Sculptor Richard Hunt presents a lecture at the Sheldon Memorial Art Gallery, Thurs
day. Hunt a presentation coincided with an exhibition off his work that concludes
Oct. IS.
I Sculptor creates from garbage
By Paula L«vlgn«
Senior Reporter
Bom in Chicago in 1935, sculp
tor Richard Hunt’s works are prod
ucts of his industrial environment.
Hunt gave a lecture and slide pre
sentation explaining his sculptures
and prints at the Sheldon Memorial
Art Gallery and Sculpture Garden
Thursday.
The presentation coincided with
the gallery’s exhibit, “Richard Hunt:
A Sculptor on Paper.”
Hunt presented works from the
late '50s through today. Although the
exhibit featured his drawings of
sculptures, the presentation focused
on his actual sculptures.
“I used two-dimensional drawings
for a variety of reasons from doodling
to a larger scale in expressing graphic
designer Hunt said. "It’s ah interest
ing way to break some of the long,
hard works with sculpture.
‘It s doing something more con
crete.”
Hunt said he progressed from
drawing with “crayons and pencils on
paper and any other surface in the
house” when he was a child to his
drawing and printing classes in high
school.
After a high school sculpture class,
Hunt said he found his following. A
sample of Hunt’s school drawings
and prints included a lithography
modeled after Milton’s “Paradise
Lost.” Hunt cited T.S. Elliot and
Franz Schubert as his influences.
Hunt said he went on to more ab
stract surrealist work in the late ’50s
and ’60s. In the mid-’50s, Hunt cre
ated “Arachny” — a large metal
sculpture of a human spider figure.
He said he was inspired by a
“Sculptures of the 20th Century” dis
play that featured work before and
after World War II by Pablo Picasso
and Julio Gonzalez.
The industrial nature of Hunt’s
work makes his sculptures and draw
ings resemble organic mechanisms
done in steel, bronze, chrome, cop
per and other elements.
Much of what he finds, he said,
comes from environmental leftovers
or garbage — discarded aluminum
pipes, chrome bumpers and stainless
steel scraps.
Hunt’s public sculptures are dis
played in parks, hospitals, lakefronts,
libraries, business complexes and
state buildings in Illinois, Washing
ton, New York and Tennessee.
One of his sculptures, “Icarus,” is
suspended over Lake Michigan.
Hunt concluded his presentation
with a “what I did this summer” story
as he displayed a variety of mainly
columnar sculptures that are also on
display over Lake Michigan.
Hunt’s exhibit will be on display
until Oct. 16.
Joffrey
Continued from Page 12
Versatility lent a hand when the
Joffrey encountered American rock
concept — “Billboards.”
“It’s a combination of ballet and
America. It does really excite the au
dience,” Sandler said. “The lighting
is spectacular, the energy, the cos
tumes, everything about it. You get
your money’s worth.”
The style of “Billboards” owes
much to the creations of musician
Prince Rogers Nelson, once known
as Prince and now known by a sym
bol.
Sklute said “Billboards” was the
continual expression of Prince’s mu
sic in different venues.
“It’s making fun of it. It’s finding
it in its purest work with sexy bump
and-grind. It’s the expression of
dance today,” Sklute said.
Although Prince never worked
one-on-one with the dancers, he
threw a party for the company at his
studio in Minneapolis.
“He was very shy, very quiet,”
Sklute said. “He had an incredibly
deep voice for such a little man. He’s
a very tiny guy, but he has very big
hair.
Sklute said he knew little about
Prince’s music before “Billboards.”
“Now, I have this incredible re
spect for his versatility,” he said. “His
repertoire is so expansive, it changes
his music.”
The world premier of “Billboards”
wasn’t in New York or Los Angeles.
It was at Hancher Auditorium in Iowa
City, Iowa, on Jan. 27, 1993. Since
then, Iowa City has been a focal point
for The Joffrey Ballet.
When the ballet was in its early
stages, Iowa City lent its financial and
emotional support, Sklute said.
“Iowa City is an important place
for us,” he said. “They don’t have
major ballet companies come through
all the time, and they have a lot to
offer us.”
The Joffrey Ballet will perform
three shows in Lincoln, beginning
Friday at 8 p.m. Additional perfor
mances are Saturday at 8 p.m. and
Sunday at 2 p.m. Regular tickets are
$36, $32 and $28, and student tick
ets are half price.
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Arpino
Continued from Page 12
generous, philanthropic person.
He’s helped The Joffrey Ballet sur
vive.”
If the Joffrey survives, art
thrives.
“What’s interesting is that ‘Bill
boards’ is pulling in audiences that
would not go to dance or the opera
or theater,” Arpino said. “In many
levels, that’s the phenomenon.
We’re bringing in all ages.”
Arpino said “Billboards” was a
“milestone in dance history.”
“It reflects the now. Our time.
Our rhythms. Our styles and sense
of movement,” he said. “‘Bill
boards’ captures voguing, rhythms
and music that’s inundating our
homes and streets.
“It’s now. It’s not the ’60s, ’70s
or ’80s. It’s absolutely the way it
is now reflected on the tubes, dis
cos,” he said.
Arpino said his goal was to
bring in the audiences from the
“baseball, football and basketball
families” and show them how in
tense classical ballet could be.
Arpino, who grew up in a
Catholic Italian family and gradu
ated as valedictorian of his class,
said he had to overcome the lack
of understanding and acceptance
from his family and peers.
“Ballet was a foreign term. My
personal mission always has been
get rid of the elitist circle people
draw around the arts — especially
ballet,” he said. “I want to draw
everyone in.”
“Macho males” were to blame
for drawing this circle, he said.
“The locker-room attitude con
siders it effeminate to be artistic
and sensitive,” he said.
Arpino said he wanted to start
introducing the arts to the young
children.
“I want to say to the boys, ‘Go
out and play baseball, but we’re
having class in ballet and in mu
sic appreciation,”’ he said. “I want
to make arts as much as part of our
“What’s interesting is
that ‘Billboards’is
pulling in audiences
that would not go to
dance or the opera or
theater ”
■
GERALD ARPINO
Joffrey Ballet’s
artistic director
life as basketball and football are.”
Arpino said he’d already seen
a change. He lives in Greenwich
Village in New York. He went to
an eatery one day and met Steve, a
football player whose girlfriend
was crazy about dance.
“He said ‘You know, Mr. A.,
Daphne is crazy about your work.
She told me you were doing a
whole rock evening to Prince,”’
Arpino said. “Steve told me he’d
never been to a ballet because he
thought it wasn’t anything he
wanted to see.”
Arpino said Steve proved the
ballet was a great “make-out
place.”
“Then Steve said Daphne was
crazy about the Joffrey and that if
he could take her to a performance
he could make great inroads with
her,” Arpino said, laughing.
He said “Billboards” had taken
people like Steve into a whole new
dimension in their lives. The bal
let took Arpino’s vision of Ameri
can dance and brought it to fami
lies everywhere.
“That’s how it’s going to grow,”
he said. “We have to make converts
out of those macho males. It’s my
vision and I’m doing it.”
Prong smashes, thrashes
way into The Hurricane
From Staff Wnorto_
Prong, the renowned metal band,
will be jabbing into Lincoln this
weekend with a thrashin’ concert at
The Hurricane on Sunday.
Riding the wake of its newest al
bum, “Cleansing,” Prong will be
joined on its tour by two other na
tional bands. Clutch and Drown.
Troy “Bubba” Way, the manager
of The Hurricane, said, “It’s gonna
be a four-hour, moshing hellfest.”
Tickets for the 19-and-over show
will be $10 in advance and $12 at the
door. The doors open at 7:00 p.m. and
the opening bands will start around
9:00.
Smitty from the office of Epic
Metal Marketing Productions said
that Prong was in the second week of
a 40- to 45-city tour.
“They’ve been to Lincoln before,”
Smitty said. “They’ve been across and
up and down a few times.”
He said that the tour had been go
ing really fantastic so far.
“They’ve got enough exposure
from touring with other artists and
can bring in the bigger numbers
now,” he said.
Zwarte'
In concert
Monday October 3 at
The Royal Grove
340 W. Comhusker 474-2332
$5 Cover + 1 Drink Minimum
Doors Open at 8pm I
18 + Older Admitted With I.D.