Please join us Friday, February 03 at 6PM for an evening of short film and live performance featuring the work of Los Angeles-based artists Lauren Lee McCarthy and Lucy McRae. The event will begin with a screening of McRae’s short film FUTUREKIN, followed by an evening length “performance in progress” by Lauren Lee McCarthy.

FUTUREKIN follows a group of women who seek autonomy over their own bodies, by creating the ability to bear children outside of the body. McCarthy’s performance chronicles a multi-year exploration of surrogacy and reproductive technology.

Lucy McRae (she/her) is a science fiction artist, filmmaker, inventor, and body architect. She is regarded as a pioneer who blurs the boundaries across art, architecture, design, and technology with a healthy disregard for labels that limit interdisciplinary practice. McRae has exhibited at art museums, film festivals, institutes, and science forums across the world including MIT, Ars Electronica, and NASA. Selected major artworks have been exhibited at the Venice Biennale, NGV, Science Museum London, Centre Pompidou and Milan Triennial. McRae is a visiting professor at SCI Arc in Los Angeles and is recognized as a Young Global Leader by the World Economic Forum. McRae encourages scientific conversation and has spoken at TED, Royal Albert Hall, Cannes Lion and Tribeca Film Festival.

Lauren Lee McCarthy (she/they) is an artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She has received grants and residencies from Creative Capital, United States Artists, LACMA, Sundance New Frontier, Eyebeam, Pioneer Works, Autodesk, and Ars Electronica. Her work SOMEONE was awarded the Ars Electronica Golden Nica and the Japan Media Arts Social Impact Award, and her work LAUREN was awarded the IDFA DocLab Award for Immersive Non-Fiction. Lauren’s work has been exhibited internationally, at places such as the Barbican Centre, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art, and the Japan Media Arts Festival.

Lauren is also the creator of p5.js, an open-source art and education platform that prioritizes access and diversity in learning to code, with over 1.5 million users. Lauren is an Associate Professor at UCLA Design Media Arts. She holds an MFA from UCLA and a BS Computer Science and BS Art and Design from MIT

Foolhardy Dance Party
Wednesday, April 1, 2020
7 – 11 pm
Tickets available

The gallery will be a polling site from
February 29 – March 2: 8AM – 5PM
March 3: 7AM – 8PM
Full list of Vote Centers for the March 3rd Presidential Primary Election

Steadily In Our View
Art Auction to benefit Swing Left

Due to public concern regarding coronavirus, the in-person event surrounding the Swing Left Art Auction has been cancelled.

The works are currently installed at Honor Fraser Gallery and the auction will continue to be held online, courtesy of Artsy, until March 31, 2020 at 11am PST.

You can view and bid on the auction here.

In conjunction with Pacific Standard Time: LA/LA, Honor Fraser Gallery is pleased to present its sixth annual performance series with new work by Arturo Molinar Avitia and Marlene Tafoya on Saturday, October 28, 4-6pm.

Arturo Molinar Avitia’s performance Imposter will continue his investigation into the constructs of his own identity. In …or a fabulous drag queen presented at California Institute of the Arts in 2013, Molinar Avitia considers an alternate present in which he does not immigrate to the United States and instead remains in Mexico to aid in the family business of apple farming; in another alternate present he breaks with the conservative traditions of his upbringing and becomes “a fabulous drag queen.” In Imposter, Molinar Avitia contends with his recently acquired US Citizenship, the futility of casting his first vote in a presidential election, and bearing witness to the lives of undocumented workers in his community. Molinar Avitia’s performance will include traditional Mexican dance hall music and readymade sculptures of reflective bicycle lights; a disorienting environment meant to reference the liminal physical and psychological spaces occupied by Mexican immigrants and the fetishization and appropriation of their culture by the artist.

Arturo Molinar Avitia was born in Bachiniva in the state of Chihuahua, Mexico in 1977 and lives in Los Angeles. He received a Bachelor of Fine Arts from the University of Texas at El Paso in 2011 and a Master of Fine Arts from California Institute of the Arts in 2013. Honor Fraser Gallery presented a performance by Molinar Avitia in 2015 for Is It All Over My Face?, the gallery’s fourth annual performance series. His performances and installations have been included in thematic exhibitions such as Town Hall, curated by Liz Toonkel, ltd los angeles, Los Angeles, CA (2017); Look, See, Listen, Hear, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, El Paso, TX (2015); Show and Tell, Da Vinci Gallery, Los Angeles County College, Los Angeles, CA (2015); Skeptics and Slackers Presents the Bucket, Grice Bench, Los Angeles, CA (2015); and Subject Matters: CalArts MFA 2013 Graduate Exhibition, Mandarin Plaza, Los Angeles, CA (2013).

Marlene Tafoya presents Aim high Aim low, an interactive installation inspired by a hybridization of Aztec, Catholic, and Native American rituals that make up her cultural background. The centerpiece of her performance will be a piñata in the shape of a seven-point star. During the Spanish conquest of the Aztec empire, Catholic priests used seven-point star piñatas to indoctrinate the Aztecs in the seven deadly sins and to provide a metaphor for the heavenly rewards that await those who resist sinful behavior. This tactic and others like it were used to colonize the Aztec people and replace indigenous ceremonial rituals. The piñata was a particularly effective tool as the Aztecs engaged in a similar activity to celebrate the birthday of Huitzlopochtli, the god of the sun and war. The Aztec ritual featured a clay pot filled with feathers, suspended above a statue representing Huitzlopochtli. When the clay pot was broken, after several attempts by blindfolded participants, the feathers would fall to the feet of the god like so many fallen warriors. Tafoya’s piñata will be filled with sage bundles that she and friends have gathered in the tradition of Native Americans; offering tobacco in exchange. For Tafoya, the breaking of this sage-filled piñata is an act of protest against the colonization and cultural erasure of her ancestors.

Marlene Tafoya was born in Los Angeles in 1991 and lives in Los Angeles. She received a Bachelor of Arts in Studio Art from California State University, Long Beach, CA in 2015. She has recently performed at New Wight Gallery, UCLA, Los Angeles, CA (2016) and presented a solo exhibition at Dennis W. Dutzi Gallery, California State University, Long Beach, CA (2015). Her work has been included in thematic exhibitions such as Borders, Art Share LA Art Gallery, Los Angeles, CA (2017); Tijuana Zine Fest, Tijuana, Mexico (2017); Ponderosas Para Simper, Museum of Latin American Art, Long Beach, CA (2016); Taste Makers & Earthshakers, Vincent Price Art Museum, Los Angeles, CA (2016); Chicos Pero Locos, Mini Art Museum x Slanguage, Phoenix Art Museum, Phoenix, NM (2016); Former, LAXART, Los Angeles, CA (2015); and Inconspicuous, TAFA Gallery, Tianjin, China (2013).

Honor Fraser Gallery is pleased to announce the gallery’s fifth annual performance event we are inseparable there is no time by Rebecca Bruno.

we are inseparable there is no time will be on view
Saturday, June 18, 2016, Noon to 4pm
Tuesday – Friday, June 21 – June 24, 2016, 10am to 6pm

Rebecca Bruno’s work investigates how objects, sound, bodies, and the space they inhabit coalesce to create experience and thereafter, how memories of the experience are physically stored and accessed. Bruno’s impetus for we are inseparable there is no time is the memory of the separation, confinement, and collective otherness she experienced while attending a bris milah in Israel. From this very specific point of access we are inseparable there is no time looks more broadly at how spaces are defined as secular or sacred and how this impacts the way objects and bodies are perceived and interact in those spaces. Through this lens Bruno also examines an act of political and spiritual protest that occurred at the Western Wall in Jerusalem in 2015. In defiance of rabbinic authority, a group of women danced with and read from a public Torah scroll during a prayer service in the women’s section of the pilgrimage site. we are inseparable there is no time probes this event and raises questions about the embodiment of religion and worship, the social implications of gender division in prayer, and the unique reflection enabled by corporeal meditation on the balancing capacity for nourishment and destruction in the natural world. Combining intimate durational dance, sculpture, film, drawing, and sound, we are inseparable there is no time is a collaboration between Rebecca Bruno (choreography and design), Mak Kern (installation and design), Samantha Mohr (performance), Odeya Nini (vocal composition), Yann Novak (sound installation), Emily Batson (costume design), and Drew Denny (Director of Photography).

we are inseparable there is no time is presented in conjunction with WORD. WORD is a program of American Jewish University’s Institute for Jewish Creativity, a program supported through a generous Cutting Edge Grant from the Jewish Community Foundation of Los Angeles. WORD’s Artist Grants, Bruce Geller Memorial Prizes, are made possible by the late Jeanette Geller in memory of her husband Bruce.

Rebecca Bruno is a dance artist based in Los Angeles. She received a BA in Dance from the University of California San Diego in 2008. In 2013 Bruno founded homeLA, a performance project dedicated to dance process in private space presenting works by more than 100 artists in 15 homes throughout Los Angeles. Bruno is a recipient of the CHIME (Choreographers in Mentorship Exchange) in Southern California Grant (2015); Annenberg Community Beach House Choreographer in Residence Grant (2015); Prix Marcel Duchamp, associate choreographer for Julien Prévieux (2014); Kendall Laurel Lui Dance Award, San Diego, CA (2008); and Stewart Prize in Choreography, San Diego, CA (2005). Her solo performance Unfinished Dance Work will premiere as part of the Duchamp to Pop exhibition at the Norton Simon Museum, Pasadena, CA on July 30, 2016.

Monday, May 18, 6:00pm
TBD – a musical play and video
SCENE 9
by Austin Young
With sound artists, Fol Chen
Music by Fol Chen
Styling by Taryn Nicole Piana

Be in a musical by Austin Young about and starring you. Free to the public. Come camera ready and dressed in character- inspired by your break up.
1) Come participate as a member of the Chorus. Everyone can join in.
2) Bring a story of your first break up. think of a song that got you through it (limited participation). Love will keep us together.
This experience will become a musical number in TBD, The Musical.
Please RSVP to laura@honorfraser.com, if you would like to participate in TBD, The Musical.

Tuesday, May 19
7:30pm Ashley M. Romano: In a Moment She Goes Wild combines personal narrative and movement to question expectations of female wildness. Referencing natural disasters, horror cinema and early feminist works of art, the performance examines the role of the female body within moments of distress.

8:00pm Ashley M. Romano & David Gutierrez: Premiere screening of Death Masks, a video that explores feminist and queer strategies of representation, while positing it within an imagined post-body purgatory. Two oppositional bodies are presented within constructed and abstracted environments, shifting and colliding in an absurd attempt to become one. Featuring: Andrew Diego, Luis Flores, Andrea Hidalgo, Mary Hill, Amanda Lee, Joshua Mark Logan, Sarah Petersen, Chris Reynolds, Joanna Reynolds and
Marisa Williamson.

8:30pm Arturo Molinar-Avitia: This Performance Has No Teeth is a life-size diorama and sound piece collaboration with Joshua Carro that explores aspects of failure and asks if one can find true value or empowerment in the pitfalls of self-indulgence.

Wednesday, May 20, 8:30pm
Consensual Art, Liz Toonkel
Jizzy Lizzy is a Rap Goddess whose upcoming album, Consensual Art, dropping May 19th, 2015, explores questions of identity, the violent nature of femininity, subject/object relationships and the root causes of acne. The album and its accompanying videos will be available for download.

She will be exhibiting five brand spanking new videos, debuting other fine objects, and enacting a live performance.

Spoiler alert: She may pull some thing(s) out of her pussy.

Disclaimer: You may get dirty.

Sculptures & Props made in collaboration with Nick Rodrigues
Costumes co-designed & constructed by Kate Fry
Music Produced & Select Beats by Paul Fraser
Select Beats by Kovas
Still Photography by Myles Pettingill
Consulting Director: Zoe Aja Moore
Live Video created in collaboration with Jon Chen
Painted props made in collaboration with Gracie Devito
Additional Props & Painting: Erin O’Donnell
Costume Construction Assistants: Laura Brown, Tiffany Maxwell
Moldmaking: Sofia Arreguin
Featuring: Shagha Ariannia, Gracie Devito, Christopher Fleeger, Chelsea Yarnell & More!

Video Credits:
Photography by Paul Gleason
Co-choreographed by Kathryn Burns
Inflatable Girls: Shagha Ariannia, Gracie Devito, Brittany Lau
Fly: Gracie Devito
Flytrap: Brittany Lau
Editor: Sean Donnelly
Assistant Editor: Jules Nurrish
Art Director: Angel Herrera
Art PA: Charlie Pieper

Special Thanks to Sean Donnelly, Jill Fogel, Evans Wittenberg!

Thursday, May 21, 7:00pm
ATTACK, SUSTAIN, RELEASE, DECAY, presented in conjunction with Commonwealth & Council, is a performance collaboration joining performance and media collectives Mutant Salon, Experimental Half Hour, and Project Rage Queen.

Mutant Salon Open Hours: 6 – 7pm
ASRD performance begins promptly at 7pm (Doors close at 7:30 pm)
The event will be streamed in real time to the Live to Tape festival in Chicago and available for to view here: https://www.youtube.com/watch?v=kTt33M5x_nA

Referencing a synthesizer’s parameters of the sound­shaping envelope generator, ASRD uses a diagrammatic score to orient sound, movement, voice, and video amidst a ritual of preparatory beautification. The sound ­enabled tools used by the performers to apply makeup, cut hair, and otherwise beautify themselves are such that each transformative gesture undertaken by the performers triggers different sound effects and affects, highlighting the body as a ritual site of transformation. ASRD also incorporates chromakey (“green screen”) technology with the performers wielding matching chromakeyed objects and costumes, reimagining the body and site in a relationship of indeterminate materiality. ASRD offers a collective vision of self care to expand parameters for synthesis: ATTACK (Identity), SUSTAIN (The Flame That Lights the Way Toward the Destruction of the Patriarchy), RELEASE (The Monster), DECAY (& Regenerate Our Bodies).

Participants: Eva Aguila, Marvin Astorga, Alice Cunt, Travis D, Brock Fansler, Elisa Harkins, Young Joon Kwak, Alli Miller, and Vik Victorious

mutantsalon.com
experimentalhalfhour.com
projectragequeen.tumblr.com
http://livetotapefestival.tumblr.com/
https://www.facebook.com/livetotapefestival

Through an ongoing program of curated performances, Honor Fraser Gallery intends to develop a laboratory for performative experimentation in the white cube. Each show invites artists to challenge the assumptions about what is possible for the body to do in a space explicitly designed to hold objects. As the only commercial gallery space with a recurring performance program in Culver City, Honor Fraser is beginning its performance history, not as big blank space, but one with the feeling of being marked by the events that happen there, of being storied.

Our first experiment, Move In was an invitation for performers to literally move in to the gallery, to reimagine the space as being home base. Move In Again features the return of several artists from Move In such as Julie Tolentino, Jmy James Kidd and Tara Jane O’Neil, Brian Getnick, Paul Waddell, Matt Siegle, and Dorothy Hoover as well as newcomers Lee Relvas and J. Patrick Walsh 3. For Move in Again, artists are invited to revisit the works they created for Move In and either continue them, transform them, or reproduce them again at Honor Fraser Gallery. Newcomers are invited to start a work in which the site of the gallery becomes intimately connected to the evolution of the piece and becomes a link in a chain of stories.

Performance art is generally thought of as a one-off and it is rare for an artist to be invited back to a space to re-investigate a performance in the context it was first presented. While there are liberating aspects to continually generating new work, one has to wonder if there isn’t also a general lack of investment on the part of performance venues in seeing a performance develop over the long term. Is it possible that these sites fear that the material of the performance could become too attached to them? For Move In Again, we desire exactly that kind of attachment to Honor Fraser Gallery and to think of the space itself as part of the work’s source material.

Performances are glimpses into a longer history, a story which reaches back to other places, other spaces. Move In Again will import something that happened at Honor Fraser Gallery back in October 2012 and will simultaneously be generating something new, something from here again.

Tuesday, April 2, 7 to 10pm
Paul Waddell: Sim 2 and and sim city too a behaviorist guide to understanding a consistent deterioration. Determined and positive Or lacking in attributes. 2.
J. Patrick Walsh 3: Hot Pot Charmer; Day #3

Wednesday, April 3, 7 to 10pm
Dawn Kasper: Marina Meets Beyoncé
Matt Siegle: Chorus

Thursday, April 4, 8 to 10pm
Wordless Welcome: Literal Ritual Sensory Experience
Presented by James Kidd, Tara Jane O’Neil, and Alexa Weir

Friday, April 5, 7 to 9pm
Brian Getnick and Bryatt Bryant: Tell me not to be afraid

Saturday, April 6, 7 to 9pm
Dorothy Hoover: A Typical California Room During the Decline of the West

Sunday, April 7, 1 to 8pm
Julie Tolentino: RAUL and JULIO series: UNTITLED (Diaspore)
Lee Relvas: The Porous World

THE ABSURD
By Dawn Kasper

THE ABSURD is an existential research experiment coined site-specific durational performance installation inspired by Albert Camus’s philosophical essay The Myth Of Sisyphus. The hypothesis as analogy or randomized algorithm: The Artist is to Sisyphus as the boulder is to Art. THE ABSURD is formulated to support the presentation of research findings put into practice composed to consist of a durational performance, a series of new photographs, drawings and three large-scale interchangeable sculptural performance environments.

“O my soul, do not aspire to immortal life, but exhaust the limits of the possible.” –Pindar, Pythian 3

The durational performance is scored to orchestrate the repetitive futile act of constructing and deconstructing the three large-scale sculptural environments exhibited in the space. This act seeks to emulate the existential affect and process of being and remaining present while in search for meaning. The sculpture is to the boulder as the performer is to the mythical Greek figure Sisyphus who was condemned to the underworld for eternity to repeat the act of pushing a gigantic boulder up a mountain, only to watch it roll back down just before reaching the top.

Channeling THE ABSURD through the repetitious act of installing and deinstalling seeks to invoke the existential search for meaning. Using as an example, let us look at the mythical artist character in search of a contemporary art career. The work of this fictional artist is framed by necessity, impulsively living out a dream-like lost-in-a-rabbit-hole trance, as if bewitched into some surreal hazy OCD loop.

In order to represent the underworld, the gallery will assume inverse gallery hours and the durational performance will take place nightly, after the gallery is closed, from 6pm – 10am. During appointed gallery hours from 10am-6pm one may view the work that was developed while in performance the night before.

The series of new photographs and drawings serve as potential storylines, offering vignettes into the passage of time. Each photograph in the series represents documentation of a previous performance action, story, myth or fable. The drawings serve as a way to develop tone and language.

The three large-scale interchangeable sculptural performance environments foundationally ground the exhibit. Comprised of raw, simple materials, each panel frames out the gallery space while also doubling as a note to a performance score. Constructed to be mobile and compatible, each panel over time will likely become worn and abused, battered and reconfigured.

In theory, throughout the course of the exhibition THE ABSURD will become apparent and prevalent in real time. For six weeks the sculptural environments will trace the performers movements constructed, deconstructed and reconstructed in order to present host to various performances, video screenings, drawings and photographic works. Tracking these movements for the activation of spontaneous yet organized and mathematically planned poetic reconfigurations of the same sculptural environments over and over. The spontaneity and intensity of each action and event will shift often, potentially become routine, come and go, possibly wane over time.

Honor Fraser Gallery is pleased to announce our third annual performance event, Have At It. In collaboration with this year’s artists, we explore the tension between the inherent structure and chaos at work in live performance and how much more vulnerable that tension is to be being misperceived by the viewer in performance than it is in the visual arts. For example, in looking at painting, the parameters of the viewing experience are familiar, while in performance, the careful considerations and practice of ideas over time may not be as evident or discernible. As the only commercial gallery with a recurring performance program in Culver City, Honor Fraser Gallery is committed to providing time and space to investigate how performance functions and intersects with the performative acts of making and viewing art.

Tuesday, April 8, 7 – 9pm

Karla Diaz: Box and Draw!
Acting as referee and MC, Karla Diaz will run a boxing tournament consisting of a series of matches between diverse and often historically opposed individuals. The matches will take place in an inflated boxing ring with oversized gloves, introducing elements of levity and play into a traditionally violent exchange. Boxing participants include Mario Davila, Nathalie Sanchez , Raul Vasquez and Nzuji De Magalhaes, among other artists, curators, activists, teachers and community leaders.

Karla Diaz is an artist and writer born and raised in Los Angeles who often uses performance, writing and installation to explore social practices and cultural relationships. In particular she uses collaborative pedagogical methods to facilitate and create dialogue among diverse communities. She has exhibited her work in local, national and international venues including MOCA, LACMA, Darb 727 Gallery in Cairo, at the Instituto Cervantez in Madrid, the ICA Boston, MDE11 Medellin Colombia, and the Serpentine Gallery in London. She is a former co-director of exhibitions at the New Chinatown Barbershop gallery in Los Angeles and a founding member of Slanguage Studio, an artist-run space in Wilmington, California.

Wednesday, April 9, Doors at 7pm, Performance at 8pm

Sarah Petersen: Washout
An immersive ensemble work investigating planetary urgencies, interpersonal urgencies, and metaphysical urgencies through sound, script, improvisation, movement, and dirt. An installation will accompany the performance and collaborators (subject to change) include Karen Adelman, Johanna Breiding, Tyler Calkin, Conor Fields, Chiara Giovando, Amy Howden Chapman, Mireya Lucio, Chris Reynolds, Erin Schneider, Liz Toonkel and Marisa Williamson.

Sarah Petersen’s multidisciplinary practice includes installation, sculpture, painting/drawing, performance, video, writing, and the production of signs and signals that others can use to reconsider and intervene in social space. She holds an MFA in Art from CalArts (2012), and has trained in various embodiment and dance practices, cooking methodologies, and spatial articulation strategies. Her work has recently been shown at Paramount Ranch Art Fair, Los Angeles; Venice 6114, Los Angeles; the Hochschule fur Bildende Kunst, Braunschweig, Germany, and the New Wight Gallery at UCLA. Sarah lives and works in Los Angeles.

Thursday, April 10, 7 – 9pm

EJ Hill: Complicit and Tacit
Through the presentation of a simple gesture, EJ Hill will conduct an open-ended experiment designed around ideas of shame, guilt, the politics of viewership, the conventions of performance, and the ever-contested space between art and life.

EJ Hill is a Los Angeles-based artist known for his durational, physically demanding performances. Hill’s performances often possess an element of institutional critique or are direct in their address of politics around constructed identity and the body in gendered, racial and sexualized terms. Hill graduated from the New Genres program at UCLA in 2013 and obtained his BFA from Columbia College in Chicago. He has presented solo and group exhibitions at Commonwealth & Council, Los Angeles; Charlie James Gallery, Los Angeles; Grace Exhibition Space, Brooklyn; RAID Projects, Los Angeles; NEXT Fair, Chicago; and A+D Gallery, Chicago.

VOLUME: Live broadcast via KCHUNG Radio
Jared Baxter, Robert Crouch, and Yann Novak create a performance sound experience and conduct a series of brief interviews with Los Angeles based performers about audience perception and consideration.

VOLUME functions as a catalyst for interdisciplinary new media work through exhibitions, performances, events, lectures, and publications. Concentrating on the nexus of music and visual arts practices ranging from the avant-garde to popular culture, VOLUME offers unique opportunities for artists to create and present hybrid works. VOLUME was founded in 2007 by Ed Patuto and Robert Crouch.

FOR IMMEDIATE RELEASE

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, California 90034
t +1 310 837 0191
f +1 310 838 0191
honorfraser.com

Country Club
t +1 323 658 8522
countryclubprojects.com

LAB, Honor Fraser’s forum for the explorations of the arts community in and outside of the Los Angeles area, and Country Club are pleased to present Dawn Kasper Music for Hoarders. Kasper will perform with several Los Angeles area musicians to create an environment that invokes a sensory experience emulating the compulsive and vulnerable relationship to the collecting and holding on to emotions. Music for Hoarders was created for LAB while Kasper attended the Millay Colony residency program this summer in upstate New York.

Musicians include – Math Bass, Larissa Brantner James, Daniel Brummel, Paul Gelbalm, Nik Haas, Simon Haas, Eric Kim, Kathleen Kim, Yasmine Kittles, Devin McNulty, Giles Miller, Daniela Sea, Jen Smith, Laura Steenberge, Steven Synstelien, and more…

“Music for Hoarders is a ‘visual poem’ performance action in which I collaborate with a group of musicians to create a structured experimental music composition to invoke the feeling of hoarding human emotions. the music will accompany my performative actions as well as assist in activating my personal movements during the duration of the performance.” — Dawn Kasper Music for Hoarders

Dawn Kasper is a Los Angeles based performance and mixed media artist, actively exploring the connections in the woven web of questions that fuel the quest for answers into the meaning of life and death. She has performed at the Migros Museum Fur Genenwartskunst in Zurich, Switzerland; the J. Paul Getty Museum, Los Angeles; Art Basel Art Positions Miami Beach, Miami Florida; Leo Koenig Inc. Projekte in New York; shown video at Art in General, New York; Copy Gallery, Philadelphia, PA; exhibited at Newman Popiashvili Gallery, New York; Cirrus Gallery, Los Angeles; Anna Helwing Gallery, Los Angeles; Circus Gallery, Los Angeles.