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IF YOU WANT THE BEST GIVE US A TEST! Broasted & Bar-B-Q Chicken Bar-B-Q Ribs Seafood BROASTED, BAR-B-Q AND SEAFOOD, THAT'S WHAT WE DO BEST! CHICKEN & RIBS BY MILES CAN BE FURNISHED IN ANY QUANTITY FOR YOUR SPECIAL OCCASION 544-1211 COUPON 1 5% OFF T INE O I T NA &LCAB RRIYI: D OLUT With Coupon • Anyhour 7 Days • EXPIRES 2-19-87 Open Sun. thru Thurs. 11 a.m.-10 p.m. Fri. & Sat. 11 a.m. to 11 p.m. I CARRY-OUTS IN ANY QUANTITY FOR ALL OCCASIONS 1118 S. WOODWARD, Just N. of 10 Mile Next To The Zoo •STEAKS•SALADS•SANDWICHES 544-1211 54 Friday, February 13, 1987 THE DETROIT JEWISH NEWS ENTERTAINMENT Glass Man Continued from preceding page University, he taught ceramics at Michigan State University and then embarked on a year- long tour of Europe, the Mediterranean and northern Africa. After returning to the States, he studied glass with Herb BabcoCk at Detroit's Cen- ter for Creative Studies from 1980 to 1981 and was enthralled by the possibilities and new challenges of that artform. "I believe glass has become the sculpture medium of the 20th Century," Shulman says. "In the last decade or so, all of the rules have been broken. The focus of glass-blowers used to be limited to paperweights and beautiful stemware. Now the medium has expanded to incorporate In enormous range of objets d'art." Four years ago, he and his partner, Albert Young, ap- proached the Birmingham- Bloomfield Art Association with a proposal to rent an un- used small building behind the main facility which they wished to transform into a glass-blowing studio. For 3 1/2 months the pair put in .. painstaking 50 and 60-hour weeks to create a state-of-the- art workplace for themselves. "There's no blueprint for building a glass studio," in- forms Shulman. It's not like a ceramic kiln, where parts can be ordered. We had to lay all the pipes and do all the instal- lation ourselves." He says glass-blowing has not dramatically changed since ancient times. About 300 pounds of uncolored glass fill a large tank within a gas- powered oven, which must be kept at 2000 degrees around the clock. The artist sits on a bench, rolling and shaping the glass through a pipe which re- sembles an open-ended broom handle. To infuse color into the glass, chemically-colored glass- derived from oxides, pigments and stains manufactured in Germany and Calfornia, is blown into the clear glass. "The color palettes are actu- ally limited," explains Shul- man. "But you can acquire a broad range of the color spec- trum by the way the color rods are blown." When the desired shape is achieved, the piece goes into a lehr, or annealing oven, whose 900-degree temperature gradually acclimates the glass to a cooler temperature. The high temperatures are extremely tough on the equip- ment, and last December a furnace breakdown threw Shulman's work schedule off several days. "Keeping the studio running efficiently means an annual overhead of about $25,000," he says. Do the excessive heat and in- tense concentration required of him lead to frustration? Shul- man takes a rather philosophi- cal view of his situation. "First, I think you really must love fire to do what I do," he laughs. "But I'm really pretty low key. I don't actually view the finished piece as my ultimate goal. The goal is in the process itself." The often exploited stereotype of the brooding, temperamental artist doesn't apply to Shulman. He's a re- laxed, congenial individual who relishes the challenge of following his imagination and not always knowing where his instincts are going to take him. "I used to have tunnel vision. When I worked exclusively in clay, I sometimes put in 80- hour weeks, cranking out piece after piece. Since my trip abroad, which I feel was the finest year of my life, I have been in something of a grace period. I've been more content to let my ideas evolve natur- ally." That doesn't translate into a loss of productivity, but rather a more selective approach to his craft. His various artworks have been exhibited in at least 20 different Michigan galleries and he has exhibited in local temple shows. Last year, he participated in a major Balti- more exhibition which re- sulted in his work being sol- icited by 17 national galleries. He has been a participant in the Shain Park and the Ann Arbor Art Fairs for about 12 years. "They're enjoyable to do, but an artist needs to have many more outlets for his or her work. They're extremely com- petitive: for every booth you see, for example, at the Ann Arbor Art Fair, about 100 applicants nationwide have applied." He mentions that the heightened exposure the Bal- timore exhibit gave him made the difference between prev- iously doing about 10 art shows a year to the current four or five he is involved in. Whether he works in clay, bronze or glass, Shulman be- lieves he and other artists are always accountable for their work. "I see one of my key roles as educating the public. If I can transmit some significance of an object to a viewer, I feel I've done my job well." What he advises the stu- dents he teaches three nights weekly at BBAA glass work- shop is to constantly heed the value of balance. "Every piece should have excellent balance, color and line, regardless of its position. That goes for a clay coffee mug or a decorative ob- ject." Happily single, Shulman's respect for balance extends to his personal life. He exercises daily, follows a healthy diet, and enjoys the camaraderie of his three-year-old Sheltie, Sheinkeit (Yiddish for "hand- some"). He cherishes his Jewish background, saying, "I think our tradition's emphasis on ethics and honesty has been - a source of guidance for me in my creative work and in doing business with people." Asked if his career has taken the direction he intended, he confesses, 'I didn't take an art course until I was in college. Before that, I had always been crafts oriented, but from a con- struction and industrial arts perspective. So the work I've done in recent years has main- tained a freshness, and I'm constantly experimenting with new ideas." II] GOING PLACES Continued from preceding page FAMILIES DETROIT YOUTHEATRE: De- troit Institute of Arts, 5200 Woodward Ave., Martin Luther King Jr., musical, 11 a.m. and 2 p.m. Saturday, ad- mission, 832-2730. THEATER DOWNTOWN DINNER THEA- TER:Veterans Memorial Build- ing banquet hall, They're Play- ing Our Song, presented by Jimmy Launce Productions, cocktails 6:30 p.m., dinner at 7, curtain at 8:45 today, every Friday and Saturday, admis- sion, reservations, 224-6000. HILBERRY THEATRE:Wayne State University, A Delicate Balance 8 p.m. today As You Like lt, 2 and 8 p.m. Saturday, Amadeus 11 a.m. Tuesday, 8 p.m. Thursday, admission, 577-2972. ATTIC THEATRE: 7339 Third Ave. at West Grand Blvd., Ma Rainey's Black Bottom, now through Sunday, admission, 875-8285. MEADOW BROOK THEATRE: Oakland University, Roches- ter, A Flea In Her Ear, 8 p.m. Thursday through Feb. 22, admission, 377-3300. HENRY FORD MUSEUM THE- ATER: Dearborn, You Can't Take It With You, 8:30 p.m. today and Saturday, through March 21, admission, 271- 1620. ROSEDALE COMMUNITY PLAYERS: The Upstage, 21728 Grand River, Detroit, Par for the Corpse, 8 p.m. today and Saturday, admis- sion, 532-4010. UNIVERSITY PLAYERS: Trueblood Theatre, Frieze building, University of Michi- gan, The Miser, 9 p.m. Satur- day, 2 p.m. Sunday, admis- sion, 764-0450.