The Michigan Daily - Thursday, September 15, 1988-- Page 9
Graphc*
Continued from Page 8
volumes and planar space. Exper-
iments with the line and body gain
greater attention from these modern
artists. With many of the moderns,
progression derived a new meaning:
abstraction.
Henri Moore began creating
figures with new, flattened planar
features and delicate void spaces.
Faberman calls these sculptures and
drawings "humanoids," since they
tend to evoke associations to the
human figure although they are
1 abstractions.
The exhibit continues by shifting
the viewer's focus from questions on
abstraction to questions like, "just
exactly what is the subject here?"
Themes of positive and negative
imagery challenge the viewer's ima-
gination. You may wonder, "is this
void space in the center of the work
the subject or the background?"
You decide. I promised not to
give any answers away.
In the next segment, Faberman
unites the idea of positive/negative
space to the space surrounding and
Ring
Continued from Page 8
1murdered by contras while working
in Nicaragua. Once operational, the
soils lab will be the only one of its
kind in Central America, with hopes
of one day hosting professors from
every country there.
Gen Stewart, a graduate student in
the school of of Public Health,
'worked in Nicaragua for
AAMISTAD in the summer of 1987
and was in close contact last summer
with the project.
"The people are excited about it,"
she said, "It is important to them for
us to show solidarity." Stewart
witnessed the inspiring, but
defining outdoor sculptures. Studies
of Calder's mobiles and Cristo's
immense earth projects are shown
here. Photographs of Cristo's pro-
jects: wrapping the Arc d'Triomphe
in Paris and the Museum of Modern
Art in New York, blend well with
the zany works from the Pop Art
era.
The exhibit's finale will really set
you rolling, or at least ticking. The
works display the effects of our
industrial age upon the art world.
Automobiles, spinning wheels, and
Constructivist works on air and
space reveal the importance of
objects, not just human forms, upon
masters of the later 20th century. A
surprise awaits at the very end of the
exhibit. "What is it?" you wonder...
Go find out for yourself.
THE GRAPHIC DIMENSIONS
prints and drawings by modern
sculptures will run until this
Sunday, September 18th at the
Museum of Art, located on the
corner of S. University and State
Street. The museum is open10-5
p.m. Tuesday through Friday and 1-5
p.m. Saturdays and Sundays. The
museum is closed on Mondays. For
more information, call 764-0395.
tragically frustrating, struggles of
Nicaraguans who can see the
problems and understand the answer,
yet cannot afford to feed their
families. AAMISTAD hopes to be
part of the solution to this problem.
So be part of the answer; listen,
laugh and learn. And relax - you
don't even have to carry a sign.
- e
CHARLIE KING AND
MARTHA LEADER bring their
version of Nicaraguan Bob Dylan to
the Ark, 637 1/2 S. Main St.
tonight, doors open at 8:00 p.m.
Tickets are $7 in advance, and $8 at
the door. Also present will be
political activist/author Richard
Feldman, who will be signing
copies of his recent book, End of the
Line: Autoworkers and the American
Dream.
Band of Susans (left) and their evil twins (right) will face off tonight at the U-Club in a showdown to the death, as the
band performs an '80s update of Kiss Meets the Phantom.
Susans set the dials at1
BY BRIAN JARVINEN
EVER since John Lee Hooker started using an
amplifier to make his guitar heard over the noise
in the Detroit taverns he played, guitar fans have
dug distortion. New York's Band of Susans
won't have any trouble getting heard tomorrow
night at the U-Club. Ignoring three guitars with
the distortion turned up to eleven isn't easy.
Let's start with the obvious: the name. The
Band of Susans began as a five-piece combo with
three members named Susan. Only one Susan -
bassist Susan Strenger - remains. The other
members include guitarist/writer/vocalist Robert
Poss, guitarists Page Hamilton and Karen
Haglof, and Ron Spitzer on drums. And no, the
band has no plans to change the name.
With that out of the way, let's get down to
business. Simply put, the Susans have one of
the most interesting guitar sounds ever. The
guitars are distorted, the amps are distorted, and
they love those little distortion boxes. No one
plays lead. Their songs are usually based on one
chord repeated over and over. The distinct guitar
sound is a result of Poss' "true stereo" guitar
setup and one guitar using an open tuning. This
creates "all kinds of interesting harmonics and
overtones," says Poss. All this technical stuff
makes no sense at all as far as I'm concerned; all
I know is that it's evolly addictive, making for
intensively good psych candy on headphones.
Distortion is nothing new; neither are three-ax
outfits. Ever since the band released their initial
LP Blessing and Curse on Blast First Records in
England they have been compared to the hosts of
New York guitar outfits. Poss finds this
"flattering," but insists that they have a unique
sound, resulting from the tight structure of the
rhythm section and the non-bleak lyrics. Critics
are beginning to agree with him finally, as the
English press has begun using the Susans to
describe newer bands.
The Susans (specifically Poss) don't seem
especially happy with the world around them
(they titled two killer instrumentals "Elliot
Abrams In Hell" and "No God"), but they also
reject the easy route into hip gloom-goth. Their
philosophy is best explained with a snippet from
"Hope Against Hope," the title track of their new
domestic LP: "I can't stop hoping/ I can't stop
hating."
On their current tour the Susans are headlining
small clubs, driving around in the requisite van.
The band had hoped to headline a Blast First
package tour with label mates UT and Head of
David, but the scheduling didn't pan out. But
they may get the chance next year after they
complete a new album; they plan to enter the
studio in December.
The Susans are pleased with their career path
to date, but have a few modest plans for the
future - their first goal, Poss said, is buying;"a
better van." Beyond that, Poss would like to
"have some more money to spend in the studio
because right now we're kind of rushed in the
studio." He also revealed some "vague major
label interest," but said the only thing they want
from a record label is "complete artistic control,"
which leads one to speculate that they will be
with Blast First for a while. And hopefully, for
guitar addicts' sake, this will keep them *n
smaller venues like the U-Club.
Band of Susans play at the U-Club tonight.
Opening for the Susans are local heartthrobs and
harbingers of pop, Big Box of Nines, featuring
former members of Rhetoric and the Iodine
Raincoats. Cover is $4 and doors open at 9 p.m.
Michigan Alumni work here:
The Wall Street Journal
The New York Times
The Washington Post
The Detroit Free Press
The Detroit News
NBC Sports
Associated Press
United Press International
Scientific American
Time
Newsweek
Sports Illustrated
Because they worked here:
U1tie mtrhtgan W til
The U-M Students of Objectivism Presents
Peter Schwartz
Individualism vs. Collectivism
The Right and Wrong
Solutions to Apartheid
Tuesday, September 20, 1988 8:00pm
Angell Hall Auditorium B
no charge
For more information call 663-6142
Co-sponsored by the Ayn Rand Institute.
GE
TITI
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GnRAPEV _.
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The Personal Column
MICHIGAN DAILY CLASSIFIED ADS
r
Ir
CARLOS SOSA
GRANT JONES
SUSAN KRUSE
HOLLY A. VAN DEURSEN
|
1 #.
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