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Show ChuoNtcIt Paqe Ekii TttsdAy, My J, 1988 ACCENT 1 U. OTDuseom offers 2 new displays art, Middle East artifacts featured Depression-er- a HI created by artist Henry Billings in 1931, features a single worker framed by huge and intricately constructed machinery, mechanisms with parts that connect and interconnect in patterns of both crisp beauty and startling power. Another print by Louis Lozowick, 'Through Brooklyn Bridge Cables," depicts the building-populate- d skyline of Manhattan cut into rectangular segments by cables of the Brooklyn Bridge, cables from which a single worker is tenuously suspended. Humans on an even level with technology in prints such as the "People at Work" series created by Benton Spruance in 1937, in which crowds of people snake through city interiors and exteriors at four different phases in an average work day. In "Cigarette Underground," a 1938 etching by Irwin Hoffman, a flash from a cigarette lighter shines on a miner's face and illuminates its contours and wrinkles, revealing a sense of the human behind the relentless work. Prints such as "Fertility," where a great, swollen barn rises above a field of ripening corn, and "Apple Pickers," where workmen perch on ladders and pull down fruit from trees into baskets, depict the work of rural America during the Depression. But each of the prints in the exhibition, as well as documenting historic American concerns and values, is an example of beautiful craftsmanship and artistic vision. "Depression Printmakers as Workers" can be seen at the museum through June 12. Mary Francey, curator of and Machines By Kelly Hindley Chronicle assistant feature editor prints and Middle Eastern artifacts are featured in two new exhibitions at the Utah Museum of Fine Arts. Depression-er- a "Depression Printmakers as Workers" documents American life during the Great Depression through etchings, lithographs, wood engravings and silk screen prints created by artists who worked in the graphic arts division of the 1930s Federal Arts Projects. ge Many of the prints, particularly those that y life, document the relationship depict big-cit- 'X HH) IK between humans and urban machinery, between the worker and the apparatus. All of the prints in the exhibition, prints that reflect the concerns of both rural and urban America, center on the THeme of work. Many of the prints, particularly those that depict big-cit- y life, document the relationship between humans and urban machinery, between the worker and the apparatus. In several prints the worker is overshadowed by the wonders and the massiveness of modern machinery. "Guts for Manhattan," a 1939 lithograph by Louis Lozowick, suspends a worker above the curving, intertwining circuitry of the tubes and wires and pipes that form the "guts" of a big city-b- ut it is the graceful, menacthe not and human worker that becomes ing machinery the focus of the print. Each print in a lithograph series titled "Man the exhibition and professor of art history at the University of Utah, will deliver a gallery talk about the prints on May 8. "Frankincense and Myrrh: Objects From the Red Sea Trade Routes during the Roman Empire," traces the path of frakincense, myrrh and other luxury items as they were transported from the Middle East into Rome. Both frankincense and myrrh are fragrant gum resins acquired from trees that grow only in Southern Arabia and Northern Somalia, and both were used by people five-pa- rt ......... . . Both frankincense and myrrh are fragrant gum resins acquired from trees that grow only in Southern Arabia and Northern Somalia. Amphoras (above) were used to transport wine throughout the Middle East to make medicines, perfumes and oils, and to burn as incense to please the gods. At the height of its demand, frankincense cost the modern equivalent of $500 per pound, with myrrh priced at two to three times that amount. These "spices," along with other luxury items such as cotton, pottery, glass and jewelry, were loaded onto trade ships, unloaded at their sea ports along the Red Sea and then transported by camel to their final destinations. Photographs, maps and information posted throughout the exhibition show the trade routes along both sides of the Red Sea and discuss the exhibited artifacts, as well as methods and routes of trade. Items featured in the exhibition include amphoras used to transport liquids such as wine and oil, terra cotta statuettes and a and oil from countries by the Red Sea to the Roman Empire. Prints created during the Depression (right) document American life during the 1930s. Both artifacts from the Red Sea trade routes and Depression-er- a prints can be seen at the Utah Museum of Fine Arts. gabled incense altar from Jordan. Also included in the exhibit are unguentaria, small pottery vials used to transport precious perfumes and oils; glass bottles from Egypt; a pilgrim flask from Iraq; gold earrings from Jordan, and many other beautiful and historical artifacts. U. Concert Chorale capturing passion By Deanie Wimmer . Chronicle staff writer When a singer passionlessly performs an arrangement, n even works by composers like Bach become boring. With that in mind, members of the University of Utah Concert Chorale must learn to integrate emotion into every number they rehearse for an upcoming spring con-- cert this weekend in Gardner Hall. Assistant Chorale Director Mark Ho wart h said it is not enough for the singers to memorize the words and sing concerts lack the final touch, the frosting on the cake. Real performance quality comes only when Chorale members are able to detach themselves from the actual words and get into the feeling of the music, ho said. "They can't stand and sing the notes, and that's easy to do when (the composer) is Bach." he said. "That's usually why Bach is boring." see "chorale" on page nine (II 5 : amx - j I ... I. hi t well-know- o ,, hi Chronido photo by Jennifer I Pulnr.sc |
