Joan of Art
Tanner in her studio, contemplating Mire, a site-specific installation she created for her Out of Joint solo exhibition at the Santa Barbara Museum of Art.
Celebrating the work of visionary artist Joan Tanner
Written by Lorie Dewhirst Porter | Photography by Sara Prince
Good art makes us look; great art makes us see. Joan Tanner’s art does both, depending on the viewer’s level of receptivity. Even the mildly curious will be rewarded by looking, as will those opting for a deep intellectual dive. At 87, Tanner is a seasoned pro, having produced and exhibited artwork for more than five decades. Fittingly, the Santa Barbara Museum of Art—which mounted Tanner’s first solo show in 1967—is celebrating the artist with a solo exhibition, OUT OF JOINT (on view February 12 – May 14), co-curated by SBMA’s contemporary art curator, James Glisson, and independent curator Julien Robson, director of the Great Meadows Foundation in Kentucky.
Robson has known Tanner for over 20 years, having curated a significant solo show of her work at Kentucky’s Speed Art Museum in 2001. Glisson joined SBMA in 2020, and he visited Tanner’s studio later that year after viewing examples of her earlier work in the museum’s permanent collection. “Because of the sheer elegance of her recent work, I felt it was important to share,” Glisson says, “and I discovered Joan hasn’t had a museum show in Santa Barbara for many years.”
Video courtesy Zach Mendez and Santa Barbara Museum of Art
Tanner, originally from Indiana, received her BA from the University of Wisconsin-Madison in 1957. Painting was her first focus; even so, her paintings often hinted at three dimensions, and in the 1980s she shifted to sculpture (enhanced by a strong drawing practice that has never waned). Aesthetically some have linked her work to that of assemblage artist Kurt Schwitters (whom Tanner admires for his “nonchalant use of materials”), but it was the work of Mario Merz, of the politically charged Arte Povera movement, that caught her attention early on. Tanner is especially attracted to the by-products of commercial activity, the discarded remains of completed work. These remainders are reminders—of waste, pollution, and our planet’s imperiled condition. Yet her work does not lack humor or hope.
As part of the Out of Joint show, Tanner has conceived two site-specific installations. The most imposing piece, Mire, comprising brightly painted plastic mesh, a network of metal rods, and shellacked vinyl tubing, fills and spills from the entryway of the museum’s McCormick Gallery, dramatically altering the surroundings and recontextualizing the space where Tanner’s art is displayed. (Negotiating the physical boundaries of the artist’s exuberant installations is integral to the experience.) Mire can also be viewed as a nod to SBMA’s recent renovation and the construction that took place in the gallery itself. Out of Joint: Joan Tanner is not to be missed sbma.net.
