8- The Michigan Daily - Tuesday, January 28, 1997
Messages pervade art exhibit
y Anitha Chalam
wily Arts Writer
The newest exhibition at the Warren
bbins Center for Graduate Studies
%hlights three artists - Ann Agee,
4Ilver Herring and Kara Walker - who
le traditional media and techniques to
:cmment on con-
Wnporary and his- R
;|kcal society. go
' nn Agee, a .W
artist, focuses on School of
the everyday for her
subject matter. Her
"medium par excellence is porcelain,
did her figurines come from her draw-
ings of her own observations of women
in the streets and public forums of New
Three of these figurines are on dis-
play at the Robbins Center, along with
mother work, titled "Blue Maxi." This
k of gauche and cutouts on rice
er is completely handmade. The
piece consists of red roses painted onto
a light blue background, with paper
flowers cut from cleaning products,
feminine hygiene products boxes and
food and makeup labels.
Also on exhibition is a work by Oliver
Herring, a German-born former abstract
painter. His unti-
E V I E W tled work is a trib-
Route to his late
rren Robbins friend, a male per-
ter Exhibition formance artist,
Art and Design who took his life
Through Feb. 4, 1997 soon after learning
that he had AIDS.
With the death of Eichelberger, Herring
found himself unable to do anything, and
to pass the time, he took up knitting,
which led into the work for which he is
now known. The untitled piece on exhi-
bition is a coat, painstakingly knit from
translucent wrapping tape. The work has
the shimmer of lame and chills the view-
er with its combination of sturdiness and
Drawing inspiration from an equally
sad subject is Kara Walker, an African
American artist from Providence, R.l.
Her artwork focuses on black/white
relationships in the ante-bellum South.
Using black cutout silhouettes on white
backgrounds, Walker creates 18th cen-
tury scenes that depict tragic encounters
between members of the two races.
On display now are four pieces by
Walker, all of which are quite graphic.
For example, one untitled piece shows a
slave owner rolling over a small slave
boy with a giant rock. Walker's message
is easily understood: We are all one peo-
ple, and this is man's inhumanity to man
- color is irrelevant.
"One reason for this show is that
(these artists) all employ traditional
media in an untraditional way," said
Agusto Arbizo, curator of the Robbins
In addition, all three artists are just
now starting to become well-known
nationally. And you heard it here first.
Madball thinks it's all grown up. Wrong, wrong, wrong.
' n, ,.
a- . z
Continued from Page 5
Demonstrating My Style
"Demonstrating My Style" is one of
the most cliche and boring hardcore
albums ever released. It's not just
Madball's typical hardcore lyrics and
old-school sound that are so terrible.
When it comes down to the CD case,
even that has to be bad. When one
removes the disk from the jewel box,
there is a picture of Hoya, the bass play-
er, showing his DMS ("Demonstrating
My Style") tattoo. Oh, boy ... it's on the
interior of his bottom lip. How hard-
core! Biohazard did the exact same
thing on their "State of the World
Address" CD two years ago.
It's surprising that "Demonstrating
My Style" is such a weak album, seeing
that three of Madball's members, Matt
Henderson (guitar), Hoya (bass) and
Will Shepler (drums) are all from the
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Live National Broadcast
Thursday, February 6
Rackham Auditorium, Ann Arbor
In conjunction with the University of Michigan 1997
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Some Resumes Make
Faster Than Others.
"infamous" Agnostic Front. It is simply
a case of guys who have been a part o
the hardcore scene for so long tha
they've lost their "style."
The only impressive aspect of
Madball is its young and hyperactive
frontman, Freddie Cricien, on the
microphone. This guy can scream with
the best of them, yet he can't even legal-
ly purchase alcohol.
The lyrics on "Demonstrating My
Style" offer little to which its listeners
can relate, learn from or enjoy. Almo
every song is about Madball being "al
grown up" now.
On the first track, "Demonstrating
My Style," Freddie sings: "Give
respect, where respect is due. To those
who know what we've been through." It
is a song about the plight of being rock
Then, on "Pride (Times are
Changing)," he shouts, "Thinking
back when I was a kid, times have
changed so much since then. Alf
grown up, I gotta do for myself. I
refuse to depend on anyone else."
These lyrics sound like a song from
Sesame Street, when Grover learns
how to tie his shoes.
The absolute worst part of
"Demonstrating My Style" is the song
"Hardcore Still Lives!" It lasts for
approximately three seconds as the
whole group yells out, "Hardcore Sti
Lives!" Too bad it's dead wit
- Brian M. Kemp
As an extension of its third album,
"Emit Ecaps," released a year ago,
Spacetime Continuum has released
"Remit Recaps," a collection of
remixed tracks. Spacetime Continuum's
first two albums delivered mainly an
ambient feel; however, "Emit Ecaps"
delved into more regions of a still-
evolving electronic music scene, suc*
as techno, jungle and drum and bass.
Peers such as Autechre, Higher
Intelligence Agency, Velocette and
famous Detroit techno producer Carl
Craig contributed their remixes of
Spacetime Continuum tracks on this
Although this is a remix album, the
11 tracks blend together in a cohesive
fashion. OST starts it up with its remix
of "Simm City' an eerie track in t14
same vein as the Aphex Twin. However,
the next track, Carl Craig's remix of
"Kairo," is by far the most impressive
on the album. This epic, 10-minute
track combines a jazz atmosphere with
that of dub bass to exemplify the inno-
vation of electronic dance music today.
The Velocette mix of "Iform" devel-
ops among clatters of different synthe-
sized sounds that would befit any dance
club. Autechre mix "String of Pearls,
an exercise in repetition, almost lulls
the listener into a trance.
Other notable tracks include the
Herbert mix No. 1 of "Movement #2,"
the Spacetime Continuum mix of
"Swing Fantasy" and the Higher
Intelligence Agency mix of "Funkyar,"
a stereophonic trance track.
While this remix album never really
strays away from its feel, the album
does offer better versions of the origina
tracks on "Emit Ecaps."
- Philip Son
Under the Influence
Kim Pensyl best explains the nature
of "Under the Influence": "I am often
asked who has most influenced my
music over the years. Describing the
influence is often difficult, as I was
exposed to many types of music in my
childhood. So, the best way I can
demonstrate it is musically. With that
thought, I have decided to start a new
series of records."
"Under the Influence" is the first of
this series, a dedication to those who,
according to Pensyl, "influenced me
during my school years.'
It is a compilation of both musical
interpretations of well-known oldies
(much in the tradition of Norman
Brown, only Pensyl plays the piano and
trumpet, not the sax) as well as some
Voiceless musical wonder will suW
round you, as Pensyl's versions of such
greats as Earth Wind & Fire's "That's
the Way of the World," Stevie Wonder's
"Love Light in Flight" and Al Jarreau's
"Mornin" are pumped out of the CD
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