6B
ARTS & ENTERTAINMENT/The Charlotte Post
Thursday, January 16, 1997
I
Art exhibit has style, substance
Continued from 5B
Americans and the Mexican
masses.
Nonetheless, if “In the Spirit
of Resistance” offered art that
did nothing more than push
emotional buttons or preach to
the choir, it would be of limited
interest. To merit extended
viewing by a broader audience,
it has to possess aesthetic
quality.
And it does.
The exhibit opens with
Alston’s limestone head of a
woman, dated circa 1937. The
planes of her face are broad
and simplified, yet handled
with distinctive subtlety. Hers
is a t5rpe of noble, serene beau
ty - large, wide-set eyes; full,
sensitive lips; an unabashedly
wide nose and strong chin. The
hair that frames her face is
given a nappy texture, thanks
to painstaking stippling of the
stone, yet falls straight,
enhancing the form’s overall
compactness.
This type also appears in
Alston’s “Lovers,” a circa 1947
pastel emd charcoal drawing
on paper — which is aU sinuous
line defining the interlocking
shapes of a woman cradling a
man to her bosom.
Alston’s imagery becomes
increasingly abstracted over
the decades - but without los
ing its emotional prmch. “His
School Girl” from 1957 — paint
ed in black-and-white • oil on
canvas - employs rough, broad
passages of paint and scratch
ing to depict a young girl sur
rounded by abstract, yet obvi
ously menacing, shapes.
In the case of Catlett, what is
seen is not so much stylistic
evolution as a fierce dedication
to socially relevant images,
forcefully articulated. Yet her
two paintings and single litho
graph in the show seem rudi
mentary in light of her virtu-
osic relief prints.
Catlett’s feel for woodblock
and hnocut especially is seen
in “Bread for All,” a 1954
image of a sturdy little girl.
The minute gouges in the
linoleum block used to model
Havens narrates multimedia CD
By Ric Leyva
THE ASSOCIATED PRESS
NEW YORK - Wildlife was
never so perfectly tame.
Environmental studies were
never so much fun.
“GeoSafari Animals” brings
the great outdoors to the desk
top for an in-home multimedia
field trip you don’t need sun
screen and a signed permis
sion slip for.
It’s a package tour for kids
combining a trip to the zoo, an
endangered species showcase,
dog and pony shows, wildlife
tracking, a reptile roundup
and more.
Shhh, don’t tell the kids. It’s
also unabashed education.
“GeoSafari Animals”
(Educational Insights
Interactive, CD-ROM for
Windows and Macintosh,
$29.95, age 8-up) is a nonvio
lent interactive quiz game the
whole family can play.
Narrated by musician and
environmental activist Richie
Havens, one of the game’s best
features is the ability to select
individual player names
Havens will then insert during
game play commentary.
Among the more than 2,000
possible name selections, there
is even a slew of common - and
some not so common — nick
names, ranging from stan
dards like Bubba and Duke to
oddities like Toastie and
Gonzo.
Speaking directly to active,
individual young minds in
their own language rather
thsin talking down to them is
the most important first step
of any educational effort, said
Havens, a living rock ‘n’ roll
legend who also has founded a
marine museum and a hands-
on naturalism program for
children.
“The first thing you learn
trying to reach them is that
kids know some things infi
nitely better than adults, like
how to learn, and you better
respect that,” Havens said. “As
soon as you get that out of the
way, then you as an adult can
learn from just watching chil
dren teach themselves,
devouring everything you give
them.”
Havens, 55, who also narrat
ed the earlier Educational
Insights title “GeoSafari
Multimedia, Vol. 1,” is perhaps
best know for his stirring per
formance at Woodstock in
1969.
The silky throated rock bal-
ladeer continues to perform
year-round, including many
environmental benefit shows
and galas like President
Clinton’s 1993 inauguration
bash.
In the 1970s, he co-founded
the Northwinds Undersea
See Havens Page 7B
the girl’s face and hands pro
vide an exciting contrast to the
quick, springy lines of the
wheat that grows in the back
ground.
Her bronze bust, titled
“Pensive” and dated 1946, is
another knockout.
Representing a woman from
the waist up, it is a radically
simplified form embodying
innumerable, complex and
enigmatic qualities.
It is easily the most equivo
cal work by the artist on view
and, arguably, the subtlest in
an exhibition devoted to
straight-ahead visual commu
nication.
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