Artist notes:


This sketch book is one of the first sketch books I kept after graduating from UNC-Asheville.
Being spiral bound, the heavier paper that once served as the cover has been lost over the years, through moving many times. In moving, the sketch books were stacked and restacked in various ways. The older ones, such as this one, spent a lot of time in boxes or on dusty shelves. There is some wear and tear along the way, but the book, is for the most part, intact.
Regardless that the first drawing is of the Winged Victory of Samothrace. it was not done in the Louvre. It was drawn from a photograph from Gardner's art history text, popular for university level art history courses at the time (as is true rtow with the multi-revised edition).
The drawings in this journal still hold the heavy influence of Tucker Cooke's work, but, at the same time, I find that I was experimenting with images, looking deeper into my own identity and making an effort at trying to be honest with what I found there. I think that some of the images cry to become pieces of sculpture. But, as a post graduate, I could only afford the sketch journal and the pencil. Sculpture requires so much more that is physical and material.
I had no studio at the time but lived with my husband of three years, Phil Hargus, in a small apartment on Cumberland Avenue in Ashevilte. i worked as a layout "artist" at Daniel's Printers for three months until I was asked to leave. I simply was too sloppy and slow for the work required. For summer work. Phil and I were art instructors at Blue Star Camp in Hendersonville. We lived at the camp for the
My love for art history stems from the years at UNCA when I worked in the art department as a student assistant to Professor Tucker Cooke. At the time, the art department was so small that it had only two professors, Mr. Cooke, and Professor Eugene Bunker. These two represented 2-D studio work (Cooke), and 3-D studio work (Bunker). For a humanities program to be legitimate, though, art history had to be taught, as well. Thus, these two studio artists divided the required courses between them, although neither of them had any special expertise in the field. My job as a student assistant was to work as the slide librarian. I had to pull slides for Cooke's and Bunker's art history lecture, sit through the lectures and assist with the projector, then file the slides back in the art history library/catalog when the course was finished.
This I did for the entire time I was an art student at UNCA. Thus, by attending so many lectures, repeated over the years I was there, I had many artists and masterworks memorized.
However, Mr. Bunker, who taught Oriental art history and Medieval and Romanesque art history, was not my favored professor. After all, I was studying painting and drawing with Tucker Cooke. It was, then, for Tucker's class I held more enthusiasm and interest. Greek and Roman art, Renaissance and Post-Renaissance—these I had taken to heart.
When I entered graduate school at University of Georgia, I think I astounded Professor John Sedgewick in his Post-Renaissance class. His practice was to project a slide and then ask the class the identity of the artist. As I sat at the front of the class, I answered every projection with ease. It wasn't until after some number of classes that I realized I was the ONLY one who was answering. It was nothing for me to recognize artists of paintings I'd never seen before, because I was so thoroughly acquainted with the styles of every artist since the High Renaissance.
Of course, this was true of many artists but not all. As I continued in graduate school, and as I visited Europe for the first time in 1976, it came to be to me the most wonderful of all studies. As I saw more and more artists and their work, I was very happy I had spent all that time as a student assistant at the UNCA art slide library. It provided a wonderful foundation for future study and a deeper understanding/appreciation of art, overall.
A note, further, about the structure of studio and art history at UNC-A at that time: as the two studio professors had to teach art history, the student s in the art department, as they were working at studio studies, would be given constant references to art history while they were drawing or painting or sculpting. Too, both Bunker and Cooke reflected their art history instructions in their own work. Professor Bunker's ceramic wear tended toward the Oriental—in form and d£cor. Cooke admired tremendously Jean Domink|ue Ingres's draftsmanship and the jewel-like quality of this particular artist's painting—not to mention the exquisite detail and refinement. Eventually, Cooke incorporated almost all of Ingres portraits of women in his own post-modern pieces.
With such a combination and concentration of both fields of academia as an undergraduate base, I was greatly disappointed to see how separate these studies were at the University of Georgia and at other universities, overall. The art history department at UGA and many other places had little regard or respect for the studio studies and vice-versa. The studio students saw art history as an evil necessity in obtaining their degrees. The art history student could hardly relate at all to the contemporary studio work and they only dabbled at the "real" application of drawing and painting, having the professor understand that they were art history majors and were only willing to just get by with minimum effort.
Unfortunately, this still stands true, to a great degree, today.
For me, I couldn't see abandoning either studio for art history or art history for studio. I attended graduate school for only two semesters and then dropped out. The large departments at UGA were to me, not only narrow in their approach, but petty and political. What a disappointment.




I.D. # Title - Description Medium


1 2 cabl_1973_0001 The Nike of Samothrace graphite
    0002 "Tuckeresque" ink
    0003 abstract bird ink
    0004 abstract leaves ink
    0005   ink
    0006   ink
    0007 abstract woman ink
    0008 "First day at work" ink
    0009 "A strange bird at Davidson River Lucu & I saw" ink
    0010 abstract woman ink
    0011 woman with watermelon sunglasses under a watermelon sun ink
    0012 "gross" ink
    0013 "I cannot believe it" ink
    0015 "Phillip M. H.  Tony A. B.  Bronwen Lee." ink
    0016 abstract image of a mouth on a beach ink
    0017 "I wonder what the hell I'm doing" ink
    0018 abstract image of a woman looking at a distorted version of her reflection ink
    0019 abstract image ink
    0020 abstract image ink
    0021 "The infamous Luca Brassi Tired of being himself dying because of games played.  June 23, '73.  This night we saw 'Paper Moon' what a lady!  He said to me and I read the letter.

In the Bronwen style"

    0022 abstract image ink
    0023 abstract image ink
    0024 sketch of person in a chair graphite
    0025 abstract image graphite
    0026 figure graphite
    0027 abstract image ink
    0028 building ink
    0029 abstract image ink
    0030 cubes ink
    0031 abstract image graphite
    0032 abstract image ink
    0034 abstract image ink
    0035 "This is a funny thing" ink
    0036 abstract woman ink
    0037 figure and abstract image ink
    0038 mountains ink
    0039 four figures ink
    0040 figure with a sphere over it ink
    0041 female/bird abstraction ink
    0042 female nude graphite
    0043 female nude graphite
    0044 female nude graphite
    0045 "This is hard to belive" graphite
    0046 bust graphite
    0047 nude figure graphite
    0048 female nude graphite
    0049 female ink
    0050 "Invitations to Phil's show" ink
    0051 "George Forster
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