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                <text>&lt;em&gt;Gods of Happiness, Business! 1&lt;/em&gt;, 2008</text>
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                <text>Collage, mixed media, panel</text>
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                <text>Gift of Sakata Natsume in memory of her mother Tomiyama Taeko</text>
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        <name>Japan</name>
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                  <text>The AD&amp;amp;A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques.</text>
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                <text>&lt;strong&gt;TOMIYAMA TAEKO&lt;/strong&gt;</text>
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                <text>&lt;em&gt;Gods of Happiness, Business! 2&lt;/em&gt;, 2008</text>
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                <text>Collage, mixed media, panel</text>
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                <text>43 1/8 x 33 1/8" (FRAMED)</text>
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                <text>Gods of Happiness, Business! 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors.&lt;br /&gt;&lt;br /&gt;Following traditional Japanese naming conventions last name is provided first.</text>
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                <text>Gift of Sakata Natsume in memory of her mother Tomiyama Taeko</text>
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        <name>Mixed Media</name>
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        <name>pink</name>
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              <name>Title</name>
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                  <text>In addition to outdoor sculpture, the AD&amp;amp;A Museum's collection includes numerous smaller works by artists such as Mark Di Suvero, UCSB Alum, and Beatrice Wood.&lt;br /&gt;&lt;br /&gt;The museum also has a smaller number of assemblages and mixed media collages in its collection.</text>
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            <name>Identifier</name>
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                <text>&lt;strong&gt;Valenti&lt;/strong&gt;, Italo</text>
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                <text>Swiss, b. 1912</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;Valenti, &lt;/strong&gt;Italo</text>
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                <text>&lt;em&gt;Untitled&lt;/em&gt;</text>
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                <text>1981</text>
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                <text>13 1/2 x 12"</text>
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                <text>Dark gray mixed media collage</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Paul Tuttle Estate</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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        <name>Blue</name>
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        <name>Mixed Media</name>
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              <name>Title</name>
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                  <text>&lt;strong&gt;The Barry Berkus Family Collection&lt;/strong&gt;</text>
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              <description>An account of the resource</description>
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                  <text>The Barry Berkus Family Collection contributes to the strength of the Museum's holdings of twentieth century works on paper. Made in 2006, the Berkus gift provided the museum with twenty-one works on paper by artists working primarily in the United States in the 1980s and 1990s, including: Robert Motherwell, William Wegman, Robert Rauschenberg, and Carrie Mae Weems. Berkus, an architect who worked in Southern California, designed the UC Santa Barbara’s Mosher Alumni Building.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;WILEY&lt;/strong&gt;, William</text>
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            <name>Creator</name>
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                <text>&lt;strong&gt;WILEY&lt;/strong&gt;, William</text>
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                <text>b. United States</text>
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            <description>An account of the resource</description>
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                <text>&lt;em&gt;Eerie Grotto? Okini&lt;/em&gt;</text>
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                <text>23 x 29"</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Barry A. Berkus and Family</text>
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        <name>American</name>
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        <name>funk</name>
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        <name>Mixed Media</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;Paintings&lt;/strong&gt;</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>In addition to the Sedgwick Collection of Old Master Paintings and The Fernand Lungren Bequest, the AD&amp;amp;A Museum has steadilycollected paintings including works complimenting the Sedgwick Collection as well as large scale works by Matt Mullican and Adam Ross.</text>
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            <name>Identifier</name>
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                <text>1990.9</text>
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                <text>&lt;strong&gt;WOJNAROWICZ&lt;/strong&gt;, David</text>
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                <text>American, New Jersey 1964 - 1992</text>
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            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;WOJNAROWICZ&lt;/strong&gt;, David</text>
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                <text>&lt;em&gt;Hunger&lt;/em&gt;</text>
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                <text>1988</text>
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                <text>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.</text>
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                <text>Gift of Robert H. Halff</text>
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        <name>Painting</name>
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                  <text>In addition to outdoor sculpture, the AD&amp;amp;A Museum's collection includes numerous smaller works by artists such as Mark Di Suvero, UCSB Alum, and Beatrice Wood.&lt;br /&gt;&lt;br /&gt;The museum also has a smaller number of assemblages and mixed media collages in its collection.</text>
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                <text>&lt;strong&gt;ZIPERSTEIN&lt;/strong&gt;, Bari</text>
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                <text>&lt;strong&gt;ZIPERSTEIN&lt;/strong&gt;, Bari</text>
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                <text>&lt;em&gt;Aniuta is loved by foreign tourists and she in turn loves them for their foreign cash&lt;/em&gt;</text>
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                <text>2016</text>
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                <text>Wood, stoneware, glaze and natural dyed rope</text>
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                <text>23 3/4 X 27 X 3"</text>
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                <text>Using Russian communist propaganda as her starting point, this hexagonal wall hanging was created by the artist and was part of a faux trade show boothdepicting manipulated Communist government-sanctioned images of women. The installation, Fair Trade, was based on actual, detailed specifications established by the Communist Russian government for commercial, industrial fairs.</text>
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                <text>Museum purchase</text>
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        <name>political</name>
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        <name>propaganda</name>
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        <name>Sculpture</name>
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        <name>stone</name>
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        <name>string</name>
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        <name>wall hanging</name>
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        <name>Wood</name>
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                  <text>In addition to outdoor sculpture, the AD&amp;amp;A Museum's collection includes numerous smaller works by artists such as Mark Di Suvero, UCSB Alum, and Beatrice Wood.&lt;br /&gt;&lt;br /&gt;The museum also has a smaller number of assemblages and mixed media collages in its collection.</text>
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            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;COWAN&lt;/strong&gt;, Katy</text>
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                <text>COWAN, Katy</text>
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                <text>b. United States, 1982</text>
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                <text>&lt;em&gt;Ropes, Days, Nights, Handles, Netting and Poem Variation&lt;/em&gt;, 2016</text>
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                <text>Painted braided rope,with glazed and bronzed ceramics</text>
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                <text>64 x 16 x 3" OVERALL</text>
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                <text>Hanging mixed media sculpture with painted braided rope; glazed and bronzed ceramic forms knotted throughout the work with saw like handles descending from the lower rung of knots.</text>
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                <text>2016</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Philip Martin and Portia Hein</text>
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        <name>Sculpture</name>
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        <name>Textiles</name>
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              <name>Title</name>
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                  <text>&lt;strong&gt;Women Beyond Borders&lt;/strong&gt;</text>
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                  <text>Women Beyond Borders Art Collection founded by Lorraine Serena</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Donated in 2023, Women Beyond Borders showcases the transformative gift of the archives and artworks from the multisite, cross-cultural exhibition project, Women Beyond Borders, founded by UCSB alum, Lorraine Serena (B.A. ’63, M.F.A. ‘75) in 1991. The project started with a small wooden box (measuring 3 1/2 by 2 by 2 1/2 inches) and an enticing invitation to women around the world—to transform this small container to one's liking. More than 900 people across 50 countries accepted it. The exhibition explores how Women Beyond Borders fostered experimental spaces for doing-it-oneself and doing-it-together, highlighted artistic media often dismissed for being in the realm of women, and challenged—through feminist practice and collectivity—hurdles for artistic freedom and expression in a wide array of geopolitical contexts.</text>
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            <name>Identifier</name>
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                <text>2023.005.061</text>
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                <text>JAUK-HINZ, Doris</text>
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                <text>b. Austria</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;em&gt;Passive......Active&lt;/em&gt;</text>
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                <text>3 X 4 X 2 1/2" OVERALL</text>
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                <text>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 wrapped in gold with a printed message on the interior discussing passivity.</text>
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                <text>&lt;strong&gt;JAUK-HINZ&lt;/strong&gt;, Doris</text>
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                <text>1995</text>
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                <text>Women Beyond Borders Art Collection founded by Lorraine Serena</text>
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        <name>Mixed Media</name>
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        <name>Treasure</name>
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        <name>Valuables</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;The Ruth S. Schaffner Collection&lt;/strong&gt;</text>
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                  <text>&lt;span&gt;Ruth S. Schaffner (1914-1996) was a photojournalist and filmmaker, collector and patron, and art dealer whose galleries in Santa Barbara and Los Angeles introduced many vanguard contemporary artists to southern California, including Robert Therrien, John McCracken, and Larry Bell. Due to Schaffner’s generous gifts of more than one-hundred works of art, the AD&amp;amp;A Museum makes available to its visitors a significant holding of contemporary art with a strong nucleus in works from the mid-1960s and 1970s when Minimalism, Pop, and Conceptual artists effected a rupture in traditional forms. The Schaffner Collection includes works from Judy Chicago, Larry Rivers, Joan Mitchell, and Joseph Beuys. Ruth Schaffner’s gifts exemplify the legacy of support the AD&amp;amp;A Museum has received from the Santa Barbara arts establishment and stand as an example of the community’s vibrant contribution in enriching and enlivening our teaching museum.&lt;/span&gt;</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1986.582</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;LIASHKOV&lt;/strong&gt;, Peter</text>
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                <text>Liashkov, Peter</text>
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                <text>American, b. 1939 - </text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>&lt;em&gt;Real Estate No. 4&lt;/em&gt;</text>
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                <text>vinyl, photography, ashes, epoxy, china marker, insulation board</text>
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                <text>48 x 24 x 5/8 in.</text>
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            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="42341">
                <text>Ruth S. Schaffner Collection</text>
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            <name>Date</name>
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        <name>insulation board</name>
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        <name>Mixed Media</name>
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        <name>photography</name>
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        <name>vinyl</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;The Arts of Asia&lt;/strong&gt;</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="93273">
                  <text>The AD&amp;amp;A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques.</text>
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            <name>Identifier</name>
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                <text>2025.001.003</text>
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            <name>Creator</name>
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                <text>TAEKO, Tomiyama</text>
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            <description>An account of the resource</description>
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                <text>&lt;em&gt;Wandering Minstrels and Puppeteers&lt;/em&gt;</text>
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                <text>Oil on canvas</text>
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                <text>32 1/2 x 42 1/2" (FRAMED)</text>
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                <text>2008</text>
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                <text>Wandering Minstrels and Puppeteers is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. This work represents the curtain call for the sea wanderers and travelers. Among the cast of characters are Malaysian and Indonesian puppets, Polynesian masks, a Western minstrel, Otafuku (a Japanese goddess known for her round face, rosy cheeks, and a cheerful smile, symbolizing happiness and prosperity), and the literary figure Ah Q from Lu Xuns 1921 novella. Lu Xun (1881-1936), a pioneering Chinese writer, used vernacular Chinese in his works to expose the struggles and injustices faced by common people amid modernization and Western imperialism. Tomiyama calls these characters troubadours (tabi-geinin), evoking medieval wandering performers who carried culture and religion with them, freely mingling and sharing ideas across borders. Tomiyama even includes herself in the painting (bottom right), identifying as a fellow traveler and puppeteer performing her art around the globe.&lt;br /&gt;&lt;br /&gt;Following traditional Japanese naming conventions, last name is provided first.</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Sakata Natsume in memory of her mother Tomiyama Taeko</text>
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