<strong>Artist unknown</strong>
<em>Figure</em>
brass
1 3/4" x 3/4" x 1/4"
<strong>Artist unknown</strong>
n.d
1973.209
<strong>Artist unknown</strong>
<em>Relief of 2 figures, water, boat and volcano</em>
plaster with brown patina
25" x 32" x 1" thick
<strong>Artist unknown</strong>
n.d.
1973.243
<strong>Artist unknown</strong>
<em>Stofnum Lydveldis a Islandi, 1944</em>
1944
bronze
2 11/16" diameter x 1/4"
<strong>Artist unknown</strong>
Icelandic
Grace H. Dreyfus Collection
1944
1983.7
<strong>BARBUZZA</strong>, Isabel
<em>Casa</em>
1990s
corn husks, starched muslin over wire armature; copper and wood base
70 x 38 x 18 in.
Coat made of corn husks.
<strong>BARBUZZA</strong>, Isabel
Gift of Michael Warshaw and Claudia Sole
1990s
1997.69
<strong>BASCHET</strong>, Francois and Bernard
<em>Musical Sculpture no. 20</em>
brushed stainless steel
24 1/2 x 33 x 13 1/2 in.
Kinetic sculpture.
<strong>BASCHET</strong>, Francois and Bernard
French, 1920 - and 1917 -
Gift of Mr. Carl Steele
1967
1982.27
<strong>BAYER</strong>, Herbert and <strong>KNOWLES</strong>, Mel (fabricator)
<em>Maquette for Chromatic Gate</em>
wood, paint
16 1/4 x 18 x 4 3/4 in.
<strong>BAYER</strong>, Herbert and <strong>KNOWLES</strong>, Mel (fabricator)
American
Gift of Priscilla K. Giesen
1975
1991.84
<strong>Bender</strong>, Gretchen
<em>Total Recall</em>
1985
Steel light box with Fluorescent lights and movie strip
36 x 36
Brushed steel square with horizontal slit cut into center.Gretchen Benders work mines the tropes and language of mass media which she considered a cannibalistic riverthat absorbs everything. Her work, Total Recall, has a sinister appearance with its cold, metal surface and horizontal slit. Only by stepping closer and peering into the seeming void can viewers make out the illuminated words: Life Force, Moving Violation, Bio Toxin and Code of Silence, among others, all film titles. As she states: We recognize the film industry as a very important part of our culture economically and aesthetically and I think its a whole area that should be provoked more. Film and its invocations are much more powerful instruments economically and politically in our lives than we seem aware of. We say were aware of it, but in a glib way. Benders work explores the relationship between the film industry and the multi-national corporations that own them and in her words, own the worldthe mechanisms that make the world run.
<strong>Bender</strong>, Gretchen
American, b. 1951
Gift of Ruth and Jake Bloom
1985
2000.56
<strong>BENGSTON</strong>, Billy Al
<em>Alamo</em>
1969
Print, laquer and polyester resin on aluminum
36 x 34 in.
An avid motorcycle rider, Billy Al Bengston adapted the spray-gun technique used in customizing cycles to his own art work in the 1960s. Working on the unyielding surfaces of Masonite or metal, Bengston employed spray guns and airbrushes to achieve a sleek surface which he then marked with a recognizable yet out-of-context symbols, such as a cross, heart, iris, or, as in this work, sergeant stripes. While familiar, these centrally placed emblems resist a narrative interpretation and instead heighten awareness of the painted surface. Similarly, the dented metal both disrupts the composition and becomes art of it.
<strong>Bengston, </strong>Billy Al<strong><br />American</strong>, b. 1934
Museum purchase, Art Affiliates
1969
1976.40
<strong>BENTON</strong>, Fletcher
<em>Folded Circle Maquette No. 28</em>
2007
Steel with patina
8 x 6 x 7"
Steel maquette with patinated surfce; circle form dissected into two planes and attached onto a square rotating base; etched signature and date on top surface of rotating base.
<strong>BENTON</strong>, Fletcher
b. United States, 1931
Gift of Michael Roby and Austin F. Dohrman III
2007
2015.007.001
<strong>BENTON</strong>, Fletcher
<em>Folded Circle Maquette No. 91</em>
2013
Steel with patina
10 x 6 x 5"
Steel maquette with patinated surfce; circular forms with thin rod extending diagonally from forms attached to a rotating square base. Etched signature and date on top surface of base.
<strong>BENTON</strong>, Fletcher
b. United States, 1931
Gift of Michael Roby and Austin F. Dohrman III
2013
2015.007.002
<strong>BERT,</strong> Guillermo
<em>Lukuwutue</em>
2014
Plexi, laser cutting, paint
12 1/2 x 12 1/2 x 12 1/2" OVERALL
Sculpture in the form of a green cube inscribed with bar-codes and traditional Mapuche iconography. Artist signature and date of creation are engraved on the underside base of the work.
<strong>BERT</strong>, Guillermo
b. Chile, 1959
Gift of Virginia Gardner
2014
2018.011.001
<strong>BEUYS</strong>, Joseph
<em>Rose fur direkte Demokratie, [Rose for Direct Democracy]</em>
etched glass beaker with rose
13 3/4 x 3 1/4 x 3 1/4 inches
Rose fur direkte Demokratie etched in glassThis multiple derives from Josef Beuys Office for Direct Democracy through Referendum (ODD) installation at Documenta 5 (1972) and is typical of the Fluxus artists call for an engaged conceptual art practice that would break down clear-cut distinctions between established art discourse and the politics of everyday life. Beuys employed two parallel processes during this period, namely the creation of concrete artworks and action-performances on the one hand, and counter-institutional frameworksthe basis for free grass-roots public debate on social and ideological issues, particularly the dismantling of traditional party politicson the other. For Documenta, he transposed the Dseldorf office of ODDdesks, filing cabinets, blackboardsdirectly into the exhibition space, creating an information and educational center designed to critique and expand the institutional framework of the event itself. The office included two multiples: We wont do it without the rose, a photograph depicting Beuys didactically engaging with a Documenta visitor; and Rose for direct democracy, a single red rose in an etched, graduated chemistry beaker. The symbolic meaning of the latter is fairly clear, constructing a dialectical binary between passionate love and revolutionary socialism, art and science, bodily affect and empirical investigation. However, Beuys also saw the rose as symptomatic of an evolutionary progress toward a concrete revolutionary goal outside of conventional party hierarchies. (CHECK FILE FOR FULL TEXT0
<strong>BEUYS</strong>, Joseph
German, 1921 - 1986
Gift of Gary H. Brown
1973
1996.60
<strong>Blake</strong>, Nayland
<em>Halston, Gucci, Fiorucci</em>, 1989
silkscreen on blackboard, 24 x 35" each of 3
A triptych of green blackboards; Halston screened in white letters on panel 1; Gucci screened in white letters on panel 2; Fiorucci screened in white letters on panel 3 Nayland Blake's Halston, Gucci, Fiorucci plays with ideas of identity and narrative, by infusing objects with greater meaning through their arrangement and grouping. This work comes from a series by the artist in which emblematic words are silkscreened on chalkboards. Blake describes the text in this series as objects that are “treated as link(s) in the chain of association.” For Blake, those associations surround notions of homosexuality and gay culture. Halston, Gucci, Fiorucci, ostensibly takes its title from a line in the 1978 disco hit, “He’s the Greatest Dancer” by Sister Sledge. The song describes a sexy, fashionable, man about town who entrances everyone with his good looks and dance moves. Today, the lyrics can be read as a series of clichés about gay men obsessed with appearance and fashion.
<strong>Blake</strong>, Nayland, b. United States, 1960
Permanent Collection
1989
1999.89a-c
<strong>BOSSLET</strong>, Eberhard
<em>Sachzwang III (Administration Complex III)</em>
1988
file cabinet, wood and steel strapping
68 x 57 x 18 1/2 in.
A construction composed of file drawers arranged in a square formation, held together with wood and steel strapping.
<strong>BOSSLET</strong>, Eberhard
German, 1953 -
Gift of Ruth and Jake Bloom
1988
1997.75.a-b
<strong>BROWN, </strong>GARY
<em>Fortune</em>
2009
paper and panel
12 x 16"
Fluorescent paper on panel with drawing, watercolor and print image located at center left
<strong>BROWN,</strong> Gary
United States, b. 1941
Gifl of the Artist
2009
2009.001.001
<strong>BUCHER</strong>, Heidi
<em>Michelle, Heidi, Mayo and Indigo</em>
relief in polyurthane foam, vinyl base, iridescent
42" x62"
<strong>BUCHER</strong>, Heidi
Swiss
1972
1973.36
<strong>BUTLER</strong>, Robert
<em>Tractor Bench</em>
1993
Metal and paint
40 X 35 X 29 1/2" APPROXIMATE
Double seated bench set comprised of two metal tractor seats fastened to a metal plate. The tractor seats are painted black separated by a metal "T" painted red. Inscription on the plate with the monogram and date, '93.
<strong>BUTLER</strong>, Robert
Gift of Dr. and Mrs. Fima Lifshitz
1993
2017.014.001
<strong>BUTLER</strong>, Robert
<em>Tractor Bench</em>
1993
Metal and paint
40 x 35 x 29 1/2" APPROXIMATE
Double seated bench set comprised of two metal tractor seats fastened to a metal plate. The tractor seats are painted black separated by a metal "T" painted red. Inscription on the plate with the monogram and date, '93.
<strong>BUTLER</strong>, Robert
Gift of Dr. and Mrs. Fima Lifshitz
1993
2017.014.002
<strong>BUTSCH</strong>, Thomas
<em>Chain</em>
steel, expandable
1' links of steel
<strong>BUTSCH</strong>, Thomas
UCSB Art Affiliates
1970
1970.4
<strong>BUTSCH</strong>, Thomas
<em>Untitled</em>
20th C.
expandable steel (similar to Chain 1970.40)
<strong>BUTSCH</strong>, Thomas
M.F.A. Exhibition
20th C.
1970.41
<strong>CLARK</strong>, Hervey Parke
<em>Self Portrait in Sentry Box</em>
1965
wood
12 1/4 x 3 3/4 x 2 1/2"
Vertical sculpture in the form of an eloganted cube representing a figure.
<strong>CLARK</strong>, Hervey Parke
Gift of Hervey Parke Clark
1965
2003.007.003
<strong>CLARK</strong>, Hervey Parke
<em>Untitled</em>
1966
oak
12 x 12 x 4 1/2"
Oak sculpture; long plank witht wo forms attached; at left is an upright form; at right, triangular form both have surface holes.
<strong>CLARK</strong>, Hervey Parke
Gift of Hervey Parke Clark
1966
2003.007.005
<strong>CLARK</strong>, Hervey Parke
<em>Figure of female</em>
1967
madrone
16 h. x 6" dia.
Crude sculpture of the torso and head of a female figure in madrone wood.
<strong>CLARK</strong>, Hervey Parke
Gift of Hervey Parke Clark
1967
2003.007.006
<strong>COLE</strong>, Willie
<em>Red Leather Venus</em>
leather
25 x 8 x 11 in.
sewn shoes
<strong>COLE</strong>, Willie
1955 -
MUSEUM PURCHASE FUND
1993
1994.48
<strong>CROWE</strong>, Stanley
<em>Small Ceramic Pot</em>
ceramic, glaze?
8 in
ceramic with green design and collar
<strong>CROWE</strong>, Stanley
1967
1967.64
<strong>DANBURY MINT</strong>
<em>George Washington</em>
20th C.
silver
2 1/2" x 1 1/2" x 1/2"
rectangular silver ingot. Profile on front, bio. on back.
<strong>DANBURY MINT</strong>
American
Grace H. Dreyfus Collection
20th C.
1983.11
<strong>DANISCH</strong>, James
<em>Untitled</em>
wood, paint
52 x 33 in.
figure
<strong>DANISCH</strong>, James
1965
1965.125
<strong>DAVIS</strong>, Michael
<em>Dry sand, Hotbreeze</em>
wood and lead
8 x 44 5/8 x 4 1/8 in.
<strong>DAVIS</strong>, Michael
American, 1948 -
Gift of Mr. Douglas C. Kennedy
1978
1984.220
<strong>DUNLAP</strong>, Richard
<em>Minor Triad with Variations</em>
1979
Collage
11 x 14 1/4"
Paper Collage with musical notes at in pencil
<strong>DUNLAP</strong>, Richard
United States, b. 1939
Bea Farwell Bequest
1979
2010.003.009
<strong>DWYER, </strong>Nancy
<em>Diet Life Force</em>
1985
enamel on Plexiglas with sheetmetal
36in. x 45in. x 5in.
Images of arrows and a grid system painted on clear Plexiglas.Nancy Dwyer likens her work to pictograms or signs that comment on the ways and means by which the media, especially advertising, infiltrates and seduces the public. She attempts to undermine advertising by using the language and graphic design inherent to it. In Diet Life Force, Dwyer shows brightly colored arrows that zoom toward the center of a mirrored expanse, perfectly framing the viewer. Like a lot of marketing related to diets, the work both distorts ones body image and also seems to proffer a fast, easy solution easy.
<strong>DWYEr, </strong>Nancy
United Statesb. 1954
Gift of Ruth and Jake Bloom
1985
1997.74
<strong>ENO</strong>, Brian
<em>Oblique Strategies: One Hundred Worthwhile Dilemmas</em>
1996
Corian box with 100 printed cards
1 7/8 x 6 x 5 1/8"
In 1975, theBritish musician, producer, and visual artist, Brian Eno, together with the late English painter Peter Schmidt, addressed the challenge of breaking out of creative roadblocks by writing a series of phrases they dubbed "worthwhile dilemmas." These phrases, which suggest approaches from another direction, became known as Oblique Strategies. Originally published as a deck of cards in an austere format, they became an underground hit and sold out in three revised editions and were part of the Norton Christmas Gift. In 1996, as the Strategies were long out of print, Mr. Norton suggested to Eno a "fourth, yet again revised, and more universal edition." Norton edited the newly revised phrases and commissioned their translation into the six languages collectively spoken (English, Mandarin, Hindi, Spanish, Russian, and Arabic). Artist Pae White was commissioned to turn the cards' plain black-and-white format into an extravagantly colored format and housed in a Corian container that is known separately as "Bill's Bad Bone." These strategy cards have found widespread use in dozens of countries, at writers' desks, in artists' studios, and even in boardrooms.
<strong>ENO</strong>, Brian
British, b. 1948 (lives in the United States)
Anonymous Gift
1996
2001.26
<strong>ERICSON</strong>, Kate and <strong>ZIEGLER</strong>, Mel
<em>Four Jars from Winter Cellar Series</em>
1987
etched jars, vegetables: wax beans, corn, green beans and tomato sauce
7in. x 3 1/2in. x 3 1/2in. each
etched jars, vegetables: wax beans, corn, green beans and tomato sauce
<strong>ERICSON</strong>, Kate and <strong>ZIEGLER</strong>, Mel
Ericson: (1955 - 1995); Ziegler (1956 -)
Gift of Councilman Joel Wachs, Los Angeles
1987
1997.78.1-.4
<strong>ERICSON</strong>, Kate and <strong>ZIEGLER,</strong> Mel
<em>Time the Destroyer</em>
4 panel work
<strong>ERICSON</strong>, Kate and <strong>ZIEGLER</strong>, Mel
Found in the collection
n.d.
2011.001.001a-b
<strong>Faulwell</strong>, Asad
<em>Djamila</em>
Variable edition lithograph with collage, painted map tacks, and gold pins
23 3/4 x 23 3/4"
Lithograph employing elements of collage, painted map tacks, and gold pins to create an image of a woman's head. The woman's face, adorned with pins, is positioned below a celestial eye. Both the woman's face and the eye are arranged against a background of floral motifs. Gold dotted pins are present throughout the work. On reverse, artist signature, date of completion, title, and number of print.
<strong>Faulwell</strong>, Asad
Museum purchase
2017- 2018
2018.012.001
<strong>FEHLAU</strong>, Fred
<em>No It Can Assess An Action, </em>1992
52" Wide
Plastic stencils, pencil and paper
This work includes green plastic stencils and a pencil inscribed with FEHLAU NORTON HOLIDAY PROJECT @ 1992 as well as an instruction sheet for stenciling NO IT CAN ASSESS AN ACTION creating a palindrome on opposite walls; (a) instruction sheet; (b) pencil; (c) stencil for N; (d) stencil for O; (e) stencil for i; (f) stencil for T; (g) stencil for C; (h) stencil for S; (i) stencil for A; (j) stencil for E. The artist's work often shifts the viewer's point of reference through the doubling of images and text.<br /><br />Beginning in 1988, the Norton Family sent a limited edition Christmas gift to a wide list of friends in the art community including art institutions.
<strong>FEHLAU</strong>, Fred
b. United States
Donald P. Walton Jr. and Frances Jean Colpitt Estate
1992
2023.008.006a-j
<strong>FINSTER</strong>, Howard
<em>Call Heaven</em>
1991
Hotel telephone with paint
5 x 9 x 9" OVERALL
Rotary dial hotel telephone; painted overall in bright colors with black hieroglyph-like marks. Text on top of receiver -- MAKE THINGS RIGHT WITH GOD. Signed on underside with additional text in black.
<strong>FINSTER</strong>, Howard
b. United States, 1916-2001
Estate of Frances Garvin and Keith Julius Puccinelli
1991
2018.001.031
<strong>FLANAGAN</strong>, John
<em>The Pennsylvania Society-founded MSCCIXC picture of Wm. Penn</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN, </strong>John
American
Mrs. Mona Flanagan
20th C.
1969.151
<strong>FLANAGAN</strong>, John
<em>The Century Association 1847-1947</em>
bronze
4" diameter x 1/8"
<strong>FLANAGAN, </strong>John
American
Mrs. Mona Flanagan
1947
1969.152
<strong>FLANAGAN</strong>, John
<em>The Pennsylvania Society-founded MDCCIXC picture of Wm. Penn</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN, </strong>John
American
Mrs. Mona Flanagan
20th C.
1969.154
<strong>FLANAGAN</strong>, John
<em>Henry Hudson Robert Fulton Medal</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN, </strong>John
American
Mrs. Albert E. Flanagan
20th C.
1969.155
<strong>FLANAGAN</strong>, John
<em>Andrew Carnegie MCMX for distinguished achievement</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN, John</strong>
American
Mrs. Mona Flanagan
20th C.
1969.15
<strong>FLANAGAN</strong>, John
<em>Aedes Sacrae Grolierensi (man sitting in library)</em>
bronze
2 3/4" diameter x 1/8"
strike: one side only of medal
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
20th C.
1969.143
<strong>FLANAGAN</strong>, John
<em>"They set great store by their gardens"</em>
bronze
2 3/4" diameter x 1/8"
strike: one side only of medal
<strong>FLANAGAN</strong>, John
American
Mrs. Albert E. Flanagan
1920
1969.144
<strong>FLANAGAN</strong>, John
<em>For distinguised achievement-Andrew Carnegie</em>
bronze
2 3/4" diameter x 1/8"
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
1910
1969.145
<strong>FLANAGAN</strong>, John
<em>"Souvenir de la grande guerre-dedie aux veterans francais en</em>
silver
3 1/8 x 1 15/16 x 1/8 in.
amerique", medal in black leather box
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
1927
1969.146
<strong>FLANAGAN</strong>, John
<em>Internat'l Business Machines Corp. Honorary Award for a notable</em>
bronze
3" diameter x 1/4"
contribution to the art of the world
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
1939
1969.147
<strong>FLANAGAN</strong>, John
<em>Edward Guthrie Kennedy</em>
bronze
2 3/4" diameter x 1/8"
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
1912
1969.148
<strong>FLANAGAN</strong>, John
<em>G.R. White Medal of Honor (Reverse-E.H. Wilson)</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
1915
1969.149
<strong>FLANAGAN</strong>, John
<em>George R. White Medal of Honor duplicate of 69/149</em>
bronze
2 3/4" diameter x 1/4"
<strong>FLANAGAN</strong>, John
American
Mrs. Mona Flanagan
20th C.
1969.153
<strong>FORD</strong>, Julia
<em>CLUBBED, Proboseis Longus</em>
2004
Felt
7 x 5 x 5" OVERALL
A felt ball with five round protrusions at the top. Housed in a shadow box.
<strong>FORD</strong>, Julia
Estate of Frances Garvin and Keith Julius Puccinelli
2004
2018.001.032
<strong>FORD</strong>, Julia
<em>CLUBBED, Proboseis Longus</em>
2004
Felt, shadow box
14 3/4 x 11 3/4 x 2 3/4'' FRAMED
Phallic object crafted from white felt suspended in a shadow box. On reverse, signed.
<strong>FORD</strong>, Julia
Estate of Frances Garvin and Keith Julius Puccinelli
2004
2018.001.033
<strong>FORTIER</strong>, Rollin
<em>Untitled</em>
1990
bronze
6 1/2 x 10 x 3 1/4 in.
<strong>FORTIER</strong>, Rollin
United States, b. 1952
Gift of Elena Siff Erenberg and Samuel Erenberg
1990
1991.120
<strong>FOX</strong>, JEFF
<em>Drosion</em>
1993
Acrylic paint on sleeping bags
87 x 131 x 2 3/4"
Painted acylic sleeping bags mounted in Plexi case.
<strong>FOX</strong>, JEFF
b. United States, 1964
Gift of Joe Barron
1993
2013.004.002
<strong>FRANCIS</strong>, Sam
<em>Two Forms</em>
ceramic
39 X 11 in. dia.; 30 1/2 x 9 1/2 in. dia.
2 parts; dark blue.
<strong>FRANCIS</strong>, Sam
American, 1923 - 1994
Gift of Katharine W. Tremaine
ca. 1960-63
1985.1
<strong>FRIEDMAN</strong>, Tom
<em>Unfound Object</em>
2008
Mixed media on board
48 x 69 x 3 1/4"
"Art, for me, is a context to slow the viewer's experience from their everyday life in order to think about things they haven't thought about. Or to think in a new way." Tom Friedmans approach to understanding the world and its logic has long been expressed through the laborious, painstakingly precise and unexpected materials that he uses. His work is often autobiographical, recreating random elements from his own life and surroundings. To create these sculptures and objects, he uses everyday materials including Styrofoam, paint, paper, spaghetti, drinking straws, cards, clay, wire, plastic, hair and fuzz. Unfound Object with its random assortment of materials and objects suggests all the detritus that, having no value, remains unfound and unwanted.
<strong>FRIEDMAN</strong>, Tom
b. United States, 1965
Gift of Joe Barron
2008
2013.004.001
<strong>GATES</strong>, Theaster
<em>Whyte Painting</em>, 2010
Porcelain
18 1/2 x 24 x 2 3/4" OVERALL
This porcelain sculpture carries two protruding additions on the surface, on the left side a half-cylinder shape is connected by a vertical slab. On the lower right side of the sculpture are two porcelain pieces placed in a "L" shape; the horizontal piece contains the number "4,221" upside down. In addition, the upper-right corner of this sculpture contains a projection of porcelain that displays the letters duavin.
<strong>GATES,</strong> Theaster
b. United States, 1973
Gift of Marc Selwyn, Los Angeles
2010
2022.010.001
<strong>GEORGESCO,</strong> Christopher
<em>Reserved Rights</em>
steel and concrete
10' H.
<strong>GEORGESCO</strong>, Christopher
Gift of Robert H. Halff
1975
1985.482
<strong>GERMAN</strong>
<em>Crucified Christ</em>
19th C.
carved tusk
5 1/2 x 1 1/2 x 1/2 in.
Corpus of Christ without crucifix.
<strong>GERMAN</strong>
German (probably)
Gift of Julia Emerson
19th C.
1983.69
<strong>Giegerich</strong>, Jill
<em>Untitled</em>
1986
Wood and copper
54 1/2 x 83 1/4 x 4 1/2
Irregular black shape with curved protrusions at top and right. Copper cube and and square plaque mounted at top left.
<strong>Giegerich</strong>, Jill
American, 1952-
Gift of Gary and Tracy Mezzatesta
1986
2000.50
<strong>GLANTZMAN</strong>, Judy
<em>Couple Seated</em>
wood, paint
19 1/4 x 12 1/2 x 6 in.
<strong>GLANTZMAN</strong>, Judy
Gift of the Artist
1984
1984.241
<strong>GOLD</strong>, Betty
<em>Holistic-77B</em>
1979
Cor-ten steel and paint
105 x 60 x 21"
Floor sculpture with painted colored Corten Steel.
<strong>GOLD</strong>, Betty
United States
Gift of Mr. and Mrs. Dave Chatkin
1979
2007.001.001
<strong>GONZALES</strong>, Michael
<em>Untitled (Spit Birds)</em>
1990
Tin-plated copper ground braids
12 x 11 1/2 x 4" OVERALL
Sculpture created using tin-plated copper ground braids, woven together, to form a triangular-like shape.
<strong>GONZALES</strong>, Michael
Gift of Margo Leavin
1990
2018.008.001
<strong>GONZALEZ</strong>, Michael
<em>Composition with Y.B. and R. #33</em>
1995
"wonder" brand english muffin bags, acrylic, fasteners
14 1/8 x 17 1/8 x 7/8 in
<strong>GONZALEZ</strong>, Michael
Gift of Dean Valentine
1995
1999.115
<strong>GOODMAN</strong>, Dane
<em>"No title"</em>
oil stain on wood
4 x 20 x 4 1/2 in.
<strong>GOODMAN</strong>, Dane
American, 20th C.
Gift of Phyllis Plous
1993-95
1996.76
<strong>GOODMAN</strong>, Dane
<em>Revival</em>
1999
Soap
4 x 6 x 4 1/4" OVERALL
A carved soap bar in the shape of a tent housed in a glass box. Signed and dated by the artist on the bottom of soap bar.
<strong>GOODMAN</strong>, Dane
b. United States
Estate of Frances Garvin and Keith Julius Puccinelli
1999
2018.001.036
<strong>GOODMAN</strong>, Dane
<em>Unknown Title</em>
2011
Ink on handkerchief
15 x 15"
Image of a naked man standing inside a barrel. Signed and dated by artist at lower right corner.
<strong>GOODMAN</strong>, Dane
b. United States
Estate of Frances Garvin and Keith Julius Puccinelli
2011
2018.001.037
<strong>GOODMAN</strong>, Dane
<em>Urban</em>
1982
Polaroid SX-70 photographs/steel tape adhered with methyl cellulose onto plywood
60 x 17 1/2 x 21"
Living in New York City in the late 1970s and early 1980s, I was working with an SX70 Polaroid camera and shooting photographs as well as making drawings, sculptures, and installations. Urban is a synthesis of sculpture and photography and was part of the installation, Rattle in the Hot Shop, featured in Andy Warhols Interview magazine. I chose a universal image, a chair, and reduced it to its most basic form, and covered it with black Polaroids that show no image. In this way the Polaroids are not so much photographs as objects, and in this instance are used as tiles. The repetitive patterning of black Polaroid photographs makes them appear window-like, giving the chair an appearance similar to a skyscraper, like the Seagram building in New York City. In working this way, I negated the primary concept of photography to serve as documentation of the world around us.
<strong>GOODMAN</strong>, Dane
b. United States
Gift of the artist
1982
2018.019.001
<strong>HAMMOND</strong>, Jane
<em>Spells and Incantations</em>
2007
Lithograph and silkscreen with gold leaf and chine-collon paper, hand-cut and assembled, 10/45
60 1/2 X 18 3/4 X 7 1/2" OVERALL
Jane Hammond is best known for her paintings and prints that use a lexicon of 276 images, derived from commercial typography, tattoos, cartoons, ornamental graphics and period illustrations. These images recur throughout her body of work but are combined in myriad ways to create different effects and thereby manifest unique meanings. Spells and Incantations is a biographical work that incorporates a portrait of the artist and references Hammonds personal, familial memories. I was dreaming a lot about my grandmother. I spent much of my childhood with her and she spent much of her childhood in Egypt. I grew up around stories, photographs and objects from this faraway place.I have always wanted to make an Egyptian-based piece for some time using my lexicon of found images in a hieroglyphic context. I think of this piece as an amulet for propitious things in the journey of this life and beyond. Dated at bottom center; title at lower right, signed at lower left.
<strong>HAMMOND</strong>, JANE
b. United State, 1950
Gift of Kevin and Lotte Roache
2007
2014.025.001
<strong>HANSEN</strong>, Channing
<em>Spooky Action</em>, 2015
Wool, polyamide, viscose, polyethylene, terephthalate, hand-spun California Variegated Mutant (Nashua), Redwood
38 1/2 x 47" OVERALL
Many of Hansen's works include vibrant abstract forms such as the AD&A Museum's <em>Spooky Action</em> which details a prominent lemon shaded sphere along the top. This mixed media hanging reflects the labour intensive process of hand knitted, wahsed and dyed wool which the artist spins himself eventually mounting onto a wooden stretcher. And although the construction of his work is often seen as improvised, its appearance is predetermined by computer algorithms potentially generating an infinite number of color combinations resulting in the artist being unaware of how the finished work will look until it is complete.
<strong>HANSEN</strong>, Channing
b. United States, 1972
Gift of Marc Selwyn Fine Art, Los Angeles
2015
2021.008.001
<strong>HARGER</strong>, Steve
<em>Untitled</em>
metal
12 x 48 inches
<strong>HARGER</strong>, Steve
1968
1968.16
<strong>HAYT</strong>, Maxine
<em>Vagina Dentatas</em>
2002
Metal, shark jaws, wax, nylon stockings, Plexi and wood boxes
4 x 3 x 2" OVERALL. each of 2
Green and purple and red and yellow sculptures of flower petals resembling a vagina. Inside the petals are teeth. Underneath plate, is a description.
<strong>HAYT, </strong>Maxine
b. United States, 1937
Estate of Frances Garvin and Keith Julius Puccinelli
2002
2018.001.568-569
<strong>HERMS</strong>, George
<em>Plain Brown Wrapper</em>
1994
wood, paper, ink, string and shell
4 5/8 x 11 3/4 x 11 3/4"
wood box with top sliding lid; contains 35 individual collages/sheets of paper; one is made in shell dispenser with paper roll
<strong>HERMS</strong>, George
United States
Given in memory of Paul Chadbourne Mills
1994
2005.001.001
<strong>HEROLD</strong>, Georg
<em>Eiger Nordwand</em>
polyurethane on underwear
24 x 17 x 11
part of "German Language Summits" series
<strong>HEROLD</strong>, Georg
German, b. 1947
Gift of Cynthia Plehn Greenwald
1989
1996.7
<strong>HEROLD</strong>, Georg
<em>Untitled</em>
1987
buttons (29, black) on canvas, black yarn
20in x 18in.
Black buttons attached to white canvas with black yarn
<strong>HEROLD</strong>, Georg
Gift of Cynthia Plehn Greenwald
1987
1997.71
<strong>HILL</strong>, Marilyn
<em>Untitled</em>
bronze
17 1/2 x 11 3/4 in.
relief
<strong>HILL</strong>, Marilyn
1965
1965.105
<strong>HOGAN, </strong>Patrick
<em>Untitled</em>
1974
acrylic medium, pigment, carpet pad on card board
40 1/4 x 48 x 1/2 in.
recycled fiber carpet pad with numerous smears of acrylic paint and incised areas
<strong>HOGAN, </strong>Patrick
American, b. 1947
Gift of the Estate of Patrick Hogan
1974
2000.7
<strong>Houser</strong>, Allan C.
ca. 1985-90
bronze
48 x 27 x 27"
large bronze sculpture of intertwined figures; surface treatment includes stipled effect; signed at lower right.
<strong>Houser</strong>, Allan C.
b. Allan C. Haozous, Chiricahua Apache, 1914-1994
ca. 1985-90
2005.004.001
<strong>HUBBARD</strong>, Alex
<em>SK #12</em>
2009
Silkscreen ink and enamel on canvas with wooden stretcher
72 x 50" UNFRAMED
Large silkscreen and ink mixed media work on canvas; white ground with blue circular form at top flanked by pink singular stripes at sides.
<strong>HUBBARD</strong>, Alex
b. United States, 1975
Gift of Marc Selwyn Fine Art, Beverly Hills
2009
2018.017.003
<strong>HUNT</strong>, Richard
<em>Curling Hybrid</em>
welded steel
22 1/4 x 16 1/2 x 15 1/4 in.
<strong>HUNT</strong>, Richard
American, 1925 -
Gift of Beatrice Kolliner
1964
1981.81
<strong>IMATANI, </strong>Garrick<strong>; SAND, </strong>Kaia
<em>Files from Looseleaf Services, The Watcher Files Project</em>
2013-14
Mixed media
4 1/2 x 23 x 22" OVERALL
Garrick Imatanis 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. Imatanis 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.
<strong>IMATANI</strong>, Garrick; <strong>SAND,</strong> Kaia
b. United States, 1974 (Imatani); b. United States, 1971 (Sand)
Museum purchase
2013-14
2014.018.001a-c
<strong>ITALIAN</strong>
<em>Carrozze</em>
wood, paint
7 1/4 x 8 7/8 x 2 1/2 in.
Wood carved openwork plaque depicting the Holy Family with the dove and two angels above.
<strong>ITALIAN</strong>
Italy, Sicily
Grace H. Dreyfus Collection
n.d
1971.82
<strong>JACOBSON</strong>, Jim
<em>Keyhole Mobile</em>
2010
Metal and paint
48 x 107 x 46" APPROXIMATE
Mobile is comprised of four brown paddles balanced horizontally; a larger disk, hung vertically, counterbalances the smaller paddles. The large paddle contains six small holes and a larger square cut-out with a small grey orb.
<strong>JACOBSON</strong>, Jim
Gift of Dr. and Mrs. Fima Lifshitz
2010
2017.014.003
<strong>JACOBSON</strong>, Jim
<em>Wind Vanes Mobile</em>
2005
Metal and paint
54 x 54 X 30"APPROXIMATE
Mobile is comprised of four red paddles balanced vertically. A large disk on the left, hung horizontally, counterbalances the paddles on the right. The top and bottom paddles contain holes.
<strong>JACOBSON</strong>, Jim
Gift of Dr. and Mrs. Fima Lifshitz
2005
2017.014.004
<strong>JENNINGS</strong>, James Harold
<em>Sun Moon Stars (Woman Beats Hell Out of Devil)</em>
ca. 1987
Paint on wood
11 x 16 4/8 x 1" OVERALL
Painted wood panel of a woman beating a devil. Title is in wood cut letters along top.
<strong>JENNINGS</strong>, James Harold
b. United States, 1931-1999
Estate of Frances Garvin and Keith Julius Puccinelli
1987
2018.001.052
<strong>JENNINGS</strong>, James Harold
<em>Untitled</em>
1987
Paint, mixed media, and wood
27 1/2 x 32 1/2"
Wooden patterned sculpture with colorful flowers, birds, and stars.
<strong>JENNINGS</strong>, James Harold
b. United States, 1931-1999
Estate of Frances Garvin and Keith Julius Puccinelli
1987
2018.001.053
<strong>KIRK</strong>, Jerome
<em>Aquarius II</em>
aluminum
30 x 33 x 27 in.
Kinetic sculpture in two pieces. Aluminum blades are held in place by an upright lead mast-like sculpture.
<strong>KIRK</strong>, Jerome
American
Gift of Mr. Charles E. Craig, Jr. through UCSB Art Affiliates
1969
1970.44
<strong>Knopke,</strong> Todd
<em>Drive (a back and forth through time to save lives)</em>
2010
Thread, photo iron-on transfer, permanent marker, vinyl, chroma Key blue screen
142 1/2 x 132 x 1"
Todd Knopke calls his work flexible sculpture. He creates large, even monumental, fabric works that are sewn from many disparate recycled fabric swatches. He arranges these pieces, much like a collage, into representational images depicting figures and recognizable elements. They maintain, however, an ethereal and dreamlike quality. Recalling historical tapestries, each work represents narratives frequently derived from his past memories.
<strong>KNOPKE</strong>, Todd
b. United States, 1973
Gift of Joe Barron
2010
2013.004.003
<strong>KOHN</strong>, Gabriel
<em>Untitled</em>
1958
bronze, cast
7 1/2 x 7 5/8 x 2 3/8 in.
curvilinear form w/ rectangular center space
<strong>KOHN</strong>, Gabriel
American, 1910 - 1975
1958
1995.16
<b>LACHOWICZ</b>, Rachel
<em>Carol Burnett</em>
1990
wood, charcoal and paper
24 x 24 x 24 inches each
three cubes
<strong>LACHOWICZ</strong>, Rachel
American, b. 1964
Gift of Betty and Bob Klausner
1990
1994.16.a-.c
<strong>LANDER</strong>, Carl (formerly BUCHER, Carl)
<em>Landing S II</em>
fiberglass coated with blue acrylic lacquer
11 x 11 1/4 x 9 3/4 in.
Project model for moving water-landing sculpture.
<strong>LANDER</strong>, Carl (formerly BUCHER, Carl)
Swiss, b. Zurich 1935 - lives Toronto, Canada
Gift of Harriette Von Breton through UCSB Art Affiliates
1968
1973.35
<strong>LAWRENCE</strong>, David
<em>Pyramid</em>
sculpture
<strong>LAWRENCE</strong>, David
American, 1946 -
n.d.
1979.22
<strong>LERE</strong>, Mark
<em>Split Monument</em>
1986
bronze, plaster
24 x 16 x 17 1/4 in.
Two metal forms with rounded top fused with white plaster.
<strong>LERE</strong>, Mark
American, b. 1950
Gift of Frances and John Bowes
1986
1998.43
<strong>LEVIN</strong>, Dan
<em>Mess</em>
2004
Bullet casings, metal meal tray
2 x 9 x 7 "
Bullet casings sacttered and glued onto a small metal meal tray divided into three parts. The parts of the casings not covered in glue appear brown and rusty while the casings coverd in glue appear shiny with a bronze coloring.
<strong>LEVIN</strong>, Dan
b. United States, 1950
Estate of Frances Garvin and Keith Julius Puccinelli
2004
2018.001.061
<strong>LEVIN</strong>, Dan
<em>Unknown Title (altered pitchfork)</em>
n.d.
Altered pitchfork, springs, and hardware
55 1/2 x 3 1/2 x 6'' OVERALL
A pitchfork whose handle has been cut every two inches and elongated with segments of metal spring.
<strong>LEVIN</strong>, Dan
b. United States, 1950-2017
Estate of Frances Garvin and Keith Julius Puccinelli
n.d.
2018.001.062
<strong>LIGHTBODY</strong>, Joyce
<em>K.T.S.02. Kuming to our Senses</em>
2000
Graphite, pigment, stamps, paper on wood with cassette tape
10 x 8 x 1 1/2
<strong>LIGHTBODY</strong>, Joyce
b. United States, 1954
Gift of Heidi and Erik Murkoff
2000
2000.42
<strong>LIPSKI</strong>, Donald
<em>Building Stream #1</em>
1982
Mixed media
20 7/8 x 4 x 6" OVERALL
Mixed media sculpture in three parts; glass tube with rubber glove suspended from a disc-like lid with crystal beads. Sculpture sits atop a black base with manufacturing information including the name of the equipment THREE PHASE TRANSFORMER.
<strong>LIPSKI</strong>, Donald
b. United States, 1947
Gift of the Margo Leavin Gallery
1982
2017.011.001a-c
<strong>LORD</strong>, Clara
<em>Inner Circle</em>
wood, acrylic
40 in. dia.
Black.
<strong>LORD</strong>, Clara
Gift of the artist
1968
1968.21
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Shells</em>
Collage
15 3/4 x 9 3/4" UNFRAMED
A hand drawn and partially collaged figure of a woman, halo above her head, standing in a small square over a print of shell illustrations. A transparent page with a leaf study is added to the bottom left corner of the collage. Signed and dated on the lower right.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.028
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Grasshoppers and Beetles</em>
Collage
16 x 10 1/4" UNFRAMED
A hand drawn and partially collaged figure of a man in a small black square, empty frames around his head and torso, positioned over grasshopper and beetle illustrations. A strip with elaborate but obscured penmanship throughout the lower half including the bust of a woman in 19th Century dress. Signed and dated on the bottom right.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.029
<strong>LOWRY</strong>, Janice
<em>Constellation Series: "Southern Constellation"</em>
Collage
12 x 9" UNFRAMED
A collage of a woman from a 1950's fashion magazine cut from a nautical map which is superimposed over a cart of the southern constellations. Her shape takes up the entire diameter of the area of focus. Behind her is a cutout of a woman of antiquity, and a free-floating oven gate. Along the bottom edge are a series of banners from royal Italian families. Signed and dated on the bottom right.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.031