June 6- July 11, 2015

Moist casts a long, slow look at sensuality,
sexuality and eroticism in today’s art, giving free reign to desire.

Curated by Ginger Shulick Porcella,
Executive Director, San Diego Art Institute


Moist 13x19 inch Poster is available!




OPENING RECEPTION: June 6th, 6-10pm+

Experience the sensual opening night performance exploit, "Obsession"

What’s your obsession? Everyone’s got one.

Live out an obsessive night of music, art and Bacchanalian pleasures. 

Pacific Symphony musicians mix it up with DJs and video art at OCCCA’s “Moist” exhibit for a night of intense visual, emotional and aural stimulation during the Downtown Santa Ana Art Walk.

8 p.m. - Obsession Immersion Performance at OCCCA 

9:30 p.m. - Rockin’ the Plaza: DJs and musicians hit the streets to bring you a fresh music blend

10:15 p.m. After-party at OCCCA: DJs spin out the rest of the night with their own brand of sweet sounds

Bridget Dolkas, violin and curator
Alice Wrate, violin
Carolyn Riley, viola
Alex Greenbaum, cello
Ben Smolen, flute
Ruby Cheng-Goya, keyboard
V Fresh, DJ
Hapa, DJ
Stephen Anderson, video artist


Accepted Entrants:

Click for spreadsheet, SHIPPING info and dates:


AGREEMENT FORM PDF: form please fill out and attach to artwork


Hadieh Afshani, Evalynn J. Alu, Allison Baker, Christie Blizard, Ellen Burgin, Elisabeth Condon, Therese Conte, Matthew Conway, Adrian Cox, Deb Douglas, Michelle Lynn Dyrness, J Frias, Steven Fujimoto, Ashley Gibbons, James Gilbert, Courtney Gordon, Carlos Grasso, Jenalee Harmon, Richard Helmick, Bill HIll, Ericka Hoffman, Cindy Jackson, Beverly Jacobs, Marc Kelly, Kate MacDonald & Les Sears (K8L35), Toby MacLennan, Kerry Mitchell, Hung Viet Nguyen, Changyeob Ok, Constance Rawlins, Maria Rendon, Robin Repp, Aiden Simon, Mariel Swann, Tim Talbert, Daena Title, Marie Tomanova, Erika Wain, Shannon Willis, Jennifer Yorke, Michael Ziobrowski


Adrian Cox, Whistler with Flowers, Oil on canvas

Christie Blizard,Portraits and Plastic #2, Photographic documentation


Juror’s Statement – Moist

When I select work for a juried show, I try to be as diverse as possible in my selections—both in medium and content. It is perhaps more difficult to select work for a “themed” juried show as opposed to a general juried show, the latter of which tends to serve more as an overview to trends in contemporary art. Thus, I wanted my selections to be as cohesive as possible in adhering to the “Moist” theme. When I curate shows, I always start with a project in mind and select work that explores that project in great detail. However, this was the exact opposite—working backwards with the given work to try to present a curated and deliberate-looking exhibition.

However, I did not want to make the “obvious” choices; I was actually surprised at how heavy-handed and literal some artists took the theme of “Moist”. It’s not that I’m prudish but I wanted to ensure that the exhibition was accessible to audiences of all ages and backgrounds, and was sophisticated without being vulgar and offensive. For example, it was interesting how many artworks were submitted of female forms, bereft of a head, completely objectifying women into an anonymous sex object. I was particularly surprised at the number of submissions falling into this category, as the interview that I did with the Orange County Center for Contemporary Art to publicize the exhibition was largely about my being a feminist. As such, all the figurative works I chose depicted complete figures with faces, to humanize and normalize our sexuality.

It was also important for me to select work that was representative of all media—craft, video, installation, painting, sculpture. I wanted the exhibition to have a mix of both technically-skilled and content-driven work. However, art is completely subjective and as such, there were many fantastic pieces that did not get in, while I’m sure there were some pieces I chose that will leave people questioning. It’s sometimes a good thing to leave people with more questions than answers.

--Ginger Shulick Porcella


Aiden Simon, untitled, 9 x 12 inches, pencil on paper

Changyeob Ok, Falling Tears Cannot Feel Sorrow.12 x 24 inch/Loop, Video, Steel sheet



Deb Douglas,Hi! Let's Eat, Mixed media on paper

Jennifer Yorke,Mother of Pearl, Collage, Silkscreen & Acrylic on Paper


Ginger Shulick Porcella is an arts administrator and curator who recently relocated from New York City to San Diego to join the San Diego Art Institute as its Executive Director. Porcella is the founder of Big Deal Arts, and previously served as the Executive Director of Art Connects New York, the Managing Director of Flux Factory, and the Director of Grants and Community Development at Staten Island Arts.

As an independent curator, Porcella largely focuses on new media projects that expand the dialogue around the intersection of art, architecture, and anthropology. Porcella is an Associate Curator with Artist Pension Trust (APT Global) and has curated exhibitions for galleries and museums across the U.S. including; “LUMEN”, an international video and performance art festival (Founder and Head Curator 2010 and 2011); “Ivory Tower”, a video exhibition concurrent with Art Basel Miami Beach 2011; “The Typhoon Continues and So Do You” at Flux Factory; “The Sixth Sense and Other Myths” at NYC Industries for the Blind; the critically-acclaimed “Future/Past” at REVERSE Gallery in NYC; and most recently “Beyond Limits: Postglobal Mediations” at SDAI. Porcella’s exhibitions have been positively reviewed in The New York Times and USA Today, and her work has been featured in Hyperallergic, creem magazine, and Modern Painters. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University.


Maria Rendon, Modern Humans Emerge, 72x52 in, acrylic on paper

Toby MacLennan,Pygmalion, Collage, Archival Pigment Print


This May All Be A Lie
August 1-29. 2015
Jeffrey Frisch



Alternative Universe: OCCCA at 35
35th Anniversary Show

September 5 - 26 , 2015

Special Dance Performance Series
through December by: EMBARK Dance Theater


Dear OCCCA Alumni,

The Orange County Center for Contemporary Art (OCCCA) invites all past members to participate in a dramatic re-contextualization of OCCCA’s history by exhibiting a piece of their current art work. The story of OCCCA’s thirty-five year presence as the premiere alternative space in the OC is nearly equivalent to famous alternative spaces in LA, New York and Chicago. OCCCA is something we can all be proud of. To tell this tale, OCCCA needs your art. Alternative Universe: OCCCA at 35 will be a re-union exhibition of gloriously eclectic art and artists, with a beguiling variety of mediums and styles expressing the varied interests of OCCCA’s artist-members through the years. The exhibition catalog will include vintage ephemera from past shows, artist statements, exhibited art work, biographies, and reminiscences about the highs and lows of life in an artists’ co-op, the agony and the ecstasy – so to speak.

The exhibition opens Saturday night, September 5, 2015, the night of the Santa Ana Artwalk and runs through Saturday, September 26, 2015.

To submit your art piece, please send a high resolution JPG and a brief statement about the work, along with your artist’s bio to . OCCCA also needs the title, the dimensions, the medium and the price, or NFS if not for sale. Let us know if you will ship the work to OCCCA or deliver it. We are also interested in a brief paragraph about your OCCCA experience for the catalog. When did you exhibit? What was on your mind then? Was there a memorable incident, or some drama you remember? 

There is growing interest among contemporary art historians in “alternative spaces” and the important role they have played in the art world. Judson Memorial Church, 98 Greene Street, PS 1, White Columns, Franklin Furnace, as well as LACE and The Woman’s Building in L.A. just to name a few, are all now legendary. This is an opportunity for the past members of OCCCA to insure that when the future history of art in the OC is written, their contribution to it will be included.

Since the beginning of the alternative space movement in the 1960s, small, community-based galleries have taken up the cause of art and artists previously excluded by the museums. The movement owes a great deal to the first men and women artists who ventured into questionably safe neighborhoods to take advantage of very low rent to create small-scale, nonprofit, fiercely independent institutions by and for artists.

Group Material’s manifesto “Caution! Alternative Space!” (1982) with its passionate idealism and fiery rhetoric, reminds us of the charged political climate in the art world when the founders of OCCCA, graduate students from Cal State Fullerton, decided to create a flexible, multifaceted venue with just enough structure to prevent it from imploding. Most artist-run galleries, are ultimately absorbed back into the space-time continuum. OCCCA’s great distinction is to have survived splendidly intact for 35 years --- thanks to the ingeniously resilient and rhizomatic organizational structure devised by OCCCA’s young founders. 

Alternative Universe: OCCCA at 35, is a month long examination of a rambunctious history --- and a celebration of the artists who made it possible.

To participate simply send OCCCA a high resolution JPG of your art piece and the requested information to . by June 27 (extended deadline)

Drop off dates will be specified in a future email.
Alternative Universe: OCCCA at 35 
September 5 to 26, 2015
OCCCA (Orange County Center for Contemporary Art)
117 North Sycamore, Santa Ana, CA. 92701

There will be no entry or processing fee for this exhibition, the customary $35.00 will be waived. However, donations are appreciated and can be sent directly to OCCCA.



Road Rage

an open call for art from OCCCA

Juror TBD

Exhibition Runs:
October 3-November 14, 2015

From the gilded carriages of the  aristocracy  to the sleek supercars of today, people are fascinated by transportation on wheels. Beginning with the early Modernists, the automobile has become a significant theme in today’s art.  Road Rage  pays homage to the hot-rodders and the low-riders, to the pin-stripers and the skate-boarders, to devisers of crazy bicycles, to fabricators of custom motorcycles.  Road Rage  celebrates tail fins, roadside attractions, and smog-choked freeways.  OCCCA invites artists to drive us crazy with paintings, sculptures, photographs, videos, performance pieces, and installations exploring our culture’s obsession with cars.

The early Modernists loved cars. Until the advent of the automobile, only steamship captains and locomotive engineers could command such horsepower. The Italian Futurist F.T. Marinetti wrote that a roaring motorcar was more beautiful than the  Winged Victory of Samothrace .  Dadaist Francis Picabia posed smugly at the wheel of his new Mercer HP. In witty, diagrammatic paintings, he spoofed the erotic symbolism of spark plugs, pistons and carburetors. Fun-loving, early French photographer Henri Lartigue captured racecars flying forward at break-neck speed. Salvador Dali’s scandalous  Rainy Taxi,  with its naked mannequins and wet snails, was a big hit at the 1939 Surrealist Exhibition. During the Great Depression the automobile became a symbol of prosperity and a way to escape the Dustbowl and travel westward. In the era of Pop Art, Andy Warhol appropriated newspaper photos of fatal car crashes for his “Disaster” series of large paintings about life in mid-century America.   In the Car  by Roy Lichtenstein is a blithe blow-up of a comic strip. The sculptor John Chamberlain smashed automotive metal into visual poetry. In 1966 the straight-laced Los Angeles County Board of Supervisors saw sleazy canoodling in Edward Kienholz’s  Backseat Dodge 38  --- and immediately threatened to cut off LACMA’s funding.  At the same museum today, the late Chris Burden’s toy  Metropoli s teems with traffic-in-minature. As a young rebel, Burden had himself crucified on the back of a VW bug in a notorious performance piece. Belgian assemblage artist Panamarenko’s exquisite winged vehicles suggest a soapbox derby for angels. Gabriel Orozco’s sculpture composed of the two halves of a Citroen DS is an ironic assault on an icon of European modern design.

  Our extreme enthusiasm for cars is unabashed, especially in Southern California where bug-eyed Rat Fink lives on, and where the “Finish Fetish” trend of highly polished surfaces first emerged, influenced by custom car culture. Big Daddy Roth and his long-snouted mascot are the forerunners of so-called “low brow” art, big news in the 1990s and still going strong. Several automotive design studios are located here, recruiting graduates from Art Center and Otis.  Despite everything that is ecologically wrong with the profligate combustion of fossil fuels, the paving over of the natural habitat, and the sheer selfishness inherent in private transportation, it will be hard to kick the habit of motoring everywhere --- no matter how cool they make the art in the Metro stations.  Perhaps Road Rage is also a kind of elegy for the last days of the automobile.  The brilliant essayist Joan Didion wrote memorably about her meditative, late night drives around LA--- when she, her car and the road were one. Reyner Banham, the British architectural historian, claimed in an interview not to have understood LA at all --- until he drove on the elevated transition from the northbound 405 to the westbound 10 --- and experienced, for himself, the rapture of the ride.

OCCCA is housed in the former Parker Garage, a 1920s auto showroom, now the OC’s premiere alternative art space.  OCCCA invites creators of paintings, sculptures, photographs, videos, performance pieces and art installations to exhibit in  Road Rage.  Start your engines! Pedal to the metal! You’ll be in fast company.



40 Hues Between Black & White

December 5-19, 2015

Collaboration exhibition,
Call for art with

Vietnamese American Arts & Letters Association (VAALA)


This year marks the fortieth anniversary of the beginning of the exodus of over a million Vietnamese people to other countries for political, economic, and other reasons following the end of the Vietnam conflict. For some, the irrevocable changes that accompanied the conflict’s end resulted in the loss of a way of life. For others, it ushered in new beginnings. And for many, both were equally true.

This exhibition aims to present a survey of the thematic concerns of artists of Vietnamese heritage AND artists inspired by Vietnam over the past forty years. Themes such as change, displacement, identity, and memory are particularly relevant. By presenting many “hues” of artworks, we hope to express the multiplicity of generations of artists and viewpoints, and to counter black-or-white, good-or-bad judgment and politics.

Works of art produced in any media since 1975 will be considered. 


Curated By: Dinh Q. Lê and Stephen Anderson

Dinh Q. Lê was born in Ha-Tien, Vietnam in 1968.  He received his BA in Art studio at UC Santa Barbara and his MFA in Photography and Related Media at The School of Visual Arts in New York City.  In 1994, Lê returned to Vietnam and in 1997 Lê settled down in Ho Chi Minh City.  

Lê’s artistic practice consistently challenges how our memories are recalled with context in contemporary life. Whether he provokes the dominance of film and media in the creation of historical legacy; the confluence of cultural tradition and contemporary tragedy in his woven photographs; the re-placement of everyday urban objects into artistic wonders; or by documenting the un-chronicled stories of those who endured the first helicopter war - what all of these artistic investigations elucidate is a commitment to the artistic process as a means of excavating history, in the uncovering and revealing of alternate ideas of loss and redemption.

Lê’s work has exhibited worldwide. His recent solo exhibitions include, Destination for the New Millennium, The Art of Dinh Q. Lê at the Asia Society, New York, and Project 93: Dinh Q. Lê at Museum of Modern Art (MoMA), New York. He was also included in the Delays and Revolutions, Venice Biennale 2003; in dOCUMENTA (13) 2012; and the 2013 Carnegie International.  In July of 2015, the Mori Museum in Tokyo will host his mid-career survey Memory for The Future.  The exhibition will travel to Hiroshima City Museum of Contemporary Art in 2016.

Lê co-founded VNFA and San Art, the most active none profit gallery and residency program in Vietnam. He is the board member of Arts Network Asia Peer Panel, the Danish Embassy’s Cultural Development and Exchange Fund.  Lê was the 2010 Visual Art Laureate, Prince Claus Fund, Amsterdam, and a 2014 Rockefeller’s Bellagio Fellow.

Dinh Q. Lê 
San Art - An independent artist space 
Ho Chi Minh City, Vietnam  


Stephen Anderson was born and raised in Southern California

Stephens creativity sprouted early in his life as he made his own toys out of pipe-cleaners, Styrofoam balls, pant and a mix of fabric and found objects. A early mixed media beginning which has continued to this day, including installation, video, assemblage, sculptural collage and interactive artwork.

Early artistic influence included his Grandma who painted as a hobby. And during his last year at college his fine art painting instructor who encouraged to paint from the heart, and less from the mind. Advice which proved cathartic as to pour the emotional turmoil of the end of a long term relationship with his ‘high school sweetheart’

After receiving a BFA degree from California University Long Beach, and feeling, ‘now what to do with an art degree? He sought out local artist groups: First becoming a member and a past president of Southern California Artists (SCA), and later applied and was approved to join the artist run non-profit gallery the Orange County Center for Contemporary Art (OCCCA). Which he visited during college as a class field trip, and the experience stuck in his mind as a ‘cool’ place to one day belong to. These organizations allowed him to network with fellow artists and become part of the art community. Leading to develop his artwork and to exhibit domestically and internationally.

Now as the executive director for OCCCA for the past 5 years, he has raised the quality, knowledge and prestige of the center, opening it up to community collaborations and events, along with art exhibitions and musical events including the annual ‘Santa Ana Noise Festival’ featuring experimental and noise genre performers, now in its 7th year.

While art making and the art community is a large part of Stephens life, one has to pay the bills, and that is done (as with most artists) with a day job, of which he is currently the assistant visual arts coordinator for the OC Fair and Events Center

Juggling all of the above keeps Stephen busy with hopes that his artwork will be seen in museums and major galleries, and getting his ‘15 minutes of fame.’


  Past exhibitions:

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