The Rice Thresher (Houston, Tex.), Vol. 56, No. 3, Ed. 1 Thursday, September 19, 1968 Page: 4 of 10
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Half Century in Houston
Wellhausen's
Custom Picture Framing
and Gallery
Harold Gerson
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British collection lacks innovation, timeliness
By RUSS
and GEORGIA LYMAN
A new installation of some
twenty prints has opened in the
Rice Department of Fine Arts
Gallery (on the third floor of
Allen Center). Upon hearing
that the prints date, for the
most part, from 1966 and that
the exhibition is entitled "The
British Eye," we eagerly anti-
cipated a show which would be
truly avant-garde. Or, perhaps,
somewhat less contemporary
but nonetheless exciting, op art
graphics in the tradition of
England's Bridget Riley.
Whatever we expected, how-
ever, the exhibit is a disap-
pointing one. And doubly so
when we recall the exciting
collection of American contem-
poi'ary graphics which hung
last Spring. Instead of the
radical redefinition of print-
making to include formed met-
al, printed vinyl, or silk-screen-
ed plastic boxes which the
American artists offered, the
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Saturday 9:30 to 6
current collection utilizes only
the most traditional of print-
making techniques.
In addition to suffering from
a lack of exploration, the prints
are for the most part extreme-
ly decorative and positively
bland. Decorative enoug'h that
Elliot's "The Writer Kluber"
or Coutu's "Swallow-Tailed
Kite" (too bad it's not an owl),
for example, might be expected
to hang in the Rice Campus
Store, whose "objets d'art for
any decor" are certainly in
questionable taste.
Derivations
Many of the prints are deriv-
ative from the works of other
artists to the extent that near
plagiarism is involved: a foot-
note of indebtedness to Matisse,
for example, should be attached
to Sutton's "Rosemary Mitch-
ell," or King's "Burlesque II."
Perhaps naming derivations
is a bit unfair to the artists—
even though most of the prints
seem to suggest direct refer-
ences to more famous (and bet-
ter) artists—but one can't ig-
nore the feeling as he walks
through the exhibition that
he's "seen it all before."
There are a few interesting
works in the exhibit. Ray
Whewell's "Composition IV," is
a striking print developed in
vivid color with black high-
contract photographed images
superimposed.
It is not unlike some of War-
hol's silkscreens utilizing high-
contrast photography, though
the forms are more ambiguous.
And, while Warhol's prints
build on repetition of elements
in a mutliple image serial fash-
ion, Whewell's composition is a
balance of various sizes and
types of images, without serial
repetition.
Spontaneity
Trevor Allen's inheritance
from pop art and abstract ex-
pressionism is fused in "Gold-
finger Aurifera." The broad
green, yellow, and black areas
recall the spontaneous effect
sought by abstract expression-
ist artists like Motherwell or
Frankenthaler. These bright,
bold strokes are juxtaposed
against the label "Lyle's Gol-
den Syrup" in what we think
to be a fresh and witty man-
Marsh says Dinh wrong ~
(Continued from jiajie
Thieu and Ky in power in South
Vietnam. Anyone Avho reads the
official handouts of the State
Department will realize that, no
matter how biased they are, the
U.S. officials are not particular-
ly interested in Thieu and Ky,
but in creating a viable demo-
cracy. Unofficially, the U.S.
would prefer Thieu and Ky be
replaced by more moderate
leaders.
As a general note, Dinh is
doubly cynical and hypocritical
in accusing the U.S. of cynicism
in exercising power, and par-
ticularly in accusing Senator
Inouye of Hawaii of inhumani- '
ty. We didn't ask for the world
to be the way it is, and we're
not perfect, but the fact is that
the U.S. is the foremost eco-
nomic and military power in
the world, and as such we are
the target of a lot of interna-
tional hanky-panky that few
well-meaning people realize ex-
ists. As for Senator Inouye, he
lost his right arm in WWII
fighting the Nazis. Would Dinh
be as brave?
Dinh states that the U.S. use
of napalm has unified the Viet-
namese in the "Revolution."
Herman Kahn, in a New York
TV interview, gave a reason-
able rebuttal. He once stood
in a South Vietnamese rice field
next to a peasant, watching a
napalm run by F-105's against
a suspected village.
Kahn's thoughts were, "How
can this man possibly sym-
pathize with the U.S. and its
stated aims, when he sees big,
rich Americans napalming poor,
small Vietnamese?"
Then the old peasant turned
to Kahn and calmly remarked,
"The napalm doesn't seem as
hot as it used to," then absent-
mindedly went about his busi-
ness.
The fact is that much of this
feeling in the U.S. against the
use of mechanical weapons is
in fact subconscious racism on
the part of American war pro-
testers, who project it onto the
South Vietnamese, where it does
not in fact exist. But Dinh must
know that virtually no one in
the U.S. is aware of this, or
of his ow7i racism, so he can
use this falacious argument.
One thing of note is the title,
which states that the balance
of power has ended as they say
"in Czechmate." If the balance
of power ended, we would all
be dead, right now. The head-
line is so ludicrous as to sug-
gest your writers are wards of
the Marquis de Sade. There are
a number of excellent papers
put out by the Rand Corpora-
tion and Princeton University
Press explaining what the bal-
ance of power is. I suggest you
read one of them.
Bahler's article on the side-
lights of the Chicago conven-
tion is notable for the fact that
it prints these statements: "All
I ask is that you think of me
as a human being" in a prom-
inent box, said by a demon-
strater. "The police behaved as
vicious mad dogs," by Wililam
Burroughs, a sympathizer of
the demonstrators, "But I also
detected a salient strain of
swine in those who attacked the
demonstrators," by Terry South-
ern at another hippie rally.
Bahler quotes another demon-
strator as comparing the police
to the Nazis in 1937.
How on earth, Mr. Bahler,
can the hippes and yippies
stand around calling the police
"mad dog," "swine," "-Nazi," at
and then ask to be treated by
them as "human beings?" The
hippies have been around about,
isay, five years, and the yippies
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Jack Coutou's "Swallow-Tail-
ed Kite," which we mentioned
earlier, could be entitled "Audu-
bon Revisited"—it is little more
than a skillful copy.
Silhouettes
His "Flourescent Form" is
more interesting. The shapes
are created (we would guess)
by cutting the metal plate from
which the etching was made
into pieces and relocating them
like pieces of a jigsaw puzzle.
The forms are complex and
mysterious, and are enhanced
by the fact that they once fit-
ted together, producing repeat-
ed silhouettes of positive and
negative form. The shapes tend
to float because they reposition
themselves visually in the voids
from which they came. The tex-
tures created in the shapes are
rich and organic.
There are a few other inter-
esting works in the exhibit,
which will hang through Octo-
ber, and, not as a part of the
collection, works by Vasarely,
Francis, and Ortman hang in
the office adjoining the gal-
lery space.
about one. If someone yelled
"mad dog," "swine," Nazi," at
me for that long, I would have
a tendency to bash his head in
and say to hell with niceties.
A hippie crawled up to a
Chicago policeman and started
to bite chunks of flesh out of
his leg. Later, this hippie com-
plained of police brutality when
he was hit on the head.
While there are, of course,
individual bad policemen, there
is no excuse for a bunch of
adolescents to transfer aggres-
sion against parental author-
ity over to the police. Sure,
there are many things wrong
with middle-class American
homes (where the hippies come
from), but don't take it out
on Uncle Fred just because he
wears a uniform.
DANIEL W. MARSH
Lovett, '70
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Bahler, Dennis. The Rice Thresher (Houston, Tex.), Vol. 56, No. 3, Ed. 1 Thursday, September 19, 1968, newspaper, September 19, 1968; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245035/m1/4/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.