- The Art Gallery of Ontario ~ The World’s Largest Collection Of Canadian Art ~ Plus International Masterpieces
- Cantor Arts Center at Stanford University to display “Pop to Present”
- Mint Museum of Art Exhibition Explores Identity Theft in Art World . . around 1867
- High Museum of Art to Explore Salvador Dalí's Late Work
- J. Paul Getty Museum Surveys the Birth of the Los Angeles Art Scene
- IAP Fine Arts Exhibits "Chris Gollon ~ Love"
- William Trost Richards ~ True to Nature: Drawings, Watercolors, & Oil Sketches at Stanford University
- The Aldrich Contemporary Art Museum shows Andrea Dezsö ~ Haunted Ridgefield
- Thornton Dial ~ Much More Than Outsider Art ~ Retrospective At The Indianapolis Museum of Art
- MoMA presents Stage Pictures ~ Drawing for Performance ~ Explores Visual Stage Art
- "New York New York" by Harry Benson and Hilary Geary Ross
- The Orchar Collection of Scottish Victorian Art at Broughty Castle Museum
- Yoko Ono ~ 'Fly' Opens
- The Orange County Center for Contemporary Art to Display Gothic Artworks
- Art Knowledge News Presents "This Week In Review"
Posted: 29 Apr 2012 08:04 PM PDT
The Art Gallery of Ontario (AGO) is located in Toronto's downtown Grange Park district. With almost 50,000 square meters of physical space, the AGO is the 10th largest art museum in North America. Its collection includes more than 70,000 works spanning the 1st century to the present-day. The museum was originally founded in 1900 by a group of private citizens, who incorporated the institution as the Art Museum of Toronto. The museum was renamed the Art Gallery of Toronto in 1919, and subsequently the Art Gallery of Ontario in 1966. The current location of the AGO dates to 1910, when the gallery was willed the estate known as the Grange, a historic Georgian manor built in 1817, upon the death of Goldwin Smith. In 1911, the museum leased lands to the south of the manor to the City of Toronto in perpetuity so as to create Grange Park. In 1920, the museum also allowed the Ontario College of Art to construct a building on the grounds. The museum's first formal exhibitions were opened in the Grange in 1913. In 1916, the museum decided to begin construction of a small portion of a planned new gallery building. Designed by Pearson and Darling in the Beaux-Arts style, excavation of the new facility began in 1916, and the first galleries opened in 1918. Expansion throughout the 20th century added various galleries, culminating in 1993, which left the AGO with 38,400 square meters of interior space. Under the direction of its CEO Matthew Teitelbaum, the AGO embarked on a $254 million (later increased to $276 million) redevelopment plan by Pritzker Prize winning architect Frank Gehry in 2004, called Transformation AGO. The new addition would require demolition of the 1992 Post-Modernist wing by Barton Myers and Kuwabara Payne McKenna Blumberg Architects (KPMB). Although Frank Gehry was born in Toronto, and as a child had lived in the same neighborhood as the AGO, the expansion of the gallery represented his first work in Canada. Gehry was commissioned to expand and revitalize the AGO, not to design a new building; as such, one of the challenges he faced was to unite the disparate areas of the building that had become a bit of a "hodgepodge" after six previous expansions dating back to the 1920s. Kenneth Thomson was a major benefactor of Transformation AGO, donating much of his art collection to the gallery as well as providing $50 million towards the renovation. Thomson died in 2006, two years before the project was complete. The AGO reopened in November 2008, with the transformation project having increased the art viewing space by approximately 50%. Notable elements of the expanded building include a new entrance aligned with the gallery's historic Walker Court and the Grange, and a new four-storey south wing, clad in glass and blue titanium, overlooking both the Grange and Grange Park. The most characteristic outward-facing element of the design however is a new glass and wood façade called the Galleria Italia (named in recognition of a $13 million contribution by 26 Italian-Canadian families). The completed expansion received wide acclaim, notably for the restraint of its design. As well as the galleries, AGO contains world-class conservation, research and education facilities as well as a restaurant, café, bar and museum shop. Visit the museum's website at … http://www.ago.net
The Art Gallery of Ontario includes the world's largest collection of Canadian art, which depicts the development of Canada's heritage from pre-Confederation to the present. The Canadian Collection includes major works from 19th century Canadian artists, with a particular emphasis on the paintings of Cornelius Krieghoff, the Group of Seven and their contemporaries, through strong holdings of the work of Tom Thomson, Lawren S. Harris, J.E.H. Macdonald, David Milne and James Wilson Morrice to significant paintings by post-war artists Paul-Emile Borduas and William Kurelek. The AGO has one of the finest collections of Inuit art in the world. The inaugural exhibition of Inuit art in the Samuel and Esther Sarick Gallery focuses on transformation, which occurs during the traditional spiritual practice of shamanism and when the ancient culture of the North came into contact with Southern newcomers. Over 500 sculptures are also exhibited in the Inuit Visible Storage Gallery on the concourse level. Almost 1,500 works (plus a further 1,000 projectile points) covering 11,000 years of history are on display in the AGO's Canadian galleries. The museum also has an impressive collection of European art, including the most important collection of Medieval and Renaissance decorative arts outside Europe and the United States, featuring major works by Tintoretto, Gian Lorenzo Bernini, Peter Paul Rubens, Rembrandt van Rijn, Thomas Gainsborough, Anthony van Dyck, Emile Antoine Bourdelle, and Frans Hals, and works by other renowned artists such as Pablo Picasso, Auguste Rodin, Vincent Van Gogh, and Edgar Degas. In addition to these, the AGO also has one of the most significant collections of African and Oceanic art in North America, and a contemporary art collection illustrating the evolution of modern artistic movements in Canada, the United States, and Europe, including works by Andy Warhol, Claes Oldenburg, and Jenny Holzer. The AGO is home to the Henry Moore Sculpture Centre, which houses the largest public collection of works by this British sculptor. Moore's bronze work, Two Large Forms (1966–1969) greets visitors at the museum's north façade. The AGO also have significant collections of photographs and prints and drawings. A key component of the collection was newspaper tycoon, Ken Thomson's gift of his art collection, the most significant private art collection in Canada, which added 2,000 outstanding works, including signature works by Canadian artists from the 19th to mid-20th century, with some 300 works from the Group of Seven and Tom Thomson. The collection also includes a remarkable 145 paintings by the 19th century artist Cornelius Krieghoff and 100 works by the early 20th century luminary David Milne, as well as key paintings by Paul Kane, Paul-Emile Borduas and William Kurelek. The gift also includes a compelling collection of 130 mainly British ship models from the 17th century through the Napoleonic era to the 20th century.
About The Walter Trier Gallery - Devoted to the work of Walter Trier, this gallery features small rotating exhibitions of the artist's watercolours, drawings, paintings and sculpture along with satirical works on paper by other artists from the AGO collection. Walter Trier was born in Prague, Czechoslovakia in 1890. He moved to Berlin at age 20 where he became known for his caricatures and childrens' book illustrations. Trier fled to England from Nazi Germany in 1936 and eventually immigrated to Canada in 1947. In Toronto he illustrated books and designed posters for Canada Packers Limited. He died in Collingwood, Ontario in 1951. In 1976 the AGO received a gift from the Trier-Fodor Foundation of over 1100 works by Trier and 345 folk toys. The gift was accompanied by an endowment to support the acquisition of humorous, satirical and illustrative art. Trier was born to a middle class German-speaking Jewish family in Prague. In 1905, Trier entered the Industrial School of Fine and Applied Arts; he later moved to the Prague Academy. In 1906, he entered the Royal Academy, Munich, where he studied under Franz Stuck and Erwin Knirr. In 1910, Trier moved to Berlin where he spent most of his career. An anti-fascist, Trier's cartoons were bitterly opposed by the Nazis. In 1936 he emigrated to London. During the Second World War, Trier helped the Ministry of Information produce anti-Nazi leaflets and political propaganda. He and his wife became British citizens in 1947, the same year that they moved to Canada to be near their daughter, who had moved to Toronto with her husband in the late thirties.
Among a number of exhibitions currently on show at the AGO, "Black Ice: David Blackwood - Prints of Newfoundland" until June 12th 2011 features one of Canada's leading printmakers and popular artists. This exhibition showcases some iconic works for the first time, revealing the richness of Blackwood's imagination and his working methods. Blackwood has been telling stories about Newfoundland in the form of epic visual narratives for 30 years. To bring this narrative to life, the exhibition will situate Blackwood's prints in time and space by looking at the history of Newfoundland and the people who settled there. Blackwood explores the timeless theme of the struggle for survival between humans and nature in one of the most exposed and hostile environments on earth. He depicts a town and a centuries-old way of life that has disappeared. "Paterson Ewen: Inspiration and/et Influence" until May 22nd 2011 showcases the work of this towering figure in the recent history of Canadian art. Since his death in 2002 there has not been a major showing of his work. When he made the transition from painting on canvas to painting on plywood in the early 1970s he seemed, to many who had followed his work, to have bridged an extraordinary divide: between painting and sculpture, and between representation of images and the actual process of making them. His work subsequently influenced and encouraged many artists – to experiment, to engage with personal subject matter and reintroduce representational appearances. This exhibition highlights the major works in the AGO's authoritative collection of Ewen's work, yet places this collection in a larger context, displaying, for the first time, works by Ewen alongside artwork by the artists and movements that influenced and encouraged him. "Where I was born… : A Photograph, a Clue, and the Discovery of Abel Boulineau", from March 5 to August 21, 2011 features the work of a completely unknown French photographer and his photographs of French regional life at the turn of the 20th century. The group of 1,702 gelatin silver printing out paper prints was acquired by the AGO as the work of Émile Fréchon but recent research has revealed the work to be by Abel Boulineau, a painter and teacher at the Association polytechnique in Paris, not known until now to have made photographs. It is unclear how or why Boulineau learned photography, but every summer from 1897 to 1916, he traveled through different regions of France taking photographs. Many of the photographs he made became the basis for paintings. He was drawn to similar subjects no matter where he traveled: to washerwomen and tradespeople, shopkeepers and children, markets and villages, as well as the landscape. Through a focused selection of more than 70 works in the AGO's Tanenbaum Gallery, visitors will find out how they came to be attributed to Boulineau and will discover Boulineau's gem-like photographs of the regions of Brittany, Aquitaine and the Rhône-Alps. On now until April 3, 2011 "Maharaja: The Splendour of India's Royal Courts" brings to Canada for the first time more than 200 spectacular works of art created for India's great kings, including paintings, furniture, decorative arts, jewelry and even a custom made Rolls Royce. These magnificent objects chronicle the many aspects of royal life and celebrate a legacy of cultural patronage by generations of maharajas, both in India and in Europe.
Posted: 29 Apr 2012 08:03 PM PDT
Stanford, California - Cantor Arts Center at Stanford University announces "Pop to Present," March 18 through August 16, 2009, the third in a yearlong series of exhibitions highlighting the museum's acquisitions from the past decade. This lively selection of modern and contemporary works — in particular American art made since the 1960s — is built on pre-existing strengths, such as Bay Area painting, while the pursuit of new collecting arenas includes northern California ceramics and contemporary prints.
Posted: 29 Apr 2012 08:02 PM PDT
CHARLOTTE, NC.- Love a good mystery? A new exhibition at the Mint Museum of Art contains the elements of an art history whodunit—a carefully crafted forgery, a persistent art scholar and a painting thought to be lost for more than 100 years—while taking the viewer behind the scenes of museum life. Identity Theft centers around one of the Mint's most important Hudson River School paintings, Indian Summer in the White Mountains by Sanford Robinson Gifford. The exhibition, Identity Theft: How a Cropsey Became a Gifford, is on view through March 27, 2010.
Posted: 29 Apr 2012 08:00 PM PDT
ATLANTA, GA.- The first major exhibition to reevaluate the last half of Salvador Dalí's career will be presented exclusively at the High Museum of Art this August. Beginning in the late 1930s, Dalí went through a radical change in which he embraced Catholicism, developed the concept of nuclear mysticism and, in effect, reinvented himself as an artist. Comprising more than 40 paintings and a related group of drawings, prints and other Dalí ephemera, "Salvador Dalí: The Late Work" will also explore the artist's enduring fascination with science, optical effects and illusionism as well as his connections to such artists of the 1960s and 1970s as Andy Warhol, Roy Lichtenstein and Willem de Kooning. The High will be the sole venue for the exhibition, where it will be on view from August 7, 2010, through January 9, 2011.
Posted: 29 Apr 2012 07:59 PM PDT
LOS ANGELES, CA.- —In recent decades, Los Angeles has shed its stereotype as the land of sunshine, palm trees, and movie stars to become an artistic powerhouse and an increasingly important international creative capital. This fundamental shift in the cultural landscape of the city dates back to the 1950s and 1960s, a period of critical importance in art history that has never before been fully studied and presented. On view October 1st – February 5th, at the J. Paul Getty Museum at the Getty Center, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950–1970 chronicles the rise of the Los Angeles art scene through a focused examination of painting and sculpture produced in Southern California during this crucial period.
Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture features 79 objects by more than 45 artists including Peter Alexander, John Baldessari, Larry Bell, Billy Al Bengston, Wallace Berman, Vija Celmins, Judy Chicago, Ron Davis, Richard Diebenkorn, Melvin Edwards, Llyn Foulkes, George Herms, David Hockney, Ed Kienholz, John McLaughlin, Ed Moses, Lee Mullican, Bruce Nauman, Helen Pashgian, Ed Ruscha, Betye Saar, and Peter Voulkos, among many others. This landmark survey of the period is a cornerstone of the larger Pacific Standard Time initiative, an unprecedented collaboration of more than sixty cultural institutions across Southern California that highlight different aspects of the region's postwar artistic production.
Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture brings together works from renowned national and international collections to explore the beginnings of a significant indigenous modernism in and around Los Angeles, the important artistic movements that developed over time, and the great diversity of artistic practices that characterized the end of the postwar era. The exhibition has been organized both chronologically and thematically in six sections that convey the diversity of artistic practices happening simultaneously in Los Angeles and the continuities that connected artists throughout this period.
Centering on movements that began in the 1950s, the first section presents hard-edge painting and ceramic sculpture, practices that, although concurrent, have rarely been presented together. The second section examines assemblage sculpture and collage, juxtaposing the major figures that pioneered this artistic approach in the 1950s with those who continued and re-envisaged the medium throughout the 1960s, particularly African American artists in Los Angeles.
A series of more thematically organized groupings follow, the first of which demonstrates Los Angeles' rise as an important art center and includes a selection of works that convey visions of the city. The following section presents paintings by some of Los Angeles' most celebrated artists, such as Richard Diebenkorn, David Hockney, and Ed Ruscha, demonstrating that Southern California was one of the foremost centers for large scale pop and abstract painting in the 1960s.
The final section of the exhibition explores ways in which artists were—at the very same moment as West Coast painting's rise to prominence—beginning to expand notions of traditional painting and sculpture, foregrounding perceptual phenomena and the material processes of artistic production. This section includes many works that emerged from the meeting of art and technology, such as a De Wain Valentine sculpture that utilizes the industrial material of cast polyester resin, and a Mary Corse canvas that incorporates highly reflective glass microspheres. It also presents a group of artists—many of whom were working with similar industrial materials—whose works retain traces of their own creation, as with the process paintings of Joe Goode, Allan McCollum, and Ed Moses; a poured resin work by Peter Alexander; and a fiberglass sculpture by Bruce Nauman.
As both an introduction to and an historical reassessment of these artists and their artworks, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture provides a thorough and accessible overview of Southern California's postwar art. By situating the history within the broad outlines of modernist art practice, and in conversation with the larger Pacific Standard Time initiative, this show demonstrates the international significance of art produced in Los Angeles during this era. At the same time, the exhibition's focus on the creative innovations specific to Southern California, including the techniques and materials that have come to define the region, distinguish this group of artists from their East Coast and overseas counterparts.
Visit the J. Paul Getty Museum at : http://www.getty.edu/
Posted: 29 Apr 2012 07:57 PM PDT
London.- Taking Tamsin Pickeral's recent book, "Chris Gollon: Humanity in Art", as a starting point, Gollon's latest work reflects on his 20-year journey as an artist. Pickeral's illuminating appraisal inspired the artist to pull everything together from the past, including scratching in, scumbling and techniques using printmakers' rollers and experiments with soft matt blacks in what is arguably Gollon's most experimental period to date. Gollon's expressly unique and imaginative approach to painting the human form is still present in these latest works, many addressing the subject of "LOVE" in its many forms, from friendship, to unconditional, unrequited or fulfilled. The exhibition opened from April 15th until June 15th 2011.
Posted: 29 Apr 2012 07:56 PM PDT
Stanford, California - Cantor Arts Center at Stanford University presents 75 drawings, watercolors, and small oil studies made during the 50-year career of one of America's most famous landscape artists. The exhibition "William Trost Richards—True to Nature: Drawings, Watercolors, and Oil Sketches at Stanford University" opened June 23 and continues through September 26, 2010. Admission to the museum, the exhibition, and the lecture is free.
Posted: 29 Apr 2012 07:54 PM PDT
RIDGEFIELD, CT.- The Aldrich Contemporary Art Museum is pleased to announce the opening of Andrea Dezsö: Haunted Ridgefield—the latest installment of the Museum's popular Main Street Sculpture Project—featuring folklore, fantasies, and fears. The Transylvania-born artist's site-specific exhibition at The Aldrich showcases her skill in traditional, labor intensive, hand-crafted book-making, and will take the form of a diorama, in which a series of cut-out panels will reveal layers of a hallucinatory narrative featuring fantasy worlds and idiosyncratic characters.
Posted: 29 Apr 2012 07:51 PM PDT
Indianapolis (The Indianapolis Star). - It's not every day that a self-taught, 'outsider' artist finds their work on the walls of fine art museums throughout the country. But Thornton Dial isn't your typical outsider artist. The 82-year-old Dial didn't actually begin making art until retirement age, years after working in the industrial town of Bessemer, Alabama, as a welder, carpenter, bricklayer and cement worker. It's those same trades that Dial uses to create his large-scale works of art. Collected by celebrities, including Jane Fonda, and art aficionados alike, Dial's work can be found inside institutions such as the Smithsonian, the Museum of Fine Arts in Houston and the Philadelphia Museum of Art. Now the Indianapolis Museum of Art (IMA) is preparing an exhibit of Dial's work, opening "Hard Truths: The Art of Thornton Dial" on Friday. Seventy-five artworks comprise the exhibit, 25 of which haven't been exhibited before, but then much of his work has never been seen. On view at IMA until 18 September, 2011.
Posted: 29 Apr 2012 07:47 PM PDT
NEW YORK, NY - Featuring approximately 150 drawings from The Museum of Modern Art's collection, Stage Pictures: Drawing for Performance investigates the work that results when artists design for theater, dance, and opera. The exhibition highlights set and costume studies, as well as more abstract suggestions of light and mood, from the total theaters of the Ballets Russes and the Bauhaus, to Lincoln Kirstein's formation of the New York City Ballet, to Pop performances and contemporary epic opera. The works, many rarely on view, span a century of visual experimentation on the stage, demonstrating how artists have used drawing strategies to translate texts into dramatic mises-en-scène, articulate illumination and shadow, imagine the form and presentation of character, manipulate bodies in space, and express duration.
Posted: 29 Apr 2012 07:46 PM PDT
NEW YORK, NY.- "New York New York", a new book by powerHouse Books combines the talents of renowned photographer Harry Benson and society columnist Hilary Geary Ross to create a stunning portrait of New York's best-known citizens. From captains of industry, politicians, movie stars, dancers, artists, and best-selling authors to celebrated athletes and society doyennes, New York New York captures the glamour of Manhattan from the early 60's to today in hundreds of black-and-white and color photographs complimented by revealing captions.
Posted: 29 Apr 2012 07:42 PM PDT
Dundee, Scotland - One of the most important collections of Scottish Victorian Art in the country is now on display at Broughty Castle Museum in Broughty Ferry near Dundee. The Orchar Collection was built up by James Guthrie Orchar (1825-1898), a prominent businessman, great patron of the arts and a former Lord Provost of Broughty Ferry. Broughty Castle is owned by Historic Scotland and run as a museum by Dundee City Council, Leisure and Communities Department.
Posted: 29 Apr 2012 07:40 PM PDT
Warsaw, Poland - For the past fifty years Yoko Ono has been a leading experimental and avant-garde artist - one of very few women - in an international context. In the course of time she has been associated with Conceptual Art, performances, Fluxus and happenings, but above all she has been an independent artist, a pioneer, who has decisively questioned the concept of art and the art object and has broken down the traditional boundaries between branches of art.
Posted: 29 Apr 2012 07:37 PM PDT
Orange County, CA.- The Orange County Center for Contemporary Art (OCCCA) is pleased to present "Gothic", on view at the center from February 2nd through March 24th. "Gothic" features works from artists evincing a peculiar, perverse, idiosyncratic sensitivity, influenced by literature, movies, television and the tabloids, in painting, drawing, sculpture, illustration, fashion, graphic design, animation, photography, video, digital media, computer-based works, installation and performance. OCCCA's museum of the macabre will display supernatural mutations, bizarre curiosities permeated by fantastic and pathological themes. "Gothic" is a mix of Medievalism, Romanticism, science fiction, Victoriana, punk, the uncanny, the grotesque, and the erotic, inseparable from despair, fear and rapture. "Gothic" reveals the shadow within, the skull beneath the skin.
The exhibition has been curated by Amy V. Grimm, an Independent Curator and Assistant Professor of Art History & Museum Studies at Irvine Valley College. Grimm received her B.A. in Psychology from the State University of New York in New Paltz, New York. She received a Graduate Certificate in Museum Management and a M.A. in Art History from the University of South Carolina, Columbia, South Carolina. Grimm's M.A. Thesis, is titled, Andy Warhol: An Inquiry into Self Identity and Portraiture. Ms. Grimm's area of specialization includes Modern and Contemporary European and American Art. Grimm's museum and academic career spans over fifteen years including work for the Albany Institute of History & Art, the South Carolina State Museum, the El Paso Museum of Art, and the Long Beach Museum of Art. As a museum curator, Grimm has developed and supervised over 40 exhibitions including independent projects and museum collaborations. Notable exhibitions include, Out of Eden: The Sculptural Work of Harry Geffert for the El Paso Museum of Art, and Sweet Subversives: Contemporary California Drawings for the Long Beach Museum of Art. Grimm's scholarship related to exhibition programming and independent critical reviews have been published as museum catalogs and articles in national publications such as Sculpture and Artlies magazines.
Grimm is past president of the Border Museum Association in El Paso, Texas; an organization that sponsors events to promote international arts partnerships. Working for the College Art Association, Grimm has developed annual conference programming in cities such as Seattle, Atlanta, Boston and New York. For the College Art Association's Annual Conference in 2007, in New York City, Grimm chaired the panel Out of the Frame: Creativity and Change. This panel addressed curatorial risk taking in light of controversial topics and technological challenges. Also during the 2007 conference, Grimm curated The Media Lounge, a unique space dedicated to showing contemporary new media, such as the MIT Media Lab, Potter-Belmar Labs and several independent filmmakers and videographers. Grimm continues to lecture extensively on topics such as Andy Warhol, Contemporary Art and Museum Studies. As an Assistant Professor of Art History & Museum Studies, Grimm is developing a new undergraduate program in Applied Museum Studies for Irvine Valley College. Students participating in the program will gain the knowledge and skills necessary for a variety of employment opportunities, in museums and other arts organizations.
Talking of the exhibition, Grimm says: "The Gothic genre is a broad and complex interdisciplinary movement that never ceases to spark my interest. The human desire to experience pleasurable fear is evident in literature, music, film, dance, fashion, design and the visual arts. Creative expression of the fantastic and frightening are not new, but are deeply rooted in the psyche of humankind. In fact one might say that this part of our psyche is an essential part of what makes us human. The understanding and appreciation of opposites such as dark and light, good and evil, life and death are especially relevant to the Gothic genre. My intent as the Juror for GOTHIC is to understand and appreciate the widest range of creative expression within this complex genre. I would expect to see the deadly serious to the silly, from the secular to the non-secular, from the beautiful to the ugly and from the personal to the universal in a wide range of media. As I review the works, I will not only examine the work on its own merits, I will also evaluate them in context to the other entries and how they may work together to create a truly memorable, relevant and exciting exhibition."
The Orange County Center for Contemporary Art (OCCCA) is an artist operated California non-profit corporation dedicated to the pursuit of professional excellence and freedom of expression in the arts. Since it's inception in 1980, it has provided emerging and established member and guest artists a forum to explore and develop ideas in contemporary art in an atmosphere that promotes experimentation and risk-taking, but without the specter of censorship. In addition, OCCCA develops and actively participates in public educational, outreach and community art services. Located in the heart of Santa Ana's Artist Village, OCCCA presents a variety of free programs: Films, Forums, Eclectic Company concerts and First Saturday artist receptions. OCCCA began through the vision of its five founding members, Richard Aaron, Robert Cunningham, Suvan Geer, Alhena Scott, and Carol Stella. The inaugural exhibition, in September of 1980, featured Slator Barron, George Herms, and Dustin Shuler. OCCCA has continued to function as a nurturing showplace for emerging and mid career member artists from the Orange County area. In addition to members work, OCCCA strives to exhibit a variety of artists work from all media and career levels from emerging through established late career artists. Affiliate members participate in all aspects of professional art practice, including design and installation of exhibitions, public relations/publicity, curatorial, accounting, grant and proposal writing, gallery sitting, facilities maintenance, etc.
In its 30 year history, with a membership roster limited to 40 through its current by-laws, OCCCA has exhibited over 800 guest artists and held numerous solo, group and juried shows that have showcased more than 6,000 participants. Affiliate members have shown in more than 600 one-person shows and 300 group exhibitions. In addition, the organization has a long tradition of mounting non-member exhibition and performance projects, and inviting outside curators to organize shows. Over the years, the scope of OCCCA's programming has expanded to include collaborative and exchange projects with other venues throughout the United States and overseas. With the generous assistance and support of the City of Santa Ana, OCCCA was granted title and moved to its current 6,300 square-foot facility. Ownership and member management and control of our gallery makes OCCCA unique in the world of non-profit arts organizations. In the past six years OCCCA has extended its international reach. The new facility has enabled the planning of more ambitious large-scale projects most notably those in the new media areas. Visit the OCCCA's website at ... http://www.occca.org
Posted: 29 Apr 2012 07:36 PM PDT
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