Category: Article

  • Cremaster 2

    Is Matthew Barney the George Lucas of art film? He devoted years of painstaking toil to a cycle of films, completing them, as Lucas did with the Star Wars franchise, in nonsequential order. They are also populated with exotic creatures, some of whom might not be out of place in a Star Wars flick. But while Lucas’ saga boils down to a good vs. evil battle, Barney’s Cremaster films … well, the fetal development motif gets a little complicated. Suffice it to say that Cremaster 2 (which premiered at the Walker in 1999) follows a backward narrative from the 1977 execution of Gary Gilmore (played by Barney) to an 1893 performance by Harry Houdini (who may have been Gilmore’s grandfather, and is played by Norman Mailer). Beyond that, you’re just going to have to take our word for it: This is truly weird and wondrous stuff. 612-375-7600, www.walkerart.org

  • À Tout de Suite

    Maybe the Fishing Hat Bandit could have picked up a dame if he hadn’t had such a dumpy fashion instinct. Because, according to the movies, girls go for bank robbers in a big way (see Bonnie and Clyde, above). French director Benoit Jacquot does an erotic thriller take on this attraction with the story of Lili, a Parisian art student (the very intense Islid De Besco), who follows her on-the-lam bank robber across Spain, Morocco, and Greece. Set in the 1970s, shot in black and white, and mostly wordless, this homage to the French New Wave explores the thrill of crime and the complexity of an attraction that defies common sense and even the instinct for self-preservation. 309 Oak St. S.E., Minneapolis; 612-331-3134; www.mnfilmarts.org

  • Suzanne Marrs

    Even on her deathbed, Eudora Welty was a classic Southern lady. When her doctor asked if he could do anything for her, she replied, “No, but thank you so much for inviting me to the party.” As genteel as she was in life, however, in her short stories Welty created some of the strangest and most perverse characters in American fiction, and her work goes a long way toward defining Southern writing as a realm of the weird. It explores unhappy families, solitary oddballs, religion run amok, and smothering small towns–all with an eye that is affectionate and humorous, but as unforgiving as a photograph. This biography, by Welty scholar Suzanne Marrs, tries to explain how such a nice Southern lady could write such very peculiar things.

  • Plastics and the Cool Factor

    Bakelite was invented in 1907, cellophane in 1913. Thus emerged the age of plastic, a substance that has since thoroughly invaded our kitchens, cars, and body tissues. But utilitarian doesn’t have to mean ugly. The best designers have used this medium, in its seemingly endless variety of forms, to create sleek, colorful gadgets that bring a little thrill to our everyday lives. On view here are some of the best examples of that stuff, from household appliances and toys to an iPod, which, frankly, looks silly labeled behind glass, even though its design sense is sublime. 612-870-3131; www.artsmia.org

  • My-T-Fine Bakery and Café

    This is what you get when the kitchen chemistry works out just so. Three women who once worked at the Loring have opened a jewel of a bakery/café that achieves a sweet balance between contemporary and cozy. Its apple-green walls and substantial chairs invite you to sit down, relax, and get to know one of the most delicate and beautiful chocolate birthday cakes imaginable, or some lemon-blueberry bread, or a dish of tart homemade applesauce. Try an in-house roasted turkey sandwich or wild-mushroom-goat cheese roulade if you’re over your sweet tooth. 4300 Bryant Ave. S., Minneapolis; 612-825-6308

  • Afton House Inn and Catfish Café

    Pining for a lazy river day? Since 1867, people who want to spend time with the languid St. Croix have headed to the Afton House Inn. The casual Catfish Saloon and Café serves hearty burgers and pizzas to fuel an impromptu stroll along the river. Also on the premises is the Wheel Room, a white-tablecloth affair whose servers make a show of tableside preparation, bringing out expertly done standards like Caesar salad, Steak Diane, and flaming Bananas Foster. The wine dinners often sell out, but it’s worth asking; items like roasted chayote and green apple soup, or grilled shrimp with tamarind couscous, paired with the right grapes and vintages, make this an inspired destination. 3291 S. St. Croix Trail, Afton; 651-436-8883; www.aftonhouseinn.com

  • Janis Hardy

    It’s awfully tempting to be a diva when you’re born with such a sweet soprano. But the Twin Citizen Janis Hardy has managed to become a key opera export with minimal incidence of temper tantrums. She regularly takes her pipes on the road, performing with the Houston Grand Opera, the San Francisco Opera, the Boston Opera, and, at home, the Minnesota Opera (she was part of its resident ensemble for ten years). Recently, she appeared in productions with Frank Theater and Theatre Latte Da, and is a semi-regular on Minnesota Public Radio’s A Prairie Home Companion. We caught up with this busy woman as she was preparing for the fourth incarnation of Sopranorama, the annual feast of songs written for–or stolen by–the soprano voice. Hardy and her singer friends were busy tinkering with a series of catchy fifties pop tunes for the event, and she said she was having such fun that if she were stranded on a desert isle, that’s just how she’d like to pass her tropical days. With a passion for live music that runs deep, she turns out to be one of our rare castaways who leaves behind her iPod and its Beach Boys MP3s. She wants her singing buddies instead–and a few other necessities.

    1.A giant bag filled with books, music, and writing paper and pens. I wouldn’t need to worry about reading the same books over and over, since I can never remember anything for longer than a few months anyway. And I can’t imagine being anywhere without music to sing or paper to write on.

    2.My singer pals, to sing the music with me, and to entertain me once my voice is too far gone to croak anything out.Plus, nobody knows better dirty jokes than singers.

    3.Several large dogs. Nobody should be without a big dog, ever!

    4.My photo albums. I’d like to be reminded of where I’ve been, who I’ve loved, of the adventures and misadventures that make life worth living. Without the past, the present and future are meaningless.

    5.I wouldn’t survive long enough without my family to enjoy the other four things.

    Janis Hardy, Maria Jette, and Molly Sue MacDonald, accompanied by Broadway conductor and pianist Andrew Cooke, perform in Sopranorama IV at the Southern Theater, August 26 to 28. 1420 Washington Ave. S., Minneapolis; 612-340-1725; www.southerntheater.org

  • Diamond Hand Grenade: New Work by Katherine Bernhardt, Rebecca Morris, and Anna Sew Hoy

    Midway Contemporary Art, through August 20 Hot stuff from both coasts. While lots of artists do cheeky or ironic or deadpan-cool takes on fashion models and magazine culture, New York painter Katherine Bernhardt has been getting acclaim for her caustic, expressionistic approach to these topics, which has a whiff of early eighties punk about it (some works are done on cardboard). Anna Sew Hoy’s sculptures are both repellent and fascinating, incorporating castoffs from the streets of L.A.: perfume bottles, stickers, cheap jewelry, eighties-era batwing novelty sweaters. One sculpture’s base is made from a trio of Styrofoam busts of Darth Vader. And the abstract paintings from Sew HoyÕs fellow Angeleno Rebecca Morris could be called the most traditional work here, except that her conflicts play out among passages of garish metallic paint, spray paint, and oils. In all, there’s ample trash and flash on display, in a show that’s just right for the dog days. 3338 University Ave. S.E., Minneapolis; 651-917-1851; www.midwayart.org

  • Count Basie Orchestra

    These days, jazz is rarely performed on a truly large scale, but the eighteen-piece Count Basie Orchestra isn’t really about these days. Basie’s orchestra (sans Basie, who died in 1984, in case you didn’t know) still swings, loudly and enthusiastically, keeping the music hot. And there appears to be no slowing down–this outfit still wins Grammys, writes songs, and even gets experimental, although the show relies heavily on the classic Basie songbook. Trombonist Bill Hughes, who originally worked with Basie in 1953, is the current director, and many of his musicians have histories with the Count or other luminaries of the jazz age. 612-371-5656; www.minnesotaorchestra.org.

  • Love Knows No Borders

    Viewed from room 1238 of the White Swan Hotel, the jagged ten-story tenements of Guangzhou, China, are softened by smog. Below, the United States Consulate complex sprawls beside century-old British colonial structures. “Pretty good view, isn’t it?” asks Paul Stueber, an earnest forty-four-year-old drum instructor from Minneapolis. He packs a baby bottle into a blue backpack. Beside him, his wife, Laurel, a forty-year-old schoolteacher, holds their newly adopted daughter, Olivia Ya Qun Stueber, age approximately fourteen months.

    “You have our passports, Paul?”

    “Yeah, I think I’ve got everything.”

    Paul makes a last, quick scan of the room where they have spent four days awaiting Olivia’s immigrant visa. The bed is covered with toys. A crib stands beside it. A folder stuffed thick with adoption-related documents is on the dresser. The Stuebers ride a dimly lit elevator car to the ground floor and join five families with whom they have spent the last two weeks traveling southern China. “Hey, Laurel,” exclaims an exuberant mother from Stillwater, her arms filled with her own infant Chinese daughter. “How’s Olivia?” The Stuebers merge into a mass group status report on feeding times, sleep schedules, colds, parent-child attachment, and current levels of apprehension regarding the transportation of the group’s six newly adopted children on long international flights.

    Unnoticed, the elevator discharges a young Chinese businessman and his two elderly parents. At first they don’t hesitate at the sight of white faces (the White Swan is favored by foreign businesspeople), but when the mother notices the Chinese babies, she stops mid-step, mouth agape. She and her family whisper through astonished smiles, and begin a slow circuit of the group, gazing upon them as if they were fine statuary. “Fat and healthy,” the mother declares in Mandarin. “Very good,” she adds in English, with a thumbs-up that is reciprocated by one of the new fathers.

    The elevator opens again and out walks Shirley Hu, a diminutive China-based adoption representative for Children’s Home Society and Family Services, a Minnesota-based agency providing adoption services across the U.S. “Everyone have passports?” The families fall behind her in a line out the door and into the lush colonial elegance of Shamian Island. “Families always call me Mother Duck,” confides the thirty-one-year-old Shanghai native, her voice rising into a giggle. “I hate it!” She walks in rapid, evenly paced steps, shoulders back, chin raised, and she never looks back. “They will not let me out of their sight,” she says with a confidence derived from leading hundreds of adoption groups through China.

    They pass dozens of American parents strolling with newly adopted Chinese babies and bypass shops with English language signs (Jenny’s Place, Susan’s Place) jammed with overpriced souvenirs and laundry services priced to beat the White Swan’s. At a parkway, they turn left and approach a long line of visa applicants awaiting interviews at the Consulate. Shirley walks right past them and shows the guard her passport and appointment letter. Immediately, she and the group are cleared to continue into a low-slung building where bags are X-rayed and everyone walks through a metal detector before crossing a courtyard and entering the ten-story consulate building.

    Inside, past another security checkpoint, a sign announces “American Citizen Section; Adoption Unit; Department Homeland Security.” Arrows point upstairs into a thirty-foot-long room dominated by a service counter and, behind it, the Adoption Unit’s office cubicles. Approximately twenty other families are already in the room, awaiting the oath that completes their adoptions. Shirley’s families are ushered to a small window where a secretary checks their passports against the consulate’s documents. When this is done, an American woman emerges from the offices with a microphone. “You are to be congratulated on completing this process and adopting your children,” she says, her voice broadcast through the room. “There’s only one last hoop to jump through. Please raise your right hand.” She pauses. “Do you swear or affirm that the information you provided the consulate is true and correct to the best of your knowledge?”

    The room rumbles with unsynchronized yeses and I dos.

    “Congratulations. Have a safe trip home.”

    At the far end of the room Laurel smiles at Olivia and coos, “Congratulations, sweetheart.” Paul places his right index finger into Olivia’s tiny left hand. “We’re going home,” he says in a high-pitched baby-talk voice.

    U.S. citizens adopt more Chinese orphans than children of any other nationality except their own, and it is a growing phenomenon. Since 1995, more than thirty-three thousand Chinese orphans have been granted visas to immigrate to the United States; in 2004 alone, 6,910 Chinese orphans, including Olivia Ya Qun Stueber, were granted immigrant status. “It seems like everyone I know happens to know somebody who wanted to talk to me about what it was like when they adopted in China,” explained a mother who was part of the Stuebers’ adoption group. “This is just not so weird anymore.”

    Paul and Laurel Stueber are not unusual adoptive parents; Ya Qun Luo is not an unusual Chinese orphan. The process by which they were declared a family was long ago organized into a set of steps, particularly in China, that can be precisely charted on a timeline. But just like a healthy pregnancy, that predictable process inevitably acquired its own unique narrative and personality.

    Around the corner from Southwest High School in Minneapolis is a tidy white bungalow. Solar lanterns line the straight front walkway, and directly in front of the house, hostas and lilies poke out in symmetrical rows. Though close to a school, the yard is unmarred by plastic toys or stroller wheels or sidewalk chalk.

    There is, however, one small sticker affixed to the front door, reminding firefighters of the pets inside—two pampered cats. Laurel Stueber gently brushes them from the couch before joining Paul on the love seat with a cup of hot coffee and soy milk. On the coffee table are two photographs of the little girl whom the Stuebers have yet to meet but are already beginning to call their daughter. “That’s our baby, that’s our child,” says Laurel. “Now she’s real. You see her face, you know who she is,” she continues, becoming tearful. “The waiting is so much harder because you know she’s there, you want to see her and hold her and find out everything about her and all you have is what’s written on the paper. So we look at her picture every day, and we miss her. It’s hard. It’s hard to wait.”

    That same anticipation permeates the small corner bedroom that awaits Olivia Ya Qun. The walls are a glowing salmon color, and the sheer appliquéd curtains grazing the oak floor are pulled back to allow the sun to shine through white mini-blinds. Two antique wooden dressers are polished to a gleam, and in the corner near the window sits the fully dressed crib. Despite the loving appointments, the room is, more than anything else, occupied by emptiness.

    “We had tried for a few years to have a child,” explains Laurel, “and then I was diagnosed with endometriosis. I was thirty-eight.” After a dizzying introduction to all the options for fertility treatments, potential surgeries, and the attendant odds and risks, the Stuebers turned away. “You’re considered high-risk for pregnancy at my age, and so you’re told about everything that might go wrong,” she says. “We considered all that, and the fact that fertility treatments don’t always work. We knew it wasn’t for us. We felt more comfortable with adoption, and we were drawn to international adoption right from the start.”

    The retelling is so matter-of-fact it makes it sound as if the decision to forgo childbirth was easy and painless. It wasn’t. “I didn’t have to grieve, exactly, over deciding between fertility treatments and adoption, because I did have—I did have a child that was stillborn several years before that,” says Laurel. She is staring to her left, beyond the picture window, and her eyes are filled with tears again. The cat jumps up beside her. “I just didn’t want to go through—.” Laurel stops and waits until she can speak again. “I was twenty-six or twenty-seven at the time. I had to go through birth in my fifth month, knowing. We just let it go after that, we didn’t really try. I wasn’t ready. We wanted to make sure we were stable in our careers. We just said for now we’re going to go on with our lives and so forth. Then when we were finally ready to try again, nothing happened.”

    Doctors determined that the stillborn child’s kidneys had failed to develop due to a rare abnormality. “They said it wasn’t genetic, just one of those odd things. But it was such a devastating blow, and then when you hear all the scary statistics, all the things that can happen when you get pregnant at an older age—I just didn’t want to go through that again. We were ready for a child and it wasn’t that important that it be a biological child. We just wanted a child to complete our family.”