ACROSS
1 Pet adoption agcy.
5 West Indies tribe
for which a sea is
named
10 “Rhyme Pays”
rapper
14 Boxers Laila and
Muhammad
15 Carne __: burrito
filling
16 Benelux country:
Abbr.
17 Legendary terror
of the deep
19 __ blocker
20 Action hero
Jason in three
Ludlum novels
21 Swedish vodka
brand
23 Material
25 Prefix with space
26 “__ the Sheriff”:
Clapton hit
28 Under threat
32 Like most people
33 Comic’s perch
34 Label for Elvis
35 “Supervixens”
director Meyer
36 Honor roll
student’s
disappointment
37 Fashion line
38 Author’s ending?
39 Celebrated chef
Ducasse
40 Copycats
41 Lovers of
wordplay
43 Get big on Twitter
44 Gumbo pod
45 Sierra Nevada
lake
47 Ginger’s “Gilligan’s
Island” hutmate
50 Repaired, as a
fence
53 Awesome,
nowadays
54 “Doesn’t matter
to me”
57 Old film dog
58 “Family Matters”
misfit
59 Mirror shape
60 Quantum
movement?
61 Body of verse
62 Sunday benches
DOWN
1 Airline to Oslo
2 Working-class
Roman
3 Padua parting
4 Even though
5 Lacks what it
takes to
6 Equipment, in a
ledger
7 Lab rodent
8 Brainstorm
9 Rihanna’s home
country
10 Congenital
11 “Forget You”
singer who was a
coach on “The
Voice”
12 Caesar’s last
question
13 The one over
there
18 Lightweight
synthetic
22 Elite Navy fighter
24 Names given to
an assassin
26 Rodeo
automaker
27 “Aye, lass,” in
Acapulco
29 Sentence
subject, usually
30 Birthday greeting
opened with a
click
31 Ewes’ guys
32 Give it __: swing
hard
33 Prep for fight night
36 Tidies
37 Radar gun user
39 Big name in
razors
40 Rice-__
42 Airport porter
43 1986 horror film
in which a man
becomes an
insect
46 Female French
friends
47 Repast
48 Church area
behind an
altar
49 Detective
Wolfe
51 Roof overhang
52 Sketch
55 Just get (by)
56 Golf Hall of
Famer Ernie
By Samuel A. Donaldson
©2017 Tribune Content Agency, LLC
10/10/17
10/10/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, October 10, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
6 — Tuesday, October 10, 2017
Arts
The Michigan Daily — michigandaily.com
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COMMUNITY CULTURE
UMMA exhibition shows
diverse alumni collection
FILE PHOTO/DAILY
With
intriguing
works
by titans of the modern art
world — from Jasper Johns
to Pablo Picasso — on display,
the
University
of
Michigan
Museum of Art
has
continued
its
yearlong
focus on works
from
alumni
collectors.
“Victors
for
Art,”
which
serves
as
the
museum’s
remarkable
contribution to
the University’s Bicentennial,
has
brought
together
an
extraordinary
array
of
abstract art, all of it borrowed
or donated by prolific alumni
art collectors.
At first glance, it seems
like a strange idea: borrowing
dozens
of
vaguely
similar
works of art from collectors,
then trying to form a cohesive
whole from the hodgepodge of
artistic styles and traditions.
The curators had their work
cut out for them, basically
working backwards — rather
than
coming
up
with
an
exhibition theme and then
selecting art to fit the theme,
they had to take
the alumni pieces
and
somehow
make
sense
of
them as a body of
work.
Yet,
to
the
curators’
credit,
the
exhibition
is
surprisingly
cohesive, with a
clear arrangement
of
artwork
that
provokes
reflection
and
comparison.
This was no small feat, as
the
abstract
pieces
range
from big name contemporary
to
midcentury
monocolors,
casual sketches to disturbing
collages.
Even abstraction itself is
only broadly referenced in
the
display,
which
places
modern pieces side by side
with
works
not
usually
considered abstract, let alone
art: Ancient Chinese scrolls
and an Amish quilt make
appearances
as
“abstract”
art. While some might take
offense to this extremely loose
interpretation, it’s a bold move
that expands our definition of
“real” art and questions the
legitimacy of clear-cut artistic
definitions.
This
boundary-pushing
attitude
undoubtedly
reflects the diverse group
of curators involved in the
exhibition:
Joseph
Rosa,
the former UMMA director,
guest-curated the exhibition
alongside
specialists
in
African
art,
photography,
Asian art and Western art.
Employing
such
a
varied
group
of
curators
was
a
smart move, ensuring that
global
artistic
traditions
were respected and placed
on
equal
footing.
Luckily,
the curatorial team had an
exceptionally
cosmopolitan
collection to work with — the
University alumni lent a far-
ranging assortment of art,
from
European
Modernist
sculpture
to
Colombian
canvases.
Rather than throwing a few
“token diversity” artists in for
good measure, the exhibition
makes
diverse
artwork
a
main focus and often seems
to challenge the status quo by
placing works by established
white male artists in direct
conversation
with
lesser
known pieces.
On one thin white wall,
a
Picasso
sketch
called
“Weeping Woman” sits next
to Grace Hartigan’s painting
“Untitled (The Second Mrs.
Nash).” The pieces, one by a
man famous for painting his
mistresses nude, the other by
a woman whose work often
focused
on
gender
issues,
depict a woman’s emotional
inner
world
in
starkly
contrasting ways. “Weeping
Woman” is a brash, beautiful
sketch of a woman in torment,
her childlike anguish and dark
sexuality rendered in violent
strokes. It’s striking, and yet
placed
next
to
Hartigan’s
work, a murky watercolor in
shades of orange, a woman’s
dreamlike
figure
scattered
around the canvas as if divided
internally, the Picasso piece
seems oversimplified.
The Picasso is a lovely
sketch of an unhappy woman,
drawn by a man who loved but
did not really understand the
women in his life. It seems
to ask: Why is she crying?
Hartigan
tells
a
different
story, at once more complex
and more heartbreaking —
it shows us a woman whose
torment
is
internal,
not
written on her face and body; a
woman with an interior world
as labyrinthine as Hartigan
herself. Picasso’s woman is
sad, so she cries, a fantasy
woman
enchanting
in
her
simplicity. Hartigan’s “Mrs.
Nash” is harder to read, her
cloudy
emotions
rendering
her as unfathomable as, well,
a real woman. This intriguing
juxtaposition,
just
one
of
many in the exhibition, shows
the profound thoughtfulness
the UMMA curators put into
artistic arrangement.
Somehow,
despite
the
overwhelming
diversity
of
artworks and genres, it all
just works. More than that,
“Victors for Art” offers a
refreshing alternative to the
ubiquity of Old White Dudes in
abstract art. You’ll see plenty
of big name artists scattered
around the exhibition, but
even then, they’re rarely the
expected or familiar pieces.
There’s a Jasper Johns, of
course, but rather than one
of his over-used flags, the
curators selected a wonderful
sober
painting
in
gray
tones, a prescient selection
considering the current art
world fervor over his later-life
work.
Beyond
these
familiar
faces, the exhibition really
shines,
with
a
superb
selection of abstract work
by women artists and global
artists. This should come as
no surprise considering the
diversity of curators involved
in the project, but it’s still
depressingly
rare
to
find
such variety and respect for
women and artists of color,
with compelling works by
Louise
Nevelson,
Seikichi
Takara, Betty Woodman, and
Jordan
Eagles
prominently
displayed.
Whether
you’re
a fan of abstraction or not,
nearly every art lover will find
something to admire in this
sprawling exhibition — it may
well be one of UMMA’s most
ambitious efforts in recent
years. “Victors for Art” will
remain on display through
October 29 in the A. Alfred
Taubman Gallery.
MERIN MCDIVITT
Daily Arts Writer
With intriguing
works by titans
of the modern art
world on display,
the University
of Michigan
Museum of Art
has continued its
yearlong focus
on works from
alumni collectors
To the curators’
credit, the
exhibition is
surprisingly
cohesive, with a
clear arrangement
of artwork
that provokes
reflection and
comparison
At first glance,
it seems like a
strange idea:
borrowing dozens
of vaguely similar
works of art from
collectors, then
trying to form a
cohesive whole
Victors for
Art (Part II):
Abstraction
11 a.m. - 5 p.m.
July 1 - October 29
UMMA
Free