Transport, Storage, Weighting & Transfer, 1983
Acrylic on canvas painting with irregular brushstrokes and abstracted forms in green, greys and blue. Small area of vibrant green at the right lower edge. On reverse: Holly Solomon gallery LABEL.
Gift from Thomas Solomon and Kimberly Mascola
Oil and polyurethane on linen painting in light grey with light green shapes throughout accented in red; Lower-case letters displayed within those shapes. StripEs of shades of green situated at lower left corner. On reverse: sleepwalker (ophelia and the absence of language); Email Java commands; rimbaud - Ophelia; 33 Chicago World's Fair block house; 1999-2000 Steve Roden
Gift of Steve and Sari Roden Family Trust
Oil and polyurethane on linen painting with grey background, geometric form at center--detailed in black, yellow, pink, green, orange, and blue. Light yellow capital letters scattered over lower half of canvas. Five orange shapes situated around letters. Written on reverse side: kabuki in a rectangle; katsura rikyu; kasuga mandala; rakushisha Haikus
Oil and polyurethane on linen painting with a black organic shape and white and yellow squares positioned on a blue-grey background. Capital letters with white outlined paint dot the canvas with green paint at lower right of canvas. Written on reverse: fifteen planes; Paul Clardell - 5 grand odes (pg. 15); kinka kuj: Temple Map; 2000 Steve Roden; artist signature
one soul walks alone, 1999-2000
Oil and polyurethane on linen painting with sections of green, blue, and red on a red ground; connected letters situated at upper right of canvas;. written on reverse: one soul walks alone; kepes book cover; map of nevers hotels; map of Philadelphia parks
Oil and polyurethane on linen painting. Various shades and thick brushtrokes of yellow displayed throughout canvas with a light yellow amorphous shape at left. OTEVANSEO and VRAWLMPTEERES detailed at center; Two hexagonal shapes at left. On reverse: the golden bird is often side (for J.C., A.C., & r.b.); list of all names of US satellites cornell collage; steve roden 1999/2000 artist signature.
Mixed media on canvas painting with triangular form in center with grey-scale image of a rock enclosed by green, purple, and orange throughout artwork. Geometric grid on left and right; reverse: "space" 2020; gallery label
spining straw into straw 7, 2015
Acrylic on canvas with black, diagonal stripe from upper left corner to lower right accented in pink, orange, and yellow layered on white paint. Steve Roden 2015 on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 6, 2015
Acrylic on canvas with thick stripes of black, blue, green, pink, and yellow overlapping throughout positioned against a thickly, painted white ground. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 5, 2015
Acrylic on canvas with black stripes overlapping throughout, accented with pink and orange and layered on white ground. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 4, 2015
Acrylic on canvas with four thick stripes of black, orange, and pink. Two stripes cross diagonally from lower left to upper right. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 3, 2015
Acrylic on canvas with thick, geometric stripes of black, pink, green and neon orange crisscrossing throughout with white background. Steve Roden 2015 printed on upper reverse; spinning straw into straw on lower reverse.
spining straw into straw 2, 2015
Acrylic on canvas with thick stripes overlapping in "v" formations; pink, orange, and green accents throughout.; white background painted on black base
Oil on canvas painting positioned within a shadow box frame. Thick brushtrokes of earth tones layered together overlap throughout the image; the top third of the painting includes shades of grey; the signed initials IG are located on the reverse along with ? 2004
Small painting of melted red lipstick on canvas.
I Wear Sunglasses at Night, 1987
Acrylic ink, oil stick and matte medium on canvas
This painting begins with two portraits of Tohono O'odham basket weavings sitting next to one another. For “Trip to Topawa,” I am considering how each of these baskets are made and the indigenous knowledge and understanding of what is happening all around us, that allows for these creations to come into existence. From my perspective I see an action of spiraling outward, formed at the core of these two original baskets. One basket executed using rebar wire contrasted with the other work rendered from bear grass, devils claw, and yucca. These designs have momentum, seemingly reflecting what is happening in the cosmos above. When uniting each of these works on one canvas I envision a clashing of galaxies, acted out in weavings of wire and desert harvested materials, then, skewed, and explored on this canvas. In my painting process I build up texture and color with oil sticks to create movement from the very beginning. This step may not be visible right away as often the lines are obscured by the oil paint, I then go on to apply. In “Trip to Topawa,” I’ve isolated this line work, allowing the texture and color to expand on desert basketry and culture. The centralized gradient of deep reds and maroons originates from the ceremony of harvesting and processing saguaro cactus fruit and sets the tone for the spectrum of color decisions explored throughout. “Trip to Topawa,” is the story of visiting ancestral pieces at the cultural center on my reservation in Topawa, Arizona. This research allowed me to observe and communicate my intentions to the baskets that I would then go on and investigate through abstraction, taking care to follow the linear exploration that the weavers have created before me. --Ishi Glinsky
Museum purchase with funds provided by Beth Rudin DeWoody and an anonymous donor
Large oil painting of the Santa Barbara coastline; foreground includes a snowy plover positioned on a sand covered hill with a lagoon, trees and green covered rolling hills punctuated by purple foliage in the background; signed at lower right with the date in pencil HANK PITCHER '03
Based on King Oedipus from Greek mythology, this painting depicts the hunter Oshosi who unwittingly killed one of his parents. Oshosi was given a quest to find and trap a rare bird as a gift for Olofi (also called Olodumare or Olorun). Upon completion, his mother thought the bird was for dinner and killed it. Oshosi found the dead bird and trapped another. Olofi was delighted crowning Oshosi and making him an orisha of contemplation, loving the arts and of beautiful things. In addition, Olofi granted Oshosi a wish; he asked for his arrow to kill the person who had killed the first bird. He let his arrow fly, and it pierced his mother's heart. Oshosi is often viewed as a model of justice but in Rosales’ painting he looks vulnerable expressing the costs of his actions.
ROSALES, Harmonia b. United States, 1984
Oil on canvas painting; portrait of a man wearing a stripped t-shirt gazing down; signed and dated on reverse at upper left.
Bathsheba pleading before the old David to make Solomon his successor
This rarely depicted Old Testament scene shows the power and perseverance of women. When Bathsheba learned of a preemptive grasp for the throne, she convinces David to name their son Solomon as the future king of Israel, even though he was not the first in line. Known for her beauty, Bathsheba is usually depicted as an object of desire at her bath. The artist upends longstanding stereotypes by presenting the biblical heroine’s intelligence and strength in persuading the king to select the next ruler on the qualities of his character, rather than the traditional order of succession. Previously considered Queen Esther before Ahasuerus, the painting was recently amended as Bathsheba due to the presence of the younger woman standing nearby. The figure represents Abishag, the king’s female servant who took care of him in his old age.
Large pastel painting in pinks and purples with wrench-like forms in red at lower left which appear to be printed.
Oil on masonite painting; loosely constructed image of a female wearing a veil; image is signed at lower left.
Oil on panel of a nude female lounging in a black chair; image is enclosed in a stark white shadow frame.
Oil on panel painting; portrait of a female chemotherapy patient revealing the loss of hair; image enclosed in a stark white shadow frame.
Unframed oil on canvas painting; torso image of Asian female wearing a cap edged in fur; figure has two birds perched on her right shoulder
David Wojnarowicz was an artist diagnosed with AIDS in 1988,and used his illness to address different socio-economic themes through his art making practices of photography, painting, film and recorded song. Revealing his sexual identity as a gay man, and working as an AIDS activist, his diagnosis left him afraid people would look at him differently, not accept his sexual orientation or think he did not have enough money to eat and or try to deny him his healthcare. Wojnarowicz was disturbed by this and took a sharp political turn to promote the dangers of censorship and isolation. He painted Hunger as a kind of action installation which also incorporated collage; in many of his works he also employed strong colors such as red as a reactionary tool to capture his anger and capture an audience. It was a time of crisis for Wojnarowicz and he chose to finish installations at the end of this life passing away in 1992.
Large multi-colored unframed oil on canvas painting.
Gift of Marc Selwyn Fine Art, Beverly Hills
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 patternsa seamlessly endless organizational deviceWestfalls artistic process can be viewed as a unique extension of geometric abstraction. Indeed Westfalls 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 underpaintingslight 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. Theres 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 Westfalls devotion to solid, bold colors that are arranged and layered with greater intricacy. These works highlight Westfalls practice of color placement and arrangement of patterns which produce dazzling, yet balanced works.
Leslie Waynes 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 Waynes technique appears abstract, the textural nature of these works might recall the Earths strata, as Wayne has indicated: My work has always been heavily influenced by not just landscape, but geology, whether were 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 thats 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 Waynes One Big Love series evoke a kind of intimacy given the scale of these worksa small scale that in no way minimizes Waynes intensely visceral practice.
Gift of the artist and Jack Shainman Gallery, New York
Oil on paper painting; black calligraphic-like brushstrokes on yellow and green ground
Oil on paper painting with black calligraphic brushstrokes against a green ground.
Oil on paper painting with black calligraphic-like brushstrokes against green ground.
Oil on paper painting; calligraphic-like black brushstrokes against an orange and blue ground.
Oil on paper painting with calligraphic-like brushstrokes in black positioned against an orange, green and blue paint.
Unframed painting in earth tones; blue at upper right of canvas; signed and dated on reverse.
Small acrylic painting with the words Endless Love written in black against a bright green ground.
AN abstract painting with a mix of yellow, green and orange paint swirling around a grey and back square outline. Inside the square is a mix of greens, blues, and whites. The words "To Jorge" appear on the reverse. Signed and dated by artist on the reverse.
Estate of Frances Garvin and Keith Julius Puccinelli
Gift of Foster A. Reed and C.L. Reed, III
Acrylic, aluminum, polacoat screen, on canvas
TIEPOLO, Giambattista (After)
Image of railroad tracks. Signed, dated, and titled on reversae by artist.
Landscape painting with a dark and cloudy sky. Signed, dated, and titled by the artist on reverse.
Santa Barbara-native Selden Spaulding studied art at Princeton University before entering service in World War II. After the war, he settled in France where his paintings evolved from representational landscapes to broader abstractions. He returned to Santa Barbara in the mid-1960s, and became active in the social issues of the day even as he continued to paint.
Gift of Katharine W. Tremaine in memory of Diana Tremaine McGowan
American, Borisoglebsk, Russia 1899 - 1974 NYC
Augustin from the Santa Barbara Project
In May of 2007, day workers standing on Santa Barbara's Yanonoli Street against "The Wall" were approached and asked to pose for a portrait. This resulted in the Santa Barbara Project, an Artist-in-Rsidence at the Atkinson Gallery, Santa Barbara City College This unframed portrait of a construction worker, Augustin, details a gray collared shirt. The background is white with notes of yellow on the left and blue on the right. On reverse, signature of the portrait's subject and that of the artist as well as date.
Trinidad from the Santa Barbara Project
In May of 2007, day workers standing on Santa Barbara's Yanonoli Street against "The Wall" were approached and asked to pose for a portrait. This resulted in the Santa Barbara Project, an Artist-in-Residence at the Santa Barbara City College. This image includes an unframed portrait of a construction worker, Trinidad, wearing a red shirt casting a shadow cast onto his right shoulder. The background is white with red tones echoing the red shirt. On reverse, signature of the portrait's subject and that of the artist as well as the date.
Moises from the Santa Barbara Project
In May of 2007, day workers standing on Santa Barbara's Yanonoli Street against "The Wall" were approached and asked to pose for a portrait. This resulted in the Santa Barbara Project, an Artist-in-Residence at the Atkinson Gallery, Santa Barbara City College. This portrait is of a construction worker, Moises, wearing a gray tank top. On reverse, signature of the portrait's subject and that of the artist as well as the date.
Pedro from the Santa Barbara Project
In May of 2007, day workers standing on Santa Barbara's Yanonoli Street against "The Wall" were approached and asked to pose for a portrait. This resulted in the Santa Barbara Project, an Artist-in-Residence at the Atkinson Gallery. This unframed portrait of a construction worker, Pedro, wearing a light gray collared jacket over a brown shirt. On reverse, signature of the portrait's subject and that of the artist as well as the date.
Miguel from the Santa Barbara Project
In May of 2007, day workers standing on Santa Barbara's Yanonoli Street against "The Wall" were approached and asked to pose for a portrait. This resulted in the Santa Barbara Project, an Artist -in-Residence at the Atkinson Gallery, Santa Barbara City College. This images includes a full-length portrait of a construction worker, Miguel, wearing a blue collared shirt and jeans; he is positioned against a neutral background with a purple-gray shadow extending to the right. On reverse, signature of the portrait's subject and that of the artist as well as the date.
Portrait of Fran Puccinelli in browns and yellows on a black ground on plywood panel. On reverse, signed in white chalk.
Gift of David Kluger in memory of Martha Jackson
Gift of Mrs. H. W. Armstrong to the Ala Story Print Collection
Large abstract painting with pink shapes highlighted with green and black marks.
Gift of Mrs. Kay Hillman through UCSB Art Affiliates
Large painting of multiple male figures in lower foreground standing in front of a tree set against a canallike body of water.
Small oil and gouache painting on canvas enclosed with a bright red frame. Image includes moderate sized multi-colored areas of abstracted designs.
Gift of Pal C. Mills in memory of Jan Mills and Gail Berkus
Two Female Nudes-One Reclining (After Thomas Eakins)
Small oil painting in reds of two nude females; one standing; the second is reclining in foreground.
Horizontal painting on board; earth-tone abstracted image of railroad yards positioned under bridges.
SAINTE JAMES, Alan
Large painted plywood panel with a bus driven by a Christ-like figure; the sides of the bus are filled with an obituary to Mr. Davis; along the top are angels carrying crosses.
Born in 1956, Alison Saar is a renown Los Angeles-based artist working largely with sculpture, mixed media, and installation. Much like her mother, the acclaimed artist Betye Saar born in 1936, Alisons work explores her experience as a Black female living in America, while also touching upon various influences such as Latin American, Caribbean, and Native American. Slo Pickin Blues, which is painted on the back of a guitar.
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.
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
Small gouache and latex painting on wood panel; centralized female figure on orange ground with numerous texturedlike surfaces.
Latex and gouache painting on wood panel; centralized image of two females and a large owl covered with a circular orange form. Figures are positioned against a green background with a white horizon.
Painting with image of full dress Spanish Guard with swords
Pure Painted Leader (Day-Glo Yellow Matte)
Day glo matte paint on 35 mm film leader configured into a grid pattern.
PERKINS, Benjamin Franklin
Painting with seven rectangular sections each detailing a moment in the history of the calendar and with a differently colored background. At lower right, initialed.
Dark purplish acrylic painting; grid-like form at center with circular forms at all four corners; signed in black at lower right; signed and dated on reverse.
Small oil painting in earth tones; upper centralized band of triangular shapes; signed & dated at lower right.
frame: 29 x 44 3/4; image: 6 x 32 inches
Abstract-lower two thirds of canvas green, 2 paint splatters in center, purple and gren parallel lines along right edge, pink, green, blue parallel lines along right edge,
Large diptych painting; lime greend background with black mountain-like motif; four oblong circles at center
Lee Mullican's highly individual style of striated paint, haloed forms, and tapestry-like patterns reflects his varied interests in Native American art, Surrealism, Byzantine icons, Paleolithic figures, Zen Buddhism, and Hinduism. Moving away from the expressive impulse of earlier work and avoiding the austerity of Minimalism, Mullican pursued a more spiritual endeavor and sought to conjure invented worlds through his art. For forty years he made California his home, teaching at UCLA for the majority of the time.
Gift of Miss Alice Erving through UCSB Art Affiliates
The freedom in my paintings is quite controlled; I dont close my eyes and hope for the best. This statement by Joan Mitchell reminds that her exuberant compositions are just thatcomposed. While often considered a second-generation abstract expressionist, Mitchell moved to France in 1959 to distance herself from the New York scene. In 1969, she settled in Vheuil, north of Paris, to a two acre riverfront compound. There, in her larger studio, her landscape inspired canvases increased in scale and their surfaces became more weighty and dense.
American Academy of Arts and Letters, Childe Hassam Fund