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Graduate
Student
Art
Appearing on these pages are works selected
Lo . .e Graduate Art Exhibition scheiused
to open April fourth. The showing will con-
tinue through April 8 at the . Rackham
Building between 8 a.m. to 10p.m.
THESE PAINTINGS are selected from
a collection of art chosen by each of 13
candidates for the Master of Fine Arts
degree as his own best work durin. wo
years of graduate study here. Although
these reproductions include only paint-
ings, the graduate exhibit will also in-
clude sculpture, ceramics and prints.
These selections show ' the involvement
of today's art student with national
trends in contemporary American art. As
one of the contributors expressed it: "The
automobile accident that killed Jackson
Pollock still rumbles. The young artist is
a part of that sound."
THUS VISITORS to the exhibit will
find hard-edged forms, vivid "op" colors,
and devices of abstracted shape such as
numerals. Another echo of contemporary
art "style" is the use of acrylic paints.
This new, plastic-based paint permits the
vibrancy of tone, the rigid definition of
line and contour, and the flat finish
which is the hallmark of so many con-
temporary artists.
What these young artists are trying to
do is to master and expand upon the ac-
cepted media and the popular techniques
of contemporary painters. They do nob
want to accept the currently" popular
methods as definitive, but only as means
to their own artistic ends. These paint-
ings, then, are the creative combination
of the artists' talents and intentions with
the artistic culture in which they live.
FROM WEEPING TO FRUITBEARING
Chris Overvoorde
CHRISTOBAL
Florence Rohn
The title is the gateway to understanding of this etching. To the left, the weeping willow, symbol of
misery and death. In the middle an old dead tree, its branches sticking out wildly, suggesting and
symbolizing the death of Christ on the tree. The right tree is full grown, blossoming, round and bulg-
ing with leaves, symb.olizing fruitfulness. The reformed concept of sin, salvation, and service is ex-
pressed in these trees. The dark areas are built up by many fine lines bitten into a zinc plate.
. . 4 3,O W A S S A
J. E. Rosenstein
Featured on the cover, this acrylic production illustrates many of the
most evident features of the technique. The flatness of finish, the
quick hard contour are all made possible by the special nature of
these plastic paints. The artist has selected brilliant, almost garish
hues which are optically demanding on the part of the viewer. How-
ever, in contrast with the immediate emotionality of the tone-which
is meant to reflect the clashing colors of the modern world-there
is the abstraction and intellectualization of the human form. The
grid effect is meant to involve the opposing elements in the painting,
providing a link between color and spacial concerns.
This portrait is an effort of the artist's personal in-
terest in both the surface of the painting and
the figure within an illustionistic space. An ex-
ploration is made into the space which shapes
a 3-dimensional figure, as well as such surface
concerns as the abstraction of lines.
ROUGE II
Florence Rohn
This painting of color and color interplay, fec
by thick, impasto streams of paint. The addec
viewer's interest to the surface and the rhythm
arrangements. Although still interested in the a
Rohn hopes to return to oils, to explore the g
offer.
Cfop; y16v
7/ism4naa
OVAL
PORTRAIT NUMBER THREE
CHECKERBOARD
Rhoda Bloom
COSMOS IV
David Churches
W yn Cortes
Miss Bloom works with the flat geometric shapes of stripes, checker-
boards, and circles set against a plane of limited color. A surface
tension is created between the defined, hard shapes and between
their context to each other and their context to the plane of the
canvas. Another area of expression is the contrast between the
black-gray tones of the checkerboard areas and the blaring colors
of other circular-forms.
The painting has a central excitement of color and raised texture,
surrounded by a flat, hard-edged shape. The result is the expres-
sion of an explosion not quite contained by the two edges which sur-
round it, the outer flat shape and the edge of the canvas itself.
These figure studies offer an approach to the study of the human face and form as
abstracted elements in the painting. The canvases show a careful division of surface
area, through the introduction of defined geometric shapes such as the oval and the
rectangle. Against these shapes, which draw the viewer's attention to the plane of the
picture, the figures play their varying roles in and out of depth. Miss Cortes states that
her desire is to offer the viewer a variety of associations between the different ele-
ments of the painting.
Page Four THE MICHIGAN DAILY MAGAZINE
Page Four
THE MICHIGAN DAILY MAGAZINE
SUNDAY,MARCH 20, 1966