THE PALE KING: Monologues from the unfinished NOVEL by DAVID FOSTER WALLACE @ The Saban Theater 4.28. -

Beverly Hills, CA -
PEN Center USA will present THE PALE KING: MONOLOGUES FROM THE UNFINISHED NOVEL BY DAVID FOSTER WALLACE at the Saban Theatre in Beverly Hills on April 28, 2011. Doors will open at 7p with a cocktail reception in the theatre’s rotunda.

The event will follow the April 15 release of The Pale King (Little, Brown and Company), which follows the lives of the agents at the IRS Regional Examination Center in Peoria, Illinois. The Pale King, as well as Wallace’s backlist titles will be available for purchase before and after the performance, courtesy of Skylight Books. The event will be hosted by Los Angeles Times book critic, David L. Ulin. PEN Center USA will release a list of performers in the coming weeks.

David Foster Wallace was born in Ithaca, New York, in 1962 and raised in Illinois. He received Bachelor of Arts degrees in Philosophy and English from Amherst College and wrote what would become his first novel, The Broom of the System, as his senior English thesis. He received a Master of Fine Arts from the University of Arizona in 1987 and briefly pursued graduate work in philosophy at Harvard University. His second novel, Infinite Jest, was published in 1996. Wallace taught creative writing at Emerson College, Illinois State University, and Pomona College, and published the story collections Girl with Curious Hair, Brief Interviews with Hideous Men, and Oblivion, and the essay collections A Supposedly Fun Thing I’ll Never Do Again and Consider the Lobster. He was awarded a MacArthur Fellowship, a Lannan Literary Award, and a Whiting Writers’ Award, and was appointed to the Usage Panel for The American Heritage Dictionary of the English Language. He died in 2008, leaving behind unpublished work of which The Pale King is a part.

PEN Center USA, a literary non-profit based in Beverly Hills, has a membership of more than 800 professional writers. PEN Center USA strives to protect the rights of writers around the world, to stimulate interest in the written word, and to foster a vital literary community among the diverse writers living in the western United States. PEN Center USA has a long, successful history planning literary events in and around Los Angeles; special programming has taken place at The Hammer, Hotel Café, Largo at the Coronet, The Echo, Actor’s Gang, The Hammer, The Pacific Design Center, and The Beverly Hills Hotel.

Skylight Books is an independently owned, general-interest bookstore located in Los Feliz. They have sold thousands of copies of David Foster Wallace’s books, and have held several events for them, including a reading by the author himself. Infinite Jest is one of Skylight’s all-time bestselling titles.

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Cave of Forgotten Dreams - Werner Herzog in person @ The Natural History Museum Tomorrow Night 4.23.

Werner Herzog in person, members-only screening at the Natural History Museum.

Co-presented by Cinespia & First Fridays at The Natural History Museum of Los Angeles, in association with History Films, Goethe-Institut Los Angeles, Dublab, Levi's Film Workshop & MOCA

NOTE: Cinefamily member RSVPs to this event are temporarily closed. Your RSVP does NOT guarantee you a ticket. RSVP confirmations will be given to Cinefamily members ONLY, for a limited time. One RSVP per member (no +1s). RSVP will call tickets will be made available at the Natural History Museum at 4p, April 23rd. IMPORTANT: At 5p (30 min. before showtime), if you HAVE NOT picked up your RSVP will call ticket, IT WILL BE RELEASED to the standby waiting list.

Even though the screening of Cave of Forgotten Dreams is currently only available to Cinefamily members, all are welcome to the FREE closing night party, featuring multiple bands, DJs like Dntel (courtesy of Dublab), and general entry into the Museum and bar. Special musical guests for the evening TBA as well.

Join Cinefamily for the closing night party of their "Art In The Streets" series at the Natural History Museum, by celebrating the oldest form of street art ever recorded! Werner Herzog's brand-new documentary Cave of Forgotten Dreams gives you exclusive access inside the Chauvet caves of southern France, capturing the oldest known pictorial creations of humankind in their astonishing natural setting. Putting modern 3-D technology to a profound use, Cave transports you back in time over 30,000 years!

Natural History Museum of Los Angeles
900 Exposition Boulevard
Los Angeles, CA 90007

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Cave of Forgotten Dreams from Nate Calloway on Vimeo.


Go See - James Gandolfini, Marcia Gay Harden, Jeff Daniels and Hope Davis in 'GOD of CARNAGE' now @ the Ahmanson.

Theater Review -

Through the use of witchcraft, Center Theatre Group has brought the original Broadway cast of God of Carnage to the Ahmanson for a very limited time. What does that mean exactly? That means that for the next month or so, you have the opportunity to see James Gandolfini, Marcia Gay Harden, Jeff Daniels and Hope Davis put each other through the most entertaining kind of hell imaginable on-stage, eight times a week for your entertainment. All you have to do is get off your ass, buy a ticket and laugh your ass off. It’s almost not fair. You should bring them cookies.

The play is based on a simple premise-one set of parents (Gandolfini, Harden) invites another (Davis, Daniels) over to their stylish Brooklyn apartment to discuss an incident which took place at a local park in which Davis & Daniels’ 11 year old son struck the Gandolfini/Harden boy (also 11) with a stick. The tone, at first, is painfully civil. Amidst the coffee-table books and tulips, the couples munch clafoutis and discuss the best way to address this most un-Brooklyn-like (that’s gentrified Brooklyn, mind you) burst of savagery and violence. Of course, while polite behavior may make for a delightful Passover Seder, it makes for pretty dull theatre, so, pretty soon, the veneer of courtesy is ripped off, the booze comes out and everyone loses their shit in magnificent fashion. Particularly good is Daniels, who begins as the most obnoxious of the lot and eventually is revealed as possibly the most sane. Certainly, he is the most in touch with the larger brutality of the world beyond Brooklyn and the most self-aware. The other actors have flamboyant and wonderful outbursts, but he is the axis around which the madness spins and, as a result, the most subtly compelling of the bunch.

This is not the first play to expose the childish, petty brutality that lies just beneath the blond-wood veneer of polite society but it is a fine specimen of the breed. It is nothing more and nothing less than a beautifully written and exceptionally performed play. If you think you like theatre- go see it. If you don’t think you like theatre- definitely go see it. It will change your mind. - Eric Sims

Now at the Ahmanson through May, 29th, 2011.

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'Art in The Streets' Members Party Saturday, 4.16. @The Geffen Contemporary .

MOCA members are invited for the opening of Art in the Streets, the first major U.S. museum survey of the history of graffiti and street art presented in the United States. Enjoy performances by the stars of the classic hip-hop film Wild StyleBusy Bee and the Cold Crush Brothers with Grandmaster Caz—and the award-winning B-Boy crew from Los Angeles, Killafornia.

Art in the Streets will showcase installations by 50 of the most dynamic artists from the graffiti and street art community, including Banksy (London), Fab 5 Freddy (New York), Lee Quiñones (New York), Futura (New York), Margaret Kilgallen (San Francisco), Swoon (New York), Shepard Fairey (Los Angeles), Os Gemeos (São Paulo), and JR (Paris). MOCA’s exhibition will emphasize Los Angeles’s role in the evolution of graffiti and street art, with special sections dedicated to cholo graffiti and Dogtown skateboard culture. The exhibition will feature works by influential local artists such as Craig R. Stecyk III, Chaz Bojórquez, Mister Cartoon, Robbie Conal, RETNA, SABER, REVOK, and RISK.

A special emphasis will be placed on photographers and filmmakers who documented graffiti and street art culture including Martha Cooper, Henry Chalfant, James Prigoff, Steve Grody, Gusmano Cesaretti, Estevan Oriol, Ed Templeton, Larry Clark, Terry Richardson, and Spike Jonze. A comprehensive timeline illustrated with artwork, photography, video, and ephemera will provide further historical context for the exhibition.

Art in the Streets will feature several shows within the show. There will be a special section dedicated to the Fun Gallery, which connected New York graffiti artists with the downtown art community in the early 1980s. Co-curated by gallery founder Patti Astor, the Fun Gallery installation will feature the work of Keith Haring, Jean-Michel Basquiat, and the graffiti artists who shaped the gallery’s history. A section dedicated to the seminal film Wild Style (1983), co-curated by the film’s director Charlie Ahearn, will document its influence on the global dissemination of graffiti and hip-hop culture. The exhibition will also feature a memorial presentation of Battle Station, a rarely seen work by legendary artist and theorist RAMMELLZEE, and a display of graffiti black books and other historic works from the Martin Wong Collection presented in collaboration with the Museum of the City of New York. A highlight of the exhibition will be a Los Angeles version of Street Market, a re-creation of an urban street complete with overturned trucks by Todd James, Barry McGee, and Steve Powers.

The exhibition will open with a skate ramp designed by pro-skater Lance Mountain and artist Geoff McFetridge. Skate demonstrations by the Nike SB skate team will be held on Thursday and Saturday afternoons.

“Art in the Streets will be the first exhibition to position the work of the most influential artists to emerge from street culture in the context of contemporary art history,” said MOCA Director Jeffrey Deitch.

“This quintessentially urban and dynamic partnership between the Brooklyn Museum and MOCA began with the 2005 Brooklyn-organized exhibition of the work of Jean-Michel Basquiat, the consummate American street artist of his generation; continued with the MOCA-organized ©MURAKAMI in 2007, defining critical elements of worldwide street art; and now culminates with a groundbreaking exhibition devoted entirely to street art and graffiti,” said Brooklyn Museum Director Arnold L. Lehman. “The partnership has, in itself, provided a major record of public art over the past half century.”

Art in the Streets is organized by Jeffrey Deitch and associate curators Roger Gastman and Aaron Rose. Gastman is the author of The History of American Graffiti, which will be released in April 2011, and was a consulting producer on the film Exit Through The Gift Shop. Rose curated the exhibition Beautiful Losers and directed the related documentary film. Ethel Seno, editor of Trespass: A History of Uncommissioned Urban Art, is the curatorial coordinator of the exhibition. The Brooklyn Museum’s presentation will be organized by Managing Curator of Exhibitions Sharon Matt Atkins.

A comprehensive catalogue on the history of graffiti and street art published by Skira Rizzoli and edited by Nikki Columbus, former associate editor of Artforum, will accompany the exhibition. The book traces the birth and dissemination of styles through the stories of graffiti writers and street artists all over the world. It features a foreword by Deitch and essays by Carlo McCormick, Greg Tate, and Diedrich Diederichsen. It also features interviews and discussions with influential street artists about wild style, cholo graffiti, and the art that emerged from skate and punk subcultures. Additional contributors include Fab 5 Freddy, KET, Caleb Neelon, Lydia Yee, Kathy Grayson, Cheech Marin, Bill Daniel, and Hiroshi Fujiwara. The book was designed by Conny Purtill, whose previous projects include Barry McGee: The Buddy System and Beautiful Losers.

Related Education and Community Outreach

An extensive program of educational and community workshops will complement the exhibition. As part of its exhibition sponsorship and ongoing community collaboration initiative, Levi’s® will host the Levi’s® Film Workshop at MOCA, offering a diverse schedule of programming that celebrates the craft of filmmaking and explores the exhibition’s subject matter. Access to the Levi’s® Film Workshop’s resources is open to all and free of charge. A special version of Associate Curator Aaron Rose’s Make Something!! educational project will also be presented at various Los Angeles high schools. Art in the Streets will include a graffiti and street art film festival presented in collaboration with the Cinefamily, and music and dance programs featuring some of the originators of hip-hop and break dancing.

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Barak Marshall Dance Theater Brings ‘Monger’ to UCLA Live’s Royce Hall April 15-­16.

Barak Marshall,
a rising star in contemporary dance, makes his UCLA Live debut with Monger, an emotionally charged physical-theater work for 10 dancers at Royce Hall Friday April 15 at 8p and Saturday April 16 at 9p

Marshall's movement is physical, sharp, fast, contains ethnic-contemporary motifs and is known for being highly emotive, visual and theatrical. The score combines elements of Gypsy, Balkan, classical and rock music.

With Monger, Marshall explores the dynamics of hierarchy, power, free will and the compromises one makes in order to survive through the story of a group of servants trapped in the basement of the house of an abusive mistress. The piece’s narrative structure is drawn from several sources including the life and work of Bruno Shultz, Jean Genet’s play The Maids and Robert Altman’s film Gosford Park. Monger was originally commissioned by Suzanne Dellal Centre, premiering there October 25 2008 and also opened the International Tel Aviv Dance Festival that year.

Last January, Marshall won the first prize in the in the first-ever Los Angeles-based “The A.W.A.R.D Show,” a New York Joyce Theater Foundation program dedicated to nurturing new work, discussion, exploration and creativity in the dance community. For the past six years the A.W.A.RD.Artists With Audiences Responding to Dance—program has been actively connecting working dance artists in an open dialogue with their audiences in events across the country.

Marshall was one of a dozen Los Angeles choreographers to compete for the audience-voted prize of a $10,000 grant to develop new work. He showcased excerpts from a his latest piece, Rooster, which was commissioned by the Suzanne Dellal Centre and the Israeli Opera and premiered at the Israeli Opera House in Tel Aviv in November 2009.

Born and raised in Los Angeles, California, Marshall is the son of acclaimed dancer, choreographer and musician Margalit Oved. Marshall studied social theory and philosophy at Harvard University and immigrated to Israel in 1994. He currently divides his time between Tel Aviv and Los Angeles Since his accidental entrance into dance in 1995, Barak fast established himself as one Israeli dance’s most innovative and unique voices. Barak’s first work Aunt Leah won first prize in Suzanne Dellal’s 1995 Shades of Dance Choreography Competition. The work was also added to the repertoire of the Inbal Dance Theater Company. Shortly after, Barak began touring abroad, appearing in the prestigious Roma Europa and Arci Milano festivals to rave reviews. In 1999 he was invited by Ohad Naharin to become the Batsheva Dance Company’s first house choreographer, a position he held for two years.

In 2007 Marshall was asked by the Tel Aviv/Los Angeles Partnership to create a new choreographic/dance course. As artistic director of the program, he established a partnership between the UCLA Department of World Arts and Cultures, the UCLA Center for Intercultural Performance and the Suzanne Dellal Center. The program is now in its fourth year. In 2008 Barak was a guest lecturer in choreography and composition at the UCLA Department of World Arts and Cultures.

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@ CINEFAMILY - An Evening with Richard Linklater.

Made In Austin, Day One:

An Evening with Richard Linklater
Featuring Slacker & subUrbia

If Austin is now known as a mecca for independent film-making, then no single man has done more to create this image (both by personal example and through his support of other filmmakers) than Richard Linklater. In his early twenties, he founded the Austin Film Society in 1985, a group that not only has brought the best in international cinema to his adopted hometown, but through its grant program, has assisted almost three hundred local filmmakers, keeping the indie spirit alive and well. Linklater’s movies are as fully fleshed, as chatty, as idea-filled, and thoughtful as any European art film, but also have a relaxed, unforced manner that makes them as personable as they are personal, as charming and warm as they are smart. Cinefamily is excited to have one of their favorite filmmakers, and a damned nice guy, for a conversation about filmmaking, Texas, and maybe a little BBQ.

Slacker - 9p

Doing more to promote the blessed “Keep Austin Weird” philosophy than any number of SXSWs could manage, Richard Linklater’s exceptional breakthrough 1991 film is as much a celebration of the Texas capital’s wholly unique flavor as it is the definitive portrait of a generation’s comfortable aimlessness. Slacker ditches convention narrative form as it follows dozens of bohemian Austin residents over a single day, through their routines of lollygagging, hanging out, walking around, and espousing their highly unusual, always-hilarious points of view. Daisy-chaining seamlessly from character to character through the city's coffee shops, bars, and sidewalks, Linklater’s inimitable vignettes (born from years worth’ of his jotting down snippets of overheard Austin weirdness) create a vivid, buzzing snapshot of a funky subculture not afraid to speak its mind on the values that define it. Celebrating its 20th anniversary, Slacker is as relevant today as ever -- and its ‘90s wardrobe looks pretty fresh to boot! Dir. Richard Linklater, 1991, 35mm, 105 min.

subUrbia - 11p
One of Linklater’s darkest and most urgent films, subUrbia perfectly captures an instantly-recognizable landscape where parking lots at convenience stores are the only hang-out spots, and self-destruction seems like the only viable career choice. For a group of endearingly aimless friends (Giovanni Ribisi, Nicky Katt and Steve Zahn), a typical night of drinking on the curb outside their favorite gas station and harassing the owner becomes transformative when a school-pal-turned-MTV-star rolls into town with his limo and his smokin’ publicist (Parker Posey) in tow, stirring up their discontent with life in the suburbs. By the time the sun comes up, friendships will have unraveled, weapons will be brandished -- and slam poetry will have been performed. An essential companion piece to Slacker’s more carefree do-nothings, subUrbia (penned by legendary playwright/performer Eric Bogosian) is a stark warning against letting slacktitude turn into destruction, and against stealing garden gnomes while drunk.
Dir. Richard Linklater, 1996, 35mm, 121 min.

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Made In Austin (trailer) from Cinefamily on Vimeo.


Martha Cooper 'Remix' @ Carmichael Gallery Saturday, April 9th.

Carmichael Gallery
is pleased to announce Martha Cooper: Remix, an expansive group show featuring highlights from Martha Cooper’s photographic archive and works by over 50 artists who have created their own unique interpretations of her iconic, historically significant imagery. There will be an opening reception for the exhibition on Saturday, April 9 from 6p to 8p with Martha Cooper and several of the participating artists in attendance. The exhibition will run through May 7, 2011.

Photographer of Art on the Streets
for Six Decades.
The daughter of a Baltimore camera store owner, Martha Cooper’s romance with photography began in the 1940s when bobby-soxers and penny loafers were the sign of edgy youth culture. Her dad, an amateur photographer himself, gave his small girl a camera and together they hit the streets in search of adventure. “Yeah, my father used to take me out and we would take pictures. That’s what I thought photography was…we were just looking for pictures,” she recalls. Six decades later, Cooper is still looking for pictures; meanwhile, many works from her archive are cited as pivotal recordings of the birth of hip-hop culture and its plastic art form, graffiti.

During the cultural upheavals of the 1960s, Cooper earned a Bachelors of Art degree in Iowa, taught English for the Peace Corps in Thailand and rode a motorcycle from Bangkok to obtain a graduate degree at Oxford. As a freelancer and staff photographer in Japan, Maryland and Rhode Island in the early 1970s she moved to the media and art center of New York City to catch bigger fish. Landing a job on the staff of The New York Post in 1977, she discovered that the resistant and competitive boys club of photographers there were reluctant to countenance this scrappy young woman shooting hard news stories and Studio 54 celebrities.

Hungry for discovery, Cooper would spend her time to and from assignments in bombed-out neighborhoods, where she took pictures of kids entertaining themselves with games they devised on the street, often with the humblest of materials. It was during one of those trips that she stumbled on graffiti and the members of its community. She met a young boy who suggested she photograph the work she was seeing, then showed her a stylized drawing of his name, or piece, in his notebook.

Then he asked her if she wanted to meet “The King”. Following this lead to Brooklyn, Cooper met Dondi, the citywide-famous graffiti writer who kept a published photo of hers in his black book because its background contained one of his graffiti throw-ups. Cooper quickly realized that she had stumbled into a lively street culture and became an avid student of the teen writers she befriended. By the time she took her last news picture for the New York Post in 1980, her primary desire was to capture as many pieces, tags, and trains as she possibly could find. Today, she remarks on her near-obsessive devotion to documenting New York’s graffiti: waking before dawn to hit the street, waiting five hours for a freshly painted #2 train to pass with the sun at her back and countless secret adventures with vandals in train yards, evading transit police in order to pursue a shot.

Joining efforts with fellow graffiti photographer, Henry Chalfant, Cooper proposed putting together a book of their documentation. The pair endured multiple rejections from publishers while lugging around a big “dummy” book with their pictures glued to the pages. Eventually, however, they landed a deal and Subway Art was published in 1984. Although not an immediate success, it came to sell half a million copies and established itself as a holy book for fans, aspiring artists and art historians worldwide. By the time the 25th anniversary edition was published in 2009, generations of graffiti and street artists had been influenced by it and the hip-hop culture Cooper and Chalfant had captured had gone global.

In the intervening years, Martha Cooper never stopped shooting. Her love of serendipity on the street and the exploration of cultures led her to publish thousands of photos in books such as R.I.P.: Memorial Wall Art, Hip Hop Files 1979-1984, We B*Girlz, Street Play, New York State of Mind, Tag Town, Going Postal, and Name Tagging. Her work has been exhibited in museums and galleries worldwide and published in numerous magazines including National Geographic, Natural History, and Vibe. While she is still shooting graffiti, street art and the occasional break dance competition today, Cooper’s current project involves documenting people and events in Sowebo, a drug-riddled neighborhood in her birthplace of Baltimore.

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Neighborhood Public Radio - Thursday, April 7, @ MOCA Grand.

is pleased to announce the artist-run radio project Neighborhood Public Radio (NPR) as the spring 2011 participants in Engagement Party, MOCA’s program presenting new works by innovative Southern California–based artist collectives and collaborators. Harnessing the airwaves, NPR will create three interactive sound projects for MOCA visitors to experience on the first Thursday evenings of April, May, and June 2011.

For their first Engagement Party project, NPR will transmit a collection of radio programs on local frequencies. MOCA visitors may tune in via hand-held personal transistor radios they either bring to or buy at the event.

For FMemory, NPR will broadcast interviews with downtown Los Angeles’s communities of residents, workers, and art professionals and patrons about their most memorable MOCA experiences and their perceptions of Bunker Hill’s evolving landscape.

Small Audience (for Large Ensemble), a large-scale polyphonic voice ensemble, will provide an unexpected space for museum-goers to perform on-air together.

For Silent Disco Party, NPR will transmit live performances of original music and remixed dance classics for those who feel like dancing. In addition to these programs, students from NPR member Lee Montgomery’s broadcast class at the University of New Mexico will be operating their own radio station from the plaza.


Visitors are encouraged to bring small radios and headphones. A limited number of radios with headphones will be available for sale for $2.

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Kristy Edmunds Named UCLA Live Executive and Artistic Director.

Internationally known performing arts curator Kristy Edmunds has been named executive and artistic director of UCLA Live, UCLA's renowned performing arts program, Christopher Waterman, dean of the UCLA School of the Arts and Architecture, announced today.

Edmunds comes to UCLA Live from Australia's University of Melbourne, where in 2008 she was appointed head of the new School of Performing Arts in the Victorian College of the Arts and a year later was named deputy dean of the college. She has served concurrently as consulting artistic director for the Park Avenue Armory performing arts space in New York City.

From 2005 through 2008, Edmunds held the prestigious position of artistic director of the Melbourne International Arts Festival and was the first artistic director of the festival to serve a four-year term.

"Kristy Edmunds is a creative and resourceful artistic director and curator, well known and respected in the international arts community for programs that empower artists and entertain audiences," Waterman said. "We are confident that her exciting contemporary vision and her proven commitment to sustainable arts cultivation will expand UCLA Live, enrich the UCLA community and enhance the overall Los Angeles performing arts landscape."

Edmunds' official appointment date is May 1, 2011, and she will transition into her role at UCLA Live throughout the summer, relocating to Los Angeles in August. She will provide leadership for all ongoing UCLA Live activities and begin the planning process for the 2012–13 UCLA Live season immediately.

"There is a fantastic momentum swirling in the Los Angeles arts scene which has clearly been generated from the longstanding efforts of many individuals, artists and organizations," Edmunds said. "The thought of contributing to this atmosphere while leading the next phase of UCLA Live's evolution is authentically inspiring. Conjoining an active and diverse local scene with a national and international arts dialogue, all within the culture of an incredible research university, is a heady mix indeed. It is a major challenge and one with dizzying potential for artists and audiences."

"UCLA Live has a vital and diverse heritage and is known for embracing classical, contemporary, local, global, established and emerging artists," Edmunds said. "We are at an important juncture, and I am exhilarated by what we can create and further develop over the upcoming years."

Edmunds' career has included work as a visual artist, an independent filmmaker, a playwright and a teacher. She holds a bachelor's in film direction from Montana State University and a master's in playwriting and theater direction from Western Washington University.

Edmunds was also the founding executive and artistic director of the Portland Institute for Contemporary Art (PICA) and the Time-Based Art (TBA) Festival in Portland. Widely recognized for her global, cross-disciplinary focus, she has worked with top artists from around the world. Her tenure at the Melbourne International Arts Festival was a critical and economic success and introduced Australian audiences to acclaimed artists from around the globe. She pioneered new presenting models, with such artists and companies as the avant-garde stage ensemble Theatre du Soleil, dancer and choreographer Merce Cunningham, singer-songwriter and poet Patti Smith, and Australian indigenous music ensemble Black Arm Band, to name a few.

"It became clear very quickly that Kristy Edmunds has both the leadership skills and aesthetic sensibility to take the helm of a great performing arts program in a world-class city, especially during a transformative period — thus her qualities are key to the growth and longevity of UCLA Live," said Alan Schwartz, president of UCLA Live's Royce Center Circle board and a member of the search committee for a new director. "The board — and its leadership — is looking forward to working alongside Kristy as we move forward."

Edmunds will remain in her consulting role for the Park Avenue Armory through 2012. The Armory, a nonprofit institution whose mission is to revitalize one of America's historic treasures as a dynamic alternative arts space, is dedicated to the development and presentation of work in the visual and performing arts, with a particular focus on major works of scale.

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@ CINEFAMILY: The Ecstatic Truths of Werner Herzog: Documentaries, 1971-1992 -

In recent years, audiences have become more aware of Werner Herzog’s skills as a documentarian, but a closer look at his career shows a fascination with the non-fiction form going back to the very beginning. No one has done more than Herzog to promulgate the deeper truth that every fiction film has an element of documentary, and that all documentaries are constructed fictions. Herzog’s docs show an appreciation for imagination, poetry, adventure, and most of all -- how documentaries at their best can be an expression of one artist’s vision of the world. Join Cinefamily for twelve of Herzog's finest!

“I've always made it very clear that for the sake of a deeper truth, a stratum of very deep truth in movies, you have to be inventive, you have to be imaginative. Otherwise you will end up with what cinema-vérité does - they are the accountants of truth. I'm after something deeper. I call it the ‘ecstatic truth’ - the ‘ecstasy of truth’.” -- Werner Herzog


Lessons of Darkness
shown with
La Soufriere

La Soufriere - 7:30p
Before going to hell and back to film the near-impossible images of burning oil fields in Lessons of Darkness, Herzog first covered a different eruption: that of the looming, belching volcano ready to pop on the Carribean island of Guadaloupe. Scratching their collective death wish itch, Herzog and his camera crew arrive at the island’s deserted ghost-town village at a moment when the volcano could erupt at any time, and interview a couple of primo Herzogovian outsiders left behind, who await death-by-lava with a semi-insane equanimity. Our man’s in great form, evading toxic sulfur gas and filming gorgeous smoke clouds, demonstrating with this film more than any other his willingness to capture his visual poetry at all costs.
Dir. Werner Herzog, 1977, DigiBeta, 30 min.

Lessons Of Darkness - 8p
A work of catastrophic beauty and sublime horror, Lessons of Darkness finds Herzog fighting fire with fire, confronting devastation with an ironic grace. Filming the unfathomable destruction caused by the Kuwaiti oil fires of the first Gulf War as a series of breathtaking aerial tableaux, Herzog transforms a landscape ravaged by war into an image of an alien world. Herzog scores these infernal panoramas to the soaring arias of Mahler, Schubert, Verdi, and Wagner, punctuated by brief aphoristic voiceovers and titles designed more to provoke and overwhelm than to inform. As in his later nature documentaries, Herzog here confounds that humanistic view of our world which stands mute and uncomprehending in the face of disaster and savagery, for the brutish nature on display in these chilling Lessons is that of man himself.
Dir. Werner Herzog, 1992, DigiBeta, 50 min.

Fata Morgana - 9:45p
Herzog journeys to the Sahara to film mirages, goes home with some wonderously trippy footage, and has charming film critic Lotte Eisner narrate the Popol Vuh creation myth over the top. One of Herzog’s earliest features, Fata Morgana begins with a audacious zoned-out opening, and hits transcendent straight off before getting even stranger as its chimerical imaginary civilization passes from Golden Age to Decline. As well, the film crew shoots like tourists to a different planet where the presence of life is largely manifest through detritus and death: a car turns endlessly in circles, and a bearded man in welding goggles flourishes a monitor lizard at the camera. The onscreen subjects of Herzog and frequent collaborator Jörg Schmidt-Reitwein (who lensed 17 of Herzog’s films) are frequently enhanced by the mythic, mirrored properties of the heat haze, and an eclectic soundtrack that switches from Handel organ music to Leonard Cohen, and onto a weird local drum/piano duo. An absolutely stunning Herzog head film!
Dir. Werner Herzog, 1971, DigiBeta, 79 min.

Wodaabe: Herdsmen of the Sun
shown with
Bells From The Deep: Faith And Superstition In Russia

Wodaabe: Herdsmen of the Sun - 7p
A rare example of Herzog tackling the "ethnographic" corner of the documentary genre, with wonderfully mystical results! Herdsmen of the Sun tells of the Wodaabe tribe, a nomadic African community (self-described as “the most beautiful people on earth”) who annually practices a festival called Gerewol, in which females choose their mates from a lineup of super-elaborately adorned men with wild makeup, feathers and kaledoscopic robes draping their seven-foot frames. Starting with the first scene, Herzog accentuates the ethereal nature of this rite further by layering early 20th-century recordings of opera on the soundtrack; the film’s dreamlike depiction of a foreign people, very much at odds with the purist cinema vérité tradition of ethnography without adornment, is the embodiment of Herzog’s own “Minnesota Declaration”: that through “imagination and stylization”, there can be such a thing as a poetic, ecstatic truth. Riverting, singular and totally heartfelt. Dir. Werner Herzog, 1989, DigiBeta, 52 min.

Bells From The Deep: Faith And Superstition In Russia - 8p
A bit like a gentle Herzog take on the concept of a mondo film, Bells From The Deep is a catalogue of highly unusual religious practitioners and mystics throughout the Russian world, from bizarrely cocky Jesus impersonators to mass exorcisms, all the way through to meditating hordes that emit animal-like croaks to achieve a higher plane. Some highlighted personalities are truly off the wall, yet some are grounded in a startling reality, such as the Tuvan throat-singing plainsmen set against a backdrop of ice flows, or the humble servant of God who makes his meager living playing his church's epic network of tower bells like a concert pianist (providing the film's most haunting sequence.) As Herzog provides no narration or overt editorializing, the film's primary objective becomes clear as its strange subjects speak for themselves: it's not about the faith in question, but rather how unique of a road it takes to clarify it.
Dir. Werner Herzog, 1993, DigiBeta, 60 min.

The Great Ecstasy of the Woodcarver Steiner
shown with -
How Much Wood Would A Woodchuck Chuck

The Great Ecstasy of the Woodcarver Steiner - 9:45p
Woodcarver Steiner’s indelible minutes contain a perfect Herzogian subject: the “ski flier” who sails super-human distances -- a serene young man who is portrayed to exist on a more transcendent plane. Walter Steiner is a medal-winning, record-breaking Swiss ski-jumper whom Werner’s ultra-slo-mo camera routinely captures soaring impossibly, and with an eerie calm usually reserved for monks or yogis. When rendered in hundreds of frames per second, Steiner’s feats dissolve the notion of the act as mere sport, launching it to the level of unearthly art bathed in death-defying ecstasy -- a blissful state that Herzog (a former ski jumper as well) finds himself in whilst doing live color commentary throughout the film. Also featuring an unforgettable, ethereal score by regular collaborator Florian Fricke (aka Popol Vuh), Steiner is easily one of the most visually breathtaking of all Herzog’s films, documentary or otherwise -- so relish this opportunity to see it on the big screen!
Dir. Werner Herzog, 1974, DigiBeta, 45 min.

How Much Wood Would A Woodchuck Chuck... - 10:30p
Herzog's yen for discovering the bizarre amongst the mundane here extends to his discovery of an alien language, in this mid-’70s paean to the blindingly fast private code of the Cattle Auctioneer. Planted in the Middle American milieu Herzog would soon return to for 1977’s Stroszek, How Much Wood... is less concerned with the business of auctioneering as it is with the thrill of the “call” itself: how it arose as a language due to capitalism, how the winners at the Cattle Auctioneering World Championships grew to develop their skills, and the purely rapturous sensation of endless cascading machine-gun syllables.
Dir. Werner Herzog, 1976, DigiBeta, 44 min.

Land of Silence and Darkness
- 7p
One of Herzog’s most deeply felt and compassionate documentaries, Land of Silence and Darkness profiles the extraordinary Fini Straubinger, who, after becoming deaf and blind as an adolescent, spent thirty bedridden years in near-isolation. Upon learning hand-to-hand communication, Straubinger found herself awakened, charged with the purpose of sharing this gift. Herzog follows his loquacious subject as she interacts with other deaf-blind pupils, revealing both profound loneliness and true intimacy; one exquisite sequence lingers on expressions of joy and anxiety as the 56-year-old educator and her friends take their first airplane ride, as another reveals disappointment when Straubinger is unable to break through to a withdrawn patient. Though Herzog surprisingly shot only three hours of footage during the making of the film, Land of Silence and Darkness explores its subject masterfully and methodically, culminating in a poignant final shot which Herzog himself called “absolutely unforgettable, a human drama played out in two minutes.” Dir. Werner Herzog, 1971, DigiBeta, 85 min.

Echoes From a Somber Empire
- 9:15p
Echoes is Herzog's captivating Capturing The Friedmans-style jigsaw puzzle concerning Jean-Bédel Bokassa, former dictator of the Central African Republic, and Michael Goldsmith, (the film’s atypical “host”, rather than Herzog himself), a European journalist captured and tortured by Bokassa's regime. At first, only momentary scraps of information are revealed: testimony by Bokassa’s current wife, casual reminiscences from his many, many children, and file footage from his exile in France -- deliberately giving you the impression that Bokassa could be simply an upstanding puppet of colonialism. But, as Herzog criss-crosses the historical narrative, he delicately peels back layer after layer of the Bokassa onion (arbitrary executions -- impostor daughters -- casual cannibalism?!?!), letting a wildly complex, unforgettable portrait of a despotic madman bubble to the surface. Deeply unsettling from its opening “dream sequence” (a tableaux of migrating Christmas Island crabs, later re-used by Herzog in Invincible) right down to its impossible-to-forget final image, Echoes is possibly the greatest discovery of this entire series. Dir. Werner Herzog, 1990, DigiBeta, 93 mi

God's Angry Man
shown with
Huie's Sermon

God's Angry Man - 7:45p
Dr. Gene Scott, the notorious televangelist whose paranoid grandiosity and fevered rantings made him easily the most complex (and subsequently entertaining) of his ilk, is the wildly entertaining subject of 1980’s God’s Angry Man. Herzog visits Scott on the set of the long-running nightly TV show “Festival of Faith”, filming him in both contemplative and full-on freakout modes; as he hurls bizarre, uncomfortable proclamations towards his at-home audience, Scott reveals himself to be not only passionate about his own teachings, but equally passionate about his own myth of personality. Herzog once called America “the most exotic country in the world”, and out of all his documentaries, God’s Angry Man goes the furthest to prove this point: as he alternately thrills to Scott’s maelstrom and to the creepy Xtian soft-rock musical interludes by Scott’s in-house backing band of pasty musicians with moulded hair, Herzog narrates the action in his native tongue for the film’s original German audience, hipping them to a taste of Americana as alien as the realm of Star Wars.
Dir. Werner Herzog, 1980, DigiBeta, 43 min.

Huie's Sermon - 8:30p
Made shortly after God’s Angry Man, the show’s second film finds Herzog capturing a very different, yet no less manic mode of preaching. Filmed at the Bible Way Church of Our Lord Jesus Christ in Brooklyn, Huie’s Sermon is the record of a single sermon delivered by its charismatic pastor Huie Rogers, who gradually builds in intensity from placid to a level so intense you’re amazed that he doesn’t drop dead on the spot from an aneurysm. Huie zig-zags across a minefield of hot-button anti-Christian issues (homosexuality, pollution and...artificial insemination...?), and keeps his congregation on its feet every second of the way. Herzog is less interested in the content of the sermon as he is in Huie’s pure immolative delivery, for this preacher burns as hot as the oil field fires of Lessons of Darkness.
Dir. Werner Herzog, 1981, DigiBeta, 43 min. -

Jag Mandir: The Eccentric Private Theater of the Maharaja of Udaipur - 10p
“Herzog's oeuvre is often divided between his documentaries and his fiction films, but there are few directors for whom that distinction means so little -- in almost all of his work, fiction and reality weave together in complicated ways. This is certainly true of Jag Mandir, about a folk art festival arranged in a remote region of India...[t]he film is presented as a record of a festival arranged by the Austrian actor, singer and conceptual artist André Heller, at the behest of a Maharajah who wanted his young son to witness the glory of Indian artistry before such local traditions were erased in the face of "McDonaldization." The bulk of the film is dedicated to a simple document of the show itself: one group of performers after another takes the stage, dancing, playing music, juggling and displaying an array of marvelous costumes. The whole thing is pure spectacle, [b]ut the most impressive performance is probably the simplest, a traditional dance that Herzog excerpts at great length towards the end of the film: a mixed group of male and female dancers who continually rearrange themselves into delicately pulsating tableaux vivant. It is a hypnotic, beautiful slow motion dance, driven by stop/start rhythms and subtle choreography, and is a tremendous way to cap the grandeur and beauty of these rituals.” -- Ed Howard, Only The Cinema - Dir. Werner Herzog, 1991, DigiBeta, 85 min.

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The Ecstatic Truths of Werner Herzog trailer from Cinefamily on Vimeo.