Small oil painting of Miguelito Creek, Lompoc, California.
Estate of Frances Garvin and Keith Julius Puccinelli
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. The artist has created a fold-out structure of her box replicating memorable experiences as suggested by the title of her box Viaje En La Memoria.
Women Beyond Borders Art Collection founded by Lorraine Serena
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. The artist has created a scene of minature coca cola bottles with tin coca cola advertisements in hommage to her grandmother's habits. Art description and date on the reverse.
Black and white lithograph of the upper half of a female figure standing in profile; artist signature and date at lower right; edition statement at lower left.
Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family
Lithograph of laborers with baskets on their baskets walking barefoot on a plank. Artist signature, date, edition statement at lower left; RA initials at upper right.
Lime Kilns from Mexican People portfolio
Lithograph of men working at Lime Kilns positioned at a building in the upper left background; artist's signature at lower right.
I Wear Sunglasses at Night, 1987
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, the artist has used black and white beads to cover her box.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, the box is covered with red and green paint with the edges detailed in black.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, the artist has used a beaded application overall; the lid has been separated in to two parts.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. This box is also painted in reds and greens with the edges outlined in black.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, a flat pattern design of blue blue beads highlighted with white covers the box.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. The artist has chosedn to use a wall paper-like material with white stripes and flowers pinted on a blue ground for her box.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. The box is covered in blue knitted weave.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. The artist has covered her box in a rich green fabric highlighted with green beads.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. This box has been separated in half with each covered in brown fabric with pink lace.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, this box is adorned with white and silver intricately placed beading.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. As part of the Children's Box Project, the artist has used a cardboard box outfitted with various textiles and threads.
ANTHONY MCCALL ASSOCIATES
Richard Serra, September 20-October 25, 2003
Black and white lithograph of a Gagosian Gallery poster advertising a Richard Serra exhibition; signed at lower right by Richard Serra.
America America: Recollections of My Life with Diaghilev: Three Ballerinas in Monte Carlo
Faint sketch of three women standing closely together in formal dresses. Signature and edition statement lower left corner.
ARBUSTO, Jorge (aka Keith Puccinelli)
Two sheet drawing of a nude, partially human creature with ridged spine. This was completed by Puccinelli under the alias Jorge Arbusto. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias.
Jorge Arbusto is an alias or later ego of Puccinelli's. He came up with the name during George H.W. Bush administration and would submit work to juried shows under this alias. Painting of an enlarged pipe; below sits the phrase " Esto no es una pipa de la mola" translated to "This is not a pipe that is cool"; signed Jorge Arbusto at upper right.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias.This painting details a figure resembling a head above a pink and purple landscape; on reverse signed.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias. The piece is a a swirling mass of grey-ish blue water with human limbs and debris. Signed by artist on reverse.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias. This Image includes a snowy mountian ladscape and a young boy dressed in blue combined though alternating vertical lines. Signed, titled, and dated by artist on reverse in upper right corner.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias. This painting details a pink cactus with green stems; on reverse signed.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias. This painting includes a side portrait with no facial features; windmill deisgn on arm; on reverse signed.
Self-portrait in white oil pastel drawn over newsprint; On reverse, signed "Jorge Arbusto." which served as an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias.
Jorge Arbusto is an alias or alter ego of Puccinelli's. He came up with the name during the George H. W. Bush administration and would submit work to juried shows under this alias. This Image includes the Santa Barbara Mission and a large ship combined through alternating horizontal lines. Signed, titled, and dated by the artist on reverse in the upper right corner.
Precious Stones (Notre Dame des Andelys)
Vertical abstract image in blacks, blue set against white ground. Framed in light oak; published by Tullis Workshop, Santa Barbara
Abstract, jagged forms made by cutting into plywood with a chainsaw.
Museum Purchase with Funds Provided by the Wallis Foundation
Large bulbous container in earthenware colors; created for outdoor use; part of the artist's Mountain Pot Series
Michael Arntz is known for large and monumental scale landscape stoneware sculptures and vessels. He was born in Los Angeles, California in 1939, and went on to receive his BA in 1962 at California State University in Long Beach. Two years later, he received his MFA at the same University. Arntz is based in California, where he has lived and worked for much of his life. Along with creating his sculptures, the artist has also worked as a teacher at UC Santa Barbara and as a designer at the Architectural Pottery Corporation. He has exhibited throughout California and the United States, as well as internationally, in Japan and the U.K. He will be remembered as one of the pioneers in Southern California’s 20th Century Modern trail-blazing list of craftspeople and designers. In high fire stoneware, porcelain and Raku he created an extensive body of small and monumental work. Each thrown piece or sculpture embodies a freedom of form and zest for experimentation with his distinctive style and energized strength. Early in his career, Arntz' in the vessel form was influenced by southwestern Native American pots and those of other cultures.
Bird's eye view of piazza after Michelagelo's re-design; special attention to building facades
Gift of Dora P. Crouch, Transfer from the UC Santa Barbara Library
Bird's eye view of piazza prior to Michelagelo's architectural reworking; delicate, detailed
Gift of Dora P. Cround, Transfer from the UC Santa Barbara Library
Graphite and color wash drawing of a shirtless man wearing only a vest. Male sports an uneven haircut and a beard; his left arm is held against his chest.
Bird's eye view with fish eye perspective of town with bell tower at center.
ARP, Jean; DELAUNEY, Sonia MAGNELLI, Alberto; TAEUBER-ARP, Sophie,
Aux Nourritures Terrestres [To the Fruits of the Earth]
Edmond and Jacques Desjobert prepared these ten lithos from collaborative drawings made by the four artists in 1942 when they lived together in Grasse.
ARP, Jean; DELAUNEY, Sonia, MAGNELLI, Alberto; TAEUBER-ARP, Sophie,
Art & Language (Michael Baldwin, Charles Harrison, Mel Ramsden)
Map to indicate countries according to capacity to glimpse the possibility of the absence of presence, and the possibility of change
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 80 - Buyse/Lille-2002
Donald P. Walton Jr. and Frances Colpitt Estate
Map to indicate countries according to penetration by work beyond the object
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 81 - Buyse/Lille-2002
Map to indicate countries according to ability to understand reality as hyperrealistic
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 83 - Buyse/Lille-2002
Map to indicate countries according to development of the politics of representation, 2002
Printed Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. along the lower edge: ART? ART & LANGUAGE - Affiche No. 84 - Buyse/Lille-2002
Rajput Miniature Painting, c. 1800
Artist unknonw, Indian, Punjabi
Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes
Day of World Solidarity with the Struggle of People of Palestine
Artist Unknown (Morret's)
Old man with white beard, 20th c.
Yellow-framed portrait of an old man with a white beard wearing a suit
Artist unknown Chinese, Hill Tribe probably Yao
painting on paper mounted on scroll paper
Thomas C. Pavia Collection of Daoist Gods
Gentoo Barber, ca. early 20th C.
Indian folk painting of a "Gentoo" barber cutting the hair of a male seated at right leaning against a tree. Gentoo is a word coined by Westerners in reference to the native population of India prior to the use of Hindu.
Artist unknown, Indian
Artist unknown, Chinese, Hill tibe probably Yao
Artist unknown, Chinese
Gu?ng xReign, Qing Dynasty, 1644-1911 CE
Three Heavenly Officials and their Concubines
Yue Fei, d. 1143, Southern Song Dynasty, Song Dynasty, 960-1279 CE
Rite of Passage for a Young Lady
The Hell of Hades (Reaping What's Been Sown)
Be Like the Buddha, but Keep Your Spear Points Sharp
Touched By An Angel (The Celestial Class of 981 AD)
A Story Worth Telling (Chronology of the Wang Family)
The God of Kindness and Abundance