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Show 4E Tbe Salt Lake Tribune Sunday, April 28, of art affects perception Setting says lecturer at S.L. Art Center 1985 ii n By Anne Palmer Tribune Staff Writer Our perception of art depends on its being presented in an art context. That thesis was developed by Melinda Wortz, a Los Angeles art critic and curator, in a lecture on modes of presentation in European and American contemporary art at the Salt Lake Art Center Auditorium last week. The event was part of the ongoing contemporary arts group lecture series. Ms. Wortz illustrated the point by comparing Marcel Duchamps famous found object, a urinal which he displayed under the title Fountain (signed R. Mutt), 1917, and Andy Warhols "Corn Flake Boxes," from the mid-'60Both works are displays of common objects, representing art which mimics the real world. But, when these ready-mad- e and Pop Art pieces are placed in a gallery space, they become art objects. Thus the context of their presentation largely determines them as art works. Art As Process Ms. Wortz displays a concern for art as process, which is not necessarily completed by the artist, but rather, when the work is perceived by viewers. The artist is a medium who presents something to the world and the audience completes it, said the contemporary art expert. She emphasized the importance of the environment in which art is viewed. s. Michelle Massoney, Mimi Skola Silver- stein and Joel Kirby in Repertory Dance Dinner at Eight, which will be given Wednesday through Saturday. Theatres i I RDT stages an experiment 4s a finale to the 1984-8season, Repertory Dance Theatre will explore the process of artistic creation anJ collaboration with the premiere of "PerformanceEvent 85, Wehnesday through Saturday at 8 p.nj. in the theater of the south camMarks, 843 pus of Rowland Hall-SLiricoln St. (940 East). 5 t. This experimental project, part of RDTs chamber concert series, combines the choreography of Marina , HaJ-risJohn Mead and Carolyn Wood and artistic director Linda C. Smith, and is subtitled Dinner at Eight. Smith explains: The premise for this dance is to combine and coordinate the efforts of all the artists workchoreographers and dancers ing in the studio during the choreographic period. The performance event we have built as a finale to this years season was designed as a vehicle for exploration, play and collaboration. It is an opportunity," continues Smith, for our RDT family to problem solve and enjoy the creative process. We selected a theme and structured artistic problems as building blocks for the choreography. We came up with Dinner at Eight. " Dinner at Eight," according to Smith, is constructed around a table and chairs and has the look of a surreal dinner party. Accompaniment is a collage which includes the music of Steve Reich, the Talking Heads and environmental sounds. past RDT has performed a number of experimental events, this concert will be the first such event to be staged by the company in Salt Lake City in a number of years. Tickets to the one-hoprogram are available at Cosmic Aeroplane, Waking Owl Books or by contacting the RDT offices. Though in the Methods of presentation innovations which alter the common gallery enable viewers to enexperience joy art in different atmospheres. Ms. Wortz calls gallery spaces where works are symmetrically displayed in a white room with paintings or sculptures neatly lined up and individually lighted, the neutral white cube. This provides a purist experience," which usually causes people to whisper, as if they are in hallowed" places like libraries or churches, she said. Overcoming such a staid viewing experience is a contemporary challenge. Particular Advantages Alternatives to the neutral white cube presented at the lecture include museums, art installations, artists private spaces, recycled industrial areas, and museums which make grand architectural statements. Although none is necessarily more or less desirable than what we con sider traditional displays, each has particular advantages to offer. A replica of a Roman villa, the J. Paul Getty Museum In Malibu, she said, "perfectly replicates another culture." In addition, it integrates art and life, with its outdoor reflecting ponds and sculpture gardens. Art installations, where often an entire room is the art object, are dramatic experiments unifying art and the museum environment. One such work by Jonathan Borofsky was a retrospective of his works displayed in a cluttered, crowded gallery space. On the floor surrounding his sculptures were notes expressing philosophies which he intended visitors to pick up and read. The artist painted surrealistic dream images directly on one wall, which he expected to have painted over following his exhibition. The entire installaBor-ofsk- tion reflected the complicated, rushed lives we lead. It seemed to mimic todays lifestyles, when even upon visiting a gallery, people are forced to rush around, choosing from a barrage of objects, knowing that they cannot see everything. Whimsical Environment Ms. Wortz also showed a number of views of an installation by a Cal Arts feminist art group. The women turned a condemned home into a whimsical environment, with a fe- male mannequin trapped between shelves of a linen closet and kitchen shelves lined with neatly ordered, symmetrically arranged items, both of which recreate the feeling of entrapment and regimentation the women sensed in those rooms. Another effective means of displaying modern sculpture is the section of Constantin Brancussis studio which has been preserved for display in the Georges Pompidou National Center of Art and Culture in Paris. The clutter of the artists studio articulates a heightened sense of the artist. Successful Integration Several new museums which make grand architectural statements seem almost to compete, or even detract from the works displayed within them. Ms. Wortz explained that often there appears to be more concern with the artist's aesthetic than function" in places where ego indulgence" simply gets in the way. The drama of such buildings, and the shadows cre diffused ated by skylights and glass bricks In the buildings, can be distracting. According to Ms. Wortz, two examples of edifices which successfully integrate function and form are the Mark Rothko chapel at St. Thomas University in Houston, and a museum designed by Hans Hollein In Germany. The architect of the Rothko chapel was careful not to Impose any particular religious notions on his structure, ncr are there any icons in the ecumenical chapel. Ms. Wortz also looks fondly upon the use of recycled industrial areas as open, flexible showplaces. Those examined in no way distracted from the works on display. Environmental art, Ms. Wortz concluded, is a magnificent art form which defies the need for presenta- tion space. Christos Running Fence, 1976, for instance, had the effect of enhancing the landscape because of the symbiotic relationship between the land and the fence. It emphasized, in addition, the collaborative efforts necessary to execute the massive Northern California project. Quiet, Stimulating Site The Costa Mesa, Calif., plaza Isamu Noguchi has recently created, called "A California Scenario, makes use of organic elements and spiritual motifs which come from Noguchis Japanese heritage. In the midst of a densely populated urban area, it is a quiet, stimulating site for contemplation. She made reference, further, to Utahs own Spiral Jetty, 1970, an earthwork conceived and overseen by Robert Smithson. Following the completion of the layering of rocks, salt crystals, earth, and algae which formed the 1,500-focoil, the jetty silently and slowly disintegrated into the Great Salt Lake. Like Christo, Smithson emphasized the process involved in creating the work. The Utah work epitomizes the importance of the process, which was not completed when the work was finished, or even by its viewers, but when nature took the materials back to from where they came. In addition to teaching and lecturing, Ms. Wortz has written a number of articles for Artweek, Art News, Artforum, Art Gallery, and other publications. She is currently the gallery director for the University of California, Irvine. Ballet West takes Abdallah to D.C. So far the reviews of Ballet West's production of August Bournonville's " Abdallah" have been glowing. roared Village Voice dance critic Marcia B. Siegel of the ballets premiere at the Capitol Theatre in February. Artistic director Bruce Marks expects a similar reception in Washington, D.C., where the ballet will be given its East Coast premiere this week. Youre going to love it, he recently told a Washington writer, of the ballet he and Toni Lander reconstructed for Ballet West. y Ballet West begins a run at the Kennedy Center where the company was well received in 1983 Tuesday. On that night the company Sha-zam- Performing Danscompany in Phased by Donna White, part of program i I to be performed Friday, Saturday at versity of Utah Dance Building Theatre. Uni-Arra- y, Danscompany plans spring fling by Donna White, Cliff Keuter and John Mead will be featured in Performing Danscompanys spring concert Friday and Saturday at the Dance Building Theatre on the University of Utah campus. The concerts, dedicated to the memory of Dee Winterton, a who was killed in an automobile accident last winter, will begin at 8 p.m. both nights, with a matinee Friday at 5 Works ing Danscompany; Another Spring" (1985) by guest choreographer Keuter, director of the New Dance Company in San Jose, Calif., and "Soiree (1985) by Mead, a resident choreographer with Repertory Dance The- atre. White's "Phased Array," set to music by Michael Hoenig and synchronized to photographic effects pro- duced by Kenneth White, was inspired by images of nature and photography. "Mongolian Factor," White's newest work and set to music by Jon Scoville, is a solo to be performed by Sheila Lehner. Keuter's "Another Spring," set to the music of Johann Christian Bach, reflects the ebullient speed and graceful humor of Bach's music, according to the choreographer. The work," says Keuter, "is about couples time-laps- e p.m. Performances will begin with a short improvisation involving the entire company. Liz Draper and Phil Miller will provide live musical accompaniment. Works following the improvisation include Phased Array" (1981) and Mongolian Factor" (1985) by White, acting artistic director of Perform and the sometimes bright and sometimes tender energy between them." balKeuter recently set a let to Faure's Requiem on the National Ballet in Washington, D.C. Mead describes his Soiree" as focusing on the hidden and more transparent motives which cause people to behave as they do in various social come to La We imite you to smell, then taste, r ear butter-ric- h brought forth the romantic dance theof Abdallah. Erik Aschengreen of Berlingske of Copenhagen: What we saw In Salt Lake City is a remarkably intelligent offer on how you put Bournonville into production today. With this impressive performance Toni Lander and Bruce Marks have danced themselves into Danish ballet history . . . they have created a new classic which many companies will fight to add to their repertoire. Selma Jeanne Cohen of Ballet News writes: Ballet West is faithful to the 19th century master Bournonville while giving its 20th century audience a delightful evening of dance. ater Tickets, available at the door, are general admission and $2.50 for students. $5 Special preview GttSSCHW this weekend Magnificent Mt. Olympus is the setting of the prestigious new development by Rod Irwin Custom Homes. The Cove offers luxury details, an unsurpassed view of the valley, a rugged natural mountainside, a beautiful park entry, and Salt Lakes finest address. 33-ho- croissants. Simple, sweet and savory, they will liberate you from ordinary pastry forever. Come to La Patisserie. Dont let. the French revolution start w ithout you. Patisorif. Ha vo a look around our charming Country French bakery and cafe. And get ready lor the revolut ion. Toni Lander and Bruce Marks have situations. An award in memory of Winterton will be presented on opening night to a modern dance student who, according to White, "best exemplifies Dee Wintertons qualities of creative spirit, love of the arts, humor, wit and a commitment to developing the talents of others." How to start a French Revolution. Fiit, six-da- will present a repertory program including George Balanchines "Western Symphony, Michel Fokines "Les Bruce Marks Lark AsSylphides, cending and the "Le Corsaire pas de deux, choreography after Marius Petipa. The following night Ballet West will present Abdallah." The two programs then will alternate through Sunday. The company will travel to Detroit for performances May Recent reviews of Abdallah include the following remarks: Ebbe Mork, Politiken of Copenhagen: Danish ballet on the world's highest level was created in Salt Lake City, at the premiere of Bournonville's Abdallah. 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