University of Santa Clara - Redwood Yearbook (Santa Clara, CA)

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There has been a shift away from the social concern of the past. It has not, however, been a shift towards grasping selfishness, towards callous indifference. The Me Generation that some commentators scorn is better described as the You and Me Generation, whose members are more concerned with a closer, tighter knit world; a world which contains intimate friends, attainable goal ' s, and tangible rewards. SCU is such a world, a world where people value a nice nap in the sun, or care about a good flip of the frisbee, or seek a pleetsant chat with a companion. Yes, SCU, in 1979, is in a very good mood indeed.

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Are we everything that is , criticized about the media- labeled ' Me Generation ' ? Are we too selfish, then? Are we everything that ' s criticized about the media labelled Me Generation ? Probably not. But we are a different breed of student. We are less concerned with solving the world ' s problems, whether we ' ve given up in frustration or just never paused to bother with them in the first place. We are more concerned with our inner well being; witness the various spiritual groups that have become popular of late, and the dog-eared pop psychology books that litter Orradre ' s reading room on a rainy day. Witness disco: mechanical choreography set to a metronomic beat and such lyrics as Good times, these are the good times. Witness the running craze: the therapeutic effect of just you and your 40 dollar pair of sneakers padding along some back street. Witness the continuing trend away from the humanities as a major and the overflowing of business and engineering schools, studies which lead to good paying jobs. 15

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The Graham Nash Opening In this first of two articles about the show, Virginia Sargent takes us behind the scenes for a look at what it takes to put on a major art exhibit. »( p hotographs hook me by the eyes, said Graham Nash, whose photography collec- tion hung on the walls of de I Saisset Art Gallery this year. I did not realize the full power photography had until I worked with Graham Nash and his collection last summer. I have not only grown to appreciate the creative genius behind photography but I also learned more about myself in the process. My involvement with this exhibition began when I first met Graham in May. He introduced himself and his curator, Graham Howe, to me, noting that ' there are two ' Grahams ' so it will be pCasy for you to remember. As if I would forget! 1 thought to myself. Remembering names was not the problem. Not being an avid reader of Rolling Stone Magazine, Graham only looked vaguely familiar to me, though I have to admit Deja vu was the first album 1 1 ever spent hard earned babysitting money on. This made it easier for me to work with Graham because I rarely thought of him as a rock star. Lydia Modi Vitale, director of de Saisset Art Gallery, first met Graham in February 1978, through two mutual friends: San Francisco art dealer Si Lowinski and photographer, Hella Ham- mid. After the initial contact was made, another meeting was set up for the beginning of April. In the meantime, Lydia had a stroke, leaving her son. Marc Vitale, to carry on the task of negotiating for the exhibition. By June the contract was signed and the Gallery began its preparations for the October opening. I began working a week after school closed. I was given a desk in the back corner of the basement storage area. Surrounded by piles of cardboard cartons and broken frames, always spied upon by smiling plaster figurines, my office ' s only redeeming quality was that I had a telephone--my lifeline to the media world. Given the title of Publicity Coordi- nator it was my job to handle all aspects of publicity: scheduling and writing press releases, designing the press packet, contacting television, radio, newspaper and magazine media people, placing advertisements, compiling a press mail- ing list and hosting a press meeting with Graham Nash. The gallery was headed by acting director. Marc Vitale. Cheryl Raasch Mitchell was Assistant to the Director; James Zingheim, the Preparator, and summer student staff included Tim Beaton, Cathy Bundon, Tom Cosgrove and Theresa Pugh. Marc attended to the administrative and legal details, generating volumes of paper, and as his many letters and memos stacked up, we kept threatening to buy stock in a paper company for him. Cheryl took up where Marc left off. Besides being second in command, she was in charge of researching Nash ' s immense collection, writing the script for the videotape interview with Nash, arranging all the details for the taping as well as conducting the interview herself. She also held the publicity coordinator ' s hand when things got discouraging. James supervised Tom and Tim as they painted all the galleries, repaired exhibi- tion walls and hung lights. Meanwhile, Cathy singlehandedly typed the stacks of Marc ' s memos in addition to the work Cheryl and I gave her and Theresa catalogued the photographic notebooks to the Nash collection. Their persistence was invaluable. Preparation for the exhibition began by getting the gallery itself ready for the photographs. Just after all the galleries had been repainted white, it was decided that they would have to be painted over in gray. Graharrt and his wife, Susan, had 17