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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Sept. 30, 1999)
Giuliani cuts city funding NEW YORK (AP)- Mayor Rudolph Giuliani has cut all city funding to the Brooklyn Museum of Art over a black Madonna deco rated with elephant dung and pornographic cutouts. The Catholic Church is on his side, but the arts community and prominent individuals such as first lady Hillary Rodham Clinton and First Amendment lawyer Floyd Abrams - who is representing the Brooklyn institution - think the mayor should keep his hands off the city’s museums. The leaders of two dozen city museums and cultural institutions - including the Metropolitan Museum, the Museum of Modern Art, the Whitney Museum and the Guggenheim - have signed a letter protesting the mayor’s funding cut. Whether the museum gets the money - $7 million, or about one third of the museum’s budget - restored is now up to a federal judge. On Tuesday, the museum sued, saying Giuliani’s act violates the First Amendment. Last year, the U.S. Supreme Court ruled that government may exercise a “decency standard” for funding the arts. But Abrams said the decision also “made quite clear that a city cannot manipulate the funding process in an effort to coerce people into shutting up.” In his Sunday sermon, Cardinal John O’Connor, who heads the New York Catholic Archdiocese, deemed the work an “attack on reli gion.” The next day, Hillary Rodham Clinton - who is likely to face Giuliani in a race for the U.S. Senate next year - said it was wrong to “penalize and punish an institu tion such as the Brooklyn Museum.” The show featuring “The Holy Virgin Mary” - called “Sensation” -opens Saturday. The ticket agent for the show would not comment on sales and the museum did not return calls Wednesday. Columbia University art history professor James Beck said the con troversy over the elephant dung painting “could be the beginning of a public debate about the role of government in art.” In the early 1990s, the National Endowment for the Arts was nearly shut down by conservatives in Congress who were outraged that it had given grants for works such as Robert Mapplethorpe’s homoerotic art and Andres Serrano’s photo graph of a crucifix immersed in urine. The stir over the NEA led to the Supreme Court ruling on decen cy. Average New Yorkers are divid ed, and some out-of-towners are intrigued. “I’ve had a lot of people say, ‘Why aren’t we going to Brooklyn?”’ said Lisa Hahn, presi dent of Art Horizons, which plans cultural tours of New York City for museum staffs from all over the world. “I hadn’t put it on every body’s schedule. But I’ve had peo ple call me and say, ‘Do we have enough free time to get out there?”’ Damien Hirst, whose display of bisected animals pickled in formaldehyde is also part of the show, said Wednesday that the mayor “may as well say ‘I only like Picasso, and if you don’t show it, then I’m going to cut your funding.’ It’s just pure censorship.” Chris Ofili, who created the Virgin Mary painting, was more oblique, telling The New York Times: “The people who are attack ing this painting are attacking their own interpretation, not mine.” Photography meets painting CHERRY from page 12 ings to capture each item in its posi tion. “Sometimes I use perishable items, so I lay them out and immedi ately draw it or take a photograph,” Cherry said. After the sketches are complete, Cherry finally begins to paint. It is Cherry’s selection of items that makes her style unique. “I don’t always know why I choose certain items, but they come together compositionally,” she said. “The items in each painting also tell small private and personal jokes. People may not understand the items completely, but they can then form their own stories. Art is taken so terri bly seriously, I feel that I have to put in my own jokes just for me.” Cherry’s paintings can also be very personal and sentimental. In “Unswept Floor: Music and Melville,” Cherry used notes taken in a class where she studied Herman Melville and memorabilia from Pavarotti concerts she attended with her mother and daughter. Particularly common in her paint ings are feathers. “I don’t know why I use the feath ers so often. They are not a trade mark, and there is no real rational rea son, but (the feathers) symbolize freedom and flight of the mind, and they are just needing to be there,” Cherry explains. Other paintings demonstrate Cherry’s fascination with palm read ing. The details of the lines of the palm along with tea leaves scattered in a cup suggest the superstition and intrigue found within Cherry’s own life. Cherry spends a great deal of time creating her works. The painting “Unswept Floor: Oldest Baby in the World” took nine months to com plete. This effort to achieve a sense of realism characterizes Cherry’s style. Realism and the trompe l’oeil style have fascinated Cherry since her days as an undergraduate. “My teachers in undergraduate school were all advocates of the abstract. I have always been attracted to the real world, so as an undergrad uate I thought ‘I must not be a real artist,”’ Cherry said. “But I’ve always looked out at the world instead of inside.” This realistic view of art led Cherry to explore photography. Photography provided a contrast to the processes of painting. Cherry utilizes a mixture of both photography and painting in her smaller collages. These collages pro vide a nice contrast to the seven larg er trompe l’oeil images completing “Unswept Floors and Other Facts.” Cherry currently teaches at Metro Community College in Omaha and at the University of Nebraska-Lincoln. Her previous exhibitions have been shown nationwide. The interest to present Cherry’s work in Lincoln comes from her ongoing relationship with the Haydon. “We represent Cherry on an ongoing basis,” Pagel said. “This will be her second solo exhibition at the Haydon.” Concert covers entire range of singer's music RENO, Nev. (AP) - Midway through a concert here, as Olivia Newton-John is chatting with the crowd between songs, a male fan shouts, “You’re my childhood idol!” Without missing a beat, Newton-John giggles and replies, “You must be very old.” Consider it more a tribute to her enduring popularity than a com ment on her age. Newton-John just celebrated her 51st birthday. She is well along in her first tour of the United States since 1983 and is headed toward a new movie role as well. “I think what’s kind of interest ing about this business is that things keep opening up. I really had no intention of returning, but mentally and emotionally, I’m more ready than ever,” she said. She sips tea, chatting softly against the background hum of a vaporizer that she uses to counteract the Nevada desert dryness. She puts down her cup when her breast can cer is mentioned. “I draw attention to it. I talk about it even on stage, because the feedback I get is that by talking about it, by having survived it, I help other women who are going through that,” she said. Newton-John recalled a chance meeting as she was recovering in 1992. “It was Australia. Everybody knows what I do. So this lady comes up to me in the bathroom telling me not to worry, because she had cancer 20 years ago, and she’s fine. It was, like, WOW! It was such a great feel ing to have somebody say that to me. I’ll always remember those few words.” Except for one brief costume change, Newton-John sang nearly two hours to a capacity audience without a break. “It sounded really daunting when we started, but now it flies by. You’re getting audience feedback. It’s not like you’re singing to a void,” she said. The three-song set from “Grease,” her 1978 film, was as much a sing-along as a perfor mance. “The people come to hear your songs. And they don’t want to hear them different,” she said. “I remem ber when I was really young, I went to see an entertainer that I loved, and u I draw attention to it. I talk about it even on stage, because the feedback I get is that by talking about it, by having survived it, I help other women who are going through that” Olivia Newton-John singer she didn’t do her hits, and I was real ly disappointed, so I’ve always remembered that.” Along with the medley from “Grease” and the title song from the 1980 film “Xanadu,” she mixed the twangy “If You Love Me, Let Me Know,” “Let Me Be There” and “If Not for You” with the soft “Have You Never Been Mellow” and “I Honestly Love You.” “It’s a journey through all of my music. I haven't done everything, because I couldn’t fit it all in,” she said. The crowd - whose average age fell somewhere between Gen-X and baby boomers - wore “Grease” and “Xanadu” T-shirts. Some carried record albums, compact discs and scrapbooks for her to autograph. She hopes to do a new album and concert tape from the tour. Her next project is independent film “Sordid Lives.” “It’s a quirky kind of movie, a funny movie,” she said. “I’m going to play a singer in it. I play kind of a toughie. It’ll be very different for _ 99 me. Didn’t Sandy get a little gritty in “Grease” when she got her perm, put on her leather jacket and sneaked that drag off a cigarette? “This is taking it a bit further. This is like an ex-con this time,” she said. 402-472-1761 (FAX) ^ ^ _ _ $5.25/15 words dn@unl.edu # T A P P TTni'P T~^V P $3.50/15 words (students) ■ I /\ I | j I | j I % L. $0.15 each additional word 20 Nebraska Union % _ I L\ I r"l I rH I I $0.75 billing charge P.O. Box 880448 I j/ % L J L J I 1 I I j I J i J $0.75/line headline Lincoln, NE 68588-0448 11 Deadline: 3 p.m. weekday prior 200$ farsalt Full and Queen size mattress sets. New and in plastic. Never used. 10 years warranty. Retail for $439 and $639. Sell for $165 for the Full, Queen $195. 477-1225. Need 2 tickets for October 2. 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