DSpace at Agnes Scott College

Agnes Scott College

Aspire Volume 101

Agnes Scott College Office of Alumnae Relations

Alumnae Events: Metro Atlanta

Agnes Scott College News Services

~ 
AGNES SCOTT COLLEGE 
THE WORLD FOR WOMEN 
NEWS RELEASE 
FOR IMMEDIATE RELEASE Contact: Lee Dancy 
Director, News Services 
Agnes Scott College 
(404) 471-5451 (direct) 
(404) 471-6298 (fax) 
ldancy@agnesscott.edu 
NEW VISITING PROFESSORSHIP ANNOUNCED TO HONOR AGNES SCOTT ALUMNA 
AND C.S. LEWIS EXPERT DABNEY ADAMS HART 
ATLANTA (Nov. 2, 2005) - A new humanities program at Agnes Scott College has been 
established to honor Dabney Adams Hart, a 1948 graduate and C.S. Lewis expert. Hart will 
speak on Lewis' vast influence Tuesday, Nov. 15, at 8 p.m. in ASC's Maclean Auditorium, 
Presser Hall. 
Hart will be the first lecturer in the Dabney Adams Hart Distinguished Visiting Humanities 
Professorship program established by her brother and sister-in-law, Madeline and Howell E. 
Adams, to honor the scholar's career. Author of "Through an Open Door: A New Look at C.S. 
Lewis," Hart was a scholar of the noted British author long before her book was published in 
1984. 
Each year the Hart program will invite a distinguished humanities professor to teach at Agnes 
Scott and lead a seminar session for faculty, a public event, or some combination. The college 
interprets the humanities broadly to include history, English, religion, theology, philosophy, the 
classics and literature, as well as the relationships between the humanities and the fine arts, 
social sciences and natural sciences. 
Designed to enhance humanities offerings at Agnes Scott, the program will connect faculty and 
students to a broad range of experts in the humanities from colleges, universities and theological 
institutions, with a special focus on those in the Atlanta metropolitan area. 
Hart will talk about the significant impact of Lewis' work Nov. 15 - just a few weeks before 
interest is expected to reignite with the worldwide release of the movie "The Chronicles of 
Narnia: The Lion, the Witch and the Wardrobe," based on Lewis' book series by the same name. 
After earning her doctorate in English from the University of Wisconsin, Hart taught at Florida 
State University, the University of Wisconsin and at Georgia State University. She retired in 
1993. Scholars confirmed for the next two academic years are: 
-MORE- 
141 East College Avenue, Atlanta/Decatur, GA 30030-3797 Phone: (404) 471-5451 Fax: (404) 471-6298 Website: www.agnesscott.edu 
Hart Professorship 
Page 2 of 2 
• 2006-2007 - Dr. Martine W. Brownley, Goodrich C. White professor of English and 
Winship Distinguished Research professor, Emory University. - A 1969 graduate of 
Agnes Scott College, Brownley received her doctorate from Harvard University and is 
director of the new Center for Humanistic Inquiry at Emory. 
Brownley focuses her research on English historiography and contemporary women 
novelists. Her publications include books on 17th-century British statesman Edward 
Hyde, the first Earl of Clarendon and articles on 18th century historian Edward Gibbon 
and others. Her most recent publication is "Deferrals of Domain: Contemporary Women 
Novelists and the State." Brownley will teach a course at Agnes Scott during the 2006- 
2007 academic year and will lead a workshop or public program. 
• 2007-2008 - Dr. Rosemarie Garland-Thomson, associate professor of Women's 
Studies and director of Graduate Studies at Emory University- Garland-Thomson 
received her doctorate from Brandeis University, and her fields of study include feminist 
theory, American literature and disability. 
Garland-Thomson's scholarly work is dedicated to developing the field of disability 
studies in the humanities and in women's studies. The author of "Extraordinary Bodies: 
Figuring Physical Disability in American Literature and Culture," Garland-Thomson will 
teach a course at Agnes Scott during the academic year and will lead a workshop or 
public program. 
Admission for Hart's Nov. 15 lecture is free and open to the public, but requires ;:i ticket, which 
can be reserved by calling 404-471-6430. 
# # # 
Agnes Scott College educates women to think deeply, live honorably and engage the intellectual and 
social challenges of their times. Students are drawn to Agnes Scott by its excellent academic reputation, 
exceptional faculty, and metropolitan Atlanta location - offering myriad cultural and experiential 
learning opportunities. A diverse and growing residential community of scholars, Agnes Scott is a highly 
selective liberal arts college. Encouraging study abroad and presenting its curriculum with international 
context, Agnes Scott College delivers on its promise: The World for Women. 


News Releases

Faculty Handbook 2005-2006

Agnes Scott College Speaking Center

Editors: Sonal Chaddha & Veronica Henson-Phillips 
Speaki g From t e CENTE 
· JA !Ne,wsletterJr.om :the Speaking ,(enter -oL~gnes_: Scott _7 
• . I 
Spring 2005 
www.speaking__center.agnesscott.edu 
Farewell to rofessor Henson-Phillips 
Since August 1998, Professor Veronica Henson-Phillips has been a part of the Agnes 
Scott Community. Unfortunately, after seven years it is time to say goodbye. She will 
be relocating to the San Diego area after this semester and an-
ticipates working at her Alma Mater, the University of California 
at San Diego (UCSD). 
Under the leadership of Professor Henson-Phillips, the Speaking 
Veronica Henson-
Phillips 
Center has continued to evolve as one of the rhetoric influ-
ences of ASC. In addition to her position as Coordinator of 
the Speaking Center, Professor Henson-Phillips teaches 
public speaking, voice and diction, and has directed students in theatre productions to 
celebrate Black History Month. On a typical day in the Speaking Center, she aims to 
instruct Agnes Scott women on how to achieve optimum use of their voices. She cre-
ated annual speech contests to give public speaking opportunities to ASC women . 
Prof. Henson-Phillips established a partnership with Publix Supermarkets and created 
the Publix Public Speaker Award, an award designed to honor Agnes Scott students 
who exhibit leadership standards in the area of public speaking. You may have even 
seen her in Academic Advising where she served as Acting Assistant Director for four 
summers. For seven years, she has become a fixture in the Agnes Scott Community 
by making herself available to serve. 
Professor Henson-Phillips taught all of us that voice is not just a sound; it is a pres-
ence to be heard-and a power that connects with all who hear it. Georgia's loss is 
California's gain; we all wish her well in San Diego. 
Contents 
Farewell VHP 1 
How to talk to a 2 
crowd 
Life after Agnes 2 
lnformatjve 3 
Speech Contest 
Meet the Tutors 4 
Tutoring Schedule 4 
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The secret to addressing thousands confidently is the same as the secret to address-
ing just one: Speak from your diaphragm, your gut- that place inside yourself where 
your deepest feelings reside. As girls, we're born strong, powerful and opinionated- and 
as early as 11 or 12, we're told our voices don't matter, that good girl is seen but not 
heard. To project we have to again get comfortable with having power- and to speak 
with clarity and conviction, you project- and to speak with the guttural sounds of our 
core. When you speak with clarity and conviction, you project in a way that gives your 
words strength. 
Stomach is still flipping? Make your breath your anchor. A few minutes before you 
begin speaking, draw in a huge breath and feel your abdomen expand. Slowly exhale 
and notice your diaphragm contract. DO it again. And again. Simple as it seems, a few 
deep breaths can calm shaky hands and slow a racing heart. And with every breath, you 
build a bridge back to the moment you know for certain you've already make it through: 
this one. Excerpt from Oprah Magazine, May 2005. 
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Headed next? I am still thinking about graduation! Though none of my plans are final, I am plan-
ning on moving to Washington D.C. or New York, New York to start working, hopefully for a non-
profit organization. No matter where I go, I am not worried because I firmly believe that my ex-
periences at Agnes Scott will help me to deal with situations that will arise in the future. 
After graduation I have three major goals to accomplish. Immedi-
ately after college, I will apply for a job as a Mortgage Credit 
Analysis and obtain a Real Estate License wherever I get a job 
(which will either be back in the Bay Area, Atlanta, or NYC). And 
this December, I will begin the planning of opening a hookah 
lounge with my business partner/best friend of 8 years. 
Do You know what yol! are 
doing for Graduation? 
'wJ 
Page 2 Speaking From the CENTER ] 
The Informative Speech Contest 
Many thanks to attendees of our Seventh Annual Spring Informative Speech Contest. All eight contest-
ants gave powerful and informative speeches, making almost impossible the task of selecting a winner. 
The panel of Distinguished Judges included Dr. Jennifer Lund of the Office of International Educa-
tion,, Dr. Amy Lovell, Department of Physics, and Barbara Washington from the Office of Personal 
Counseling. Congratulations to winners Stephanie Terry, who placed first, Karen Cleland, who came 
second and Cora Harrington and Kelly Lindquist, who for the first time in history took home the 
third place in a tie. 
Also, a special congratulations to Wendy Guiles-Trombetta and Camille Lindsay, recipients of the 2nd 
Annual Publix Public Speaking Award 
Members of the audience were on the edges of their seats for each riveting speech. Local merchants do-
nated prizes for audience responses to trivia questions. 
Every speaker was awarded a certificate of participation and a gift certificate for having the courage 
and dedication to create and deliver a powerful speech. The other contestants were as follows: Brittney 
Kohler, Kherra Crowe, Yana Vafiadis and Shanea Dangerfield. 
Spring 2005 Page 3 
A Newsletter from the 
Speaking Center of Agnes Scott 
Speaking from the Center is published by the 
Speaking Center to provide a forum for ideas 
about speaking and informing the campus 
community about the center's activities. The 
Speaking Center is located in McCain 
Library in room G-37 on the ground floor. 
Hours and the appointment calendar are 
posted outside the Center. The Coordinator 
of The Speaking Center is Professor 
Veronica Henson-Phillips. She is available 
for appointments at extension 6915. 
Monday 
4:30-5:30 PM 
6:00---a:00 PM 
Tuesday 
11:00-12:30 PM 
2:00-3:30 PM 
6.00-8.00 
Wednesday 
11:00-1:30 PM 
6.00- 8.00 PM 
Thursday 
11:00-12:00 PM 
2.00- 3.30 PM 
5:00-6:00 PM 
6.00- 8.00 PM 
Sunday 
7:00---a:00 PM 
Fall 2004 Tutoring Schedule 
Sona! Chaddha 
Crystal Pough 
Veronica Henson-Phillips 
Jenny Wiese 
Khara Agana 
Veronica Henson- Phillips 
Sona! Chaddha 
Veronica Henson-Phillips 
Jenny Wiese 
Sonal Chaddha 
KharaAgana 
Jenny Wiese 
Brittany Rast is a first-year student who is very excited to join the Speaking Center as a tutor in the fall of 
2005. She is currently involved in studio dance and plans on getting a masters degree in social work after 
graduating from ASC. 
Brittney Kobler is a first-year student and will start as a speaking center tutor in the 
fall. She is currently taking Public Speaking and participated in this year's Informa-
tive contest. 
Sonal Chaddha is a junior double majoring in Business/Economics and Psychology. As an interna-
tional student originally from f:ndia, she has lived the majority of her life in Dubai, United Arab Emir-
ates. She enjoys helping others gain confidence in their speaking and encourages everyone to make 
use of the resources at ASC's Speaking Center. 
Kherra Crowe will be joining the staff of the Speaking Center in the fall of 2005 as a 
tutor. She is currently a junior and is looking forward to the final year of her undergradu-
ate career. 


Speaking From the Center

Agnes Scott College Writing Center

The Paper Chase

Agnes Scott College Dalton Gallery

Alembik, Lisa

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limbs heart tongue & teeth 
Oct. 6-_Nov. 20, 2005 
Oct. 6 5:30-9:30 p.m. 
5:30-6:30 p.m. 
7-8 p.m. 
9p.m. 
Opening Reception 
A walk-through the exhibition with senior art students 
Studio Dance Theatre responds to the exhibition 
Clarina Bezzola, performance of Lamentation 
Oct. 27 7 p.m. Jane Blocker, visiting lecturer 
The Shame of Biological Being: Ann Hamilton, Molecular Biology and the Flush of Subjectivity 
In his book Remnants of Auschwitz, Giorgio Agamben describes a Jewish prisoner whose face, when 
he was picked at random to be killed, reddened in embarrassment, flushed as a mark of the shame of 
"being haphazardly chosen." The flushed face is a sign that the self has become "witness to its own 
disorder, its own oblivion as a subject. This double movement, which is both subjectification and 
desubjectification, is shame" (2002, 120-1 ). This paper asks how Agamben's definition of shame might 
inform contemporary attempts to understand "life" in the era of the Human Genome Project, and more 
specifically, how shame figures in a public art project by Ann Hamilton for the Cellular and Molecular 
Biology Building at the University of Minnesota. The piece consists of lights attached to the surface of 
the building, which are programmed to express, in visual terms, the data that are collected by sensors in 
the building's interior. Hamilton thus reconceives the building as an enormous cell, the surface of which 
is a continuously changing membrane that flushes with color in response to random digital information. 
Nov. 10 7 p.m. Rhonda V Wilcox, visiting lecturer 
The Wound in the World: Buffy, Death and "The Body" 
Rhonda V. Wilcox, Professor of English at Gordon College, author of numerous essays on popular 
culture and editor of the book "Fighting the Forces: What's at Stake in Buffy the Vampire Slayer," will 
discuss the larger picture of the transformation of Buffy when she experiences her mother's unexpected 
death. The groundbreaking series Buffy the Vampire Slayer confronts viewers with the threshold 
between life and death in the form of the body of Buffy's dead mother. The widely admired episode 
'The Body," written and directed by series creator Joss Whedon, brings to bear the full aesthetic 
power of television--sound, language, image; the long-term narrative and the intense moment; the 
symbolically resonant and the physically real. 
Nov. 18 7p.m. Artist Talks 
Local limbs heart tongue & teeth artists will discuss their work. 
Clarina Bezzola 
Marta Maria Perez Bravo 
Mia Capodilupo 
Susan Cipcic 
Julia A. Fenton 
Flo McGarrell 
Chantelle Minarcine 
Danielle Roney 
Sunaura Taylor 
Joan Tysinger 
Martha Whittington ~-·- _--- ~ I ·~ ------ -· ..., -----,. ::--- ,,.,.; <ar »_ ... ..... 
With my limbs heart tounge & teeth ... 
Curator's Essay by Lisa Alembik 
The exhibition limbs heart tongue & teeth features artists who consider how deeply we 
understand our bodies and how we experience our surroundings and fellow beings 
through these fleshy vessels. Different aspects of the body as an experience, as a 
phenomenon, are addressed-including body language, formlessness, disability and 
the religious body. 
We cannot fully control our forms, these sacs of skin that house our souls, filled with 
water and dense organs that suck, drip, eat and excrete. The heart's involuntary muscle 
tissue measures out our time, beating us through the cycles of life. We absorb air, 
brush up against other bodies and exhale. We bend to the will of emotions by laughing 
hysterically, blushing, becoming excited and erect. 
limbs heart tongue & teeth 
Essay continued ... 
Some are pulled into this world without the usual 
number of limbs or with inoperative organs-or 
lose mobility along the way either to war, disease or 
accidents. If we live long enough age does her work 
on us, loosening skin to wrinkles, weakening knees, 
eventually shutting us down. From accepting our 
individual beauty to acknowledging the progression 
of aging and even our eventual demise, we can find 
solace through living within our earthly forms, 
rather than hovering above them. 
Flo McGarrell's sculptural installations function 
as sensual environments that consume space. They 
exude a sense of play that encourages the visitor to 
cross the threshold from observer to performer by 
actively engaging in his work. His colorful, buoyant 
environments are pumped full of air, seemingly 
breathing, often resembling organs such as vaginas 
or intestines. One feels as if she has come across 
a fleshy body part or accidentally penetrated a 
body cavity. McGarrell's sculpture Gonads hangs 
from the arches in the courtyard in front of the 
Dana Fine Arts Building, which houses the Dalton 
Gallery. Veins of fabric keep the spherical forms 
afloat, pumping air through segmented tubes. The 
huge, pendulous, shiny purple forms are suspended 
slightly above the 
ground. Expanding and 
contracting, weird to 
the touch, they mimic 
how our bodies operate; 
depending on the 
temperature they deflate 
to become flaccid, 
reminding us that even 
the most virile and 
fertile will eventually dry 
up. After experiencing 
McGarrell's work one is 
reminded of the need for 
humor, for release-to 
be able to let go and 
play (with oneself). 
Joan Tysinger engages with her subject through 
sensitive examination, expressing her findings 
through delicate drawings, with the figure as her 
primary subject matter. Each stroke of her pencil 
has an airy touch, articulating a tender connection. 
expressions at the discretion of the gallery visitor 
who turns the horizontally sectioned features. 
Distinctly different emotions, expressed by features 
such as crying eyes or a laughing mouth, are joined 
for peculiar expressions. 
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Sunaura Taylor is a painter of portraits. Her 
artwork depicts the profound connection she has 
with her subjects, a certain respect and adoration 
that emerges from her attention to detail. Her 
paintings are large in power and scale. Each takes 
her months of dedicated attention to complete; 
hence she must be invested in her subjects. She 
is able to produce an energy that radiates beyond 
the rendering of their physical forms. Her sitters 
vibrate off of the 
surface of the canvas, 
including Taylor's own 
portrait, which holds a 
mysterious power. 
Taylor was born with 
arthrogryposis, a 
disability that affects 
her joints and muscles, 
poisoned by military 
pollution in the water 
while in utero. She 
has limited use of her 
limbs, painting with 
the brush in her mouth, 
occasionally using her 
toes, turning her huge 
canvases to reach their 
entirety. Self-taught, she works in a traditional 
fashion: moving from dark to light, thin to thick 
paint, studying books on the old masters. Taylor has 
adapted to her needs, her jaw and neck powerful, 
taking on dramatic projects. What a level of 
intimacy and meticulous attention as a painter-to 
connect with one's subjects through the mouth! 
Our corporeality becomes almost inconsequential 
when considering it in relation to the vast expanse 
lasting effects make it difficult for her to get around 
without supplementing her body. For this exhibition 
Tysinger chose to focus on her primary resource 
for enhancing her mobility, her beloved brace and 
shoes. In the drawing titled Exoskeleton, she honors 
her leather and metal 
apparatus, drawing 
it larger than life, 
without which her 
ability to lead an 
active life would be 
significantly reduced. 
Such cherished 
tools aid us so that 
abled and disabled 
bodies can have 
parallel opportunities. 
Tysinger faces 
everyday concerns 
that are out of her 
control-an elevator 
out of order, no 
parking spaces or an 
uneven and slippery 
floor. These may become monumental obstacles. 
She knows what her body is capable of and how 
much she can push it. She negotiates her world, her 
exoskeleton a part of her everyday. 
Our apparent differences are discovered on the 
playground and in preschool, from skin color to 
cultural or religious signifiers to our sex, size and 
physical ability. Genetics and environment mold 
appearance, forming the shape of the eyes to the 
intonation of the voice. We sadly register how our 
social status is too often prescribed by our physical 
attributes, superficial as that is. That, combined with 
our personality, affects how we actualize or live 
in our body, which can be expressed in countless 
ways, from how we walk, hold our cup of tea and 
make love. Chantelle Minarcine is interested in 
the subtleties of how one translates body language, 
facial features and expressions. 
Much communication is expressed through the 
visage-a lift of the eyebrow, pulling down of the 
lips, flaring of the nostrils. We can recognize each 
other-human and animal-from just a glance. The 
ability to translate signs is innate for most of our 
species, but not for all. Some must be taught to read 
certain signals or identify tone of voice. Minarcine's 
sculpted heads convey countless permutations of 
or the universe. !'et, coming closer, on our own 
planet, distances seem smaller, crossing space 
in seconds when it once took years. Voices 
move with lightening speed through the ether 
and across the globe for formless rendezvous. 
We become disembodied with advances in 
technology. Such intangible sensory experiences 
break down our model of how we are situated in 
space. Relationships take on changing speeds and 
attitudes. Still, we are tethered by gravity to the 
earth as the planet rotates, propelled through space. 
Danielle Roney's art installations are 
intermediaries-receptors and transmitters, 
translators of elusive communication. In her 
installation .03854, named after the fraction of 
time that it takes for light from Atlanta to reach 
halfway around the earth to Beijing, Roney 
guides participants through an all-encompassing 
experience that crosses over barriers of space and 
time. Viewers enter the space to see an organic twist 
of melted mirrors, which reflects their bodies back 
at them in fleshy close ups melded with their full- 
length forms, like a fun house mirror gone awry. 
Having recently spent time in China, Roney filmed 
some of her 
experiences, 
which are also 
projected onto 
the mirrored 
sculptures. The 
surface refracts 
the moving 
light sequence 
over the room 
and viewer, 
immersing 
all in light and color. Roney designs a place that 
gives the sensation of expansion, engulfing the 
viewer, while simultaneously compressing space by 
pulling together lands and cultures. Bodies become 
scattered, formless and light. 
As babies we see ourselves in parts and as extensions 
of our parents' hands, breasts, arms, feet. We learn 
about our flesh through our senses. As we become 
more in tune with our bodies' rhythms we gain an 
awareness of how we negotiate our surroundings. 
We listen to and learn from our parents, teachers, 
rabbis and priests. We nose around our homes and 
friends, intuitively sensing where we fit in. We 
begin to vibrate with the world around us. 
Sometimes we are taught that parts of ourselves are 
good and pure while others are considered bad. Our 
corporealness is judged: we shouldn't touch unless 
we want hair to grow from our palms; we shouldn't 
look, dare our purity be stained. Many have an 
absurd disdain of that which seeps from our body 
such as urine and sweat. We work diligently to 
disconnect ourselves from our feces, flushing them 
away. They are not only considered offensive but 
evil, rather than a natural byproduct of nourishment. 
Even breast milk and breast-feeding is deemed 
strange, to be extracted away from the public eye. 
Julia Fenton focuses on the secretions produced by 
our body's natural processes. In her presented work, 
she singles 
out various 
elements and 
mingles them 
with the most 
precious of 
metals-gold. 
She adds paper 
mache to the 
mix, creating 
a delicate 
sheet dedicated to our various oozes: urine, feces, 
menstrual blood, salt of sweat and breast milk. 
Fenton then elevates these to the status of icon, 
elegantly framing each. 
Some reside deeply in their bodies, grounded and 
easily engaged with their environs. Others find 
our corporeality so unbearable they float gently 
tethered above, not wanting to handle mortal truths 
or share of self, following their shell around without 
meaningful connection. Our emotional histories 
wear on us physically. Sometimes the absence of 
a certain body can cause physical pain-loved 
ones who have left, unloving or lost. We envision 
ourselves entwined, connected inextricably by 
unseen cords, psychologically linked with their 
physical beings. Some of us face an eternal struggle 
of living fully, maintaining a healthy relationship 
with our world. 
Clarina Bezzola feels trapped in her body. Bound 
inside, she pushes to set it free. Through her 
drawings, installations and voice- her combination 
of wrenching drama and organic, beautifully 
wrought sculptures- she releases her psyche, 
fighting the constriction of form. She struggles to 
unclench her jaw, loosen her limbs and relax her 
spine. In the performance of Lamentation, Bezzola 
the great spiritual beyond. 
They view their bodies 
as extensions of the 
radiance of a higher power, 
becoming glorious vessels 
for the sacred. Others use 
their bodies as a means of 
expressing devotion, as 
expressed in this prayer 
taken from the service on 
the Jewish day of atonement, Yorn Kippur. " ... 0 
God, limbs and tongue and heart and mind shall 
join to praise Your name; every tongue will yet 
affirm You, and every soul give You allegiance."(The 
Gates of Prayer, Chaim Stern, ed.,p.302). 
Marta Maria Perez Bravo uses her body as a 
vehicle to connect with the saints of Afro-Cuban 
religions. She uses the photograph to capture her 
ritualistic performance, her work of art becoming 
a remnant that houses the spirit of her act. Her 
religious body, her corporeal form, becomes a 
sacramental conductor. Perez Bravo is dedicated to 
the forces around her, using ceremony and narrative 
to express her faith. 
Susan Cipcics artwork is connected to the essence 
of life. She is concerned with that obscure curtain 
that flutters thinly through the window between 
worlds, between cycles of the body-from sleep 
and dream to wake, from breathing to dying. In 
collaboration with Agnes Scott senior art majors, 
Cipcic and the students chose and transferred 
images of ancestors, loved ones and meaningful 
references to body parts on to white china plates. 
Using photographs of the people in her life that 
are important, we see how Cipcic pictures her own 
body as inextricably connected to her family and 
a communal body. The students will smash the 
dishes over the course of the exhibit, choosing 
their fate by lottery. Oh, the pain of the mallet on 
the porcelain-such beautiful images destroyed ... 
The bits and pieces 
will form a broken 
pile representing the 
disappearing body, 
releasing its mortal tie 
to the earth. There is 
a certain religiosity 
embedded in Cipcics 
work, the plates 
represent corporeality 
just as the host becomes 
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slips on one of her body sculptures from her 
"Structure" series, a work of art made up of long 
dense lung-like forms that emerge from her chest 
to follow behind her like a train, both tongue-like 
and intestinal. She steps slowly, heavily, lugging the 
weight behind her that belongs to her body. She 
opens her lips, allowing her haunting, wordless song 
to grow from her mouth. Her melancholic voice 
cascades up to the heavens and down to Hades, as 
if she is calling out for lost souls. 
Such a powerful organ the tongue is-what joy 
it can bring-supporting the voice, producing 
taste and instigating great sexual pleasure. Mia 
Capodilupo understands the tongue as a primary 
way of engaging the world. Her photographs 
capture the performance of her tongue covers, 
condom-like forms that sheath pink, thick muscle. 
They call attention to the tongue yet hinder its 
free movement. Imagine kissing, talking or just 
swallowing while wearing one. Some covers are 
peculiarly sexy while others grotesque, as if the 
organ itself is fried 
like a fish filet. Does 
the nature of the 
cover indicate the 
timbre of the voice, 
or one's aptitude for 
language? Do they filter 
communication? Could 
the material express 
unsaid secrets that the 
voice cannot? 
Who does our body really belong to? Is it truly ours 
to give, since suicide and euthanasia are crimes, as is 
prostitution between consenting adults? How do we 
separate the soul from the physical? 
There are those who freely dedicate themselves 
to their faith, relinquishing ownership of self to 
JU:>\. U~ LJ 1'- I IV~\. U'-'-Vl ll'-~ 
the body of Christ 
during the communion. 
Across from the shards 
is an installation of soft 
creatures lounging in 
an ocean of sheets. Here Cipcic has drawn on the 
tradition of collaborative drawing via the surreal 
game, exquisite corpse. The paper, or in this case 
the pillowcase, is folded into thirds, each section 
becoming a part of the body-the head, torso 
or legs. The students drew and found others to 
participate. The contributor does not see what 
others have designed but for two strong lines carried 
down for continuity. The mystery of this process 
yields hybrid, strange combinations of beings, 
not dissimilar from our own quirky complexities. 
Cipcic, whose background is in biology, sees 
this amalgamated form as powerful, the fusion of 
differences becomes especially strong. She fills the 
exquisite corpses with pillows, soft, huggables that 
become dream bodies, making up the "fever dream" 
room, a space teeming with collaborative bodies 
frolicking among spiral spun sheets. 
Aging, we may experience similarities in our 
anatomy to that of our parents, recalling their own 
bodies at our age. With such a sensation arrives the 
tug of mortality-just as one internalizes a tragic 
loss or a strained back. 
Martha Whittington's artwork expresses the 
fleeting qualities of life, within which are reflected 
both continuum and fear of loss. Birds, shadow, 
fingerprints, 
felled branches, 
all express a 
passing through. 
We return to 
dust, sloughing 
away to shadow. 
For the exhibit, 
Whittington has 
built Corpse Bog, 
a dense mass of 
"loose fill," soft 
insulation material 
that captures body 
movement and impressions as mud would. Arm-like 
rakes flush through her fleshy marsh. In the end, our 
husks of organic matter return to pure energy, and 
from that muck we are re-born. 
The curator expresses her thanks to: 
All of the exhibited artists, the art 
history and studio art seniors, the 
college art department, the college 
facilities department, Rachael Baldanza, 
Jane Blocker, Jason Cameron, Lenny 
Campello of the Fraser Art Gallery, Jill 
Carson, Jeff Conefry, Jerry Cullum, Katie 
D'Entremont, Laura Ellis, Beth Prosser 
of Kudzu Graphics, Donna Sadler, 
Kelli Smith & Annemarie O'Bea, Mario 
Schambon and Rhonda V. Wilcox. 
Brochure design by Jill Carson 
Original cover design by Laura Ellis 
(I) 
AGNES SCOTT COLLEGE 
THE WORLD FOR WOMEN 
141 E. College Ave. 
Decatur, GA 30030-3797 
404 471-5361 
http://daltongallery.agnesscott.edu 


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Aspire Volume 101

Alumnae Events: Metro Atlanta

News Releases

Faculty Handbook 2005-2006

Speaking From the Center

The Paper Chase

Limbs Heart Tongue & Teeth

Summer Connection

Main Events

Journeys: Cultural Events

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