success of OCCCA can be attributed to many people throughout its 20
years. First and foremost, the hundreds of affiliate artists that have
been members of OCCCA over the years and continue to contribute to
the unique artist run gallery.
In the early 1990s, community visionary Don Cribb, encouraged the revitalization
of Santa Ana's downtown area into an interactive center for artistic development
the Artists Village. Don had to impress city decision-makers, such as then council
member Robert Richardson, that the rehabilitation of key historic downtown buildings
would strengthen the economic base of the community through the arts. Current
city council members, particularly Tom Lutz, Mayor Pro Tem, and Miguel Pulido,
Mayor, continued to support and believe in the importance of OCCCA as a vital
cornerstone of the Artists Village. To get to this reality, the City's redevelopment
agency, through a rehabilitation loan program, was able to allocate funds to
support the restoration of this historic building.
The project would not have been completed without the dedication and perseverance
of several past/current board of directors- Don Cribb, Mike McGee, Jerry King
and Karin Schnell also past Directors of OCCCA, Jeffrey Frisch, Sandy Deeks,
and Frank Miller. Then the last ditch effort can be attributed to the 12 affiliate
artists that continued to exhibit an exemplary forum of exhibitions and programs
at OCCCA's temporary site.
It is the belief in the importance of artistic dialogue and exhibition of contemporary
art that keeps the mission of OCCCA alive and well in Orange County and beyond.
President, Board of Directors, OCCCA
OCCCA is like a chameleon. Its
face can be characterized as the sum of its members at any given time.
Although as an organization it has certain definable characteristics,
it is essentially formless in that it is highly mutable and can take
on any shape necessary to survive.
Environmental pressure points, like the changing demographics of their users
and the nature of their funding, are effecting all art organizations. OCCCA is
a grass roots organization that has remained solvent through a combination of
fundraisers like art auctions, private donations and CDBG grants which maintained
its Educational Outreach program, but primarily through member contributions.
However, its funding has become more complex because of the generous grants it
received from HUD and the City of Santa Ana. These were used specifically to
purchase and renovate the historic building at 2nd and Sycamore in the heart
of Santa Ana's arts community. There are new expectations of OCCCA in terms of
its service to its new community of shareholders.
However, in any re-conceptualization of OCCCA' s future it must be remembered
that the organization has functioned as a contemporary art center for all of
Orange County and is not a city art center. Its first responsibility is to the
OCCCA was conceived as a site for artistic expression and dialog when it was
established twenty years ago. It was based on goals defined by a group of California
State University Fullerton graduate students. They were committed to designing
an organization where membership and exhibition practices reflected inclusion,
a diversity of styles, with no restrictions or censorship.
Many art collectives such as
OCCCA, rose to prominence in the early 1970's with similar goals. These
were particularly influenced by the Women's Art Movement. The membership
and exhibition practices of art co-operatives can be likened to those
of the famous 1863 Salon des Refuses in Paris. At that time the idea
was established that an artist has the right to do artwork that she/he
pleases and to be judged as an individual by peers instead of playing
by established rules that might result in artwork not being seen at
One might be tempted to view the inception of OCCCA as visionary and
romantic but the reality was far more pragmatic. Exhibition opportunities
were limited in 1980, especially for emerging and alternative artists.
OCCCA was an expression of the artists' need to show their work and to
take control of their careers. In the beginning, it was enough to be
an alternative to the commercial gallery system and to provide a forum
for the exchange of aesthetic ideas but there was another important need
that OCCCA evolved to meet.
The struggling artist alone in his garret seeking a personal truth is
a modernist myth. This stereotypical image of the artist as being alienated
from the rest of society contrasts sharply with the artist's desire for
community. Artists are faced with the paradoxical conflict between desiring
the solitude we need to engage our art and this need to speak with others
who share our language -to belong. The art collective as a political
and social vehicle challenges the romantic notion of artistic isolation.
As artists we both teach ourselves and learn from each other. The art
collective empowers artists.
There was no particular philosophy
or agenda that defined OCCCA. If not always in agreement, all ideas
were provided a site for dialogue. OCCCA members were not required
to present a "look" in their artwork or express a particular
viewpoint in contrast to many commercial spaces. OCCCA has been especially
viable for those experimental or controversial ideas that are difficult
or impossible to exhibit.
Shared ideas as well as conflicts enlivened the creative atmosphere.
There was a time when the meetings would hear the passionate expressions
of a visual hedonist who insisted that art theory was irrelevant. The
next moment a cool analytical misogynist would butt heads with someone
holding a feminist perspective. Challenges and frictions energized the
group and kept them from going stale.
While there is a structured organizational format at OCCCA for responsibilities,
nothing is set in stone. Whatever leadership was needed, a member would
step forward and fill in. Also the truism of "getting out what you
put in" clearly defines the OCCCA experience. Those who take up
the mantel of responsibility and leadership ultimately benefit from far
more than exhibition privileges.
Being a member of the co-operative can be quite rewarding. It gives one
a"nuts and bolts" education that facilitates interaction on
all levels of the art world - both business and aesthetic. An artist
might join OCCCA because of the exhibition opportunities, but members
give their time to run the organization thus the artist might find themselves
taking on tasks they never dreamed they could accomplish.
One example is handling the publicity for gallery events.
In this position one acquires both writing and promotional skills - invaluable
tools in any artist's development. The subsequent personal relationships
that are developed with the press advantage both OCCCA and the artist.
Organizational and interpersonal abilities are developed. A member might
facilitate the exhibit of a guest artist, curator or a juror.
Because of this, the artist often has to reconsider methods of installation
as well as learning the art of lighting. As their skills develop, the
member can take up the challenge and curate exhibitions. The primary
methodology for the transmission of this knowledge is the practice of
mentoring, one member to another.
These and a myriad of specific skills allow members to move on to positions
of responsibility outside of the organization. Former members are teachers,
commercial gallery directors, arts organization directors, curators,
art writers, publishers, art dealers, and artist representatives. Members
had the opportunity to refine skills, find aptitudes and make contacts
with established art networks while in OCCCA that ultimately allowed
them access to the art world that was previously denied them.
When so many other art co-operatives have closed, why
has OCCCA survived for twenty years and how will it survive the future?
A possible answer comes from the organizations' past. George Harms was
featured as a guest artist in OCCCA's first exhibition.
He arrived at the gallery early the day the show was to open.
His first act was to aim the lights randomly
at the blank walls. Then he proceeded to back his truck into the gallery
and grabbed art out of his truck.
In a reversal of normal practice, he hung his work at the appropriate
spot of light.
This was a performance based on self-confidence, a willingness to take
chances and to work with whatever was available. It was serious, but
with an underlying sense of humor.
We would like to suggest that this is an appropriate philosophy for
the next stage in OCCCA's evolution: to trust in our abilities, to
accept the vagaries of life, to make do or invent.
Art is a serious business but it should be fun, otherwise what is the
From its inception, the most important component of OCCCA has been
its members, its artists. The personality of its membership has changed
many times and its future manifestation will continue to be just as
unpredictable and dynamic. The art exhibited does not reflect a hierarchical
nor institutional definition rather it is a democratic vision of contemporary
art. It is imperative to remember that the foundation of OCCCA's vision
as a contemporary art center is rooted in both process and the willingness
to take action. Those who have vision, energy and are willing to participate,
will determine the continuously adapting identity of OCCCA.
Debra R. Winters
OCCCA: "20/20" by