*FILM AT REDCAT PRESENTS*
Sat Feb 29 |4:00pm & 8:30 pm|
Jack H. Skirball Series
$15 [members $9]
*A single ticket is good for BOTH 4:00pm and*
*8:30pm programs*
*DANGEROUS EROTICS: A TRIBUTE TO CAROLEE SCHNEEMANN*
REDCAT celebrates the life and work of Carolee Schneemann, one of the great
artists of the 20th century, with a panel discussion and selection of her
films and videos. Schneemann’s performances, films, paintings and
installations were at the center of world art culture from 1960 until her
death in 2019. Unrelenting in confronting traditional roles and taboos
imposed upon women, Schneemann defiantly embraced female sexuality and
physicality with a power and immediacy that remains groundbreaking. Her
early investigations into gender and “forbidden aspects of the female
experience” (C.S.) laid the groundwork for much feminist art of the 1980s
and 90s. The program will include music by James Tenney, her long-term
partner and collaborator.
*Co-sponsored by the Herb Alpert School of Music at CalArts and Los Angeles
Filmforum. Thanks to Electronic Arts Intermix and the Schneemann Foundation
for their support.*
*Los Angeles Video Premieres*
*Panelists in person: Peggy Ahwesh, Maggie Nelson, Lauren Pratt, Kenneth
White *
“In 1963, to use my body as an extension of my painting-constructions,” she
later said, “was to challenge and threaten the psychic territorial power
lines by which women were admitted to the Art Stud Club.” — Carolee
Schneemann
A genius of gesture, word, image, sensuality, and vitality, Carolee
Schneemann died at 6 pm on March 6, 2019 in her beloved 18th-century
Huguenot house in Tillson, New York, surrounded by her cat (and the spirits
of so many others) and the comfort of friendships and lovers she had known
for decades. Over a lifetime of making art, pleasure, provocations, home,
more art and always art—her emotional exactitude and generosity touched the
earth, the art world, and the lives of countless human and nonhuman
intimates and strangers. — *The Brooklyn Rail*
“A feminist visionary and one of the most influential artists of the late
20th century.” — *The New York Times*
“Prior to Schneemann, the female body in art was mute and functioned almost
exclusively as a mirror of masculine desire.” — Jan Avgikos, *Artforum*
“The magnitude of Schneemann’s influence is undeniable… When she describes
her body as a pleasurable weapon, a missile she sends into our repressive
culture to blow it apart, Madonna's in-your-face eroticism immediately
comes to mind.” — Jane Harris, *Plexus*
“Carolee Schneemann was a visionary. She challenged taboos and was
undaunted by censorship, including cancelled screenings of her 1967 film
*Fuses*, bans on imagery documenting her 1975 performance *Interior Scroll*,
and attacks on her later political work… Her language is the visceral, yet
intensely political, language of the body, of gesture, of sensuality and
eroticism. Even today, she remains radical.” — Joy Garnett, National
Coalition Against Censorship
“Carolee spent 45 of the 60 active years of her professional career
creating work with intensity and integrity, a feminist artist before the
art world knew of such a thing…. She shared her ardent attention to the
erotics of creative living, her art summing up the intensity of her
approach to friends, lovers, cats and her creative practice all meshed into
one great life work.” — Amelia Jones, *The Guardian*
“Schneemann’s influence is profound. Artists informed by her work… include
Matthew Barney, Marilyn Minter, Ragnar Kjartansson, and Lena Dunham—a list
to which one might add Narcissister, Ana Mendieta, Rist, and just about
anyone who, over the past half-century, has worked with bodies and
identities as intricate, powerful, multivalent things—and as endless
dynamos for exploration rather than as loci for shame.” — *ARTnews*, March
6, 2019
*PROGRAMS:*
*4:00PM - FILMS AND VIDEOS BY CAROLEE SCHNEEMANN [I]*
*Fuses* (1964–67/2007, 29:37 min., 16mm, color, silent)
With Carolee Schneemann, James Tenney and Kitch
“Schneemann’s self-shot erotic film remains a controversial classic. The
notorious masterpiece... [is] a silent celebration in color of heterosexual
lovemaking. The film unifies erotic energies within a domestic environment
through cutting, superimposition and layering of abstract impressions
scratched into the celluloid itself... *Fuses *succeeds perhaps more than
any other film in objectifying the sexual streamings of the body’s
mind.” — *The
Guardian*, London
“Made in increments between 1964 and 1967, *Fuses* is a beautiful, complex
work, among Ms. Schneemann’s most moving achievements. Like much of her
art, it bridges interior and exterior worlds: we see the lovers in their
darkened bedroom and we see a rural landscape in changing seasons beyond
the window. It’s hard to follow: organically, it’s here, then it’s there.
But the flow, metaphoric and visual, is rich. And like so much of her art,
the dynamic is fundamentally collaborative, shared.” — Holland Cotter, *The
New York Times*
”Pornography is an anti-emotional medium, in content and intent, and its
lack of emotion renders it wholly ineffective for women. This absence of
sensuality is so contrary to female eroticism that pornography becomes, in
fact, anti-sexual. Schneemann’s film, by contrast, is devastatingly erotic,
transcending the surfaces of sex to communicate its true spirit, its
meaning as an activity for herself and, quite accurately, women in general.
Significantly, Schneemann conceives the film as shot through the eyes of
her cat — the impassive observer whose view of human sexuality is free of
voyeurism and ignorant of morality.
In her attempt to reproduce the whole visual and tactile experience of
lovemaking as a subjective phenomenon, Schneemann spent some three years
marking on the film, baking it in the oven, even hanging it out the window
during rainstorms on the off chance it might be struck by lightning. Much
as human beings carry the physical traces of their experiences, so this
film testifies to what it has been through and communicates the spirit of
its maker. The red heat baked into the emulsion suffuses the film, a
concrete emblem of erotic power." — B. Ruby Rich, Chicago Art Institute
*Water Light/Water Needle (Lake Mah Wah, NJ)*
(1966, 11:13 min., 16 mm film on HD video, color, sound)
Schneemann’s classic 1966 aerial ”Kinetic Theatre” work was first staged at
St. Mark’s Church in the Bowery, with eight performers moving to a score of
randomized encounter on layers of rigged ropes and pulleys. One of two
video documents of this early and influential performance, this version is
enacted outdoors in trees and across the surface of a lake, in sequences
directed by Schneemann. — Electronic Arts Intermix
*Infinity Kisses *— *The Movie* (2008, 9:18 min., HD video, color, sound)
*Infinity Kisses — The Movie* completes Schneemann’s exploration of human
and feline sensual communication. It incorporates extracts of the original
124 self-shot 35mm color slide photo sequence, *Infinity Kisses*, in which
the expressive self-determination of the ardent cat was recorded over an
eight-year period. *Infinity Kisses *—* The Movie *recomposes these images
into a video, in which each dissolving frame is split between its full
image and a hugely enlarged detail.
Cluny 1980–1988. Vesper 1990–1998. — Electronic Arts Intermix
“Since he was a kitten, my cat Cluny woke me every morning with deep
kisses. During each week (even half-asleep) I reached for a hand-held
Olympus camera to film our kissing. Lighting, angles, exposure, and focus
were always unpredictable. The intimacy between cat and woman becomes a
refraction of the viewer’s attitudes to self and nature, sexuality and
control, the taboo and the sacred. Cluny died in 1988 after being bitten on
his mouth by a rat. He was reborn as Vesper in 1990 and continues the
kissing expressivity until his death of leukemia in 1999.” — Carolee
Schneemann
*Vulva’s **School *(1995, 7:15 min., color, sound)
A performance in which Schneemann personifies an irrepressible vulva, which
engages two animal hand puppets in a clamorous deconstruction of sexual
bias in French semiotics, Marxism, patriarchal religions and physical
taboos. — Electronic Arts Intermix
*5:00pm:** PANEL*
Peggy Ahwesh, Maggie Nelson, Lauren Pratt, Kenneth White and moderator
Steve Anker will discuss intersections among Schneemann’s life and work,
her radical aesthetics, and her revolutionary stance as a woman artist
working within a misogynist culture.
*7:00pm-8:15pm*: *SCHNEEMANN VIDEOS IN REDCAT’S LOBBY*
*Performance documents:* *Snows* (1967/2009, 20:24 min.) *Up To And
Including Her Limits* (1976, 29 min.), *Fresh Blood* (1983, 11 min.) and *Ask
the Goddess *(1991, 8:24 min.).
*8:30PM - FILMS AND VIDEOS BY CAROLEE SCHNEEMANN** [II]*
Preceded by tributes from colleagues: dancer/filmmaker *Yvonne Rainer*
(read by Monica Majoli) and others.
*Collage #1: Blue Suede* (1961, 3:24 min., analogue tape/CD) by James
Tenney
"Jim created the sound collage *Blue Suede, *a very early example of
sampling, while both Carolee and he were MFA students at the University of
Illinois and lived in a little farmhouse in Sidney, outside Champaign. *Blue
Suede,* the only one of Jim’s works dedicated “to C.S.” honors both Carolee’s
technical influence on Jim’s work—encouraging the transference of her
techniques of visual collage into the sonic realm of tape-splicing
(hundreds of tiny scraps of tape, cut on a splicing block, and then hours
of splicing)—and her emotional, spiritual, and spirited influence. Jim told
me that he came up with the idea for the piece after a long session dancing
to Elvis, just the two of them, in their tiny Sidney living room, watched
by Kitch. Stan Brakhage told me that his favorite part of this work is the
part where Elvis says “fuck-fuck”. Jim told me that that part “just happened
”." — Lauren Pratt
*Viet-Flakes* (1962–67/2015, 8:31 min., 16 mm on HD video, toned b&w,
sound collage by James Tenney)
*Viet-Flakes* was composed from an obsessive collection of Vietnam atrocity
images, compiled over five years, from foreign magazines and newspapers.
Schneemann uses the 8mm camera to “travel” within the photographs,
producing a volatile animation. Broken rhythms and visual fractures are
heightened by a sound collage by James Tenney, which features Vietnamese
religious chants and secular songs, fragments of Bach, and ’60s pop hits. —
Electronic Arts Intermix
”One of the most effective indictments of the Vietnam War ever made.” —
Robert Enright, *Border Crossings*
*Carl Ruggles Christmas Breakfast 1963*
(1963/2007, 9:02 min, 16 mm on video, color, sound)
“In her earliest film, newly transferred to video, Schneemann presents an
abstracted portrait of the American composer Carl Ruggles, known for his
irascible personality and finelycrafted atonal music. Ruggles is seen
enjoying pie à la mode and ruminating on subjects ranging from Christmas to
his incomplete opera *The Sunken Bell*. The hand-painted film stock
heightens the impressionistic vitality of this snapshot of the 84-year-old
composer, who is heard paraphrasing Freud: “Everything that you do is a
matter of sex. That is the great passion of life.” — Electronic Arts
Intermix
*Meat Joy* (1964/2010, 10:33 min., color, sound, 16 mm on video)
Writes Schneemann: ”*Meat Joy* is an erotic rite — excessive, indulgent, a
celebration of flesh as material: raw fish, chicken, sausages, wet paint,
transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards
the ecstatic — shifting and turning among tenderness, wildness, precision,
abandon; qualities that could at any moment be sensual, comic, joyous,
repellent. Physical equivalences are enacted as a psychic imagistic stream,
in which the layered elements mesh and gain intensity by the energy
complement of the audience. The original performances became notorious and
introduced a vision of the ‘sacred erotic.’ This video was converted from
original film footage of three 1964 performances of *Meat Joy* at its first
staged performance at the Festival de la Libre Expression, Paris; Dennison
Hall, London; and Judson Church, New York City.”
*Body Collage* (1967, 4:12 min., b&w, silent, 16 mm on video)
*Body Collage* is a visceral “movement-event” from 1967, in which
Schneemann paints her body with wallpaper paste and molasses, and then
runs, leaps, falls into and rolls through shreds of white printer's paper,
creating a physicalized corporal collage. "My intention was not simply to
collage my body (as an object), but to enact movement so that the collage
image would be active, found, not predetermined or posed," writes
Schneemann. This is a newly restored version of this seminal work. —
Electronic Arts Intermix
*Plumb Line* (1968–71, 15 min., 16mm, color, sound)
The dissolution of a relationship unravels through visual and aural
equivalences. Schneemann splits and recomposes actions of the lovers in a
streaming montage of disruptive permutations: 8 mm is printed as 16mm,
moving images freeze, frames recur and dissolve until the film bursts into
flames, consuming its own substance. The film is a devastating exorcism, as
the viewer sees and hears the film approximate the interior memory of the
experience. — Electronic Arts Intermix
“*Plumb Line* was beautiful, laying everything open even more than *Fuses* —
a very public private film — and as clear as crystal.” — David Curtis
*Interior Scroll - The Cave * (1975-1995, 7:31 min., 16mm on HD video,
color, sound)
Edited and produced by Maria Beatty.
In a vast underground cave, Schneemann and seven nude women perform the
ritualized actions of *Interior Scroll* — reading the text as each woman
slowly extracts a scroll from her vagina. The scroll embodies the primacy
of an extended visual line shaped as both concept and action. The extracted
text merges critical theory with the body as a source of knowledge. The
images move from naked group actions into close-ups of the unraveling text. —
Electronic Arts Intermix
*Devour* (2003-04, 8:40 min., HD video, color, sound)
*Devour* is a single-channel version of the artist’s multi-channel video
projection installation of the same name. In this dense montage, the title
comes to stand for both the voraciously synthetic head-on rush of
contemporary media, and the corresponding near-addictive impulse of its
consumers. — Electronic Arts Intermix
“Perceptual tensions drive a range of images edited to contrast evanescent,
fragile elements with violent, concussive, speeding fragments. Looped
sources of the imagery combine political disasters, domestic intimacy and
the ambiguous menace within enlarged details of gestures — both human and
mechanical.” — Carolee Schneemann
*Pinea Silva* (2012, 9:24 min.)
“*Pinea Silva: Lost Meanings of the Christmas Tree*, a performance-lecture
by Carolee Schneemann, was first presented on December 15, 2011 as part of
the 40th Anniversary Benefit at Electronic Arts Intermix (EAI). In *Pinea
Silva*, which takes its name from the Latin for “pine grove” (after a grove
on Mount Berecynthus mentioned in Virgil’s *Aeneid *as sacred to the Roman
Mother Goddess Cybele), Schneemann posits a gendered interpretation of the
Christmas tree as symbol. Aided by a PowerPoint presentation of images
culled from the Internet, the artist analyzes traditional Christmas imagery
with an eye toward the psycho-sexual. She interprets how the use of this
imagery at Christmastime asserts a hetero-normative culture in which female
sexuality is suppressed, and posits the reversal or re-writing of
traditional symbols in which the Christmas tree is understood as vulvic.” —
Electronic Arts Intermix
*THE ARTIST:*
*Carolee Schneemann*’s pioneering work ranges across disciplines,
encompassing painting, performance, film and video. Her early and prescient
investigations into themes of gender and sexuality, identity and
subjectivity, as well as the cultural biases of art history, laid the
groundwork for much work of the 1980s and ’90s. Her bold challenges to
taboo and tradition can be seen as inspiring and influencing artists as
varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and
Karen Finley.
While she is often described as a performance artist, Schneemann first
studied painting, and that training informed the course of all her
subsequent work. It can be seen in her continuing identification as a
painter and a formalist, in her attention to art-historical figures such as
Cézanne, and in the hand-coloring and mark-making to which she subjected
the surface of some of her films. However, the effect of her early
experience with painting was also reactive and negative; she recognized, as
a woman in the early 1960s working in a male-dominated medium, that ”the
brush belonged to abstract expressionist male endeavor. The brush was
phallic.”
This realization coincided with an explosion of new artistic forms, and
while Schneemann would never give up painting, she turned her attention to
the downtown New York avant-garde’s locus of film, dance, theater, and
performance. Her involvement with this scene, including work with the
Judson Dance Theater and time spent at Warhol’s Factory, as well as
participation in events such as Robert Morris’s *Site* (1964), in which she
appeared onstage as Manet’s Olympia, proved crucial to her own concept of
what she would call ”kinetic theater.”
Although she had experimented with performance as early as 1960, her
work in this vein went public with the notorious 1964 action *Meat Joy*.
This ”celebration of flesh as material,” replete with naked bodies, raw
fish, chickens, and sausages, was contemporaneous with the sensationalist
Viennese Aktionist group, and, at least superficially, shared some of the
concerns of those artists, who referred to her as their ”crazy sister.”
However, rather than pursuing their interests in the scatological and the
morbid, Schneemann presented *Meat Joy* as an ”erotic rite,” foregrounding
human sexuality and Dionysian ecstasy with a powerful and subversively
affirmative spirit.
Schneemann’s undaunted spirit asserted itself even more explicitly a
year later in her ”anti-porn” collage-film, *Fuses*, conceived of as a
response to work by her friend, the experimental filmmaker Stan Brakhage.
The film challenged dominant modes of interpretation, and was also a
provocation to both the avant-garde film establishment and the feminist
movement.
This go-it-alone criticality is one of the major strands of Schneemann’s
work. When critiqued for her interest in sexuality and use of her body as
medium, she always offered an unapologetic defense, pointing out, for
example, ”If I am a token, I’ll be a token to be reckoned with.” Her
insistence on integrating the form and content of her art can be seen as
quite radical in that it collapses work and life, thought and flesh and
nature and. For Schneemann, the focus on the ”experiential erotic body” is
a method of empowerment, and an antidote to what she sees as a tendency of
feminist art historians to discuss female sexuality exclusively as a male
construction.
Schneemann’s project, then, is in ways concerned with reclaiming those
signifiers, actions, and ideas that have historically been denied women,
and, to a lesser degree, artists in general. Her work should not solely be
viewed as feminist, although she is certainly a pioneer in that area.
Rather, her focus has also been on countering traditional art-historical
accounts, and in mapping what she calls ”Istory” in an attempt to see
”where the taboos and censorious conventions are embedded aesthetically.”
This tendency to identify what has been deemed sacred and what has been
declared obscene can be seen in works like *Art is Reactionary* (1987), and
in her research into historic artifacts as far-flung as Victorian art-books
and Neolithic cave drawings.
Born in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from
Bard College and an M.F.A. from the University of Illinois, and held
Honorary Doctor of Fine Arts degrees from the California Institute of the
Arts and the Maine College of Art. Her work has been exhibited throughout
the world, at institutions including the Museum of Contemporary Art, Los
Angeles; the Whitney Museum of American Art, New York; Centre Pompidou,
Paris; Centro de Arte Reina Sofía, Madrid; The Museum of Modern Art, New
York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery,
New York.
In 1997, a pioneering retrospective of Schneemann’s work entitled *Carolee
Schneemann *—* Up To And Including Her Limits* was held at the New Museum
of Contemporary Art, New York. A subsequent retrospective of over forty
works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State
University of New York at New Paltz, and traveled to The Henry Art Gallery,
Seattle, and Krannert Art Museum, Champaign, Illinois. Schneemann received
a Lifetime Achievement Award from the College Art Association, an Anonymous
Was A Woman award, the Ono Lennon Courage Award, and a USA Rockefeller
grant, among others. In 2017, she was awarded the Venice Biennale “Golden
Lion” for Lifetime Achievement.
Schneemann’s published books include *Cezanne, She Was A Great Painter*
(1976); *Early and Recent Work* (1983); *More Than Meat Joy: Complete
Performance Works and Selected Writings* (1979), *Imaging Her Erotics *—*
Essays, Interviews, Projects *(2002). She taught at many institutions,
including New York University, California Institute of the Arts, Bard
College, and the School of the Art Institute of Chicago.
Carolee Schneemann lived in New Paltz, New York until her death in March
2019.
*THE PANELISTS:*
*Peggy Ahwesh* has produced one of the most heterogeneous bodies of work in
the field of experimental film and video. A true *bricoleur*, her tools
include narrative and documentary styles, improvised performance and
scripted dialogue, synch-sound film, found footage, digital animation, and
crude Pixelvision video. Using this range of approaches, she has extended
the project initiated by 1960s and ’70s American avant-garde film, and has
augmented that tradition with an investigation of cultural identity and the
role of the subject.
Ahwesh’s work has shown at the Solomon R. Guggenheim Museum, New York;
Yerba Buena Center for the Arts, San Francisco; the Balie Theater,
Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film
Festival, Rotterdam; Museu d’Art Contemporani Barcelona (MACBA), Barcelona;
the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of
American Art, New York; The Museum of Modern Art, New York; Microscope
Gallery, New York and Anat Ebgi, Los Angeles, among other venues.
*Maggie** Nelson* is the author of nine books of poetry and prose, many of
which have become cult classics defying categorization. Her nonfiction
titles include the *New York Times* bestseller and National Book Critics
Circle Award winner *The Argonauts* (2015), *The Art of Cruelty: A
Reckoning* (2011; a *New York Times* Notable Book of the Year), *Bluets* (2009;
named by *Bookforum* as one of the top 10 best books of the past 20
years), *The
Red Parts *(2007; reissued 2016), and *Women, the New York School, and
Other True Abstractions* (2007). In 2021 she will publish a work of
cultural criticism titled *The Myth of Freedom*, followed by a book of art
essays in 2022. In 2016 she was awarded a MacArthur “genius” Fellowship.
Also in 2016, Nelson wrote a long essay on Carolee Schneemann for the
Artist’s Institute, a shortened version of which was published in the *New
Yorker* after Schneemann’s death, and which can be found here:
https://www.newyorker.com/books/page-turner/the-re-enchantment-of-carolee-schneemann
.
*Lauren Pratt *worked closely with Carolee Schneemann in New York City
during the early 1980s, and the two remained close throughout Schneemann’s
life. She worked as Carolee’s archivist, manager, and agent, traveled with
her, had lots of fun with her, and performed with her at C.W. Post College
and The Limelight. Introduced to James Tenney by Carolee in 1987, she
married him the following year, and acted as Jim’s manager and agent for
the next nineteen years. Since his death in 2006 she has co-edited his
first collection of writings, *From Scratch* (U. Illinois Press), and
executive produced the premiere recording of his *Changes: 64 Studies for 6
Harps* (New World). In addition to overseeing completion of his scores and
preparation of his papers for the York University Archives, she is
preparing a second collection of Tenney’s writings. She is the Associate
Producer for Music at REDCAT and the in-house producer for many CalArts
music events, and she coordinates the music career program in the Herb
Alpert School of Music at CalArts.
* Kenneth White* is Assistant Professor of Film Studies in the Cinema
Department at the State University of New York at Binghamton. He is editor
of the books *Carolee Schneemann: Unforgivable* (Black Dog, 2015) and, with
Annette Michelson, *Michael Snow: October File* (MIT Press, 2019). He is an
editor of *Millennium Film Journal*, the bi-annual periodical of moving
image art criticism, history, and theory, published by the Millennium Film
Workshop, and edited the special issue focusing on Carolee Schneemann
(Fall, 2011). He is a member of the board of directors of the Carolee
Schneemann Foundation. White was educated at Syracuse University (BFA Art
Media Studies 2005) and Stanford University (PhD Art History and Film
Studies 2015). He was a participant in the Whitney Museum of American Art
Independent Study Program in 2013-2014 (Critical Studies) and 2014–2015
(Studio). He was Faculty of Curatorial Studies in the Whitney Program
before joining Binghamton’s Cinema Department. White is at work on a
history of American media art of the late Vietnam War era entitled
*Hyperventilation
Syndrome: Media Cultures, Control Societies—ca. 1970*.
*Funded in part by the Ostrovsky Family Fund, with special support provided
by the Academy of Motion Picture Arts and Sciences. Curated by Steve Anker,
Lauren Pratt and Bérénice Reynaud, as part of the Jack H. Skirball Series*
* UPCOMING FILM/VIDEO PROGRAMS*
*Mon Mar 2 **MANIA AKBARI and DOUGLAS WHITE*
* A Moon for My Father*
*Sat Mar 7 *
*ISAAC JULIEN Better Life (Ten Thousand Waves) *
*Thu Mar 12 **EPHRAIM ASILI: The Diaspora Suite *
*Mon Apr 6 **CHRISTINE PANUSHKA*
* Blood of the Family Tree*
*Mon Apr 13 *
*ULRIKE OTTINGER 7:30 pm Dorian Gray in the Mirror of the *
* Yellow Press*
*Mon May 11 **DANA BERMAN DUFF*
* Re-productions – New Films*
*REDCAT **| THE ROY AND EDNA DISNEY/CALARTS THEATER *
is located at 631 West 2nd Street, Los Angeles, CA 90012 - at the corner of
2nd and Hope Streets inside the Walt Disney Concert Hall complex. Parking
is available in the Walt Disney Concert Hall parking structure and at
adjacent lots. Unless otherwise specified, tickets are $12 for the general
public, $9 for members. Tickets may be purchased by calling 213.237.2800 or
at www.redcat.org or in person at the REDCAT Box Office on the corner of
2nd and Hope Streets (30 minutes free parking with validation). Box Office
Hours: Tue-Sat | noon–6 pm and two hours prior to curtain.
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