Join us for the All Gaucho Reunion first ever reception in celebration of some of
UCSB's most distinguished alumni artists. This event is kindly hosted by
the Sullivan Goss Gallery in downtown Santa Barbara and includes a drinks reception and remarks from participating artists.
event supports the Alumni Association Scholarship Fund. Five percent of
all sales for the duration of the month-long show will be donated to
the Fund, which supports academically outstanding lower-income
students. Additional donations to the Alumni Scholarship Fund can be made online.
Please note that tickets are limited and event registration is required. REGISTER
What is the ideal balance between a system and its disruption? How
can the eye “know” things about the world before there is any scientific
or mathematical explanation? No matter where or when, some system is
being “disrupted” by another, resulting in change. Beginning February
1st, Sullivan Goss Gallery (11 E. Anapamu St.) seeks to answer these questions through visual art in a new exhibition, System Disruption.
This show uses some of the best artists’ works to observe how normal
individuals might be able to balance the need for order and
predictability with the need for invention and transformation.
Starting with the earliest artist in the exhibition, Lockwood de Forest who
dated back from 1850-1932, the show observes how this particular artist
constituted an art system by working with similar proportions to land,
sea and sky. Painting only outdoors, De Forest was pressured to finish
his works quickly before the sun set. Since he painted on thick paper,
De Forest could not return to his works to turpentine out mistakes. In
his case, the “system” was both a format and a process because the
repetition allowed him the maximum freedom to develop and refine his
subtle coloration and evocative brushwork as he painted all over the
Similarly for Nicole Strasburg,
her system was also a format and a process which began with her desire
to learn how to paint in gouache. Collecting internet-borne weather
camera shots, Strasburg made prints of the basic landscape forms and
then painted on these prints, recording the changing landscape captured
by her camera. Painting in one size and on one medium, Strasburg was
able to capture a spectacular amount of variety. Strasburg’s system
displays more than enough disruption by capturing climatic and seasonal
changes on one spectrum.
This similar format within a constrained process is also practiced by artist Bob Nugent, who draws and paints images of his observations along the Amazon river. Nugent
slices large sheets of wood veneer into 3 x 3 inch pieces which are
then combined onto panels to create one foot by one foot nature studies.
Nugent is not only interested in the connection between how the
memory’s filter interacts with the photographic and written experiences,
but also the subtle message about the clear cutting of Amazon rain
forests and the ever changing shape of the river itself.
On the other hand, the process of scraping layers of wet spray paint was of interest to R. Nelson Parrish, a
man who uses art a means of reconciling an ongoing investigation into
the subtle contrasts between the natural and man-made conditions and
states. Painting numerous wet on wet layers of archival aerosol on
cold-pressed Arches paper, Parrish realized the paint would dry too
quickly for him to add more detail and began to scrape stripes. Soon
enough, Parrish created a symbolic piece of art—the American flag.
Going hand-in-hand with the current political discussions is the “#Metoo Series” by Nancy Gifford. After her famous piece “Lament”
became widely exhibited, the artist became a collector of old books.
Gifford took the interior texts of these novels, mounted them to birch
panels, painted an open ruffle skirt and added legs in different
postures. Gifford’s art displays her idea of the system being designed
to disrupt society’s dialogue about certain “types” of girls within
To some artists, such as Rafael Perea de la Cabada,
the system is simple, undefined process For Perea de la Canada, art has
no defined format and is constantly evolving through a series of
counter moves. In his piece, Interferencia (Interference), Perea de la
Cabada illustrates a system through its original signal recorded in many
layers, drips and drawings, suggesting that his work exists in the
presence of disruptions.
As for other artists, systems are best understood as a creative and intuitive practice. Nathan Hayden’s
idea of a system is shown in his tiny pictographic ink drawings which
are strategically placed around an axial symmetry with notes that he has
taken during the moment to help maintain his creative flow. Although
creative disruptions are integrated throughout the process, the
transformations from one form to the next keep his system evolving.
At the high point of the Modernist movement in the mid-century,
humanity and gumption collided with geometric abstraction when two west
and east coast artists worked to bring distraction to the system. Jules Engel (1915-2003) of Los Angeles and Sidney Gordin (1918-1996) of New York worked with and against “the grid,” pushing formal boundaries to see what was possible.
Collisions also occur in Ann Diener’s drawing
and collage of the system of time, immigration, development and decay.
Illustrating how places can be molded by disruptive forces, Deiner added
digital photography and swirled compositions of familiar images in a
process of “over-drawing” to describe her idea of the system.
Artist Ethan Turpin created a “Video Organism”
piece, which reflected his idea of a system that feeds and evolves on
its disruptions. In this piece, organic geometries grow from his
two-camera setup and uses its output as an input to evolve new designs.
Turpin’s idea was to allow the public to interact, and further “disrupt”
the system, but the system would only adopt those disruptions and
This exhibition was originally scheduled to open on the 1st Thursday
in January. Ironically, the Thomas Fire disrupted the Gallery’s usual
The exhibition opening reception is Thursday, February 1 from 5-8
p.m, at the Sullivan Goss Gallery and remains on view through February
This Saturday, December 9, the Eastside Librarywill be having
an all-dayLotería celebration. Lotería is a game of chance, a pastime,
and even an educational tool. Because Lotería cards include the name of
the pictured character, they are used to teach reading, writing,
history, and social values. Join the Library for a day of activities
celebrating the history, culture and art of Lotería.
adults are invited to the opening Lotería workshop from 9-11:30am, at
which participants are invited to create their own interpretations of
cards from the popular Mexican game. Under the supervision of renowned
Professor and Artist Rafael Perea de la Cabada, participants will
explore Lotería images created by a variety of artists and work with
drawing, painting and collage. Materials will be provided at no cost.
Space is limited and registration is required.
to 4:00pm Saturday will be opening receptions for two art shows,
Nuestra Lotería and Mi Cartas de Lotería. Nuestra Lotería is an exhibit
of artwork created by participants in Alpha Resource Center’sSlingShotprogram. SlingShot is a working art studio and gallery which supports
Santa Barbara artists with developmental disabilities. Nuestra Lotería
features the work of eight talented artists and their renditions of
classic Lotería iconography. Featured artists are: Maria Arroyo, Marc
Sucher, Dylan Long, Rachel MacKenzie, Jane Hollick, Jeff Working, Ben
Watts, Megan Isaac.
Mi Cartas de Lotería is a show of Maribel Hernández’swork that speaks to her passion for life, with its various
rhythms and emotional landscapes. Hernández was born in Michoacan,
Mexico and her work ranges from design, photography, ceramics, and
At noon, attendees will be surprised to learn the
complex and fascinating history behind Mexican bingo presented by Santa
Barbara City College Professor Alfredo González. Born and raised in
Cuernavaca, Morelos (Mexico), González completed his BA in
Latin-American Literature and History with an emphasis in Linguistics,
in the city of Puebla, Puebla (Mexico). Come learn about Lotería and its
long history, uses, and meaning in Mexican culture.
the day all are invited to play a round (or two! or three!) of Lotería,
win prizes, and enjoy pan dulce and hot chocolate. Join the Santa
Barbara Public Library in this celebration of Lotería.
Presented in conjunction with Pacific Standard Time: LA/LA Latin American & Latino Art in LA, an initiative of the Getty
Experience Chicano culture and history, as well as current struggles
and social issues, as seen through the eyes of Chicano artists in Ayer y
Todavía, opening Friday, Sept. 15 with an evening of art and music, 6
to 9 p.m. at the Museum of Ventura County, 100 E. Main Street, Ventura.
event are sponsored by the Port of Hueneme, Clinicas del Camino Real,
Inc. and Santa Paula Latino Town Hall. Major funding for this program is
made possible in part by the City of San Buenaventura and the County of
Ventura. Special thanks to the MVC Latino Advisory Committee.
Rafael Perea de la Cabada Presents Mixed
Media Work in
“Los Amorosos” (The Lovers)
at The Museum of Ventura County’s Tool Room
Ventura, CA – In the spirit of The Getty’s Pacific Standard Time
initiative, renowned visual artist Rafael Perea de la Cabada will present a new
body of work that explores the subject of human touch: physical, spiritual,
social, and psychological. “Los
Amorosos” (The Lovers), features painting, mixed media on paper, prints, and
ceramic objects and opens with a public reception on Friday, September 1st
from 6 to 9 pm at The Museum of Ventura County’s Tool Room Gallery at the BellArts Factory at 432 N. Ventura Ave., Ventura, CA.
“We live to relate and we relate
to live,” says Cabada, “In this time of persistent unrest, we are reminded
through the artist’s work, of the power of connection and relationship; to
ourselves and to each other.”
When commenting on Perea’s art,
Charles Donavan of the Santa Barbara Independent said, “The new Westmont Ridley-Tree Museum of Art …could not ask
for a better introduction to its potential than the Rafael Perea de la Cabada
show Alien Heartland. Cabada’s bold,
imaginative work in multiple media has never looked better, or more complete,
than it does in this handsome room…Cabada is a central figure in our art
community here in Santa Barbara, and his is a story and an oeuvre that we
should all both know and celebrate”.
Award-winning artist Rafael Perea
de la Cabada was born in Mexico City and has lived and worked in Santa Barbara
and Ventura, CA since 1987. Perea received a degree from the National School of
Painting, Sculpture and Printmaking in Mexico City and went on to earn his
M.F.A. from the University of California, Santa Barbara.He has exhibited at many galleries and
museums in Southern California including the Santa Barbara Museum of Art, the
Contemporary Arts Forum, The Armory Center for the Arts in Pasadena, and the
Hunsaker-Schlesinger Gallery in Santa Monica.He has also shown in New York, Washington, Tennessee, Texas, Mexico,
Puerto Rico, Cuba, Croatia, Spain, and Germany. His work is included in
numerous public and private collections in Mexico, Switzerland, France,
Germany, and the United States.
Rafael teaches Painting and
Drawing in the Fine Arts Department at Santa Barbara City College and has
served as a Master Artist for mentorship programs, master classes, and mural
projects for both the Santa Barbara Museum of Art and The Arts Fund.He recently had a solo exhibition, “Mexico
Para Armar,” at UNAM in Mexico City, completed an important Public Art
Commission with designer Richard Irvine on the West Beach Pedestrian
Improvement Project for the City of Santa Barbara, and served as the Founding
Art Director for The Animal Museum Los Angeles. To learn more visit:
The Getty’s Pacific Standard Time is a far-reaching and ambitious exploration of Latin American
and Latino art in dialogue with Los Angeles. Led by the Getty, Pacific Standard
Time: LA/LA is the latest collaborative effort from arts institutions across
Southern California. As a Mexican national who has spent equal amounts of time
living in the United States, Perea brings a unique perspective to this conversation
of art, identity, and what it means to be human in this current exhibition,
“Los Amorosos” (The Lovers).