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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Feb. 17, 1998)
esday • February 17, 1998 The Battalion Henry Moore A Retrospective Wayne Stark Galleries exhibit famous works of a celebrated British artist By Travis Hopper Staff writer ’e has been hailed the “Sculptor of an Age” by the NewYork Times and is widely considered one of .the most innovative and important artists of the ury. His works have earned him over 70 achieve- [J tawards from 12 different countries and have been layed in the Metropolitan Museum in New York the National Gallery of Modern Art in New Delhi, ow, courtesy of the MSC and Exhibits USA, Henry re makes his debut at Texas A&M. d !iej. Wayne Stark Galleries is currently hosting The ; otor's Line: Henry Moore Prints and Maquettes from jj Villiam S. Fairfield Collection, which is a look back er 30 years of work from the British master. The ex ion, which will run until March 8, features 27 of | re’s most significant graphic works and five bronze uettes (small, three-dimensional working models), atherine Hastedt, registrar curator for the galleries, "Our exhibit is a tour through the career of Henry re, who was considered the greatest sculptor of the itieth century.” “It focuses on his maquettes and £ hree central themes of his work: reclining, the fam- t oup and the mother, or Madonna, and child.” enry Moore, the seventh of eight children, was i [into a coal-mining family in Yorkshire England in .After working for a few years as a student teacher, re decided to enlist in the military and fought for | ountry in World War I. When he returned, he ap- I for and received an ex-serviceman’s grant to at- Leeds School of Arts, ftertwo years of study at Leeds, he was accepted to loyal College of Art in London, where his interest J ulpting began to become more of a passion than a al hobby. He soon was commissioned to produce ” ilpture relief for the opening of the London Trans- atthe St. lames Underground building in 1928, :hin turn led to several one-man exhibitions, [though they did not receive favorable reviews 1 critics across the board, Moore quickly began to hire a reputation as an innovative and original sculptor in art circles. His experiences in the war had caused him to question Western Civilization and its val ues and concepts of arts; therefore, instead of pattern ing himself after the classic Greek and Renaissance artists, he submersed himself in the “primitiveness” of pre-Hispanic Mexican art. “The simple, monumental grandiosity of Aztec sculpture has attracted me enormously since I was a young student,” Moore said. “They possess a massive solidity that one feels as being indestructible, and that is so faithful to the nature of the stone.” His critical acclaim would not come until the early 1940’s, when his compositions of people sheltering from the air-raids in the London Underground and his sketches from the coal mines of England touched the hearts and souls of the entire nation. Awards and acco lades soon followed from across the globe, including an honorary doctorate from the University of Leeds, the Goslar Prize in 1975 and an appointment to the Order of Merit. He died on his Hertfordshire estate in 1986 at the age of 88, leaving behind a legacy of approximately 650 sculptures, 400 original plasters, 3,000 drawings and enough goodwill to keep his name alive for generations to come. The exhibition at the J. Wayne Stark Galleries will fo cus on his prints and maquettes. “Henry Moore believed that all true artists should be able to draw out their ideas,” Hastedt said. “He be lieved that sculptors should draw and flesh out their sculptures too, and these prints we have on display are a few of the preliminary ideas that became some of his greatest works.” The prints also reflect the deeper meaning behind Moore’s creative genius. “Most of his portraits weren’t specifically por traits,” Hastedt said. “He was concerned with the ideas of‘What is a human?’ or ‘What is a sheep?’ He was fascinated by the intangibles that made up his models, and he tried to display these abstract char acteristics in his work.” After Moore got an idea for a project and completed §1 |J |§§ jX.S < * d '* -is*' d ~ JHEEk I - ft tM mmm : . JAKE SCHRICKLING/The Battalion Joe Vaughn, student assistant to the Stark Galleries and a freshman general studies major, takes a look at the Henry Moore exhibit. The exhibit runs through March 8. a drawing of it, he would make a small scale model, or “maquette,” in order to figure out exactly how he want ed his finished product to turn out. “Moore’s sculptures were often very large, so in or der to work out exactly how he wanted them to look be fore he started carving, he would make small plaster or clay models,” Hastedt said. “We have five of his bronze maquettes in our collection right now.” Hastedt said she believes this is a great opportu nity for s A&M students to experience firsthand the works of one of the most influential artists of the 20th century. “I would hope that most students are familiar with his work already since he is one of the greatest artists of our time,” she said. “If they are not, this would be a won derful opportunity to become familiar with it. Henry Moore was a great technical artist who liked to explore the works of Renoir, Picasso and Degas. In a micro cosm, students would be able to get a complete slice of 20th century art history and relax all at one time. The exhibit will be open for viewing Tuesday through Friday 9:00 a.m. to 8:00 p.m. and from 12:00 p.m. to 6:00 p.m. on the weekends. For general and tour information call (409) 845-8501. hurricane Streets soundtrack brings back memorable song hurricane streets Mammoth Records Various Artists '' ' Critique: C By James Francis Aggielife editor furricane Streets, the new film written and directed by Morgan , Freeman, has a soundtrack that Ihtbe worth listening to if you feel Sneed to buy a CD that only con- three good songs out of 12. Without giving any thought to the dismal tunes by Vic Chestnutt or Atari Teenage Riot, let’s get to the three songs that are worth playing. Supple gives off an air of nostalgia with its cover of an old-favorite, “Stayin’ Alive.” Lead singer Rob McCullough sings the well-known Gibb Brothers tune like he just got back from working out at the Student Recreation Center. But his voice is reminiscent of the band’s name — supple. It gives the song a raspy and slower tone, bringing back the enjoyment of John Travolta’s dancing and making lis teners feel an era during which some may not have even been alive to remember. Marcy Playground, with its ever growing catchy lyrics, brings a softer side to the gruff voice of Supple. On “Sex & Candy,” the vocals swim, “1 smell sex and candy, yeah mmmmm / Who’s that lounging in my chair, mmmmm / Who’s that casting devious M stares in my direction / Mamma this surely is a dream.” Although these words are re peated continu ously through out the song, they make a nice rhythm that listeners can bop their heads along with. The last band that deserves men tioning is Seven Mary Three, who’s song “Blackwing” is a good comparison to the band’s suc cess with “Waters Edge” % from the album Ameri can Standard. The band has a knack for telling narratives through lyrics, instead of simply crooning about how life stinks or how lonely it can be to not be in a rela- 'f tionship — a formula song most musicians fall captive to. The rest of the soundtrack, with fea tured bands such as Dead Hot Workshop, Xzibit and Guster, just does not hit the mark to make a comprehensive album. Instead, the diversity on this sound track takes away from what a sound track should represent — a complete work of music that is not only united by the sounds of the artists, but takes on the role of giving listeners an idea of what the film for which the music is set to is about. And last but not least, even with an appearance by De La Soul, the Hurri cane Streets soundtrack is another ex ample of what can happen when too much of a variety of artists get together and have their works compiled on a CD. Instead of focusing on diversity and unknown bands that might one day be discovered, Hurricane Streets should have looked for pertinent musical material. Better Ingredients. Better Pizza. Tuesday Nite: Beat the Clock Time You Call is the Price You Pay! (from 6 p.m. - 8 p.m.) On a Large 1 Topping Pizza Tips are appreciated Northgate Bryan 846-3600 268-7272 601 University 3414 East 29th St. 3 College Station 764-72 72 1100 Harvey Rd (AMU MSC Stark MBA/Law West Coast Trip March 15-22, 1998 Spring Break Jfju Tr n'r Visit top business and law schools in California, Stanford, UC Berkeley, USC, and UCLA, and the Thunderbird School of International Management in Glendale, Arizona 10-12 student trip participant spaces Preferred qualifications: Sophomores and Above with GPA 3.5 overall or significant student leadership experience with a 3.3 over the last 45 hours Estimated Cost $800.00 Applications to include resume, copy of transcript of coursework and Wnal statement (1 page) explaining why you think this trip will be helpful to you in developing your career and life paths Contact Amy Callaway at 693-1999 Or Paul Henry and Charlotte Jamieson at 845-6790 Email: phenry@tamu.edu orjamieson@tamu.edu Applications due by 5:00 p.m on Thursday, February 19 & Persons with disabilities please call 845-6790 to inform us of your special needs. 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