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Upcoming Exhibitions


Jorge Pardo Cuban, Untitled (Sea Urchin), 2012. Aluminum, molded Plexiglas, canvas, electrical cords. SBMA, Museum Purchase with funds provided by The Museum Contemporaries and the 20th Century Art Quasi Endowment Fund.

 

  Contemporary/Modern: Selections from the Permanent Collection
August 31, 2014 – January 4, 2015

Contemporary/Modern brings together a selection of significant painting and sculpture from the Museum’s permanent collection. Works in the exhibition date from 1958 to 2014, and together highlight the persistent influence of modernism. The most recent works inventively reference and reinterpret the past;–including both popular and obscure forms of painting, architecture, and design. The earliest works, each part of significant movements in abstract painting, articulate reductive forms suggesting a distinctively utopian view of the future. By sampling and mixing substantial works of the present with the past, this installation aims to provide a glimpse into an ongoing and dynamic dialogue between the two. Featuring eleven works by eight artists of national and international renown: Helen Frankenthaler, Guy Goodwin, Frederick Hammersley, Josiah McElheny, John McLaughlin, Jorge Pardo, Larry Poons, and Lucas Samaras.

 


Richard Salas, Four Tenors, 2012. Inkjet print. SBMA, Museum purchase with funds provided by Tim Walsh and Ken Anderson.
 

  Art to Zoo: Exploring Animal Natures
September 28, 2014 – January 4, 2015

This exhibition of photographs, drawn from the permanent collection, looks beyond the immediate allure of adorable animals, to explore the dimensions of animal characteristics and knowledge. The human species has long held itself as the highest animal form, while often overlooking or being unaware of the many traits that other species exhibit. These photographic masterworks also offer the opportunity to explore scientific discoveries on a variety of species.

The essence, movement, and posture of our fellow creatures are captured in an impressive range of photographic processes. The museum’s permanent collection now becomes a tool to educate viewers about animal knowledge and perception, for creatures are sentient beings who possess a remarkable range of skills and senses, capacities that are beginning to be studied and understood in depth. Just as animal portraiture reveals personalities and presence, Art to Zoo: Exploring Animal Natures seeks to reveal larger scientific truths.

This exhibition is organized by the Santa Barbara Museum of Art and shared with the College of Creative Studies Gallery at the University of California Santa Barbara. These installations bring zoology into the gallery. The glory of the animal kingdom will be on view at the College of Creative Studies Gallery from September 26-October 19, 2014, while the exhibition will continue through January 4, 2015 at the Santa Barbara Museum of Art.

 


Giovanni Bellini, Virgin and Child, ca. 1480–85. Tempera and oil on panel, 24 1/2 x 18 1/4 in. (62.3 x 46.2 cm). Glasgow Museums; Bequeathed by Mrs. John Graham-Gilbert, 1877 (575)
© CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

  Botticelli, Titian, and Beyond: Masterpieces of Italian Painting from Glasgow Museums
February 8 – May 3, 2015

Organized by the American Federation of Arts (AFA), this unique exhibition explores the evolution of Italian art and reflects the outstanding quality and remarkable 500-year range—from the late 14th to the 19th centuries—of the Glasgow Museums’ Italian holdings. Included are works by Italian Renaissance and Baroque masters, such as Giovanni Bellini, Sandro Botticelli, Domenichino, Francesco Guardi, Salvator Rosa, Luca Signorelli, and Titian, many of which have never before been exhibited outside Glasgow. Several have been newly restored for the exhibition, among them, the southern Italian Adoration of the Magi by the unknown artist known as the Master of the Glasgow Adoration. This stunning early Renaissance masterpiece believed to have been part of a larger altarpiece was almost black with atmospheric pollution before conservation.

The character of Glasgow’s Italian collection was largely determined by the tastes of Archibald McLellan (1797–1854), a discriminating collector who spent much of his wealth on art and bequeathed his extensive collection to the city. McLellan acquired representative examples of all the main schools of Italy and in all the main periods of development. Most are religious or mythological and were acquired in the spirit of an academic and moral ideal rather than for any personal reasons.

This exhibition is organized by the American Federation of Arts and Glasgow Museums, and is supported by an indemnity from the Federal Council on the Arts and Humanities. The exhibition tour is generously supported by the JFM Foundation and the Donald and Maria Cox Trust. In-kind support is provided by Barbara and Richard S. Lane and Christie’s.

 


László (or Ladislaus) Moholy-Nagy, Composition, n.d. (ca. 1922-23). Paper collage on paper. SBMA, Gift of Mrs. Charlotte Mack.
  The Paintings of Moholy-Nagy: The Shape of Things to Come
July 5 – September 27, 2015

This represents the first exhibition that explores how the practice of painting served as the means for László Moholy-Nagy to imagine generative relationships between art and technology. Featuring a suite of paintings executed on traditional supports, as well as on new industrial materials like plastics and aluminum, this presentation highlights how Moholy’s deployment of painting served to synthesize the inter-medial practice for which the artist has become so renowned. Organized chronologically and thematically, this exhibition shows the evolution of Moholy’s thought and practice over his career but attends especially to the profound political and technological impact World War II had on him.

It is undeniable that Moholy made numerous declarations about the end of painting especially at the end of the 1920s. He demanded that artistic production reach beyond the confines of the walls of a bourgeois salon, museum or gallery. He advised artists to exchange brush, pigment, and canvas with camera, television, and searchlight. However, even as he made these radical claims, Moholy returned time and again to painting. In the early ‘20s, he painted a number of works against black grounds, some on highly-polished black wood panels, others on canvas, thickly varnished to mimic the qualities of industrial plastics he began working with at the Bauhaus in the metal workshop. He also experimented with materials developed specifically for aeronautics, with aluminum and later with clear, lightweight, increasingly shatterproof thermoplastics in the thirties and forties. These works in plastic stand at the interstices of his many artistic practices, mobilizing techniques and organizing principles drawn from printmaking, film, photography, sculpture, and crucially painting.

 

 
     
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