British artist Yinka Shonibare's grand photograph The Sleep of Reason Produces Monsters (Asia) (2008) provided the inspiration for this installation of photographs that conjure up scenes of unease and the uncanny, which—despite our best efforts to rationally dispel them—can seem to surround us every day.
A landmark in the history of video art, Christian Marclay’s Telephones (1995) is an expertly edited sequence of black-and-white and color film clips featuring people dialing, answering, talking, listening on, and finally hanging up an assortment of telephones, all from the pre-smart phone era.
Japanese paper stencils, or katagami, are the pattern-bearing tools used in a resist-dyeing textile process known as katazome. Despite their utilitarian role, katagami, with their striking patterns, have long captivated Western collectors and artists.
David Wiesner (b. 1956) is one of the most highly acclaimed picture book artists in the world. Winner of the prestigious Caldecott Medal for Tuesday in 1992, The Three Pigs in 2002, and Flotsam in 2007, Wiesner is only the second person in the history of the award to have received it three times.
Inspired by an affirmation of the classical, employing the space that traditionally houses SBMA’s Wright Ludington/Lansdowne Collection of Greco-Roman antiquities (currently on view at the Getty Center), and extending the celebration of SBMA’s 75th anniversary, Judith Shea’s iconic Mid-Life Venus was recently installed in Ludington Cour
A diverse selection of works on paper by contemporary artists who rose to prominence in emerging Los Angeles galleries in the early 1990s through the mid-2000s. Featuring Ingrid Calame, David Korty, Aaron Morse, Jon Pylypchuk, Dario Robleto, Thomas Scheibitz, Jeni Spota, and others.
Curated by art historian Peyton Skipwith and drawn entirely from the permanent collection of the Santa Barbara Museum of Art, this selection of some 50 paintings, drawings, and sculptures presents an overview of British art from around 1890 through 1945.
In this unique presentation, artist Jan Tichy (b. 1974, Czech, resides in Chicago) has devised a special installation in direct response to the Museum’s current position in its 75-year history―on the brink of a transformative renovation, with the vibration and sound of concrete demolition palpable.
This exhibition celebrates the complexity of South Asian representation and iconography by examining the relationship between aesthetic expression and the devotional practice, or puja, in the three native religions of the Indian subcontinent.
Commissioned by SBMA and presented in the Museum’s historic Ludington Court, this installation represents the most recent work in a series of oversize, inflatable sculptures by the artist based on the figure of the 12th-century Buddha at Gal Vihara in Sri Lanka.
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.
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.
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.
A selection of etchings by Venetian-born printmaker Giovanni Battista Piranesi reveal the architecture of his ambitious imagination – evoking its spectacular sublimity – and elicit awe in and passion for the architectural traditions of Rome.
Featuring paintings from The Armand Hammer Foundation that complement works from the Museum’s collection, this exhibition presents a representative overview of French Impressionism and Post-Impressionism with a nod to the schools of Barbizon and Romanticism that prepared the way.
Twelve photomontages by Bauhaus artist Herbert Bayer grapple with memory and the dilemmas posed by individuality and national identity to recover some of the wonder – and dread – of the rapidly shifting dynamics of modern German history.
Organized by guest curator Joyce Tsai and Chief Curator and Asst. Director Eik Kahng, this is the first monographic exhibition of Bauhaus artist László Moholy-Nagy to explore how the practice of painting served as the means for the artist to imagine generative relationships of art and technology.
On view in this exhibition, one of the best collections of Italian painting in the world, with 50 works spanning 500 years of Italian art history, offers a unique opportunity to learn firsthand what made the Italian Renaissance a gold standard for artistic excellence.
This exhibition brings together a selection of painting and sculpture from the Museum’s permanent collection dating from 1958 to 2014. Recent works inventively reference and reinterpret the past – including both popular and obscure forms of painting, architecture, and design.
Following on the heels of Daumier's Salon: A Human Comedy, curated by former SBMA exhibition intern Elizabeth Saari Browne, Daumier Reveals All: Inside the Artist's Studio presents another selection of lithographs by Honoré Daumier (1808–1879) that provides an inside look into the 19th-century Parisian art world.
This exhibition of over sixty images, largely drawn from the permanent collection, continues the exploration of the intersections of art and science, begun in 1967 when the Santa Barbara Museum of Art presented Once Invisible.
Spanning the period from the late 1960s to the present day, this exhibition presents the work of an artist who radically combined site-specific earthworks with the medium of drawing. Michelle Stuart has become internationally known for a rich and diverse body of work engendered by her lifelong interest in the natural world and the cosmos.
Portraits of Jesus Christ, His mother and His saints invoke the presence of God, to whom every Christian prayer is addressed. Before the Reformation, such images were habitually used by believers all over Europe, both in church and in private.
This exhibition presents a selection of early modern paintings that celebrate the topography of California. By the end of the 19th century, landscape painting had become the primary vehicle for depicting national identity in American art.
This exhibition of more than 50 photographs and photographic montages, drawn from the artist’s studio and the Menil collection and spanning the period 1962 to the present, traces the fascinating and wide-ranging evolution of the career of New York- and New Mexico-based Danny Lyon.