exhibitions & Events
 

 

Artists Unite

June 29th, 8pm

Members of Pacific Symphony

Guest artists:
Gloria Cheng, piano
Carver Cossey, vocalist

Pacific Symphony musicians at Orange County Center for Contemporary Art (OCCCA), with guest artists, pianist Gloria Cheng and vocalist Carver Cossey present "Artists Unite" program is a unique and eclectic experience for music and art lovers at OCCCA, an alternative art space in Downtown Santa Ana. Curated for the musically and culturally curious, "Artists Unite" features a diverse mix of musical compositions from Crumb to Rzewski, and Glass to Daugherty, performed byPacific Symphony musicians and guest artists, pianist Gloria Cheng and vocalist Carver Cossey.

The event focuses on the unique artistic perspective that composers have used to highlight meaningful issues of their time, including environmentalism, peaceful protest and socio-political justice. Join us for pre-concert entertainment, featuring live music, craft beer and wine at 7:15 pm. View OCCCA's current exhibition, "Art as Protest."

Tickets are $20 and available at
www.PacificSymphony.org or (714) 755-5799.

"Artists Unite" is a culturally relevant way to experience a wider range of classical styles of music than is typically found in traditional concerts.

Press Release:

 

Art As Protest

Exhibition Dates: June 3 through July 8, 2017

Opening Receptions: June 3, 6-10pm & July 1, 6-10pm

Juror: Tyler Stallings
Tyler Stallings received an MFA from Cal Arts in 1990. Since 1998, Tyler has organized exhibitions as Program Director for the Huntington Beach Art Center, and as Chief Curator at the Laguna Art Museum. He has also worked for the City of Los Angeles Cultural Affairs Department. He currently serves as the Artistic Director, Culver Center of the Arts, University of California, Riverside.

 


16 shots 13 Seconds by Justyne Fischer

 

 

Today, migrations of people are the norm, along with migrations of capital and information. The only map that may make sense anymore is one that depicts these migrations as overlapping flows whose borders alter constantly. This dynamic challenges the worst of nationalism that wants to close borders but also makes it difficult to think globally if you are not a beneficiary of the porous boundaries. The United States of America is, for example, not “America” but is part of a pluralistic, hemispheric landscape called the Americas. It can be called a Latin American country too. If you agree, then how do you situate yourself within this shifting cartography?

How can you protest in a disorienting world of shifting power and authority, whereby states, corporations, and their human faces become indecipherable from one another, to the point that the beating hearts of due process, freedom of speech, and the right to assemble begin to lose their strengths? Well, by being an artist and not letting your voice become subsumed under the sediments of an alluvial plain of dehumanization where these globalized flows meet on occasion.

This occurs when the materiality of art, with its physical presence in the world, acts as a small island of respite for reimagining possibilities within the ephemeral, untouchable flows of capital and information that just do not stop. In this dystopian world that I describe here, art becomes a form of science fictional or speculative technology, creating portals to other imaginaries. Hopefully, enough of these islands will merge in the future and become a continent dominated by the free flow of imagination. In this present time, the Orange County Center for Contemporary Art’s “Art As Protest” is one such island of loud voices.

Materializing and externalizing your imagination defines art making. It is as though an artist doubles their voice. The body with which they were born speaks, but their artwork, representing their imagination existing outside of their body, now also speaks. Two voices, then, are doubly hard to silence.

An individual voice is feared by the powerful because their fearmongering is revealed as having a weak spot. If one voice is loud enough to be heard, then it could mean that there’s a crowd out there, not completely visible yet, but preparing itself to pierce a veil of repressive authority. OCCCA’s “Art As Protest” represents an infuriated, angry, incensed, furious congregation that is ready to charge.

Change does not come from above, not even from below but, rather, it emerges when enough voices coalesce in a public space and create a loud, collective voice that cannot be ignored. OCCCA is one such public space in which many voices of “Art As Protest” raise awareness, bear witness, and find solidarity. Watch out!

Tyler Stallings, Juror for “Art As Protest”

May 2017

 

Featured Artists

Constant Albertson, Siobhan Arnold & Megan Shein, Jenny E. Balisle, Jairo Banuelos, Brandin Baron, James Berson, Christie Blizard, Debra Broz, Kelly Burke, Martin Bustamante, Adam Casper, Megan Cherry, Candice Chovanec, Bob Conge, Karina Cunningham, DADAONYSUS, Eliza Day-Green, Joseph Donnison, Sheena Dowling, Ruben Esparza, Justyne Fischer, Peter Foucault & Bryan Hewitt & Chris Tregiari, Diana Frawley, Susan Frazier, Dwora Fried, Scott Froschauer, Heather Ganley, The Messengers Project by Anonymous, Jonathan Gibson, Raul Gonzales, Larry Groff, Isadora Hale, Peter Hassen, Beliz Iristay, Tess Israelson, Kelly Johnston, Duan Kellum, Dmitry Kmelnitsky, David Koeth, Shelley Kommers, Cedomir Kostovic, Alison Kuo, Michael Lasater, Patricia Liverman, Chris Lowail, Fernando Lozano, Gina M, Don Manderson, Joella March, Dan McCormack, Joseph Melita, Jasser Membreno, Tom Miller, Melanie Mills, Kerry Mitchell, David Nelson, Cindy Pankopf, Stephanie Pelzer, Sheila Pinkel, Donnal Poppe, Adam Prince, Eric Michael Rauseo, Robin Repp, Mila Reynaud, Steven Roberts, Sheila Rodriguez, Robert Rossoff, Brian Row, Nancy Roy-Meyer, Kuniko Ruch, Elon Schoenholz, Saral Surakul, J. Renee Tanner, Chilo Te, Jennifer Tong, Dwayne Wilbert, Cecily Willis, Richard Wynne

 

 


NO T by Cedomir Kostovic

 


 


Thank you, Planned Parenthood by Kelly Johnston

 

Press Mentions:

‘Art as Protest’ paints grim headlines, Laguna Beach Coastline Pilot By David Hansen, June 15 2017

UCI Wonderwomen Climate Science Grad Students AND “Art As Protest” in Santa Ana,
KUCI Ask a Leader podcast, By Claudia Shambaugh, June 13, 2017

 

 

Order and Chaos

Annie Clavel and guest artist Miguel Osuna

Saturday, Sept. 2 – Saturday Sept. 23

Opening Reception: Sept. 2, 2017 - 6 to 10 pm

Talk and Closing Reception: Sept 23, 2017 - 2 to 4 pm
Conversation with the artists moderator: jill moniz, phd, curator and principal at Quotidian

 

Show Description
Panic on Wall Street. A traffic jam at noon. Blizzards in August. Insanity in Washington. Chaos is in order.

Order and chaos are intricately interrelated. The slightest change in an orderly system can produce unanticipated, large-scale effects, like the butterfly effect. Order leading to chaos.

According to Chaos Theory, underlying the apparent randomness of chaotic systems are patterns: repetitions, self-organizations, and fractals -- the reproduction of the same pattern at increasingly smaller scales. Order in chaos.

Chaos Theory is a branch of mathematics but has been applied to everything from weather and traffic patterns to economics, physics, biology, and computer science. And art. Abstract art has long been on the cutting edge of exploring the relationship between order and chaos.

 

Order/Chaos​
presents the work of two different artists who approach this relationship from two different perspectives.

 


Annie Clavel. Complicated Dynamics, mixed media on canvas, 24”x24”

Annie Clavel​ is not only an artist but also a trained mathematician. Her work derives from mathematical concepts such as fractals and are organized in terms of colors, shapes, light, and movement. Underlying her work are patterns: patterns of thoughts, emotions, and stories. The order underlying the chaos.

 


Miguel Osuna. Exit Strategy, oil on canvas, 60” x 60”

Miguel Osuna​ approaches the relationship between order and chaos from an intuitive perspective. Creating order out of chaos. His works touch on the two notions conceptually and as part of his process. Osuna’s training as an architect before the computer age is apparent both in his work process, tool selection in the studio and final execution.

 

Press Release


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