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recognize the signs of cystic
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damaging diseases, we're not
trying to alarm you.
Look at it this way. If your
child does NOT have C F or
another serious lung-damaging
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by checking with a doctor, or
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If your child DOES have
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chance for early diagnosis and
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salty taste of the skin; persistent, bulky
diarrhea; nasal polyps.
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28875 FRANKLIN ROAD At Northwestern Hwy.
70 FRIDAY, MAY:6,1988-
-
0
Artist Richard Kozlow is pictured with some of the paintings in his
"Victims" series.
Artist's 'Victims' Series
Previewed At Temple
VICTORIA BELYEU DIAZ
Special to The Jewish News
I
never experienced so
many emotions painting
(as) I did while painting
these. It was like a creative
frenzy. As I finished one, I was
into the next almost im-
mediately. The intensity was,
frankly, a little frightening."
So says noted Detroit artist,
Richard Kozlow, as he
describes what it was like to
put together a series of paint-
ings called "Victims," to be
shown today-Sunday at Bir-
mingham Temple as part of
its silver anniversary
observance.
"Everything I did was
right," adds Kozlow. "Every
time I picked up a brush, the
stroke I made was the right
stroke. Usually, if you paint,
you'll set the painting aside
to dry and, when you go back
to it, you'll find six or eight
things that need changing.
That just didn't happen here.
I don't think I changed two
things in all the series. I
think everything about this
was all ready for me, and it
just poured out. It would have
been hard to louse it up?'
The series is made up of 22
black-and-white paintings,
each measuring 26" x 40".
Kozlow chose to use tempera
on paper to reflect the series
theme of tragedy and in-
justice, although he hadn't
worked in that medium since
the 1950s, when he traveled
to Spain and painted several
unusual bullfight scenes in
black and white.
."I chose tempera and paper
here because I think tempera
is the most wonderful black
in all of art, and because
paper is the most exciting
surface you can paint on.
Also, it seems that, when I
paint death or paintings like
these, the colors are always
black and white. Frankly, I
think - that, when you see
blood painted black, you can
imagine it red. But if I paint
it red, it simply doesn't look
like blood?'
Kozlow, a highly-prolific ar-
tist who established his
reputation in the 1950s prin-
cipally as a contemporary
landscape painter, and then
went on to develop an eclectic
style, completed all 22 pain-
tings in the series during a
three-week period. He spent,
he recalls, an average of eight
hours a day on the project,
working from his studio in
Royal Oak.
He got the idea for the pro-
ject two years ago when
someone asked him to do a
poster for nuclear disarma-
ment, with the stipulation
that it be concluded with an
"upbeat note."
"I just said that would be
impossible," he explains. "I
can't think how I would have
ended something like that on
an upbeat note. The image I
had in mind was a screaming,
incinerated "survivor" in a
burning city."
That image did eventually
find its way in to Kozlow's
work, and will be a part of the
series shown at Birmingham
Temple. Other images include
a specter-like military figure
super-imposed on a waving
flag ("I take the military on
a lot," says the artist. "They
tend to wrap themselves in
the flag, and do unspeakable
things under the guise of be-
ing patriotic"); a church
prelate standing before a bur-
ning church ("At the time I
painted that, I was probably
thinking of the horrible
violence going on between the
Catholics and Portestants in
Ireland"); a pale body reflec-
ting the landscape of Central
America ("I have two
daughters and five grand--