Wall painting installed and positioned on the exterior of the Museum's Jewel Box; unique arrangement of nine colors organized into three rows of seven blocks.
Stephen Westfall continues to hone his very recognizable, hard-edge painting technique. Creating complex grid-like patterns—a seamlessly endless organizational device—Westfall’s artistic process can be viewed as a unique extension of geometric abstraction. Indeed Westfall’s repetition of certain forms is made special by his application of color. This application reveals the individual hand of the artist as well as subtle underpainting—slight distinctions to be seen between each prismatic color plane. Westfall has commented on his fascination with the spatial dynamics of this grid system, stating: “I like that it flickers back and forth between whole and fragment. There’s this back and forth between seeing the whole and then only being aware of fragments and being aware that the whole is made up of fragments.” In all his works one notes Westfall’s devotion to solid, bold colors that are arranged and layered with greater intricacy. These works highlight Westfall’s practice of color placement and arrangement of patterns which produce dazzling, yet balanced works.
Leslie Wayne’s painting process is one of accumulation. She presses harmonious hues of oil paint in layer upon layer, so much so that her paintings become sculptural. This three-dimensional quality of her work is achieved through scraping, folding, cutting, and building up material as if it were clay. Although Wayne’s technique appears abstract, the textural nature of these works might recall the Earth’s strata, as Wayne has indicated: “My work has always been heavily influenced by not just landscape, but geology, whether we’re talking about a brick in a building or the tectonic plates or a cotton rag, all material is subject to the same laws of physics and so that’s what I really want to convey in my work that the sense of materiality the weight of gravity, the compression of material.” The three examples from Wayne’s One Big Love series evoke a kind of intimacy given the scale of these works—a small scale that in no way minimizes Wayne’s intensely visceral practice.
Gift of the artist and Jack Shainman Gallery, New York
Monotype publsihed by Tullis Workshop, Santa Barbara. White square and white box superimposed on black ground.
Monotype published by Tullis Workshop in Santa Barbara; aqua square and black box superimposed on white ground.
Andrew Spence graduated from UCSB with a Masters of Fine Arts in 1971. Shortly thereafter he worked with Tullis on this print. In Varick St. Stairwell Spence reduced a staircase to pure form and color in order to reveal “the primary essence of everyday objects.”
One color etching on white satin finish paper; black raised surface with Artist signature and date on the lower left side.
Out the Window at the Square Diner from Performing Arts Portfolio
from Performing Arts Portfolio (1981), series of 8 color lithographs
Single-channel video, black and white, sound; 2:38 min, transfer to digital
Ilene Segalove has taken the raw material of her daily life as her subject matter, focusing more specifically on suburban California. Working in various media including appropriated images and photography, Segalove is perhaps best known for her early engagement with video and her investigation of consumerism (especially in relation to television), feminism, popular culture, and autobiography. In Coal Confession, a video she made while still at UCSB, Segalove recounts having received an outstanding grade on a school report that she plagiarized. The deprecating humor in this work is also found in her more recent videos. In What Ever Happened to MY Future? Segalove addresses her younger self by revisiting an earlier recording she made as a young adult. This ironic work confronts some of her life's disappointments. Segalove's confessional approach and predisposition for self–narration can likewise be read in Secret Places, also on view in this gallery, which features three stark photographic images depicting the exterior of buildings—intimate locations for the artist, places where she lived and loved.
Whatever Happened to MY Future?
Single-channel video, black and white, sound; 11:21 min
Ilene Segalove has taken the raw material of her daily life as her subject matter, focusing more specifically on suburban California. Working in various media including appropriated images and photography, Segalove is perhaps best known for her early engagement with video and her investigation of consumerism (especially in relation to television), feminism, popular culture, and autobiography. In Coal Confession, a video she made while still at UCSB, Segalove recounts having received an outstanding grade on a school report that she plagiarized. The deprecating humor in this work is also found in her more recent videos. In What Ever Happened to MY Future?, Segalove addresses her younger self by revisiting an earlier recording she made as a young adult. This ironic work confronts some of her life's disappointments. Segalove's confessional approach and predisposition for self–narration can likewise be read in Secret Places, also on view in this gallery, which features three stark photographic images depicting the exterior of buildings—intimate locations for the artist, places where she lived and loved.
Photographic print of several painted wax heads. Toward the left, one wax is painted to resemble a clown using black paint.
Estate of Frances Garvin and Keith Julius Puccinelli
Swans, Booth's Bird Museum, Brighton, England
image: 30 x 30 in; frame: 44 x 41 1/2 in
Unframed painting of alkyd, acrylic and oil on canvas resulting in a glass-like surface, a hallmark of the artist's technique. Image includes a segmented city view in blues and grays with a red explosion.
Gift of Laurence Eisenstein and Robin Zimelman
Finely drawn graphite and watercolor drawing of vertical lines and circular shapes.
Oil, alkyd and acrylic on canvas over panel
Large painting in red divided vertically by a white line. Painting includes alkyd effecting a shiny surface.
Graphite drawing on paper of a tree; image has been intentionally blurred to create a mysterious effect.
Small vertical oil painting on board; abstracted gate-like image in black set against brown ground.
Male nude sitting with both arms crossed; artist's signature appears on the front lower center; the date and title are found on the back lower right.
Male nude sitting with one arm extended outward; three rough images appear to the right of the male nude's head. The date is located at the upper left on the reverse.
Female nude laying on her side. Artist's signature appears lower front center of the work. The title appears on the reverse lower right while the date appears at lower lower left.
Female nude sitting profile. Artist's signature appears lower front, title and date appear on reverse.
Female nude standing gazing downward. Artist's signature appears at bottom center and date appears multiple times on reverse.
Large tapestry of a young female wearing a blue knit cap and jacket. 1/3 edition.
As an undergraduate John Nava worked closely with his mentor Howard Warshaw, a professor of painting who fostered his deep appreciation for drawing and working from the human figure. Since attending UCSB, John Nava has established a renowned reputation for his commanding portraits and technical sophistication, as evidenced in his paintings, drawings and, more recently, tapestry works. The painting and tapestry on view are from the artist’s portrait series Neo-Icons. They portray young adults sporting t-shirts with phrases made popular during the many government protests following the 2003 invasion of Iraq. He started this series in 2005 to demonstrate his revulsion for the interrogation and detention policies espoused by the George W. Bush administration. In light of ongoing discussions surrounding government-sanctioned torture and domestic spying, these startling works continue to be relevant and spark yet more contemplation and conversation about these controversial subjects.
Given in Memory of Katie Cooper and All the Fallen of May 23, 2014
Two photographs of a coffered dome set one on top of the other in center of mat; bottom photo flanked by cutouts of similar photos of same dome.
The aesthetic sophistication of Ian McDonald’s ceramic works speak to his conviction that pottery serves both non-functional and utilitarian purposes. Or, as McDonald has described his practice: "…sculptural arrangements are born, in that the difference between the support (pedestal, furniture) and the object (sculpture, accessory) is so small that I just collapse it all together. I don’t really start out thinking functional or non-functional, it’s all happening at once." McDonald’s visual inspiration, which ranges from Amish quilts and Arte Povera to the work of other ceramicists and the California Bauhaus, are sources that can be discerned in the bold and simplified geometric works on display. The forms found in Tall Shade Vessel, Four Level, Banded Vessel, in addition to the mounted Corner Piece, are carefully constructed objects that demonstrate McDonald’s great attention to design. Signed and dated on rim of circular base.
Brick 1 & Brick 2 (diptych)
Graphite, pigment, stamps, paper on wood with cassette tape
egg tempera, colored pencil, on Rives paper
Purchased through gift of Alvin M. Rudd and Art Museum Purchase Fund
Figurine of a naked woman on the floor with fake blood surrounding her head.
Centralized screenprint image in red with the artist's face and neck in black with an arrow piercing her neck. Edition statement, title, signed and dated at lower left to right of sheet. Limited edition print published by Cardinal, Santa Barbara, California.
It is not surprising, given his long-term association with the UCSB Art Department, that Gary Brown would collect the works of his students, and this drawing by Dimitri Kozyrev (MFA, 2000) is an excellent example of his interest in how the delicacy of line—usually the formal anchor of a work—can also construct an inherent instability in and through its enveloping space. In this case, clear-cut Euclidian geometries are subverted in favor of a more hyperbolic, ‘autopian’ topography, as if the world were viewed through the windshield of a speeding automobile, denying the spectator the comforts of a sustaining visual ground. Occasionally, we focus on a specific detail but more often than not Kozyrev deterritorializes our perception, as we are caught up in the ephemeral experience of anticipating what is yet to come, grasping the immediate moment in our peripheral vision, or recalling what we have just witnessed in our virtual memory. Kozyrev expresses this ambivalence between objective specificity and subjective incommensurability by representing the gaps in our attention as much as the concrete object or landscape per se. Thus details are sketched in—a line of trees, a rough horizon line, the receding lines of street lamps and freeway—so that topography is reduced to a series of minimalistic signifiers. Instead of a panoramic spectacle, we are made more aware of vast expanses of white space which “invades” the scene so that it is often difficult to discern the dividing line between nature and simulacrum, sky and earth, foreground and background, virtual and actual space. The result is a breakdown of linear or chronological time into overlapping shards of active memory, in which past, present and future collapse into pure becoming. Colin Gardner Professor and Chair, Art Department
Acrylic on canvas with centralized image of a red and white fish superimposed on three yellow figures.
IMATANI, Garrick; SAND, Kaia
Files from Looseleaf Services, The Watcher Files Project
Garrick Imatani’s work centers on issues related to archival exploration, artistic collaboration, and placemaking (an approach that considers the planning, design, and layout of public space in relation to the community). This mixed media work includes the files from the Looseleaf Services: (a) cardboard box entitled Looseleaf Services; (b) So He Raised His Hand, (documents) by Inge Bruggeman; (c) 12 stencils with description, designed by Katherine Ball. The Watcher File Project investigates and interprets, in various ways, records amassed by the Portland Police Bureau on 301 activist groups operating in the city between the 1960s through the 1980s. Such groups were under routine surveillance until an Oregon law was passed prohibiting the authorities from spying on factions not officially under criminal investigation. Imatani’s participation in the exhibition is represented by Looseleaf Services, which consists of two major components: a filing cabinet holding various records reproduced as metal inserts, and a cardboard binder that sits atop the cabinet holding a publication subscription. For $40 a year subscribers receive “primary and secondary source documents-addenda & errata-all punched with holes to slip into the binder.” Additional materials that are sent to subscribers include artwork, poetry, essays, and small objects made by collaborators that relate to the materials within the files. All the materials including the filing cabinet are meant to be handled by visitors. By researching and making this information available, Imatani hopes to preserve the history of these activist groups as well as highlight the history of their surveillance.
b. United States, 1974 (Imatani); b. United States, 1971 (Sand)
Stoneware, glaze and magnesium carbonate
The contours of Yoshiro Ikeda’s ceramic vessels and overall designs incorporate references to the artist’s personal experiences, such as places he has lived or artists he admires. They also reflect an interest in the organic movements found in nature, especially the “ever–changing weather, and the art of dancing.” He expresses a sense of harmony through his work by incorporating aspects of Zen painting, including abstract, geometric patterns which he is able to produce as a result of decades of experimentation with various glazing techniques. Though he continues to incorporate wheel-thrown elements, Ikeda’s pieces are mostly constructed by hand, which not only gives the artist a greater sense of creative freedom, but also enhances the distinctive, asymmetrical qualities of each work. Following his studies at Kyoto College of Fine Arts and UCSB, Ikeda became a distinguished Professor of Ceramics at Kansas State University, a position from which he is now retired. This teaching position, like his international exhibition record, has made him an important figure in the field given his influence on a generation of young ceramicists.
UCSB 1976 MFA Graduate Student, Retired as Distinguished Professor from Kansas State University (2010)
Color sugar lift spit bite aquatint with aquatint on gampi paper chin colle
Alternating light and dark yellow blob-like bands against a shimmery yellow background. Signed and dated by artist at the lower right corner.
Color sugar lift spit bite aquatint with aquatint on gampi, ed. 30
A series of dark green blob-like bands against a shimmery light green background. Signed and dated by the artist at the lower right corner.
Color sugar lift spit bite aquatints on gampi paper chin colle, ed. 30
A series of light and dark teal blob-like bands against a shimmery white background. The letters TPA appear at the lower left corner. Signed and dated by artist at the lower right corner.
Color spit bite and sugar lift aquatints on gampi paper, ed. 10
A series of seven deep blue blob-like bands against a shimmery light blue ground; signed and dated by artist at the lower right corner.
Color aquatint with spit bite and sugar lift aquatints and drypoint, ed. 15
A collection of three triangular froms with a centralized shimmery silver color flanked by additional forms in matte silver. These forms are set against a matte pale green background with intersecting silver grid lines. TPA appears at the lower right corner. Signed and dated by artist at the lower right.
Color spit and sugar lift aquatint on gampi paper, ed. 100
A series of seven silver blob-like bands againts a shimmery background. TPA appears on the bottom left corner. Signed and dated by artist at the lower right corner.
Thinking of you! Happy Valentine's Day, Love Mary
Original hand-painted postcard in blue with red hearts wishing the Puccinelli's Happy Valentine's Day.
Small thank you card with images of a heart shaped candy box; faces and a radiating heart.
You're the best! Happy Valentine's Day!!
Originally designed black ink postcard to Keith and Fran wishing a Happy Valentine's Day!
Note from Nathan Hayden with black ink exterior design and black interior text enclosed in a pink envelope.
Drawing in black ink of a bulbous form with tendrils extending upward and downward. The tendrils extending downward connect to cylindrical forms on a flat surface.
Colored pencil on paper with artist's hand—painted frame
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in an oval winter green frame, this colored image of a house with a long walkway references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; signed, titled and dated on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in a yellow circular frame, this colored pencil image of the front entrance of a large house with a chimney references one of the many real estate listing the artist encountered in Santa Barbara. Installed together these houses create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; Location! Location! Location! below image, initialed at lower right; signed and titled on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in orange, this colored pencil image of a house's garage flanked by trees flag references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower front; titled, with signature on reverse.
This reddish brown colored pencil drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in deep red, this drawing of a boarded house references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; titled, signed and dated on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in red, this image of a house with a large palm tree at left references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; signed, dated and titled on reverse.
Mini Ranch For The Weekend Farmer
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in royal blue, this image of a house in three quarter view with a wheel barrow references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; titled and signed on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in a pink hand painted frame obtained from a grarage sale, this drawing of a an abandoned looking house references one of many types of real listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; titled and initialed on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in a deep purple, this colored image of a Modernist looking house with multiple palm trees references one of the many types of real estate listings encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; titled and signed on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in bright orange, this colored pencil image of a stucco house positioned behind hedges at left and right references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; signed and titled with gallery label on reverse.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in an olive green, this colored pencil image of a house with a tree on the right references one of many types of real estate listings encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right, title and signature on right.
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in royal blue, this colored pencil image of a shopping cart filled with bags and a hanging spatula references homelessness in Santa Barbara. When installed together, these drawings create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; gallery label, signature and title on reverse.
Graphite on paper with artist's hand—painted frame
This drawing is part of a series of the artist's exploration of “homes” from bungalows to mansions. Framed in black, this graphite image of the front of a house with pointed roofs references one of many types of real estate listings encountered in Santa Barbara. When installed together these houses create a unique neighborhood resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; titled at center below image; HANDYMAN'S HEAVEN; artist's initials at lower right; signed, titled and gallery label on reverse.
This lime green colored pencil drawing is part of a series exploring the theme of “homes” from bungalows to mansions. Octagonally framed in lime green, this image includes a centralized two story house with telephone poles in the background and references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; signed and gallery label on reverse.
This reddish—purple colored pencil drawing is part of a series exploring the themes of “homes” from bungalows to mansions. Framed in a hand painted dark red, this drawing of a large home with barrel roof tiles flanked by two stone pillars references one of many types of real estate listings the artist has encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; initialed at lower right; signature and title on reverse.
This turquoise colored pencil drawing of a house with lattice windows is part of series completed by the artist which explores "homes," from buganglows to mansions; it references one of many types of real estate listings encountered in Santa Barbara. When installed together these houses create a unique neighborhood’, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; signed with initials at lower right and on reverse; title on reverse.
This drawing is part of a series exploring the theme of "homes” from bungalows to mansions. Framed in black, this graphite image of a house in three quarter view with a flag references one of many types of real estate listings the artist encountered in Santa Barbara. When installed together these houses create a unique neighborhood, resulting in a surreal real estate complex comprised of the dreams and aspirations of current owners or potential buyers; artist's initials at lower right; titled and initialed on reverse.
In her exploration of “homes”, from bungalows to mansions, Penelope Gottlieb presents the various ways in which humans live, noting idiosyncratic and expressive details of architecture. In her exploration of “homes”, from bungalows to mansions, Penelope Gottlieb presents the various ways in which humans live, noting idiosyncratic and expressive details of architecture.
Macduff Everton’s photographs are part of his ongoing series called The Modern Maya which documents the descendants of the Maya as a culture in flux. Throughout Everton’s photographic essay, as in this small selection of his works, evidence of globalization’s reach (TVs, mass-produced clothing and industrialization) comingle with images of traditional homes made from guano palms as well as age-old farming techniques.
Fernando Puc Che, His Wife and Child Share a Hammock From Modern Maya
Uxmal from The Modern Maya: A Culture in Transition
Waiting for the Music, Chichimila from The Modern Maya: A Culture in Transition
Abraham, Isaac and El Diablo, Dzitnup, December 25, 1975 from The Modern Maya: A Culture in Transition
Cornelio with Soda Pop, Chichimila from The Modern Maya: A Culture in Transition
The Coil Method, Ticul from The Modern Maya: A Culture in Transition
Temple of the Warriors, Chichen Itza from The Modern Maya: A Culture in Transition
Funeral Vigil, Chichimila from The Modern Maya: A Culture in Transition
Man and Wife, Chichimila from The Modern Maya: A Culture in Transition
Resa, Chichimila from The Modern Maya: A Culture in Transition
Circus at Twilight, Dzemul from The Modern Maya: A Culture in Transition
Dance All Night, Tizimin from The Modern Maya: A Culture in Transition
Two Maya Faces, Kohunlich from The Modern Maya: A Culture in Transition
Elut on Horseback, Morning, Rancho San Manual from The Modern Maya: A Culture in Transition
Elut in a Sea of Cattle, Rancho San Manual from The Modern Maya: A Culture in Transition
Spur, Chichimila from The Modern Maya: A Culture in Transition
Elut on Horseback, Evening, Rancho San Manual from The Modern Maya: A Culture in Transition
Santo from The Modern Maya: A Culture in Transition
Women with Pails, Ch'a Chaak Ceremony, Chichimila from The Modern Maya: A Culture in Transition
Sacred Breads, Ch'a Chaak Ceremony, Chichimila from The Modern Maya: A Culture in Transition