FOCUS QUARTERLY Volume 6 Number 3 Fall 1987 ______A Visual Arts Publication

Photo: Lucy Bates

0 e t r oi1 1

(see page 6).

Art in the Stations by Dolores S. Slowinski

When the People Mover was proposed, most of us were skeptical We also complained that it obstructed many of the remaining plea­ of its value and critical of its impact on the downtown area. Detroit, sant pedestrian vistas of downtown; that it would leave even fewer after all, is neither Disney World nor Epcot Center both of which are people on the streets. Not many of us anticipated that it would not carefully planned and administered fantasy communities. As only be popular but would also contribute to public art in Detroit. Detroiters, we live here; we are not merely vacationers looking for Irene Walt, the Duchess of Public Art in Detroit, who successfully diversion. We feared that whatever the cost, we would have to live conducted a campaign to incorporate art into the recuperative envi­ with the project even if it failed. ronment of Detroit Receiving Hospital, similarly proposed and ex­ Originally intended to be the baseline for an extended mass trans­ ecuted the concept of putting art in the People Mover stations. She it system along Woodward Avenue, the People Mover was eventually approached the Southeast Transit Authority (SEMTA) with reduced to a 2.9-mile loop of . Many of us com­ her idea for ‘‘Art in the Stations” in July, 1984. it took some con­ plained that is wasn’t long enough or would be a series of stations in vincing, but she was eventually able to assemble the Downtown Peo­ a decaying Detroit which would make disembarking a waste of time. ple Mover Art Commission. The 12 members of the Commission con- Detroit Focus Quarterly Detroit Focus Editor’s Note A Visual Arts Publication 743 Beaubien Detroit, Ml 48226 962-9025 This issue of the Detroit Focus Quarterly contains articles on the Wed .-Sat. 12-6 most public of the art events of summer and early fall of 1987: The opening of the much heralded People Mover stations and a guerilla- Staff style political/art event “ Demolished by Neglect.” Less immediately Publisher Gere Baskin visible, perhaps, was the departure for California of Ed Fella, whose Woody Miller prolific design work as a member of Detroit’s art community includes Editor Sandra Yolles the Focus Quarterly, and whose absence for a year inspired the arti­ Design Editor Gigi Boldon-Anderson cle in this issue. (Ed is teaching at Cal Arts in Valencia, California.) Editorial Board Doug Aikenhead Allie McGhee Several new galleries have opened within the last year, both in James Kirchner Gretchen Wilbert the Downtown Detroit vicinity and in the suburbs; one important MaryAnne Wilkinson Detroit gallery, the Feigenson, announced that it would close. The Sales Manager Jeanne Poulet new OMAP program was announced at the DIA, and after the initial Bookkeeper M ary Clark outburst of controversy, people waited to see how the exhibitions Typesetting & Printing Grigg Graphic Services would shape up. The first was opened in late November. There have been then, of late, some new winds in the Detroit art community: these include both a new editor and a new designer working on the Quarterly. We are open to suggestions from the readership about articles, Detroit Focus Quarterly is published four times interviews, and other areas of interest that you think we should ex­ per year (March, June, September, and December) by Detroit Focus, 743 plore, and welcome the ideas of artists, critics, and other interested Beaubien, Detroit, Michigan 48226. Copyright 1986. Contents in whole or observers of the art scene. part may not be reproduced without written permission. The opinions expressed are those of the writers and not necessarily those of the gallery. Address all correspondence to Detroit Focus Quarterly, c/o Detroit Focus Sandra Yolles Gallery, 743 Beaubien (third floor), Detroit, Ml 48226. Manuscripts must be Editor typed double spaced, and accompanied by a stamped, self-addressed envelope. Ad salespeople receive 20% commission.

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sisted of volunteers representing the Michigan Council for the Arts, That, in a nutshell, is how it happened. Undoubtedly there were the Detroit Council for the Arts, the legal, administrative and artistic clashes of egos, politics and personalities which occurred at various communities in the city. The commission was given office space and times and in varying degrees of intensity during the three years it some funding for a part-time administrator to get started. Commis­ took to make “ Art in the Stations” a reality. Ideally, each party sion members, as well as architects from Mason and Johnson who should be sensitive to the others needs and all differences should be designed the stations, went to Buffalo, New York, to see the art in resolved in an atmosphere of sweetness and light. To wish that it the subway system and to glean as much as possible from Buffalo’s were so would be naive and it certainly would not be art-by-commit- experiences so as to avoid making similar mistakes. tee. The success of “ Art in the Stations,” or any public art, should Selection of the artists and their work was made by the Commis­ be judged by the ability of the artwork to rise above the committee sion. Attention was paid not only to the representation of women and process and stand up to criticism on its own. minorities, but also the balance of Michigan vs. out-of-state artists. “ Art in the Stations” consists of 15 works by as many artists in Previous experience in public commissions, use of resilient materials 13 stations. The works are rendered in various media: one work in as well as quality of work, were key factors in making choices. Lists neon light, one drawing in baked enamel, one painting on alucobond, of artists names were solicited from the MCA, the DCA, members of two works in bronze, two in mosaic and eight in ceramic tile. the Commission and other sources. Two hundred artists were finally Stephen Antonakos’Neon for was scheduled invited to submit slides of their work for consideration. The slide jury for completion by late September, 1987. It is the only work on the ex­ yielded 15 artists who were then invited to see the scale models of terior of a station. Antonakos’ most successful pieces are simple the 13 stations. The artists, for the most part, were able to select the linear compositions which utilize their own shapes, as well as their stations and walls of their choice. They then submitted maquettes of haloes of light to decorate and illuminate an area. It may seem natural the proposed works to the Commission. to have selected his work for Greektown, but it remains to be seen if After approving the proposals, the Commission set to work to the neon sculpture can hold its own in a location already gagging on raise $2-million dollars to cover the total expenses of “ Art in the Sta­ a profusion of neon outlines of flaming cheese and OPA! tions.” Private funding came in the form of sponsorship of individual Think of Glen Michaels and you think of richly textured/colored artists and stations. The National Endowment for the Arts awarded mosaics done in high relief.Beaubien Passage in the Bricktown Sta­ the Commission a grant for Joyce Kozloff’s work. The Michigan tion is a drastic departure from his more familiar style. It is a drawing Council for the Arts awarded individual artists grants to Alvin Loving on thirty-one fired porcelain enamel panels each measuring 45" x and Allie McGhee, both painters, to learn to work in clay for the pur­ 37". Although it has the immediacy of a magic maker drawing of an pose of executing their pieces. got involved in the abstract aerial view of a cityscape with intertwined accents of red work in four of the stations. Cranbrook Academy of Art as well as and yellow, it functions more like a caricature of what might have several private industrial ceramic and materials companies partici­ been. pated in fabricating and installing various other works. Visual inaccessibility adds to the disappointment of the piece. 2 Kirk Newman’s On the Move leaps up the escalator at the . Photo: Keith Piaseczny

You can look up and see the right-hand side of the drawing as youcommuter waiting for the next People Mover car to arrive at the Grand enter the station; you can see the left side by stepping back on theCircus Station while reading theThe Detroit News with theDetroit landing at the top of the escalator. To see the 60 to 70 feet of the mid­Free Press folded on top of his suitcase beside him. The diminutive section clearly, you would have to shrink to the size of a spider and stature of this polychromed, life-size, cast bronze figure and its scale the opposite wall above the stairs. Drawings and sketches, by placement to one side of this Grand Circus station platform make it their nature, require an intimacy of viewing. Enlarge them to fill a easy to overlook. The token personalization for Detroit, with the two void and you may prefer the emptiness. newspapers, make it appear to be a monument to News/Free the Charles McGee has always been comfortable with the human Press joint operating agreement. figure. InThe Blue Nile, a 12' x 17' painting on four panels of aluco- Kirk Newman of Kalamazoo also creates realistic bronze figures. bond, he plays with five children and four animals in a composition of For the Michigan Avenue Station, however, he did something dif­ textures, patterns, lines, forms and open spaces. The children seemferent: he made 14 bronze silhouettes of various sizes that look like to be walking or jumping around with arms and legs crossing over they jumped out of a Thomas Hart Benton mural. The largest of these one another. A couple of them carry a large snake; a cat is about to exaggerated figures On in the Move covers a 23-foot span as it leaps pounce on a rat; a spotted dog darts between a pair of legs. The up the wall beside the escalator in a single bound. The humorous bright colors, irregular outlines and spatter texture recall not only the gestures and situations depicted among this sampling of business spontaneity of collage, but also the limitless energy which children people, laborers and shoppers may amuse us, but they may also re­ seem to have in the company of animals. It seems to capture the mind us of our own mindless prospensity to “ hurry up and wait.” spirit of confusion which may have prevailed as creatures were being Constante Crovatto, of Crovatto Mosiacs, who was called upon to herded into Noah’s Ark, the title of the series of which this paintingtranslate and render Romare Bearden’sQuilting Time as a mosaic is a part. Ironically, the painting is located above the elevator doors mural for the DIA, was also selected to do a similar task for the Cobo on the street level of the Broadway Station which itself resembles an Hall and stations. “ ark” waiting for the cleansing waters of redevelopment to wash The Cobo Hall Station, scheduled for completion in April, 1988, away the decay afflicting the buildings around it. will be decorated with a mosaic mural designed by Larry Ebei and The two works in bronze are also figurative. J. Seward Johnson, Linda Scarlett. Tentatively calledThe Cavalcade of Cars, it will con­ Jr. of Princeton, New Jersey, has provided Detroit with a variation of sist of images of several different vintage automobiles spaced along a the Kingston Trio's “ man who never returned” from Boston’s MTA.8 2" x 1 0 1/2 ' foot wall. While Cobo Hall may indeed be the home of the The difference is that rather than being trapped on the train, our man Auto Show, Autorama and countless other automotive trade shows, will never get on in the first place. does that mean that the station has to have a static line-up of Like most of Johnson’s work, which seems to parody in bronze “ classic cars’ ’?! There are numerous artists locally and nationally Duane Hanson’s more intense and introspective, life-like figures,that have created work related to the automobile — if that was the re­ this work lacks long lasting interest.Catching Up is supposed to be a quired theme — who could have been invited to submit slides. While 3 Allie McGhee’sV o yag e is street level at the Michigan Avenue Station. Photo: Keith Piaseczny

no one can hope to match the grandeur of Rivera’sDetroit Industry, and decoration as a way to humanize her work. Since 1979 she has one can certainly expect something more exciting than a nostalgic been exclusively engaged in public commissions for mass transpor­ production display for the Big Three. tation buildings. Gerome Kamrowski, who will be forever linked to the Surrealists Whereas her other commissions surrounded commuters with of the 1930s and 40s, creates the most remarkable and phantasma- totally patterned walls or ovals and roundels of geometric decoration gorical creatures using wood, metal, glass beads/gems and found interspersed with painted scenes of historic significance,“ D " tor treasures. His encrusted animals can dazzle you no less than the Detroit is different. Kozloff chose a wall at street level which moves most bejeweled beasts of your wildest dreams. He designed twoup alongside the escalator. For it she designed a huge, capital “ D” murals approximately 7 'x 15' for the which with large bulls and bears dancing along its perimeter. The inside of were executed in Venetian glass by Crovatto. As in language, a lot the letter is a latticework pattern of five intertwined circles. Flanking was lost in the translation from one medium to another.Voyage the “ D” and standing alone in a small panel near the ceiling of the which depicts 17th century mythical and astrological beasts is station are peacocks which refer to Charles Freer’s Peacock Room. devoid of the nubby, jewel-encrusted, tactile quality of Kamrowski’s Originally proposed in saturated colors, the maquette had the three-dimensional work. Obviously their location at body level on thejewel-toned quality of the initial letter of an illustrated manuscript. It station platform precluded use of any spheres or buttons of glassemoted wealth. The finished piece, however, is done in pastel colors which could be chipped out by souvenir hunters. But perhaps— a change made by Kozloff at the time of fabrication at Kohler Art Crovatto could at least have used a few larger, circular pieces of Center in Wisconsin. The change reduces the piece to a huge china glass for the eyes of the beasts to make them more discernible. painting. Venetian glass tessarae can make luscious color gradations possi­ Visibility at this station is once again a problem. Whereas in other ble, but they can also make a dazzling design too busy. I would also commissions Kozloff seemed to be aware of the brevity of contact say that Kamrowski did not have to go so far as to make his mural between travelers and artwork and the need for an image to read well orange to match the color scheme of the Arena. But since he did,at close or distant ranges, in Detroit she seems to have ignored those perhaps the red-orange squares of commercial tile which form the criteria. The scale of the letter, together with the positioning of its border below his work should at least have been replaced with greyspine at the left edge of the wall, make it confusing and almost im­ ones to make his work stand out. possible to read. You can’t get far enough away from it unless you go The eight remaining works are done in ceramic tile. Four of theseacross the street and look back. Even so, the “ D” is cut in half by a pieces can be classified as examples of “ pattern and decoration.’ ’ cross member of the station’s facade, proving once again that the The Financial Station, build on the site of Detroit's original stock wall of a transit station is not a page from the Book of Kells. (And exchange, is an appropriate location for a work by Joyce Kozloff who besides, didn’t any of the Commissioners tell her that the only “ D” makes a point of incorporating a community’s history into her public for Detroit is the old English style “ D“ of the Detroit Tigers!) commissions. Kozloff, once a minimalist painter, turned to pattern George Woodman’sDreamers and Voyagers Come to Detroit at

4 the Renaissance Station is a confection of pattern and decoration.Madame Cadillac disembarking from a canoe in the wilderness that Woodman silkscreens wavy lines of bright colors onto hexagonal tilewas Detroit. Kulisek is to be commended for sacrificing her personal playing the softness of the applied forms against the rigidity of thestyle to create the interior of a station which not only commemorates shape of the tile. The huge panel at the entry level of the station theis a founding of Detroit but also accurately reflects the style of Mary mix of patterns within patterns. The panels which form a backdropStratton whom the station honors. on the station platform seem to be organic overall. You can’t step Tom Phardel also puts aside his delicate, unglazed, scorched back far enough to really see what is happening without falling ontosurfaces to create a bold, hard-edged design honoring W. Hawkins the People Mover track. You can, however, see it from the north sideFerry, of a loyal Detroit art patron. Phardel made two designs, one for a Jefferson. The service doors also intrude on the design. If Woodmansmall wall facing Grand River and the other larger wall flanking the had refrained from extending his design over the doors, the doorsescalator and facing Times Square. Both pieces at the Times Square could have been painted grey and would have blended into theStation con­ are lotuses and reflect the stepped angularity of some of the crete of the station. As it is, the doors have been painted in pastelarchitectural embellishments of the . The colors are colors to “ match” Woodman’s color scheme. Wait until the intense, even, and strong — orange, magenta, black, white, gold, maintenance budget is cut and/or the custom colors are not availableturquoise, deep blue and mustard. The larger panel sweeps you — the doors will be back to basic grey. up/down the stairs and is such an imposing presence that it will Farley Tobin is no stranger to public commissions either. She isforce people to step outside the station to see it in its entirety. strong where Kozloff and Woodman are weak. Unlike Kozloff, she is Alvin Loving and Allie McGhee were most successful in trans­ not flamboyant in imposing her ego on the public; unlike Woodman,lating their painterly ideas into ceramic tile by working at Pewabic she prefers a subdued earth-toned palette and sticks to the rigidPottery. Al Loving gave his two-part mural a crisp calligraphic quali­ geometry usually associated with tile work. She accepts thety. Not only is there a rainbow risingDetroit in New Morning, but decorative quality of art in transit stations and uses it to her best ad­outlines of clouds burst out of the frame. The work suits the top level vantage. She is unpretentious and leaves her work untitled. Herof the atrium just inside the doors of the Millender Center Station work at the Fort/Cass Station is the best of the three. platform. It is sleek, elegant and sparkles with metallic lustres. The By avoiding the use of street level walls, she eliminated anyfact that it looks as if it had been executed with the wave of a magic visibility problems. Rather, she chose to start at the landing andwand can be credited to the many individuals who worked with Lov­ wrap her design around the adjoining wall covering them both ceilinging at Pewabic. It could not have been as effortless as it looks. to floor and corner to corner. The work surrounds you; enfolds you. The real gem of “ Art in the Stations,” however, is Allie The subtle tans, beiges, greys, blacks, whites and accents of redMcGhee’s Voyage. Located above the elevators at street level in the and yellow are impressive without being harsh. Tobin softens the Michiganef­ Station, the 1 7 'x /2 ' ceramic tile mural is the most suc­ fect of using commerical tile in her rigid geometric format by usingcessful translation of a work from one medium to another. An irregu­ handmade/glazed, round and square tiles at regular intervals. Theselar, open, white square floats above a red triangle on a blue ground tiles, together with the subtle changes in the relationships of colorswith a splash of yellow. A strong diagonal line moving down from left to one another, make the piece a pleasure to look at close up or toat righta divides the mural in half. It is almost as if the white square is distance. A Cranbrook graduate, Tobin has made a valuable con­a portal between night and day. The colors are rich, intense; the sur­ tribution to art in Detroit reflecting the Saarinen philosophy for a totalface as interesting as McGhee’s paintings. Certain expressionistic aesthetic environment. forms which are part of his vocabulary also appear, marking it as Jun Kaneko, who was head of Cranbrook’s ceramic departmenttotally his work. from 1979 until just recently, was awarded his first public commis­ Public art has a rich tradition of instruction, commemoration and sion for a wall of the Broadway Station. Kaneko, who has recentlybeautification. In the best of settings it must withstand the abuse of been making enormous jars, applied his signature use of diagonalthe elements and the public. It must be visible. Unlike art in stripes of pinks, yellows and oranges outlined by deeper colors inter­museums and galleries, which tends to attract an audience predis­ spersed with very dark stripes to create a wall of dizzying turbu­posed toward art appreciation, public art usually has a broader ap­ lence. While it can be considered pattern and decoration, it is muchpeal. It is seldom the stuff of esoteric, intellectual musings. If it is, it freer and more exhilirating than anything done in that genre before.is met It with public outcry due to misunderstanding. Nevertheless, it is a little difficult to view from the platform or street level, but it suffi­ should make no apologies and should still be unabashedly fine art. ciently electrifies the space as to make prolonged contemplation “ Art in the Stations” certainly has a few flaws, visual inaccessi­ unimportant. bility being the most obvious, which could have been avoided if ar­ The last four ceramic murals to be discussed were all fabricatedtists, architects and engineers had been working together through­ at Pewabic Pottery and as such mark a high point in the history of theout the project, but it is still a good example of what can be done to pottery’s involvement in architectural commissions. Not since Maryplace art in our everyday environment. It is refreshing to think that Stratton, Pewabic’s founder, executed the tile-for the Guardiansomeone, Irene Walt in particular, thought enough of us to work for Building has Pewabic been so busy making tiles. Diana Kulisek andthree years to add visual elegance to this small part of our commuting Tom Phardel, two artists on staff at the pottery, were asked to designenvironment. walls for two separate stations as well as oversee/assist with the Developers at work along the , in Grand Circus Park fabrication of murals by Alvin Loving and Allie McGhee. and anywhere else in the city should take advantage of the example In Cadillac Station, Diana Kulisek did an excellent job of utilizingset by this project. Two-thirds of the artists represented in the sta­ old Pewabic tiles, donated by Peter Stroh, which had been commis­tions are from Michigan; five of them live in the tri-county area. sioned for a brewery and never used. I can imagine how difficultOverall, it their work is the strongest. The potential is here for was to come up with a design and color combination to offset thedevelopers to include fine art in their plans for Detroit. “ Art in the deep olive green of the old tiles. Nevertheless, Kulisek proved to beStations” a proves thatit can be done. heroine in successfully recreating some of Mary Stratton’s finest Dolores S. Slowinski is a free-lance writer who frequently contributes toDetroit the glazes, formulas for which were lost when Stratton died. Focus Quarterly. Several arches of the palest pastel tiles reach up one wall and are outlined by rows of deep turquoise, purple and blue tiles accented with gold. She also incorporated a bronze plaque from the Detroit In­ stitute of Arts collection. The 1903 relief by Carlos Romanelli shows 5 In contrast to art, the contingencies of design are blatant. It is Spider’s Stratagem: clearly in the service of media as an ideological disseminator. The The Deconstructive Web designer is beholden to the client. Design is “ air art,” that is, a simulacrum of “ real” art. It plays with no caution but “ obedience” of Edward Fella — it is “ free” only within certain limits (“ good taste,” “ mass ap­ by Vincent A. Carducci peal,” etc.). Its “ freedom” is couched in notions of “ expression,” “ creativity,” “ originality,” etc. How, then, does one practice I consider myself a friend of Ed Fella’s. As such, I have trepida­ design? tion over how he may react to this unmasking. (“ Is that you behind the wryly smiling visage on the Phillip Fike/Bill Rauhauser “ Work from duplicity not conviction” catalogue?” ) This is because part of Ed’s ruse has been to play This prescription is the essence of deconstructive practice. It jester (in Tarot: The Fool). mirrors tht time-(dis)honored institution: The Hidden Agenda. Ed Fella has many talents. He is a photographer, draughtsman, An example of this stratagem is the cover photograph of the “ Gil collage maker, illustrator, and graphic designer. The last medium is Silverman Selects” catalogue(Detroit Focus, 1983). In the stop- divided into two aspects — “ commercial” and “ art” — “ art” action photograph, the artists are show, along with Silverman, being the one which I would like to address. This body of work — caught in mid-air. While serving to picture the participants in the ex­ catalogues, posters, announcements — is a very well known in the hibition, the photograph also illustrates the collector’s power in the art community. Aimed at this community, the work “ presupposes art market. (When he says “ Jump!” , we say “ How High?” ) certain literacies in a visual continuum.” Another, far more complex, example is the catalogue for the re­ Ed’s avowed purpose it to “ degrease” design. That is, he seekscent “ Morris Brose: A Sustained Vision” exhibition(Detroit Focus, to deconstruct it — take away the “ slickness” (social lubricant) by 1987). The conventional role of the exhibition catalogue is to be which ideas are made palpable — with an exposition of contingencies transparent in order to posit the artist as “ Originator” and in the language of design. “ Creator.” In contradistinction to this, Ed demonstrates that other In considering the work, it is important to understand the role ap­“ creators” are at work. propriation plays in it. Specifically, appropriation re-codes (adds The existence of the essayist is asserted by calling attention to another meaning to) existing meaning. This doubling is the the text with horizontal placement of type on the page. The role of the allegorical technique which effaces what Levi-Strauss termed “ the photographer is put forth by using images taken of the studio with surplus of the signifier” that characterizes myth. desks, draperies, and other objects appearing alongside the As part of the exposition, I will also treat Ed’s statements as sculpture being illustrated rather than disembodying (transcenden- equally of value. To be sure, I would assert that the statements are talizing) them with seamless backdrops. The designer’s presence is prescriptive not descriptive in relation to the work. In the text that indicated by these affectations in addition to other manipulations of follows, all statements by Ed Fella are taken from his master’s thesis text and imagery. The artist is seen as existing among others in the (Cranbrook, 1987). catalogue nexus. The document shows the equality of all “ Looks good and seems to mean.” almost. A well executed design can be used to prop up insufficient con­ Upon further analysis it becomes apparent that it is the designer tent. (Sometimes it is usedin lieu of content period.)The typeset who is in the superior position. His running of text sideways inter­ printed message represents authority. This explains why Ed has rupts our casual reading — it also serves to turn the catalogue itself always rendered the pages this of magazine so exactingly. It has into sculpture because one must turn it in space to continue. In addi­ never been merely a matter of aesthetics — “ Beauty” in and of itself tion, he has control over cropping the photography, which destroys means little to Ed Fella — rather, he has striven to “ stabilize the the integrity of the photographer’s frame. referent” (as an uncertain patient is “ stabilized” ) in order to Moreover, the designer maintains a position against the work he replace vacuum with volume, however fictive it may be. Of course, has been charged with authoritating through the representational an acknowledgement of authoritative representation (power/knowl­power of his medium. This difference is established at the outset on edge) leads to the realm of ideology. the catalogue’s cover by the mutilation of the typography in which “ Art is an ethnocentric cultural construct that you don’t gotta the artist’s name and exhibition’s title is set. h a v e .” Inside, the deconstruction continues. The catalogue essay is This phrase originally appeared on a bumper sticker for the sideways because its function is strictly “ laudatory” (read: puffery) Detroit Artists Market “ Autosuggestion” show (1985). It is an ap­ and, therefore, of relative unimportance. The essay is prefaced by a propriation of the Detroit Institute of Arts’ advertising slogan “ You quote from Plato’sRepublic which is set sinking on the page Gotta Have A rt.” The DIA’s message is set in Avant Garde type. (Idealism-as-Titanic). Originally designed for a sixties middle-brow magazine, Avant Garde The photgraphs are cropped in such a way as to align angles in has become an ubiquitous advertising face often used to connotethe work depicted with those of the frame. The work is sometimes "culture.” The idea of the “ avant garde,” as is well known, has a shown against gridded backdrops (seeAncestral Ritual andStudy for significant place in bourgeois mythology. In addition, it must be Cat’s Cradle) or aligned with other objects within the framing. These noted that the “ Art” referred to in the DIA slogan is that which has strategies portray disaffection with Romantic notions about the been owned (had) by a particular social group (the “ Haves” ). “ freedom of creativity” asserted for and by the artist. Instead, the In contrast, Ed’s bumper sticker is crudely hand lettered. (He is, work is shown enmeshed in its environment; ideologically linked to in actuality, a master of hand drawn letter forms.) This rudeness convention. points to the underclass who are without “ fine” anything, including access to slick typography. The message — rendered as a graffito — “ Art makes me nuts.” also reveals an aspect of “ the voice” in class articulations, to wit: Levi-Strauss has maintained that the function of myth is to that “ he (the underclass) has only one language, that of his eman­ resolve contradiction. When myth is negated, as through Ed Fella’s cipation. ...” (Roland Barthes) web of deconstruction, contradiction can be erased by a flight into “ Design is assigned sign, playing air art with no caution but obe­ madness. The question, as in the cases of Nietzsche and the Dane: dience, posing ordering systems as explanations and indulging the Is it real or is it feigned? same self anew, while attending and singing in a strict construct.” Vincent A. Carducci is a contrary kind of guy. 6 Documenting “ Demolished by Neglect” An Exhibition of the Urban Center for Photography

The exhibition “ Demolished by Neglect” opened on October 16 A public call to entry and extensive networking will solicit at the 1515 Broadway gallery in Downtown Detroit. Although initaily works from the Detroit photographic community. The UCP will scheduled to run until November 15, the exhibition has been extend­ run an ad in theMetro Times. Large singular images (32" x ed through Christmas 1987. Participants include members of the Ur­ 40" dimensions) with graphic impact and interpretive of the ban Center for Photography who were involved in the project: Bruce theme, “ Demolished by Neglect,” will be adhered to Checefsky, James Dozier, Tom Frank, Miki Graznak, Jim Klein, Bob plywood, varnished, installed, and relinquished to the public McKeown, Julio Perazza, Bill Sanders, Jessica Trevino, and Rolf domain, the elements, and the environment. The presentation Wojciechowski. Original sites included the Monroe block, the United will have a cohesive, unified appearance, devoid of individual Artists Theatre, the Tuller Hotel, etc. authorship. The UCP will organize 5-10 image environmental The following is the project description in its entirety from the photo-installations. The selection, construction, and mounting later controversial grant proposal submitted to the Detroit Council for of the photographs will be accomplished in a cooperative man­ the Arts by the Urban Center for Photography. It was authored by ner. The boarded-up facades of soon-to-be demolished or Keith Piaseczny, Project Director. renovated buildings in and around bus stops and other areas “ Demolished by Neglect” was originally conceived as an of high traffic volume will be likely locations. All the necessary exploration of innovative techniques for the presentation and permissions will be solicited first. The subsequent and in­ public viewing of photographic images. The project evitable deterioration and defacement of the installation will be represents our effort to take photographs of high artistic merit carefully recorded and photographically documented, with the out from the confines of the established gallery setting and eventual and ironic return to a gallery context in a special UCP place them in a highly visible public context. We thus hoped to event. make a positive and worthwhile contribution to this city’s The implications of the “ Demolished by Neglect” installa­ visual environment through a direct contact with passers-by. tions will be revelant and far-reaching. Photographs of artistic

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Photo: Keith Piaseczny

7 Photo: Bob McKeown Photo: Bill Sanders

integrity will be accessible to the public in a form not currently Editor’s Note:The appearance of the “ Demolished by Neglect" possible. An authentic “ democratization” of the image will bephotographs mounted on the outsides of abandoned buildings on in effect. And despite the theme’s negative connotations, wesites scattered around downtown Detroit created a public controversy hope that our collective statement encourages a positivewhich touched issues both political and emotive in character. The awareness and response, in short, that viewers will see Detroit Council for the Arts was reported to be questioning the use of beneath the dirty grime of decay and abandonment all tooDCA grant funding for the project and to be looking into the rescind­ prevalent, and come to recognize the city’s essential, inherenting of the award to the Urban Center for Photography. beauty. The political and artistic issues raised by this controversy are far- reaching. Does the a rtist have a social or political role in our society? What is the role of a government agency in subsidizing work which is executed in a manner that the political establishment finds ques­ tionable or embarrassing? Who does a government agency represent when there is a controversy over the content, or the execution, of a particular project? To follow up, in the next issue of Quarterly, the we hope to pre­ sent further documentation from participants on both sides of the “ Demolished by Neglect” issue. 9 A Video Text:Looking at the Urban Center for Photography Group, by Julio Perazza, Videographer Keith: Well . . . I think I expected it. I mean, I wasn’t so upset Editor’s Note:The video tape from which this transcript was record­ because, well we have the proof here in the photographs of what ed was made during the summer of 1987. w e’ve done. I would’ve like to see the installation stay up longer from Bill (Sanders): What are you doing? Recording? Shooting? the point of view of more people having a chance to see it. Julio (Perazza): Well, Bill, you are on tape. What do you think of allJulio: I was a little naive. I though it was going to stay up for more this? than a day. Bill: One hell of a project, one hell of a project . . . Keith: What did I tell you? Julio: What made you think of the themes you have in mind? Julio: That it might stay overnight. I was there the next morning it Bill: Well, I figured that w e’ re going to deal with anything that(the photo installation) was gone. somebody is demolishing, I think you have to deal with your bodyJulio: I hope somebody has it in his living room. I mean, it could be first. So many people are dealing with the drug thing, nowadays, andsomeone liked it that much. Keith, have you any thing to say about that’s what I consider the worst waste, so I decided to deal with thehow this project got started and what phase it ’s in? human aspect of it. Keith: I had an idea to do this project myself a year ago. I was just Julio: I hit the preview button (by accident). . . I’ m sorry, go aheadgoing to get up and start going around town and do it. And then I saw Keith, see if you can pick up where you left off. this project as a vehicle to motivate and activate the photographic Keith (Piaseczny): The important thing to note (about this photo­community . . . to bring thought, collective activity, and to bring graph) is that the people depicted on the front of this house actuallytogether a statement coming out of a group experience or the experi­ lived in this house. ences of a number of people who live in the City of Detroit. Here I Julio: Is that installation still there, by the way? have a burned out house, someone else has . . . all kinds of prob­ Keith: You were there with me when we put it up. lems. It’s wonderful to see how many different things are coming out Julio: Tell me what happened. of it. Each individual is interpreting that theme with his own vision. Keith: You were there when we put it up and we went back the nextJulio: Do you see, possibly, a publication coming out of this that day and it was gone. would go on the shelf? Julio: How did you feel about that? Keith: Oh, sure, I see this developing into a catalog or into a book.

Photo: Bill Sanders

10 REVIEWS The Third Annual Japanese Experimental Film Show Oakland University R ochester

Downtown Detroiters may not have notic­ Takashi Nakajima’s Sousa (Search), and sort of imagery or takes it into account. ed, but there has been an extraordinary Toshio Matsumoto’s Yuragi represent that In addition to the Experimental Film growth of interest in things Japanese north sort of experimental film that presents a Festival, Japan Focus also included a show­ of Eight Mile Road. Promising young Japa­ kaleidoscopic array of rapidly changing im­ ing of Mizoguchi’s 1946 classic Utamaro nese professionals are settling up there for ages. It is doubtless possible to use a and His Five Women preceded by a presen­ one- and two-year residencies for the pur­ semiotic or semi-structural approach to ex­ tation on the lives, times, and artistic pose of studying U.S. ways in automobile press what is going on in this group of films, achievements of both Mizoguchi and manufacture, high tech, and medicine. Kaori but the most straightforward approach is to Utamaro by Professor Bonnie Abiko, and Bana in northwest Detroit and Nippon Kai in say that they interweave images, not to con­ followed by comments on the film by Pro­ Clawson serve Japanese cuisine to an almost tribute to profluence, but rather to a latent fessor Dolores Burdick; and a presentation exclusively native Japanese clientele on unity that permeates the work. Each image on the Bunraku puppet theatre by Visiting some evenings. There are increasingly suc­ is to be grasped and enjoyed, and then Lecturer Robert Rann. Oakland University is cessful Asian shopping marts spread from replaced by the next image. Such viewing to be commended for making this, as so Southfield to Roseville north of the 1-696 requires full concentration and should result many of its cultural programs, available to construction area. Cranbrook has set up a in an immediate, unreflecting response to the general public. Saturday school for children who are ex­ th e w o rk . To be placed on the mailing list for next pected not to fall behind in their regular The roots of this intuitive art of momen­ year’s Japanese Experimental Film Festival, Japanese curricula while their parents are tary images, I think, are to be found in the contact Dr. Abiko at the Center for Interna­ living and working in Michigan. The Mt. thought world of the fifties. In the United tional Programs, Oakland University, Clemens Art Center has recently presented States, William Barrett, a philosopher and Rochester, 48063, (313) 370-3375/-2154. an exhibition of Japanese art and artifacts. editor of Partisan Review, was writing about Paul Edson is a Detroit-based free-lance writer. And Oakland University — in addition to that aspect of existential philosophy that studies designed for businessmen who want seeks to appreciate the irrational (better, the to work in Japan — sponsors an annual nonrational or extrarational) in the human Japan Focus week that, fittingly for a experience. Meanwhile in Tokyo’s Jimbo- civilization like Japan, approaches the coun­ cho, the Japanese were able to savor virtual­ Four at the Feigenson try both through the social sciences and the ly any book ever published in any language a rts . whatsoever. Here the pioneer Japanese ex­ Mid-summer Invitational Show The Friday program of Japan Focus this perimental filmmakers could have discov­ Feigenson Gallery July 2 5 / 8 7 year was the Third Annual Japanese Experi­ ered exotic European existentialism, or they The Feigenson Gallery showed work of mental Film Show, selected by Takashi could have been influenced by their own Zen four local painters in its mid-summer Invita­ Nakajima, Program Director for the Asian Buddhism, which has points in common with tional Show, which ended July 25. Bulka, Cultural Council’s Image Forum. existentialism. In the midst of this ferment Hyde, Obuck and Stephens showed work The films fall into two groups. The first is was D.T. Suzuki, who had been writing that, taken together, ranged along a con­ exactly what westerners have come to think about Buddhism in both Japanese and tinuum from primitive fecundity to post­ of as typically Japanese: film possessing ex­ English for the previous forty years. In 1950, modern sterility. quisite imagery and flawless technique. the Rockefeller Foundation brought this oc­ At the beginning of this spectrum was Makoto Tezuka’s Data, for instance, is com­ togenarian to the United States to teach, Robert Hyde’s work. His paintings are parable to Morita's visually elegant feature principally at Columbia University. Suzuki crowded with wraithlike figures emerging film Sorekara, shown at the Detroit Film was therefore able to influence an extraordi­ from misty dream horizons, rendered with a Theatre (DFT) last April. And Takashi Ito’s nary galaxy of western intellectuals: Lynn Byzantian approach to perspective. Strong Grim is concerned, quite simply, with visual White, Barrett himself, Heidegger, Harold reds, purples and blues bleed together over style, as is also true of Ishii’s feature Crazy McCarthy, Hubert Benoit, Erich Fromm, an impastic surface to form crowds of im­ Family (at the DFT last October), the com­ Horney, Jung, Thomas Merton, Alan Watts, ages fetched up from Jungian depths of the mercially circulated Buckaroo Bonzai and the Ferlinghetti, Ginsberg, Kerouac, Snyder, unconscious. The effect is on one level so at­ new Max Fleadroom productions. Itaru and Whalen. Of this group, Alan Watts, im­ tractive as to verge on prettiness; on another K ato's W iper, from its first splashes of bril­ probably enough, developed the most in­ level disturbingly haunting. liant blue water on the windshield, is a riot of sightful criteria for aesthetic evaluation of James Stephens paintings, too, have ref­ color and can be enjoyed for that alone. But this art of the passing image in his Beat Zen, erences to an earlier tradition of painting. the piece can also be appreciated for the Square Zen, and Zen. His precisely rendered apocalyptic land­ meticulous care with which, for long seg­ The Japanese Exeperimental Film Festi­ scapes are often backdrops for a single male ments of the work, one film passage is splic­ val, then, reminds us that experimental film nude posed in classic yet surreal attitudes. ed, frame-by-frame, into the fan-shaped has a history. This history, like much of the With their rawburnt skin and alien expres­ area outlined by the windshield wiper in an history of art in the twentieth century, is sions these figures seem at once tortured victims and malevolent aggressors. entirely different strip of film. Finally, there multi-cultural. Most importantly, underlying Stephens’ imagery is drawn from the heavy the development of experimental film has is Isao Y a m a d a ’s Un Im age, w h ich is built industry of downriver Detroit, but placed on the idea of photographing the filmmaker’s been a commonality of interest in perception against pastoral, romantic terrains. He shadow. The result is a washed-out area and in exploration of intuitive responses that frames his paintings with a second painting where the sunlight falls and a highly textured is shared by eastern and western minds and of oil on canvas, fitted around the first. The area beneath the shadow itself. that is consistent with, and in some cases wide flat frames, through unnecessary Keiichi Minegishi’s Pulse, Nobuhiro has led to, a body of literature, film, and enhancements, add their own note of Kawanaka’s Sora No E (Picture of the Sky), aesthetic criticism that makes use of this archaicism. 11 The large diptych shown by Douglas Gravity and Grace: (The art of transcendence in multi-media) Bulka is vast, tlat, pastel and remote, a cool­ “ Corner of the Street” ly photorealistic composition. His figures Michigan Gallery July 11 and setting could not be shown in a more Kate Moore, Yule Donald, Stan Ploski dynamic situation, yet the painting is delib­ Slides by Sibylla Seeger and Veronique Heydt erately static. This paradox lends the work its power. His second piece in the show, a Webster defines “ microcosm” as “ an Twirler: “ . . .the glory that sits inside life careful and detailed painting involving a tree organism or organization regarded as a where you can’t see it.” This is what Ms. and an object hidden among its leaves, is in world in miniature.” That the microcosm, or Moore’s work achieves as it projects images a style more suggestive of antique m an, is a mirror of the macrocosm is a on a brick wall, such as fragments of a porn classicism. Both of B ulka’s pieces, like medieval conception. However, the idea that flick, a human leg, a city-scape, which serve Stephens and Hyde’s are literary in the man is a “ world in m iniature,” or the to conjure up a conglomerate image of an ur­ sense that they are about something that can Gestalt conception that the whole is reflected ban background of alienation, in which the be discussed in terms of characters, setting in the part, or the “ structuralist” idea of dancers, Kate Moore and Yule Donald, are and action. Heraclitus that: “ The hidden harmony is forced to improvise their destinies to the John O buck’s work is a departure from greater than the apparent,” has little place punctured tunes of on again/off again humanistic imagery. In the stylistic context in post-modern discussions of art, which musical fragments. It evokes a microcosm, of this show, his paintings are the eschew the notion of depth, or a meaning or “ world in m in iature,” inherent in which abstracted, sterile end of the continuum. His hidden beneath the surface. Yet “ micro­ is a tension between a flat, two-dimensional, canvases are large and uncrowded, ar­ cosm” is an extremely interesting concep­ “ cool,” insincere, non-human background rangements of several simple hard-edged tion capable in itself of transcending the con­ of technology, and a round, three- objects on an open field, or perhaps corrall­ troversy over the representational or non- dimensional, “ hot,” sincere, human ed by the outline of a rectangle. The shapes representational nature of art, since as a mi­ foreground provided by the dancers, who themselves — a paperclip, a capsule half — crocosm an object is both itself and reflects a appear to be caught and held in a light that are banal artifacts of contemporary ex­ reality beyond itself. In any case, I find it an does not see them. Trapped in this context, istence. A significance hinted at in his titles apt description of “ Corner of the Street,” a the dancers exhibit contortions of stasis, like is unrealized in the paintings. Perhaps that performance piece conceived by Kate Moore, documents of gravity, or flow with spon­ is the point. Yule Donald, and Stan Ploski, presented at taneity, like documents of grace, all the the Michigan Gallery on July 11. It was an while in a strange, contradictory symbiosis Barbara Siwula is a Detroit-area free-lance writer. improvized dance set against a kaleido­ with the images of the background, which scopic background of slides and film, ac­ form multi-colored masks over their being. companied by a pastiche of musical frag­ Eventually a reversal occurs, in which the ments, the effect of which was astonishing dancers display the “ non-human” energy of considering the simplicity of the elements the background, while the background im­ and their arrangement or non-arrangement. ages, in a kind of magical sympathy, take on It called to mind the paintings of Kandinsky a human feeling. This results in a transfigur­ whose abstract forms have little reference to ation of the entire field, which the spectator anything objective, yet reveal an internal now sees as a unity. And this is what I mean order, which the viewer finds compelling for by the ‘ ‘art of transcendence, ’ ’ for it is quite reasons his intellect is at pains to com­ an artistic accomplishment to reveal this prehend, since he doesn’t know what the kind of unity in diversity, and have it speak painting — or performance piece — about. is so elegantly, though inaudibly, like a post­ The traditional explanation is that abstract modern equivalent of Keat's Grecian Urn art represents the inner w orld, i.e. it refers saying: the energy of the non-human to a hidden, spiritual dimension in man, background, and the energy within the which, like the world of quantum physics, human figures is one. Later when Ms. cannot be comprehended, or pictured, in Moore is deserted by her partner, she melts traditional ways, but can be experienced in into the background and becomes as if im­ others, e.g. synchronicity, aleatory art. prisoned by the two-dimensional surface of Such art is a kind of “ psychic experience” brick screen, like the Baron in Remem­ whose content refers the spectator to him­ brance Of Things Past who “ has himself self: it seeks to open him to a hidden dimen­ chained by Force to the rock of pure sion of his own being. M s. M oore’s perform­ Matter.” When, however, she emerges as if ance piece succeeds admirably in this miraculously from the wall it is like the liber­ respect for it touches the heart, providing ation of “ imprisoned splendor” from the the spectator with a glimpse of a transcen­ engulfing chaos of post-modern technology dental reality in the midst of things as they and alienaton, with an energy and grace are, unpalatable as that notion might sound capable of transcending that incredible beast to post-modern sensibilities; but the beauti­ of gravity. I cannot help recalling a poem by ful itself, like the smile of the Mona Lisa, im­ Blake which prophetically sums up the plies something transcendent. In any case, nature of this extraordinary multi-media per­ obscure, difficult, “ chance,” or improvised formance piece: "G od appears and God is art, in denying the spectator traditional light/ To those poor souls who dwell in “ representational” pleasures, seeks to pro­ night; / But does a human form display / To vide him with something more profound, so those who dwell in realms of d a y .”

that he may discover like Jane Martin’s Richard Ritter is a playwright who lives in Detroit. 12 RIDE THE DEARBORN ^TROLLEY^ SPECIAL CHARTERS

Extend your fun by chartering the trolleys for your special events. Trolleys are available for special charters Monday through Saturday evenings, starting at 6:00, and all day Sunday. Please call (313) 274-6300 for more information. IN GREEKTOWN Post Office Box No. 2467 735 Beaubien George Darany Dearborn, Michigan 48123 961-4303

ARTS EXTENDED GALLERY 1203 Washington Blvd. 9 63-8160 Fine Arts, Crafts And Introducing Z Collections, Apparel For Men & Women & •m • B cer 201 Detroit, Michigan 48226 ° b . o • Hours 11:00 - 6:00 Mon.-Sat. Phone 961-5036 Your host: Dennis “N ik i” Kefallinos S Q /t0 4

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13 AtM adonna College fo r A r t Mon, Tue, Wed, Fri, 9-6 / Thurs 9-8 Sat, 10-5 • Art History • Commercial Art • Studio Art

Day and Evening Classes The^ i S B F Call Admissions (313) 591-5052 Art Store MADONNA 7k COLLEGE 38000 SCHOOLCRAFT ROAD LIVONIA. MICHIGAN 48150 31 3 591 5000 JHEESES 14339 Michigan Ave. in Dearborn, between Greenfield & Schaefer, 581-7063 =SI Fine A rt Submit your slides for review for the 1988 Edition of Erotic Art by Living Artists. a unique and enduring pleasure. Send 2 color slides of your most representative work, a brief biography and SASE. If your work is not of the erotic nature, you might be eligible for the Encyclopedia of Showing Michigan artists since 1970 Living Artists, 3rd Edition. Submit 2 color slides, a brief biography and SASE. Tel. 642-1310 We have mailing lists of museums, corporate consultants, art commissions, galleries, G A LLER Y HOURS: 10 a.m. to 6 p.m. Thursday - 10 a.m. to 9 p.m. many, many more to promote your art work. Send for free brochure: Directors Guild Publishers 10008 Texas Hill Road G a lle ry 22 P.O. Box 369B Renaissance, CA 95962 22 E. LONG LAKE ROAD BLOOMFIELD HILLS, MICHIGAN (916) 692-1355

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Galerie jjrnorgrafic Norgrafic 29555 Northwestern Hwv. Southfield, MI 48034-10*17 (313) 353-5525 For Information Call US-10 Jeanne Poulet Exhibit Coordinator 464-6914 1-96 Call For Entries

Juror: Charles McGee Paul Zenion • The 1988 Erma Starks Portfolio Exhibition

Calander January 15, 1988:Submit 4 slides March 25, 1988:The Opening or more of any Erma Starks images Reception will be held Thursday (oils, watercolor or drawing). from 5:00 p.m. to 8:30 p.m.

February 2, 1988:Deliver selected Exhibition - March 25 - May 6 works to the gallery from 9:00 a.m. to 5:00 p.m.

Next Exhibit: The Kate Patterson Portfolio

15 DETROIT 968-1190 FOCUS Exhibition THE BOOK BEAT Specializing GALLERY Schedule 1987-1988 in 743 Beaubien at Lafayette Third Floor Wed-Sat 12-6 PM (313)962-9025 Art and Photography

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• ARTIST MONOGRAPHS • REFERENCE • MAGAZINES Oct. 16-Nov. 14 Artist Spaces Collaborate — Artemisia Gallery, Chicago, Illinois Hardcovers 20% off Coordinator: Susan Bloch Paperbacks 10% off Nov. 20-Dec. 19 Directions 1988 All Media Juror: Peter Williams/Artist, visiting lecturer Entry Deadline: cissed o«. 23 - jan.e Sat.. Oct. 24,1987 THE BOOKBEAT Artists Choose Artists Hours: 10-9 mon-sat 26010 Greenfield (corner 10'/2 m ile)

11-6 SUnday Oak Park, Ml 48237 Feb. 12-Mar. 12 Present Tense/Photography Juror: Peter Galassi, Curator, Department of Photography Museum of Modern Art

A Matter of Painting/Area MFA Candidates Curated /Invitational Curator: George Ortman, Director, Painting Department, National Conference of ArtistsM ic h ig a n c h a p t e r Cranbrook Academy of Art d Apr. 22-May 20 Sustained Visions: Susanne and John Stephenson

# *Thurs. Review Committee Selections Review Committee May 26-Juna 25 Slide Entry Deadline: Sat., Feb. 20, 1988

# *Thurs. From Artist Studios/Current Work Studio Visit Program Specializing in books, periodicals, posters June 30-July 30 Curators: MaryAnn Wilkinson, Asst. Curator. Dept, of Slide Entry Deadline: 20th Century Art, Detroit Institute of Arts Fri., Apr. 29.1988 on African American Art and Artists Joseph Wesner, Artist/Educator, Center for Creative Studies

Sept. 10-0ct. 8 Review Committee Selections

214 DAVID WHITNEY BUILDING Revtew Committee Pi Benlo, Artist/Educator, Adrian College 1967/68 Larry Cressman, Artist/Educator. University of Michigan, Residential College Tom Paul Fitzgerald, Artist/Educator. Wayne State University Hours: Wednesday-Saturday Noon-5:30 pm Douglas Warner, Artist/Gallery Coordinator, Mott Community College, Fine Arts Gallery Mary Preston, Director, Feigenson Gallery Mary Brecht Stephenson, Asst. Curator, Department of Twentieth Century Art. PHONE: 313-964-5775 Coordinator - OMAP, Detroit Institute of Arts

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