The gamecock. (Columbia, S.C.) 1908-2006, February 06, 1980, Page Page 11, Image 16
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Conventi
onjemi
Unwinding from a week in New
Orleans is no simple task, not the
kind of thing you can do over a cup
or two of |ava. Yet, collecting my
thoughts on the 68th annual College
Art Association convention in the
queen of Southern decadence is
something I will prematurely
attempt.
Perhaps the most striking impression
is one of image. Art, or at
least the teaching of it, is now a
three-vested affair. Gone forever
is even the slightest hint of the
Bohemian. Gone are the artists
that linger over those fatal glasses
of beer in passionate debate; gone,
in fact, is passion itself. Like
everything else, art is business,
debate is scholarly papers, passion
is reduced to structural
pragmatism, and image and hype
are the way of the world. C'est la
vie - art was one ot the last to join
the parade.;
The convention is two-fold in
purpose: first, to provide a forum
for the reading and debate of
scholarly research (of which some
50 forums and at least four times
as many papers were presented),
and secondly, to assist in teaching
placement. This year's gathering
drew an estimated 5,000 artists and
educators, and aside from the '
forums, provided films, gallery
openings and informal parties.
Critical Issues in Sculnture
Today was, without a doubt, the
most provocative forum I attended.
Lead by sculptor Jeffrey
Bayer, prominent critics Jack
Burnham, Marsha Tucker and
Donald Kupsit gave varying, yet
strikingly articulate views on
current trends. Burnham, who,
we've discussed before in this
column (drawing from his book
Beyond Modern Sculpture), was
interested in clarifying the
distinction between novelty and
creativity, the former being.
simply difference without sub.
stance-an issue that not only
sculpture, but all of the plastic arts
should readdress with a more
objective eye.
One faction everyone realized,
whether they attended their
forums or not, were the ever
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Assistant Packet at the following plac
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on harps
nist art
present feminist artists. Upset
with the fact that Louisiana has not
ratified the ERA, the feminists
contemplated boycotting the
convention, but instead opted to
bring their dismay to the convention
floor. Unfortunately, the
dismay was felt not on the floor,
but on the screen, by those of us
who sat through slide after slide of
perfectly awful feminist art.
No one can dispute the terrible
manner in which society has
discriminated and exploited the
fairer sex, and the art world
MORTAR
National Senic
Honors
APPLICATIONS?Ava
Activities Center in 1
'
ai ana ai"k^HviAAi^ "
. wHunvwi iuwa?a.
? with 90 hrs. ater\d i
DEADLINE FOR ' A
Feb. 12,1980
islf"-" \ y
. . . write a letter to the editor..
' i
r WANT
EXPERIENCE
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fe Services will soon begin hiring
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students may pick up a Desk
:es:
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?r mat ion Center /
II Peak j
(although to a lesser degree) must .
also share the guilt. Yet, even the
most aggressive social realism has
never so completely abandoned the
formal concerns of art as the work
, displayed by the six feminist ar*lists
in Protest and Politics in
Feminist Art. I have never seen
wqrk that demanded so much
explanation/justification, so
much clarification of
meaning/significance, and yet was
still so heavily laced with cliches
as to turn the stomach. The only
remark that rang true was a quote
from one feminist about a
statement made by a "sexist"
gallery owner: he said, "If women
want to get in the galleries, then
they should get off the streets and
back into the studios." I second the
motion.
All in all, ACC was somewhat of
a mixed blessing; more of a social
event than an artistic one, which
may have something to do with the
selection of the host cities. Next
year we meet in San Francicso we'll
probably never meet in
KiltsDurg.
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liable at student
the Russell House
0 CPR, rising Senior
of spring, 1980.
PPLYING?Tuesday. |
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South E
The electk
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on Friday Fel
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Lecture
exami
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The International Film Lecture Serie
featuring Dr. Elizabeth Joiner of the F
will be speaking on Eric Rhomer's Pei
lad who sets out to be an Arthurian kn
thrightness that is reminiscent of Buste
be at 8:45, Thursday, Feb. 14, and on
lecture are free and open to the public.
Series was funded in part by a grant fro:
for the Humanities, an agent of the
Humanities. Perceval will be shown als
at regular membership prices.
Also on Thursday through Saturday
Resnais' most masterful accomplishing
about the creative process, Providence
Gielgud, Dirk Bogarde, Ellen Burstyn a
For further information on these an
Columbia Film Society at 937 Main St., p
i| BEADVENTUROU
;! TUDY*
iirePkai
II ' T
Lijm
STUDY
TRAVEL
EXCHANGE
| > An exciting opportunity for use sti
<1 ?attend one of over 50 other c<
< | the country
11 ?pay the same tuition and fees a
(? ?broaden your educational horl;
([. TRY IT?You'll like vHifi ? ,
\i Applications are available at tl
< * Office, west Wing, Russell House. PI
< \ $25.00 application fee Is required.
11 APPLICATION DEADLINE?Frldi
TENTH
uilding. South
:>n to fill the vac
between
Gloria B. Gaul
lancy Schefflei
d. 8th from
in
uth Tower Lobby
series
nes
vaF
s continues with its fourth event
'rench Dept. of USC. Dr. Joiner
rceval, a tale of a simple Welsh
ight with a blunt and funny forr
Keaton. The Film Lecture will
this date only, the film and the
The International Film Lecture
m the SouthCarolina Committee
National Endowment for the
o on Friday and Saturday at 9:00
at 7 and 11:30 is one of Alain
wts, a striking and unusual film
. The stellar cast features John
nd David Warner.
d other films, call or write the
>hone 254-3433.
IS... !;
VND TRAVEL
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identsto \>
alleges or universities across
sat Carolina ' 1
tons . . : ,1
ie Dean of student >
lone 777-5117 or 777-5W. 11^?
iY. February 29 at 5 pm JI
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9:00-6:00