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# Guild's At In many ways, the current ' ''.:'t^??^' r''^^ "V'"? :\^:ts;H~I^^y:::it-r.STfz~: vt'myh^n&'r; *?m ^^^^hh^^hbbhhhhkbuii ?ijK IWHi i i 'if 1 1 iM i i' i ih: r |j|f |v,> Kathrvn Rice Stan/t r>1i nn Wf?i Our Before HAF From 1G featuring... Wednesday Dadi 'g? ? vard Show ?r ? ... vi which are wen cratted and nicely displayed. Such generalities infrequently apply to a show of this size (ten artists showing one to three works), yet here, there is an obvious consistency in terms of both sensibilities and visual inventiveness. The work is further enhanced by the inclusion of brief biographies and photographs of each respecill ^i ; - :v-^p {???;.''.' j-i|^H |pp. i' I : v towdillK?i^3 11 ? ? " ' LU *- J 5 >y's 'Box For Isabel' ? ? tr*? rT annou 5 Son < ToC y ff r roil dnesday Midnight ?PY HOU LI O ,Jan.23 dy's Moi tive artist, all of which increase viewer affinity. Displaying the work in the museum's newly renovated East Gallery should also be mentioned, for it is, without a doubt, the most impressive space the museum has to nffpr for nnn temporary art. I find Kathryn Rice Stanley's assemblages the most intriguing and thought-provoking work in this collection. I have seen Stanley's work evolve over the past few years, and her addition here of deeper frames, an addition of three to four inches, has literally expanded the dimensions of her art. The effect is one of a more tangible reality, like peering through the window of a doll house and in stinclively wanting to believe in a micro-cosmos of the real world. The work draws upon this childlike appeal, and laces it between a historical progression in the juxtaposition of a melange of stylistic icons. Take for instance Stanley's "Box for Isabel." Here we seen at the back of the box a Renaissance madonna and child, and below it a j dog-eared family photo with young children. (Incidentally, The State's art critic, Martha Beaver, viewed this use of the madonna as a [ "sacrilege", when in fact the in- I tention is the glorification of one's j maternal mother by the ideal j image of motherhood. Sorry, i Martha, wrong aeain ) The work continues with 30s style decorative numbers (28), which loom over the other images, suggesting the passage of time or a j commemorative birthday. An artdeco glass mat closes the work, j which is framed in a contemporary j unfinished wood, with a hint of classicism crowning the top. Assemblage is the key word in Stanley's work, yet the term takes on a double meaning. It is not simply the obvious gathering of historical art to create art anew, but perhaps also her own concept of herself as an array of experiences and impressions from which to draw. Mol 1 I afa\tc% ic DvhiKitinrf uuuas Award Show at the Columbia Museum attains a kind of magical balance: pin-pointing itself upon that precarious locale halfway between aesthetic integrity and stimulating (dare I say popular) appeal. The show is above all else, strikingly visual, full of vibrant colors and provocative forms, all 1 1\yl< JLJUftUJ V 10 VAI1IMIVIII0 VIII VJl See AE, page 11 I 2009 Greene Street inces... ? ?xUJ - o? _ _ lcuimg opecj jret You Thro tEE DR/ n 8-10 on Monda Thu rn iz 1 B ley Need Extra Money? Receive up to $80 a month by being on a regular blood plasma program. Call or visit Hyland Center Donor Center 1620 Gervais Street Telephone: 254-2280 Hours: Mon. thru Fri. 7:30-3:1 5 r?~ ;rr~ i seniors Graduate Students Career Planning-Placement Orientation Meeting Receive Placement Registration Materials and Career Planning Workshop Schedule January 23?2:30 p.m. Bus. Adm. Rm 005 Belk Auditorium > ial ugh The Winter kFT BEER y and Wednesday rs., Fri., and Sat. 24-26 he Amazing uddy Ray ^ U "