Monthly Archives: November 2011

Prism presents
[NOVEMBER 19, 2011 – JANUARY 7, 2012]

8746 W. Sunset Blvd. West Hollywood, CA 90069 | 310.289.1301


PRISM is pleased to present the first retrospective exhibition of artwork created by the original members of Destroy All Monsters, the Ann Arbor-based performance/music/art group comprised of Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Destroy All Monsters was unique for having produced a distinct body of multi-media work while documenting itself in the act of its own creation. The themes of the work span grotesque figuration, ecstatic pop imagism, apocalyptic play-acting, gothic dreamscapes, and full-on horror. On view will be drawings, prints and photographs by Kelley; paintings, drawings and unique photocopy prints by Jim Shaw; photographs and collages by Cary Loren; works on paper by Niagara;  and a more recent mural memorializing the group’s time and place. Much of this work is being exhibited for the first time; Kelley, Niagara, and Loren are producing new print editions for the occasion.

Accompanying the exhibition is a full color, 312-page catalogue co-published with PictureBox and edited by Mike Kelley and Dan Nadel with an essay by Nicole Rudick.

PRISM is a Participating Gallery of Pacific Standard Time: Art in L.A. 1945-1980. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.

Prism website


Blue Whale presents
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908 

MARK GUILIANA  drums and compositions
TIM LEFEBVRE  electric bass

Tim Lefebvre (bass) is one of the most skilled and sought after bass players in NY. Tim has made appearances in Saturday Night Live’s house band over the last few years – his work has also been heard on The Apprentice, The Sopranos, Late Show With David Letterman, The Knights of Prosperity (CBS), 30 Rock (NBC), Oceans 12, Ocean ‘s 13, The Departed, Harold & Kumar Go To White Castle, and Analyze That!. Tim was the Musical Director/Leader on The Caroline Rhea Show on ABC and has appeared recently with Chris Potter, Patti Austin, Uri Caine, and Dave Binney. This summer Tim is touring with Chuck Loeb, Dennis Chambers, Till Bronner, Eric Marienthal and Jim Beard. Tim brings his incredible support and huge low sounds to the Rudder vibe.

Tim Lefebvre (Skip Herbertson) website

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According to Modern Drummer magazine, Mark Guiliana “may well be at the forefront of an exciting new style of drumming.”  The 28-year-old New Jersey native’s unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman.

In 2004, Mark created HEERNT, his ‘experimental-garage-jazz’ trio based out of New York.  The band’s debut record, Locked In A Basement, was released in the spring of 2006 and was met with praise from critics and musicians alike. Legendary drummer Bill Bruford (Yes, King Crimson) called the record “the most exuberant, dramatic, beautiful, sassy, genre-busting little outing that I’ve heard since I don’t know when.”

As a sideman, Mark’s longest partnership has come alongside world-renowned jazz bassist Avishai Cohen. He toured all over the world with Avishai from 2003 until 2008 while appearing on six studio records, and a live DVD recorded at the Blue Note in New York City.  Mark has also recorded and/or performed with Meshell Ndegeocello, Dhafer Youssef, Wayne Krantz, Matisyahu, Jazz Mandolin Project, Jason Lindner, Brad Shepik, Bobby McFerrin, Tigran Hamasyan, and many more.

Mark is currently working on his debut solo record, which is being co-produced by Meshell Ndegeocello and is due out in early 2010.

Mark plays Yamaha drums, Sabian cymbals, and Vic Firth sticks.

Mark Guiliana website

BlueWhale website

Angel City Arts + Blue Whale present
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908 

JASON MEARS saxophones / clarinet
KRIS TINER trumpets / flugelhorn
IVAN JOHNSON contrabass
PAUL KIKUCHI percussions / drums

“One of the best things in Jazz to emerge in the new millennium” – Brian Marley, The Wire

“One of the most powerful and appealing jazz units currently active” – All About Jazz

“The Empty Cage Quartet embodies some of the West Coast’s finest acoustic improvisation. Transcending their influences, these four rise to the challenge of carving out their own space and sound.” – Cadence Magazine

“This music is a sinuous dance, but one where every move, every exit and entry, every bob and weave, is made with razor-sharp precision…the Empty Cage Quartet finds a new way forward for the modern-day free jazz quartet.” – SIgnal to Noise Magazine

The Empty Cage Quartet has been consistently praised by critics as one of the most interesting and original new jazz groups to emerge from the American West Coast. For nearly a decade the group has explored new ways to integrate a diverse mix of musical influences ranging from shuffle swing to free jazz blowouts, minimalist percussion loops to complex modernist gestures, funky stomps, odd-meter marches, robotic grooves, heavy rock, and nearly everything in between. Their seventh CD Gravity is out now on the Clean Feed label.

JASON MEARS, from Alaska, is a saxophonist, clarinetist, composer, improviser, and educator who is currently living in New York City. He holds a BFA in Music Education from Boston University and a MFA in African-American Improvisational Music from California Institute of the Arts, and has studied with Wadada Leo Smith, Leroy Jenkins, Harvey Pittel, Paul Novros, Donald Sinta, John Sampen, and Vinny Golia. Jason’s most recent projects include the Empty Cage Quartet (MTKJ), Harris Eisenstadt’s The Soul and Gone, Vinny Golia’s Music for Like Instruments (the Eb saxophones), The Vinny Golia Large Ensemble, the Jeff Kaiser Ockodektet, and the Kreative Orchestra of Los Angeles (KOLA) – an 11-piece ensemble he initiated along with drummer/composer Harris Eisenstadt which “functions as a mobile laboratory for some of L.A.’s musical masterminds to publicly swap experimental compositions and performances” (Rex Butters, All About Jazz Los Angeles). Jason has made frequent interdisciplinary collaborations with filmmaker Allen Glass and dancer Miyuki Kobayashi, and has performed with Wadada Leo Smith, Frank Gratkowski, Phillip Greenlief, Jack Wright, Leroy Jenkins, Mark Trayle, Michael Vlatkovich, Jeb Bishop, Jason Roebke, Jeff Parker, Steuart Liebig, Harris Eisenstadt, and Damon Smith. He has recorded on the Clean Feed, Nine Winds, 482, and pfMENTUM labels.

KRIS TINER  is a trumpet player, composer, and improviser whose music has been described as “extraordinarily inventive” by Signal to Noise Magazine. He has performed at concert venues and festivals throughout North America and in Europe and West Africa. He appears on over 40 recordings, and his own projects have been released on the Clean Feed, pfMENTUM, Nine Winds, and Evander Music labels. In addition to numerous interdisciplinary collaborations involving dance, poetry and spoken word, visual art, film, and animation he has recorded music for radio, television, and motion picture scores and his trumpet playing has been heard on MTV, NBC, Comedy Central, and NPR. Kris is a regular member of the Industrial Jazz Group and the Los Angeles Trumpet Quartet, and he has performed and/or recorded with a broad range of creative musicians including Vinny Golia, Wadada Leo Smith, Donald Robinson, Leroy Jenkins, Gerry Hemingway, Nels Cline, Taylor Ho Bynum, Ken Filiano, Kraig Grady, Jeff Kaiser, G.E. Stinson, Steuart Liebig, Mary Oliver, Pete Christlieb, Michael Vlatkovich, Alicia Mangan, Joe LaBarbera, Harris Eisenstadt, Lukas Ligeti, Mike Baggetta, Sara Schoenbeck, and Brad Dutz. A California native, Kris holds an MFA in African-American Improvisational Music from California Institute of the Arts. He has lectured on both music and visual art, and currently teaches courses in jazz and American popular music at Bakersfield College, and is an adjunct faculty member in the music department at CSU Bakersfield.

PAUL KIKUCHI is a percussionist, composer, and instrument maker living in Seattle, WA. He holds degrees in music from Bennington College and California Institute of the Arts, where he studied with Milford Graves, Wadada Leo Smith, Swapan Chaudhuri, and Vinny Golia among others. Paul is a member of the Empty Cage Quartet, Open Graves, Tide Tables, the Toy Boats, and Orkestar Zirkonium. He leads Paul Kikuchi’s Portable Sanctuary, an ensemble that features his compositions and his sculptural percussion instruments. Aside from his primary projects, he also collaborates with many musicians, including Stuart Dempster, Byron Au Yong, Gust Burns, Bill Horist and Wally Shoup. Kikuchi has performed throughout North America and Europe at festivals such as the Pepsi Sziget Festival (Budapest, HU) Vancouver International Jazz Festival, the Festival for People and Thingamajigs (SF, CA) and the Earshot Jazz Festival (Seattle, WA). His playing can be heard on a variety of record labels including Clean Feed, Tomlab, Nine Winds, Rude Awakening Presente, and pfMentum. Paul is the founder and artistic director of Prefecture Records, a small label specializing in experimental percussion-based music. In recent years Kikuchi has received artistic support and funding from Seattle’s Artist Trust, Chamber Music America, the American Composers Forum, the Jack Straw Foundation, and the Montalvo Center for the Arts. Paul is also a Feldenkrais Practitioner®.  While he works with all kinds of people to reduce pain and move more easily, his special interest is in working with artists and musicians. He is currently audio faculty at the Art Institute of Seattle.

IVAN JOHNSON from Los Angeles, completed his BFA degree at California Institute of the Arts in 2003, where he studied chamber music, jazz, composition, theory and arranging. He has studied contrabass with Charlie Haden, Darek Oles, and Peter Rofe; arranging and composition with Michael Pisaro, Marc Lowenstein and Mark Menzies; and Baroque music with Allen Vogel and Tisha Goldstein. Ivan has performed all over the United States with an eclectic group of ensembles, and made his solo debut at the 2003 Athens Music Festival in Athens, Georgia. As a musician on the progressive music scene he has premiered compositions by Marc Lowenstein, Vinny Golia, Mark Menzies, Anne LeBaron, Michael Pisaro, James Tenney, Kris Tiner, and Jason Mears. Mr. Johnson’s current projects include the Lian Ensemble – a classical Persian group which streches the boundaries of traditional Iranian music, Dark Wing plays a unique blend of world music using free improvisations and original composition for marimba, string bass, tar, setar, ney and a variety of percussion instruments, and the Nate Lapointe Band – a rootsy eclectic songwriting and improvising group. Ivan is head of the jazz program at Oakwood High School in Los Angeles, and he co-founded the Academy of Creative Music. Recently Mr. Johnson was the Assistant Music Director for the world premiere of the critically acclaimed opera “The Peach Blossom Fan,” working closely with Stephin Merritt from the Magnetic fields, and has been an Artist In Residence at Stanford University, performing music by Brian Ferneyhough, and Mark Applebaum. Mr. Johnson recently premiered his own opera “Lucid Dreams” with composer Ethan Gruska.

Empty Cage Quartet website

BlueWhale website

Famliy presents
436 N. Fairfax Ave., Los Angeles, 90036

John Wiese will be offering a special quadraphonic concert on the final night of his exhibition, 100 Seven Inch Records at Family. Four speakers will be placed in each corner of the gallery, each with a distinct channel.

From the preface: “A 7-inch record is the best format. I spent the majority of my youth mail-ordering 7-inches and waiting, usually months, for them to arrive. 7-inches really are the best because, practically speaking, the only thing you can do while they play is listen to them.” – John Wiese

John Wiese (b. 1977) is an artist and composer living in Los Angeles, California. He works primarily in recorded and performed sound with a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the world, covering the US, UK, Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding member of the concrète grindcore band Sissy Spacek.

Getty Center presents
CARL STONE: Sonic Excursions from Al-Noor to Zang
1200 Getty Center Drive, Los Angeles, CA 90049 | 310. 440.7330

The Getty Center present’s “Carl Stone’s Sonic Excursions from Al-Noor to Zang”, a concert that revives some of Stone’s early works and updates them in keeping with the evolution of both musical technology and his own personal style and aesthetic. This concert is part of Pacific Standard Time – Art in L.A. 1945–1980″, which has recently kicked off and was created with the leadership and initiative of the Getty Center in Los Angeles. . Sonic Excursions from Al-Noor to Zang also includes the world premieres of several new works, such as Stone’s Hoang Yen, a duo for computer and keyboard, which features internationally acclaimed pianist Gloria Cheng in her worldwide debut as a harpsichordist, and A Ta Geuele, featuring Min Xiao-Fen performing on pipa, the traditional Chinese lute.

GLORIA CHENG  keyboards

$20 students/seniors $15

Parking is free after 5:00 p.m.


Carl Stone is one of the pioneers of live computer music, and has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.” He has used computers in live performance since 1986. Stone was born in Los Angeles and now divides his time between San Francisco and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. His works have been performed in the U.S., Canada, Europe, Asia, Australia, South America and the Near East. In addition to his schedule of performance, composition and touring, he is on the faculty of the Media Department at Chukyo Unoversity in Japan.

A winner of numerous awards for his compositions, including the Freeman Award for the work Hop Ken, Carl Stone is also the recipient of grants from the National Endowment for the Arts, the Rockefeller Foundation and the Foundation for Performance Arts. In 1984 he was commissioned to compose a new work premiered as part of the Olympic Arts Festival in Los Angeles. His music was selected by the dancer/choreographer Bill T. Jones for the production 1-2-3. In that same year. In 1989 he resided for 6 months in Japan under a grant from the Asian Cultural Council and in that same year, The Museum of Contemporary Art, Los Angeles commissioned a new work, Thonburi as part of the radio series “Territory of Art”. In 1990 he was commissioned to create music for a 60-minute program for ZDF Television in West Germany entitled Made in Hollywood. In 1991 he received separate commissions from Michiko Akao (She Gol Jib, for traditional Japanese flute and electronics), Sumire Yoshihara (for percussionist and electronics) and Sony PCL (Recurring Cosmos, for High Definition video and electronics), which was awarded special honors at the International Electric Cinema Festival in Switzerland in 1991. In 1993, he was commissioned by the Paul Dresher Ensemble to create a new work, Ruen Pair, with funds from the Meet the Composer/Reader’s Digest Commissioning Program. In 1994 he was commissioned by the Strings Plus Festival, Kobe to create Mae Ploy, for string quartet and electronics. In that same year he also created Banh Mi So, for ondes martenot and piano, at the request of Takashi Harada and Aki Takahashi. In 1995, he was commissioned by NTT/Japan to create a new work for the internet, Yam Vun Sen, as part of IC95. In 1996, with support from the Rockefeller Foundation, he created music for The Noh Project, a collaboration with choreographer June Watanabe and Noh master Anshin Uchida. In 1997 he was commissioned by Bay Area Pianists and Cal Performances to create a new work, Sa Rit Gol, for disklavier and pianist, as part of the Henry Cowell Centennial Celebration at UC Berkeley. Other festival performances in 1997 included Other Minds (San Francisco) and TonArt (Bern). In 1999 he was invited as Scholar-in-Residence at the Rockefeller Foundation Bellagio Study and Conference Center. In 2001 he served as Artist-in-Residence at the International Academy of Media Arts and Sciences (IAMAS) in Japan, and in that same year he joined the faculty of Chukyo University’s School of Cognitive and Computer Sciences.

Recordings of Carl Stone’s music has been released on New Albion, CBS Sony, Toshiba-EMI, EAM Discs, Wizard Records, Trigram, t:me recordings, New Tone labels and various other labels.

Carl Stone’s music has been used by numerous theater directors, filmmakers, media artists, and choreographers including Hiroshi Koike (Pappa Tarahumara), Akira Kasai, Bill T. Jones, Pat O’Neil, Carole Kim, Ping Chong, June Watanabe, Setsuko Yamada, Kuniko Kisanuki, Dorit Cypis, Rudy Perez, Hae Kyung Lee, Bruce and Norman Yonemoto, Kathleen Rogers, and Blondell Cummings. Musical collaborations include those with Yuji Takahashi, Kazue Sawai, Otomo Yoshihide, Aki Takahashi, Sarah Cahill, Wu Wei, Nels Cline, Yumiko Tanaka, Alfred Harth, Haco, Samm Bennett, Kazuhisa Uchihashi, Michiko Akao, Stelarc, z’ev, Tosha Meisho, Min Xiao-Fen and Mineko Grimmer.

Carl Stone served as President of the American Music Center from 1992-95. He was the Director of Meet the Composer/California from 1981-1997, and Music Director of KPFK-fm in Los Angeles from 1978-1981. He often hosts a weekly program on KPFA-fm in the Bay Area USA. Other activities have included serving as a regular columnist for Sound & Recording Magazine in Japan, serving as web editor for Other Minds, a world wide web site devoted to New Music., and for the official web site of the John Cage Trust.


The Getty Center website

Carl Stone website

2. Balconi Coffee. Exceptional coffee is like a 3D Magic Eye print: it might take a while to focus and see everything you are meant to see, but the effort is worth it. Few shops are better at focusing your sights than Balconi Coffee. Two years after its original location nearby closed, Balconi reopened this year. Using beans from local roasters like Cafecito Organico, the shop makes incredibly flavorful coffee in its siphon filters. After you order, accept the barista’s offer to smell the freshly ground coffee before it’s brewed, so you’ll be primed for the first sip. If you let yourself get lost in the art of that cup, you’ll pick up at least one nuanced flavor – blueberries, maybe – and see a picture of coffee like you’ve rarely seen before. 11301 W. Olympic Blvd., Los Angeles, 310-906-0267.

Balconi Coffee Company website

Gagosian Beverly Hills presents
[NOVEMBER 11, 2011 – DECEMBER 23, 2011]
ADAM MCEWEN: 11.11.11
456 North Camden Drive. Beverly Hills, CA 90210 | 310.271.9400

The numerical and graphic symmetry of the title gives an epochal feel to this major exhibition by McEwen, which makes explicit the interrelationships between individual works and persistent themes in his oeuvre via a specifically devised scenography. Wall-size grids of black-and-white photographic wallpaper—from the firestorming of Dresden, to McEwen dressed up as Bomber Harris (the British air commander who perfected the technique of carpet-bombing German cities during WWII), and gum-spattered New York sidewalks—line several galleries, drawing an analogy between planned destruction and urban desecration. They provide backdrops for droll “gum” paintings and impassive, machined graphite “paintings” that recall Minimalist compositions but which are, in fact, modeled on the figured, non-slip metal doors inset into New York sidewalks.

In 1994, McEwen made a drawing of a block, labeling it BLOCK OF GRAPHITE. But it was not until 2007 that, fascinated by the possibilities of this common but often unrecognized material, he began producing via industrial machining finely carved graphite sculptures that mimic real objects. In this exhibition, precise representations of everyday items—a water cooler, a roll gate, a safe—animate the galleries with their eerie reticence, a series of simulacra perfectly and perversely rendered in what is, in reality, dark, light-absorbing, compressed carbon. (The dust from the graphite industry is sold on to pencil companies.)

In a reverse Midas-effect, McEwen has answered to the shimmering claims of Minimalist art by creating contemporary work that is freighted with the leaden melancholy of modern history. As a meditation on the many lives and deaths of art, he has created a space that conflates a beleaguered present with the afterlife of a potent and contentious moment in art history, in much the same way as his obituaries narrate the future- perfect of the rich, the famous, the beautiful, and the notorious. McEwen’s dead zone of dark relics and faded memories confronts us, literally and metaphysically, with the filthy lucre of our past and present.

Gagosian website