Moist casts a long, slow look at sensuality,
Curated by Ginger Shulick Porcella,
Moist 13x19 inch Poster is available!
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.
--Ginger Shulick Porcella
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.
This May All Be A Lie
Special Dance Performance Series
Dear OCCCA Alumni,
an open call for art from OCCCA
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.
December 5-19, 2015
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.
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.’
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