Western Carolina University WCU University of North Carolina Asheville UNCA

Southern Appalachian Digital Collections

Are you looking for…

Subject

Cherokee Traditions (346)
Creator

Cherokee Baskets (340)
Source

Cherokee Women (187)
Location

Cherokee Indians (152)
Subject

Cherokee Language Program (23)
Creator

Cherokee Indian Fair Association (16)

Western Carolinian Volume 62 (63) Number 13

items 6 of 16 items

Copyright Download

Item 1 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_01

Item 2 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_02

Item 3 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_03

Item 4 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_04

Item 5 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_05

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_06

Item 7 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_07

Item 8 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_08

Item 9 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_09

Item 10 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_10

Item 11 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_11

Item 12 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_12

Item 13 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_13

Item 14 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_14

Item 15 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_15

Item 16 - Western Carolinian Volume 62 (63) Number 13

Western Carolinian Volume 62 (63) Number 13

HL_WesternCarolinian_1997-11-05_Vol62_No13_16

Item

Details
- Format
  - Publications (documents)
- Type
  - Text
- Source institution
  - Western Carolina University
- Identifier
  - HL_WesternCarolinian_1997-11-05_Vol62_No13_06
Transcript

features November 5, 1997 * Nanette Carter: Real-Life Advice from a Working Artist by Phoebe Esmon Painter, printmaker, and installation artist Nanette Carter is living the dream of artists everywhere. She is making a living from her art. When I met with her on a Monday afternoon, she was anxious to discuss the importance, particularly to students hoping for a career in the arts, of an understanding of the business side of the art world. "The first thing you need to do," says Carter, "is take a photography class." Keeping a photographic record of your work is of import for several reasons. Slides and photographs serve to document your development as an artist. If you give away or sell a lot of your work, those slides may be the only record you have, unless you keep close tabs on the whereabouts of everyone your work goes to. (Some artists have a clause in their sales contract that requires the new owner ofthe piece to provide said piece for any exhibition for which it may be needed.) But anyone can shoot slides, right? Wrong. There are infinite factors that going into taking good slides, and the only place you're going to learn them is in a photography class. It is important to know about things like lighting and backgrounds when shooting slides of your work. And, as Carter says, "I've seen what might have been wonderful pieces, but the slides were taken in the middle ofthe living room, and the cat's asleep on the sofa. All that takes away from the artwork." Carter, who was an art history/ printmaking major, stresses the point that, "Art history is important for the visual artist, if only for a sense of historical perspective." This means that all you people sleeping through those slide lectures because you think they have no bearing on your work are missing out. In studying art history, one sees all sorts of approaches, both successful and not, to various art forms. An understanding of art history gives you a sense of where you're coming from, and knowing where you come from is the first step in getting where you're going. Carter also feels that, "As young people just coming out of school, I really believe in trying out for juried competitions." (This is another place where high-quality, professional looking slides are important.) The back of Art in America is a good place to find announcements of juried competitions all over the country. These juried competitions give artists the opportunity of having their work seen by a wider audience than might otherwise see it (particularly if the artist lives in an isolated location). "Sometimes," says Carter, "curators from major museums are invited to jury competitions." Thus, it is possible for one to get more than just accepted into the show. It is not unheard of for gallery owners or museum Nanette Carter with her work in the Artist-in Residence studio in Belk. Photo by Seth Sams. curators to follow up on people whose work they feel is interesting. As far as looking for galleries to show your work, it is not always the best idea to go with the first gallery that shows interest. "Don't be mislead by a beautiful space," stated Carter. "Find out if they are selling." Carter, who exhibits her work with The June Kelly Gallery in Soho, The Mary Ryan Gallery in New York City, and The Sande Webster Gallery in Philadelphia (to name but a few), says that before approaching and definitely before deciding on a gallery, there are some things you should do. Go to the gallery and check out the aesthetics. Does the space lends itself to the sort of work you do? It is important that your work be shown to its greatest advantage, so do your homework. Go to a couple of shows and talk to artists already showing with the gallery. Find out if the dealer finds other venues for your work. All of these are factors that should go into your choice. Another aspect of a career in art is bookkeeping (shudder). Carter maintains that it is vitally important that you keep books of accounts receivable and listings of what work went where. If you're selling your work, you're a small business. It is a good idea to keep all receipts that pertain to your work, from supplies like paint, paper, and canvas to transportation and business lunches—it's all deductable. Finally, Carter says that it is very important that, "wherever you go, find the art community They can serve as a support unit, and provide an exchange of ideas." They might also send people to your studio, and there's nothing wrong with that. western ■• • arolmian Keith Flynn, Rock and Roll Poet by Jerylia Kodia Keith Flynn, lyricist and lead singer for the Asheville-based rock band Crystal Zoo,will read from his works on Tuesday, November 11, at 7:30 p.m. in the Ramsey Center Hospitality Room. Flynn received the prestigious Sandburg Prize for poetry in 1985. He has published two collections of poetry, The Talking Drum (1991) and The Book of Monsters (1994), and has had his work published in numerous journals including The Arts Journal and The Manhattan Mirror. He is also founder and managing editor of the Asheville Poetry Review, an international literary journal distributed in thirty states here and five European countries. As a lyricist, Flynn says he writes every day and his poetry finds its way into his music via a sort of filtered-down process. "It is my job to make poetry palpable to the mainstream," he says. "All poetry has a rhythm that is intrinsic in its unraveling and music has its own rhythmic regulation." Flynn's first collection of poems placed a premium on the instinctual and the animal. In the process, the Marshall County-born poet and rock singer posed and navigated familiar questions: What is the relation between nature and culture? What does it mean to be human? In The Book of Monsters, Flynn continues his exploration of the human condition and his poetic translation of the invisible. Through a series of carefully detailed characters and scenes, Flynn embraces the animality in man and woman without abandoning the humanity, as shown in these lines from "The Garden of Earthly Delight": "Everything sags here / Sluggish animal laughter / cigar smoke clinging to the deli door / like a black diaper / meat-filled intestines that grow thin and push an icy pain through the body / like a dorsal fin carving miles of boundary between the estranged lungs." Flynn suggests that the line that separates the animal and human realms is not clearly drawn. Is it consciousness that distinguishes man from beast? Not so fast: "The squid that is in the mind / poisons and conceals, forages and repels / the laws of order," reads a verse in "The Fourth of July." Sometimes the mind is an animal, Flynn forces us to acknowledge.The book abounds with characters whose position between angel and beast is undetermined. Flynn's poems fluctuate between heaven and hell, salvation and damnation, and between pity and contempt. Well, if you like poetry and/or rock and roll, it is worth the time of attending this reading. It's free of charge, and it's right here at Western, so don't miss it! Madrigal Dinner Tickets Go On Sale OPI You may still be trying to figure out what to do with all that leftover Halloween candy, but the folks at Western Carolina University are already thinking about the Christmas season. Tickets will go on sale at 9 a.m. Tuesday, Nov. 4, for Western's popular Madrigal Christmas Dinners. The annual dinner extravaganzas, a highly anticipated holiday tradition for the entire community since 1970, are scheduled for Friday and Saturday, December 5 and 6. The event returns this year to the Grandroom of WCU's A.K. Hinds University Center after a two-year absence because of a major renovation project. The dinners were canceled in 1995, but, due to popular demand, were relocated to the Ramsey Regional Activity Center last year. Madrigal dinners re-create the pageantry, music and food of ill i« HWiir -■- " 16th-century England, with authentic madrigal entertainment and cos tumes. The menu for this year's feast features prime rib, old-world potatoes, Yorkshire pudding, grilled zucchini, yellow squash and red onions, salad, rolls, beverage and plum pudding with hard sauce. The programs will begin at 6:30 p.m., and all patrons must be seated by 6:25 p.m. Tables will seat eight patrons each. Tickets are $20 for WCU students, $25 for the general public. Tickets may be purchased on the second floor of the A.K. Hinds University Center, or by calling (704) 227-7206. Ticket hours are 9 a.m. until noon and 1 - 4 p.m. weekdays. Telephone reservations must be paid by credit card (MasterCard or Visa). Reservations are made on a first-come, first-served basis, and all sales are final.

Object

Description

The Western Carolinian is Western Carolina University's student-run newspaper. The paper was published as the Cullowhee Yodel from 1924 to 1931 before changing its name to The Western Carolinian in 1933.
Details
- Creator
  - Western Carolina University
- Format
  - Publications (documents)
- Type
  - Text
- Date
  - Date original: 1997-11-05
  - Date digitized: 2020-01-13
- Extent
  - Dimension: 14" x 11.25"
  - Pages: 16 pages
- Subject - Topic
- Location
  - Jackson County (N.C.)
  - Cullowhee (N.C.)
- Source institution
  - Western Carolina University
- Source Collection
  - WCU Students Newspapers Collection
- Identifier
  - HL_WesternCarolinian_1997-11-05_Vol62_No13
- Repository
  - Western Carolina University Hunter Library

For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.