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

December 18, 2013

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

2014 PREVIEW
EXHIBITIONS AND ARTISTS IN RESIDENCE

*confirmed to date – more programs being developed

EXHIBITIONS

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

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

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

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

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

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

ragebear1
Rage Bear: Juggling Awesome

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ARTISTS IN RESIDENCE / PROJECTS

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

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

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

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

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

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

Carol 2
CAROL A. STAKENAS
Multiple Site Visits Throughout 2014

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

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

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

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

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

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

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

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

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

lisa bielawa
LISA BIELAWA
Multiple Site Visits Throughout 2014

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

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

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

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

holly
HOLLY MYERS
Multiple Site Visits Throughout 2014

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

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

heather and Brian
HEATHER LAYTON AND BRIAN BAILEY
Winter 2014

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

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

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

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

tucker1
DANIEL TUCKER
Spring 2014

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

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

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

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

SUSAN ROBB
SUSAN ROBB
Spring through Summer 2014

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

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

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

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

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

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

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

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

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

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

gcac
SUPPORT GRAND CENTRAL ART CENTER

We appreciate your support from near and far!

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

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

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

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

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




DANIEL TUCKER: ARTIST IN RESIDENCE – Future Perfect: The Ronald Reagan Time Capsule

December 13, 2013

tucker spiak
(Artist Daniel Tucker visits the Nixon Library with GCAC Director John Spiak)

Chicago, IL based artist Daniel Tucker joined us this week as Artist in Residence for a first site visit in the development of his Future Perfect project. During his visit, he visited local historic sites such as the Ronald Reagan and Richard Nixon Presidential Library’s, while getting a better feel for the community of Santa Ana.

Daniel will return in April and be in residence through June for the full engagement of the Future Perfect project, so we thought we would provide you a little preview below…

Future Perfect: The Ronald Reagan Time Capsule
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.

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 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.

The combined focus on time capsules, Reagan, and speculative fiction comes out of a 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.

We look forward to your involvement!


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.


Lisa Bielawa – Artist in Residence – Site Visit #1 @ Grand Central Art Center

June 30, 2012

It’s been an exciting week, with Grand Central Art Center having been extremely fortunate to host artist/composer/vocalist Lisa Bielawa as a visiting Artist in Residence.  This was Lisa’s first site visit to Downtown Santa Ana, as she begins the process of developing a larger project and an extended residency.

We worked to introduce Lisa to individuals in our community and sites around Orange County of possible interest.  The visit allowed her to experience our community, this region and to begin developing ideas for projects that could be realized through her artistic vision.

Tom Burke, Flying Bull, Inc. and a Special Events Consultant, provided a tour of the airstrips of the former Marine Corp Air Station El Toro in Irvine, now part of the development in process of the expanding Orange County Great Park.  Lisa was interested in visiting the site as she is currently developing projects on former runways as part of her upcoming Tempelhof Broadcast.  the Tempelhof Broadcast will be performed on the Tempelhof Airport runway in Berlin, and in development for performance on Crissy Field, San Francisco.  Tom shared brief histories of the site and recent activities, as we walked the runways and Lisa tested the sites sound qualities at distances.  It was a clear morning and the songbirds in the adjoining fields were clearly happy.

Lisa met with Allen Moon, of the David Lieberman Artists’ Representative, as they discussed the current international creative scene and the many individual acquaintances and friends they had in common.  Allen shared his perspectives of Downtown Santa Ana, along with his vast knowledge of the greater Orange County community and the individuals here for whom Lisa would benefit by meeting.

Dr. Pamela Madsen, composer, performer and scholar, California State University, Fullerton’s Music Department, met with Lisa at the recommendation of Allen.  She shared information on her role as director of CSUF’s New Music Festival, including her vision for the 2013 festival.  They talked about the current voice, music and composer communities of Southern California, including individuals involved with our colleague SoCal universities of CSU Long Beach, Chapman University, University of California Irvine, Los Angeles and San Diego, and the possibilities for collaboration.

Dennis Lluy, owner of Downtown Santa Ana’s Yost Theater, connected with us for even more inspirational conversation.  For a bit of background, the Yost Theater it the oldest theater in Orange County, originally built in 1912 during the Vaudeville movement.  Dennis has spent the past five years renovating the theater to an original feel and passionate authenticity.  Dennis is an amazing thinker and long-term generous supporter of Grand Central Art Center, as well as the OC Arts community in general.  After grabbing a bite to eat at Chapter One restaurant, we walked over to the Yost to spend some more time in the venue.  Lisa visited the site on the first day of her residency, but this return visit provided her the opportunity to wander through the space and test the theaters natural acoustics.  The space is amazingly live, with a hammered tin ceiling that helps to project a voice throughout, engulfing the site with beauty!

Along with the individuals from our direct community, we were also able to engage Lisa with artists currently connected with Grand Central Art Center.  We attended the UCLA Hammer Museum Yearbook Signing Party hosted by the Hammer for artists Adam Moser and Harrell Fletcher.  You probably recognize Adam’s name, since he just completed his Artist in Residence project here at GCAC, The Cut-Off Men.  At the event, Lisa was able to engage a bit with the Hammer‘s Curator of Public Engagement Allison Agsten and Senior Curator Anne Ellegood. She was able to have extended conversation regarding Social Practice, recent projects and the contemporary art scene of Southern California with Adam, Andrew Douglas of the Metabolic Studio, and Contemporary Art Curator Cassandra Coblentz (full disclosure, Cassandra is married to John Spiak, GCAC Director/Chief Curator).

We were fortunate to also have back at GCAC artist in residence Jules Rochielle.  She is here for another site visit, as she continues to connect with our community and further develop her project – meeting with individuals from El Centro and the Santa Ana Public Library.  Jules visit provided the opportunity to gather a few other Southern California artists for conversation and a quick breakfast gathering.  Joining us were recent OTIS MFA in Public Practice graduate Christina Sanchez and Los Angeles based artist Nancy Popp, who was recently named InterArts Chair at the Idyllwild Arts Academy.

More site visits were worked into the schedule, and through the recommendation of Jules, Lisa toured the Santa Ana River, which stretches 29 miles from Huntington Beach to Corona, and is located a couple of blocks from GCAC.  Walking the bike path, she explored the space and considered its concrete valley and closed railroad bridges as possible project sites.

Wednesday afternoon, Lisa hopped on the train at our local Santa Ana Train Station (again, a few short block from GCAC) and made the quick one-hour trip down to San Diego.  Once there, she first met with Steven Schick, Conductor of the La Jolla Symphony & Chorus.  She shared with him her experiences as artist in residence at Grand Central Art Center and her current thoughts related to project ideas.  They were able to brainstorm together and consider collaborative possibilities.  In the evening, she connected with Jim Rosenfield, President of the Mata Festival Board.  Lisa is actually one of the co-founder of the Mata Festival, with Philip Glass and Eleonor Sandresky.  Lisa had the opportunity to share more information regarding Grand Central Art Center’s vision with Mr. Rosenfield and talk about concepts for her project to be realized through our institution.

Thursday, before departing for the airport, Lisa met with Cathi Douglas, Editor of CSUF’s Titan Magazine.  The Titan Magazine team is working on an article about GCAC.  Lisa sat down with their team for a photo shoot, before meeting with Cathi for an interview at the Gypsy Den Grand Central Cafe.  Make sure to keep any eye out for an article on GCAC in an upcoming issue of Titan Magazine!

And with a packed schedule, somehow Lisa still found some quiet time throughout the week to sit within our GCAC Black Box Theatre, at the piano, working to compose new work for additional upcoming projects in her life.

Yes, another extremely successful visit by an outstanding artist who we are excited to have back in the very near future.  We’ll keep you posted as the project continues to develop and we will let you know dates for Lisa’s return when they are official.