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)
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
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.
Figurine of a naked woman on the floor with fake blood surrounding her head.
Estate of Frances Garvin and Keith Julius Puccinelli
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
Large tapestry of a young female wearing a blue knit cap and jacket. 1/3 edition.
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.
Graphite drawing on paper of a tree; image has been intentionally blurred to create a mysterious effect.
Finely drawn graphite and watercolor drawing of vertical lines and circular shapes.
Swans, Booth's Bird Museum, Brighton, England
image: 30 x 30 in; frame: 44 x 41 1/2 in
Out the Window at the Square Diner from Performing Arts Portfolio
from Performing Arts Portfolio (1981), series of 8 color lithographs
Black and white image on black paper of a gypsy reading a man's palm, both figures standing
Portfolio of 8 Motor Racing Photographs
photograph of two children with Santa Claus
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
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.
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.
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.
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.
Give Up Now or Wait and See What's Coming
UCSB alumnus John Bommer received his MFA in painting in 1983 and while in school was a teaching assistant in the Film and Media Studies Department. Gary H. Brown, who was his partner, mentor and friend, described his work in an exhibition catalog as entailing many different styleshe was always experimentingthough the one constant is the common thread of language...Etymology, signs, linguistics, film and semiology were a deep part of John's life and work. Give Up Now or Wait and See Whats Coming (1985) combines Bommers interests in film and language with his alarm at the AIDS epidemic ravaging the nation and the gay community in particular. The title, written across the composition, is a spirited message of support to everyone affected by the AIDS crisis to carry on in the hope that treatments or a cure might be found. Bommer reminds one that giving up only leads to dire circumstances as evidenced by the Collaged image of the train bearing down on the man and woman who stand seemingly helpless on the tracks rather than moving out of the way. His work was among the earliest to address AIDS in art, a consequence, no doubt, of seeing his own friends in pain. A year after this was completed, Bommer was diagnosed with an AIDS-related illness and died nine months later in Santa Barbara tended by Brown. Throughout those months, Bommer was true to the message in this work as he remained optimistic, brave and ever thankful to friends and family for the love and support they gave him.
Drawing of fluid cloud-like forms illuminated in dark charcoal. On reverse, signed and dated.
Charcoal on mylar drawing of a wide tornado-like swirl running diagonally across the image.
Fluorescent paper on panel with drawing, watercolor and print image located at center left
Graphite, oil and mixed media on paper; male figurative drawings
large 3-D insect on white, textured ground
Vertical mixed media image of collaged theater ticket obscured by grey abstracted marks.
The Cavat Family (Irma, Karina and Nika)
Mixed media work; grey gouche brush strokes with chinese red sticker inscribed with "Tiger" at BR area.
Vertical image with collage of a gold MOET champagne label obscured by gold and white gouached.
Gouache, collage, colored pencil on paper
Vertical mixed media image with an arrow-shaped air mail letter in center. Image is obscured by blue gouchae and colored pencil
Untitled (Going to see Gauguin)
Gouache, colored pencil and collage on paper
Vertical image of collaged pictures of Irma and another female; obscured by grey gouache brush-strokes with colored pencil
Vertical image in greys and gold gouached with pie and a slice cut out at TR.
Untitled (Yellow, Green, Grey Blue)
Layered yellow, green, and grey acrylic written forms washed over with grey; blue brush stroke BR.
Gold and silver acrylic symbols over color pencil strokes and collaged paper cut out of a Gauguin flower vase painting.
Brightly colored painting of an abstracted horse; image flush with edges
Vertical oil on canvas painting with diamond shaped forms with text painted against a blue ground.
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
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.
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
Gift of Katharine W. Tremaine in memory of Diana Tremaine McGowan
Small Mnemonic Devices - introduction
image: 16 x 22 in. sheet: 18 x 24 in. mat: 24 x 29 1/2 in.
William Dole was a beloved Professor of Art at UC Santa Barbara from 1949 until his death in 1983. Though Dole achieved an international reputation for his collages, he was initially trained as a painter. From 1957, while on sabbatical in Italy, Dole purchased a trove of nineteenth-century Italian ephemera that included letters, marbleized paper, and maps. These materials along with a stash of Japanese papers he received earlier, all came togetherI had all of [this] marvelous material out which I could make images. These early collages, such as Palazzo, often mimic landscapes or architecture, both of which were prime subject matter for Dole the painter. Over time, Dole moved away from producing these interpretable images and instead made more purposefully enigmatic compositions, such as Speak Memory that focused on the purely formal, visual elements.
William Dole was a beloved Professor of Art at UC Santa Barbara from 1949 until his death in 1983. Though Dole achieved an international reputation for his collages, he was initially trained as a painter. From 195557, while on sabbatical in Italy, Dole purchased a trove of nineteenth-century Italian ephemera that included letters, marbleized paper, and maps. These materials along with a stash of Japanese papers he received earlier, all came togetherI had all of [this] marvelous material out which I could make images. These early collages, such as Palazzo, often mimic landscapes or architecture, both of which were prime subject matter for Dole the painter. Over time, Dole moved away from producing these interpretable images and instead made more purposefully enigmatic compositions, such as Speak Memory that focused on the purely formal, visual elements.
Lithograph of colored stamps with words and symbols randomly placed, indents of letters scattered.
image: 14 x 18 in, sheet: 16 x 20 in, mat: 22 x 28 in
Abstract watercolor drawing of a kitchen table with cooking instruments; included is a cooking whip and various jars situated on a table with a red tablecloth; signed and dated at lower right.
Michael Dvortcsaks Posto #1 conveys the role the artist plays as inventor of form and bystander to creation. Comprised of long verticals and rectangular shapes that ground smaller forms and illuminate a range of hues, the work is suggestive of a non-specific interior space. (The title word, Posto, means "place" in the Italian language.) Dvortcsaks artistic effort is an attempt to "bring inert matter to life" and his approach to the blank canvas is "getting used to the rectangle and allowing the work to reveal itself." Dvortcsak completed this painting while teaching at UC Santa Barbara.
The Arch at Labna 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.
Acanceh from The Modern Maya: A Culture in Transition
Tulum and the Caribbean Seafrom from The Modern Maya: A Culture in Transition
Veva Carrying a Bucket, Chichimila from The Modern Maya: A Culture in Transition
Merida from The Modern Maya: A Culture in Transition
Veva in Hammock with Alicia, 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, Chichimila from The Modern Maya: A Culture in Transition