SBTC - Celebrating Art & People
The Club Gallery hosts an art exhibit featuring new artists every 2nd Friday of each month. Artist reception is 5:30 am - 7:30 pm.
Previous Exhibits
Captured: 1st Annual Photography Contest
Exhibition Dates: October 11 - November 2, 2013
Juried by Henry Rasmussen
Previous Exhibitions:

Henry Rasmussen is
the founder and past publisher, editor, and art director of B &W Magazine for Fine Art Photographers. Mr. Rasmussen currently juries the magazine’s twice-annual photo contests. Born in Copenhagen, Rasmussen lived in Denmark and Norway before moving to Sweden. In 1969 he relocated to San Francisco before retiring to Santa Barbara in 2000.

Photographers where asked to simply submit “Your best shot”. This year's Inaugural Captured competition has three winning categories. Best of Show, Best Black & White and Best Color.

Winners are listed below along with the judges statement on each winners work.

In Joyce Wilson’s Falling Upward, objective depiction has been replaced by the imagination of a surrealist visionary. Depending on which side of the window the viewer chooses as vantage point he or she becomes either the actor or the voyeur—or both. The scene is a dream, and, as dreams go, this is an impossible dream—one cannot fall upward. And the falling woman is not real—she’s a mannikin eternally afloat in a bittersweet void, a relic from the world of Chagall.

Patricia Houghton Clark’s Via Piu Facile
, with its accidentally overlapping frames, at first glance seems to be a piece of film better suited for the waste basket. But a second look reveals in the interlocking scenes a poignant illustration of contrasting worlds—one capturing an idyllic street filled with family cars and flower-laden balconies, the other freezing the view of a dead, dilapidated alley, barren and neglected. The meaning is made all the more lucid by the title—in Italian it means “easiest way,” or perhaps better yet, “easy street.”

Carey Hobart’s Streamline
, recalls a period in photographic history when its early function of capturing reality was supplanted by its ability to express abstract ideas—introducing into photography the art of seeing. The image connects to the pioneering work of Aaron Siskind, whose close ups of nature’s accidents revealed their intimate relationship to abstract painting. Here, the harsh hand of nature has created nonrepresentational shapes and hues. Only, the turn signal returns us to the concrete world—the fender of a car.

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