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DTSTART;VALUE=DATE:20180404
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SUMMARY:Alan Nakagawa: Peace Resonance & Conical Sound
DESCRIPTION:WORLD PREMIER of PEACE RESONANCE; HIROSHIMA/ WENDOVER and CONICAL SOUND; ANTONI GAUDI/ SIMON RODIA \n3 showings on April 4th\, at 12:00 PM\, 6:00 PM and 8:00 PM \nfree event \nDescription; Two vibratory sound works and screening of two video documentary shorts \nTactile sound experience; the soundscapes are composed for amplification into an interior space utilizing a three-speaker configuration at mid-high to high volume. Audience members are given a pair of ear plugs and a balloon. The ear plugs help the audience focus on the tactile nature of sound waves. The balloon is held at finger tips while the soundscape plays. For this event\, audience members can walk around the room\, playing with the effects to the balloon and body proximity to each speaker. The intention is to illustrate the three-dimensionality of the recording and since the audio is a mash-up of two spaces\, it’s a way to experience an imaginary space; two different locations\, two different moments in time\, the work of two different artists combined into one space\, a neo-space of invisible architecture. \n1) PEACE RESONANCE; Hiroshima/ Wendover is a three-point audio presentation that links the Hiroshima Atomic Dome to the Wendover Hangar. It’s about history\, immigration\, resilience and time. Peace Resonance is my portrait of what it means to be Japanese-American as it relates to post-WWII America. \n“My family is from Hiroshima\, Japan. They immigrated to the US in 1957. I was the first US born family member and grew up with the ‘ghost’ of their WWII history. As my art career grew so did my commitment to develop an artwork about our historical and personal connection to Hiroshima and the Atomic Bomb but it took decades for me to find a path into the subject matter.” \n2) CONICAL SOUND; ANTONI GAUDI/ SIMON RODIA is a three-point field recording-based sound experience\, combining the interior acoustics of the Sagrada Familia (by Antoni Gaudi/ Barcelona\, Spain) and Watts Towers (by Simon Rodia/ Watts Towers\, Los Angeles CA). \n“When I was in the fourth grade at Wilton Place Elementary School in Los Angeles\, I was in the school library looking through books and discovered Antoni Gaudi’s work in Barcelona. The organic forms and use of broken tile made me wonder if Gaudi had plagiarized the work of our local icon\, Watts Towers created by Simon Rodia. \n“Four decades later\, I was given the opportunity to travel anywhere to do research and remembered this moment in the fourth grade. Through the guidance of a network of supporters\, I was able to arrange a residency at the University of Barcelona where a relationship with many of Gaudi’s buildings was already established. In 2013\, I and a crew of artists and professors from the University’s Sound Art Master’s Program entered the Sagrada Familia and conducted a three-point audio recording of the interior acoustics. Later that year\, I was also given permission to conduct a similar recording at Watts Towers.” \nAlan Nakagawa is an interdisciplinary artist primarily working with sound\, occasionally incorporating video\, sculpture\, drawing\, paint\, performance\, food and most recently perfumes. He recently completed an exhibition at Visitor Welcome Center in Los Angeles that\, in part\, presented a survey of work produced at artist residencies from the past five years including residencies with the Los Angeles Department of Transportation (2016-17)\, LA Great Streets (2017-18)\, the Getty Villa (2016)\, Smithsonian Museum of American History (2015)\, Cerritos College Printmaking Studio (2017)\, Echo Park Film Center (2017) and the University of Barcelona (2013). \nSPONSORSHIP: \nPeace Resonance; Hiroshima/ Wendover and Conical Sound; Antoni Gaudi/ Simon Rodia are made possible in part by the City of Los Angeles Department of Cultural Affairs\, Art Matters\, Center for Land Use Interpretation\, University of Barcelona\, Watts Towers Art Center\, City of Hiroshima\, Smithsonian Museum of American History\, Wendover Airport\, KCET\, MacDowell Art Colony\, Japanese American Cultural and Community Center and the Consulate General of Japan. \nHuman Resources was founded in 2010 by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art\, with an emphasis on performative and underexposed modes of expression. Human Resources is not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms. \nFor more information contact: Human Resources info@humanresourcesla or\nAlan Nakagawa\, cafelala@yahoo.com
URL:https://www.h-r.la/event/alan-nakagawa-peace-resonance-conical-sound/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20180405
DTEND;VALUE=DATE:20180424
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SUMMARY:COSM\, ORGANIZATION-CONSTRUCTION\, SECOND INSTANCE: ANJA WEISER FLOWER
DESCRIPTION:  \nVOLUME and Human Resources are pleased to announce “Cosm\, Organization-Construction\, Second Instance\,” an exhibition of new work by Bay Area artist Anja Weiser Flower\, curated by VOLUME member Jared Baxter. The main exhibition space of Human Resources\, formerly a movie theater\, will be completely darkened\, with Flower’s work\, a new iteration of an ongoing project\, illuminated by a single hanging light. Presented in its “first instance” at Odium Fati in San Francisco in 2016\, the work asserts a receding point of fixation beyond naming. It is a place to trap yourself into heavenly orbit of the possibility of making universal\, real human community\, bringing an end to the world of whiteness\, (cis)gender\, disablement\, and pervasive social alienation\, and unifying human action and knowledge: to face the cosmos. With this orienting device\, we might come together for a moment to consider the proletarian possibility of a universal flowering\, the beginning of a world. \nVOLUME will host seven musical events over the course of the show’s run\, and the last four days of the exhibition will feature an interactive sound installation by Stephanie Cheng Smith. In keeping with Flower’s exploration of both spatial concentration and spatial orientation\, the event program is roughly divided between improvisational\, instrumental\, and electro-acoustic performances and multi-channel electronic work by leading artists in their respective fields. With an aim to opening up possibilities for engagement outside of the traditional performer-audience relationship\, audiences of each performance will have the chance to freely organize themselves in relation to the sound and the space. \nThis exhibition is intended to be accessible to users of wheelchairs and other accessibility devices.  Human Resources’ front entrance has one step\, and they have a folding wheelchair ramp. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. All events will take place in darkness\, with Flower’s work as the main source of illumination\, and other\, minor lighting sources as needed for a particular performance. Please contact Human Resources with any accessibility questions or requests. \nGallery hours: Wed-Sun\, 12pm-6pm. \nEvent calendar: \n5 April 2018\, 8pm – Opening reception with quadrophonic sound performance by Elsa Trash \n7 April 2018\, 8pm – Extended improvisational performance by pianist Vicki Ray \n12 April 2018\, 8pm – Quadrophonic electronic performances by Igor Amokian\, Zzyzxzyzz\, and O.C.D. \n14 April 2018\, 8pm – Spatialized electro-acoustic performance by guitarist Nicholas Deyoe and trombonist Matt Barbier \n18 April 2018\, 8pm – Quadrophonic electro-acoustic performance by Stephanie Cheng Smith \n19-22 April 2018\, 12pm-6pm – Interactive sound installation by Stephanie Cheng Smith \n21 April 2018\, 8pm – Quadrophonic sound installation by Richard Chartier \n22 April 2018\, 8pm – Closing reception with John Cage’s “Ryoanji” performed by flutist Christine Tavolacci and percussionist Ted Byrnes \n  \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to knot together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos.  \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc. \nABOUT ELSA TRASH \nOver the last 15 years\, Elsa Trash has worked in media including musical and non-musical sound\, drawing\, painting\, sculpture\, video\, zines and comics. Her latest music/sound projects are Painwife\, Scissoring\, S.A.D.\, and Inverts\, and she was part of the 2017 exhibition Soundtracks at the San Francisco Museum of Modern Art. She lives in Oakland\, California. \nABOUT VICKI RAY \nDescribed as “phenomenal and fearless\,” Vicki Ray is a pianist\, improviser\, and composer. She has commissioned and premiered countless new works by today’s leading composers. Ray is a founding member of Piano Spheres and head of keyboard studies at the California Institute of the Arts where she was named the first recipient of the Hal Blaine Chair in Musical Performance. She has appeared on numerous international festivals and is a regular member of the faculty at the Bang On a Can Summer Festival at MASS MoCA. Ray has been featured on the Los Angeles Philharmonic Green Umbrella Series as soloist and collaborative artist. Her widely varied performing and recording career covers the gamut of new and old music: from Boulez to Reich\, Wadada Leo Smith to Beethoven. Notable recordings include the first Canadian disc of Schoenberg’s Pierrot Lunaire with the Blue Rider Ensemble\, the premiere recordings of Steve Reich’s You Are (Variations) and the Daniel Variations with the Los Angeles Master Chorale and the first recording of John Cage’s Europeras 3 and 4. Her recording of Cage’s The Ten Thousand Things on Microfest Records received a 2013 Grammy nomination. Recent recordings include the premiere recording of Andrew Norman’s Sonnets with Eighth Blackbird’s Nick Photinos on the New Amsterdam label\, Daniel Lentz’s River of 1000 Streams on Cold Blue and YAR – a duo recording on the Orenda label with slide guitarist Scot Ray. \nABOUT IGOR AMOKIAN \nIgor Amokian – circuit bending producer cross blends various genres of electronic beats\, music\, and noise\, exploring random realms of sounds with his audiences as his machines usually take over. A wide mix of Igor Amokian sounds and music can be found all over Bandcamp and Soundcloud. Hundreds of Igor Amokian circuit bending videos are posted on YouTube. \nABOUT ZZYZXZYZZ \nZzyzxzyzz is a collaborative listening experiment conducted by Aaron Bartell and Ian Wellman\, currently focused on the electromagnetic sounds of everyday objects. The project explores an often unheard sonic landscape in the post-industrial world. Aaron Bartell\, AKA AnalScubaHive\, is a sound artist and co-founder of Triptronics Research\, a biweekly experimental electronics series in Los Angeles. Ian Wellman is an IATSE Local 695 production sound mixer and field recordist. \nABOUT O.C.D. \nO.C.D. or Obsessive Compulsive Disorder is the alias of Los Angeles-based musician Mark Taylor. His music can be described as experimental electronic music with elements of techno\, psychedelic rock\, dub\, Krautrock\, ambient music\, noise\, and black metal. He is currently working on a collaboration with Madlib and finishing up a new album.  \nSome of his influences include Skullflower\, COIL\, GAS\, Autechre\, Philip Jeck\, Demdike Stare\, King Tubby\, Keith Hudson\, Destroy All Monsters\, Aphex Twin\, Darkthrone\, Paysage D’Hiver\, Boredoms\, Lustmord\, Ash Ra Temple\, Faust\, and Popol Vuh.  \nUtilizing recordings of synthesizers\, electric guitar\, and samples\, Mark’s sound has the ability to transport the listener to a different place through repetition\, loud volume\, and subtle manipulation of recorded samples to dizzying effect. His music can induce trance like listening experiences while at other times abruptly changing direction on the fly resulting in wild and unpredictable sonic experiences. On stage\, Mark primarily uses recording samplers to achieve his live sounds. He has played consistently around the LA area for over a year now and has opened for Jan Jelinek\, Kid606\, Yann Novak\, Richard Chartier\, Robert Crouch and SFV Acid.  \nABOUT NICHOLAS DEYOE \nNicholas Deyoe is a Los Angeles based composer\, conductor\, and guitarist\, and is the Co–Founder and Artistic Director of the wasteLAnd concert series.  His music has been called “intriguingly complex and excitedly lush” by the LA Times. The New York Times wrote that Deyoe’s a new(er) anxiety “contrasted filigree lightness and explosive loudness…without seeming to strain for effect.” Drawn to sounds that are inherently physical\, Nicholas strives to create music that engages listeners intellectually and emotionally by appealing to their inner physicality.  His compositions combine uses of noise\, delicacy\, drama\, fantasy\, brutality\, and lyricism to create a diverse sonic experience. As a guitarist\, Nicholas strives to further the already vast sound world of the electric guitar by experimenting with microtonal tunings\, preparation\, bows\, and beer cans. He has received commissions from The LA Philharmonic\, Carnegie Hall\, USINESONORE Festival\, The La Jolla Symphony\, Palimpsest\, and several soloists.  His music has been performed in throughout North America\, Europe\, and Japan. As a conductor\, Nicholas has performed with wasteLAnd\, ICE\, The La Jolla Symphony Orchestra\, Red Fish Blue Fish\, Ensemble Ascolta\, The Darmstadt Preisträgerensemble\, Noise\, The University of Northern Colorado Symphony Orchestra\, and many ad-hoc ensembles in the United States and Germany. He holds a Ph.D. in composition from UC San Diego where he studied with Roger Reynolds.  Nicholas is currently on faculty at California Institute of the Arts where he conducts The Ensemble and teaches composition. \nABOUT MATT BARBIER \nMatt Barbier is an LA based trombonist and composer focused on experimental intonation\, noise\, and the physical processes of his instrument. His playing has been described by the LA Times as being “of intense\, brilliant\, virtuosic growling that gave the striking impression that Barbier was dismantling the instrument while playing it.” \nTo encourage new repertoire and the expansion of his instrument\, Matt engages in collaborative relationships with a range of composers including Wolfgang von Schweinitz\, Michelle Lou\, Nicholas Deyoe\, David Brynjar Franzson\, Timothy McCormack\, and Katherine Young. He has also given world premieres of works by a wide spectrum of composers including Katharina Rosenberger\, Richard Barrett\, Catherine Lamb\, James Tenney\, Anne LeBaron\, Scott Walker\, and Jürg Frey. \nMatt is a founding member of gnarwhallaby\, the low brass duo\, RAGE Thormbones\, with Weston Olencki\, Trio Kobayashi\, wildUp\, and is an assistant director of wasteLAnd music. Matt is a member of the performing arts faculty at CalArts and teaches trombone and euphonium at Los Angeles City College (LACC). \nMatt has performed for the Monday Evening Concerts\, LA Phil’s Green Umbrella\, Internationales Musikinstitut Darmstadt\, Dartington International Summer School\, the Museum of Jurassic Technology\, Hamburg’s KlangWerkTage and Kampnagel\, Berlin’s 7Hours\, Palimpsest Ensemble\, InAuthentica\, Carnegie’s Zankel Hall\, the New Century Players\, and The Ensemble at CalArts\, as well as presenting guest lectures at CalArts\, UCSD\, UCSB\, University of British Columbia\, and Simon Fraser University. He has also been in residence at Harvard (HGNM)\, UCSD\, Stanford\, CalArts\, UCSC\, Columbia\, NYU\, and UCLA. Matt has recorded works for release of Populist\, Mode\, Hat Hut\, and Innova Records. Additionally\, he has released a technical manual for composers and trombonists on the production and compositional integration of lip multiphonics and split tones. \nAs a composer he has written music and created sound installations for The Factory Seconds Brass Trio\, WasteLAnd\, gnarwhallaby\, RAGE Thormbones\, the Museum of Jurassic Technology\, SASSAS\, Machine Project\, LACMA\, the Los Angeles Trombone Collective\,  and the Getty Villa\, as well as engaging in a long term collaborative relationship with digital media artist Tom Leeser. \nHis trombone teachers include Richard Stout\, James Miller\, Michael Svoboda\, Alex Iles and Dick Erb. He studied composition with Ulrich Krieger and Wolfgang von Schweinitz. Matt received a MFA from CalArts. \nABOUT STEPHANIE CHENG SMITH \nStephanie Cheng Smith is a composer\, performer and programmer who creates interactive pieces\, installations\, improvisations and through-composed works. She often uses electronics\, violin and light\, and her latest explorations with motor arrays have been featured in the 2016 issue of Experimental Music Yearbook. Smith’s performances and residencies include Studio for Electro-Instrumental Music (STEIM\, Amsterdam)\, PACT Zollverein (Essen)\, liebig12 (Berlin)\, Re-New Digital Arts Festival (Copenhagen)\, EcoSono (Caribbean)\, Centre for the Living Arts (Mobile)\, Megapolis Arts Festival (Baltimore)\, and—in Los Angeles—Machine Project\, LA Film Forum\, REDCAT\, and the Society for the Activation of Social Space through Art and Sound (SASSAS). She has also made appearances on webcasts such as EarMeal\, Experimental Half-Hour and dublab. Smith frequently performs electronic music under the name Stephie’s Castle\, is a member of networked music ensemble bitpanic\, and has composed for and performed as a member of the Dog Star Orchestra. Serving on the wulf.’s Artistic Advisory Board\, she also curates and produces experimental music concerts in the Los Angeles area. \nABOUT RICHARD CHARTIER \nRichard Chartier (b.1971) is a Los Angeles based artist\, considered one of the key figures in minimalist sound art. Chartier’s works explore the inter-relationships between the spatial nature of sound\, silence\, focus\, perception\, and the act of listening itself. \nChartier’s critically acclaimed sound works have been published since 1998 on a variety of labels internationally including Room40 (Australia)\, Editions Mego (Austria)\, Important Records (US)\, Ash International (UK)\, Raster-Noton (Germany)\, Spekk (Japan)\, Trente Oiseaux (Germany)\, NVO (Austria)\, Farmacia901 (Italy)\, 12k (US)\, and his own imprint LINE (US). \nHe has collaborated with composer William Basinski\, sound artists ELEH\, CoH\, France Jobin\, Robert Curgenven\, Taylor Deupree\, AGF\, and Yann Novak\, and German electronic music pioneer Asmus Tietchens. In installation form\, he has created works with multimedia artists Evelina Domnitch and Dmitry Gelfand\, visual artist Linn Meyers\, and projected light artist Anthony McCall. Under his guise Pinkcourtesyphone\, an ambient project restarted in 2012\, he has collaborated with Cosey Fanni Tutti\, Kid Congo Powers\, harpist Gwyneth Wentink\, AGF\, and thereminist Evelina Domnitch. \nChartier’s sound works/installations have been presented in museums and galleries internationally including the Whitney Biennial and the influential sound art exhibit Sounding Spaces at NTT/ICC in Tokyo. His performances have occurred live across Europe\, Japan\, Australia\, and North America. \nSince 2000\, Chartier has curated his influential recording label LINE\, publishing nearly 100 editions documenting the compositional and installation work of international sound and video artists who explore the aesthetics of contemporary and digital minimalism. \nABOUT CHRISTINE TAVOLACCI \nChristine Tavolacci is a Los Angeles based flutist\, composer and educator specializing in contemporary and experimental music. She has traveled across the United States and Europe to study and perform\, and has been involved in the premieres of many new works\, including those by Alvin Lucier\, James Saunders\, Michael Pisaro\, Chiyoko Slavnics\, Carolyn Chen and Catherine Lamb.  \nChristine is active as a soloist\, improviser\, curator and chamber musician both in California and internationally. She is co-founder and co-director of Southland Ensemble\, as well as a member of the  Dog Star Orchestra and Gurrisonic. Her playing has been released on Orenda Records\, Slub Music (Japan)\, and Tzadik. She has been a guest lecturer at both UCLA and CalArts\, an associate instructor at UC San Diego\, and has taught several workshops on contemporary music to children of various ages.  \nIn 2006\, Christine received her BFA in flute performance from California Institute of the Arts.  She has also received her Diplôme de Specialisation with mention trés bien from the Conservatoire National de Region Strasbourg in Strasbourg\, France\, where she studied flute with Mario Caroli from 2006-2008. Christine completed her Doctorate (DMA) in Contemporary Music Performance at the University of California San Diego in the spring of 2017. \nABOUT TED BYRNES \nTed Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston\, MA\, he comes from a jazz background and has since made his home in the worlds of free improvisation\, new music\, electro-acoustic music\, and noise. \nTed primarily works in ad hoc improvisational settings\, but has standing improvisational groups including: a group with John Wiese\, a duo with Jeff Parker\, a duo with Chris Cooper (AQH)\, a duo with Charlie Mumma\, a duo with Sam McKinlay\, a duo with William Hutson\, a trio with Jacob Wick and Michael Foster\, among others. Additionally\, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj\, Matt Weston\, Ingebrigt Haker Flaten\, Charlemagne Palestine\, Alfred 23 Harth\, Arrington de Dionyso\, Jaap Blonk\, Torsten Muller\, Kim Myhr\, Jim Denley\, Lloyd Honeybrook\, Chris Schlarb\, Mike Watt\, Paul Masvidal\, the LAFMS (including Smegma\, Airway\, Ace Farren Ford’s Artificial Art Ensemble\, Rick and Joe Potts\, Fredrik Nilsen\, Tom Recchion\, Vetza\, etc)\, Sissy Spacek (the band)\, Maher Shalal Hash Baz\, and more. \nTed’s recorded output oscillates between heavily acoustic music and harsh noise while keeping a similar approach. For a thorough overview of recordings\, please visit the Discography page. \nTed has also collaborated with / worked for a variety of visual artists: he has accompanied a Doug Aitken “happening”\, scored and performed percussion for an Emily Mast performance\, collaborated with Olivia Booth to play her glass artworks\, collaborated with Dani Tull on a sound performance\, performed with John Knuth and Bret Nicely at an installation in an empty pool\, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations. \nCurrently\, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects. \nABOUT VOLUME \nVOLUME is a collective of creative individuals dedicated to presenting time-based work by emerging and established artists engaged in sound based practices\, including performance\, experimental music\, field recording\, voice\, radio\, movement\, and technology. Through performances\, concerts\, exhibitions\, screenings\, and workshops\, VOLUME aims at fostering a critical understanding of politics and aesthetics in relation to sound and sound based practices. As a curating body\, VOLUME intends to cultivate social and public activities\, contributing to the contemporary sonic arts scene of Los Angeles.
URL:https://www.h-r.la/event/cosm-organism-construction-second-instance-anja-weiser-flower/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20180428
DTEND;VALUE=DATE:20180507
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LAST-MODIFIED:20180728T003658Z
UID:3378-1524895200-1525586399@www.h-r.la
SUMMARY:The Institute of Ceramics and Alliance
DESCRIPTION:Anna Delgado and Brenda Starks are Southern California ceramic artists whose art examines identity and place. Though their works differ formally\, they have overlapping themes that explore heritage\, transitional spaces\, and the trajectory of clay as an art medium. Together\, the artists have dug clay from Los Angeles county to use for their new show\, “The Institute of Ceramics and Alliance.” Visitors will be invited to interact with the clay in different ways. On the day of the opening\, Anna will host a community event where clay will be available for attendees to help make pieces that will be become part of the show\, and Brenda will provide a contemplative space to allow a respite for people to sit with clay in its slip form. For the duration of the show\, HRLA will have on display traditional and experimental pieces\, projections\, and clay in its fired form\, raw form\, and slip form. On May 3rd the artists will host a concert. At the closing on May 5th\, the artists will host a poetry reading.  \nEvent Calendar: \nApril 28th at 6-8 pm: Opening \nApril 28th 5-6 pm: “Hands in Clay” Community Activity  \nMay 3rd at 8-10 pm: Music by Sherry Valence \nMay 5th 1-5 pm: “Nuestra América” Poetry Reading Event \nAnna Delgado is an interdisciplinary artist working with ceramics and projection to address ideas of belonging\, migration\, and displacement. Her work has been included in multiple publications and exhibited throughout the US and Europe. She has co-written grants and managed teams to create and install large ceramic tile public art murals. Anna was a Teaching Fellow at UNC Chapel Hill and graduated with an MFA in 2015. She currently teaches ceramic art at CSU San Bernardino and Chaffey College. Anna’s artwork examines multicultural identity through fragments of stereotypical and ritualized objects and actions. She rediscovers and reinterprets what it means to be an American and is interested in the recurring relevance of images\, such as images of hands\, like 40\,000-year-old cave paintings of hand stencils and how similar they look to today’s emoji hands. Clay is a material with its own connotations\, and as a geographic marker\, it represents a place and is as nomadic as we are. Clay is one of the few materials used today in the same way as in ancient civilizations. \nBrenda Starks was born and raised in Southern California and currently lives and works in Los Angeles. She received her BA from CSU San Bernardino and is an MFA candidate at CSU Los Angeles. Brenda creates large sculptural works\, and although she is very enthusiastic about ceramics\, her conceptual inclinations are such that no one medium will satisfy her work. Her sculptural works are created with undertones that probe slyly at African-American identity\, pop culture\, music\, technology\, politics and social activism. Brenda’s work has been displayed in galleries throughout California including at the Luckman Fine Arts Complex\, and her ceramic works can be seen in Sam Maloof’s Permanent Collection. Brenda is interested in creating a place where people can share their different values or traditions with one another and reflect these ideas in that space. She is interested in creating images with raw clay because it becomes the landscape that it physically came from\, and simultaneously it can be converted into a secondary and potentially completely different form. \nMay 3rd at 8pm: Music by Sherry Valence  \nHRLA and The Institute of Ceramics and Alliance will host music by Sherry Valence.  Sherry Valence is an Indie Pop band formed in 2016. The band consists of vocalist Danielle Zamora\, guitarist Ryan Massie\, guitarist Jess Kelly\, bassist Sean Kelly\, and drummer Joseph Gallegos. Sherry Valence is a Los Angeles band and they released their first EP\, Call Your Dogs\, on January 27\, 2018. \nMay 5th from 1-4pm: Nuestra América Poetry Reading \n“Nuestra América” celebrates the unique voices and styles of writers and poets who live in Southern California. The title of the poetry reading refers to José Martí’s seminal essay\, which was first published in 1891 in La Revista Ilustrada de Nueva York (New York) and then in El Partido Liberal (Mexico City). In his essay\, Martí highlights the independent spirit of the people of the Americas. Please join us and experience the distinct performances of Tristan Douglas Acker\, Alex Avila\, Juan Delgado\, Kelly Dortch\, Allyson Jeffredo\, Lilliana Gallegos\, George Hammons\, Timothy Hatch\, Angela Peñaredondo\, Daiana Rodriguez\, Isabel Quintero\, Micah Tasaka\, and others. A variety of themes will be touched on\, and since the reading is on Cinco De Mayo\, some of the performers will speak to what they cherish and what they reclaim about nuestra América.
URL:https://www.h-r.la/event/the-institute-of-ceramics-and-alliance/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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