Glass and Ceramics Show + Sale

Glass and Ceramics Show + Sale

Our Glass and Ceramics Show + Sale gives local artists and students the opportunity to showcase and sell their work while engaging with the surrounding creative community. Proceeds from this sale are split evenly between Grand Central Art Center and the participating artists.


Nancy Alcala
Ihab Ali
Tim Belliveau
Leslie Davis
Tien Do
Arnold Eclarinal
Dylan Fleury
Jose Flores
Jonathan Ginnaty
Philip Kupferschmidt
Donovan Miller
Lizbeth Navarro
Annie Nguyen
Michael Penilla
Kathryn Starrs
Eamonn Swiftfox
Hiromi Takizawa
Ashley Tallichet
Karen Thayer
Max Vishny
Elijah Wooldridge
Heather Wright

Rebecca Chernow: #superbloom

Rebecca Chernow: #superbloom
November 4, 2017 – January 14, 2018
Opening Reception: November 4, 7-10pm

In Spring 2017, in the Antelope Valley just northeast of Los Angeles, vibrant orange poppies carpeted the ground in perhaps the largest display of flora in Southern California in over ten years. The desert’s dazzling color occurs every spring due to the annuals that grow there, but a “superbloom” is a term for when a mass amount of desert plants blossom simultaneously. These annual flowers are also referred to as ephemerals because they live for only one season and last only a few weeks at most.

Thanks to the Internet, unprecedented crowds arrived to witness this natural phenomenon and made an indelible mark on the landscape. Social media also suggested a reality that wasn’t entirely true to the stunning imagery viewed online — a familiar scenario in our Digital Age. At peak season, motorists were stuck in traffic for hours, restaurants ran out of food, discarded water bottles and plastic bags littered the ground, and many of the flowers, that had waited out a decade-long drought, were destroyed by visitors trampling over them in search of the perfect image for their social media accounts

Artist Rebecca Chernow’s immersive installation simulates a California poppy field at sunset made from familiar plastic items that are often disposed of on the ground in downtown Santa Ana: the iconic green straws from Starbucks and orange shopping bags from Fallas’ department store, both located just a few blocks from Grand Central Art Center. For months, the artist collected these discarded materials in order to create a synthetic portrait of a surreal California landscape that is colorful, delicate, and ephemeral. More importantly, #superbloom was created to be documented by the individuals who experience the installation. Please feel free to take as many images of yourself in the space as you wish, and upload them to social media to add to the image library of the #superbloom.

Thank you for your consideration in preserving this experience for others to enjoy by staying on the designated trail.


Rebecca Chernow is a multi-disciplinary artist, traveler, and gardener. Her work often invites audience participation, and is ephemeral in nature: fabricated from bio-degradable, compostable, re-purposed, or re-useable materials that embody the “leave-no-trace” ethic by being able to disappear while paying tribute to the local environment from which they are sourced. She is currently a Community Engagement creative-in-residence at Grand Central Art Center, where she has been working within a multi-family affordable housing community in Santa Ana facilitating the construction of shared gardens and collaborative art projects that enhance and beautify common spaces.

Michael Nannery: CASTINGS event on Oct 7th

Michael Nannery
October 7, 7-10pm

Excess clays from ceramic art processes are combined and reconstituted, then cast into tray forms using a press-mold technique.  The stackable tray components house colonies of red wiggler earthworms–a champion decomposer.  As the worms consume various organic materials, they produce worm castings, which is essentially a manure.  Worm castings contain a broad spectrum of nutrients, and are further enriched by the beneficial gut bacteria of the worms, which help restructure soil and facilitate the uptake of nutrients by plants within systems of organic production.

The tower design allows worms to travel freely in a vertical fashion.  Organic matter is added to the top tray, and when filled, an empty tray is stacked upon it.  Lower trays contain finished worm castings that are ready to be harvested, which may be immediately incorporated into an organic system, or stored for later use.

We must be invested in methods of dealing with our waste stream.  For how far we have come as a species, we have learned little about cleaning up after ourselves.  While exercising sustainable practices, this project seeks to identify composting as a subject worthy of our time and efforts.

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Maya Gurantz: Deipnophoroi

Maya Gurantz: Deipnophoroi
October 7, 2017 – February 11, 2018
Opening Reception: October 7, 7-10pm

Ancient Greek biographer and essayist Plutarch (c. AD 46-120) writes of an ancient Greek festival in which the community, as an initiation for young men coming of age, would reenact sending their youth to King Minos of Crete to be fed as sacrifice to the Minotaur.  The only women allowed to participate in this ceremony were given the role of the mothers of the sacrificial tribute — labeled Deipnophoroi, or “food bringers”— performing the task of comforting their children with stories and food in the face of a sure and terrible death.

Deipnophoroi, a video diptych, translates this ceremony into contemporary language and contemporary fears, exploring the strange job a mother faces when preparing one’s child for the unutterable.   Each video represents a specific preparation — mothers prepare their children for death, enslavement, monsters, and rape — created as mini-collaborations between the artist and different performers (artists, dancers, actors) who are also mothers.  A second work, Non-fiction, a single-channel video, shares interviews with mothers from different backgrounds, discussing their own approaches to raising their children in this difficult and frightening world.  Together, the project — which is ongoing — begins to create taxonomy of maternal language and strategies.  It brings this language, which so often remains secret, into the art space — a space that as well does not often offer room for the mother.

In the artists own words “Mothers are left to clean up disasters, bring food, comfort and most of all prepare our children when they are faced with the terrors of the world. And yet, more often than not, when mothers speak the truth too explicitly we are turned into monsters ourselves.”

Deipnophoroi continues Gurantz’s constellation of projects constituted around two long-term, occasionally overlapping sites of research — the explorations into constructions of female experience and mother wit; and narratives of spiritualism and madness.


Maya Gurantz is an artist in video and performance. Her work has been shown at the MCA Denver, Beaconsfield Gallery Vauxhall, the Oakland Art Museum of California, High Desert Test Sites 2013, Autonomie Gallery, LAX><ART, Angels Gate Cultural Center, ArtCenter, and Movement Research at Judson Church, among others. She has produced commissions of public video installations for The Great All of Oakland and the 2016 Field Experiment Atlanta. Her writing has appeared in The LA Review of Books, ACID-FREE, Notes on Looking, The Awl, This American Life, Avidly, RECAPS magazine, and inDance Magazine. She teaches at UC Santa Barbara.

Deipnophoroi and Non-Fictions were created as a GCAC artist-in-residence project of Maya Gurantz through the generous support of The Andy Warhol Foundation for the Visual Arts.

Angel Nevarez and Valerie Tevere: Touching From A Distance

Angel Nevarez and Valerie Tevere: Touching From A Distance

OPENING RECEPTION: September 2, 2017 from 7-10pm




Touching From A Distance focuses on the fragmentation of public space and the varying uninhibited actors simultaneously occupying the space of Plaza de la Liberación in Guadalajara, Jalisco, Mexico on a particular day; yet touching from a distance in their constituent interests and concerns. As Mariachi Ciudad de Guadalajara interprets and performs Joy Division’s song, Transmission, a protest against the inefficient use of regional public funds transpires. The work looks to Plaza de la Liberación as a stage and locale for enunciative acts and musical contravention.


Angel Nevarez and Valerie Tevere are multidisciplinary artists whose projects and research investigate contemporary music and sound, the electromagnetic spectrum, dissent and public fora. Their interests lie in the formation of itinerant, performative, and discursive-based social spaces with works that move between the spatial simultaneity of performance and enunciation, reflecting upon political agency through lyrics, audio, and transmission.

Their work has been exhibited at international venues including MoMA, The Guggenheim Museum, Creative Time, and New Museum in New York; Manifesta 8/ Spain; Museo de Arte Raúl Anguiano, Guadalajara, Mexico; Casino Luxembourg, LU; Henie Onstad Art Centre, Høvikodden/Oslo, Norway; Institute of Contemporary Art (ICA) Philadelphia, and elsewhere. Nevarez and Tevere have received fellowships and grants from Creative Capital, Art Matters, the NEA, and Franklin Furnace. Both were Studio Fellows at The Whitney Museum’s Independent Study Program, and artists-in-residence at the International Artists Studio Program in Sweden (IASPIS) and recently at Pioneer Works, Brooklyn.

Nevarez is a musician and Faculty in the MFA Fine Arts Program at the School of Visual Arts, New York. Tevere is Professor of Media Culture at the College of Staten Island, City University of New York.

Nevarez and Tevere are current artists-in-residence at Grand Central Art Center developing a new project in dialogue with Santa Ana.


Second Warhol Foundation Grant for Grand Central Art Center

Promenade with building and fountain

The Andy Warhol Foundation for the Visual Arts has awarded Cal State Fullerton’s Grand Central Art Center a $100,000 grant over two years to support its artist-in-residence program — the second foundation grant awarded to the center.

“Grand Central Art Center is honored to once again receive the generous support of The Andy Warhol Foundation for the Visual Arts, a foundation that continues to focus its resources on forward-thinking institutions, initiatives and artists,” says John Spiak, director and chief curator.

The second grant, he adds, truly recognizes the quality of artists the center has worked with over the past few years, as well as the hard work of Grand Central Art Center team members. “It is their dedication to the support of artists, communities and creative process that has proven key to Grand Central’s successful outcomes.”

“With the prestige of the first Warhol Foundation funding received by Grand Central Art Center — $100,000 two-year funding from 2014 to 2016 — we were able to leverage additional matching support from individuals, corporations and foundations that assisted in providing our students, faculty, staff and community members direct engagement with 30 artists-in-residence,” Spiak explains.

“As part of center’s practice of extending to artists-in-residence the opportunity to invite additional collaborators to join them in residence, the original grant made it possible for an additional 29 invited collaborators to stay onsite, while 46 other invited collaborators were housed off-site by GCAC during that two-year period.”

The Warhol Foundation’s grant making activity is focused on serving the needs of artists by funding the institutions that support them. Grants are made for scholarly exhibitions at museums; curatorial research; visual arts programming at artist-centered organizations; artist residencies and commissions; arts writing; and efforts to promote the health, welfare and first amendment rights of artists.

During this new funding cycle, Grand Central is inviting socially engaged artists into residence to begin first-phase research visits to the center, as well as artists completing projects that have been in development. Artists currently in conversation for upcoming and potential future residency projects include Ana Teresa Fernández, Maria del Carmen Montoya, Maya Gurantz, Shaun Leonardo, Angel Nevarez and Valerie Tevere, David Greenberger, Pablo Helguera, David Politzer and others.

About Grand Central Art Center

Established in 1999, Grand Central Art Center is a unit of California State University, Fullerton – College of the Arts, in collaboration with the City of Santa Ana, dedicated to the open exploration of contemporary art and visual culture: locally, regionally, nationally, and internationally through socially engaged collaborations among artists, students, and the community.

Grand Central Art Center artist-in-residence program is centered on discovery, creative process, and relationships through an open collaborative and immersed approach. Residencies support the creation of projects through a philosophy of listening, assisting and connecting. GCAC allows the artist as much freedom as possible, leaving open the potential for multi-visits, multi-site interactions, and partnerships.

The duration of residencies are not limited, they are determined on a project-by-project bases, with ongoing conversations throughout a residency. GCAC residencies to date have lasted from three-weeks to over five years. Residencies are not required to occur on-site, but provide the openness and opportunity for projects to be realized at off-site locations throughout the direct community, region and beyond.



Lainey’s Latest: GCAC Visits Tijuana!

Mexican Flag along the border and the view of a hillside in Tijuana

Well not quite the whole crew, but our former preparator, Christopher Wormald, performed at Moustache Bar while I traveled through for the Tijuana Zine Fest where we ran into some familiar faces. Here is a detailed report of what happened and why Tijuana should be your next stop for local art.

First off, may I add that my first visit across our southern border into Mexico could not have been any better.  Every person I formally encountered accepted me graciously and Tijuana felt like home, but in another country. So you should definitely throw away any antiquated preconceptions you have of Tijuana and visit, even if it’s just for 24 hours like my little romp.

My first day there I completed the tourist Tijuana to-do list and walked up and down Avenida Revolucion.  I could not help but think I was thrown back on Fourth Street here in Santa Ana.  With family businesses, an upscale food court, murals scattered on storefronts, and street side vendors.  There was even an art house movie theater with a rooftop restaurant and bar, of which I indulged in.  It seemed most American’s flocked to this trendy spot as I was seated across from a sunburnt, cigar smoking bachelor party.  The views from this point give you an ample sense of downtown with mismatched buildings, some recovering from fire or other trauma, all providing to the melting pot aesthetic of Tijuana.  From here I decided to try the nightlife.

My first night’s festivities featured a Los Angles based psych showcase with an opener from Ecatepec, Mexico.  Young God started the night with his experimental noise set using only percussive elements and manipulated keyboard tones.  The grinds of the keyboard and crashes from his symbols transported me to a musical slaughterhouse with the occasional screech and halt.  Holy Cuts followed with a sound that changed based on the singer.  When female vocalist and guitarist, Leila Perry, took the lead, Holy Cuts had a Jefferson Starship meets contemporary Feeding People sound. But when led by Will Bire, guitarist and vocalist, the band’s sound took a bluesier edge with his raw and occasionally raspy vocals.  Their constant change of sound refreshed the crowd and kept them engaged until the bitter end of their set with calls for encores.  Moon Grass Mountain took the stage next with their shoegaze psychedelic cross over.  I had a chance to talk with front man Matt before their set and he informed me that they often have a new line up every show that creates an improvisation with their sets.  They took the stage and enlisted the help of the first performer as percussion.  This created an uncanny flow as if the drummer had always been playing with them.  Their set was familiar and gave a sense of ease to the show.  They even ended their set with a cover of Neil Young’s “Hey Hey, My My,” that included a mind blowing guitar solo that left the crowd speechless.  Then it was time for Intimatchine, a dark and dreamy electronic duo consisting of none other than Christopher Wormald and his partner Chelsey Holland.  Chelsey opened the set antagonizing the crowd asking “Do you wanna, Tijuana? Then get up here!”  After drawing the crowd in, she enchanted them with her vocals, and some community rosé, while Chris got everyone moving with trance-like beats and guitar overlays.  HOTT MT ended the night and began with transforming the patio into another universe with a screen of smoke and minimal lighting.  The singer’s voice had a sense of childlike wonder that made the set feel so exploratory and new to the viewer as if discovering a different land with them.

The following day I trekked to Pasaje Rodriguez and Pasaje Gomez for the 2017 Tijuana Zine Fest.  These literal passageways house small boutiques, cafes, and art galleries.  For this day, they were transformed into an outdoor market for independent artists and zine makers.  I started at Pasaje Rodriguez, and the first booth I ran into was Elizabeth Hega’s zine booth whose mission appropriately matched my “Girl Power” tattoo.  Hega offered zines, buttons, and stickers that promote self-love and female empowerment.  In the spirit of zine fest, I purchased Hega’s “GRL PWR V.2” with illustrations of women of all shapes and sizes and a cat.  Next stop was Los Angeles based publisher Tiny Splendor with a myriad of zines from various LA and Berkeley artists.  Still feeling the aura of girl power, I purchased Tuesday Bassen’s third volume of “Ugly Girl Gang” with yet even more illustrations of women of all different shapes, styles, and temperaments making you want to become one of these “boss ladies”, as seen on the jacket of the first illustration.  Still on cloud nine and feeling like a strong powerful woman supporting artists I stopped at the punk rock older sister of the zine fest, Razorcake.  Razorcake writes their mission as promoting “positive, progressive, community-friendly DIY punk”.  Razorcake offered their most current issue for free as well as different versions of “One Punk’s Guide to”.  As a child of southern rock loving parents I absolutely had to purchase their “One Punks Guide to Outlaw Country” by MP Johnson with illustrations by Art Fuentes and layout by Madeline Bridenbaugh where they give the history of Outlaw Country and even state how similar Outlaw Country is to the roots of Punk.  They also vehemently dispute that Johnny Cash cannot, and should not, be included in anyone’s history of Outlaw Country.  Then it was time to cross over to Pasaje Gomez, but not before the representative for Madwoman offered me a chance to hang out at her booth and converse because I fit their ideals of existing without permission and outside of “whack archetypes” and stereotypes.  So obviously, by the time I reached the second half of the fest, my feminist ego was through the roof.  Though that’s a bit of an oxymoron.  In Pasaje Gomez I was greeted by sounds from the night before.  Young God had been invited to play the zine fest and his beats from the night before set a nice pace for exploring this next half.  Protein Press first caught my attention with their graphic novel “Shitty Watchmen”.  The graphic novel follows the exact format of “Watchmen” but with “super shitty drawings”.  They also offered Mallory Ballard and Dakotah Wens’ zine “Free Period, Go With the Flow” which removes the stigma behind the natural monthly visitor with information, humor, and proceeds from the zine sales go towards benefiting the hygiene of homeless women in Houston, TX.  They also asked me to pose for a picture and, still beaming from my previous encounters on Pasaje Rodriguez, I gave them the most radiant, goofy smile possible.  As I turned the corner I ran into the both of no other than Teresita de la Torre, a former resident while completing her MFA at Cal State Fullerton and current collaborator with Grand Central Art Center.  Teresita offered her zine “365 Days In An Immigrant’s Shirt”, which can also be bought in our Gallery Store, about a flannel she found along a border and wore for a whole year while contemplating her upbringing along the border and the life and journey of the person who wore it before her, while her partner B sold handmade necklaces.  Their items drew quite a crowd by connecting to the diversity within the border town.  Before leaving the fest and heading back over the border home, I stopped by Xicx Zine’s booth with a mission of creating an intersectional and inclusive community with no limits and no borders.  The members of this collective were very accepting and generous to all who visited and I bought their “Self Care, Self Love” zine full of affirmations and recommendations for daily self care.

Zine show and tell

As I headed back across the border, in the 3 hours long “general public” line, I contemplated on my 24 hour, first, visit across the border.  Though Tijuana is so close to the border and very similar to Southern California, I was a great destination to see the art and lives of those “on the other side”.  I came back with amazing connections and even galleries and museums to visit on the next trip I take down.  As an added bonus, I had a show and tell of the zines I purchased with the Border Patrol Customs Agent and got him excited for the art scene in Tijuana!