On a raining winter evening, artist Federico Medina decided to take a journey through the streets of Santa Ana’s Artist Village. It was a quest, a search for better understanding as he contemplated the questions for which he was struggling. When does it come to the point of giving up the search? Why is it difficult to allow yourself to shine in your frustration? How much do you permit yourself to wander in despair in the pursuit of personal gold?
artist, Medina regularly visits museums outside of his community. As he explores
the galleries of these institutions, he often wonders if he is shining to his
fullest potential. The visits bring forward constant reminders, through the
scale of exhibitions and recognition other artists are achieving, of his
insecurities. These are questions that arise in most of us, but for individuals
working towards achieving a viable career as a visual artist, those questions
frequently feel magnified.
struggles of artists are real, especially in regions that do not have a fully
developed eco-system to support sustainable practice. Even in areas that do
have supportive eco-systems in place that provide potential economic security –
commercial galleries, museums, alternative spaces, universities, media outlets
– opportunities for risk, engaging conversations, and exposure may appear
Starving, through its performance action,
generates emotions of fear, untrustworthiness, and avoidance. With a lack of
comfort, it allows openness to vulnerability and discovery. It is a search for
answers, an awakening of spirit, a quest for personal gold!
ABOUT THE ARTIST
Federico Medina (b. Santa Ana, 1975) is a photographer who has exhibited at venues throughout Orange and Los Angeles counties, including Bowers Museum, Orange County Center for Contemporary Art, and UCLA. Inspired by day-to-day life, he exposes the raw aspects of humanity and encapsulates honest emotion within each image. He aspires to stimulate psyche, provoking natural feelings, and perhaps flashbacks to lost memories. He is working currently as Art Director at OC Weekly.
Join curator Kelly Lindner and featured artists Janan Abedelmuti, Yara Almouradi, Dylan Flah, Jose Flores Nava, Desmond Jervis, Hadley Mattwig, and Pamela Rush as they discuss current CSU Fullerton MFA and BFA exhibition, “NOW MORE THAN EVER.”
ABOUT THE CURATOR:
Kelly Lindner is Director and Curator of the Jack Headley University Art Gallery at California State University, Chico.
In Kerry Tribe’s single-channel video work Double, five women who nominally resemble one another reflect on subjects ranging from their impressions of Los Angeles to the project they are currently working on – apparently the very project in which they appear. Each of these young women is, in fact, an actor who responded to a casting call for the part of a “video artist” with a physical description of Tribe. In front of the camera, they improvise monologues based on whatever impressions they were able to glean from a brief, off-camera interview with the artist. The work addresses an issue with which most human beings have grappled at some point: how the world perceives and interprets them, their lives, and their work.
ABOUT THE ARTIST
Kerry Tribe was born in 1973 in Boston, MA and lives and works in Los Angeles. Tribe’s work has been the subject of solo exhibitions at the San Francisco Museum of Modern Art; 356 Mission, Los Angeles; Institute of Modern Art, Brisbane; The Power Plant, Toronto; Modern Art, Oxford; and Camden Arts Centre, London. It has been included in significant group exhibitions at the Museum of Modern Art (MoMA), New York; Hammer Museum, Los Angeles; Whitney Museum of American Art, New York; Hirschhorn Museum and Sculpture Garden, Washington, DC. The artist has been the recipient of a Presidential Residency on the Future of the Arts at Stanford University, a Herb Alpert Award, a Creative Capital Grant, and a USA Artists Award. Tribe’s work is in the public collections of MoMA, the Whitney, the Hammer, and the Generali Foundation among other institutions.
ABOUT THE ARTIST: Teresita de la Torre is an artist and educator, born in Guadalajara Jalisco, raised in Laredo, Texas and currently resides in Long Beach, CA. De la Torre earned a Master of Fine Art from California State University, Fullerton and a Bachelor of Art from Texas A&M International University. The artist has exhibited in and around Southern California, Texas, Georgia, Tijuana, Taiwan, and Berlin. She has been invited to speak at a TED X Conference in Laredo Texas, at Washington State University, Eastern Washington University, and Georgia State University Athens.
Habeas Corpus Investigation #2: Constellation Court – a Summons
Standing between a State’s
power to imprison you and your right to liberty is the Writ of Habeas
Corpus–meaning have the body, in court. This basic legal premise can
recalibrate the dance between an individual and the massive physical and social
power we have given to the government. The machinery of justice is meant to be
adversarial and the outcome unbiased, yet the machinery is overburdened and
peopled by humans harboring their unconscious biases. Once caught in the gears
of the court, with its imperative to proclaim guilty or not guilty, a fair and
holistic justice remains elusive.
Please be present for a
participatory reflection at Grand Central Art Center on the constellation of
courtroom proceedings. Within this space of image and performance, we can
visualize and embody how current court architectures structure the gaze and
voice, leaving the most affected parties to a crime generally voiceless. Here
also, we have the freedom to reshape these architectures and to play freely
with new possibilities. How might we create a space for justice to reflect
Here are a few reflection
points to bring to the conversation:
How can fairness
be structured in a way that is not so rigid that it becomes unfair again?
How can “innocent
until proven guilty” be implemented for the defendant so that being brought
into the system will not punish or cause irreparable harm to a defendant who
has not yet been judged?
How can we address
overt and implicit bias within the courtroom?
How can the victim
be supported in a way that allows that person to recover a sense of safety?
What would that safety or support look like?
What pathways are
there for a person found guilty to take accountability and redress the harm he
or she has caused, if they sincerely choose to do so?
mitigate the harm of the crime on the wider community or on future generations?
With Matthew Campbell,
Shaheed Chapple, Ray Chao, Michael Mulkey, and Paris Perrault
In December of 2017, artist Teresita de la Torre overheard a conversation between her mother and niece. Her niece was interviewing the artist’s mother in regards to her migration story and how she ended up living in the United States.
It is a story the artist knows well. She describes her mother as a storyteller, one who always shares stories of when she was a young girl, about her struggles raising seven kids, and bringing them to live in the United States for a better life and future. There was one detail that stood out during this telling. The artist’s mother, during the interview, mentioned that when she crossed the border in Tijuana using a “coyote,” she did so in red heels. The artist was in disbelief and inquired if her mother had known what she was getting herself into in terms of the crossing. Her mother responded “pues si,” but the heels were not that high and that she wanted to look “guapa” for the artist’s dad who had crossed prior and was waiting for her “en el otro lado.”
Teresita was fascinated with her mother’s story and journey, not being able to fully comprehend what her mother went through crossing the border, in the middle of the night, running through treacherous territory, in heels. It is a risky and potentially deadly situation, and in all that, her mother still factored in the male gaze and how she wanted to present herself as attractive for the artist’s father – even though the shoes got ruin running across dry soil, navigating brush, and traversing water.
Upon hearing the story, the artist asked her mother to describe the shoes, and to her surprise, her mother remembered them, almost 40 years later, in vivid detail. As the artist and her mother share the same shoe size, the artist often borrows her mother’s shoes, she pictured the shoes in her mind and on her own feet. The artist sketched a drawing of the shoes a red colored pencil, as she sat with her mother who described in detail – wedges, not heels, not super high, how they wrapped and straddled the heel, the latch, and how the eight straps interlaced the front of the shoe.
Using that sketch, the artist decided to create a replica of the shoes using cardboard, paper mache, and chicken wire, which she would wear to cross the border in a performance action to “recreate” her mother’s story and honor her sacrifice. To quote the artist, “I have citizenship status and decided to cross the border through legal points of entry, which is something that I’m very familiar with, as I grew up on the border and crossed back and forth thousands of times.” Through the initial border crossing in Tijuana, her replica red paper mache shoes got ruined. Exploring new possibilities, the artist decided to get in contact with a shoemaker and get a new pair professionally made. In collaboration with El Salvadoran immigrant, Fito Vasquez from Fito’s Shoe Repair in Pico Union, a professional replica of the red wedges was created, which were used to again cross the border in Tijuana.
Deciding to further explore the breadth of the border and her family history, the artist expanded her crossing locations beyond Tijuana, performing to cross at every point of entry that is significant to her mother and family migration story. She crossed in El Paso, where in 1991 her family had an immigration appointment in Ciudad Juarez to become residents after a twelve year of wait in Mexico. It was that location where, as a family, they crossed the border for the first time with their green cards. Her third and final performative action for the project took place in Laredo, Texas, where the family made a crossing in 1994 to settle in that community and pursue the “American Dream,” so the artist, her brothers, and sister could go to university and have a better economic future.
Inspired by that initial interview and conversation between her mother and niece, artist Teresita de la Torre premieres her exhibition antes muerta que sencilla, a series of performances, photographs, and drawings that document histories, struggles, risk, connection, love, dreams, and family.
ABOUT THE ARTIST
Teresita de la Torre is an artist and educator, born in Guadalajara Jalisco, raised in Laredo, Texas and currently resides in Long Beach, CA. De la Torre earned a Master of Fine Art from California State University, Fullerton and a Bachelor of Art from Texas A&M International University. The artist has exhibited in and around Southern California, Texas, Georgia, Tijuana, Taiwan, and Berlin. She has been invited to speak at a TED X Conference in Laredo Texas, at Washington State University, Eastern Washington University, and Georgia State University Athens.
For the fifth and final phase of his ongoing exploration, Murgida will be teaching participants how to free their wrists when bound with standard zip-ties. Instead of attempting to cut or break the zip-ties, participants will learn a different technique that focus’ on “shimming” the sliding mechanism that secures the restraints in a tightened position. Last October, independent curator currently based out of Santa Ana, Maurizzio Hector Pineda, invited Murgida to participate in the show he curated in Tijuana, MX for a city-wide festival called “Happenings”. During the 5 hour event, with the help of an interpreter, Murgida taught participants this same zip-tie escape technique. As always, the event for the May Artwalk is free and open to participants of all ages and abilities.