Pacific Standard Time and Shaking Your Performance Stick

Before we begin my friends, I would like to encourage you to visit this website: and drop a few dollars in the kitty that will send Dawn Kasper to New York for her three month occupation/residency of the Whitney Museum, leading up to her inclusion in the Whitney Biennial 2012.

This may indeed be the final Whitney before the destruction of culture and the earth as we know it, wouldn’t you like to see Dawn really fuck mess with things (in her grand and romantic, poetic fashion) before we all go out in flames?

Once again, that’s

Liz Glynn is very much the artist of the moment in Los Angeles, much courted by curators and the press, in New York and internationally. Glynn just wrapped up a residency at MOCA’s Engagement Party series and beginning this week she inaugurates her Black Box speakeasy series of events for the Getty’s Pacific Standard Time Performance and Public Art Festival.

Each night from Thursday, January 19 through Sunday, January 29, and from 9 pm to 2 am,  a different performance will take place in a somewhat secret, and certainly recently re-purposed studio building in the Hollywood Media District at 830 North Highland Avenue. There will be no entry fee and no tickets required! If there is a velvet rope it will be part of a performance. There will be good gaping, witty exchanges and powerful cocktails to spare. Dress nicely and bring your most scintillating social skills. I know that this opening weekend Brendan Fowler will be performing as Stephen/Steven on Saturday the 21st and I believe that Emily Mast will be performing on the 22nd. If I seem a bit lacking of information, well – I am. At a speakeasy, you comes to the party and you gets what youse get. And since this is Los Angeles what youse get is always good.

The Getty Research Institute Pacific Standard Time Performance and Public Art Festival website: Details for all events are listed on the site.

Liz Glynn and Shana Lutker at a Pacific Standard Time Meet the Curators affair at Soho House

One of the monster truck rally’s among art events this weekend has to be John White, Judy Chicago and James Turrell at Pomona College. Each will be re-staging performances from the days when Hal Glicksman and then Helene Winer ran the program at the college’s museum: White will reprise his intervention of the gallery space by the college football team; in 1970 Chicago’s fireworks display lit the skies above the college at Mt. Baldy. Sensibilities and laws have changed a bit since those days, so the performance this time will take place on the football field, not in a mountain canyon; and Turrell will play with fire too, in a piece titled “Burning Bridges.” It is a minor miracle to have three artists of this stature working in the same place at the same time, sweet.

Link to Pomona College site for Festival events:

John M. White, "Preparation F" (1971), performance at Pomona College Campus Center. Photograph by Gary Krueger.

Also in Pomona, if you arrive early, you can visit or revisit “It Happened at Pomona, Part Two: The Helene Winer Years.”

Link to Pomona College Museum of Art:

William Wegman, Basic Shapes in Nature: Square (Variant), 1970. Gelatin silver print. 14 x 11 in. (35.5 x 28 cm). Collection of the artist. © William Wegman. Photograph courtesy of William Wegman

William Leavitt, California Patio, 1972. Mixed media construction. Dimensions variable. Collection of the Stedelijk Museum, Amsterdam, the Netherlands. © William Leavitt. Photograph courtesy of William Leavitt

Do you know what I do know is true? In another part of the Festival, William Leavitt’s play “The Particles (Of White Naugahyde)” will be presented at – well, I’ll paste below the invite that I received, so why type it here? This event is far off, January 26 and 27 and February 2 and 3, but reservations are required so it is best to plan ahead. And the thing is, you really should see this. Leavitt’s show last year at MOCA was… that good. In fact, it was great. Um, to quote a James Bond theme song, “Nobody does it better…” than you do, Mr. Leavitt. Go to town with your bad self.

Reservations for Leavitt event:

Link to Margo Leavin, where Leavitt has an exhibition opening on February 26:

This isn’t the theme to The Spy Who Loved Me, but this also doesn’t suck.

Shooting Party, anyone? Do you want to feel like Edie Sedgwick with a needle (kidding) or Burt Lancaster with a .45? Rockin.

Niki de Saint Phalle got there first with her “Tirs” (from her series titled “Tir à volonté” or “Fire at will.”) Squeeze that trigger, lady!

I offer you a selection of Saint Phalle-iana:

Niki de Saint Phalle Untitled from Edition MAT 64, 1964 plaster, paint, plastic, wood framed 28.375 x 21.3125 x 2.8125 inches Gift of Mr. and Mrs. Edgar Nash, 1966 Copyright Niki de Saint Phalle / Artists Rights Society (ARS), New York

Ahh, dear. I see by checking the website that the Niki de Saint Phalle re-shooting event is invitation only. Damn. Documentary pictures will be available on the site, should you require them.

As it happens, Sunday January 22 is a good day for explosive painting practices – the memory of de Saint Phalle at a shooting range at noon, and Richard Jackson crashes an airplane full of paint onto the grounds of the Rose Bowl at 4 pm. A remote-controlled plane with a fifteen foot wingspan will receive an abrupt introduction to a large canvas and will crash and drip its load of paint all ove, thereby earning the title of “Accident in Abstract Painting.” (Y’know? the Army flies a Stealth Bomber over the Rose Bowl each New Years morning – do you think they could give one up for the sake of art? Looming silence, then CRASH!)

But, before Richard Jackson crashes into the center of the earth, Lita Albuquerque will determine its spine at the Baldwin Hills Overlook by, quoting here from Albuquerque’s website, “For Spine Of The Earth 2012, Albuquerque is re-imagining her seminal project from 1980 in an entirely new context. This large scale new work embodies a spectral line connecting the Earth’s core to the sky above. ” Some 500 performers will participate in the event.

Spine of the Earth, 1980, Lita Albuquerque. Ephemeral installation at El Mirage Dry Lake Bed, CA Photo: Lita Albuquerque © Lita Albuquerque Studio, 1980

Did you think we were done already? Hah. Get a glass of water, and sit back down. There’s more.

Taisha Paggett and Yann Novak are collaborating on an evening of music and dance at the MAK Center’s Mackey Garage Top.

Yann Novak makes digitized music that is minimal, but achieves a lush effect. He does kind of post-drone sound wave manipulation, and when I last heard a piece of his, at an Art Center event curated by Steve Roden, I felt the music as it moved through the space – not because the sound was loud or throbbing, but because the tones were very pure, and they moved me, and Novak’s subtle shifts felt like they rearranged the air that carried them.

Taisha Paggett, for her part, also has an exquisitely refined sense of movement, and of space; her field is dance.

Tickets for this event are disappearing, fast. Motor scooter time, boys and girls, go.

(I made the mistake of listening to, or had the smarts to listen to, a Joy Division song an hour ago. I cannot now stop myself. “a change of speed, a change of style. a change of scene with no regrets… Indeed.)


There is more under the sun than you know, my children.

Attend to my words:

Native Strategies begins this month the second season in its five year survey of performance in Los Angeles. The excitement started at Mustache Mondays on January 9 and it builds to a higher plane of exaltation on Friday, January 20th at the Sweat Spot. Classical Cambodian dance master (and TED Fellow!) Prumsodun OK will be performing.

A recent interview with Prumsodun OK:

An enlightening quote: “Prumsodun Ok works to positively transform the world through his practice as an artist, curator, teacher, writer, and organizer. His interdisciplinary performance works explore poet Rene Daumal’s expression of “the avant-garde in antiquity,” mining the tradition of Cambodian classical dance to explore the intersection of contemporary social issues and new possibilities for performance.”

The Native Strategies Tumblr site:

More and more information, grabbed from the Tumblr site:

3327 Sunset Blvd. Los Angeles, CA 90026

Prumsodun Ok with Ariel Campos, Archie Carey & Odeya Nini and guest artists: Yannis Adoniou & Cynthia Lee

White Chalk Horse—New Offerings in Cambodian Dance Ritual will take place on January 20, 2012 at The Sweat Spot in Silverlake.  It will begin at 8 PM.  The evening will be a reinterpretation of the buong suongceremony.  Literally meaning “prayer,” buong suong is a traditional offering of dance, music, and food to the gods, teacher spirits, and ancestors for the deliverance of renewal, regeneration, and fertility. 

The evening will feature a performance of Robam Tiyae, one of the most sacred works of the Cambodian classical dance canon.  It will also feature performances by guest artists such as Cynthia Lee in collaboration with Carol McDowell and a rare performance by Yannis Adoniou, founder and artistic director of San Francisco’s Goldie award winning KUNST-STOFF.  The performances will close with the world premiere ofWhite Chalk Horse, Ok’s latest interdisciplinary performance made in collaboration with sound and musical artists Ariel Campos, Archie Carey, and Odeya Nini.

Prumsodon Ok is also working to create SALA Center for Art and Culture: 

“I am currently developing the SALA Center for Art and Culture.  To be based in central Long Beach — one of the most diverse but poorest areas of the city — SALA will provide free residency to artists and art organizations devoted to the transmission and development of traditional performing arts.  Practicing everything from yoga to Afro-Brazilian dance, hip hop to Cambodian classical dance, samba to kathak, classical Western drumming to Mexican folklorico, these artists at the forefront of their practice will provide the community with free workshops.”

-Prumsodon Ok

And then, on Saturday, January 21, Native Strategies strikes again at Pieter in Lincoln Heights:

420 W. Avenue 33, Unit 10
Los Angeles, 90031

Pieter PASD presenting Nick Duran with Jmy James Kidd
Opening performances by Odeya Nini and Archie Carey


Nijinsjky’ Faun has tumbled out of Arcadia and into PIETER where he is crouched on a green rug and poised to spring. He does spring, and when he lands, his legs begin to stiffen and shake. Suddenly, he has become a galloping horse. He charges through the room, pounds the floor, makes a wide circle that menaces the walls, menaces the crowd huddled on cushions and chairs. Several of us inch back protectively clasping our jam jars of wine. But then the horse slows and drops to his knees, begins to melt into the floor.

Nick Duran is using “melting” to get to the floor by softening his limbs. His body is processing all the qualities of water he needs to get to the floor; languid, suspension, slowing, the horse’s intensity is leaving his body like steam. At a performance by Duran, the room wakes up. Not just the people in the room but the walls, the furniture, the beams, the lights and floor. A precise and immensely strong dance based performer, Duran transforms himself and the environment in performances which use metaphors like well trained muscles.
– B G

And, yes, there is more native strategizing this coming weekend:

The 6608 SPACE
6608 Lexington St., LA 90038

ANATOMY RIOT #45: In Loving Memory/Everything Must Go! 
A performance wake. 

It is with great sadness and unexpected joy that we announce the death of Anatomy Riot, “AR”, 45, of Los Angeles, CA.   AR was a wanderer, making her home from bars to ballrooms over the past 6+ years.  Hard-working, easygoing, unassuming, and community-minded, AR was loved by many; and is survived by Meg Wolfe, Show Box LA, and 250+ performance children, countless intersections of legitimate and illegitimate body-specific investigations. AR is survived by the spirit of _____. AR is survived by you. 

Continuing in our itinerant ways, AR#45 will be happening at a newly-opened warehouse space in Hollywood.

Featuring performances by: 

Linda Austin
Gregory Barnett & Kate Gilbert
Kate Bergstrom
Stacy Dawson Stearns 
Maureen Dunn
Simone Forti & The Sleeves (Terrence Luke Johnson, Sarah Swenson, Douglas Wadle)
d. Sabela grimes
Arianne Hoffmann
Marcus Kuiland-Nazario
Pat Payne
Jose Reynoso
Nancy Sandercock
Anna B. Scott
Meg Wolfe

This inaugural publication of the Native Strategies journal, titled "So Funny It Hurts" was released last year and is available through Native Strategies and at the LACE bookstore in Hollywood.

About Native Strategies:

NATIVE STRATEGIES is a network of performance art makers, producers and critical thinkers who seek to invigorate and make globally visible Los Angeles’s performance art community. We are engaged in a 5 YEAR STUDY (2011 – 2016) of LA performance modalities through the creation of 10 differently themed PERFORMANCE SERIES and 10 uniquely designed JOURNALS, resulting in a book. 

Our writers and visual artists seek to distill what ideas are urgent to the participating artists and to experiment with how the production of a document is in itself a performance. 

Write to [email protected] for more information and to be put on our mailing list!

Premiering in January 2012 NATIVE STRATEGIES presents The Next Steps, highlighting dance based performance artists who have taken the next step beyond their personal practice to create a venue or agency for a dance community that would not otherwise exist.

Closing now with another call-out for Dawn Kasper


It’s 4 am and I finished writing and posted this, shut down and went to bed. And then I thought to myself, “I need a waltz.”

So, close your eyes, can you hear the horses on the cobblestones? Our carriage is coming, the men are in uniforms and the ladies in gowns. Somewhere a princess is waiting and somewhere else, a prince wonders whether tonight…

It makes no sense at all, nevertheless, I give you the Emperor’s Waltz:


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