Lucio Muniain: Are You Skeptical?

Lucio Muniain: Are You Skeptical?
June 3 – August 13, 2017
OPENING RECEPTION: June 3rd from 7-10pm


Through television, the Internet, printed press and phones, we are being constantly bombarded with images. Many of the images we encounter are of the violence that seems to be rampant within societies around the globe. The pictures we often encounter are those that result from the violence of war; police brutality; the hatred and abuse against immigrants, refugees, LQBTQ communities and people of color; domestic violence; gang and narcotrafficking warfare; and other horrifying incidents that occur each day.


Mexico City based artist Lucio Muniain’s work depicts gruesome realities ripped from everyday press, redelivered by the artist in a loose style of hand drawn figures and objects, accompanied by text phrases – street language, slang, cynical observations the artists creates. He draws from these images, violent and tragic events he too witnesses in the world around him, the events that appear beyond our ability to affect. The drawings begin the reveal of our own growingly desensitized response to such imagery, the unspeakable violence and atrocities that surrounds our everyday, leaving us nearly powerless. This is the reality of life in the artist’s hometown, and cities around the world.

Art is a medium that can describe, or allow us to escape, actual violence that surrounds us. We can use it to distinguish between fact and fiction, attempting to lessen the blows of reality. But when those realities are playing out daily around us, we must work to face them head on and begin to better examine their root cause, look for possible solutions, and begin a civil discourse to promote positive change.

The drawings and paintings of Muniain allow for this reflection, a mirror held to the eyes to question our own role in society, as participant and/or observer. His works lures us like a visual siren song with desire, color and imagery, than challenge us with repulsion, humor and disgust.His work reminds us what it means to be human, with our abilities of empathy, expectation, desire, unpredictability, hope and knowledge of the fragility of life.


Lucio Muniain studied architecture and urbanism at the Universidad Iberoamericana and at Parsons School of Design in New York, and holds a Masters Degree from the Universidad Iberoamericana. Muniain has an independent architecture practice since 1998. Among his most important works and projects are the Corporativo Autofin (Corporate office building of 40,000 M2), Bahía Balandra Project in La Paz, South Baja California, Mexico (Master plan for a 20,000 inhabitant city on its first phase, with Rick Joy, Mathias Klotz, Rem Koolhaas and Nieto & Sobejano among others), Third place in the national competition for the Republic’s Senate Corporate Headquarters and the Andean Development Corporation (CAF) First Place, International Competition by invitation (in collaboration with PRODUCTORA). He is a self-taught painter and was represented by Nina Menocal Gallery in Mexico City and has had solo and collective exhibitions in national and international galleries and museums.

Davy Sumner: Tines

Davy Sumner: TINES

June 3 – August 13, 2017


Davy Sumner TINES

Based on an 1859 experiment by German Scientist Franz Melde, TINES are tuning forks that are vibrated by precisely directed magnetic fields. Pulsing a strong electromagnet at the resonant frequency of a tuning fork causes it to start oscillating (and producing sound). The deer-like sculptures act as resonators to increase the audibility of the tuning forks, amplifying their otherwise faint tones into raw materials for a digitally constructed audio composition.


Davy Sumner is a sound artist, composer, and percussionist residing in Los Angeles, CA. His work favors the use of multichannel audio, feedback-based systems, algorithms, and custom electronics.

Special thanks to Chris Wormald for design, fabrication and installation assistance.

GCAC Residency Project “Vireo” Releases May 31st on KCET

Artist Residency Project of CSUF Grand Central Art Center (GCAC)
VIREO: The Spiritual Biography of a Witch’s Accuser” 
To Be Released by KCET

VIREO is a Made-for-TV Opera, Composed and Conceived by 
 GCAC Artist-in-Residence Lisa Bielawa on a Libretto by Erik Ehn and Directed by Charles Otte

Broadcast World Premiere June 13 On KCET and LinkTV

In a First for the Network, All Twelve Episodes Will Become 
Available for Binge-Watching May 31 at and

(Images top to bottom: Soprano Debora Voigt, Rowen Sabala as the title
character, mezzo-soprano Laurie Rubin, and composer Lisa Bielawa
conducts Kronos Quartet)

BURBANK, Calif. – May 10, 2017 – “VIREO: The Spiritual Biography of a Witch’s Accuser” is an Artist Residency Project of Grand Central Art Center in Santa Ana, a unit of Cal State Fullerton’s College of the Arts shepherded by Director and Chief Curator John Spiak. The new, made-for-TV-and-online opera conceived and composed by Lisa Bielawa on a libretto by Erik Ehn and directed by Charles Otte, is unprecedented in that it is being created expressly for release online and on TV. The unique multimedia initiative includes online articles and videos showcasing various facets of the production. VIREO is the winner of the 2015 ASCAP Foundation Deems Taylor/Virgil Thomson Multimedia Award and was recently awarded a prestigious MAP Fund Grant for 2016 through Grand Central Art Center.

Bielawa says of Spiak’s involvement, “John Spiak is a visionary collaborator, and his inspired custodianship of VIREO from a crazy idea between just the two of us to a full-blown, epic innovative endeavor at the highest production level would not have been possible without him and the whole team at CSUF Grand Central Art Center. GCAC is where artists can dream and create outside the box.”

KCETLink Media Group, a leading national independent non-profit public broadcast and digital network, announced that VIREO will make its world broadcast television premiere on Tues., June 13 at 8 p.m. ET/PT on both KCET in Southern California and Link TV (DirecTV375 and Dish Network 9410) nationwide. Produced in partnership with Cal State Fullerton’s Grand Central Art Center (GCAC), the two-and-a-half-hour broadcast will be a special edition of KCETLink’s Emmy® award-winning arts and culture series ARTBOUND. In a first for the network, KCETLink will release all 12 of the approximately 15-minute episodes of VIREO at once for free, on-demand streaming starting Weds., May 31 at,, and on Apple TV and Roku.

The eponymous heroine Vireo, played by soprano Rowen Sabala, is a fourteen-year-old girl genius entangled in the historic obsession with female visionaries, as witch-hunters, early psychiatrists, and modern artists have defined them.Based on Bielawa’s own research at Yale, then freely adapted and re-imagined by librettist Ehn, VIREO is a composite history of the way in which teenage-girl visionaries’ writings and rantings have been manipulated, incorporated and interpreted by the communities of men surrounding them throughout history. From the European Dark Ages, to Salem, Massachusetts, all the way to 19th century France and contemporary performance art, VIREO provides a thoughtful, sometimes-humorous look at the universal issues of gender identity, perception, and reality.

VIREO features the work of over 350 musicians including opera star Deborah Voigt, violinist Jennifer Koh, cellist Joshua Roman, mezzo-sopranos Laurie Rubin, Maria Lazarova and Kirsten Sollek, baritone Gregory Purnhagen, tenor Ryan Glover, drummer Matthias Bossi, soprano Emma MacKenzie and in the title role of Vireo, teenage soprano Rowen Sabala.

Additionally, the opera features the talents of notable groups and organizations from around the country including Kronos Quartet, the San Francisco Girls Chorus, Magik*Magik Orchestra, American Contemporary Music Ensemble, Alarm Will Sound, PARTCH, the Orange County School of the Arts Middle School Choir, and many, many more.

For a complete list of VIREO performers, see: 

VIREO was shot from New York’s Hudson River Valley to California’s redwood forests. Production began in February of 2015 in the Los Angeles area at Santa Ana’s Yost Theatre and proceeded to shoot through January of 2017 in iconic locations around the country, including the 16th Street Oakland Train Station and San Francisco’s Alcatraz Island.

A comprehensive VIREO online content hub is available at, providing viewers of VIREO an immersive second screen experience. Featuring interviews with cast and crew, behind-the-scenes content and exclusive insights into the themes of the production, the online hub and social media video content is also available on the @KCET28 and @LinkTV Facebook page.

Upcoming screening events will be held across the country over the summer months and are open to the public. The current list of screenings includes the following (*subject to change):

Weds., June 21 from 6-10 p.m. Day of Music at the Plummer Auditorium / 201 E Chapman Ave, Fullerton, CA 92832 (free to the public)

Sun., June 25 at 2 p.m. and 6 p.m. Arts nonprofit Fort Mason Center for Arts and Culture (FMCAC) Cowell Theater / 2 Marina Blvd., San Francisco, CA 94123 (ticketed event)

Fri., July 7 at 7 p.m. National Sawdust Screening of all 12 episodes / 80 N. 6th St., Brooklyn, NY 11249 (ticketed event)

To learn more, please visit or or on social media use #OperaVireo


Grand Central Art Center (GCAC), a unit of California State University at Fullerton College of the Arts, is dedicated to the investigation and promotion of contemporary art and visual culture: regionally, nationally, and internationally through unique collaborations among artists, students, and the community. GCAC is the result of a unique partnership between the California State University at Fullerton and the City of Santa Ana. Located ten miles south of the main campus in the heart of downtown Santa Ana, the art center is a mixed residential, commercial and educational complex. The art center is a 45,000 square-foot, full city-block long and half-city block deep, three-level structure that houses: live/studio spaces for visual arts graduate students, the Grand Central Main Gallery, Project Room, Education/Teaching Gallery, and artist-in-residence program. To learn more about the GCAc artist-in-residence program, please 


KCETLink Media Group, formed by the merger between KCET and Link Media, is a national independent, nonprofit, digital and broadcast network that provides high-quality, culturally diverse programming designed to engage the public in innovative, entertaining and transformative ways. With a commitment to independent perspectives, smart global entertainment, local communities, and opportunities for engagement and social action, KCETLink depicts people and the world through a lens unavailable elsewhere in U.S. media. A viewer-supported 501(c)(3) organization, KCETLink content is distributed nationally via satellite on Link TV – DIRECTV channel 375 and DISH Network channel 9410 – and on KCET in Southern and Central California via broadcast and cable, as well as through various digital delivery systems. For additional information about KCET and Link TV productions, web-exclusive content, programming schedules and community events, please visit or Select programming from KCET and Link TV is also available for streaming on Hulu, Apple TV, and Roku platforms.

Julie Orser: Captain Rooftop

A male pirate stands against a railing on a rooftop with the city of Los Angeles in the background

Julie Orser: Captain Rooftop
April 1 – June 11, 2017


The camerawork and sound design for Julie Orser’s single channel video work Captain Rooftop (2017) takes a feminist approach against traditional seamless cinema. Orser’s “Captain” figure is an obsolete masculine character that makes a strong attempt to posture, to literally hold his ground, even when that ground appears to be unstable. As time progresses it becomes clear his actions are futile, they are just the facades of a showman, an actor, playing the role for which he has been cast.


Julie Orser (b. Chicago) received an MFA in Studio Art from California Institute of the Arts and a BFA in Photography at Pacific Northwest College of Art. The artists videos, photography, and multi-channel installations have exhibited at the Museum of Modern Art (New York), Luckman Gallery (Los Angeles), Changing Role Gallery (Rome), Shoshana Wayne Gallery (Santa Monica), Christopher Grimes Gallery (Santa Monica), Steve Turner Contemporary (Los Angeles), Künstlerhaus Bethanien (Berlin), Utah Museum of Contemporary Art (Salt Lake City), Il Magazzino d’Arte Moderna (Rome), Royal College of Art (London), Kunstraum Innsbruck (Austria), The Gallery Loop (Seoul), Bemis Center for Contemporary Arts (Omaha), Yerba Buena Center for the Arts (San Francisco), Santa Barbara Contemporary Arts Forum, The Armory Center for the Arts (Pasadena), Indianapolis Museum of Contemporary Art, Cheekwood Museum of Art (Nashville), Ann Arbor Film Festival, Saison Vidéo,PDX Film Festival, and Dallas Video Festival. Orser was awarded the 2010 California Community Foundation Visual Artist Fellowship for Emerging Artists, the 2014 and 2009 Investing in Artists grants from the Center for Cultural Innovation, and the 2014 ARC grant. Julie is the co-founder of ART OFFICE for Film & Video and Assistant Professor in the Creative Photography Program at California State University, Fullerton. The artist lives and works in Los Angeles.

SanTana’s Fairy Tales: Sarah Rafael García

SanTana’s Fairy Tales

Sarah Rafael García
March 4 – May 14, 2017

Developed through a one-year onsite artist-in-residence at Grand Central Art Center, SanTana’s Fairy Tales is a visual art installation, oral history, storytelling project initiated by artist/author Sarah Rafael García. The project integrates community-based narratives to create contemporary fairytales and fables that represent the history and stories of Mexican/Mexican-American residents of Santa Ana (inspired by the Grimms’ Fairy Tales), which include:

The Carousel’s Lullaby
SanTana’s urban history intertwined with a traditional Mexican-folk lullaby and a haunting ghost carousel.

Zoraida & Marisol
The godmother of life or death, Zoraida grants transgente a vital wish at their last breath.

Just A House
Josie, a young girl caught between two worlds, the haunting past and displaced futures.

Hector & Graciela (an homage to the Brothers Grimm’s Hansel & Gretel)
Hunger, uncertainty, border crossings—a precarious family-life in our little city.

When The Mural Speaks…
One man’s perspective, a fable from the faces on the wall.

The Wishing Well
A central landmark becomes a magical promenade of forgotten wishes and parallel worlds.

The multi-media installation, created by the artist in collaboration with local visual, musical and performance artists, presents bilingual single-story zines, a fully illustrated published book, an ebook, and a large format classical book with graphic art by Sol Art Radio‘s Carla Zarate. Viento Callejero’s Gloria Estrada, in collaboration with local singer/songwriter Ruby Castellanos and members of the Pacific Symphony, composed an “open book” sound performance for the project. The entire collection was translated by poet Julieta Corpus and published in collaboration with Raspa Magazine.  Digital archives for the project were researched and obtained by Mariana Bruno, CSUF Graduate Student in the Department of History.  The ebook is being produced by Digitus Indie Publishers.


Sarah Rafael García is a writer, community educator and traveler. Since publishing Las Niñas in 2008, she founded Barrio Writers and LibroMobile. Her writing has appeared in LATINO MagazineContrapuntos IIIOutrage: A Protest Anthology For Injustice in a Post 9/11 WorldLa Tolteca ZineThe Acentos Review, among others. In 2010 Senator Lou Correa honored the artist with the “Women Making a Difference” award and in 2011 she was awarded for “Outstanding Contributions to Education” by the Orange County Department of Education in California. Sarah Rafael is also a Macondo Fellow and an editor for the Barrio Writers and pariahs anthologies. She obtained a M.F.A. in Creative Writing with a cognate in Media Studies in May 2015.


SanTana’s Fairy Tales was supported in part by The Andy Warhol Foundation for the Visual Arts, through a grant supporting the Artist-in-Residence initiative at Grand Central Art Center. Thank you to the City of Santa Ana for their generous loan of original elements from the Fiesta Marketplace sign and carousel.


Electroacoustic Drawing: Davy Sumner

Electroacoustic Drawing
Davy Sumner
March 4 – April 16, 2017
Performance of the work March 4 from 7-10pm

Electroacoustic Drawing is an audiovisual performance for three hand-wired drawing mechanisms. DC motors spin markers across a 14-foot canvas, resulting in thick strokes, irregular geometric shapes, and splatters. The internal gearings of the motors and the canvas itself are amplified and mixed in real-time. By manipulating the speed and polarity of the motors, both the drawing and audio composition are imprinted with the semblance of each other.


Davy Sumner is a sound artist, composer, and percussionist residing in Los Angeles, CA. His work favors the use of multichannel audio, feedback-based systems, algorithms, and custom electronics.


Lainey’s Latest: Art Los Angeles Contemporary

It was an above average Thursday at Grand Central, the heat had been turned back on ending the dark ages of puffer jackets, scarves, and beanies in the office and, on top of that, it was beautiful day in Santa Ana.  Doing my usual work: checking emails, making promotional buttons, and preparing for the day’s staff meeting, Director John Spiak came rushing down the hallway to inform me and my coworkers of Art Los Angeles Contemporary, an event starting that afternoon and lasting through the weekend.  After telling us everything we should know about the event, he concluded with a VIP pass that could be used that evening, and someone should take it, immediately. After little deliberation, and a lot of selfishness on my end, I took it and ran.

Half of Lainey Larosa's face infront of the Arts Los Angeles Contemporary banner

My obligatory selfie outside of Arts Los Angeles Contemporary.

Upon entering Art Los Angeles Contemporary, you were drawn to a flashing white light on your left hand side. I mean, I knew this was the VIP event, but paparazzi already?  Not quite.  Honor Fraser put their best foot forward with a solo exhibition of Victoria Fu’s colorful, virtual pieces, and placed her white, neon piece ??!!?! right at the door.  At first, I was very confused, if not underwhelmed by it, but upon leaving, I realized it was a literal premonition of what was to come and I should have not taken it lightly.  With over 60 galleries participating from all over the globe, many artists’ themes hit close to home, while others took a lighter more aesthetic approach.  Some galleries chose to stay relevant by representing the big league contemporary artists of each generation.  Alden Projects showcased Jenny Holzer’s “Inflammatory Essays” from 1979-1982, whereas Cherry and Martin displayed a video piece by Brian Bress.  Millenials were well covered as well, with Ever Gold [Projects] displaying large photographs by Petra Collins, a 24 year old photographer filling her shots with teen angst and the female gaze reminiscent of Olivia Bee’s work a decade prior.  Then there is Kanye Griffin Corcoran aiming for the wide cult following of David Lynch with a solo exhibition of his drawings and paintings that mirror his dark and peculiar films.  Aside from an appeal to every age market and their niches, the major themes of the show this year mirrored the worries that have come up in our current state as a nation: gender and sexuality, race, and socioeconomic status.

White neon sign displaying ??!!?! by artist Victoria Fu

“??!!?!” by Victoria Fu represented by Honor Fraser.

Colorful photographs by Petra Collins from her "24 Hour Psycho" Exhibition with Ever Gold [Projects]

Part of Petra Collins’ “24 Hour Psycho” exhibition shown by Ever Gold [Projects].

                  Many galleries touched on the topic of gender, specifically the female state, and sexuality.  Steve Turner and Alter Space both chose the route of displaying hypersexualized portraits of women in a saturated pop art fashion.  Ann Hirsch’s work, for Steve Turner, shows figures encompassing both male and female traits, male genitalia and enlarged breasts, hunched over as to hide their figure with an enticing grin all drawn in multicolored markers on velvet.  On the other hand, Koak’s work, displayed in Alter Space, features characters in a universe where 1950’s smut met the cartoons of the same time.  In one piece, a female character inspecting her appearance in the mirror appears as a nude, more buxom and warped Olive Oyl straight out of the Popeye comic strip. Another reminds you of Betty Page’s bondage photographs but illustrated into a piece that mimics early Disney drawings. Nodding to the reemergence of the feminist movement and women’s rights, Jenny’s exhibited ceramic word bubbles, as well as one sculpture, from Liz Craft.  One work in particular, stated “Your Pussy or Your Life!” as if ripped from the posters of last weekend’s marches.  But you cannot write a piece on sexuality at 2017’s Art Los Angeles Contemporary without giving a nod to David Kordansky Gallery for exhibiting the homoerotic sketches, circa 1970s, of Tom of Finland and buzz around their space.

Ann Hirsch's colorful nude portrait drawings shown in Steve Turner Gallery's Booth.

Ann Hirsch’s portraits. Photograph courtesy of Steve Turner Gallery.

Black tiled sculpture bubble stating "Your Pussy or Your Life" by Liz Craft

“Your Pussy or Your Life!” by Liz Craft in Jenny’s booth.

Surprisingly, for a year about the advancement of race relations and unity, not many galleries touched on the topic, granted it does have a fine line.  The most successful representation was through Clint Roenisch, out of Toronto, Canada, showcasing the works of Marvin Luvualu Antonio.  As you turn the corner to reach their booth, you are stopped by, yet another, neon sign stating “Race in Progress” immediately denoting a cultural uprising is about to happen. As you enter the space, the first work you see is a mirror reflecting your image with the words “How Many Years a Slave”, Antonio’s Pink Matter.  As a white female, this threw my white privilege right into my face as I thought of all the conveniences I have and how many people have suffered or died for my $5 t-shirt and Apple iPhone.  Marvin Luvualu Antonio’s work stopped me dead in my tracks in the best possible way bringing me back to Grand Central Art Center’s roots as a socially conscious gallery.  On the other hand, Club Pro merged pop culture and black culture and I was not sure if it was meant to be satire of America’s perception of black culture.  Club Pro’s booth was converted into Water Cooler Talk, a modified cubicle or office space, by Devin Troy Strother, which was, according to the artist, “on the border of being extremely commercial and experimental”.  The bulletin board behind the desk displayed photographs and cut outs of Michael Jackson, LL Cool J, and Star Wars advertisements, the colors in the space hyper pigmented, water coolers filled with juice resembling imagery from the film “Idiocracy”, and the labels around the office involving the controversial “N-word”.

Pink neon sign by Martin Luvalu Antonio saying "Race In Progress"

Marvin Luvualu Antonio’s “Race In Progress” neon sign as part of his “Pink Matter” exhibition with Clint Roenisch Gallery.

On the socioeconomic end of Art Los Angeles Contemporary, Gallery Luisotti commented on the discarded remains of consumer culture.  Gallery Luisotti exhibited different photographers with a common theme of desolation or emptiness, where Christina Fernandez and John Divola focused on the items left behind.  Fernandez’s diptych, Coldwell and Couch, shows a luscious, green hillside with a secluded community of homes, assumingly for sale, and a couch in the distance. Then, in the second photograph, the same couch looks worse for wear surrounded by dried brush.  The degradation in the span of time is reminiscent of the state humanity and nature, once bountiful then dried up and abandoned when the resources are exhausted.  Divola’s Isolated Houses depicts homes alone in barren desert scenery.  The homes are art themselves, brightly painted against the neutral dirt and photographed forefront to baby blue skies or fuchsia sunsets. The quiet scenes cause the assumption of abandonment, stuck in time.

Small beige home in a desertscape forefront to saphire blue skies.

“N34°09.974’ W115°48.890’” by John Divola as part of his Isolated Houses series. Courtesy of Gallery Luisotti.

When my brain was spinning from all the thoughts invoked by these pieces, I decided to sit down and do a second, purely aesthetic, round.  But who was I kidding?  As soon as I stepped into, what I thought would be a mixed media pop art exhibition with an ode to the classic Nintendo character Mario, One and J. Gallery’s elongated booth spanned to the collective strife of Seoul based artists.  Kyunghwan Kwon’s untitled white drawings on black paper depicted billowing clouds of smoke and silent night scenes, while Jung Lee played with light trails in breath taking locations and titled the work “This Is The End”, and Yunho Kim photographed dilapidated homes emphasizing their more attractive or interesting features, like the vegetation in “Bassia Plants”.  Farther into the Barker Hanger, Gallery Exit, from Hong Kong, represented Chris HUEN Sin Kan’s oil painted genre art, with brushwork and pale neutral tones mimicking the look of watercolor.  Gallery Exit’s booth was the aesthetic breath of fresh air I was searching for decompressing from the overly saturated, in your face, pieces shown throughout the fair. Plus their agent, Anthony Tao, was equally as calming with a kind attitude, genuinely wanting to speak on the art at the fair, not just seeing the money in everyone walking by, and his excitement for his first venture in Los Angeles.

White drawing of a smoke cloud on a black background by Kwon Kyunghwan called "Untitled 26"

Kwon Kyunghwan’s “Untitled 26”. Courtesy of One and J. Gallery.

Chris HUEN Sin Kan’s neutral oil painting "Bathing 2" of a dog

Chris HUEN Sin Kan’s “Bathing 2”. Courtesy of Gallery EXIT.

As my first large event while working with an institution, Art Los Angeles Contemporary surely did not disappoint with the art shown and the extravagant atmosphere.  Though my written experiences barely skim the surface of the four day event, it was not an exhibition to miss, and, hopefully in the following years of revolution in the arts community, I will have the opportunity to return.