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October 16, 1991 - Image 8

Resource type:
The Michigan Daily, 1991-10-16

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Page 8- The Michigan Daily- Wednesday, October 16,1991

Khimt and Schiele
express them selves
by Heidi Hedstrom
Vienna is a city of great history and refined culture, the home of com-
posers such as Mozart, Haydn and Strauss, as well as the world-renowned
Vienna Boy's Choir, the Spanish Riding School and Freud. It is also the
birthplace of two artists, Gustav Klimt and Egon Schiele.
A private Ann Arbor collection of twenty drawings and watercolors
by Klimt and Schiele is now on exhibit at the University Museum of Art.
There is a marked contrast between the two artists' styles, although they
were contemporaries, and both were expressionists. Expressionism was an
artistic movement which evolved around the turn of the century. It encour-
aged expression of the artists' emotions rather than representations of real-
ity -the antithesis of impressionism.
Klimt's paintings are highly decorative and elaborate, with a multitude
of colors and a lot of gold glitz. For subject matter, he focused on the cos-
mopolitan Viennese society.
Schiele found Klimt's work to be superficial. Schiele's concentration
-was not on Vienna's elegant facade, but rather on the disturbed psyches of
those who lived in the city. His paintings, in contrast to Klimt's, are more
subdued and unornamented, using rough black lines and fewer colors.
Schiele's use of light blues and purples often evokes an unnatural portrayal
of humans, causing them to look sickly.
, The exhibit does not reveal the artists' difference in styles to a great ex-
tent, since the works are mainly sketches and a few watercolors. But, to a
degree, there are still some variations in their frequent portrayals of
women. For example, in Schiele's Tightrope Walker, the nude wearing one
blue boot contrasts greatly to one of Klimt's portraits of a fully clothed
aristocratic woman.
The artists' portrayals of nudes, however, are similar in that both are
quite sexual and sometimes disturbing, with bodies placed into contorted
positions. Even so, there is still a marked contrast in their depictions.
Klimt's nudes seem more submissive, while Schiele's are reminiscent of
Manet's Olympia: they do not appear to be at all modest, instead challeng-
ing the onlooker with an intent stare.
While the exhibit is interesting, especially for those who enjoy expres-
sionist art, it does not represent the artists' more elaborate works.
Included in the collection are also two works by Oskar Kokoschka, another
Viennese expressionist who painted at a somewhat later date than Klimt
and Schiele.
exhibited through December 22nd at the University Museum of Art.
Alessandra Comini will lecture in conjunction with the exhibit this Friday,
October 18, in Angell Nall Aud C. Call 764-0395.for more info.
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Pop Pop
Rickie Lee Jones
The perfect antidote for Natalie
Cole's schmaltzy smash, this re-
laxed set of forgotten classics pur-
veys a less aggressive, more convinc-
ing brand of nostalgia for the
Golden Age of American Popular
Song. Every cut reveals a different

Dire Straits are back with music
from On Every Street, their latest
album. The new material won't
come as a great shock to fans, as
much of the music follows the pop-
oriented country-blues style that
we're used to. Tracks such as
"Calling Elvis" and "Heavy Fuel"
are reminiscent of the "Money for
Nothing" style, though they lack
the irresistible hook that the song
has burned into many listeners' me-
mories. Singing "Last time I was
sober, man I felt bad" in "Heavy
Fuel" will inevitably earn Knop-
fler respect for his ability to relate,
but will most likely fall short of
references to an all-providing large
appliance salesman.
The heart of this album, on the
other hand, is lodged in the slow,
mellow blues tracks which Dire
Straits precedented with songs like
"So Far Away." Again, the guitar
work has a language of its own,
complementing Knopfler's low,
smooth vocals with an accent that is
uniquely Dire Straits. The cuts
"You and Your Friend" and "Iron
Hand" combine heavy issues with
all-due emotion, and the result is,
contestably, the album's high point.
Included in the 12 tracks is a low
key "do-wop" and an up-beat swing,
both of which are graced by Dire
Straits' own brand of creative twist.
Also featured on the new album is a
greater attention to the band's coun-
try influence, which is marked by an
almost ever-present slide guitar. In
whole, the blend of change is enough
to peak the interest of new listeners,
while preservation of the old for-
mat is a sure-fire tactic to satisfy
long-time followers.
-David Groves

facet of Rickie Lee Jones' enthusi-
asm for, and mastery of, the mate-
rial. Like her last release, Flying
Cowboys, Pop Pop brings us a Jones
entirely content with the '90s, with
herself and with her music. The in-
fant's coos that open "Dat Dere" are
a far cry from the blue tears she shed
on her hyper-romantic early mate-
rial, and if it weren't for the cease-
less charisma of her voice, some of
this stuff would maybe be just a lit-
tle too cheerful and not nearly as
-Mark Swartz
Dire Straits
On Every Street
Warner Bros.
Mark Knopfler and the guys of

Continued from page 5
tional, but it drew unnecessary at-
tention, becoming distracting and
bordering on slapstick.
The play started off slowly, with
a frenzied, difficult-to-follow conver-
sation between Adam and Light.
When Frau Martha (Sara Mathison)
entered the courtroom with her com-
plaint, however, the actors began to
bounce their lines off one another.
and an exciting show was set into
motion. Mathison delivered her mo-
nologues as powerfully and boister-
ously as her character.
Christine Fenno's performance as
Eve was less subtle. Although she
did perform lively and believable
monologues, she played up forced
emotions and facial expressions
when it wasn't her turn to speak,
drawing unnecessary attention away
from the main action. But Fenno and
her stage love, Ruprecht (John
Knapp), performed well together,
Continued from page 7
Theatre's own collection, a mummy
case which has been in the making
for three months, and a huge artifi-
cial Christmas tree purchased from
the Michigan Theater.
Continued from page 5l
The Brand New Heavies are
definitely for real. No computers,
sequencers or DAT tapes power this
band - only passion; energy and
talent. While most other dance acts
are plumbing old songs for samples,
the BNH have forged their own
sound, soon to be imitated by others.
In a New York Post article, M.C.
Continued from page 5
amount of music being written for
carillon, especially in university
communities, says Halsted. Such
luminaries as the University's own
William Bolcom, as well as compo-
sition students here, have written
carillon pieces, and next summer
will be the premiere of a new piece
by GeorgepCrumb. Halsted has
commissioned a work from Roy
Hamlin Johnson at the University
of Maryland, which will be pre-
miered by one of her students at a
series of recitals to be held before
the Organ Institute concerts.
With so little repertoire from

creating the tension inherent in their
The final scene demonstrated how
well director Eric Fredricksen's set
design worked to allow two separate
actions to occur simultaneously. The
two peasants, Veit (Eric Vesbit) and
Frau Bridget (Miriam Shor), ra
downstage to gobble up some a
doned food, while on the platfor '
above them, Clerk Light, who
Walter has delegated to be the neg
judge, tripped and fell on his waye
the bench. Fredricksen seemed to
suggesting that even though there
a new authority figure, he'll be just
as incompr .ent as Adam, and findhi
justice in the courtroom will still
next to impossible.
The Broken Pitcher will be pe
formed in the Trueblood Theatra
Thursday, October 17-19 at 8 p.m
and Sunday, October 20 at 2 p.*n
Tickets are $9 and $6 with student
ID, available at the Michigan Leagu
Ticket Office.
-Vickie Brigan :
DINNER will be playing at th
Michigan Theater tonight through
October 19. Tickets are $12-$N
with discounts for students, sen,
citizens and groups. The fun stare
at 8 p.m., with a 2 p.m. Saturda
matinee. Call 668-8397 for ticket
Serch of 3rd Bass was quoted as sa
ing, "Someday my kids will be sa"
pling these guys' music." The Branti
New Heavies do more than just pig
the funk back in it; they put the 0I
back in it.
at the area's coolest nightclub,
Industry, 15 S. Saginaw in New
Pontiac, tonight. Doors open at 7:30
p.m. Tickets are $5.50 (p.e.s.c) at
Ticketmaster outlets, or $8 at the
the 18th and 19th centuries, new
compositions are welcomed by car-
illoneurs. Halsted herself has pii
lished five pieces. "All carilloneuMs
compose and arrange," she adds'-
should do more. But one gets busy."
So, what's it like playing up
there, 120 feet above the campUs?
"It makes you feel wonderfdI
says Halsted. "You sit there and
play these bells strongly, and *
feel just exhilarated." Surprisingly
there is a lot of feedback. "People
come up and clap after a piece, and1
sometimes there's a shout fron
down below. Sometimes somebody
honks a horn."
With an invisible audience, stag-
fright is seldom a problem. "Y
can invite people up when you wan
to, or close the door when you wt
to concentrate," says Halsted. "Bt
at noontime I do let people up, ao
they're welcome to look over my
shoulder or walk around."
RECITAL will take place tonight at
7:15 p.m. at Burton Tower.

.Dyou want to be a musici n
r ust look like one?
Daily Arts wants you, the undiscovered band:
who cannot get a gig in the tight Ann Arbor
club scane, to send us your tape and Information
We might write 'aboutyon, and maybe you can
Send 'em to 420:Maynard SL, Ann Arbor 48109
or Just drop them off:


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