Black wood staff topped with snail, turtle and gun on platform. Rather than directly addressing his people, a chief relies on the oratorical skills of the okyeame, or linguist, to convey his ideas and dictums. The linguist also serves as principal advisor to the chief and weighs in on political, military and judicial matters. The staff is symbolic of this important position and the carved finial represents a proverb referring to the chief and state. The proverb associated with this staff is one regarding pacifism: if it were only for the snail and the tortoises the gun would not fire in the forest.
Stick figure made of numbers contemplates a clock lying on a neon colored table. Background is black.
Sketches of dishes in a drying rack, a woman with her hair in curlers, and a traffic signal.
Gift of Councilman Joel Wachs, Los Angeles
Painted wood panel detailed with cartoon faces; written phrases about coca cola and religious greetings; on reverse signed and dated.
Estate of Frances Garvin and Keith Julius Puccinelli
From God, My Visions Are Coming True
Painting of a field of flowers, hills, and a bridge covered with people walking positioned between two mountians at left and right. mountains. The sky is composed of anthropomorphic clouds and floating people. The lower half of the painting is filled with text describing a vision, the subject of the painting.
IMATANI, Garrick; SAND, Kaia
Files from Looseleaf Services, The Watcher Files Project
Garrick Imatani’s work centers on issues related to archival exploration, artistic collaboration, and placemaking (an approach that considers the planning, design, and layout of public space in relation to the community). This mixed media work includes the files from the Looseleaf Services: (a) cardboard box entitled Looseleaf Services; (b) So He Raised His Hand, (documents) by Inge Bruggeman; (c) 12 stencils with description, designed by Katherine Ball. The Watcher File Project investigates and interprets, in various ways, records amassed by the Portland Police Bureau on 301 activist groups operating in the city between the 1960s through the 1980s. Such groups were under routine surveillance until an Oregon law was passed prohibiting the authorities from spying on factions not officially under criminal investigation. Imatani’s participation in the exhibition is represented by Looseleaf Services, which consists of two major components: a filing cabinet holding various records reproduced as metal inserts, and a cardboard binder that sits atop the cabinet holding a publication subscription. For $40 a year subscribers receive “primary and secondary source documents-addenda & errata-all punched with holes to slip into the binder.” Additional materials that are sent to subscribers include artwork, poetry, essays, and small objects made by collaborators that relate to the materials within the files. All the materials including the filing cabinet are meant to be handled by visitors. By researching and making this information available, Imatani hopes to preserve the history of these activist groups as well as highlight the history of their surveillance.
b. United States, 1974 (Imatani); b. United States, 1971 (Sand)
It is not surprising, given his long-term association with the UCSB Art Department, that Gary Brown would collect the works of his students, and this drawing by Dimitri Kozyrev (MFA, 2000) is an excellent example of his interest in how the delicacy of line—usually the formal anchor of a work—can also construct an inherent instability in and through its enveloping space. In this case, clear-cut Euclidian geometries are subverted in favor of a more hyperbolic, ‘autopian’ topography, as if the world were viewed through the windshield of a speeding automobile, denying the spectator the comforts of a sustaining visual ground. Occasionally, we focus on a specific detail but more often than not Kozyrev deterritorializes our perception, as we are caught up in the ephemeral experience of anticipating what is yet to come, grasping the immediate moment in our peripheral vision, or recalling what we have just witnessed in our virtual memory. Kozyrev expresses this ambivalence between objective specificity and subjective incommensurability by representing the gaps in our attention as much as the concrete object or landscape per se. Thus details are sketched in—a line of trees, a rough horizon line, the receding lines of street lamps and freeway—so that topography is reduced to a series of minimalistic signifiers. Instead of a panoramic spectacle, we are made more aware of vast expanses of white space which “invades” the scene so that it is often difficult to discern the dividing line between nature and simulacrum, sky and earth, foreground and background, virtual and actual space. The result is a breakdown of linear or chronological time into overlapping shards of active memory, in which past, present and future collapse into pure becoming. Colin Gardner Professor and Chair, Art Department
Centralized screenprint image in red with the artist's face and neck in black with an arrow piercing her neck. Edition statement, title, signed and dated at lower left to right of sheet. Limited edition print published by Cardinal, Santa Barbara, California.
Figurine of a naked woman on the floor with fake blood surrounding her head.
White ceramic horn; tiny facial figures etched into points of shell.
Caroline Tarbell Tupper Collection of Pre-Columbian Art
besote, tapered, wide end is flat disc with a round protrusion. outside is inceised with vertical lines, looks like a rifle cartridge
Mexico; Central Veracruz, Remojades area
brown clay with traces of black chapopote paint
gray stone cylinder, off center hole, decorations incised
As an undergraduate John Nava worked closely with his mentor Howard Warshaw, a professor of painting who fostered his deep appreciation for drawing and working from the human figure. Since attending UCSB, John Nava has established a renowned reputation for his commanding portraits and technical sophistication, as evidenced in his paintings, drawings and, more recently, tapestry works. The painting and tapestry on view are from the artist’s portrait series Neo-Icons. They portray young adults sporting t-shirts with phrases made popular during the many government protests following the 2003 invasion of Iraq. He started this series in 2005 to demonstrate his revulsion for the interrogation and detention policies espoused by the George W. Bush administration. In light of ongoing discussions surrounding government-sanctioned torture and domestic spying, these startling works continue to be relevant and spark yet more contemplation and conversation about these controversial subjects.
Given in Memory of Katie Cooper and All the Fallen of May 23, 2014
Large tapestry of a young female wearing a blue knit cap and jacket. 1/3 edition.
Female nude laying on her side. Artist's signature appears lower front center of the work. The title appears on the reverse lower right while the date appears at lower lower left.
Graphite drawing on paper of a tree; image has been intentionally blurred to create a mysterious effect.
Finely drawn graphite and watercolor drawing of vertical lines and circular shapes.
Swans, Booth's Bird Museum, Brighton, England
image: 30 x 30 in; frame: 44 x 41 1/2 in
Out the Window at the Square Diner from Performing Arts Portfolio
from Performing Arts Portfolio (1981), series of 8 color lithographs
Image of Evelyn Kuhn; bust shot. Head slightly tilted to the left.
Gift of the Andy Warhol Foundation for the Visual Arts, the Andy Warhol Photographic Legacy Program © The Andy Warhol Foundation for the Visual Arts, Inc.
Image of Editta Sherman; bust shot. Bust turned towards the left with head turned and looking towards the center.
Image of Editta Sherman; bust shot. Shown turned towards the left with white blouse visible.
Image of Lorna Luft; bust-shot. She is shown facing toward the right and in heavy make-up.“…Lorna Luft came down because Liza [Minelli’s] giving her a portrait for Christmas. And she had no makeup on and she looked beautiful. She’s on the Cambridge diet, and she really is pretty. Her portrait will be like Marilyn. If she just kept her regular brown haircolor and her regular looks, she could be a big serious actress.”
Image of Jack Nicklaus; bust-shot. Shown holding a golf club and wearing a Polo shirt. “I started taking pictures, but none of them were coming out good. It’s so hard taking pictures of suntanned people because they come out so red….When I was taking pictures there wasn’t a golf club around, [but]…he went around to some of the offices [and]… finally came back with some that he said were just like his, and I didn’t know that golf clubs have hats on them with drawstrings.”
Image of Fereydoun Hoveyda; upper-torso. Shown wearing a suit and resting his head in his hand.
Image of Halston; but-shot. Shown holding a cigarette. “Halston is funny, no matter how many times we run into each other on the floor he grabs me and hugs me and kisses me and says, ‘It’s so nice to meet you, Mr. Warhol.’”
Image of O.J. Simpson; bust-shot. Shown holding a football. “He had a five-day beard and I thought the pictures would be awful but Fred said no that they’d be sexy, and he was right, they were. O.J. is so good-looking.”
Image of Ronnie Cutrone; bust-shot. Shown sticking tongue out, wearing a black vest.
Image of Fereydoun Hoveyda; upper-torso. Shown wearing a suit with head in hand.
Cora and Magnus Bischofberger, 9
Image of Cora and Magnus Bischofberger; showing upper torsos. Cora has arm around Magnus.
Image of Nina Bischofberger; upper-torso shown. Shown wearing red overalls.
Image of Lea Bischofberger; upper-torso. Shown wearing a striped shirt and red overalls.
Image of Berkely Rheinhold; upper-torso. Shown with body turned to the left. Wearing a blue blouse.
Image of Berkely Rheinhold; upper-torso shown. Shown turned toward the left with face turned towards the center of image.
Image of a naked male lower torso, genitalia visible as well as hand with hair comb near pubic region.
Image of nude male lower torso (backside) showing hand grabbing buttocks and holding a hair comb.
Image of a man; shirtless, wearing shorts and carrying a tray above head.
Image of Jon Gould seated and holding a Campbell's soup can.
Image of unidentified man wearing a flannel print longsleeve shirt.
Image of unidentified man shown wearing glasses.
Image of unidentifed man wearing a suit.
Image of unidentified man in front of window.
Image of man with sack or bag over head.
Andre Leon Talley and Unidentified Man
Image of Andre Leon Talley and unidentified man.
Philip Johnson and David Whitney
Image of Philip Johnson and David Whitney in parking lot.
Ceramic vessel with handles containing holes for hanging; 729 on underside.
Seated female figure; ashen clay with figures left leg missing.
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
Artist unknown
Portrait of Woman with Feathered Bow at Neck
Portrait of a woman wearing a feathered bow at her neck. Oval mat
Pulpit Relief by Luca della Robia, Florence
Black and white image on black paper of a gypsy reading a man's palm, both figures standing
Brass palace plaque identified as coming from the Benin Kingdom; plaque includes three soldiers wearing helmets and holding up sword-like weapons.
AFRICAN, Belgian Congo, Kuba Peoples Peoples of the Congo
Fiber, wood, metal, glass beads cowry shells and leopard skin
Maker unknown, AFRICAN, Belgian Congo, Kuba Peoples Peoples of the Congo
Lungren, Fernand
LUNGREN, Fernand
PALLY, Marc
Graphite, colored pencil, acrylic on wood
Two sided mixed media work with a male figure on one side; second side includes a female figure with starfish form.
TIEPOLO, Gian Domenico
Pen and black ink, gray wash, on cream paper
The Feitelson Collection of Old Master Drawings
ALBERTI, Cherubino
Resurrection, 16th-17th C.
Pen, brown ink, and grey wash on cream paper
ALBERTI, Cherubino, b. Italy, 1553-1615
Gift of the Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation
Gift of Walter Silva through the Art Affiliates to the Ala Story Print Collection
Fainting Virgin Mary with Two Marys and Joseph of Arimathea, 17th C.
Brush and black ink, wash, white over black chalk on brown paper
Artist Unknown, b. 17th c.
Pen and black ink, grey wash on cream paper
ASPERINI, Amico (Imitator of)
Hercules and Cerberus, 15th-16th C.
Pen and faded brown ink, brown wash on tan paper
ASPERINI, Amico (Imitator of),
BACKHUYSEN, Ludolf
Riverscape, 17th C. Oil on panel, 18 1/4 x 21 3/4 x 2 7/8" Oil on panel frame which was either partially or fully removed. This could suggest that the frame was repurposed. Barely discernable are numbers and letters, including a typewritten “RGNE” on the torn label at left. The identification of the numbers across the top is also unknown. A faint, handwritten inscription down the right edge reads “Bakhuysen,” referring to the painter of this work. The painting is an oil on panel, and at a later date was reinforced by a method known as cradling, of which there is another example on view in this exhibition.
BACKHUYSEN, Ludolf b. The Netherlands, 1631-1708
The Sedgwick Collection of Old Master Paintings
BARTOLOMMEO, Fra (Circle of)
Nude Youth (recto), 15th - 16th c.
Black chalk on cream paper (recto)
Giustiniani Apollo (verso), 15th - 16th c.
Bellini, Giovanni (Attributed to)
Virgin and Child Before a Landscape, 15th C. Oil on panel, 39 1/8 x 30 3/4 x 7 3/4" Oil on panel painting enclosed within a raised altar. The Virgin Mary is clothed in a blue-green robe looking over the baby Jesus positioned on a red sofa-like structure. Sky and mountains in background.
BELLINI, Giovanni (Attributed to) b. Italy, ca. 1430-1500
Elevation of the Cross, 17th C.
Black chalk, brown ink, brown wash, on cream paper
BENSO, Giulio, b. Italy, 1601-1688
BENTON, Thomas Hart
Matted lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
BRUYN THE ELDER, Barthel
Portrait of an Elderly Woman, 1544 Oil on panel, 15 5/8 x 11 3/4 x 1 1/2" Oil on panel painting of an elderly woman. She is wearing traditional dress including a veiled cap and is holding rosary beads.
BRUYN THE ELDER, Barthel b. Germany, 1493 - 1555
CAMBIASO, Luca (Circle of)
Holy Family with Saint John the Baptist, 16th C.
Pen and brown ink on off-white paper; laid down
Pen and wash with brown ink, traces of black and red chalk; laid down
CAMBIASO, Luca, b. Italy, 1527-1585
CARRACCI, Annibale
Castle Landscape, 16th-17th C.
Pen and brown ink on discolored light tan paper
CARRACCI, Annibale, b. Italy, 1560-1609
CASTELLO, Giovanni Battista (IL BERGAMASCO)
The Death of Queen Sophonisba, 16th C.
CAVEDONE, Giacomo
Adoration of the Magi, 16th-17th C.
Pen, brown ink, brown wash over black chalk on off-white paper
CAVEDONE, Giacomo b. Italy, 1577-1660
CESI, Bartolomeo (Attributed to)
Working Man with Stick or Hoe, 16th - 17th c.
Red chalk with white on grey paper
CESI, Bartolomeo (Attributed to), b. Italy, 1556-1629
DURER, Albrecht (After) German
Willibald Pirckheimer of Eichstatt
DURER, Albrecht (After)
Da Treviso The Elder, Girolamo (Attributed to)
Virgin and Child with Two Saints, 2nd half 15th C. Oil on panel, 41 3/4 x 30 1/2 x 7 5/8" The lattice structure seen on the back of this painting is known as a cradle. It is made of slats of wood adhered to the back of the panel in the direction of the wood grain, with sliding members inserted at right angles. Cradling was a common practice of restoration for centuries and was used to correct and stabilize damage caused by cracking, warping, and even insect infestation, all of which can be seen here. This method of straightening was carried out by first thinning the wood, one result of which is that the tunnels made by worms are exposed. Impressions of the nails, which were used to secure the cradle, are visible in the corners and sides. Though these restoration techniques were common at one point , conservators today take a less invasive approach in their measures to ensure longevity.
Da Treviso The Elder, Girolamo (Attributed to) active Treviso, 1455 - 1497
DAVID, Gerard, Studio of
Lamentation, late 15th C./early 16th C. Oil on panel, 19 1/2 x 47 3/4 x 2 3/8" Oil on panel painting of the Lamentation which is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
DAVID, Gerard, Studio of b. The Netherlands, ca. 1450 - 1523
DE LEONE, Andrea
Seated Old Man (recto), Robed Figure in Clouds (verso), 17th C.
Red chalk on tan paper; verso: black chalk drawing
DE LEONE, Andrea, b. Italy, 1610-1685
DUJARDIN, Karel (Attributed to)
Landscape with Horsemen, 17th C. Oil on panel, 24 x 23 1/2 x 2 3/4" Oil on panel painting of a landscape with a horseman positioned on top of a small hill overlooking a river; rolling hills in background.
DUJARDIN, Karel (Attributed to) b. The Netherlands, ca. 1622 - 1678
Portrait of a Woman, 17th C. Oil on panel, 28 11/16 x 27 x 3" Oil on panel painting of a Dutch female wearing the traditional dress of the 17th Dutch . This includes a white linen diadem cap with white bobbin lace edging; a huge ruff which is intricately detailed and a black gown with a black bodice of velvet lined with fur which is for married women only. The sleeves mirror the gown and are detachable with buttons.
FLANDES, Juan de
Portrait of an Infanta, 15th C. Oil on panel, 18 1/4 x 15 1/2 x 1 3/4" The labels affixed to this work provide a history of where the painting was displayed. The red starburst label indicates that this painting was available for purchase at the American Art Galleries at Madison Square South, New York, as part of the sale of the William M. Laffan Collection on January 20, 1911. The auction catalogue for that sale specifies that the painting, then misidentified as a Spanish Saint Dorothea, was purchased by Robert S. Minturn for $800. Later, it turned up in the collection of Robert B. Minturn. The three labels--at top center, bottom left and bottom right–- attached to both the frame and the panel reveal that this painting was exhibited at the Fogg Art Museum at Harvard University, where it was lent by Robert B. Minturn, Francis M. Sedgwick’s uncle, in 1934.
FLANDES, Juan de d. 1516, Spain
Seated Female Nude Extending a Wreath, 1640s
Black and white chalk on blue paper
FLINCK, Govaert, b. Kleve, 1615-1660
Follower of Perugino
Scenes From the Life of Nicholas Tolentino,15th C. Oil on panel, 19 1/2 x 47 3/4 x 2 3/8" Nicholas Tolentino was a 13th century Italian priest who was canonized in 1446 by Pope Eugene IV. Known for his eloquence, he was believed to have performed several miracles during his lifetime. Here, from left to right, we see him freeing a prisoner, supporting a man who was unjustly hanged until he could be let down, reviving a dead person, rescuing a ship from distress, and preaching.
Follower of Perugino, b. Italy
GANDOLFI, Mauro (Attributed to)
Studies of Six Heads, ca. 1790-1795
Pen with dark brown ink on discolored white paper
GANDOLFI, Mauro (Attributed to), b. Italy, 1764-1834