University Daily Kansan / Friday, September 8, 1989
Arts/Entertainment
9
Exhibit bridges present, past
By Jennifer Reynolds Kansan staff writer
Walking through the Die Bruecke exhibition in the Spencer Museum of Art is like exploring the thoughts of the first German expressionist artists.
The exhibition, which opens Sunday, is a collection of prints made by a group of artists in 1905. The group named itself Die Bruecke. Die Bruecke is German for The Bridge.
"The artists wanted to think they were a bridge between the past and the future," said Steve Goddard, a curator. "They turned out to be just that."
'These artists' were the first to formulate the pure expressionism style. Goddard said. Later expressism looked back to them as examples.
Expressionism is the use of crude graphics to express political or religious urgency, he said.
"It's exaggerating and twisting
to emphasize a point, he said.
That urgency can be seen in the 131 prints displayed in the Kress Gallery and South Balcony of the museum.
The lines in the prints are coarse and direct, dark and compelling, Goddard said.
"Wounded Soldier" is the title of Erich Heckel's 1915 woodcut.
One example is the Max Pechstein series of 12 woodcuts narrating the Lord's Prayer. Each print uses parallel lines and disproportional figures to depict a section of the prayer.
The majority of the collection is woodcuts with a few lithographs and dry cuts. Goddard said.
"It is a rare and incredible feat to have so many clean and undamaged prints from so long ago," he said.
The exhibition is set up chronologically through the gallery, following the works of the six artists of Die Bruecke from their early activity beginning in 1905, through World War I and into the early post-war years.
"The works increase in intensity through time," Goddard said. "During the war you see military themes. At the end of the war you see some artists had emotional crises because of it."
The exhibition was originally organized by the Block Gallery at Northwestern University, Evanston, Ill.
In conjunction with the Die Bruecke exhibition, the museum will
The first film, "The Metropolis," will be shown at 2 p.m., Sunday, in the museum's auditorium.
"We coordinate films with exhibitions because we want the public to know why the artists produced the works they did," said Carissa McKenzie, museum services coordinator.
"We want to provide entertainment, but we also want to relate it to what the museum is doing," McKenzie said.
"The Metropolis," a silent film, will have an added feature.
"Three local musicians will have an improvised accompaniment inspired by the movie," McKenzie said. "They are working with the video to produce music to go along with it."
Three more movies are scheduled in conjunction with the Die Bleuecke exhibit: "The Blue Angel," on Sept. 17; "The Cabinet of Dr. Caligari," on Sept. 24; and "Pandora's Box," on Oct. 1. All showings are at 3 p.m. except for "Metropolis."
Chamber orchestra to perform at KU
By Jennifer Reynolds Kansan staff writer
Sunday will mark a first for the University of Kansas.
The Kansas City Chamber Orchestra will perform at 2:30 p.m. Sunday at the Crafton-Preyer Theatre in Murphy Hall.
"This is the first time the orchestra has come to KU," said Ben Sayevich, assistant professor of violin and featured concertmaster for the performance. "They don't travel that much, so it is kind of unusual."
He said the concertmaster is the principal violinist.
"He is the first fiddle," he said.
"He shakes the conductor's hand, tunes up the whole orchestra and plays all the violin solos."
Sayevich said the director of the orchestra contacted Peter G. Thompson, dean of fine arts, and asked if the orchestra could come to the university and give a concert.
"It's not a special concert for
KU," he said. "It's a performance they have worked on and will repeat here."
Sayevich said he hopes the relationship between the Kansas City orchestra and KU continues.
"I am very much looking forward to playing with the orchestra here at KU," he said. "I certainly know not the last time they play here."
"The orchestra has gotten good critical acclaim in the city. They are destined for many more years of good things."
Bruce Sorrell, the orchestra's music director, will conduct a program featuring Vivaldi's "Four Seasons." Mozart's Serenade No. 6 in D for Strings and Timpani, "Serenata Noturna," and Dvorak's "Nocture for Strings."
Concert tickets are available at the Murphy Hall box office. Tickets are $12 for the public, $10 for senior citizens and $6 for students. All seating is general admission. For reservations call 864-3982.
JAZZ SCHEDULE CHANGES TGJI
(Thank Goodness It's Jazz), the free series of jazz concerts next to the Eldridge Hotel, 701 Massa-
chusets St., will continue through September but will be from 5 to 7 p.m. The material ranges from blues to bop to show tunes.
Hollywood's new cop film little more than a relentless cliche
Rv Marc Parillo
Kansan movie reviewer
The golden rule in Hollywood is "you can't make a good movie from a bad screenplay." You can throw "Relentless" into the graveyard with the rest of the overused cop stories because it is no exception to the rule.
"Relentless" makes no effort to present new points or make a statement. It is basically the typical medical/murder myssure have seen for a decade on television and Flix
A New York detective, Sam Dietz, played
by Leo Rossi, who also appeared in "The Accused", is transferred to Los Angeles where he meets his new partner, Bill Malloy, played by Robert Loggia who also appeared in "Bir" and "The Believers."
The first cliche of the story is introduced when we discover that Bill and Sam do not get along, similar to the situations in "48 Hours" and "Lethal Weapon." They begin investigating the case of serial killer Buck Taylor, played by Judd Nelson, who is the product of an unhappy childhood due to a dominating and uncompassionate father.
Buck commits a couple of murders and the
second cliche is slapped in our faces. It seems that Dietz's "New York" way of handling the investigation is contrary to Malloy's "Los Angeles" style. Thus, a professional conflict develops and the typical supply of unlimited egotism is exchanged between the two.
Third, and even more comical than the last two clichés, is the target of Buck Taylor's final murder. You guessed it—Dietz's family. I know you've seen this scenario hundreds of times. Dietz is happily married, has a wonderful son, and a house straight out of Better Homes & Gardens magazine. Put all
these elements together and you are compelled to ask one question. I wonder if the serial killer is going to break into the marvelous house, threaten the lives of the wonderful son and beautiful wife, and ultimately die during a shoot-out with the father/fedective who just happens to show up in the nick of time? Predictable as it may sound, this is exactly what happens.
I must admit, however, that even the worst movie contains at least one interesting concept or unexpected turn. In *Velentess* I use the same technique as in "Dear John," for attention. Buck casually looks up his victims
in the phone book and calls to see if they're home. Once he makes a surprise appearance at their homes, he forces them to commit their own murders. After the killing, Buck quietly says to himself in morbid gratification. "there...that wasn't so hard." It almost makes you want to run home and apply for an unlisted address.
"Relentless" had many opportunities to formulate its story in different ways, but it chose the road most traveled.
▶ Marc Parlio is a Lenexa sophomore majoring in English and film studies.
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