{ "objects" : [ { "embark_ID" : 25659, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25659", "Disp_Access_No" : "2014.63", "_AccNumSort1" : "", "Disp_Create_DT" : "2014", "_Disp_Start_Dat" : "2014", "_Disp_End_Date" : "2014", "Disp_Title" : "End Upheld", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nick Cave", "Sort_Artist" : "Cave, Nick", "Disp_Dimen" : "94 x 30 x 25 in. (238.8 x 76.2 x 63.5 cm)", "Disp_Height" : "94 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media including carved stool, light fixtures, ceramic birds, metal flowers", "Info_Page_Comm" : "Nick Cave is an African American sculptor, costume maker, and performance artist. He uses objects he finds at thrift stores, flea markets, garage sales, and the like to create elaborate and decorative works of art that are sometimes beautiful and sometimes troubling. End Upheld has both of these qualities. The sculpture includes a racist image of a male figure of African descent. The object may have once served as a pedestal or a stool. Now it is elevated, sitting atop a stool of its own. Raised to new heights, the figure supports a striking and complex latticework of birds, beads, flowers, stylized lamps, and other ornaments. The title of the sculpture, End Upheld, is a play on words. Just as the figure may have once been a stool for someone to sit on, in this new context it is supporting a world of beauty and light. Through the process of making art, Cave has transformed an object representing a painful, oppressive past into a source of hope and transcendence. [Gallery label text, summer 2015]", "Dedication" : "Bequest of Charles W. Strowger, by exchange, and Thelma M. Knapp Fund", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.63_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.63_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.63_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.63_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "43137", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by dealer. Exists as large JPG and smaller JPG derived at MAG. No uncorrected master.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.63_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.63_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.63_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.63_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "43136", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by dealer. Exists as large JPG and smaller JPG derived at MAG. No uncorrected master.", "View" : "" } , ] },{ "embark_ID" : 26901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26901", "Disp_Access_No" : "2018.31", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "Into the Woods", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "59 3/4 x 44 3/4 in. (151.8 x 113.7 cm)", "Disp_Height" : "59 3/4 in.", "Disp_Width" : "44 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "wood", "Disp_Medium" : "Acrylic on wood", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Preliminary correspondence gave the title of this work as Joycean Parable, but the back of the painting is inscribed with the title Into the Woods, and it was decided to use that inscribed title.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "53204", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , ] },{ "embark_ID" : 28224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28224", "Disp_Access_No" : "2018.32", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "304 x 114 1/2 in. (772.2 x 290.8 cm)", "Disp_Height" : "304 in.", "Disp_Width" : "114 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "Cerex nylon", "Disp_Medium" : "Acrylic on Cerex nylon", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32-2018.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32-2018.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32-2018.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32-2018.33_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "53205", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "2018.32 and 2018.33 photographed together (2018.33 on the left in this photo) On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53206", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53791", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy Olenick disk 191120, held in the Curatorial department. No master with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 28225, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28225", "Disp_Access_No" : "2018.33", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "286 1/2 x 118 in. (727.7 x 299.7 cm)", "Disp_Height" : "286 1/2 in.", "Disp_Width" : "118 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "Cerex nylon", "Disp_Medium" : "Acrylic on Cerex nylon", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32-2018.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32-2018.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32-2018.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32-2018.33_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "53208", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "2018.32 and 2018.33 photographed together (2018.33 on the left in this photo) On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.33_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.33_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.33_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.33_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53209", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.33_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.33_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.33_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.33_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53792", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy Olenick disk 191120, held in the Curatorial department. No master with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 11714, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11714", "Disp_Access_No" : "2003.4", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Untitled (the failure of Sylvester)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lorna Simpson", "Sort_Artist" : "Simpson, Lorna", "Disp_Dimen" : "61 x 41 1/8 x 1 3/4 in. (154.9 x 104.5 x 4.4 cm)", "Disp_Height" : "61 in.", "Disp_Width" : "41 1/8 in.", "Dimen_Extent" : "with frame", "Medium" : "Gelatin silver print", "Support" : "", "Disp_Medium" : "Archival gelatin prints under Plexiglas with black vinyl lettering", "Info_Page_Comm" : "Lorna Simpson's art defies easy explanation. Inspired by diverse sources, it contains cinematic allusions, references to popular culture, as well as personal narrative. It is intentionally complex and ambiguous. Simpson's goal is to make the viewer think and reflect - about race, about class, about gender. Untitled (the failure of Sylvester) seems at first glance to be a random grouping of words and images. A closer look reveals that the photographs depict a woman whose face we never quite see - in four of the images, her face is deliberately obscured. Does this suggest that the African-American woman is not actually seen, and is invisible in American culture? What is the meaning of the text? Like the images, the texts are allusions to mainstream perceptions of the African-American. The Failure of Sylvester is the title of a painting by the Ashcan artist Robert Henri. Sylvester, a young African-American and the artist's model for the painting, has fallen asleep - has 'failed' as a model. [Gallery label text, 2004]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21967", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14287", "Disp_Access_No" : "2006.40", "_AccNumSort1" : "", "Disp_Create_DT" : "2002", "_Disp_Start_Dat" : "2002", "_Disp_End_Date" : "2002", "Disp_Title" : "Sears Ross tji wara (mother and child)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Willie Cole", "Sort_Artist" : "Cole, Willie", "Disp_Dimen" : "47 x 26 x 7 3/4 in. (119.4 x 66 x 19.7 cm)", "Disp_Height" : "47 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Bicycle parts", "Info_Page_Comm" : "Willie Cole’s work explores areas of overlap and intersection among African, American and African American cultures. Cole makes his art from the reused detritus (otherwise known as garbage) of contemporary life. In this sculpture of old bicycle parts, the artist reinterprets the tji wara (also spelled chi wara) masks of the Bamana people of Mali (like MAG's accession number 93.14). With real-time communication, social networking and economic globalization, the internet of the 21st century fosters seamless and near-constant encounters across time and cultures. By Africanizing or ritualizing common western objects, Cole embraces and examines these encounters as he comments upon contemporary society. [Gallery label text, 2009] ", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23341", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "No master scan with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 21271, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21271", "Disp_Access_No" : "2008.15", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Maquette for "Swing Low"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alison Saar", "Sort_Artist" : "Saar, Alison", "Disp_Dimen" : "22 1/16 x 12 3/16 x 24 in. (56.1 x 31 x 61 cm)", "Disp_Height" : "22 1/16 in.", "Disp_Width" : "12 3/16 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Take some time to look at this figure of a woman. Don’t miss the roots that she trails behind her and the faces and objects that are scattered on her skirt. This is a portrait sculpture of Harriet Tubman, the heroic woman who escaped from slavery and yet returned to the South between 1849 and 1860 to lead over seventy slaves to freedom. In later years, she worked alongside Susan B. Anthony to advance women’s right to vote. Artist Alison Saar was commissioned to create a public sculpture of Tubman for a park at 122nd Street in New York City. MAG’s work is a maquette, or a smaller version. Saar represented Harriet Tubman as a person of great determination and strength, and positioned her as an oncoming train because of her reputation as “the Moses of the Underground Railroad”. Even her petticoat resembles a train’s cowcatcher, pushing aside all obstacles in its path. Roots signify Tubman’s efforts to uproot slavery, and the uprootedness of the slaves who had to leave everything behind. “Swing Low” is a Negro spiritual said to be one of Tubman’s favorites. [Gallery label, 2008]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.15_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.15_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.15_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.15_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27433", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.15_A2.jpg", 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Her work introduces a complex vision of what it means to be a woman and expands common definitions of beauty. Thomas’s paintings are based on photographic portraits of models whose qualities allow her to articulate and explore questions of beauty, power, sexuality, and femininity. "I tend to work with the same models. A lot of them are friends.…So it’s women I work with in proximity to and whose energy I enjoy, and they just have a certain charisma that I’m drawn to. Especially Qusuquzah. There’s something about her. She brings something powerful to the image that amazes me through her gaze. I try to pull out those elements. I’m trying to hold onto the truth she brings in the photograph." 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The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.", "Copyright_Type" : "", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "English", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "From: Binstock, Jonathan Sent: Wednesday, April 24, 2019 1:12 PM To: Isaac Julien Cc: Ioanna Papapavlou; Garland, Chris; Baker, Siri Subject: MAG credit line Dear Isaac, The following is how I think Lessons of the Hour could be credited when it is exhibited at places other than MAG and VMFA. So, for example, I think you could use this credit line when at Yale, the Royal Academy, the Scottish National Portrait Gallery, LACMA, etc. Commissioned by the Memorial Art Gallery of the University of Rochester with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. Such credit could also be added to photo credit captions for images related to the commission. For example: Isaac Julien, “Lessons of The Hour” (Lessons of The Hour), 2019 matte archival paper mounted on aluminum, 63 x 84 inches. Commissioned by The Memorial Art Gallery of the University of Rochester.  (all images © Isaac Julien and courtesy the artist and Metro Pictures, New York unless otherwise noted) [I grabbed this caption from the Hyperallergic article online] What do you think? The full credit line is the following, but this is obviously way too much: Commissioned and acquired by the Memorial Art Gallery with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.               Thank you! Jonathan Jonathan P. Binstock, Ph.D Mary W. and Donald R. Clark Director Memorial Art Gallery University of Rochester 585.276.8902 http://mag.rochester.edu/", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "52627", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. 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