Rappahannock News - - COMMENT. - From Back Is­sues of the Rap­pa­han­nock News • Com­piled by JAN CLATTERBUC­K

Sept. 15, 1999

Artist Michelle Pow­ell of Woodville left for Colorado on Sept. 11. She took with her a trib­ute to those who sur­vived the shoot­ing at Columbine High School in Lit­tle­ton, Colo. last April.

“The flow­ers of Columbine” is a color pen­cil draw­ing de­pict­ing three young ladies, stu­dents at Columbine High, and the hor­ror they ex­pe­ri­enced on the af­ter­noon of April 20. The orig­i­nal pic­ture was taken by pho­tog­ra­pher Mark Leff­in­g­well from be­hind po­lice lines just af­ter the ladies had come out of the build­ing.

While in Colorado, Mrs. Pow­ell plains on vis­it­ing those peo­ple plus the prin­ci­pal at Columbine High School. She plans to present him with a limited edi­tion print, and would like to talk with some of the stu­dents there. She will also meet with a coun­selor who worked with some of the chil­dren af­ter the shoot­ing. This coun­selor knows the three girls in the paint­ing, and also has a print.

While there, Mrs. Pow­ell hopes to speak with the Gov­er­nor of Colorado to try and gain some pub­lic­ity for the draw­ing. She wants to put the draw­ing in a pub­lic place, but she also wants it to “have more in­flu­ence that just sit­ting on a wall.”

Washington Mayor Stu Wil­lis pro­posed to con­vene a spe­cial meet­ing on Sept. 29 to air Pe­ter Kramer’s ap­peal of the ARB’s Mer­can­tile Build­ing/Clop­ton House de­ci­sion. In a let­ter to County Ad­min­is­tra­tor John McCarthy on Aug. 31, Kramer ap­pealed the de­ci­sions of Aug. 12 and Aug. 27 by the Washington Ar­chi­tec­tural Re­view Board for His­toric Re­sources that ap­proved “the de­mo­li­tion of his­toric build­ings and in­ter­est­ing ar­chi­tec­tural treat­ments to his­toric struc­tures lo­cated on the Kramer prop­erty and the Clop­ton House.” The Mer­can­tile Build­ing/Clop­ton House com­plex is to be used by Sun­ny­side Farms prod­ucts and of­fices, and plans were pre­sented to the Town’s ARB in Au­gust.

In a re­lated ac­tiv­ity, the Town Coun­cil heard and ap­proved the ap­pli­ca­tion by Sun­ny­side Farms for a Spe­cial Use Per­mit for a re­tail ex­pan­sion of the Mer­can­tile Build­ing that would ex­ceed 1,000 square feet (to a to­tal of 1,500 square feet).

Nov. 13, 2003

If God gave every­one a sense of hu­mor to put things in per­spec­tive, as Rev. Jen­nings W. Hob­son III says in a let­ter to the ed­i­tor in to­day’s Rap­pa­han­nock News, it hasn’t kicked in for some of Rap­pa­han­nock’s clergy.

Far from think­ing there is any­thing hu­mor­ous about a cal­en­dar of naked men as Hob­son sug­gests, some Rap­pa­han­nock County pas­tors, mostly Bap­tist, find it of­fen­sive, to put it mildly.

In a ran­dom sur­vey of the pulse of the pul­pit — in a county that has 31 churches, more than half of which are Bap­tist — some feel the “Men of Rap­pa­han­nock County cal­en­dar is down­right “porno­graphic.”

“It’s naked­ness isn’t it,” says one Bap­tist pas­tor. An­other gave a ser­mon on “pub­lic nu­dity” en­ti­tled, “Liv­ing in a Brave Nude World.”

The Rev. Phil Bai­ley of the Washington Bap­tist Church feels dif­fer­ently and gave his per­sonal views on the cal­en­dar from the pul­pit: “Mod­esty is some­thing that should be held high. That’s just my per­sonal opin­ion. I was shocked when I first heard about the cal­en­dar.

Jon Hed­dle­ston, pas­tor of Reynolds Me­mo­rial Bap­tist Church in Sper­ryville, also gave a ser­mon of “Liv­ing in a Brave Nude World” on Oct. 26.

Cathy Kreyling, or­ga­nizer of the cal­en­dar, was asked to com­ment on what the pas­tors have been say­ing.

“I’d like peo­ple to look at it be­fore they de­cide,” she said. “If af­ter hav­ing seen the cal­en­dar they find it of­fen­sive, don’t buy it.”

High in the hills of the Blue Ridge moun­tains, the in­no­va­tive sculp­tures and draw­ings of Robert E. Kuhn have been shrouded in ob­scu­rity for more than 30 years.

The al­most for­got­ten works of his fa­ther are once again avail­able for pub­lic view­ing at the new Toyy-Kuhn Fine Art Gallery on Gay Street in Lit­tle Washington.

Dur­ing the 1950s and 1960s, he gained na­tional ac­claim for his lyri­cal and fig­u­ra­tive welded steel sculp­tures of Amer­i­can life. Dur­ing his life­time he had 28 one-main shows and was the re­cip­i­ent of al­most 80 awards and prizes.

But Kuhn did not mea­sure his worth through es­tab­lished in­sti­tu­tions and the ac­co­lades of oth­ers. In 1967 he re­moved him­self from the art world, where in pur­suit of per­sonal free­dom he re­tired to Tan­ner Ridge in Stan­ley to work in seclu­sion un­til he death in 2000.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.