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Page 25 text:
Tapestry As A Way of Life
"All my life I considcrccl a pu1'nl1'ng, u rapt-slrjv,
in fact the art, as a rnuuns of cornn1u111'cu!1'on
with people, with our ft'HUll"l7lt'll, il Ls u 1111-yoj
exchanging feelings and ideas. "
"'Ihpestrjv is nuzinly a contribution to urclnlecturc
. . . It 1:5 an object, and csscritirzlly a fabric,
intended to cover cz piece Uf'll'fll1ll'hl,Cll, witlzout
it, would lack something C.l'Cl'll'I1g.' in other words
would lack charm. To charm, men willinglbv use
song. In fact, everjvpoem is a song, and anyone
who creates a poem and sings it, if hc sings in
tune, touches and convinces his listencm. The main
point Ls to conuinceg the poem is an action taking
shape. " Jean Lurcat, 1960
The tapestries of the late Jean Lurcat do more
than just convince their viewer - they grip,
fascinate, and even haunt him. Brilliant colours,
rich texture, and a choice of weird and mystical
themes all contribute to the tremendous impact
that Lurcat's tapestries have on anyone who
looks at them.
It was Lurcat who was largely responsible for
reviving the almost forgotten art of tapestry
weaving in the first place. He alone hadthe vision
and imagination to see the vast possibilities
weaving presented to contemporary art. He alone
was able to see that tapestries need not be the
placid, pretty and rather faded medium that it
had been in the pastg but instead could become
one of the most vibrant, exciting, and alive media
that the artist could work through.
Lurcat brought to his work not only a superb
skill and understanding of weavingtechnique, but
the compassionate sensitivity and knowledge of
the nature of suffering which all great artists
must possess in order to communicate with their
public on a deep and sensitive plane. Lurcat
fought in both World Wars, and was an active
member of the French Underground during the
Second World War. He was well acquainted,
therefore, with the depths of human depravity
and the height of human valour and courage. His
tapestries reflect his experiences, and tell of his
horror at human behaviour as well as his abiding
faith in the goodness of man.
Lurcat died just two years ago. But his fame
is just beginning to sweep the world. I became
acquainted with the works of Lurcat atashowing
of his in Stratford, Ontario last month. The
enthusiasm with which those Canadians who have
seen his work have greeted it, could indicate that
we shall be seeing more of it. If you get an
opportunity to see some Lurcat tapestries, I urge
you to grab it- once having been exposed to it,
you will not soon forget the work ofJean Lurcat.
- Mitchell Kelner
Page 24 text:
'I looked around and amidst all the words of
love, I saw a lot of sex, which has nothing to do
with love and I saw something very different. I
observed a hate cult, a cult nurtured on
anarchlsmf' These words are from the mouth of
Larry Kent, who not only says things, but also
portrays them. The result is a movie called
'High . -
What he portrayed is a young man around
20, a drop-out from McGill University, pacing
the Montreal scene. He is cool, he is smooth. He
smokes pot, enjoys his sex, and desires the good
things in life. I-Ie is not a student, or a business-
man, or a hippie. He is a new breed, a new cult,
that does nothing and wants everything.
The film portrays the life he leads. He steals
from his sex partners. He sells his body. His
girlfriend steals from her sex partners. She sells
her body. Together they forge cheques, use false
credit cards, and finally kill someone. Their
motives: money for a good life. They sell out
everyone and everything. In the end they sell
out on themselves. Life is but a game, with no
The Elm is powerful and it is gutsy. The sex in
it does not flash out and slap you in the face. It
is secondary. It is the decrepancy and filth that
comes through during the love scene in the one
T003 C0-OP with two neglected babies, three
dri -up males, and four bored women. It is the
mercilessness that comes through when he leaves
a fallen sex victim penniless. It is the contempt
that comes through when the two stars playfully
grovel in bed, contemplating their next theft.
It is a hard movie to stomach, not because of
its visual eEects, but because of the impact of its
realism, and its arousement of the emotions. If
you don't think this movie sounds realistic, and
that such a cult exists, Larry Kent makes it very
realistic and very believable - so much so, that
it is frightening. It dares to be seen.
- J L. MacKay
Page 26 text:
x a 1 '-B 'ig' t
,g 23? ' f 5
The Butterfield Phenonmeno
Old man Butterfield, still on top of his music
after lives years of hanging on to his public. The
face hasn't changed, but the flowofband members
and the subtle change of influence has affected
Ever since the radical addition of brass, the
new blues of Butterfield has become more intro-
spective. The fervent desire to copy Negro blues
men has become less intense. There is no aping
of style in his two most recent releases. The mood
is high and the tempo fired, the soul comes from
But the phenomena fand it does existj is one
of attraction. Bodies who never thought they
would like anything off the TOP40 are alternately
repelled and lured by Butterfield's music, his
band, his white soul.
Butterfield is a kind of free replacement soul
brother. His colour, white, is undeniably contrary
to a real soul brother. The white audience accepts
the replacement, perhaps finding it too low to
stoop for Muddy Waters or Lightnin Hopkins.
Butterfield is not just a white soul brother, but
also a boss man. The band is under his constant
directiong he is much like a symphony orchestra
conductor. Nobody steps out of his particular
job. There is no shirking - if there is shirking of
duty, the band member is fired. Through this
process Butterfield has lost upwards of six excel-
lent musicians, the absence of none apparently
damaging the Butterfield Band's reputation.
Sometimes blues fans object to the controlled
atmosphere and restricting image of Butterfield,
the leader of the band. They complain of a lack
of spontaneity, fostered in the souls of all the
musicicans by Butterfield himself. However, this
control and direction does much good and is a
factor in Butterfield's great popularity across the
country. One cannot deny the very beauty of his
music - he may be a white replacement, a
second-hand Muddy Waters, but his presence is
Now there is a magic to the name of the man.
His ability to lay white blues on the line, no
punches pulled, impresses his audiences. Thecon-
stant selling of his L.P.'s is surely an indication
of the phenomena.
Butterfield is on top of the white blues scene
and will remain until someone of greater power
and discipline can gain the lead.
- C. A. G. McCulloch
.gt 'e ' --Q1 -Q '-if-fi'
A ,, .
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