SanTana’s Fairy Tales: Sarah Rafael García

SANTANA FAIRYTALES INSTAGRAM 1

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, a large format classical book, graphic art by Sol Art Radio‘s Carla Zarate. An “open book” sound performance of the project is composed by Viento Callejero’s Gloria Estrada, in collaboration with local singer/songwriter Ruby Castellanos and members of the Pacific Symphony. The entire collection was translated by poet Julieta Corpus and published in collaboration with Raspa Magazine.  The ebook is being produced by Digitus India Publishers.

ABOUT THE ARTIST

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.

SUPPORT

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.

ABOUT THE ARTIST

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.

That’s a Wrap! – Recap of Vireo’s Final Filming, Episodes 10-12

Vireo is a CSUF Grand Central Art Center artist-in-residence project with Lisa Bielawa, in partnership with KCET Artbound.

This month, Vireo wrapped production of its 12-episodes serial  broadcast opera with a marathon of shoots across the Bay Area. From stunning scenery in the California Redwoods to the inside of a 1962 Plymouth Valiant, here’s a recap of everything it took to complete the final three episodes of Vireo!

All photos by David Soderlund.


(Kronos Quartet, soprano Rowen Sabala (Vireo), composer Lisa Bielawa, and director Charles Otte at
Fort Mason Center of Art and Culture)


(Kronos Quartet and soprano Rowen Sabala (Vireo))

Our first stop was Fort Mason Center for Arts & Culture in San Francisco on Monday, January 16, where we were delighted to welcome back the Kronos Quartet to perform with soprano Rowen Sabala (Vireo). The scene will be in the final chapter, Episode 12, “My Name Is Vireo.”

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(Singers from the San Francisco Girls Chorus School (The Snowflakes) and pianist Kate Campbell at the
Kanbar Performing Arts Center)

That same day, our team set up in the Kanbar Performing Arts Center so our Snowflakes, played by young singers from the San Francisco Girls Chorus School and accompanied by Kate Campbell on the toy piano, could set the scene for our snowstorm in Episode 10, “Ice on the Sargasso.” A solitary violin (Jennifer Koh) also plays in the storm, punctuating the scenes.


(Soprano Rowen Sabala (Vireo) in the California Redwoods at Samuel P. Taylor State Park)

On Thursday, January 19, we shot a scene for Episode 12 in the California Redwoods, this time featuring just soprano Rowen Sabala (Vireo). Being able to film in this beautiful scenery was a great reminder of why creating Vireo in this format is so exciting.


(Contralto Emily Marvosh of Lorelei Ensemble (Witch/Lab Assistant) and soprano Rowen Sabala (Vireo))


(Lorelei Ensemble (Witches/Lab Assistants), baritone Gregory Purnhagen (The Doctor), and tenor Ryan Glover (Raphael))

Our next location was the expansive 16th Street Station in Oakland, which was the stage for our largest shoot yet, both in terms of scale and number of musicians. Lorelei Ensemble were the deliciously evil Witches/Lab Assistants, who paraded Vireo on a gurney as baritone Gregory Purnhagen (The Doctor) touted his “discoveries.”


(Episode 11, “Circus,” at the historic 16th Street Station in Oakland)


(Soprano Rowen Sabala (Vireo) and singers from the San Francisco Girls Chorus School (The Afflicted Girls))


(Soprano Deborah Voigt (The Queen of Sweden) and singers from the San Francisco Girls Chorus School (The Snowflakes))


(Director Charlie Otte and team calling the shots)


(Musicians from the Amateur Music Network as the Audience/Orchestra in Episode 11)


(Director Charles Otte, composer Lisa Bielawa, and librettist Erik Ehn)

The story moves to a climax in Episode 11, “Circus”: an orchestra fuels a circus, replete with ringmaster, unruly animals, and chorus of more than 100 singers. In addition to Vireo’s entire cast, these scenes feature Magik*Magik Orchestra; Lance Suzuki, piccolo; Matthias Bossi, drums; Chung Wai Soong, bass; Randy Matamoros, Hurdy-Gurdy; singers from the San Francisco Girls Chorus and Chorus School; an audience/orchestra of musicians from the Amateur Music Network; and opera star Deborah Voigt, who was a spell-binding presence in her role of The Queen of Sweden.

This shoot took place, coincidentally, on Inauguration Day, and many who were there – girls, parents, crew and cast alike – remarked that it felt like the best possible way to spend the day, creating new, vibrant work about powerful, visionary young women, in the company of over 100 of them, aged 8 to 18.

This was also a great reminder the epic scale of this project, and the amazing, colorful community of performers, musicians, crew, and audience-members involved in making it possible. The coordination between our director Charles Otte, director of photography Greg Cotten, producer Anne Marie Gillen, and composer Lisa Bielawa, who was conducting, to pull it off was incredible!


(Tenor Ryan Glover (Raphael) in pursuit of the getaway car, a 1962 Plymouth Valiant)


(On the set with a 1962 Plymouth Valiant)

Finally, on Saturday, January 21, the team headed to a studio in San Francisco to shoot our escape scene for Episode 10. Vireo and Caroline (soprano Emma MacKenzie) escape in their super-heated 1962 Plymouth Valiant through the snowy wastes, but The Doctor, Mother (mezzo-soprano Maria Lazarova), and Raphael (tenor Ryan Glover) are in pursuit.

And with that, production for all twelve episodes of Vireo was a wrap! We cannot wait to show you the series in its entirety. In May, KCET in Southern California and Link TV nationwide (DirecTV channel 375 and Dish Network channel 9410) will release all 12 episodes at once for free, via on-demand streaming, which is a first for both.

All the best,

The Vireo Team

Permanent Change of Station, Leave No Traces: Gosia Herc-Balaszek

Image of sculptural object shaped like marine combat training houses with carpet hung on walls

Permanent Change of Station, Leave No Traces
Gosia Herc-Balaszek
February 4 through April 16, 2017
Opening Reception: Saturday, February 4 from 7-10pm

In the artist’s own words:

Camp Pendleton: ten thousand people and no ghosts. The nomads leave no trace. Their dwellings are in the spaces that are neither public nor private. They hover above and between the surfaces that protect them from weather and history. They train and rest in buildings that are very much alike. Spaces that simulate homes but are nothing more than Shells — forms without identity. The community is continually changing; the houses are in constant flux. The cyclical aspect of military life does not allow rootedness. Neither people nor memories are allowed to stay. It is hard to tell if the spaces are thoroughly cleaned between tenants or maybe the tenants inhabit the spaces between cleanings. This perpetual erasure is quiet; there is no nostalgia, no spectacle about it. The houses are gutted from the inside; walls are repainted, floors replaced. All that is visible are piles of rolled carpets spilling out through a garage door as if the house is purging any residue of the people that once occupied it. The carpets are cheap and replaceable.

I collect the carpets.

ABOUT THE ARTIST

A native of Poland, Gosia Herc-Balaszek currently lives and practices in Southern California.  Her sculptural work engages concepts of domesticity, simulation, and perpetual erasure, focusing on the architecture aboard military installations, particularly Marine Corps Base Camp Pendleton.  Her practice slips between collecting, archiving, voyeurism, and vandalism.  Gosia is a recent graduate of the University of California at Irvine MFA program and alumna of the Visual Arts program at the University of California at San Diego.

Lainey’s Latest: Sweet Life

This past Friday, January 13, our preparator Christopher Wormald performed at the Sweet Life exhibition in Chinatown, Los Angeles.  The art exhibition and benefit show for Syrian refugees was organized by Jacquie Li.  Li asked participating artists to submit works that spoke to the surrealism of the current state of the world.  The atmosphere made the event itself viscerally surreal by contrasting our “sweet life” of luxury and regale inside the coved walls of a Los Angeles photography studio while raising money for Syrian refugees fleeing from a state of combat and despair.

Sweet Life event flyer.

Sweet Life event flyer.

People gathered inside Sweet Life exhibition

Crowd inside of Sweet Life

Sweet Life showcased the artists: Francine Banda, Matthew Hotaling, Lana Licata, Esteban Schimpf, Eric Sick, Mckenzie Stribich, and Isabel Theselius. Lana Licata’s “No Glove No Love” struck you, hanging in the middle of the room as you entered the space.  Licata’s whimsical sexual overtone plays with the viewer, while the sculpture reminds you of the excessiveness hiding in your closet.  Licata materializes the invisible glove monster hiding in your dryer that happens to only steal one and leaves the other behind, causing a constant, vicious consumerism buying a new pair to replace only one.  As you look past the glove, you see handwritten and illustrated “Recipes”, by Matthew Hotaling, explaining how to acquire your shadow, courage, and a brain.  Many of the guests gathered around “Recipes” to discuss Hotaling’s syllogistic structures representing basic concepts we are, assumingly, born with, but, according to Hotaling, eccentrically conceived.

Illustrated "Recipes" by Matthew Hotaling.

“Recipes” by Matthew Hotaling.

"No Glove No Love" fabric sculpture made of gloves by Lana Licata with "I Thought California Would Be Different..." print by Esteban Schimpf in the background.

“No Glove No Love” by Lana Licata with “I Thought California Would Be Different…” by Esteban Schimpf in the background.

":(" by Eric Sick consisting of drywall, metal chain, wooden hooks, paint, cinderblock

“:(” by Eric Sick

"Black Friday" sculpture with detail by Isabel Theselius.

“Black Friday” with detail by Isabel Theselius.

Along with the art exhibition, Sweet Life offered vintage fare from Libanati and From The Moon, as well as hand made jewelry from N.E.J.I..

Customer trying on bacl fur coat in Libanati pop-up shop

Stephanie Libanati, owner of Libanati, modeling a coat in her pop-up shop.

Throughout the event, Raffi Zaki, also known as Jack Pharaoh, kept up the energy with a DJ set focusing in controllerism, using various musical software to create a live set.  Live performances started at 9:30 pm with Tolliver, a relocated musician from Minneapolis, Minnesota whose falsetto sound channels Marvin Gaye brought into the new age over electronic beats.  During Tolliver’s set you could not help dancing with him and, upon instigation from Tolliver himself, singing backing vocals to his music.  Tolliver and Intimatchine both commented on the peculiar concepts of gender, sex, and identity through their performances.  Intimatchine, a duo consisting of Chelsey Holland and Christopher Wormald, accentuated Holland’s haunting, powerful vocals combined with Wormald’s deep riffs and ominous, synthesized sounds, putting the crowd into a trance-like groove far beyond their psych pop label. Intimatchine also removed the audience from “sweet life” and dropped them into an intimate space, Holland constantly engaging and approaching the crowd, creating an uncomfortable vulnerability between the performers and voyeurs, also contrasting the painful anonymity of over 10,000 Syrian refugees in the United States.

DJ Rafi Zaki performing during Sweet Life event

Rafi Zaki performing during the event.

Tolliver opening the night of live performances at Sweet Life singing with a live projection of himself in the background..

Tolliver opening the night of live performances at Sweet Life.

Intimatchine's, Chelsea Holland singing and Christopher Wormald on the synthesizer, psychedelic live projected visuals accompanying their unique sound.

Intimatchine’s, Chelsey Holland and Christopher Wormald, psychedelic visuals accompanying their unique sound.

Though Sweet Life was shown as a single night exhibition, I expect to see much more from the space, Jacquie Li, and all the artists involved.

 

Written by Lainey LaRosa on January 19, 2017.  Pictures courtesy of the artists, Sweet Life, and Jacquie Li.

 

Lainey’s Latest: First Issue and Dayjob Espresso and Culture

Hello and welcome to the newest, and first, edition of Lainey’s Latest.  I, Lainey LaRosa, studied Photography at Fullerton College and work as Gallery Assistant for Grand Central Art Center.  I will be granting you all behind the scenes access for our latest and greatest exhibitions!  Hope you’ll join me in following all the outstanding things to come in 2017 at Grand Central Art Center and the art community at large!

This past week at Grand Central Art Center we invited Deborah Fisher and Paul Ramirez Jonas to incubate their latest project Dayjob Espresso and Culture.  The overall idea of their piece is to question the price of art in a world of instant gratification and consumerism.   In a strikingly high amount, artists are drawn to a variety of forms of employment as their ‘dayjob’ to support their artistic ventures.  Many times this can cause a creative drain, endured by everyone working a day job, or, even, becoming overworked and underpaid.  Fisher and Ramirez Jonas continuously question the viability of their ‘company’ with an imaginary employee ‘Nobu’.  Dayjob aims to embody “integrity from the top” thinking constantly of ethical practices towards employees and customers.

 

Coffee bar at Day Job Espresso and Culture with weight scales, bulletin board, and a broken mug.

Coffee bar at Day Job Espresso and Culture.

 

Cups at Dayjob Espresso and Culture displaying ‘La Mano’ art assignment.

Cups at Dayjob Espresso and Culture displaying ‘La Mano’ art assignment.

In a talk about this project Deborah Fisher noted that a main goal is to increase net creativity amongst the community.  Fisher and Ramirez Jonas have done this by creating ‘art assignments’ to reintroduce creativity into their customer’s lives.  These assignments range from ‘Plot Your Joy’ to ‘Coffee Drip Constellations’.  The assignment I completed was the Coffee Rorschach Test. In this assignment you pour the very last drop of your espresso latte, if you aren’t tempted to finish it all, onto the middle of a sheet of paper and fold it in half.  At the bottom, Fisher and Ramirez Jonas question what do you see and, if accompanied by a friend, what do they see.  You then search the meaning of the symbols and how they apply to your current state.  I saw a pine tree which resembles the idea of immortality, as I approach my 23rd birthday, and my partner saw a Storm Trooper helmet, which we translated to headdress and resembles the shifting of responsibility.

Dayjob art assignments "La Mano", "Plot Your Joy", and "Coffee Rorschach" laid out on the coffee bar.

 Dayjob art assignments “La Mano”, “Plot Your Joy”, and “Coffee Rorschach”.

Dayjob was open for business during the first Artwalk of 2017 and provided other services along with their espresso and art assignments.  Deborah Fisher offered tarot readings and Paul Ramirez Jonas tapped into his past training as a notary.  In a social experiment during the Artwalk, Fisher and Ramirez Jonas offered to frame some of the art assignments right then and there for display.  This increased creativity in the space and boosted morale amongst participants, effectively achieving many of the goals set for the project.

Deborah Fisher reading a customer’s tarot cards during Artwalk.

Deborah Fisher reading a customer’s tarot cards during Artwalk.

 

Paul Ramirez Jonas displaying customers’ completed art assignments.

Paul Ramirez Jonas displaying customers’ completed art assignments.

Dayjob Espresso & Culture will continue to pop up as opportunities arise, including a possible return to Grand Central Art Center later this year. It’s web store will be up and running by the end of 2017. A brick and mortar location is slated to open in 2018 in Brooklyn, NY.

 

Written and Photographed by Lainey LaRosa for Grand Central Art Center on January 12, 2017.