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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. 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