Update on Recordings of an Immigrant – A Project by Vincent Goudreau

August 6, 2014

We wanted to provide you with a little update on Vincent Goudreau, who was artist in residence at GCAC last fall. As you may recall, Vincent was here at GCAC working on the early development of his project Recordings of an Immigrant. The residency proved to be a very productive time, and the project continues to develop in positive ways.

Screen shot 2014-08-06 at 11.28.35 AM

A NEW SCROLLING WEBSITE was just placed online this week, so we thought we would share that link. (use the scroll bar on the right of your browser to navigate down the page).
http://recordingsofanimmigrant.com/

Recordings of an Immigrant is a non-fiction narrative, which inspired a multidisciplinary project including a book compiled from transcribed audio recordings. This is a survival story of Juan Aquino’s journey from the genocide of Guatemala to the courtrooms of the United States.

The project is supported through the artist in residence program of Grand Central Art Center, a unit of California State University, Fullerton’s College of the Arts, with funding support provided by an anonymous donor and from The Andy Warhol Foundation for the Visual Arts.

Vincent will be returning as artist in residence at GCAC from November through December to continue his work on the project, developing the last of the prints, as well as final edits and design of the publication.

We look forward to having you over to GCAC for a visit with Vincent!


Grant / Residency Opportunity – A Social Practice Initiative of Living Resources and Grand Central Art Center

March 10, 2014

Living Resources & Grand Central Art Center Partnership

Developing Sustainable Practices within Affordable Housing Communities

A SOCIAL PRACTICE INITIATIVE

CALL TO CREATIVES

GCAC LOGO NEW small

PROJECT SUMMARY

Living Resources, a program of a California-based nonprofit organization, has teamed up with Grand Central Art Center (GCAC), a unit of the College of the Arts at California State University, Fullerton, in enlisting community-driven “Creatives” (artists, architects, social activists) to respond to a “Call” for proposals.

Specifically, the Creatives selected will be awarded a one-year opportunity to engage the residents in one of two affordable housing communities in Southern California and Phoenix, AZ to ignite social change through sustainable practices and programs. The Creatives selected – individual and or collective groups, will be given housing (or a housing stipend), a working stipend, and a small budget to execute their projects.

THE COMMUNITIES

The communities in which applications will be accepted for are as follows:

warwick
Warwick Square Apartments, Santa Ana, Calif., a 500 unit family property where residents’ household income is less than 60% of median income adjusted for family size

whispering-pines
Whispering Pines Apartments, Phoenix, AZ, a 325 unit family property whose residents’ household income is less than 80% of median income adjusted for family size

WHAT IS LIVING RESOURCES?

Living Resources is an outreach program developed and funded by a nonprofit organization founded to promote the preservation and/or rehabilitation of affordable housing for low-income households. Living Resources provides support – financial or otherwise, to underserved individuals or other nonprofit organizations serving those in need.

WHAT IS GRAND CENTRAL ART CENTER?

Grand Central Art Center, a unit of California State University, Fullerton’s College of the Arts, is the result of a unique partnership between the university and the city of Santa Ana. Located ten miles south of the main campus in the heart of downtown Santa Ana, the art center is a mixed residential, commercial and educational complex. Grand Central Art Center is dedicated to the investigation and promotion of contemporary art and visual culture: regionally, nationally, and internationally through unique collaborations among artists, students, and the community. The art center is a 45,000 square-foot, half-city block deep and full city-block long, three-level structure with apartments, live/studio spaces for college of the arts graduate students, the Grand Central Gallery, the Project room, the Grand Central Theater, the Gypsy Den Café, an Education Gallery, classrooms, and studio and living spaces dedicated to the center’s international artist-in-residence program.

More information on GCAC can be found at: https://grandcentralartcenter.wordpress.com/

HOW WE CAME TOGETHER

A partnership between Living Resources and the GCAC germinated from a collaboration in which Living Resources funded an artist in residency program at GCAC, as well as have seeded other community-based artistic efforts to stimulate social change in many Southern California communities.

WHAT ARE WE LOOKING FOR?

We are looking for Creatives who seek to bring low-income people together at two affordable housing communities, in which the nonprofit is part owner, to share ideas and experiences, and stimulate social change within their communities. The Creatives role is to live and/or spend significant amounts of time with the people living there, get to know them, listen and lead the effort to stimulate change using their specific skillset and Social Practice approaches. Living Resources and GCAC seek a similar outcome – the Creatives leave the community a better place to live, with people more active in assuring the continuation of this positive change.

WHAT IS SOCIAL CHANGE?

In sociology, the term social change refers to any significant alteration in behavior patterns and cultural values. This type of change may have a lasting effect on a society’s culture that has undergone transformation. We are looking for Creatives to live within the community in an affordable housing apartment complex and ignite change within that community making it a better place to live, getting people involved, and leaving a lasting impression for generations to come.

What exactly the Creative and that community are seeking to change and how this is accomplished is where we turn to you, the applicant, to lay out a framework for specific projects and approaches to accomplishing your goals over a one year period of time. This framework would also include methods for measuring this impact during your residency and once you have concluded your time.

WHAT DOES THE RESIDENCY INCLUDE?

This is a one-year residency in which the Creative is provided housing at no cost, a stipend of $10,000, and a small project budget of $2,000 for the year. The Creative may also choose to work part of the time from an onsite resource center, as well have access to the property management staff onsite and the resource center coordinator’s time.

DEMOGRAPHICS OF AFFORDABLE HOUSING COMMUNITIES
Information related to each affordable housing community is available upon request.  Send email to: grandcentral@fullerton.edu

WHO IS ELIGIBLE TO APPLY?

Creatives must be:
• Individual artists or artist collectives
• A U.S. citizen or a permanent legal resident
• At least 25 years old
• A working artist with at least five years of professional experience
• Undergo a background (and credit check for living in residence at one of the affordable housing communities*)
• And have never committed a felony.
*To be eligible to live at the Santa Ana site, artists must qualify for affordable housing.   Artists can still do a project at the Santa Ana and not qualify for affordable housing, as it is not a requirement of the grant to live on site. The Phoenix site doesn’t have the same affordable housing qualifying requirement for living on site.

AWARD CALENDAR
Tuesday, March 11, 2014 – The Call will be released.
Friday, May 23, 2014 – Applications due, 11:59 p.m. PST.
Friday, June 27, 2014 – Awards Made.

WHAT NEEDS TO BE SUBMITTED TO APPLY? 

Living Resources & Grand Central Art Center Partnership
Developing Sustainable Practices within Affordable Housing Communities
A SOCIAL PRACTICE INITIATIVE

Call to Creatives

APPLICATION

Full Name(s)
Collaborative Information (if relevant)

Address
Phone Alternative Phone
Email Address
Website
Other Contact Information

On a separate document, please provide responses to the following questions.

Please describe your creative interests.

1. Please select which community you would like to work with.

Warwick Square Apartments (Family Affordable Housing Community; 500 units)
780 Lyon Street; Santa Ana, CA 92705

Whispering Pines Apartments (Family Affordable Housing Community; 325 units)
2601 North 36th Street; Phoenix, AZ 85008

2. What type of social change do you hope to bring about in that respective community? And, what are your goals of the proposed project? (Please provide a minimum of one page description on this question.)

3. How do you plan to go about at engaging the community to foster their interest and participation?

4. What plan do you have to bring about this change?

5. How do you plan to measure your impact on the community during your residency and what tools might you suggest post-residency?

6. What makes you qualified and the right person to be selected to initiate social change in this community?

7. Please describe some of your past work engaging community and/or leading social change.

8. What sets you apart from other applicants for this project?

9. Please provide samples of your work, if relevant.

10. Please attach a copy of your resume or CV.

11. Please provide three professional references.

WHEN IS THE APPLICATION DUE AND WHERE SHOULD IT BE SENT?

Applications should be submitted to arrive no later than 11:59 p.m. PST on Friday, May 23, 2014.

Submissions will be accepted through email (.PDF format only):

grandcentral@fullerton.edu

or by mail to the following address:

Grand Central Art Center
Attn: John D. Spiak
125 N. Broadway
Santa Ana, CA 92701

STILL HAVE QUESTIONS?
Please feel free to email any questions you may still have to the ATTN OF: John D. Spiak / grandcentral@fullerton.edu


BANKSY: COMPLETED – Feb 13 @ 7PM with Carol Diehl – CSUF Main Campus

February 3, 2014

BANKSY: COMPLETED

Carol Diehl
Art in America, Contributing Editor

FEBRUARY 13, 7PM
California State University, Fullerton
MAIN CAMPUS
Lecture Hall – VA 113
FREE AND OPEN TO THE PUBLIC

2banksy

Each day last October, the British street artist known as Banksy left his mark on New York City, hitting all five boroughs in a self-styled “residency” that included paintings on walls, roving theme trucks, videos on his website, sculptures and more—leaving fans delighted and critics enraged. Artist and art critic Carol Diehl follows Banksy’s clues to explore the overarching philosophies that drive this prankster, who calls himself a “good vandal.”

Among the galleries and museum where Diehl has exhibited her work, are the Sidney Janis Gallery, Hirschl & Adler Modern, and Gary Snyder Fine Art, the Queens Museum of Art, the Aldrich Museum and, in 2012, the Berkshire Museum in Massachusetts. She is the recipient of artists’ fellowships from the Pollock-Krasner Foundation and the New York Foundation for the Arts.

A Contributing Editor to Art in America, Diehl has written cover stories on Robert Irwin, Olafur Eliasson, Christian Marclay and Wolfgang Laib. Her writing has also been published in, among others, ARTnews, Art & Auction, and New York Magazine. In 2012 she received a fellowship from the Creative Capital/Andy Warhol Foundation for her blog, Art Vent.

Diehl has served on the faculties of Bennington College (VT) and the Graduate Fine Arts Program of the School of Visual Arts (NYC). She lives in New York City and Southwestern Massachusetts.

Presented by Grand Central Art Center
A Unit of CSUF, College of the Arts




Santa Ana Sites #4 : wild Up in the Santora with Lisa Bielawa & Colburn Conservatory – Feb 22

January 28, 2014

wildUP

Santa Ana Sites #4: wild Up in The Santora fuses classical instruments with contemporary sounds to create an unforgettable evening in one of Santa Ana’s most charming venues. Los Angeles based music collective wild Up, musicians from The Colburn Conservatory of Music and composer/vocalist Lisa Bielawa come together on Saturday, February 22 to share in a night of unexpected artistic ventures.

With the momentum of three successful Sites programs pushing them forward, Grand Central Art Center and Santa Ana Sites’ Co-Founder/Artistic Director Allen Moon serve up their newest vision showcasing the youthful side of culture. wild Up is a modern music collective that embraces sound as a vehicle for shared experiences. The Los Angeles Times praised the group stating, “You’d be forgiven for mistaking wild Up for an indie rock band.” Led by acclaimed conductor Christopher Rountree, members of the group along with some of Colburn’s musicians and soprano Bielawa will disperse throughout The Santora building to perform engaging micro concerts.

Audiences will begin their Santa Ana Sites #4 journey at the Grand Central Art Center for a pre-show, move to the Santora’s atrium for their first encounter with the musicians, and head to the top floor where the performers and audiences will begin an adventure of music and architecture in various galleries, studios, and empty spaces. The music draws from a vast array of genres, with compositions from Bach, Ravel, Machaut, The Magnetic Fields, Katy Perry, Sun Ra, Brian Eno, The Beach Boys, The Dog Faced Hermans, Philip Glass, Lisa Bielawa, Ornette Coleman, Deerhoof and The Misfits, amongst others. Composer/vocalist Bielawa’s performance with the ensemble treats Southern Californians to her first performance since her appearance in the LA Opera’s presentation of Philip GlassEinstein on the Beach, where she also served as the production’s Choral Master.

The historic Santora building’s Spanish Colonial Revival architecture sets the tone for an adventurous evening of music and mingling. A recent change in ownership has lead to rejuvenation for the landmark venue, which broke ground in the late twenties and catered to classic Hollywood celebrities including Jack Benny, Milton Berle, and Lucille Ball. Santa Ana Sites #4: wild Up in The Santora will illuminate the architectural centerpiece of Downtown Santa Ana with sound and creative energy once again, an ideal way to pay homage to the building’s rich history while celebrating contemporary culture in the vibrant downtown.

Santa Ana Sites provides contemporary performances in spaces throughout Santa Ana. The traveling forum is designed to introduce the community to artistic experiences while encouraging diverse environments. Past events featured David Harrington, founder and Artistic Director of the Kronos Quartet; Backhausdance performing their dance installation, The Elasticity of the Almost; and a performance from Inner Mongolian music group AnDa Union. The Santora installment of Santa Ana Sites #4 unites music lovers of every age and background for an evening of forward thinking entertainment.

More information on the previous events can be found on the Santa Ana Sites Facebook page: https://www.facebook.com/santaanasites

This event is anticipated to reach maximum capacity with reservations required.  The public is invited to reserve FREE tickets through email with name and requested number of tickets with a maximum of two tickets per guest to grandcentral@fullerton.edu

A reception at Grand Central Art Center will begin at 7pm. Guests are asked to arrive no later than 7:30pm on Saturday, February 22nd.

SUPPORT
Santa Ana Sites #4 is made possible through the generous support of Santora Group LLC, with in-kind support provided by Ashley Eckenweiler and The ACE Agency.

GRAND CENTRAL ART CENTER
California State University, Fullerton Grand Central Art Center is dedicated to the investigation and promotion of contemporary art and visual culture: regionally, nationally, and internationally through unique collaborations among artists, students, and the community.

Grand Central Art Center, 125 N. Broadway, Santa Ana, CA 92701, 714.567.7233, https://grandcentralartcenter.wordpress.com
A Unit of CSUF’s College of the Arts



Julianne Swartz and Ken Landauer: Miracle Report

January 10, 2014

GRAND CENTRAL ART CENTER
A Unit of California State University, Fullerton
College of the Arts
125 N. Broadway
Santa Ana, CA 92701
714.567.7233

Public Reception: Saturday, February 1 from 7-10pm
Grand Central Art Center Residency: January 12 – 19, 2014
Original ASU Art Museum Residency: December 26, 2011 – January 20, 2012

JK

Julianne Swartz and Ken Landauer: Miracle Report
January 19 – May 11, 2014

Julianne Swartz and Ken Landauer spent their Social Studies residency at the Arizona State University Art Museum looking for miracles. The artists explored the miraculous through people’s perceptions of it in their lives, interviewing students, school children and community members of all ages and backgrounds. They combined their findings in an installation of fleeting vignettes playing on all of the available sound and video equipment in the museum’s possession. In the words of the artists, “Our installation strives to embody some beauty, some hocus-pocus and some unexplainable magic.”

The artists’ decision to focus on people’s hands provided the comfort of anonymity as participants shared intimate stories. They filmed at various locations, using only the Arizona sun to highlight the hands against a shrouded background, an effect that preserves and enhances the mystery of the miracle. Throughout their reporting on miracles, the artists grappled with the balance between the sacred and profane, belief and skepticism. This complexity is reflected throughout the installation in the video vignettes, the darkness of the gallery and the layering of sound.

Using all the available sound and video equipment at Grand Central Art Center, the artists created this new site-specific installation of the work.

Miracle Report was first realized at the Arizona State University Art Museum and supported by a grant from The Andy Warhol Foundation for the Visual Arts as part of the Social Studies series. John D. Spiak initiated this project. Upon Spiak’s departure to accept his new position at Grand Central Art Center, Heather Sealy Lineberry with Nicole Herden curated the exhibition at ASU Art Museum.

The artists and curators thank the following for their assistance and participation: the staff of the ASU Art Museum; Andrea Feller, Curator of Education; ASU School of Art intermedia faculty and School of Art Director Adriene Jenik; Peter Bugg; Robert Madera; Sean Deckert; Christian Filardo; Ben Mack; Barbara Perez and Tesseract School students; Amy Hardgrove and students from Academy with Community Partners High School; J. Eugene Clay and Mark Woodward from the School of Historical, Philosophical and Religious Studies; Beth Ames Swartz and John Rothschild; and especially all of the people who lent their stories and viewpoints to this project.

MIRACLE REPORT
Mission Statement

We spent our Social Studies Residency at Arizona State University Art Museum looking for miracles.

We sought the miraculous through other people’s perception of it in their lives.

We interviewed many local residents and asked each to “describe a miracle you have experienced.”

Interviewees were of varied ages and backgrounds. We gratefully recorded anyone who wished to retell his or her own miracle.

We recorded audio and video from these interviews, but identities were obscured.

The recordings were edited into fleeting vignettes that attempt to establish “the miraculous” through entirely subjective perspectives.

To display the recordings, we use all of the institution’s available audio and visual equipment.

Our installation strives to embody some beauty, some hocus-pocus, and some unexplainable magic.

Julianne Swartz and Ken Landauer

More information on Julianne Swartz:
http://www.julianneswartz.com/

More information on Ken Landauer:
http://kenlandauer.com

Click this link to see the recent activities at Grand Central Art Center and information on the installation of this project:
https://grandcentralartcenter.wordpress.com/2014/01/17/busy-end-to-2013-even-busier-beginning-to-2014-gcac/




2014 EXHIBITION / ARTISTS IN RESIDENCE PREVIEW – Grand Central Art Center

December 18, 2013

GRAND CENTRAL ART CENTER
A Unit of California State University, Fullerton
College of the Arts

2014 PREVIEW
EXHIBITIONS AND ARTISTS IN RESIDENCE

*confirmed to date – more programs being developed

EXHIBITIONS

Matthew Moore and Braden King
Matthew Moore and Braden King: Cumulus
Curated by John D. Spiak, GCAC Director/Chief Curator
Residency/Exhibition with support of the Metabolic Studio and Casio
Continues through January 5, 2014

Cumulus marks the first collaboration between these two accomplished artists. Through the residency, the artists set out on journeys – a series of driving trips along the Los Angeles Aqueduct – marking its 100th anniversary. They connected with people who work, live and engage along its path. Their travels allowed them the opportunity to listen to the land and then the water as it rushed down the cascade near Newhall Pass; flowed through massive piping in the Antelope Valley; traversed under slabs of concrete through the Mohave Desert; diverted from the Owens River.

Through the use of building materials, specifically used scaffolding planks, the artists have created a massive pipeline that emerges from one side of the gallery before quickly disappearing into the other. Projected upon it are moving images of atmosphere and landscape, traversing its surface as fluidly as water flows through the aqueduct itself. The installation reflects our inherent curiosity, of being fascinated by the things humans decide to make. To quote Moore, “the audacity of the human endeavor is never more apparent than when societies come together to construct such industrial feats as the aqueduct, achieving a perceived common good.” At the same time, such achievements acknowledge our limits of control as makers, as much as we desire to do so.”

From Moore’s direct experience of water in agriculture, “to believe in it as a certainty is inherently flawed. We can build all the infrastructure and systems to transport this precious resource, but if it doesn’t rain, they are all for naught.” He continues, “there may be no more hopeful image than that of a cloud… the promise of sustenance and a future that cannot be controlled by the will of man.”

aili
Aili Schmeltz: Cross Cut
Curated by Yevgeniya Mikhailik, GCAC Curatorial Associate
Continues through February 9, 2014

Cross Cut, from Aili Schmeltz’s Tomorrowland series, explores the idea that utopia can be considered not only a place or a goal, but also as the very act of striving for such a target. Schmeltz’s hybridized structures are materializations, remnants of an ideal that never was and may never be. As fallen monuments to a utopic philosophy, they function as relics of both a “good place” and “no place.” Part architectural, part fossil, part potential: these works utilize discarded building materials that appear to have crystallized within a ‘natural’ process – strata that have undergone philosophical transformation yet to be fulfilled.

ragebear1
Rage Bear: Juggling Awesome

Organized by Marvin Chow, CSUF MFA in illustration
Continues through February 9, 2014

An exhibition representing both in-game artwork, concept artwork and fan artwork as it relates to Rage Bear – a concept involving a Bibi bear whose specialty juggling skills allow him to juggle ridiculous amount of objects when he gets angry. Through the invitation of Marvin Chow, 30 Los Angeles-based entertainment artists will develop work for the exhibition, creating part of the Rage Bear storyline in their own personal style.

Participating artists include: Craig Mackay, Kelly Delanty, Alex Leon, Kevin Bentz, Candice Lee, Jack Sy, Paul Grab, Isaak Lien, Nathan Drobnack, Diana Drobnack, Jerry Ortega, Kingsley Harden, K Godfrey, Ray Mendoza, Corey Peters, Jia Tan, Casey Matsumoto, Eugene Negri, Tiffany Ma, Aaron Jones, Alex Santa Clara

ceramics-and-glass-far
Ceramics and Glass
Curated by Yevgeniya Mikhailik, GCAC Curatorial Associate
Continues through February 9, 2014

A small selection of works from CSUF alumni, students and members of our community.

Participating artists include: Aimee Sones (alumna/faculty), Brandon Lipe (student), Chelsea Wonenberg, Diana Donaldson, Elijah Wooldridge, Hiromi Takizawa (alumna), Jose M. Flores (student), Karen Thayer, Kimberly McKinnis (student), Klai Brown, Philip Kupferschmidt (student), Sarah Alonzo, Xin Xin Chen (student)

JULIANNE SWARTZ and KEN LANDAUER
Julianne Swartz and Ken Landauer: Miracle Report
Coordinated by John D. Spiak, GCAC Director/Chief Curator
January 18 – May 11, 2014

Julianne Swartz and Ken Landauer spent their Social Studies residency at the ASU Art Museum looking for miracles. The artists explored the miraculous through people’s perceptions of it in their lives, interviewing students, school children and community members of all ages and backgrounds. They combined their findings in an installation of fleeting vignettes playing on all of the available sound and video equipment in the museum’s possession. In the words of the artists, “Our installation strives to embody some beauty, some hocus-pocus and some unexplainable magic.”

Using all the available sound and video equipment at Grand Central Art Center, the artists will create a new site-specific installation of this work.

Miracle Report was first realized at the Arizona State University Art Museum and supported by a grant from The Andy Warhol Foundation for the Visual Arts as part of the Social Studies series. John D. Spiak initiated this project. Upon Spiak’s departure to accept his new position at Grand Central Art Center, Heather Sealy Lineberry with Nicole Herden curated the exhibition at ASU Art Museum.

you are what you concede
Heather Bowling and Amanda Patenaude: You Are What You Concede
Curated by Kimberly McKinnis, CSUF MA in Exhibition and Design
March 1 through April 13, 2014

East Coast artist Amanda Pantenaude will team up with West Coast artist Heather Bowling, for a first time collaboration, creating a site-specific installation made from recycled materials collected within the Santa Ana community.  The artists are interested in social awareness and have created previous participatory projects in the hope to educate the public about current and pressing global issues.

The collection of materials will be organized through a series of community events, collaborating with local individuals and organizations. Hands-on workshops, panels and programs are being developed for the course of the exhibition.

Julia Haft-Candell
Julia Haft-Candell: Fast and Slow
Curated by Yevgeniya Mikhailik, GCAC Curatorial Associate
March 1 through May 11, 2014

Julia Haft-Candell’s sculptures are physical records of their making, and a reflection of their own history. Using small components to build larger forms, the artist continually invents, reassesses and makes endless decisions about how the work takes shape. Ultimately the goal is to form a composition that most effectively speaks to the ambiguity of perception and the complexity of being.

Using forms inspired by nature and the body, as well as ideas derived from quick doodles and sketches, she focuses on the space in between two contrasting concepts as a metaphor for my experience as a human being. In Haft-Candell’s words “I express contradictions. I seek the intersection of the conscious and subconscious, construction and destruction, fast and slow, serious and funny, hard and soft.”

Above the Fold JODY ZELLEN
Jody Zellen: Above the Fold
Curated by John D. Spiak, GCAC Director/Chief Curator
June 7 through August 10, 2014

Above the Fold is an exhibition of a series of artworks that take their point of departure from world news images from the New York Times. Included in Above the Fold are gouache on paper paintings, digital images and a two-channel video installation.

Above the fold traditionally refers to the upper half of the front page of a newspaper where an important story or photograph catches the attention of passersby. In the digital age it refers to what is visible on the screen without scrolling. These images proliferate endlessly suggesting that the news is entertainment. Zellen calls attention to this bombardment by creating her own over-saturated installation. She begins with an image that appears above the fold culled from both digital and print media and proceeds to alter it in a variety of ways. In one series of works she reduces the image to its essential pixels distilling the photograph into a grid of colors. While the original image is diffused, it never disappears. Through a process of layering fragments taken from news photographs she builds an abstract composition. Images of war, man-made and natural disasters and the destruction they cause are ubiquitous in the digital age. Today one expects instantaneous documentation of events as they occur. By appropriating this imagery Zellen changes its context and therefore the way the images communicate and how what they represent is understood.

Time Jitters is a two channel video projection that juxtaposes a grid of 25 looping animations with a single channel narrative.

The various components in Zellen’s work serve as building blocks that can be reconfigured for different mediums. A line drawing is scanned and used in a digital collage, which becomes a template for a painting, a page in an artist’s book, an image in an iPad app as well as an animation in which the drawing process is made visible. Drawing and the relationship between how the computer generates a line in contrast to what is created by the hand is central to Zellen’s explorations.

Also included will be a series of gouache on paper paintings. These 22 x 30 inch works illustrate the cycle of regeneration — birth and growth, death and decay – collectively becoming a representation of the passage of time. While the specific events may not be discernible, the works poetically and metaphorically alter these cyclical images. The translucent pastel colors of the paintings contrast with the harsher opaque tones in another work; a grid of 40 small digital prints collectively entitled “If.” “If” is also a 40- page limited edition artist’s book whose sequence reads as a poetic narrative.

flora kao wind house
Flora Kao: Wind House
Curated by Yevgeniya Mikhailik, GCAC Curatorial Associate
June 7 through August 10, 2014

Flora Kao’s installations respond to the endless repetition of the urban landscape. Each installation is a drawing in space, built from a multitude of repeating marks. By multiplying ordinary elements like sound, shadow, plant, paper, or line, Kao creates elegant systems that sculpt and activate space. She plays with malleability of meaning and visual slippage, where street grids dissipate into atmospherics and constellations, consumer waste morphs into musical forests, and plants take flight.

With the GCAC installation Wind House, abode that a breath effaced, artist Flora Kao explores the poignant associations of a collapsed desert homestead. Making a life size rubbing of the shack’s debris field, Kao transforms the physical evidence of failure into a sensuous architectonic experience.

LOUD silence
LOUDsilence
Curated by Amanda Cachia
September 6, 2014 – TBD

What happens when a composer and/or performer have no control over sound, or rather when they purposefully choose to relinquish control over sound? How does such a radical act change the soundscape? What new noises ensue from such acts, and how can the binary of loudness and silence be transformed in politicized ways? And how might the idea of “trespass” be employed to energize, expand, negate, or flip the idea of “access” within the territory of sound, in order to mobilize trespass in a way that re-imagines the agentive capacity of those not normally “permitted” equal access to sound? In particular, how does a composer/performer who is hearing and one who is deaf make loud silence or silence loud?

LOUDsilence explores the generative intersections of when the seminal work, 4’33” by John Cage collides with work by four contemporary deaf artists – Joseph Grigely, Darrin Martin, Alison O’Daniel and Christine Sun Kim. The exhibition includes work on paper, sculpture, video, film and audio works, plus archival material by John Cage.

ARTISTS IN RESIDENCE / PROJECTS

cog collective
COG•NATE COLLECTIVE (MISAEL DIAZ AND AMY SANCHEZ)
Onsite Throughout 2014

Misael Diaz and Amy Sanchez were GCAC Artists in Residence for a first visit from April 15 through June 23, 2013. Based upon their extremely positive connection with our community and desire to continue the engagement, they were invited to returning as GCAC Artists in Residence throughout the coming year and are developing multiple projects to engage community.

The Social Neighborhood Art (S.N.A.) Project is in the process of invite local College and High school students to participate in the planning, designing and executing of an intervention in public space in Downtown Santa Ana.

For the first half of the program students will work with contemporary artists whose practice focuses on research and performances/interventions in public space and/or community engagement. During the second half of the program students will work together to design an intervention (or series of small interventions) elucidating an issue or condition in Downtown Santa Ana encountered during the walkthroughs and workshops.

The program will culminate with the intervention(s) and a concurrent or subsequent public exhibition and presentation. Students will collect documentation of their intervention to present during a round-table conversation and small exhibition at Grand Central Art Center (GCAC). Amy Sanchez and Misael Diaz of Cog•nate Collective will facilitate bi-Monthly meetings.

Cog•nate Collective is in the development phase for a second project, which will be collaboration with Rudy Córdova of downtown Santa Ana’s Café Calacas.

Carol 2
CAROL A. STAKENAS
Multiple Site Visits Throughout 2014

Carol A. Stakenas was a collaborative partner with GCAC in 2013 through her role as Director of Los Angeles Contemporary Exhibitions (LACE), before departing this fall for new activities in Boston. Stakenas returns to our region throughout the coming year as Artist in Residence at GCAC.

Grand Central Art Center is proud to partner with (SPAN) on a new podcast series – Social Practice AIR. Throughout 2014, Carol A. Stakenas, (SPAN) curator, will be interviewing the social practice artists of and collectives that are participating in GCAC’s artist in residency program. This project is dedicated to capturing and cultivating creative voices in our field to deepen critical understanding and share methodologies.

(SPAN) is a project of the Social Design Collective (LLC). The Social Design Collective LLC is an innovative design team comprised of artists, architects, urban planners, media professionals and educators. Collectively they have designed and implement a range of projects that have taken their shape in the form of permanent public art works, exhibition designs, marketing campaigns, educational platforms and civic engagement projects. They are interested in using creativity to generate long-term community, public and social benefits and create solutions through bridging cross-sector partnerships between community organizations, academic institutions, residents, youth and local municipalities.

The Life of an Artist INGRID REEVE BARBARA MILLIORN EVAN SENN
INGRIED REEVE, BARBARA MILLIORN AND EVAN SENN
Onsite Throughout 2014

Ingrid Reeve, Barbara Milliorn and Evan Senn are recent graduates of programs at California State University, Fullerton. They return to their Alma Mater throughout the coming year as Artist in Residence at GCAC.

The Life of an Artist is a proposed television/webcast series that follows the lives of two Orange County artists and their manager, an art historian and art critic, as they strive for their professional dream: to collaborate with Marina Abramović, the Godmother of performance art, and to solidify their careers as professional artists.

The life of an artist is a difficult road to travel. In one of the art hubs in our contemporary society—the Metropolis of Los Angeles—it is near impossible. What sets one artist apart from the rest? What makes them more worthy for exhibitions, press and galleries than another? How is the struggle different for female artists? Now move them to Orange County. What then happens is that “near impossible” becomes heavier and more difficult to move.

Two female artists have paired together with an art critic and manager to better navigate through this difficult and tumultuous terrain. Together, they must conquer the battles to “make it” in the art world, and they’ve set their sights high. These three women tackle real life trials and tribulations and strive to make their way to blue chip collaborations in fine art. We watch as they hope that the road to success in the art world won’t destroy their relationships, their bank accounts or their practice. Follow this series to view the struggles and progress of these professional artists in The Life of An Artist.

During their Artist in Residence, the artists’ will be hosting and participating in monthly performances, including panels, discussions and workshops, as well as performances that will engage the community of Santa Ana and the larger Orange County region.

lisa bielawa
LISA BIELAWA
Multiple Site Visits Throughout 2014

Lisa Bielawa was GCAC Artists in Residence in summer of 2012 for a first site visit in the development of her Vireo project. She will be returning in the spring and fall of 2014.

Vireo is a serialized opera that will be recorded in front of a live audience and released as episodes via the Internet. The musical ensemble, as well as the roles of characters, will change per episode so as to broaden the scope of creative collaboration through Social Practice approaches.

Think Prairie Home Companion, John Cage, Bauhaus and Arrested Developed, all mashed together. Vireo takes high art form at intelligent levels and provides them to general audience, through mainstream media and contemporary delivery systems.

Vireo Timeline:
Spring-Summer 2014: partnership-building, casting, development of libretto and score for pilot episode.
July-August 2014: first press release, performers confirmed.
October 2014: rehearsals/first taping (over 1-2 weeks); post-production (1-2 weeks)
Late October/Early November: pilot episode released

holly
HOLLY MYERS
Multiple Site Visits Throughout 2014

Holly Myers continues her GCAC Artists in Residence as she continues her research and development of the project What is Art Worth? – Conversations About Value in Contemporary Art.

What is art worth? Is a multi-dimensional research based project that aims to explore and interrogate the concept of value in relation to the visual arts. How is value determined in the art world? How do we talk about value? What are the different kinds of value and how do we understand the relationship between them? How is value generated? Who generates it? How is it utilized? How is it distributed? Whom does it benefit?

heather and Brian
HEATHER LAYTON AND BRIAN BAILEY
Winter 2014

Heather Layton and Brian Bailey were GCAC Artists in Residence for a first visit in the winter of 2013. They will be returning for a second visit as they work toward a new major project being developed for GCAC.

Artists Heather Layton and Brian Bailey spent time in Orange County exploring the community and developing connects for a large-scale project currently being developed. Through their collaborative work, the artists have traveled to remote parts of the world, working with youth communities to teach skills in the filmmaking process, create films, developed film festivals and connect these communities to one another.

During there time at GCAC, Heather and Brian made direct connections with: Aaron Orullian, Director of the Film and Television Conservatory, Orange County School of the Arts; Veronica Arias-Aguayo, Service Coordinator, Project Access Resource Centers; Robert Santana, Chief Executive Officer, Boys & Girls Club of Santa Ana; Irv and Ryan Chase, Downtown Santa Ana Property Owners; Gabriela Lomeli, Project Manager, City of Santa Ana; Mayra Mejia Gille, Program Manager, Latino Health Access.

The connections mentioned served as initial research and developed relationships for future collaborative possibilities for the project in development. This second visit will continue the research and connection phase of their project.

tucker1
DANIEL TUCKER
Spring 2014

Daniel Tucker was GCAC Artists in Residence in fall of 2013 for a first site visit in the development of his Future Perfect: The Ronald Reagan Time Capsule project. Tucker returns from April through June to realize the project.

Part speculative fiction and part real-world intervention, Future Perfect: The Ronald Reagan Time Capsule is conceived of as a series of writing workshops and public sculpture burials taking place up and down the coast of California in 2014. The event-based work will result in a publication and exhibition.

The combined focus on time capsules, Reagan, and speculative fiction comes out of a 1976 speech given by Reagan in which he references a time capsule – one for which he wrote a letter speculating what the world would be like one hundred years in the future.

Future Perfect will partner with local organizations, universities and collaborators from San Diego to Eureka. Those involved in the project can engage by writing letters in the voice of Reagan (as his Bicentennial letter has never been recovered) or in the voice of other figures (fictitious or real) that would have buried time capsules concurrently with Reagan. These letters will be buried in time capsules throughout the State of California. The capsules will be buried with the letters collected in each locale and a burial event will be organized with all of the local participants.

SUSAN ROBB
SUSAN ROBB
Spring through Summer 2014

Susan Robb was GCAC Artists in Residence in fall of 2013 for a first site visit in the development of her Wild Times project. She will be activating her project from April to September of 2014.

Beginning in April of 2014, GCAC will be a home base for engagement with the project Wild Times – a site of virtual connection to Susan during her upcoming 5-month journey, a 2,650-mile hike from Mexico to Canada on the Pacific Crest Trail (PCT). Using her experiences as inspiration and medium, she will send “trail transmissions” to Grand Central Art Center via 3D printing, text exchange and Skype communications. Community engagers of the project at GCAC will serve as collaborators, interacting with the project, the artist, and the broader public via hands on activities in the gallery and the Wild Times website.

Carmen Papalia and Kristin Rochelle Lantz
CARMEN PAPALIA AND KRISTIN ROCHELLE LANTZ
Fall 2014

Carmen Papalia, with curatorial support by Kristin Rochelle Lantz, were GCAC Artists in Residence for a first visit in the spring of 2013. They will be returning for a second visit as they work toward a new major project being developed for GCAC.

Artist Carmen Papalia, with curatorial support by Kristin Rochelle Lantz, spent time in Orange County exploring the community and developing connects for a large-scale project currently being developed. Through their collaborative work, they have been developing ideas around the concept of tactility as a way of knowing.

During his time at GCAC, Carmen performed a walk through the city titled Mobility Device, accompanied by Santa Ana’s Century High School Marching Band.
https://grandcentralartcenter.wordpress.com/2013/06/27/short-film-documentary-on-artist-carmen-papalias-mobility-device-performance-gcac-2/

Berkley-based author Georgina Kleege tells of an experience in which she had the opportunity to touch a sculptural maquette that Matisse used in order to produce a 2-dimensional figure on canvas. The moment is of particular interest to the blind author since it describes how the tactile sense can be used in order to understand a thing visually. This image, of the blind accessing and receiving visual culture non-visually, has been represented and mythologized in paintings throughout history, and even served as the subject for Jacques Derrida’s Memoirs of the Blind – a 1993 project in which the theorist used depictions of the blind from the Louvres collection as the basis for writings on vision, blindness, self-representation and drawing.

The image of a blind individual engaging in a tactile Art experience represents the possibility of an unmediated and unbiased experience of Art – an idea that has attracted the Art practitioner, the viewer and the critic for centuries. However the idea that blind experience is unmediated and unbiased is a fallacy: as any person engaged in interpretation exists within a unique cultural context, and therefore within the realm of subjectivity. What this provocative image does illustrate is the uncharted territory that is non-visual interpretation – a method that, if practiced within the context of the Art experience, has the potential to expand what is currently understood as visual culture.

Touching on an Elephant is a progression of Papalia’s recent work that invites the participant to develop their perceptual mobility — a project series that includes the Blind Field Shuttle, The Touchy Subject and For Your Ears Only. It aims to further investigate how tactual astonishment can connect the viewer / participant to the objects, spaces and culture of the museum. It will include a suite of engagements (touching tours, curated tactile experiences and opportunities for independent tactual exploration) which will provide opportunities for the participant to develop their tactile sense as a mode of interpretation, and which will set a precedence for a tactile aesthetics and tactual experience within the art center.

This second visit will continue the research and connection phase for this larger project.

gcac
SUPPORT GRAND CENTRAL ART CENTER

We appreciate your support from near and far!

In person and online, you view our exhibitions, engage with programs, experience performances, provide feedback and contribute to GCAC’s continued success!

As we begin to plan for upcoming seasons, our continued goal and commitment is to extremely ambitious, creative and engaged artists and projects. Our plan is to put additional strategic initiatives and team members into place that will expand our efforts to better serve our communities – locally, nationally and internationally.

To make this happen, we rely on continued generosity of the supportive friends our institution has built. We are reaching out to you for your pledge of support of the upcoming year. With your commitment, even greater success and impact through artistic exploration will be possible, serving communities who deserve such outreach the most.

MAKE YOUR PLEDGE NOW!
https://www.fullerton.edu/SupportGCAC

All proceeds will directly benefit our activities, allowing Grand Central Art Center the opportunity to work with artists in developing more exhibitions, residencies, programs, events and lectures for our communities. As the projects develop, we will continue to keep you informed and provide you invitations to all exciting activities.




FALL SEASON PREVIEW – Grand Central Art Center

September 20, 2013

FALL SEASON PREVIEW
Exhibitions / Artist in Residence / Theatre

EXHIBITIONS

Adriana

 

 

 

 

Adriana Salazar: Nothing Else Left
2013 California-Pacific Triennial Partnership with Orange County Museum of Art
through September 22, 2013

Is there an end to our existence? Can we be separated from our bodies and be transformed into something else? Adriana Salazar’s work has continued to revolve around these questions in different ways. This is why the realm of mortuary customs appeals to her: it presents numerous ways to approach the ultimate unknown.

During a two-month residency at Grand Central Art Center, the artist desired to go deeper into that moment of transition between life and death, finding out as much as she could about what happens with our bodies, with our consciousness and with everything we build around the death of others. In her words, “I found, amongst other things, that there is an aesthetics of transition, that there are rituals trying to maintain life after death, and laws which govern our bodies, even when we are not fully present. I also found out that there are transitional techniques and an intricate industry around them.”

Salazar has decided to rescue as many cremated artificial body parts possible. These parts remain as solid as they were inside their bodies and are nevertheless considered residue. She found their value in this very ambiguity. They embody the question of the status of our own existence on a physical level: their materiality creates confusion between those objects as parts of a physical body and our own body, thus opening the gap between our certainties and uncertainties, beyond the matter of human death itself.

Beatriz

 

 

 

 

Beatriz Cortez: The Time Machine
through October 13, 2013

The Time Machine is an installation that explores the dual realities of a first world metropolis, Los Angeles, and of urban space in a developing region of the world, in this case San Salvador. These spaces coexist in the same hemisphere, separated by over 2,300 miles. However, they have strong connections to one another through labor and culture. Los Angeles is home to the largest Salvadoran population outside of the capital city of San Salvador.

Cortez’s work explores memory and loss in the aftermath of a war and in relation to the experience of immigration. Her installation conveys the experience of an immigrant who lives in Los Angeles, but who simultaneously inhabits another reality, that of one’s own city of origin. As a result, the installation makes reference to a landscape of diverse layers, the superimposition of two urban realities. The outside wall of the room displays a video projection of the City of Los Angeles in the daylight, viewed from the Griffith Observatory. The inner space of The Time Machine, on the contrary, is dark and shows a view of the city of San Salvador at night. It is a space reminiscent of childhood and nostalgic memories – a childhood of an artist who was raised during a war torn period in Salvadoran history.

Eamonn

 

 

 

 

Eamonn Fox: Solo residency exhibition for the purposes of furthering my career
through October 13, 2013
Performance: October 5 from 7-10pm

Eamonn Fox solo residency exhibition… is a real time adventure in art making. The artist approaches the exhibition opportunity as a fluid series of related events, as opposed to an exercise in the arrangement of static objects. Featuring sculpture, photography, printmaking, painting, and performance in a bizarre and unpredictable rotation – the artist hopes to engage audiences on a personal level, one individual at a time. Taking time away from his day-job, Fox plans to be in “residence” and on site during gallery hours (as much as possible) to collaborate with patrons, field questions or perhaps play darts. Without a discernable strategy in terms of “big picture” meaning making, content is variable and specific to individual works. As fleeting, fast and dynamic as contemporary life is, the exhibition aims to be an enlivened site of exchange – nimble enough to adapt to news items, world events and local engagement through the constant development/arrival of un-predetermined artworks and programming.

matthew braden

 

 

 

 

Matthew Moore and Braden King: Cumulus
Residency/Exhibition with support of the Metabolic Studio
October 5, 2013 – January 5, 2014
Opening Reception: October 5 from 7-10pm

The journey of water is not a foreign concept to artist Matthew Moore; it is actually central to generations of his family’s lively hood. For without the control of water, it would have been impossible for Moore to become the fourth generation of farmers in his family, sowing land in what would otherwise be considered hostile desert environment of western Phoenix, Arizona.

Through his artistic practice, Moore has found his artistic voice, while at the same time coming to a realization – the actions of taking raw desert/native land, converting it into fertile farming land by diverting water, and creating infrastructures, actually provides the perfect environment for suburban sprawl to occur. He also realized that his practice of farming this land might actually exploit more natural resources than the subdivisions he was so quick to criticize.

Matthew Moore has invited filmmaker/artist Braden King to collaborate through residency at Grand Central Art Center. They have spent time traveling the LA Aqueduct route from Central to Southern California. Along the way they’ve reflecting upon its impact, connecting and having conversations with individuals who live, work and engage this structure on daily bases. Informed by these experiences, the artists will create a major site-specific installation, marking the aqueduct’s 100th anniversary on November 5, 2013.

Major funding support for this project provided by Metabolic Studio.

Tim

 

 

 

 

 

 

Tim Youd: “Performing” A Scanner Darkly
Throughout November 2013

Novelist Philip K. Dick lived the latter part of his life, and died, in Santa Ana. During his time in Santa Ana, he wrote some of his most highly acclaimed work. One of these late classics is A Scanner Darkly, a semi-autobiographical novel of drug use and paranoia set in a dystopian Orange County of the then near future (he wrote the novel in 1977, setting it in the mid 1990s).

Artist Tim Youd will “perform” A Scanner Darkly over the course of a 2 to 4 week period in the Grand Central Art Center lobby as part of his new series of novel/typewriter based work.

Aili

 

 

 

 

 

Aili Schmeltz: Cross Cut
November 2, 2013 – February 9, 2014
Opening Reception: November 2 from 7-10pm

Cross Cut, from Aili Schmeltz’s Tomorrowland series, explores the idea that utopia can be considered not only a place or a goal, but also as the very act of striving for such a target. Schmeltz’s hybridized structures are materializations, remnants of an ideal that never was and may never be. As fallen monuments to a utopic philosophy, they function as relics of both a “good place” and “no place.” Part architectural, part fossil, part potential: these works utilize discarded building materials that appear to have crystallized within a ‘natural’ process—strata that have undergone philosophical transformation yet to be fulfilled.

Marvin

 

 

 

 

 

 

Rage Bear: Juggling Awesome
Organized by Marvin Chow, CSUF MFA in illustration
November 2, 2013 – February 9, 2014
Opening Reception: November 2 from 7-10pm

An exhibition representing both in-game artwork, concept artwork and fan artwork as it relates to Rage Bear – a concept involving a Bibi bear whose specialty juggling skills allow him to juggle ridiculous amount of objects when he gets angry. Through the invitation of Marvin Chow, 30 Los Angeles-based entertainment artists will develop work for the exhibition, creating part of the Rage Bear storyline in their own personal style.

Julianne Ken

 

 

 

 

 

Miracle Report: Julianne Swartz and Ken Landauer
January 18 – May 11, 2014
Opening Reception: February 1 from 7-10pm

Julianne Swartz and Ken Landauer spent their Social Studies residency at the Arizona State University Art Museum looking for miracles. The artists explored the miraculous through people’s perceptions of it in their lives, interviewing students, school children and community members of all ages and backgrounds. They combined their findings in an installation of fleeting vignettes playing on all of the available sound and video equipment in the museum’s possession. In the words of the artists, “Our installation will strive to embody some beauty, some hocus-pocus and some unexplainable magic.”

Initiated by John D. Spiak, this project was realized at the ASU Art Museum and supported by a grant from The Andy Warhol Foundation for the Visual Arts as part of the Social Studies series. Upon Spiak’s departure to accept his new position at Grand Central Art Center, Heather Sealy Lineberry curated the exhibition at ASU Art Museum with curatorial assistance from Nicole Herden.

ARTISTS IN RESIDENCE

(Cog•nate Collective) Amy Sanchez and Misael Diaz
Eamonn Fox
Matthew Moore and Braden King
Julianne Swartz and Ken Landauer
Holly Myers
Tim Youd
Vincent Goudreau
Daniel Tucker
Heather Layton and Brian Bailey

GRAND CENTRAL THEATRE

theatre

 

 

 

 

 

Fall Show #1 – ALMOST, MAINE
by John Cariani
Directed by Kari Hayter
The residents of and visitors to the tiny mythical town of Almost, Maine are falling in and out of love.
“An all encompassing globe of love: puppy love, hidden passion, love lost, burgeoning love, and many that fall in-between.” Amanda Gunther MD Theatre Guide
Performs 8pm 10/4, 10/5, 10/10, 10/11, 10/12, 10/16, 10/17, 10/18, 10/19
Tickets: http://www.fullerton.edu/arts/gcac/theatre.html#maine

Fall Show #2 – THE SUBMISSION
by Jeff Talbot
Directed by Mark Ramont
A raw, unsentimental play about race and gender exposing quiet prejudice and intolerance in the theatre.
“A mischievous dance across the minefield of affirmative action in the arts” David Rooney, The Hollywood Reporter
Performs 8pm 10/25, 10/26, 10/31, 11/1, 11/2, 11/6, 11/7, 11/8, 11/9
Tickets: http://www.fullerton.edu/arts/gcac/theatre.html#submission

Fall Show #3 –ILLYRIA
Book, music, and lyrics by Pete Mills
Directed by Kari Hayter
Illyria is a musical based on William Shakespeare’s Twelfth Night.
Performs 8pm 11/15, 11/16, 11/21, 11/22, 11/23 (dark Fall Break) 12/4, 12/5, 12/6, 12/7
Tickets: http://www.fullerton.edu/arts/gcac/theatre.html#cradle

MISSION

Grand Central Art Center is dedicated to the investigation and engagement of contemporary art and visual culture – regionally, nationallyand internationally – through unique collaborations between artists, students and the community.

SUPPORT
Grand Central Art Center programs are made possible with the generous support provided by:
Metabolic Studio
Efroymson Family Fund
William Gillespie Foundation
Fainbarg-Chase Families
Memphis at the Santora
An anonymous donor
The Yost Theatre
Memphis @ The Santora
Community Collaborative Partners

SHOW YOUR SUPPORT FOR GRAND CENTRAL ART CENTER
Quality exhibitions, programs and outreach of Grand Central Art Center are made possible through the generous support of individuals like you.

MAKE A DONATION TODAY – Support GCAC for Continued Success!
Please call Tracey Gayer @ 714.567.7233

GALLERY HOURS
Closed Mondays and Holidays
Tuesdays – Sundays 11.00 am – 4.00 pm.
Extended hours: Friday & Saturday 11.00am – 7.00 pm.
(First Saturday of the month galleries are open until 10.00 pm)
http://www.grandcentralartcenter.com/maps.php

Thank you for your continued engagement and support!

Grand Central Art Center
a unit of Cal State University Fullerton’s College of the Arts
125 N. Broadway
Santa Ana, CA 92701
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