Window Dressing

A window display
Badly Licked Bear, CASSANDRA, Spring 2020

WINDOW DRESSING is an annual cycle of short-term installations presented in the exterior vitrine of the Cerritos College Art Gallery

Catalogs for Previous Cycles:
SPRING 2018 | SPRING 2019 | SPRING 2020 & FALL 2021 | FALL 2022

- SPRING 2024 - 

Window Installation with Classroom Objects
Window Installation with Classroom Objects

Gina M.                                      
SELLING THE NEW NORMAL                                
Jan 7 – Jan 20, 2024

Laid out like a storefront display, Gina M.’s Window Dressing installation, Selling the New Normal, features pieces resembling familiar elements from a classic American classroom, with bright primary colors, blinking lights, chalkboards on the wall, and a patriotic desk supporting a tower of colorful blocks. The sculptures playfully introduce children to a horrific new normal. Look closer. The poem on the American Alphabet reads, “A, begins Assault Rifle, a weapon of war. B, is for Bullet, that shoots through a door.” The soft sound of children's songs plays in the background. Meanwhile, fragments of police radio chatter and breaking news bites drift in intermittently, overpowering the songs, only to fade back afterward. With America's safety protocols in place, the media's modulating repetition of horrific facts, and the ever-increasing frequency of domestic terrorism, gun violence in America is normalized. Selling the New Normal renders the invisible visible, revealing the apathy and indifference toward the emotional well-being and security of the next generation. Each piece in the series reflects a sardonic commentary on the subconscious conditioning of America's children, which normalizes domestic terrorism, while demanding that they simply “deal with it!”

Describing her practice as “whimsy with a dark side,” Gina M. is a sculptor, painter, and found-object assemblage artist using seemingly innocent childhood imagery (like teddy bears, toys, puppets and games) to create reactionary expressions of her inner emotional life. As the child of puppet theater operators, nurtured by puppets and their puppeteers, she developed an affinity for the anthropomorphic, which ultimately helped her cope with and accept the divorce and divide of her family. In college, she studied interior design and color theory at the Fashion Institute of Design, and studio arts at Pasadena City College. She worked on Kent Twitchell’s Colorado One Mural Project, and received private training in painted trompe l'oeil, faux finish, and decorative wall treatments. Her work has been exhibited at Gallery 825, Blue Roof Studios, the Irvine Fine Arts Center, El Camino College Art Gallery, MOAH at the Lancaster Museum of Art, Orange County Center for Contemporary Art, Los Angeles Municipal Art Gallery, and the Boone Family Gallery at Pasadena City College. Her solo exhibition, Through the Toyshop and Behind the Curtain, was featured at the Huntley Gallery at Cal State Pomona College.


Window installation with hanging shirts  
Window installation with hanging shirts

Holly Perez                                                 
Jan 21 – Feb 3, 2024
A number of obvious distinctions exist between the typical storefront window display and the humble backyard clothesline: dream vs reality, new vs used, universal vs individual. Holly Perez’s Window Dressing installation, Ignorant Threads, explores the paradoxical ambiguities that hover between these distinct polarities. A string of flannel shirts spans the entire length of the window display, each clipped to a rope clothesline stretched between makeshift poles held up by simple cement bricks. Each flannel shirt contains a boldly-painted phrase, written in white house paint, exemplifying past stereotypes, judgements, and ignorant comments hurled at, and projected onto, the artist, and many other women as well. For Perez, as a brown-skinned Chicana woman working to escape the molds of what it is to be feminine, these flannels act as a kind of skin; skin that has taken on the role of the protector, absorbing those painful verbal blows. 
Holly Perez is a multimedia artist using her own real-life experiences of trauma as a semiotic framework to explore issues of cultural toxicity, in particular within her own community, including alcoholism, abuse, and excessive consumption. Arguments and conversations become fodder for confrontational reflections on issues that plague society, while objects, textures, and colors operate as stand-ins for familiar situations in need of unpacking. Her artwork seeks to create a physical and mental safe space not just for herself, but for any that can relate to her experiences. Perez holds a degree from Mt. San Antonio College, a BFA from Cal State Fullerton in Drawing and Painting, and a MFA from Claremont Graduate University. She currently serves as faculty at Santa Monica College and Long Beach College, and as an Art Leader at the dA Center for the Arts in Pomona.


Window Installation with Crystal Paintings
Detail of Crystal Paintings

Randi Hokett                                             
Feb 4 – Feb 17, 2024
Randi Hokett thinks a lot about isolation/connection, lust/love, birth/rebirth, volcanoes and plate tectonics, the body, and the junctures between light and dark. Geology and chemistry both currently play a huge role in her artwork. For her Window Dressing installation, Tempest Prognosticator, Hokett will produce a large mineral painting on site covering the entirety of the window gallery space (both walls and the floor) using a variety of humidity-sensitive minerals whose chemistries respond to one another and whose colors fluctuate in response to subtle changes in the humidity, not unlike a kind of giant mood ring. Various elements within the overall composition will slowly change from blue to pink and back again, depending on how the exterior and interior humidity are impacted by variable changes in temperature throughout the day, including the very real possibility of rainy conditions outside. Viewers can repeatedly return to the window to witness (and document) the shifting colors of the giant painting.

Randi Hokett is an artist and Southern California native. She received her BA in Art History from UCLA and her MA in Art History and Museum Studies from USC. Her work has been exhibited at LA Artcore, Irvine Fine Arts Center, Torrance Art Museum, Cerritos College Art Gallery, Sam Francis Gallery, Los Angeles Municipal Art Gallery, Lancaster Museum of Art and History, Finishing Concepts, and Claremont Graduate University Art Gallery.
Loren LeBlanc                                            
Feb 18 – Mar 2, 2024
Loren LeBlanc’s Window Dressing installation, Impossible Binaries, consists of a surreal arrangement of four life-sized figurative sculptures constructed entirely by hand using a 3D printing pen and accentuated with hand-picked dried floral ornamentation. Seeming to defy gravity, these dynamic forms are presented in various evocative gestural poses as a means of exploring personal truths built around a future-focused curiosity and nuanced historical interrogation of the artist’s own lived experience as a young black creative living in contemporary America. 
Loren LeBlanc is an emerging figurative multimedia sculptor currently based in Inglewood, CA. He holds a BA in Studio Art and Economics from Cal Poly Humboldt in Northern California and a MA in Illustration from Arts University of Bournemouth in the south of England. Employing a unique self-taught approach, he fuses handheld 3D printing pen technology with traditional clay sculpting techniques seamlessly, creating intricate, evocative, life-sized figures.

Nube Cruz                                                   
CON EL NOPAL EN LA FRENTE                             
Mar 3 – Mar 16, 2024

Nube Cruz’s Window Dressing installation, Con El Nopal En La Frente (With the Nopal on the Forehead), is a physical manifestation of their ongoing exploration of Nopal Futurity, an art practice that (re)mixes older indigenous technologies and the idea of Indigenous Futurity with a cuir/queer indigena perspective. Recognizing that Amerindigenous peoples have already been living in a post-apocalyptic world since 1492, Cruz’s work seeks to activate the potential for contemporary liberation through the historical reconstruction, and innovative development, of (new) Indigena cosmologies. By excavating the historical invisibility of native people’s advancement of, and contribution to, the technologies of modern society, Cruz hopes to disrupt the standard Western modernist narrative in order to rematriate, retrieve, and reconstruct images and obliterate the borders, legalities, histories, objects, resources, and bodies that have otherwise been co-opted by the colonial gaze. Through sculpture, photography, and performative video documentation, invoking what they call ‘indigie-archivist research,’ their installation will begin the necessary conversation on how the possibilities and potentialities of indigenous futures might be engaged and activated.

Nube Cruz is and artist and activist currently completing their BFA degree at UCLA. They have exhibited in numerous group exhibitions, including We Are Made of the Earth, Our Skin Says So at A+R+T Gallery in Los Angeles, The Aesthetics of Undocumentedness at Dalton Gallery in Atlanta, and The Latinx Project at NYU in New York. The have been a Native American Arts Grantee through the San Francisco Queer Arts Foundation and Galereria de la Raza and have served as an assistant researcher on the UCLA Indigenous Mapping Project. They also work transnationally with indigenous activists in Mexico.
Teresa Flores                                             
Mar 17 – Mar 30, 2024

Teresa Flores is a multidisciplinary artist who explores connections between her Chicana identity and the notion of the California Dream. Through drawing, painting, video, and social practice Flores explores the ways generations of colonialism and assimilation in California have affected families like her own, who can trace their ancestor’s migration along the Pacific coast for generations. In exploring food and movement, collective art making and nurturing, Flores seeks innovative avenues of expression and pathways to healing. Her Window Dressing installation, An Intergenerational Transmission, consists of both window signage and a video presentation. The window signage is constructed from readymade LED neon wiring, wood, nails and hot glue. The sign, which spells out the words We Can Make Our Own, references the idea of collective autonomy and the economics of the Los Angeles artist tradition of the neon sign. The piece is based on a smaller 2017 LED neon sign and fully embraces the makeshift Chicanx practice of rasquachismo by not trying to hide imperfections in the construction process of the sign. Tortilla Burning is a durational video from 2007 that focuses on a single tortilla burning on a stove over a twenty minute period. The burning tortilla is a reflection on colonialism and assimilation in California. The video was created in remembrance of the time the artist’s grandmother spent in the child foster care system in Southern California in the early 1930s, where she was forced to cook and clean for her Mexican-American foster families while being abused and isolated for her indigeneity.  Together, the two artworks celebrate humanity’s will to survive in the face of ferocious and shifting capitalist and imperialist world hegemony. They investigate our capacities to create when in survival mode and make visible the marks and burns of struggle and imperfection. 

East-LA based multimedia artist Teresa Flores is an inaugural Artist-in-Residence for the Dolores Huerta Foundation. Her drawings, paintings, videos, and social practice projects have been featured in Alta Journal, The New Yorker, and NPR and have been presented at the Los Angeles County Museum of Art, Spike Art Quarterly in Berlin, and Galería de la Raza in San Francisco. Flores has also exhibited with Dominique Gallery, Espacio 1839, and has been a featured artist in the annual Venice Family Clinic Art Walk and Auction. Flores studied drawing and painting at Fresno State, original home of the feminist art movement, before receiving her Public Practice MFA from Otis College of Art and Design, where she earned the recognition of Outstanding Alumni. 
Nancy Buchanan                                      
Mar 31 – Apr 13, 2024
During the 2020 presidential race, Nancy Buchanan collected mailers that were sent to her friends solicitating donations for the then-president’s re-election campaign. For her Window Dressing installation, What Does He Owe Us?, she stitched together these printed forms and envelopes and then painted over them to create large-scale murals depicting iconic symbols associated with the greed and boorishness of the Trump presidency: a gilded coronation carriage and an oozing hamburger.

Nancy Buchanan is a conceptual artist working in many forms; her performance works began in 1972, when she was a member of the infamous F Space Gallery in Santa Ana, CA; her earliest videotapes were recorded on open-reel Portapacks; and she also produces installations, drawings, and mixed-media work. She assisted activist Michael Zinzun with his cable access program Message to the Grassroots from 1988-1998 and traveled to Namibia to document that country’s independence from South Africa. Buchanan’s work has been included in exhibitions at the Museum of Modern Art, the New Museum of Contemporary Art, the Museum of Contemporary Art, Los Angeles, the Centre Pompidou, and the Getty Research Institute (where her papers and video works are archived). Buchanan is the recipient of four National Endowment for the Arts Individual Artist grants, a COLA grant, and a Rockefeller Fellowship in New Media. Her work was included in the 58th Carnegie International.