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Standard ?. ?>-tf f OUIJJI Idilfl "If Americans are going to be known for any major contribution to the arts in our generation, it will be through our tremendous strides in Watercolor Painting." This quote is by former American Watercolor Society president Frederick Whitaker, and is included in juror Bud Shackelford's statement for the Southern Watercolor Society's Fourth Annual Exhibition, currrently on display at the Columbia Museum. This statement, to be sure, is grossly out of proportion to the actual aesthetic and historical worth of the medium and artists involved. If contemporary watercolor is associated with anything, the caliber is more aligned to tradition, marketability and overt sentimentality. This is not to imply that these are P V/ _ bwbbmmbbmbbbbe^ I ueorg snook s '/he FICT 1. Smiley's People O Tlf/i n/>u.'i'o a J * ~ , :? m.a nc iyc vu o nut'? riuuvt 3.Princess Daisy 4.Trpl e 5. The Top Of The Hill 6 .Memories Of Another Day 7.Portrait s 8.Jailbir d 9.Sophie's Choice 10.The Excutioner's Song NON-FH 1.The Brethren 2.Aunt Erma's Cope Book 3.Donahue: My Own Story 4.Free To Choose 5.On A Clear Day You Can See Gener 6. White House Years 7.The Pritikin Program Nath 8. Serpentine 9.The Right Stuff 10. Anatomy Of An Illness SINC 1. "Crazy Little Thing Called Love" 2. "Crusin"\ 3. "Longer" 4. "Yes I'm Ready" ii. vuwuiuu; iris tuurny 6. "Rock With You" 7. "On The Radio" ' 8. "Do That To Me One More Time" 9. "Working My Way Back To You". 10.Desir e flaws and i g flukes characteristics unique to watercolor alone, for virtually all art tOVR with CllfV) fhinoe Kn* _ ...... UUVM iillllgo, UUl Willi lilt; watercolorist, the embrace is more obvious. Thus, their concerns differ with the mainstream of serious art in a very fundamental way, that being, the desire to make pretty pictures. As watercolor shows go, this exhibit has both startling surprizes anH ctnr?rlor>H flomn fl V...V uwuuus \A uavvo. VIIC SUCH uaw, that reoccurs time and time again, is that the show is just simply too large. Of the 86 works exhibited, which consume the entire Trust ees Galley,the main hall and the second floor North Gallery, a conservative cut of 23 works would hardly hurt at all. In fact, it would greatly improve the overall consistency and direction of the exhibit. Such diffusion, such r kV vjlWMTTxT ~T ^SgaK:<"' & *. ^K?&: jl lli ; 7 -r^x i. ui Other Window' ION jonn L.e (Jarre Frederick Forsyth Judith Krantz Ken Follett Irwin Shaw Harold Robbins Cynthia Freeman Kurt Vonnegut William Styron Norman Mailer ction Bob Wood & Scott Armstrong Erma Bombeck Phil Donahue & Co. Milton and Rose Friedman al Motores J. Patrick Wright Henry Kissinger an Pritikin & Patrick McGrady Jr. Thomas Thompson Tom Wolfe Norman Cousins ;les V^UtXIl Smokey Robinson Dan Folelburg Teri DeSario Kenny Rogers Michael Jackson Donna Summer Captain and Tennille Spinners AndyGibb saturation, such polarity of quality makes one seriously question the criteria of not only the juror, but of t the very medium itself. But there are highlights in this ! collection, like Georg Shook's "The Other Window". Here the artist has zoomed-in on the traditional watercolor theme of the aban- j doned house, with the viewer | nnsitinnnH at a """i" ~ , uv U Ollglll dllgic IU cl large floor window. The interior of the house is revealed by light entering from a second window, which illuminates the inner space. Owing something to both Hopper and Wyeth, Shook integrates the photo-realists' obsession with J reflection, evident in his meticulous rendering of light and form upon the panes of glass. Other artists also show signs of . even venturing into photo-realist suojeci matter, such as Charles Munday's auto grill in "Emerald Smile", or Betty Loehle's grouping of bent tin cans. Laurie Lea's "Embrace" presents a provocative composition of a frail female figure seemingly being engulfed by the forms around her. The muted tonal range, and the contrasting of opaque and transparent masses all add to a drama that rings of the psychotic. There are numerous other works in this exhibit of interest, and for these and the ones we've mentioned here, the show is worth a visit. It will continue through April 16. VlSlllINli AKTIST Harmony Hammond, visiting artist from New York, will be on campus today meeting with graduate art students for critiques and discussion. Then tonight, she will give a lecture in room 203 of Sloan College at 7:30, the public is invited.' Hammond has studied ex- I tensively both in this country and 1 abroad, and since 1972 she has ji been active in numerous ^ workshops, panels and lectures. jj m ljAii.tAt4.iJi iUiHAi i mux I" FEBRUARY CI 30%5C Suits, Sports Coats, Pants, Sp< HEDRU 1 "7 1 n r* _ a - &i i o oaiucia Ave. smaEmmmaiasffisggg TUIII restaurant 1 928 Rosewc I Wednesday & Thursd Free pv forthe1 I Coming F Super Atlanta Ro< "Frag wnniwii in msmmmmmaarnmmBmmmmmaammm . . '* / 2009 Greene Street FREE DRAF1 on Wednesday CXi Th from 8-10 p.m. vvitli prire of admission plus our Before Midnight Ha from 10-12 on Wedn I Tonight Daddy's cMon Thurs., Fri.CSiSat. John Brannoi coming next weekenc Thurs., Fri.CSiSat. Swimming P< also incMarch Tim WaItoI A. AAA A <*\A V1W1 EAfeANCE 1 )0/0 OFF jrt Shirts & Sweaters I CK'S i Five Points U| MT1T?TITFriTm*rfll & lounge )od Drive Thursday Cat" ay. inch laaies I riday I i :k n' Roll with 1 lie" I : j ?# ' ! 2?L : ^ "BEEM^ Lirsday I | I I ppy Hour lesday Ley a i ! )Ol g's < J j i i)