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Friday, February 27, 1976
University Daily Kansan
Arts & Entertainment
Sci-fi campfire
A functious sculpture "Plumb Bob," complete with audio effects, dominates a growing area of the city.
Price, assistant professor of painting and sculpture, is one offering in the Faculty Painter's Studio.
By ALISON GWINN
Reviewer
The artist's hand is quicker than the critic's eye for the works in the Faculty Painting and Sculpture Show, now on display in the Kansas Union gallery.
The exhibit, which will be shown through March 5, deserves more than a look at the avant-garde of the art world who can appreciate art in anything they see and the traditionalists who may find the exhibition confusingly aesthetically below their tastes.
THOSE WHO HAVE been trained through example to create the images of 19th century Impressionist landscapes or Romantic portraits may have difficulty reconciling their idea of art to reality.
But for them, the exhibit should be viewed at least for its interesting juxtaposition of artistic elements and for the pleasant sensations it can evoke in usual use of color or texture.
The best works in the show are undoubtedly those by Jane Absurry, assistant professor of painting and sculpture. Her serigraph, "Checkmate," and her abstract work combine strange organic shapes to create visual images of haunting familiarity.
“Astrolabe,” a fairly symmetrical cross-section of hairs found in the scalp, like folds and silica-like inner hairs, is reminiscent of the Life magazine series of photographs on inner ears and skin pores. Astrolabe also records.
"CHECKMATE," LIKE
"Astrolite," has a quality of
lithium but not silicon;
blubber shapes are
overgrowing the soft geometric
form that Asbury has
between dimensions in this work.
Four of a series of prints by Roger Shimomura, associate professor of painting and sculpture, are also high points of the exhibit. The series, entitled "Oriental Masterprint," is indeed Oriental in style, with large, unhighened blocks of
Three of the prints depict Oriental men and women, hiding and seeking among the grids of prison-like barriers. The prints are expressions on their faces, especially two males in the lower two prints, who seem to be eyeing each other, safe within the confines of their separate frames. The prints are colors created so well that even the grays appear bright.
The larger canvas, "Cliff Hanger," gives a rather mystic, reflective impression of life, and the setting is characteristically pure and the sun seeming to hit the oddly colored rocks at different angles.
Two acrylic paintings by M. Ott, assistant professor of painting and sculpture, are interesting for the artist's clear delineation of highlights and the odd juxtaposition of colors, although the subject matter of each is necessarily reminiscent of a National geographic Society depiction of prehistoric life.
THE SMALLER PAINING,
"Painter's Gulch," is notable for a beautiful dark sky with a fiery hue. It hovering in silhouette against it, and a mountain climber's hook that is ready to break off of a foreground rock, to the delight of children. Break before their parents do.
"Rocky Mountain Winter," by Robert Green, professor of painting and sculpture, is the most traditional and probably best-known works. It is a very pale snow scene, with quiet, muted greens, browns and blacks, which are almost overpowered by the snow. The painting has little depth, as though all the trees were lined up next to the edge of the picture, and Green has created a very accurate wood-scattering lightly scattering on white paint.
Interspersed among the more traditional paintings are some rather bizarre works of art.
Lindbergh's story 'flowerbed of thought'
The book begins with the Lindberghs fleeing the publicity that followed the kidnapping of
By SHERRY FRANKLIN
flat, bright color and a plethora of diagonals, stripes, rectangles and symmetrical patterns.
Although her availing husband, Charles, may have given her a free ticket to renown, Annie Morrow Lindbergh is a very perceptive and the woman in her own right
THE FLOWER AND THE
NETTLE. By Anne Morrow
Lindbergh, New York, Harcourt
Brace Jovianvich, $12.95.
The independence of thought she demonstrated in "Gift from the Sea" and "Bring Me a Unicorn" continues in this collection of diaries and letters that prevailed years in Europe.
Anne Lindbergh pursues her笔，
the raising of a family
and management of her
marriage in addition to at
attending numerous social
aspects of such notables as Gertrude
Stein, Alice B. Toklas and
Queen Elizabeth fill the pages of
their eldest son in the United States. They retreat with their second son to the idyllic English countryside, later, their third son is born.
In this respect, the book often is frustrating to a reader who desires more depth. The descriptions of countryside and village settings are through a roving movie camera. The reader is with left
dim impressions, and the whole has no strong impact.
One of the more enlightening facets of Anne Lindbergh's own career is her interest in feminist literature. "Isn't it possible for a woman to be a woman and yet produce something tangible besides children, something that stands up in a man's world?" In other words, is it possible to live up to the ideals of a woman's standards at the same time?*
Here she raises age-old questions that are still unanswerable in large part. She goes on to say, "I did not want to be simply 'somebody's wife.' I work hard and, to same degree, life."
She probes other sensitive areas of the modern world.
"There is something wrong with the educational system in the world—that it kills the inventive spirit." she says.
There are some problems with the book. It is a little like attending a play and finding yourself backstage throughout the movie. Your activities there might be quite interesting, your concern remains fixed on what is happening in front of the footlights. The reader is never really thinking it is happening on center stage.
Anne Lindbergh, too, was very much aware of her position "backstage." This disturbed her at first, she later sought help from a therapist in her writing, her family and in her marriage. A greater ap-
Student's plays depict daily events
By PAUL STEPHEN LIM
Like many students at the University of Kansas, J.L. Haugen leaves campus during the course of a day at his post by the front door of Watson Library, he may have to riffle through the belongings of as many as 15 students.
Sometimes he gets a tolerant smile, sometimes a blank stare, sometimes an unkind word. But McClure doesn't mind because he is also a writer and not a lawyer. He knows how to deal with that people sure aren't fleeing Watson when checking out or renewing or returning books.
So he always wonders what each person he encounters is really like and he wishes there
THAT, OF COURSE, is an impossibility. So, like many of the writers he admires—among them Frank Kafka, Harold Pinter, Tom Stoppard, David Ester and Donald Barhelm—McCure takes perfectly ordinary situations, dropsperfectly unknowable characters into those situations, then sits back and lets his often comic imagination go to work.
were some way he could know them all and remember them all.
FOR EXAMPLE, he wonders what happens when a lonely woman starts philosophizing in her room. Her strange sitting next to her on a park bench. Or when an irascible housewife discovers that her insensitive husband has eaten all the corndilakes in the
THE UNIVERSITY DAILY KANSAN
Painted at the university of Arizona Wednesday
after an annual fundraiser. The student fee is
$120. Ken 66465. Subscriptions by mail are $2
each. Karen 66466. Subscriptions by phone are $2
each. Kristen 66468. Subscriptions by car are $2
each. A student member of $2 a year outside the county. Student
member of $2 a semester. A student member of $2 a
student activity fee.
Eight such products of McCure's imagination will be presented at the Memoir Memorial Theatre in a production called "Pieces," directed by Rhonda Blair, by speech and drama.
"The pieces are all thematically linked," said McCure, "but I would rather not reveal what those thematic concerns are. That I leave for audiences to decide.
Editor Business Manager
Carl Young Rooy Manrique
"For instance, if I should say the show is about man's inhumanity to man, or about the failure of language to communicate, then audiences will be limited to only those things in life that they want to see. They will no longer feel free to see what they want to see in the show, get what they want out of the play."
"Pieces" started as diverse exercises. When he had written enough of them, he said, certain thematize concerns had begun to be incorporated and decided to incorporate eight of them into one, larger work.
MCULURE, WHO wrote a one-act play, "Frugal Repast," that was presented last year in 1987. It is probably many of the sketches in
McClure he started writing plays because he'd taken all the creative writing courses the English department had to offer, but still wanted to write more.
McCure's work will be the University Theatre's entry in the original script division of the *Madam Margaret* Theatre Festival next year.
precision of her own activities could be gained if she had discussed them at greater length.
Another one of the "netties"
in this flowered doubt of thought
is the slow pace of the book.
Although Anne Lindbergh is
someone who enjoys humor, she
seldom indulges in it herself.
Perhaps the best advice that can be given in regard to this book is suggested by the title: "the flowers and ignore the nettles.
Nick D. Vaccaro, professor of painting and sculpture, has exhibited a series of nine works done in cray-on pear on board, with each piece signed with separate words or phrases from "Notes and Quotes."
The works are experimental and possibly dull to the viewer who fails to see that the artist made use of color, but copied it repeatedly down the gray canvas in pastel colors, superimposing and overlapping phrases, apparently in an attempt to create a dreamlike meaning of the phrase depicted.
Thus, the words, "gray matter," are done in white and black letters. The one set of the word, "over-painting," seems to be just that - painted blue over other palet words to make it stand out.
Two works by Bob Price,
assistant professor of painting
and sculpture, probably steal
them in his work. But not for
the aesthetic beauty.
"Plumb Bob," a sculpture
visible from outside the gallery,
is composed of three white
branches, coated with papier-mâché,
about eight feet off the floor.
The branches form a teepee-like
structure, under which is hung a mirror-surface sphere that is partially submerged in a silver kettle half full of water.
AROUND THE KETTLE is draped a skirt of pale blue taffeta, and the sphere contains a wad of twigs, which point upward. We few minutes, the sphere fiction-like goons which are followed by high-pitched squails, creating a feeling that the upward points of the branches are antennae and that these are reflected in the sphere are part of a science fiction thriller.
Price has also exhibited two side-by-side colored-in maps, under which is written: "The exhibition in Minneapolis will consist of every person in St. Paul who is able to complete poster announcing the exhibition in St. Paul. They will receive no detailed explanation of the nature of the show. The exhibition in St. Paul will consist of having each person in St. Paul receive by mail one poster announcing the exhibition in Minneapolis."
Two other sculptures are exhibited in the show, one called
"Pedestalized Pillow Pillar," by Linda McKay, for which the title is the most interesting part, and "Four Room Cloud," a large blonde and white sculpture composed of plaster, wood and plywood, made by Phyllis Greenwood as a professional artist of painting and sculpture. Its cloud shapes are very appealing, with their soft, uncertain jigsaw puzzle perimeters.
THOSE WHO FIND themselves rushing through the exhibit too fast should possibly stop to appreciate some of the wonderful colors in "Nina Dela Peines," a collage by Gerald Libersky, assistant professor of painting and sculpture, or in books about art that use kaleidoscopic pastels composed solely of rich superimposed softly-angled lines of different colors.
This exhibit is not for the art critic who doesn't want to have to work as hard as the painter or sculptor, but as an artist's freedom. But several of the works are worth seeing for the mastery of technique they show and several others are shown as佳作 for their entertainment value.
Actors' artistry doesn't hide thieves behind film's camera
By CHUCK SACK
PRODUCERS MICHAEL
Moviegoers are often inclined to characterize film-makers as thieves or artists with no middle ground. However, the characters of medium often pairs members of both groups. "Conduct Unbecoming" is a film that puts the artists before the camera, hoping to prevent the audience from seeing what the moviegoers who are hiding behind it.
“Conduct Unbecoming” was conceived as a stage production, and this adaptation betrays its origins. Like so many successful plays, its events aren't well-suited for the screen, and its delivery to film is often unfreezing. Unfeeling midwives: the producers, the director and the writer.
The film concerns a matter of honor. Days after the arrival of 2nd Lt. Drake (Michael York) and Millington (James Ackroyd), a womans is attacked at the Restaurant Ball of the 20th Indian Light Cavalry. The woman (Susannah York) is the widow of the regiment's hero, and she accuses Lt. Millington of accosting her. The action centers on the Subalterns Court Martial, an unofficial and brutal officer, Drake is appointed to defend the Inspordinate Millington.
Deeley and Barry Spikings have gone to great expense to shoot location shots in Pakistan that would approximate the setting of the northwest frontier of India in 1878. They also paid the salaries of Trevor Howard, the treasurer for the Northwest Keach and Christopher Plummer, who round out the high-powered cast.
Howard, Attenborough and Plummer have all worn British officers' uniforms in other films, so the viewer readily accepts them as members of the traditional and strict regiment which has its honor inviolate. Keke Riordan's Faukner belongs to newer schools of acting and balance the cast nicely.
The acting of these principals is first-rate. One has trouble imagining a more stodgy actor, but each actor has a key scene, and everyone acquits himself admirably. Even the normally simpering Michael York is acting as the resolute Drake.
Nonetheless, there is never any doubt as to the identity of the guilty officer. Precisely when the person in question paid such handsome salaries, the audience can eliminate every actor who has a big scene to discover in advance who is being saved for just desserts.
THIS EFFECTIVELY denies
“Conduct Unbecoming” most of its dramatic impact. But Barry England's original script suffers even more insult from the use of a slur, and the form of neglect. Enders retains all of the dialogue from the play, evidently hoping that shifting locals in minor scenes and using outdoor shots for flashbacks will be enough to air the material and prevent it from causing claustrophobic. It's not.
Director Michael Anderson puts on the finishing touches. He spills the desired illusions of the location footage by using painted backdrops of exterior staging in a disastrous; on the rare occasions that he moves the camera, it looks like an amateur's attempt to make "art." In the crucial scene where the widow admits she has falsely accused the defendant, the camera crawls up to the camera saying, "You pig! You pig!"
One could hardly expect more from a director who made "Doc Savage" and a writer whose works were in the Mirror Bippy. The only artists at work on "Conduct Unbecoming" are the actors, and they made a valiant effort at saving the show. Ironically, they would have won awards for any honor among the thieves who made the film.
Concerts
This Week's Highlights
COLLEGIUM MUSICUM:
"An Early American Music Sampler," a program of vocal and instrumental works from 18th and 19th century America, performed in the museum class in music history.
(2 p.m. Sunday at the Art Museum)
UNIVERSITY SYMPHONIC BAND; Gerd Scharfz, principal Brumpt with the New York Philharmonic guest solist in a program of "all-American" songs, conducted by Robert Foster, direc-
(3:30 p.m. Sunday in the University Theatre)
ROSEWOOD TRIO: A fine jazz group from Topeka who just released an album of original material.
(9 p.m. tomorrow in the Hawk's Nest)
(9 tonight in the Hawk's Nest)
COLE TUCKEN ON RYES
The last concert dance before the concert features a short month features a Lawrence group that plays everything from rock and boogie to country and folk. The group recently performed with the Kansas City Philharmonic. Appearing with the group is the current headliner.
Recitals
Theater
SEQUEIRA COSTA: A native of Uruguai opera teacher or professor, he department piano this semester. Costa will present a program of Chopin
(8 p.m. Monday in the University Theatre)
NOAH: A retelling of the story of Noah's Ark done with improvisational techniques in a modern setting. The script, by Andre Obey, is pessimistic when the performances are strong.
(8 tonight in the University Theatre)
Exhibits
(Sunday through March 27 at the Lawrence Arts Center)
LAWRENCE ARTS CENTER
SECOND ANNUAL PAINTING
and the Lawrence Art Guild are
sponsoring the exhibition,
which is open to any Douglas
artist. Two $100 awards will be
given. Watercolors, oils,
paintings, and mixed media are
ROBERT GREEN AND
ROBERT SUDLOW, RECENT
PAINTINGS: Green and Sud-
Films
inrough Thursday at 7 E
7th)
(Today through March 21 in the Art Museum)
low, professors of painting and sculpture, exhibit works that deal largely with their re reactions through close-ups of plank forms.
LENNY: Based on the life and material of Lenny Bruce. Dustin Hoffman succeeds in graphy but succeeds as theater. Dustin Hoffman stars, and Valerie Perrine shows the show role of Bruce's fortured wife.
DUEL IN THE SUN: One of the most ludicrous westerns ever made, this has gained
WR: MYSTERIES OF THE ORGANISM: Both extremely interesting and entertaining, this political comedy interweaves ideas of Wilhelm Reich with movies of Stalin, transvestites, and figure skaters, magazine, and flair skaters.
ROGER SHIMOMURA AND NINA SAMMATI, associate professor of painting and sculpture, in his Oriental Masterprint Gee, assistant professor of painting and sculpture, done in acrylic and lacquer on plexiglas glass and netting to create glass and netting on
infamy under the scornful alias "Lust in the Dust."
LANCELOT LAC LACE (Lancetot of the DUKE)
(Lancetot of the LAKE) examines the legend of the Holy Grail. Beautiful and mysterious, this film won the Prize at the 1972 Games Film Festival.
NO DEPOSIT, NO RETURN:
Don Knott is a criminal, David Niven as a grandfather, two kids and a skunk aren't enough this Disney feature interesting for the college crowd.
ONE FLEE OVER THE CUCKOO'S NEST: Director Milas Forman reconceives Ken McCarthy in triumphantly to the screen. Jack Nicholson's exuberant performance smooths over the drama of his character of R. P. McPurphy, and Louise Fletcher's chilling portrayal of Nurse Ratched meets the perfect dramatic balance.
BARRY LYNDON: Stanley Kubrick's tenth film is unimaginable in the affectful surches from affective humor to harsh saline. Ryan O'Neal in the lead role looks like she's ever been in any film, prima facie discusss thestudies pose them into an 18th century pin-up.
Check advertisements for theaters and times.