Anchorage Art Scene mourns Loss, Celebrates Legacy of Bill Sabo with Retrospective Exhibition
ANCHORAGE, Alaska – the vibrant and frequently enough quirky art community of Anchorage is in mourning, yet concurrently celebrating the life and work of Bill Sabo, a prolific artist and former art professor whose influence spanned five decades. Sabo, who passed away in April 2024, is being honored with a retrospective exhibition, “My Hands Are Connected to My Heart,” at the Georgia Blue Gallery.The show, a carefully curated selection from a vast trove of artwork discovered in a storage locker, runs through Saturday, April 26.
For years leading up to his death, Sabo had urged his children to venture to Anchorage and unearth the contents of his storage unit. “We knew there was some art, and he was saying we ‘really didn’t want to lose this one,’” explained his daughter, Agnes Barton-Sabo, herself a professional artist based in Oregon. following his passing, Barton-Sabo traveled to the U-Haul storage park on Old Seward Highway, and “armed with some bolt-cutters, she finaly cracked the door open.” There, she discovered a lifetime of artistic output, a testament to Sabo’s boundless creativity and his penchant for transforming the mundane into the remarkable.“Imagine the combination of an artist and a hoarder and imagine every single thing he kept because it coudl be an art piece some day,” Barton-Sabo said, describing the overwhelming task of sifting through the accumulated works. The exhibition now offers a glimpse into Sabo’s unique artistic vision, showcasing his diverse range of mediums and his distinctive, often humorous, perspective.
Sabo was a fixture in the Anchorage art scene for decades, instantly recognizable by his flamboyant Hawaiian shirts, his booming voice, and a distinctive, snow-white beard. To some locals, he became the unofficial Santa Claus. But, more importantly, Sabo challenged conventions and pushed the boundaries of what defined “Alaskan art.”
“Alaskan art at the time — if you didn’t have mount McKinley or a moose or a cache in it, it wasn’t done,” noted Alaska musician and performer Mr. Whitekeys, a longtime friend of Sabo’s. The pair first met in the early 1970s, shortly after both arrived in the state. whitekeys, who was then performing five nights a week, noticed Sabo in the audience one evening, reading Mark Twain’s risque book, “1601.” From the stage, Whitekeys quipped, “Hey, there’s a guy over there reading a dirty book,” sparking a friendship that would last for decades.
“Sabo did everything — he was a potter and he did drawings and paintings and collages and sculpture and he did it all really well but he also was totally crazy,” said Whitekeys,reached while in the woods near Gunsight Mountain. “He had this point of view that was just nuts, and it was a treat to be around him because you never knew what was going to happen.”
Born in Perth Amboy, N.J., in 1946, Sabo’s connection to Alaska began during his enlistment in the Air Force in the 1960s.After his service, he traveled extensively before earning a Bachelor of Fine Arts in ceramics and sculpture from the San Francisco Art Institute. He returned to Alaska in 1974 and began teaching at Anchorage Community College, later the University of Alaska Anchorage. There, he joined a group of artists who were redefining the Alaskan art landscape.
“These guys just sort of broke out of the mold and starting doing other art that was very cool. And it was groundbreaking in Alaska at the time,” Whitekeys said, naming Keith Appel, Alex Combs, Pat Austin, Joan Kimura, Sam Kimura and Wassily Sommer as part of that influential scene.
In 1973, Sabo and Whitekeys collaborated on a memorable art exhibit that challenged traditional notions of Alaskan art. Titled “A Fur Rendezvous art Exhibit Without A Single Picture of Mt. McKinley,” the show featured models of torsos in various mediums, from ceramic to concrete to wood to Jell-O, earning it the nickname “the body show.”
Sabo’s comedic talent also found expression in Whitekeys’s popular “Whale Fat Follies” musical revue. His contribution of haddock-minded humor, “Our flounder, which art in heaven / Halibut be thy name” became a recurring favorite with audiences.
duke Russell, another Anchorage artist, recalls a memorable encounter with Sabo at the International Gallery of Contemporary Art in the mid-1980s. Sabo created “artistic licenses” for those who crossed his path. Russell still cherishes his license, which features his photo and the following inscription: “Licensee is entitled to make artistic works and statements and have creative thoughts without feeling confined by logic, public opinion, good taste, normalcy, religious dogma, artistic dogma, or anything else.”
Sabo frequently employed humor and satire to critique politicians, corporations, and societal norms. Barton-Sabo recounted her fatherS run for lieutenant governor of Alaska, primarily to gain access to televised candidate interviews. “He brought props with him to the interview and hoped it felt like an ‘SNL’ sketch
Which of Bill Sabo’s pieces most resonates with you, and why?
Remembering Bill Sabo: A Retrospective on a Revolutionary Alaskan Artist
Archyde News Editor: Welcome to Archyde, everyone. Today, we’re honored to delve into the life and work of bill Sabo, a pivotal figure in Alaska’s art scene. Joining us is Ms. Anya Petrova, a leading art critic and historian specializing in Alaskan art.
Introduction: Honoring a Pioneer
Archyde News Editor: Ms. Petrova, thank you for being here. Bill Sabo’s recent retrospective has sparked a lot of interest. What initially drew you to his work,and what,in your opinion,made him so influential?
Anya Petrova: Thank you for having me. I first encountered Sabo’s work during my graduate studies. It was his unconventional approach to alaskan art that immediately captivated me. He wasn’t bound by the usual landscapes.his ability to infuse humor, satire, and a deep sense of social commentary into his pieces was truly groundbreaking, challenging the traditional norms of the “Alaskan art” world.
Breaking the Mold: Sabo’s Artistic Revolution
Archyde News Editor: The exhibition title, “My Hands Are Connected to My Heart,” is quite powerful. Can you elaborate on some specific works or themes that exemplify Sabo’s artistic approach?
Anya Petrova: Absolutely. Sabo’s work was incredibly diverse. he experimented with various mediums – from ceramics and sculpture to drawing and collage. One that stood out was his collaborative exhibit, “A Fur Rendezvous art exhibit without A Single Picture of Mt. McKinley”.Which featured radical, unusual models of bodies over landscapes. His focus was always on the human condition.His work often poked fun at societal norms and political figures. The exhibition showcases this through works like “Artistic Licenses,” the comedic elements he brought to “Whale Fat Follies.” His art was connected to his experiences. Every piece a reflection of his heart.
The Legacy of Sabo: Impact and Future
Archyde news editor: Sabo’s influence extended beyond his art, as he was a professor as well. What can you tell us about his impact on future generations of Alaskan artists?
Anya Petrova: Sabo’s impact is immeasurable. He fostered a spirit of experimentation and encouraged his students to move beyond traditional expectations. He empowered them to think of the world in an unconventional way. He helped create a space where Alaskan art could be anything and everything, pushing boundaries. As a result he helped foster a community that still resonates to this day .
The Exhibition and Audience Reaction
Archyde News Editor: The show is generating widespread discussion about his art. Ms. Petrova, what do you hope audiences take away from this retrospective?
Anya Petrova: I hope thay appreciate the breadth of his creativity. That they see that art can be fun, humorous, and provoke thought. But most importantly, I would like for audiences to be encouraged to continue to ask “What can art be?” It is critical to the legacy of bill Sabo.
Archyde News Editor: A brilliant retrospective! Thank you Ms. Petrova for your time and insights. We encourage our readers to visit the “My Hands Are Connected to My Heart” exhibition at the Georgia Blue Gallery. We appreciate your readership.
Archyde News Editor: We welcome your comments. Which of Bill Sabo’s pieces most resonates with you, and why?
