gage6 Tuesday, March 15, 1983 The Michigan Daily
Art speaks out against nukes U
By Maiya J. Grath
N AN ATTEMPT to show that artists
have the ability, as well as the
responsibility, to alert the public's sen-
sitivity to issues of concern, the
Residential College is hosting "Art At
Ground Zero - Artists' Statements on
Nuclear War." The exhibit, which runs
-March 13-17 in East Quad's room 124,
iicludes works by sixteen Michigan ar-
. The multi-media show was coor-
dinated by the RC studio art depar-
tment's Ann Savegeau, who is also a
contributing artist. Others par-
ticipating in the exhibit, both in the
organizational and contributing stages,
are faculty members Larry Cressman,
Susan Crowell, and Michael Hannum.
All the invited artists took a novel ap-
pioach in their expressions of the fear-
ful consequences and attitudes of a
nuclear holocaust. There were several
video presentations, as well as works in
sculpture, ceramics, painting,
photography and installation.
With not a little dry humor, artist
Peter Dreyfuss displayed his metallic-
combination piece entitled "Son of
MX," a humanoid figure resembling its
namesake in structure which had an
array of dollar bills shooting out its tail
Kathy Constantinide's piece, entitled
"As American As Red Flannel," par-
ticularly emphasizes the growing con-
cern for the nuclear freeze campaign.
Earlier this year a letter was sent to 125
people across the United States
requesting them to write a message to
President Reagan voicing their op-
position to the nuclear weapons con-
troversy. Stapled to the outside of each
envelope returned was a small square
of red flannel. Constantinide displayed
the letters and at the end of each exhibit
day will post the new ones received.
Perhaps the most hauntingly realistic
work in the collection was Terry
Walsh's "Untitled" painting. Done en-
tirely in eerie shades of blue, it gave a
clearly frightening suggestion of the ac-
tivities during an atomic bomb
An exciting addition to Sunday's
opening reception of "Art At Ground
Zero" was the midwest premiere of a
film entitled "Atomic Artist." The brief
documentary, coproduced by Catalyst
Media's Glenn Silber and Claudia
Vianello, was the story of sculptor Tony
Price. Price gets his raw materials by
scavenging the scrapyards of the Los
Alamos National Lab. Cast off metals,
glass, and plastics from New Mexico's
infamous atomic experimentation and
testing cite become sources for his
unique art form.
The film, also directed by Silber,
showed Price's work as creative ex-
pressions of the problem of nuclear
technology. A friend and colleague of
Price's featured in the film described
the artist as "taking scraps from the
beast and transforming them into
beautiful objects." Aside from the pure
aesthetic beauty of Price's finished
products, they also have the capacity -
often with much irony - to awaken the
public's awareness of the horrors in-
volved with a nuclear-centered society.
It is this sense of awareness that "Art
At Ground Zero" obviously tries to in-
still. Ingenious and creative in them-
selves, the artists' works go farther
than just being pleasing to the senses.
Daily Photo by DOUG McMAHON
P.S. Here's a picture by our friend Doug of Eric singing 'Born To Be Wild' at Saturday night's B.O.C.
concert at Hill. What a great Harley, man!
The born ness of B. 0.!C
By Larry Dean
Hi from Ann Arbor! Things are doing
pretty cool here. I got my chem paper
back and it was an A (well, really an A-,
but who's looking that close?) and my
freshman English term project is star-
ting to get together, so don't worry, I'm
doing my work and keeping busy as far
as school goes. How's things at State?
But wow, you won't believe it. Blue
Oyster Cult was here Saturday night at
Hill Auditorium and were they bomb!
My friend Mike from my lab group got
us some great seats and we had a great
The Overpass of
See page 7
First of all, we made sure to wear our
Blue Oyster Cult shirts to the concert,
because if you do, that means your
really hip. When we came in, we ran up
and bought new ones, though, and
pulled them on over our old ones, so we
could blend in with the other fans in the
crowd. Mike tried to bring in his Walk-
mans, too, but they confescated them at
the door. Bummer. (He got them back,
The first band was really hot! Duke
Jupiter-we'd seen them a few times on
M-TV (since they have it in the dorms
now). They wore real neat clothes and
played real fast guitar solos and sang a
song about college life, "I Drink to
You." We were so excited that we snuck
out our hidden bottles of beer and had a
swig in honor of D.J. This week, I'm
going to go buy his album.
Between the Duke and B.O.C., they
played real cool music for the audien-
ce: Foreigner, Santana, Don Henly
(from the Eagles)-just like WIQB
(Ann Arbor's best), or WRIF (baby!).
It got us in the proper party mood.
When the Cult took the stage, there
was some stupid classical music
playing, which I think was a mistake.
But when they started jamming on "Dr,
Music," me and Mike were on our feet
5 and already had our lighters up in the
6 air. After "Dr. Music's" rock'n'roll per-
scription was filled, the guys started
5 playing "E.T.I.," which has nothing to
do with that wimped-out movie we saw
i last summer. Buck Dharma was all
dressed in white and played up real
5 high on the neck of his guitar for this
5 song, and the others, too! I wish I could
0 jam like him.
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Buck wasn't the only cool Cultist.'
Eric Bloom, the singer, kept running
around the stage all during the show
and standing in front of the PA
speakers sometimes while he played
his axe. It must of been pretty loud for
him, because it was really loud sit-
ting in the first balcony; but that's OK,
because the louder it is, the better !
They played allsorts of great songs:
"Hot Rails to Hell," "I Was Born to
Rock" (from Buck's solo album),
"Godzilla" (with a guest appearance
by the big Zil himself), "Burnin' For
You," and some cool songs by other
bands, like the Doors' "Roadhouse
Blues" (where I did "get myself a
beer"-all right!) ant Steppinwolf's
"Born to be Wild," when Eric rode a
motorcycle on stage and everything!
But they played some weird stuff, too.
There was this song called "I Love the
Night," which is from the same album
as "Godzilla," but it was too slow ands
quiet and boring. We got really bum-
med out by this one. Then, another
time, the piano player, Alan, started
playing some classical stuff which was
dumb, but the band saved the show by
kicking in with the axes. After the song
was through (I think it was called
"Joan Crawford," or something like
that), Alan started playing the classical
stuff again, so we had a few hits of our
doob and mellowed out til they started
to rock again.
Oh yeah ... They played "(Don'ts
Fear) the Reaper," too.
I liked the drum solo, but Mike says
he liked the bass solo better. We both
agreed that the guitar break in "Cities
On Flame" was awesome. And the fog
was really cool! They used it a couple of
times during the concert. It made us
cough but was spacy, like Pink Floyd
(the bass played jammed on "Money"
during his solo. Together!)
After the show was over, we hung outE
and waited to see if we could meet the
B.O.C. members. There were all sorts
of foxy chicks waiting, too. When the
dudes finally came out, they were
dressed more regularly. Up close, they
looked a lot older than we'd expected.
But they were still cool. Eric signed my
shirt for me, and Joe (the bass player)
had a drink of my Millers. None of them
wanted to smoke any joints with us,
though. Then they got on their bus and
left to rock and roll in Topeka.
It was a pretty cool show. My ears are
still ringing from the loudness, and I'm
listening to a Cult album right now. Kit
I should get to my homework.
I hope you can come down and party
with us next weekend, or maybe we can
visit you at State. Is Eddie Money
coming there again? If so, get me some
If you talk to mom or dad, tell them I
The performance dates for the Michigan
Ensemble Theatre presentation of Ten-
nessee Williams' "Cat on a Hot Tin Roof"
were incorrectly listed in last Friday's issue
of The Michigan Daily. Performance dates
are: Previews on March 16 and 17 at 8
p.m. with specially reduced prices. The play
continues its run March 18, 19, 20; March
24, 25, 26 at 8 p.m., with a 2 p.m. matinee
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