Join us to listen and feel authentic sound through the vibrations of various instruments such as Tibetan/Crystal singing bowls, voice, bells and chimes. Give your mind a chance to wander into a deeper relaxation and improve overall wellbeing.

Featuring more than 100 seldom-displayed salt prints from the Wilson Centre for Photography, this extraordinary exhibition provides a rare chance to experience some of the earliest photographs ever made, by many of the most important and groundbreaking figures in the history of the photographic medium. "Salt and Silver" surveys the first two decades of photography’s evolution through the salt paper print process, unveiled in 1839 by the English scientist and scholar William Henry Fox Talbot. Talbot’s invention was a scientific and artistic breakthrough that created an entirely new visual experience. The technique—which used the simple compounds of salt and silver—was efficient, portable, and versatile, traits that allowed the practice of photography to spread across the globe from the early 1840s onward. Featuring the work of more than 40 practitioners, "Salt and Silver" traces their networks and geographical reach from England into Europe, North Africa, the Middle East, India, China, and North America. The presentation at the Santa Barbara Museum of Art represents the final opportunity to see this exhibition after being on view at Tate Britain, London; Yale Center for British Art, New Haven, CT, and the Ruth Chandler Williamson Gallery at Scripps College, Claremont, CA. Salt and Silver: Early Photography 1840–1860 has been organized by the Wilson Centre for Photography with the Yale Center for British Art.
Image: Studio of Mathew Brady. Mathew Brady, Sixth Corps Staff Officers, "Winter of 1864," 1864. Salted paper print from a glass plate negative. Courtesy of the Wilson Centre for Photography.

By definition, the observable universe comprises all matter that can be seen or captured with current technologies. As vast and all-encompassing as that may seem, it still presumes a specific perspective from which all else is viewed and conceptualized—one afforded by the particular viewpoint of being on earth. Our unbridgeable physical distance from other cosmic entities, including the infinite reaches of other galaxies, has forced artists to look to observational sciences like astronomy for inspiration and employ experimental methods to conceptualize the vastness of outer space. In astronomy, there are multiple methods used to visualize celestial objects. Similarly, artists’ perceptions of the universe vary widely, inspired by a variety of cosmological models.

Drawing primarily from SBMA’s permanent collection and supplemented by loans from area collections, "The Observable Universe" explores a diverse range of artistic representations of the cosmos roughly coinciding with the ‘Space Age’ of the last sixty years. From early fascinations with space travel to philosophical questions of humankind’s place within the larger universe, the artwork featured in this exhibition reflects an enduring captivation with outer space and the mesmerizing imagery that the limitless cosmos inspires.

Alfredo Ramos Martínez (1871–1946) was a pivotal figure in the modernist development of Mexican art. He spent his formative years immersed in the artistic life of Paris, returning to Mexico in 1910 on the eve of the country’s Revolution. After becoming director of the famed Escuela Nacional de Bellas Artes in Mexico City, he established the nation’s first open air schools and encouraged his pupils to create work that captured observations of daily life. In 1929, Ramos Martínez and his family relocated to Los Angeles. For the next two decades, his subject matter focused on the people and culture of Mexico, with the artist receiving many notable mural commissions throughout Southern California. His canvases depict indigenous traditions, local crafts, and religious icons painted in striking hues of umber and sienna accented by bold highlights of color.

While Ramos Martínez was celebrated as a painter, some of his most iconic works of art were created on paper. Said to have always carried a Conté crayon in his pocket, the artist frequently drew on newspaper—the printed columns of text supporting totem-like figures of flower vendors. Working in combinations of gouache, charcoal, Conté crayon, and watercolor, he perfected a signature style in which forms were reduced to essentials to create a structural scaffolding across the paper’s surface. "Alfredo Ramos Martínez: On Paper" is an intimate exhibition of works from the Santa Barbara Museum of Art’s permanent collection. Comprising six drawings, as well as two serigraphs created by his wife María Sodi de Ramos Martínez after his death, the exhibition showcases the artist’s extraordinary draftsmanship, revealing the layered sensibility in his chosen themes.

Alfredo Ramos Martínez: On Paper is curated by Rachel Heidenry, Curatorial Assistant, Contemporary Art, and presented in both English and Spanish in the Works on Paper room of SBMA’s Ridley-Tree Gallery.

Image: Alfredo Ramos Martínez, "Mujeres con flores (Women with Flowers)" (detail), ca. 1946. Tempera and Conté crayon on newsprint / Tempera y crayón Conté sobre papel periódico. SBMA, Gift of the P.D. McMillan Land Company, 1963.32.1 © The Alfredo Ramos Martínez Research Project.

Alfredo Ramos Martínez (1871–1946) was a pivotal figure in the modernist development of Mexican art. He spent his formative years immersed in the artistic life of Paris, returning to Mexico in 1910 on the eve of the country’s Revolution. After becoming director of the famed Escuela Nacional de Bellas Artes in Mexico City, he established the nation’s first open air schools and encouraged his pupils to create work that captured observations of daily life. In 1929, Ramos Martínez and his family relocated to Los Angeles. For the next two decades, his subject matter focused on the people and culture of Mexico, with the artist receiving many notable mural commissions throughout Southern California. His canvases depict indigenous traditions, local crafts, and religious icons painted in striking hues of umber and sienna accented by bold highlights of color.

While Ramos Martínez was celebrated as a painter, some of his most iconic works of art were created on paper. Said to have always carried a Conté crayon in his pocket, the artist frequently drew on newspaper—the printed columns of text supporting totem-like figures of flower vendors. Working in combinations of gouache, charcoal, Conté crayon, and watercolor, he perfected a signature style in which forms were reduced to essentials to create a structural scaffolding across the paper’s surface. "Alfredo Ramos Martínez: On Paper" is an intimate exhibition of works from the Santa Barbara Museum of Art’s permanent collection. Comprising six drawings, as well as two serigraphs created by his wife María Sodi de Ramos Martínez after his death, the exhibition showcases the artist’s extraordinary draftsmanship, revealing the layered sensibility in his chosen themes.

Alfredo Ramos Martínez: On Paper is curated by Rachel Heidenry, Curatorial Assistant, Contemporary Art, and presented in both English and Spanish in the Works on Paper room of SBMA’s Ridley-Tree Gallery.

Image: Alfredo Ramos Martínez, "Mujeres con flores (Women with Flowers)" (detail), ca. 1946. Tempera and Conté crayon on newsprint / Tempera y crayón Conté sobre papel periódico. SBMA, Gift of the P.D. McMillan Land Company, 1963.32.1 © The Alfredo Ramos Martínez Research Project.