page THREE
THURSDAY, FEBRUARY 28,1974
m
Williams Shares Unusual
Slides
Jonathan Williams present
ed 10 percent of his famous
slide collection to a packed
Vardell Hall last Tuesday af
ternoon. Gathered over the
last twenty years, the slides
ranged from the graves, to
beautiful English landscapes,
and ended with a six foot
acorn. Williams told his au
dience that “poets keep their
eyes open and their ears
sharp”. He proved him
self worthy of this comment
by the variety of slides he
showed and the humorous and
well-informed histories he
provided with each.
The majority of the slides
were either pictures of
people’s graves or of people
themselves. He included the
headstones of many well-
known personalities with em
phasis on, those persons he
knew at Black Mountain. His
unusual interest in tom
bstones, although not shared
by most of his audience,
provided interesting because
of the anecdotes which ac
companied each slide. The
collection included the graves
of such celebrated people as
Thomas Jefferson and Walt
Whitman.
Going from the dead to the
living, Williams presented
slides of poets such as Ezra
pound, William Carlos
Williams, and Buckminster
Fuller. The lack of
background and the static
poses of his subjects was filled
in by histories which he
shared concerning the in
dividuals. These histories
showed evidence of his humor
and well-traveled life. He not
only showed slides of poets, in
their corporeal existence and
in the concrete memory of
their existence, but also of
composers, painters, film
makers, and photographers.
BY ELIZABETH LELAND
In addition to this type of
slides, Williams included lan
dscapes, fantasy architecture,
and gardens. His presentation
began with a series on a fan
tastical dream palace con
structed by a French
mailman. Other slides of in
terest were those of houses,
buildings, English landscapes,
and gardens. Although there
were fewer of these last types
of slides, they provided more
diversity as pictures in them-
selve s than did those of the
graves and people.
The number of Williams’
slides is remarkable,
especially when one remem
bers that those shown
represent only 10 per cent of
his collection. If the slides
shown at Saint Andrews are
charactertistic of his entire
collection, his pictures cer
tainly comprise an unusual
selection of photography.
(Corii ued from page D
vention of the prepared piano,
a grand piano converted into a
percussion orchestra by the
insertion of nuts, bolts, and
rubber into the strings, has
received awards from several
foundations for “extending the
boundatries of musical art.”
Cage also first used silence
3s a meaningful sound in
music rather than a simple
gap. His composition of silen
ce, entitled “4 minutes , 33
seconds,” consists of four
minutes and 33 seconds of
total silence from the per
formers. Another Cage in
novation was the use of elec
tronic sounds in music.
Both Cage and Cunningham
believe in the dissociation of
music and dance. Their con
tributions to a performance
are completely unrelated ex
cept through the unity of time
and place. No underlying
meaning is attempted but is
intended to be each in
dividual’s interpretation.
Cage has been musical
director for the Cunningham
dance group for more than 25
years. Together, they staged
the first “happening” at Black
Mountaion College in 1948.
Performing “Theatre Piece
No. 1,” they combined poetry,
music, motion pictures and
other unplanned activities.
This event began the trend
toward “Happenings” in
America during the sixties.
Having performed and
taught in Europe as well as the
U. S., both men have achieved
international success. Their
performance in Laurinburg is
in conjunction with the Black
Mountain Festival.
7 DAYS ONLY
Raushenberg
THE LANCE
BY LEE VAN ZANDT
The most recent exhibit now
in the Vardell Gallery is a
very exciting showing of the
works of Robert Raushenberg
and John Cage. Both of these
artists are formerly members
of the Black Mountain com
munity, and the show is part of
St. Andrews Black Mountain
'Festival. This show opened
last Sunday and will be here
until sometime next week.
Because of security reasons,
hours have been set for
showing; 2:304:30 mwf 11:00-
1:30 t&th and 2:004:00 Sun
day. These hours can be ex
tended by contacting Mark
Smith of the Art Dept.
The collection is made up of
ten lithographs by Rauchen-
berg and three plexigrams by
Cage, all of which come from
various collections around
Atlanta. The ten lithographs
are mostly in black and white
but are set off with a small
touch of color. Upon first im
pression, these lithographs
merely seem to be masses of
reproductions of photographs
taken from newspapers and
magazines-BUT, with a closer
look, the viewer is able to see
the fine way in which the
technique of transparency and
superimposition has been
used. It is amazing to study
these creations and to see so
many images come to life at
one time! When you take more
Exhibit Opened
than a few seconds to look at
this exhibit it shows a very
fascinating example of what
art is becoming. There are
some very interesting effects
about these works, for the
longer you look the more you
see, and the more you become
involved. All the images in
these ten lithographs are very
relevant to the nation at the
present, and could possibly
represent what Rauchenberg
feels about what is going on
now.
In addition to Rauchen-
berg’s lithographs, there are
three fantastically amazing
plexigrams by John Cage.
These plexigrams, at first, ap
pear to be nothing but eight
pieces of plexiglass within a
frame, with words painted on
them-but there is more to
them than this. It seems that
the words, and the placement
of them was decided by Cage,
as he consulted the I Ching,
the ancient Chinese book of
changes. Much more could be
said about this exhibit, but the
impact of art upon someone
comes from personal ob
servation and opinion. To take
the time to look at this exhibit
and do take the time to read
the literature about
the plexigrams, to see how
unusual they are. A showing
such as this is well worth a
small portion of your time!
FAMILY FUN
Hobin
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