Page 8-Wednesday, August 11, 1982-The Michigan Daily
16 Hands receives a standing ovation

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(Continued from Page 7)
Frustrated with the limited exhibition facilities
available, the eight opened up their own business.
That way, the artists themselves had a say in finan-
cial and business dealings while also displaying a
larger selection of their pieces.
Over the years, co-op members and their number
varied somewhat. They all worked full-time to keep
up the inventory, Hallett said, while sharing business
duties. It was a healthy arrangement, she notes,
because it gave them the chance to periodically
escape "artistic isolation."
The remaining four are: Jill Damon (a weaver and
fiber artist), Pi Ping Savage (who works in paper cut-
outs), Pat Thurkow and Joe Hippler (both woodcraf-
ters).
The four have retained their official titles as par-
tners in 16 Hands, and they have also reserved the
right to display a slightly greater proportion of their
own works than is allotted to consignment artists.
Some of their duties have expanded, as well.
Damon alone comprises the entire artistic jury, a
position introduced recently. Since one priority is to
insure that the store exhibits a high level of artistry,
prospective exhibitors must first pass her
discriminating eye.

It is a less formal jurying process than most
galleries-Damon accepts work for screening at least
once a week while on sales duty in the shop-and that
is intentional, says Hallett. Many artists find it dif-
ficult to meet rigidly scheduled jury dates, especially
those who live out of town. "Our method helps us stay
accessible to talented people who are also very
busy," she says.
The consignment rate is currently quite low. The
store takes only 33 percent as compared to the com-
mon 40 to 50 percent. Because artists invest a great
deal in their pieces, both financially and emotionally,
they become quite sensitive to gallery rates, says
Hallett. A continuing goal of 16 Hands is to keep
management's cut in the lower ranges.
Another goal is to retain the casual, community-
oriented atmosphere, she says, while acquiring more
high-priced pieces.
"We'll never become a 'slick' gallery," says
Hallett. "We intend to continue selling something for
everyone while expanding into new art forms and ar-
tists."
Almost all of the artists exhibiting on consignment
earn their livings by producing fine crafts. Alf Ward
recently signed on after moving from Great Britain
to Somerset, Michigan. A highly respected metal
worker in his native country, he taught the craft there

for eight years and completed a string of com-
missions for such clients as the Bishop of Singapore
and the House of Revlon in Paris.
Robert Piepenburg has authored books on
ceramics and woodworking. He recently developed a
new glaze for the raku pottery on display at 16 Hands
through a grant from the Michigan Council for the
Arts.
Other exhibitors include Yosuke Haruta (a
Japanese artistknown for his large-scale ceramics
pieces), Leslie Birleson (currently touring Europe
with a one-man show of handmade paperworks), and
various artists from the Ann Arbor area.
In addition, this September the gallery will
resurrect the special exhibits series dropped several
years ago. Each exhibit will feature a collection by
one consignment artist.
Hallett says 16 Hands is actively seeking out more
artists for representation. While the shop is doing
well at this point, she says most people-artists in-
cluded-are unaware that it is no longer an ex-
clusively cooperative venture.
"We want the public and the arts community to
know that we are building a much wider selection of
fine crafts," she says.
Tomorrow they might have to change the name
altogether. Perhaps "50-plus Hands" would do.

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Pirate King
transforms
beach movies
to high seas
(Continued from Page 7)
popcorn money, and gas for. However,
the film accomplishes exactly what it
sets out to do-it provides low-brow,
teenage entertainment.
Stylistically, the film flows along,
bouneing against plot lines, scraping
the edges off the script, and generally
having fun with a silly premise.
McNichol stars as Mabel, a plain-
looking girl, who becomes infatuated
with Atkins, a movie star who has just
finished filming a pirate movie. When
events too silly to explain cause her to
lapse into unconsciousness, the film
drifts off into the slapstick world of
dreams.
The oldest story in the book? Maybe,
but thank director Ken Annakin that he
doesn't labor the point. Just when the
film begins to get boring, he switches
scenes, starts sword fights, and singing
... anything to keep the movie afloat.
"The Modern Major-General's" song
includes new lyrics; ordinary sword
fights turn into lightsabre battles; and
out of nowhere Inspector Clouseau tur-
ns up just to keep things confused.
At the crux of both the Gilbert and
Sullivan operetta and this spirited film
is the character of the Pirate King. Not
too coincidentally, the executive
producer of the production also hap-
pens to play this pivotal role and, for a
change, that egoism works. Ted
Hamilton manages to carry off the
swaggering, charming, never-stop-
smiling Pirate King with more aplomb
than you could have thought possible in
a film that resembles a two-hour
Monkees show.
I could get paranoid after saying nice
things about a movie that has received
so many scathing reviews. Yet for a
film to achieve no more or less than
what it aimed for is a minor triumph
among the other fare offered this sum-
mer-pretentious sci-fi, forgettable
musicals, and one more Cheech and
Chong flick.

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