Star Tribune from Minneapolis, Minnesota • Page 46

FridaySeptember 71990Star Tribune The Creative Sewing And Needleart Exposition jA storyteller, Duncan Hannah ipaints taut tales of discovery STEVE MARTIN RICKMORANIS MY BLUE By Jeffrey Kastner A train rolls across a lonely trestle bridge, a cat pauses in a doorway at the foot of a long stairway bathed in cinnamon light, young girls in skirts and bobby socks hold hands as they play a game at the edge of a grassy hill. What draws them together is painter Duncan 6E. HEAVEN "One of the summer's 0 Li 0x SEPT 7- 9 ST. PAUL CIVIC CENTER Roy Wilkint Auditorium Li si, true feel-good ilmsT -Hatful Pte OANNtTT NEWMFENS "True-blue Tickets advance mm 44.00 at door The Midwest tint coreumer how especially for than who tew and rhoe Interested In needlearts and craft. See and buy from aver 120 exhibitor: fabric, yarns notiont.

patterns, kit, machine and other supple. Style thoy. emlnan and how-to demonstration every day. summer entertainment" -Rdiad Ftatan. NEWHUUSE NEWSSERVICE "Steve Martin at his best" Pi -Lou CataK BALTIMORE SUN Dairy emtnar by ieodlng expert: Shirley Adam.

Roberta Cart. Ctoti.de, Fran Fuller, Linda MeGehee. Mary Mutarl. Nancy Nix-Rice. Phil Pepper, Donna Satyer.

Barbara WeHand and Kaye Wood. Plu 20 morel Note. Ttmrtao S2. 00 odvonc ragarroflon for each mmlnar (SlOQattt Ooot). Photo by Adam Reich "London Bridge is Falling Down, 1990," oil on canvas by Duncan Hannah Leam more about: tewing, dyeing, embroidery, wearable art.

home decorating, pinning, knitting, needlepoint, quiring, beadwork, (mocking, design, weaving, eras Hitching and creative serglng. HI I CALL THE CONNECTION 922-9000 FOR ADDITIONAL DETAILS Duncan Hannah: Paintings and Drawings Where: Jon Oulman Gallery, 400 1st Av. Minneapolis. When: Through Oct. 13.

Tickets: Free. Review: A native Minnesotan who has lived and worked in New York for more than 15 years, Hannah creates loosely realistic paintings that gather strength from their ambiguity and their sense of the poetry in the everyday. ONE WEEK I ONLY 'tip Jj.ll th 1 CHICAGO AVE. 122-9030 DELIGHTFUL COMEDY "SLEEPER" Hannsh's almost of elusive drama in the ordinary. Hannah, whose solo show of re-cent paintings and drawings runs 'through Oct.

13 at Jon Oulman gallery in downtown Minneapolis, is first and foremost a storyteller. The tales he brushes into life depict what he calls "pregnant moments," i snippets of time ripe with discov-, ery, resonant with archetypes and symbols. Compositionally smart, I his oils are open-ended, without easy answers. not a virtuoso landscape paint-; er, but I've found I can create some sense of psychological tension in my work," said Hannah, 38, who "grew up in the Twin Cities and I attended the Minneapolis College of Art and Design before moving to New York in the early 1970s. "In a way, I feel like I just provide a framework and that's a way of respecting the audience, respecting their right to fill in the blanks themselves." -During his first few years at Bard College in New York state, Hannah spent his time trying to be an ab- stract expressionist.

But he eventu-' ally found his way toward a more realistic style, taking inspiration from the landscape and an older generation of artists. "I've often felt like my contemporaries were most-; ly dead people," laughs Hannah, "artists like (Albert Pinkham) Ryder and (Edward) Hopper." "I have no battle with abstract painting," said Hannah. "Some people say that figurative painting is decorative, but abstract painting can also be decorative. It seems like a moot point in a lot of ways now; there's room enough for everybody. For me, the thing is to tell Stories, to be narrative." 3he stories Hannah's paintings tell are oddly familiar and compelling, but difficult to pin down.

His scenes draw from the lonely, static world of Hopper, the straightforward naturalistic sensibility of Winslow Homer, and the hermeticism and spirituality of Lewis Carroll's photographs or Balthus' quietly ominous paintings of young girls. 'There's an immediate seductive Hm to MS dm that got bowM ovtr tat bi ttw iprfag by Dldr Trcy, Back to th Ft, dawrvM a aoond took. A ptaaiing oomadp bacoma apacW tvouahthaaoMneolOataMy Cokvnan aa aoto dMaoNva who tftMuj ha tfytng of a ran naadad fitotiay lor Ma tart. Tha fnoat daiQrilM iMMkanla cona whan Cokwnan anoaoaa bi aoanaa wMh Ha Manda, Mob) and wHa. A WoMW oomaoV worth a aaoand look.taoanmaikdad Dabney Coleman Teri Qarr "SHORT TIME" NOW mm ri quality in realistic painting that helps get the viewer in," said Hannah.

"I want to be specific enough about what a thing is to get the viewers to suspend their disbelief. I really feel there are such things as archetypes; they're familiar, but they resonate, and you can always give them a new spin." Many of Hannah's favorite subjects have an archetypal or symbolic quality. Trains and boats often appear, evoking another time and travels real and imaginary. Hannah's characters are often pubescent children, at the edge of a discovery yet still retaining innocence and awe. His use of children as characters makes it easier for people to identify with his scenes, Hannah said.

"It's hard to make an archetypal adult," he offers, "but we tend to grant children a certain anonymity." His subjects' faces are often downcast or turned aside. "Exposing the characters' expressions tells too much," he said, "too much about the people and not enough about the atmosphere." For Hannah, atmosphere is all. It's evident in the deep gray space of "The Foreigner," in which a building wall looms above and in front of the viewer, almost filling the entire frame with its bulk. It's evident in "Door in the Wall," where strong yellow and orange fields are like a blast of sunlight on the wall surrounding a single richly colored doorway, cool, mysterious and inviting. IM UIMKICAOOI 16 3 Film Rating Guide 6 General Audiences All ages admitted.

PG Parental Guidance Suggested Subject matter may not be suitable for pre-teens PG Parents Strongly Cautioned. lJStrongly urges parental guidance of children under 13. Restricted Those under 17 years of age not admitted. Pertains only to film rated after July 1,1984 IN ST. PAUL The painter's inspiration is that fleeting sense of recognition that comes from color or space or mood.

Specifics aren't necessary: When the connection is made, the artist's world intersects with one familiar to the viewer and the smallest things a tree, a child's game, a playground scene are ready to be filled up with personal reminiscences. The settings of Hannah's paintings are as ambiguous as their characters' emotions, and for all of his years in Manhattan, there is little of the city in his work. "It's a nice place to live, but I wouldn't want to paint it," he said, laughing. "Actually, the city does have this sort of magical thing for me. Even as a kid, my intent was to move to Greenwich Village and be an artist.

I started going when I was 7, and each time I went back the city Hannah continued on next page SEt THEATWC OtRgCTOWES FOB FEATURE TTME8 8PgC4AL ENGAGEMENT WO PASSES OR CTBCOUNT COOPON6 ACCgPTH? FEATURI TIMIS LAM FOB TODAY ONIY tti2.MtHpmolaHyatApaclw.VHIaa S1.S0 AM Show Starting before earn. Tha Nrtrovtv CofMi4fctlofi IntofiiMClon 1 I A 4, Clna UgnaJ Hllb Oaklar a Grandvlaw 2. Charms am Cmnmtmtm Htm pmUf. AIHIAIN MATINIIf I1.7S Imry Dmy TN em OriMran 12 yri oM and undwtt.M an am tentor aunm and Ovr) All TkMM (IjOO. OCC IntarutnnMnf OHt Boota Now on tat.

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