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'ADOLESCENCE' ENDS Modern Art Museum Has Adult' Stature 1 i I i i a i-- I -r, X'. 'HSSH 1 ui -f 4 k. a I -t i t.wi i 1 t. r.m i I L- I I I ''I LJ If i( 'v1' If fi 5 ft tsa SwftwjS -i By EMILY GENAUER New York Herald Tribune Service NEW YORK, N.Y. A visit to the Museum of Modern Art's reopened, twice enlarged and extremely-handsome premises makes clear that the infant born with a gold spoon in its mouth, that sometimes put its foot in its mouth and made all kinds of attention-calling adolescent noises, has developed into an adult of rare stature.
Its tremendous inheritance has, through shrewd and careful management, increased immeasurably. But more significant than this growth by accretion are its enormous inner development and what appears to be a new concept of responsibility and sense of purpose and place. The new museum will be able to accomplish its new purpose more readily because of its new size. The purpose has been altered and clarified because the larger place in which the museum functions has, since its founding, and by its own efforts, changed so much. MANY observers over the years I among them criticized "the museum for what they felt was a harmful imbalance.
Far too much attention was paid to what was simply rew and shocking. It became a showman journalist, presenting breathless hot-off-the-easel efforts in what constituted, in the, public -t i i i i What Is It? A "This 'n That" wall, illustrating light effects on angles, curves and Art Center. Created by the center's education staff, the wall is an assemblage of boxes filled with paraphernalia and painted black, after the style created by Louise Nevel-son, American artist. hollows, is a focal point in the children's exhibition, "Reflection, Refraction, Reaction," opening today at Walker MUSIC and ART Burton-Gielgud 'Hamlet' Is Recorded if? I' yPT) 1 Ah 'all that often approaches orchestral sonority, played by violinist Szymon Goldberg, violist William Primrose, cellist Nikolai Grau-dan (formerly with the Minneapolis Symphony) and pianist Victor Babin. GASPARD DE LA NUIT, LE TOMBEAU DE COU-PERIN and JEUX D'EAU (Ravel) Beveridge Webster, pianist (Dover HCR- THE FESTIVAL QUARTET strings foursome plays Faure mind, official museum endorsement.
This is no time to rake up old coals. The important thing is that the museum, through its programs, lighted fires so bright' and so high that sparks flew clear across the country and even the ocean, igniting other fires in other cities, and, of course, here at home. It was more a series of signal fires, perhaps, than a source of steady heat. But the light, the whole climate, were exhilarating beyond expectation or measure. THE RESULT has been an enormous and evergrowing public to whom modern art is an indispensably invigorating fact and way of life.
But it is an audience immune to shock, and, too often, innocent of standards. It is today being served by innumerable galleries and many new museums. The museum's new role to develop not only a large and excited audience but a discriminating one is clearer than it has been in years. Perhaps one brief instance might be cited to point up the difference between old role and new. SOME 30 YEARS ago the museum presented a memorable exhibition of surrealist art in which, through works by artists as gifted as Tanguy, Mag-ritte, Dali, it proved how the precision and irrationality of dream could be made the basis for a brilliant new style of paint-ing.
It also included in the exhibit a fur-lined cup and saucer because, the catalogue said, of "its extraordinary and disquieting fascination," No value judgments were offered or suggested. Just recently there arrived in my mail an envelope containing a small, real pillow-slip with the word DREAM stenciled on it, and an announcement of a new one-man show by an artist who "uses the pillow to trap fragments of dreams (with) fragments of everyday reality." Here, then is the difference between real art-re-lating-to-dreams, and a literal non-art also claiming to deal with dreams. The pillow-slip is a fair sample of the nightmares that every day are being presented in galleries all over New York. IT IS, AT THE same time, one indication of why the museum must now go the way of art alone, sans tricks, rather than that of the non-art it too often showed in the past. For the non-art, "approved" and more easily come by, was what was latched on to.
Apparently it has now chosen to go that way, realizing that what it fought to preserve for artists, the right and even the duty to change as environment changes, is also the prerogative of museums. According to evidence on the newly reopened premises, the emphasis henceforward is going to be on standards. A very much larger part of the museum's great 19th- and 20th century masterpieces will remain on permanent view than ever before, functioning as a constantly available gold bar against which the new, which will also be shown, must be measured. 'U' Composer to Go to Italy on Fellowship Dominkk Argento, composer on the University of Minnesota music faculty whose opera, "Masque of Angels" was presented here last winter by the Center Opera Company, will leave in September for Italy on a combination sabbatical and Guggenheim fellowship, his second. The Argent os will head for Florence where they spent their first Guggenheim year; their travels will include attendance at some of the performanc es of his chamber opera, "The Boor," which the Frankfurt Opera Company will take on a tour of 70 European cities next season The Rockefeller Foundation will spend $67,000 next season to encourage the composition and performance of symphony music, beneficiaries bing a number of composers, and orchestras in Dallas, Salt Lake City, Utah; St.
Louis, New Orleans, and Buffalo, N.Y. Festivals: Second oldest opera company in America, the Cincinnati Summer Opera, opened its 44th annual series Wednesday with a new production of "Samson and Delilah." Santa Fe, N.M., starts its eighth opera season July 1 and includes three offbeat items in the repertoire: Berg's 1 Verdi's "Gianni Schicchi" and Ravel's "L'enfant et les sortileges" "Most Americans are il literate musically, unable to read a score or pick out the notes of a song on the piano," says Madeleine Carabo-Cone, author of "The Playground as Music Teacher" (Harper Row). She favors painting a musical staff on every playground in the country, on which children could play their games of hopscotch, beanbag and shuffleboard and thus learn for life what a musical staff is. Rose Byrum Will Smgaf Northrop Rose Byrum, former Metropolitan Opera soprano seen here in Met productions of "The Magic Flute" and "La Perichole," will return to Northrop Auditorium at 8 p.m. Thursday for a song recital under auspices of the University of of Minnesota Summer Session and the concerts and lectures department.
Open to the public without charge, the program will offer six groups including art songs in French, German, Italian and English and three arias, Student Recitals Mrs. Orris Briley, pupils in two-piano program, 7:30 p.m. Tuesday; Janet Schnelly, pupils in two-piano program, 7:30 p.m. Wednesday; Mrs. George B.
Fowler, piano pupils, 7:30 p.m. Friday, Schmitt Music Center. Rita Carrillo, piano and organ pupils, 8 p.m. Monday; Marie Anderson in junior piano recital, presented by Helen Keidel, 8 p.m. Friday, MacPhail Auditorium.
for the p'ofessional ur amateur artist, we hie a complete selection the supplies you need plus the msnjf new things that add speed and fun to jour work. Stop in soon. GrOqPjl'A MI-47J7 HANDICRAFT 1024 NICOLUT AVI. OUTHDALI CiNTlR NROOHDALK CBN HI MUSIC NOTES I VSUPPLIES IP MARJORIE PINKHAM'S 'SUNFLOWERS' 0Z painting included in Bottega Gallery show Cameron Booth's One-Man Show By JOHN K. SHERMAN One wonders, sometimes, whether abstract artists don't occasionally feel they've gone about as far as they can go, and like Antaeus must touch earth again, i.
By JOHN K. SHERMAN Some day, probably not so far off, we'll be getting audio-v i a 1 tapes of roadway plays forliv-ingroom projection. I the meantime the re cording industry Is wasting little time in bringing us the sound of New York stage productions, the most noteworthy recent example being that of John Giel-gud's HAMLET, with Richard Burton in the title role (Columbia DOS-702). It's a little hard to judge acting by voice alone, and in this case the music and the power of the speeches rest entirely on vocal delivery, its nuances, dynamics and tone color. Also the capacity to build a characterization entirely by vocal resources.
These abilities are strikingly shown here. Burton's Hamlet is sharp-etched, although his clipped and mannered rhetoric does not always achieve, to my mind, the verbal music or introspection one expects in the role. For a man identified mostly with Broadway musicals, Alfred Drake as Claudius has fine pacing and clarity. Hume Cronyn as a solid Polonius, Eileen Herlie as Gertrude, William -field, George Rose and George Voskovec are among those present also Sir John himself as the hoarse whisper of the Ghost of Hamlet's father. Stereo is an aid to illusions of space and characters' placement.
A four-disk set with an illustrated 35-page Tribute to the 400-year old Bard offers a lavish contribution by British stage stars in HOMAGE TO SHAKESPEARE (Argo NF-4). Side one, titled "The Great Globe Itself," consists of speeches and dialogues from the later plays by 16 players including Gielgud (as Pros-pero), Laurence Olivier (Othello), Paul Scofield (Lear) and Sybil Thorndike (Ophelia). Side two, "On This Side Idolatry," is made up of tributes to Shakespeare by Ben Jon-son, his publishers, Hem-inge and Condell, John Milton (the latter a poem read in quavering voice by poet John Masefield). KLEMPERER CONDUCTS MUSIC OF WAG FROM RESR7M51- 8IUTT- FRDM COOL MEN- NEW RECORDS CALENDAR resemblances. Cameron Booth, a powerful abstractionist, touches earth in what could Mil in REVIEW be called his neo-horse period (remembering that years ago horses were one of his favorite subjects).
At 'the Bottega Gallery his new one-man show offers not so much "horse pic NER (Angel 3618788). Nine excerpts, including four overtures, are given majestic and fine-tooled performances by the Phil-harmonia Orchestra tonal webs of sustained power and well-built climaxes. PIANO QUARTET IN MINOR (Faure) Festival Quartet (RCA Victor LSC-2735). Sensitive, i e-grained, discursive music Piano and New Shows Fifth Annual Rose Fete, outdoor gala and art show sponsored Minnesota Arts Forum, 1 to 5 p.m. today, Minneapolis Institute of Arts grounds.
Free. Reflection, Refraction, Reaction, participation exhibition designed for children, today through Aug. 9, Walker Art Center. Joy Rowe, pastel figure drawings, landscapes and abstracts; Harvey Hurley, assemblages; Mexican Etchings, opening 6 to 9 p.m. Friday, Bottega Gallery.
Violet Werner, oil paint-tings, Monday through Saturday, Windsor Gallery, 5017 France Av. S. Prints on Art Fabric, the 3M Collection, opening with reception at 3 p.m. next Sunday, continuing through Aug. 2, Walker Art Center.
FROM THE IN- ADEO)AT REASURE5 mm. CANCER. I 0 ART 5213). Dover Publications, book publishers, have entered the recording field with this and other recordings. Webster attacks Ravel's febrile, sophisticated music with brilliant technique and many-shaded tone.
The note sprays, cataracts and explosions of "Gaspard" are most thrilling here, though a little choppy. Quartet European artists, Kilbride- Bradley Gallery, Mac LeSueur, paintings and drawings, Suzanne Kohn Gallery, 1690 Grand St. Paul. Syd Fossum, oils, water colors and serigraphs, Student Union, Macalester College, St. Paul.
Patti Fl'ynn, oil paintings, Old Log Theater, Excelsior. Esther Elliott Dovre, scenes of Minnesota and Sweden; Bettye Olson, water colors, American Swedish Institute. Guillermo Silva, Colombian artist, engravings and mixed media (through Saturday) The Red Carpet, 925 Nicollet Av. Permanent 1 1 tion Exhibition, St. Paul Art Center.
Figurative Paintings, by five midwest artists, Capp-Towers Gallery. Commencement Exhibition, student work (through Thursday) Minneapolis School of Art. Open to public. Geneva Molenaar, paintings (through Tuesday); Minnesota All-College Art Show, Student Center, St. Paul campus, University of Minnesota.
Rochester, Charles E. Gagnon, bronze figures; Ray George, prints, Rochester Art Center. Ballet boealis JUNE 30, 8:30 P.M. 00 1 50 3 00 40 4 00 Air Conditioned 104 Northroo DArTON tfm) Ill JtW. Ij Syrln 41 TO mm tures" as muted nature poems with horses present, merging into the pastoral and farmyard background.
These are quieter and less kinetic than his abstracts, but they have all the power and venturesomeness of his brush, and his unerring eye for color as expressive tool. Every inch of his canvases is alive, contributing to the color orchestration, effects of near and deep space, and to the brooding and all-encompassing presence of Nature. This is a mellow Booth, using a lifetime of painting experience to produce these eclogues on canvas. The many small preliminary sketches in the show not only reveal how "trees from acorns grow" but are concise little gems in themselves. MARGE PINKHAM, also exhibiting at Bottega, is a richly maturing artist who shows strength of structure plus all kinds of painterly finesses.
Her flowerpieces have organized impact that doesn't diminish the effect of countless delicacies and explorative touches that make them vibrate; her "Trout in the Willow" swings trees and a rippled pool into a marvelous self-contained rhythm. Arr almost Van Gogh-ish fantasy and frenzy informs her "Morning Stars Sing Home and Highway Magazine, paintings by 12 American artists from the pages of a national periodical, Monday through Saturday, First National Bank Building. Moorhead, Olga Kjell and Bernadette Cum-mings, oils and water colors, through July 7, Rourke Art Gallery. Mankato, Effie R. Conkling, professor emeritus of art, Mankato State College, 35 water colors and oils, through July 8, College Gallery, Science and Arts Building.
Rochester, Willi, Saltzman, paintings, water colors and drawings, exhibition and sale, 2 to 8 p.m. Monday and Tuesday, 422 SW. 7th Av. Saint Joseph, i children's art work from 35 countires, entries from International Children's Competition sponsored by Shankar, Indian periodical, through Aug. 15, Benedicta Arts Center, College of St.
Benedict. Continuing American Folk Art, from Abby Aldrich Rockefeller collection; The Aesthetics of Photography, 150 photographs; Chagall: The Fables of La Fontaine, etchings; Selections from 1963-64 Little Gallery Season, Minneapolis Institute of Arts. Lewis Brown, stage costume design (last day today); Richard Randell, sculpture, Walker Art Center. Robert Goodnough, paintings and drawings, University Gallery. Cameron Booth, recent paintings of horses; Mar- lorie Pmkham, recent paintings, Bottega Gallery riery.
Group Show, works by six women artists, West Lake Gallery, 1612 W. Lake St. Paintings, Sculpture, Prints, by Minnesota and WV IPS M0w $35 A DANCE SUMMER. IN THIS QMCEl TH OF NEW SEASONS. THE DESIRE1 TO LIFT ONESELF OUT OF THE THE DESIRE 10 ESCAFE- FROM 60PEWI- ing ana ner religious pieces -obviously emanate from deep feeling transmuted" into an expression to maEcrl it.
JQUK K. SHERMAN is booklnud arts critic for the Minneapolis Sunday Tribune and the Minne-' apolis Star. School Notes Walker Art Center, two feummer workshops for creative dance classes for children 5 to 8 from June 25 to July 31 conducted by Joan Skinner, and workshop on effects of- in art and architecture for children 6 lo 12 on Thursdays through July 30, MacPhail College of Music, workshops in piano pedagogy', vocal technique and repertoire, choral conducting and church music, Jed by -Edna and Loren Lund, Monday through July HAVE no s- L' UN. 7.
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