The gamecock. (Columbia, S.C.) 1908-2006, January 23, 1980, Page Page 9, Image 9
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In many ways, the current
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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
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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
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Graduate Students
Career
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Materials and Career Planning
Workshop Schedule
January 23?2:30 p.m.
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ial
ugh The Winter
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rs., Fri., and Sat.
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he Amazing
uddy Ray
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