The Rice Thresher (Houston, Tex.), Vol. 69, No. 22, Ed. 1 Friday, February 19, 1982 Page: 13 of 24
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Art
The oxymoronic juxtaposition of art and life in fiber
Fiber Strucutures
Farish Gallery, Anderson Hall
Through March 3
A long time ago, I heard the
anthropological) theory that the
only contributions to human
culture made by woman were
spinning and weaving. Although
that theory's probably been
discredited by now, Elinor Evans'
show Fiber Structures at Farish
Gallery makes an interesting
comment on that limiting concept.
A conwr of fib*r Strixfww In Parish Ooiery
dodo
The "fiber structures" are
baskets and wall hangings, but
dismiss any idea of domesticity
and macramd mushrooms. Evans
takes a distinctly feminine symbol,
a basket, and turns it into a
statement of power; her wall
hangings, which could be
construed in comparison as
phallic, are softened by the studies
in color.
Unfortunately, no catalogue of
the exhibition is available, and the
displays, one merely shards of
aborted works and another
collected bits and designs used in
her works, are labeled with
unimpressive numerical titles and
material descriptions. Neverthe-
less, there are a few outstanding
pieces among the entirely
noteworthy collection.
The series of baskets are the
most striking. Evans twists natural
fibers into perfect, created shapes
for an oxymoronic juxtaposition
of life and art. These baskets aren't
for filling, yet somewhere the
connection is kept between these
obvious works of Art and those
first woman-made baskets
containing roots and berries.
Occasional pebbles in the display
cases highlight this idea nicely.
One basket will surprise with its
shock of color, a regal purple,
although perhaps it would have
been mounted better on a paler
base.
Although the wall hangings held
my interest less, many of the pieces
forced me not to reject them
offhandedly with their unexpected
touches. Portuguese handcarved
toothpicks in one color study
created a distinctive effect, while a
work in progress illuminated
Evans' attention to detail even in
her large-scale hangings.
Evans does not consciously
design forms within her works, but
the casual viewer will see such
stock figures as leaves and suns in
the "prettier" stitched hangings.
Take a closer look, they're not
there. That's what makes the show
fun: Evans will slyly manipulate
the viewer into believing in her
demure facade (needlework is so
ladylike) given the chance.
Conscious resistance, however,
will provide a wealth of enjoyment
of a tough, vibrant art.
—Jeanne Cooper
Wall hanging
-M. Gladu
In the Cheek/by John Heoner
Thursday, February 11.
12:59 p.m. Ronald Reagan sits
alone at his desk, laconically
scraping the last clinging bits of
tapioca from his crystal pudding
cup. It has been a bland lunch:
mashed bananas, Campbell's
Chicken *N* Stars, Graham
crackers and grape Kool-^d.
And Frog Eyes. Ronald
chuckles—that's what they'd
called tapioca in the good old days
when they were "brown-bagging
it" on the set. Looking out on the
Washington Monument, Ronald
remembers the sound and the fury
of his non-stop days of 5 a.m.
make-up calls, publicity stills and
endless takes and retakes.
He sighs a long sigh, and counts
down the last ten tinkling scrapes
at his tapioca.
/.•00 p.m. Absorbed in thought,
Ronald stares out the window and
listens tahis own noisy peristalsis.
I.-01 p.m. The President sinks
deeper into revery as he counts the
liver spots on his drinking hand.
He swallows hard, takes a biting
swig of Kool-Aid and curses his
doctors for his indigestion. He
longs for meat and potatoes and
Hollandaise sauce.
1:02 p.m. Suddenly, the door of
the Oval Office slams open, and a
tanned and energetic aide, Trey
Manly, bounds onto the deep pile
carpet.
"Sorry I'm late," Trey calls on
the run. "I just this minute got the
Academy nominations off the
wire. Thought you might like to
look 'em over before make-up. No
other news today."
Trey pumps a single sheet to the
President, clicks his heels with an
impish grin, and strides out of the
office.
Ronald's heart pounds audibly
as he reaches for the list.
1.-03 p.m. The President pops in
his reading contacts and squints at
the columns of easy-to-read type.
Best Picture
Reds
Atlantic City
Chariots of Fire
Raiders of the Lost Ark
On Golden Pond
Reds?! Flushing with rage,
Ronald takes another belt of grape
Kool-Aid. How, he wonders, can a
movie like Reds gamer a best-
picture nomination when the
Russians are raping Poland? When
new Soviet MIG's are being
planted in Cuba? Why not a movie
called Feds, for gosh sakes, to
usher in the New Federalism with
some of that silver screen magic?
The winner seems clear enough
though, Ronald beams. On
Golden Pond. No right-thinking
citizen could think otherwise. At
the White House screening, Nancy
cried and Ronald took only one
short nap. It's a cinch.
Best Actor
—Warren Beatty, Reds
— Burt Lancaster, Atlantic City
— Dudley Moore, Arthur
—Paul Newman, Absence of
Malice
— Henry Fonda, On Golden Pond
1:05 p.m. The President makes a
mental note to blacklist Warren
Beatty. After seeing Beatty's name
at the top of the list, he has made a
quick count of Reds' nomina-
tions^ in all. That's not a good
sign. Action must be taken. Heads
will roll. Taxes will break. Social
services will screech to a halt.
Ronald chuckles. Tip O'Neill
and the rest of the Communists
will not be pleased.
1.-06 p.m. The President cannot
decide whether Burt will beat
Hank, Hank will beat Burt, or one
of them will die and sew up the
contest. This, thinks Ronald, is a
noble race.
Best Actress
—Katharine Hepburn, On Golden
Pond
—Meryl Streep, The French
Lieutenant's Woman
—Diane Keaton, Reds
—Susan Sarandon, Atlantic City
— Marsha Mason, Only When 1
Laugh
As much as Ronald likes
Katharine, he decides she is too old
and wrinkled to be Best Actress.
Besides, Kate has been raising a
stink over the Social Security cuts.
He decides that Susan Sarandon's
lemon-«cented breasts mint rm
victorious.
1.-08 p.m. The President is
pooped and ready for 40 winks. A
watermelon jellybean gives him the
strength to troop on.
Best Supporting Actor
—Jack Nicholson, Reds
— Sir John Gielgud, Arthur
— Howard E. Rollins,. Ragtime
—James Coco, Only When I
Laugh
—Ian Holm, Chariots of Fire
What a group of losers, fusses
Ronald as he pops another
jellybean. The only real actor in the
bunch is Crazy Jack and he plays a
Commie.
1.09 p.m. Remembering that
election year is not so faraway, the
President shrewdly decides to
court his black constituency and
pick a ninny. Howard E. Rollins it
is.
Best Supporting Actress
— Maureen Stapleton, Reds
— Melinda Dillon, Absence of
Malice
— Elizabeth McGovern, Ragtime
—Joan Hackett, Only When I
iMUgh
—Jane Fonda, On Golden Pond
What's this? Little Jane Fonda
has been nominated? She and
Henry both?
Ronald sighs. Hank and Jane.
That could've been Ronnie and
Maureen. Instead, daughter
Maureen is plump and political,
and daughter Jane looks good in a
bikini and gets an Academy Award
nomination. Some old cow pokes
have all the luck.
1:11 p.m. Glancing at his Rolex,
the President remembers his 1:15
make-up call. He is miserably
depressed—somehow, it all seems
so meaningless now. Why should
he have to sit through three hours
of make-up just so Life Magazine
can do a photoessay on a family of
actors without a single Academy
nomination to their credit? He
buzzes for his favorite aide.
1:12 p.m. Lipstick-stained and
out of breath. Trey Manly bursts
through the door of the Oval
Office at full tilt.
"Trey, cancel my appointments
for the rest of the day. I'm ready for
bed."
Ronald is sulking now, but Trey
has seen this action before. "How
about another hot bath, Mr.
President? You'll feel better
Besides, Ed Asner is waiting
outside. He wants to talk to you
about helping the starving people
in El Salvador. The Screen Actors
Guild has collected a lot of
money.What should 1 tell him7"
Swivelling away to face the
Washington Monument, Ronald
snorts and waves Trey out of the
room.
"Tell him to put up or shut up
Thursday, February 25, 8:00pm
Hamman Hall
FZL. m a
when
Tickets available
through the
RPC and BSU
Students: $3.00
Others: $10.00
A Play by
Ntozake Shange
Directed by
Regge Life
The Rice Thresher, February 19, 1982,
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Grob, Jay. The Rice Thresher (Houston, Tex.), Vol. 69, No. 22, Ed. 1 Friday, February 19, 1982, newspaper, February 19, 1982; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245494/m1/13/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.