THE PLAIN DEALER, THURSDAY, DECEMBER 30, 1994 Environmental message in pho photographs, words By STEVEN LITT PLAIN DEALER ART CRITIC RTA's Arts in Transit program is off to a flying start with a permanent art installation by Cleveland artist Don Harvey at its W. 25th St. station. Titled "Plumage, Habitat, Behavior: A Walking Guide to the Neighborhood We Share," the installation blends words and photographic images to transform the RTA into a subtle statement awareness. on environmental The station was completed before Harvey was assigned to embellish it with art.
For other artists, this would have been a serious 4 problem. Not for Harvey. His dry visual style insinuates itself like a subversive form of advertising. Designed by Cleveland architect William Gould, the station is shaped like a series of gabled houses that descend in three big steps from the street to the platform. Each house i is constructed with a framework of bright red steel and walls and roofs of glass.
Harvey's work unfolds gradually as you walk from street to platform. A trio of circular photographic panels appears on a stainless steel panel over a street-level elevator. More photographs appear on the station walls as you exit the Selected Barbra bon mots Quotes from Barbra Streisand over the years: "I like the challenge of working under battle conditions." (1969) "A lot of my success is built on this truth thing. I can't lie. By being honest somehow that transmits itself to people.
I don't reuch toward audiences. I find that the more I am concentrated within myself, the more the audience is drawn toward me." (1970) "I want to play all different kinds of parts, from bitches to sweet girls to stupid girls to bright girls, 'cause I have all these possibilities. I'm slightly dumb, I'm very smart. I'm many things. I want to use them." (1970) "Women's ideas are immediately negated in our society because they come from women.
That has been the source of my frustration in movies. I had ideas, and I pressed them. Because I was a woman, I was disregarded." (1972) Streisand The New Year's concerts will add to Streisand's laurels. The relentless pursuit of perfection has marked her career, leaving critics awed a and co-workers often exasperated. On.
her first movie, "Funny Girl," Streisand challenged threetime Academy-Award winner William Wyler, a director who had tamed Bette Davis. Even then, she knew what was good for Streisand. "She is obsessed with perfection," said her former agent Irv Arthur, "and that may be her greatest drawback. But talent has won out. She's still at the top." "She works so intensely, so persistently," says Marilyn Bergman, who with her husband wrote lyrics for "The Way We Were" and "Yentl." "She expects the last chair in the violin section to care as much about the work as she does.
But she never expects more than what she gives." Her detractors claim indecisiveness has limited Streisand's output (she has made three movies in 10 years). Some co-workers become exasperated by her constant questioning; one longtime associate quit on doctor's orders. Co-stars Walter Matthau and Robert Redford Way We are not among her fans. Yet others, such as Nick Nolte Prince of are devoted to her. Even Wyler ended up an admirer after "Funny Girl." She has won admirers because of her penchant for giving.
As matters, Streisand approached philanthropy with great thoroughness. Since 1986 the Streisand Foundation has donated more than $7 million to handpicked causes. Streisand uses her talent to help support her causes. In 1986 she staged a concert at her Malibu estate. The event helped finance the campaigns of five Democratic candidates for the Senate.
Even before the MGM Grand contract was signed, hotel boss Kirk Kerkorian's personal foundation donated $3 million to Streisand's foundation, including $2 million earmarked for AIDS. "That helped seal the deal," said one observer. 9-D ART REVIEW RTA'S W. 25TH ST. STATION elevator on the platform level.
Suddenly, you notice that words have been painted on the underside of three flights of steps that lead from the street down to the platform. Another large panel be- Suddenly, you notice that words have been painted on the underside of three flights of steps that lead from the street down to the platform. Another large panel becomes visible in the stairwell. comes visible int the stairwell. The photographs in the installation depict birds and people as they engage in characteristic behaviors in their respective habitats.
The birds chirp or fly, and the humans walk and talk. The words in the piece act like stark little triggers to stimulate the imagination. Streisand in the mid-1980s. "A lot of producers in Hollywood started by selling dresses. They said the same thing about me: 'How can she act when she's just a No one is just anything.
The whole purpose in life is to grow, right?" (1976) "I realize that I am much more compassionate toward men than I used to be. To be liberated women doesn't mean just to use our minds. We have wombs and hearts as well as minds." (1984) Each riser on the underside of the stairwells is painted with words. A general term, like "habitat," is paired with a specific noun, like "cottonwood," "oreboat," "lead," monoxide" and "bank." "Behavior" is paired with terms like "flock behavior," and "plumage" is paired with "house finch," "song sparrow," "American goldfinch" and blackeyed It sounds ridiculously simple. But Harvey creates quietly hilarious juxtapositions between birds and people that emphasize their relatedness.
In the panels over the elevator, the artist has hung an image of a bright red cardinal that stares with comic intensity at a picture of a beautiful young woman who wears bright red lipstick and a red kerchief in her hair. For bird and woman, red is the plumage of mating. Harvey's art packs voltage because his witticisms resonate with their surroundings the architecture of the station and the raw patches of urban turf that surround it. In a gently subversive way, the artist may convince some RTA riders to ruminate on the fate of birds and humans who have to flaunt their plumage in habitats permeated by lead and carbon monoxide. Rapid RTA's artists are chosen from a list of 328 candidates from across the nation, who submitted credentials in response to announcements by the transit authority.
At first, the last, consisted entirely of 80 eland-area artists, Mayer said. But the list quadrupled when RTA included travel money so that outside artists could participate. For each project, committee narrows the list to four finalists, and then holds a community meeting at which the artists present their concepts for a particular RTA station. Community representatives chosen by RTA and by City Council vote on the final selection, along with members of the Arts.in Transit Committee. Mayer said the process has worked well, but he wants artists on board sooner.
It will magnify, the impact of a small art budget if artists collaborate with architects at the earliest stages of design. After the train pulled into the airport station, Mayer stepped onto a partially finished platform where RTA workers were laying tile. Pozo's art installation was emerging. It includes tile runways and ceramic airplanes on the tion walls, pavement tiles with air; planes on the platform, and wall: mounted ceramic airplanes in a skylighted ramp that leads into the station from the airport con; course. "We'll have planes going down the runways, planes going down the platform, and planes on each side going all the way down the ramp," Mayer said.
"We're making the station a work of art." J. MEYERS Photographs by Cleveland artist Don Harvey of a songbird and the Cleveland skyline are part of a new public art installation at the RTA W. 25th St. station. Only four products really needed for cleaning: The more cleaning products you have under the sink, the poorer your cleaning skills probably are, says Don Aslett, the author and TV personality dubbed "America's No.
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