Newspaper Page Text
MERCER CLUS'lHER
JAN. 10,
Standing In Line
Favorite Pastime Of
Mercer Students ?
By Tyler Hammett
When 1 returned from the mar
ket place with Desmond and Molly
the other day. I noticed that Rocky
Raccoon wan standing in line in the
student center with Nancy, my fav
orite girl. Trying to be as incon
spicuous as possible, I looked up
at the ceiling as 1 stepped between
Nancy and Rocky and started
humming “Both Sides Now” in
four part harmony.
You can imagine my surprise
when I was interrupted by a series
of shrieks and screams coming
from somewhere in the rear of the
line. Out of curiosity and defer
ence to the warm gun that Rocky
was pointing at my head, I decided
to search for the end of the line.
After walking for twenty min
utes, I paused for a rest A fresh
man who was standing in line
asked me if I was trying to break
and I said that I wasn't trying. I
don't think that he believed me,
however, because he kept crowding
the person in front and looking at
me with a concealed Boris Karloff
gleam in his eye. There was a gun
in his hip pocket
Somebody behind him grabbed
me by the collar and said, “Son,
we don’t like your kind around
here. When you stand for 104 hours
in line you get to appreciate your
place. Undi stand?”
Nodding obsequiously, I man
aged a faint smile and started off
again. The screams were growing
slightly louder.
An hour and three seta of blisters
later the source of the disturbance
came into view. It seems that two
upperclassmen were arguing over
their places in line. They both
wanted to miss as much class as
possible and the one in front kept
trying to get behind the other one.
The Eye Like A Strange Balloon Moves Toward Infinity,
by Odilon Redon, is one of the thirty-two pictures from the
Museum of Modem Art in New York, that will be shown at
the Connell Student Center until January 27.
Religious Lectures Will Be Held
Beginning Tuesday evening,
January 14th a successive series
of 6 study-discussion-lecture pro
grams will be sponsored by the
Macon Ministerial Assoc. This
first Institute of Religion entitled
"Religion & Life" is interdenom
inational in scope and will cover
a wide range of topics especially
appealing to the new youth.
All |>eople of Macon and neigh
boring communities regardless of
church affiliation are invited to en
roll in this series to be held at St.
Joseph’s School Auditorium. Reg
istration is being limited to 300
persons and a fee of $1 is being
charged for the six sessions. The
address for obtaining reservations
and additional information can be
obtained at the Chaplain's office.
Reservations must be in by Jan. 10.
Poor Henry’s Almanac
Oscar The Roach Tells All
By Henry Wadsworth Shortkid
Once again, our Big Mouth on
Campus Paul Kodar is being inter
viewed as Mercer's campus repre
sentative. And once again, our rov
ing interviewer with expertise in
local problems will be me, Henry
Wadsworth Shortkid, a most com
petent and able newsman. The
scene logins in one of the eight
bathrooms of the Freshman Men's
dorm.
Shortkid: Pardon me average
Mercer student . . .
Kodac: No! Say you’re kidding
Shortkid: Not rain, nor sleet, nor
hail . . .
Kodac: But the bathroom?
Shortkid: Television sometimes
films on location. Consider yourself
lucky.
Kodac: I'm lucky, I'm lucky.
Shortkid: At any rate, the topic
on which I should like you to ex
pound is graffiti!
Kodac: Except on Friday's when
all good Catholics eat fish ...
Shortkid: Not spaghetti, graf
fiti!
Kodac: Oh, well, in relation to
intrepy with steam .
Shortkid: Uh, do you even know
what graffiti is?
Kodac: Sure, why just the other
day . . .
Shortkid: Graffiti, writing oo
the walls, scrawling* . . .
Kodac: Oh! You mean like .. .
Shortkid: Ye*.
Kodac: Hare's a good ona . ..
Shortkid: Never mind. I*d just
like your opinion of it.
Kodac: Could we change tbs
subject?
Shortkid: Why?
Kodac: Soma geek has a serial
going on this wall. And before I
say anything . „ .
Shortkid: I understand. Okay
subject changed. New topic?
Kodac: How about Oscar?
Shortkid: Oscar who?
Kodac: Oscar, my pet roach
You don’t know him?
Shortkid: Enlighten me.
Kodac: I met Oscar one day last
week. I was sitting in the Co-op,
see. I looked over my right should
er on the back of the booth, and
there was a roach, pretty us you
please.
Shortkid: What did he say?
Kodac: He was complaining
about the Co-op. Claims it's too
dirty. Said that it was getting to a
point where he couldn't separate
the good scraps from the dead flies,
Shortkid: Dead flies?
Kodac: Yeh. Several flies have
been brutally killed by students to
the extent that they are dropping
like people.
Shortkid: Elaborate, please.
Kodac: Oscar says there are the
flies on the regular mail routes who
are struck down in mid air by a
wadded-up newspaper or a losing
bridge hand. In fact, after the
murder of one, the bolder of that
same losing hand quickly re
marked, “It wasn't even a break
fast flight,” then continued hki
dummy hand with sailed cards.
Shortkid: Please continue, this
is out of my realm.
Kodac: Then Oscar said that
there are those flies who, because
of the menthol cigarette wnoke in
combination with the evil rank of
dead hot dogs resulting hi Milling
fog, wo ash head-on into a wall or
mom of teased hair, and die an
Shortkid:
living.
gonads like a hard
Kodac: That’s not the half of it.
Shortkid: By all means . . .
Kodac: He claimed he got
pushed around a lot. You know,
brooms and things. Wondered if
something could be done about it.
Shortkid: And?
Kodac: I said I’d work on it He
wanted to organize a radical group
— R.A.C.K. — Roaches of Ameri
can Co-op Kitchen* — I tried to
dissuade him from it, but you know
roaches.
Shortkid: Not as well as some,
obviously. But what was his parti
cular gripe?
Kodoc: Well, in the kitchen, it’s
a great life — free access to the
food, grill, fountain, etc., but out
in the table area, it's no-roach
land. Out there it's every roach for
himself.
Shortkid: But you said you
found him out among the tables.
Kodac: He found me.
Shortkid: He found you?
Kodac: On a re-can mission
Looking for greener groat, doesn’t
like being confined to the kitchen.
The heat of the grill is bad for
hie sinuses.
Shortkid: I see. But what about
the other roaches?
Kodac: They want out, too.
Shortkid: No, I mean the ones
in Shorter, 8herwood, and Roberta.
Kodac: They hove their own
problems. Anyway, he doaen’t Iflm
Shortkid: Ah, ym. Hmm. . .
Kodac: Thanks, 111 tall that to
Oscar. Ha thinks paapla don't think
ShDriidd: By the way. haar da
you know his name la Oaoar?
Kodac: 1 don't Yea gat my
Ull yeses?
Mod Art Exhibition
Shown At Mercer
The modem artist's use of en
larged objects and disproportion in
scale is the theme of the exhibition
INFLATED IMAGES, on view at
The Mercer University Art Gal
lery, Connell Student Center until
January 27. Paintings, sculpture,
drawings, prints, and photographs
by 32 artists, ranging from the
French fantast of the late nine
teenth century, Odilon Redon, to
contemporary artists working in
various styles, are shown in the
exhibition organized by The Mu
seum of Modem Art, New York.
The Mercer showing will be the
first outside New York City, ac
cording to Marshall Daugherty.
“Surely the most famous inflated
image in America is the Statue of
liberty, by the French sculptor,
Bartholdi, installed on Bedloe’s Is
land in 1886,” writes Betsy Jones,
Associate Curator at the Museum
and director of the exhibition.
“Few twentieth-century a r 11 ■ t s
have been inspired with such gran
diose conceptions. But in the past
few years, the pop artist Claes Old
enburg has made drawings and
models for imaginary monuments
of heroic scale for sites in London,
Stockholm, New York, and other
cities. These often take the form
of common objects such as a lip
stick tube, a drain pipe, cigarette
butts, a banana.” He has proposed
a gigantic electric fan to replace
the Statue of Liberty.
In the past, monumental scale
was generally reserved for gods,
saints, and heroes and was intend
ed to suggest power, glory, and
permanence, while a disproportion
in scale indicated the relative im
portance of the objects and figures
depicted. Modem artists have used
these devices for different ends. A
painter such as Redon employed
disproportion in his works to create
spiritual themes, and in this cen
tury Surrealists such as Dali have
used it to suggest the irrationality
of dream states or to portray a
mental rather than visual appre
hension of the world. Rejecting the
heroic or exalted, modem artists
have chosen, rather, to inflate un
important or little-noticed images.
Some have exploited the object as
a source of pictorial form or com
position, expanding it either to in
tensify awareness, to surprise, to
experiment, or to show how the
object changes or becomes ambig.
uous. In the twenties, the French
painter Fernand Lager was
spired by his work on films t*
make paintings in which ordinary
objects were greatly oversized,
“Enormous enlargement of an ob
ject or a fragment,” ha observed,
“gives it a personality R never had
before, and in this way it can be
come a vehicle al entirely new ly
ric and plastic power.** The fibs
image has certainly influenced the
increasing utilisation of inflated
scale by pointers and sculptor* is
recent years, as have the ubiqui
tous television and outdoor adver
tising forms.
Close-up still photography h«
produced memorable images, such
as those by Edward Weston and
August Sander in the exhibition,
and has also suggested to many
painters the possibilities in magni
fication. The large, ambiguous
form in the canvas Eteential Sur
face, Eye, by the Belgian Octaw
Landuyt, is based on a microscope
photograph of a fly’s eye, and
Georgia O’Keefe, wife of the fam
ous photographer Alfred Stiaglit^
has done many paintings of shrill,
bones, and flowers greatly expand
ed in size. Of pictures such ai
White Flower (1081), fat the exM-
bition. she has said: “In a way—
nobody seas a flower really—it
so small—we haven’t time . . . S
I said to myself—HI paint what ]
see, what the flower is to me, hid
111 paint it big, and they will b*
surprised into taking time to look
at it”
Several works in the exhibitioa
show enlarged and disembodied
anatomical features: Aburlara hi
drawings of eyes, Totnio Miki'e
three-foot-high sculptured alumi
num ear, the nine-foot-high cutout
of a mouth smoking a cigarette by
Tom Weseehnann. In his Soft H'al
Switcher of stuffed vinyl, Clase
Oldenburg makes a commonplace
object into a humorous, inefficient,
and totally different one. Chriete
has transformed a theatre buHding
into a massive parcel, wrapped and
tied.
Works by Fernando Botero, Pe
ter Dechar, Jeon Dubuffet, Ales
Katz, Roy Lichtenstein, Gerald
Murphy, Richard Smith, amoai
others, ar also presented in the
exhibition.
R. S. THORPE &l SONS
presents
N*w Fall Fashions
• JANTZEN SPORTSWEAR • SERO SHIRTS
• AUSTIN HILL
Slacks
• CRICKETEER
Suit* and Sportcoat*
harry moors
if Yarn pouts
PERFECTION
TT& FROM
' 2910 RIVERSIDE
DRIVE
MACON. GEORGIA
745-9291
SHEETS
PIZZA PARLOR
•*6 Public &MU4