exhibitions
 

 

Gallery is closed installing our next show: Opens Oct 1st

 

Pipe Dreams: George Herms Salutes OCCCA

Humorous, poetic and profound, the West Coast master of junk assemblage, George Herms, will be exhibiting at OCCCA October 1 - 29, 2016.

Opening Reception October 1, 6-10pm, Free

 

 

Saturday night Jazz Concert Fundraiser, October 22 at 8:00 PM
Souvenir George Herms sculpture included in the ticket price (limited to 35 pieces).

The Bobby Bradford Motet will perform live in the Santa Ana Artists Village, Saturday night, October 22 at 8:00 PM --- in a concert to benefit the Orange County Center for Contemporary Art on the occasion of the exhibition Pipe Dreams: George Herms Salutes OCCCA. Herms personally invited Bradford, a long-time friend and associate, to play this gig to raise money for OCCCA, the artist-run alternative space Herms helped create.

One of the most original trumpet/cornet players to emerge from the avant-garde, Bobby Bradford is a celebrated jazz musician, composer and teacher, noted for his work with the Ornette Coleman Quartet and with clarinetist John Carter. In October 2009 Bradford became the second recipient of the Festival of New Trumpet Music's Award of Recognition.

A souvenir George Herms sculpture will be included in the ticket price for the first thirty-five prepaid ticket holders entering OCCCA when doors open at 7:30 PM. Prepaid tickets to this extraordinary fund raising event are $85.00 each --- $95.00 on the night of the performance --- and are not tax deductible.

 

 

Exhibition Statement:

Humorous, poetic and profound, the West Coast master of junk assemblage, George Herms, will be exhibiting at OCCCA October 1 - 29, 2016.

Approximately fifty works by Herms will be on view in OCCCA’s galleries, most dating from the years 2014 through 2016 and not previously exhibited.

The legendary curator Walter Hopps placed George Herms in a dazzling continuum of assemblage artists that includes Pablo Picasso, Kurt Schwitters, Marcel Duchamp, and Joseph Cornell.

Honored in prestigious exhibitions and retrospectives, during his long career George Herms has refused to be tamed --- despite fellowships from the NEA and the Guggenheim; grants from the Pollock Krasner Foundation; and even the Rome Prize, for sculpture.

To understand his pivotal position in art history as a Los Angeles link to the Neo-Dada of Jasper Johns and Robert Rauschenberg --- as well as an apostle of the nascent counterculture of the 1960s --- one need look no further than to the ground-breaking Museum of Modern Art, New York exhibition, “The Art of Assemblage” (1961) and its widely-read catalog authored by William C. Seitz. George Herms’ piece, The Poet, occupies an entire page opposite the important nouveau réaliste, Daniel Spoerri. With its rusted klaxon and bundled pile of old papers, The Poet is both celebratory and elegiac. George Herms was then only 26 years old. The gravity of his insouciance has fascinated the art world ever since.

George Herms is especially significant to OCCCA because in 1980, while a professor of art at Cal State University Fullerton, he inspired a group of graduate students to create an exhibition venue of their own, similar to the new “alternative spaces” popping up at that time in New York, Chicago and Los Angeles in reaction to the exclusionary policies of the major museums. Against all odds, this artist-run space was destined to thrive into the 21st century.

In 2000, for the benefit of future art historians, the Getty Research Institute acquired the George Herms Archives. The artist has stated that this exhibition at OCCCA is even nearer and dearer to his heart. After all, OCCCA only exists because of his initial benediction. When OCCCA opened its doors in 1980, its young founders were empowered by the radical advice of their patron saint, George Herms: “Don’t wait around for museums and galleries to give you an exhibit,” he told them. “Take matters into your own hands!”

 

 

Art Start: OCCCA’s Holiday Art Sale

November 5 thru December 10, 2016

Receptions: November 5th and December 3rd, 6-10 pm

 

Greetings, fellow artists!

Do you want to get your artwork out of your studio or a gallery and into the homes of deserving art lovers and beginning collectors?  Do you want to serve a good cause and make some money off your artwork at the same time? ArtStart: OCCCA’s Holiday Art Sale affords you that opportunity.

The purpose of ArtStart is to offer gallery-quality art by professional artists at affordable prices to beginning art collectors, art lovers, and the general public. We all love popular mass-produced art forms like movies, books, and music. Original works of fine art should be accessible to the public as well. Get your work out there and into the world.

Art belongs to everyone.

 

Exhibition Rules:

  1. No entry fee!
  2. Each artwork must be priced at or under $250
  3. Exhibition committee will select artwork for display
  4. Hand delivery of work only
  5. 60/40 split of sales, 60% to the artist
  6. Sold artwork will be taken home at time of sale, you can add a new work of same size and style of sold artwork (it is up to you to monitor if work is sold and to bring in a new piece)

How to submit work for consideration:

A) Submit three (3) jpeg images by email to info.occca@gmail.com
with the subject 'Art Start Entry for [your name]'

B) Each jpeg should be titled using the following format: Lastname_Firstname_Title_ArtStart.jpg

C) Include the following information in your email:

1. Your name and contact information
2. Title of each piece
3. Medium
4. Dimensions
5. Price

 

Dates to remember:

October 2: Deadline to submit three (3) jpeg images for consideration,

October 16: Notifications sent

October 30. 12-5 pm: Drop-off of accepted artwork (no shipping allowed)

Please include this entry form with your work

 

 


Image: Kurt Weston, Grim Justice

INCARCERATION

Open Call for Art, Deadline to enter December 30, 2016

February 4 thru March 11, 2017

Curators: Pat Sparkuhl, Gregg Stone, Leslie Davis

 

CLICK TO ENTER

 

+++ All media will be considered, open to all countries +++ 

 

“If you would seek vengeance above all else, be sure to dig two graves.”
- Greek proverb

 

The U.S. now confines more than 2.2 million people in its prisons. This amounts to 1.2% percent of its population, more than any other country and eight times more per capita than Russia. Our incarcerated citizens have become a shadow nation, hidden and often forgotten. This shadow nation is supported by a budget estimated at 64 billion annually, or nearly 6% of our gross national product. Incarceration has become a big and rigorously privatized business. Our current approach has produced a profitable if brutal cycle: poverty and the absence of economic opportunity funnel individuals into crime, prisons militate against rehabilitation, convicts re-offend following release, and after arrest are returned to prison as compliant recidivists. As a result, U.S. recidivism rates are now at 68% and increase every year. In this environment, it's hard to tell where justice ends and vengeance begins.

How did we get here? Starting in the 1970’s, our prison population underwent rapid and unprecedented growth. In 2016, we house 700% more prisoners than we did in 1970. This increase happened in spite of steady decreases in violent crime. The growth of the prison population was fueled by the mandatory minimum sentences of the “War on Drugs”, and the accompanying “tough on crime” legislation. Prisoners are now overwhelmingly African-American and Latino, and the majority have been imprisoned for non-violent offenses. Many struggle with drug addiction and mental illness. Prisons in a single state, California, now house more of the mentally ill and drug addicted than all of the hospitals in America.

As grim as this situation appears, there are proven and equitable models for reform. In rebuke to our badly broken justice system, Germany, Norway, Denmark, and Sweden provide examples of what compassionate, evidenced-based approaches to crime and punishment can accomplish. These countries achieve exceptionally low rates of crime and recidivism with lower total and per capita expenditures. All of them provide intensive rehabilitation programs for inmates in an environment modeled closely on the communities where they will be reintegrated. This is followed by extensive coordinated support services after release.

Any path to reform will begin with a demand for justice: justice for the incarcerated, for their families, and for communities devastated by the loss of essential members. We have reached a critical moment in the struggle for a better criminal justice system. It is crucial that the chorus of voices making this demand includes artists and that these artists be willing to wield the power of art to inform, to inspire, and to heal.

Leslie Diane Davis

 


hiroko, #15. Bronze, Glass & Steel. 36 x 46 x 65

 

About the Curators:

Pat Sparkuhl My concern is making artwork that has its own fingerprint. I attempt to explore images that reflect my relationship to issues that I feel are relevant. I seek out unique and personal ways of integrating the various ingredients for my compositions, attempting to develop for the viewer an attitude of curiosity and discussion when viewing a particular artwork.

Curator of exhibits; Festival of Arts & Community Art Project at Wells Fargo Bank, Laguna Beach, Ca.Committee Member; Artists Advisory, Exhibits & Jury Formation, Permanent Collection, Festival of Arts, Laguna Beach, Ca “Photography and Jurying Seminar”, Festival of Arts, Laguna Beach, Ca.

 

Gregg Stone has been an Art Director at Orange Coast College Media Center, Airbrush Artist, illustrator for a publishing company and fourteen consecutive year exhibitor at The Festival of Arts in Laguna Beach, California. A graduate of Art Center College of Design in Pasadena Gregg has had numerous exhibitions in US and Mexico including notable museums including overseas.

He is also an award-winning signature member of the San Diego Watercolor Society and Western Federation Watercolor Society. Being trained in traditional design and composition which will aid him in judging work in any media. Also, he is an experienced competition judge in both U.S. and Mexico.

 

Leslie Diane Davis is a transformative sculptor whose work focuses on the role of art in response to social, environmental, and biological crises. After extensive training under Dale Chihuly at Pilchuck Studios, Leslie’s early work concentrated on the tension between biological forms and abstract ideas. Her pioneering 2003 exhibition “Worlds in Collision” marked the beginning of the “third culture” movement integrating art and science. Her latest project, “Incarceration”, explores how art can render the experience of imprisonment and inspire comprehensive criminal justice reform.

 

 

RISK AND INDEMNIFICATION 

Artist agrees that acceptance and display of artwork and/or framing for INCARCERATION is entirely at artist’s risk. 

While OCCCA will make every effort to handle all artwork 
and/or framing with professional care and consideration, OCCCA does not provide insurance for artwork and/or framing accepted for INCARCERATION. 

OCCCA is not responsible for any damage or loss to artwork and/or framing accepted for INCARCERATION. 

Artists concerned about damage or loss to artwork and/or framing accepted for INCARCERATION are encouraged to, and are responsible for, obtaining their own insurance. 

Artist hereby indemnifies and holds harmless, and agrees to defend OCCCA against any claims or demands arising out of or related to injury or damage caused by the work, or from claims of infringement. 

OCCCA is not responsible for the appearance or non-appearance of OCCCA members or their conduct.

OCCCA is not responsible for the behavior of any guests or members of the public at this or 
any exhibition.

 

Terms of Entry for Entrants:

All work will be considered for sale unless otherwise indicated on the entry form. 

Proceeds from work sold: 60% to the artist, 40% to OCCCA 

Checks to the artists are processed within 10 days of the close of the show. 

OCCCA does not pay for shipping, and a return shipping label MUST be included with each shipment. 

Art sold remains on display until the close of the exhibition. Although care will be taken in the handling of entries, OCCCA accepts no responsibility for damage of work submitted to the competition improperly framed or packaged for handling. Artists may wish to obtain their own insurance. 

Failure to pick up the artwork on the scheduled pickup day(s) will incur a $10 per day storage fee and after 30 days may be discarded.

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