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Show if. AUG31 R8 - THE ARTS - RED ! " - IV rol ra - 2000 rs svu" The Printmakin Revolution n topple to the bottom of the in a pile, of color at the print least upsetting cf any of its parts. Victor Vasareiy's sen graph by Kathryn Cowles flat surface Jwis given the gift of move-meri- t. Halfway through the 20th century, printmakers began using the juxtaposition cf light and dark solids, lines and patterns to create the illusion of movement, Far from simply to be pretending stifl-lifethese prints are alive. They vibrate, they pulse, they quiver. And many are on display in the Utah Museum of Fine Arts show, "Abstract to Pop." g The exhibit follows and trends techniques, philosophies through a centugqvery so often, 3 ; . of two people dancing. Race is also exaggerated through Grooms' wild colors, which present a sort of visual commentary on" a complicated issue, One of the most interesting parts of the exhibit is a set of two prints by Alexander Calder, the artist more famous for his creation of Calder mobiles a standard for every museum respectable big-cit- y of modern art. 3 I ' ' - :. - r J Hi 1 .. J SieeU," by Alexander it eitt of tht more KXX Caldtr, I intettitirig prints en display in th UMFA. . ' spoons and clothespins. His art.' is a perpetual test of whether or net monumental size increases the importance of an object in the eye of the viewer. fn "Scissors Obelisk," the artist presents a proposal for a replacement of the Washington Monument a.n enormous -- , ment, both toward and away from the viewer. The bold, boxy colors are reminiscent of such artists as Marc Rothkc, who focused on shape and. color rather than on subject. overlapping to form an image be , ' las, "IS-g.- al - , " and everyday objects; Olden- burg is famous for Ms huge, artworks composed of such commonplace things ry of great change. Examples of Abstract Impressionism, Hard-Edg- e and Op Art printmaking styles are at the UMFA for the viewing. One showcase piece is Josef " . Albers' Four squares of color overlap and shrink to produce the effect of move- two-dimension- ? artist's fascination with she print-makin- "Mango Mango," a silkscrecn by Red Grooms, emphasizes nature of the The the piece's surface. artist places bold colors side by side in designs that look like cutout bits of construction paper &r . - sions using standard shapes. "Kesege" bulges at the top, as if a ball is 'moving underneath, the surface cf the print, ' Claes Oldenburg's lithograph "Scissors Obelisk displays the three-dimension- al ... iu "Kesege" is another of the showcase prints in the exhibit. The design of squares in geometric form looks almost computer-generated. Vasareiy's goal was to create visual illu- s, 1 fji2 pair of partially buried scis- - . sors, a Some artists, notably Andy Warhol (who has a print on " ' display in the exhibit., found printmaking to be one of the most valuable mediums of art available. The social commentary ingrained in the nature of art is irreto sistible some artists. Print allows for experimenmass-reproducib- le tation that other mediums mmmmm mm . cannot support. And despite its nature, it is . two-dimensio- full of movement. "Abstract to Pop: Contemporary Prints From tke Collection" - , Ik runs through Sept 10 in the UMFA. Tke Museum is open from 10 a.m. through 5 p.m. on weekdays and frem noon to 5 p.m. on Saturday and Sunday. "XXE Siecle," a color litho- graph, displays black bubbles, almost like balloons, holding up a series of thin black stringlike lines. The lines intersect, and the resulting squares are filled with solid colors, especially red, teetering on the edge of full. The composition of "XXE Siecle" is so fragile that it looks as if the entire form wdtild J! POOR |