The Salina Journal from Salina, Kansas on April 18, 2001 · Page 27
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The Salina Journal from Salina, Kansas · Page 27

Salina, Kansas
Issue Date:
Wednesday, April 18, 2001
Page 27
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THE SAUNA JOURNAL APPLAUSE WEDNESDAY, APRIL 18. 2001 8 Pepressionist museum^ art is anything but depressing By CHRISTINE TEMIN The Boston Globe Art museums are, by and large, serious endeavors. Their stately public spaces don't make for giggles. The Museum •of Depressionist Art — which you visit in the privacy of your own home, on the Internet—is an exception. It's a hoot The Depressionist site, which debuted in January, is the brainchild of Ernie Jurick, an ad man from Washington State, and Ditty Ha^ardom, a Tennessee toxicologist who says she loves "Ernie's twisted brain." His is a mind that can turn a Copley painting into the "Portrait of the Reverend and Mrs. Twickenham (unfinished)" by "John Singleton Cowpie," whom Jiuick identifies as a landscape painter trained at the Hudson River School of Art in the Bronx. Cowpie was no good at faces, which is why •they're missing in this picture, whose acquisition was, by the way, made possible by a gift from the American Academy of Plastic and Reconstructive Surgeons. Jurick, who is responsible for the Web site's texts, changes the names to protect the innocent. So Reter Bruegel becomes Pieter Boggle, official painter to the Alpha Delta Triskelion fraternity. Hagar- dom doctors the images, in one case replacing a codpiece, that essential accessory for Renaissance men, with an actual cod. ; 1 The pair have never met, nor even talked on the phone. They connected on the Internet, and have kept their relationship on-line only. Their museum began when Jurick spied a painting posted on the Web. "It needed a caption," he says, adding he can't even remember what painting it was. "After that, we just kept going." They built their museum through e-mails. like so many museums, this one owns a lot of loot — paintings from French restaurants and bordellos, "liberated" during the war by one Bagasse Mumblestoats, according to the site's introduction. The collection includes works by famously depressed artists, including one "Vincent van Gark," represented by his "Still Life with Prozac," acquired through a grant from the Eli Lilly Corp. An "Edward Monk" work, "Office Christmas Party, London Society of Morticians, 1905," is a vivid example of misery loving company, in ^ this case a corpse propped up 'in a chaii^ '^ust to keep up the Xmas spirit," as the catalog puts it. Not all the artists in the collection were depressed. Art Vlorker*s Special! $4.00 PER RIDE $3.50 Senior Citizens 785-819-1507 l/ Quality Furniture ^ Low Prites ^ Ih'Store Finan€ing F > BARRY S URNITURE ^•:"] L ZTi L - J KIT Suliua M.H.. I ri. l.:IMI • S;i(. r,:l\l V history has recorded "Claude Moanet" as a cheery sort, when, in truth, his trajectory was tragic. It cuhninated in "Under ihe Water Lilies," which depicts his mistress, Ophelia Feinswog-Lambeth, floating in the Givemypond, drowned. Tlvere's another drowning in the sad saga of "Mark Rotko," who killed himself by plunging into a 55-gallon drum of Beiyamin Moore "Wmterset" exterior latex paint. He'd started as a realist whose efforts included a moonlit painting of his poodles, Sam and Janet, which he eventually painted over in frustration, making it into a monochrome. The original survives, sort of "Sam and Janet, Evening" became the basis of a hit song incorporated into the musical "South Pacific." What Les Ballets Trock- aderos is to classical dance, what Aima Russell is to opera, the Depressionist Museum is to the world of art. It's in the playful spirit of Duchamp's mustachioed "Mona Lisa" or Yasumasa Morimura's photographs of masterpieces, in which he substitutes his own face for the original one, resulting in, say, Manet's "Olympia" with the features of a Japanese guy- You can visit the Depres­ sionist Museum at www.dear- The conversation Rights to reproduce images is a hot topic in the Internet age, or, as the Museum of Depressionist Art's copyright notice phrases it, "All rights reserved; all wrongs revenged." The appropriateness of appropriation isn't a new issue, though. In the 16th century, there was a famous fight between Albrecht Durer and Marcantonio Raimondi over Raimondi's unauthorized use of Durer's imagery. Stephan Wolo- hojian, a curator at Harvard's Fogg Art Museum in Cambridge, Mass., mentions the squabble in his essay for the brochure accompanying a show he's organized, "Sacred and Profane Visions from Renaissance Venice," on view at the Fogg through July 22. This is a fine example of the tightiy focused, one-room shows at which the Fogg excels. It's built around the recent 'UTiute Ihc Jim Ncwct Scl$" Night ^""^ Wristband 7 p.m. -11 p.m. $10.00 Unlimited Play* *[)aca noL [nclude arcade gift from the Woodner Family Collection of a cfrca-1515 painting, "Virgin and Child with St. Sebastian, St. Francis, St. John the Baptist, St. Jerome, an Unidentified Female Saint, St. Anthony of Padua, and Two Donors." A crowd scene, in other words, in the category of art called sacra conversazione — literally a holy conversation. Crammed the painting may be, but it also possesses a Bellini-' like calm. Indeed, it was once attributed to Bellini — and to other painters in his circle. The Fogg cautiously identifies it as having been painted by a "Venetian artist." Other mysteries surround the painting. It's not known who commissioned it or where it first hung. It's quite large, so it was probably made for the altar of a church. Its cast of characters indicates Franciscan associations. It's exquisite, dating from a mornent when religious paintings "became a matter of delectation rather than only devotion," Wolohojian says. Delectable this one is. Both Virgin and Child lean sUghtly sideways, striking a pose of great grace. The figures facing the holy pair pay r^t attention, an emphasis underscored by the ornately patterned cloth that serves as backdrop for the Virgin. The lush, verdant landscape in the distance wasn't there originally. Infrared reflec- tography has revealed a heaven filled with fluttering putti. The landscape is a secular addition made, Wolohojian notes, at a time when humanism and arca­ dian subjects were on the rise. The printmaker Giulio Campagnola and his adopted son Domenico were also influenced by this trend; hence such works as their engraving, "Shepherds in a Landscape." When the artist of the Fogg's sacra conversazione painted over his original background, he copied this print as part of the new landscape. Instances of prints made from paintings are plentiful; the reverse is rare. That the Venetian painter borrowed imagery from a mere print for an important altarpiece indicates the bmnp-up in status of landscapes subjects. GOLF buy one get one FREE Through Memorial Day TlLiV Sill. I(l;i.lll. - II IMll.Sliii, I pill. Ill pill Ask Me For A Free Hearing Tesf ^aUDIBEL Hearing Aid8 vAhEARiNQ Healthcare Associates' 827-8911 1-800-448-0215 Alan Grigsby 234 S. Santa Fe 26 Years Experience Salina, IS CIBSDWag PHARMACY & OPTICAL Yes... We're StiU Here!!! In the same location for 30 years! Special zing in Custom I'rcsc ription Compounding, Mebulizers & Rcspira tor}' Medication Medicare Provider • Medicaid • Commercial Insurance Locally Owned and Operated, Dan Daley, RPH 321 S. Broadway • In the Ace Home Center Salina, KS 67401 • 785-825-0524 • 785-825-6540 (fax) Enya plans U.S. concert tour By ANTHONY BREZNICAN AP Entertainment Writer BEVERLY HILLS, Calif. (AP) — When life gets tervse, Enya soothes herself with a stroll in the hilly, green countryside outside her home near Ireland's Wlcklow Mountains. "I love to just go for a walk because as soon as you step outside nature helps take away whatever problems you have," the New Age songstress says. Now the 39-year-old Grammy winner is planning a much larger trip: a concert tour of the United States. The willowy, raven-haired performer, one of nine siblings, performed regularly in Europe with her musical family back when she was known by her Gaelic name, Eithne Ni Bhraon- ain. But she hasn't played a m^or concert since achieving worldwide fame as Enya during the late 1980s. "I find it's something I truly miss," she says. "When you go on a stage the feedback is fremendous and you really get a sense of how you're affecting people." Although her first solo album, 1988's "Watermark," became a quick success, a m^or tour seemed impossible because she played and sang virtually every note in her complex, multilayered songs. "At that point, 1 didn't know about the longevity of my career, so we weren't thinking about hiring a full orchestra and choirto play all the different parts," Enya says. "So I just dedicated myself to making music in the studio." Enya's immersion in her work produced two other top-selling albums, 1991's "Shepherd Moons" and 1995's "The Memory of Trees." Few public appearances, meanwhile, propagated her reputation as a sort of J.D. Salinger of New Age music — talented, yet reclusive. "I do promotions and (album) signings, but a lot of people still say, 'Well, we don't know much about Enya,"' she says. "So I say just listen. It's there. I think the music actually says by itself, stronger than me, what feelings I have." Not surprisingly, the perfonner — known for such serene, choral melodies as "Orinoco Flow (Sail Away)" — describes herself as generally "mellow" and "relaxed." She talks softly, laughs easily and the rise and fall of her Irish accent adds a delicate musical quality to her speaking voice. After selling more than 44 million albums worldwide, she no longer questions the "longevity" of her career Although no dates have been set for her tour, Enya welcomes the chance to fravel, especially after spending the past two years in near seclusion while working on her latest best-selling album, "A Day Without Rain!" The writing and recording process, which she shares with two longtime collaborators, producer Nicky Ryan and lyricist Roma Ryan, is long and painstaking because the compositions are so highly detailed. None of Enya's music is electronically produced, so each individually performed part of her complex, rhythmic chants and lilting melodies evolve over a series of months. "When 1 go to the studio and 1 sit down to write music, I pour what I'm really feeling at that moment into the song. And when we start recording I like to give 100 percent each time. That can get very ..." She pauses to select the words. "Very tiring," she says finally. Her fans connect with the music passionately, flooding the musician with letters detailing personal stories of sadness and triumph that they have inexorably linked with her voice. The missives come from listeners who range from "8-year-olds to 80-year-old men, women and teen-agers," Enya says. "They are touched somehow, and tiiat, to me, is quite incredible." On her official Web site,, fans share testimonials about the singer's elTect on their lives and pose such queries as "What colors do Enya's albums make you imagine?" "The first time I heard 'Orinoco Flow' I actually felt a Uttle embarrassed because I thought the music was too personal. Fact is, it was hitting me at a very profound level," says EUiotHunt, 53, of Perth, Ontario. The Canadian says Enya's work inspired him to express his own feelings through painting. "Enya has infuenced me in my art," Hunt says. "I don't waste time doing paintings that don't come from that deep personal place, and she has helped to give me the courage to do this." To some listeners, Enya's music inspires them to strive for long-held dreams, others say her songs have carried them through the devastation of romantic breakups or the deaths of loved ones. Perhaps the ethereal quality of her harmonies evokes a sense of spirituality in them, Enya says, or maybe the music just calms jangled nerves. "When you open yourself to people through your music, they feel they can open up to you, and talk about something very personal to them," Enya says. "You go very deep within yourself when you're writing music." During a recent album-signing engagement in Japan, "the first lady in line walked up and just broke down in tears," Enya recalls. "She never said a word. It was incredible." This Sunday in... Tenth Annual Make A Difference Day Awards USA WEEKEND salutes over 2 million volunteers ''^ Salina Journal |#USA T

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