GCAC Intern Off to Grad School @ School of the Art Institute Chicago!

May 11, 2013

In the words of GCAC intern Ariel Gentalen as she completes her internship and heads to Chicago for grad school…

ariel pic

The first word that comes to mind while reflecting on my year as an intern at Grand Central Art Center is community. It is John Spiak’s unflinching commitment to partnerships and involvement that created a beneficial learning environment to expand my understanding of the inner workings of the art world. I was also fortunate to be working with the supportive and welcoming staff that makes Grand Central such a lovely place to be on a day-to-day basis.

My time at Grand Central began after a last minute, and insane, road trip to Portland, OR to attend Open Engagement 2012 conference. It was ultimately an adventure that developed into one of the most important experiences of my undergraduate career. I say adventure, because CSUF Professor Gretchen Potts drove myself and two other art students 16 hours in a rented Prius, to attend. At the time it didn’t seem like a flawed plan, but upon our arrival, as we sat across from each other at lunch as speechless zombies from exhaustion, we realized flying there might have been easier. After a quick nap, we attended panel discussions focused on integrating social practice into museums, outlining successful education programs in museums and galleries, as well as creating alternative spaces for creativity where established institutions have none. I met and conversed with individuals who were responsible for creating dynamic public programming and working directly with communities. These meetings helped me conclude that this must be my career path, not only to fulfill my own passions, but also to guide others in a similar fashion. Connecting with John at the conference and seeing him speak on the “It Turns our There is Room for Everyone: Museums and Social Practice” panel, I knew that I wanted to work with someone so devoted to the tide of Social Practice art and how it benefits surrounding communities. One week after the conference, I began my GCAC internship.

Over the course of the summer and the following year, I was lucky enough to work with an amazing list of artists in residence, assisting in the realization of projects – from contacting surrounding Santa Ana organizations trying to recruit baseball players for Adam Moser’s MLB project; to sitting on the floor of the AIR apartment with Lisa Bielawa conversing about art and music culture in Orange County; to sharing mouthwatering arepa cooked by current GCAC Project Room exhibiting artist Saskia Jorda. As an Art History major, you spend the majority of your time studying flashcards, reading verbose art theory and attempting to comprehend what the omnipresent art world is – and how you eventually want to fit into it. It is a testament to the power of informal learning experiences – being a fly on the wall during meetings or grant writing discussions –which provided the opportunity for a demystification of what it means to operate in the art world. Grand Central also connected me to Project Access, through an opportunity to produce and run a workshop in partnership with their teen program hosted at Santa Ana Community College. Throughout my year here, there has been nothing but support, whether it comes in the form of pitch meetings for public programming. allowing for time off during grad school application panic, or other on campus leadership duties. It has been a truly rewarding and informative year in how to operate as an advocate of the arts.

Next week, I will be flying (we learned our lesson – no more road trips) out to Portland with fellow student and friend Karla Monterrey to attend Open Engagement once again. It may be painfully cliché, but I embrace the cyclical journey this past year at Grand Central has provided me. I am so excited to be critically engaged for three days of intense art focused discussion, this time with a well-rested and attentive brain. Karla and I are committed to taking and applying all of the conversations at Open Engagement with us to graduate school at the School of the Art Institute of Chicago. It is my hope to engage communities the way John and the Grand Central Art Center has done with CSUF and Santa Ana, as well as nurture a future generation of critical citizens.

Ariel Gentalen
CSUF, BA in Art History, Minor in Women’s Studies, ‘13

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Adam Moser, Cut-Off Men and MLB Tryout Results!

June 15, 2012

We know you have been waiting to hear results of the Major League Baseball tryouts, part of artist/athlete Adam Moser’s Social Practice residence here at Grand Central Art Center.

It’s been an extremely busy week, so we apologize for the delay.  Here is a breakdown of this week’s activities as they played out for Adam’s team, the Cut-Off Men.  Advance warning, this post is a bit long, but we think it’s worth every moment!

In our last blog post, the jerseys and Adam had arrived at Grand Central Art Center, the Cut-Off Men’s clubhouse and lockers were ready for the team’s arrival, and we were looking for one more teammate to fill out a nine-man roster.

On Sunday, Adam was invited by Cut-Off Men teammates Tori and Abraham to join them for one of their league games taking place at Pacifica High School in Garden Grove.   It was a beautiful Southern California day! Adam got a little time in the outfield and a couple of at bats, while Abraham was covering third and Tori at shortstop.  It was a great warm-up for the tryouts to come.

Monday evening, the team arrived early to meet their fellow teammates for the first time, as well as see their new lockers and jerseys (jerseys created by Victory Custom Athletic – thanks again to Claudette Duggan and the Victory team for helping us get these on such a short notice) before the Dutch Treat Dinner/Ball Signing event.  They brought with them their gear to store in their lockers, in preparation for Tuesday mornings early departure to the tryouts.

The team signed some baseballs for one another to get a little practice in before the public ball signing that evening.  They walked together, as a team, down Broadway to Izalco Salvadorian Cuisine on 5th Street, in Downtown Santa Ana.  Thank you to Fernando Valladares of Izalco for opening his restaurant to our team for this event!  Upon arrival, they were met at the restaurant by fans, friends and family.

At the restaurant, the team signed baseballs, met with their new fans, talked baseball and ate pupusas.  They bonded as a team, shared their thoughts about the next day’s tryouts and told stories of their history with the game.  As the night concluded, we headed back to the clubhouse with some of the teams news fans to share the space and further conversation. Before departing for good night sleeps, they tried on their jerseys on for the first time and we had the opportunity to take a more official first team picture.

Tuesday began early, as the team was scheduled to arrive at 6:45 a.m. to suit-up and catch the team van to the tryouts in Compton.  The team was very focused, prepping their gear, getting into their uniforms.  Our team documentarian/filmmaker and Grand Central Art Center current resident, Mickey Fisher, took the opportunity to interview team members to get their thoughts pre-tryouts.  When the team was ready, we met our van driver Rick and loaded the team van for departure.  We would like to THANK Stacy Wilkerson at Gold Coast Tours for all her assistance in helping us schedule a van on such short notice (as we mentioned previously, we just met Adam for the very first time at the Open Engagement Conference in Portland, OR.  On May 19, 2012, he first told us his idea for the project and we agreed to help him realize it).  Stacy, and our driver Rick, were a true pleasure to work with through this project.   And as it turns out, Rick’s brother is a major league scout for the San Francisco Giants, so we got to talk some baseball during the drive north to Compton.

We arrived at the MLB Urban Youth Academy, where Rick drove us right up to the main entrance with VIP service.  As most other individuals were there solo, you could tell immediately, coming as a team was drawing some attention.  The Cut-Off Men, with their team jerseys and van, created quite the buzz!  We could hear other attendees speculating out loud – “who is this team with such a dominant presence?”  The team listened up as instructions for the beginning of the day were delivered and waiver forms were handed out to over 500 individuals there to tryout.  So, like all the others, the Cut-Off Men filled out their forms and waited for further instructions.  Before things got too crazy, our documentarian/filmmaker Mickey took the opportunity to do a few more interviews with the wonderful backdrop of the ballpark.

Pitchers and catchers were instructed to go to one field, infielders and outfielders instructed to go to another.  For the pitchers, they were divided up by those who had previously played in the majors, those currently playing college ball or had played in the last year; and those who were playing in amateur leagues or hadn’t played recently.   On the opposing field, each position player formed into separate lines to receive their numbers.  Once the numbers were assigned, each position was called over by grouping to run their 60 yard dashes against the clock and one opponent.  The pitchers weren’t required to do the run, but more on their requirements later.

As the running continued, the position players on the team had a chance to warm-up their arms and stretch a bit, before all were told to head to the opposing field.  While the fielders had been running the 60 against the clock, the pitchers were showing their stuff on the mound.  The scouts didn’t tell the attendees directly, but it was clearly over heard from the viewing area –  righties that couldn’t throw at least 95mph weren’t being looked at, and lefties that could hit 88mph and had some movement would be considered.

Meanwhile, the position players were once again divided into outfielders and infielders, with infielders being separated further – second base, shortstop and third basemen in one area; and first basemen in another.  The outfielders were up first. Each was required to field fly balls, line drives and grounders, then give their best attempt to test their arms by throwing those fielded balls to a catcher behind home plate. If the scouts like what they saw on the first three attempts, the players would get a bonus ball.  Our only teammate trying out for outfield was Adam, so all eyes were on him.   As the Grand Central Art Center team looked on, Adam proceeded to make two great catches and charged to field one fast grounder.  He then threw each ball, with a gun of an arm, on a fly, straight into the catchers glove.  In an actual game, each of Adam’s throws would have been the perfect opportunity for the out at home.  So perfect was Adam’s fielding and throws, that he received a bonus ball, which he fielded to the same perfection!  With that complete, Adam was able to relax a bit and take in some of the action.

Next, the opportunity for the infielders to show their stuff.  The Cut-Off Men had the left infield covered, with the majority of the teammates playing shortstop and third base, and one trying out for second base.  Our guys looked great out there, fielding their grounders cleanly, charging those balls rolling fast on the infield grass and gunning their throws to first base.  There was a lot of confidence and pride on the field, and the Cut-Off Men proved they knew their way around a diamond.

After all second, shortstop and third base players had their opportunity to show their stuff, it was time for the first basemen skills to be tested.  As the Cut-Off Men were fielding no first basemen, this meant a little downtime, more bonding, sharing of experiences and lunch for the team.

The break didn’t last that long before all players were summoned to the infield for the announcement of who made the cut.  Of the 500 plus players in attendance, it was made clear at the beginning of the day, “dreams would be crushed.”  They were going to announce 40 numbers, which would be of the players who would move forward to play a simulated game on the field. They also made it clear that, of these 40 players, maybe one or two might be approached by a MLB scout at the event with a possible contract offer.  By the end of the announcement, it was clear that it was not the day for the Cut-Off Men; no one for the team would be making it to the big show.

These are the Cut-Off Men!  They are a team and they stand together with pride!  They were there supporting one another, bonding and talking about finding another nine guys who might be interested in a pick-up game.  They were making plans to play a game together this coming weekend.  They gave it their all and left everything they had on that field.  They were proud and able to hold their heads up high, knowing they had just experienced something together that no one could ever take away.

The team spent a few more hours taking in the remainder of the tryouts, watching young recruits give it their all in the hopes of making the next cut.  They shared stories from their  experiences – “the scout told me I was throwing in the mid-80s, which I could hardly believe I still had in me.  Then he told me I had two things going against me, my age and my velocity.”  Team members talked about the guys that they met throughout the day, those on the field with similar hopes and dreams.  It also provided the opportunity for documentarian/filmmaker Mickey to take some iconic shots to add to his footage.

As the tryouts were wrapping-up, we had an amazing chance encounter.  Yes, it was Major League Baseball scouting legend Phil Pote.  You know, the guy with a cameo in Moneyball that asks “Who’s Fabio?”  He is much more famous than that, as he’s been involved with Major League Baseball for over 50 years!  We struck up a conversation by asking whom he thought from today might make it to the big show, and through his answer he pointed at Adam and Erik and said, “you and you.”  OK, first he said that he doesn’t have a crystal ball and has no idea who might make it, since there are so many factors.  Then he said he could just look at guys and say “you and you”, but there is no guarantee.  He asked about our team name and Adam shared the project, talking about Social Practice and the community team he had built.   Phil was enthusiastic about the project and talked a bit of art with us, then told us how he had been playing in Major League Baseball all these years waiting for his acting career to take off.  He shared his amazing screenplay ideas and asked Adam to send him documentation and writing on the project when it was complete.  He handed us all his business card which has a giant “S” logo and reads: Seattle Mariners, Phil Pote, Advisor – Scout.  He introduced us to Ike Hampton, the Manager of the MLB Urban Youth Academy, who also played in the majors as a catcher for the New York Mets (1974), and later California Angels (1975-79).  If you get the opportunity, we highly recommend a trip out to Compton for a visit to the MLB Urban Youth Academy.   It is an outstanding facility and incredible service to the community!  Adam presented both Phil and Ike with a Cut-Off Men signed ball, before Ike had to get back to business.  Phil spent more time with us, as we proceeded to talk baseball with him for another 30-minutes.  His love and knowledge of the game was contagious, and his desire to keep the respect in the game was truly admirable.  Pete should be in the National Baseball Hall of Fame and Museum in Cooperstown!  As we wrapped things up, Phil said good bye by giving each of us a high-low-head-on fist bump, then jumped in his car and drove off.  Rick had arrived with the team van, so  it was time to load everything up and head back to Grand Central Art Center.

Upon arrival back at the team clubhouse, a little surprise was in store.  The team planned it perfectly, with Adam asking GCAC Director/Chief Curator John Spiak if he could see the photo we took with Phil Pote’s again.  As soon as Adam had the phone safe in hand, Abraham proceeded to provide Spiak with the traditional post game/victory drenching.  As there was no Gatorade or water cooler, water in a small trashcan would have to do.

It was time for the post tryout team dinner with family and friends.  We headed over to Memphis at the Santora for a celebration and hearty meal with a southern twist.    The dinner also provided an opportunity to celebrate Cut-Off Men Steven’s 25th birthday.  We sang out loud and shared in the glorious day.

Following dinner, we headed back to the clubhouse for the scheduled 7 p.m. press conference.  There, we met with the team from CTV3, who interviewed Adam.  They then handed the microphone to him so he could conduct interviews with his team.  Adam asked about the days experiences – What had been gained?  What had been learned?  How they were feeling?  The CTV3 team will share the coverage link of the story when it’s online, and we will share it with you!

As the team began to change out of uniforms and wind down their day, visitors entered the clubhouse and inquired about the project, including local Santa Ana CSI police officer and photographer, Leonard Correa.  It was at that moment we were able to shift the sports conversation, one which we had so carefully protected over the past three weeks, to a conversation about art.  We had been sharing the art conversation among the artist, his teammates and the GCAC staff over that same period, but publicly we only talked baseball.  Adam explained the workings of Social Practice, the relationships between the teammates and artist, the relationships between the world of baseball and the world of art.  They understood perfectly and shared their insights.  We had a fantastic exchange that included everyone, then we presented each visitor with an autographed team ball.  It was a perfect way to end such an outstanding experience!

So we know you are now asking, just how does this project relate to the workings of Social Practice?  What are the relationships between the teammates and artist? Are there really relationships between the world of baseball and the world of art?  Ponder that for a few days!  We’ve gone on too long with this post already, so we’ll share it in another entry to be posted soon.

The Cut-Off Men film can now be viewed online at: https://grandcentralartcenter.wordpress.com/2012/07/02/the-cut-off-men-filmdocumentary-now-online-for-viewing/


Dream of Playing in the Major Leagues (MLB)? – Join GCAC Artist in Residence Adam Moser and Tryout!

May 30, 2012

Grand Central Art Center is pleased to announce our next Social Practice Artist in Residence – Portland, OR based artist and athlete Adam Moser.  
 

Moser will realize his lifelong dream of playing in the big leagues by trying out for Major League Baseball (MLB). Recognizing he is not alone in this dream, Moser is looking for individuals of our GCAC community in order to form a 9-member tryout team, the Cut-Off Men. 

Team members must be in good physical shape, available to attend events the evening of June 11 and available the complete day of tryouts on June 12 from 6am-10pm. Team members must also be 25 years or older and will be required to sign both the MLB and Grand Central Art Center release of liability forms. Team members must supply their own cleats, gloves, bats and equipment.  GCAC will be supplying team jerseys.  

The public is invited to a free ball signing event and Dutch Treat Dinner on June 11. The first 50 people will receive an autographed baseball, signed by the entire team. 

Details on the dinner can be found at: https://grandcentralartcenter.wordpress.com/2012/06/04/invitation-to-dutch-treat-dinner-ball-signing-june-11-%C2%AD-please-join-us/

The next morning, June 12, the nine members will load into the team van and make their way to the official 2012 Major League Scouting Bureau U.S. Tryout Camp in Compton, CA. 

The complete team will show off their skills for the scouts and stay for the entire day, before returning that evening for an official team press conference to be held in our GCAC AIR clubhouse. 

If you are interested in joining Adam’s team and trying our for Major League Baseball, please sign-up in person at Grand Central Art Center or by sending an email to gcacmlb@gmail.com 

Adam will be selecting his teammates if more than eight individuals sign-up.

The Cut-Off Men film can now be viewed online at: https://grandcentralartcenter.wordpress.com/2012/07/02/the-cut-off-men-filmdocumentary-now-online-for-viewing/


Open Engagement, AAM, Social Practice and a Forward Vision @ Grand Central Art Center

May 24, 2012

Social Practice is a major focus of our Forward Vision at Grand Central Art Center (GCAC), so we were honored by an invitation to participate in the Open Engagement conference in Portland, Oregon (May 18-20).  GCAC was represented on two panels by Director/Chief Curator John D. Spiak, which included:

René de Guzman, Dominic Willsdon, John D. Spiak, Stephanie Parrish, Allison Agsten

It Turns Out There Is Room For Everyone: Museums and Social Practice – with panelists Dominic Willsdon (SFMOMA), Allison Agsten (Hammer Museum), René de Guzman (Oakland Museum of California), Stephanie Parrish (Portland Art Museum) and John D. Spiak (Grand Central Art Center). Moderated by Harrell Fletcher (Portland State University).

and

Gregory Sale, John D. Spiak, Pete Brook, Julie Perini

Prison Communities: You Can’t Arrest Your Way to a Solution. Social Practice Engaging the Criminal Justice System – with panelists Gregory Sale, John D. Spiak, Pete Brook, Rachel Marie-Crane Williams and Julie Perini.

Bernie Díaz (Faculty @ SMU’s Meadows School of the Arts), Ariel Gentalen, Karla Monterrey, Shannon Jackson (Director of ARC @ UC Berkeley), Carlin Boyle

We were able to encourage, with the help of GCAC Artist in Residence Jules Rochielle, a few California State University Fullerton students, a faculty and staff member to attend the conference.  Those in attendance included: CSUF students Carlin Boyle, Ariel Gentalen, Karla Monterrey; CSUF faculty member Gretchen Potts; and CSUF staff member Mylan Chacon.  The conference allowed the opportunity for these individuals to connect with national figures of the art world, including artists, theorists, educators and curators.  It was clear that these individuals were truly inspired by the experience.  We are sure this will have a major impact on GCAC and the CSUF College of Art, especially starting next semester, as these individuals are playing key roles on the campus community – Karla leading CSUF Arts Week this coming year; Ariel leading the CSUF Arts Inter-Club Council; and Carlin through her Evoke Unity efforts.

Three weeks ago, Spiak also represented GCAC through two panels at the American Association of Museums Annual Conference in Minneapolis, Minnesota, which included:

Getting into the Bones: Museums, Dance and Social Action – with panelists Gregory Sale (Arizona State University), Robin Conrad (Fullerton College), Elizabeth Johnson (Herberger Institute for Design and the Arts) and John D. Spiak (Grand Central Art Center)

and

Kris Morrissey, Robert Garfinkle, John D. Spiak, Emily F. Zimmern, Thomas M. Finkelpearl

New Roles/New Culture: Tackling Tough Topics and Engaging New Audiences – with panelists Thomas M. Finkelpearl (Queens Museum of Art), Emily F. Zimmern (Levine Museum of the New South), Robert Garfinkle (Science Museum of Minnesota) and John D. Spiak (Grand Central Art Center).  Moderated by Kris Morrissey (Director, Museology Program, University of Washington).

The inspiration and knowledge these conferences provided inform this institution as our Forward Vision document develops and becomes more refined.

The in-progress Forward Vision for Grand Central Art Center focuses on the belief that the key to success in Social Practice Residencies is complete honesty, trust and openness by the institution, curator and artist with all potential collaborators and participants. GCAC is open to exploring, through artistic practice and conversation, the complexities of society – acknowledging that we may raise more questions than perhaps answer.  This institution is open to flexibility and adjustment throughout a project/residency as envisioned by the artist, leaving the opportunity for new discoveries to develop – creating the possibilities for even greater, successful and mutually beneficial outcomes for artist, institution and collaborator.  We use the term “successful” loosely, as we acknowledge that failure of a process also brings knowledge.  These rules should apply to any institution exhibition, program or project, but they are even more essential when working with community and artists through Social Practice residence.  Without an honest approach, trust cannot be secured to build connections with diverse individuals through an artist’s vision.

Shannon Jackson (Open Engagement Keynote)

We also acknowledge the kinds of results that often occur at the conclusion of a residency or Social Practice based project are not always easily measured, in the traditional sense.  For example, attendance figures, tour numbers and budgets may not be the most appropriate measures of “success.”  Unfortunately, these are the most common types of statistics that funders and agencies require in grant reports, usually due immediately upon completion of the project.

GCAC understands that many projects in Social Practice should not, and can not, be limited by a set timeline for completion.  Therefore, it is our goal to provide an artist time needed to realize their vision.  Often the first question asked by individuals when inquiring of our Artist in Residence program is “how long is each residency?”  To this we will answer, “we do not know,” as each will be determined by the artist, their project and their collaborators working through GCAC.  We also understand that even though a project might be considered complete, impact of that project, and even the project itself, may continue beyond the artist and institution.

If It Doesn’t It Should (Open Engagement Panel) – Ted Purves, Harrell Fletcher, Cassandra Thornton

GCAC will look at traditional and standard matrix measurements for each project, but we will also measure, validate and share the success, and/or failure, of each Social Practice Residency through the following:  gathering of personal stories and testimonials (artist, institution, organizations, community); presenting at national conferences (American Association of Museums, College Art Association, Open Engagement); creating web and print based documentation (website, blog, catalogues); writing and publishing articles in national journals (Museum and Social Issues, Art Education, Journal of Art for Life); and direct sharing with colleagues of peer institutions and through society itself.

The Social Practice Artist in Residence is just one component of our institution, but the philosophies of this program will guide GCAC in the further development of Forward Vision documents for our exhibitions, education, public programs and outreach.  Their outcomes will be measured in the same fashion and be accountable to our mission as a contemporary art center.  We will raise questions, allow inquire, be open to opposing view points, be challenged and/or criticized, in the hope of understanding greater society, the role of contemporary art and our shared, or unshared, experiences.  It is important for us as a contemporary art center to acknowledge that we may not be able to change lives or minds, but it is our hope to change moments.


What a Weekend @ Grand Central Art Center!

May 7, 2012

We kicked off this past weekend on Friday, by engaging with Social Practice collaborative artists Owen Driggs, through their Performing Public Space Loitering Project.  Invited as part of Jules Rochielle’s Artist in Residence at GCAC, Janet Owen and Matt Driggs took visiting artists Jules Rochielle, Maria Del Carmen Montoya, Christina Sanchez, Silvia Juliana Mantilla Ortiz, and Cypress College art professor Ed Giardina and his students Brian Yellowshirt McNamara and Luis Munoz-Najar, on a loitering adventure of Downtown Santa Ana.  Owen Driggs and Maria Del Carmen Montoya were exploring the area in preparation of future visits and activities in associating with Rochielle’s GCAC Artist in Residence throughout the summer and fall.

 

Saturday’s activities started with an outstanding talk by author Gustavo Arellano.  He shared with those in attendance the history of Mexican food in the US, through stories from research for his latest book Taco USA: How Mexican Food Conquered America.   Following the talk, Gustavo graciously signed copies of the book for those in attendance.  Thank you to Rueben Martinez of Libreia Martinez Book and Art Gallery for providing the publications for the event.  Thank you as well to Gustavo for allowing us this opportunity – sharing your knowledge and providing engaged insights, all with such humor and grace!

 

It was the monthly First Saturday Art Walk in Downtown Santa Ana, as well as Cinco de Mayo, so that could only mean a joyous night of opening receptions and cultural activities throughout the city.

Grand Central Art Center opened three new exhibitions to a very large and receptive audience.  The artists, curators and GCAC team did the center proud, with top quality exhibitions throughout, so we thank them all for their hard work, passion and talent.

The exhibitions included:

Naida Osline: All the Queen’s Men

 

Millard Sheets Studio: The Art of Home Savings and Loan

Curated by Concepcion Rodriguez and Wendy Sherman

 

Camilla Taylor: The Disagreement

Curated by Yevgeniya Mikhailik

 

Along with Saturday’s three opening receptions, California State University, Fullerton’s student project Evoke Unity engaged with Jules Rocheille’s What is Democracy?, creating an interactive/participatory installation in the GCAC AIR studio space.  Thank you to our outstanding CSUF students for their hard work, dedication and engaged approach to art making.  Many of these students, along with the artists who participated in the loitering of Downtown Santa Ana, will be joining us at the Open Engagement conference in Portland, OR, May 18-20.

 

And what celebration would be complete without some traditional Lucha Libre on the front 2nd Street promenade?  What power, what force, what energy – truly entertaining!

 

Sunday afternoon provided the opportunity for an educated conversation on the work of Millard Sheets and his studio.  The lively and informative panel, Dr. Adam Arenson, Alan Hess, Mike McGee, provide outstanding perspective and historic background to the work of this artist, designer and architect.  They shared their knowledge and research on the importance of the masterful artist and the impact he, along with Howard Ahmanson and Home Savings and Loan, played on the landscape, history and vision of Southern California.

 

And to round out the weekend activities, members of Southern California Artists (SCA) joined GCAC Director/Chief Curator John D. Spiak for an evening of conversation at the center.  The group discussed the current series of exhibitions, the future vision and residency programs of GCAC, and shared views on Social Practice.

Thank you to all that continue to participate and contribute to the programming of Grand Central Art Center, we truly appreciate your support, enthusiasm and insights!