Wednesday
October 19, 2005
arts.michigandaily. com
artseditor@michigandaily.com
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Courtesy of
Paramount
"Wow!
I never
knew
Spider-
man
was so
limber."
Korean
ceramic
legacy on
Display
Jenny Flack
and Shubra Ohri
Daily Arts Writers
Visitors can embark on a journey trac-
ing the lives of the Korean bourgeois
through the longev- _
ity of their pottery.
Running up until The Enduring
Nov. 6, University of Art of the
Michigan Museum Korean Potter
of Art exposes visi-
tors to 18 centuries Now thru Nov. 6
of Korean culture Free
in "The Enduring At the University
Art of the Korean of Michigan
Potter." The form Museum of Art
and function of the
pieces, which were
gathered and funded by the Hasenkamp
and Nam families, are indicative of the
change with social context.
"The 250 pieces of Korean pottery
were carefully collected over time by
Bruce Haskenkamp" said Museum edu-
cational director Pam Reister. "He sought
to build a comprehensive collection that
would be ideal for a teaching institution."
Hasenkamp sold the pottery collection
to the University, each piece reflecting
different cultural and societal trends in
Korean history from the first to the 19th
century. The acquisition of this collec-
tion signifies an important addition to the
One of the pieces on display at the UMMA.
AARON SWICK/ Daily
ACTORS TAKE A DETOUR WITH LATEST FILM
By Amanda Andrade
Daily Arts Writer
"Elizabethtown" stars Orlando Bloom. For a fast-fading
portion of the female population, that's enough to determine
the fate of the movie. That the film
screams its resemblance to the superior
"Garden State" is forgivable. That it's Elizabethtown
about as subtle as Food Network host At Showcase
and competent first-time actress Paula and Quality 16
Deen bludgeoning you over the head Paramount
with a Kentucky frying pan is inciden-
tal. Even the fact that the whole film
amounts to a hip soundtrack wrapped in
little American flags and bad editing ceases to matter. Women
who love Bloom will see this movie.
And they won't be disappointed. As Drew Baylor, a bril-
liant shoe engineer about to lose his company almost a bil-
lion dollars, Bloom is in nearly every scene. After being fired
and attempting suicide, Drew gets a call telling him his father
is dead. On his way to Kentucky to retrieve the body, Drew
meets a perky and persistent flight attendant named Claire
(Kirsten Dunst). Sparks fly (in the script anyway) and moody
close-ups of the wistful-looking pair ensue.
Once in Elizabethtown, Ken., Drew meets his father's
extended family. They're lolloping caricatures of simple,
value-driven, red-state America, but the accents sure are
charming. Between reconnecting with his roots (a whole
angle that never sells given that he grew up in Oregon and
speaks with a mangled British accent) and his blossoming love
affair with the cute blonde, Drew learns that failure and suc-
cess mean nothing before the awesome power of life - or
little American flags.
Of course, because this is a Cameron Crowe film ("Jerry
Maguire"), the central theme also serves as the linchpin for
any extended piece of dialogue. "You failed," says Dunst vap-
idly, shrugging. It's a sweet message, but given that "Eliza-
bethtown" is the director's follow-up to the commercial flop
"Almost Famous" and the unmitigated awfulness called
"Vanilla Sky," let's hope Crowe can take his advice better than
he dishes it out.
Which is not to say the film is entirely bad. Nobody in the
movies today conjures longing (especially the musically spot-
lighted variety) quite the way Crowe does. And despite the
fact that the film has a good deal of extra fat - including an
entire road trip that's as implausible as it is unnecessary - the
movie is effective at conveying the wonder and uncertainty
of life. Indeed, watching the film is a very pleasant, if rather
empty, exercise in Bloom fulfillment.
But make no mistake: That's really the reason to watch.
Crowe fans are not likely to be impressed, and Dunst gets
nowhere near naked. Her female fans should also know that
Claire is written as an eccentric accessory to the brooding
Bloom, and Dunst does absolutely nothing to give her depth.
For his part, Bloom captures the inner turmoil but lacks ener-
gy and a convincing speech pattern.
Still, at the end of the day, We-Hate-Kirsten websites will
magically materialize at the hands of an estrogen-heavy
female audience, and Crowe will go back to helming lucra-
tive Tom Cruise ventures. "Elizabethtown" is far from a bad
film. It's just not a particularly involving one, executed with
less subtlety and skill than the talent should have been able to
manage. That doesn't mean it's not full of Bloom shots: Bloom
in a suit, Bloom in a T-shirt - even Bloom shirtless in one
scene. Screw the soundtrack and nostalgic Americana imag-
ery. That's how to sell a film.
museum's Asian art collection.
The collection is divided into three
periods, displaying pieces that reflect
cultural and aesthetic trends indicative
of each respective time. The earliest
pieces are characterized by their earthen,
unglazed surfaces and unembellished
design, demonstrating that their purpose
was foremost a pragmatic one. These
pieces are notable for their thin and even
surfaces, which were difficult to achieve.
Visitors should also take special notice of
the differing heights of these pieces, as
height was an indicator of class status: the
taller the piece, the wealthier the owner.
The second time period displays pot-
tery from the Goryeo Dynasty (918-1392).
Buddhist values that became prominent
in Korea at the time are reflected in these
pieces. Korean potters developed a cela-
don glaze that remains popular. "Celadon
was highly prized in China and Japan and
was sought after in this most innovative
time" said Reister. These pieces have an
austere beauty with a subtle design qual-
ity, most notable in their green hue, which
ranges from green accented with blue,
yellow and even brown. "These pieces are
functional in a ritual way," Reister added.
Nobility in the court coveted these pieces
because of their richly accented glaze.
The last time period exhibits pottery
from the Joseon Dynasty (1392-1910)
when Confucianism came into fashion.
Ornate designs featuring animals symbol-
izing Confucian values, such as the crane,
the symbol of longevity, the crane, reflect
this development. These pieces borrow
from the Chinese tradition of cobalt blue
glazed onto white porcelain pottery.
Because the pottery is arranged in a
chronological order, it's easy to observe
not only the changing features and
designs exemplified by these pieces, but
also the culture of each period.
For instance, the water droppers in the
Joseon Dynasty portion give visitors an
insight into the life of upper-class Korean
males, who were expected to be com-
petent in poetry and calligraphy. These
whimsical items were used to add water,
one drop at a time, to solid ink that was
ground against an ink stone to produce
the desired consistency. Water droppers
were often specifically crafted for indi-
viduals as gifts and were prolifically col-
lected and traded.
The exhibit offers a distinct taste of
Korean culture and history that can
appeal to both pottery aficionados and
those looking to expand their understand-
ing of Korean culture and society.
MILLER
Continued from page 1A
He said he chose the piece because he felt it reflected his
father's feelings about the role of theater and the artist in
American society. Arthur Miller, who was subpoenaed by the
House Committee to testify against suspected Communists
at a hearing and refused, described in the letter his belief that
democracy and art should be reflections of each other.
English and Theater Prof. Enoch Brater, a Miller scholar
and personal friend, read an original piece titled "A Memory
of Many Mondays." It described personal memories of the
playwright and experiences of his influence on American
theater. Afterward, a video of-Miller's life was presented. It
largely chronicled Miller's time at Michigan through photo-
graphs and clips of Miller and his friends and colleagues.
University Regent Andrea Fischer Newman called the
construction of the Arthur Miller Theater "a prominent
moment in University of Michigan's rich history." She went
on to describe the program's events as a "symbolic panora-
ma" of creativity and generosity. The tribute also served to
celebrate the fruition of several years of planning.
Creativity was brought to the events by a musical
performance featuring singer George Shirley who sand
an aria from the William Bolcom and lyricist Arnold
Weinstein's operatic adaptation of Miller's play "A View
from theBridge." The program also included readings
from Laurence Goldstein, editor of the "Michigan Quar-
terly Review," actress Joan Copeland, Miller's sister,
and remarks from several others, including Music Dean
Christopher Kendall and Charles R. Walgreen, the grand-
son of Charles R. Walgreen Jr.
University of Michigan Law School
2005 Dean's Special Lecture
Member of the WTO Appellate Body
LUIZ OLAVO BAPTISTAbt
Facts and Rules ks
in the WTO
October 20, 2005 n t 1s:0pm ,m- ~ O
4:00 pt~m.
Room 120 Hutchins Hall
University of Michigan Law School f
625 South State Streets a ,k
Freadopen to the pubic °n'k3'bhin aa" y aw 3 R' 3 '<
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