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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Nov. 17, 1982)
,*l Maxfield Parrish Authentic Book Plates from Nathaniel Hawthorne’s Tanglewood Tales (1910) $25-$40 while supply lasts The Market Place Antiques 2005 Franklin 343-3441 ^German AUTO SERVICE VWs-MERCEDES-BMWs DATSUN-TOYOTA-AUDI Reliable service for your foreign car 342-2912 2025 Franklin Blvd Eugene, Oregon CIUCAC* STYLE PIE1A 11 AM m ilH^ ■ii//rii« TAKE OUTS 345-4114 652 EAST BROADWAY GET STUFFED! I wanna stuff you an’ yer favorite wid any 3-ingredient small Southsider pizza anna pitcher a soft drink er beer fer Photographer unveils unique perception with diverse styles Top: While in the Navy in 1975. Gary Scott made a poignant portrait of this Iranian boy whose parents condemned him to life as a beggar by tying his legs behind his back Above: Scott provides a contrasting view of Iranian life with this shopkeeper Top right: After waiting for two weeks for the correct light and weather conditions, Scott captured this abstract reflection ATTENTION PEOPLE IN TEACHER CERTIFICATION PROGRAMS If you need the University of Oregon’s recommendation for an Oregon Teaching Certificate or an Endorsement based on FALL 1982 and/or prior academic course work, please pick up your application packet now in ROOM 117 COLLEGE OF EDUCATION By Angela Allen Gary Scott could probably have 30 shows running concurrently and reveal as many different facets of his work Six of Scott's photos are part of a five-person exhibit at the Artists Union Gallery at 985 Willamette Street in Eugene These photographs are abstract studies in kinetic and linear forms, two techniques that he exper imented with as a Fine Arts student several years ago These particular photos are un derstated. clean exercises in color and form Scott works for saturated, primary colors and tight grain, achieving simple and repetitious composition Even though these aren't his most recent photos and only a fraction of his vision and work, they represent a part which he hasn't previously shown to the public "The show is just an example of an on-going progression," Scott says “It's one of the results of probing into how I see There re all different stages of being an artist This is just one True, if one were to judge from his numerous portfolios To define him strictly as a fine arts photographer is restrictive He's also a skilled pho tojournalist and documentary pho tographer He's experimented with advertising and editing formats in TV production and has made several feature films In the mid-70s he spent four years as a Navy combat intelligence photographer carrying out top-secret assignments on a moment's notice He claims the military has been the greatest influence on his work I had to be fast, quick and inconspicuous," Scott recalls “I had to analyze elements, shoot and get out You don't have time to think in dangerous, high-pressure situations Sometimes you have to be quick and dirty " Scott did more than the quick and dirty work in his six times around the world with the Navy While his military photos were being fed to wire services and major magazines throughout the world, he spent his spare time off the ship documenting village life He has shot unusually sensitive and technically beautiful photos of people in Southern Europe, almost every African country, regions of the Black Sea, the Persian Gulf, much of the Mid-East and remote parts of Asia He attributes much of his documentary expertise to his capacity to be empathe tic "In documentary photography, the camera is the second element You have to establish a rapport first, make friends You can't pass yourself off as God. To get an accurate representation, quick and dirty isn't good enough.” His documentary pictures are a testa ment to his philosophy Children, old women, families, social outcasts, shop keepers — in short, citizens of countless countries unfamiliar to most Americans — have exchanged cultural and personal information with Scott There's no chee secake, no cheap shots here Scott has managed to unveil some visual subtleties in this genre of work that many of us tend to ignore Even though his travels have been extensive he's convinced that a good photograph doesn’t demand exotic in spiration “You don’t have to go all over hell to be creative,” he notes. “The mind set is what's important. ' Some of his best photos were taken in Eugene within a two-block radius Most of the ones from the current show were shot around campus in pedestrian set tings. Still, it’s the intent, Scott says, that matters in making a good photograph ”1 still wait for the right light, the right angle, the right time,” Scott says. "It's not luck, it’s work.” Scott says his approach to pho tography is an inquisitive one, one which gives him room to go toe-to-toe with new and untested material, probe it and synthesize it into his previous work. He * believes he has the gift to interpret, relate and analyze visually. He calls it simplv Gary Scott, Self portrait “being perceptive " Visual perceptivity may be partially a result of ironic circumstance in Scott's case. Since he was a child afflicted with amblyopia — an eye disease which causes dimness of vision — he’s learned to zero in on visual cues more acutely than the average person At one point he had 20/400 vision, and now he suspects it’s even worse. He’s blind in his right eye. That handicap, he imagines, forced him to overcompensate visually It’s pushed him to see designs and patterns. He believes that the partial blindness has made him more sensitive to music, another stimulus to his photography. Sources as diverse as 3rian Eno of the Talking Heads and Robert Frip of King Crimson to Tschaikovsky have all in spired him to translate aural signals into visual language. Whatever the many influences on Gary Scott’s on-going progress as interpreter and documenter of the visual world, he continues, relentlessly, to step into un plowed territories When he finishes his M S. in Journalism next month, he wants to find work in an advertising agency as a television and film producer. “I want to do everything," he says quietly. “I’ve always had a big bang theory, but I set up goals realistically. I’m never blind.” 'ittlbO— MARKET This week’s specials! Fresh Ground Beef ■1.39 per pound Hamm’s 12oz. cans Half-case *3.29 + Dep. City wide delivery. . . ... with 50c charge 544 E. 13th 683-4848 T WIN A TURKEY Throw Away Those Cigarettes for the November 18 Great American Smokeout and pledge to quit smoking for 24 hours. HOW: The pledge card will enter you in a raffle for a free turkey. WHERE: An information table will be set up in the E.M.U. Lobby WHEN: November 17th and 18th Raffle will take place at a noon on November 18th. SPONSORED BY THE STUDENT HEALTH CENTER AND THE AMERICAN CANCER SOCIETY
