2012
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Main Gallery
Brent Green
To Many Men Strange Fates Are Given
December 1 – February 10, 2013
To Many Men Strange Fates Are Given* reveals itself through a multi-plane animated sculpture, a series of polarized lenses and structures created by artist Brent Green for the viewer’s discovery and wonderment.
In the narrative, the work centers on the tale of the woman who sewed the spacesuit for Laika, the dog sent into space by the Soviets in 1957.
Conceptually, the work pulsates with the intensity of the artist’s signature soundtrack – articulating themes of progress and insight, of invention, exploration and faith.
The title piece is accompanied in the exhibition space by two of the artist’s previous films, Carlin and Gravity Was Everywhere Back Then. Presented together, the narratives of these three works delve into the strange fates of the characters for which each is based. Green provides us, in one exhibition space, an opportunity to question the ever-transitioning world in which we live, and the unknown of what is just beyond the horizon.
Brent Green, known for his poetic works that address complex struggles, is a self-taught artist and filmmaker who lives and works in a barn in Cressona, PA. The artist has been in residence at Grand Central Art Center since the beginning of October, developing a new feature length work based upon stories and personal recollections of his grandfather.
*Appropriated by Green, the exhibition title comes from English poet and novelist Stevie Smith’s (b. Florence Margaret Smith, 1902-1971) “From the Greek,” a wry and rhythmic quatrain that parallels the artist’s own style.
– To Many Men Strange Fates Are Given was created by the artist while in residence at Experimental Media and Performing Arts Center (EMPAC), Troy, NY.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, December 1, from 7:00pm until 10:00pm.
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Project Room Gallery
Sean C. Flaherty
An Overture in Parts
November 3 – January 13, 2013
Through a three act video installation, appropriating the soundtrack of the Broadway musical Les Miserables (based upon the 1862 French novel by author Victor Hugo), artist Sean C. Flaherty explores complex family and relationship dynamics. The installation includes the video works: Act I The Confrontation: Script as Set; Act II One Day More: A Family in Parts; Act III A Heart Full of Love: Familiar Parts. Flaherty’s work allows the personal to become universal, providing seemingly intimate and private shared matters to be opened to critique.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, November 3, from 7:00pm until 10:00pm.
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Education Room
CSUF Students Ceramic and Glass Exhibition and Sale
November 3, 2012 – January 13, 2013
This year’s annual ceramics exhibition and sale focuses on the work of students from California State University, Fullerton. The exhibition will be organized through the collaborative efforts of CSUF School of Art Associate Professor Nobuhito (Nobu) Nishigawara.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, November 3, from 7:00pm until 10:00pm.
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Main Gallery
Tony de los Reyes
Border Theory
September 1 – November 14, 2012
Grand Central Art Center presents Tony de los Reyes: Border Theory, the debut of the artist’s new series of rigorous, visually tactile paintings that contemplate abstraction as the foundation of both color field painting and the establishment of the US-Mexico border. In works that are both optically vivid as well as quietly provocative, Border Theory posits that the inclinations behind border-making and the aesthetic principles of abstraction are powered by the same habitual pursuit of spatial order.
Both abstract painting and border-making rely on the assumption that absolute space (the “free” space of the canvas or landscape, unresolved and contested), can be materialized through its transformation into a space of containment and law (the “painting”, the “nation”). The relationship of a contemporary artist to his or her space (in this case de los Reyes to Los Angeles), is also the story of a space and its connection to the past (Los Angeles to Mexico) and occupation (artist to painting). In the Border Theory paintings, de los Reyes pursues the amorphous, layered structures of identity as found in the continuum of his location and profession.
On February 2, 1848, the Treaty of Guadalupe Hidalgo brought an official end to the Mexican-American War, establishing a 3,169 km line that is the most traversed and perhaps controversial border in the world. It is a site of abstraction: political, cultural, economic, and aesthetic. Physically, it alternates between the geometric and geologic; extrapolating the axial co-dependence of “landscape” and “border.” This relationship, which defines border-making and consequentially identity formation, also happens to be the most significant preoccupation of abstract painting. The Border Theory paintings compress these parallel issues of spatialization.
The “depictions” found in the Border Theory paintings come directly from sections of the US-Mexican border captured by satellite photography. From such altitudes, regional landscapes are flattened into nebulous areas of shifting form, color and tone. These types of surfaces, analogous to those found in post-war abstract painting, are re-contextualized through de los Reyes’ saturation of unprimed linen with multiple layers of fabric dyes. Above these fields of color, de los Reyes superimposes demarcations in oil, either through the use of singular, thin lines or gridded expanses of marks which explicitly refer to locations along the US-Mexico border. The resulting works imply how our cognition of space, and the process of its utilization, forms the basis for both personal and political consciousness.
Tony de los Reyes’ work was the subject of the exhibition and catalog Chasing Moby-Dick: Selected Works by Tony de los Reyes (2010) at the Santa Barbara Museum of Art. In December 2012 a selection of this survey will travel to the New Britain Museum of American of Art. In 2011 he was a recipient of both a City of Los Angeles (COLA) grant and a California Community Foundation Fellowship. Reviews and articles include Art in America, X-TRA, Modern Painters and the Los Angeles Times. De los Reyes received an MFA from the San Francisco Art Institute. He lives and works in Los Angeles.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, September 1, from 7:00pm until 10:00pm.
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Project Room Gallery
Constantin Hartenstein
Event Horizon
September 1 – October 14, 2012
Grand Central Art Center Artist in Residence, Constantin Hartenstein (b. 1982, Herzberg, former GDR), is an installation and video artist living and working in Berlin and New York. His works deal with personalized appearances of spaces within the context of displacement, settlement and fast forward consumer culture. During his residency, Hartenstein will create new work that will be presented in a solo exhibition.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, September 1, from 7:00pm until 10:00pm
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Education Room
Erin Morrison
Meditative Action
September 1 – October 14, 2012
Morrison’s recent body of work is a culmination of paintings ranging from what some might consider surrealistic landscape to magic realism, with slight experimentation in minimalism. The intent of the work is to reach beyond the dictum of paintings history through the categorization of genre, and to explore the identifiable borders established by the institution of studio practice. They portray a sense of loss or misunderstanding, as well as a feeling of upheaval, revealing the displacement that comes with living a somewhat nomadic life.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, September 1, from 7:00pm until 10:00pm.
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Main Gallery/Project Room Gallery
ISM: 10 Project
A Community Project
July 7 – August 12, 2012
Grand Central Art Center is pleased to present ISM: 10 Year Celebration, an exhibition accompanied by a retrospective book to celebrate ISM: A Community Project for 10 years of creativity and accomplishments. Three unique projects developed by ISM to promote public participation in art will be on display.
Grand Central’s Main Gallery will be dedicated to __________ism, an exploration featuring artists individual interpretations of ISM, ranging from absolutism to universalism. 100 artists from around the world have been invited to illustrate their favorite ism through the medium of their choice.
The opening reception will take place during the Artists Village Art Walk in Downtown Santa Ana on Saturday, July 7, from 7:00pm until 10:00pm. A closing reception is scheduled for Saturday, August 4, 7:00pm until 10:00pm, also during the First Saturday Art Walk.
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Education Room
Cheers! and Focus
ISM: 10 Project
July 7 – August 12, 2012
The Rental & Sales will be hosting Cheers!, an exhibit dedicated to community submitted artwork. ISM invites you to get creative by decorating coasters with paintings, photos or poetry. Coasters printed specifically for the show are available at local bars and restaurants including Grand Central’s neighbors the Gypsy Den and Road Less Traveled.
Focus, a photo competition, will be featured in the Sales Gallery. ISM encourages you to take a picture of your favorite camera and submit it to the juried show. A winner will be chosen and honored during the closing reception August 4th.
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Main Gallery
Naida Osline
All the Queen’s Men
May 5 – June 17, 2012
www.naidaosline.com
Naida Osline: All the Queen’s Men presents two separate, but related, bodies of photo-based work from the artist’s residency at Grand Central Art Center from November 2011 through January 2012.
The two series consists of formal portraits of subjects who are photographed in the studio against a neutral backdrop, mostly members of the Santa Ana community. One series models are middle-aged men; the other of women and men dressed in drag. Each series bring up ideas about identity, power, representation, gender, fame, beauty, aging and fashion.
Images from the “Royalty” series include drag queen and drag kings. They are portraits of individuals who regularly perform, or occasionally dress in drag, and are presented in their own makeup and clothing. The straightforward and beautiful portraits challenge the rigid gender lines created and fostered in our current culture. The notion of a self-appointed king or queen explores concepts of privilege, hierarchy and self-empowerment.
Images from the “Men” series are a continuation of a body of work the artist began in 2010, making use of one prop on an unclothed middle-aged male model. These are not intended as portraits of individuals, but rather as iconic images. The props are not objects of value and tell the viewer nothing about the subject, location or time period. Rather, they suggest that the subject may hold a position of power or status such as a king, warrior, shaman or dictator. The images have a kinship sensibility with portrait paintings of the past that depict individuals of power and economic wealth. They develop connection to the fairy-tale, “The Emperor’s New Clothes,” a story that has served as a cross-cultural metaphor for collective denial and hollow power for decades – resonating in an era of personality cults, entertainment icons, and political personalities.
Opening Reception: May 5th, 2012 from 7-10 p.m.
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Project Room Gallery
Millard Sheets Studio
The Art of Home Savings and Loan
May 5 – June 17, 2012
adamarenson.com/homesavingsbankart/
Millard Sheets Studio: The Art of Home Savings & Loan
Exhibition and Panel Discussion
May 5th through June 17th, 2012
Curated by Concepcion Rodriguez and Wendy Sherman
Opening Reception: May 5th, 2012 from 7-10 p.m.
Millard Sheets: The Art of Home Savings & Loan creates a renewed awareness of the Home Savings & Loan mosaic murals located throughout Southern California, originally designed by the Millard Sheets Studio. Included in the exhibition are images of the mosaics, original works of art, sketches, supporting documentation and images of the restoration process of the Rolling Hills Estates mural. The exhibition focuses on five of the mosaic murals located in the communities of Temple City, Rolling Hills Estates, Anaheim, Pomona and Santa Ana.
Panel discussion:
Sunday, May 6th, 2012 at 2pm
Panel will primarily address the Millard Sheets Studio, which included Millard Sheets, Sue Hertel, Denis O’Connor, and others who contributed to the Home Savings & Loan project.
Confirmed participants include:
Dr. Adam Arenson – Assistant Professor of History at the University of Texas, El Paso. Is currently completing research for a book on the art and architecture of Home Savings & Loan.
Alan Hess – Architecture critic and historian, with a particular emphasis on mid century modernism.
Mike McGee – Gallery Director of the Begovich Gallery, Professor and Program Director of Exhibition Design and Museum Studies at California State University, Fullerton.
Guest Speakers:
Saturday, June 2nd, 2012
Tony Sheets: son of the artist Millard Sheets
Jim Cogan: Professional storyteller and friend of the Sheets family
Both Sheets and Cogan will be greeting guests at 7:00 pm in the exhibition space. They will then move into the theater at 7:30 for an informal talk about the Home Savings mosaics, Millard Sheets, and more!
For further information on the Millard Sheets Studio, visit Dr. Adam Arenson’s website:
http://adamarenson.com/homesavingsbankart/
Press Contact: Concepcion Rodriguez: rodmeza@flash.net 626.221.5548
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Education Room
Camilla Taylor
The Disagreement
May 5 – June 24, 2012
Artist Statement
My artwork is comprised of three-dimensional and two-dimensional prints. The three-dimensional prints I refer to as “volumes.” The printed imagery of the two-dimensional and three-dimensional pieces is generated through relief printing. My artwork deals with the concepts of narrative, repetition, and what has been called “otherness.” Narration in the artwork refers to the capacity people have to project onto or empathize with any object that has similarities to humans. My work invites the viewer to empathize with the figures, often without ever reaching beyond the uncanny quality of being inanimate bodies. The figures engage with each other in their posture and position in a room, and sometimes engage the viewer. Their ambiguity and lack of personality invites the viewer to associate with the figures, to lose themselves, while at the same time implying anonymity in the viewer.
Camilla Taylor received an MFA with an emphasis in printmaking from California State University, Long Beach. Her BFA was received from the University of Utah. She likes to walk out onto the pier at night, when the sky and the ocean are both black and indistinguishable from each other, and feel like it is a structure jutting into nothingness.
Opening Reception: Saturday, May 5, 7:00-10:00p.m.
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Education Room
Imaginary Realism: Works on Paper
March 3 – April 15, 2012
An exhibition highlighting eight international artists working within the Imaginary Realism movement. This exhibition focuses primarily on contemporary surrealism and artists working within the Visionary, Fantastical, and Magical Realism genres. Imaginary Realism has become a worldwide movement and continues to claim increasing attention in Europe, Asia and America. It is the goal of this exhibition to promote and publicize Imaginary Realism in Southern California and beyond, in addition to increasing exposure of contemporary artists who continue to re-interpret and expand the traditional expressions of surrealism. The eight artists chosen masterfully express their internal interpretations of the world with elements of symbolism, transformation, mysticism, utopia and gender.
These eight participating artists are included among the 67 international artists featured in the 2010 edition of Dreamscape, a bi-annual publication promoting Imaginary Realism in all forms, available through the Education gallery.
Curators:
Joanne Mace, Graduate Student, California State University Fullerton
Allison Town, Graduate Student, California State University Fullerton
Opening Reception: Saturday, March 3, 7:00-10:00pm
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Main Gallery
The Cacophony Society-Zone Show
You may already be a member
February 4 – April 15, 2012
The Cacophony Societies are disorganized groups of guerrilla artists, performers, and dada throwbacks in search of experiences beyond the mainstream. They gather for events that mock societal expectations, religion, and good taste. The Cacophony Society evolved from the San Francisco Suicide Club and its members were chief organizers of the Burning Man Festival in Northern Nevada. The Society’s pranking served as inspiration for the activities of Project Mayhem in Chuck Palahniuk’s Fight Club.
February 4-April 15, 2012
Opening Reception: Saturday, February 4, 7:00-10:00p.m.
Into The Zone-The Story of the Cacophony Society will be presented at 4:00p.m. at the historic Yost Theater.
For ticket info visit IntoTheZoneMovie.com
Art Walk: Saturday, March 3, 7:00-10:00p.m.
Art Walk: Saturday, April 7, 7:00-10:00p.m.
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Project Room Gallery
HERE IN YOUR SPACE
GUY BEN-NER, CHRISTIAN JANKOWSKI and GILLIAN WEARING
February 4 – April 15, 2012
Here in Your Space focuses on the work of three artists – Guy Ben-Ner, Christian Jankowski and Gillian Wearing – engaging in private/pubic space. In the home setting displays of Ikea, the aisles of a supermarket and atrium of a shopping mall, the artists use the medium of video to capture their own private performative actions within these public spaces. All three videos occur in corporate environments – the privately owned spaces that, for much of United States society, have become our defacto places for public gathering.
In light of the economic situation in the United States over the past few years, the issues of individual rights within perceived public space are increasingly at the forefront of the national dialogue. Stories in the news describe squatters claiming foreclosed homes, now owned by banks which received government (public) bailouts; individuals camping out for holiday or ticket sales on private property vs. those camping out in support of the Occupy Movement on public property; and New York’s Zuccotti Park, which brought forward the topic of hybrid models referred to as POPS (Privately-Owned-Public-Space).
The works in this exhibition question the anticipated norms of behavior in public and private settings – the attempts of individuals to claim private and public owned properties as their own personal space. They blur the boundary of public vs. private, your space vs. mine.
ACKNOWLEDGEMENT:
This exhibition is made possible through the generous loan support of:
William and Ruth True, Seattle
Regen Projects, Los Angeles
Christian Jankowski, Berlin
CURATOR:
This exhibition was organized through the joint vision of Grand Central Art Center’s Krystal Glasman, Matthew Miller and John D. Spiak.
February 4-April 15, 2012
Opening Reception: Saturday, February 4, 7:00-10:00p.m.
Art Walk: Saturday, March 3, 7:00-10:00p.m.
Art Walk: Saturday, April 7, 7:00-10:00p.m.
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