2002

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Main Gallery

Von Dutch: An American Original

December 7 – January 26, 2003

CSUF Grand Central Art Center in Santa Ana, CA features Von Dutch: An American Original, celebrating this Southern California pop culture artist known for his innovative pinstriping, engraving, machining, sign painting, and mechanical skills.

A corollary exhibition, Dutched!, will include the work of approximately twenty artists from California and abroad, including Peter Alexander, C.R. Stecyk III, Jim Shaw, Ed “Big Daddy” Roth, Robert Williams, Charles Krafft, Mark Ryden, Shag, Steve Stanford and Linda Bark’karie.

The exhibition is curated by Tornado Design and Copro/Nason Gallery, in collaboration with California State University Northridge, Art Galleries and California State University Fullerton. The exhibition will include paintings, signs, and pinstripe designs; motorcycles, bikes and other vehicles; miniature canons and other weaponry which exemplify his masterful machining; a hand-painted 1950’s hi-fi console; and a video interview with Von Dutch by Ed Roth, among other works.

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Education Gallery

You Break It, You Bought It
Glass & Ceramic Show
December 7 – January 12, 2003

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Education Gallery

Media Circus
November 2 – December 1, 2002

Featuring artists: Patricia Hagerman, Paul Schoettinger, Elenor Greenberg, and Richard Littlefield

Featuring jewelry artist: Roz Grossman

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Project Room Gallery

Animation from CSUF

October 20 – December 1, 2002

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Main Gallery

Peter Zokosky

October 5 – December 1, 2002

Peter Zokosky was trained during an era when teaching students how to paint was unfashionable. Like many other artists today, he ostensibly taught himself how to paint. Zokosky and other artists in his generations have pursued the notion that, contrary to prevailing art world wisdom, representational painting has yet undiscovered attributes.

The specific influences in his work vary from painting to painting: 19th century French academic references abound; nods to renaissance, baroque and neo-classicism sources are common; a few poses and settings bring to mind pre-Raphaelite sensibilities; and 19th century German romanticism themes loom large. One of the main preoccupations with German romanticism was the sublime and particularly the mechanics of man’s relationship to awe-inspiring nature; Zokosky hints at this by placing his figures in rich landscapes and drives home the point with his repeated images of skeletal and musculature exposed human and animal figures. But his most common theme is his curiosity about how things work and the structures below the surface. His paintings are investigations. He wants to know how the bones and muscles look below the surface of the skin, and he wants to better understand how the power of nature works and why just contemplating it can leave us so overwhelmed.

Zokosky received his BA from the University of Riverside and his MFA from Otis art institute. Since 1979 he has had ten one-person exhibitions and participated in dozens of group exhibitions. He is represented in scores of private and public collections.

Mike McGee, Curator

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Project Room Gallery

Grand Central Press Editions
Group Exhibition
October 5 – October 19, 2002

Featuring artists: Anaida Hernandez, Peter Zokosky, Sandow Birk, SHAG and Rachel Rosenthal

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Education Gallery

Between Dimensions
September 7 – October 13, 2002

Featuring artists: Cathy Breslaw, Jill Sykes, and Robert Arieas

Featuring jewelry artist: Bill Gallagher

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Americanos: Latino Life in the United States

Main Gallery

Americanos: Latino Life in the United States

July 20 – September 29, 2002

AMERICANOS was made possible by the assistance of many dedicated individuals. Thirty photographers from around the country provided SITES (Smithsonian Institute Traveling Exhibitions) with beautiful and dramatic images of Latino life in the United States. Working with a team of talented editors selections were made to create an image rich exhibition that will leave an imprint on the minds and heart of all who view the work.

The hope for this exhibition is that AMERICANOS will express the true commitment to community, pride and love of family and culture, remembrance of the past, celebration of our present, and hope for the future.

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Education Gallery

Ordinary World
July 20 – September 1, 2002

Featuring artists: Stephaine Abrahams, Kathy Breaux and Mervyn Seldon

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Education Gallery

Flora and Fauna
July 1 – July 14, 2002

Featuring artists: Shannon Miller, Pat Morganthaler, Tootie Nienow and Jill Sykes

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Main Gallery

Charles Krafft
Villa Delirium
May 4 – July 7, 2002

Charles Krafft, an internationally-recognized artist with a dark sense of humor is best known for his series of “Disasterware,” hand-painted, commemorative plates depicting a century of spectacular catastrophes, and the “Porcelain War Museum Project,” a porcelain arsenal of life-size small arms glazed and hand-painted in the traditional blue and white decorative patterns of famous European porcelain manufacturers.

In conjunction with Krafft’s residency, the Grand Central Art Gallery will present a survey of his work from 1990 to the present in Charles Krafft: Villa Delirium. The exhibition consists of over 100 works including “Disasterware” plates; “Faux Distasterware” plates (painted paper plates); hand-painted porcelain skateboards from his residency at the Kohler Company factory; an assortment of grenades, rockets, pistols and rifles from the “Porcelain War Museum Project”; Sponeware ™ The Human Bone China; and various containers for soaps and perfumes from his newest series entitled “Forgiveness.”

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Project Room Gallery

Rachel Rosenthal
Nihon Journal
May 4 – July 7, 2002

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Education Gallery

Transformations
April 20 – May 26, 2002

Featuring artists: Karen Feuer Schweger, Frank Swann, Violet Blunt and Mildred Kouzel

Featuring jewelry artist: Ellen Jantzen

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Main Gallery

Car Culture
Kenny Scharf
March 2 – April 28, 2002

Kenny Scharf’s art world star came to a mercurial rise in the 1980s. By the close of the decade he had risen to supernova status, secured a place in art history textbooks, and moved beyond the often-cliquish borders of fine art notoriety into the kingdom of pop culture celebrity. He arrived in a New York at a time when the art scene had painted itself into a conceptual art-about-art cul-de-sac; painting and the sculptural objects had, for all intents and purposes, been deemed obsolete, the “idea” reigned supreme. But after years of panel-discussion-discourse, academic rehashing, and art magazine dissection, the “idea” began to seem a bit lifeless; the patient needed a shot in the arm, if not a kick in the pants. Enter Scharf, his friend and onetime roommate Keith Haring, his cohort Jean-Michel Basquiat, and a legion of young turks wanting to have their voices be heard and validated. If, as Picasso claims, he and Braque were tied at the waist as they climbed the mountain that was cubism, then Scharf, Haring, and Basquiat were the trio who led the verve of the streets and pop culture into the art of the 80s.

CarNation surveys one of the core themes in Scharf’s oeuvre: his obsession with the automobile, particularly the tailfin-ear cars of the 50s and 60s. Born in 1958, Scharf was a child of the 60s, an era when the American Dream was full of promise. The notion of a future plump with the potential for unlimited growth and endless possibilities fueled the imagination of every young boy of his generation; the tailfin was the symbol for what television and other 60s media promised: boundless wealth, fulfillment of every whim, and the thrill of everyday space travel. On almost every level his work is a response to the disillusionment Scharf and his generation encountered as they came of age. If reality didn’t measure up to his dreams, then he would create a world that did. His paintings became surreal amalgamations of fantastic fictions and pop culture; his sculptures cartoon-like characters from his make-believe universe; and his signature “Closets,” small-room-size black-light installations, through-the-looking-glass transporters into wonder-inspired funhouses-all radiant with bright colors and playful sinuous lines and shapes.

Essay by Mike McGee

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Gentlemen's Club

Project Room Gallery

Gentlemen’s Club
Jean Lowe
March 2 – April 28, 2002

Gentlemen’s Club is a frivolously flamboyant installation created by artist Jean Lowe. It was originally completed and exhibited in 1995 and is now being revisited at Santa Ana’s Grand Central Art Center Project Room.

Jean Lowe was born in Eureka, California and currently works and resides in Encinitas. She received her BA in 1983 from University of California at Berkeley and her MFA in 1988 from University of California at San Diego.

Upon first impact, Lowe’s elaborately decorated salon-like interior is reminiscent of the aristocratic tastes of the 18th and 19th century elite: Rococo-style decorative arts, large-scale historic and pastoral scenes and books indicative of the Age of Enlightenment. However, upon closer examination, the contemporary viewer encounters elements, not of the past, but of the present day. Subtle yet subversive, Lowe’s hand-painted Arcadian wallpaper is subliminally coded with encroaching housing developments, smoky industrial factories, a traveling circus and exotic vacation cabanas. With handmade faux furniture, sardonically titled papier-mache books, and site-specific painterly walls, the artist humorously creates a poignant statement about the true consequences of the “gentleness” of man progress and its effect upon nature, the environment, and the other species within the world.

Recent Exhibitions:
2002
Officina America, Villa delle Rose, Bologna, Italy
2001
Human Nature, Bodi Modern Art, Newport, Rhode Island
Jean Lowe: Selected Books, CSU San Marcos, California
Vacation, Quint Contemporary Art, La Jolla, California
Jean Lowe, Kohler Arts Center, Sheboygan, Wisconsin

ACKNOWLEDGEMENTS: Exhibition made possible by Jean Lowe, Quint Contemporary Art, San Diego, Grand Central Art Center and the California State University Fullerton’s Exhibition Design and Museum Studies Graduate Programs. CURATED BY: Michele Cairella and Carlos Herrera

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Education Gallery

Charting the Paths of Color
March 2 – April 14, 2002

Featuring artists: Richard Channin, davidmichaellee, and Michael Maas

Featuring jewelry artist: Wendy Shields

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Project Room Gallery

The Meat Annex
The Public Responds to Meat and Mark Ryden
February 2 – February 24, 2002

TBD
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