Massachusetts College of Art and Design - Palette and Pen Yearbook (Boston, MA)

Text from Pages 1 - 62 of the 1980 volume:

invcw 5 MEDIA AND PERFORMING ARTS FACULTY Steve Anker Dan Barnett Harris Barron Don Burgy Wilson Chao Paul Earls Johanna Gill Dawn Kramer Baldwin Lee Saul Levine Paul Muller Nick Nixon Fred Simon TECHNICIANS Bruce Bowen (SIM) Bob Creamer (Photo) Debbie Luppold (video) John Waite (film) GRADUATE STUDENTS Susan Kandel Mark LaPore Phillip Palombo Michael Swisher Dana Mosher Phil Solomon I invited the faculty, technicians and graduating students of photography, film, video and the Studio for Interrelated Media to join together to be photographed and to prepare a page for xeroxing. Fifty reproductions of the photograph and the xerox pages join with this statement to form the Media and Performing Arts Department Yearbook. May 20, 1980 I � . .■ ' T •I c f.i ' f rt ..IJ.-.irf to 4lHf7 . • ■■if ' Ot n miUf ffij iTf ' CT t I ' ' I ♦ ft « . « � Steve Stavros I, rrL - I ' Oell, U .x i tr.r.rfT. c!? pWchcv i io . 3 ’Kl -V, .•-■ b ' t ' u jb iv ' v |K c , E : vj � V ■ - ■ t i 1- ' -V |-| rup Vu ' ■• ■lU. 5K;V- ' ‘-t ; v t V v u V r i-Av Tv ' . , 7 1 b c C7 vvv. 4)- v ' ' t { i I ' ' V. ;, i- ;, A . d-.- ' -w -fl- If -T r V � . • L .W. 4 ' H- ' d :t- VKv -r rVv Mf 7 7 Jt O (•. . ! c.. t Vv ,1 1 -. ' - 1 j..x _ - i- j-. •, c.., i3 I , I ■ V ' ' V, ' b ' - |V{,fAt; u -ci -’ IgvcI V. . . ' I- ' V fr7 . 3 .vr. r- -u,- A ; . I I • i +r ' , .? ' X • - V vv ' . -,,4 1 1 ' . ' si ' . I ; - V •- l- - I- ’ U. Il.v i ' b pubj, ,—v V ;U Ic-f ' -y- h. ) ' t ' ■ . 4 - I V ' rx V - I I I ' LO I ' iS ' ind A partial listing of projects that I didn’t v ork on while in college: the 2-D sculpture picture plane for Long ood building the spectacle of outrage in the noisy cafeteria Michael Ellen colabor ation, trilogy for sucmer months the Mothers of Invention music appreciation seminar the paper on visual traditions in modern symphonic composition the verbalizing about art paper the Dita Parlo scrap book the Dirk Bogard film festival the quantizer tv7o more pieces as successful as my last one the Time Information Idea 2 for Burgy Che Worcester Deluxe Diner Mfg. Co, video tape an evening of classical guitars the America Has Ended, 22 and Scre ed campaign Duchamp the critical treatment of CBS nightly ne s vrith V.’alter Cronkite February il, 1980 broadcast an ovmed and operated diner for artists called DIIIER the performance artvrork that restarts at the moment each audience member enters the theatre restaging Labor in Holland for the nuclear activists the proper commemorative action; Feb, 9, 1916 -� dada ' first uttered in Zurich having more people over for dinner massachusetts college of art ston 02215 | the commonwealth of massachusetts | (617) 731-2340 ' ' • a ' ' .. ts%0j jo6 ‘ni J� firlv . ■ ,, ■’■ ' ; ■ _i. � i«ifiV«.: M vj e.i 53 «o 0 , rt ih : -‘ ’ii. ' . :« ' tjf .vvaX d ©di? in4l3ip ' j:t ir,u iw ito “t .vinti ' ; 1 « ’tf oi ’ i ' tfi ri f . ' ■3 ‘ ' ' ‘ioc ' J ' ■ A. it! 9 f}C . � ■ 4 4 . t vitftwV wiil- m t ' ' ' ' I ' _;r ' ' i’-n .3 o. 0 a ' f ov ■ 1 . 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X AM NOk PHOAVAfApHiNE ' iTH aS EKHPHlEA , AnD AM yTEKESnEt Mosru ja fecple. xp tfe PHF ro( H s‘ ' oP ' ' rpE pekson (pokxkaites} , TFE AfPEAKApJCE AND CESTQKES OP A PEKSON A E MOST tHfOKTANT. the ACroKS CAN PKEMPr MANCf QUEST JCNS ' i ' NAT K N£ CP PERSON AS HE OK HO aK OUS a hAT D D they HAVE POK BKEAAPABT TPAT PpKN - j VE J WhEKE Do TTieY UVE f SCOD ftPTKA TBS ALLD AJ tPE ViEvveK TV E pEK ENCE OK KELAtE to CE HA N ASPECTS OP THE SOBTJECT. X AM NTEKESTED iN THCCE k NDS OP pHCTOaKAPHS. X AM ALSO DKAWN 70 ' AtOTCOpPPH A PEOPiB CV A LANDSCAPE MOKE EfECJP CAUX WhAT HAPPENS NhEaJ A SUSJECr S cW Vo-Zy PhOTOUPPPhED PKdM a DiSTA Cc ' E ( E aim A LfS ASk PEcP JP X CAN ' P T07Z‘6r ' ,APH THEM PCiU Do THElj EKiST N THEiK SL PPOuA D fVcr ENP K - ONMENTF AKE THSij NDEPENDEAJT PKOM pF OK DEPLAfOEkT ON THE SECUKirti Op IT P AT M iAP D STAnOE DO THESE GUEST cNS 0ECOME SEMES t ' TH EACN PEN SiTUAT O X CCPfES A DiFFEKENT SET CP JDEAS AND issues. 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K T liavnt o H- . a C( o L ' 3 i T r cdfinot :;tiujMiUiu ucntM (x, ocxrici ' i.C ' na A?ta uXKk_ Ixn d a ctrzdphjd. (X o )d(X{ ' -C ' m- rd 6o arc oifdnfX 5 b pid mh -4X,d(M ot- iXfnA uyh xt ! io mUi U on €JLll oC ' cdr ifiiLOuA fxTdcM Qz uyf . J cm - £ ildadd m MncUMjO ovdr hi Jj Xtridw h.Guj-0 hjQ Qjii 0 10 rid cdin€Cfi07VQ.. Phot ' cqrdp ia Jbdxw CL oidiUtl AiudAum, mu cocok. 0 od cl iidcdCmMd, {jLldxiUtL hJ tdfd y nidx ■ ' pho ox LJ ha. 0pm, mo J ; -t dr T ■ ' .( ..t ' IMmIP .. ..?v ,.M V ' vv.jo s. ' v :-js V 4 V . , ■ ' ■ ‘ oi jViSv VVxV ' t - V ' i ( 4 a4 v -•■u ' ' fc “ ' J- J - • ,. . f 1- vV i f .V • r. In BgQaj ' .: : vff-- ■ ' 1 ' : • vir� ' , V . •: S !i ; y’i ’-iVvi! , 4 -_ f .:y - ' : r.;-- I ok St«t ' � nt of Pir-non T iTiat-c ar t , -K l-f TTon r on’t b-lWv � in f robo V ►! ’ ' il ! ' • ■ V 7 i anronnc ' tMs to m ' r ro • who ’’Wr ' t it 7 down, � nd o I did, Aj� t ' ' � voic� of th o’ ni c5 nt nar ' ’ator, l ' t rn- hor ' � nd no- -’ th t our h Iv ln h� bo fcol ' � r‘� nc- for rh� “tor’c conc rnlnfr the ov ' r- arti rla t • ' ' on ' l-ict h-tw ' n ? ' ' Tf � nd of -rs. I’V always had .� ki n d of norvoj ' con’“ ' nu d nT ■ ' ' r ‘nd It ’ ? cal ' • d hal 5. n . C n f ' 1 T on ; rro tt ’ t- d ar ' i ' ’i i ooi- •� a OP” j it’? a ? ' ' - ' o t o ' � ’ , ( Sh or ' ii ’ ' •’ ' iv ' n i.t to ood r5 rht ' � ' n and t’T r h ' 7 r ' j st nc 5? a ni n nt r‘ r� t - t i o ' l of hvt rh� didn’t.) ’.‘f ' ’.� t d- iiiior ' ■■ ■ ■? r ' tlT. rh ?a1d. d ■a’: ' i. . V 7 7 • id, rut on thi? i“’th ■ or f ' n i t to t h� rr ' lo’’’ ' , T ’■ ’ ' ' mi ■ ' • ' t , ’ h® ’;’ t c ' a ' ’ or”, ’T ' r a - t . a® c ' -r ’ ’“h — ' total d tfl ' . T hor to nuj-11 n a i V 1 lTn ' at® (T ? dun dirt } tho miltift’- 5. oil r t ”1 ■ ' ' ■ -r ■• s o ! on ? J n d a ■ t ’ 2 ) of ( t t h ? , r- ' ' ' ut ■- ' •■! t ) t’m ri ’. ' ,1.3:1 2 ' nc ' t o- ; ooo t-’o ( ■ ' ■’. 1 t 1 ' h ' ' hi :nh ) A statement It seems that the oest photographs are made by tnose who have highly individual personalities and vision; well-inf ormed about the photography of tne past, but not enslaved oy toe past in taeir present endeav ors. I am convinced that tnis individual vision so essential to good photography cannot be learned in school; if any- thing these qualities of individuality and vision often suffer and get stifled in school , especially in tnose students witnout strengtn and perserverence .Fortunately my own vision has survived indeed tnrived here, in spite of the adversities . I even learned a lot and made some wortnvfnile photographs. Gregory Leonard 9 ■ ' .iii I ma ' ce photo rao ' is because it is a cballen e and wnen successful - it faels liberating to express something clearly. I c.ioose subjects that interest me, tryin. to see tnem in different ways -and realizin. that I bring part of myself to every photograph. I do not always attempt to be objective, I v ork according to tne subject and the circumstances, and I hope to learn from ’whit I nhoto raph. I do not start out with a orescribed sense of rules. I’d li ' -e to t link, that I do what is best t: describe what I m interested in; ' it can be either material or eohemeral. It can be to entertain or to describe; again, it is relative to my subject. I choose the photograch as mr modiuia, because it allov s me to v;ork alone on an idea, I lope to eventuail,, ' ' ork more in film and video, exploring different ideas. Per novr, photograohy is my means. °at Kenny, 1 S0 4 i; I . fi � J r t nt .■i: r 4 .- ’ • • f c f • ■V ' If ' • ■ J T| ft « 1 ‘ J II V3 I : iTTr 1 . “To or ' nG+ io - t ' 6 Ojucstio r - UJr.cThcr nobler ir rhc co .t.ra SuFFcr the 5 irA 5 arid arrouo or o rc;vgeoub exposonc b r -fo -hxice pictures -tyDoble s OAcl by ercl the-m ay o ihsT a aee . P noiio Q ro 0 a p A j ay K S.o ' bCAiorh V br.al e P re Tnd ca m ep a fs t n cxrd ruy i r.oj ox a c h i A C Oa. .c i’acI oF n cch (Xn i cxi htf map r r3 ci ■ ■jl ' m Horriscr. n rbotoy rapixer v’aAta ! rm i ucLl ST aGilihj i‘a lah ' ch) ix i Cc jD c r ZY ' ,rt xr t CyOail ’ ' mporfClAT . Tr. f, •p r. roy ra p ner hopdb 7-0 dido: ,,e ca ■Hlr.SiCA 70 oc thiA h d lb fXXCC. . J ' O ' nn 5 ax p: -• Ry Art by A1 karotta I make comedy films. My aim is always to entertain. That to me is what art is all about. I feel the cave painters must have been filled with the joyous sense of giving the a world at large something new and interesting. I certainly make little conscious attempt to instruct with my art. Instruction, particularly with regard to fine points of esthetics, is best left to philosophers, who are generally boring people. I like it when people enjoy my films. I would be happy making films of people ' s children or weddings if I could make a living at it. Those are the sort of pEopi films people watch with unrestricted pleasure. If I can draw those kinds of feelings from people with one of my comedy films, I feel that I have entertained in the best manner possible . In this age of pretentious ideology, comedians may be the best social critics to be found. I think the world needs to be reminded ±k from time to time that even the white middle class has feelings, that men have feelings, that some of us find it difficult to encumber ourselves with collective capitalist guilt. In an age when everyone talks about tolerance and the disposition itself is thus at a premium, a comic may be the only artist allowed to point out the ironies of life without having his balls stripped during a long, hot summer. I like making people laugh. You ' ve accomplished something when you do that. Somehow you ' ve mocked life in the right way, somehow you ' ve squeezed jcEt yet another fart out of yet another sacred cow. To repeat, I prefer entertaining people with m.y art. I think an artist ' s responsibility is not to teach hackneyed leftist doctrine, but to breath life into those possibilities the human race at large eagerly waits to receive from its artists. I have a basic faith in the intelligence of the average human, and of his eager to have the artist draw him along to a second good look at things. Also, I have great respect for Lady Luck. She is the Grand I� .atron of all the arts. 1 ,1 1 • S ' • David W, Haas Kassachusetts College of Art Major: Photography- Spring, 1980 A quotation by the 19 th century English photographer, Francis Frith, will serve to summarize my most recent concerns with the medium of photography. It should be noted that, Landscape, is where I focus much of my attention and that Frith ' s remark was made in reference to his own work in this area, but the statement also applies in a more general way to ray broader appreciatio n of the medium. My avowed object and desire is to convey truthful impressions rather than simply to amuse the intellect or to charm the fancy. F. Frith, IS59 •trwil 1: ; ?3j i HtJWrft) ! v � .1- sf, A. ■• r f ' « -3 St. z i- fi« 3 j I ft CARLOS CHAUEZ STATE EMT ABOUT , Y ART Filmmaking is ons of the few alternatives available to me, to make a living while doing something interesting, satisfactory andhopefullymeaning.ful. r i -• i : : . •V t ' -’ « ' • ( ' i ' V ♦ y S _ - -C l .c I J aJyh .-€r g 5 9 ,,- ' L rz (j— S’cT4 , a- - ' ' ' y ’ 4 -C s % .O- -N- I A Sta ement. 3y Teressa Lonao I an confusec ricbt now about niy work. I Hate to write wten I an con- fused. But since I nust, this will just have to do. In tl ' G beqinning there was FASHION ' ' ' ESIGM and a little big city called Tamoa where uDon achieving ny goal of four years at an art school, I could return to ny tra.nsnl anted southern roots and fit in quite weM. I had dreams of drapina soohistic ted clothing over the shoulders of ny married °lant High oeers, working out of 3. chic boutique on Gale Mabry 31vd. This all was shattered ny first semester by a freshman desian teacher. Fashion? he said, New York is ’- ' HERE IT ' S AT. But I was HERE, and nlanned to stav; no education hopskotcHing for me. I wn lrl just have tn find so ' ethinn else tHat stru-ck ny fancy. Feclarinc an onen Crafts naior fhut wit ' a lenience towards ceramics) I went throuah my sooh ' ore wear on t ' e erne of kill inn til I starred ' -andinn out unbusiness cards that read ' I PCN ' T in resoonse to tHp unavnidable, i ' tolerable nuestion So what do vou wart to do when you con- olets school ' ' asked by nosey concerned re 1 a t i ve ' f r i en s . ‘ ' ' his was usually eit ' ner nroceeded or before they asked, Art school? I see. ' - hat do YOU like o draw, or do you PAINT’ Soon t ' ‘‘ back to nature bun had in iltrateA me too, and I went along with the oana in wearina ny Hpov n and nr ' en ' evi ' s and not ryite exc i te ' sex ua 1 1 ) by tHp feel of oozina clay t ' rounh ones Pinners. Oh, how could I have ' ' ’anted to live nv ' i Pn enonc tHe mo ' ey class conscious - ' ennle co- ' cnr-neA with thr� ir ails and ' • ' ar’ rohe? t ' o, Feldsnar and Fla and c ' av Hus’- and natural dves i ' . ' I’ERE IT ' S AT. ' But soon this selP rir ' -teous feelina of concern vn th the real world(let ' s sav) started to wear off and I rea ' ized a few t ' inqs. t ' ot nnlv di ' I feel out of nlace, oreac ' ' J na ttis orcanic rel inion a no’ e the concrete s ur roundi nns of the citv ' s hosoital zone but fellow brethren ' s ereedi ' ess abo jt clazo for- mulas etc. seemed to me araliticallv the same as t ' e oiois olk ' s ' - arninas about sinful drinking etc., but their lack of abstaining themselves. Coes this make ;ense’ Thus with, an Intro to Film class under my belt I desoerately transferred ny v ' unior year i.nto the deoart.ment hooing that the natience and friendliness shown during the elective class would continue with a new majoree, seeing “ ' e as a fellow art student, not a threat. So I am to qraduate this semester. Prom a dena r . ith a medium that I feel has something I can nrasn, althouch it too hps its dov nfalls. I can overlook these thouoh, because the excitemo’ t I aet from 1 ooki no at a movina flat ima e is ' Vr ' E ' ’E IT ' S ART for me now and its oossibilites are innumerable so that o- ' e can he dabblinq around in so ' ethinq new a ' l the ‘■ime. I wonder thouoh, like ' -yi th the other attemntc, is this iust an- t ' er flinq ' ' Am I doi- n this- sayinq t ' ' is, to oraduate’ Or do I actually Mend tn yqen on ' - i th it after the str-jcture qiven bv this institution stons These are mv - ost immediate t ' ' ounHts concer ' inn m y attitude a ' d v ork and the on 1 V t!“inas I car exnress to you as Melinites. Ask - e ana in in a month, and ’ av’oe I can do� he’;t ' ' ' r. ' irifufi I I i i • - ■� -n? .- t : • M r e ■ vai(; W : .W ;;f . • ?J p ■.! ' ’ ' l rt? ' P T ' K . ♦.♦fl . ' , i ' ■ f ‘ • • ' i •♦ - -r r • 1 . ’iw- • ■ j � •, •. � ‘ • - ' ' ' fi y -J!, ,, , )n -ir- ,• ,• .’• n n ' • . fc t ' V • - ' ■•1 ' 1 • ' ,. :, 4 ’■■ f ' T _ . . . r . . fTi ff f � •- I ' .1 « • ' •■ •■r ; ! , ■; ( i •■ • •4 - Jxr ■ ' ,3 it ' ‘ � H •! I - ' (■ ' iv � ■ ' ' r ♦ j ♦ •♦♦ ■ - . ■ •.■. ■♦ ■ ■• . , J t ►’’ • - i.- ' I ' . � -« - ♦ t ' i � a 4 ' fM Ay work I create art because I enjoy doing it ily work is past work It is the thing that I have enjoyed doing ever since I can remember My work is after work Ay work is made out of work hen I was young I would try to illustrate scenes from stcry books, now I do basically the same thing. My work is a painting of work I have stopped painting now and work in a variety of other media iiy work is before work hy work is an image of work Host of the time It does not come out the way it was intended to My work is a memory of work In this case I am happy because I have created something new. My work is an Illusion of work Many times juxtaposing random elements makes up its own story My worx is a subject of work I am asked to be a discoverer to create faces and images in the clouds i‘iy work is hidden work Intuitively I feel that I speak through my art about the statement that I am here, experiencing the world around and within me. My work is an area of work It is an honest feeling Ay work is a dream of work There has always been a need to express, to interact to interpret something .■ y work is a photo of work My work is a reflection of work It not only reflects my world but actually shapes it. My work is almost work It is an impression of work iiy work is actual work As a matter of fact this is my work Xy work is a misapprehens ion of work My work is still wor wta- ?. wOkol k ' U ' , ■ tivli ' tf ' ■ - . -■ 1 t ' ' . ' - r 4 , . ' .T ,, f-h’ A !j ' . ,, -.- .. . Ar, 3 ♦cfC� ’‘:i, ■ ' r ' -;: i; ' WvOL ' 1 ' 7 ' jei u W vi -♦ V rc-j • tv-.V’3Liwr.i --4 VI , ■; I ,r I 1. ' ji ' faif •� 1 ♦ ■ T ' % j ui ' ' -t 1 y,. ' % .� i� .l n “ V |c � «I 4 S ’i ... t ' j 3f ' , 5 5 •7BBH - n e r£ l( ' tPli ' ' ‘ :’ T f- .‘. ' e 4i‘ ' c -. V ' -V 7v. ' i ra «m. . ■ ,rf • ' . ' ' f ; 4 --i 4 £ ? • € ' � . Oe. ‘! 7 l� l “ t ' ■ • • .!■ M L .11 . K : . I . ..jt., V-? - ■ .V-,. ’ ‘- ' 3v4:‘vij|4i : S 1..� I.J ■ .: •■ .Ji ' l|!| ' ir, � rj ' ■ ' VAcj7 %t . • i . t. ' U� ,v 1 . V n , ' . . ■ . ' f N, • r5C) Ifl ; . 4 n • r « « i 1 - • a- ’.isrr ' ' r « ji - 4 ’ I f r ' ■•i t ■’ V. ■ -.A iafef « (, ■X. ttuj ■to -bi. • ' (Mj ' tkx, docu mc aM oVe ) Vu, fiCb xi. .MjaJ O LAA, fihofoQi )Lf3AJiM - UtrCUMA o vidL -K J jf tacixi J-K. VAe t vnd - ' TYM- fy)oS . ' ■St uA ' iXh OAtoA, lOkeAL. )A4 ricL(oA a u. CluAkAtcL • D ' CsV, ' 5A ' tKuAy -jUiont ' •Ux C M,- Uto CcC ujt OMTfOi hth jL4 UcUa ayiiycL pcoCa pord Ob! ■e ' teJc4jui fat Ujl po hoo nuKJAa Z iObiM- pkch p btAV 4.aplt4- i juA dofO. d etuon - A rf YjoaJu- o jtcA po-iha jA rtdCuiL Shu)ibA. iOTt. ‘ i ' - ’ -Vji ■ • ' .‘..-v ‘ V- C-. ' . ' 0 . • « { - ' ,4fM ' ✓ . 1 r ' . • m -K ' r 43 JV •i - J « ' ■ ' ji A: ' 5 ‘ . ' - A? ► x ' ' ' .- ‘ ' . l- • ■ 1 -■ Vn: ' St -.‘.V’i 4 ' 1 • 1 1 « 1 ' ' ..Vm - ' ■• ' A - ' • A; ' ■ ; 1 s . •.. . T •. • «. 4 • ♦ « r- 4 V ' v - ■’• ' vii ' , v“ Art is tlie result of man ' s creative and estlictic activities which have been excercised as a result of an idea, emotion, or experience. Through expression of one ' s feelings, an individual can see, feel, and appreciate the wonders of the world which surround him. A work of art may be enter taining and practical, or it may stimulate the mind thus revealing a new meaning in fami liar . things . Art allows a person to interpret and reproduce the siglits and sounds existing in his environment tlius giving him a broader, deeper, more sensitive realization of life. Through art, an individual ' s personality is brought into scope by certain expressions, designs, and the use of tools. At its best, a work of art - wliether a poenj, a symphony, nainting, or cathedral - is the product of superb era ftmansliip combined with creative imagination. Concents and standards of beauty are personal and constan.tly changing. All the arts are an integral part of daily life. Tvery day people exnress artistic tastes in their choice of clothing and jewelry, liousehold furniture, books and phonograph records, and theatrical and musical entertainment. -I w. V V 1 1 ■ U- J Jfl ' ' T 1 , T ’ ' ' f. L-e s, ' ' t ' ■ ' M , -Mi •n .; ' c i ■• ' ■l .i ' . I : ti ' f ' tjl hP : . .! ,rr .w � ■• I • ift- � -I I rs� M -. i jh oii� (L.ni � v ; .:,► . ii ' J i u ;; wi •■ ' i .M..‘; .I ; ,r, .’. 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