april | may | june | 2012 - Santa Barbara Museum of Art

april | may | june | 2012
s a n t a b a r b a r a m u s e u m o f a r t

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from the director
Dear Members,
We hope that you are enjoying the exhibition Pasadena to Santa Barbara: A Selected History of
Art in Southern California, 1951 – 1969. With this presentation of some of the most important
Southern California artists of the 20th century, not only do we celebrate our participation in the
enlightening Pacific Standard Time initiative, but also the history of the Santa Barbara Museum
of Art. This thoughtfully-conceived show affords the opportunity to reflect upon our 70 years
of accomplishments and to appreciate the insights and vision of our past leaders, especially
Thomas Leavitt, who was SBMA’s Director from 1963 to 1968. Leavitt passed away just last year,
but his legacy of identifying, displaying, and acquiring outstanding contemporary art lives on, as
exemplified in this stunning exhibition.
The Museum further highlights its acquisition history as we continue to feature the treasures in our
own permanent collection. In February, we opened Scenery, Story, Spirit: American Painting and
Sculpture from the Santa Barbara Museum of Art, showcasing masterpieces of landscape, genre,
still-life, and portraiture, punctuated by a selection of sculptures. This striking presentation will
remain on view for almost two years for all to enjoy.
These two exhibitions will be joined by the next in the Vantage Points photographic series, Behind
the Wheel, which opens in May and explores the psychological place of the car in Southern
California life; and Portrayal/Betrayal, more than 100 photographs from our permanent collection
that reveal an infinite range of human complexities and states of heart and mind.
Finally, we would like to thank those who contributed to our Museum Fund for Excellence. Your
support is much appreciated. We hope you will visit us soon!
Sincerely,
Larry J. Feinberg
Robert and Mercedes Eichholz Director
2011 – 2012 Board of Trustees
Kenneth Anderson, Chair
John C. Bishop, Vice Chair
Laura Lewis Shelburne, Secretary
Richard C. Banks
Patricia Blake
Susan D. Bowey
Les Charles
Jane Eagleton
Audrey H. Fisher
Greg Fowler
Gregg Hackethal
Michael Armand Hammer
Perri Harcourt
Michael Healy
Judith Hopkinson
Cyndee Howard
Joan Jackson
Gina Jannotta
Bob Marshall
Dudley E. Morris
Joanne Pearson
Ceil Pulitzer
H. Smith Richardson III
Nancy Schlosser
George Schoellkopf
Marianne Sprague
Stokley Towles
Dody Waugh
Larry J. Feinberg,
Director & Chief Executive Officer
James Hutchinson,
Chief Financial Officer

exhibitions
Portrayal/betrayal: Portraits from 1950 to the Present
June 2 – September 16, 2012
McCormick and Davidson Galleries
What does a portrait reveal? Does the subject portray the real self or betray things about the self: as master
photographer Diane Arbus noted, “There's a point between what you want people to know about you and what you can't
help people knowing about you.”
Portraiture has been a time-honored staple of the artistic tradition for centuries, but the advent of the photographic
portrait in 1839 changed the nature of this ever-fascinating genre. Beginning as a straightforward document — one
thinks of the tight-lipped, severe visages depicted in daguerreotypes and tintypes — the portrait as fine art has evolved
dramatically since the turn of the last century. Perhaps the only remaining true portrait is the passport or driver's
license photograph, for even a photo booth photograph offers the subject some control. As French theorist Roland
Barthes confessed in his last major work Camera Lucida, “Once I feel myself observed by the lens, everything changes:
I constitute myself in the process of posing, I instantaneously make another body for myself, I transform myself in
advance into an image.”
Portrayal/Betrayal offers over 100 photographic portraits drawn from the Santa Barbara Museum of Art's permanent
collection, with a few notable loans from private collections. Organized into nine distinct groups, each section reflects
a different conceptual approach and explores the complex relationships that exist between the photographer and
sitter. You, the viewer, are the third member of the triad as you interpret a portrait decades later, far removed from the
cultural, geographical, and psychological context in which the image was conceived.
Some portraits involve a shifting negotiation of control from behind the camera to in front of the camera and back
again. The subject may alternate between vulnerability and control or the subject may take command: There seems
to be no doubt about who's in charge in Vladimir Kucherov's portrait of a woman. Other portraits capture unguarded
moments when the subject is unaware of the camera (before paparazzi and model releases) and often reveal what
otherwise would remain unseen. Robert Frank, whose 1950s images of The Americans outraged many people, sought
to immortalize “what is invisible to others”…to show ourselves to ourselves.
When the photographer leaves the studio and uses the sitter's environs, either natural or man-made, a shift often
occurs. Some subjects seem powerless in the face of the camera, while others seem subsumed by the environment,
and this becomes as much a part of the portrait as the subject.
Portraits taken by outsiders, who seek to portray other races, cultures or people, are often captivating and seductive
to the viewer but the question of authenticity arises. Sitters may not have a voice in the way they are portrayed, though
some photographers approach their subjects with empathy and respect and others suggest complicity between
portraitist and subject.
Photographic portraits of family and friends rely on intimacy and trust between the artist and subject, and usually-hidden
expressions and moments are often revealed. The photographer and sitter are in collusion though the image may betray
more about the relationship than the viewer is comfortable seeing.
Faces predate human beings and facial expressions have evolved in order to communicate emotional attitudes. What's
on the face of an animal may be all too human. The sentient bearing captured in many animal portraits belies the primal
nature of the beast, and viewers are free to interpret or anthropomorphize the subject according to one's own frame of
mind.
Countless exhibitions and endless pages in art history books have been devoted to the genre of portraiture, because
portraits conjure up a viewer's own memories, desires, fears, or hopes. Universal truths will never reveal themselves,
for the dynamic among the photographer, the subject, and the viewer shifts over time. Whether collisions or collusions
occurred at the moment the image was captured may never be known, but in 2012, it is expected that 250 billion
photographs will be made and the predominant subject will be ourselves. It is clear that the genre remains both
fascinating and complex.
This exhibition is made possible with the generosity of Lady Leslie Ridley-Tree.
Saturday, June 2, 6 – 7:30 pm
Members reception
All Museum Members are invited to a private reception celebrating the
Portrayal/Betrayal exhibition at SBMA. Invitations will be mailed.
Top: Vladimir Kucherov, Character, 1986. Gelatin silver print. SBMA, Gift
of Glen Serbin and Susan Serbin.
Center: Mary Frey, Barn Owl, 2008. Ambrotype. Courtesy of Lorna
Hedges.
Bottom: Terrance Reimer, Karaoke Night, 2000. Pigment print. Courtesy
of the artist.
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exhibitions
behind the Wheel
May 5 – August 12, 2012
Emmons and Von Romberg Galleries
Southern California’s drivers spend more time on the streets, boulevards, and highways of their cities than any other drivers
in the nation. A 2011 study by the Texas Transportation Institute indicated that, in total, Los Angelinos spend more
than 514.96 million hours a year delayed by traffic. Jack Pitney, Professor of Government at Claremont McKenna College
outside Los Angeles, puts it this way: "Most Californians spend more time in traffic than at the beach."
Controversy still surrounds the car company bailouts and car emission standards. Additionally, the plan for a California
high-speed rail system has been moving in fits and starts with only a 50% public approval rating, which raises the question―
why do we still cling to the wheel of our cars?
Selected from the collection of the Santa Barbara Museum of Art, these photographs explore the psychological place of
the car in Southern California life. Whether in celebration, investigation, or incrimination, all of the photographs depict
those unique mental states that can only be produced behind the wheel.
focus on etching: James tissot’s The Thames
Ridley-Tree Gallery
In this new print rotation within Ridley-Tree Gallery, SBMA has the rare ability to showcase one of the most appealing
aspects of the etching medium: the license it gives to the artist to change his mind. A design can be easily altered, simply
by burnishing the etching plate to “erase” and begin anew. James Tissot (1836 – 1902), a French artist best known for his
meticulously detailed and psychologically astute depictions of high society in Second Empire Paris and Victorian London,
used etching primarily as a means of making his paintings available to a wider audience. His published etchings were
faithful translations of his paintings, but the unpublished trial proofs show him taking full advantage of the etching plate to
experiment with composition and atmospheric effects. The Thames, an etching after one of his best-known London paintings,
exists in a total of 16 states. Eleven of them are exhibited in the carved-out print gallery, along with the published
print, giving a unique insight into Tissot’s complex working methods.
The work depicts a young naval officer taking two fashionable women for a pleasure cruise on the River Thames, with
bottles of champagne close at hand — a subject which Tissot’s original audience found alarmingly risqué. To the social
impropriety of unmarried women enjoying the company of a single man without a chaperone, Tissot added a decidedly
odd setting: the boating party is taking place in the Pool of London, the city’s bustling port. It was so badly polluted by the
1870s that Parliament passed the Rivers Pollution Prevention Act in 1876, the same year Tissot exhibited the painted version
of The Thames at the Royal Academy.

exhibitions
birds and flowers: Japanese Woodblock Prints
Asian Art Galleries
Featured in the current rotation of the Asian Galleries is a selection of kachō-ga (bird-and-flower prints) drawn from the collection of
Seymour and Shirley Lehrer and the Museum’s permanent collection. Flowers, birds, and other depictions of nature have long been
a favorite subject in Japanese art. This small exhibition explores the genre of kachō-ga from the golden age of woodblock prints
during the the Edo period (1613 – 1868) to the shin-hanga (“New Prints”) of the early 20th century.
Opposite left: Jeffery Aaronson, Freeway #4, from the series driving to Oblivion,
2010. Gelatin silver print, ed. 2/7. Santa Barbara Museum of Art, Museum purchase.
Jane Gottlieb, Dusty Ford, 1999. Courtesy of the Artist.
James Tissot, The Thames, fourth state, 1876. Etching and drypoint. SBMA,
Museum purchase with funds provided by the SBMA Women’s Board in honor of the
Museum’s 60th Anniversary.
James Tissot, The Thames, sixteenth (final) state, 1876. Etching and drypoint. SBMA,
Museum purchase with funds provided by the SBMA Women’s Board in honor of the
Museum’s 60th Anniversary.
Opposite top right: Jeff Brouws, The Myth of Mobility, 1991. Chromogenic print,
SBMA, Gift of the Artist in honor of Marion Post Wolcott.
Top left: Utagawa HIROSHIGE, Canary with Camellia. Woodblock Print. SBMA, Gift of
the Frederick B. Kellam Collection.
Top right: Utagawa HIROSHIGE, Swallow in Flight with Flowering Wisteria. Woodblock
Print. SBMA, Gift of the Frederick B. Kellam Collection.
continuing exhibitions
Publicly Private: enrico natali and
Doug rickard
Through April 22, 2012
Emmons and Von Romberg Galleries
scenery, story, spirit: American
Painting and sculpture from the santa
barbara Museum of Art
Ongoing
Sterling Morton East and West, Campbell,
and Gould Galleries
Van Gogh to Munch: european
Masterworks from the Armand
Hammer foundation and sarah
campbell blaffer foundation
Major loans on view through 2012
Preston Morton Gallery
Enrico Natali, Untitled, from the series Subway, New
York City (detail), 1960. Gelatin silver print. SBMA,
Museum Purchase, General Art Acquisition Fund.
Childe Hassam, The Manhattan Club (detail), n.d. (ca.
1891). Oil on canvas. SBMA, Gift of Mrs. Sterling
Morton to the Preston Morton Collection.
Lyonel Feininger, Zirchow I,1912. Oil on canvas. Sarah
Campbell Blaffer Foundation, Houston.
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exhibitions
Pasadena to santa barbara: A selected History of Art in
southern california, 1951 - 1969
February 11 – May 6, 2012
McCormick and Davidson Galleries
One of the highlights of current exhibition, Pasadena to Santa Barbara, is a selection of three works by Ed Kienholz, two of which are on loan from the collections
of Nancy Reddin Kienholz, his collaborator and widow, and the Norton Simon Museum. The third, Untitled (1958) was recently acquired the Santa Barbara Museum
of Art. It is an early work in Kienholz’s ouevre, and, like many of his wall works, demonstrates the artist’s beginnings as a painter.
Jennifer Edwards writes in the exhibition catalogue: “When the artist rolled into [Los Angeles] in 1952, he had a car-full of these paintings made from found materials
that suited his (nonexistent) budget. Yet, the conventional materials are also there—paint, wood, decorative detailing, a picture frame. And Kienholz employed
his artistic tricks not to elevate the scraps, but to level it all into grimy baseness. Over a board built up with layers of yellow, blue, and green, he scumbled
grey, white, tan, and silver sections to look like concrete. He coated varnish over heavily applied black paint to create the effect of tar that is still tacky more than
fifty years later. Grit adds texture and air bubbles scar the surface with pock marks, creating an almost geological surface, like eddying water on a heavily polluted
beach, or the banks of the La Brea Tar Pits bubbling a few blocks southeast of Kienholz’s gallery. It seems as if the terrestrial surface oozes up to reclaim
those natural materials once discarded as trash.”
The Pasadena to Santa Barbara exhibition catalogue — a 162-page, color-illustrated, hardcover publication features 22 artist entries and
essays by exhibition curator Julie Joyce, Norton Simon Associate Curator, Leah Lehmbeck, and New York-based artist and author, Peter
Plagens. It serves as a significant document for anyone interested in Santa Barbara or Pasadena’s cultural history. Particularly informative
is the catalogue’s timeline, which features an abridged version of SBMA’s extensive exhibition history, published for the first time, alongside
shows at PAM during the same time period. Los Angeles-based designer Meryl Pollen contributed her skilled hand in the publication’s
distinctive design, taking some cues from the modern era with its distinguished supergraphic cover and Swiss binding.
The catalogue is currently available in the Museum Store or online at www.sbmastore.net.
Edward Kienholz, Untitled, 1958. Oil and assemblage on wood. SBMA, Museum
Purchase, 20th Century Art Acquisition Quasi Endowment Fund. © 2012 Estate of
Edward Kienholz
This exhibition is part of Pacific Standard Time: Art
in L.A. 1945 –1980, a collaboration of more than 60
cultural institutions across Southern California—coming
together for the first time to celebrate the birth of
the L.A. art scene.
Lead support for Pasadena to Santa Barbara: A
Selected History of Art in Southern California,
1951-1969 provided by the Getty Foundation, with
additional support from the Luria Foundation, Cyndee
Howard, Jill and John C. Bishop, Jr., Anne and Houston
Harte, the Community Events & Festivals Grant
Program using funds provided by the City of Santa
Barbara in partnership with the Santa Barbara County
Arts Commission, and The Museum Contemporaries
of the Santa Barbara Museum of Art.

ecent acquistions
Asian Art
Shiva, the Auspicious One, is one of the major Hindu deities. Shiva is the personification of the Destroyer, or Transformer,
of the cosmos and shares his cosmic function with Vishnu, the Preserver/Maintainer, and Brahma, the Creator. He is often
worshiped in an abstract form, lingam, as the embodiment of the primal energy of the universe. When portrayed in human
form, he is shown as a youthful yogi who, in this beautifully composed image, personifies the central concept of the religious
text Dakshinamurti Upanishad — only through Shiva’s infinite wisdom and grace can one attain supreme knowledge of the
self and be saved from the bondage of the ephemeral world. The text is especially influential in South Indian Shiva worship.
Shiva is seated on a mount (suggesting his dwelling on Mt. Kailash) under a tree, imparting teaching to his disciples who are
shown on the mount. The spreading branches connect with Shiva’s matted hair, an indication of his ascetic nature, and form
a divine nimbus. His right leg rests on a crouching dwarf (apasmara purusha), a symbol of ignorance. His lower-right hand
makes the teaching gesture jnanamudra imparting wisdom and his upper-right hand holds a coiling snake and drum, a sign
of wisdom and eternity, while both his left hands hold emblems of knowledge—a book and a flaming torch.
Given by Dr. Robert and Dr. Ann Walzer, this is the first South Indian stone sculpture to enter the Museum’s collection. With
its elegant posture and supple limbs, this sculpture exemplifies the best of the Chola style which can also be seen in two
South Indian bronze sculptures already in SBMA’s collection, Dancing Krishna, an avatar of Vishnu, and Chandesvara, a
Shiva saint.
Photography
Brett Weston (1911 – 1993) was the second son of
Edward Weston (1886 – 1958). The father and son,
equal in their artistic achievements, often photographed
together. Brett’s very first pictures were in the close,
monumental, and abstract style associated with modern
photography. He made them in 1925, while in Mexico
with his father. In response to the images, Edward wrote,
“He is doing better work at fourteen than I did at thirty.”
In fact, Brett's early prints were recognized as groundbreaking
by not only his father, but also the international
photography community. His work was included in the
Film und Foto exhibition of 1929 with that of Man Ray,
Steichen, Stieglitz, his father Edward Weston, and others.
Brett was 18 at the time.
Never manipulated with additional lighting or props, his immaculately printed photographs explore the infinite range of tone
between black and white. Weston took his subjects from the natural world: dunes, rocks, and tide pools of the California
coast; close-ups of bark and kelp; and water in its many forms. Though the subjects are taken from the real world, the
compositions transcend mere landscape, moving our imagination beyond the everyday into the realm of the abstract.
In the late 1970s, Brett built a house in Hawaii, where he worked and lived for the rest of his life. This photograph Untitled
(Beech Forest, Netherlands), 1 of a gift of 50 from the Brett Weston archive, was printed by the artist in 1971. This beautiful
print, by one of the 20th century's masters of photography, strengthens the significant body of modernist photography in
SBMA's collection.
contemporary Art
Laddie John Dill is a Los Angeles-based artist who has become known for works comprised from unusual materials, such as
neon light, sand, stone, and various other physically challenging media. He attended Chouinard Art Institute, graduating in 1968,
and has been living and working in Venice, CA, since then.
Dill’s use of neon comes on the heels of the legendary Art and Technology program organized by LACMA (1967 –1971), wherein
contemporary artists were paired with high-tech corporations to produce new forms of art. Many artists were utilizing materials
which had previously never been associated with fine art, including cast acrylic, cement, various metals, and electric motors and
lights. Dill began experimenting first with neon and argon gas, arranging the delicate, gas-filled glass tubes into wall pieces. This
resulted in the series Light Sentences, Contained Radiance (1969 –1970) which was exhibited at Sonnabend Gallery in New
York and Paris in 1971, and has been the focus of several recent exhibitions.
For the past year, Dill has been refreshing the works from this series with new electrodes and fresh gas, so that they are “exactly
as they were forty years ago.” This particular Light Sentence is distinctive for its remarkable subtlety. Dill describes the piece
as being influenced by the varied strata in the sky. Hues ranging from warm to cool white and calm blues were chosen for their
reference to atmospheric layers visible to the human eye.
Inset: Brett Weston, Untitled (Beech Forest, Netherlands), 1971. Gelatin silver print.
SBMA, Gift from the Christian K. Keesee Collection.
Top right: Shiva as the Supreme Teacher (Dakshinamurti), South India, Chola period,
12th century. Green stone. SBMA, Gift of Dr. Robert and Dr. Ann Walzer.
Bottom right: Laddie John Dill, Light Sentence, 1969. Argon with mercury and glass
tubing. SBMA, Museum Purchase.
5

John Frederick Peto, Still-Life with Cake, n.d. Oil on board. SBMA.

highLighTs
Tour
1 PM
EvErYDAY!
exhibitions a conversation
Focus Tour
“Asian Collection” noon
“Pasadena to Santa Barbara” 1 pm
“American Collection” 2 pm
Through The
PhoTograPher's Lens
Doug rickarD 2:30 pm
Focus Tours
"European Collection” noon
“Pasadena to Santa Barbara” 1 pm
“American Collection” 2 pm
sTuDio sunDay
on the Front Steps
1:30 – 4:30 pm
Focus Tours
"Asian Collection” noon
“Pasadena to Santa Barbara” 1 pm
“American Collection” 2 pm
Focus Tours
“European Collection” noon
“Pasadena to Santa Barbara” 1 pm
“American Collection” 2 pm
Focus Tours
"Asian Collection” noon
“Pasadena to Santa Barbara” 1 pm
“American Collection” 2 pm
Focus Tours
“European Collection” noon
“Pasadena to Santa Barbara” 1 pm
Focus Tours
"American Collection” noon
“Behind the Wheel” 1 pm
sTuDio sunDay
on the Front Steps 1:30 – 4:30 pm
FiLm Mama of Dada
5:30 pm
Focus Tours
"Asian Collection” noon
“Behind the Wheel” 1 pm
Focus Tours
"European Collection” noon
“Behind the Wheel” 1 pm
Focus Tours
"American Collection” noon
“Behind the Wheel” 1 pm
PeoPLe PorTraiT sTuDio
on the Front Steps
1:30 – 4:30 pm
Focus Tours
"European Collection” noon
“Portrayal/Betrayal” 1 pm
“Behind the Wheel” 2 pm
Pooch PorTraiT sTuDio
on the Front Steps
1:30 – 4:30 pm
Focus Tours
"Asian Collection” noon
“Portrayal/Betrayal” 1 pm
“Behind the Wheel” 2 pm
Focus Tours
"American Collection” noon
“Portrayal/Betrayal” 1 pm
“Behind the Wheel” 2 pm
sun
1
8
15
22
sun
29
6
13
20
27
sun
3
10
17
24
CLOSED
MONDAYS
Loretta Lux, The Drummer (detail),
2004. Pigment print. SBMA,
Museum purchase with funds
provided by Tim Walsh and Mike
Healy.
Memorial Day
Galleries, Store, Library,
and Offices Closed
CLOSED
MONDAYS
Utagawa HIROSHIGE, Mandarin
Ducks and Plants (detail). Woodblock
Print. SBMA, Anonymous
donor.
mon
2
9
16
23
CLOSED
MONDAYS
ives QuarTeT 7:30 pm
30
7
14
Dan Budnick, Portrait of Jasper Johns
at Leo Castelli's Gallery (detail), 1958.
Silver dye bleach print. SBMA, Museum
purchase with funds provided by
PhotoFutures.
21
28
4
11
18
25
Focus Tour
“European Collection” noon
PorTraiT in
seven shaDes 5:30 – 7:30 pm
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“American Collection” noon
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“American Collection” noon
Focus Tour
“European Collection" noon
Focus Tour
“Asian Collection" noon
Focus Tour
“European Collection” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“Asian Collection” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“European Collection" noon
Focus Tour
“Portrayal/Betrayal” noon
tue
3
10
17
24
tue
1
8
15
22
29
tue
5
12
19
26
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“Asian Collection" noon
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“European Collection” noon
Focus Tour
“Pasadena to Santa Barbara”
noon
Focus Tour
“American Collection” noon
Focus Tour
“Behind the Wheel" noon
Focus Tour
“American Collection” noon
Focus Tour
“Asian Collection” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“Asian Collection" noon
Focus Tour
"Portrayal/Betrayal" noon
Focus Tour
“Asian Collection” noon
wed
4
11
18
25
wed
2
9
16
23
30
wed
6
13
20
27
Focus Tour
“American Collection” noon
1st ThursDay 5 – 8 pm
FamiLy 1st ThursDay
5:30 – 7:30 pm
Focus Tour
“European Collection” noon
conversaTion wiTh The
curaTors 5:30 pm
Focus Tour
“Asian Collection” noon
Focus Tour
“Asian Collection” noon
Focus Tour
“European Collection” noon
1st ThursDay 5 – 8 pm
FamiLy 1st ThursDay
5:30 – 7:30 pm
Quire oF voyces
6:30 pm
Focus Tour
“Asian Collection” noon
Focus Tour
“European Collection” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“American Collection” noon
Focus Tours
"European Collection” noon
1st ThursDay 5 – 8 pm
DoubLe FeaTure/DoubLe
ParkeD 5 – 8 pm
FamiLy 1st ThursDay
5:30 – 7:30 pm
Focus Tour
“Portrayal/Betrayal” noon
Focus Tour
“American Collection” noon
Focus Tour
"Behind the Wheel" noon
thu
5
12
19
26
thu
3
10
17
24
31
thu
7
14
21
28
Focus Tour
“Asian Collection” noon
Focus Tour
“Pasadena to Santa Barbara” noon
aTeLier 5:30 – 7:30 pm
Focus Tour
“European Collection” noon
oFF The waLL 6 – 9 pm
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“Pasadena to Santa Barbara”
noon
Focus Tour
"Behind the Wheel" noon
Focus Tour
"American Collection” noon
Focus Tour
“Asian Collection” noon
Focus Tour
“European Collection” noon
Focus Tour
“Portrayal/Betrayal" noon
Focus Tour
"American Collection" noon
Focus Tour
“Asian Collection” noon
Focus Tour
"European Collection” noon
fri
6
13
20
27
fri
4
11
18
25
1
fri
8
15
22
29
Focus Tour
“Pasadena to Santa Barbara”
noon
John marshaLL LecTure
(11 am ) anD Trunk
show (12 – 5 pm)
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“Pasadena to Santa Barbara” noon
Focus Tour
“Pasadena to Santa Barbara”
noon
suemae wiLLhiTe
DemonsTraTion/
Trunk show 12 – 5 pm
Focus Tour
“Asian Collection” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“Behind the Wheel” noon
Focus Tour
“Asian Collection” noon
generaL members
recePTion Portrayal/Betrayal
6 – 7:30 pm
Focus Tour
“American Collection” noon
Focus Tour
“Portrayal/Betrayal" noon
Focus Tour
"Behind the Wheel" noon
Focus Tour
“Portrayal/Betrayal” noon
sat
7
14
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28
sat
5
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2
sat
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june I 2012 I may I april

10
public programs
Thursdays, April 12, 19, 26; May 3, 10, 10 am – noon
Art talks @ sbMA
focus on Pacific Standard Time: Art in California 1945 – 1980
Mary Craig Auditorium. $40 SBMA Members, $50 Non-Members
To subscribe, visit the Visitor Services Desks in person, or call 884.6423.
April 12: West Coast/East Coast:
Diverging Dialogues in the 50s and 60s
Mary Beth Carosello, Education Consultant for the Getty’s Pacific Standard
Time exhibition; Instructor, UCLA
April 19: Pacific Standard Time: Cross Currents
in LA Painting and Sculpture 1945 – 1970
Rani Singh, Senior Research Associate, Department of Architecture &
Contemporary Art, Getty Research Institute
April 26: Valencia to Pomona, an Alternate History of Art
in Southern California, 1969 – 1980
Glenn Phillips, Principal Project Specialist and Consulting Curator,
Department of Architecture & Contemporary Art, Getty Research Institute
May 3: Disturbing the Peace
Ed Bereal, Artist, Photojournalist, Emeritus Professor of Art, UC Irvine
May 10: Opposites Attract: The Live Birth of Conceptual
and Minimal Art in Southern California
Howard Fox, Emeritus Curator of Contemporary Art, LACMA
concerts
Tuesday, April 3, 5:30 – 7:30 pm
Portrait in seven shades
Award-winning composer and Jazz at Lincoln Center premiere saxophonist, Ted Nash, will perform
his Grammy-nominated orchestral celebration of jazz and art Portrait in Seven Shades. This
composition, comprised of seven movements, is inspired by and reflects upon the art by Marc
Chagall, Salvador Dali, Henri Matisse, Claude Monet, Pablo Picasso, Jackson Pollock, and
Vincent Van Gogh. Audience members will gaze upon images of works from SBMA’s permanent
collection while hearing Ted Nash and his quartet perform. A Q&A with the composer follows.
Mary Craig Auditorium
$20 SBMA Members/$25 Non-Members
Tickets may be purchased at the Museum Visitor Services desks, by calling 884.6414, or online
at www.sbma.net/tednash.
Monday, April 30, 7:30 pm
Ives Quartet
This talented quartet, comprised of members from Europe and the U.S., is known for its passion,
refinement, and innovative programming. Inspired by the passionate, artistic commitment,
and unique temperament of American composer Charles Ives, the quartet has attracted critical
enthusiasm for its “practice of reveling in the unfamiliar.” They will perform Mozart’s Quartet in
D Major, K.575, Deborah Lurie’s work commissioned for the Ives Quartet (as yet untitled), and
Debussy’s Quartet in g minor, Op.10.
Mary Craig Auditorium
$15 SBMA Members/$19 Non-Members
Tickets may be purchased at the Museum Visitor Services desks, or by calling 963.4364 x400.
Friday, April 13, 5:30 – 7:30 pm
the Art of the Arrangement
The Museum serves as muse when members of the The Garden Club of Santa Barbara
make the galleries bloom with artful floral installations in response to works in the permanent
collection. Use your cell phone to hear from designers or curators, step up to the scent bar and
see how many flowers and fragrances you can match, and sample horticulturally-inspired hors
d'oeuvres and cocktails.
$25 SBMA and Garden Club Members /$50 Non-Members
For more information or tickets, call 884.6414, email tickets@sbma.net, or visit
www.sbma.net/atelier.
Friday, April 20, 6 – 9 pm
off the Wall
Back by popular demand, the SBMA Women’s Board presents OFF THE WALL — a fun evening of
terrific suspense as tickets are randomly drawn and guests select a work of art donated by local artists
to take home with them.
For more information or tickets, contact Karen Kawaguchi at 884.6428 or visit www.sbmawb.org.
Exhibition Related Program: Publicly Private
Sunday, April 1, 2:30 pm
through the Photographer's Lens
Photographer Doug Rickard will offer his insight into his technique and share his opinion about the
blurring of private and public in his work.
Mary Craig Auditorium
Free for SBMA Members/Regular admission for Non-Members
Exhibition Related Programs: Pasadena to Santa Barbara
Wednesdays, April 4 – May 9, 6 – 8:30 pm
basics of beato: exploring ceramics through the art
and technique of beatrice Wood
This workshop introduces participants to the magic of clay and the spirit of artist Beatrice Wood.
Students will experiment with hand building, wheel throwing, surface decoration and glazing
techniques, and firing. Includes optional docent-led tour of Pasadena to Santa Barbara.
Ages 18 and over
$215 SBMA Members/$250 Non-Members
Class size limited to 12 and enrollment will be processed in the order received. Full payment required
at the time of enrollment. To enroll, contact Rachael Krieps at 884.6441 or rkrieps@sbma.net.
Thursday, April 12, 5:30 pm
conversation with the curators
SBMA’s Curator of Contemporary Art Julie Joyce and Norton Simon Museum’s Associate Curator
Leah Lehmbeck discuss the creative connections between Pasadena and Santa Barbara when
California came into its own as a center for contemporary art.
Mary Craig Auditorium
Free for SBMA Members/Regular admission for Non-Members
Sunday, May 13, 5:30 pm
Mama of Dada
Film Screening
Introduced by Colin Gardner, UCSB Critical Theory and Integrative Studies Professor
This documentary, written and directed by Thomas L. Neff, tells the story of Beatrice Wood, a
renowned ceramist and leading figure in the Dada art movement in New York in the 1910s.
(1994, 53 min.)
Mary Craig Auditorium
Free for SBMA Members/Regular admission for Non-Members
Exhibition Related Program: Portrayal/Betrayal
Sundays, June 3 and 10, 1:30 – 4:30 pm
Portrait studio sundays on the steps
June 3: People Portrait Studio
June 10: Pooch Portrait Studio
The community (human and canine) is invited to pose for a free portrait on the Museum’s front steps
as we celebrate the art of portrait photography. Participants receive a printout of their photo and can
create a personalized frame with help from Museum Teaching artists.
SBMA Front Steps
Free
Exhibition Related Program: Behind the Wheel
Thursday, June 7, 5 – 8 pm
Double feature/Double Parked
Take a spin through the Behind the Wheel exhibition, then hitch a ride with the actors appearing in car
theatre by playwrights Diana Small, Lila Rose Kaplan, and Michael Bernard. Three, 10 – 15 minute
original plays will be performed in actual automobiles.
Space is limited. Please arrive early to be added to the reservation list.
At 8 pm, the back plaza becomes a summer screening room for American Graffitti (1973, 110 min.),
directed by George Lucas and starring Richard Dreyfuss, Ron Howard, and Paul Le Mat.
Mini-burgers, popcorn, malts, and soft drinks will be on sale.
Seating is limited to 200. First come, first seated.

for kids & families
family 1st thursdays
Bring the whole family and enjoy 1st thursday together in SBMA’s Family
Resource Center located across from the Museum Café on the Lower Level. Museum
Teaching Artists will assist families in creating special exhibition-based art projects.
Afterwards, enjoy selected galleries until 8pm.
free
Thursday, April 5, 5:30 – 7:30 pm
Watercolor collages: Pasadena to Santa Barbara
Paint a luminous watercolor background then add shapes and text to create a playful
collage inspired by William Dole's Tower of Babel, 1962.
Thursday, May 3, 5:30 – 7:30 pm
nocturnal Landscapes: Scenery, Story, Spirit
Compose a nocturnal landscape on black canvas using soft forms and dark tones, inspired
by Ralph Albert Blakelock’s Lake by Moonlight.
Thursday, June 7, 5:30 – 7:30 pm
block Panel Animal Portraits: Portrayal/Betrayal
Select one of the close-up animal portraits featured in Portrayal/Betrayal then add depth by
layering block panels of your own colored pencil composition of the parts of the subject not
featured in the original photograph.
studio sundays on the front steps
Sundays, April 8; May 13; June 10, 1:30 – 4:30 pm
Visitors of all ages are welcome to participate in this hands-on workshop with SBMA Teaching
Artists on the Museum’s front steps. Each month explore a different medium, including clay,
metal, ink, wood, photography, and paper, and gain inspiration from works of art in the
Museum's permanent collection or special exhibitions.
free
free education programming, like family 1st thursdays and
studio sundays, is made possible through the generosity of
our Members and donors to the Museum fund for
excellence. thank you!
summer ArtVenture camps
Ages 5 – 12
Monday – Friday, 9 am – 3 pm
At ArtVenture Camps children spend their day immersed in hands-on art making, cultural history, and creative
problem solving. All camps include a visit to the Santa Barbara Museum of Art to learn about and be
inspired by original works of art. The Museum’s exceptional team of Teaching Artists includes painters and
sculptors, a children’s book illustrator, a ceramicists, a graphic designer and an art historian who are all
experienced art educators.
$215 SBMA Members/$250 Non-Members
Week 1: June 11 – 15 Portraits: People & Pets
Week 2: June 18 – 22 Indian Art
Week 3: June 25 – 29 Art tells stories
Week 4: July 9 – 13 the secrets of Art
Week 5: July 16 – 20 Portraits: People & Pets
Week 6: July 23 – 27 Indian Art
Week 7: July 30 – August 3 Art tells stories
Week 8: August 6 – 10 the secrets of Art
Week 9: August 13 – 17 unpacking culture: World Art
To register, visit www.sbma.net/kidsfamilies, or contact Rachael Krieps at 884.6441 or rkrieps@sbma.net.
Location: Ridley-Tree Education Center at McCormick House, 1600 Santa Barbara Street.
summer ceramics camps
Ages 6 – 14
Monday – Friday
9 am – 12 pm (option 1)
9 am – 3 pm (option 2)
These week-long half-day and full-day camps introduce sculptural and functional ceramics and include
hand building, wheel throwing, finishing, and glazing techniques around age appropriate and always new
themes. Class size is limited to 10.
$185 SBMA Members, $220 Non-Members (option 1)
$300 SBMA Members, $350 Non-Members (option 2)
Ages 6 – 7: June 11– 15
Ages 7 – 9: June 18 – 22
July 23 – 27
Ages 8 – 10: June 25 – 29
July 30 – August 3
Ages 10 – 12: July 9 – 13
August 6 – 10
Ages 11 – 14: July 16 – 20
August 13 – 17
To register, visit www.sbma.net/kidsfamilies, or contact Rachael Krieps at 884.6441 or rkrieps@sbma.net.
Location: Ridley-Tree Education Center at McCormick House, 1600 Santa Barbara Street
11

12
gift to SBMA / program highlight
Museum receives Major Gift from the eichholz foundation
From top: Larry Feinberg, SBMA’s Robert
and Mercedes Eichholz Director and
Mercedes Eichholz in 2008 during the
exhibition Merci!: Selections from the
Robert B. and Mercedes H. Eichholz
Collection
Mercedes and Robert Eichholz in 1963
Pasadena to Santa Barbara
free community celebration
The Santa Barbara Museum of Art is pleased to announce that a gift of $5.5 million
was recently pledged by the newly-formed Robert and Mercedes Eichholz Foundation
to endow the Museum’s Director position. The post, currently held by Larry Feinberg,
will henceforth be known as the Robert and Mercedes Eichholz Director.
The Foundation’s Chairperson, Mercedes Eichholz, states, “The importance of adding
stability to the Museum by funding the Museum Director position, was key in the
decision of the Foundation.” She goes on to note, “I hope this will encourage, even
challenge, others in the community to step up and underwrite curatorial positions at
the Museum or otherwise contribute to the Museum's endowment fund.”
Larry Feinberg states, “This is a major, transformative gift for the Museum — it not
only greatly helps the institution financially, but also an endowed director’s chair
elevates SBMA’s stature, particularly, in this case, through the association with such
an eminent and generous person and family in this community. We are extremely
grateful for this gift, and are proud of this enduring relationship.” On a more personal
note, Feinberg continues, “I could not be more honored and touched to have my
On February 26, over 1,200 members of the community celebrated the exhibition Pasadena to
Santa Barbara: A Selected History of Art in Southern California, 1951 – 1969 and its inclusion in the
unprecedented Pacific Standard Time initiative.
In the plaza, the public enjoyed an eclectic mix of live music from Santa Barbara’s own Dadainspired
band Headless Household, including a brief re-visiting of Intersphere, a visual and aural
project originally created for SBMA by Richard Dunlap in 1981. In addition to Dick Dunlap, musicians
included Joseph Woodard, Tom Lackner, Chris Symer, Tom Buckner, and Glen Phillips.
Attendees of all ages experienced Now and Then, a re-invention and homage to the poetry- and
jazz-laced performance created by artist Richards Ruben in Pasadena 1962 — led by noted local
poets Paul Willis, Perie Longo, David Starkey, and Chryss Yost, with improvised jazz iterations by Jon
Nathan on percussion and Jim Connelly on bass.
Guests also engaged in Patrick Melroy’s Duchampian-inspired Five Minute Found Object Sculpture
Game, and created pedestal-worthy pieces from scraps, tubes, rubber, and the ubiquitous duct tape.
Others enjoyed making their own Modernist masterpieces with two interactive art projects lead by the
Museum’s Teaching Artists.
In the galleries, contemporary Argentinian composer Frederico Llach created Perishable Music during
which five musicians acted as sound sculptures and responded to works in the exhibition from a
carefully-timed score that was shredded after each performance.
Artists Samantha Fretwell and Katy McCarthy ran the staring contest, Gaze and Glance Acquisitioners
Face Off, a performance piece that timed length of time visitors spent looking at art as if an athletic
competition.
Cool met comfortable with the grand opening of The Learning Lounge, an interactive reading and
media resource room for all ages. Projections, books, catalogs, art activities, and family guides are
available for free in this mid-century inspired lounge throughout the run of the exhibition. Visitors can
add their comments or artworks by posting them on the wall or dropping them in the Pasadena to
Santa Barbara post box.
The celebration was an exuberant, improvisational tribute to the art on view in Pasadena to Santa
Barbara and to the spirit with which it was created.
name and position connected with someone for whom I have so much admiration
and affection.”
Ken Anderson, Chair of the Museum’s Board of Trustees adds, “The Board is
immensely grateful to Mercedes and her family for their continued leadership
and extraordinary generosity in helping to make the Museum the premier cultural
institution it is. This new commitment will greatly assist SBMA achieve its mission
and goals as we approach our 75th anniversary, and we hope inspire other friends
of the Museum as well.”
Mercedes Eichholz and her late husband Robert have been active supporters of
the arts for decades. Mr. and Mrs. Eichholz joined the Museum when they arrived
in Santa Barbara County in 1979. While continuing her active involvement with the
National Gallery of Art in Washington, DC after Robert’s death in 1983, she became
more active in SBMA activities, becoming a Trustee at the Santa Barbara Museum
of Art in 1985 and serving as President of the Board of Trustees from 2001 to
2003. In addition, she has served on the Exhibitions and Acquisitions Committee
(now called the Collections Committee) since 1984 — chairing the committee for
a number of terms―and on the Finance, Buildings and Grounds, and Personnel
Committees.
In 1989, Mrs. Eichholz turned her energies to acquiring works of art for SBMA in
her position as chair of the Arts Endowment Committee. She and her committee
members, together with Museum curators, succeeded in bringing in 1,600 works
of art in a single year. A devotee of contemporary art, Mrs. Eichholz also helped
found the support group Friends of Contemporary Art (now called The Museum
Contemporaries) and is a devoted supporter of PhotoFutures. In 2008, SBMA
celebrated her generosity with Merci!: Selections from the Robert B. and Mercedes
H. Eichholz Collection, an exhibition that featured a sampling of more than 20 works
from the Eichholz collection that she had either given or promised to the Museum.
Mrs. Eichholz was awarded the Wright S. Ludington Award in 2000 for the
extraordinary time, gifts, and expertise she has given to the Museum, and remains a
Life Honorary Trustee.

planned giving
Hand-in-Hand
At the Santa Barbara Museum of Art, our first and most important responsibility is to safeguard and preserve the
artworks in the collection, which are among the greatest shared treasures and resources in this community. In
addition, SBMA has become the primary resource for visual-arts education in our public schools. Teachers who
have regularly participated in our programs and who have translated the strategies learned at the Museum into
their regular curriculum have reported increases in students’ language arts scores that range from 4% to as much
as 60%, making the strongest case yet for connection between visual literacy and literacy.
A planned gift is a wonderful way to help the Museum continue its service to the community.
No matter your net worth, it's important to have a basic estate plan in place to ensure that your wishes and your
family and financial goals are met. Following are some points worth considering during estate planning:
An estate plan has several elements. They include: a
will; assignment of power of attorney; and a living will or health-care proxy
(medical power of attorney). For some people, a trust may also make sense.
It’s best to consult with an attorney or certified advisor to put together a plan.
Your advisors will also be mindful of both federal and state laws governing
estates.
taking inventory of your assets is a good place to
start. Your assets include your investments, retirement savings, insurance
policies, real estate or business interests, and of course ART. Ask yourself
three questions: Whom do you want to inherit your assets? Whom do you
want handling your financial affairs if you're ever incapacitated? Whom do
you want making medical decisions for you if you become unable to make
them for yourself?
everybody needs a will. A will is a meaningful title for the
document through which we pass on our estates. It can be defined as an
indication of those things we wish to happen or continue happening with our
estates after we are gone. Through your will you can make a planned gift
with no impact to your finances during your lifetime. Further, a bequest can
help to minimize the estate taxes payable after your death and it is one of the
most effective and significant ways one may perpetuate charities.
trusts aren't just for the wealthy. Trusts are legal mechanisms
that let you put conditions on how and when your assets will be distributed
upon your death. They also allow you to reduce your estate and gift taxes
and to distribute assets to your heirs without the cost, delay, and publicity of
probate court, which administers wills.
Discussing your estate plans with your heirs may
prevent disputes or confusion. Inheritance can be a loaded
issue. By being clear about your intentions, you help dispel potential
conflicts after you're gone. Discussing your intentions and the sort of legacy
you would like to create is also a great way to introduce and involve younger
family members in the art of charitable giving.
the federal estate tax exemption — the amount you
may leave to heirs free of federal tax — changes
regularly. Your attorney or other professional advisor will be current on
these and other tax and charitable giving laws.
Lida Light Blue and Frank Blue, SBMA Legacy Society members
you may leave an unlimited amount of money
to your spouse tax-free, but this isn't always the
best tactic. By leaving all your assets to your spouse, you don't use
your estate tax exemption and instead increase your surviving spouse's
taxable estate. That means your children are likely to pay more in estate
taxes if your spouse leaves them the money when he or she dies. Plus, it
defers the tough decisions about the distribution of your assets until your
spouse's death.
there are two easy ways to give gifts tax-free and
reduce your estate. You may give up to $13,000 this year
(amount subject to change in future years) to an individual (or $26,000 if
you're married and giving the gift with your spouse). You may also pay an
unlimited amount of medical and education bills for someone if you pay
the expenses directly to the institutions where they were incurred.
there are ways to give charitable gifts that keep
on giving. Whether your estate is simple or complex, it’s more than
likely that there is a tax-advantaged gift planning vehicle, be it a bequest
through your will or trust, a charitable gift annuity, charitable remainder
trust, a gift of life insurance, a designation from your retirement funds, or
a real estate remainder gift.
And remember, your planned or legacy gift will
allow you and your family to realize your own
personal goals and wishes while furthering the mission of
the charities you love and have supported during your life. When creating
or revising your estate plan, please consider a legacy gift
to support the santa barbara Museum of Art in
perpetuity, and become a part of our mission to integrate art into the lives
of people.
For more information about the Santa Barbara Museum of Art Legacy
Society, contact Barbara Ben-Horin, Director of Development, at
884.6431 or bbenhorin@sbma.net.
13

photo gallery
Assistant Director and Chief Curator, Eik Kahng,
with guest curator Peter John Brownlee
curator’s choice:
Martin Parr
The Museum’s PhotoFutures, Benefactors
Circle, Director’s Patron, and Curators’ Patron
Members, and Legacy Society were invited to
meet world-renowned photographer, curator,
publisher, and editor, Martin Parr. Curator’s
Choice is an innovative lecture series featuring
prominent speakers hand-picked by the
Museum’s curators. This lecture was made
possible by PhotoFutures. For information
about PhotoFutures, contact Jesse Groves at
884.6462 or jgroves@sbma.net.
Charles Croniger captures a photo of Neil Friedberg and
Martin Parr in the galleries. Martin Parr
Dead Artists society
Members of the Dead Artists Society (D.A.S.) were invited
for a private walk-through of the installation, Scenery, Story,
Spirit: American Painting and Sculpture from the Santa
Barbara Museum of Art, with guest curator Peter John
Brownlee, Ph.D. Brownlee is Associate Curator at the
Terra Foundation for American Art in Chicago. For
information about D.A.S., contact Alexandra Mosher at
amosher@sbma.net or 884.6425.
Curator of Photography Karen Sinsheimer with Martin Parr and
PhotoFutures member Kim Kavish
The FOAA group at the Bowers Museum, Sneh Singh, Gordon Scheurwater, Queenie Scheurwater, Kenneth Bryan, Joyce Bryan, Gwen
Baker, Henry Baker, Kyoko Sweeney, Pam Melone, Stephen Simons, Jacqueline Simons, Susan Tai, and Amy O’Dowd.
14
friends of Asian Art
Members of the Friends of Asian Art (FOAA)
enjoyed an excursion to the Bowers Museum in
Santa Ana, CA to view the exhibition Warriors,
Tombs, and Temples: China’s Enduring Legacy
with Susan Tai, Elizabeth Atkins Curator of Asian
Art. The day included lunch at the Bowers’
Tangata Café and lecture by Professor Anthony
Barbieri-Low of the Department of History,
University of California at Santa Barbara. For
information about FOAA, contact Michelle
Sullivan at 884.6405 or msullivan@sbma.net.
Jacqueline Simons, Susan Tai, and Queenie Scheurwater
view one of the objects.
Kyoko Sweeney admires the magnificent Han dragon.
D.A.S. members listen to Dr. Brownlee speak about
the landscapes from the 19th century.
Volunteers Susan Winter Ward and Diana Washburn wrap gifts at the Members Holiday
Shopping Night.
Docent Rosemarie Gebhart tours New Members of the European collection.
new Member orientation and tour
The Museum welcomed our newest Members for a special reception and docent-led tours
highlighting the Museum’s world class permanent collection. Invitations will be sent for the
next event for new Members which will be held later this spring. For information contact
Christina Romanowski at 884.6490 or cromanowski@sbma.net.
Director Larry Feinberg welcomes New Members.
New Member Pma Tregenza and Jerry Siegel

members
reciprocal Membership
benefits for sbMA
Members
SBMA strives to integrate art into the lives of its Members
— even when they are out of town. Members at the
Associate Patron level and above receive reciprocal
membership privileges to over 575 museums across North
American through two programs; the North American
Reciprocal Membership (NARM) and Western Museums
Group (WMG). NARM is an association of arts and cultural
institutions in Bermuda, Canada, El Salvador, Mexico, and
the United States. WMG is a regional association of 22
museums in the Western states. Both offer select benefits
to each other’s qualifying members.
Wander through well-known museums like the deYoung
Museum in San Francisco; Corcoran Gallery of Art in Washington, DC; or The Frick Collection in New York. Also available to you are
museums with specialized collections such as the American Folk Art Museum in New York; Museum of Contemporary Art, San Diego
in La Jolla; or The Asia Society in New York.
When sbMA Members visit participating museums
they will be welcomed with:
• Free/member admission during regular museum hours
• Member discounts at museum shops
• Discounts on concert/lecture tickets
There are some restrictions to the reciprocal benefits, so we recommend that you contact the institution prior to your visit to avoid
any confusion.
For a complete list of museums offering reciprocal privileges to SBMA Members visit www.sbma.net/membership.
For questions or to upgrade your membership for the NARM and WMG benefits and more, contact the Membership Office at
884.6490 or membership@sbma.net.
OFF THE
WALL
Santa Barbara Museum of Art
WOMEN’S BOARD
off the Wall
Off the Wall is on again! Back by popular demand, the
SBMA Women’s Board will host its third appearance on the
Santa Barbara art scene on Friday, April 20. Join us for wine
and hors d’oeuvres — go home with an original work of art.
Proceeds from this event support our Museum's education
programs, exhibitions, acquisitions and special projects.
Each ticket purchased will admit up to two people to the
reception and will entitle the ticket holder(s) to one work of
art. On the evening of the event, ticket holders’ names will
be drawn at random. As each name is drawn, that person
will make a selection from original paintings, drawings,
photography, hand pulled-prints, collage, sculpture,
ceramics, and glass by artists primarily from the Santa
Barbara area. Ticket holders may also participate in a live
auction for the first, second and third pick just before the
drawing begins.
$300 per ticket
More information and photographs of the artwork may be
found at www.sbmawb.org, or contact Karen Kawaguchi at
884.6428 or kkawaguchi@sbma.net.
tribute: Jon b. Lovelace
(1927 - 2011)
In November 2011, the community lost Jon Lovelace, who, with
his wife Lillian, was a devoted benefactor and friend of the Santa
Barbara Museum of Art for more than three decades. Together,
they have supported development projects (such as the New
Building Fund in 1977 and the Park Wing Renovation in 2005),
helped underwrite individual exhibitions (including Risking the
Abstract: Mexican Modernism and the Rise of Gunther Gerzso in
2003, Art of the Americas: Latin America and the United States,
1800 to Now! in 2004, and Tamayo: A Modern Icon Reinterpreted
in 2007), supported the 20th Century Art Fund, made generous
gifts to the Community Treasures Endowment Fund in 1985, and
the Endowment Matching Challenge in 2007.
For their extraordinary philanthropy, SBMA named them recipients
of the 2008 Wright S. Ludington Award — an honor bestowed
upon those who have provided extraordinary support and service
to the Museum.
Jon’s art activism spanned far beyond the Santa Barbara
community, by serving as past Chairman of the California Institute
of the Arts and of the J. Paul Getty Trust, and most recently on
the board of the National Portrait Gallery in Washington D.C. His
passion for art and spirit of philanthropy will be greatly missed.
15

16
travel with SBMA
In front of the Santa Isabel Hotel on Plaza de Armas. Front: David Jacoby, Penny Haberman, Louise Gaylord, Study Leader Abigail McEwen, Cuban Guide Nelson
Ramos, Caralee Allsworth, Esther Schreiber. Back: Clay Claycomb, Tom Bollay, Nancy Bollay, Beatrice Oshika, Walt Wilke, Roberta Robinson, Diane Silverman-
Gilman, Roger Carasso, Jan Everote, Leonard Gilman, Tom Simundich, Susan Kaufman, Mel Kaufman, Carolyn Wilke, Marilyn Townsend, Monica Braunstein,
Linda Kriesel, Krista Kline. Not pictured: Regine Schumacher
Spotlight on: Havana revealed
In August 2011, SBMA was granted a license to bring its Members to Cuba under a “people-to-people” license,
valid for one year. In February 2012, two groups spent eight days in Havana meeting with artists, curators,
authors, and musicians and participating in meaningful cultural exchanges with the Cuban people.
“It was truly a buen viaje.” – Beatrice Oshika
A Cuban art scholar joined each tour to provide context
for what the travelers were seeing in the exciting and
complicated world of Cuban art. Using a conceptual
framework, artists on the island have navigated the space
between creative reality and the everyday, while developing
the role of art and culture in Cuban society. Highlights
included visiting the U.S. Interest Section, the Ludwig
Foundation, which promotes Cuban experimental artists,
and ISA, the island’s most prestigious art school where the
travelers met and conversed with several of the school’s
most talented students. Discussions with an economist
and an expert on U.S. / Cuban relations provided valuable
insight into the country’s history and future.
Through meaningful interactions with Cubans from all walks of life, the travelers came away with a deeper
understanding of this fascinating country and an appreciation for Cuba’s people and art, as well as a thirst to
learn more.
SBMA will offer its next tours to Cuba in early 2013, pending the re-approval of its license. More information will
be available in fall 2012.
“ We give the SBMA Cuba Trip a 'two thumbs up' rating — which
would be even higher if we had more thumbs” – Gloria and Willard Huyck
Inset image: Before the farewell dinner at La Guarida. Left to right: Sheryl Lawrence, Willard Huyck, Robin Chasteen, Paul Guido, Susan and Claude Case,
Susan Keller and Myron Shapero, Gloria Huyck, Glenna Berry-Horton, Diane Sugahara, Jim and Connie Binns, Judith Taylor (front), Barbara Marré (front), Pat
Hseu, Arnie Kassoy. To the right of the statue, back row: Monika Hseu, Katharine Gilmartin, Tour Manager Adrian Quist. To the right of the statue, middle row:
Helene Reinlieb, Study Leader Michelle Bird, Howard Reinlieb. To the right of the statue, front row: Valerie Larson, Patricia Poilé, SBMA Manager of Travel Lisa
Hill, Cuban Guide Nelson Ramos. Not pictured: Nancy Hirsch, Steve Blain, and Michele McFaull
Upcoming Travel: untouched Italy
2012 tours
sbMA presents a broad array of
travel opportunities that focus on
art, architecture, and gardens often
with private visits, guest lecturers,
and expert guides.
• fabled Andalusia and Morocco
aboard Corinthian II
April 6 –15, 2012 wait list only
• Holland and belgium, featuring
floriade aboard M.S. Royal Crown
April 20 – 28, 2012 wait list only
• Islands of Antiquity through
Greece and turkey aboard
Aegean Odyssey
May 1 – 16, 2012
• Art, Arboreta, and estates
of Honolulu
May 8 – 13, 2012 wait list only
• secret Art treasures of Italy
aboard Corinthian II
August 23 – September 2, 2012
• Amalfi coast and the region
of Apulia with susie orso
September 16 – 26, 2012
• french Lifestyle:
A Month in Provence
September 29 – October 28, 2012
• Insider’s Perspective: rome
October 24 – 31, 2012
• north India:
Legendary rajasthan
January / February, 2013
Further travel opportunities are available for
members of curator support groups. Call
805.884.6436 for information.
to reserve space or be added to the early
interest list for any of these tours, please
contact 805.884.6436, travel@sbma.net,
or visit www.sbma.net/travel.
SBMA Travel is delighted to offer two travel opportunities that focus on hidden gems and rarely-visited destinations in Italy.
In late August, SBMA Members will be joined by cosponsoring organizations on a cruise that wraps around Italy’s entire coastline from the
Gulf of Genoa to the Gulf of Venice, visiting ancient sites, Renaissance treasures, and medieval villages not often visited by tourists.
In September, tour organizer Susie Orso will lead an insider’s tour of the Amalfi Coast and Italy’s “in” destination: Apulia. Few tours by land
are offered in this region that feels undiscovered, even as it becomes Italy’s new top destination. This unique tour will provide behind-thescenes
access and exclusive experiences as it explores the splendors of Italy’s south.
Please contact the travel program to reserve space.

shop & dine at SBMA
the Museum store
Saturday, April 7
John Marshall Lecture and
trunk show
John Marshall specializes in the art of fabric dying, utilizing natural
dyes on natural fibers, in the traditional process of katazome.
After an apprenticeship in Japan at the age of 17, he has pursued
technique with a passion for the past 40 years.
11 am: Lecture
John Marshall will discuss traditional Japanese textiles and how
they have influenced his work as a traditional dyer, focusing on
technique, historical context, and the place traditional textiles
hold in a modern world.
Mary Craig Auditorium
Free for SBMA Members/Regular admission for Non-Members
12 – 5 pm: trunk show
Museum Store
Museum store Hours
Monday – saturday 10 am – 6 pm
sunday 11 am – 5 pm
shop online at
www.sbmastore.net
Museum café
Acting as a perfect complement to the current exhibition
focused on the gems of sbMA's American permanent
collection in Scenery, Story, Spirit, the Museum cafe is
serving up this wild and wonderful dish...remington sweet
and smokey baby back ribs, cheddar Potato Gratin,
cornbread, and cowboy ranch beans. Wear your boots!
Museum cafe Hours
tuesday – sunday
11 am – 4 pm
Saturday, May 5, 12 – 5 pm
suemae Willhite calligraphy &
brush Painting Demonstration
and trunk show
Suemae Willhite’s earliest memory of art was watching her grandfather
practicing calligraphy and painting ocean crabs. At a very
early age, it was instilled in her to practice Chinese calligraphy
several hours a day as a way of life. This Santa Barbara artist
decided to pursue her love of calligraphy and watercolor painting
full-time in 2005. She draws her artistic ideas from nature and
spiritual inspirations, and is inspired by a wide range of subjects
and compositions with a unique style of Chinese impressionism,
abstract, and her own fusion of East meets West.
featured Products
Both Mother's and Father's Days are approaching and
what better way to appreciate these special people in our
lives with artful gifts from the Museum Store.
Fun tabi socks and precious handbags from Kurochiku will
keep her well-dressed in Japanese-inspired fashion.
And how could any Father's Day be complete without the
proverbial tie! This isn't just any neckwear, but custom-
designed silk ties by Kensyo, inspired by traditional kimonos.
17

exhibitions
www.sbma.net
MuseuM Hours
Tuesday – Sunday
11 am to 5 pm
Closed Mondays
805.963.4364
ADMIssIon
$9 adults, $6 seniors, students with ID,
and children ages 6 –17.
SBMA Members and children
under 6 free.
offIce Hours
Monday – Friday
9 am to 5 pm
MuseuM store Hours
Monday – Saturday
10 am to 6 pm
Sunday 11 am to 5 pm
tHe constAnce AnD
GeorGe feArInG LIbrAry
Tuesday – Thursday
1 to 5 pm
805.884.6451
MuseuM cAfÈ
Tuesday – Sunday
11 am to 4 pm
Closed Mondays
s a n t a b a r b a r a m u s e u m o f a r t
1130 State Street, Santa Barbara, CA 93101
april | may |june | 2012
Cover: Hendrik Kerstens, Paper Roll, 2008.
Chromogenic print. SBMA, Museum purchase
with funds provided by PhotoFutures.
Okuhara SEIKO, Woodpecker in Flowering
Cherry Tree (detail). Woodblock Print. SBMA,
Lent by Seymour and Shirley Lehrer.
© 2012 Santa Barbara Museum of Art
Nonprofit Organization
U.S. Postage
PAID
Santa Barbara CA
Permit Number 352