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Show - R8 THE ARTS ri rw n! I Ii-- J - APR2& RED m if. li .Sp-p- ,jgT gj, - 2001 , Stealing the Show at r Art Access by Kathryn Cowes stand back, ! squint, I bit my head to the right side, I move on, I squeak along the panels of the hard wood floors, I take a quick look at everything. I like to get a good feel for an art show as a whole before I start to scrutinize individual pieces. So I walk along the walls delineating the Utah Prints! exhibit at Art Access Gallery. And, as inevitably happens, pieces jump out at me. What's striking about this particular show is that all the best prints come from a common source: the University of Utah art department. Although the exhibit features prints from Weber State University and Brigham Young University, the most professional, intriguing prints have "U of U" written under the artists' names on the little white tags. Two pieces near the front of the show are particularly good. Erik De Waal's woodcut, "Madness and Insanity," has the look of old propaganda posters from the World War eras. Yet the print draws attention to the texture of the wood with vertical, grainy Lines. The ink is cleverly layered. A large bottle (containing a brain) reflects light off its glass side. This light, printed in white ink, is placed on the top layer, as if the artist is stacking elements of a world in a tight to achieve space The effect is quite striking, further drawing attention to the medium. Leia Bell Bliss"'As we exited Mike's Party, Dana told Phil about her crappy new job and Anne stashed some beers inside her coat" is technically superb, with intense, thick autumn colors carefully doubled over. The print is very dynamic and somewhat tense, with lines directing the eye back and forth across the plane of the picture, hesitating in the center before moving I MAW? ' . wrk IrQ well-though- Pianist Jeffrey Price wilt accompany "The Magic Flute" for the Lyric Opera Ensemble this weekend. three-dimension- by Brent Olson I t's n p.m. the Lyric you know where Opera Ensemble is? Do said at Joseph T. Kingsbury Ha!!, practicing the night away so you can attend the best opera production possible, you're absolutely right. This weekend, the Ensemble If you will close out the semester with Friday and Saturday productions of Wolfgang Amadeus Mozart's "The Magic Flute." This marks the third consecutive year that the Ensemble has produced an opera. Each opera has built on the strength of the previous one, and has incorporated more and more people. milestone for us," said Robert Breault, director of the "It really is a Opera Ensemble. "We have some 40 roles and, for the first time, a chorus. Every year, the students get more and more talentLyric ed." While most college students were relaxing, members of the magic flute cast spent Winter Ereak memorizing their lines. "We had this on its feet, completely memorized, the second week of January," Breault said. That week "we had a that moved me to tears," he added. Breault isn't the only one who has profoundly enjoyed the creative process. "For me, the best part is the grunt work and finding the comedy spaces," said Brigham Timp-sowho will play the role of Tamino. Camille Boyle, who plays Pami-na- , loved the feeling cf stepping onto the Kingsbury Hall stage for the first time after months of 4 run-throug- h t, on. "Self Portrait with Hands on Face," a lithograph by Camilla Taylor, has a mature sense of medium. jThe print exudes its own liquid, black, inky nature as it smudges out the shape of a face, almost like it's made of watercolor paint. The face is barely distinguishable, like a fleeting animal seen in the clouds, only much more dark and ominous. Justin Diggle, an associate professor of art, got into the action with his own piece, "The New Explorer," a fantastic screenprint and photo polymer. The print has a textured background, and features what looks like a hybrid between a Laz-- Boy recliner, a computer, a tank and a monster truck, with a generic beer bottle thrown in for good measure. Text within the print reads "Cruise the world in the new 'Explorer'" perhaps a comment on the modern dependence on technology and wimpiness. It is obvious that Diggle has a great influence on his students and is probably the impetus behind much of their mature work because many U pieces experiment with texture and medium in a way that most students from the other schools don't seem capable of quite pink-on-pin- k E yet. This is not to say the other schools didn't have anything good. BYU in particular has a nice series of intaglios a form of printing involving cutting, scratching andor etching recessed lines and textures with acid into the surface of a plate to hold ink from various students. Most of these intaglios are very similar, however, as many have an Asian theme that seems a little hollow and contrived. "Light for Darkness Darkness for Light," a piece by BYU student Ashley Knudsen, shows a level of independent thought and experimentation that surpasses three-dimension- al see ART ACCESS, page n, rehearsals. "I enjoy finding the conflict s : 7 - few' fu.'S J I 9 -- k3Tl 1 ' V 4- i V .lMt 5 JK9K9n.i 5PJ Uf i 1J inside going on," said Clinton Miller, also playing the role of Tamino (there are two separate casts). "Tamino is going from being a boy to becoming a man. You have to really experience the struggle and instill it in the character to keep the boy while becoming the man." Timpson feels that he brings more boy to the role. "The more boy I am the more comedy I can bring," he said. The lengthy rehearsal process has taught cast members a lot about both the characters and themselves. "I think all of us possess some of the characters' characteristics in real life ," Miller said. Working with and depending on each of the other members of rami jm.T w ac Chrif Coton (Papageno) and Clinton Miller (Jamino) practice for "The Magic Flute.' see MAGIC FLUTE, page Rll "Real Estate," a etching by Daryn Cox, is one of many prints in Art Access Gallery's show R9 1 i |
