Zuckerman currently runs a studio based in Silverlake, Los Angeles, which specializes in film scoring and editing post-production on a range of projects from commercial tv/film to contemporary visual art. For inquiries visit:

The work archived on this page collects a range of selected projects as composer, director, film editor, actor and visual artist.


―   Ostrava Days Festival 2021

―   Hyle String Trio

―   Fissão – Ostrava Days Festival

―   Ismay: Guide To Ismay Vol.1

―   Aplauso: Os Olhos Escutam

―   Full-Contact Minimalism

―   Penny Film

―   Reading/Non-Reading

―   8 X 8 Composers/Choreographers

―   Bar Bar – Performance

―   Casa de Buonaguro-Foerster

―   Ontopo 2018

―   Magick City Residency

―   How I Pulled Myself Out Of Swamp

―   Capitalist Realism Surinomo

―   Good Samaritans-NYCP

―   Sister-Song Benefit Performance

―   Eyes_1

―   How About A Game

―   Cologne Of The Maghreb

―   Really

―   S.E.M. Ensemble, Emerging Concert

―   The Evening-NYCP

―   The Augur-Untitled Radio

―   Jiro, Digital Painting-Musical

―   Cordelia Film

―   The Harmers – LA

―   The Harmers – NYC

―   Icarus-Film

―   Milarepa Opera Benefit

―   The And Group

―   The Auger – David Lewis Gallery

―   End of The Night Café

―   Ariella Von – Film

―   Wolfe with an E

―   Phoebe Zeitgeist – 16mm Film

―   A Cool Breeze on the Back of the Neck

―   Ivan The Bloodburst -Cassette

―   Scores and Objects


David Louis Zuckerman is a composer, multi-media artist, writer and director. Before moving to Los Angeles, Zuckerman toured internationally with renowned American playwright Richard Maxwell’s theater company NYCP, and was a critic at Film Comment magazine writing about contemporary cinema. Zuckerman is an alumnus of the Skowhegan Residency, the Labyrinth Theater Ensemble and the S.E.M. Emerging Composers Workshop. He has made performance installations at David Lewis Gallery, JOAN Los Angeles, Anthology Film Archives, Kunstverein Cologne, Moma-New Director/New Films, The Dallas Museum of Art and others. He studied film scoring at Berklee College of Music and holds a BFA from The School of Visual Arts in Video Art and an MFA in Film/Video from Bard College. His work has been covered in Art in America, LA Weekly, Artforum, Cahiers du Cinema, Purple Magazine, Hyperallergic, The New York Times and Filthy Dreams. Get in touch.

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The Auger – David Lewis Gallery

Direction, Composition &
Libretto: David Zuckerman
Baritone Christophé Abiel
Soprano Jessica Ferri
Performance Installation
David Lewis Gallery February 23rd, 2014

In participation with Charles Mayton & David Lewis Gallery
on the occasion of C. Mayton’s show:
Score, Libretto & Video: David L Zuckerman
Interpretation and Stage Direction: Christophé Abiel
Soprano: Jessica Ferri
Set Design: Charles Mayton

This project was first catalyzed in opera director Peter Sellar’s ‘Art and Enlightenment’ class at UCLA in the fall of 2010. The term Anthropocene I first heard about from Internet posts by my friend Rory Rowan, a geophilosopher at the forefront of the concept. From the beginning the “mythos” of the word was already evident, with its signification of the end of nature, industrial-capitalism, climate-change and man’s fate etc. Anyone of these questions is dramatic enough, but that the Anthropocene also references a time scale of epic proportions (Pleistocene, Holocene, Anthropocene) made it even more apropos for a form considered well past its prime. What does well past its prime mean from the vantage point of geological time? Nature has always been a source of inspiration for composers. Schubert’s Winterreise, Messiaen’s Birdsongs: Holocene music. But Krzysztof Penderecki’s Threnody for the Victims of Hiroshima: Anthropocene music. However, The Augur is not violent like the Threnody. The fisherman Shofstall shows up ready to relax and enjoy his solitude, memories and beer. He drills through the ice with his machine, causes a rift and ends up crowned by a club-med sun goddess as he drowns in the frigid lake. Shofstall accepts his death, maybe even embraces it. The sun goddess turns into an emergency medical technician and finds in the frozen dead man’s wallet a picture of his wife and a receipt from Home Depot for the purchase of one diesel powered Auger. Welcome to the Anthropocene bitches.
– David Louis Zuckerman