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 uOliiflE GnRAPEV _. U The Personal Column MICHIGAN DAILY CLASSIFIED ADS r Ir CARLOS SOSA GRANT JONES SUSAN KRUSE HOLLY A. VAN DEURSEN | 1 #. -U MIT, Structural Engineering. Analyzing and designing bridges. 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