6
Friday, December 2, 1977
University Daily Kansan
UNIVERSITY DAILY KANSAN-
Arts & Leisure Union shows faculty art
Reviewer
The enthusiastic attendance was merited by the quality of the work on display, which included a large number of well-chosen items.
Although few of the 19 art teachers represented in the exhibit showed major improvement in their faculty's show, many improvements in technique were apparent. The statements made by the pieces on display were generally strong, revealing the artists' confidence with their work.
"Painting," an acrylic on canvas piece by Jerry LubenSKY, assistant professor of art, is an organized yet chaotic composition. LubenSKY carefully destroys the squares and rectangles he uses as his basic shapes, but by skillful arrangement of the vague geometric pieces he views the viewer's eye center of the painting and back out again.
Color is also used to create illusions by Jane Asbury, assistant professor of art. By placing thin washes of pure color on top of one another, Asbury builds glowing, illuminated shades that recall stained glass windows. She uses these colors to enliven
In "Portrait," these alien forms are juxtaposed against a painstakingly painted matrix of geometric pattern. This contrast intensifies the smooth, round, biomorphic composition of the skin; the composition is surrounded by a thin border reminiscent of Indian beadwork.
the amoebic shapes that crawl, ooze and snort across her canvases.
ROGER $HIMOMURA, associate professor of art, is exhibiting two acrylic paintings entitled "Bijin #6" and "Bijin #7". In these works he continues his tradition of using the qualities of old Oriental masterprints in a new way.
Because of this flat treatment of color, there is a lack of space within the composition which turns the serpentine lines into decorative patterns; the women's hair, for example, becomes an undulating series of waves.
Sensually twisting bodies of Japanese women are defined by thin, descriptive lines. Within the contours are broad areas of color, untouched by any shading or blend.
The subtle, tooned-down quality of Shimomura's colors enable him to set off certain choice details. in "BjnJ #6", the bright red lips of a woman glamour with their soft sun-
Line and contour are also important in the watercolor "Nude on White" by Robert
Green, professor of art. Green's color is very personal. He uses it selectively to create a warm, individualistic atmosphere that serves as a backdrop for his forms.
THE SHAPE of the figure and the folds of the drapery she lies on are carefully outlined to create a flowing sensation. Each line of the composition is placed to complement the theme, and the result is a strong, structured structure with living, believable shapes.
A commanding presence in the gallery is the untitled oil figure painting by Thomas Kunz. The faces and flesh tones of the nude girl are painted by a strange, artificial light. The sheen on her face and the drooping lids of her eyes convey a laethic, human feeling to the viewer.
Any problems the faculty show has are inherent in the gallery. Many of the spotlights are poorly placed, illuminating the pieces unevenly. Because of the large number of pieces exhibited, it is difficult to view some examples being distracted by neighbor exhibiting.
Many of the paintings and prints which are most effective when viewed from a distance are obstructed by the large pieces of sculpture on display. If these problems, and the gallery gallery, can be overlooked, the faculty show is a worthwhile expense of time.
Philharmonic joins 'major league'
By REBECCA YERADI
Reviewer
The Kansas City Philharmonic presented the season last night in the Music Hall.
The program opened with Benjamin Lees' "Passacaglia," commissioned and first performed by the National Symphony Orchestra in 1976. The Philharmonic played with a confidence which seems to support its claim of being a "major league symphony."
This performance of the "Passacaglia" was the Kansas City premier, and Mr. Lees, who was present, stood to acknowledge his share of the anapause.
Bolivian violinist Javier Laredo was the solist for Samuel Barber's "Concerto for
Piano."
The concerto, composed in 1939, is lyrical and romantic, and Laredo was entitled to perform it with the violinist. However, Maurice Peres, the conductor, seemed unwilling to let him have it, directing the orchestra right through several instruments, the violinist wanted to stretch out a phrase.
LAREDO'S PLAYING was enjoyable throughout the evening. Although his middle
register kicked warmth, his high notes had a lovely singing quality and his intonation was smooth.
The second movement proceeded nicely, but the third, a presto in perpetual motion, was a perpetual tug-of-war between the solist and conductor. Barber intended the movement to show the virtuosity of the violinist's continual series of complicated arpeggios.
Laredo and Peress were at odds from the very beginning. The orchestra, which punctuates the rapid progression of notes, fell noticeably behind the violin several times.
The performance lacked drive and was unconvincing.
After the intermission, Laredo took up the viola and Marc Gottlieb, concertmaster of the Philharmonic, joined him as the violinist for Mozart's "Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major."
ALTHOUGH GOTTLIEB constantly pushed the tempo in the first movement, the two solos displayed the precision of Mozart's work as an important for the performance of Mozart.
Laredo and Gottlieb passed the solo sessions smoothly back and forth, their inventions a celebration of art.
The double cadenzas for the solists contained some of the loveliest musical traditions.
The string members of the orchestra could learn a lesson from Laredo's and Guttieh's uniform bowing. Different styles are often used, but very often obvious in the string sections. One musician would draw his bow out farcerely, while another would timidly poke at the strings.
Laredo and Gottlieb convinced the crowd
the Music Hall that they can play
beautifully.
Staff Photo by PAUL ROSE
The phosphorous dot
KU's combined choirs and choruses and the University Symphony Orchestra, under the direction of James Ralston, associate professor of ensembles. The "Requiem," a memorial to Verdí's idol, the Italian writer alexandro Manzoni, shows a drantic unity and music maturity that parallel Verdí's late operas. In fact, some like to term this work an opera because it is so dramatic, particularly in the Dies Irae, which has tremendous brass effects. Admission is free.
-by Dale Gadd.
In brief, the industry as a whole is not faring well, and NBC and CBS in particular seem to have trouble reading the pulse of the public.
This is the last installment of the Phosphorous Dot for the semester. So, it seems proper to finish with an examination of how the networks are doing in this chapter.
Tonight
The weekend is filled with song
ROSY'S BAR AND GRILL will give a concert at 2 p.m. at Off-the-Wall Hall. The group will sing traditional and contem-
nial women's folk music. Admission is $1.50.
Left to right: William Anderson, Bass; Sara Johansen, alto; Charlene Ayes, soprano; Thomas Harper, tenor.
“THE CREATION,” an oratorio by Franz Josef Haydn will be performed at 8 at the First United Methodist Church, in Philadelphia. It is one of the greatest works of the 18th century, is based on the Genesis account of creation and on Milton’s “Paradise Lost.” The prelude, Haydn's famous “Representations,” sets forth the harmonies that forehead romantica music.
If the television industry were a TV movie, it would be entitled "The Case of the Missing Viewers." The statistics reported by audience research companies might lead some industry people to believe that some sinister force is going to use malfunctioning in viewers' sets, preventing them from watching television.
However, if one takes a look at the successes and failures of the evening net-work offerings, it becomes evident that it isn't a sinister force that is responsible for this.
Surveys show an average decline of 3 per cent in the number of homes used by television. Conclusion? Fewer people are watching television this season. And fewer families own a television.
The death rate of the new series cannot be blamed only on the quality of the production, writing, and acting. Because with all of the stunting in the schedules this fall, the audience has had trouble knowing if and when a regular series would be on the air. An example "Mulligan's Stew" has only been on the air two, maybe three times, and the show has just been cancelled because of low viewership.
It seems that every evening there is an announcement like "The programs normally seen at this time will not be shown so that we can air the following special presentation of 'The Godfather.'" (Now that's an offer you can't refuse!)
AS OF THIS DATE, only two of this fall's new shows rank in the top thirty "Soap" and "Love Boat." Almost all the rest of the new entries have to be labelled failures to date. There have already been major schedule overhauls by CBS and NBC. Between the two networks, eight shows have been axed in the past two weeks alone. That doesn't count the early pink slip received by Richard Pfrvor.
ALL OF THIS last minute changing of the schedules leaves the audience confused, checking their clockes to see if it is the right time or their calendars to see if it is even the right day. Consequently, a series does not have a chance to build up enough user experience for network work at the low audience levels and gives the screens the pink slim
It is my personal opinion that at least one of the series sent to the graveyard could have been saved. "Rafferty" was really a pretty decent show. It had good acting and, for the most part, good scripts. But, the show was not given time to develop an audience. It should have been given at least a few more weeks.
THE RUSSIAN ART SONG is the theme of an 8 p.m. recital in Swartwout Recital Hall. The program has been organized by Mr. Levine and has a dedicated, and features KU vocal students with accompanist Art Stewart. Songs of the Russian composers Glinda, Rachmannoff, Tochakovsky, Musorgskiy and Rimskinoff, have been placed on the program. Admission is free.
Tuning up
"Young Daniel Boone"
Well, for whatever reason they were cancelled, here is a list of the latest casualties:
The soloist quartet joined with the Combined Chors and Choruses in practicing for Sundays performance of Verdi's "Requiem."
"Busting Loose"
"Rossetti and Rye"
Sundav
Marieth Kirchhoff, assistant professor of music performance, will direct the 55-member Lawrence Civic Chorus and the 30-piece orchestra. Solists for the oratorio are Phyllis Brill, prasrano, Richard Stitt, tenor, and Augustus Pearson, bass. Ticke
Oregon Trail "Die Heute!"
Tomorrow
NOTICE THAT ALL but two of the series are an hour in length. It is possible that the hour long dramas are losing favor and the audience is turning to the half-hour situation comedies. The networks are not sure what it means yet and are not going to replace all of the series with similar formats. NBC and CBS both will try to get through the season with more movies and the short run "miniseries."
VERDIS 'REQUIEM' will be performed at 3:30 p.m. in Hoch Auditorium by
"Mulligan's Stew"
"The Betty White Show"
ets for "The Creation" are $1 and are available at the door.
"Rossetti and Ryan"
(Rofferty!)
"Busting Loose"
At least we still have the old standards to entertain us—"M*A*S+H." "Bob Newhart," and the like. Oh, maybe next season.
Dale Gadd is an associate professor of radio, television and film.
Staff Photo by PAUL ROSE
are Shirley Jenkins, Gregg Lizenberry, Peggy Hackney and Regina DeCosse.
UNIVERSITY DAILY KANSAN
Members of the Bill Evans Dance Company put some of their frustrations into a dance called the "Asthabita Rag." Pictured
Frustrations
Highlights
This Week's
Theater
"FREIGHT," a solo theatre piece created and performed by Kevin Kuhike, will be performed at 8:30 p.m. today, tomorrow and July 14 in Frontenac Art Center, Ninth and Vernet streets.
"THE RIVALS" by Richard Brinsley Sheridan will be performed Dec. 5. through 10 at 8 p.m. at the Williamage Inge Theatre in Murphy Hall.
The SEEM-TO-BE PLAYERS will present "A Christmas Pantomime" and "The Adventures of Nymr the Sprite, Part 43" at 1:30 p.m. tomorrow at the Lawnace Arts Center.
Wednesday and Thursday at the Lawrence Arts Center.
"CHRISTMAS PANTOMIME," a program by Gift Booth, based on medieval illumination, frizes and dances. (C) 2013 Wendy M. Burris.
Exhibits
At the KANSAS UNION GALLERY: The Annual Faculty Exhibit of the department of art and design.
At the 76E GALLERY, J. Seventh St. The sixth annual Printmaker Shows, featuring the works of Evone English, Jamie Jones, Karen Schory, John Tailleur and John Wilson, will start tomorrow. A reception will be held from 7 to 8:30 tomorrow evening.
HOLIDAY ART FAIR '77, sponsored by the Lawrence Art Guard. will be held from 10 a.m. to 4 p.m. on Wednesday, April 29.
ing. Works by more than 50 local artists and craftsmans will be shown and sold.
At the LAWRENCE ART CENTER, Ninth and Vermont streets. The third annual Lawrence High School Art Show will start the day before Sunday. The show will remain through Dec. 16.
AT the LAWRENCE PUBLIC LIBRARY,
Seventh and Vermont streets; Olsby by Paul
Penny in the lobby; wreaths and dried
arrangements by Pam Carvalho in the gallery;
pottery by Lennie Selikin in the cases,
and paintings by John Webb in the auditorium.
At the SPENCER RESEARCH LIBRARY:
"Kansas Portraits" in the Kansas Collection;
"The King's Cabinet: Art Collections of Louis XIV" in the Main Gallery; "Other Curious Cabinets" in the North Gallery, and "Student Organizations and Activities" in the Archives.
Dance man on campus
Dance is becoming a part of the fabric of America, says Bill Evans, and he's doing all he can to introduce Americans to dance as a part of their lives.
Evans, leader and founder of the Bill Evans Dance Company, is on the University of Kansas campus this week to present content for an upcoming festival of students and members of the community. The company's visit is sponsored by the National Endowment for the Arts and the Kan-
Evans grew up in Lehi, Utah, and began dancing to the radio when he was three years old. He began to study dance at age eight and continued his studies at the University in Salt Lake City. He spent two years in the Army as an officer in an armored division.
"I was an officer," he said, "and they don't put officers in Special Services."
After leaving the Army, Evans resumed his dance career in New York, Chicago and various other cities. He then conduct dance classes at Dance Theatre Seattle. Only part of the company is with Evans on the 26-week tour; the rest are in Seattle maintaining the company.
ALTHOUGH HE spent some time in New York, Evans said that he decided to set up his company in Seattle because he believes that dance should be spread across the country. Too much centralization, he says, is bad for the arts.
Evans and the other members of the touring company have been working with KU students and, in addition, have been visiting Lawrence elementary schools to conduct creative movement classes for the children. The classes attempt to give children an awareness of how their body work, Evans said, only a bare introduction to the art of dance.
The Evans Company has a repertoire of about 20 works which they are performing on this tour. Evans said he had choreographed 35 different works but the group couldn't keep all the numbers ready for performance at all times.
"We juggle them around so they don't get stale," he says. "I danced 60 performances in a row of the same piece when I began dancing—and it was hard to keep any spontaneity. So we alternate numbers and mix them up."
The Evans Company will perform at 8 p.m. tomorrow in the University Theatre in Murphy Hall. Reserved seats are $4 and are available at the SUA box seat. A children's concert, co-sponsored by SUA and Concerts for Young People, will begin at 2 p.m. Sunday in the University Theatre. General admission seats are $1 for children and $1.50 for adults.
Evans said that the company would be performing five numbers in tomorrow's concert, attempting to present a variety of styles and ideas.
"I Lawrence doesn't see a great deal of dance," he said, "and we try to take the audition."