Busy End to 2013, Even Busier Beginning to 2014 @ GCAC!

January 17, 2014

To say it has been a little busy around Grand Central Art Center over the past month is a bit of an understatement – IT’S BEEN EXTREMELY BUSY!

juan with prints

Vincent Goudreau was very active during his last weeks in residence at GCAC in mid-December. As part of his Recordings of an Immigrant project, we decided to fly Juan Aquino out from the island of Maui to join Vincent in residence. Juan is the inspiration/subject for Vincent’s current project.

juan, vincent and john by houses

juan vincent at gas station

juan looking out car and pinting

Vinct and Juan walking along freeway

During their time together Vincent and Juan, along with videographer Randy Mills, spent a number of days searching for a specific house in Fullerton, CA – the location where coyotaje delivered Juan upon his arrival into the United States over twenty years ago. Now a legal US citizen, the visit by Juan brought him back to a connection/transition location that marks an important part of his amazing life journey. We will share the results of this search soon, as the video is currently in the editing phase for a short documentary we will be releasing online in the coming weeks.

Vincent Conversation

villa capri

juan and randy serving ice cream

vincent ice cream

Vincent and Juan, joined by GCAC Director/Chief Curator John Spiak, presented a public conversation about Vincent’s residency, his journeys with Juan and thoughts for the project moving forward. The evening included the screening of two of Vincent’s past short film/video works – Harry and Janet and Villa Capri, providing insight into how Vincent’s projects often deal with the topic of global connection and place. As the screening concluded, patrons were invited to join the artist for an informal ice cream social, a tribute to an important scene from Villa Capri.

vincent with IVC

IVC Class at GCAC

As the week concluded, we were visited by two of Danielle Susalla Deery’s classes from Irvine Valley College, Museum and Technologies and Museum Marketing. We are proud of the fact that Danielle is a Cal State University, Fullerton alumna and love when she returns with her students to share her enthusiasm for contemporary art. The students of her classes enjoyed a full tour of GCAC provided by GCAC Director/Chief Curator John Spiak. They talked about the technologies included in Matthew Moore and Braden King’s installation Cumulus and shared stories of successful marketing strategies by art institutions. They also had the opportunity to visit Vincent Goudreau in the GCAC Artist in Residence studio and talk with him directly about his project and process.

Vincent has now returned to Maui, but keep an eye here for updates on the project and the soon to be released short documentary of the search for the drop house with Juan.

peter at OCMA

peter and john at memphis

That following week GCAC was visited by Peter Held, Arizona State University Art Museum Curator of Ceramics. Peter and John Spiak worked together for many years at the ASU Art Museum. The day was spent visiting Orange County Museums and Galleries, including the Orange County Museum of Art, Irvine Fine Arts Center and Laguna Art Museum. The timing for the Orange County Museum of Art visit was perfect, as it provided for a preview tour of the new exhibition California Landscape into Abstraction curated by OCMA Chief Curator and Interim Director Dan Cameron. The day concluded with a late lunch across our 2nd Street plaza at Memphis and a full tour of Grand Central Art Center. We are excited to see what Peter does with the move of the ASU Art Museum Ceramics Research Center to its new location!

lanterns being made

shauna heather and brian

2013 ended with the arrival of artists and educators Heather Layton and Brian Bailey from Rochester, NY. Heather and Brian were here for a second visit in the continued development of projects with GCAC. We anticipate them back for a third visit later this year. During this most recent visit, they worked towards a specific project as part of their larger 59 Days of Independence project.

lanterns through window

lanterns above day

lanterns above

Line for Lanterns

guys with lanterns

As part of this project, and for our First Saturday Art Walk kicking off 2014, Heather and Brian celebrated Burma’s 66th independence day on January 4th at GCAC by giving away 66 hand-painted lanterns they created during their residency. Creating an installation in the artist in residence studio space, they opened the storefront studio doors and invited the public in to select a lantern. People were lined-up waiting outside the door when they arrived. It took less that six-minutes for the 66 lanterns to be spoken for that evening. Truly magical!

heather and brian with mayor

After all the lanterns were gone, Heather and Brian joined us in the main gallery spaces for our receptions. The evening provided great opportunity with a productive 40-minute conversation for Brian and Heather with Santa Ana Mayor Miguel Pulido, his son Miguel Pulido Jr., GCAC Santa Ana Sites co-founder/collaborator Allen Moon and our GCAC Director/Chief Curator John Spiak. So many collaborative possibilities in the works for their return visit!

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The January First Saturday Art Walk also kicked-off with a meet and greet event for GCAC Artists in Residence Ingrid Reeve, Barbara Milliorn and Evan Senn, as they begin their project The Life of an Artist. The project 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 solidify careers as professional artists.

Ingrid Reeve, Barbara Milliorn and Evan Senn are recent graduates of higher education programs at California State University, Fullerton. Throughout this coming year year, the artists will be hosting and participating in monthly events in their artist in residence opportunity at Grand Central Art Center (GCAC), in downtown Santa Ana. The monthly events will include panel discussions and workshops, as well as performances that will engage the community of Santa Ana and the larger Orange County.

Their residency at GCAC is meant to help them in their goal to educate and entertain interested parties on the life of an up-and-coming female artist in Southern California by creating a window into the art world as well as providing historical context for contemporary practices in the arts, and a focus on the unique struggles and benefits of being a woman in today’s world.

patrons in cumulus

That night as well marked the closing of the successful run of Matthew Moore and Braden King‘s installation Cumulus. It was yet another well attended First Saturday, with over 2,000 individuals through the door and engaged with the exhibitions. We feel so fortunate to be a part of this amazing downtown and Santa Ana community!

angelica deinstall

deinstall

shauna cumulus

Jenny in cumulus

deinstall 2

But there is no rest for the weary, as two days later the GCAC team was in full de-installation mode of Cumulus. It was a short de-install time, so everyone leant a hand, even Curatorial Associate Yevgeniya “Jenny” Mikhailik and CSUF GCAC student intern Shauna Hultgrien (she write our INTERNal Affairs blog posts).  We were able to get the work down and the gallery resorted backed to its normal configuration in less than a week – ready for the arrival of Julianne Swartz and Ken Landauer to begin their major installation just a few days later. Thanks go out to the entire GCAC team of amazing individuals for their hard work and dedication!

Sara and Erik

The beginning of January also brought a surprise visit from a few folks, Curator Sara Cochran and graphic designer Eric Montgomery. It was just announced that Sara has accepted the position of Associate Director at Scottsdale Museum of Contemporary Art. Cochran left her position as Modern and Contemporary Art Curator at Phoenix Art Museum in November 2013. Prior to that, she was Assistant Curator at Los Angeles County Museum of Contemporary Art (LACMA). She had also held positions at the The Getty Center in LA and the Guggenheim Museum in New York. It was so great to have her and Eric here for a visit and tour of Grand Central Art Center!

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Also paying us a visit was artist Brent Green and FLOWN drummer and vocalist Kate Ryan. The two spent a couple of days with us as Brent packed some of the work from his To Many Men Strange Fates Are Given exhibition that took place at GCAC last year. It’s been a very busy year for Brent, with many major new projects in the works and the recent acquisition of one of his works by the UCLA Hammer Museum to their permanent collection. We also found out during the stay that Kate was scheduled to make an appearance in an upcoming episode of HBO’s Girls, jamming on her drums.  It also provided Brent and Kate the opportunity to connect with Julianne Swartz and Ken Landauer who have been in residence the past couple of days as well.  It’s so wonderful to have them all staying with us at GCAC!

jenny with julia

And yesterday we were visited by Los Angeles based artist Julia Haft-Candell for a site visit for her upcoming solo exhibition Fast and Slow. She meet with GCAC Curatorial Associate Yevgeniya “Jenny” Mikhailik, who is curating Julia’s GCAC exhibition, to discuss her project and installation details. We are excited to see the project develop for the opening in March!

julianne and shauna install

install julianne

install julianne and shauna

Now we are in full installation mode for Julianne Swartz and Ken Landauer’s Miracle Report, a project that includes at current time 26 monitors, 6 projections and numerous speakers. This is a MUST SEE EXHIBITION! We hope you will join us at the public reception during the First Saturday Art Walk on February 1 from 7-10pm.

There is a lot more planned and in development for GCAC in 2014, we are excited to share it with you!!!


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.

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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

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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.

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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

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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.

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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.

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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.




INTERNal Affairs: Life is Like a Thanksgiving Feast

November 25, 2013

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

The holidays are upon us my Internet friends! Thanksgiving is just days away, which means Christmas is just around the corner (try not to panic too much you last minute shoppers). As I sit wrapped in my scarf and bundled in my coat in attempt to beat this California winter, I have decided to stop complaining about the bitter chill of sixty degrees and instead take a moment to consider something for which I am thankful.

Fish Tacos

While there are many things I enjoy; fish tacos, movies based on young adult book series, fish tacos, my wool coat, my scooter, fish tacos and my black boots, there is still one thing that I am thankful for far beyond anything else, and that thing is YOU. As a frequenter of the art world, it is no secret that my passions lie in the products of the creative mind. However, in considering this notion, another thought sprang upon me: I’m passionate about the product of any mind! Creativity is a human quality that we all utilize in various forms. It is what F. Scott Fitzgerald calls the “inexhaustible variety of life;” the fact that we are each unique; we are all our own, unlike any other there was, is, or ever will be. There is no possible way to recreate the exact circumstances which make you, you. And because of this, I am constantly flabbergasted, bewildered, amused, and entertained, over and over again.

Micro

My position as intern here at Grand Central Art Center has afforded me the opportunity to experience art as it is today. My jaw dropped when I first experience Cumulus, the gargantuan homage to the L.A. Aqueduct by Braden King and Matthew Moore. My mind spun and my side ached from fits of laughter after a walk through Eamonn Fox’s tongue-in-cheek exhibition. My heart ached as I fully absorbed the weight of the message embodied in Beatriz Cortez’s Time Machine. But art is not something simply hung from the walls. Art is everywhere and art is everything. My jaw also drops in awe of my microwave that can cook my potatoes in three minutes. The Dyson Airblade Hand Dryer is arguably the greatest invention of the last decade and I am overwhelmed with wonder and excitement every time that dryer returns my hands to me without the slightest hint of water. Every time I wheel my luggage from terminal to terminal I am beside myself with appreciation for whoever decided to fasten wheels to my over-packed suitcase. The bottom line is that we, as the human race, are great. Whether you’re Henry Ford or Pablo Picasso, the things we produce and the actions we take allow us to help each other experience that full spectrum of emotion. I am so thankful that we are all different and all bring our own homemade dish to this thanksgiving feast of life, it all looks so delicious and I want to try everything! I am never bored and always amazed and it is all because of YOU.

So thank you whoever decided to fry that fish and blanket it in a tortilla, bravo! Thank you shoemaker who cut the boots precisely to the height I prefer, wonderfully done! Thank you automotive company in Italy who knows how to package fun on two wheels, amazing! Thank you J.K. Rowling and Stephanie Meyer and Suzanne Collins, your literary geniuses translated beautifully on the silver screen, a most excellent feat! And thank you, you! We are all in this together and you are making it one heck of a journey. This is your grateful GCAC intern, over and out.




INTERNal Affairs: Too Much Good Stuff

November 5, 2013

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

Happy autumn my Internet friends! The winds of the season are blowing and bringing with them exciting changes! I’m not talking about the turning of the leaves or the coming of the clouds; no, I’m afraid those wonders are dimmed by the new exhibitions here at Grand Central Art Center. As I’m sure you’ve learned through various experiences with tantalizing El Pollo Loco commercials that lead to excessive salivating and a broken nose from an attempt to smell your television screen– nothing compares to the real thing. Yet there are still those of you who choose to experience Santa Ana’s Saturday Art Walks through me! While I am indeed flattered, you have no idea what you’re missing. The liveliness is not something that can be efficaciously communicated through a brief recreation of the evening. As GCAC’s dutiful intern and your faithful reporter, I will once again do my best to bring the evening to you. For those of you that did attend (yes, over 2,200 of you), let’s take this opportunity to relive that wonderful evening together, shall we?

encinitas rage bear

ocma john in aili

Alright, so there was Matthew Moore and Braden King’s Cumulus, Aili Schmeltz: Cross Cut, Rage Bear: Juggling Awesome organized by Marvin Chow, the Ceramics and Glass exhibition, Tim Youd’s performance of A Scanner Darkly, A Ryman Arts The Big Draw, the Dia De Los Muertos show by the CSUF MFA students hosted by Memphis at the Santora, Artist in Residence Vincent Goudreau roaming the halls, guest appearances by the mayor and city council members of both Santa Ana and Encinitas, and a VIP visit from friends at Orange County Museum of Art (OCMA) with their Senior Curator Dan Cameron. Got it all? Was it as if you were standing next to me greeting our illustrious patrons? I hope so, because that’s all I have for you today art lovers.

Just kidding. All of those were indeed components of last Saturday’s delightful event, but allow me to elaborate on my experience with each.

OCMA dan tim john

We had a full house of new activity here at GCAC! The foyer was bustling with activity as the two front gallery spaces each boasted new pieces. The masses began to flood the typewriter-laden hallways (I’ll explain that in a moment), headed by a group from the wonderful OCMA and collectors group. Dan Cameron and Genny Boccardo-Dubey were amongst the group who popped in to see what all the buzz was about. While our Director John Spiak gave the group the “behind the scenes” tour, I remained at the front to greet and guide.

moore and king

aili

ceramics and glass far

rage bear full

Cumulus continues, and with the arrival of the centennial commemoration of the aqueduct, interest in this exhibition was noticeably heightened. The continuation of this show nicely complimented the three openings that occurred on Saturday. The first room people tended to make their way into was the space housing Aili Schmeltz’s Cross-Cut. Like many good works, this piece is better experienced than explained so nip that anticipation in the bud and come see it for yourself! Across from Schmeltz’s space is the fun and eclectic show Rage Bear: Juggling Awesome. Cal State University Fullerton MFA student Marvin Chow employed his curatorial talents and corralled his creative peers to create this visually stimulating show. Imagine a reality with bears instead of people and you have a glimpse into the world that Chow has created. There is something to Chow’s show that appeals to the young and old and everyone in between; it’s fun, energetic, and sometimes just plain weird. But I love it, and you can love it too, until February 9th. And of course, fall wouldn’t be complete without our Ceramics and Glass Exhibition and Sale, which includes incredible works by CSUF students, alumni and members of our community. It’s a great place to do a little holiday shopping.

Tim with crowd

ryman 1

tim typing

ryman 2

typewriters

This month GCAC was bursting at the seams with creative energy (I’m guessing it has something to do with that creative bug going around- see last month’s blog for details), so much so that it spilled into our hallways. Ryman Arts graced us with their presence and allowed our spacious abode to serve as one of the sites for their Big Draw L.A. event. The Big Draw allowed people of all ages to flex their creative muscle and see what the right side of their brain has to offer the world. At the other end of the hall artist Tim Youd parked his typewriter and went to work on Phillip K. Dick’s A Scanner Darkly. Youd takes novels and retypes them in the same location they were originally written, on the same make and model typewriter on which they were originally composed. Unfamiliar with his work? You’re in luck! He will be here at GCAC all month finishing his current project and recreations of his past projects will be hanging on our walls during this time.

john santa ana group

As the night was winding down and the excitement beginning to subside (or so I thought) the Mayor of Santa Ana Miguel Pulido, City Council Member Michele Martinez, new City Manager David Cavazos and other City Official casually waltz in the corridor! We here at GCAC are ecstatic that there is continued interest in our creative operations. This was further evident as I continuously caught our Artist in Residence, Vincent Goudreau nonchalantly hanging around the galleries. Goudreau is using his time with us to work on his heart-wrenching biographical account of a man whose father was murdered in front of him, on his fourteenth birthday. If you have a minute (and a tissue) listen to this firsthand account, HERE IS THE AUDIO LINK. Since our structure could barely stand anymore creative genius, it once again poured into the promenade and over to the Memphis at Santora. Some of CSUF’s MFA students such as Caesar Alzate and Teresita De La Torre livened up the space with their Day of the Dead themed art. It will be up all month if you missed it on Saturday and there will be a new show from the students up every month.

Vincent and Susan

So how was that? Are you still enjoying living vicariously through me or are you itching to get down here and experience it in person? I encourage the latter, especially since we just welcomed Susan Robb as Artist in Residence for her upcoming project/journey Wild Times. Plus, Goudreau is here through December, Cog-nate Collective (Amy Sanchez and Misael Diaz) are here in residence through next summer, and Tim continues to type in the lobby. Well Internet community, I do enjoy our little chats, it is an exciting thing for me to re-experience these events with you. If you happen to miss the Art Walk next month (which I hope you don’t), log on for December’s trip down memory lane. This is the GCAC intern, over and out.


Santa Ana Sites #3 – AnDa Union

October 30, 2013

Following the success of Santa Ana Sites #1: David Harrington of Kronos Quartet and Santa Ana Sites #2: Backhausdance, GCAC was approached by Irvine Barclay Theatre on the possibilities of collaborating with them to present Santa Ana Sites #3 – AnDa Union!

OF COURSE WE ACCEPTED!

group picture

Grand Central Art Center and Irvine Barclay Theatre through the continued collaboration with Santa Ana Sites co-founder Allen Moon, and with thanks to Barclay’s Doug Rankin and Karen Drews Hanlon, John Luckacovic and Eleanor Oldham of 2Luck Concepts, and Tim Pearce and Sophie Lascelles from AnDa Union presented an intimate acoustic evening with a group of ten instrumentalists and singers from Inner Mongolia.  AnDa Union describe themselves as music gatherers.  Digging deep into the Mongol traditions of Genghis Khan’s unified tribes and unearthing forgotten musical histories, creating a whole new generation of sound, as they perform on indigenous instruments and in the khoomii, throat-singing, style.

reception 1

reception 2

Guests began their evening by joining us at Grand Central Art Center for a pre-performance mixer.  Though the extreme generosity of Trez Ibrahim and her soon to be open Downtown Santa Ana venue Vineyard Roz Wine Lounge & Art Studioguest enjoyed fine wine, conversation, our current exhibition Cumulus: Matthew Moore and Braden King, as well as a preview of our three exhibitions that open this Saturday, November 2nd – Cross Cut: Aili SchmeltzRage Bear: Juggling Awesome organized by current CSUF Illustration MFA student Marvin Chow; and the Glass and Ceramics Exhibition and Sale, which includes the work of current CSUF students, alumni and community artists.

AnDa Union is in the midst of a 7 week US tour to some of the great world music presenters in the country.  We couldn’t be happier that this collaborative opportunity presented itself, allowing these magnificent musicians to play as part of our Santa Ana Sites series.

allen intro

sas3 crowd2

close 6

performance close 4

singer1

With 72 individuals in attendance, we were able to keep the evening acoustic, informal and intimate.   The beauty and power of AnDa Union’s voices and instruments brought the space to life for the enthusiastic audience.  Another grand success for the Santa Ana Sites series!

If you missed the event, you can see and hear past performances of Anda Union here:

http://www.youtube.com/watch?v=WLy0IRy2-aQ&feature=youtu.be
and
http://www.youtube.com/watch?v=G_jZGXhemw8

If you missed Santa Ana Sites #1 or #2, here are links to recaps:

Santa Ana Sites #1: David Harrington of Kronos Quartet
https://grandcentralartcenter.wordpress.com/2013/03/23/kronos-quartets-david-harrington-kicks-off-gcac-santa-ana-sites-series/

Santa Ana Sites #2: Backhausdance 
https://grandcentralartcenter.wordpress.com/2013/10/12/santa-ana-sites-2-backhausdance/


Maria Elena Gonzalez and Dr. Justin Walsh visit GCAC!

October 24, 2013

visit

GCAC Director/Chief Curator John D. Spiak with Maria Elena Gonzalez and Dr. Justin Walsh

Yesterday afternoon we had a nice surprise visit to GCAC by New York based artist Maria Elena Gonzalez and Dr. Justin Walsh, Assistant Professor, Wilkinson College of Humanities and Social Sciences, Department of Art at Chapman University. The artist was in town to present as part of the Visual Thinker Lecture Series at Chapman University.

We had the pleasure of touring these two outstanding individuals through our entire institution, sharing with them our current exhibitions, programs and philosophies of engagement.

Like GCAC exhibiting artists Matthew Moore and Braden King, who have created the current Cumulus installation in our main gallery, Maria Elena Gonzalez is a prestigious Creative Capital grantee. She is actually one of the grantees from the inaugural year of Creative Capital granting in 2000.

It seems GCAC is becoming a magnet for Creative Capital artists, and we couldn’t be happier!


INTERNal Affairs: Once Bitten

October 7, 2013

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

It’s spreading. Fast and unapologetic, the Creative bug is buzzing and has struck the arts community of Santa Ana. I’ve been on the front line here at Grand Central Art Center for just a few months now, but in that time I have seen artists turned mad with ingenuity and innovation, hardly able to contain their creative impulses; once the Creative bug bites the virus seems to run rampant through its host. After experiencing October’s first Saturday Art Walk, it has become abundantly clear that this outbreak has viciously begun to affect the arts community at large. The symptoms by which this virus manifests itself are as diverse and varied as the artists themselves. It is still unclear as to how this creativity spreads: is it contact? Is it airborne? Is it something in the water? Perhaps it’s some sort of contamination of the food? As you know, my Internet friends, I am no doctor; no, I am simply GCAC’s humble intern and your loyal reporter, so let’s take this time to review the evidence together and get to the bottom of this epidemic.

Eamonn1
(Eamonn Fox performing with Jenny)

I did my best to expect the unexpected during October’s Art Walk. I realize that this is the month of mischief and mayhem, so I kept an open mind and a watchful eye for anything out of the ordinary. This proved to be an arduous task; the last three months GCAC has happily facilitated artist Eamonn Fox, and for those of you who have experienced Fox and/or his work can sympathize when I say, it has become increasingly difficult to distinguish the ordinary from the extraordinary. I have somehow seemed to normalize absurdity and thusly am phased by very little. This speaks volumes to my bewilderment that was to occur on Saturday, but I’m getting ahead of myself, let’s start from the beginning.

beatriz1
(Beatriz Cortez with patron)

telethon 1
(The Eternal Telethon: The Power Suit Edition)

beatriz3
(Beatriz Cortez: The Time Machine)

telethon 2
(The Eternal Telethon: The Power Suit Edition)

beatriz 2 w king
(Braden King viewing Beatriz Cortez: The Time Machine)

So, it began like any other art walk, eager patrons strolling in to GCAC to get their last glimpse of Beatriz Cortez’s The Time Machine, and Eamonn Fox’s Solo Residency Exhibition for the Purposes of Furthering My Career, as well as to witness the unveiling of Cumulus, the newest installation in the main gallery by Matthew Moore and Braden King. Fox decided to take full advantage of his last art walk here with us by using his space to host The Eternal Telethon, a telethon for the 21st century organized by artist Jen Bruce, with Paul Michael White Jr., Niko Solorio, Alexis Disselkoen and Marcos de la Siref. Artists of varying talents took turns in front of the crowd and in front of the webcam (the telethon was streaming live on the internet), showcasing their skills for our enjoyment. This was the first indicator that the Creativity virus was spreading; artists from San Diego to Bakersfield turned out to plug in to this artistic outlet. There were musical acts, comedy routines, performance pieces, and two lively MCs that seamlessly supplemented the show. The inundation of artists and their passion for their craft indicated that they had not escaped the clutches of the Creative bug. Upon noticing this, my concern for the patrons grew. Not wanting to alarm anyone at a potential infestation of creativity here at GCAC, I carefully and quietly scanned the masses for signs of the Creativity bug. The crowd persisted through the Telethon in its entirety, excusing themselves occasionally to take their turn in The Time Machine or to gasp in awe at the enormously impressive Cumulus. All seemed well, until I saw it. I caught a glimpse of a patron’s eye and there it was, that glimmer of craze. I knew they had caught the bug; a sort of benign rabidity that propelled them through the galleries until their creative appetites were satisfied hastened their movements.

moore king 1
(Cumulus: Matthew Moore and Braden King)

memphis
(CSUF student exhibition at Memphis)

moore king 4
(Cumulus: Matthew Moore and Braden King)

The glow of the perfectly formatted projections on to the wooden reconstruction of the LA Aqueduct emanated from the gallery that houses Cumulus, or what King calls, “ 50 feet, 6,000 pounds, and18,000 lumens of awesome.” Feeling overwhelmed by the artistic greatness housed in GCAC and by the realization that the Creative virus is much bigger that I had initially suspected, I ran into the promenade for some fresh air, but that crazed look was in nearly everyone’s eyes! The vendors, the street performers, the passerby’s; in a dazed panic I stumbled towards the nearest illuminated room and found myself in the Memphis of Santora’s Backdoor Gallery. The modest gallery, donated by artist, curator and CSUF/GCAC MFA alum David Michael Lee, has become the new home to the works of some of Cal State University Fullerton’s students. Curator, featured artist, and GCAC MFA resident Caesar D. Alzate Jr. assured me that this was to be the first of many shows that would take place in the space. I was happy to meet our neighbors, but it only confirmed my fears that this Creative bug had spread past GCAC’s walls and was now beyond anyone’s control.

moore king detail
(Cumulus: Matthew Moore and Braden King)

tony 1
(Artist Tony de los Reyes)

group1
(Desiree and Greg Glenn, Jim Skuldt, Jesse Sugarmann and his wife Erica)

mules3
(Mary Leigh Cherry with her son and daughter, and artist Lauren Bon with one of her project’s promotional mules)

c4 1
(Artists Matthew Moore, Braden King, Micol Hebron, Carrie Marill, Jesse Sugarmann, Tony de los Reyes gather with program/projection system designer Brian Chasalow, Cherry and Martin gallery owner Mary Leigh Cherry, Filmmaker Alexa Sau, Sound Editor Borja Sau for post reception get together at C4)

My head spinning, I made my way back to GCAC where I ran into Matthew Moore and Braden King, who were both enjoying the opening of their remarkable installation, along with program/projection system designer Brian Chasalow and project assistant Kim Larkin. I knew that the Creative bug had bitten them all; it was abundantly evident in their work. Over the last month their condition never stabilized, it only intensified as the scope of their project seemed to abandon all boundaries until it eventually culminated into the fantastic creation that is Cumulus. It was then that I began to notice some familiar faces around the gallery and I realized then that I had been naïve to believe that the Creative epidemic had only been affecting Santa Ana. The return of Mary Leigh Cherry and Tony de los Reyes to the corridors of GCAC was a happy reunion after de los Reyes 2012 show in our gallery, but this also a red flag, the Creative bug was much more powerful than I anticipated. This was further confirmed when I noticed Creative Capital grantee artists, Jim Skuldt and Jesse Sugarmann bouncing between the galleries. King and Moore are also Creative Capital artists, so to have four under one roof was overwhelming to a young, impressionable intern such as myself. Artists Carrie Marill and Micol Hebron were roaming the spaces as well. The coup de gras, however, was when Lauren Bon parked her mules from her upcoming, 100 Mules Walking the Los Angeles Aqueduct so that she could experience Cumulus, which stands as another homage to the centennial celebration of the LA Aqueduct. It was then that I came to a full realization that Creative bug cannot be contained; it’s indiscriminately hitting everyone and surfacing in the form of fantastically innovative works.

Aili1
(Aili Schmeltz: Cross Cut)

ragebear1
(Rage Bear: Juggling Awesome)

Tim Youd
(Tim Youd will be “Performing” A Scanner Darkly)

big draw
(Nov. 2, The Big Draw LA event at GCAC in collaboration with Ryman Arts)

vincent
(Vincent Goudreau – detail from The Juan Recordings: Migrating to the Senior Tour)

So that’s it Internet community, but I don’t know where this leaves us. After this recap of events, the only conclusion that I have reached is that no one is safe. I suppose my only advice is to enjoy it, because if you haven’t encountered the Creative bug yet, you soon will. Especially if you choose to join us on November 2nd for the first Saturday Art Walk when GCAC will continue Cumulus and open two new shows, Aili Schmeltz’s Cross Cut and Rage Bear: Juggling Awesome curated by MFA in Illustration student Marvin Chow. That evening will also mark the beginning of Tim Youd‘s month long “Performing” A Scanner Darkly and we’ll host a one night Big Draw LA event for the entire family with Ryman Arts throughout the evening. And did I mention, artist Vincent Goudreau arrives in residence this week from Maui and will be at GCAC for the next two months? Since contact with the Creative bug is inevitable, I suggest you welcome it with open arms and join us sooner rather than later here at GCAC. I hope that you come to your senses and embrace the madness because if you can’t beat them, join them. This is the GCAC intern, over and out.