7

December 11, 1964

COLLEGE NEWS

is Page Seven



Janson Relates Chance and Gisiiies
To the History of Artistic Creatinity

‘H.W, Janson, Professor of Fine
‘Arts at New York University, con-
sidered the relation of accident
to genius in his lecture on “The
Role of Chance in Artistic Cre-
ativity’’ at Goodhart, December 2,

As his first’: example of chance
in art, Professor Janson showed

slides of leaf masks in classical :

sculpture. Gradually the similarity

SCUSA

' (Continued from page 5)

of the conflicting interests of in-

‘dividual nations; the need to.cor-
rect causes of problems as well
as the problems themselves, It
was also decided that we had no
«strong interest in maintaining
CENTO,

Another example of the results
of the round tables is the con-
clusions of Latin America I led by
Dr. Charles Griffin, professor of
history at Vassar and advised by
Dr. Frank Tannenbaum of Colum-
bia:

The fundamental objective ofthe
U.S, in Latin America is to in-

*» sure the security of the United
States and the Western Hemis-
phere: short run: limiting Com-
munist subversion, supporting
programs for the alleviation of
human suffering: long run: promo-
tion of modernization in Latin
America as enunciated in the
PUNTA DEL ESTE Charter; en-
couragement of the establishment
of stable. non-hostile political sys-
tems,

After outlining the goals of U.S.
policy, the roundtable formulated
basic policy measures, Among the
more controversial subjects con-
sidered were, how to deal withex-
propriation without compensation;
the question of selective aid; the
strategic necessity of the Panama
Canal; forms of U.S, opposition
towards authoritarian govern-
ments; U.S, recognition policy and
the use of multilateral agreements

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IN THE DECEMBER
ATLANTIC?

«swhy Europe Fears Us’’ by Raymond
Aron: Misunderstandings regarding’
the use of nuclear weapons have led
Western Europe and Russia to fear
the United States and to doubt. its
sincerity. .

‘*Are Movies Going to Pieces?’’ by
Pauline Kael: A lively criticism of the
New American Cinema where there is
na plot, no sensible meaning, and no
recognizable form.

‘‘The New Sportswriter’ ’ by C. Michael
Curtis: How sportswriters now. use the
scholarly approach with a touch of
Freud and emphasize the motivation
of players instead of straight reporting.

PLUS, AN ATLANTIC EXTRA: a
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CiEthes 2x" to~-human faces:

was recognized, and leaf-likefaces
topped Greek burial pillars,

The influence of chance ex-
tended into painting as well as
sculpture. For Leonardo, stains
were Capable of giving artists sug-
gestions, but not details, of
landscapes.

Later, trees and clouds ap-
peared as. definite images in
paintings. They were minute and
unrelatéd to the main subject. The
artists responsible probably dis-°
covered the images in the process
of painting and followed them.

From 1460 to 1500, the use
of clouds switched from a chance
detail to a standard representation
of a painting’s theme.

An anonymous painting of 1440
contained - an unintentional man-
mountain, Later, ink blots were
used deliberately to find new land-
scapes. This technique freed the
artist by allowing him_ to
relinquish complete-control of his
subject matter.

This sort of selective tracing
in which the artist used only sug-
gestions in accidental designs that
interested him, had an influence
on Constable, Turner, and other
early 19th century Romantic land-
scape painters.

The critical reaction to this
new concept in art was not always
favorable, Whistler brought suit
against Ruskin, who had accused
him of ‘throwing a_pot of paint
in the public’s face’? after seeing
the artist’s ‘*Nocturne in Black





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‘Ruskin vaseniid not the pictures

- but the basic attitude behind them,

Whistler considered the subject
.of a painting of no importance
in itself. It was merely a method
for representing forms.
It was this reduction of paint-
dng to form and color that Ruskin
resented, Although Whistler

eventually won his case, he was.

awarded
in damages.

At this point in the history of
art came the alliance of chance
and intention, The transition from
representational to brushstroke
art raised the question, ‘Is it too
accident prone??’

In 1957 the Baltimore Zoo al-
lowed Betsy, one if its chimps,
to paint. One of her canvases
was compared to a painting by a
prominent modern artist. When
the public was asked its prefer-
ence, . many chose Betsy’s
creation.

According to Professor Jan-
son, ‘Betsy’s work is not art.

only one

farthing

The designs of apes and infants

are pre-figurative. When a child
is ready, he 1 discover that a
design resenibles a face, He is
not yet, however, an artist.

The child does- not yet depend
on outside approval. He is more
interested in the process than
in the result, Once the public
is introduced, the interaction of
artist and society begins. This
interaction is impossible in pure
chance creation, which therefore
is not true art.

ORLA D TA Pose B fee DES P fee Doe Ses
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Receptive Audience Greets
Performance of Zoo Story

‘Interfaith’s new series, Religion
in Contemporary A Art Forms, began
with a coup de grace inthe Decem-
ber 2 presentation of Edward Al-
bee’s play THE ZOO STORY, by
the ‘Union Theological ‘Seminary
Players,

“The Players gave their per-
formance in a‘ packed Common
Room without benefit of proper
stage or ligtiting, and the enthu-
siastic response of the audience
attested to their success,

The actors were faced with un-
usual obstacles in the play they
selected, The 55-minute ZOO
STORY has only two characters,
who remain on stage throughout,
and physical action is at a mini-
mum until the dramatically violent
end, ;

The characters are Peter
(George Hiltner), a superficial,
complacently proper junior exec-
utive, and Jerry (Thomas Strib-
ling), a hypersensitive ‘‘angry
young man,’ frustrated..to. the

point of insanity by his “inability

to communicate with other beings.

The play is dominated by Jerry,
who verbally accosts Peter in
Central Park and forces him out
of his smug shell with a lurid and

painfully witty account of his un- _

sockedieal” ‘attempts at love or
understanding with others.

Jerry. calculatedly taunts Peter
into fighting with him. Inthe strug-
gle, Jerry produces a knife, in-
duces Peter to take it and then
impales himself on it. The play
ends as Jerry dies in bitter tri-
umph, having brought to the hor-
rified Peter his first completely
involving emotional experience, .

Despite occasional poor handling
of the more subtle dynamics of the

. dialogue, the actors succeeded not

only in conveying the power of
Albee’s provocative comment on
the isolation of man, but also in
relating it to the aims of organized
Christianity in the 20th century.

G.G. K=D.



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