<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>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>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>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>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>BUTSCH</strong>, Thomas
<em>Chain</em>
steel, expandable
1' links of steel
<strong>BUTSCH</strong>, Thomas
UCSB Art Affiliates
1970
1970.4
<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>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>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>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>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>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>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>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>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>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>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>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>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>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>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>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>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>Figure</em>
brass
1 3/4" x 3/4" x 1/4"
<strong>Artist unknown</strong>
n.d
1973.209