ross karre
Ross Karre is a percussionist, researcher and temporal artist based in New York City. His primary focus is on combining media, including classical percussion performance, electronics, theater, moving image, visual art, and lighting design. He designs integrated, moving images that emerge from an aesthetic foundation in American experimental music as well as that of the European avant garde. Ross is a percussionist and the director of production for the International Contemporary Ensemble (ICE). Ross has extensive formal training as a percussionist with degrees from Interlochen Arts Academy, Oberlin Conservatory and the University of California San Diego culminating in a terminal degree (DMA) from UCSD in July of 2009 and an MFA in video/film from in 2011. His primary teachers include Steven Schick, Michael Rosen, Jean-Pierre Gorin, and Amy Lynn Barber. His projection design and video art has been presented in such prestigious venues as the BBC Scotland (Glasgow Concert Halls), Miller Theatre (NYC), and the National Gallery of Art (Washington, DC). As a percussionist, he has worked closely with European masters such as Pierre Boulez, Helmut Lachenmann, and Harrison Birtwhistle. Karre was recently appointed a percussionist for the International Contemporary Ensemble (ICE) and he also performs regularly with Third Coast Percussion (Chicago) and the National Gallery of Art new music ensemble. Ross Karre is an activist member of Ensemble XII, based in Lucerne, Switzerland, a group that Pierre Boulez called “the next generation in the evolution of modern percussion”. He has also been a long-time member of San Diego’s red fish blue fish, participating in their award-winning recordings of Xenakis and other major performances and recordings both as a percussionist and as an innovative documenter of that ensemble’s work. Recently, Ross Karre created the projected moving images in collaboration with Roger Reynolds for performances by the National Symphony Orchestra at the Kennedy Center. The Neue Züricher Zeitung (January 2012) notes Karre’s “fabulous audiovisual production…a Gesamtkunstwerk of high musical and technical perfection.”