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.
Stellar
designs
By Jill Beiswenger
D URING THE 1960's, an era of
posters and prints, there were a
number of painters who turned to the
art of printmaking. According to some
historians, few printmakers did more
than replicate their works as painters,
with a result more like advertising than
art.
But Frank Stella, one of those conver-
ted painters, accomplished more than
just a duplication of his paintings with
his prints. "Stella's prints do parallel
the imagery of his paintings, but they
were not done to merchandise the pain-
tings," said Richard Axsom, Associate
Professor of Art at the University's
Dearborn campus and person most
responsible for bringing an exhibit of
Stella's prints to the University.
In a 1980 review of Stella's work, Ax-
som commented that "Stella went back
to the beginnings of his artmaking for
models to base print editions on. He.
proceeded chronologically and it took
him several years to catch up."
Because other contemporary
American -painters like Andy Warhol
and Robert Rauschenberg have had
national exhibitions, of their prints, Ax-
som felt that it was a good time to give
the public a retrospective on the prints
of Frank Stella, an abstract artist with
a strong international reputation.
From September 25 through Novem-
ber 1, Stella prints from 1967 to 1982 can
be seen. at the University Museum of
Art. The black and white reproductions
seen in the newspapers do nothing to
convey the excitement and depth of
Stella 'scolorful prints.
But for those who do prefer black and
white, and are more interested in cool
configurations than in the sinuous line
of yellow and red vitality displayed in
Pergasus 3 (the print on the posters ad-
vertising the exhibit), there is another
Stella exhibit opening in the town. The
Alice Simsar Gallery will host Frank
Stella, Black and White Prints: 1967-
1982 starting September 25.
Other Stella-related events include a
series of talks on Frank Stella by Evan
Maurer, the Director of the University
of Michigan Museum of Art.
The most intriguing aspect of all the
publicity, however, is that art still can
be important to this institution.
As Axsom said, "It's a real coup to
have an exhibition originate at the
University of Michigan, especially one
that goes to New York (The Whitney
Museum) after opening in Ann Arbor."
From New York the exhibit travels to
the Pennsylvania Academy of Fine Ar-
ts, The Cleveland Museum of Art, and
the Los Angeles County Museum
among other stops on its three-year
tour.
Everything in the lively Arts.
Everything for your Weekend.
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Stella1r
designs
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Weekend, the Dai/y's new arts and enter-
tainment week/y magazine, premieres
Friday, September 24. With The List-a
complete guide to every movie, concert, per-
ormance, and exhibit in the campus area-
you '/l always know what there is to see and
do. Plus stories on upcoming plays.
Features on visiting artists. Reviews of
current books. Information on area
restaurants. Film reviews, dance previews,
and local interviews.
Madcat
from page 4
pensively. "We have to go find it, learn
how not to block it out. That's what I try
to express when I perform. I prefer to
play from the heart instead of the
head-I like to go out there and feel that
joyi
Obviously, many others feel it with
him when Madcat Ruth gets up on the
stage. The drum machine throbs. The
harmonica wails, pulsates and slides up
and down the. scales. Out in the audien-
ce, people sway and dance to the bluesy
beat, and shout "Right on!"
Madcat grins in response. His body
moves rhythmically, mouth on the
harmonica, foot on the drum pedal,
both hands working a wooden noise
maker. Then he makes a happy
grimace, squints up his eyes, and starts
to sing: "Went dow-n to the University
Hospital . . Saw my baa-by there..."
12 Weekend/September 24, 1982