8A - Monday, March 24, 2008
From Page 5A
like sequence where Horton
goes Bruce Lee on someone's ass,
but it graciously lasts for a limited
time and the rest of the film's aes-
thetic is highly impressive. Crit-
ics raved about the animation in
"Ratatouille," but "Horton" puts
those rats to shame.
Yet, the animation is just one of
the many things that puts "Horton"
on a level above typical kiddy flicks.
Little touches, like the Mayor's
moody son rocking an emo-swoop
haircut or a sequence that is a dead
ringer for a scene from "The Lion
King," keeps the film engaging. So
I suppose not all children's book
adaptations are bad news, but don't
think t'm not protestingthe upcom-
ing "Where the Wild Things Are"
movie. Come on, that shit is sacred.
1. LNThe Michigan Daily - michigandaily.com
Finding 'place' on State Street
By KATIE CAREY canvases with a few lines painted
DailyArts Writer on them come to represent memo-
ries around the theme of "place."
lking through the exhibition "Place-Mark" displays a col-
play at State Street's Work lection of works from artists who
y is like have attempted to capture the
through Place-Mark physical or mental landscape of
ages of a place. Because place is so inextri-
er's photo Through cably linked to memory, the pieces
. However, Mar.28 in Work vary from the abstract to
d of just At the Work the concrete and manifest into all
graphs, Gallery different mediums, reinforcing
ut prints of the notion that memories are both
apes, large relative and changing.
ic comics, cloth installations "Place could be a geographical
by black string and series of or a mental place," said Catherine
Meier, a masters candidate in Art &
Design and juror of "Place-Mark."
You don't always have to have one
definition - though the latter is
trickier to describe,"
Yet the most powerful pieces in
? Work, the ones that make you lin-
gerthe extra few minutes, are those
that depict specific memories. An
inkjet print on aluminum by Bruce
Myron, "I Could Not Stop My
Friends FromKillingFrogs," trans-
forms the what-would-be ordinary
lutes FREE* photograph of a pond and some
ELL PHONE CALL
into a haunting glimpse of it's odd that the pieces at Work
ist's childhood. The title of that emit the strongest sense of
ond photograph depicting a place do so through their words.
hift hut of sticks, "We Bur- A sculptural series of five teacups
yboys and Cigarettes Where with roly-polies, spiders and bees
y Would Find Them," lets crawling on them do not reach their
on one of his secrets. full potential without their title,
hotographing the places in "I Was Only Allowed to Play in
his memories took place, Grandma's Basement Once."
Meier herself hasn't figured out
how to reach a visual understand-
ing of place withouttext. Her piece,
Using the "Here, 17 Miles West of Chambers,"
is a series of replicated woodcuts
icept of place stretching nearly 30 feet, which
captures thevast openness and rep-
to explore etition of the plains. If you fix your
eyes on the piece and then walk
itists' past alongside the landscape, it appears
as though you were watching the
plains go by, driving 17 miles just
outside of Chambers.
than trying to depict the Included in the display is a
y itself, Myron is sharing wooden carrying box, which Meier
feels to remember a place. uses to store the rolled up land-
ng this he captures a cross scape. Written onthe end ofthe box
n enchanting nostalgia, in black marker is "Here, 17 Miles
nt confession and daring West of Chambers."
in his highly saturated pan- "It's the idea of containing place
photographs. in a portable manner," Meier said.
"Place came about as an idea ofhow
people mark it."
In the basement of Work alone,
place is "marked" in three differ-
ent ways. Meier's organic woodcut
is displayed alongside a crisp digi-
tal print of an arctic beach and an
installation of hanging cloth with
black thread sewn into the land-
scape to represent the natural path
of travel. The different ways in
which these artists choose to rep-
resent their memories of landscape
is indicative of how place can take
various forms and evoke striking
Work is much more than a glori-
fied photo album of other people's
memories hanging on the walls.
Sure, it seems as if you are walking
through the ghost of many artists'
pasts, but the pieces in Work say
something about how their memo-
ries have been constructed and
continue to change. After the show
is over, they will wrap their work
up in wooden carrying boxes, leav-
ing their memories and places on
the shelf until they are ready to be
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