and the final movement with bristling brilliance.

ICYMI: New $6 million portal for Laguna Gloria

The Contemporary Austin has raised $6 million to make the entrance to Laguna Gloria more welcoming.

The entrance to Laguna Gloria will be transformed by a $6 million welcoming project. Contributed by Reed Hilderbrand

READ MORE about the plans at our premium site MyStatesman.com.

The beloved 14-acre site, home to b’s 1916 villa and, now, the sprawling b, is set to undergo a multiphase face-lift. The first step is to break ground March 21 on a new $6 million guest-friendly entrance complex and improvements to the verges of West 35th Street.

The effort was made possible by a $3 million grant from the Moody Foundation, which recently gave $15 million to the Waller Creek Conservancy to build a performance venue in Waterloo Park and $9.7 million to the Pease Park Conservancy to improve the green space alongside Shoal Creek, considered the city’s oldest park and site for a new Stickwork sculpture off Parkway.

Get ready for Ellsworth Kelly at the Blanton Museum of Art

Top arts news of the week: UT opens Ellsworth Kelly masterpiece at the Blanton Museum of Art. Although museum members, directors and backers have peeked inside the chapel-like building on campus, everyone can see it during regular museum hours beginning Feb. 18. Check into the Visitors Services desk in the east wing of the museum first. And go on a sunny morning for the best light show.

READ a description of the place on our premium site MyStatesman.com.

The tumbling square windows fill one vault with pale light. Ralph Barrera/American-Statesman

“Patches of color drip ever so slowly down the walls, then pool onto the smooth black granite floor. On sunny days, the tall white barrel vaults swim with jewel-toned iridescence.

“Not only do the intense hues migrate minute by minute, they alter from day to day according to the position of the sun above “Austin,” a phenomenal new building that doubles as a monumental work of art on the University of Texas campus.”

Get a sneak peek inside Ellsworth Kelly’s stunning ‘Austin’ at UT

The much-anticipated opening of Ellsworth Kelly‘s’ “Austin,” a phenomenal new building that doubles as a monumental work of art on the University of Texas campus, is not until Feb. 18. But now we can give you a look inside.

RALPH BARRERA / AMERICAN-STATESMAN

Designed by late American modern artist Kelly, the $23 million project created by the Blanton Museum of Art instantly takes its place as a crown jewel of Austin art.

RALPH BARRERA / AMERICAN-STATESMAN

Scroll down to see more photos, read what some people are saying about the work and to find out how you can see “Austin” for yourself once it opens.

“It will be a bold new landmark for the university and the city,” predicts Blanton director Simone Wicha, who spent years putting together “Austin,” colloquially known as the “Ellsworth Kelly Building” or just “The Ellsworth” or sometimes “The Kelly.” “Inevitably, it will change the way the world sees Austin.”

RALPH BARRERA / AMERICAN-STATESMAN

“Ellsworth Kelly’s ‘Austin’ culminates the career of one of the greatest of modern artists,” says Richard Shiff, an art professor who directs UT’s Center for the Study of Modernism. “Kelly conceived of (it) as a single aesthetic experience. ‘Austin’ is culture in a pure form. Its appeal is universal.”

“‘Austin’ not only showcases Kelly’s early appreciation of historical European art and architecture,” curator Carter Foster says, “it also marries this passion with the transformative themes that he would discover over the course of his life. I hope that, with the help of this exhibition, everyone who visits the work will come away with the same sense of awe that I do.”

RALPH BARRERA / AMERICAN-STATESMAN

“The opening of ‘Austin’ further cements the Blanton as an international cultural destination,” Wicha says. “The broad geographic support we received for this project is reflective of the audience we anticipate visiting Kelly’s monumental achievement.”

RALPH BARRERA / AMERICAN-STATESMAN

HOW TO SEE ‘AUSTIN’

Starting Feb. 18, Ellsworth Kelly’s ‘Austin’ will be open during regular Blanton hours; entry is included with museum admission. Go to the Visitors Services desk inside the museum’s east wing to obtain tickets. Find out more at blantonmuseum.org.

rbz Ellsworth Kelly 29.JPG