8A - Wednesday, October 25, 2006 >urtesy of Disney and Warner Bros. "imaginary Worlds," running through Nov. 25 at the Harlan Hatcher Graduate Library, features the art of children's literature, The art of innocence GRADUATE LIBRARY DISPLAYS THE ART OF CHILDHOOD By ABIGAIL B. COLODNER Daily Arts Writer The Harlan Hatcher Graduate Library's exhibition of books from its 15,000-piece Children's Literature col- lection may draw viewers eager to visit shrines to Imaginary their childhood favorites. Worlds: Conventional forms of the Created ever-popular stories are Places in indeed present - familiar, Children's quaint pages from Beatrix Books Potter's "Peter Rabbit," At the Hatcher A. A. Milne's "The House Graduate at Pooh Corner" with its Library delightful illustrations by Through Nov. 25 Ernest H. Shepard - but Free it's images like a book cover proclaiming "Hamaxostichus Rapidus Hogvartensis" that will draw viewers in for a second look. In English, "Hamaxostichus Rapidus Hogvartensis" translates to "Hogwarts Express." It's emblazoned on the cover of a Latin translation of "Harry Potter and the Philosopher's Stone" (in the American print- ing, "Harry Potter and the Sorcerer's Stone"). Viewers may doubt whether Harry Potter has the street cred to match "Gulliver's Trav- els," which was originally framed as political satire and has become a staple for adult and child readers alike. This seeming inequality gives a clue to the real nature of the exhibi- tion. Rather than giving a who's-who of clas- sic children's literature, the exhibition reveals the competing goals of publishers, illustrators and collectors, and tracks the metamorphosis of works in the public market and the popular consciousness. The displayed works are not necessarily rep- resentative of the library's Children's Litera- ture collection, which is non-circulating and is intended as a resource for research. Very little from the library's extensive store of materials on C. S. Lewis's "Narnia" series is displayed, while materials on Peter Pan merit an entire case. The curator for the Children's Literature collection, William A. Gosling, explained how he chose the books. He leaned over the Peter Pan case, indicating the range of information given by this handful of texts: "They seemed to be groupings that told more of a story." The works displayed were selected to do more than just lip service to the standard set of children's classics. The Peter Pan case contains the earliest edi- tions of J. M. Barrie's play, a text illustrated with images from a 1924 movie of his story, and editions of his book from the past decade. They reveal the life of this story up to present day, in a way that the library's "Narnia" materials could not. One of the illustrators of J. M. Barrie's tale is Arthur Rackham, Name sound familiar? That's right: It's the man whose name the Rackham School of Graduate Studies borrows. Accord- ing to Mr. Gosling, Rackham is one of the most widely collected children's illustrators. A close viewing of the displays will reveal in what ways the exhibition is a product of the University. Works by University alum Nancy Willard and Ann Arbor resident Tom Pohrt are each given ample space. Through the University connec- tion, the library was able to obtain preliminary sketches, personal statements and further material to display. The largest display is of "Alice in Wonder- land." Materials are organized in optimally informative juxtapositions. A book illustrated with stills from a 1917 film of the story is next to a version printed by Disney with images from the 1951 animated film, which is in turn next to an edition with illustrations that were originally made in 1939 for a film project that was never produced. Organized this way, so near John Tenniel's definitive 1865 English-garden-party illustra- tions, the wild, jungle setting of the Disney movie suddenly seems like a highly conscious and timely decision on the part of the design- ers. At its best, the exhibition pulls away the lay- ers of time that distance us from the creative choices made by those who first conceived a work and by those who market it, by those who translate it and by those who reimagine it. Avid viewers of "Imaginary Worlds" can lead themselves on a journey both through their fond memories and through the workings of history. University's 'Dude'turns 10 By PRIYA BALI pencils. "Tolerance starts wth Daily Arts Writer me" and "It doesn't hurt to listen" are two of the universal sayings If you haven't been up to North Perhaps the most intricate of Campus in awhile (or at all) or if the pieces is Julie Chens "You you're a fresh- are here," a miniature book illus- man who's The Dude: trating degrees on a compuss that been avoiding 1996-2006 correspond with a particular feel- that seem- ing or emotion such as pain, soli- ingly obscure, Duderstadt ude, laughter and despair, to list a desolate and Center few. Chen's words accompany her even unevent- Through Nov. 6 exhibit: "(This book) talks about ful place, now Free the emotional landscape of where is the time to you use the map as a metaphor for get your act together. The chance figuring out where you are emo- to experience this other world and tionally and where you are spiritu- get inside the minds of numerous ally." engineering, musicology and art The visitor may view these piec- and design students has come Cen- es as being oddly drawn together, tral Campus's way. Now through but in retrospect, they reflect some Nov. 6, the 10 year anniversary of of the Dude's most unique and the Duderstadt Center will be cel- thought provoking work from the ebrating its 10-year anniversary past10years. with the exhibition of an expan- The video montage of the Dud- sive range of artistic works. erstadt's past performances is While seemingly obscure, the imaginably the most prominent exhibit and the art it displays offers a comprehensive retrospec- tive of an important University institution. "This will be an opportunity for students to see creative work pro- duced here by other students and to learn how they can take advan- tage of technology and resources available to all students at the Dude," Glenda Radine, public rela- tions manager of the digital com- mons, said. The gallery is a modest and honest collaboration of work from passionate students. You may be exposed to things you have never seen before or even thought about, and is acceptable because it will ANGtiAcE E/Daly only add to this learning experi- ence. Among its many pieces are DUDERFACTS the 3D models produced by the Just whatexactly, doyouknowabut the Duderstadt's very own 3D printer Dude? Althoughba relative newcomer in4. which, according to the exhibit, University terms, the Duderstadt Center is "creates physical models directly working hard at establishing its own unique from 3D surface data." identity on campus. Here's a simpl rnn- To fill the gallery's open space dowe of that best University build ngyou lies a table holding an odd assort- probably havent heard of: ment of comic books and artists' The Duderstadt Center was foundd in books originally held in the Art, 1996 bylJames Duderstadt pesidientof the Architecture and Engineering Universityfrom19818-1996. Library. "Shutterbug follies" by Jason Little and "The Book of Past exhibits at the Duderstadt inludebthe Leviathan" by Peter Blegvad are Prison Creative Arts Project in Mch 2006 two of the books that may tempt and Pathways to Sustainabilityinctober you to question whether comics 2005. can be seen as art. "I try to select books that rep- Features at the Duderstadt includethe resent a variety of materials, cul- Digital Media Tools Lab, which cntains an tures, sizes, structures, colors, and electronic music studio, videostudio and ideas," Annette Haines, an Art & multimediauworkroom. Design field librarian, said in an email. If you remember rocking out on display. Expect to see clips from your toy synthesizer, then a trip 2004's "Where the bok falls to the exhibit isn't complete until open" and 2005's ";;Sto Blam- you see the vintage moog synthe- ing Columbus!!" The voicd of the .1 4 4 4 .A