The gamecock. (Columbia, S.C.) 1908-2006, September 24, 1980, Page Page 11, Image 12
c ^Esthetic
w *bym>
One has to wonder why al
of a sudden every womai
artist in America seems t
be making womb shaDe. eei
shape or male phallic shapes
forms. Clearly in the last fe\
years there has been j
liberation of the feminis
spirit in both the social am
artistic realm, yet it i
something to ponder that it
manisfestation is so literal.
Chariot to GJiard'sL
(Photo by Mark Cheval/ei
Huh af j
Ini V/IIU
needs to
special, it c
concert, a
Hate Mo r
IMMVV. a VV/ |
pants fron
choose frc
pants in fa
Top the pi
I sleeve ra>
sportcoat
that sped
eel lent tin
get into
Feiucci.
Easy^i
ijl '
:a
ark^chcvalier
1 The work of Charlotte
ii Girard exemplifies this very
literal interpretation of
g feminine sexuality. In a
d current exhibition at the
v Columbia Museum of Art,
a Charlotte and Jack Girard
it exemplify a certain
d preoccupation with human
s sexuality, but whereas Jack
s Girard opts for a more
symbolic approach,
\ ? JH!
ygjy , ; ; : .
? : . t"". = -r-^R||||i|
>oub/o Change of Bravery'
r)
s Antique I
time or another
dress up to lool
:ould be for a foott
i meeting or a v
natter the occasic
(i Felucci fill the b
im over 900 pairs
li s newest fabrics
ants off with a ioi
/on shirt, add ;
diiu yuu i c iuau
iai occasion. Now
ie to make that d
unique sportsv
walking dk
rom Campi
> -
^i
Girard'
Charlotte Girard goes
straight to the womb.
In her "A Double Change
of Bravery", we find a cast
foot of an animal (perhaps it
is a donkey ? playing on the
pun of an ass), which has a
high-heel incorporated into
its back-step. From here, a
leather stitched boot covers
the upper foot, as a wooden
pole projects upwards. The
work is topped by two Vshaped
plexiglass plates
with feathers pressed within,
and bound by hairy black
f VirnoHr If Vir*
viu vauo. At uir oymuuiidUl
seems obvious even in
written form, it is even more
obvious visually. The same
female nhallic is
with only slight variation in
"Bones of Desire,"
"Displacement Display,"
"After Six," and is grossly
realistic in "Fourteen .
Points.. .That's Something.''
In all fairness, these
sculptural works a. * well
crafted, and the variety of
materials reinforce their
aesthetic quality, one only
wisnes unarioue tjirara
could break away from what
is rapidly becoming the
feminist stereotype.
Jack Girard is showing a
number of collages that
incorporate both drawing
and painting. His images are
placed sparingly upon the.
paper, and after viewing a
few of the works, one can
begin to define their
relationship and cummillative
meaning. As stated
earlier, the work deals
primarily with sexuality,
ciwififnllu moplwumontali.
ty.
Girard exposes the machomind
as a basic shift in value
systems, wherein the
courting ritual may find
itself twisting to the ethics of
, everyune psfi
K and feel 111
)all game, a
erv special j
jn, antique |S!|
ill. You can H j
of antique j
and colors. |
rig or short i a
designer I S
y to enjoy i
t is an ex- 1
ecision and 11 1
year from
stance I
s phalli*
a nurse race, or coiuorming
to the spirit of war ? as if
love is a battle or race to be
won.
In "Honest Abe" three
images are presented, a war
CJpnprQ 1 n fortlr orirl o r/\nr r\C
Qvuviui, M vuim MIIU a i ww \ji,
bare-breasted women. The
women are numbered, and
the first three are inscribed,
like race horses, as "win", j
"place" and "show." The I
work is obviously com- I
menting on the principles of [
nnnnimr
V.UIIVJUCI ailU [AI33USSIUI1 111
war, which has suddenly
shifted to the pursuit of the
opposite sex. The same
message also finds itself in
"Pin-Ups." where a row of
nude poster women grace a
single wall, and a silhouette
of a tank has been embossed
into the paper below. Here
each woman is marked with
I.JS. M K Gold m
eh I
if WAREHOUSE I
M T*m rutt SfHntr *?*
Wm( CoU. 9 M t M?a.-WC
"W% inert iKm> {? *
Ww ^ SB
ICtil'm Downtown. Campwi And Sur
Delivery 1 lou
| Sun.-Thurs. liar*. -N
J- ' ^ !
PERSONi
COUNSE
DEVELC
dream croup
Learn how to Improve drea
dreams.
memory and CO
hypnosis
Learn to improve memo
distractions while focusing
anxiety mana(
Learn how to respond to
petency response.
Apprnriup TDA
MDOCIt IIVC ivn
AWARENESS SEIt
Learn to be positive aboui
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STRESS MANAGE
Learn self hypnosis as a
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ON-GOING WOMI
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Work together on wdfeien's
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Learn theory and skills of
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for further Information an
come to room 203 of the
[ tlclpant forms which will q
zsymbc
a bright red heart, like
targets, the male tank takes
his aim.
Certain aspects of Jack
Girard's work trouhlp
The presentation is so slick it
is near squeaky clean, the
scribbling out of images
becomes too much like a
^' firing in I
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Central P
MATS
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oundm| Aitu 115 ASS(
lidnighl EXpifGS
\L DEVEL
CENTER
Of the
LING and *
)PMENT CE
announces:
m recall and understand the i
NCENTRATION THi
rv and concentration by I
attention on detail and recal
iEMENT
stressful situations by emp
INING/HUMAN F
IINAP
Nil ?f7 11%
: yourself and how to be as;
MENT
skill that can be combined
inagement technique.
EN'S
OWTH/SUPPORT I
personal ana interpersonal c
;is
self nypnosls and now to ?
: FOR USC STUDEN
up size limited. Sign up early
HONE- 777-5223
d/or reserving a space In the
OR:
Pendleton Building (next tc
uarantee you a space.
Aism
calculated mistake.
Aside from this, the work
of Jack and Charlotte Girard
is stronger conceptually
than most of the work that
comes through Columbia,
and you may enjoy decoding
the flash-card symbolism.
The exhibit will continue
through K.
?v
his Ad lor
*r with Food
.imit
ar^SouHi
DRINKS
i' ' < ill ! ltt.il; iMii I r l< >1
\li< 1i< k >111 it' v ' i< i
I U i 1 lit I I.? it W> N' ( K I V it'.l' "Si
J . \\ II ?<*'(? < I \\ t lll>" ** 7"t
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N V < IV ' M ( . |K< s | J
~ ' Asstiricd snucks .
, i iv; ii<-ii' - s <>">
" (>(xv<?<ii?h tiours
Monday - S;mir<lii> 10:30
I .ike Out?)rtlci> Available J
WECATliR ANYTHING !
II. i
1,1 I Asvml>l> SIK'fl ij
k oim -r (>i Aw -ml >l\' & w. 1*^1 hi ljiiom
=se"cake"""""""i
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ith any ?
ery order m
5-0813
=mbly Street
; Oct. 1,1980 [j
miLMNI
^ n h i hi nr ii
isriviciv i
HUMAN
INTERS
messages and meanings of
ROUGH
earnlna how to exclude
II."
Moving a relaxation/com'OTENTIAL
sertlve and not passive or
with creative Imagery to
GROUP
:oncerns and goals.
MMiy mem to a variety or
TS
group of your choice.
> NBSO to fill out thA nar