EACH WOMAN WAS RESPONSIBLE FOR THE CONTENT (Bio, photos) ON THEIR OWN SECTION. Order of Appearance:
BARBARA T. SMITH
DONNA ENAD NAPPER
DR. LINDA LACK
“The inspiration for my work comes from the realm of myths and dreams. I like to combine ordinary objects in unexpected ways so that their symbolic nature is revealed and new levels of meaning unfold. Many of my pieces are miniature stage sets where the commonplace and the extraordinary exist simultaneously, creating a landscape the imagination of the viewer is invited to inhabit.”
Encompassing music, spoken word, and installation, intermedia artist ANNA HOMLER’s alternative languages extend the possibilities of meaning and communication. With a sensibility that is both ancient and post-modern, HOMLER makes words musical and music like words. Since 1982, she has collaborated in America with composers/musicians Steve Moshier, Davis Moss, Ethan James and Jorge Martin, and in Europe with the Voices of Kwahn, Steve Beresford, Peter Kowald, Richard Sanderson, Geert Waegeman, and Sylvia Hallett.
HOMLER has performed at well-known venues throughout the United States and Europe, including appearances at P.S. 122, the Kitchen, Dixon Place, and the Poetry Project at St. Mark’s Church in New York; Los Angeles Contemporary Exhibitions (L.A.C.E.); Supraclub in Prague; Klarinsky in Bratislava, Slovakia; Ketty Do in Bologna, Italy; the Stadgarten and the Loft in Koln, Germany; and the Melkweg and Stedelijk Museum in Amsterdam. She has participated in such international festivals as Sonic Disturbance at the Cleveland Public Theare; New Music America in Montreal; the Tegentonen Festival at the Paradiso in Amsterdam; Milanopoesia in Milan; Primavera Jazz Festival in Sardinia;The International Treffen Innovatier Musikerinnen in Aachen; Het Vertel Festival in Ghent, Belgium; Voices Festival in Innsbruck, Austria; Spoken Word Festival in Brussels, Belgium; Dissidenten Festival in Rotterdam Holland; The Moers Festival in Moers, Germany; The Festival International des Musiques Actuelle in Nancy France; Musique Actuelle in Victoriaville, Quebec; Musik Triennale Koeln, Koeln, Germany; and the LMC Festival, the Purcell Room, South Bank, London.
Highlighting HOMLER’s work is the performance/installation project PHARMACIA POETICA, which examines the symbolic and tonal qualities of words and objects. Having traveled nationwide as part of the exhibition 40 Years of California Assemblage, the installation has also been shown at Gracie Mansion in New York; the Center for Contemporary Arts in Santa Fe and Nonsequitur Music Gallery in Albuquerque, New Mexico; Gallery 400 in Chicago Illinois; the Melkfabriek in Den Bosch, Holland; and at Gallery Oko in Amsterdam. From 1994 to 1995 the PHARMACIA POETICA was part of the traveling exhibition Outside the Frame: Performance and the Object, a survey of performance art in the U.S. from 1950 to the present. It was also exhibited at Karbon in Zurich, Switzerland; as part of the Santa Monica Festival, Santa Monica, California; and most recently at Gerlesborgsskolan, Gerlesborg Sweden.
HOMLER‘s music first became known in the 1980′s with her Breadwoman cassette (High Performance Audio), a collaboration with Steve Moshier. Her debut CD, Do Ya Sa di Do (amf), was released in 1992. In 1994 she was featured on sugarconnection: alien cake (No Man’s Land) and in 1995 on Macaronic Sines (Lowlands), a collaboration with Geert Waegeman and Pavel Fajt. In the mid-1990′s, she released two CD’s with the Voices of Kwahn in the U.K.: Silver Bowl Transmission (North/South) and peninsular enclosure (Swarf Finger). In 1997 a recording of her live performance with Waegeman and Fajt was released as Corne de Vache (Victo). House of Hands (ND) was released in 2000. Her most recent cds are Kelpland Serenades (pmMENTUM) with Steuart Liebig and Piewacket (PNT), with Stephanie Payne.
Pharmacia Poetica is an on-going installation that explores the transformative power of sound and images. The purpose of the Pharmacia Poetica is to demonstrate how the literal becomes the lyrical and in so doing, cures. Like any apothecary, the Pharmacia Poetica offers a mixture of remedies. These include sound, poetry, metalanguage, images, and objects, the main feature of which is a collection of glass bottles in which the hidden beauty of commonplace objects, suspended in liquid, is revealed.
Inspired by the writing of Paracelsus and Marsilio Ficino, the Pharmacia first appeared in 1987 as an exhibition in a storefront gallery in Hollywood and as a radio play on KPFK in Los Angeles. Since then the Pharmacia Poetica has travelled throughout the United States and Europe, often in collaboration with other visual artists and writers. Among the places where it has appeared are the following:
Radio play on KPFK’s “Soundings”with composer Steve Moshier.
Rebel Art Gallery, Hollywood, California.
Sonrisa, Los Angeles, California.
Albright College Campus Center, Albright College, Reading, Pennsylvania.
Williams Lamb Gallery, Long Beach, California.
New Arts Program, Kutztown, Pennsylvania.
40 Years of California Assemblage, Wight Gallery, Univeristy of California, Los Angeles.
Window Installation collaboration with John O’Brian, Contemporary Arts Forum, Santa Barbara, California.
“The Fifth Essence”, group show, Gracie Mansion, New York, New York.
Contemporary Arts Forum, Santa Fe, New Mexico.
Melkfabriek, Den Bosch, Holland.
Gallerie Oko collaboration with Milos Vojechovsky, Amsterdam, Holland.
Free Clinic Benefit Auction, Los Angeles, California.
Window Installation, Stephen Johnson PCA, Venice, California.
Het Vertel Festival, Gent, Belgium.
“Influx”, group show, Gallery 400, University of Illinois, Chicago.
“Drei”, group show, Kulturzentrum Altes Rathaus, Wuerselen, Germany.
Colllabroation with Monique Darge, Logos Foundation, Gent, Belgium.
Karbon, Zuerich, Switzerland.
Performance/Slideshow collaboration with Allessandra Beradi, Al Centro D’Arte Masaorita, Bologna, Italy.
Outside the Frame: Performance Art & the Object, 50 Year Survey of Performance Art in the US, –Cleveland Center for Contemporary Art, Cleveland, Ohio.
Outside the Frame: Performance Art & the Object, Newhouse Center of Contemporary Art, Snug Harbor, Cultural Center, Staten Island, New York.
Nonsequitur Music Gallery with Steve Roden, Alburquerque, New Mexico.
Out Auction, Directors Guild, Los Angeles, California.
“Ear as Eye”, group show, L.A.C.E., Los Angeles, California.
“L.A. Slide,” group show, The Living Room, Santa Monica, California.
“118W/24N”, group show, Kulturzentrum bei den Minoriten, Graz, Austria.
Dirt, Hollywood, California.
L.A. Poetry Festival, Los Angeles , California.
Gerlessborgsskolan, Gerlessborg, Sweden
As an early pioneer of Performance Art, Barbara T. Smith began her groundbreaking work in the late 60′s. Since then she has performed throughout the U.S. in Europe and Asia. She received her B.A. from Pomona College and her MFA from U.C. Irvine in 1971 and has taught and lectured at colleges and universities throughout the US and abroad. Smith’s work reflects the concerns of women and the environment. Her ceremonial/shamanic performances investigate female erotic power as a healing force, and food as a uniquely female means for nurturance, as metaphor and material for art. Her own work has become an art/life quest on the cusp between manifest life and the invisible realm. A recipient of a Vesta award from the Women’s Building in 1983 and a Lifetime Achievment award from the Women’s Caucus for art in 1999, she has also received 3 NEA grants. Smith has participated in the founding of several alternative spaces in L. A. and has produced and curated many multi-artist performance events. Included in the recent show of LA artists at the Pompidouin Paris, and the WACK! Art and the Feminist Revolution show first at MOCA,later at PS1 in New York, she is currently writing a book about her early career and resides in Venice.
LA Woman Documentary:
Barbara T. Smith – “Personal Sacrificial”
More Clips of Barbara T. Smith from the LA Woman Documentary:
Carol Gillam, President, The Gillam Law Firm
Los Angeles, California
Carol Gillam began practicing law in 1978 in Chicago. She moved to Los Angeles in 1981 and joined the firm of Irell and Manella. She became a federal prosecutor in 1988, as an Assistant United States Attorney in the Criminal Division of the U S Attorney’s Office in Los Angeles. While there she prosecuted numerous well publicized cases, including a notorious case involving abuses of migrant workers. In that case, United States v. Griffith Ives et al., she obtained the first racketeering conviction in the country for violations of worker rights, as well as the then-highest-ever amount of restitution in a civil rights case. Ms. Gillam’s novel use of the Reconstruction-era slavery laws as combined with the modern RICO statute set a new standard for the government’s dealing with highly abusive violations of the rights of migrant workers. Carol’s model has since been used in a number of other successful prosecutions.
Carol left the United States Attorney’s office in 1994 to open her own practice devoted primarily to vindicating workers’ rights. She has obtained several 7-figure settlements and verdicts as well as a $14 million verdict in a malpractice case for a music celebrity. She has litigated cases throughout California and in states across the country. Carol has been a trailblazer in representing plaintiffs in same sex harassment and discrimination cases for many years. She represented the first openly lesbian FBI agents in their quest to receive equal treatment with heterosexual agent couples.
Carol received her undergraduate degree from Northwestern University and her law degree from Loyola University of Chicago, where she was associate editor of the law review. She wrote in and oversaw the publication of an issue of the law review devoted to the then-newly evolving field of employment law. She has also served as an adjunct professor and has lectured and written for a wide variety of audiences. Carol annually updates the treatise, California Causes of Action: Employment Law. Carol was inducted as a Fellow of the national College of Labor and Employment.
LA Woman Documentary:
Carol Gillam – “You Can Do Well By Doing Good”
LA Woman Documentary:
Carol Gillam – “What Kind of Society Is This?”
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LA WOMAN: DIANNE MAGEE
Dianne Magee Is Awarded Pasadena Arts Council Gold Crown Award
“I was born in Tulsa, Oklahoma but spent my middle school and high school years in Oklahoma City. It was a great place to grow up and it was there I first discovered the arts, especially ballet and Native American art. I graduated from the University of Kansas (BA English 1963) and from the University of Michigan Law School (JD 1966). Following law school graduation, I practiced law in New York City for 12 years. Living in New York City gave me the opportunity to take advantage of all the arts that city has to offer–and all reachable by bus or subway. I saw Mikhail Baryshnikov dance when he first defected to this country from Russia. His extraordinary performances made me realize the power the arts can have both in the artist’s life and in the lives of the audience. I moved to Pasadena, California in 1979 and raised my two daughters Caroline and Margee here. The arts were very important to them–both studied dance from ages 6 to 17 and took lots of classes at the Armory. I quickly became a volunteer in non-profit organizations committed to making the arts accessible to all children and youth and a significant part of their education. Arts and education became my “cause”. I currently sit on the Boards of several Pasadena based non-profits: Armory Center for the Arts, Furious Theatre Company, Los Angeles Children’s Chorus (of which Margee was a founding member), Pasadena Arts Council and Side Street Projects. Each of these organizations provides programs that make the arts available to children and young people many of whom would not otherwise experience the arts. I am also a member of the Pasadena Art Alliance and the Pasadena Showcase House for the Arts that have as their mission the important work of fundraising to support music (Showcase House) and contemporary visual arts (Arts Alliance).”
LA Woman Documentary:
Dianne Magee – “Show Me The Money”
More Clips of Dianne Magee from the LA Woman Documentary:
Donna Enad Napper has worked in the field of contemporary fine art for ten years, including six years as an owner and director of the gallery den contemporary.
The gallery promotes talented emerging to mid-career artists who produce visually and thoughtfully compelling and innovative works. The gallery program features painting, photography, three-dimensional pieces, video, installation and performance art with a focus on non-objective approaches and conceptually-based practices. In 2007, den contemporary was selected as “1 of 50 Emerging Galleries From Around the World” in the London-based magazine Contemporary.
In addition to presenting exhibitions, Enad Napper has hosted and organized several art-related events at the gallery such as lectures, panel discussions, exhibition tours and artist performances. As a big supporter of the promotion of contemporary art to local communities, she has served on panels at the College Art Association Conference, Loyola Marymount University, Azusa Pacific University, The Lucie Foundation and Riverside Art Museum. In 2006, she was one of two gallerists working with the Culver City Cultural Affairs to co-organize the first annual district art walk.
After being invited to participate in a new art program in 2009, Enad Napper since has been presenting exhibitions in a 4,300 square foot gallery space at the Pacific Design Center in West Hollywood.
Presently, she serves as an Executive Member of the Southern California chapter of ArtTable, the national organization for women leaders in visual arts.
LA Woman Documentary:
Donna Enad Napper – “Woman Exhibiting”
LA Woman Documentary:
Donna Enad Napper – “The Value of Art”
More Clips of Donna Enad Napper from the LA Woman Documentary:
My art stems from my core belief that we are here to create, in whatever form that may take. My creation takes the form of dance because there is something so elemental in movement that it reaches into my bowels and connects me with something primordial and universal. This is why I am a choreographer, because through the sinews of my muscles and the grist of my bones I can begin to create a language that knows no boundaries and unites me with forces I can only dimly sense.
My body has an intelligence and wisdom that I try to understand and reveal in my creations. It is an archetypal wisdom that other bodies also have, and this is the basis for our communication. Movement for me is the most basic form of communication, because to move is to be alive. Through movement I can speak directly to the core of another, my connective tissue and cellular matter transmit a language of energy that weaves a web between us.
How I develop this language of non-verbal communication is my artistic journey. How I meld it with my core belief, that as human beings we have similar wants and desires and are more alike than not, is my artistic challenge. How I continue to refine my movement style to express my ideas and emotions is my artistic struggle. How I find moments where everything merges into one seamless river of creativity is my artistic success.
My artistic development and my personal development are conjoined: they are both the result and expression of my insatiable artistic, emotional and intellectual curiosity. Consequently, I have approached the study of movement from many different perspectives, utilizing various forms of dance, yoga, movement therapy and through scientific study of human physiology, kinesiology and anatomy leading to certification from the American College of Sports Medicine. I am interested in the interplay of science and art, believing that both spring from the same font of creativity and can influence and inspire each other. My work is interdisciplinary and based on building bridges and making connections between dance and science. From the movement of celestial bodies to the history of man’s flight, from the subatomic relationships of particles to quantum physics, from an investigation of human’s paradoxical relationship with the natural world to how perception and memory shape our sense of reality, interpreting scientific principles form the basis for my work. I intentionally build partnerships with artists, cultural organizations, scientists and science institutions to find innovative ways to bring the exciting discoveries of science to a larger audience through dance in collaboration with other art forms. Concurrent with these interests has been a life-long study of spirituality, world religions, philosophy, psychology and cultural anthropology. I have also been greatly influenced by travel, being immersed in different cultures and environments sharpens my senses and stimulates the flow of creative ideas.
I have been inspired by countless other artists, their work and writings have served to both generate ideas for dances and been incorporated into them. For over 30 years I have collaborated with artists of other disciplines—musicians, visual, digital and theatre artists, and poets. The best of the these collaborations have pushed me into regions I would not have gone myself, the worst have led me to examine what my art means to me and where I want to or don’t want to go with it. All have been learning experiences that have helped to clarify my artistic vision and lead me forward. I believe that collaborations that combine the strengths of each artist can have a power and depth that is greater than one artist can have on their own and I continue to seek these experiences for my own personal and artistic growth.
Movement that soars through space connects me with the vastness of the cosmos. The juxtaposition of human bodies connects me with the geometrical world of shape. The tiniest shaking of a finger connects me with the microcosm of quantum physics. My art connects me with who I am and with the creative forces that surround me every moment of every day. It’s all about creation and connection.
BIO – DONNA STERNBERG
Donna Sternberg began her professional dance career performing in an Emmy nominated dance program entitled “Glimmerings”. After graduating from the University of Wisconsin-Madison, she co-founded the Mixed Motion Dance Company, where she choreographed, performed and taught throughout California, Oregon and Washington states. Desiring to work with artists of other disciplines, Ms. Sternberg moved on to become Artistic Director of Dance Collaborative, where she choreographed and performed solo and collaborative concerts. In 1985 she founded Donna Sternberg & Dancers, a modern dance company, to express her vision of the communicative power of movement. The company is based in Santa Monica, California. She has danced in the companies of Donald Byrd, Mary Jane Eisenberg, Dance/LA and TNR: Moebius, performed with the Long Beach Opera and in video and television productions.
Ms. Sternberg has professionally premiered over 70 works since 1975 throughout the United States, Canada and Mexico; several have been collaborations with artists of other disciplines including composers, visual artists, poets, actors and digital media. Her choreography has been critically acclaimed for its “exceptional ability to communicate through pure movement” (Los Angeles Times). She has choreographed seven full-evening works, the most recent in 2011entitled Dis-Illusions, a collaboration composer Ken Christianson. Ms. Sternberg has been commissioned to create works for the California Science Center, Dance Moving Forward Festival, California Choreographer’s Festival, Catlin Gabel School in Oregon, Valley College and the Alleluia Dance Theatre. She was nominated for the Dewar’s Young Choreographer’s Award, Horton Award and was named one of the most outstanding choreographers in Los Angeles in 2005 and 2007 by the Beverly Hills Outlook. She has received support for her work and dance company from the California Arts Council, California Council for the Humanities, National Performance Network, Los Angeles Cultural Affairs Department, Santa Monica Cultural Affairs Department, Culver City Cultural Affairs Commission, Los Angeles County Arts Commission, National/State/County Partnership, Pacific Bell and the Amgen Foundation. She has participated in adjudicated dance festivals such as Dance Kaleidoscope, Festival of Solos and Duets and Dance Moving Forward in Los Angeles, California Choreographer’s Festival in Laguna Beach and Summerfest in San Francisco. Donna Sternberg & Dancers has been featured in Dance Magazine, Dance Spirit and on PBS station KCET’s Life and Times program.
In 2006 Ms. Sternberg was chosen to participate in an artist residency program at the Julia and David White Artist Colony in Costa Rica. She was selected to head the dance program at the first Visual and Performing Arts Summer Institute conducted by the Santa AnaUnifiedSchool District in June 2002. Ms. Sternberg served as Artist in Residence at UC Irvine in July 2001 as part of the California Dance & Movement Workshop for Dance Educators. She and her company have been resident guest artists at Rancho La Puerta in Tecate, Mexico for the past ten years. Ms. Sternberg has taught in private studios, primary and secondary schools and colleges. These include UC San Diego, Pierce College, Cal State Los Angeles, and in colleges on the West Coast (CA, OR, WA). She has also taught as part of Performing Tree, an arts-in-education organization and as a movement specialist on the National Endowment for the Arts Artists-in-Schools Program. Ms. Sternberg was appointed to the Santa Monica Arts Commission in December 2001 where she continues to serve.
LA Woman Documentary:
Donna Sternberg – “Led To It”
More Clips of Donna Sternberg from the LA Woman Documentary:
Dorit Cypis is an award-winning visual artist as well as a professional mediator. Her explorations on identity as psychological and political, individual and collective, have been presented at museums and public venues internationally since 1980, including Whitney Museum of American Art, International Center of Photography, San Francisco Museum of Modern Art, Musee d’Art Contemporain/Montreal, Musee des Beaux Arts/Bruxelles, Walker Art Center, Orange County Museum of Art, and the Los Angeles County Museum of Art.
To extend her practice as artist (MFA 1977/Californian Institute of the Arts), Cypis completed a Masters of Conflict Resolution, MDR, (2005/Pepperdine University), and founded Foreign Exchanges, 2007, an initiative offering tools for conflict engagement and relationship building blending tools of aesthetics and conflict transformation. Cypis has been instrumental in designing the public programs Kulture Klub Collaborative, Minneapolis, 1992-1998, artists working with homeless youth to develop creative expression and Foundation for Art Resources, FAR, Los Angeles, 1979-1982, designing forums for discourse and partnership across Los Angeles to support artists working collectively in the public domain. Cypis has taught on identity and social relations across the USA, Canada, Holland, France, Switzerland, Germany and Israel.
Dorit has received numerous awards and fellowships including the National Endowment for the Arts, Japan Foundation, Bush, McKnight, Jerome, Ordway and Durfee Foundations, City of Los Angeles Cultural Arts, and Fellows of Contemporary Art. Cypis is a founding member of Mediators Beyond Borders and recent past Chair of their Middle East Initiative.
LA Woman Documentary:
Dorit Cypis – “Which Two Sides?”
LA Woman Documentary:
Dorit Cypis – “What Is Permissible As Art?”
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Linda Lack, Ph.D., has dedicated her life to the study of the human body and its relationship to breath and movement. She is an international academic lecturer/researcher, movement/yoga therapist, dancer, and ritualist whose technique The Thinking Body-The Feeling Mind® is practiced and taught at her studio in Los Angeles and throughout the United States as well as parts of Latin America, Europe, the Middle East and Asia. The Thinking Body-The Feeling Mind® is a movement modality that’s interdisciplinary, explorative and simultaneously scientific — a contemporary healing, maintenance and body sustainability technique. Lack, a widely-respected educator and healer, has been recognized and funded by The Rockefeller Foundation, National Endowment of the Arts, The California Arts Council and the Los Angeles Area Dance Alliance. Lack believes that the basic human impulses of movement and breath are profound pathways into healing, creativity and spirit.
LA Woman Documentary:
Dr. Linda Lack – “Thinking Body Feeling Mind”
More Clips of Dr. Linda Lack from the LA Woman Documentary:
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