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November 2–December 31, 1989 |
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Combining text with found photographs and objects, Gerstler's and Smith's
collaborative installation played off the notion that human beings can
unknowingly bestow their essence on inanimate objects and that these objects
can therefore emanate some of the poignancy and radiance of human
personalities. An artists' book was produced in conjunction with the
exhibition: designed by Jeff Keedy, it included photographs by Jo Ann
Callis, Judy Fiskin, and Anne Turynwere.
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December 1–December 3, 1989 |
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Masterworks of American Chamber Music featured the New CalArts
Twentieth-Century Players, with guest artists Susan Judy, soprano; Paul
Vorwerk, conductor; and Marvin Hayes, narrator. This three-concert series
celebrated music of the early twentieth century by a pivotal generation of
men and women. The concerts explored a diversity of styles—from the populist
to the experimental, from the lyrical to the politically
progressive—reflecting the pluralism of the American experience.
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November 11–November 17, 1989
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Utilizing 3D computer animation rear-projected against two large picture
windows, with each work accompanied by an audio score, Gender Specific
addressed issues of location and gender differentiation. Steinkamp's
installation was presented in conjunction with the Foundation for Art
Resources and Bliss, as part of the citywide Los Angeles Freewaves Video
Festival. |
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November 10 and November 11, 1989 |
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A dance piece choreographed by Davidow and performed by the Pacific Dance
Ensemble took place around and within Williams's sculpture. |
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April 21–May 18, 1989 |
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BonAngeles featured the work of eight artists from Dusseldorf—Hilmar Boehle,
Ernst Hesse, Marcel Hardung, Adolphe Lechtenberg, Annette Leyener, Julia
Lohmann, Wasa Marjanov and Manfred Müller—and combined previously executed pieces with new work created during the artists' four-week residencies at
the Santa Monica Museum. During August, the Museum was converted into an
artists' studio, allowing the visiting artists to respond creatively to a
different culture, new materials, and unfamiliar working conditions. The
residency culminated in the exhibition and a catalog documenting the new
work.
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July 7–9, 14–16, and 21–23, 1989 |
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Rapture Stations in the Virtual Funhouse was a computer-controlled
environment suggestive of an abandoned carnival ground. Visitors were
encouraged to wander and interact during the performances, which had no set
beginning, middle, or end. The acting ensemble featured Theresa Ambronn,
Walter Bagot, Steve Beaty, Robert Daniels, Jay Michael Fraley, John Hill,
Charles Lane, Mark Laska, and Michael Newl; performing scenes were written
by Pulner and Goss, and a live audio score was composed and mixed live by
Zvonar. |
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June 23–July 23, 1989 |
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Presented in conjunction with the Severin Wunderman Museum, this exhibition
featured more than a hundred works by French poet and multimedia artist Jean
Cocteau, including stage design, drawing, painting, ceramics, and sculpture.
This exhibition was part of a year-long celebration honoring the centenary
of Cocteau's birth. |
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June 24–June 28, 1989 |
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Choreographed by Heidi Duckler, Ancient Terrain was a poetic meditation on
the nature of change, time, and the aging process. The performers, ranging
in age from six to eighty-six, danced against a backdrop suggestive of the
slow, seemingly unchanging pattern of the earth's movement. Duckler
conceived Ancient Terrain in collaboration with videographer Hali Paul,
visual artist John Garrett, composer Eric Schmidt, and writer Jim Krusoe.
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