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
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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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