Page Two

THE MICHIGAN DAILY

Tuesd©V March 23 1971


-7,uy vku1 -l* --) d17 I

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Kosaka
By LARRY ADELSON
Forsythe Gallery (201 Nickels
Arcade) is currently showing
woodblock prints by the contem-
porary -Japanese artist Ruuji
Kosaka. The prints are from,.Ko-
saka's "Blue Stone Series" done
in 1965, and, from his "Red Stone
Series" done in 1969.
According to the information
sheet, "Unlike the "Blue Stone
Series" which reflect the contem-
plative and introspective nature
of Zen influence, the "Red Stone
Series" express a more candid
and cheerful nature. The Mega-
tawa shape used throughout the
"Red Stone Series" represents
the freedom of primitve people
before they were brought atnder
the influence of Buddhism and
Confusianism, thus depicting an
earlier period of Japanese his-
tory." Comparing the two series,
one concludes that, if so, the Jap-
anese people are much better
off, civilized. While the 'more
recent) "Red Stone Series prints
are more daring in color aiad
composition, they are also much
less successful, having lostthe
superb dignity and control mani-
fest in the "Blue Stone Series".
Nobumitsu Fukui, a New York
artist whose work has the
'cachet' of being included in some 1



, Fukui exhibit in city


Garrick Ohisson: From
White Plains to Warsaw

center out. He feels that this al-
lows him, in working with color,
to escape what he feels to be the
unsubstantial quality of mini-
malist use of color.
In his development as an ab-
stract painter, Fukui has fol-
lowed Clement Greenberg's dic-
tum of 'simplify to express your-
self'. Greenberg is an art critic
who was one of, if not tne, pri-
mary populizers and supporters
of Abstract-Expressionism, the
movement which included such
artists as Jackson Pollack), but
has limited the simplificaU ons to
allow for a personal expressive
involvement in painting. An-
other determinant of his abstract
style is his pursuit of the "pure-
ly visual", the desire to create
images which are 'sui generis'
visual and which will defy equiv-
alent expression in any other
form.
Fukui's work has similarities
to Minimalist painters in his use
of discrete areas of unshaded
color, and is similar to some
Color Field painters in his use of
color gradients, but ultimately,
his concentration on geometric
form separates from either of
these schools. (Indeed, he is glad
to be free from the pressures

By DONALD SOSIN
It is always exciting to hear a
brilliant young musician just
beginning his career, and real-
ize that you will be able to hear
his playing progress and change
over t h e coming years, until
whatever ripe a g e he retires
from the concert stage.
Such a musician is Garrick
Ohlsson, 22-year-old pianist,
who recently gave a benefit re-
cital in his home town of White
Plains, N.Y. Throughout his pro-
gram of Liszt, Brahms, Chopin
and Louis Weingarden he dem-
onstrated the masterful techni-
que and splendid musicianship
that enabled him to win the In-
ternational Chopin Competi-
tion held in Warsaw last Oc-
tober.
Having heard h i s debut in
New York last year, I found his
performances of the Chopin E
major Scherzo and the Barcar-
colle extremely interesting. A
year ago, Ohlsson seemed intent
upon proving h i s virtuosity,
which he did, but one missed a
feeling of relaxation, which the
Barcarolle in particular de-
mands. Here the performance
was far more gentle, 'and if it
lacked the drama of the earlier
version, the fluidity more than
compensated for this.-

Brahms' Sonata in f minor is
not an easy piece to listen to -
the first and last movements
ramble on and become tiresome,
but the three middle movements
are gems, and Ohlsson polished
them carefully, letting their col-
ors shine. The.scherzo had the
sparkle of a diamond, while the
andante and thematically relat-
ed intermezzo were pearls, prop-
erly cool and reflective.
Louis Weingarden is a student
of Elliot Carter, and has won
the Prix de Rome. His Triptych
(1969) is based on Biblical ideas
-the sacrifice of Isaac, a psalm
of David, and the Resuirrection.
The music reflects t h i s pro-
gram, and careful listening re-
veals t h e representation of
thorns, stones, a n d angels'
wings. The work is essentially
chromatic, although drawing on
both tonal and atonal harmon-
ies. Sections in one harmonic
galaxy become transformed and

leadinto other areas, and there
is a feeling of unity and drama,
refreshing in an era where many
composers seem unconcerned
with subjectivity and dynamic
progressions of ideas.
Ohlsson opened his program
with Liszt's Sonetto 104 del Pe-
trarca, and here, too, the seren-
ity that he imparted to the oth-
er works was apparent, as well
as the wide variety of colors
that he is able to produce.
In his encore, the C minor
Mazurka of Chopin, he display-
ed a remarkable feeling for the
beat of the dance, with its sub-
tle nuances of rubato, and it
was easy to see how it was pos-
sible for him to win out over
the Poles and the Russians in
Warsaw: despite Artur Ruben-
stein's contentions that only
Poles can play Chopin correctly,
there was no doubt that Ohlsson
is among the greatest exponents
of that composer today.

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preciation of his color work
When they are awkward, they ef-
fectively disturb any such appre-
ciation. The success of his work
with color varies as well. At
times it can be intensely hot or
cool, the forms' wavy edges giv..
ing the colors life, and indeed
helping to escape the flatness
which can overcome hard-edge
painters. When the colors fail,
however, the simple forms, even
if well chosen, can't carry the
painting.
One of the interesting things
that came up in my conversa-j
tion with Fukui was the question
of the direction in vich hisI
work is moving. He pointed out
one of the pieces in the show
(called "No. C-10") as being in-
dicative. In No. C-10, while re-
taining his basic motif, he has
tightened and hardened the forn
and has added a strong back-
ground color instead of leaving
it blank as he usually does.
I feel that the piece is veryI
successful, the more conserva-
tive form doesn't conflict w h
the background color, and the
background plays nicely with
the cool grey of the form, add-
ing a newe element into the work
which deepens it.
In addition to being interesting
as an indication of a new direrc-
The Michigan Daily, edited and man-
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tion in the artist's work, the
piece is interesting technically.
It is a "multiple painting", silk-
screened in an edition of twenty-
five, rather thickly on canvas.
The result looks more like a
painting than a print and has the
advantage of being cheaper than
an equivalent painting would be.

ANN ARBOR BLACK THEATRE
presents
black jewel
A Tribute to the Black Woman in
Poetry, Music, and Dance

"A ROARING
VISUAL DELIGHT!"
--L.A. TIMES

"A MUST"

-PLAYBOY

-I

WEDNESDAY & THURSDAY

March 24th & 25th

DEPARTMENT OF SPEECH STUDENT LABORATORY THEATRE
presents
MANEUVERS FOR SMALL HANDS
a mime show in mixed media by Robert Ashley

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25-27 Mar.-8 P.M.
28 Mar.-2 P.M.

Tickets, $2 now at
Stanger's, Discount Records

OPEN 12:45
SHOWS AT 1:15-3-5-7-9 p.m.
Corner of State and Liberty Sts,
DIAL 662-6264
NEXT
Dustin Hoffman
as
"LITTLE BIG MAN"

AND
AND WE OWN THE NIGHT
a black play by Jimmy Garrett
Promptly at 4:10 P.M. or earlier if theatre is filled
ARENA THEATRE, Frieze Building
ADMISSION FREE

---I

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SLAUSON JR. HIGH SCHOOL
1019 W. WASHINGTON, ANN ARBOR

4,'
4t

i

_. _ . T

Free Concert
U of Mv Laboratory Jazz Band
Guest Soloists: New Heavenly Blue

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UNIVERSITY
- F ICHtAN OFESSIONA L 1EA E ;! RF A
and CREATIVE ARTS FESTIVAL
" ARVELOUIS!" "A ILlESTONEV"
- ams BaldwinTIME MAGAZINE
"A TRIUMPH!"
-N. Y.POST

Rackham Aud. TONIGHT-8 p.m.

a - -- m

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20% Student DiscountV

I a

il___

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SEATS ON SALE!
PTP Ticket Office
Mendelssohn Lobby

I1

of the country's major collec-
tions of contemporary art, .open-
ed a one man show at the Lar.-
tern Gallery (301 N. Main).
Mr. Fukui has been working
with the motif of ripple-edged
geometric, forms built up tcf
overlaid areas of color, usually
shades of the same color, which
lighten successively from the

and vageries that association
with a school or fad can briny)
Reviewing the show, I would
say that the paintings and silk-
screen prints stand or fall on the
successful handling of his twoI
major concerns (color and form).
When his forms are well chos-
en and well placed they allow
for, and can contribute to, an ap-

Sumner Employment
Classic Crafts Corporation
is presently -interviewing for,
summer program
MUST BE ABLE TO TRAVEL
AND WORK 13 WEEKS
Storting April 30 thru July 31
Guaranteed Salary $2,000
Interviews
March 25, March 31, April 8
Phone 764-7460--Summer
Placement Office-212 SAB

. i 6HIGHEST "
DOORS OPEN 6:45
SHOWS AT 7 AND 9 -Wanda Hate. New York Daily News
NEXT: "GOING DOWN THE ROAD"


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Ann Arbor Women's Film Festival
MARCH 25th-MARCH 28th

THE UNIVERSITY OF MICHIGAN
SCHOOL OF MUSIC and DEPARTMENT OF ART
present KURT WEILL'S OPERA
TTHE THREE PENNY OPERA
.(IN ENGLISH)
Conductor: JOSEF. BLATT Stage Director: RALPH HERBERT
MARCh 26, 27, 29 and 30
at 8:00 P.M.
MENDELSSOHN THEATRE
ALL TICKETS $3.00
TICKET INFORMATION: 764-6118
MAIL ORDERS: School of Music Opera, Mendelssohn Theatre,
University of Michigan, Ann Arbor, Michigan 48104
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POPULAR PRICES!
LORmaine H6P7S RR Y'
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SUNDAY, MARCH 28-3 P.M.
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The Thrilling
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EVES: 7:30
MAT: 2:00 w/free children
FILMS AND WORKSHOPS
-FREE-

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TONIGHT'
Vanessa Redgrave
in

_-

11




Guerrilla Theatre
and Discussion of
MI+: Women's liberation

LOVES OF ISADORA
AUD. A-ANGELL HALL 7-9:30

SAT., MAR. 27, 8:30