By On the occasion of our 20th anniversary
By Gustavo Arellano
By R. Scott Moxley
By Alfonso Delgado
By Courtney Hamilton
By Joel Beers
By Peter Maguire
By Charles Lam
Re: Rich Kane's "Invasion of the Angry White Rappers" (Music, July 9): We are the angry white rappers, we suck, and we're gettin' paid right now. We're a joke, and no one respects us (record labels, friends, our parents), but we took over KROQ and MTV. Try and stop us; you can't—we're just too jiggy.
Don't worry, though: we'll only be around till the end of this summer.—DJ Josh McIntosh, via e-mail ANGELS IN THE OUTPATIENT
Re: Matt Coker's "The Old Switcheroo" (Scorecard, July 9): Coker is right and has the courage to say what the butt-kissing dailies won't. Not only should the Angels and Dodgers switch managers, as Coker suggests, but how about these modest proposals also?
• Have the Angels and Dodgers petition the league for a "handicap" that allows them to add their runs daily. For example, if both teams lost 3-2, then under the new rules, both win 4-3. This would allow both to compete at the major-league level!
• Since both teams are injury-prone —particularly the Angels to fractures —how about treating them with calcium, vitamin D, estrogen, progesterone, chondroitin and glucosamine for MENopause and osteoporosis?—Michael Arnold Glueck, M.D., Newport Beach SHEAR ART ATTACK
Re: Rebecca Schoenkopf's "Insider Art" article (Art, July 2): After reading Schoenkopf's article, I began to wonder why visual-art spaces are required to answer to different standards than other forms of the arts. As she states, "When Grand Central wants art it feels like bragging about, it imports hip LA artists." Isn't this true for the arts in general? The Orange County Performing Arts Center, Irvine Meadows Amphitheatre and other venues constantly bring in the hip, big names from other towns.
This is the Grand Central's second exhibition in the space, and I am sure in the near future, they will include in their programming exhibitions of Orange County artists. For Schoenkopf to suggest OC artists were not chosen because "they're tainted by their proximity; they work in Santa Ana" is an unfair statement. If she read the main gallery text panel, she would have realized that this exhibition was a "re-curation" of the exhibition "Sig-alert" that was organized by the Arizona State University Art Museum. In choosing works for "Sig-alert 2," Mike McGee and Susan Joyce selected works from the same 21 artists presented in the original exhibition, keeping the integrity and curatorial vision of the first "Sig-alert" exhibition intact.
With a little background checking, or a look at the exhibition Netalogue, Schoenkopf might have also found that six of the artists have strong ties to Orange County. Susan Hornbeak-Ortiz was born and raised in Newport Beach and until recently lived in Corona del Mar (she moved to the Pacific Northwest due to her husband's job). Artist Dan Manns grew up and attended school in Buena Park and then went on to Orange Coast College. Not only has Tyler Stallings worked in Orange County for the past four years, but he also recently moved to the area, ending his daily commutes from Burbank. To top it off, Danielle Abrams, Phyllis Green and Liza Ryan all attended universities in OC.
There are wonderful artists working in Orange County, but like the theme of this exhibition suggests, sometimes you have to find your own ways around the roadblocks. Maybe it is time for OC artists to find new approaches to get their work out there. Like the artists in "Sig-alert 2," who present amazing exhibitions in supermarkets, Department of Motor Vehicles offices and other unassuming locations where the public gathers, the serious artists of OC should stop waiting for people to come to them. It's time for the art scene in OC to get past the stereotype of, to quote Schoenkopf, "desperately presenting hack decorator art as if it were anything at all."—John D. Spiak, Arizona State University Art Museum (born and raised in the great town of Tustin!)
As a tenant of the Santora Arts Building since its opening in 1995, I feel that Schoenkopf's description of the Santora as a sick antelope trailing behind a herd is a bit unfair. Remember that, for better or worse, Santora tenants are simply artists who, through the sale of their work or through their outside jobs, can come up with the rent payments each month. There are no judgmental or curatorial restrictions put on those who want to move in. Consistently great or important work can hardly be expected from a situation like this.
I do find the addition of a new interior-design office/showroom distressing, especially since it took the place of the great Meta Gallery, but in the past year, Max Presneill has moved in and Patrick Webster's shows have brought in students of exhibitors that have been energetic, knowledgeable and great to talk to.—Bob Pece, Pece/Kent Gallery, Santa Ana