In his current body of work, Psittaciformes, Yaron Michael Hakim has adopted the formal approach of naturalist illustration to depict imagined anthropomorphic creatures. Through these paintings, he examines his South American heritage and the kind of exoticization that has been projected onto him and that he has, in turn, projected onto himself.
The artist was initially inspired by the Macaw, the quintessential parrot that is native to South America. Beginning to think about parrots—their attributes of camouflage and the ability to mimic vocal pitch—led him to see these birds as a metaphor for assimilation and living between cultures. Adopted at birth from his homeland of Colombia, Yaron spent his early life living on three different continents – Australia, Europe, and North America. As the artist states, “I have always lived between cultures, trying to assimilate, and in this regard, I’ve come to identify with parrots (including the wild, transplant parrots that, like me, call East L.A. home).”
The paintings of this new series draw upon multiple source materials, including found parrot photos, personal snapshots, colonial naturalist drawings, and present-day illustrations of parrots. Painted on used Dacron sails, the works show signs of weathering, staining, tears, and stitching. “For me, this material has a quality that is somewhere between paper and canvas.” says Yaron. The works are pinned directly to the wall—not stretched onto bars like a traditional painting—allowing the sailcloth to retain its original shape while alluding to movement.
ABOUT THE ARTIST
Yaron Michael Hakim (b. 1980 Bogotá, Colombia) lives and works in Los Angeles. Hakim received an MFA from the University of California, Irvine in 2013 and a BFA in Painting from the Maryland Institute College of Art in 2002. Hakim has exhibited in Europe and the United States and recently had solo exhibitions at Herrnando’s Hideaway in Miami (2018) and LAXART, Los Angeles (2016). He has been included in group shows at Art+Chateau, Ladoix-Serrigny,France (2020), The Pit, Los Angeles (2019), BBQLA, Los Angeles (2018); and at The Box, Los Angeles (2017), among others.
Roksana Pirouzmand’s they last forever series are a psychological extension of sketches for performance ideas. The works are slabs of clay painted upon with additional clay, allowing the artist to cut through and puncture the slabs to create actual holes in depicted spaces.
The spaces are confined, some domestic, others hygienic and clinical, just like prisons, mental institutions, or galleries. These spaces can also be metaphors for interrelations between people and countries. As the artist states, “These bodies can be me, and they can be you, sacrificed or saviors, praying or being praised. They can be burdensome but can also carry someone’s weight. They may have surrendered, or they might be confronting, morphing into another body. Some are self-reflecting, looking into the void, or maybe just nauseous. They are all grieving.”
These tablets represent a record of the artist’s current headspace during the turbulent times we are all living.
ABOUT THE ARTIST
Roksana Pirouzmand (b. 1990 Yazd, Iran) lives and works in Los Angeles. She is a current MFA candidate at University of California, Los Angeles and received her BFA in Arts from California Institute of the Arts in 2017. Prior to moving to the United States she was a part of the performance group called /a:t/BrE based in Tehran.
Some of her selected shows in Iran and the United States include: Redcat, Los Angeles (2020), The Box, Los Angeles (2019), Human Resources, Los Angeles (2018), Mohsen Gallery, Tehran (2011).
SEPTEMBER 11, 2001 – NEW YORK CITY SEPTEMBER 11, 1973 – SANTIAGO
September 4 – November 14, 2021
Opening Reception: Sat. Sept. 4 from 7-10PM
The terrorist attacks on the twin towers of the World Trade Center in New York City forever scarred the trust of the American people. On the same date, 28 years before, the US-supported military overthrow of Chilean President Salvador Allende ushered in 17 years of autocratic rule under dictator Augusto Pinochet, leaving more than 3,000 dead and countless victims of torture.
In this dark and intensely compelling, animated short film, 9-11/9-11, Mel Chin creates a tale of two cities… a tragedy of two times, weaving together a story of love and hope wrecked by overt and covert manipulations of power. 9-11/9-11is presented as part of a global dialogue about the human impact of these collective traumas. Chin speaks of the need to “de-center” these traumas in order to prevent a nationalistic preoccupation often used to justify endless war.
The film is an international collaboration between Chin, American filmmaker Chip Schneider, and Chilean animation partners PlanoVisual Estudio de Animación in Santiago, Chile. The voice cast includes American actress Lili Taylor (State of Mind, I Shot Andy Warhol, Dogfight), well-known Chilean satirist Juan Carlos “Palta” Melendez, and popular Chilean stars Sandro Larenas, and Rosario Zamora. The musical score follows the US/ Chile theme with original music by trumpeter Ben Neill (USA) and Juan Carlos Oyarzún (Chile). Additional music by Godspeed You! Black Emperor and Sigur Rós.
The film premiered on 9-11-2007 with a live videoconference linking Tribeca Cinemas in New York City with the Centro Cultural Palacio La Moneda in Santiago – a museum at the site of the 1973 military coup.
ABOUT THE ARTIST
Mel Chin’s (b. 1951 Houston, Texas) art, which is both analytical and poetic, evades easy classification. He is known for the broad range of approaches in his art, including works that require multi-disciplinary, collaborative teamwork and works that conjoin cross-cultural aesthetics with complex ideas.
Chin also insinuates art into unlikely places, including destroyed homes, toxic landfills, and even popular television, investigating how art can provoke greater social awareness and responsibility. He developed Revival Field (1989-ongoing), a project that has been a pioneer in the field of “green remediation,” the use of plants to remove toxic, heavy metals from the soil. From 1995-1998 he formed the collective, the GALA Committee, that produced In the Name of the Place, a conceptual public art project conducted on American prime-time television. In KNOWMAD, Chin worked with software engineers to create a video game based on rug patterns of nomadic people facing cultural disappearance. His film, 9-11/9-11, a hand-drawn, 24-minute, joint Chilean/USA Production, won the prestigious Pedro Sienna Award, for Best Animation, National Council for the Arts and Cultures, Chile, in 2007. Chin also promotes “works of art” that have the ultimate effect of benefiting science, as in Revival Field, and also in the recent Operation Paydirt/Fundred Dollar Bill Project, an attempt to make New Orleans a lead-safe city (see www.fundred.org.) These projects are consistent with a conceptual philosophy, which emphasizes the practice of art to include sculpting and bridging the natural and social ecology.
Chin’s work was documented in the popular PBS program, Art of the 21st Century. Chin has received numerous awards and grants from organizations such as the National Endowment for the Arts, New York State Council for the Arts, Art Matters, Creative Capital, and the Penny McCall, Pollock/Krasner, Joan Mitchell, Rockefeller and Louis Comfort Tiffany Foundations, among others.
“Grand Central Art Center’s residency program offers artists unique opportunities and generous resources to develop long-term community collaborations in and beyond Santa Ana,” says Rachel Bers, Program Director of the Andy Warhol Foundation for the Visual Arts, “We are happy to supportits commitment to artist-led and process-oriented programs that bring the voices of artists into meaningful conversation with community members around issues of local and national significance.”
GCAC’s residencies develop by believing that an actual creative process should be fluid and porous, not confined or restricted by limitations and preconceived notions placed upon it from the onset. The process should be allowed to roam freely, providing opportunities for exchange, discovery, and influence to occur organically.
A few notable Cal State Fullerton connections and collaborations through the projects include 1997 Bachelor of Fine Arts alum Carlee Fernandez, artist/filmmaker Jasmin Mara López working on a film project about current CSUF student Gilbert Anthony Romero (Papi), and 2020 Bachelor in Business Administration and Minor in General Management alum Erik Argote, a sign spinner involved with Yumi Janairo Roth’s artist-in-residence project.
This is the third $100,000, two-year grant from The Andy Warhol Foundation for the Visual Arts received by Grand Central Art Center since 2014.
In accordance with Andy Warhol’s will, the mission of The Andy Warhol Foundation for the Visual Arts is the advancement of the visual arts. The foundation manages an innovative and flexible grants program while also preserving Warhol’s legacy through creative and responsible licensing policies and extensive scholarly research for ongoing catalogue raisonné projects. To date, the foundation has given nearly $250 million in cash grants to over 1,000 arts organizations in 49 states and abroad and has donated 52,786 works of art to 322 institutions worldwide.
More information on The Andy Warhol Foundation for the Visual Arts can be found here.
The focus of Grand Central Art Center (GCAC) exhibitions and residencies is on the relationships and connections built through engaged contemporary art practice, inviting artists of diverse backgrounds to explore with an open process. We thrive on discoveries, research, risk, and building personal bonds through opportunities of bringing individuals together. In the past, most of these connections build through direct onsite, in-person contacts in our institution, throughout immediate Orange County/Santa Ana communities, the Southern California region, and beyond.
In early March of 2020, as the COVID-19 crisis began to impact our direct communities, we decided to close our physical institution to the public. We paused our onsite exhibition and artist-in-residence program to ensure the health and safety of our GCAC team, the student residents who continue to live onsite, visiting artists, our direct Santa Ana community, and the communities for which we engage. One visiting artist-in-residence was staying with us at that time, lauren woods, and we worked with her to extend her residency to ensure that her travel home could be as safe, informed, and secure as possible. Artists scheduled for onsite visits during the spring and summer of 2020 were called and made aware of the program’s pause. We engaged the artists in conversations regarding new possibilities. What might a new project look like with such restrictions in place and with access to technologies GCAC had available? We informed the artists that any such project developed during this time would not replace a future onsite residency with our institution, as we feel truly honored and excited to be working with them moving forward.
The goal throughout the COVID-19 crisis has been to remain focused on the mission of our exhibitions and residency program, the connections and relationships that can build given new circumstances such as homestays, shuttered institutions, travel limitations, and a shift to virtual.
Our first connections were made by us initiating outreach and scheduling a ZOOM meeting with the museum/gallery directors of our colleague California State University(CSU) institutions statewide, a connection among the institutions that previously did not exist. Through the first meeting and continued twice-monthly discussions, the new ConSortiUm was formed, including individuals representing 18 CSU’sthroughout the state, north to Humboldt and south to San Diego, west to Sonoma, and east to San Bernardino. The first collaboration has been the six-part, free to the public, PLATFORM conversations series featuring artists and curators, including artist Beatriz Cortez with Erin Christovale (UCLA Hammer Museum, Curator), Postcommodity (Kate Twist and Cristóbal Martínez), Forensic Architecture (Founder Eyal Weizman), artist Shaun Leonardo, Valerie Cassel Oliver (curator of modern and contemporary art at the Virginia Museum of Fine Arts) with artist/scholar Howardena Pindell, and People’s Kitchen Collective (Sita Kuratomi Bhaumik, Jocelyn Jackson, and Saqib Keval). The program had over 2000 active participants. Looking past the COVID crisis, GCAC has proposed to ConSortiUm the concept of a pilot, collaborative statewide artist-in-residency program. Basing an artist-in-residence through GCAC, that artist could travel to each institution for discoveries and connections in developing a project that could provide access to unique resources, diverse campuses, extended communities, and opportunities for a multi-location/statewide project – all with the ability to connect back to our Santa Ana communities. In addition, ConSortiUm plans to continue the PLATFORM conversations series into the 2021/2022 academic year.
Through a conversation with artist Pablo Helguera, one of our paused onsite artists-in-residence, we developed The Grand Central Singing Telegram Co. This project explored the possibilities of connecting while stay-at-home orders were in place internationally. Chief Telegraphist Pablo Helguera delivered over 900free Spanish, English, Italian, and French language singing telegrams live through Zoom conference technology. Individuals in 19 countries and 42 states of the U.S. (including numerous sent and delivered within Santa Ana) received messages from their special someone. Telegrams marked such occasions as 80th & 90th birthdays, 50th wedding anniversaries, individuals graduating high school and college, recovery from COVID-19, new births, etc. Upon hearing about the project, Western Union reached out to GCAC and became involved, providing financial support and creating a promotional video connecting the project to the history of singing telegrams. The Grand Central Singing Telegram Co. was a way of building individual live connections with the technology GCAC had available as, around the world, governments placed stay-at-home orders.
In the fall of 2019, GCAC was in conversation with artist Nina Katchadourian to present her work Monument to the Unelected during the late election cycle of fall 2020. Keeping that commitment, our institution arranged for the installation of the work on an Orange County, CA front lawn, creating a site for safe engagement with contemporary art during the COVID pandemic. The project allowed for national connections in collaboration with PACE Gallery, New York; Catharine Clark Gallery, San Francisco; Museum of Contemporary Art Cleveland and Transformer Station, Ohio; Scottsdale Museum of Contemporary Art, Arizona; Abrahamson Family Trust of Madison, Wisconsin, and Roots Community Health Center, Oakland. Through a Zoom event first-time voters at each location, Lesly Bautista for GCAC, placed the 2020 unelected candidate sign into the monument, providing their brief thoughts on the importance of voting in the 2020 election and connecting the varies sites virtually.
In early 2021, GCAC began collaborating with artists Joshua Michele-Ross, Adam Brick, and Adam Lucasto present The Adjacent Possible, an evolving communal orchestra free to the public. For each performance, and with no musical experience required, twenty individuals would come together in a series of virtual rooms to generate a new unique work of music that becomes published. With over 600 performers engaging the project from diverse international locations, spanning 35 countries and 31 states of the U.S., participants included individuals from as far away as Kenya, Taiwan, South Africa, and nationally from Hawaii to Maine (including numerous participants from across Santa Ana). The experience has provided the opportunity for individuals to connect with strangers when travel had been severely limited.
Through conversations with CSUF Art Faculty member Mary Anna Pomonis, GCAC sponsored and promoted the Fall CSUF Teaching & Socially Engaged Artists Series, a virtual program that was open free to CSUF students and the public. The series presented artists, curators, and educators, providing current CSUF Art Students and community members the opportunity to engage with this inspiring group of individuals through direct dialogue and Q&A components of the events. Participants of the series included Dajin Yoon, Lili Bernard, Zel Harris, Cristal Sabbagh, Carolyn Castaño, Jennifer Frias, Zeina Baltagi, June Edmonds and Darryl King, Martin Durazo, Phung Hyun, Kim Abeles, Allison Stewart, Maya Mackrandilal, and April Bey.
Collaborating with CSUF Begovich Gallery Director/Curator Jennifer Frias, GCAC presented Origins and Displacements, Vols. 1 & 2, an on-going body of work examining Orange County’s history through contemporary photographs, videos, and performance produced by artist William Camargo. This two-part exhibition featured Camargo’s artistic investigation that challenges the social depiction and erasure of Chicanx/Latinx people in historical documents, photographs, and news archives while recounting issues related to gentrification, systematic racism, and police brutality.The exhibition was a storefront installation that could be viewed anytime from GCAC’s 2nd Street promenade. A second portion of the exhibition, as arrange by Jennifer Frias, was presented at MUZEO Museum & Cultural Center in Anaheim. GCAC hosted a free performance by the artist that took place on the 2nd Street Promenade in Downtown Santa Ana that was streamed live to audiences over the internet. The artist currently has his studio located in the Santora Building within Downtown Santa Ana.
Grand Central Art Center was active and participated in the Santa Ana Digital Artwalk over the course of Summer 2020. Artists associated with GCAC programs presented during the virtual event, including a live sound performance/studio visit with artist Chris Kallmyer and the delivery of a Grand Central Art Center Singing Telegram birthday greeting through artist Pablo Helguera to Santa Ana Resident/Business Owner Delilah Snell.
Over this past year, through a virtual residency funded by CEC ArtsLinkInternational Fellows program, GCAC has hosted Estonian curator and residency director Ann Mirjam Vaikla, who works at the intersection of art practice and arts management. She is the Director of the Narva Art Residency (NART), a unique cultural platform facilitating residencies, art exhibitions, talks, and educational workshops in Narva on the Estonian-Russian border. The current residency is a collaborative residency model which GCAC is co-hosting with Triangle Arts Association, Brooklyn, NY. The artist is scheduled to make an visit to GCAC in the fall of 2021, through the continued financial support of CEC ArtsLink.
In 2017, GCAC hosted artist in residence Alfadir Luna from Mexico City, who invited into collaboration Cal State Fullerton Student/Santa Ana Resident Alejandro Olivares in the development of his project Señor de Maíz, or Corn Man. The residency at GCAC was in collaboration with OTIS College of Art and Design for the Getty PST:LA/LA exhibition Talking to Action. Luna and Olivares set-up on a Downtown Santa Ana plaza in front of the mural of the Virgin de Guadalupe, working together and inviting community members to adhere locally sourced corn kernels to the sculptural object. Since its completion, Corn Man has been exhibited at OTIS College of Art and Design, Art Institute of Chicago, Pratt Manhattan, and Arizona State University Art Museum.Aceremony to return Corn Man to the Santa Ana community, in which the kernels would be removed one by one and given in artistic packages to individuals and merchants, was originally planned to take place in early Summer of 2020. With pandemic restrictions, the artist hasn’t been unable to return in residence to realize this ceremony. We are currently working to reschedule his visit for a time when such travel is safe. As the sculptural elements of the work returned to GCAC in July 2020, we created a storefront installation that could be viewed safely 24-hours a day from our 2nd Street promenade. The installation, currently on view, includes Corn Man, 18-banners, photo documentation of process, and a bi-lingual text panel. As GCAC works toward reopening, we will work with the artist to travel to GCAC in residence for the official ceremony.
In December 2020, American Alliance of Museums (AAM) recognized the GCAC produced exhibition catalogue Cognate Collective: Regionalia in the 29th Annual Museum Publications Design Competition. This competition recognizes and encourages superior execution and ingenuity in the graphic design of museum publications and is the only national, juried competition of its kind. Regionalia, a catalogue published by CSUF Grand Central Art Center in collaboration with X Artists’ Books, features text by Karen Stocker, Professor of Anthropology at California State University Fullerton; Christian Zúñiga, director of the undergraduate Fine Art program at the Art School of the Universidad Autónoma Baja California, Tijuana, MX; Cognate Collective, artists Amy Sanchez Arteaga and Misael Diaz; and a foreword by CSUF Grand Central Art Center Director/Chief Curator John D. Spiak. This year’s winners were chosen for their overall design excellence, creativity, and ability to express an institution’s personality, mission, or special features. The panel of judges included: Nancy Hacskaylo Senior Graphic Designer, National Museum of Asian Art, Smithsonian Freer Gallery of Art & Arthur M. Sackler Gallery; Bennett DeOlazo, principal, Studio B; and Selena Robleto, principal, Red Velvet Creative. The catalogue is based upon project realized during the residency and exhibition Regionalia by Cognate Collective (Amy Sanchez and Misael Diaz), which was developed in collaborations with Resilience OC (ROC), Manos Unidas Creando Arte, Chulita Vinyl Club Santa Ana, CSUF Anthropology Department, Universidad Autónoma Baja California’s Art Department, Collective Magpie, and numerous individuals from Santa Ana and throughout the region.
In addition to CSUF university-based meetings that have helped develop new policies and procedures, GCAC Team members and director have taken advantage of numerous Zoom based professional development opportunities, attending Diversity, Equity, and Inclusion programs and training, along with programs presenting top non-profit leaders across the US. GCAC Director John Spiak was also invited virtually into university graduate level classes as a speaker across the US, from Virginia Commonwealth, Portland State University, School of the Museum of Fine Art at Tufts University, University of Colorado at Boulder, Arizona State University Art Museum, University of Southern California, NuLawLab at Northeastern University School of Law,Hunter University, among many others. In addition, the GCAC Director was invited to be a virtual presenter on public programs through Mass MoCA, the Art Gallery of Guelph Museum in Ontario, Canada, and CEC ArtsLink.
Projects that originated through GCAC’s artist-in-residenceand premiered in our galleries have had continued success over the past year through exhibitions and opportunities at other institutions. These projects have included Valerie Tevere & Angel Nevarez Layers of the Citythat exhibited at the Institute ofContemporary Art (ICA) at Maine College of Art. Layers of the City reflects on spaces in Santa Ana, both inhabited and boarded up, of immigrant owned entities that passed through generations only to be pushed out by rising rents and revitalization plans. The video work, filmed throughout Santa Ana, includes a collaborative chorus of 12 Santa Ana residence and features original music created by the artists in collaboration with Santa Ana resident/musician Eduardo Silva. Paul Ramirez Jonas Public Trust exhibited in Summer and Fall of 2020 at the Museum of Contemporary Art (MCA) Denver and the Museum of Contemporary Art (MoCA) Cleveland. Public Trust is a series of interactive performances about promises, with the members of the public invited to perform a speech act by declaring and validating a promise. The process includes creating collaborative artwork contracts with the artist, one of which is free for the participant to keep, one which is kept by the artist as part of the installation. The work was previously recognized by Americans for the Arts as Outstanding Public Art Project (2017). Individual songs from David Greenberger’s GCAC residency project It’s Happened to Me have continue to be played on air through radio stations and online programs nationwide. In collaboration with community partners, Greenberger spent his time in GCAC residence visiting senior community centers, a museum, and senior living apartments. Through the support of GCAC and with permission from the individuals whom he had engaged, he developed text based on his dozens of recorded conversations that took place at the Santa Ana Senior Center,Heninger Village, Flower Terrace Apartments, and Bowers Museum. What emerged were 60 pieces in the form of song, each one carefully composed and arranged to convey individual emotional potency, giving dignity to the small moments, as well as the larger overall narrative. Artistically it became a way of expressing the breadth of the City of Santa Ana’s population and its varied and rich cultural identity. The recordings of It Happened to Me were assembled in full through a 2-disc CD release, with an additional smaller selection of the works available on a limited-edition vinyl 12″ LP that is accompanied by a download of all 60 pieces. A documentary film about Greenberger’s life work (Beyond the Duplex Planet, Beth Harrington) is currently in production and currently7 scheduled for release this fall. The film will feature elements of his GCAC residency and performance of It Happened to Me that premiered on stage at the Bill Medley Auditorium of Santa Ana High School, as well will include interviews at GCAC that took place with the artist, Louie Peres (Los Lobos), Evan Lipson (Prime Lens), Jose Magana (Santa Ana Resident who performed live on stage with the artist), among others. Finally, Santa Ana Unified School District board of education recently approved the publication SanTana’s Fairy Tales as a CORE text for English Ethnic Studies 9th grade. High school students in Santa Ana Unified School District will now be reading this bilingual book as core curriculum. Sarah Rafael GarcIaSanTana’s Fairy Taleswas developed through an artist-in-residence at GCAC. SanTana’s Fairy Tales was presentedas a visual art installation, oral history, storytelling project that integrated 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). The project was realized by the artist in collaborations with Sol Art Radio‘s Carla Zarate. Viento Callejero’s Gloria Estrada, local singer/songwriter Ruby Castellanos, members of the Pacific Symphony, Mariana Bruno, CSUF Graduate Student in the Department of History, and an open book performance with special chorus support from members of Transgeneros En Accion / Transgender in Action. These original artist-in-residence projects, as well as others realized during the 2017-2019 GCAC seasons, were supported in part by a two-year, $100,000 grant to GCAC from The Andy Warhol Foundation for the Visual Arts.
Despite the pandemic, GCAC has continued to receive strong national and international press coverage over the past year. Forbes Magazine stated that Grand Central Art Center’sexhibition Monument to the Unelected,by artist Nina Katchadourian, was one of the “6 Exceptional Art Exhibits to Redeem 2020”. It was the second time in 2020 that GCAC appeared in their publication. Additions press coverage of GCAC projects over the last year appeared in print and online publications that included: Los Angeles Times, KTLA, No Proscenium, FOUR33, Hyperallergic, KCET, Daily Pilot, OC Times, OC Register, Frieze Magazine, VoiceofOC, LA Maleta Magazine, KCAL, Finnish Art Magazine Taide, WFMU, Los Angeles Magazine, KCBS, Spectrum News 1, Código Magazine, Zócalo Public Square.
The engagement and support you have provided helps GCAC look forward, taking experiences and our approaches we have explored over the past year to develop new approaches to diverse engagement, respect, and connections. We will strive toward opportunities for individuals and communities to build even stronger connections, understand, and equity through the explorations of engaged contemporary art practice. We will continue to invite artists from diverse backgrounds that challenge and expand our institutional thinking and work to support their process of discoveries and research to the very best of our abilities. Openness will continue to be key to our approach, letting exploration happen through a flexible process, one that allows a journey to occur more organically and outcome to evolve from passion rather than deadlines, a creative process that is fluid and porous.
Like most institutions, GCAC’s program and budget have been directly impacted by the COVID crisis. Still, we are committed to working hard to ensure that we can continue to engage at the highest levels with our communities and those far beyond our own. We will continue to work toward building connections that extend beyond GCAC, ones that are personal, collaborative, and positive. As we structure toward the new realities ahead, we do so with openness, positivity, and values we hope are shared with those of our communities – local, regional, and national.
We are scheduled to open with a series of new exhibitions on the evening of Saturday, September 4th, so keep an eye out for an upcoming announcement. We will be excited to have you join us and be together again.
The Adjacent Possible is a live, online theater experience that mixes storytelling, improvisational performance, and technology to transform the audience into an orchestra. The experience culminates in the performance of a piece of music that is published – the first and last ever to take place. No musical experience is required. The Adjacent Possible does not use participants’ microphone or camera – making it a safe and renewing experience for anyone.
The Adjacent Possible, a term adapted from theoretical biologist Stuart Kaufman, uses music making as a vehicle to explore the nature of togetherness, desire, and possibility.
First delivered as a physical performance by artist Joshua-Michele Ross before the pandemic, The Adjacent Possible has been reimagined as an immersive, virtual experience through an exquisite collaboration with Adam Brick and Adam Lucas.
Grand Central Art Center is pleased to announce that it is sponsoring, in collaboration with the series organizer CSUF Assistant Professor of Art Education, Mary Anna Pomonis, CSUF COTA, and the Association of Hysteric Curators, a series of teaching and socially engaged artist visits. The webinar is open to the public and is of special interest to students interested in teaching or social practice as potential creative paths. The public webinar series came out of the curriculum development for Art 382:Art and Social Justice in the area of Art Education. Art 382 is a service learning class and partnership program with the Prison Arts Collective. In addition to service learning, the students are developing social practice projects rooted in critical pedagogy. The visiting speakers have been asked to speak on the ethics of engaging with communities, social justice, anti-racist teaching, the impact of teaching on creativity, public engagement programs and projects in institutional spaces.