David Gebhard

  • Melvin Edwards

    Edwards is represented in this one man exhibition by a sophisticated and highly urbane selection of sculpture. The overall impression conveyed by the exhibition is most impressive, and this first impression maintains itself upon revisits. In part it is the element of craftsmanship; one could even suppose that in this selection of Edwards’ sculpture, craftsmanship is not only a means, but to a considerable extent, it is the end. Perfection of workmanship and a full understanding of material has been united with the formal content of each work.

    If one were, in a good art-historical fashion, to

  • Architecture and the New Vernacular

    An idea, now treated by those in the know as highly old-fashioned, is that a distinction should always be made between architecture and buildings. As Gilbert Scott, the great 19th-century English Gothic Revivalist put it, “Architecture consists of the decoration of construction.” While such an assertion would only bring smiles from our current schools of architecture or from our professional architectural journals, this is a distinction which is still almost universally made on a popular level. To most people, that which is thought of as architectural in a typical project house, are shutters,

  • “George Washington Smith and The Spanish Colonial Revival”

    If, during the 1920s, one were to thumb through a stack of home magazines or profes­sional architectural journals, it would have been surprising not to have come across illustrations of the building of the Santa Barbara architect, George Washington Smith. In fact, by the end of the decade of the ’20s, his name had become synonymous with the Spanish Colonial revival movement.

    The California pioneers of the “New Architecture,” Schindler, Neutra and later Ain, Harris, and Soriano had noth­ing but caustic comments to make about a movement which they felt had little to do with the ideals of their

  • Architecture in Los Angeles

    THE PRESENT ARCHITECTURAL SCENE in southern California can, at best, be described as respectable, but dull. One end of the spectrum—that which may be thought of as popular or folk architecture—still brings forth unbelievably fantastic creations, ranging from the façadism of the suave “Hollywood regency” to the latest version of Islamic, Tahitian or Japanese architecture. At the other end are elegant, finely detailed structures, as fraudulent in their use of materials and expressive form as the current emaciated female Hollywood model. No matter how one may try to twist or turn the facts, Los

  • The UCSB Art Gallery

    THE PRESENT ART GALLERY was opened to the public in 1959. Since that time, its exhibits have ranged over the entire field of the visual arts and, in time, from the pre-historic past to the present. Exhibitions have been initiated which have presented the ethnological art of Africa, Korean pottery of the Far East, European Renaissance and Baroque paintings and drawings as well as 20th-century European and American art and architecture.

    The Gallery’s approach to its exhibitions program is a scholarly one. Each of its major exhibitions is under the general direction of specialists in the field, and

  • The Case Study Houses

    SURPRISINGLY THE AMERICAN ARCHITECTURAL magazine most often found in the foreign architect’s office or School of Architecture is the California publication Arts & Architecture. In its pages the foreign archi­tect and student is exposed to an array of buildings of a remarkably high degree of quality. (He is also exposed to the writings of two of America’s most gifted critics, Peter Yates, in music, and Dore Ashton, in painting and sculpture). The wide acceptance and influence of Arts & Architecture abroad has cer­tainly been due to its view of architecture as an art, rather than as a vast business

  • “Decorative Arts of the 18th Century from California Collections”

    The often expressed desire to experi­ence the work of art within its own specific historic context is here realized in the fragmentary reconstruction of a series of individual 18th century interior spaces. Within the 9 stage-like settings are rooms representative of Italy, of France (Louis XIV, Louis XV, and the Classical Revival), England (Queen Anne and late 18th century) and one example from late 18th century America. It is particularly rewarding to see paintings by such figures as Van Dyck, Van de Velde, Constable and Gainsborough related to furniture and other decorative objects of their

  • Oliver Andrews

    This sculpture well illus­trates the classic repose and control which exists today, even within the confines of what we normally pigeon-hole as “junk sculpture.” Andrews rummages through the local junk pile of bolts, nuts, and sundry metal parts and then proceeds to compound them into an intensely unified statement––a statement which intriguingly forces us to lose sight of the sources of the individual parts. The general impression conveyed is that of sparse elegance which concentrates almost the whole of its atten­tion on the esthetic problem of form to the exclusion of an avowed social comment

  • Ronald Garrigues

    His work instantly re­veals a deep and highly sensitive feel­ing for the quality of wood, its texture, grain and color. These are indeed tac­tile-enticing pieces which one desires to handle, and it is this simple feature which constitutes their major appeal. Regrettably Garrigues’ pieces do not in­dicate the same high quality of understanding of form. His curvilinear twisted shapes are watered down versions of the sculpture of the 1920s of Gabo. Even the most satisfactory of Garrigues’ examples, such as Metamorphoses seems somewhat slick and unconvinc­ing as a total form. The materials and the

  • Hans Hofmann

    An exhibition of 14 paintings and 3 drawings, dating from 1952 through 1962, gathered from California collections. The major impetus for the exhibition was a gift by the painter of one of his own works to the Santa Barbara Museum. Hofmann’s name is one that is constantly involved in any discussion of post World War II painting, and even though the exhibition is restricted in size and to a limited phase of the painter’s career, it is still an exciting and revealing experience which one hopes will be repeated and expanded in future showings of Hofmann’s work on the West Coast.

    Clement Greenberg,

  • Donald Bear

    Here is a wide selection of drawings dating from the late 1940’s and early 1950’s. The late Donald Bear is remembered by those who knew him as one of the West Coast’s most energetic and perceptive museum administrators (he was the founding-director of the Santa Barbara Museum of Art). With a close sympathy and understanding of contemporary art, he was able to build the Santa Barbara Museum into one of the major museums of California. His success in this area of his activities has tended to hide the fact that he was also a painter whose works, in many cases, will stand solidly by those of his

  • The Art of Easter Island

    NO SINGLE ISLAND in the vast Pacific has held such a fascination in the popular imagination as Easter Island. How its people were able to develop such a complex material culture on such a relatively small and isolated piece of land, which is the most remotely situated of the islands of the Pacific, has always appeared a tantalizing mystery. Here, 2300 miles from the coast of South America to the east, and 1200 miles from Pitcairn Island to the west, the aboriginal Easter Islanders erected their enormous stone statues, developed an impressive megolithic architecture, a system of writing, and a

  • Saul Steinberg and Paul Klee

    To claim a close connection between the works of Saul Steinberg and Paul Klee may seem to border on the incongruous, even flavor a little of Dadaism, or one might suspect that such an exhibition was simply another contemporary device to attract attention. In our current jazzed-up world where the museum is forced to pit itself against the competition of television, advertising, and the sports arena, one has come to expect the incongruous even in the overly precious and hallowed halls of the public museum and private gallery. While much of this forced competition has brilliantly spotlighted the

  • “1962 Awards Pasadena Chapter, AIA”

    This is a rather sparse exhibition of ten buildings selected by a jury of five architects (Maynard Lyndon, H. J. Powell, John L. Rex, George Vernon Russell and Clar­ence J. Paderewski). Few architectural exhibitions are really worth the bother, either as examples of exciting visual dis­plays or for their content, and this ex­hibition, like most of those sponsored by the AIA, is extremely dull. Unless one were acquainted with these build­ings it would be impossible to under­stand them as they are here presented. Several of them are presented in such a cursory, fragmentary way that they even lack

  • “Pre-Columbian Masterworks”

    A pocket-sized exhibition of eleven large and twenty-eight small examples of Pre-Columbian sculpture of Mexico. The clay and stone sculpture has been borrowed from sev­eral southern California collections, those of Robert Rowan, E. Primus, Dal­ton Trumbo and the Stendahl Gallery. One is a little at a loss to fully under­stand the nature of the display: it does not attempt, even on a small scale, to render a meaningful picture of the Pre­Columbian sculpture of this region, nor, with the exception of two specific pieces, could one honestly say that the indi­vidual examples are in themselves

  • Margaret Ash

    Eighteen recent paintings. Within the past year or so the painter has had a number of one man shows in southern California. Her thorough under­standing and command of the craft, al­ways apparent in her work, is at least in part due to the diversity and basic soundness of her background: study with Lebrun, at the University of Califor­nia, Santa Barbara, the Art Students League and the Cooper Union School of Art. On first encounter perhaps the most striking element of her work is her highly personal, constrained style. One senses a determined, firm hand both in her in­triguing mixed technique of

  • “Contemporary Painting and Sculpture”

    This exhibition embraces an impressive array of well-accepted name-brand painters and sculptors of our century. The catholic range of the exhibition runs the gamut of Klee, Jawlensky, Matta, and Dufy to recent work of Guston, Diebenkorn, Dubuffet, Charles Frazier, Joan Jacobs and others. From an historical point of view there are several pieces which one fondly (and perhaps naively) hopes will eventually find their way into one or another of the public collections here on the West Coast. Among these is a small very handsome Orphist work of 1916 by Sonia Terk Delaunay, an early still life Red

  • The Governor's Mansion Competition

    IN APRIL OF THIS year a jury composed of three architects, a museum director and a Professor Emeritus of Philosophy selected the winning design for a new Governor’s Mansion for the State of California.* Their selection was made from among ten finalists, chosen from an original group of 197 designs. Although the competition was restricted to architects of California, its underlying significance is national and even international, for the potpourri of entries provide an all too revealing, and in many ways depressing, picture of our present architectural scene.

    All of the entries, to one degree or

  • The Francis Minturn Sedgwick Collection

    In the fall of 1960, Francis Minturn Sedgwick presented to the Art Gallery of the University of California, Santa Barbara, an outstanding collection of twenty European paintings dating from the 15th through the 17th century. The collection was given on the basis of a permanent loan with a certain number of the paintings becoming the property of the University annually. The underlying reason for this generous gift was the donor’s vision of the eventual development of a full scale teaching-museum at the Santa Barbara Campus. As a collection, the Sedgwick paintings have established an ideal of

  • “Collection of Mr. and Mrs. Richard Ames”

    It is a genuine relief these days to experience a private collection which is not based upon national or international “name brands.” A native of Santa Barbara, Richard Ames is an individual who has purposely sought out the painters and sculptors of his own area, and it is these works which form the basis of his rather extensive collection. One’s overall impression is that Ames has not only been able to actively encourage the artists of his community, but that he has been remarkably perceptive in his selection, for, on the whole, the artists are represented by some of their most impressive works.