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Current Exhibitions


Mario Ybarra, Jr., Go Tell It #1, 2001. Color lightjet print, ed. 1/5. Museum purchase, funds provided by Hilarie and Mark Moore and the Moore Family Trust
  Left Coast: Recent Acquisitions of Contemporary Art
May 25 – September 14, 2014

Since it opened its doors in 1941, the Santa Barbara Museum of Art has consistently been dedicated to collecting—an activity that has contributed to the growth of the permanent collection in significant ways. Art produced on the West Coast is a major part of this endeavor. Left Coast presents an overview of the Museum’s collecting habits in contemporary art over the past five years. Featuring over thirty works in a variety of media, including painting, photography, works on paper, and sculpture, many of the works in the exhibition are on view at the Museum for the first time. Tying these works together is the pervasive sense of individuality demonstrated in each, adding weight to the justification of the delineation of this side of the country as not just the West Coast, but also the “Left” Coast.

The exhibition is comprised of works from artists in various stages of their careers, ranging from emerging to established, and regionally to internationally recognized. All of these artists have at one time lived, worked, or exhibited in Southern California.  Artists include Amy Adler, Kevin Appel, Brian Bress, Dan Connally,  Russell Crotty, Tony De los Reyes, Roy Dowell, Carlee Fernandez, Mark Flores, Llyn Foulkes, Jack Goldstein, Ken Gonzales-Day, Lyle Ashton Harris, Zach Harris, Adam Helms, Richard Jackson, Kim Jones, Mike Kelley, Elad Lassry, Allison Miller, Kori Newkirk, Lari Pittman, Ken Price, Lucas Reiner, Steve Roden, Sommer Roman, April Street, Robert Wechsler, and Mario Ybarra, Jr.

 


Beatrice Wood, You look like a goddess on a hairpin, from the series "Touching Certain Things", 1932. Pencil and watercolor on paper. SBMA, Gift of Francis M. Naumann and Marie T. Keller.
  Living in the Timeless: Drawings by Beatrice Wood
May 11 – August 31, 2014

Recognized for her vibrant lusterware pottery, Beatrice Wood (1893-1998) first emerged as an artist in 1917, making sketches as part of the provocative New York Dada scene. This exhibition examines the lesser known yet foundational role of drawing in the artist's work, which she continued to develop over the next eight decades. Wood's drawings served as visual diaries, allowing her to explore personal and often socially taboo subject matter in abstract and figurative styles. Providing an intimate glimpse into the artist's life and legacy, Living in the Timeless also celebrates the recent gift of 166 works on paper by Wood from the collection of Francis M. Naumann and Marie T. Keller to the Santa Barbara Museum of Art. Largely autobiographical and frequently revisiting past characters and forms, Wood's drawings allowed her "to live in the timeless," as she wrote to a friend at the age of 103.

Infused with humor, wit, and eroticism, Wood's drawings delve into various aspects of human nature. In addition to works on paper, the exhibition also features selected figurative ceramic sculptures and tiles, as well as the artist's illustrated books—all extensions of her draftsmanship. The idiosyncratic subjects of her drawings gave form to her exploits in these new mediums. Her figurative sculptures, described by the artist as "sophisticated primitives" often represent complex, adult themes in a deliberately naïve manner—mirroring a coquettish personality that Wood crafted and sustained throughout her life.

 


Honoré Daumier, Viens donc..., mon ami, je ne trouve pas..., EXPOSITION DE 1859, no. 11, Published in Le Charivari, June 21, 1859. Lithograph, Delteil 3143. SBMA, Gift of Robert M. Light.
  Daumier’s Salon: A Human Comedy
March 23 – October 5, 2014

In the second half of the 19th century, Honoré Daumier (1808–1879) was employed by popular rags, such as La Caricature and Le Charivari to produce often hilarious lampoons of Parisian daily life. One of his favorite subjects was the art world in 19th-century France. Daumier was, after all, not only a chronicler of the Parisian art scene, but a participant as well. A prolific artist working in a variety of media—in addition to lithography, Daumier produced a vast number of paintings, drawings, and sculpture—Daumier was intimately familiar with the art, artists, and audience to whom he gravitated time and again in his caricatures.

This selection of lithographs from the permanent collection, curated by former SBMA exhibition intern Elizabeth Saari Browne, situates Daumier’s observations of the art world within the context of the annual Salons, the exhibitions in which art and its producers, consumers, and critics were brought together. Spanning almost 25 years of his career, these lithographs not only showcase Daumier’s attitudes toward the exhibition, valuation, and commercialization of art, but also reveal his knowledge of contemporary art practice and the history of art through the artist’s habitually trenchant puns and witty references, which are illuminated in detail in the exhibition didactics. Through the recent gift of more than 1,500 Daumier lithographs by long-time supporter, Robert M. Light, SBMA is now one of the richest repositories of the work of this celebrated master of 19th-century caricature on the West Coast.

 


Edgar Degas, Three Dancers in Yellow Skirts, ca. 1891. Oil on canvas. Michael Armand Hammer and the Armand Hammer Foundation.
  Degas to Chagall: Important Loans from The Armand Hammer Foundation and the Collection of Michael Armand Hammer
Ongoing

The Santa Barbara Museum of Art is delighted to present a selection of important paintings that are on extended loan by The Armand Hammer Foundation and augmented by several works from the private collection of Michael Armand Hammer. The mandate of the Foundation is to share an extraordinary collection of works bequeathed by its founder with the public by lending to museums throughout the country.

The paintings on view from The Armand Hammer Foundation represent just a small fraction of the ravishing collection put together by Dr. Armand Hammer (1898-1990), perhaps best known for the extraordinary works of art he donated to his namesake institution, the Hammer Museum at the University of California, Los Angeles, from 1965 through 1990. These works complement seamlessly our Museum's rich holdings in the areas of French Impressionism and Post-Impressionism, installed in the contiguous Ridley-Tree Gallery. Artists represented include Ivan Aivazovsky, Pierre Bonnard, Jean-Baptiste-Camille Corot, Marc Chagall, Edgar Degas, Henri Fantin-Latour, Berthe Morisot, Camille Pissarro, and Auguste Renoir.

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