100%

Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue

Share

Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

May 18, 1982 - Image 8

Resource type:
Text
Publication:
Michigan Daily, 1982-05-18

Disclaimer: Computer generated plain text may have errors. Read more about this.

Page 8-Tuesday, May 18, 1982-The Michigan Daily
Edlich creates art that
(ContinuedfromPage7) selves with some aspect of
fruitful tension that exists between two simultaneity. With Picasso the viewer
modalities. One mode is exemplified by perceives many perspectives at once
Picasso's Cubist works in which objects from the outside. With Matisse the ex-
supposedly in the same time/space perience is an intuition, or "the sym-
frame each have as Rudolph Arnheim pathy by which one transports oneself
says, their "own system of perspective to the interior of an object in order to
presentation." coincide with its unique and therefore
Another mode is the work of Matisse, iineffable quality." With Edlish, both
who was concerned more with extrac- perspective and essence are
ting the essence of a thing from a "suc- acknowledged as givens, and the
cession of moments," that made up the viewer's mind leaps tpward what could
existence of the object. The area in be called quite simply, an opening.
between reverberates with the Most of the titles of Edlich's exhibited
possibility, or perhaps it's the im- works do refer to windows, reflections
possibility, of a "polyphony of visual and movement: Landscape Before an
forms being frozen." Open Window, Reflections on a
All three artists have occupied them- Season's landscape, and Ouverture

is simply simultaneous
with Cypress Forms I. The impression movement except as a kind of mental
these works give is that of moving exercise. Visual art is so often a
leaves, and of sunlight which is acting diagram of one idea or an illustration to
upon the air to create breezes that em- a story. Stehpen Bann speaks of
phasize the leafy shadows. The shapes achieving simultaneity or represen-
have a vibrancy which comes in part tation of several things by one symbol
from the contrast between their colors "through a kind of counterpoint. . . a
and the saturated backgrounds. retrograde motion that would penetrate
But there is also an intentional, sure consciousness." #
fullness to them, which encourages a There have been linguistic theories
perception that out of their fragmen- which postulate that the origin of
tary nature will grow the familiar ob- language was music. For those of us
jects: The cypress and the window who are skeptical of language as being
panes. the best mode of communication and
Edlich's works have a close relation- expression, alternatives which avoid
ship to music. What he is attempting to the pitfalls of linguistic systems, are
do is introduce rhythm into an art form always welcome.
which by its nature does not feature

I
0

SINE QUA NON...
In ancient Rome it meant an absolutely
essential thing. In modern Discount Record
Stores it still means something extremely
essential: a great new line of classical
cassettes at a very special price.

0
6

1

*I

Choose from
over sixty titles!

3.99 each

Hurry in for best selection, offer good while supply lasts.
300 South State Street
(corner of State & Liberty)
Phone: 665-3679
____ "When it comes to music, come to us."
390113-052

.

Back to Top

© 2020 Regents of the University of Michigan