ThB
Nwa Trail
Project
1999/2IN
Who: Ann Carlson ,
“Grass/Bird/Rodeo"
featuring live chamber music
b^Uncoin’s Summit String
Where: The 7th Street Loft. 504
South Seventh St
Who: Sean Curran Company
Irish Dances/Local Flavor
the Linco^lrish Dancers^
and Chris Sayre
Where: The 7th Street Loft, 504
South Seventh St.
Who: Liz Lermap Dance
Exchange
“In Praise of Home"
Where: McDonald Theater,
Nebraska Wesleyan
University Dept, of Theater
and Comm.
Who: The Exchange Project
Junebug Productions
Teatro Pregones
Roadside Theater
Where: Johnny Carson Theater/Lied
Center for Performing Arts,
UNL
— mmm
Who: Ruby Nelda Perez
“Dona Rosita’s Jalepeno
Kitchen"
Where: McDonald Theater,
Nebraska Wesleyan
University Dept, of Theater
and Comm.
Who: A Local Exchange
An original evening of
stories and songs with
Martha Ellen Florence, Rhea
Gill, Matt “Sitting Bear”
Jones, Nancy Marshall,
Annette Murrel and Chris
Sayre, in partnership with
visiting artists from Junebug
Productions, Teatro
. Pregones and Roadside
Theater
Where: The 7th Street Loft, 504 South
Seventh St.
' May1* Spm
Who: Victoria Marks
“HOME/Land”
Where: Seacrest Field
Matt Haney/DN
Surrealism, social
critique at Sheldon
By Josh Krauter
Senior staff writer
The Sheldon Memorial Art
Gallery’s fall season is dominated by
influential personalities affecting art in
the 20* century.
Featured exhibits include Charles
Rain’s “Magic Realism,” Robert
Colescott’s interpretations of racial
relations in the modem world and a
varied look at both African-American
and European art in this century.
“Black Image and Identity: African
American Art from the Permanent
Collection,” one of two exhibits not
spotlighting a single artist, collects
several generations of African
American artists to show how they
influenced each other. One of these
artists, Colescott, gets his own exhibi
tion in late September.
“Robert Colescott: Recent
Paintings” collects his work from the
recent 47th Venice Biennial. The
Biennial is the most famous interna
tional art exhibition in the world, said
Dan Siedell, curator of the Sheldon.
Colescott uses stereotypes in his
art to try to break down social barriers
between races. Sometimes, this has
caused controversy, Siedell said.
“He wants to open all societies up
to social critique.”
Siedell said Colescott tailors cer
tain pieces of art to specific audiences,
some white, some black, to get his
message across.
“He raises the question of how we
appropriate racial stereotypes. Does it
critique the culture that uses it?”
“Black Image and Identity” runs
from Sept. 1 to Jan. 2 of 2000. A tem
porary expanded version of the exhibit
runs from Sept. 2 to Sept. 19. The
Colescott exhibit runs from Sept. 24 to
Jan. 2 of2000.
The other multi-artist collection,
“Modem Masters: European Prints &
Sculptures from the Permanent
Collection,” features Edouard Manet,
Pablo Picasso and Marcel Duchamp.
The remaining exhibits collect
two Lincolnites and a long-dead
French photographer who was res
cued from obscurity by Berenice
Abbott, an American photographer.
“Eugene Atget: Views of Paris”
collects the once-unknown photogra
pher’s influential work. Atget planned
to make a photographic inventory of
Paris for artists to paint, but the docu
mentary feel of his photographs were
art in their own right, Siedell said.
“He had a remarkable aesthetic.”
When New York photographer
Abbott was in Paris, she was able to
salvage Atget’s studio following his
death in 1927. The collection is drawn
from a folio she published in 1956 and
runs from Nov. 25 until Jan. 23 of next
year.
“Judy Burton: Visual Nuances,” #
which begins Nov. 23, collects objects ‘
painted by the Lincoln native. Burton
paints ordinary objects such as fruits
and vegetables and cigars, and in doing
so, turns them into something new.
“The objects don’t have symbolic
importance, but after she treats them,
they become very monumental,”
Siedell said.
Another local talent, Charles Rain,
is featured in the exhibit “Charles
Rain: Magic Realism,” running from
Aug. 24 to Nov. 21.
“Magic realism is an indigenous
American response to European surre
alism in the early 20th century,” Siedell
said.
Rain’s paintings represent dream
like fantasies and are part of a scene in
which Americans attempted to develop
their own brand of surrealism, Siedell
said.
Siedell said he is pleased with the
span of exhibitions this season. While
the exhibits traverse through surreal
ism, photographic documentary and
social critique, they also spotlight a
number of individual artists who
changed the way art looked in the 20th
century.
m~
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