Opening up the Earth Oven, Ch'a Chaak Ceremony, Chichimila from The Modern Maya: A Culture in Transition
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.
Altar Laden with Offerings, Ch'a Chaak Ceremony, Chichimila from The Modern Maya: A Culture in Transition
Eating the Offerings, Ch'a Chaak Ceremony, Chichimila from The Modern Maya: A Culture in Transition
Altar at Resa, Chichimila from The Modern Maya: A Culture in Transition
Resa at Dario's House, Chichimila from The Modern Maya: A Culture in Transition
Dario and Herculena at their Kitchen Table, Chichimila from The Modern Maya: A Culture in Transition
Tortillas on the Comal, Chichimila from The Modern Maya: A Culture in Transition
Dario in his Field, Chichimila from The Modern Maya: A Culture in Transition
Alicia, Daughter of Veva from The Modern Maya: A Culture in Transition
Fernando in his Field, Chichimila from The Modern Maya: A Culture in Transition
Marcelino and Isabelina, X-Cacal Guardia rom The Modern Maya: A Culture in Transition
Woman Embroidering, X-Cacal Guardia from The Modern Maya: A Culture in Transition
Peeking Boy, X-Cacal Guardia rom The Modern Maya: A Culture in Transition
Smoking Violin Maker and his Wife, Chumpon rom The Modern Maya: A Culture in Transition
Pablo and Friend, Tulum from The Modern Maya: A Culture in Transition
Marcelino, Senor from The Modern Maya: A Culture in Transition
Cross at Night, Tulum rom The Modern Maya: A Culture in Transition
Food Offerings, X-Cacal Guardia from The Modern Maya: A Culture in Transition
Cross of the Center of the Earth, Xoken from The Modern Maya: A Culture in Transition
Gabriel from The Modern Maya: A Culture in Transition
Waiting for Coffee, Ruinas de Ake from The Modern Maya: A Culture in Transition
Chucho and his Dog, Ruinas de Ake from The Modern Maya: A Culture in Transition
Drying Racks, Hacienda Holactun from The Modern Maya: A Culture in Transition
Platform with Rasping Machine, Ruinas de Ake from The Modern Maya: A Culture in Transition
Inside the Building Housing the Rasping Machine, Ruinas de Ake from The Modern Maya: A Culture in Transition
Rasping Machine, Hacienda Holactun from The Modern Maya: A Culture in Transition
Spreading Leaves, Hacienda Holactun rom The Modern Maya: A Culture in Transition
Francisco Making Rope, Chichimila from The Modern Maya: A Culture in Transition
Woman from Xoken from The Modern Maya: A Culture in Transition
Diego with Portable Radio, Calderon rom The Modern Maya: A Culture in Transition
Guano Roof in Construction, Near Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Diego with Guanos, Near Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Boiling in the Rain, Campamento Santa Cruz de Tulum from The Modern Maya: A Culture in Transition
Diego with a Pot of Gum, Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Diego Cleans a Channel, Near Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Diego Rappels Off a Tree, Near Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Diego with Rope, Near Campamento Antonio Ayf rom The Modern Maya: A Culture in Transition
Diego Sharpens his Machete, Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Fernando Puc Che, his Wife and Child Share a Hammock, Chichimila from The Modern Maya: A Culture in Transition
Jose, Son of Dariofrom The Modern Maya: A Culture in Transition
Pablo and Ophelia, Tulum from The Modern Maya: A Culture in Transition
Dario and Herculena, Chichimila from The Modern Maya: A Culture in Transition
Elut and Juliana, Rancho San Manual from The Modern Maya: A Culture in Transition
Diego, Margarita and Veva, Campamento Antonio Ay from The Modern Maya: A Culture in Transition
Marcelino and Isabelina, X-Cacal Guardia from The Modern Maya: A Culture in Transition
Veva and Cornelio, Chichimila from The Modern Maya: A Culture in Transition
Chucho and Eleodora, Ruinas de Ake from The Modern Maya: A Culture in Transition
Alicia at her 15th Birthday Party, Chichimila from The Modern Maya: A Culture in Transition
Girl in Curlers, Chichimila from The Modern Maya: A Culture in Transition
Husband and Wife, Monte Cristo from The Modern Maya: A Culture in Transition
Dona Veva from The Modern Maya: A Culture in Transition
Dressed for a Party, Ticul from The Modern Maya: A Culture in Transition
Profile of Veva, Chichimila from The Modern Maya: A Culture in Transition
Veva in Hammock, Chichimila from The Modern Maya: A Culture in Transition
Dario's Friend, Monte Cristo from The Modern Maya: A Culture in Transition
Veva in Hammock with Alicia, Chichimila from The Modern Maya: A Culture in Transition
Merida from The Modern Maya: A Culture in Transition
Veva Carrying a Bucket, Chichimila from The Modern Maya: A Culture in Transition
Tulum and the Caribbean Seafrom from The Modern Maya: A Culture in Transition
Acanceh from The Modern Maya: A Culture in Transition
The Arch at Labna from The Modern Maya: A Culture in Transition
Graphite, Prismacolor, gouache and cut paper on paper
Large black and white vertical drawing of abstracted floral designs.
Gift by Ann Diener in Memory of Marie Vierra
Mark di Suvero is internationally known for his monumental, outdoor sculptures. His sculptural compositions emphasize the balance and intersection of competing linear forms and employ sharp angular lines, curving cores, and teetering elements that often allow for rotating or swinging movements. The sculpture on view here is comprised of two parts. The upper portion is perfectly balanced on the vertical support, resting in a slight indentation in the steel and held in place by its own weight. This work recalls the beam-like constructions and the anticipatory momentum found in his large-scale sculptural projects.
Red lithograph with green cross-like image at center; signed at lower right with edition 4/5. II at lower left. Mark di Suvero took sculpture classes in the Department of Art while attending UCSB as a Philosophy major. Unlike his family friend Richard Serra, whose work is also on view in this exhibition, he was abruptly kicked out of the University. According to the artist it was a result of a technicality—he had yet to take a required drawing class before enrolling in advanced sculpture classes. (He also alludes to his sharp tongue in regards to his expulsion.) Di Suvero went on to study at UC Berkeley where he graduated with a degree in Philosophy. Shortly thereafter he moved to New York City where he became internationally known for his monumental, outdoor sculptures. His sculptural compositions emphasize the balance and intersection of competing linear forms—sharp angular lines, curving cores, and teetering elements that sometimes allow for rotating or swinging movements. The series of lithographs and sculpture on display here recall beam-like constructions and the anticipatory momentum found in his large-scale sculptural projects.
Gift of the artist in memory of Henrietta di Suvero
Brightly colored painting of an abstracted horse; image flush with edges
large 3-D insect on white, textured ground
Graphite, oil and mixed media on paper; male figurative drawings
Fluorescent paper on panel with drawing, watercolor and print image located at center left
Charcoal on mylar drawing of a wide tornado-like swirl running diagonally across the image.
Estate of Frances Garvin and Keith Julius Puccinelli
Drawing of fluid cloud-like forms illuminated in dark charcoal. On reverse, signed and dated.
Medusa's Scarecrow Crown, preparatory sketch for Cave of Treasures
Receiving his MFA from UC Santa Barbara in 2004, Eric Beltz is often referred to as a “visual essayist.” Using myths, religious symbolism and history to inform his artistic narrative, Beltz creates intricately detailed works suggesting complex stories. In this work, Medusa’s scarecrow crown, completed in 2014, demonstrate Medusa’s beauty as a goddess. In Eric’s scarecrow crown, she wears the souls of men that were born through seduction giving her a feminine power to turn men into stone while the snakes represent her punishment and seduction towards Poseidon by Athena. Bristol board is often used by Beltz as it provides an excellent drawing support surface holding graphite stronger than paper; it provides a smooth finish supporting detail and fine lines while darkened areas become more visible. On reverse center, signed, dated with title MEDUSA'S SCARECROW CROWN.
Preparatory graphite sketch of a totem pole for the final wall installation, Cave of Treasures, exhibited in 2014; at lower center: TO SEE IS TO TOUCH. On reverse of image is a handwritten note by artist detailing mass shooting of May 23, 2014 in Isla Vista.
Preparatory drawing: The Mortal Gorgon Medusa
Large preparatory drawing for The Mortal Gorgon Medusa; @ lower right TO SEE IS ALSO TO TOUCH with signature, date and THE CAVE OF TREASURES.
Shellac and silver ink on prepared paper
According to the ancient Roman poet Ovid, Medusa was a beautiful woman raped by Poseidon in a temple dedicated to Athena. Angered by the defilement of her temple, Athena victimized Medusa again by transforming her into a monster. Beltz’s large-scale drawing proposes a contrasting version of this familiar, snake-haired Gorgon. Here, she is reenvisioned as an abstract, ethereal creature made up of the beauteous bounty of nature. Closer inspection reveals she is composed of potent plants used to cure ailments or induce hallucinogenic states in shamanic practice: poison oak, datura, milkweed, castor, morning glory, mint, and poison hemlock. These helpful, once well-used, plants are now frequently overlooked (relegated to the category of weeds), though they grow abundantly in interstitial sites throughout this region.
Single channel video, black and white, sound; 6 min
John Arvanites was among an early group of artists, like his classmates Wolfgang Stoerchle and Ilene Segalove, who embraced video as an artistic medium. These videos reflect his ironic sense of humor and relate to his time at UCSB. Sand, made while Arvanites was still an MFA student, appears to be a dramatic dessert vista with blowing winds, akin to a scene from the iconic film Lawrence of Arabia. Gradually the blowing sands give way to reveal a microphone recording the sound, destroying any kind of mythic imagery. Icebox Classic was made shortly after Arvanites moved to New York City to pursue his artistic career. It shows the hand of the artist outlining each of the myriad food products inside his refrigerator, while a classical music program plays in the background. “I was satirizing my art school experience where professors put up still lifes in class and then put on classical music.” By “drawing” in video Arvanites demonstrates not only how out of touch some of his classroom experiences felt, especially in relation to his own multi-media practice, but also his desire to deconstruct the romantic, idealized vision of the “the artist at work.”
Single-channel video, black and white, sound 6 min.
photograph of two children with Santa Claus
Portfolio of 8 Motor Racing Photographs