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-Neal approachs work and points out a snake image, as well as other images within 'units'. 

-Donaldson identifies the Gemini quality in the work.

-Stevens to Smith- I can get to the smaller pieces because of the sub division of units. In this large piece, the sub divisions are very much the same- he identifies diverse size, shapes as a strength.

-Donaldson"Full field color-Full field form". Recalling conversations on Smiths 'black porch' about John Coltranes mastery of being able to play the 'whole' song.

-Stevens explains that modular units of the same size become the same weight, when used over every part of a composition.  This has the tendency to flatten and produce no central focus.

-Donaldson-"You can't say it's the same because of differences in color, space and intensity.

-Auld- The whole thing reads as one thing.

-The critique concludes with Donaldson commenting on Locke's observation of blacks commitment to surface-"The impressive quality of the facade on African art work that even when accumulating dust and filth maintain an appealing surface".  Eygptian art has that all over use of surface space or our concept of 'shine'." 

-Anderson raises the question ? Is shine painted in or out? Discussion follows.

-Critique of James Phillips work-

Haynes- I think imprisonment is in it.

-Auld sees the union of male and female and a whole series of orgasms.

-Neal relates it to a whole feeling of electricity touched on earlier.

-Smith-I think your small work is more energetic.

-Critique:Jeff Donaldsons work-

-Donaldson-Quality. What I want ultimately is a surface that has embellishment.  It comes when I am dealing with an area rather than a figure.  He asks for input .

-Auld- I get the feeling of figures converging on a central skeletal form of an imperial eagle, a fascist symbol of the Nazis or Americans.

-Anderson asks ways to deal with those images that were stolen from us and used negatively by whites that we now whish to reclaim.

Transcription Notes:
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