The gamecock. (Columbia, S.C.) 1908-2006, February 27, 1980, Page Page 9, Image 9
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"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
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FICT
1. Smiley's People
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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
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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
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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
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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" ~
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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
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