The Art of Michael Arntz
An artist in Montecito was gifted a unique ceramic charger plate found at a thrift store in Goleta, signed ‘M Arntz’; she writes that the blue glaze has a delicate shading of beige on a textured surface, a work of art. Indeed, it is. The work is by Michael Arntz, a local hero in the world of Southern California modern design and crafts, and Professor Emeritus of Art, UCSB. He created work in many mediums: clay, fiberglass, and paint, for many different causes, sites, and exhibitions.
Many large-scale Arntz sculptures still reside in Montecito gardens today. He’s a seminal figure in the California Design Movement of the 1960-70s with a forceful approach to large-scale work; when I looked at some of the ceramic sculptures recently sold, I was struck by the appearance of strength. Not to mention the values achieved: a large 85” sculpture on stand created in 1970 sold at Bonhams for $3,500 in 2011; at Los Angeles Modern Auctions in 2008 a monumental garden sculpture of 1966 sold for $10,000; this bears that eerie blue glaze as does the charger given to the artist, for which Arntz’ Danish grandmother’s embroidery was pressed into the clay for texture.
These works sold embody strength and forcefulness of design; Arntz took advantage of UCSB’s large ceramic studio. He could be seen throwing 75 pounds of clay onto a potter’s wheel. In fact, few potters can lift 75 pounds of clay let alone manipulate that mass while spinning. But Arntz had a unique background: he was formerly a linebacker and a wrestler, retaining that handsome athletic physique.
His obituary in the Independent of 7/6/20 lists his athletic achievements: if his works’ keynotes are strength and scale, his private life echoes that. He began as an athlete in Oklahoma, playing football as a linebacker and pulling guard; Santa Monica Junior College recruited him in 1958 where he went on to play for the National Championship Team. He then achieved a football scholarship to attend Long Beach State University (BA 1962), where he discovered the large kilns and stayed on for an MFA (1964). Alfred Moyer in 1965 recruited Arntz for the UCSB department of art, famous for its innovative creators and equipment, and indoor-outdoor ceramic facility; he taught at UCSB for 38 years, and married UCSB alum and artist Penny Schuchman Arntz, whom I interviewed for this article. He was Chair of the Department of Art from 1981 to 1987. Always close to open spaces, he was awarded a 1986 NEA Commission for Art Installations in National Parks.
He was made Professor Emeritus in 2003; during years prior, he developed a passion for nature photography for an important reason: he became aware of the UC’s management of their Nature Preserve Sites throughout California. At UCSB’s request, he became a documentary photographer, using the lens to persuade and advocate for the proper custodianship of these lands: in other words, not to subdivide and make money. He had a commitment to Sedgwick Reserve in the Santa Ynez Valley, unoccupied for years at the time. He brought the positive energy of his creativity as a force in preservation of the landscape. An exhibition entitled Science and Spirituality at the Santa Barbara Museum of Natural History presented his large-scale photographs of the nature reserve on Santa Cruz Island as an interactive exhibition, soliciting viewers’ commentary on what they saw.
I read a quote about this feeling of strength: He said, “The message of hope and healing has been and will continue as the fundamental force behind my creative endeavor. The only true factor in the future of our presence on this planet can be derived from such a positive energy and attitude.” I found a strong connection to Native American philosophy and design in his work, and in fact, in 1968 he won the Pearl Chase Fund Award for his Research in Ethnic Arts and Artifacts.
Here’s a fun fact about Arntz’ work in Santa Barbara – you see it every time you drive past State and La Cumbre. He was awarded the Louis Comfort Tiffany Award for research and creativity in ceramics, notably sculpture in an architectural environment; this abiding interest led to a commission by Barry Berkus for his ‘Galleria’ for architectural ceramic tiles surmounting the four columns below the pediment, geometric shapes in matt brown on black. Today that pediment bears a red Target logo and those tiles are accented with reds, yellows, and gold gilding, leaving some areas matte black, as the building was renovated by Gryphon Capital in 2017. This great thrift store find is appraised at $800.
