FALL SEASON PREVIEW – Grand Central Art Center

September 20, 2013

Exhibitions / Artist in Residence / Theatre







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 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 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 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 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.








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.


(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








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

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


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.

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

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

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)

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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INTERNal Affairs: “Are You Cortez?”

August 8, 2013

INTERNal Affairs is a new series by GCAC Curatorial Intern and CSUF Art History major Shauna Hultgrien.

This past Saturday Grand Central Art Center (GCAC) participated in another successful Santa Ana Art Walk with the opening of two new exhibitions: Beatriz Cortez’s The Time Machine and Eamonn Fox’s Solo Residency Exhibition for the Purposes of Furthering My Career. Those who experienced the opening night firsthand are fortunate enough to have been a part of the hustle and bustle of a very lively crowd. For those who missed the momentous gathering, allow me to relay the evening as it occurred to me, through the eyes of a GCAC intern.


My role for the night was to greet our eager patrons while tallying the events attendance with the state-of-the-art silver handheld clicker-counter. The nature of my work demanded that I maintain post just steps away from the center’s entrance, which, as luck would have it, placed me directly in between the two galleries featuring the new works.

Bewilderment and intrigue painted the faces of visitors as they entered the gallery that is home to The Time Machine. This installation by Cortez serves as a visualization of a Salvadoran immigrant’s assimilation into the Los Angeles community. The devastated population that calls the war-torn El Salvador home has desperately sought refuge in places where they can maintain their culture without sacrificing their lives. This haven proved to be Los Angeles and Cortez’s work illustrates the integration of Salvadoran heritage with the Los Angeles lifestyle. The gallery is comprised of three parts: a shattered wall that has been reconstructed to include artifacts that can be seen through the cracks, a series of bones enclosed atop a mound of rubble, and a small wooden room in the center of the space that is to be experienced inside and out. To receive the full effect of Cortez’s amazing work, it is imperative to establish a basic context of her artistic vision. This contextualization can be achieved through a brief review of the wall placard, however, on this busy Saturday night a line quickly formed to enter the wooden room and thusly the wall text was blocked. As a result, I put my greeting duties aside to answer the inundation of questions; the most frequent being, “Are you Cortez?” I can see where my somber demeanor and outdated beret would lead many to believe that I was the brilliant artist responsible for this work, but alas, no; my talents lie in salutations and clicking. The true artist could be found, happy and even eager to discuss the depths of her project, ushering patrons into the gallery and periodically offering an impromptu-guided tour.

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Fox’s installation across the hall is a nice contrast to Cortez’s work. An eclectic display of printmaking, sculpture, photography, drawings, and paintings, Fox used his space as a sort of experiment in art. Photographs complete with Fox’s clever memes, drawings, and written confessions are just some of the works that fill the walls. There is also a dartboard in the front of the gallery (adjacent to a giant image of a pizza) that invites visitors to challenge the artist to a game, while an electronic streaming sign located just above the board coerced participants to write a message that Fox would later Tweet. Fox’s vision is to create living, breathing, current-event art that is as unpredictable as everyday life. Fox aims to produce work that is both engaging and interactive.

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To commemorate the opening of the exhibition, Fox invited guest artist Patrick Ballard to do a performance piece within the exhibition space. An array of neon lights illuminated the gallery and poured into the hallway followed by the organ-esque shrieks of Ballard’s keyboard. My view from the foyer was obstructed and I could bear the anticipation no longer; I abandoned my post and found a spot in the back of the growing crowd to witness the unfolding of the saga (I apologize to those who were not greeted while I succumbed to my curiosity). The keyboard’s cries conjured a creature from a makeshift doorway in the wall; the creature was wrapped in plastic and donned a paper bag on its head with a large ominous eye drawn on the front. The cycloptic being trembled in the doorway as Ballard (now resembling Cousin It of the Addams Family) hovered over the keyboard, methodically bobbing his head with each key he struck. This lasted a few moments longer until finally Ballard thrust his head toward the heavens and allowed a dye-induced blue liquid to drip from his gaping mouth. He then calmly caught his breath and drank from a bottle of water, and with that the piece was concluded. A common air of confusion, excitement, and intrigue lingered as the ringing in everyone’s ears subsided and the lights retained their normal glow. The crowd slowly dispersed and continued around the room. Due to my duties I had missed the masking of the creature, but I was present for the unveiling. Imagine my shock and awe when the one-eyed being removed the bag of anonymity and revealed himself as artist Mario Ybarra Jr.! The surprise twist of a guest artist within a guest artist’s performance left my mind spinning as though I had just experienced a fantastic dream in which an artistic inception had just occurred. We at GCAC were thrilled that Ybarra Jr. was not only interested in our gallery, but that he also felt so inclined as to lend us his creative talents for the evening. Ballard’s energetic performance served to further the creative explosion imposed by Fox, while provoking an attitude in the crowed that prepared them to effectively receive and participate in Fox’s work.

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The thrill of the shiny new exhibitions could have potentially detracted from Nothing Else Left, Adriana Salazar’s work in the main gallery, but patrons were far from deterred. The three artists produced such different pieces that each gallery provided a completely unique experience. As the attendance monitor I am happy to report that there was a constant and steady flow of patrons throughout all three exhibitions for the duration of the evening.

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So, if you missed the jaw-dropping event that was last Saturday, I bet you’re writhing in regret after this epic ballad of events. Well, calm your troubled mind and rest easy; these exhibitions are open to the public FREE OF CHARGE, Tuesday through Sunday. But riddle me this art connoisseurs, are you hungry for the whole enchilada? Do you want to be amidst the excitement and energy that was experienced during opening night? Then cast yourself into in the eye of the artistic storm and be sure to join us each first Saturday of the month during the Santa Ana Art Walk. Eamonn Fox and Beatriz Cortez will be onsite during the walk for the next two months to meet you and discuss their works. I too will be there, and although I am not Cortez, I will make sure you are welcomed and your presence is accounted for. This is the GCAC intern, over and out.