Artist in Residence

Partnership with Blue Sky Center in New Cuyama, CA

Image courtesy of Blue Sky Center

Image courtesy of Blue Sky Center

We have partnered with Blue Sky Center for a rural Artist in Residency program in New Cuyama, CA.  555 Rural Artist Residency is Blue Sky Center's pilot artist residency program, hosting 5 artists for 5 days in 5 Shelton Huts on the Blue Sky Center campus.  The residency will take place in collaboration with citizen artist and residency facilitator Mary Welcome.

The artists spent this past week in residence at the Blue Sky campus, immersing themselves in the local community.  One artist, Butchy Fuego planned to hike as many trails as time and his legs would allow.  Another artist team, Designers on Holiday, were erecting a bus shelter for the community using reclaimed metal pipes.  We are looking forward to seeing the final result!  To learn more about the other artists and their projects, please visit this page

Mary Welcome, as well as some of the participating artists, will return on July 26th for an opening and reception in Downtown Santa Barbara.  Stay tuned for more details as we get closer to July. 

Also, check out the Blue Sky Center's website to learn more about their organization. 

mage courtesy of Blue Sky Center

mage courtesy of Blue Sky Center

Santa Barbara Independent Review of The Fluidity of Gender: Sculpture by Linda Stein

Hi-res catalog.jpg

There was a lovely review of Linda Stein's exhibition: Fluidity of Gender, in the Santa Barbara Independent.  Click here to see the article on their website.

Below is the article reprinted from The Independent:

Linda Stein Sculpture

Body Armor for 21st-Century Amazons

Wednesday, March 14, 2018
By Rachel Heidenry

For Linda Stein, art and activism go hand in hand. An artist for more than four decades, Stein has addressed such topics as bullying, persecution, and gender justice in her work, drawing on history from the Holocaust to 9/11. Her central interest in gender empowerment led her to create the ongoing project The Fluidity of Gender: Sculpture by Linda Stein. This traveling multimedia exhibition, which has been presented at more than 24 museums and universities around the country, was on view at the Santa Barbara Center for Art, Science & Technology (SBCAST) when I visited it and has since been moved to Via Maria Villa for the duration of its run as part of Stein’s spring residency with The Squire Foundation.

Begun in 2010, The Fluidity of Gender features sculptures created primarily out of leather, metal, or mixed media, as well as prints and video. Drawing inspiration from figures such as Wonder Woman with whom female bravery is front and center, the sculptures blur the line between perceptions of masculinity and perceptions of femininity through androgynous shapes. Many of the works project a skin-like coat of armor in which zippers or badges create the impression of toughness; others are embellished with comic strips and altered graphics extolling progress in gender justice. And while androgyny may be key, Stein still creates identifiable curves of breasts or hips, celebrating these features equally as one may pecs or abs.

Walking into the exhibition feels a bit like walking into a room of Roman sculpture — though far more colorful. Mounted on mannequins or pedestals, Stein’s works appear as a collection of torsos. But while the impact of the figure may be similar, idealization is nowhere to be found. Celebrating distinctiveness, the sculptures’ subtle details are like codes to be deciphered. Visitors are invited to try on a selection of the wearable pieces and embody the persona they exude; the sculptures thus become performed. When hung on the wall, the works imply the presence of giant, omnipotent Venus de Milos wrapped in leather and suede. Here, toughness blends with the mythical to create figures that feel both prehistoric and modern.

In an interview I conducted with the artist, Stein expressed the importance of uplifting others and creating works in which empathy can be taught and felt. Always incorporating educational components in her exhibitions through direct outreach to students or public lectures, she consistently thinks about how the work can be activated and serve as a point of departure for empowerment. Exploring how heroism and strength can be projected through the lens of clothing, gender, and popular culture, she invites viewers to consider the relationship between protection and expression.

Stein’s lived experience reflects this focus. Starting out as an abstract artist, she became drawn to more figural shapes and to the concept of protection after being forced to flee from her Tribeca home on 9/11/2001. Knowing this history, one may view the sculptures as shields — the literal armor keeping one safe from bodily harm. But they are equally about the concept of camaraderie, the idea that, whether one is male or female, survival is something experienced together. Furthermore, as powerful as they may look, the sculptures are created out of thrifted textiles and accessories — materials that carry histories from the bodies they once adorned. Indeed, the works are about vulnerability as much as they are about power.

Whether through prints, sculpture, or storytelling, Stein’s art invites individuals to ask: Who is a hero? By breaking down stereotypes and creating dialogue, she makes her intention clear: She wants her audience to engage with the shapes, materials, and messages of the sculptures and perhaps even try one on.


Shakespeare’s Globe Education in Santa Barbara

Today marks the first day of Shakespeare’s Globe Practitioners’ week in Santa Barbara working with local junior high and high schools. Three practitioners from London are here in Santa Barbara as Artists in Residence made possible by the Leni Foundation

Today, practitioner Emmeline Prior led a Teach the Teachers workshop where 25 local high school teachers learn ways to expand and enhance their Shakespeare curriculum, this year Romeo and Juliet. 

Sam Oatley, another Shakespeare’s Globe Practitioner, worked with students from Goleta Valley Junior High who are studying Romeo and Juliet.  

Peter Bradley in the May Abstract Art Collective Newsletter

Friend of A. Michael Marzolla and Artist in Residence at the Squire Foundation, Peter A. Bradley is featured in Bomb Magazine this month: “Artists in Conversation — Peter Bradley” by Steve Cannon, bombmagazine. org/article/8233125/peter-bradley. He is also a subject in the recent book 1971: A Year in the Life of Color by Darby English. (You can find it on

  a. Michael Marzolla and new York artist Peter a.
bradley:  Friends since 1974, Peter Bradley was recently
Artist-in-Residence at the Squire Foundation. Michael was
instrumental in arranging it.

 a. Michael Marzolla and new York artist Peter a. bradley: Friends since 1974, Peter Bradley was recently Artist-in-Residence at the Squire Foundation. Michael was instrumental in arranging it.

The book describes Bradley’s role as the curator of the groundbreaking DeLuxe Show in Houston, Texas in 1971 that brought together racially diverse abstract artists.

Michael’s friendship with Peter began in 1974 in Guatemala, where Michael was serving as a Peace Corps Volunteer. Peter had come to Guatemala to look for orchids, one of his passions. They ended up traveling together throughout Guatemala. For Michael, as a fellow artist, it was an opportunity to learn from someone first-hand who had successfully been involved in the New York art scene, and whose peer group included people like Robert Rauschenberg, Cy Twombly, Jasper Johns, Norman Lewis, Larry Poons, and Clement Greenberg. To top it off, Peter’s connection with jazz greats Miles Davis and Gill Evans, among others, was heaven for Michael, who was also a jazz aficionado.

It took Michael over two years to make the connection for Peter at The Squire Foundation, on a recommendation by local artist Nancy Gifford. Thanks to The Squire, Peter was able to spend the month of March in their residency program, located here in Santa Barbara. His time here included leading a three-day painting workshop and a special arts event evening at The Squire campus. Peter was also a special guest at two Santa Barbara Jazz Festival events. His final show is up at GraySpace Gallery on Gray Avenue in the Funk Zone until May 14th.

For more information on The Squire Foundation, their mission, and their residency program, please visit For more information on Peter Bradley, visit his website at, or visit his wiki page at Bradley_(artist).

This is the article from the newsletter, to see full newsletter click link here

AIR Peter Bradley in the Abstract Art Collective Newsletter

"The Squire Foundation’s Spring 2017 Artist In Resident, New York artist Peter A. Bradley, still has a couple upcoming events: a meet and greet art exhibit on March 23rd, 6:45 to 8 pm, at the Lobero Theater, 33 East Canon Period Street, and another exhibit and reception on March 31st from 5 to 8 pm at GraySpace Gallery, 219 Gray Avenue. Mr. Bradley is an abstract artist who views life and color through a lens of unyielding power and imagination. He is connected to the “New New Painters” movement, a group of nine core artists that developed in 1978 coincident with the invention of acrylic gel paint with chemist Sam Golden. Bradley’s work is held in permanent collections of the Museum of Modern Art, Metropolitan Museum of Art, New York City Museum of Arts, and the African American Museum (Dallas). For more info on the Squire Foundation and a full schedule of events, visit"



Peter Bradley featured in the SB Independent

View the full article on

Peter Bradley at the Squire Foundation

Artist Is Subject of New Book on Color in Modern Art

As of 2017, “outreach” has become one of the most common terms heard in the arts, but back in 1971, the idea of putting on a show of abstract art by a group of mostly New York City–based artists in an abandoned movie theater in Houston’s poverty-stricken Fifth Ward was virtually unheard of. For Peter Bradley, the venerable painter who will be in Santa Barbara all of March as artist in residence at the Morris B. Squire Foundation, The Deluxe Show, as it was called after the theater in which it was located, was a chance to give people an experience that was “like the new world we’re all striving towards, free of obstruction.”

The show’s sponsors, John and Dominique de Menil, were at the beginning of what would become an extraordinary career in art and philanthropy, and Bradley, then painting and working in Manhattan’s influential Klaus Perls Gallery, made a most prescient choice for the exhibition’s curator. Having turned down an invitation to be part of the Whitney Museum’s controversial Contemporary Black Artists in America exhibition earlier in the year on the grounds that it reduced the artists involved to tokens of their racial identity, Bradley took the de Menils’ offer to come to Houston with a show as a chance to exhibit nationally known black artists alongside such major proponents of color painting as Kenneth Noland, Jules Olitski, and Larry Poons.

Peter Bradley poses for photos at the Morris Squire Foundation House

Peter Bradley poses for photos at the Morris Squire Foundation House

Bradley has accomplished a great deal since this curatorial coup in 1971, and he’s hard at work now at the Squire Foundation’s palatial headquarters in the hills off Route 154. But I emphasize his responsibility for The DeLuxe Show both because it’s an important milestone in art history — the first major show to comprehensively integrate black modernists with their white contemporaries — and because it’s what makes Bradley the hero of a fascinating new book called 1971: A Year in the Life of Color by Darby English, the Carl Darling Buck Professor of Art History at the University of Chicago. Professor English stands at the forefront of a movement among art historians to uncouple African-American aesthetic practice from a strict regime of racialization. Along with another 2016 publication, Susan Cahan’s Mounting Frustration: The Art Museum in the Age of Black Power, 1971: A Year in the Life of Color represents a wave of renewed interest in the swirling eddies of identity politics that swept through the institutions of fine art in the 1960s and 1970s. English finds in Bradley an early avatar of his own position, which values abstract art for its optimistic embrace of individual idiosyncrasies.

While he is in Santa Barbara, Bradley will be forwarding the Squire Foundation’s mission of creative empowerment with a series of public appearances, including an Abstract Art Workshop at the Community Arts Workshop on Garden Street March 10-12, a night of blended art forms at the Foundation’s Villa Maria on March 16, a meet and greet at the Lobero prior to the John Pizzarelli concert on March 23, and an exhibition at the GraySpace Gallery (219 Gray Ave.) in the Funk Zone on March 31, 5-8 p.m.

For more information about Peter Bradley or any of these events, visit or