Page 8 Daily Nebraskan Friday, January 12,2001
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The following is a brief list of
events this weekend. For more
information, call the venue.
CONCERTS:
Duffy’s Tavern, 14120 St
474-3543
Saturday: Drive by Honky CD
release show, No cover
Duggan's Pub, 440S. 11th Sl
477-3513
Thursday: Kris Larger Band $3
Friday: FAC with C .A. Waller
$3
Friday & Saturday night: The
Rocking Fossils $4
Kimball Recital Hall, 12th and
R streets
472-3376
Friday: Peter Collins 7:30 p.m.
Knickerbockers Bar & Grill,
901 OSl
476- 6965
Friday: Westside Proletariat &
Settle for Less
Saturday: Early all ages show
Jank 1000 and 8* Wave
10 p.m.-La.m.: Lost Product
and Mac and Don’s Supper
Club
Pla Mor Ballroom, 6600 West
OSt
475-4030
Sunday: Southern Cross and
Sandy Creek 8-12 p.m.
Dance lessons 7-8 p.m.
$5 All ages show
Royal Grove Nite Club, 340
West Comhusker Highway
474- 2332
On the Fritz: Classic Rock
THEATER:
Mary Riepma Ross Film
Theater, 12™ and R streets
472-5353
Dancer in die Dark
Friday 6:30 /9 p.m.
Saturday 1/ 3:30/6:30/9p.m.
Sunday 4/6:30/9 p.m.
Star City Dinner Theatre &
Comedy Cabaret, 803 Q Street
477- 8277
Weekend of Cabaret
Friday: Brian Mathers
Saturday: Nancy Marshall
and Steve Hansen
Shows 7:30 p.m. dinner at 6:15
p.m.
Dinner tickets $25, Slow $15
GALLERIES:
Gallery 9 Professional Artist
Affiliation, Suite-4124 S. 9™
St
477-2822
Yvonne Meyer Transitions
Haydon Art Gallery, 335N. 8th
St.
475- 5421
All weekend: Price by Kate
Brook
Hours: 10-5 Tuesday
Saturday
Noyes Art Gallery, 119 S Ninth
475-1061
All month: Focus gallery;
Susan Palmer, Susan Barnes,
Julie Willcock and Kay Cooper
1. The Nation of Ulysses
Their final recordings, released 8
years after they broke up.
-Minin— m 9*
• CwlKHIuy yOIQIIhJ &
Space-age analog future pop is
all the rage.
S. Libreiiess“ Yesterday and
Former Polvo and Helium member
Ash Bowie’s new project.
rrtucn vucxs Toung uvyvf
Ultra-catchy indie rock.
8.0ns "One”
Math rock as math rock should
be done.
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0. vOfm nU«TM
NY pop group’s first release on
Merge Records.
7. DoNrae 3838 "Deltroa 3898"
Dan the Automator and Del and a
whole bunch of guest stars.
8. Q aei Net U
"He Kill No Beep Beep"
More DC post-punk on Dischord.
8. Mi N to (X)
•jyg (rmR ft injury”
The other space-age analog future
poppers on the countdown.
18. The Oeoti Life
"Neveaa ee a Nocturne"
Produced by Lincoln’s own Mogis
brothers.
Sheldon exhibit features 20-year archived collection
BY MAUREEN GALLAGHER
Collecting quilts may seem
an unusual habit to many, but
former University of Alabama
professor Robert Cargo certainly
thinks otherwise.
Cargo was drawn to the tech
niques of black quilters from his
home in the Deep South and
acquired an extensive collection
of those quilts over 20 years.
Starting today, 30 of those quilts
are now on display at the
Sheldon Memorial Art Gallery
through April 1.
Cargo initially began collect
ing quilts after inheriting several
from his grandmother, but even
tually shifted his focus to collect
ing quilts by black artists, prima
rily from west Alabama, that
tended to use brighter colors and
more variation than other quilts.
“It’s almost as if the makers of
those quilts set out to break the
rules,” said Cargo. “They show
obvious signs of improvisation,
Art Preview
—(Where:
African American1
Quilts
Sheldon Memorial
Art Gallery
12th &R
Jan. 12 - April 1
use unusual color combinations
and don’t follow a traditional pat
tern.”
A technique common to
black quilters, Cargo said, is to
use strips of material arranged
vertically, deviating from com
mon block-quilt styles. Often,
they’re asymmetrical and use
large, eye-catching elements
with many pattern variations.
“These quilts will often seem
bizarre,” he said.
In all the quilts, Cargo said,
the dominating characteristic is
their improvisation.
“In a word, improvisation
captures the essence of these
quilts,” he said. “In fact, I have
heard them compared to jazz.”
Over the course of 50 years,
Cargo amassed an extensive col
lection of quilts, numbering
nearly 300, and most were creat
ed by black quilters from
Alabama.
Robert Cargo and his wife,
Helen, donated 156 of their quilts
to the UNL International Quilt
Studies Center. Ultimately, 30
were selected for display, said
Sheldon Director Janice
Dreisbach.
“We had many difficult deci
sions, and we wanted to display
more, but unfortunately the
quilts’ size prevented it,”
Dreisbach said. "In the end we
tried to choose quilts that
showed a cross-section of the
NateWagner/DN
Ed Rumbaugh, Assistant Prepearator of the Sheldon Art Museum prepares one of
thirty quilts to be displayed in the Robert and Helen Cargo Collection Showcase at *
the Sheldon from January 12 to April 1.
whole collection.”
The quilts selected represent
piece-work, story and strip
quilts, and most date from the
1970s and ’80s, said Driesbach.
Driesbach went on to name
some of the quilters featured in
the exhibit, among them Yvonne
Wells, who will be giving a lecture
with Cargo at the Sheldon Feb.
23-24.
Wells and Cargo will lecture
at 3:30 p.m. on Feb. 23, and on
Feb. 24, Wells will conduct a
Family Story Hour and Family
QuiltWorkshop at 10:30 a.m.
70s colors girl displays
prints in new Doc's show
BY SCAN mccakthy
Though Aja Engel has not
graduated from UNL yet, her
artwork hangs in three coun
tries: Italy, Bangladesh and the
United States. In the U.S.,
Engel’s paintings are displayed
at Louisiana State University in
Baton Rouge. Her latest exhibit
is at Doc’s Place, HON. Eighth
St., until Ian. 31.
Engel, a senior art major
from South Sioux City, special
izes in printmaking media as
well as oil paintings. Most of the
paintings for her exhibit contain
abstract shapes and psychedelic
colors.
"I’m a weirdo 70s color girl,”
Engel said.
Engel has two intaglio works
featured in her exhibit. During
the process of intaglio, acids are
etched into two copper plates.
The crevasses of the plates are
filled with ink and then the plate
is run through a press.
Engel spent two years work
ing on the exhibit at Doc’s Place.
However, she only had two days
to get her exhibit ready.
“Right now, I have six empty
walls in my apartment that had
my paintings,” Engel laughed.
Some of the paintings were
completed in Florence, Italy,
where she studied in the sum
mer of 1999. When Engel gradu
Courtesy of Aja Engel
UNL senior Aja Engel's art has been
shown in three foreign countries and at
Lousiana State University. The Doc's
show runs through January.
ates in May, she hopes to go to
graduate school on the East
Coast.
She has already sold one
painting, but she expressed
reservations about selling her
favorite painting, “Substantial
Choices."
“It's a stupid attachment I
have,” Engel said.
This will be the second
exhibit in Lincoln featuring
Engel’s work in six months. Last
August, Club 1427 displayed
Engel’s work.
For inspiration, Engel lis
tened to hip-hop and electronic
music while she worked on her
latest exhibit. One of the paint
ings features headphones and
records connected together.
“My biggest challenge,” she
said, “was to create a body of
work that goes well together."
God needs to cut the crao
BY ANDREW SHAW
Dear God,
I’ve been watching TV a lot
lately. I know, it rots my brain, but I
try to steer clear of sitcoms.
My concern lies in the one
minute infomercials, the type that
advertise music CDs but not the
cheesy love song compilations or
even the greatest disco hits of June
1977.
I am concerned with the
Contemporary Christian commer
cials featuring thousands of mainly
white faces raising their hands in
the air in crowded stadiums, ready
to quake at any moment
These mindless masses are
singing along with lyrics either lift
ed out of context from the Bible or
containing such juvenile combi
nations of God-related words that
any third-grader paying attention
in Sunday school could jot down
as an “inspired" poem.
How have You become so one
dimensional in music? These Amy
Grant- and Michael W. Smith
wannabe bands repeat trite mus
ings like “God is so good” or “He’s an
awesome God,” while plucking the
most basic chord progressions
from an acoustic guitar accompa
nied by an orchestra of MIDI vio
lins. That’s not praise music, that’s
lazy and unimaginative. If you have
actually blessed these people with
musical talent, they are wasting
that skill, not expanding on it wisely.
God, I’ve listened to “WOW
2001: The Year’s 30 Top Christian
Artists and Hits,” and I’ve got to tell
Music Commentary
you that the inspiration is waning.
People are accepting good money
for writing bad songs. People are
paying good money for these
bands’ songs because they think
that it will speak something to
them, when it really just reiterates
the same ideas of “living water”
and the “leap of faith” in a smiling
ly complacent form.
Now don’t get me wrong, God,
these ideas are all fine and dandy,
but after thousands of years of
people exploring their relation
ship with You, I think they could
discover some sort of new
metaphor or way to describe You.
Here’s my leap offaith; one that
most likely has never been taken
by Steven Curtis Chapman or Cece
Winans. I’ve been looking for You
in unlikely places and have come
up with some mind-blowing con
clusions. Marilyn Manson’s 2000
release, “Holy Wood," is splattered
with graphic images, both in the
liner notes and the music, which
might shake the weak of mind. But
I stuck it out and discovered an
intelligent discussion of Your exis
tence. And Manson comes away
believing in You.
After exploring alchemy,
Kabbalah, violence, assassination
and Heaven, Manson exposes his
listeners to the diverse complexi
ties of spirituality without forcing
one religious agenda or perspec
tive. It’s not a political statement,
not Christians versus the world.
It’s an amazing and intelligent dis
covery ofYou, God.
“WOW 2001’s” diversity reach
ing out by two black faces and two
Hispanic ones on the first disc, and
two ofthe songs sung by these non
white artists were written by white
songwriters. That’s not a fair repre
sentation ofYour diverse world, yet
it is what is considered the most
spiritually-minded music offered.
Like on "Holy Wood,” a spiritu
al journey takes place on The
Smashing Pumpkins’ final album,
“Machina/The Machines of God.”
The concept album explores one
man’s conflict with the critical eyes
of the world and how he constant
ly looks toward two spiritual enti
ties: an amorphous being and You
in the form of woman. The extend
ed odyssey to find You spills over to
the album’s artwork, a second
album, and various writings from
Billy Corgan, the head Pumpkin.
This idea of listening to music
with a paradoxically open mind
and critical eye may seem like a lot
of work, but You never meant for
spirituality to be simple, did You?
It’s time to cut the crap, God,
and change the direction of stereo
typical “spiritual” music. It has
become laughable and banal, and
they are affixing Yodr name to it
Spiritual music isn’t meant to
be predictable; it’s meant to be
thought-provoking. Psalms 33:3
says, “Sing unto Him a new song;
play skillfiillyvnih a loud noise.”
Thanks for listening, God. Stay
groovy.
