Exhibition dates: November 11 - December 22, 2017

Soft Opening November 11th 5-8pm

Friday, November 17 at 1 PM - 2 PM- Lecture with Shane Guffogg

1st Saturday Opening Reception December 2nd 6-10pm

"Portraiture - An Exhibition" curated by Shane Guffogg,
A variation of the exhibition was formerly shown at Pharmaka Art, Los Angeles, CA (2006) and The Lindsay Museum, Lindsay, CA (2016).


Exhibiting artists in alphabetical order:
Xander Berkeley, Don Bachardy, Jeff Britton, Shane Guffogg, Laura Hipke, Doro Hofmann, Michael Lindsay – Hogg, Deborah Martin, Ed Ruscha, Paul Ruscha, Alison Van Pelt and Vonn Sumner

Vonn Sumner, Cabal (A), 2006, oil on linen, 20 x 16 inches


Portraiture goes back in time to the stone ages (some 30,000 plus years ago), and continues all the way through to today. Images of the human face have served as a vessel to carry ideas of who we were – and are – throughout the centuries, ranging from the idealized forms of the Sumerians and Egyptians, to the naturalized images of Greeks and Romans and back again to stylized images of the Byzantine era, only to find a new idealized form of realism in the 1400’s, now commonly known as the Renaissance.

Each style change was prompted or accompanied by a change of ideas of how the people thought about their world and their place in it. By the beginning of the 20th century, Picasso's portraits had run the full gamut of every style that had preceded him until he took his cue from the new ideas of science (relativity) and began fragmenting his images, creating multiple of views, simultaneously.

And then there is Andy Warhol and his use of photography and screen printing to replicate the mid 20th century's world of images, showing us not only how we see but how the images are made.

That leads us up to today. But one big difference between where we are now versus where we were, even 10 years ago, is that throughout history their have been trends that get coined as an “Ism” like French Impressionism. But in our technologically driven- information age, there is no one style or idea that dominates the artistic landscape.

In fact it is just the opposite because now with a click on the mouse or keypad, virtually any image from anywhere in the world is available. I like to think of the computer screen as a portal into a 4th dimension where the past and present are all there, existing simultaneously.

Doro Hoffman


So what does that do to art and more to the point, portraiture? The answer, in part, is that any and all artistic styles are available to draw from. Until now, there really has not been any rules that claim what is fashionable or relevant. The main objective of portraiture, as best I can figure, is to really see ourselves – both physically and emotionally, and hopefully gain insight and understanding into what we call the Human Condition.

Portraiture is much more than capturing a likeness of someone. It goes deep into our past like an underground river, resurfacing as our future. The artists and artworks I have chosen for the Portrait exhibition at Orange County Center for Contemporary Art add to a larger picture that is both a vision of our reality and a psychological reflection of what that reality is. I admire what these artists are doing – making images- which is a tradition and form of communication that is as old as humanity itself.

Some of these artists tell stories, others imply stories, others depict a moment as fact. Some capture that moment with a gestural brushstroke that becomes a visual metaphor. In some, the colors are pushed into a seemingly different dimension. And some look like a strange scene from a film that was (maybe) never made.

They all add up to what I think of as a snapshot that is being driven by a need to understand and reflect about what it means to be human in the beginning of the 21st century.

Curator – Shane Guffogg


Laura Hipke, White Orchid


A Survey of OCCCA Gallery Artists

January 6 - 27, 2018

Opening Reception January 6, 6-10pm
with music by:

Andrew Ikenberry (sound artist)

Caroline Campbell (therapeutic harpist)

El Larson (sound healer)

shensley (sound artist)

Collin Russell (sound artist)


OCCCA has a multi-faceted, artistic identity. For the gallery-goer, the OCCCA experience is an antidote to ideology. The power of art is that it can change the world, one viewer at a time. In a fast-paced culture drowning in a torrent of images, art is an existentially authentic form of communication. OCCCA’s dedicated, hard-working members employ all contemporary media, including painting, sculpture, photography, assemblage, music, and installation, and when they exhibit together as a group, it’s one continuous party. To generate joy is perhaps art’s greatest power.

Founded in 1980, located in Santa Ana’s Artist Village, OCCCA is a non-profit, 501 (3) c corporation, dedicated to the pursuit of professional excellence in the arts, a constantly changing showcase for artists, educators, and community activists. OCCCA recognizes the importance of social engagement, global networking, intellectual exchange, critical dialogue, and the collaborative process. OCCCA is a think-tank for contemporary art, an incubator for new ideas. The independent artists who operate OCCCA are fond of unfettered experimentation, unafraid of grappling with difficult issues. OCCCA presents exhibitions of contemporary art, along with concerts, performances, art classes, symposiums, and publications. During its thirty-seven year history as an artist-run “alternative space,” OCCCA has exhibited the work of an impressive roster of artists and curators. Participants from all over the world apply to OCCCA’s legendary open calls for art, and fly in from distant cities to attend opening night festivities. Celebrate the first manifestation of the New Year’s promise, and join the artists of OCCCA for the opening of Inside/Out


Music For Your Eyes

February 3 - March 10, 2018

Peter Frank Juror

Dealine to Enter December 31, 2017


Enter Here


"All the arts in common aspire to the condition of music," Walter Pater wrote, indicating the uniquely abstract and immaterial nature of the art of sound. In modern times, that condition of inherent subjectivity has helped liberate the more 'concrete' art forms -- especially visual art. We thus have a trail of artwork inspired by music cutting through the 20th century and into the 21st. As an artist, how do you give form to your response to music? What does music look  like to you? How do you balance your observations with your feelings in response to "organized sound" (as Edgard Varèse called music)? Is your work designed to accompany music, reflect it, or embody it? -- Peter Frank


Peter Frank is a well-known critic and curator living in Los Angeles. Currently Associate Editor of FabrikMagazine, he has written for many publications and organized exhibitions around the world over a 45-year career."

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