Tag Archives: UCLA


In my own Crow community, we have a whole policing system that uses teasing. Any time a tribal member is getting egotistical, there is a cousin who will notice it, and their job in the community is to make fun of you and bring you down a couple notches. If you are sick, their purpose is to come and joke with you. So it’s very natural for me.

Humor is healing to me… To have that element in my work is quite Native, or Crow, and I’m glad that it comes through. It’s universal. People can connect with the work that way. Then they can be open to talking about race. — Wendy Red Star

This week, a livestream of Red Star’s UCLA DEPARTMENT OF ART LECTURE is presented by the university and the Hammer Museum. Red Star’s installation focused on the 1898 Indian Congress is currently at the Joslyn Art Museum in Omaha.

See link below for art lecture r.s.v.p. information.


Hammer Museum

Thursday , February 4.

6:30 pm on the West Coast; 9:30 pm East Coast.

Wendy Red Star, from top: Apsáalooke Feminist #1, 2016, pigment print; Catalogue Number 1948.102 Parade Rider: Unidentified, 2019, pigment print on archival paper; Déaxitchish / Pretty Eagle, 2014, from the series 1880 Crow Peace Delegation, inkjet print and red ink on paper, Birmingham Museum of Art collection; Stirs Up the Dust, 2011, Autry Museum of the American West, Los Angeles, collection image; Indian Summer, 2006, from the series Four Seasons, archival pigment print on Sunset Fiber rag; Wendy Red Star. Images © Wendy Red Star, courtesy of the artist and Sargent’s Daughters, New York.


If I am right to think this is the greatest creation of dance theater so far this century, we’re fortunate that FOUR QUARTETS will travel to other stages. I long to become more deeply acquainted with the many layers of its stage poetry.Alastair Macaulay

In great demand and at the height of her powers, Pam Tanowitz creates work that bridges contemporary dance and ballet. Her FOUR QUARTETS—the most acclaimed dance work of the past two decades—is a collaboration with Brice Marden, who created the set images, and composer Kaija Saariaho.

The title refers to T. S. Eliot’s poetry cycle, which provided the inspiration and text for the work, read in performance by Kathleen Chalfant.

This weekend, CAP UCLA presents two performances of FOUR QUARTETS at Royce Hall. Dancers include Kara Chan, Jason Collins, Dylan Crossman, Christine Flores, Zachary Gonder, Lindsey Jones, Victor Lozano, Maile Okamura, and Melissa Toogood.

The scenic and lighting design is by Clifton Taylor, the costume design by Reid Bartelme and Harriet Jung, and the sound design by Jean-Baptiste Barriére. Saariaho’s music will be performed by The Knights.


Saturday, February 15, at 8 pm.

Sunday, February 16, at 3 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Pam Tanowitz, Brice Marden, Kaija Saariaho, Four Quartets, in performance. Photographs by Maria Baranova. Images courtesy and © the artists, the dancers, the photographer, and CAP UCLA.


Larry Clark and film curator Jheanelle Brown will participate in a post-screening discussion following a UCLA presentation of Clark’s rarely seen L. A. Rebellion classic PASSING THROUGH—”a film that by many accounts has successfully transposed the compositional principles of jazz improvisation into filmmaking and thus reached a powerful synergy between free jazz and film form.”


Thursday, February 13, at 7:30 pm.

James Bridges Theater—Melnitz Hall—UCLA

235 Charles E. Young Drive East, Los Angeles.

Larry Clark, Passing Through (1977), from top: Nathaniel Taylor as Womack (5), and with Pamela Jones as Maya (third from top). Images courtesy and © the filmmaker.


Whether one was auditing Peter Wollen’s classes at UCLA, reading his essays, or watching the films he wrote and/or directed, one was always persuaded by what Tilda Swinton calls his “dazzling prophetic genius.”

Wollen—director of Friendship’s Death and co-director with Laura Mulvey of Riddles of the Sphinx and Crystal Gazing—was born in London in 1938 and died earlier this month in England. He is survived by his wife, the writer and artist Leslie Dick.

He co-wrote Michelangelo Antonioni’s The Passenger, authored several books—including Signs and Meaning in the Cinema and Paris Manhattan: Writings on Art—and was professor emeritus of film, television and digital media in the UCLA School of Theater, Film and Television.

From top: Peter Wollen, photograph by Karen Knorr; Wollen, Paris Manhattan: Writings on Art; Wollen, Paris Hollywood: Writings on Film; Michelangelo Antonioni, The Passenger (1975); Laura Mulvey and Wollen, Riddles of the Sphinx (1977); Wollen, Friendship’s Death (1987), with Tilda Swinton and Bill Paterson; Wollen, photograph by Leslie Dick. Images courtesy and © the filmmakers, the author, the photographers, and Verso books.


Matthew Bourne, with his aggressive male swans and nightclub scenes, took Swan Lake in one direction. Michael Keegan-Dolan’s short, Tchaikovsky-free take—LOCH NA HEALA (SWAN LAKE)—goes somewhere else altogether. Inspired by a number of folktales, including “The Children of Lir,” and updated to present-day Ireland, Keegan-Dolan gives us predatory priests, suicidal depressives, and Mikel Murfi as a goat, leading up to an exhilarating, shambolic climax.

This dance-theater-performance art hybrid—performed by Keegan-Dolan’s company, Teaċ Daṁsa, and co-presented by UCLA’s Center for the Art of Performance and the Ford Theatres—will be at Royce Hall for one night only. The trio Slow Moving Clouds will perform their score onstage.


Saturday, November 9, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Michael Keegan-Dolan / Teaċ Daṁsa, Loch na hEala (Swan Lake), November 9, 2019, Royce Hall, UCLA, from top: Rachel Poirier (left) and Alex Leonhartsberger (foreground); Michael Murfi, (left) Leonhartsberger (sitting), Erik Nevin, Zen Jefferson and Keir Patrick; Leonhartsberger (left), Patrick, Murfi, Nevin, Jefferson, and Dr. Elizabeth Cameron Dalman; Murfi, Nevin, Dalman, and Patrick; Poirier, Latisha Sparks, Carys Staton, and Anna Kaszuba. Photographs by Reed Hutchinson, images courtesy and © the photographer, the choreographer, the artists, and CAP UCLA.