About Ross Karre

Ross Karre is a per­cus­sionist 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 co-artistic director for the Inter­na­tional Con­tem­po­rary Ensemble (ICE).


”Best of 2011 #1 pick“

- Goerge Lewis in ArtForum

”Opening amid a battery of bells and marimbas in the center of the audience, the young virtuoso Ross Karre moved across the gallery to a “prepared” piano, then on to strum Harry Bertoia’s 17-foot-high “Tonal Sculpture,” then up the stairs to the mezzanine and higher still to the bridge that crosses the atrium at its highest level.“

- Stephen Brookes, Washington Post

”Ross Karre telegraphed concise commentary on a range of instruments“

- Chicago Tribune

”gave the audience something to hold onto“

- New York Times

”A fascinating and often compelling new work from Antosca, played with exceptional skill by Karre — who also turned in a fine account of John Cage’s magnificent “Cartridge Music” from 1960, which opened the program.“

- Stephen Brookes, Washington Post

” Credit goes to the International Contemporary Ensemble (also known as ICE) for finding a new and illuminating context in which to position Cage, by juxtaposing his music with a benchmark serialist composition by Pierre Boulez, “Le Marteau Sans Maître”“

- Steve Smith, New York Times


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 has been pre­sented in such pres­ti­gious venues as the BBC Scot­land (Glasgow Con­cert Halls), The Park Avenue Armory, Miller The­atre (NYC), and the National Gallery of Art (Wash­ington, DC), and the Kennedy Center. As a per­cus­sionist, he has worked closely with Euro­pean mas­ters such as Pierre Boulez, Helmut Lachen­mann, Chaya Czer­nowin, Olga Neuwirth, and Har­rison Birtwistle. Karre has been a per­cus­sionist and staff member of the Inter­na­tional Con­tem­po­rary Ensemble (ICE) since 2011 and also per­forms reg­u­larly with Third Coast Per­cus­sion (Chicago), red fish blue fish, and the National Gallery of Art new music ensemble.

Using his back­ground as a per­cus­sionist, pro­duc­tion man­ager, and pro­jec­tion designer, Ross is active as a pro­duc­tion coor­di­nator and designer of sev­eral inter­media operas and staged works by Ashley Fure, Pauline Oliv­eros, Suzanne Farrin, and many more. He has col­lab­o­rated as a producer/designer on the world’s largest scale pro­duc­tions at the Park Avenue Armory, Hol­land Fes­tival, Ojai Fes­tival, and Lin­coln Center.

As a teacher, Ross is a reg­ular guest lec­turer and clin­i­cian on topics ranging from con­tem­po­rary per­cus­sion and media to arts admin­is­tra­tion and pro­fes­sional devel­op­ment. He has been invited to return to his alma maters of Oberlin Con­ser­va­tory, UCSD, and Inter­lochen Arts Academy as well as the Eastman School, Bard Col­lege, the Carnegie Hall Pro­fes­sional Training Work­shops, and dozens more. Ross has orga­nized sev­eral unique uni­ver­sity res­i­den­cies for the Inter­na­tional Con­tem­po­rary Ensemble at RPI, Kent State, MacAlester, the Uni­ver­sity of Michigan and other insti­tu­tions in South America and Europe.

As a trav­eling artist, Ross has pre­sented work at nearly every major fes­tival in Europe and the United States including those in Lucerne, Darm­stadt, Hol­land Fes­tival, Ojai Fes­tival, Mostly Mozart, Aspekte Fes­tival (Aus­tria), Eight Bridges (Cologne), Rot­terdam, Reyk­javik, Copen­hagen, Banff (Canada), Mona Foma (Tas­mania), Far North (Green­land), and the Park Avenue Armory.

In 2011, Ross com­menced two major archiving projects which seek to doc­u­ment and dis­tribute recorded per­for­mances of hun­dreds of artist-clients all of the world. The rKAD media col­lec­tive and metafields​.org have become vital parts of the con­tem­po­rary music scene by pre­serving and pro­lif­er­ating the impor­tant works of emerging and estab­lished artists.