Image provided by: University of Nebraska-Lincoln Libraries, Lincoln, NE
About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 2, 1989)
r — — — — — — — — — — i , COUPON I I I I I I I I I Good for One I 1/2 PRICE DRINK I Lincoln fs Finest Dancers I 1823 MCT Street ————■■—J DARK HORSE M.U^C.1/. 2 3 < < I &L UI u| 2 **1 r* |2»22 ftwaUHt TO . BOUUCT.OO BO*tt '»42--81fc2 PRINTS from Page 11 ranged into a square consisting of 80 pieces A description next to the piece says tne pieces can be arranged in any order. Eckert’s abstraction seems to convey that art can be seen differently by everyone and maybe the same by a few. The freedom of the Institute to hang it any way it wants presents an opportunity rarely Found in art. Along with Eckert’s work in the abstract gallery is “Federal Emergency Management Agency” by Robert Arneson. It’s a mixed-media piece incorporat ing collage, paint stick, acrylic charcoal, oil and pastel on pa per. The print is overtly colorful. The brilliant colors from the paint sticks spell out the title and the collage pictures are inter spersed and arranged in a cha otic manner - if chaos can be arranged. FEMA may be more recognizable now after Hurri cane Hugo and the San Fran cisco earthquake. Although the agency is in the public eye at times of chaos, it calms with its presence. Bryan Hunts Black rails XXXII” and “Black Falls Febru ary 29,1980” are good examples of minimalism. The space is used sparingly, detail is nil — but from a minimalist perspective the print is alive. Ilte medium of graphite and linseed oil brushed onto the paper in a very vertical formal conveys a violent move ment from top to bottom. The waterfall is black, the surround ings non-existent The only thing that matters is the waterfall and the movement felt by the rough edges the paintbrush left. The room opposite the Black Falls series is full of minimalist work. Most are in a series of two to Five prints. Some are lines running the horizontal or verti cal form of the paper, others are colors running together to create new ones, stiff others are blocks of paper connected to create form, movement and sound. Of the prims and drawings, Tedeschi said, it’s impossible to cite a single highlight from the show. She said works by Cy Twomblv and Jasper Johns are among tne most important, but added that all the works are important for different reasons. The prints and drawings now on display until Jan. 2 are a part of the permanent collection. Because they are on paper, Tedeschi said, they must be ro tated every five to six months because the paper is sensitive. Although they are stored in vault areas, tne public may view them at any time in the institute’s study room. The funding for the acquisi tions came from the Art Institute. The process of finding the prints and drawings is up to the cura tor. They’re usually discovered through dealers or galleries or given to the Institute in the form of a gift or bequeath. The curator then makes initial recommenda tions to the advisory commis sion, which votes on whether to purchase or not. The current show contains only recent acquisitions, Tedeschi said. The Institute is gaining a reputation for a well respected collection of Ameri can an, she said, and the recent acquisitions “represent consid erable advance in the past couple years.” PHOTOS from Page 11 labor). Images also show the growth of amateur camera use in middle America with the Kodak invention. The third section, “Ephemeral Truths” covers the years from 1919 to 1945. The time between the wars opened a period of creativity where photographers began to use their science as a form ot self-expression like art had done for so many cen turies before. Distortion, extreme camera angles, abstract pattern and form released such creative photogra phers as Man Ray from their previ ous constraints. An extended Henri Cartier-Bres son collection introduces the be ginning photographer to the inno vator of the “decisive moment” 35 millimeter type of photography which later developed into mod ern-day photojournalism. The last era, “Beyond the Photo graphic Frame,” continues through 1989. The color Wbrks are dis played in this section and include David Hockney’s “Pearblossom Hwy., 11-18 April 1986, #2.” Hock ney’s beautiful color photo-collage consists of hundreds of single prints creating a single desert im age. His style illustrates'nhe con tinuing growth of photo creativity. The Art Institute of Chicago has provided an unequaled opportu nity for students to join in the grow ing appreciation of photography across the United States. Students with I.D.’s need only pay $2.50 for entry into all the institute displays including this photo collection. Ironically, because this exhibit is not part of the permanent institute collection, photography of the exhibit is not permitted. Connie Sheehan/ Daily Nebraskan The Art Institute of Chicago’s most famous painting, “Sunday Afternoon on the Island of La Grande Jatte,” by George Seurat. The masterpiece is part of the Helen Birch Bartlett Memorial Collec tion, temporarily located in gallery 207. 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