Today we’d like to introduce you to Daniel Rothman.
So, before we jump into specific questions about the business, why don’t you give us some details about you and your story.
I’m a musician first, which begins with listening, like seeing is for a painter. But once our senses are attuned, and our intellect and emotions are engaged, everything that goes in finds its way out. This happens in different ways: joyful or critical, and in whatever media our creative impulses demand.
I moved to Los Angeles from New York City, where I was born and studied and was involved with a number of artistic scenes there, and then worked in studios throughout Europe.
In Los Angeles, in the 1990s, I established a performance center called Wires, modeled after adventurous venues like NY’s The Kitchen, presenting innovative performers and artists, and later founded Los Angeles River Records to produce and distribute new work; I taught at CalArts, and at Mills and California College of the Arts.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Obstacles and challenges as regards to the artistic life: in Oscar Wile’s immortal words “People point to Reading Gaol and say, ‘That is where the artistic life leads a man.’
Well, it might lead to worse places. I hope to live long enough and to produce work of such a character that I shall be able at the end of my days to say, ‘Yes! this is just where the artistic life leads a man!’”
We’d love to hear more about what you do.
I make music and create art installations. I collaborate with many inspiring people across a great number of styles and creative disciplines.
If you had to go back in time and start over, would you have done anything differently?
As the world changes around us, so does the path we’re on, and that’s what makes it exciting.
Adam Borecki, Marty Ehrlich, Holly Tempo, Daniel Rothman, Betty Freeman, Pierre Boulez, Gloria Cheng, Joan La Barbara, Jim Campbell and Elliot Anderson (Cézanne’s Doubt, Graz performance)