THE MICHIGAN DAILY Thursday, April 1, 1971 THE MICHIGAN DAILY Thur~day, April 1, 1971 ,f art From' By S. THETE Keeping in tune with the times, art has broken out of the mu- seum walls and onto the streets. That figure you see skulking over the diag, peering intently and taking notes is no CIA agent, he is the local culture vulture come down from the heights and re- lating to the art of the People. Ann Arbor, being the self-pro- claimed Athens of the Midwest, and priding itself on being Pn is- land of culture awash in the sea of midwestern provincialism, proves to be fertile ground for this new breed: the street aes- thete. If the traditional art critic was an artist 'manque', the street aesthete is both anarchist and a vandal 'manque' quivering with delight as he disco:rers a new defacement and prepares to absorb it into his opus. Street art in Ann Arbor has undergone a dramatic change in the past year. The 'chef d'oeuvre' of the old style, the "Beulah, peel me a grape" sign which graced the construction fence of the new General Library stack has been torn down, and, while it will live forever in the hearts of those of us who loved it, and while a few remnants of that movement remain, it is obvious that that particular style of ex- pression has become passe. The masterwork of the new style of street art is the fence in front of the new dental school. In keep- ing with the tenor of the times, it is the work of a large number the muh of artists who have felt free to work free from the constraints of an overseer, giving the piece a depth of style which transcends the limitations of individual ef- fort. As is true of so many other things, the whole is more than the simple sum of the parts. The other modern aspect of this work is its dual kineticism. Since the piece is best seen from a moving vehicle, we have the kinetic quality of the viewe: in relation to the synchronic wvsual relations present in the configur- ations of the fence at any single time. On the other hand, as one passes past the fence over time. one becomes aware of the dia- chronic qualities of the work, changing as it does from day to day. In this, the fence obviously shows the influence of television and relations to the contempor- ary school called Process Ari which has roots in the Dadaist movement. Also showing on campus is a show by some visiting artists of the Ohio State University rseum into the school. Despite a very limited palette, these painters have added a diversity to the exhibi- tion and a few of their works succeed admirably. My personal favorite is located on a double- headed parking meter on N. In- galls. The 'O' has been sprayed on the first meter, and ,the 'U' on the second. The 'S', however, has been painted between the two so that half of it is in the same plane as the other letters and half of it is in a plane per- pendicular to the rest giving the reviewer the chance to pop the oh so au courant question: "Is it painting, or is it sculpture?" On the whole, the exhibition is successful and there are plans afoot to turn it into an annual event. There has also been a techno- logical advance in recent grafitti. Spray Aerosol painting has, in a very short time, become he domi- nant medium. While purists of the old school bemoan this, con- sidering it to be an indication of a lapse in commitment on the part of younger artists, I feel that it must be seen as part of the move towards more expressive and therefore more spontaneous means of techniques. The French Structuralist c r i t i c, Lee V. Strauss, has pointed >ut the ex- istence of an interesting dualiy in regard to between the spray- painters and the sand-blasters. The spray - painters add a for- eign element to the wall being painted and are generally anti- establishmentarian. T h e Sand- blasters, on the other hand, elimi- nate foreign elements (including the dirt which has come to rest on the wall) and are agents of the establishment, and therefore are, ultimately, anti-disestablish- mentarian. Last but not least, we come to the "Madonna and Child" of the street art world: the Woman's Liberation symbol. This is a sub- ject worthy of a full article de- voted to the comparative study of the various renditions of this basic motif. Such a study would be a definitive work in the field street and would provide some insigt into the role of the individual street artist, an all too often anonymous figure. Here, how- ever, let me limit myself to a dis- cussion of the implications of a single instance of the oeuvre, leaving a more general survey to each individual. The particular symbol is located on a window at the southeast corner of Haven Hall. It is executed in a pleas- antly fluid style, but the its in- W terest lies in its being on a win- dow. This allows it to be seen from two opposing Jirections giv- ing the viewer cause to pause and speculate as to whether this is an indication that the artist too goes both ways. Pentangle: New musical trend So, if Spring has indeed ar- rived, go, out into the streets and become cultured. Armed with the courage and the proper pretention, nothing can escape the grasp of the liberally educat- ed aesthete. Art transcends all mundane meaning and the true and devoted snob can so- trans- cend all meaning himself. U By DANIEL ZWERDLING Pentangle, Cruel Sister, Reprise 6430 Americans usually think all folk ballads are rooted in the tra- ditions of pioneer culture, barge towns on the Ohio or cowboy feuds in Laredo. But the British Isles have nourished a rich tra- dition of ballads and country songs of love and revenge, which Scottish and English folksingers have been introducing with great success in the United States- especially- at folk festivals, and at coffee houses like the Ark in Ann-Arbor. Pentangle started making re- cords about the time Bob Dylan's John Wesley Harding broke de- cisively from rock and started music back to simple folk. The group - is a conglomeration of five extraordinary musicians, who-particularly guitarist John Renbourn-do solo work on their own. Their newest album Cruel Sister-is a superbly beautiful, sensitive blend of traditional folk tunes, flavored by rugged, lonely coasts, and her medieval and Elizabethan musical heri- tage. John Renbourn, Lady and the Unicorn, Reprise 6406 John Renbourn leaves Pent- angle for his own album of medi- eval folk and early classical in- strumentals played with a con- temporary perspective. "I have not presumed to reproduce early music as it would originally have been played," Renbourn writes, but .no one can fault his flawless synthesis (of these early musical vignettes) with acoustic guitar, flute, iola, glockenspiel andheven sitar-infusing them with an incredible vitality and soft sensitivity. In two 14th Cen- tury Italian pieces, Lamento di Tristan and La Rotta, Renbourn doubles the melody on glocken- speil aid sitar; in the 16th cen- tury song Western Wynde, a flute and violacourting each other in an Elizabethan dance, then play in fugue, break into a jazz improvisation, and then subside again into the restraits of the original song. The albui includes a sarabande in B minor by Bach and a version of Scar- borough Fair. Renbourn has forged an out- standing group for this album and has virtuosity binds it to- gether. Buy this record for your tenderest moments - sipping some wine, crying a bit, perhaps making love-or lapsing into sleep. Pentangle's lyrics are roofed in the 18th and 19th century: they sing of lover's triangles, trage- dies of deception and violence (two suicides and one head chopped off, in "Jack Orion") or ships lost at sea. With recordcrs, dulcitone, tamborine and double bass, Pentangle gives the songs an older, classical backdrop-- and then.using acoustic and elec- tric guitar, bring the mix back into, the twentieth century. With incredible restraint, Pentangle can weave from a recorder con- sort with tambourine into jazz improvisations, perhaps with a dulcitone and electric guitar. Renbourn's lyrical electric guitar squiggles softly behind the vo- cals. Most of the vocals Pre by "Jacqui," a woman with a clear, firm alto. She does a beautiful job singing unaccompanied on "When I was in My Prime"~-- like the best of Joan Baez with her nasal sharp edge rounded and softened. Jerry Lee Lewis Gospel Album. "In Loving Memories," Mercury SR 61318. This is the fellow who brought us "Goodness Gracious, Sweet Balls of Fire," so don't desecrate his name by confusing him with Jerry Lewis' insipid son. Jerry Lee comes right from Ferriday, La. where he started singing at the Little Assembly of God Church then moved cn to Bible College in Waxahatchie, Texas. So he knows his gospel.. If you love driving late at night past 10-speed Macks over lonely highwars somewhere between Chicago and Omaha, with your radio tuned to one of those 50,000 watt stations out of Texas and Nashville, this album's for you. It's truck stop music--meaning, not black gospel, heaven forbid, but white gospel with a little rock and country blues flavor. Steel guitar, a country fiddle, plus the singing Jordinaires and Nashville SoundS back up Jerry Lee on this his first gospel ven- ture. Sister Linda Gail makes a guest appearance, singing duet with Jerry on "I Know That Jesus Will Be There." She sounds like a less saccharin Connie Francis. Other hits include "4y God's Not Dead" and "Lily of the Valley." THE SIERRA CLUB presents EARTH ETHICS THURSDAY: APRIL 1 ,,,--- - . -11 I'l An Informal Celebration SABBATH SERVICE This FRIDAY NIGHT, 830 p.m. HILLEL, 1429 Hill The Michigan Daily, edited and man- aged by students at the University of Michigan. News phone: 764-0552. Second Class postage paid at Ann Arbor, Mich- igan, 420 Maynard St., Ann Arbor, Michigan 48104. Published daily Tues- day through Sunday morning Univer- sity year. Subscription rates: $10 by, carrier, $10 by mall. Summer Session published Tuesday through Saturday morning. Subscrip- tion rates: $5 by carrier, $5 by mail. I M9 OMMM, New From Levi :isJ1IGHEST" DOORS OPEN 12:45 RATING SHOWS AT 1, 3, 5, 7, 9 P.M -Wanda Hale. New York Daily News NEXT: "GOING DOWN THE ROAD" CINEMA II "ONE-EYED JACKS" Marion Brando, as Johnny Rio, seeks revenge in the Old West with KARL MALDEN, SLIM PICKENS, KATY JURADO DIRECTED by MARLON BRANDO UNIVERSITY OF MICHIGAN FILM SOCIETY presents ORSON WELLES' R ADI MR.ARAN with ORSON WELLES PATRICIA MEDINA -MICHAEL REDGRAVE For the Student Body: Boot Jeans PRE-SHRUNK CHECKMATE State Street at Liberty ,8:30 p.m. FRIDAY FRIENDS MEETINGHOUSE 1420 Hill 7:30 & 9:30 p.. SATURDAY 8:30 p.m. SUNDAY Friday and Saturday And. A., Angell Hall April 2, 3 7:00, 9:30 p.m. FIRST BAPTIS CHURCH 512 E. Huron APRIL 2, 3, T FRIENDS MEETINGHOUSE 1420 Hill between State and division 4 *i NEXT WEEK: Hitchcock's "THE 39 STEPS" Contribution $1 FREE I +1 preview: "VOICES 761-9751 I4 16u The International Students' Association PRESENTS: TWO AWARD-WINNING FILMS "An Occurrence at Owl Creek Bridge" AND "The Red Balloon" 50c AT THE INTERNATIONAL CENTER "LIFE -STYLES AND THE EARTH ETHIC" 7:30 p.m. Red Carpet Lounge, Alice Lloyd Hall, Dale Monty, and Zero Population Growth I %Mdwmvvm gEUMD~f~fy DIAL 5-6290 Shows at 1,3,5,7 & 9 P.M. APRIL 1, 1971-THURSDAY 7:00 p.m. and 9:00 p.m. Uf THURSDAY, FRIDAY -APRIL 1 - 2 SHOP AROUND THE CORNER diri. ERNST LUBITSCH (USA) 1940 JAMES STEWART and MARGARET SULLIVAN star in this movie of romance at the turn of the century. Stewart is, as always, incredibly charming. "A poignant sadness infiltrates the director's gayest moments, and it is this counterpoint between sadness and gaiety, that represents the Lubitsch touch." - Andrew Sarris 7 & 9:05 AUDITORIUM 662-8871 75c ARCHITECTURE ®)ADULTS ONLY 492-33 . NOMINATED FOR 7 ACADEMY AWARDS ---including-- BEST PICTURE BEST ACTRESS BEST ACTOR etc. Ali Macfraw" Ryan O'Nal John Marley & Ray Milland r( IN COLOR A PARAMOUNT PICTURE r *f PRESENTS LEN CHANDLER COLUMBIA RECORDING ARTIST - TONIGHT - and THROUGH SUNDAY "Love is always the centerpiece . . . of Len Chandler songs." -N.Y. Times THURS.-SUN. 330 Maynard St. APRIL 1-4 .00 Doors open 8 p.m. 1 A HAN% LON - -- YOURc ~ -SE HA j---LINER. ELAS S -= -NOTCE T Pat PEOP IT SHAPE CAl NATI - _ I- OY LIST OF REASONS FOR BUYING A NEW DON FOGS RAINCOATS T RAINS IN THE SPRING. OLD LONDON FOG HAS EN ITS DAYS. THIS ONE AS AN ATTACHED PLAID IT'S A LONGER LENGTH TIQUE TWILL. YOU LIKE THE SINGLE-BREASTED TYLING. IT HAS A WIDE HED COLLAR. YOU LIKE HE NEW WIDE FLAPPED CKETS. PEOPLE NOTICE 'LE IN A LONDON FOG. LASTS AND LASTS. IT'S ED FOR THE '70'S. YOU N'T LIVE WITHOUT ONE. YOU LIKE THE CLASSIC URAL SHADE. IT'S ONLY $55. SEX RITLIILS OF THE CULJT COLOR r. STRAIN THE BOUNDS OF THE IMAGINATION people who know no limits in a search for erotic sexual ecstasy Ib~r~TI~hI~hf Eastern Michigan University Presents in COncert i.