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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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              <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>
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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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                <text>2023.005.073</text>
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                <text>WINSOM</text>
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                <text>b. Canada</text>
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            <description>An account of the resource</description>
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                <text>&lt;em&gt;Untitled, &lt;/em&gt;1998</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. The artist has created a picnic area from the box lid while the remainder of the box includes a mermaid flanked with candles and food.</text>
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            <description>A name given to the resource</description>
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                <text>&lt;strong&gt;WINSOM&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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                <text>1998</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>Women Beyond Borders Art Collection founded by Lorraine Serena</text>
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        <name>abstract</name>
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        <name>Altar</name>
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        <name>Decoration</name>
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        <name>fish</name>
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        <name>Sculpture</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>
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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>b. Japan, 1921-2021</text>
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            <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>
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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>
            <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>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>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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              <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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      <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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            <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>
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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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                <text>6 x 7 1/2"</text>
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                <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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            <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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        <name>fish</name>
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        <name>Nature</name>
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        <name>Wood</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 Ancient South America&lt;/strong&gt;</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The AD&amp;amp;A Museum has a small collection of objects from Peru and the Andes augmented by a smaller group from Argentina.</text>
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      <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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            <name>Identifier</name>
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                <text>1966.13.a</text>
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            <name>Title</name>
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                <text>&lt;strong&gt;South America, Peru, North Coast, Chimu&lt;/strong&gt;</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;South America, Peru, North Coast, Chimu&lt;/strong&gt;</text>
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                <text>&lt;em&gt;Joined Double Vessel with two Figures&lt;/em&gt;</text>
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                <text>ca. 900 - 1430 CE</text>
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                <text>clay</text>
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                <text>7 1/4 x 4 7/8 x 7 1/2 inches</text>
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                <text>In the absence of a written language, the specific narratives on these two vessels from the Chimu culture are still a mystery to anthropologists. With that said, they do impart information about some of the social issues of their day. The terracotta pot refers to the strict social stratification system in Chimu society with the larger and more elaborately dressed figure taking precedent over his smaller counterpart. The two are covered with spondylous (spiny oyster) shells, a highly prized possession, indicating they are of the elite class.</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 Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth</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>ca. 900 - 1430 CE</text>
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        <name>Figurative</name>
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        <name>Pre-Columbian</name>
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        <name>Sculpture</name>
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        <name>vessel</name>
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                  <text>&lt;strong&gt;Sculpture and Mixed Media&lt;/strong&gt;</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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            <name>Identifier</name>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>&lt;strong&gt;SCOTT&lt;/strong&gt;, Charles</text>
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                <text>&lt;strong&gt;SCOTT, &lt;/strong&gt;Charles</text>
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        <name>Mixed Media</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;em&gt;Carp&lt;/em&gt;</text>
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                <text>&lt;strong&gt;RITSHU&lt;/strong&gt;, Japanese</text>
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                <text>&lt;strong&gt;RITSHU,&lt;/strong&gt; Japanese</text>
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                <text>&lt;em&gt;Carp&lt;/em&gt;, ca. 1912</text>
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                <text>watercolor, ink</text>
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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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                  <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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                <text>2018.001.674</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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                <text>&lt;strong&gt;PUCCINELLI DESIGN STUDIO&lt;/strong&gt;</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;em&gt;Magnifico, Paseo Nuevo Poster&lt;/em&gt;, 1990</text>
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                <text>Poster</text>
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                <text>33 1/8 x 21 4/8" SHEET</text>
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                <text>Angular depiction of a dolphin leaping over an orange tree, with the words "MAGNIFICO! The Treasures of Paseo Nuevo. Novermber 1990." Maker details at lower right: Signed by Puccinelli. Includes a mylar sheet.</text>
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                <text>Gift of the Estate of Frances Garvin and Keith Julius Puccinelli</text>
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        <name>Advertising</name>
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        <name>works on paper</name>
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                  <text>&lt;strong&gt;The Keith Puccinelli Collection of Art and Design&lt;/strong&gt;</text>
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                  <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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                <text>&lt;strong&gt;PUCCINELLI DESIGN STUDIO&lt;/strong&gt;</text>
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                <text>1983-1996</text>
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                <text>&lt;em&gt;Kinney and Main Seafood, Santa Monica&lt;/em&gt;, 1983-1996</text>
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                <text>Four photos of bus advertisements for Kinney and Main Seafood in Santa Barbara. One advert depicts a crab, the next depicts a salmon, the next depicts a swordfish, and the last depicts a group of small fish. Maker details on reverse side. Design: Puccinelli Design, Typography: Tom Buhl Typographics, Printer: Tri-Tech Graphics, Publisher: The Fish Co., Santa Monica.</text>
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                <text>Gift of the Estate of Frances Garvin and Keith Julius Puccinelli</text>
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                  <text>&lt;strong&gt;The Arts of Ancient Mesoamerica&lt;/strong&gt;</text>
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                  <text>The AD&amp;amp;A Museum houses a large collection of Ancient Mesoamerican Art.  Included in this group are numerous works from Mexico including spindle whorls and ceramic figurines.</text>
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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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                <text>&lt;strong&gt;KEARNS&lt;/strong&gt;, Jerry</text>
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                <text>American, b. 1943</text>
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                <text>&lt;em&gt;Toxic Shock&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;em&gt;Expose: Transolitude&lt;/em&gt;</text>
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                <text>2008</text>
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                <text>Gift of Exit Art, New York</text>
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                <text>Watercolor and ink on wove paper</text>
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                <text>9 1/4 x 7 1/4" SHEET</text>
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                <text>Gift of Mrs. William T. Campbell</text>
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