Section B • Page 8
The University Daily Kansan
Thursday, April 20, 2000
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fine arts
Tonight:
Spring Reception: KU Tuba-
Euphonium Consort, 7:30
p.m. in the Swarthout
Renaissance Hall,庆
Exhibit captures Mexican street art
Henry IV, Part 1, B p.m. at the Craftsman Theatre. $6. students, $11. senior alums, $13. scholar
Raisin in the sun, r. p.m. at the Lawrence Community Theatre 501 New York Ave. $11.70, students. $11.70, public.
Tomorrow:
Henry I, Part 1, 8 p.m. at the Crafton Frozen Theatre, $6, students, $11, senior elitra, $12, public.
**Raisin in the Sun, B p.m.**
at the Lawrence
Community Theatre, 1501
New Hampshire St.
$13.50, students.
$14.50, public.
Fred Ho: composer and saxophonist. 8 p.m. at the Lawrence Arts Center, 200 W. 9th St. $12.
Saturday:
*Henry IV, Part 1, 8 p.m. at the CrownFragrant Theatre.* $6, students.$11, senior citizens. $12, public.
**Raisin in the Sun, 8 p.m. at**
the Lawrence Community
Theatre, 1501 New
Lawrence Street, 9:30, 10:30,
11:30, $14.90, students.
$14.90.**
Sunday:
**atisin in the Sun, 2:30**
p.m. at the Lawrence
Community Theatre 501
New York, $7,
students, $11.50, public.
Earth Day Open House,
10 a.m. to 2 p.m. in the
Kansas Union lobby, Free
Annie, 8 p.m. at the Lied
Center, Sold out, Tickets
available via waiting list.
Monday:
Paula Spreitzer
Tuesday:
robert F. Kennedy, Jr., 7.
p.m. at the Lied Center.
Vouchers at SUA box
office, Free.
Paula Spreitzer Special to the Kansan
Modernization tensions that Mexico faced at the turn of the century are reflected in a print exhibit at the Spencer Museum of Art.
**Raisein in the Sun, 7:30**
p.m. at the Lawrence Community Theatre, 1501
New Hampshire St. $7,
students. $11.50, public.
Wednesday:
Depictions of sensational crimes, such as the butcher who stabbed his flance or the man who poisoned his parents, as well as political changes and bullfighting, comprise "Bandits & Bullfighters: Art and Life in Broadsheets by Jose Guadalupe Posada." The exhibit, which opened April 8 and runs through May 21, includes both English and Spanish labels.
Posada created these works while working and living in Mexico City between 1890 and 1920, a time that spanned the dictatorship of Porfirio Díaz and the revolution that began in 1910.
"This is not fine art, this is street art — art of the people," said Patrick Frank, assistant professor of art history, who helped organize the exhibit for the Colorado Springs Fine Arts Center and wrote a book about Posada's work.
"Sensation and scandal and violence and gore — human interest everywhere," said Frank, describing Posada's work. He compared the sensational stories illustrated by Posada to stories written in The National Enquirer today.
The prints also were the source of news for the working class. When publishers got a story idea, they asked Posada to create an illustration. He etched the illustration into a metal plate that was then used to make prints. His illustrations were printed with text to tell a dramatic story.
Children would hawk the sheets on street corners for 1 cent each, which would have been very cheap. Frank said. Middle- or upper-class people probably didn't buy the sheets because it would have been beneath them, and they would have gotten their news from other paners; he said.
The audience of the broadsheets is important to consider, said Danny Anderson, associate professor of Spanish and Portuguese.
"It it shows a whole side of popular culture of the lower class," Anderson said.
It was a time when Mexico was going through political changes and trying to modernize, which led to class divisions.
"The rich were getting richer, and the poor were getting poorer." Anderson said.
The sheets addressed the concerns and interests of the lower class. In addition to covering crimes, some of the sheets show images of the dominant Roman Catholic religion.
"Posada's mindset was clearly part of the underclass," Anderson said.
Posada's sensational portraits were even more important considering the low literacy rates at the turn of the century in Mexico, Anderson said. While the government was focusing on modernization, other areas, such as education, were suffering, he said. In 1895, only 5 percent of Mexico was literate.
Posada also dealt with the press censorship Diaz practiced during his dictatorship, which had a definite impact on Posada's work, Frank said.
"They were careful about how they publicized things," Frank said. "Political news is rare — it's never portrayed in anything other a favorable light."
Humor was another way to get around censorship.
"Those prints often tried to be funny, and by trying to be funny, they dodged the censorship," Frank said.
He said he considered Posada one of the greatest Mexican artists.
"With those prints, you can't have shades of gray," he said. "Given those technical limitations, he was great."
He said Posida used off-balance compositions to depict motion.
"He was really good at depicting the inner vital state of a person." Frank said. "Even dead people have some sort of life and energy."
He said that Posada dominated the production of broadsheets for 20
"He was the last and the greatest," Frank said.
years. By the time Posada died, photography was gaining popularity, so he probably would have been forced out of work anyway.
Broadsheets by Mexican artist Jose Guadalupe Posada are on display through May 21 at the Spencer Museum of Art. Contributed art.
Frank will lead a tour of the exhibit at 12:15 p.m. today at the museum, and at 7 tonight in the museum's auditorium, he will give a lecture titled "Posada and the Society of Spectacle."
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