The Battalion. (College Station, Tex.) 1893-current, September 16, 1996, Image 4

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A The Battalion
Aggielife
0A t
Monday • September!
A tale of two cities ?e e\
By John LeBas
The Battalion
I n the late 1800s, Paris transformed into a mod
ern city, and memories of old buildings and
architecture were threatened by urban renewal.
As New York City in the ’20s and ’30s grew into a
skylined metroplex around the older parts of the
area, the persistence of time likewise threatened
reminders of the original U.S. settlement.
Eugene Atget and
"She enjoyed contrasting the old with
to get a sense of change and history of
Prince said.
Prince said Atget was concerned with
but regarded himself as more of a documt:
than an artist.
Critics have debated for years over his
an artist, with some labeling him "theft
modern photography.”
Prince said Atget was a photographerint
of transition.
Berenice Abbott were
determined not to let
the architectural and
cultural legacies of the
past succumb to
inevitable progress.
The two photogra
phers have amassed a
wealth of photographic
documentation of the
two cities which are now
an exhibit, “A Tale of Two
Cities,” at the John
Wayne Stark University
Center Galleries.
The exhibit features
works by Atget, who pho
tographed buildings in
Paris, and Abbott, who
chronicled New York.
David Prince, curator for the Syracuse University
Art Collection, arranged the show. He said the pho
tographers wanted to preserve elements of the
cities that they feared would be lost to time.
“Atget wanted to document architecture in Paris
so later generations of architects would know what
used to be there,” Prince said.
Atgets’ photos date to the beginning of the centu
ry, when Paris was rebuilding its infrastructure.
Abbott wanted to illustrate the nature of American
culture, which was changing in the 1920s and 1930s.
“New York was changing as rapidly as Paris had
changed,” Prince said. “It showed the constant change
in American society. Abbott felt that if she took pictures
of New York, she could document that spirit.”
Atget’s subjects were primarily old Parisian store
fronts and streets, and Abbott tried to capture mod
ern skyscrapers rising behind older statues, church
es and houses, Prince said.
When Atget
working, photos
was a docume-J
tool. When he
Prince said, pti
Dave House, The Bati auon
"Untitled," by Eugene Atget is part of "A Tale of
Two Cities" display. It was given to the University
Center Galleries by John Thompson.
phy was develop: I
an art form
“Art then bega:
his work ‘moder.
he said.
Prince said
Atget’s picture
chance or randoi
ments such as
lions in win
though they weii
necessarily intei
Prince said
simply took pictii
what he saw.
i ^ | Il:
Mc A i
EOlAv t-Tl
rOUt
- | mc
Abbott, who knew Atget for a month befa m ^cking THe A>r
died, saw Atget’s work as the first true usee
tography as an art form. Greatly influeno
Atget, Abbott expanded on his idea of object
not manipulating a subject — and capturedd
elements when she could.
“She took pictures unconcerned with
ground elements,” Prince said. "But shesanKlrr, -
potent it was.” iil
Catherine Hastedt, curator for the
Galleries, said she was most impressed thai
photographers of different nationalities proi
such similar work.
She said she was struck by how Atget wast
enced by Abbott, after knowing the photograph
such a brief time.
“It’s almost as if she had something stronger
a fascination for his work,” Hastedt said, “whii
really intriguing.”
Slain rapper mourned at boyhood churc
NEW YORK (AP) — Tupac Shakur, remembered
by many as a violent rapper who died in the gangs-
ta culture he glorified, was mourned at his boyhood
church Sunday as the victim of a society that
destroys black youth.
“He had the genes, he had the ability, could we
have provided the society that
would have made him blossom,”
the Rev. Herbert Daughtry said at
The House of the Lord Pentecostal
Church in Brooklyn.
Two days after the 25-year-
old Shakur died of gunshots
wounds suffered in a drive-by
shooting on a Las Vegas street,
the pastor asked: ‘‘Who will
weep for Tupac Shakur?”
“I will weep for Tupac,” he
replied.
Though he left Brooklyn in his teens, Shakur still
is listed as a member of the congregation he joined
when he was 15, with his mother and sister.
Shakur—who had served time for assault, weapons
violations and sex abuse — was hit by four bullets Sept.
7 as he rode in a car driven by the head of his label,
Death Row Records chief Marion “Suge” Knight.
Knight, who suffered minor injuries, ani
entourage of at least 10 cars, including bodygai
have failed to provide any suspects.
Los Angeles police told Newsweek magazMf^
condition of anonymity thaT die shooti\\oi
Crips gang members in Compton, Calif., lasm&
in retaliation for the Shakur shooting. Other soi
told the magazine more retribution was
■Q
SHOW US Ce.LB.BRi
Siwce OUKS ARE #
BECAUSE WATCHING
IS SOMCTHING WB
ICff
tisL
'equirement for
■ollegial relatior
if all people to
Shakur
“Whoever did it is seriously in somes—-be
this isn’t something Suge is going to just dn members of
friend of Knight’s said in the Sept. 23 issue. "Yd Association, we
start seeing Negroes drop real soon.”
Despite the controversy and success of St
anonymous music industiy sources told New
they believe Knight was the target.
“The best way to get Suge is to mess 'd^onscience.
money,” said a source close to Death Row.Tui
his money.”
In Brooklyn, Daughtry told about ISOpeopI
the half-full church that Shakur’s self-procte igQ^ground we
ambition to be “a revolutionary” against b 1 '"™ y
blacks “was just as real as Martin’s and N
referring to Martin Luther King and MalcolniS ptions, and to
“I know that there are those who say he
about it the wrong way,” Daughtry added.“Bi
not for me to judge.”
order to re
In order to foi
AMU communi
ne religion by |
ROBERT
EARL KEEN
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tended to bypt
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IfTAMU and thi
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