Flor Garduño, Basket of Light (Canasta de luz, Sumpango, Guatemala), 1989. Gelatin silver print. SBMA, Museum purchase with funds provided by Mr. and Mrs. Thomas Amory.
Looking In, Looking Out: Latin American Photography October 18, 2015 – March 20, 2016
The scenes of Latin American culture, politics, environments, and individuals are explored in depth in Looking In, Looking Out: Latin American Photography. This exhibition, drawn from the permanent collection of the Santa Barbara Museum of Art, highlights works by Latin American photographers, or artists who have adopted it as home, so that those from outside the region may look into the lives of Latin America. Through the lens of nostalgia, propaganda, a populist aesthetic, and changing perspectives, the iconic and emerging photographers illustrate the diverse but often similar spirits of countries in the region.
Artworks from Brazil, Colombia, Cuba, Guatemala, Mexico, and other nations, demonstrate the experiences and traditions of diverse cultures in Latin America as the photographers explore their history, navigate the present, and look to the future. Rather than a survey exhibition of photographs from each country, the images are selected singular views exhibited to engage viewers in the dynamic complexities but also the universality of Latin American life. The photographers capture their homes for their people, but if the outsider immerses the mind in the region one gets a fascinating glimpse into Latin America. Looking In, Looking Out: Latin American Photography reveals the sensitive and intimate relationship between photographer and home country.
Cayetano Ferrer, Remnant Recomposition, 2014. Casino carpet fragments and seam tape. Installation view, Swiss Institute, 2014. Image courtesy of Swiss Institute.
Interventions: Cayetano Ferrer November 8, 2015 – March 13, 2016
This site-specific installation reveals the artist’s ongoing investigation into what he calls object prosthetics – the reconstruction of broken remains using a variety of conceptual and technological methods. Ferrer is interested in architectural fragments—as both objects and as ideas. His Composite series of sculpture is made by filling in pieces of marble or stone with digitally printed PVC that acts as a stand-in for what is perceived as “missing.” What results is a reimagining that can be considered both authentic as well as speculative. Hybrid sculptures that represent part fantasy and part elegy, Ferrer’s works provide the viewer ample space to imagine what lies between historical fact and invention.
Interventions: Cayetano Ferrer is presented in SBMA’s historic Ludington Court, the oldest part of the Museum devoted to its important collection of Greco-Roman antiquities. Taking advantage of the empty space—the sculptures are to be moved off site in preparation for SBMA’s forthcoming renovation—Ferrer presents the classical fragments in storage that are rarely displayed in the galleries. These carefully selected objects integrate and interact with work by Ferrer, including Remnant Recomposition (2014), a sprawling floor piece composed of casino carpet remnants.
Peter Halley, Bluff, 2007. Acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Collection of Nicholas Hunt.
Geometry of the Absurd: Recent Paintings by Peter Halley November 8, 2015 – February 21, 2016
Using distinctive materials including Day-Glo acrylics and Roll-a-Tex, Peter Halley’s paintings present variations of geometric forms that he and others have designated as prisons, cells, and conduits. Due to their visual associations with modern and contemporary architecture and design, electronic and digital models, and social systems, Halley’s paintings serve as metaphors for—a vast range of cultural phenomena. In particular, his intense and often dazzling combination of colors and connecting shapes may be perceived as allegories for many of the physical and conceptual elements the Information Age. Featuring eight iconic paintings by the artist produced from 2007 through 2015, this is Halley’s first solo museum exhibition in the Western U.S. The exhibition title references the tendency of “open” systems to farcically disguise closed loops.
Geometry of the Absurd: Recent Paintings by Peter Halley features eight iconic paintings by the artist produced from 2007 to 2015, representing his first solo museum exhibition in the Western United States. The exhibition title references the plethora of “open” societal systems that farcically disguise closed loops or, in the case of Halley’s work, confined cells. The paintings selected for the exhibition share in common a unique double-stack composition—two cells, one on top of another. This motif, appearing in Halley's work in the postmillennial period, is examined for the first time in this exhibition.
*Demetrio Paparoni, Halley’s Heresy, Peter Halley: Maintain Speed, 2000: D.A.P. (Distributed Art Publishers)