ARTS "4w' ___ PagcL7' The Michigan Daily Wednesday, February 28, 1990 East Germans express visions by Rona Sheramy TWELVE Artists from the German Democratic Republic, a traveling exhibit organized by the Busch- Reisinger Museum at Harvard Uni- yersity, presents varying examples of contemporary East German art. he exhibit reveals the influences of Berman Expressionist traditions, as well as the development of individu- alistic styles. The German Expres- sionism which was predominant at the beginning of the century is very different from the German Expres- sionism that is redefined and reinter- preted in these examples of contem- porary art. Twelve Artists offers a microcosmic look at the past two decades in the East German art scene. The exhibit dramatizes the revision bf older traditions, as well as the emergence of unprecedented styles. - In an introduction to the exhibit's catalogue, Peter Selz quotes one of Expressionism's earliest, pre-World War I advocates, Herwarth Walden. Walden explains, "The (Expression- ist) painter paints what he sees in his innermost feeling and his own being.... Each external impression becomes an internal expression." The canvas is a fusion of visual ob- servations and personal perceptions. The artist depicts external appear- ances with a twist - a political and social message, an intellectual eval- uation, an emotional response. Sub- ject matter does not dissolve into unidentifiable shapes and colors on the canvas, as occurs later in abstract art. Instead, figures and objects are heightened, exaggerated and adjusted by the artist's interior eye. Elisabeth Thoburn, an art history graduate student and native of East Germany, describes the relationship of Twelve Artists to earlier Expres- sionist trends. The viewer "must be careful what (he/she) calls German Expressionism," says Thoburn. Although many canvases explode with bold colors, slashing lines and personalized images, they are not all the products of a single artistic in- fluence. Thoburp distinguishes the differ- ent generations of contemporary artists represented in the exhibit. The more objective depictions of land- scapes, buildings and still lifes by Theodor Rosenhauer of Dresden sig- nify art of the first generation. Rosenhauer applies muted, somber colors through very thick, Van Gogh-like brushwork. Each paint- stroke contributes to a precious, se- date whole. Rosenhauer's works, such as View of Cemetery Court in Winter, East Radebeul (1965), and Loaf of Bread with Blue Pitcher (1980), do not show a drastic trans- formation or internalization of sub- ject matter. Rather, his paintings re- veal an appreciation for the simple, common appearance of objects as they stand in nature and the home. Second generation artists, such as Bernhard Heisig of Leipzig, and Max Uhlig of Dresden, create powerful and overwhelming canvases. Heisig's works are an eerie mixture of painterly line and melting color. In Frederick (1988), Volunteer Soldier (1984/1988) and Pirate Camp Follower (1988), pale faces different-colored candles, Uhlig's paintings fuse applications of black, brown, orange and red paint. Facial details and highlights are achieved in his portraits through the use of white and yellow paint, also applied in the slashing style. His figures seem trapped in the meshing lines of color, as though they are imprisoned in their bodies and the canvases. In his watercolor landscapes as well, Uhlig builds his images with dark, diagonal crossing lines and lighter slashes of color. These land- scapes, such as Katharinenberg (1985) and Large Tree Root on the River Bank (1987), are very personal perceptions of nature's exteriors. The viewer does not recognize scenes from the outdoors, but senses the in- the third generation in contemporary East German art. Libuda's paintings are large-scale, dark masses of swirling paint and bizarre figures. In The Listeners (1988),. figures out- lined in thick black paint are barely perceptible within a darkened, rough canvas and behind piled, geometric shapes. In Ceiling Runner II (1985), a naked figure hangs fly-like from a ceiling, with an eye painted ran- domly in the middle of its stomach. Sighard Gille's portraits are more re- alistic, yet equally thought-provok- ing images of city life and personal relationships. Obnoxious characters fill the canvas of Party in Leipzig (1979), in which the central, dejected figure looks pathetically out at the viewer. In Fasching, (1988), a man Prince "Scandalous Sex Suite" 12" Paisley Park He's at it again; that mischievous musician from Minneapolis just cannot resist the opportunity to cre- ate a little more, well, controversy. From the furor caused by the Love- sexy album cover to the rumors floating about involving he and fel- low scandal victim Kim Basinger, the single all-encompassing identity that Prince has built about himself in the last 10+ years burns brightest when fueled by at least a little fresh horror and shock. The maxi-single features "Scandalous" in three parts: the Crime, the Passion, and the Rap- ture. The Crime is a spoken mono- logue between him and Basinger that revamps the ballad exquisitely, with the superlative saxer Eric Leeds cov- ering Prince's opening verse note for note. The Rapture features a scathing electric guitar solo over still more of the sultry stuff, opposing it with a savage intensity, as well as adding to it in a particularly clever sort o1 counterpoint. Time and time again, Prince has assaulted us with his personal strug- gle - spirituality against sexuality. He has attempted to reconcile the two by implying that if we all con- stantly screw each other, we'll 'be living in some degree of peace or, another. Repeatedly, he has set hitn- self up with temptation, plummeted into sin, and finally reached a point of reckoning and/or realization. Ai his best, he hopes to free our minds of the Christian guilt that goes with pleasure: sex is God's gift to us' why downplay it? This matador-like . guise leaves Prince himself shrouddd' in mystery while we selfishly lunge' for our own desires. At his worst,bed leads us to a certain timeless ques- tion, but never bothers to answer it. This is about as irresponsible as tak- ing random, unabashed lust and cloaking and disguising it in the form of love. Prince is getting old. -Forrest Green III See RECORDS, page.8 Cloud presents life witout silver lining:- by Kenneth Chow CLOUD 9, written by Caryl Churchill, is a satirical comedy that addresses a few of the issues that have plagued society for many years. These include racial conflict, sexual confusion and insecurity. The play is divided into two acts. The first takes place in a Victorian colony in Africa. The cast of characters includes an authoritative father, a, mother (played by a male to imply that she is a man's ideal wife), a son (played by a female to imply his sexual confusion), a daughter (played by a stuffed doll to imply her insignificant place in the family), a Black slave (played by a white male to imply his wish to conform with white ideals),.; a lesbian maid and a mother-in-law. The plot itself centers on a meeting - between the family and two friends of theirs: Mr. Bagley, the explorer and - Mrs. Saunders, the feminist. The course of the story is not remarkable. i7& is basically a series of family picnics with many love affairs interwined. n one of the scenes, the cast goes to play hide-and-seek. And of course, the. better part of the unfolding and exposition takes place after one person has been found by another. The first act conveys the idea that back in the-Victorian Age, the "shameful" characteristics of a person, such as bisexuality, racial antipathy, etc., were well hidden so that the characters might appear to b. perfect in history books. In the second act, which takes place approximately 20 years later, these issues are treated in a more casual manner. Nevertheless, they are still looked upon as shameful, and most.of them are still kept hidden. The moral of the two acts is that although w looked down on the Victorians' ignorance of these issues, we fare no better in dealing with them ourselves." The second act doesn't have a specific plot. It is simply a sequel to reveal what is to become of some of the characters from the first act. There, are several flashbacks strategically installed in this act that, in addition to smoothing out the time See CLOUD, page 8. Pictured above is Rats' Game (Rat Sheet 1), 1987, by Heinrich Tessmer. It is on display in the University Museum of Art, as part of the exhibit Twelve Artists from the German Democratic Republic. emerge with bulging eyes, distorted mouths and harrowed expressions. The figures appear ghostlike against- ominous, at times chaotic back- grounds. Max Uhlig's towering portraits are an amalgamation of criss-cross- ing lines and splashes of color. The viewer must stand back a few feet from Uhlig's paintings to fully ap- preciate the details within the line masses. Like wax drippings from ternalized observations driving the artist's creativity. As Uhlig described in 1979, "In watercolors.. and in paintings during the last five years, I gave free rein to my emotions, reaching an ecstatic intensity." He perceives "more elementary and rhythmic connections of farm" and creates unnaturalistic equivalents of this internal structure. 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