About The Red and Black (Athens, Ga.) 1893-current | View Entire Issue (Jan. 26, 1994)
I ) The Red and Black • Wednesday, January 26. 1994 • 3 EXHIBIT PREVIEW Legends in 'Black & White’ Images of the Harlem Renaissance at the Ga. Museum of Art By JANELL HOBSON Staff Writer Clear in “black and white” are striking images of celebrated blacks of the Harlem Renaissance in a unique and remarkable exhibit at the Georgia Museum of Art. The exhibit, “Generations in Black and White: Photographs by Carl Van Vechten from the James Weldon Johnson Memorial Collection,” opens today and displays through March 13. It includes 44 black-and-white photographs of such legendary figures as Billie Holliday, Bessie Smith, W.E.B. DuBois, Dizzy Gillespie, Pearl Bailey, Langston Hughes, Zora Neale Hurston, Ruby Dee, James Baldwin, Lena Horne and James Earl Jones. “You get to see (these celebrated figures) at your age,” said Rudolph P. Byrd, curator of the exhibit, referring to our twenty-something group. “This ex hibit is dedicated to the students’ generation.” Byrd edited the newly released book, “Generations in Black and White,” based on Van Vechten’s exhibit. Byrd selected the photographs for the exhibit from the James Weldon Johnson Memorial Collection of Negro Arts and Letters, which Van Vechten established at Yale University. “It was in the major theaters in Chicago that (Van Vechten) had his first exposure to African-American culture,” Byrd said. “It was an enormous impact; he was very impressed with the artistry.” Byrd explained that Van Vechten, who grew up in Ohio, left Chicago for New York in 1906 and re viewed various black musicals. Later in 1924, he met Harlem Renaissance poet James Weldon Johnson. “This was a very important meeting,” Byrd said. “It was the beginning of a friendship that lasted for 15 years until Johnson’s death in 1939. “It was also the beginning of Van Vechten’s role as a patron of African-American culture,” he added. “Through Johnson, he moved to the center of Afro- American cultural news.” Byrd said that Van Vechten was a journalist, nov elist and eventually became a photographer in 1932. “He put aside his work as a journalist and novel ist and spent the rest of his life, almost thirty-two years, as a photographer,” Byrd said. Van Vechten is most remembered for the novel, “Nigger Heaven,” published in 1926, which received mostly mixed reviews from African-Americans, Byrd said. “I explored the controversy surrounding the cul- BOOK REVIEW Photographer Carl Van Vechten captured many unique images of black performers, including jazz great Billie Holliday. tivation of that novel,” Byrd said. “The only reason why it’s remembered is because of its title. “It was the very first novel, (about black culture) by a white author.” Byrd also explained that Van Vechten spent much of his time around African-Americans and ob served their lifestyles. “In fact, Van Vechten functioned as a tour guide of Harlem for whites,” Byrd said. “There were some blacks who were suspicious of his interest and doubted his sincerity. “After the publication of ‘Nigger Heaven,’ some were insulted by the title. But James Weldon Johnson praised the novel." Byrd added that some African-American artists of later generations, including Sidney Poitier, refused to pose in Van Vechten’s photography because he doubted Van Vechten’s motives. “I love the images (in the exhibit) because they’re beautiful,” Byrd said. “It was the first time that I had seen the images of these people. “It’s interesting to see them in their youth.” fi Great Summer Job! $1800 plus extras 1994 Orientation Leader Applications NOW available! Tate Student Center Information Desk and Room 114 academic Building Deadline for applying: ]an. 28,1994 5:00 p.m. BUSINESS IS BOOMING! GET THIS HEWLETT PACKARD CALCULATOR FOR $3499 12 DIGIT LCD AMORTIZATION • T1ME-VALUE-OF-MONEY • LINEAR REGRESSION HP-1 OB HEWLETT PACKARD New Crichton book pushes norms By SCOTT WILLIAMS Staff Writer Michael Crichton “Disclosure” Alfred A. Knopf publishers. “Look at the situation. She’s a very sexy woman. It’s natural for a man to lose control.” With those words, Michael Crichton, author of “Jurassic Park,” “Rising Sun" and “The Andromeda Strain," lays the foundation for his generally excit ing new novel, “Disclosure." What would be some men’s greatest sexual fantasy, being se duced and bedded by an excep tionally attractive female boss, is not what protagonist Tom Sanders finds appealing. He’s a moderately happily married man who suddenly finds himself enveloped in a whirlwind of controversy, sexual politics and the world of corporate backstab- bing. When the company Sanders works for, DigiCom, an advanced electronics firm, becomes em broiled in a merger, he finds out just what it means not to be a team player. It isn’t that he doesn’t care about his company, he’s very good and efficient at his job, it’s just that he doesn’t play the game. Being good isn’t good enough any more; one also has to learn to suck up. As events would have it, Sanders new boss is also an ex- lover. And what an ex-lover she is! Meredith Johnson is the epito me of beauty and sexual allure, only behind all the arousing fea tures is an insidious viper whose sole interests are to get ahead at any cost. Now, before all the feminist’s ire comes raining down on the pa per here complaining of Ms. Johnson’s description, take a mo ment. This is exactly Crichton’s point - there is nothing wrong with a female using any and all of her abilities to get ahead in the world of business, as long as it’s legal. Crichton shows no overt dis like of his character, he simply uses her, as others would use men, to show an example and to make a point. It’s no mystery to anyone who’s read Crichton’s earlier work that his characters have little depth; due to the nature of his novels they simply don’t need that deep of a look. Crichton is and always has been, more interested in the sub ject of his novels rather than the characters who propel the books. As to every rule, there is an ex ception, Crichton’s “The Great Train Robbery”; however, Crichton’s point in “Disclosure” isn’t the motives behind his char acter’s actions as much as the re sults perpetuated by said actions. When Meredith seduces Tom, and thus sets up the reverse sex ual discrimination case which is the heart of the novel, there are good reasons for both her actions and those of Tom. After a very hard first quarter of the book, Crichton switches from a tepid first gear into a mes merizing fifth gear for the last 300 or so pages. For a 403 page book, there is little to no fat or extraneous side tracking. Every clue laid down has a purpose, some more obvious than others (remember, Crichton is no Agatha Christie). While the cry of feminist bash ing may arise, it shouldn’t. Just as the cry of Japan bashing rose over “Rising Sun,” “Disclosure” walks the tightrope of sensitive subjects being addressed in a pop ular medium. If anyone takes the time to understand as well as read what’s written, then a pan icked and concerned outcry can be avoided. “Disclosure” is what “Disclosure” was meant to be, food for thought in a hungry, empty and unfortunately brain- starved society too touchy to talk sensibly without getting its feel ings hurt. KINNEY: Drivin’ n’ Cryin front man goes solo From page 1 “There’s been a really strong un derground folk thing. For some people it’s getting old, and for some people it’s getting new.” Among the tracks on “Down Out Law” are “Tell Him Something For Me,” “Down And Out Law,” and the projected first single, “Midwestern Blues,” a wanderer song about Kinney’s departure from Milwaukee. Like his work with Drivin’ n’ Cryin,’ the album is solid and con sistent throughout. However, the songwriting itself has been altered somewhat. “The songs are a little bit more of an outline stage,” Kinney said. “They’re more rough around the edges, a little more honest. They rely mainly on the words as op posed to the music.” “Outlaw” also marks a depar ture from the riff-powered sound Kinney coined on such classics as “Honeysuckle Blue” and “Fly Me Courageous.” Once Kinney finishes his solo tour, he said he will cut another Drivin’ n’ Cryin’ CD this summer to be released early next year. Then, the band will do a folk tour of the Southeastern states. “(It will be] a Drivin’ n’ Cryin’ unplugged kind of tour,” Kinney said. Until then, Kinney will continue to prove that Neil Young and Eric Clapton aren’t the only rock heroes who can unplug their amps and jam. FOLLETTTEXTBOOK EXCHANGE 72) IAXTER STREET Winter Clearance Sale JACKET SALE Apex One reg. sno.oo Mirage Turbo Sale $60.00 reg. 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