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WCU - Western Carolina University Publications

Western Carolinian Volume 63 (64) Number 20

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Item 1 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 2 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 3 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 4 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Western Carolinian Volume 63 (64) Number 20

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Item 6 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Western Carolinian Volume 63 (64) Number 20

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Western Carolinian Volume 63 (64) Number 20

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Western Carolinian Volume 63 (64) Number 20

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Western Carolinian Volume 63 (64) Number 20

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Item 12 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 13 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 14 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 15 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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Item 16 - Western Carolinian Volume 63 (64) Number 20
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Western Carolinian Volume 63 (64) Number 20

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  • i t»r* i I mm m «g> ■*» iiiMri features F 10,1999 'Letters' from Oblivion: The Plight of Political Prisoners Subject of New Chelsea Gallery Exhibition by Phoebe Esmon Features Editor In "Letters," which will be in the Chelsea Gallery February 10 - March 12, sculptor Jean Grosser carries on the good fight. Grosser's politically motivated box structures use a combination of text, image, form, and symbolism to bespeak the plight of "prisoners of conscience." In a 1995 statement about her work, Grosser tells the story of her grandfather. Phillip Grosser immigrated to America at the beginning of the 20th century in order to escape conscription into the Czar's army. He was a conscientious objector in this country during during World War I. He spent the years between 1917-21 in military prisons, including Levinworth and Alcatraz, where he regularly fell prey to torture and general mistreatment on the part of his jailers. After his release (as part of a general amnesty), he devoted the rest of his life to working on the behalf of other political prisoners. Spurred, perhaps, by her Grandfather's experience, Grosser began creating sculpture inspired by the plight of political prisoners in 1993. Frequently her sculptures adopt the form of portable altar pieces, with doors that open to reveal images, text, and/ or objects that tell a story of unjustified imprisonment. Grosser states that the doors are an important part of the artwork, "It [the door] represents the potential for release. The recipient must open the door in order to read the message. But it is also a barrier that denies freedom and isolates individuals. It is a provocative symbol because its meaning depends upon the person or the government with the power to open or shut the door." Michael Shaughnessy, curator of the Area Gallery at the University of Southern Maine, compares Grosser's work with that of Joseph Cornell and the richly adorned folk art of Central and South America. "Grosser's works are meant to be experienced in both open and closed position, referencing contemporary book art, medieval altar pieces, and religious and personal shrines and grottoes." This is a powerfully persuasive exhibition, which raises valid questions as to how cultural definitions of justice and humanity vary. Grosser received her BFA in Sculpture from the Alfred State College of Ceramics in 1981. She graduated from Ohio University in 1983 with an MFA, also in Sculpture. Photo courtesy of Chelsea Gallery Trinity: Columbia, 1994. Constructed out of wood, brass, paper, tacks, and bird skull "Letters" will be in the Chelsea Gallery from February 10 - March 12. There will be an opening reception at 7:00 p.m. on February 10. For more information, please contact the Chelsea Gallery at (828) 227-7206. Congratulations! These works were selected for this year's Nomad: Chris Burnelte- "Monet-Sun rise" and "The Fall of Lucifer" Chris Corral- "Handicapped" Phoebe Esmon- "A face to meet the faces that you meet, (told my soul to be still" Kim Falls- Untitled Emily Gambill- "Halloween Eve" and Untitled Rita Jones- "Old Building. Canton NC" Russell Kelly- "Faceted Teapot" Eliot Lytle- "The Illusion of Per manence" and "Recycled Cas inss" Brad Pope- Untitled Terry K. Roberts- "Southern Thinker" Sarah Tarns- "Water I" Nancy vVeissberg- "Forms and Stories" St acey Westbrook- "Sister Ships Approaching Planet Blue" --l"1. Ami* 1 "before visiting *W:: *:>. your site A 1 wondered 11 if spring B break was W^M just a | pipe- jj dream, § IP r'^n Wabout f .. 'now 1 need,? discountbreak w$ home of cjetjiJe mete w Sprm J^eak discountbreak.com save Migii onm? OctAW'RM hot* dscountbreak.com took tollrfte Jif(M>-i]o middfe man!
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Western Carolina University Publications

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 Carolin...

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