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Show The Tfuuufcrbinf Abstract art exhibit strong Monday October 29, 1984 is J. Brad Holes explanation and review of artwork completed by Karen Gilg, a former SUSC student. Her work is currently on display in the Braithwaite Fine Arts Gallery. The following Abstraction is one of the wavs in which we may come closer to perception, appreciation and perhaps understanding of the worldview of another individual. Use of abstract visual images allows an artist to communicate ideas and emotions in an honest and powerful manner. On the other hand, images can stand on their own, in and of themselves, without recourse to objectivity. The operation of both facets prompted the 20th century Dutch Master Fiet Mondrian to state: If art is born of figurative art, it is obvious that the two factors of human duality have not only changed, but have also approached one another toward a mutual balance, toward unity. One can rightly speak of an evolution in plastic art. This evolution is evident in the work of Karen Gilg. A native of St. Louis, Mo., Gilg earned her Bachelors degree at SUSC. Many of her prints, multimedia works and constructions are currently on exhibit at the Braithwaite Gallery. There is a linking theme that presents itself in every piece in the show. The flat breakup of space (even in the map-lik- e constructions), the chart-likcompositions that range from the actual use of maps, through aerial view orientation, complete with cartographic" symbolism, to highly abstracted chart formats for inner landscapes. Within the contest there is a profound use of line in a succession of physical and intellectual echelons. The pure essence of line serve on several, levels of abstraction. The basic level is, of course, that of textural and value effect. Transcending this is the minimal yet valuable use of pure contour line, mimicking and complementing the accidental and often striking designs created by the cartographers. Most of the lines have directions properties and this nature if often given an overt role as it goes ueyond a mere suggestion of direction and movement, to the actual cartographic represen''tio' of wind and water currents, or the graphic record of an insert ii flight. Directional line is eventually simplified to the point that we are left with small multicolored arrows representing the artists energy flow. In Taking Views From An Aeroplane we can see this evolution from representation lines of air currents in the right half of the construction, to the simplified energy flow lines in the left e j e, side. Through Gilgs methods, line becomes border. The cartographic theme follows suit (state, county and national borders, the border between water and land, etc.). Within the protective borders are representations of ideas, objects and emotions important to the artist. Basic to all of the compositions is the aerial view. Compositional breakup becomes maplike and actual maps become compositional devices. Thematic and exciting use of color give some of the pieces and infared quality (Golden Langur Temple Site). Constructions element to many of the works and allow add a n for hidden or features, some of which the artist insists will never be seen. The precision of technique and craftsmanship, in concert with an imaginative manipulation of the plastic elements, that of line in particular, make this exhibit very strong. semi-hidde- Comedy concert is slatetk (continued from page 9) viewers to the Coneheads. They were also responsible for some of the shows stranger sketches Stunt Baby, Julia Child Bleeding To Death and wrote many of the shows parody commercials, including an ad for the Royal Deluxe II, a car so smooth a rabbi can circumcise a baby in the back seat. Since leaving Saturday Night Live in 1980, Franken and Davis have become a fixture on the college campus circuit, nominated this year as the National Association of Campus Activities Entertainers of the Year. Their style is dry and deadpan, but their subject matter tends to be more raw, placing them in the vanguard of todays frank, irreverent comedy, so popular, as Davis put it, among todays gullible young people. When Franken and Davis taped their college show for Showtime, their parody of the Rolling Stones was so stunningly accurate and funny, that MTV chose it as the first comedy video in the music stations history. Franken and Davis are popular guests on NBCs Late Night With David Letterman, once appearing as the Comedy Team That Weighs the Same, actually weighing-i- n in swimsuits, both at exactly 167 pounds. Though they continue to live in New Yoik, Franken and Davis go back and forth to the West Coast. semi-regul- were open 24 hours a day for your convenience snqcks, pop,' hot dogs, magazines, and much more C-Ma- rt Convenience stores are located at all three interchanges in Cedar Cfy 1-- Page 11 |