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                  <text>&lt;strong&gt;Photography&lt;/strong&gt;</text>
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                  <text>In addition to the Bancroft Collection of Vintage Photographs and the Carolyn and Edwin Gledhill Collection, the AD&amp;amp;A Museum has established a wide and comprehensive selection of photography dating to the late 19th c. thru today. This includes but is not limited to salt paper and albumen prints and contemporary photographers such as Garry Winogrand and Catherine Opie.</text>
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                <text>2026.001.002</text>
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                <text>&lt;strong&gt;MONTANA&lt;/strong&gt;, Star</text>
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                <text>b. United States, 1987</text>
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                <text>&lt;strong&gt;MONTANA&lt;/strong&gt;, Star</text>
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                <text>&lt;p&gt;&lt;em&gt;Lorenza Perez and Juan Perez Muñoz&lt;/em&gt;, 2025&lt;/p&gt;
&lt;p&gt;Archival inkjet print&lt;/p&gt;</text>
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                <text>48 x 36" SHEET</text>
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                <text>Centralized image of Lorenza Perez and Juan Perez Munoz standing on the grass with the UCSB lagoon as backdrop. The subjects are enclosed by foliage with the woman placing her left hand on the man's shoulder as he stands with his arms at his sides.The woman is dressed in a long, dark, floral dress and black shoes while the man wears a blue dress shirt, dark jeans, and brown shoes.</text>
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                <text>2025</text>
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            <name>Source</name>
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                <text>Museum purchase</text>
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        <name>California</name>
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        <name>Formal Dress</name>
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        <name>Hispanic</name>
      </tag>
      <tag tagId="563">
        <name>Nature</name>
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        <name>photography</name>
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      <tag tagId="34">
        <name>portrait</name>
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        <name>Santa Barbara</name>
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                  <text>&lt;strong&gt;Photography&lt;/strong&gt;</text>
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                  <text>In addition to the Bancroft Collection of Vintage Photographs and the Carolyn and Edwin Gledhill Collection, the AD&amp;amp;A Museum has established a wide and comprehensive selection of photography dating to the late 19th c. thru today. This includes but is not limited to salt paper and albumen prints and contemporary photographers such as Garry Winogrand and Catherine Opie.</text>
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            <name>Identifier</name>
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                <text>2026.001.001</text>
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            <name>Creator</name>
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                <text>&lt;strong&gt;MONTANA&lt;/strong&gt;, Star</text>
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                <text>b. United States, 1987</text>
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                <text>&lt;strong&gt;MONTANA&lt;/strong&gt;, Star</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;p&gt;&lt;em&gt;Christopher Juarez Alvarado and Aaliyah Janette Quinonez&lt;/em&gt;, 2025&lt;/p&gt;
&lt;p&gt;Archival inkjet print&lt;/p&gt;</text>
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                <text>48 x 36" SHEET</text>
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                <text>Christopher Juarez Alvarado and Aaliyah Janette Quinonez stand against the UCSB lagoon backdrop enclosed by foliage Both are dressed in white, with the male subject wearing a white button up shirt, black slacks, and black sneakers while the female subject wears a long white skirt and blouse with red sneakers.</text>
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                <text>2025</text>
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            <name>Source</name>
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                <text>Museum Purchase</text>
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        <name>Hispanic</name>
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      <tag tagId="563">
        <name>Nature</name>
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      <tag tagId="497">
        <name>photography</name>
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        <name>portrait</name>
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        <name>Santa Barbara</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;American and European Prints and Drawings post 1900&lt;/strong&gt;</text>
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                  <text>In addition to the American and European works on paper (prints and drawings) created before 1900, the AD&amp;amp;A Museum includes a strong collection of post 20th century works.  This includes but is not limited to Rudolph Schindler, Salvador Dali and Andy Warhol.</text>
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            <name>Identifier</name>
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                <text>2025.011.003</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;MARTINEZ DE HOYOS&lt;/strong&gt;, Ricardo</text>
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                <text>b. Mexico, 1918-2009</text>
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                <text>&lt;strong&gt;MARTINEZ DE HOYOS&lt;/strong&gt;, Ricardo</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="157337">
                <text>&lt;em&gt;Untitled&lt;/em&gt;, ca. 1960&lt;br /&gt;Gouache and pencil on paper</text>
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                <text>4 1/2 x 11 3/4 x 3/4" FRAMED</text>
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                <text>Small landscape painting sketch with a green background which melds into the gray sky; a dark hill cresting through the middle of the image. Exposed, unpainted, tan paper serves as the foreground. Illegible text written in pencil at the bottom of the object. "Un ------ Rudin de Rancho Man---og." Acquisition documents list this work as "signed for Mrs. Gloria Rubin."</text>
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            <name>Date</name>
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                <text>ca. 1960</text>
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                <text>Lee Mirrer, Trustee of the Gloria Rubin Revocable Trust</text>
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        <name>cloudy</name>
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        <name>Nature</name>
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        <name>ocean</name>
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        <name>Painting</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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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>2023.005.002</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;SHABNAM&lt;/strong&gt;</text>
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                <text>b. Afghanistan</text>
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                <text>&lt;em&gt;Untitled #2&lt;/em&gt;, 2003</text>
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                <text>Mixed media</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. In Untitled #2, the artist illustrates water in pastels with black representing trees and mountains.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;SHABNAM&lt;/strong&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="155586">
                <text>2003</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Women Beyond Borders Art Collection founded by Lorraine Serena</text>
              </elementText>
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        <name>landscape</name>
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        <name>Mixed Media</name>
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      <tag tagId="600">
        <name>mountains</name>
      </tag>
      <tag tagId="563">
        <name>Nature</name>
      </tag>
      <tag tagId="403">
        <name>trees</name>
      </tag>
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  <item itemId="17206" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;The Garcia-Correa Collection of Mexican Prints&lt;/strong&gt;</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>&lt;span&gt;Focusing on prints from the 1920s to the 1980s, the Garcia-Correa Collection of Mexican Prints highlights the importance of the graphic arts in Mexico. Gifted in 2025, this collection includes a selection of prints by renowned artists such as Emilio Amero, Leopoldo Méndez, José Clemente Orozco, David Alfaro Siqueiros, and Alfredo Zalce. Thematic focus includes labor, gender, and domesticity—key aspects of campesino culture and its farming community that have informed the lives of the collectors.&lt;br /&gt;&lt;/span&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;GREENWOOD&lt;/strong&gt;, Marion</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;em&gt;Mexican Harvest&lt;/em&gt;</text>
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                <text>Lithograph</text>
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                <text>12 x 16" SHEET</text>
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                <text>Black and white lithograph of a wheat or grain field. Multiple female figures dressed in traditonal Central American clothing collecting the grain into bundles and giving to male figures. who load it onto donkeys. Artist signature at lower right corner.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1930</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;em&gt;Paul Leroy Robeson&lt;/em&gt;</text>
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                <text>Linocut</text>
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                <text>Black and white lithograph with a centralized portrait identified as Paul Leroy Robeson holding a bird with broken chains overhead. Title at lower left; artist signature and date at lower right.</text>
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                <text>Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family</text>
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                <text>Lithograph</text>
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        <name>window</name>
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                <text>El Trapiche de Azucar</text>
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                <text>&lt;em&gt;Michoacan 1980-1986&lt;/em&gt;</text>
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                <text>Black and white etching of an abstracted face identified as Emiliano Zapata occupying upper half of image; a curvilinear band of black occupies the lower half; Artist signature at lower right. Embosser seal ALEIANDRA TLAPANCO MARTINEZ at lower left with edition statement</text>
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                <text>Cuernavaca</text>
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                <text>Lithograph, 2/10</text>
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                <text>19 6/8 x 15 1/8" SHEET</text>
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                <text>Black and white lithograph of a clustered cityscape. Edition number at lower left with the title at the center. Artist signature and at lower right.</text>
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            <name>Date</name>
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                <text>1957</text>
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                <text>&lt;strong&gt;CASTRO,&lt;/strong&gt; Vita</text>
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                <text>b. Mexico, 1904-1987</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family</text>
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                <text>2025.002.007</text>
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        <name>homes</name>
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        <name>Monochrome</name>
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        <name>Nature</name>
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                <text>Ritual of Huicol Indian Tribe</text>
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                <text>15 1/8 x 17 5/8" SHEET</text>
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                <text>&lt;strong&gt;BRACHO&lt;/strong&gt;, Angel</text>
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                <text>Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family</text>
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            <name>Identifier</name>
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                <text>2025.002.006</text>
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        <name>roots</name>
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                  <text>&lt;span&gt;Focusing on prints from the 1920s to the 1980s, the Garcia-Correa Collection of Mexican Prints highlights the importance of the graphic arts in Mexico. Gifted in 2025, this collection includes a selection of prints by renowned artists such as Emilio Amero, Leopoldo Méndez, José Clemente Orozco, David Alfaro Siqueiros, and Alfredo Zalce. Thematic focus includes labor, gender, and domesticity—key aspects of campesino culture and its farming community that have informed the lives of the collectors.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;strong&gt;AMERO&lt;/strong&gt;, Emillio</text>
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                <text>Muchacha Peinandose</text>
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                <text>Lithograph, AP</text>
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                <text>16 1/2 x 12 1/2'' SHEET</text>
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                <text>Colored lithograph of a semi-nude female figure seated in an outdoor space, possibly a field, combing her hair. Artist initals at lower left corner with full name and date at lower right.</text>
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                <text>1950</text>
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                <text>&lt;strong&gt;AMERO&lt;/strong&gt;, Emillio</text>
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                <text>b. Mexico, 1901-1976</text>
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                <text>Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family</text>
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            <name>Identifier</name>
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                <text>2025.002.004</text>
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        <name>color</name>
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                  <text>&lt;strong&gt;The Garcia-Correa Collection of Mexican Prints&lt;/strong&gt;</text>
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                  <text>&lt;span&gt;Focusing on prints from the 1920s to the 1980s, the Garcia-Correa Collection of Mexican Prints highlights the importance of the graphic arts in Mexico. Gifted in 2025, this collection includes a selection of prints by renowned artists such as Emilio Amero, Leopoldo Méndez, José Clemente Orozco, David Alfaro Siqueiros, and Alfredo Zalce. Thematic focus includes labor, gender, and domesticity—key aspects of campesino culture and its farming community that have informed the lives of the collectors.&lt;br /&gt;&lt;/span&gt;</text>
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            <name>Title</name>
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                <text>&lt;strong&gt;AGUIRRE&lt;/strong&gt;, Ignacio</text>
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            <name>Description</name>
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                <text>Emiliano Zapata</text>
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                <text>Linocut</text>
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                <text>19 2/8 x 13" SHEET</text>
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                <text>Linocut of Emiliano Zapata identified as the Great Leader of the Revolutionary Peasant Movement standing in a corn field wearing peasant dress. Signed and identified below image.</text>
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            <name>Date</name>
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                <text>ca. 1930</text>
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                <text>&lt;strong&gt;AGUIRRE&lt;/strong&gt;, Ignacio</text>
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                <text>b. Mexico, 1900-1990</text>
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                <text>Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family</text>
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            <name>Identifier</name>
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                <text>2025.002.003</text>
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        <name>portrait</name>
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        <name>works on paper</name>
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            <name>Identifier</name>
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                <text>2025.001.005</text>
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            <name>Creator</name>
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                <text>&lt;strong&gt;TAEKO TOMIYAMA&lt;/strong&gt;</text>
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                <text>b. Japan, 1921-2021</text>
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                <text>&lt;strong&gt;TOMIYAMA TAEKO&lt;/strong&gt;</text>
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            <name>Description</name>
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                <text>&lt;em&gt;In Toxic Seas&lt;/em&gt;</text>
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                <text>Oil on canvas</text>
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                <text>66 x 51 2/3" (FRAMED)</text>
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                <text>In Toxic Seas 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. Two towering structures rise out of the depths, echoing the iconic silhouette of New Yorks World Trade Center towers on September 11, 2001. Set against a fiery haze, these twin towers also evoke the explosive force of an oil-field fire. Billowing smoke fills the atmosphere that signals both ecological destruction and the ominous pretext for yet another war. Below, amidst a desolate landscape of discarded computer keyboardsa modern-day sunken graveyardskeletal birds peck curiously, their eerie yet carefree movements adding a touch of whimsy to Tomiyamas solemn message about global self-delusion, militaristic entanglements, and environmental ruin.&lt;br /&gt;&lt;br /&gt;Following traditional Japanese naming conventions, last names 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>ocean</name>
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              <name>Title</name>
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                  <text>&lt;strong&gt;The Arts of Asia&lt;/strong&gt;</text>
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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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            <name>Identifier</name>
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                <text>2025.001.004</text>
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                <text>TAEKO, Tomiyama</text>
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                <text>&lt;em&gt;Theater Beneath the Sea Splendid Banquet for the Empire&lt;/em&gt;</text>
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                <text>Oil on canvas</text>
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                <text>65 x 51 2/3" (FRAMED)</text>
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                <text>2008</text>
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                <text>Theater Beneath the Sea Splendid Banquet for the Empire 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. A celebratory flower ball draws the viewer into an undersea world, but reveals itself to be a jellyfish, silently spreading its toxins. Set against a deep green background, the sea floor exposes remnants of imperialism that have been hauntingly preserved, including the emperors official emblem and stylized Manchurian costumes. Amidst these relics, a capitalist party unfolds, engulfed in gold confettia spectacle of excess and consumption, contrasting with the forgotten toxins looming above.&lt;br /&gt;&lt;br /&gt;Following traditional Japanese naming conventions, last name is lprovided first.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2008</text>
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            <name>Source</name>
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                <text>Gift of Sakata Natsume in memory of her mother Tomiyama Taeko</text>
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        <name>fish</name>
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        <name>Japan</name>
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        <name>Nature</name>
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        <name>ocean</name>
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        <name>Painting</name>
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            <name>Identifier</name>
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                <text>2025.001.002</text>
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                <text>TAEKO, Tomiyama</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;TOMIYAMA TAEKO&lt;/strong&gt;</text>
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            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>&lt;em&gt;Long Ago in Southern Seas II&lt;/em&gt;</text>
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                <text>Oil on canvas</text>
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                <text>29 1/8 x 40" (FRAMED)</text>
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                <text>2008</text>
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                <text>Long Ago in Southern Seas II 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. Artist's signature at lower right.&lt;br /&gt;&lt;br /&gt;Following traditional Japanese naming conventions, last name is provided first</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2008</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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        <name>animal</name>
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        <name>Japan</name>
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        <name>Nature</name>
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        <name>ocean</name>
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        <name>Painting</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;The Keith Puccinelli Collection of Art and Design&lt;/strong&gt;</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="95836">
                  <text>In 2018, the AD&amp;amp;A Museum was given numerous artworks from the Estate of Frances Garvin and Keith Julius Puccinelli. Included in this gift are Puccinelli's own archive of drawings, sculptures, prints, sketchbooks, and graphic design. As a renowned artist and graphic designer based in Santa Barbara, the collection represents a significant part of the Museum's holdings.</text>
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    <elementSetContainer>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>2018.001.681</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;PUCCINELLI DESIGN STUDIO&lt;/strong&gt;</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;PUCCINELLI DESIGN STUDIO&lt;/strong&gt;</text>
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                <text>1983-1996</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="153757">
                <text>&lt;em&gt;Ojai Festival&lt;/em&gt;, 1992</text>
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              <elementText elementTextId="153758">
                <text>Poster</text>
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              <elementText elementTextId="153759">
                <text>20 x 13" SHEET</text>
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              <elementText elementTextId="153760">
                <text>Poster includes blue leaves swirling around bubbles of sheet music, on a chartreuse background, below which reads: "Ojai Festival 92; Pierre Boulez, Los Angeles Philarmonic, Peter Stellars." Upper reads: "May 29, 30, 31." Maker details at lower right: Puccinell Design Original Reproduction.</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="153762">
                <text>Gift of the Estate of Frances Garvin and Keith Julius Puccinelli</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="153839">
                <text>1992</text>
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        <name>Advertising</name>
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        <name>Jazz</name>
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        <name>music</name>
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      <tag tagId="563">
        <name>Nature</name>
      </tag>
      <tag tagId="712">
        <name>works on paper</name>
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  <item itemId="16757" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>&lt;strong&gt;Sculpture and Mixed Media&lt;/strong&gt;</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="64479">
                  <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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      </elementSetContainer>
    </collection>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="144139">
                <text>2021.006.027</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
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                <text>&lt;strong&gt;LOWRY&lt;/strong&gt;, Janice</text>
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                <text>b. United States, 1946-2009</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;LOWRY&lt;/strong&gt;, Janice</text>
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            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="144143">
                <text>&lt;em&gt;Flora and Fauna Illustration Series: Winged Insects&lt;/em&gt;</text>
              </elementText>
              <elementText elementTextId="144144">
                <text>Collage</text>
              </elementText>
              <elementText elementTextId="144145">
                <text>16 3/4 x 10 1/2" UNFRAMED</text>
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              <elementText elementTextId="144147">
                <text>Collage of partially drawn figure of a man in a small black square, is collaged over a paper print of insect illustrations. A strip with elaborate penmanship at the bottom of the page reads, "yellow yellow yellow pest pest pest," referring to the illustrated insects. Signed and dated on the lower right.</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2004</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="144148">
                <text>Gift of John Gothold and the Kohler Foundation, Inc.</text>
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        <name>American</name>
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        <name>collage</name>
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        <name>Female</name>
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      <tag tagId="563">
        <name>Nature</name>
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      <tag tagId="34">
        <name>portrait</name>
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      <tag tagId="112">
        <name>Works-on-Paper</name>
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  <item itemId="10747" public="1" featured="0">
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <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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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="91446">
                  <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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    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Identifier</name>
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                <text>2000.43</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;JACKSON&lt;/strong&gt;, J.B. (After Titian)</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;JACKSON&lt;/strong&gt;, J.B. (After Titian)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;em&gt;Martyrdom of St. Peter Martyr&lt;/em&gt;</text>
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                <text>1739</text>
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                <text>Chiaroscuro woodcut in three colors</text>
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                <text>21 7/8" x 14"</text>
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                <text>Print of 1530 Titian painting of same title that was destroyed in 1739. Man attacking Peter, 2nd man feeling; Putti above.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of E. Bruce Robertson and Thom Kren</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1739</text>
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        <name>Nature</name>
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        <name>Religion</name>
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        <name>woodcut</name>
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          <name>Dublin Core</name>
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          <elementContainer>
            <element elementId="50">
              <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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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="91446">
                  <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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    <itemType itemTypeId="15">
      <name>Physical Object</name>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>2019.014.001</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;BOTTS&lt;/strong&gt;, Gregory</text>
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                <text>b. United States</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;BOTTS&lt;/strong&gt;, Gregory</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>&lt;em&gt;Nevada Falls&lt;/em&gt;</text>
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              <elementText elementTextId="91684">
                <text>1993</text>
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                <text>Oil on canvas</text>
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                <text>An abstract depiction of Nevada Falls with a bright beige cliff and white waterfall in the foreground; rolling grey hills in the background, and abstracted pine trees scattered throughout.</text>
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                <text>Gift of Ro Snell and Richard Sanders</text>
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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;em&gt;Seized Handle Pitcher&lt;/em&gt;</text>
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                <text>1953</text>
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                <text>White earthenware clay, 64/200</text>
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                <text>White earthenware clay turned pitcher with matte finish decorated with black, blue and white natural and animal-like abstracted forms. On the underside, the pitcher is numbered 64/200 along with Madoura and Edition Picasso stamps.</text>
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                <text>Gift of Lynn K. Altman Family Trust</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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                <text>sheet: 5.125 x 8 in.; image: 4.9375 x 7.875 in.</text>
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                <text>Gift of Mr. and Mrs. Joseph Halle Schaffner</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 1986, Keith Gledhill donated to the AD&amp;amp;A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This often resulted in empowered appearing women suggesting an early expression of feminism.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 1986, Keith Gledhill donated to the AD&amp;amp;A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
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&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This often resulted in empowered appearing women suggesting an early expression of feminism.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 1986, Keith Gledhill donated to the AD&amp;amp;A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This often resulted in empowered appearing women suggesting an early expression of feminism.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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                <text>&lt;em&gt;Arizona II&lt;/em&gt;</text>
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                <text>Gelatin silver print</text>
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                <text>3 3/8 x 5 1/2 in</text>
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                <text>Gift of Mr. Keith Gledhill</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 1986, Keith Gledhill donated to the AD&amp;amp;A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This often resulted in empowered appearing women suggesting an early expression of feminism.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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                <text>&lt;em&gt;Arizona I&lt;/em&gt;</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 1986, Keith Gledhill donated to the AD&amp;amp;A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business.&lt;/span&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;This often resulted in empowered appearing women suggesting an early expression of feminism.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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                <text>&lt;em&gt;Near Santa Cruz&lt;/em&gt;</text>
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                <text>4 1/4 x 4 1/4 in</text>
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                <text>Gift of Mr. Keith Gledhill</text>
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                  <text>&lt;strong&gt;The Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes&lt;/strong&gt;</text>
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                  <text>&lt;span&gt;Intricately carved reliefs cast in metal or carved in wood, the Morgenroth Collection of medals and plaquettes rivals major collections of similar materials in the National Gallery in Washington DC or the Metropolitan Museum of Art in New York. The medals commemorate important personages and events, an ancient custom which was revived during the Renaissance. Displayed at AD&amp;amp;A Museum in a &lt;/span&gt;&lt;em&gt;Wunderkammer&lt;/em&gt;&lt;span&gt; or “cabinet of curiosities,” the medals are viewed by visitors as Italian collectors in fifteenth and sixteenth centuries experienced them. The plaquettes, both round and rectangular in format, are just inches in size, featuring delicate bas-relief portraits and scenes of mythological and Christian subject matter. The Morgenroth collection is among the founding collections of the museum and belongs to the art historical heritage of Santa Barbara. These extraordinary medals and plaquettes, amassed by Mr. Morgenroth primarily between 1927 and 1939, received their inaugural exhibition at the Santa Barbara Museum of Art from January to March 1943.&lt;/span&gt;</text>
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                <text>&lt;em&gt;Fall of Man and Expulsion from Paradise&lt;/em&gt;</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 2012, the AD&amp;amp;A Museum at UC Santa Barbara was gifted 8 Portfolios from &lt;b&gt;Exit Art&lt;/b&gt;.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Founded in 1982 by Jeanette Ingberman and  Papo Calo, &lt;b&gt;Exit Art&lt;/b&gt; was in operation until mid—2012 and served as an alternative exhibition space for artists working outside the mainstream.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;The first location, was on West Broadway, in SoHo.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;In 2002, the gallery moved to its last and final location in Hell's Kitchen where is stayed until mid 2012. Having been identified as an ideal space for artists, &lt;b&gt;Exit Art’s&lt;/b&gt; exhibition “Fever” in 1992 was declared one of the ten most important exhibitions of the decade by Peter Plagens from &lt;i&gt;Newsweek&lt;/i&gt;. &lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;In the late 1990’s, &lt;b&gt;Exit Art&lt;/b&gt; began a portfolio series that was a mix of then emerging artists with some of the masters of contemporary art, including Leon Golub, Ann Hamilton, Sanford Biggers, and Alfredo Jaar. These portfolios became a record of Exit Art’s accomplishments for over a decade. &lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;Currently housed at the Museum, the following portfolios are now part of the Museum’s collection— 2001, TWO OO ONE; 2004—SIX X FOUR’; 2005—Tantra; 2006—Trance Borders; 2008—Expose; 2009 America America; 2010 Ecstasy 2 and 2011 SEA.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;Unfortunately, founding co-founder, Jeanette Ingberman passed away in mid 2011 and &lt;b&gt;Exit Art&lt;/b&gt; was subsequently closed in 2012 due to concerns over loss of its conceptual oversight.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;In 2012, the AD&amp;amp;A Museum at UC Santa Barbara was gifted 8 Portfolios from &lt;b&gt;Exit Art&lt;/b&gt;.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s2"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;&lt;/span&gt;&lt;span class="s1"&gt;Founded in 1982 by Jeanette Ingberman and  Papo Calo, &lt;b&gt;Exit Art&lt;/b&gt; was in operation until mid—2012 and served as an alternative exhibition space for artists working outside the mainstream.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;The first location, was on West Broadway, in SoHo.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;In 2002, the gallery moved to its last and final location in Hell's Kitchen where is stayed until mid 2012. Having been identified as an ideal space for artists, &lt;b&gt;Exit Art’s&lt;/b&gt; exhibition “Fever” in 1992 was declared one of the ten most important exhibitions of the decade by Peter Plagens from &lt;i&gt;Newsweek&lt;/i&gt;. &lt;/span&gt;&lt;/p&gt;
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&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;Currently housed at the Museum, the following portfolios are now part of the Museum’s collection— 2001, TWO OO ONE; 2004—SIX X FOUR’; 2005—Tantra; 2006—Trance Borders; 2008—Expose; 2009 America America; 2010 Ecstasy 2 and 2011 SEA.&lt;/span&gt;&lt;/p&gt;
&lt;p class="p2"&gt;&lt;span class="s1"&gt;&lt;span class="Apple-tab-span"&gt; &lt;/span&gt;Unfortunately, founding co-founder, Jeanette Ingberman passed away in mid 2011 and &lt;b&gt;Exit Art&lt;/b&gt; was subsequently closed in 2012 due to concerns over loss of its conceptual oversight.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;em&gt;TRANCE/BORDERS: Funky Space Reincarnation&lt;/em&gt;</text>
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                  <text>&lt;span&gt;In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&amp;amp;A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&amp;amp;A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&amp;amp;A Museum today.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&amp;amp;A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&amp;amp;A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&amp;amp;A Museum today.&lt;/span&gt;</text>
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            <name>Identifier</name>
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                <text>1964.940</text>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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            <name>Title</name>
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                <text>&lt;strong&gt;Artist unknown&lt;/strong&gt;</text>
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            <name>Description</name>
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                <text>&lt;em&gt;Henrietta Lungren at the Grand Canyon&lt;/em&gt;</text>
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                <text>c. 1903</text>
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                <text>Gelatin silver print</text>
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                <text>6 13/16 x 4 7/8</text>
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                <text>woman in hat sitting in a tree</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>Fernand Lungren Bequest</text>
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            <name>Date</name>
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                <text>1903</text>
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        <name>Gelatin Silver Print</name>
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        <name>hat</name>
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      <tag tagId="563">
        <name>Nature</name>
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        <name>photograph</name>
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        <name>portrait</name>
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        <name>woman</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 Barry Berkus Family Collection&lt;/strong&gt;</text>
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              <name>Description</name>
              <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>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>2006.002.021</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;WEGMAN&lt;/strong&gt;, William</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;WEGMAN&lt;/strong&gt;, William</text>
              </elementText>
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                <text>United States, b. 1943</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;em&gt;Perch&lt;/em&gt;</text>
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              <elementText elementTextId="21026">
                <text>6 x 7 1/2"</text>
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              <elementText elementTextId="21027">
                <text>Small horizontal etching of the perch fish, mouth opened finx extended, seen underwater. Small incription Fig 1A2 at lower right corner.</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <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>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1989</text>
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        <name>1980's</name>
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        <name>20th century</name>
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        <name>aquatic</name>
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        <name>etching</name>
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      <tag tagId="451">
        <name>fish</name>
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      <tag tagId="563">
        <name>Nature</name>
      </tag>
      <tag tagId="227">
        <name>Wood</name>
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