Playing a stringed instrument requires dedication and practice, not to mention skyrocketing equipment costs.

UH student and cello musician John Croft said he purchased for $400 a Klaus Werner cello bow normally costing $1,200.

Sally Keller, a post-baccalaureate music performance major, plans to upgrade her $700 cello bow to a $1,600 John Norwood Lee bow.

"I'm working out some deals with the guy who's selling them," she said. "I've got some instruments on loan."

Keller, Croft and other UH string musicians said they are spending much of their budgets on bows because it makes such a difference in the way their instruments sound.

Why do they cost so much?

Most bows are made of pernambuco, a rare wood chosen for its qualities of unique density and extreme flexibility. The pernambuco tree grows only in a 50-square-mile area of a specific altitude in a mountainous region of Brazil, according to Peter Shaw, owner of Amati Violin Shop at 2472 Bolsover St. "Depletion of wood is a problem worldwide in the music industry," Shaw said. "You'd be staggered at the amount of wood used to make instruments. There must be millions of instruments made each year."

It takes several tons of wood to make just a few hundred bows. That's why the wood for a single bow costs $250, he said.

However, getting the wood is only the beginning. More problems can still occur while the bow is being made.

"The wood may have defects when you begin carving it," Shaw said. "If it's good, you'll have a good bow."

But if the wood has defects, it will eventually warp, he said.

Mark Lisle, owner of Lisle Violin Shop, complained that during the last five years, the cost of pernambuco wood has multiplied five times.

He cited lack of conservation resulting in wasted pernambuco and inefficient logging procedures, such as harvesting immature trees. The Brazilian government has driven up the cost by restricting its export.

The musician ultimately pays for the increase. A Wilhelm Raum bow without silver mounts cost $550 in 1992, from $300 in 1986, according to Lisle. A Horstschicker bow, silver mounted, made of higher quality wood, cost $1200 in 1992 from $750 in 1986.

Leonard Gold, owner of Gold Violin, said cello bow prices have a wide range, depending on quality. Fiberglass bows for students cost $40-$50, while higher quality bows can cost tens of thousands of dollars. One silver-bound bow was auctioned off at Christie's of London for $34,335 in 1989.

"The bows will probably increase in value faster than violins," said Gold, comparing the cello bow and the cello as well.

Carving the wood can be hazardous. "Pernambuco dust is a carcinogen," said Mark Lisle. His shop makes violins but lacks the controlled environment to make bows.

Gold is not sure the dust is carcinogenic. However, his son, Philip, makes bows and suffers from severe allergies whenever he finishes one. "I know very few bowmakers who are not affected by the wood," Gold said.






Women in chains, clad in black leather, a pornographic video game linked with the rape of three women, and a woman strapped naked to an electric chair are only a sample of images which were presented in a slide show Wednesday to discuss the denigration of women in the porn industry.

"Anyone who doesn't believe that women are harmed by pornography is not thinking," Jo Ann Evansgardner, Ph.D. and founder of UH's National Organization of Women, said.

Women's magazines, like Harper's Bazaar and Self, sometimes depict women in questionable situations. One slide taken from a photo layout in Self showed a woman's face next to a man's fist with the headline, "Makeup with a knock-out ease" by it.

In addition, racism can be found in the pornography industry as well. Magazines entitled Black Tit and Body and Latin Babes reinforce myths of African-American women and Hispanic women being overly sexual and promiscuous.

One slide showed a Hispanic woman under the caption "Salsa Hot and Salsa Sweet." Names like "Brown Sugar" and "Chocolate" are commonly used to refer to women of color in porn magazines.

"Even some people fighting for First Amendment rights agree that we need certain controls on this industry, which harms women," Evansgardner said.

Evansgardner also quoted from an article by Andrea Dworkin, who wrote a book, Pornography -- Men Possessing Women, which appeared in Sojourner magazine.

The article said, "Pornography is an essential issue because pornography says that women want to be hurt, forced, and abused; pornography says women want to be raped, battered, kidnapped, maimed; pornography says women want to be humiliated, shamed, defamed; pornography says that women say `No,' but mean `Yes' -- Yes to violence, Yes to pain."

After the highly publicized gang rape of a woman from New Bedford, Mass., in a poolhall in January 1983, Hustler Magazine placed a photograph in postcard-form of an almost-naked woman under the caption, "Greetings from New Bedford, Mass., The Portuguese Gang-Rape Capital of America."

Young men, and to a lesser extent, young women receive their sex education from pornography, and we need to see the potential harm of this, Evansgardner said.

A resolution passed on Nov. 18, 1990, at a NOW board meeting in Boston, recognized that "pornography, as distinct from erotica, is a systematic practice of exploitation and subordination based on sex, which differentially harms women and children."

"Any kind of dominance is pornographic. Erotica is different because nobody is being dominated or hurt, but it is not as popular. People won't pay money for it," Cathy Nelson Archer, president of NOW at UH, said.

Another slide featured a Minneapolis City Council investigation of the gang-rape of three American-Indian women in December 1983 by white men who made constant references to a pornographic video game during the rape. The X-rated home video game, "Custer's Revenge," shows male figures having erections, moving through a maze, scoring points by raping native American women. The player scoring the most rapes wins the game.

The women who were raped said their assailants repeatedly said, "This is more fun than Custer's Revenge" while they were raping their victims.

"Women are reduced to bodily parts and are dehumanized as sex objects that enjoy pain (in pornography)," Evansgardner said.

A model anti-pornography law drafted by Andrea Dworkin and Catherine Mackinnon, who co-authored a book on sexual harassment, states in its third section, "It shall be sex discrimination to produce, sell, exhibit, or distribute pornography, including through private clubs." The law states that pornography will be available, however, in libraries, universities and colleges for study purposes.

This model law was drafted from earlier versions originally introduced in Minneapolis and Indianapolis, yet it was rejected by Minneapolis' then-mayor, Donald Frazier. This proposed law would allow women involved in pornography to sue the pornography business for discrimination, Evansgardner said.

Creating laws dealing with trafficking in pornography, however, would allow the kind of censorship none of us wants, she said.

"Feminists are not against sexuality or nudity. Feminists want mutuality and equality," Debbie Antoon-Lucas, a political science major, said.






Houston outfielder Greyson Liles went 4-for-4 with a triple and two RBIs as the Cougars beat Stephen F. Austin 9-4 at Jaycee Field in Nacogdoches Tuesday.

Houston pitcher Justin Dorsey had eight strikeouts and gave up only two earned runs in six innings of action.

Glen Kimble also turned in a strong pitching performance for the Cougars, striking out four and not allowing an earned run in three innings of work.

Cougar centerfielder Phil Lewis, who had a 15-game hitting streak broken on Sunday, went 2-for-3 with an RBI. He continues to lead the SWC batting race with a .405 average.

Designated hitter R. D. Long added a game-high three RBIs in four at bats.

The win, combined with a TCU loss, kept the 19-19 Cougars out of the conference cellar.






Baseball Coach Bragg Stockton's goals for the Cougars are the same now as they were when he first took the position and the team went to the NCAA Regional finals in 1987.

He wants a national championship.

"I guess I'm the eternal optimist," Stockton said. "But I'm looking for us to win a national championship just as fast as we can."

The chances for this 19-19 Cougar team to even get a spot in the tournament look bleak. Stockton, however, said he has not given up hope.

"Baseball is a game where, if the whole team gets hot together, you can go a long way," Stockton said.

It will probably take an SWC team 35 wins to reach the tournament, but Stockton said he feels if the Cougars win 32 or 33 and finish third in the conference, their chances are strong for a berth.

Houston would have to win 13 of its remaining 18 games to reach Stockton's projected figure, but he said this is not impossible.

"We could do it if we play at the percentage we have for the last three weeks," Stockton said.

The Cougars are 10-6 since defeating Texas two out of three games on March 13 and 14. Before that series, they had dropped five straight and 10 of 13.

However, Houston is not as bad as their record indicates. They have been plagued by injuries, especially to the pitching staff, and they have lost a lot of close ball games.

Of the Cougars' 19 losses, 12 have been by two runs or less. Six have been by one run.

"We had a time when we lost all those one-run conference games where nobody was hitting the ball," Stockton said. "One by one, we started hitting, but then we started playing poor defense."

It doesn't help that two of the Cougars' most consistent hitters last season, senior outfielder Rusty Smajstrla and senior catcher Chris Tremie, are each hitting well below .200 in conference play.

"When you take a couple of guys like Tremie and Smajstrla, and they hit .300 combined, then you're hurting," Stockton said.

"Some of these guys are hitting .100 or .200 below what they've hit in the past, yet occasionally, they'll have a pretty good game and go three for four, but then they'll go zero for their next seven," Stockton said.

"So there's just not that consistency that you need to establish yourself as a conference contender," he said.

Stockton knows what it takes to win.

He has coached baseball for 32 years, from junior high to high school to junior college to the collegiate level.

During that span, he has won 11 conference championships and nine regional championships and taken four teams to collegiate championships.

While compiling a 694-285-4 record in 18 seasons as a collegiate coach, he has never had a losing record.

Stockton, who has authored three books on baseball, is as interested in what his players are doing off the field as on the field.

He urges his players to excel in school, not just meet NCAA standards for eligibility.

"For the last five years, we've led the men's division of the athletic department in grade point average," Stockton said. "This past semester, we were the highest we've ever been. We had ten players who were 3.0 or higher."

Stockton said what the players do off the field affects their play on the field.

"The world is filled with diversions, and it can really split your concentration," Stockton said. "I think that the off-the-field habits of some of the players probably have divided their attention."

Stockton said he advocates mental preparations off the diamond, something he said many players ignore.

"I'm a big advocate of simulation away from the ballpark. To get off by yourself in front of a mirror or a homemade strike zone and deal with game circumstances and pick out those pitches that you need to work on so that when it happens in a game on conference weekend, you're more at ease.

"It's like `Hey, I've been here 75,000 times already,' and your probability of being successful is a lot better."

Stockton said the lure of professional baseball could be hurting some of the players.

"For the seniors, it's their last year, and they want to impress the scouts, and the fear of failure just eats them up."

But Stockton believes it is not too late for the Cougars to turn their season around.

We've still got time to do something if the players would just do it."

The formula is simple, Stockton said.

"We just need to get the pitching with the defense, with the baserunning, with the bunting, with the hitting and put it all together."






A single sheet of paper signed by UH Hearing Board Chair Tiffany Russell sounded the death knell of Damien Kauta's embryonic Students' Association presidency.

The board entertained closing arguments Wednesday night, giving YES-candidate Rusty Hruska's attorney her chance at the stand and giving PRIDE president-elect Damien Kauta a chance to squeeze in a late defense.

After hearing the testimony, the board found fraud to have been perpetrated in both the general and run-off SA elections, disqualifying Kauta and refusing to certify the results for the presidential election. All other positions will remain as was voted on in the general election.

Furthermore, the board called for a new presidential election to be held between the remaining candidates, Eric De Beer, Rusty Hruska and Andrew Monzon.

The board's decision also said written reasonings behind its finding would be forthcoming.

Hruska's attorney, Denise Smith, a UH alumna and ex-member of the Students' Association, started off the closing arguments.

"The most important thing is to preserve the integrity of SA," Smith said.

Smith emphasized the fact that Kauta never brought forth any witnesses to counter the accusations.

Kauta said that strategy was a mistake, but he didn't feel it was necessary because the burden of proof was on Hruska. However, throughout the proceedings, hearing board members advised the participants that "this is not a court. Courtroom rules of procedure don't apply."

Kauta said, "I could have brought up people from my campaign (to testify for Kauta). I could have brought up Eric De Beer (defeated PLAID presidential candidate)."

Smith said Kauta made admissions to his own guilt in the manner in which he posed his own cross-examination questions.

Kauta asked questions prefaced with the phrase, "Now, when I said that," referring to when Kauta allegedly bragged to several people about ballot-stuffing, presuming it actually happened.

Kauta said, "I approached everything that was discussed in there as hypothetical."

Smith also said it was Kauta who first brought the issue of race into the proceedings.

"It is an insult for Mr. Kauta to come in here and tell this court that this is a matter of race," she said.

In closing, Smith asked the board to either disqualify Kauta from the general or run-off election or to hold a new election, saying "the court has little choice."

Smith also said Kauta never denied the charges to the board.

Though he did not do so during the hearing, Kauta denied the charges to the Daily Cougar.

Kauta used his closing remarks as the mainstay of his defense, attempting to discredit each of Hruska's witnesses.

Kauta said Ronald Richard didn't "wash his hands" of Kauta's campaign, but was fired. Kauta said Richard testified because it was his last chance to attain the higher office of executive director of the Student Program Board than the one Kauta had promised in his administration if he won.

Kauta questioned William Carroll's testimony that he saw poll workers stuffing ballots at the UC Satellite from outside the 50-foot campaigning boundary and through the tinted glass.

Kauta finally criticized SA President Michael Berry's testimony as to why he failed to lodge a formal complaint when Kauta allegedly told him he had stuffed ballots instead of choosing to handle it by informally telling Hruska and election commissioner Stefan Murry.

Berry said he was trying to preserve SA's integrity in the way he handled what he had heard.

Kauta also complained to The Daily Cougar, but not to the board, that he had not been given access to a list of witnesses and their expected testimonies three days prior to the hearing as per Student Life policy.






UHPD arrested a student Tuesday afternoon after he allegedly fired a gun in parking lot 16B, apparently attempting to stop the burglary of a vehicle neighboring his truck, UH police said.

Keith Brannon Lloyd, 19, an undeclared freshman, has been charged with possession of a weapon on state property, a third-degree felony.

UHPD Lt. Brad Wigtil said police found signs of forced entry on a nearby Oldsmobile. He said the incident may be related to one that occurred earlier in lot 16A, when three males allegedly stole a different Oldsmobile.

Wigtil said Lloyd was not carrying a weapon, but police searched his truck and found a .22 semi-automatic pistol.

One of the witnesses, who wished to remain anonymous, said she was sitting in her car when she heard the commotion.

"I heard somebody say `freeze,'" she said, "and I looked out my window, and he was less then 100 feet away. I expected to see a policeman. It was a guy in a T-shirt, and he had a gun in his hand, and he got in his truck and drove out of the parking lot."

She recorded his license plate number, and UHPD arrived within a minute.

"As he (the policeman) was talking," she said, "the guy pulled back into the lot and went back over to the area where he fired the gun and got out of his car, and the police officer said `freeze' to him and got out his gun.

"The police officer held him at gunpoint for 10-20 seconds, and nobody did or said anything.

"I've never seen anybody held at gunpoint. I was scared to death. I've never seen a gun look so real."

Another witness, John House, a senior printmaking major, said he followed a responding police car because it was going fast. He said several police cars converged "out of nowhere" and that so many vehicles caused a high level of tension.

House said Lloyd's gun looked small compared to the policemen's, which he called "monster handguns."

Lloyd referred questions to his attorney, George Secrest, who could not be reached by press time.





The removal of a photograph from a public exhibit because it was "too intense" has triggered a months-long battle between a University of Alaska student and an Anchorage library.

Last summer, after a devastating break-up with a girlfriend, Jonatha Green created a photographic self-portrait to express his pain. In it, he was naked and kneeling on the ground. His chest was colored to look as if it had been surgically opened, and he was clutching a pig's heart in front of it.

Green, a sophomore and president of the university's camera club, called the picture "Heart Torn Out." He entered it in the University of Alaska's sixth annual art show. Along with over 50 other entries, the photo was scheduled to be placed on display last July at Anchorage's Loussac Library.

However, librarian Anne Oliphant decided it should be eliminated from the exhibit because it was "too intense" and violent to be seen by children.

The removal of the image, along with three other photos, created a legal and philosophical battle that remains unresolved. Shortly after the incident, American Civil Liberties Union attorneys contacted Green and Ann Roush, creator of the other three banned photos. The ACLU told the students their rights had been violated, Green said.

Initially, he and Roush had agreed with Oliphant, Green said. After talking with ACLU lawyers, he changed his mind. "I felt like I had been robbed," he said.

"This is a much bigger issue than just my photos," Roush said.

Two of her photos depicted frontal male nudity. "But they were very shadowy," she said. The third, however, was merely a man sitting in a chair with his face away from the camera. Only his bare back and the top of his buttocks could be seen, she said.

Roush and Green went to court, and a judge ordered the library to extend the exhibit several days so the pictures could be displayed.

Although the exhibit is over, the students and their lawyer, Jeffrey Mayhook, are still fighting to make sure "This doesn't happen to anyone else," Roush said.

They filed a complaint to get Loussac Library to adhere to the American Library Association's (ALA) Bill of Rights, she said. The association's guidelines discourage censorship, and since Loussac is a member of the organization, the library should adhere to ALA's rules, Roush said.

Loussac is run by the municipality of Anchorage, and city attorney Dennis Lazarus said the students have no case. "They alleged that we violated a policy, and we didn't even have that policy," he said.






These days, movies aren't just made in Hollywood.

As production companies scout different locations and different looks, college campuses nationwide have caught their attention.

"I didn't ever realize there were as many campuses in movies as there are until I got involved with it," said Carolyn Wynens, coordinator of community relations at Agnes Scott College in Atlanta.

Recent examples alone are numerous -- Little Man Tate, Driving Miss Daisy, Back to School, Fried Green Tomatoes and Woody Allen's latest project, still in the works in New York City.

"Typically, (the film company) will send location scouts to look over the campus," said Beverly Solochek, director of public relations at Barnard College, where Allen filmed some scenes for his upcoming movie. "They want to know, do we have the right look, the right light, the space that they need?"

How the scouts find the campuses varies. Often, colleges are suggested by state or city film commissions. Just as frequently, production companies have certain campuses in mind that they suggest to the commission or to the school directly.

The Indiana Film Commission doesn't solicit films at its schools, but, "We do get requests, usually for Notre Dame, Indiana University and Ball State," said Lisa Duda, a member of the IFC. "We then usually talk to the president of the school or an administrator and tell them the storyline because most don't want to be associated with something negative.

"Then, we let them handle it," Duda said.

One of the most well-known movies filmed at a college in Indiana is Breaking Away," shot almost entirely on the Indiana University campus in the 1970s.

Miami University, in Oxford, Ohio, about 30 miles northwest of Cincinnati, got involved as a possible film site for "Little Man Tate" through the Cincinnati Film Commission, which persuaded director Jodie Foster to film the movie primarily in Cincinnati and surrounding areas.

The same setup worked for Agnes Scott College in Atlanta, where pieces of Fried Green Tomatoes and the award-winning Driving Miss Daisy were filmed after the Georgia State Film Commission, in an attempt to bring more television and film projects to the state, added the small women's college to its list of possible locations.

Some of the projects filmed at Agnes Scott include an upcoming NBC movie called The Nightman, an upcoming USA network film White Lie with Gregory Hines, parts of the film The Four Seasons with Alan Alda, and a Hallmark Hall of Fame TV movie, Decoration Day, with James Garner.

Wynens credits the appeal of the school to its "picturesque" campus, filled with a mix of century-old buildings and Southern Victorian homes and parlors.

Solochek said Barnard, scouted by several production companies in the past, is attractive because the school "is well established in the New York community and because any number of production people live near" the school's Broadway location.

Allen's crew filmed in some classrooms, professors' offices and used some exterior shots of campus buildings.

A similar setup was used at Miami for Little Man Tate. Foster spent the summer of 1990 shooting at the school's ice arena and some campus buildings as well as the Tau Kappa Epsilon fraternity house.

Some local parking meters were removed in front of the TKE house, used in the film as the home of a child psychologist played by Dianne Wiest, and license plates on cars lining the streets were switched from Ohio to Massachusetts.

"They wanted a school that looked like an East Coast school," says Holly Wissing, director of Miami's news bureau. "We have some traditional, Georgian architecture. Jodie Foster and others looked around and were very impressed."

The filmmakers paid all of the schools fees for use of the campuses. None would say how much, but at Miami, Wissing said the school just broke even.

"We are proud to have our name associated with (Little Man Tate)," Wissing says. "What we charged, basically, were our expenses."

Wynens said "the fees vary from institution to institution" and that although Agnes Scott isn't getting rich on its deal, "it is nice to have the extra income."

Not only do the films bring visibility and sometimes profit to the schools, they also give students a chance to get involved.

About 50 to 100 students worked as extras on the Woody Allen film, and many students served as extras in Little Man Tate, as well. Wynens said Agnes Scott students frequently get involved in some of the projects there.

Erika Staton, a junior studying dietetics at Miami, landed a rare speaking part in "Little Man Tate" after auditioning with about 2,000 others.

"I didn't think I had a chance," she said.

Staton had to join the actors' union for her line, but made about $500 for her half-day's work. In the movie, Staton asks Adam Hann-Byrd, who played Fred Tate, "Are you lost, sweetie?" as the child genius walks through the campus.

"In the end, they changed my line to, `Have you lost your mother, sweetie?" Staton said, and although the film's producers had someone else's voice dubbed over her line, "My name was still in the credits," she said.

Staton, who models in the Cincinnati area, doesn't have any plans to pursue an acting career, but says she enjoyed her exposure to the film industry.

"I talked to almost all (of the actors)," she says. "I loved it. I thought it was great. It was a great learning experience."

The schools agree, even though what they learned wasn't always convenient and didn't always give them a happy ending.

"The unhappy news about Fried Green Tomatoes is that the scenes filmed (at Agnes Scott) were edited out," Wyens says. "The same thing happened in Driving Miss Daisy because they always film more than they use. That makes us sad because one won an Academy Award."






To encourage more adults to further their education, UH is offering the Adult Admission Option Program to help students 25 years old and older to accept the challenges college life offers.

"There is such a big demand for our program," Susan Zwieg, an assistant director for high school and college relations, said. "Many of our participants (students enrolled in AAOP) are people with their own careers and businesses, but they are wanting to go back to school."

To be involved with AAOP, students must be at least 25 years old, maintain a 2.0 GPA, have a high school diploma or its equivalent and cannot have gone to an accredited high school or college in the last five years, Ann Reinig, coordinator of freshman admissions, said.

"When students come into the AAOP, we are trying to offer them a second chance or a clear slate to start their education over again," Alfred Rodriguez, coordinator of transfer admissions, said.

The assistants in the AAOP try to see if the credits participants have earned in the past can go toward students' desired majors.

"We let the department of the student's desired major look at the old transcript and make the decision (whether or not the credits can be accepted)," Rodriguez said.

After students are accepted to the AAOP, they are usually sent to the academic advising center located in room 320 in the Student Service Center building.

"We send them to the academic advising center because we think it's real important they get all questions answered about their enrolling," Reinig said.

If AAOP instructors predict they won't do well in the program, they usually suggest the students go to a two-year college, Zwieg said.

"We don't want the students to come here and fail if we can prevent it from happening," Zwieg said.

AAOP started in the spring of 1989. "We were very excited when the program was set into place," Zwieg said.

"After the first semester, 72 percent of the students in the program had over a "C" average. Sixteen percent had 4.0 GPA's," Rodriguez said.

The AAOP has more than one hundred participants each semester. In the fall of 1991, the program had 141 participants, Zwieg said.

People hear about the program, usually by word-of-mouth, but the program is also advertised in the catalogs, Reinig said.






Not content to shy away from controversial issues, George Krause, internationally acclaimed photographer and founder of the UH Photography Department, will address several touchy topics in a lecture this evening.

According to Krause, "Universal Issues," the last in the UH Inventive Minds Lecture Series, will examine the larger issues in life.

"The great themes are death, sexuality or sensuality and spirituality," he said.

Krause, who started UH's photography department in 1975, first realized his interest in photography when he swapped cameras with a fellow soldier during a stint in the Army. Krause, who owned an outmoded model, obviously got the better deal.

"Somehow, we switched cameras, and I realized what I hadn't been seeing," he said.

It was Krause's wife, however, who convinced him to make it a career.

"I had done some experimental rolls of transparency color, and she picked them up for me.

"When I came home one evening, I opened the door, and there was this trail of slides going from one room into the next. I picked up each one and looked at it very excitedly.

"When I got to the last room, she had built a little altar with the best slides, and I think that's when I became a photographer," he said.

Krause, who was living in Philadelphia, moved into the advertising profession, doing work for a pharmaceutical company, but soon realized he was not cut out for the high-pressured atmosphere.

"I was teaching, doing my own work and doing advertising work. At this point, my appendix started to rupture, and I couldn't stop working to have it taken care of.

When he almost died, he came to a turning point in his life. The decision entailed moving south, leaving the advertising world and focusing his attention on teaching and perfecting his own work.

That's how Krause came to UH at the invitation of George Bunker, then-chair of the Art Department. Krause has been an instructor at the university since then, taking occasional sabbaticals to practice his own craft.

One such absence occurred in 1976 when he won the Prix de Rome fellowship.

"I applied as a photographer in the design and environment category," he said. "I was the first photographer to receive the prize."

The Museum of Fine Arts is currently showing a retrospective of Krause's photographs spanning his 30-year career. Although it is not the first, it is the most comprehensive.

"It is the largest, the most accurate and the most intelligent. Ann Tucker, the curator, did a wonderful job of selecting. I'm very secure with her selections," Krause said.

The exhibit is broken into four categories dealing with street scenes, saints and martyrs, cemetery images and a nude series.

Krause acknowledges the controversial nature of the subject.

"I don't set out to be controversial. I think any time you deal with something that is so much a part of our daily life, things that we still haven't come to grips with, if you deal with it honestly, you will touch a nerve.

"There is something about my personality that likes to play with that nerve and pull the rug out from under the audience," he said.

Although Krause is happy with the popularity of photography as an art form, he admits there can be a downside to the limelight.

"I think there was a period when it was too popular. Everyone wanted to be a photographer, and it almost became too easy.

"It seems like it happens so quickly, but there's a lifetime that goes into it, all one's experiences, attitudes, thoughts and vision. I don't think people realize that," he said.

His lecture will begin at 7 p.m. tonight in the Shamrock Ballroom of the UH Hilton.




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