"I look for microbubbles, that lie among the wheat, and bake them into mutton-pies and sell them in the street," to misquote Lewis Carroll. I've always wondered why the Walrus didn't mention microbubbles as well. He certainly didn't mind talking of those other things, like shoes, and ships and sealing wax. Whenever I see an exhibition of Assemblage Art, it puts me in the mind of Lewis Carroll's masterpiece, Alice in Wonderland.
This is one of the internet's top 100 Tumblrs according to pretty much everyone on the internet.
For centuries, the compass rose has served as a directional tool. ROSE COMPASS, a group of six women from Santa Barbara County (Connie Connally, Holli Harmon, Libby Smith, Nicole Strasburg, Nina Warner, and Pamela Zwehl-Burke) is charting a path to increase environmental awareness through art.
If you happen to travel to Africa, specifically to Equatorial Guinea or the Republic of Namibia, and visit their respective American embassies, you will see, prominently displayed, the work of Santa Barbara artist Phoebe Brunner, courtesy of the Art in the Embassies Program.
Following two days of much-needed rain, the sun came through for October's 1st Thursday art walk, humming with crowded streets, galleries, and clubs. The art headliner was the Sullivan Goss Gallery exhibit trying the history of assemblage art in Santa Barbara from 1956-2018, aptly titled THE RED-HEADED STEPCHILD and curated by art historian and Gallery director of Sullivan Goss Jeremy Tessmer.
Amid the bustle of 1st Thursday in downtown Santa Barbara, friends and family slowly trickled into the Sullivan Goss Gallery to see the latest show titled “The Red-Headed Stepchild.”.
The show celebrates local artists who embrace the idea of taking the old and unwanted, and transforming it into something beautiful.
Sullivan Goss (11 E. Anapamu) hosts an important exhibition in October titled “The Red Headed Step-child: The History of Collage and Assemblage in Santa Barbara 1955-2018,” running through Sunday, October 14, and with a reception on Thursday, October 4.
Transforming upper State Street into a hub for visual art and creativity, many downtown venues will be joining forces to become the Santa Barbara Art District. The galleries, stretching from Sola to Figueroa Streets, will each be hosting opening receptions during 1st Thursday, October 4th from 5-8pm.
Collage and assemblage is an art form often overlooked as fine art and is instead considered child’s play. This is how artist Sue Van Horsen and Sullivan Goss curator Jeremy Tessmer came up with the title for this exhibition.
“Yeah, we’re like the red-headed stepchild,” she says, as she explains how assemblage artists get invited to gatherings in the Santa Barbara art world only to be seated at the kid’s table.
This delightful show of five artists sharing a common interest is the product of curator Susan Bush’s observation that when it comes to eco-consciousness among contemporary artists, there’s something special about bears. Adonna Khare, Beth Van Hoesen, Susan McDonnell, Pamela Kendall Schiffer, and Nicole Strasburg may all have started out expressing their fascination with these extraordinary animals independently, but encountering the work together, the viewer is left with no choice but to accept that there’s now a distinct bear area in art.
Landscape and animal paintings are tough. Not tough to digest, but tough to review. Like portraits and landscapes, animal paintings are what they are—they depict, though not necessarily through ideas. They are meant to look a certain way. Mostly they are meant to entice a viewer by technique, use of color, or style.
Ask any witness about the devastation wrought by the Montecito mudslides, and there’s a strong likelihood that you’ll hear a description of the mud itself: the “big stewing soup of it,” as T.C. Boyle memorably put in his short story “I Walk Between the Raindrops” in the July 30 issue of the New Yorker. In Phoenix Rising, the new exhibit at Sullivan Goss, An American Gallery (11 E. Anapamu St.), ceramic artists James and Linda Haggerty are asking us all to take another look at the mud and ash distributed by January’s debris flow, but not because they want to take us back to the scene of the disaster; instead, they want to imagine a way forward.
A few years ago, Sullivan Goss curator Susan Bush began to notice the number of artists regularly depicting bears in their works. Artists had begun to choose bears as their subject matter not only to show the profound beauty of the animal but also to raise awareness to their fragile existence and habitat in North America.
The Contemporary Bear Area Artists exhibition aims to showcase the majestic North American bear while informing visitors of the effects that a growing human population, climate change and changes in hunting regulations have on bears.
BRINGING A TASTE OF LOS ANGELES art history to Santa Barbara this summer season, Sullivan Goss’s new exhibit L.A. in S.B. II is an overview of the eclectic and elusive post-war and contemporary eras in the city of angels. The second installation of this series, this exhibition, curated by Jeremy Tessmer, will be on view through August 19th.
Works of art by masters of the Los Angeles modern art scene are currently on view at Sullivan Goss Gallery (11 E. Anapamu St.) in the second installment of L.A. in S.B.. The showing features more than 15 artists from the contemporary and postwar period, including Ed Ruscha, David Hockney, Patssi Valdez, and Ken Price.
Born in the depths of the great recession in 2008, this holiday group exhibition offers approximately 100 works of art all priced at $1,000 or less. The goal, according to curator Susan Bush, is to make quality work available to collectors who might not have the means to acquire something larger. While it began as a loose collection of work by people whom Bush knew and liked, regardless of whether or not they were represented by the gallery, 100 Grand has grown into a unique community event, the de facto salon of Santa Barbara’s art scene.
Thinking big, burrowing into the details, and nding new paths between tradition and innovation are a few of the natural elements in the aesthetic process and mindset of the accomplished artist John Nava. All those facets come together, symbiotically, in the Ojai-based painter’s fascinating, not-to-miss exhibition at Sullivan Goss.
The craft of weaving has given us many of the most durable metaphors we have for high levels of communal integrity. It’s no accident that when people reach for the best appropriate way to praise a multicultural society, for example, they often speak of it as a “grand tapestry.”
A RETURN OF SORTS will take place during 1st Thursday when Sullivan Goss - An American Gallery celebrates the first solo exhibition in eight years for nationally-renowned painter John Nava.