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Show ,i . "2 isr. ah I MAR2 - 2000 r 7 RED - THE ARTS - R9 " " "T : 1 0 Qh i XMISSfCN game servers are the fastest around-b- ar none. We keep you in action without the added horrors of serious latency. Step into the arena with XMISSiON and play Quake 3, U.O., Unreal and more with a group of worthy adversaries. Pick your avatar and corne play with XMISSION.We'li put some ling in your ping. Half-Life- , Gat on XKISSION. it. with XMISSjON I mrro 7") phone 801 .539.0852 www.xsissicn.com : o F By julie Jensen Feb 2 - Mar I2 A Above: Three masks featured in "Once upon a time. . . Hie Truth About Fairy Tales." by EMILY DAVIS B ' stalker masks and n ith severed toes, the stories told in the works of local artists Whitney King, Julie Lewis and Heather Wunderlich are net like the fairy tales read to a small child. Lovely young maidens and big bad wolves are still found in their paintings and photographs, but the innocent smiles once worn by these characters have been replaced by wise looks and contemporary settings, bringing these children's stories into the harsher world of adults. Representing the often twisted, n darker side of children's fairy tales, the pieces now on exhibit at the Art Access Gallery in "Once Upon a Time: The Truth About Fairy Tales," show that these tales are often not as innocent as they first appear to be. As the artists explain in their statement accompanying the exhibit, their paintings and photographs came about as they "interpreted the metaphors and messages within the texts of well-know- half-hidde- n some of the most popular stories, exaggerating movement and color, freezing a crucial moment in a tale and exainining the emotions of the characters through modem eyes. At first glance, however, it is the seeming innocence of the pieces that catches the eye. With vivid col ors and pleasing arrangements, many of the paintings look like they could be found hidden within the pages of a children's book with their vivid colors and pleasing arrangements. Wunderlich even goes so far as to adorn the frames around her paintings with the ribbons and small trinkets that one would expect to find in a doll's house. But what quickly becomes apparent through the subjects' ambiguous smiles is that everything will not continue happily ever after once the story has ended. In Wunderlich's painting "Evil Twin," Cinderella's wicked stepsisters wear both angelic smiles and halos of fire, capturing both the good and the bad behind their smiles. In "Apple of His Eye," Snow White offers a basket of warm, red apples to the viewer with a suggestive smile. - While Wunderlich's paintings show more traditional, restrained representations of the tales, Lewis' watercolors turn a whimsical look toward them through her lush and loose style. But by K6RST6N SWINYARD Zarathustra' famous beginning overshadows the rest of the piece, though. Throughout the piece, the original theme of the opening brass returns offering the audience only a glimpse of the ending,, in which man is left in the open, subject to the whims of Fate. Strauss portrays these developments by changing a theme's key, or contrasting it to the previous theme. The ending is nowhere near as spectacular as the baginning; it simply fades off, unresolved. The Utah Symphony played this tone poem last Friday and Saturday. However, the audience had to make it through the first half of the symphony before getting to Strauss. Fortunately, that wasn't much of a problem. The first piece was Variation and Fugue on a Theme of y. ultra-famo- It's the music that most frequently appears cn commercials at i:ao a.m. on the local channels. It's Richard Strauss Also sprach Zarathustra, a tone poem. You know, the one that starts out with the brass: C, G, C. Then the orchestra checks in with a few pompous chords, and the tympani takes over from there. A musical-ton- e poem interprets a story from literature cr history, &nd Also sprach Zarathustra tells the story of man from his first origins through his understanding of science and belief in religion,, COPY V : two Mormon pioneer women. re&Srrv 4? ' . V0 - Pmi rati $10 STUDENTS THURSDAYS 7:30 " wjw 8:00 FtlCAYS & SATURDAYS . SUNDAY AT 2:00 7:0 the twist comes from the moments she chooses to represent. With graceful extended arms, a woman appears to be lost in the pleasures of dancing, but her feet are caught in shoes of burning iron. In "Hansel and Gretel," two children skip away from their parents with a bag of Wonder Bread too excited to notice their parents driving away. But it is King's color photographs that provide the most chilling comments on the expectations that fairy tales seem to encourage. The face from Prince Charming 's mask frames a woman in a red glow in "Stalker." A woman leaves a rundown motel with bruises on her face in "There Once Was a Girl." Each image is cold and precise, linking modern images to the fairy tales through simple titles. "Once Upon a Time: The Truth About Fairy Tales" mns through March w at the Art Access Gallery. fleet-ingl- trtiss haunting raw play spanning forty yeers in ibe lives of Purcell from. The Young Person's Guide to the Orchestra by Benjamin Britten. It was a stirring, turbulent piece with a great deal of complexity. I tried to follow just one instrument, but got lost in the barrage see ARTS, page R1Z U o! U M'idenf Vnm rOUVMXi 1 e rAPiCE P liTAi! Formerly the Utah Contemporary Dance Theatre J ; |