Proceso is the second of two catalogs representing Einar and Jamex de la Torre's exhibition, Fall of Empire, which was held at Cal State Fullerton's Main Art Gallery in the spring of 2005. Proceso features exciting images of the collaboration between Cal State Fullerton students and the artists, Fall of Empire exhibition installation photographs, as well as an interview with Einar and Jamex de la Torre and exhibition curator John Leighton, and also comments from the students on their experiences working with the de la Torre brothers. Fall of Empire was an exhibition in two parts: a sampling of the artists' artworks from the past ten years, and a site specific installation that provides a humorous and, at times, critical comment on the declined and declining empires â€“ both historical and contemporary. To describe their own work, the de la Torre brothers have said, ""As Mexican-American bicultural artists, we are on the one hand influenced by the morbid humor of Mexican folk art, the absurd pageantry of Catholicism, and machismo; on the other hand, we are equally fascinated by the American culture of excess: its pornographic materialism, its blow-up doll aesthetic, and most of all, its lingering Puritanism.

Einar & Jamex de la Torre: Proceso

Arts & Photography

Individual Artists

Grand Central Press

John Paul Jones: The Pursuit of Beauty's Perfect Proof is a beautiful hard cover edition of 207 pages, featuring full-color images of Jonesâ€™ artwork, as well as essays by Susan Landauer (American Art writer and former chief curator of the San Jose Museum of Art) and exhibition curator Mike McGee (Professor of Art, California State University, Fullerton). Published in 2009 in conjunction with the exhibition John Paul Jones: A Retrospective.

John Paul Jones: The Pursuit Of Beauty's Perfect Proof

Published by Cal State Fullerton, the exhibitionâ€™s fully illustrated 107-page catalog for Redefining the Line: Art Nouveau &amp; the Female Figure is now available. The superb layouts in the catalog are filled with gorgeous images of the exhibited artworks, artist biographies, installation images, and scholarly essays by Annie Buckley and Joanna Roche. Also included are essays by Begovich Gallery Director Mike McGee and exhibition curators Alexandra Duron and Sarah Stozza. Designed by Paul Lam, Shana Lengyl, and Sawako Naganuma under the guidance of CSUF Graphic Design Professor Theron Moore, the catalog is a stunning record of the amazing artists and artworks from this well-received and highly lauded exhibition.

Redefining the Line: Art Nouveau & the Female Figure

Kerciu rose to prominence in the art world in 1963 after a solo exhibition at the University of Mississippi. On exhibit was a series of paintings that depicted the Confederate flag surrounded by segregationist slogans that were being echoed around him. These works were a response to the unrest that ensued as the institution attempted to desegregate. Kerciu was arrested and charged with desecration of the Confederate flag. This ushered in a brief period of intense media attention, and Kerciu was featured in publications such as Artnews and Time magazine. The following year Kerciu was to head the printmaking department at what is now California State University, Fullerton where he taught until his retirement in 2002. During that time he was featured as a guest artist in prestigious print houses such as Tamarind Lithography in Los Angeles and the Stanley William Hayter Atelier 17 in Paris. He later became interested in working with stained glass and for a time worked almost exclusively with that art form.More than fifty years after his whirlwind introduction into the art world Kerciu remains committed to his art. His latest, The Tower series, is a body of work that defines three-dimensional forms through the exclusive use of line. It has evolved from paintings featuring the pyramid, which later progressed into sculptural exploration of the pyramid and obelisk, and eventually into his most recent architectural towers. This latest endeavor stems from Kerciuâ€™s aim to continually artistically challenge himself. His tireless pursuit of innovation in material, from and subject can be witnessed in this celebration of the artistâ€™s long and diverse artistic career. The exhibition will feature more than fifty works including paintings, prints, glasswork and sculpture from all phases of the artistâ€™s development.

G. Ray Kerciu: Radical Retrospective

McGee, Mike

This publication is produced in conjunction with the exhibition Robert Henriâ€™s California Realism, Race, and Region, 1914-1925 presented by the Laguna Art Museum. The exhibition and this 130-page hardcover book constitute the first examination of the years the legendary American artist spent in California. The authors of this lavishly illustrated book are Derrick Cartwright, who organized the exhibition, a distinguished scholar of American art, and the Henri authority Valerie Leeds. Their essays challenge prevailing accounts of Henriâ€™s career, looking carefully at his motivations for working in Southern California while comparing this specific output to his broader oeuvre. The authorsâ€™ close analysis of how Henriâ€™s painting changed as a result of his California travels reveals the lasting impact of this experience. This publication is enhanced by rare documentation, including selections from Henriâ€™s own illustrated correspondence, photographic snapshots of his time in the region, and other period texts. This publication represents a unique opportunity to assess an acknowledged master of modern American art in new terms and with important insights into his legacy for California art history. Robert Henri made his first plans to visit California a century ago. â€œWestward Ho!â€ he exclaimed in 1914 in a letter to his former student, Alice Klauber, who lived in San Diego. Henriâ€™s eagerness was rooted in his quest for new settings and fresh subjects. â€œI am now quite convinced that San Diego is one of the most interesting and beautiful places in the world and we shall head that way and will not be convinced otherwise until we have seen the place and have been turned away,â€ he wrote. Henri arrived in June and spent most of the latter part of 1914 living in an Irving Gill-designed cottage above La Jolla Cove. During these months the New York artist gave demonstrations to local artist groups, sent canvases to exhibitions in Los Angeles, New York, and San Francisco, helped Klauber conceive of a complex fine art program for the Panama California Exposition then being planned for 1915 in the cityâ€™s Balboa Park, wrote numerous letters to acquaintances in New York, and scripted theoretical texts about his aims for portraiture and exhibition practice. He also painted dozens of portraits of the local population, as well as at least one view of the Pacific Ocean swells outside his front door. After a busy summer and fall, he returned to New York in October of that year. Although Henri subsequently became a frequent visitor to Santa Fe, New Mexico, he chose not to return to Southern California until the summer of 1922, and then he stopped only briefly. He came just once more to the West Coast, in January of1925. On both of these latter occasions he remained in Los Angeles, painting portrait commissions for the families of local business leaders and some Hollywood celebrities. The artistâ€™s choice of sitters in LA sharply contrasts with his San Diego focus. A decade earlier his subjects amounted to a remarkable cross-section of the regionâ€™s ethnic diversity. In La Jolla, Chinese-Americans, Mexican-Americans, Native American, and African-Americans had all sat for brightly colored portraits. While there are numerous studies of the artistâ€™s peripatetic natureâ€”recent exhibitions have considered his travels in Spain, Ireland, and France, as well as New York, Santa Fe, and Maineâ€”Henriâ€™s interest in Southern California has never been fully evaluated. The small select exhibition and this accompanying publication Robert Henriâ€™s California, Realism, Race, and Region 1914-1925 corrects this historical oversight, bringing together for the first time a number of the works that Henri produced during his sojourns in San Diego and Los Angeles. As statements of his complex realist ideas, the paintings relate a fascinating story of his shifting concerns as an artist and the developing face of the region.

Robert Henri's California: Realism, Race and Region 1914-1925

Leeds, Valerie Ann

Cartwright, Derrick R.

"BC Space: Mything in ActionThis catalog highlights the thirty-seven year history of BC Space. As much a mental space as it is a physical space, BC -- representing the initials of founders Jerry Burchfield and Mark Chamberlain -- is the oldest established gallery in Orange County. Located on the second floor above a commercial storefront on Forest Avenue in downtown Laguna Beach, BC Space began as a commercial photo lab and studio. Through the dedication of Chamberlain and Burchfield, this high quality photo lab soon transformed into a scarcely-for-profit art gallery, performance hall, public meeting place and a headquarters for community documentation projects and social activism. The most famous project to emerge from BC Space is the fifteen phase, three decades long Laguna Canyon Project-which garnered national media attention including Life magazine and TV coverage, involved thousands of Southern California residents, and ultimately saved the canyon from development.BC Space: Mything in Action features artwork by forty-five artists who exhibited at the gallery over the past four decades and helped advance the reputation of BC Space as a venue for artists engaging in often controversial ideas. The catalog documents the substantial role BC Space played in Southern California promoting photography as a fine art medium and ambitious projects such as the Laguna Canyon Project and Legacy Project documenting the transformation of the El Toro Marine Corps Air Station into the Great Park of Orange County.Featured artists:Marsha Adams, Roger Armstrong, Steve Axelrad, Barbara Berk, George Blakely, Angie Bray, Jerry Burchfield, Jack Butler, Mark Chamberlain, Jim Cokas, Eileen Cowin, Darryl Curran, Jorg Dubin, Greg Erf, Jacques Garnier, Suda House, Graham Howe, Mark Johnstone, Harold Jones, Robert Ketchum, Lynn Kubasek, Victor Landweber, James Lerager, Greg MacGregor, Mary Ellen Mark, Douglas McCulloh, Jerry McGrath, Patrick Nagatani, Thomas Neff, Jocey Neimanus, Kenda North, Sheila Pinkel, Susan Rankaitis, Andrew Savulich, Lonny Shavelson, Ilene Segalove, John Sexton, Clayton Spada, Partick Sparkuhl, Jim Stone, Arthur Taussig, Richard Turner, Jo Whaley, Andy Wing, Mihoko Yamagata, Eadweard R. York *In remembrance of co-founder Jerry Burchfield who passed away September 11, 2009"

BC Space: Mything In Action

Collections, Catalogs & Exhibitions

La Obra is the first of two catalogs representing Einar and Jamex de la Torre's exhibition, Fall of Empire, which was held at Cal State Fullerton's Main Art Gallery in the spring of 2005. La Obra focuses on the artwork from the exhibition, along with essays by Cal State Fullerton Glass Program Director and exhibition curator John Leighton, and Cal State Fullerton Main Art Gallery Director Mike McGee. Fall of Empire was an exhibition in two parts: a sampling of the artists' artworks from the past ten years, and a site specific installation that provides a humorous and, at times, critical comment on the declined and declining empires – both historical and contemporary. To describe their own work, the de la Torre brothers have said, ""As Mexican-American bicultural artists, we are on the one hand influenced by the morbid humor of Mexican folk art, the absurd pageantry of Catholicism, and machismo; on the other hand, we are equally fascinated by the American culture of excess: its pornographic materialism, its blow-up doll aesthetic, and most of all, its lingering Puritanism.

Einar & Jamex de la Torre: La Obra

Laguna Art Museum is proud to organize the first comprehensive exhibition of the work of a key figure in twentieth-century California art, Helen Lundeberg (1908-1999). Featuring approximately sixty to seventy paintings, it will survey Lundebergâ€™s career systematically, beginning with her landmark Post-Surrealist paintings of the 1930s. With her teacher and later husband Lorser Feitelson, she organized the Post-Surrealist group, the first of its kind in the United States, and wrote its manifesto. Though exploring psychology and personal expression, the Post-Surrealists aimed to bring a greater sense of order and control to European Surrealism and originally styled themselves New Classicists. By the late 1950s Lundeberg was working on a larger scale. She simplified her style into broad, flat areas of color and, though never a pure abstractionist, played a key part in the â€œhard-edgeâ€ tendency in mid-century painting. Bringing de Chirico-like ambiguities of space to architectural and landscape compositions, she preserved the enigmatic mood of her earlier, surrealistic imagery.

HELEN LUNDEBERG: A RETROSPECTIVE

Duncan, MIchael

Warner, Malcolm

For more than fifty years, Roland Reiss has been a prominent presence in the Southern California art scene. His sculpture and painting have been exhibited internationally and written about extensively in art publications in the United States and Europe. During his career, he has been an influential educator. This 260-page book is published in conjunction with the exhibition Roland Reiss: Sculpture and Painting presented at the Cal State Fullerton, University Lee and Nicolas Begovich Gallery. (November 8-December 11, 2014) The exhibition is the first survey of Reissâ€™ work to include works from all the periods of his career, and this publication represents the most extensive examination of his work to date. It includes essays by Orange County Museum of Art chief curator, Dan Cameron; Los Angeles County Museum of Art, curator emeritus, Howard Fox; New Zealand art writer, Lita Barrie; and Begovich Gallery director and curator of this exhibition, Mike McGee. Reiss began his career in the 1950s creating abstract paintings. In the1960s he was one of the first artists to experiment with resins and other plastic media. He is best known for his tableaus, which feature dollhouse-scale environments that address sophisticated issues about the human condition and social conventions. In the past two decades he has returned to painting. Initially these paintings were abstract. Since 2008, however, he has been painting a series of floral painting. Reiss showed his work at Cirrus Gallery in the 1977 before he joined Ace Gallery in 1980. At Ace Gallery he had numerous one-person shows over the period of fourteen years, during which time that gallery represented him exclusively. In the course of his career, he has shown at Documenta (1982) in Kassel Germany and at the Whitney Biennial Exhibition (1975). Earlier, his work was traveled around the world by the United States Information Agency. He has exhibited in a one-person shows at the Los Angeles County Museum of Art (1977) and in an extensive retrospective exhibition at the Los Angeles Municipal Art Gallery (1991). In 2012, the Pasadena Museum of California Art mounted a large one-person show of his work from the 1970s and 1980s. Additional exhibitions include shows in Great Britain, South Korea, Belarus, Turkey, the Czech Republic, Brazil, Mexico, China, Canada, Italy, Germany, Japan, and Taiwan. He is the recipient of four N.E.A. grants and of more than forty prizes and awards. His work is included in many public, corporate, and private collections, such as the Museum of Contemporary Art, Los Angeles, and the Los Angeles County Museum of Art. Reiss studied at the American Academy of Art and at UCLA. He taught at UCLA, the University of Colorado, and Claremont Graduate University. In 2009 he received the College Art Association Award for the Distinguished Teaching of Art.

Roland Reiss: Painting & Sculpture

The Hearsay: Artists Reveal Urban Legends exhibition catalog includes 37 artists who created artwork based on an urban legend with special significance to them. Each work is accompanied by the artistâ€™s bio and text explaining the artistâ€™s personal connection to their chosen urban legend. Urban legends serve as our modern day mythology. Based on cultural traditions and morality tales, these stories prey upon our collective fears and provoke strong, emotional responses. Traditionally, in order for these legends to survive, a mix of text and imagery was used in storytelling, heightening the power of the legend as it passed down through generations. More recently, the Internet has encouraged the rapid dissemination of these modern legends, many of which can be traced back to the original folklore that inspired them. Artists include: Llyn Foulkes, Laurie Lipton, Naida Osline, Victoria Reynolds, Jim Shaw, Jeffrey Vallance, Marnie Weber, Chris Wilder, and Robert Williams. Encompassing a wide range of mediums, including painting, sculpture, photography and video, in order to capture the essence of each urban legend. Author and urban legends expert Jan Brunvand and art writers Tyler Stallings, Doug Harvey, and Mat Gleason will contribute essays. The catalog will also include essays by both curators as well as full color images of the artwork and short statements from each artist discussing their work in the exhibition.

Hearsay: Artists Reveal Urban Legends

Brunvand PhD, Jan Harold

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