/

ARTS


Got the
MIDTERM BLUES?


The Michigan Daily

Friday, November 4, 1983

Page 7

Kings deliver
blues and rock


"How did I ever
get myself into this?!"
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Wee ke n

II

By Bill Orlove

IT'S TOO BAD that Duke Robillard
and the Pleasure Kings were
scheduled on a Wednesday night at
Rick's American Cafe. Wednesday is
known for being a slow night, unlike the
,pace of a crowded, chaotic weekend.
But of the group of people who were on
hand for their show last Wednesday, no
one left feeling disappointed.
Guitarist Robillard played his twen-
ty-plus songs in a fast no-holds-barred
inanner; his vibrant and energetic
stage performance must make him one
of the most accomplished blues/rock
guitarists around. He jumps effor-
tlessly from one style to the next,
playing a Buddy Holly or Chuck Berry
ick and then proceeding right into
erme old Jimi Hendrix. No matter
e k t style the man borrows, he plays it
to its full potential,

His rhythm support, bassist Tom
Enright and drummer Tom DeQuattro,
gave an equally fine performance, ad-
ding to the thrill and excitement of
Robillard's Fender Stratocaster.
Many of the songs performed were
dynamic versions of vintage R & B and
early rock tunes. Such songs as Eddie
Taylor's "Lookin' for Trouble" and
Chuck Berry's "It's My Own Business"
rocked with unrelenting fury. Also
showcased were original songs from
Robillard and the Pleasure Kings'
debut album like blues-drenched "Tore
Up"and "What That Means to Me."
Throughout the entire show, this trio
could not stop dishing out everythng
and anything that was blues or rock
based.
The next time Robillard and Co.
come through Ann Arbor, I hope they
will be scheduled on a weekend so more
people can become acquainted with this
guitar genius. It's one show that cannot
be missed!

- I
I%~
UNiON

... W.',, ,' 'q
.

Daily Photo by TOD WOOLF
Guitarist Robillard jams at Rick's Wednesday night.


New visions from an old art

- --I 7 I

3y Suzanne Ramljak
MOLDERING QUIETLY for cen-
turies, the dormant potential of the
cdest print medium, the woodcut, has
ryemerged in a vibrant artistic
renaissance. The expressive potency
-;id magnitude of this rebirth is
revealed in the exhibition, The Artistic
Revival of the Woodcut in France:
1850-1900, at the University Museum of
Art.
The artistic revival of the woodcut
was essentially a process of redefinition
and shifting values. The woodcut print
was 'revived' from its former subser-
vient role as a reproductive medium
and has been gradually redefined as a
iiedium of fine art.
Outmoded as a means of pictorial
Kpresentation in the late 1600s by the
detailed proficiency of etching and
engraving, the weedcut, until the late
1800s, was employed primarily for
commercial book and journal
illustrations - it's only advantage
being its 'type compatibility'; it could,
unlike etching and engraving plates, be
run through the press with a page of set
type. With the advent of photochemical
relief printing in the 1870s, the woodcut

soon became obsolete as a reproductive
medium. Deemed commercially inef-
ficient, the woodcut died as a reproduc-
tive medium only to be reborn in a more
glorious incarnation as a medium for
original artistic expression.
The expressive artistic potential of
the woodcut began to be explored and
developed by many artists in France at
the later half of the 19th Century each
using the medium towards different
expressive ends. A significant artist
August Lepere,.was one of the more
successful artists using woodcuts as a
means of artistic expression. His are
some of thq finest works on exhibit at
the Art Museum.
The artist who most eloquently
revealed the artistic vigor of the wood-
cut was Felix Vallotton. The inherent
black/white nature of the woodblock
was well suited to the abstract forms
and linearity that Vallotton favored.
His creative handling of the medium
convinced both artists and critics of the
woodcut's potent possibilities.
Other artists like Emile Bernard had
a nostalgic attraction to the woodcut
print. The medium's primitive and ar-
chaic associations appealed to his
longing for a simpler, less materialistic
existence. The subject matter and in-
tentionally rough line treatment of

Bernard's prints relay his rustic sen-
timents.
Supreme artists such as Paul
Gauguin and Edvard Munch used the
color woodcut to create stirring images
which easily vie with paintings for ex-
pressive power.
Nearly 40 artists are represented in
this exhibit, each accentuating dif-
ferent aspects of the woodcut print,. A
wide variety of subjects, sizes and
techniques are displayed, all
suggesting the versatility and rich ex-
pressive potential of the meduium.
This exhibit shows the voice of the
woodcut, and, when given poetic license,
it speaks with a bold and provactive
language.
An auxiliary exhibit of 32 woodcut
prints entitled The Woodcut: History
and Technique, will be displayed
simultaneously. This well-chosen
group of prints provides a visual survey
of the woodcut medium from its begin-
nings in the 8th Century Middle East to
its flourish in 20th Century German Ex-
pressionism. Illustrated pages from
the first printed bibles, monumental
prints by Albrecht Durer, and
chiaroscuro prints help fill in the
historical progression. This smaller
exhibit provides a helpful context from

which to view the woodcut revival in
France.
Both exhibits open tonight with a lec-
ture by Jacquelynn Baas, organizer of
the exhibit, former assistant directr of
the University Museum of Art, and now
chief curator of the Hood Museum of
Art, Dartmouth College. The lecture is
at 8 p.m. in Hale Auditorium. A recep-
tion at the Museum of Art follows.


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Ironic story in Phil

By Emily Montgomery
( feHE PRETTIEST sight in this
fine pretty world is the
'Priviledged Class' enjoying its
priviledges." So says Mike Connor, a
character in The Philadelphia Story.
This defintely was the feeling Wed-
nesday night as the Ann Arbor Civic
Theater performed Phillip Barry's
classic comedy.
u The irony is that, although the play
centers on the upperclass and their high
society ways, the overwhelming
statement it makes is in favor of a
classless world, where selfworth is not
determined in dollars. As the main
character Tracy Lord puts it, "There
aren't any rules about human beings."
No great, omniscient stick against
which everyone can be measured.

When speaking of the cast, two major
talents stand out and literally make the
show. Elizabeth Zweifler was impec-
cably flighty but confused as Tracy
Lord, the recently-divorced, but soon-
to- be- married- and- divorced- again
daughter of this genteel family. She
was sinfully snobbish, obscenely over-
bearing and childish. Just what the part
demanded. Zweifler's pressence on
stage enlivened every scene.
A master of outlandishness and gran-
diose gestures, Beverley Pooley as Un-
cle Willie, milked each line and
movement to its limit and had the
audience begging for more. He played a
hungover drinking enthusast who toys
with the idea of consuming a glass of
sherry for a morning "pick me up" -
first dipping in his finger and then
finally taking a swig. One could not help

adelphia
but to be thoroughly delighted and
amused.
Two other notables were Jen Heusel
and William Cross. Though cast in the
difficult role of straight man, Cross was
well versed and intermittantly witty as
Mike Connor, a reporter who makes the
mistake of falling in love with the
frivoulous Miss Lord. Heusel was
bright and energetic in her supporting
role as Tracy's sister, Dinah. She could
always be counted on to say something
laughably innappropriate whenever the
adult conversation got too serious.
Although the play seemed to drag in
parts, and a few of the actors were
weak, the good points outweighted the
bad. Unfortunately, the Civic Theater
scheduled only three performances of
The Philadelphia Story, the last of
which is tonight as 8 p.m.


America, say good-bye to food guilt I
It's time to flaunt it, glory in it, and CE


fc
21


Get A Live
FIXX Of Music!
Enjoy The Fixx in concert at the Michigan Theatre,
November 7th and take advantage of a special sale
on their two MCA recordings, SHUTTERED ROOM,
and the top ten smash, REACH THE BEACH.

THE
OF
PIGGINg
by David Hoffman
For those who, if given the choice between sex and a
pound of chocolate chip cookies, would have to think
twice before answering...

orever!
lebrate
f
7
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,J

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