Page 8-Friday, June 9, 1978-The Michigan Daily Local exhibit features kimonos By KAREN BORNSTEIN Entering a room which is empty, with the exception of eleven kimonos and a variety of porcelain, one thinks, "Should I remove my shoes? Am I about to embark upon a Japanese tea ceremony of some sort?" Not exactly. At the Alice Simsar Gallery, the color- ful kimonos that hang individually against the white gallery walls, and the traditional porcelain pieces, are multi- functional, but exhibited as beautiful art objects. The eleven kimonos are by Dorthea Suino, an Ann Arbor artist who michiganDAILY ats] received both her B.S. and M.A. from the University of Michigan. Suino has worked in both painting and prin- tmaking, exhibiting her work in numerous shows including those at the Grand Rapids Art Museum, the Saginaw Art Museum and the Detroit Institute of Arts. IN THIS exhibit, Suino demonstrates that the kimono can be more than a Japanese style robe, perfect for lounging in on a Sunday morning. The eleven kimonos that hang from dark brown bamboo rods are to be con- sidered as hanging prints, and are con- ceived of as one work. Although from a distance they resemble silk, Suino actually creates her striking kimonos from hand-dyed cotton muslin, silk screening different patterns onto the dyed cloth. Says gallery attendant Kathleen Nugent, "She does all the necessary sewing by hand, taking an extremely happy and positive approach toward her works." And this happy or joyful quality seems to sing out to the viewer from every kimono. Despite Suino's restric- tion to four basic patterns, her various color combinations create distinct, yet consistently optimistic moods for each robe. The rich browns and luscious blues evoke a sense of royalty, while the hot pink against jet black seems to echo a definite Japanese flavor. BUT SUINO isn't thinking in terms of the Japanese tradition, nor does she wish to compete with it. She has borrowed the form of the kimono for design reasons, and with close and careful inspection, each robe slowly reveals all of its complexities. For example, lengths and widths of sleeves differ slightly on each kimono, creating a subtle rhythmical movement as the eye flows from one vivid pattern to the next. There are also different degrees of the exposed colored linings which are dramatically or mysteriously revealed. Placement of patterns on the backs of the kimonos also vary with each individual work. Suino's kimonos, so fresh and in- novative, are exquisite robes, but much more. They are beautiful prints that can be hung from the wall, and with the additional play of shadows and folds, they become lovely sculptures as well. Although they're complete in them- selves, the kimonos enhance and are enhanced by the elegant porcelains they surround within the gallery. THESE HIGHLY refined porcelain pieces are done by Hiroka Oba In- signer, a native of Tokyo, Japan, and graduate of the Art School of the Society of Arts and Crafts in Detroit. Insigner was employed in the Interior Design Department of Minoru Yamasaki and Associates. Her work has been the focus of one-woman exhibitions at Hanamura Gallery and America House, as well as-included in group exhibitions at the Detroit In- stitute of Arts. The porcelains, which include covered jars, bowls, vases, open plates and cups, are classical in their purity and simplicity. They reveal Insinger's continual exploration of the possibilities that exist within traditional forms. Insinger restricts the colors she glazes these ceramic pieces with to deep browns, blues, blacks and pure whites. These glazes are handled with subtlety, creating luminous color, and a heightened sense of elegance. SOME GLAZES are more complex than others, as Insinger combines her shimmering blacks, browns and touches of cream to create a bowl reminiscent of shining tigers-eye jewels. In one case, she has even scraped away some of the glaze around a bowl's inner rim, leaving traces of relief and Japanese calligraphy. Insinger reveals her delicate inter- pretation of a classical form remarkably, by occasionally adding drops and drizzles of glaze or brushed floral ornaments, sensitively endowing her works with the spontaneity of Japanese art. These porcelains are so awesome and effective in their sim- plicity and beauty, you may just feel compelled to remove your shoes, and fill them with tea after all. In Japan, the 'average household subscribes to two daily newspapers. RECORDSI The ParkeriIa Graham Parker and the Rumour Mercury SRM-2-.OO Oh for the naive days, when sooner or later one didn't have to record that de riguer live album. The best of them are recorded with more than just some vague feeling that it would be a timely, profitable thing to do: they herald something new, or throw everything down on the table for one last-ditch ef- fort. There are a few models I think of for the quintessential live album. The Velvet Underground: 1969 caught this group's arid apocalypse fabulously, and Metallic K.O. literally captured Iggy (the story is that somebody smuggled a tape recorder in, which would explain the bathtub quality of the recording) playing life-and-death games with the audience. And there are albums like After the Flood, Live Bullet, or Get Yer Ya Yas Out, which exclaim a newly-found (or reclaimed) stunning emotionalism. BUT GRAHAM Parker and the Rumour's The Parkerilla shares few traits with these landmarks. The songs are sliced out of recordings made on many different nights, giving the record a lack of focus. Instead of presenting any new tracks, or displaying any surprises in the live arrangements, Parker is content to play what he seems to consider the band's best tunes. Exercising his own judgement of his producer's, he has left out some great music, and included some poorer choices. More than anything else, The Parkerilla appears to be a financial en- deavor. Why else would there be two versions - one done live and one in the studio - of "Don't Ask Me Questions?" Indeed, why does the studio recording of "Questions," not even four minutes in length, take up the entire fourth side? Have these people not heard of the vinyl shortage? PRESENTLY, Graham Parker must be a somewhat frustrated singer. He has recorded two of the best albums of the 1970's - Howlin' Wind and Heat Treatment. Although his third and most recent album, Stick To Me, fell off the mark, the three are of a kind: at their frequent best, they display a remarkable intensity of singing, a powerful rage born out in concert, often ferocious lyrics, and tightly arranged and executed songs drawn heavily from rhythm and blues. He is one of the few white rockers that can make a reggae tune convincing - and Parker can write dynamic ones. But with all the accolades, Parker's records are not selling. He has in many ways achieved what he set out to do when he decided - as a failure in school, part-time musician and full- time British service station attendant - that he would reach for something more. But, he is also realizing something. As written in his song "Help Me Shake It" (I'm so hungry/I want to cry/my belly's full/but my soul's run dry), one can still feel wanting, even when he thought he would be satisfied. Right now, Parker is a frightened man. IT SHOWS on The Parkerilla. The Rumour plays much as they do on record, but with more fire- they back up Parker tightly, taking economic solos, and making the notes count. Parker, however, would only receive a "C" on this record. The soulfulness he instills in "The Heat in Harlem" is of- fset by the worthless lyrics. His bark on "Back to School days" is cheapened by the laconic "Watch the Moon Come Down." And soon. As someone once said, a good pop ar- tist makes even his failures interesting. Indeed, this album is a bit of a study in how lack of success and audience affect an artist. But that does not make it an entertaining album, for anyone who knows of Parker has heard much better before. Buy the first two. R. J. Smith the Alice Simsar Gallery through June 30.