Tag Archives: CalArts

ANNIE SPRINKLE AND BETH STEPHENS — WATER MAKES US WET

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Some voices in the film use the lens of ecosexuality, whereas others use the lens of science. But all of them are trying to find ways to keep water clean and accessible. Because of this, almost all of the people in the film are concerned with justice. — Beth Stephens

Join filmmakers and partners Annie Sprinkle and Beth Stephens in conversation following a fundraising online screening of WATER MAKES US WET—AN ECOSEXUAL ADVENTURE, which will benefit future programming at Highways.

The event includes pre-show music by Jimi Cabeza de Vaca and Nora Keyes, an introduction by John Fleck, Highways director-curator Leo Garcia, and Film Maudit curator Patrick Kennelly, a conversation with Fleck about the documentary John Fleck is Who You Want Him to Be, and a proclamation by Kristina Wong. Performing participants following the film include Balitrónica and a presentation of Manifesto by Guillermo Gómez-Peña.

See link below for details.

LET’S GET WET—A HIGHWAYS FUNDRAISING EVENT

Available from Saturday, January 23.

6 pm on the West Coast; 9 pm East Coast.

From top: Beth Stephens (left) and Annie Sprinkle, courtesy and © the artists; Water Makes Us Wet (2019) poster courtesy and © Juno Films; John Fleck, photograph by Steve Gunther, courtesy and © the photographer and CalArts; Sprinkle and Stephens, courtesy and © the artists.

HENRY TAYLOR FOR CALARTS

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Henry Taylor’s forthcoming edition for 50 + 50—A CREATIVE CENTURY FROM CHOUINARD TO CALARTS is—in the words of the artist—a “cover” of John Baldessari.

See Henry Taylor, Untitled, 2020 for purchasing information.

From top: Henry Taylor, Untitled (detail), 2020, image © Henry Taylor, courtesy of the artist, printed by El Nopal Press, published by Lisa Ivorian-Jones for #CalArts#50plus50 @ Hauser & Wirth Los Angeles; image close-up courtesy and © Henry Taylor and CalArts; Henry Taylor with his 50+50 artist edition, Untitled, photograph by Fredrik Nilsen, image © Henry Taylor, courtesy of the artist.

CALARTS WINTER DANCE — REPERTORY / TRAJECTORY

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This year, the CalArts Winter Dance—presented with Redcat—will be online, “an immersive, digital performance… synthesizing the embodied memories of the faculty and students… charting [their] personal and shared histories with fresh insights through cutting-edge cartographies, [imagining] new dances in new forms through new technologies”*

Works by Holley Farmer (Bricolage), Rosanna Gamson / World Wide (vignettes from As Yet Untitled), Yusha-Marie Sorzano (Threat), Spenser Theberge (Fit), and Sam Wentz (the proximity dance), are scheduled for this weekend. See link below for details.

CALARTS WINTER DANCE—REPERTORY / TRAJECTORY*

Sharon Disney Lund Dance Series, co-presented with Redcat

Friday, December 4, at 8:30 pm PST.

Saturday, December 5, at 4 pm PST.

From top: Yusha-Marie Sorzano, photograph by Eric Politzer; Holley Farmer, image courtesy The Pool, the CalArts alumni magazine; Rosanna Gamson / World Wide, Sugar Houses, photograph by Rebecca Green; Winter Dance Concert; Spenser Theberge, photograph by Jacob Jonas; Sam Wentz, photograph by Anca Brizan. Images courtesy and © the artists, the photographers, CalArts, and Redcat.

50 + 50 — CHOUINARD TO CALARTS

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50 + 50—A CREATIVE CENTURY FROM CHOUINARD TO CALARTS is an artist-led scholarship endowment initiative and exhibition series anticipating the fiftieth anniversary of California Institute of the Arts and the centenary of Chouinard Art Institute, which was founded in 1921.

Fifty artist alumni will participate in the five-year program. The first group of artists includes John Baldessari, Anne Collier, Laddie John Dill, Joe Goode, Naotaka Hiro, Tony Oursler, Gala Porras-Kim, Stephen Prina, Barbara T. Smith, and Carrie Mae Weems. 

The inaugural group of works were on view this spring at Redcat, and can now be seen in the Frieze Viewing Room, the virtual gallery space of Frieze New York 2020.

And check out the CalArts Expo 2020.

From top: Barbara T. Smith, Invisible, 2018, blown glass, water, and cotton rope; Carrie Mae Weems, Queen B, 2018–2019, archival digital print; Gala Porras-Kim, Composite Artifact, 2019, Southwest stone, foam, acrylic paint, metal, wood. Artworks photographed by Joshua White. CalArts, unknown photographer, circa 1971–1972, black and white photograph, courtesy and © California Institute of the Arts Archives Photographic Materials Collection. Anne Collier, Aura (John Baldessari 2003), 2018, C-print, courtesy of the artist. Images courtesy and © the artists and published for CalArts by Lisa Ivorian-Jones.

FULL PINK MOON — OPERA POVERA IN QUARANTINE

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Experience and participate in FULL PINK MOON—OPERA POVERA IN QUARANTINE—a livestream durational opera with a score comprised of Pauline Oliveros’ composition The Lunar Opera: Deep Listening for _Tunes, with an original libretto and story by IONE.

The event is a fundraiser for the Equal Sound Corona Relief Fund, which is raising money to help musicians financially affected by the Covid-19 pandemic.

Over 250 artists are expected to join together for this event—a call to arms to the community to harness livestream technology in this time of crisis. To participate, sign in here.

There will also be a livestream pre-event discussion with artists and musicians, including Ron Athey, George Lewis, and Sean Griffin.

Full Pink Moon is co-sponsored by the University of Chicago’s Gray Center for Arts & Inquiry and California Institute of the Arts.

FULL PINK MOON—OPERA POVERA IN QUARANTINE

Tuesday, April 7.

Pre-opera discussion

5 pm on the West Coast; 8 pm East Coast.

Opera performance

6 pm to midnight on the West Coast; 9 pm to 1 am East Coast.

From top: Sean Griffin, Dramaturgical Sketch 1 for Full Pink Moon, courtesy and © the artist and Opera Povera; Pauline Oliveros; poster courtesy and © Opera Povera; Griffin, Dramaturgical Sketch 2 for Full Pink Moon, courtesy and © the artist and Opera Povera.