“A Few of Our Favorite Things” at the Santa Barbara Museum of Art features artworks selected not by curators but by staff members who work behind the scenes as museum educators, Gift Shop employees, facilities staff, installation workers, fundraisers, and even security guards.
“A Few of Our Favorite Things” at the Santa Barbara Museum of Art features artworks selected not by curators but by staff members who work behind the scenes as museum educators, Gift Shop employees, facilities staff, installation workers, fundraisers, and even security guards. Credit: Julia McHugh / Noozhawk photo

“A Few of Our Favorite Things” at the Santa Barbara Museum of Art answers what must be a common question for those who work there: What is your favorite piece and why?

This exhibit was created not by curators, but by those who work behind-the-scenes as museum educators, gift shop employees, facilities staff, installation workers, fundraisers, and even security guards.

Now on view through Sept. 6, it is the result of a query put to the staff last fall that identified about 100 individual artworks, with some duplications. Of those, more than 30 pieces are now on view, with some light-sensitive works rotated midway through the run.

Here are several stories behind the selections, ranging from aesthetic appreciation to personal connections.

‘Portrait of Mercedes de Acosta’

“I look at the collection database every day, and I’ve seen a record of everything,” said Allyson Healey, the museum’s permanent collections researcher and archives manager.

She coordinated the exhibit’s selection process with Director of Community Programs Kristy Thomas and curator Lauren Karazija.

Permanent collections researcher Allyson Healey has seen a record of every item in the museum’s collections. She was drawn to Abram Poole’s 1923 portrait of his wife, Mercedes de Acosta, she says, both for its aesthetic beauty and fascinating subject.
Permanent collections researcher Allyson Healey has seen a record of every item in the museum’s collections. She was drawn to Abram Poole’s 1923 portrait of his wife, Mercedes de Acosta, she says, both for its aesthetic beauty and fascinating subject. Credit: Julia McHugh / Noozhawk photo

Healey joined the museum’s development office in January 2020, and has held her current position for four years.

“I was always drawn to portraits and dug deeper into them for this show,” she said. “I feel it is among the most compelling in our collection, not only for its aesthetic beauty, but for its fascinating subject.”

Mercedes de Acosta’s full-length, life-size portrait was painted in 1923 by her husband, wealthy New York socialite and portrait artist Abram Poole.

By then, she was already known as a poet, playwright, and suffragist. Their marriage, reportedly one of convenience, ended in 1935.

De Acosta, who kept her maiden name, later gained notoriety for rumored relationships with several prominent women, including Broadway star Eva Le Gallienne, dancer Isadora Duncan, and actresses Greta Garbo and Marlene Dietrich.

Healey said her tell-all memoir, published in the 1960s, “caused a firestorm in her circles.”

“In the painting, she looks like she’s about to hold forth on some subject. Even with little color, you can tell she is interesting and important,” Healey said. “It also shows her unique sense of style, and the shoes are amazing.”

‘Dancing Figures’ and ‘Basket of Light’

Santa Barbara native Diego Lopez, a museum security guard, was raised with his two sisters by their grandmother. He first saw Mexican artist Augusto Escobedo’s sculpture “Dancing Figures” during a museum field trip as a student at La Cumbre Middle School.

Security guard Diego Lopez has a personal story behind his selection of Augusto Escobedo’s “Dancing Figures” sculpture, which he first saw during a museum field trip as a student at La Cumbre Middle School.
Security guard Diego Lopez has a personal story behind his selection of Augusto Escobedo’s “Dancing Figures” sculpture, which he first saw during a museum field trip as a student at La Cumbre Middle School. Credit: Julia McHugh / Noozhawk photo

In it, a man spins his partner in a fluid, stylized pose. He wears a “mascara” (mask) used by Mexican wrestlers, known as “luchadores.”

“It has a parallel to my life. The man’s mask reminded me of how, as growing up to be a Mexican man, I was expected not to show my feelings, versus the freedoms my sisters had to be expressive,” he said.

“It wasn’t until I had my own partner that I learned to express my feelings more.”

Lopez also selected Flor Garduño’s photograph “Basket of Light,” which depicts a sunlit young girl in traditional dress gazing at the viewer, a basket of lilies balanced on her head.

“The girl in the picture is a strong person ready to set out in the world,” he said. “It reminded me of growing up with my grandmother. She is a light-bringer, a strong, independent woman who lights up any room.”

Lopez said he enjoys watching visitors interpret artworks “without even reading the wall text,” though he remains vigilant to protect the collection.

“As a whole, people are well behaved, but it is human nature to want to touch the art. No matter the age, they want to touch it,” said Lopez, smiling.

‘Maternity’

Lisa Benshea has worked in the museum’s member travel program for 19 years and now serves as manager. She estimates she has gone on more than 40 trips.

Lisa Benshea believes that “Maternity” by David Alfaro Siqueiros has a universal theme. “Motherhood is wonderful, but there’s also a lot of weight and concern,” she says.
Lisa Benshea believes that “Maternity” by David Alfaro Siqueiros has a universal theme. “Motherhood is wonderful, but there’s also a lot of weight and concern,” she says. Credit: Julia McHugh / Noozhawk photo

“Bhutan was my favorite for sure,” she said. “I loved the people, the art, and the way they are preserving their art. We met a Bhutanese princess who is conserving art blackened by candle smoke.”

Benshea grew up in Hawaii, studied art history at Occidental College and met her husband, Adam, nearly 21 years ago at a Nashville honky-tonk.

She was attending a work conference, and he was helping a friend move from Santa Barbara, his hometown.

Their paths crossed for only two nights, yet she soon moved to Santa Barbara, took this job, and the pair married 10 years later, after he completed graduate school.

He now teaches religious studies at Cal Poly. Their sons are ages 5 and 7.

She selected the painting “Maternity” by David Alfaro Siqueiros.

“The woman looks so concerned. She wants to protect her child,” Benshea said. “Motherhood is wonderful, but there’s also a lot of weight and concern. I feel she’s gone through harder things than I have, but the feeling is universal.”

It was after viewing the painting several times that Benshea noticed a second child wrapped in fabric, just barely visible over the woman’s left shoulder.

“It all just comes together for me,” she added.

‘Moon Dog’

The style of Rufino Tamayo’s painting “Moon Dog” reminds Montserrat Capdevila of Salvador Dalí, who was also from northern Spain, where she was born.

“It is from Tamayo’s series of dog paintings that are a reaction to the pressures of war that were begun while he was living in New York during World War II,” she said.

“This was painted in 1973, and I like to think it is a big howl for a better tomorrow after being done with hardships.”

Montserrat Capdevila has worked at the museum’s Gift Shop for 17 years while a full-time teacher at the UCSB Children’s Center. “Now, the children I knew are bringing their children here,” she says. Her selection was “Moon Dog” by Rufino Tamayo.
Montserrat Capdevila has worked at the museum’s Gift Shop for 17 years while a full-time teacher at the UCSB Children’s Center. “Now, the children I knew are bringing their children here,” she says. Her selection was “Moon Dog” by Rufino Tamayo. Credit: Brian Forrest photo, left; at right, Santa Barbara Museum of Art photo

Capdevila taught in Spain before coming to Santa Barbara to broaden her understanding of cultural differences between the two countries.

She worked as a nanny, attended Santa Barbara City College, and taught in private and public schools before joining the UCSB Orfalea Family Children’s Center.

“I worked there five days a week with kids, and 17 years ago I started one day a week at the museum gift store,” she said. “So, I was working with both adults and children. Now, the children I knew are bringing their children here. The museum completes me.”

After retiring from UCSB in 2022, she increased her hours at the museum. She is looking forward to the new gift shop being installed near the admissions area.

“Yes, it is smaller, but we are excited to be collaborating to find new and unexpected items; special things that will be inviting to people,” she said.

Capdevila also believes Tamayo shared with Dalí “a big heart,” a quality she sees throughout the museum.

“This exhibit reflects the heart of the people who work behind-the-scenes here. We are not just doing a job; our staff sees with their hearts,” Capdevila said. “As does the community, in their generous support of the museum.”