CAP UCLA presents RYOJI IKEDA concert pieces Thu, Dec 14 & Fri, Dec 15, 2017 | The Theatre at Ace Hotel

datamatics [ver.2.0], 2006– © Ryoji Ikeda Photo by Ryuichi Maruo, courtesy of Yamaguchi Center for Arts and Media (YCAM) MESSAGE FROM THE CENTER

East Side, This performance of Ryoji Ikeda’s concert series marks his second appearance with the Center for the Art of Performance. In 2014, we presented superposition, which marked the first presentation of his solo work in Los Angeles, and was described as “a performance that explored the way we understand the reality of nature on an West Side, atomic scale—inspired by the mathematical notion of quantum mechanics.” If you don’t have any idea what that refers to, don’t worry. Neither did most of the audience who attended that 2014 performance. But they left the theater mes- All Around LA merized by the highly charged, visceral sound and electrifying imagery that had catapulted them into a heightened sensory experience unlike anything else they’d Welcome to the Center ever encountered before. for the Art of Performance CAP UCLA artistic director Kristy Edmunds, herself, was awed by her first encounter with Ryoji’s work with the Japanese artist collective Dumb Type in 1994:

The Center for the Art of Performance is not a place. It’s more “Dumb Type was unique in their cross-discipline approach. of a state of mind that embraces experimentation, encourages They weren’t “blurring boundary lines” between art forms a culture of the curious, champions disruptors and dreamers and exactly, they were compressing many sources of artistic intelligence into a specific form. Their projects were stun- supports the commitment and courage of artists. We promote ning. While we were grappling with floppy disks, dial-ups rigor, craft and excellence in all facets of the performing arts. and beginning to say farewell to the marvels of our beepers and fax machines—Ryoji and his contemporaries were gen- erating dimensional aesthetic poetry. I for one, had abso- lutely no idea what I was experiencing when I saw that first 2017–18 SEASON VENUES work—but I understood it was brilliant and it left me with a Royce Hall, UCLA Freud Playhouse, UCLA recognition that I would have to galvanize something in my The Theatre at Ace Hotel Little Theater, UCLA community in order for it to be seen.” Will Rogers State Historic Park Since then, Ryoji gained a reputation as one of the few artists working convinc- ingly across both visual and sonic media. A leading figure among the new crop of UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement computer-based musicians, he is known for his moving-image, sculptural sound of the contemporary performing arts in all disciplines—dance, music, spoken word and new media works that explore the intersection between music and visual art and theater—as well as emerging digital, collaborative and cross-platforms utilized by through mathematical aesthetics. His work has been performed and exhibited today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA worldwide at art and music venues and festivals throughout Asia, Europe and the curates and facilitates direct exposure to contemporary performance from around the Americas, and he has collaborated with such artists as choreographer William globe, supporting artists who are creating extraordinary works of art and fostering a Forsythe, Dumb Type, architect Toyo Ito and photographer Hiroshi Sugimoto. In vibrant learning community both on and off the UCLA campus. The organization invests October, Ryoji presented A [for 100 cars], a new composition in his long-running in the creative process by providing artists with financial backing and time to experiment series investigating the frequencies of note A, as part of the Red Bull Music Acade- and expand their practices through strategic partnerships, residencies and collaborations. my Festival Los Angeles, that actually featured 100 cars performing his score. As an influential voice within the local, national, and global arts community, CAP UCLA We are honored to present three of Ryoji’s ever evolving work from his series concert serves to connect audiences across generations in order to galvinize a living archive of pieces. our culture. Be prepared to be awed. You’re not in Kansas any more. cap.ucla.edu #CAPUCLA Center for the Art of Performance presents Ryoji Ikeda concert pieces

Thu, Dec 14, 2017 at 8pm Program 1 formula [ver.2.3] datamatics [ver.2.0] datamatics [ver.2.0], 2006– © Ryoji Ikeda Fri, Dec 15, 2017 @ 8pm Photo by Ryuichi Maruo, Program 2 courtesy of Yamaguchi Center for Arts and Media C⁴I datamatics [ver.2.0]

The Theatre at Ace Hotel ABOUT THE PROGRAM Running time: Approx. 90 mins.| Plus intermission Ryoji Ikeda is an electronic composer and visual artist, This performance includes strobe effects on video and high internationally acclaimed for his work that focuses on the essential sound levels. characteristics of sound itself and visualizes this by means of both mathematical precision and painstaking aesthetics. No photography, filming or recording in any medium whatsoever is allowed during the performance at the This is a rare opportunity to experience three of Ikeda’s concert artist’s request. works over two different programs. Program I features formula [ver.2.3], a work that began in 2000 and was, until 2005, updated with each presentation. A perfect synchronization between sound Funds provided by the Lloyd E. Rigler Emerging Arts Fund. frequencies and movements on the screen, it places the viewer in a binary geometry of space and exploits the darkness to amplify one’s perceptions. There is a complete integration of the various elements—music, images, lighting—orchestrating the relationships between them through a highly precise score. Program II features C⁴I (2004–2006), C⁴I (2004–2006) both a concert and a film that uses data as its material and theme, C⁴I is both a concert and a film that highlighting the ways in which data uses data as its material and theme, shapes our understanding of the highlighting the ways in which data world. Video images of landscapes shapes our understanding of the are progressively abstracted into a world. Video images of landscapes language of data. Facts, figures and are progressively abstracted into a diagrams are used in a montage language of data. Facts, figures and with dazzling graphic impact. diagrams are used in a montage Blurring the lines between nature, with dazzling graphic impact. The science and philosophy, the work text excerpts elegantly punctuate subtly and hypnotically suggests the on-screen projections. Blurring the convergence of the real and the the lines between nature, science virtual. The soundtrack synchronizes and philosophy, the work subtly perfectly with the graphical and and hypnotically suggests the video images to create a piece of convergence of the real and the undeniable power and beauty. virtual. The soundtrack synchronizes perfectly with the graphical and formula [ver.2.3] (2000–2005) video images to create a piece of formula [ver.2.3], audiovisual concert, 2000– undeniable power and beauty. In 2005 © Ryoji Ikeda formula, a constantly evolving Photo by Fiji Kikuchi its meticulous composition and work until 2005, updated with each technical sophistication, reveals presentation, is a perfect synchronization between sound frequencies sublime views of reality. and the movements on the screen. It places the viewer in a binary geometry of space and exploits the darkness to amplify one’s perceptions. There is a complete integration of the various elements, Credits composing music, images, lighting and orchestrating the relationships Directed by Ryoji Ikeda between them through a highly precise score. Concept, Video & Music: Ryoji Ikeda Computer Graphics & Video Editing: Credits Shohei Matsukawa, Daisuke Tsunoda Directed by Ryoji Ikeda Commissioned by Yamaguchi Center Concept & Composition: Ryoji Ikeda for Arts and Media (YCAM), 2004 formula Produced by Forma Video Materials & Editing: Shiro Takatani C⁴I, audiovisual concert, 2004–2006 © Ryoji Ikeda Computer Graphics: Hiromasa Tomari Photo by Kazuo Fukunaga, courtesy of Lighting & Stage Design: Takayuki Fujimoto YCAM (Yamaguchi Center for Arts and formula [ver. 1.0 - 2.3] Media) Computer Graphics & Editing: Shohei Matsukawa Produced by Forma and Ryoji Ikeda datamatics [ver.2.0] (2006– ABOUT THE ARTIST 2008) Japan’s leading electronic composer and visual artist, Ryoji Ikeda Using pure data as a focuses on the minutiae of ultrasonics, frequencies and the essential source for sound and characteristics of sound itself. Fascinated by data, light and sound, he visuals, datamatics shapes music, time and space by mathematical methods and explores combines abstract these phenomena as sensation, pulling apart their physical properties and mimetic to reveal their relationships with human perception. presentations of matter, time and Ikeda has gained a reputation as one of the few international artists space. datamatics working convincingly across both visual and sonic media. Since 1995, is the second datamatics [ver.2.0], 2006– he has been intensely active through concerts, installations, and © Ryoji Ikeda audiovisual concert Photo by Ryuichi Maruo, courtesy of Yamaguchi Center for Arts recordings, integrating sound, acoustics and sublime imagery. He in the datamatics and Media (YCAM) has been hailed by critics as one of the most radical and innovative series. Projecting contemporary composers for his live performances, sound installations dynamic computer-generated imagery in pared down black and white and album releases. with striking color accents, the intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of Alongside pure musical activity, Ikeda has been working on long-term patterns derived from hard drive errors and studies of software code, projects through live performances, installations, books and CD’s such the imagery transforms into dramatic rotating views of the universe as datamatics (2006-), test pattern (2008-), spectra (2001-), cyclo, in 3D, whilst in the final scenes four-dimensional mathematical a collaborative project with Carsten Nicolai; superposition (2012-), processing opens up spectacular and seemingly infinite vistas. A supersymmetry (2014-) and micro | macro (2015-). powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and He performs and exhibits worldwide at spaces such as Museum of apparently boundless acoustic spaces. Contemporary Art Tokyo, Singapore Art Museum, Ars Electronica Center Linz, Elektra Festival Montreal, Grec and Sonar Festivals Barcelona, Aichi Triennale Nagoya, Palazzo Grassi Venice, Park Avenue Armory New York, The Whitechapel Gallery London, The Credits Barbican Centre and Somerset House London, Museo de Arte Bogota, Directed by Ryoji Ikeda Hamburger Bahnhof Berlin, DHC/Art Montreal, Festival d’Automne Concept & Composition: Ryoji Ikeda à Paris, Sharjah Biennale, Carriageworks Sydney, Auckland Triennale, Computer Graphics & Programming: Shohei Matsukawa, Norimichi MONA Museum Hobart – Tasmania, Ruhrtriennale, Telefonica Hirakawa, Tomonaga Tokuyama Foundation Madrid and Kyoto Experiment Festival, ACT Centre Co-commissioned by AV festival 06, ZeroOne San Jose & ISEA 2006, Gwangju (Korea), Singapore Art Science Museum, Kunstverein 2006 Hannover, RuhrTriennale, Festival d’Automne and Pompidou Center , Co-produced by les Spectacles vivant-Centre Pompidou, YCAM, 2008 Barbican, The Vinyl Factory, among others. Supported by Recombinant Media Labs Produced by Forma In 2016 he premiered a new acoustic stage piece music for percussion © Ryoji Ikeda in collaboration with ensemble Eklekto (Geneva) currently on tour. In 2017, he was part of group exhibitions such as Elevation 1049: Avalanche (Gstaad, CH), Nikolaj Kunsthal (Copenhagen, DK), Centre Pompidou Metz (FR), La Villette/Festival d’Automne (Paris, FR), UCLA’s Center for the Art of Performance (Los Angeles, USA). He recently presented a drone symphony, A [for 100 cars], commissioned by Red Bull Music Academy Festival Los Angeles.

His albums +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008) and supercodex (2013) pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics. The Solar System (2016) a limited edition vinyl was released by The Vinyl Factory in 2016. In 2017 he released the vinyl music for percussion with a CD to come.

He is the award winner of the Prix Ars Electronica Collide@CERN 2014.

Special Holiday Offer Art in Action

“Art in Action is somewhere between an academic symposium and the vibrancy of an eagerly awaiting coloring book. This is where we explore in public to release the energetic potential of sharing ideas together.” —Kristy Edmunds

Art in Action, our free public engagement program, offers a wide range of experiential art activities around the ideas emanating from the work of artists on our season. Through workshops, lectures, master classes, films, salons and art-making forums, Art in Action provides a platform for our UCLA and Los Angeles communities to exchange ideas and participate in shared cultural experiences.

This season, we’re continuing two ongoing initiatives and introducing a third. Writing the Landscape returns with new takes on the Poetry Bureau and special activities with our Perfect gift for any arts lover. 3 tickets for library partners, exploring how the impulse to make something results in an altered land- $99! Call now to recieve this limited time scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- offer, (310) 825-2101. curated playlists, personalized music maps, intimate salons, and the now popular, CAP Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration from this season’s the theater is a blank page. Activities throughout the season will *This offer not good with any other offer. No cash redemption. Good for Tier 2 seating only. Not good for any of the Taylor investigate how we transmit traces of ourselves through the written word, movement, Mac performances. sound and imagery. cap.ucla.edu/ArtInAction CODA21

CODA21 is a pilot initiative that supports dialogue, research, and collaboratively designed experiments between UCLA’s Center for the Art of Performance and leading research cen- ters and labs across campus. Collaborating labs include Denise Cai and Silvalab, a leading neuroscience research lab studying molecular and cellular cognition; Hakwan Lau and the Consciousness & Metacognition Lab; the Tennenbaum Center for the Biology of Creativity; and the Design Media Arts Lab.

Informing CODA21’s design is the belief that the students at UCLA represent the conditions emblematic of society at large. Economic anxiety, homogeneous living arrangements, and media saturation imposing gender and racial stereotypes have seriously eroded the acade- my’s critical role in fostering a pluralistic, tolerant, progressive, and socially interdependent community. Curriculum is increasingly limited in its ability to play this historic role. The remaining antidote is a thoughtfully curated arts presenting program like CAP UCLA, an interdisciplinary learning experience offering students and the extended audience exposure, through live performance to artists who represent the diversity of traditions, ethnicities, gender roles, and aesthetics reflective of the demographic terrain in which we all work and live. Through its experimental collaboration, CODA21 seeks to confirm, amplify, and enhance this crucial role.

Design for Sharing

“Design for Sharing enriches and supports learning, social awareness and responsible cultural arts citizenship creating a new generation of artists and audiences.” —Kristy Edmunds

Design for Sharing (DFS) is our free K-12 arts education program that provides public school students from across the Los Angeles metro area access to the performing arts, CODA21 ARTISTS & PROJECTS both at UCLA and in their own classrooms. The arts provide a gateway for students to Leading artists and choreographers will participate in CODA21 through full explore shared ideas across communities and culture–sparking their curiosity and imag- presentations of their work, development residencies, and pilot experiments. ination. Since 1969, Design for Sharing has provided performances, workshops and school residencies to almost a million public school students, offering a diverse array of music, Ann Carlson: Doggie Hamlet Kyle Abraham/Abraham.In.Motion contemporary dance, and innovative theater. cap.ucla.edu/dfs Will Rogers State Historic Park Dearest Home February 3–4, 2018 Freud Playhouse, UCLA This season, the following CAP artists April 5–7, 2018 will participate in Design for Sharing programs: Okwui Okpokwasili Poor People’s TV Room Jennie Liu: Autobiography of Dancenorth/Lucy Guerin Inc Gabriel Kahane Presented in association with REDCAT the Kimono on the Western Stage AteNine João Donato February 8–11, 2018 CODA21 Development Residency ONIX Ensamble Antonio Sanchez & Migration

Kronos Quartet Kyle Abraham/Abraham.In.Motion CODA21 is funded in part by The Surdna Foundation. The Surdna Foundation seeks to foster sustainable communities in the United States—communities guided by principles of social justice and distinguished by healthy environments, strong local economies, and thriving cultures. CAP UCLA BOARD House Rules DESIGN FOR SHARING COUNCIL OF DIRECTORS ACCESSIBILITY Stephanie Snyder, President* PHOTOGRAPHY The Theatre at Ace Hotel offers ADA access-ible Diane Applebaum* EXECUTIVE COMMITTEE Photography, video and the use of any recording seats and restrooms. You can buy ADA seating on Linda Essakow* Bradley Tabach-Bank, President equipment is strictly prohibited at all times our ticketing site or by calling AXS at 888-9-AXS- Billie Fischer* Deborah Irmas, Interim Executive Vice President during performances at all UCLA campus TIX (888-929-7849). When buying tickets over Joanne Knopoff Kathleen Quisenberry, Vice President performance venues and at The Theatre at the phone, please let the ticket agent know if you Marti Koplin* Anne-Marie Spataru, Vice President Ace Hotel. Any/all press photography must be require accessible seating, and s/he will issue you Joan Lesser Valerie Cohen, Vice President approved in writing an ADA seat. Diane Levine in advance by the Center for the Art of Fariba Ghaffari, Vice President Katie Marsano* Ann Harmsen, Vice President Performance representative. For press inquiries In addition to wheelchair spaces, The Theatre Merle Measer and to make a request to cover Diane Levine, Vice President Muriel Sherman* at Ace Hotel is equipped with select aisle seats Lori J. Wolf, Vice President an event, visit cap.ucla.edu/press/ that have folding armrests on the aisle side to Anne-Marie Spataru* make transfer easier for those with mobility Bonnie Taub BOARD MEMBERS Sheila Weisman limitations. For such seating, please request a Murray Hidary CAMERAS & SMART PHONES “transfer seat.” Mimi Wolfen The use of cameras, smart phones, cell phones Roslyn Holt Swartz Karyn Orgell Wynne Georgina Huljich and recording equipment of any kind is strictly If you need accessible seating the night of the Anne Jarmain * Executive Council Member prohibited at all times during performances at event and don’t have a special ticket, we’ll do all UCLA campus performance venues and at Renee Luskin our best to accommodate you once you arrive Ginny Mancini The Theatre at Ace Hotel. All devices must be SPECIAL THANKS TO OUR at the theater. Katie Marsano silenced before the start of the performance. DINING PARTNERS Karyn Orgell Wynne Please be considerate to those around you and Fundamental LA Assisted listening devices are available. Alan M. Schwartz refrain from texting, emailing or surfing LA Chapter If desired please ask our house staff. Stephanie Snyder the web during performances. Palamino Restaurant & Bar Leslie White Plateia Patty Wilson Pruex & Proper Shibumi LATE SEATING WEST Restaurant Late seating will be subject to company This Event Program was Printed by... approval and will occur only at a suitable time at the discretion of the house staff. Latecomers may not be able to be seated in their assigned seats to avoid disruption or distractions during the performance. Some events have no late seating by request of the artist, and refunds on parking and tickets for Serving L.A.’s Westside Since 1982 latecomers will not be accommodated.

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CAP UCLA STAFF EDUCATION CAP UCLA SPONSORS DIRECTOR’S FUND $25,000-$49,999 Director of Education & Special Initiatives - We are grateful to list the follow- Fariba Ghaffari & SUPPORTERS DIRECTOR’S OFFICE Meryl Friedman ing individuals whose support to Renee & Meyer Luskin Executive and Artistic Director - Kristy Edmunds Education Program Coordinator - the Director’s Fund bolsters the Virginia Mancini ENDOWMENTS Deputy Director and Program Manager - Theresa Willis Peters vision behind the major initia- Anne-Marie & Alex Spataru Over time, many generous indi- Fred Frumberg Student Arts Coordinator - tives at CAP UCLA. Their support Sheila & Walter Weisman viduals have initiated leadership Assistant to the Director - Yuko Saegusa Theo Bonner-Perkins galvanizes our leadership efforts gifts to establish endowments Artist Liaison - Zarina Rico Arts Engagement Coordinator - and is the sole resource through $10,000-$24,999 Ivy Hurwit that support the performing arts which the Director is able to Leon Birnberg Trust at UCLA in perpetuity. PRODUCTION & EVENT OPERATIONS make advance commitments. Katie Marsano & Greyson Bryan Director of Operations - Steve Keeley HUMAN RESOURCES Valerie & Bradford Cohen Arthur E. Guedel Memorial Patron Services Manager - Ron Jarvis Human Resources Manager - Good Works Foundation Laura Donnelley/ Lectureship Fund Venue Manager - Lorrie Snyder Bernie Macapinlac Jackie and Stanley Gottlieb Good Works Foundation Beatrix F. 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Rigler Custodian - Ranoya Exum Fax: 310.206.3843 Library Foundation of Los Angeles & Micahel Warren [email protected] Emerging Arts Fund Mid Atlantic Arts Foundation Ron Watson Merle & Peter Mullin Endowment FINANCIAL MANAGEMENT National Endowment for the Arts Leslie White & Al Limon for the Performing Arts Manager of Finance and Accounts – Office of Kristy Edmunds: New England Foundation Carol Leifer & Lori Wolf Mimi Perloff Endowment Stephanie Tarvyd 310.206.7408 for the Arts Kayrn Orgell Wynne for Design for Sharing Finance Analyst - Jodi Klein [email protected] Nicholas Endowment Beth DeWoody & Firooz Zahedi Mimi & Werner Wolfen Ralph M. Parsons Foundation Endowment for Design MARKETING & COMMUNICATIONS UCLA Central Ticket Office Ring Foundation $5,000-$9,999 for Sharing Director of Marketing & Communications – Tel: 310.825.2101 Samuel Goldwyn Foundation Anna Wong Barth National Endowment for the Arts Kathy Budas Fax: 310.206.7540 Surdna Foundation, Inc. & Donald Barth Challenge Grant Endowment Communications Manager - Holly Wallace [email protected] UCLA Student Fees Andrew Rhoda & J. Ben Bourgeois Plitt Theaters Fund Integrated Marketing Specialist - Advisory Committee Billie & Steven Fischer for Design for Sharing Phinn Sriployrung Press Inquiries: Kiki & David Gindler Roslyn Holt Swartz & Marketing Associate - Baha Ebrahimzadeh Holly Wallace INDIVIDUALS Murray Hidary Tel: 310.206.8744 Allan J. Swartz Endowment CAP UCLA is pleased to acknowl- Joanne Knopoff for the Performing Arts DEVELOPMENT [email protected] edge our individual members Joan Lesser & Ronald Johnston Royce Center Circle Assistant Director of Development - and donors whose gifts directly Linda Gach Ray & Stephan Ray Endowment Fund Alexander Barrera Development Office: support arts education and the Michael Stubbs & Bill Resnick Royce Gala Endowment Foundations and Individual Initiatives Tel: 310.267.4463 art of performance at UCLA. Richard Ross Sally & William A. Rutter Development Associate - Open [email protected] Thank you! Alan Schwartz Endowment for the Development Assistant - Christina Garcia Bonnie & Paul Yaeger Performing Arts Artist Circle Box Office Liaison - Design for Sharing Office: $50,000-$149,999 Shirley & Ralph Shapiro Monica Contreras Tel: 310.825.7681 Deborah Irmas/Audrey and Syd- $2,500-$4,999 [email protected] Director’s Discretionary Fund ney Irmas Charitable Foundation Barbara Abell Shirley & Ralph Shapiro Susan & Leonard Nimoy Diane & Noel Applebaum Endowment for Design Laura & Gregg Perloff/ Perloff Helen & Alexander Astin for Sharing Family Foundation Sylvia & Joseph Balbona Kathleen Flanagan

& Keenan Behrle

Carol & Frank Biondi

This listing represents accumulative contributions from July 1, 2016-August 1, 2017 Nadege & Jay Conger Charlene & John Baskin Jonathan Marmelzat/Willard Edie & Robert Parker Linda Engel & Alan Benjamin L. Marmelzat Foundation Sue & David Eisner Lynn & Leslie Bider Sandra Klein & Donald McCallum Caryn Espo & David Gold Carol & Frank Biondi Merle & Gerald Measer Irene Goldenberg James Blakeley Deborah & Etan Milgrom Judy Abel & Eric Gordon Marjorie Blatt Susan & Joseph Miller Adam Grancell/I. H. Ronda & Stanley Breitbard Jessica Cahen & Ronald Mintz & Anna Grancell Foundation Sigrid Burton & Max Brennan Ruth & Robert Mirvis Sandra & Lewis Kanengiser Lily & Thomas Brod Leslie Mitchner Fiona & Michael Karlin Rona Elliot & Roger Brossy Philip Morton Joseph Kaufman Marilyn McKnight Browning Dori & Charles Mostov Milly & Robert Kayyem & Roger Browning Paulette & Ronald Nessim Joan & Warren Kessler Madelynne & Glenn Cardoso Mary Montella & Jeffrey Newman Martha Koplin Ellen Hoffman & Neal Castleman Jami O’Brien Cameron Jobe Richard Cohen Richard Powell & Gerald Markovitz Roberta Conroy Marilyn & Jerome Prewoznik Claude Petite Sherri Crichton Linda Peterson & Arthur Price Ronnie Rubin & Marty Piter Lynne & James DeWitt Gloria & Samuel Reyes Nancy & Brad Rosenberg Rachel Knopoff James Rodney Suzie & Michael Scott & Russell Dickerson Wendy-Sue Rosen Muriel & Neil Sherman The Walt Disney Linda McDonough & Bradley Ross Laurie & Rick Shuman/Raskin Company Foundation Bernice & Lawrence Rudolph Family Foundation Abida & Ray Diwan Mark Saltzman Jennifer Simchowitz Feris Greenberger Lela & Gerard Sarnat Srila & Man Jit Singh & David Dolinko Judy & George Savitsky Pamela Smith Ros Warby & Kristy Edmunds Jose Segundo Debra Vilinsky & Michael Sopher Olga Garay-English Linda & B. Thomas Seidman Carolyn & Lester Stein & Kerry English Gena Selmont Laila & Mehran Taslimi Mary & Robert Estrin Marjorie Kagawa Singer Jessica Kronstadt Nancy & Jerome Falk & Peter Singer & William Turner Irwin & Helgard Field Louise Nelson & David Smith Become a Member Susanne & Douglas Upshaw Elodie & Bruce Fortune Mary & Alan Snyder Patty & Richard Wilson Zoe Friedlander Georgina Huljich & Marcelo Spina Mimi Wolfen Thomas Garvin Gary Stewart Your membership with the Center for the Art of Performance is more than ticket discounts, Carla Breitner & Gary Woolard Linda Goodman Carol & Joseph Sullivan priority seating, invitations to additional programs and special member gatherings—it is sup- Elizabeth Gray & Randall Gordon Joanne Takahashi port for what we are able to champion within the wider cultural landscape. When you make a $1,500-2,499 Pattikay & Meyer Gottlieb Suzanne Taylor gift to the Center for the Art of Performance or to our Design for Sharing program, you join a George Allen Jennifer Wells Green Catherine & Leonard Unger Rosanne Bogart & Randall Green Sarah & Sydney Vinnedge community of advocates inspired by artistic exploration and new ways of knowing. We belong Helene & Edwin Cooper Susie Edberg & Allen Grogan Toby & Robert Waldorf to a culture of the curious, and by supporting great artists, we land on new perspectives. Marie & Steve Feig Adam Gunther Ruth Roberts & Dennis Wasser Mary & Stanley Friedman William Harper Sally & David Weil Our members are committed to groundbreaking contemporary performance locally, globally Lori & Robert Goodman Lois Haytin Terry & John Welsh Jackie Gottlieb Hanna & Manfred Heiting James Wetmore and everywhere in between. Your support is how we ensure that artistic expression will thrive Peggy & Bernard Lewak Barbara & Daniel Horwitz Nancy Englander & Harold on stage, on the UCLA campus and in the Los Angeles community for years to come. Mem- Patricia Rosenburg Helene Des Ruisseaux Williams bership dollars provide the means for us to interact with the leading artists of our time, and Jane Schiffhauer & Marcus Horwitz James Sie & Doug Wood Suzie & Laurence Swerner Joan & Howard Jaffe Marilouise & Albert Zager to share what we discover with as many people as we can. Jaclyn Kanner Marcie & Howard Zelikow $500-$1,499 Lauren Kasmer Laurie Ziegler With your involvement, we can provide young audiences with the chance to experience life Anonymous x 3 Wendy & Stephen Kramer through the lens of the modern stage, offer fans and aficionados the recent work of artists Sara & James Adler Maria Arispe & Timothy Lane Natsuko Akiyama Susan Levich who propel us boldly forward, and enhance the public mission of one of the nation’s leading Susan Stein & David Alper Diane & Desmond Levin research universities. Michael Ambrose Morelle & Norman Levine IN-KIND CONTRIBUTIONS Patti & Harlan Amstutz Janell Thornton-Lewis Your membership dollars are the primary financial resource that sustains us. We need your Robert Anderson & Randall Lewis Gail & James Andrews Sherrill Luke support now more than ever. Please become a member today.

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Photo by Wojciech Wandzel

Sat, Jan 27, 2018 at 8PM | Royce Hall

Kronos Quartet, Rinde Eckert Photo by Zoran Orlic and Vân Ánh Võ My Lai

Fri, Mar 9, 2018 at 8PM | Royce Hall