Sarah Hennies / Susan Silton / Lynne Thompson

Nov 5th at 7pm

2220 Arts + Archives


  • Hennies / Silton / Thompson We’re Here! What Now?


We’re Here, What Now? is a new collaboration between interdisciplinary artist Susan Silton, composer Sarah Hennies, poet Lynne Thompson, the six-member women’s whistling group The Crowing Hens, and ensemble Wild Up, led by artistic director Christopher Rountree. Wild Up will present a workshop concert followed by a conversation with the artists.  We’re Here! What Now? is conceived as an assertion of survival in the face of compounded loss—whether it is the loss of a homeland, civil rights, glaciers, or the loss of shared ethics, purpose, truths, and facts. The project takes inspiration from a family whistle—used to gather family in public—passed down to Silton through multiple generations by her father, whose family fled Nazi Europe in 1938. The work is also posited as future-forward: how do we as women—queer, trans, lesbian, cisgender, BIPOC—pick up the pieces of loss, dwell in it, activate it, resist against it, whistle a different tune? At its core, this work speaks to the regenerative power in loss and the shared power of music—from the mouth, from the hand, from the heart—to help forge a path. It is a work about gathering those in a crowd who are listening. Part of the inaugural California Festival of new work.


  • Sarah Hennies

    Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist based in upstate New York whose work is concerned with a variety of musical, sociopolitical, and psychological issues, including queer & trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. She is primarily a composer of acoustic chamber music, but is also active in improvisation, film, and performance art. She presents her work internationally as both a composer and percussionist with notable performances at MoMA PS1 (NYC), Monday Evening Concerts (Los Angeles), Warsaw Autumn, Ruhrtriennale (Essen), Archipel Festival (Geneva), Darmstädter Ferienkurse, Time:Spans (NYC), and the Edition Festival (Stockholm). As a composer, she has received commissions across a wide array of performers and ensembles, including Bearthoven, Bent Duo, Claire Chase, Ensemble Dedalus, Mivos String Quartet, Talea Ensemble, Nate Wooley, and Yarn/Wire. She is the recipient of a 2019 Foundation for Contemporary Arts Grants to Artists Award and a 2016 fellowship in music/sound from the New York Foundation for the Arts and has received additional support from the Fromm Foundation, Mid-Atlantic Arts Foundation, New Music USA, and the New York State Council on the Arts. She is currently a Visiting Assistant Professor of Music at Bard College.

  • Susan Silton

    Susan Silton is based in Los Angeles. Her interdisciplinary projects engage multiple aesthetic strategies to mine the complexities of subjectivity and subject positions—often through poetic combinations of humor, discomfort, subterfuge and unabashed beauty. Silton’s work takes form in performative and participatory projects, photography, video, installation, and text/audio, and has been exhibited/presented nationally and internationally at Museum of Contemporary Art, Los Angeles; SFMOMA, San Francisco; Luis De Jesus Gallery, Los Angeles; Susanne Vielmetter Los Angeles Projects; LAXART, Los Angeles; ICA/ Philadelphia; MAK Center for Art and Architecture, Los Angeles; and Australian Centre for Contemporary Art, Melbourne, among others. Projects include the 2022 film/audio installation Bursting in air (co-presented with LAND, Los Angeles Nomadic Division); the commissioned site-specific performance Quartet for the End of Time (2017), produced by LAND (Los Angeles Nomadic Division); the site-specific opera, A Sublime Madness in the Soul (2015), which presented through the windows of the artist’s then-studio in Downtown Los Angeles; and the multilayered book project Who’s in a Name? (2013). In November, 2015, Silton’s Whistling Project was included in SITE Santa Fe’s year-long series of exhibitions, SITE 20 Years/20 Shows, which included a commissioned performance by Silton’s women’s whistling group, The Crowing Hens. She has received fellowships and awards from the Getty/California Community Foundation, Art Matters, Cultural Affairs Department of the City of Los Angeles, Durfee Foundation, The Shifting Foundation, and Fellows of Contemporary Art (FOCA), among others. More recently, Silton was awarded an LA Metro commission for permanent installation in the Wilshire/Fairfax subway station. The first major traveling survey of Silton’s work, Diving into the Wreck, curated by USC art historian/writer Andy Campbell, will open at the Blaffer Museum in Houston in January 2026.

  • Lynne Thompson

    Lynne Thompson was Los Angeles’ 2021-22 Poet Laureate and is a Poet Laureate Fellow of the Academy of American Poets. She is the author of three collections of poetry, Beg No Pardon, Start With A Small Guitar, and most recently, Fretwork, winner of the 2019 Marsh Hawk Poetry Prize. Her fourth collection, Blue on A Blue Palette will be published by BOA Editions in the spring of 2024.  A Pushcart Prize and Best of the Net nominee, Thompson is the recipient of multiple awards including an Individual Artist Fellowship from the City of Los Angeles, the George Drury Smith Award for  Outstanding Achievement in Poetry from Beyond Baroque, the Tucson Literary Festival Poetry Prize, and the Steven Dunn Poetry Prize as well as fellowships from the Summer Literary Series to study in Kenya and the Vermont Studio Center. An attorney by training, Thompson sits on the Boards of The Poetry Foundation, Cave Canem, and the Los Angeles Review of Books. In June of 2022, she completed her four-year service as Chair of the Board of Trustees at Scripps College, her alma mater. Thompson’s recent work can be found or is forthcoming in the literary journals Best American Poetry, Kenyon Review, The Common, The Massachusetts Review, and  Copper Nickel, as well as the anthology Beat No Beat, among others.

About Endless Season

Art in LA has been about freedom and an abundant eschewing of history. With intersecting methods and intentions, humble, aspiring, a city appealing to the aesthete and the mystic in all of her citizens. Here, famous artists are also street-side sign painters, our best restaurants drive or live in strip malls, and our landmarks are geographical before architectural or fleetingly experiential instead of permanent monuments to their own lineages. Here, our religious and secular musics sound the same.

Endless Season gathers around these uniquely West Coast traits. We ask lead artists to question, reinterpret, and challenge the past, modality, and genre. We hold a space of intersectionality and dialogue surrounding every aspect of our work. Together, we will explore the breadth of work and practices, discovering the many shapes of music and ideas in LA today.

Endless 2023 – 2024

This season puts Wild Up members at the center more than ever, showcasing the creative energy of this community of artists. There will be a dozen concerts featuring members not only as brilliant performers but also as composers and creators. The nexus is ENCLAVE, a weekend festival of Wild Up Composers and Creators in December, featuring Andrew Tholl, Shelley Washington, Jodie Landau, Sidney Hopson. Like most of the season, this weekend highlights the many shapes of music and ideas in Los Angeles today and starts codifying an LA school of composition.

Milestones run through the season, including revivals and seminal works from Julius Eastman and Gérard Grisey and more than a dozen World and West Coast Premieres, including workshops of three new large-scale works-in-progress: a new multi-disciplinary work by Sarah Hennies, with visual artist Susan Silton and L.A. Poet Laureate Lynne Thompson, portraits of genius emerging artists Leiliehua Lanzilotti, inti figgis-vizueta, and claire rousay, a new opera by David Longstreth, and the very beginnings of a deep dive into Arthur Russell.

In 2024, we welcome the return of Darkness Sounding, a festival that explores how listening, sound, and music shape our understanding of the world.