D300 Gallery: Katelyn Reeves BFA ART
D301 Gallery: Stephen Neidich MFA ART
L-SHAPE Gallery: Bridget Batch MFA ART
MAIN Gallery Perimeter: Daniel Wroe MFA ART
A402 Gallery: Evan Burrows BFA ART
LIME Gallery: Karina Yanez BFA ART (Diversity Grant Recipient)
MINT Gallery: Stephanie Gurrero BFA PHOTO
ART: “Kathryn Andrews (b.1973 Mobile, Alabama) gets inspiration for her sculptures from driving around Los Angeles and taking in the city’s jumble of cultures, styles and values. Her practice nimbly navigates the histories of pop, minimalism, light-and-space, and the readymade, as well as L.A.’s “finish fetish” movement, which shared her fascination with car culture. Exactingly fabricated chrome-plated objects-steel bars and tubing to security windows and cages-are often placed alongside inexpensive store-bought commodities or objects rented from prop houses. At the heart of Andrews’s work are these carefully orchestrated juxtapositions of seemingly divergent materials whose contradictory signifiers crisscross in what the artist has described as an “unhappy marriage.” Her highly finished forms suggest something of value while the clown props provide a palpable sense of unease. Andrews’s selections are precise in their references to both art history and pop culture, and a delightful and buoyant sense of humor accompanies the serious questions that she poses about the role of art in society.”
CalArts, Butler Building 4
CRITICAL STUDIES: Poet Eleni Sikelianos, the great granddaughter of the Nobel-nominated Greek poet Angelos Sikelianos, was briefly a biology student in her undergraduate career, drawn to oceanography and microbiology. Although those formal studies were abandoned, the language of wild oceanaria and cellular activity continues to inform her writing. Her latest book, The Loving Details of the Living & the Dead, is forthcoming from Coffee House. She is the author of seven books, most recently, Body Clock (Coffee House, 2008), The California Poem (Coffee House, 2004); and a hybridized memoir about her father, heroin, and homelessness, The Book of Jon (City Lights, 2004). She has won numerous awards for her poetry, nonfiction and translations, including the National Poetry Series, residencies at La Maison des écrivains étrangers in Britanny, a Fulbright Writer’s Fellowship in Greece, awards from James D. Phelan, NYFA , the NEA, two Gertrude Stein Awards for Innovative American Writing and the New York Council for the Arts Translation Award. She currently teaches in and directs the Creative Writing program at the University of Denver, and spends her days with her husband, the novelist Laird Hunt and their daughter, Eva Grace. When asked about the process of hybridization in her poetry, Sikelianos responds, A feeling arises — a feeling about language, an image in my head or seen in the world, a few words might cluster together — and a poem comes about. Then, as I’m working or reworking, a feeling might arise about the necessary direction of the work. I might have questions I want to explore or answer, I might have a conscious thought “Oh, I need to include more history,” but for the most part, thus far, I’m of the Frank O’Hara school. I can’t imagine myself saying, “I want to write a hybrid book,” and proceeding from there.
REDCAT: The Wooster Group has invited Richard Maxwell of New York City Players to direct Eugene O’Neill’s early “Glencairn” plays. The production takes O’Neill’s tales of sailors as a base to explore themes of longing and eternity through dark episodes showing the underside of turn-of-the-century maritime life. Read more and ticket information
CalArts, Coffeehouse Theater
Theater: The Colored Museum has electrified, discomforted, and delighted audiences of all colors, redefining our ideas of what it means to be black in contemporary America. Its eleven "exhibits" undermine black stereotypes old and new, and return to the facts of what being black means. " Mr. Wolfe is the kind of satirist who takes no prisoners. The shackles of the past have been defied by Mr. Wolfe's fearless humor, and it's a most liberating revolt!" - Frank Rich, The New York Times; "Brings forth a bold new voice that is bound to shake up blacks and whites with separate-but-equal impartiality. True satire." - Jack Kroll, Newsweek.