<strong>ARVANITE</strong>S, John
<em>Icebox Classic</em>
1974
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.
<strong>ARVANITES</strong>, John
b. United States, 1943
Gift of the artist
1974
2014.023.001
<strong>ARVANITES</strong>, John
<em>Sand</em>
1972
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.
<strong>ARVANITES</strong>, John
b. United States, 1943
Gift of the artist
1972
2014.023.002
<strong>GARY</strong>, Ja'Tovia
<em>Giverny I (NEGRESSE IMPERIALE)</em>
2017
Film,1/5
6 minutes
<strong>GARY</strong>, Ja'Tovia
b. United States, 1984
Museum purchase
2017
2018.028.001
<strong>RAINER</strong>, Yvonne
<strong>Five Easy Pieces</strong>: <em>Hand Movie, Volleyball (foot film), Rhode Island Red, Trio Film, Line</em>
Five Easy Pieces is a compilation of five of Yvonne Rainer's early short films made between 1966 and 1969; 16 mm film<br /><br />Yvonne Rainer made <strong>Hand Movie</strong> while confined to her hospital bed recovering from surgery. Characteristic of her minimal style, a single hand is presented against a plain background. The hand bends and twists, presenting all angles to viewers, and demonstrates the incredible flexibility of this body part. <br /><br /><strong>Vollyeball </strong>is a volleyball rolling into the frame and coming to a stop. Then, two legs, seen from the knees down and attired in sneakers, enter the frame and stand beside the volleyball. A new angle is then cut to, yet still featuring the same characters and actions.<br /><br /><strong>Rhode Island Red</strong> includes an interior of an enormous chicken coop, silently and in black and white. <br /><br /><strong>Trio </strong>is silent and in black and white. While in a white living room, a nude man and a nude woman interact with one another and a large ballon. <br /><strong><br />Linen </strong>is a silent and black and white film, a blond woman (Susan Marshall) is dressed in white pants and a shirt. She interacts with a moving round object and the camera, itself.
<strong>RAINER</strong>, Yvonne
b. United States, 1934
Museum purchase
1966-1969
2018.014.001.001-005
<strong>SEGALOVE</strong>, Ilene
<em>Whatever Happened to MY Future?</em>
2012
Single-channel video, black and white, sound; 11:21 min
Ilene Segalove has taken the raw material of her daily life as her subject matter, focusing more specifically on suburban California. Working in various media including appropriated images and photography, Segalove is perhaps best known for her early engagement with video and her investigation of consumerism (especially in relation to television), feminism, popular culture, and autobiography. In Coal Confession, a video she made while still at UCSB, Segalove recounts having received an outstanding grade on a school report that she plagiarized. The deprecating humor in this work is also found in her more recent videos. In What Ever Happened to MY Future?, Segalove addresses her younger self by revisiting an earlier recording she made as a young adult. This ironic work confronts some of her life's disappointments. Segalove's confessional approach and predisposition for selfnarration can likewise be read in Secret Places, also on view in this gallery, which features three stark photographic images depicting the exterior of buildingsintimate locations for the artist, places where she lived and loved.
<strong>SEGALOVE</strong>, Ilene
b. United States, 1950
Museum purchase
2012
2014.010.001
<strong>SEGALOVE</strong>, Ilene
<em>The Coal Confession</em>
1972
Single-channel video, black and white, sound; 2:38 min, transfer to digital
Ilene Segalove has taken the raw material of her daily life as her subject matter, focusing more specifically on suburban California. Working in various media including appropriated images and photography, Segalove is perhaps best known for her early engagement with video and her investigation of consumerism (especially in relation to television), feminism, popular culture, and autobiography. In Coal Confession, a video she made while still at UCSB, Segalove recounts having received an outstanding grade on a school report that she plagiarized. The deprecating humor in this work is also found in her more recent videos. In What Ever Happened to MY Future? Segalove addresses her younger self by revisiting an earlier recording she made as a young adult. This ironic work confronts some of her life's disappointments. Segalove's confessional approach and predisposition for selfnarration can likewise be read in Secret Places, also on view in this gallery, which features three stark photographic images depicting the exterior of buildingsintimate locations for the artist, places where she lived and loved.
<strong>SEGALOVE</strong>, Ilene
b. United States, 1950
Courtesy of the artist
1972
2014.011.001