University Press (Beaumont, Tex.), Vol. 71, No. 17, Ed. 1 Wednesday, November 2, 1994 Page: 3 of 6
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University Press
. Lamar University
Entertainment
Wednesday, November 2,1994
Page 3
‘A reflection of the ideas of style and beauty.’
Above,
Claudia Andujar
“Yanomami
Indians.”
Middleton/Liittsch wager,
“California Brown
Pelican.”
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Antonin Kratochvil,
“Pollution.”
Part I of the exhibit, “Images of the World,” con-
tains about 300 photographs from around the world.
It begins with a panorama of the Amazon,
its land and peoples, chronicled
by two Brazilian photogra-
phers during the past 15 years.
Images in this part range from
the western frontier of the
United States, the ancient monu-
ments of Europe, Asia and the
Middle East to the major
metropolitan areas of the world and
life of the inner cities such as Mexico
City, New York, Tokyo, and Beirut.
“The Hall of Globes” is the second
part of the environmental exhibition
and is represented by a darkened space
set with 120 illuminated standing globes.
The globes, designed by German artist Ingo
Gunther, represent a convergence of past
and present: traditional desktop globes, light-
ed from within, are resurfaced with carto-
graphic depictions of the global economy
and relationship of human societies to the
earth.
“It is a conceptual bridge between
the past and the future,” said Wendy
Watriss, curator and co-founder of
FotoFest. “It combines a 500-year-old
skill, globe-making, with the latest com-
puter data from satellites and other
information sources.”
The different globes show the
Earth’s fresh water reserves, refugee
currents, ozone depletion, population
volumes, pollution and political pris-
oners.
“The Earth Forum” is the
third environmental exhibit and
allows visitors ample opportunity to use inter-
active computer stations to access information
resources about the earth for adults and children. This
exhibition is being developed by the Houston
Museum of Natural Science and will be permanently
installed at the museum following FotoFest.
“The Earth Forum” has six workstations that allow
guests to use state-of-the-art technologies to try to
solve environmental problems challenging the Earth.
The interactive hardware gives users access to scientif-
ic data and models to form their ideas for solving envi-
ronmental problems.
“Fashion: Evolution/Revolution” is the second of
the major exhibits and focuses on fashion photogra-
phy of the 20th century and will span nine decades of
style. Curators of the collection are Etheleen Staley
and Taki Wise, co-founders of the Staley-Wise Gallery
in New York, one of the oldest fashion photography
galleries in the United States.
The fashion exhibition will focus primarily on U.S.
photographers and will include about 130 works of
both contemporary artists, including Horst, Richard
Avendon, Herb Ritts, Steven Meisel, Deborah
Turbeville, Ellen von Unwerth and Helmut Newton.
Visitors will be able to follow the various stages of
fashion photography through the century, from the
soft focus of feminism of tum-of-the-century fashion
photography to the sharp-edged glamour of the World
War II era.
“We see the show not just as pictures of fashion,
but as an evolution of manners, a reflection of the
ideas of style and beauty — the way people looked
and the way they had themselves portrayed,” Staley
said.
“American Voices: Latino/Chicano/Hispanic
Photography in the U.S.” is the first time a major body
of comtemporary photography from the oldest and
largest Spanish-language cultures in the United States
(Mexican-American, Puerto Rican and Cuban-
American) has been exhibited.
The work of 39 Latino photographic artists will
“speak” to issues of cultural origin, history, immi-
gration and the experience of working among cul-
tures, and will be displayed with text written in both
Spanish and English.
A point of interest to visitors will be the exhibition
of the first photograph ever made outside its perma-
I otol i-st. continued from page 1
nent exhibition space at the Harry Ransom
Humanities Research Center at the
University of Texas-Austin.
The 1826 photo was pro-
duced by Joseph Nicephore
Niepce in the village of St.
Loup-de-Varennes, France, and
shows the courtyard of his coun-
try estate. The image, on a pewter
plate sensitized with bitumen of
Judea, took a full eight hours of
exposure to produce.
Admission to the exhibition is $6
for adults. Discount tickets are avail-
able for $5 for groups of 10 or more
people. For more information about
FotoFest, contact FotoFest Inter-
national at (713) 840-9711.
Erwin Blumenfeld,
fashion, Dayton’s, circa 1955.
Courtesy Staley-Wise Gallery,
New York.
Robert Dawson from
the “Water in the West” series.
t/Pcoming
Dishman Gallery to present exhibit
The Dishman Art Gallery will present a retrospective by Robert O’Neill with
an opening reception Friday from 7 p.m. to 9 p.m. The work will be on display
through Nov. 28.
Gallery hours are 8 a.m. to 4:30 p.m. Monday through Thursday and 8 a.m. to
12 p.m. on Friday. Call 880-8141 for more information.
Lamarissimo! to present concert Thursday
Faculty artists and the Lamar Chamber Orchestra will present a concert at 8
p.m. Thursday in the Julie Rogers Theater. The concert will include music from
Handel, Dvorak and Gershwin, as well as jazz and Broadway musical pieces.
Lamarissimo! season tickets are available at the department of music and
theater. Ticket prices are $20 for adults and $8 for students. This price includes
admission to Thursday night’s performance as well as the remaining concerts in
the 1994-1995 season. Individual tickets will be on sale at the box office, begin-
ning at 7:15 p.m. Thursday, subject to availability. For more information, call
880-8144.
Lamar Dance Company postpones fall concert
Because of the unavailability of the University Theater, the Lamar Dance
Company has postponed its fall concert scheduled for Thursday and Friday until the
spring semester. Announcements of the re-scheduled program will be made in
advance of the performances.
Texas Artists Museum to exhibit student’s works
The Texas Artists Museum will feature an exhibit of works by Laura Lee Scott
titled “Old and New, Borrowed and Blue.” The exhibit will open with a reception
from 7 p.m. to 9 p.m. Friday. The Texas Artists Museum is located at 3501 Cultural
Drive, Port Arthur.
Art Studio exhibit to open Saturday
The Art Studio will host an opening reception for Bill Anderson’s exhibition,
titled “Harmonious Transformation,” Saturday from 7 p.m. to 10 p.m. The
exhibit will include recent paintings by the artist in conjunction with interactive
performances by musician Brad Sparkman and poet Sam Modica, both from
Dallas. The work will be on view at the studio through Nov. 30.
Gallery hours are 10 a.m. to 5 p.m. Monday through Friday, and Saturday by
appointment. For more information, call Terri Fox or Greg Busceme at 838-
5393.
Deadlines for submitting announcements for UPcoming is noon of the day
one week prior to publication. Announcements are run as space allows. Press
release forms are available for organization reporters in the University Press
office, 200 Setzer Student Center.
Information may also be mailed directly to the University Press, Lamar
University, P.O. Box 10055, Beaumont 77710.
Bang! Bang! You’re dead
Tarantino’s ‘Pulp Fiction’ no mete shoot-’em-np flick
Seames O’Grady
UP film reviewer
Quentin Tarantino is everything
decent society is supposed to be set up
to fight.
He came from a broken home, quit
high school, never even tried to go to
college, spent his twenties trying to
make it as an actor, and wound-up as a
clerk renting copies of “Top Gun” at
Video Archives in Torrence, Calif. For
all intents and purposes, the only way
this guy was going to be famous would
be if a UFO landed on his trailer and he
appeared on “Hard Copy” (“That dern
thing was just hoverin’ over my
Streamline...”).
But there was one thing that saved
Tarantino from this drive-through
lifestyle: the movies. Tarantino loved
going to the movies, and he absorbed
everything about them. He noticed the
camera angle, the pacing and rhythm of
the editing and enhancement of the
music. Nothing was lost to Tarantino. He
created a spooky knowledge of films —
not just the popular masterpieces of film
(“Citizen Kane,” “The Bicycle Thief,”
and “Grand Illusion”), but also the B-
movies of the ’40s and ’50s, Kung Fu
films, art house films and everything in
between.
Movie Review
POLPFICTIOII
& ikb&i&b&
out of 5
Samuel Jackson, left, John Travolta, center, and Harvey
Keitel, right, play petty thugs in “Pulp Fiction.”
All this knowledge manifested itself
in Tarantino’s directorial debut
“Reservoir Dogs” (1991), a brilliant film
about a failed diamond heist, and in the
scripts to “True Romance” and Natural
Born Killers” (directed by Tony Scott
and Oliver Stone).
Now Tarantino is back in the direc-
tor’s chair with “Pulp Fiction,” starring
John Travolta, Samuel L. Jackson, Uma
Thurman and Bruce Willis.
“Pulp Fiction,” which is an homage to
the ’30s crime magazine “Black Mask”
that featured the writing of Dashiell
Hammett and Raymond Chandler,
shows three stories that intertwine the
lives of a group of petty criminals.
The acting in “Pulp Fiction” is flaw-
less. Willis is actually good in something
that doesn’t have a burning skyscraper
or Cybil Shepard in it. Thurman is sassy
as hell and Tarantino, in a bit part, is
quirky and very funny.
The real stand-
outs in “Pulp
Fiction” are TVavolta
and Jackson (partic-
ularly Jackson).
There is a certain
ease that these men
give to thejr
ters that giv&ttpj
thing a believability.
Whether they are
shooting people or
talking about mira-
cles, you buy them as
hitmen and that
“ease” is at the heart
of why Tarantino is
the best American director since Martin
Scorsese.
Tarantino gives his characters a laid
back, almost mundane, dialogue that
doesn’t drive the story along, but creates
a fully formed character. The dialogue
also counter balances, even contradicts,
the evil acts that they perpetrate and
gives us laughs at the jaws of death. In
one scene, Travolta and Jackson discuss
the ramifications of a man giving a mar-
ried woman a foot message as they pre-
pare to kill some people. This doesn’t
give them an intelligence, but it gives
them a dimension that goes beyond
their trigger finger — something most
shoot-’em-up directors avoid.
The soundtrack adds to the contradic-
tions with selections from Dick Dale,
Dusty Springfield, A1 Green and the
Statler Brothers.
“Pulp Fiction” has a complex narra-
tive structure, inspired by the Glass fam-
ily stories by J.D. Salinger, but it is never
difficult to follow and seems shorter
than its three-hour length.
“Pulp Fiction” gives a slight sense of
deja vu to the film “Natural Born
Killers,” the film Tarantino wrote, but
later distanced himself from because of
director Stone’s re-writes. Tarantino
uses rear screen projection (something
Stone uses to death in “Natural Born
Killers”). In one scene, Willis is riding in
a cab. It is obvious that the screen
behind him is showing Broadway, during
the ’30s, in black and white. Whether
Tarantino meant it, the use of rear
screen projection is a witty slap in the
face at Stone and his mangling of
Tarantino’s original “Natural Born
Killers.”
^ Tarantino has been criticized for
making his films too violent, but that
really isn’t a concern for this reviewer.
The film is not as bloody as today’s
headlines, and those people who can’t
see past all the O positive flying around
(which there really isn’t much of in
“Pulp Fiction”) will be missing out on a
great movie.
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Malick, Stephan. University Press (Beaumont, Tex.), Vol. 71, No. 17, Ed. 1 Wednesday, November 2, 1994, newspaper, November 2, 1994; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth499576/m1/3/?q=Lamar+University: accessed June 1, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.