Wild Times Continue with Susan Robb @ GCAC!

August 8, 2014

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If you’ve been to Grand Central Art Center over the past few months, then you know just how “wild” it’s been, following artist Susan Robb on her journey to conquer the Pacific Crest Trail (PCT) through her Wild Times project.

Susan began her trek in Campo, Mexico in April, recently passing the half way mark and today is making camp in Ashland, OR, on her way to the finishing mark of Manning BC, Canada.

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You can follow her travel through the “transmissions” on the Wild Times website and by visiting GCAC to see the 2D, 3D and written transmissions in person.

More details on the project at GCAC can be found on our blog at:
https://grandcentralartcenter.wordpress.com/2014/04/23/susan-robb-wild-times-opening-reception-53-gcac/

Wild Times is a project of Creative Capital and is supported by Grand Central Art Center, Palm Springs Art Museum, 826 Valencia, Tacoma Art Museum, Frye Art Museum, and the Henry Art Gallery.

Generous in-kind support has been provided by MakerBot, Microsoft, Projecteo, Washington Trails Association, and Whole Foods Market.

We look forward to having you join us!

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UNCOVERING THE PACIFIC CREST TRAIL, free public program, July 5 @ 6pm

June 25, 2014

UNCOVERING THE PACIFIC CREST TRAIL
A Grand Central Art Center Educational Outreach Program
in association with the current exhibition/residency
Wild Times with artist Susan Robb
Saturday, July 5 @ 6PM
Grand Central Art Center
FREE

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Join us as we demystify the long journey of Pacific Crest Trail (PCT) through hikers and their 2,650 mile trek from Mexico to Canada. As part of Grand Central Art Center’s educational outreach, REI in Tustin will partner with GCAC to present a public program about backpacking. Learn about ultralight equipment, items that make or break pack weight, and the basics of hiking the PCT. This educational program can help you prepare for your next day hike adventure or the journey of a lifetime.


Recapping A Grand First Saturday – Hike / Gallery Talk / Reception / Art Walk @ GCAC!

May 7, 2014

Saturday, May 3rd, marked another successful first Saturday art walk! The monthly art walk event in downtown Santa Ana provides a night of open galleries and institutions, studios and street vendors, great live music and all the wonderful food of local restaurants. It’s always an enjoyable way to spend a southern California evening!

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The day kicked-off a little early this month as Fallen Fruit. Fallen Fruit is an art collaboration originally conceived in 2004 by David Burns, Matias Viegener and Austin Young. Since 2013, David and Austin have continued the collaborative work. David and Austin led a day hike with participant collaborators Sue-Na G., Stephanie Kern, Emily Lacy, Husam Salman, Sarah Shewey and Faith Purvey, to Deep Creek Hot Springs in the San Bernardino National Forest. Fallen Fruit’s project, Rainbow Day Trip, was organized as a collaborative program of Susan Robb’s project and exhibition Wild Times, currently on exhibition at GCAC.

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The group of Rainbow Day hikers joined Fallen Fruit on the adventure to become “trail angels,” an effort to connect with Pacific Crest Trail hikers for encouragement and inspiration along the 5-month journey from Mexico to Canada (more details on Wild Times below).

Here is the way Fallen Fruit describes how their preparation and adventure unfolded:

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“Prior to Saturday, each collaborator chose a color to embody for the day hike.  They thought about each color and what that color means in the world.  They thought about flavors, histories and songs.  They constructed characters based upon our individual research and imagination.

The evening before the hike we connected to fine-tune our characters collectively.  We told each other stories and made embellishments to our color characters.  We used feathers and spray paint, working out the details of each of our individual performances, which we would reveal as a color performances to the group the next day. At the trailhead, we geared up and embarked on our experimental day trip to perform all of the colors of the rainbow.   Rainbows don’t last forever; they are fragile and temporal like our group.  We became a visual spectrum of color and spanned an arc within a landscape we couldn’t capture except by photographs.

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The Rainbow Day Trip was a mind-body experience that constructed a narrative created by individual experiences that was group authored.  Each color performed in independent ways, as meditations, as series of declarations about each participant, completely in song and through silence.  We realized that colors are many things.”

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Back at GCAC, we kicked off our evening with a 6pm gallery talk by current exhibiting artist Julia Haft-Candell. Julia shared insights into the current body of work included in her solo GCAC exhibition Fast and Slow, on exhibition in the Project Gallery through May 11th.   The artist provided insight into her process, her philosophies on art making practice and her current career activities. It was an appreciative audience in attendance who asked great questions, engaging the artist in wonderful dialogue.

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As the official art walk began at 7pm, we opened the doors to our three galleries. The night marked the opening reception for Susan Robb’s Wild Times project. In mid-April, Robb embarked on a 5-month adventure from Mexico to Canada on the Pacific Crest Trail. Using the trail as a nomadic studio and her experiences as inspiration and medium, she is creating digital works—photos, videos, and 3D files— sending them to Grand Central Art Center where they will be displayed. Over the course of the 5-months, the exhibition will continue to grow through physical object, engaged programming and hands-on activities provided by Robb through the Wild Times website.

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Thanks to a generous donation by Microsoft, we have numerous Surface tablets connected in the space, as well as a Microsoft Perceptive Pixel (PPI) touch screen device, allowing patrons the opportunity to browse the current activities of Robb on the trail. The connection to the project website also allows for individuals to post their own responses and interactions with the project, adding a truly collective voice to the project and gallery space.

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Through our new Makerbot 3D printer, we are actively printing objects Susan is scanning along the way and transmitting back to us. The objects are being printed in color codes that indicate the altitude on the trail where the object was discovered and scanned by the artist. We printed three rocks on Saturday evening that became, and will remain, part of the exhibition.

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The exhibition space also contains an Epson large format printer, being used by GCAC to print 2D images Susan sends from her journey. After being printed, the photos are framed and become part of the overall installation. Over the course of the exhibition the photos will begin to hang layered upon one another, creating a topographic map extending out from the gallery wall. The images and installation will provide a sense of the terrain the artist has traversed to date.

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If you haven’t seen it yet, we thought you might enjoy reading the interview with Susan regarding her Wild Times project on the Creative Capital blog. Creative Capital is a major granter of this project. Here is the link: http://blog.creative-capital.org/2014/04/susan-robbs-wild-times

In addition to Grand Central Art Center, you have the opportunity to see elements and programs of Susan’s Wild Times project at collaborative venues including: Palm Springs Art Museum, Palm Desert, CA; 826 valencia, San Francisco, CA; Tacoma Art Museum, Tacoma, WA; Frye Art Museum, Seattle, WA; and Henry Art Gallery, Seattle, WA.

We are excited to be able to support and to be on this journey with Susan. We hope you will join us throughout the project, to engage with its programming and to support the artist as well!

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Miracle Report

Saturday marked the last week of Julia Haft-Candell’s Fast and Slow exhibition, as noted earlier, and the last week of the extremely successful and well received exhibition by artists Julianne Swartz and Ken Landauer, Miracle Report. If you haven’t yet had the opportunity to see these exhibitions, stop by this weekend, as both exhibitions are open through this Sunday, May 11, when we close at 4pm. Lots of wonderful restaurants here in Santa Ana, so it could be a great way to celebrate Mother Day.

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And the activities and outreach of Grand Central Art Center on Saturday evening were not limited to Santa Ana. Current GCAC artist in residence Daniel Tucker was busy with his own activities in Los Angeles as well. During his residence, Tucker has been developing a documentary project entitled Future Perfect – Time Capsules in Reagan County, dealing with the legacy of Ronald Reagan and the phenomenon of time capsule burials in California. As part of his residency, the artist has been traveling the entire state of California, visiting research libraries, Reagan related monuments and parks, and presenting talks at various locations and institutions. On Saturday night, Daniel was part of the group exhibition PRESENTS that opened at Commonwealth and Council in Los Angeles, which runs through May 24th. For his contribution to the exhibition, Tucker created the project The Preface to Future Perfect, a photography installation presenting materials from his ongoing research while in residence at GCAC.

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You would think all those activities would be enough to fill a weekend, and you would probably be right, but not for us here at GCAC. Sunday we welcomed back our ongoing artist in residence Lisa Bielawa, who is in town this week for a series of meeting, arranged through our Director/Chief Curator John D. Spiak, in the development of her upcoming GCAC project, a serial Opera titled Vireo. Lisa also had time to connect with our new GCAC Cal State Fullerton graduate assistant Amanda Leader, who is working on her Masters Degree in Music, Voice Performance with emphasis in Opera. Amanda has been an excellent addition to the GCAC team and will be helping manage major components of Lisa’s serial opera as Project Coordinator. We’ll provide you more details on this project as it progresses.

So stop by Grand Central Art Center and be part of the action, we would love to see you!


SUSAN ROBB: WILD TIMES – Opening Reception 5/3 @ GCAC

April 23, 2014

SUSAN ROBB: WILD TIMES
What is wild? Where is wild? Are you wild?
May 3 through October 12, 2014

Opening reception: Saturday, May 3 from 7-10pm

Artist Susan Robb‘s Wild Times merges new media, social engagement, and a 2,650 mile hike as an invitation to explore wildness as a geographic ideal and a state of mind.

Robb will walk the Pacific Crest Trail from Mexico to Canada, making and sending digital artworks to Grand Central Art Center and collaborating West Coast museums and art centers.

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Only 3% of the contiguous United States is still considered protected wild space.

As our culture increasingly pressures us to maintain a personal “brand,” be in constant contact, and snapchat every moment, maybe it’s not just our geographic wild spaces that are endangered, but our internal wild spaces as well.

Artist Susan Robb‘s Wild Times merges new media, social engagement, and a 2,650- mile hike as an invitation to explore wildness as a geographic ideal and a state of mind.

Beginning in mid-April 2014, Robb will embark on a 5-month adventure from Mexico to Canada on the Pacific Crest Trail. Using the trail as a nomadic studio and her experiences as inspiration and medium, she will create digital works—photos, videos, and 3D files—periodically sending them to Grand Central Art Center and a series of additional West Coast art venues. There they will be printed, projected, and installed, evolving into cumulative exhibitions, a meditation on what it means to be wild today.

In addition to Grand Central Art Center, collaborative venues include: Palm Springs Art Museum, Palm Desert, CA; 826 valencia, San Francisco, CA; Tacoma Art Museum, Tacoma, WA; Frye Art Museum, Seattle, WA; and Henry Art Gallery, Seattle, WA.

At its core, Wild Times is a proposition to YOU to seek out and explore your own wildness. To aid this process, Robb has developed satellite events and programming. The project website features “Hack Your Wild” instructions for creative action, the results of which can be posted and shared. Additional experiential opportunities are being offered at the venues: a “hero’s journey” writing workshop, group “therapy” explorations, improv comedy situationist dérives, and a “trail magic” master class.

Collaborators include: artists Fallen Fruit, Eroyn Franklin, Mandy Greer, Anastasia Hill and Eric Olson, writer Michael David Lukas, psychoanalyst Nicole Wiggins, artist and improv comedian Graham Downing, designer Katrina Hess, radio producer Jenny Asarnow, and writer, filmmaker and cultural critic Charles Mudede.

To further deepen the conversation, Robb has collected stories from “everyday explorers,” individuals who investigate or embody wildness by their own light and mettle. These media-rich features, shared online and in print, explore disaster edens, portray the life of a dominatrix, and consider the social and emotional toll of wild fires, among other subjects. Together, they depict diverse paths taken in pursuit of, or in response to, the wild.

The exhibitions, programs, and participatory website will enable venue visitors and the public at large to serve as collaborators—interacting with the project, with Robb, and the broad Wild Times community.

From the untrammeled spaces of the PCT, and with the host venues and her collaborators, Robb hopes to plot the coordinates of wildness in contemporary life. Through Wild Times, she offers her body and work as a conduit between gallery and wilderness, public and trail, form and formless, as a way to cultivate the wild terrain that resides in us all.

Wild Times is a project of Creative Capital and is supported by Grand Central Art Center, Palm Springs Art Museum, 826 Valencia, Tacoma Art Museum, Frye Art Museum, and the Henry Art Gallery.

Generous in-kind support has been provided by MakerBot, Microsoft, Projecteo, Washington Trails Association, and Whole Foods Market.

ABOUT THE ARTIST:
Susan Robb’s work is an ongoing investigation of people, place, and our search for utopia. She orchestrates temporary, site-responsive, and socially-engaged projects to transform contemporary concerns—climate crisis, social isolation, high-speed daily living—into opportunities to re-envision and re-connect. Her projects include The Long Walk, ONN/OF “a light festival”, Parking Squid, Sleeper Cell Training Camp, and Warmth Giant Black Toobs. Robb’s work has been funded by a Pollack Krasner Foundation Grant, two Artist Trust Fellowships, a Stranger Genius Award, 4Culture, and the City of Seattle’s Office of Arts and Culture. In 2013, she received a Creative Capital grant to produce Wild Times. Her work has been collected and shown nationally and internationally.

More Wild Times details:
http://www.wildtimesproject.com

More information on Susan Robb:
http://www.susanrobb.com/


Finding the Drop House – Video from Recordings of an Immigrant + $20,000 Project Support!

March 4, 2014

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Vincent Goudreau (Maui, Hawaii – Fall 2013) was in residence to work on his project Recordings of an Immigrant.  Juan Aquino, the immigrant for which the project is based, actually had a connection to the Grand Central Art Center / Orange County, CA  area— as a youth Aquino, now a US citizen, was originally smuggled into the US from Mexico in the trunk of a car, delivered by coyotaje to a drop house in Fullerton, CA.  In examining the overall project, Goudreau felt bringing Aquino to join him for a portion of the residency would be beneficial, GCAC agreed. Goudreau and Aquino decided they would use their time in residence together to search for the original drop house, over 30 years later.

Vincent and Juan, along with filmmaker/videographer Randy Mills and GCAC Director John D. Spiak, spent a number of days searching for a specific house in Fullerton, CA.  The following is an excerpt from Recordings of an Immigrant (an ongoing multi-disciplinary project), that documents that search.

Recordings of an Immigrant: Finding the Drop House

<p><a href=”http://vimeo.com/87921835″>Recordings of an Immigrant – Finding the Drop House</a> from <a href=”http://vimeo.com/user6123405″>vincent goudreau</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

During his residency, Goudreau was introduced, through a Director’s tour, to California State University, Fullerton alum Jeffrey S. Van Harte ’80.  Mr. Van Harte now sits on the Cal State Fullerton Philanthropic Foundation Board of Governors as Vice Chair and serves on the Finance and Investment Committee.  The tour allowed the opportunity for the artist to share his project in development.  As a result of this connection, Mr. Van Harte has donated $20,000 to CSUF’s Grand Central Art Center directed to Goudreau’s project, helping to realize the artist’s vision at  expanded levels.  Recordings of an Immigrant is developing into a multi-disciplinary artistic project resulting in a collection of audio recorded memoirs, a book, video, limited edition prints, exhibition and a future website.

On sincere gratitude to Mr. Van Harte for his generous support of the project, and his continued support of Grand Central Art Center and California State University, Fullerton.

Here are additional audio excerpts from the Recordings of an Immigrant project to date:

Revenge, from Chapter 5, part 2, titled Family

Sacrifice, from Chapter 2, titled Mexico

Legal, Chapter 3, titled South Central

Read more online about Vincent and Juan’s search, and the public program presented while in residence:
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.”

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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.

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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.

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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

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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

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.




Legal – 3rd Audio Clip from Recordings of an Immigrant – GCAC Artist in Residence Vincent Goudreau

November 26, 2013

with sister & bunny
*Vincent Goudreau is current Artist in Residence at Grand Central Art Center, arriving in October and here until December.

Recordings of an Immigrant is a multi-disciplinary project compiled from a collection of audio recorded memoirs, a book, video, limited edition prints and a future website. It is the result of a seven-year friendship between Vincent Goudreau and his property owner’s landscaper, Juan Aquino, who arrived to the US in the trunk of a car, delivered by coyotaje to a drop-house in Fullerton, CA.

AUDIO CLIP

After receiving amnesty through Reagan, Juan sees himself beginning to live his American dream. Unfortunately, he is living in south central Los Angeles in the mid eighties.

The following is an excerpt from Recordings of an Immigrant, Chapter 3, titled South Central.

Legal
https://vimeo.com/80396849


Additional posted audio:

Sacrifice, from Chapter 2, titled Mexico:
https://grandcentralartcenter.wordpress.com/2013/11/15/sacrifice-2nd-audio-clip-from-gcac-artist-in-residence-vincent-goudreau/

Revenge, from Chapter 5, part 2, titled Family:
https://grandcentralartcenter.wordpress.com/2013/11/01/november-1-1982-gcac-artist-in-residence-vincent-goudreau-revenge-with-audio/

Read more about Vincent Goudreau’s project online at:
https://grandcentralartcenter.wordpress.com/2013/11/01/november-1-1982-gcac-artist-in-residence-vincent-goudreau-revenge-with-audio/