University of South Carolina Libraries
Students can By Kelly Hemrick Submitted for your approval, USC students who are enticed by an opportunity to play games, eat and party all night wH| have the chance to do so Friday, as they prepare to enter . . . The All-Niter Zone. Sponsored by the Carolina Program Union, the sixth annual All-Niter will include diverse events in an effort to apnp^l tO ^ 1 mnet p\/prvnnp Pnr mncifonc ...ill Vf VI J V/I1V. * V/I UIUOIV iau.1, I W W iivt UailU3 w 111 L/V appearing. "Myriah" will give a free concert on Greene Street at 4 p.m. and midnight. "The Pedestrians" will appear in the Russell House Ballroom. Admission will be $1 for students and $2 for the public. COMEDIAN MICHAEL Davis will be the main attraction at 8 p.m. in the ballroom. Davis has appeared on Saturday Night Live and is perhaps best known for his juggling act. He juggles almost everything from bowling balls to meat cleavers, and to fruit, which he eats as he juggles. Admission to see Davis is $3 for students and $5 for the public, but he will give a free sneak preview on the Russell Hmicp natin nt r? m V, I Other events include dunking booths, a video tournament, water balloon fights, a pep rally, cigarette rolling contest and a sleeping bag contest. Exhibitions will be given by USC's Fencing Club, Frisbee Club and Body Building Club. EATING RAOUL" will show at the Russell House Theater at 2:30 p.m., 7:30 p.m., 11:30 p.m. and 1:30 a.m. Admission will be $1 for the matinee and $1.50 for the other shows. In addition to specials at the Gamecock Snack Bar from 7 p.m. to 3 a.m., SAGA will sponsor a picnic at 4:15 p.m. on the patio. Breakfast will be served in the Grand Market Place irom ^ a.m. 10 3 a.m. Two vans will depart for Mrty'c Beach at 3 a.m. The trip costs $8 and advance registvation is required. The vans will return about 5 p.m. Saturday. "The All-Niter serves a two-fold purpose," said CPU president Glenn German. "It is good visability for the Union and one of the ways we use student's activities fees to get quality entertainment." Al l CONTEST registration tables and information will be in the Russell House Lobby. Video tapes will be shown all night and a hospitality table will be sponsored by Coca-Cola and the USC Bookstore. Gallery displays reno ^ 'mbbm mm?-- ?SB "."^ tagiSafflssiWBai wbsm w, IHf liiP '^WSm^^Kr H?* aagrag ' ; * '-'*$*. i >.^ IL^SPl |^|jggjgjgjp]jg <*> > &-' ' ^^;.: |p^ A ^jfe* ; V;: : ^ r ^His world renowned photo's an on display at Gibbet Art GaHery blast into All |... 7^BBBBM KbjL&fB * ^HPB^^Hf im jmm /MmLS^&tr Ms IfcgMJB^^^'*' mr JwJ ^BaiS^lv ?.' f ik\xHS^^^H^aflMrnP** Br Ml^lr flBHI^^^^H^HP^ p"' asfigfflHfly |HHflHnB&|j|^HH^HB^H^^^H^B^r ***?*?. :^Hr '.-, JBl.:'-;;-; j&SBfr jU _ . : Bp j9 iifif The Pedestrians The concert will begin at midnight in the Russell House. uvned photographers': By Gene Crediford One hundred vintage photographer Edward Weston display at the Ciibbes Art Jg Charleston. Weston was also a writer wh reconcile humankind with n through his accomplishments, change the direction of photography. Photographers at the turn of who were interested in making a cameras chose to imitate the sty face textures of etchings, charcc and watercolors. Even the photographer / painter Edwai would "de-focus" his lens to fm^lIC pff A/'t ii/or o i v/vuo vi i ?t u ivi i yy clo an techinquc used by others as well EVEN THOUGH large view c used - negatives as large as eight inches and even much larger wei and great sharpness, detail and t possible, photographers often ( itate other art forms. These photographers, called commercial and art photograph fluence extended from New Yor nia, and from the United States t fllSB j^HSSHfEBIj^Bi was created by an later rejectee others, Steichen and Alfred Sti fluenced Paul Strand, Imogen C In 1902 at the age of 16, Wei ^0rmal 'nstruct'on a Chicago established a commercial studio 8*a|,u iuiiicu iu Miiiignr pnoio M STRAIGHT PHOTOGRAF "mere" photograph has little or in Charleston. it cannot stand alone, but rnus Niter 7nnn ?v; ^BmUJMWMB Jw/ki M v * HnHK voranLV-' '*M8PMMy mwMtlg > Vr \ ' *\. ^J| MIS 1 V^nKlBiKitf1 SI Hr ||| jWSPPjW - Hp *J ?W ^GG^y * I M B& ; uintano rnllortinn 9 VIII lU^JU UUIIUUIIUII look like "art." prints of The essence of straight photograph is to will be on prcvisualize the camera's image of physical Gallery in reality and affirm this image by printing to the highest standards of tone, detail and o sought to richness; the entire photographic process ature, and becomes, then, the link between individual he helped human experience and the external world. American- Weston's affirmation of straight photography led to a unique style in this century photography. Purity, clariiy, sensuous surrt with their face and form define his style. As his style ies and sur- matured, he came closer and closer to his >;il flmwinpc fnvrYritfi' cnhinMc mulii IV? * ?*? 0>, . V? . x/i 1W ./uujvvio. I I IV. IIUUV IV'l 111, renowned rock formations; seaweed formations; and rd Steichen sand dunes. "Anything that excites me, for give a soft- any reason, I will photograph," he said. cially prized DETRACTORS OF straight photography ( argue the camera can only duplicate the work or appearance and, hence, can never fliIIcrds vvi C- i < ? igs ... inches bv 10 claim itself as an art form. Weston was never impressed by such humbug. He was after e common - . , omlitv were something bigger than proving his hose to im- photography was middle-class art. For Weston, the photographic process oictorialists became as much a philosophic tool as an inThis in- strument for image making. It is as though k to Califor- was so exc't'n8? so lived that his 0 Europe It photographs were drained of'time.' 1 by among 'mPact his prints is that the eglit'z It in- images exist as though time had come to an "unningham enc*' ^ ?s as though he could only reveal the nc Edward pnenomenal world of nature by eliminating time and motion. ston's father 'on^ enou8h to realize national he auicklv anc* international acclaim, if not financial ok his onlv riches. In the 1930s he lived on the very edge photography of Pover'"lifornia and . , . r ONCi', HE rejected the soft-locus images le used soft pictorialism, he rarely sold his serious s to produce photographs even though he offered them at able images vcry reasonable prices. He believed iton rejected photography is a democratic art form and g most of it original photographs should be reasonably hy priced for the general public. A print made by him in the 30s sold f'r*r ah/\nt ? . w. w?/\/ui vy^v/, IV/UUJ 'tlY, unlike the price of one print may go as high as power of $8,(XX). p, clear, un- The Gibbes exhibit gives an excellent i detail, tonal display of his work except for one discouraging fact. The lighting is inefficient in the n is that a galleries, and, in consequence, the marvelous no integrity; qualities of subtle tone, especially in the t be made to shadow areas, are very hard to see.