Monday, June 12; 1978
University Daily Kansan
24
Staff Photo by ALAN ZLOTK
Rua tua
carpeting is loosened with a hydraulic scraping tool and will be replaced with Astrofurt. It is expected to be installed in three
Workmen began ripping up the artificial turf in Memorial Stadium as part of its renovation. The artificial grass
'Capricorn One' like TV with popcorn
Three United States astronauts are about to be sent to Mars. They are pulled from their capsule just before the life support system will soon fail because of faulty design. Threatened with a congressional funding planers decide to fake the whole thing.
At this point, the viewer might ask what one of the astronauts asks when informed of the plan: "You don't really think you're going to get away with this, do you?"
But "Capricorn one" successes in spite of a plot and a budget that say "made for television." In spite of technological fallings that are certain to irritate some viewers, such as sending a lunar lander to Mars. In spite of Telly Salavas as a Texas crop farmer, the novelist Bret W. Holmes wonder where his tollip is. And in spite of O.J. Simpson's painful attempts to act.
THERE'S SOMETHING appealing about a movie that dares to portray that pure-hearted human endeavor—the space program—as having a Mafia heart.
Sure, that's absurd. Sure, the space program isn't like that, and the companies
that build the hardware aren't desperate enough to short change a life-support system. Sure, they could never get such a hoax started without somebody spilling the beans. But you paid your $2.50 to see some action. And this movie has action.
First, there a terrifying ride after Eliot Glover, who plays a reporter investigating the kidnapping.
Second, there's a terrifying air chase. The bad guys have been tracking the astronauts all over a desert after the astronauts' Lear jet ran out of fuel. Gould and Salavars arrive in a biplanet to snatch James Brolin, one of the astronauts, into their helicopters. Brolin is left langing onto the flying wires. Let's just say the viewer is a little tense.
THAT KIND of stuff is standard fare but it is so well executed and so believable that you buy the whole movie. You know you weren't going to see Diane Keaton, right?
Planning director search ongoing
The University of Kansas is looking for a new director of facilities planning.
Max Lucas resigned as director June 1. The resignation will become effective July 17. Allen Wiechert, associate director of facilities planning, will serve as acting director until a permanent successor to Lucas is named.
The desire to return to the classroom and the hope of spending more time with his family, Lucas said, were the reasons for his resignation. Lucas currently is in California, fulfilling his annual military reserve obligation.
Lucas, former associate dean of the School of Architecture and Urban Design, plans to resume an active teaching role. He began teaching in the then department of architecture in 1962, becoming a full professor in 1971.
Max Lucas
LUCAS HAD served in an administrative capacity since March 1975, when he was named an assistant to Chancellor Arch R. Dykes. He assumed his position as director of the National Archives in 1975 reorganization and expansion of the offices of facilities planning and operations.
During Locas' tenure, KU had at one time the largest construction program of any university in the country—more than $50 million.
Major projects planned or completed during Lucas' three years in the administration include construction work at the KU Medical Center, construction of new Green Hall, the Visual Arts Building, the Computation Center and the Satellite Union.
LUCAS WORKED closely with Dykes, serving both her as a liaison and spokesman for the University in acquiring construction approval and funding, a process that sometimes can begin 10 years before actual completion of building projects.
A nationwide search for a replacement for Lucas has begun, led by Richard Von Ende, executive secretary in the chancellor's office. The position has been advertised in the publication of Higher Education, a national publication that reaches every major college.
Von Ende is on vacation and was unavailable yesterday for comment on the website.
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It's too bad the producer didn't have the guts to stick to the not-so-well-known actors, instead of deciding that Karen Black and Telly Salavas added so much class to a picture that they deserved special billing for their minor roles. You can almost hear the television announcer saying "With special guest stars . . ."
This whole movie is just television on a big screen. It has the same shallow, desperate character development seen on television. For example, we meet Savalas in "The Princess and the Warrior." We need some character development. He's a big star. Make him cranky, yet adorable. Like Kojak. So Kojak (oops, Savalas) cusses a lot, acts obnoxious, and butsy, but you know he's a good guy. So in about five minutes, you have Kojak in a flight suit in Texas.
Final beefs: Why must they anthropomorphize helicopters? Every time the bad guys in the helicopters stop to think over their next move they jointly turn the helicopters so that they face each other. You are now in a desert where desert survival without the standard confrontation with a a) rattlesnake, b) scorpion or c) both.
To some Kansans, especially farmers, the weather of the state can be fickle and even threatening. The tornadoes, heat spells and heavy rain make them are inspirations to native artist Matthew Richter, 24, who prints in his paintings, prints in the 7E7 Gallery, 7 E, 7H. Until I am ready.
Richter paints loosely, as Suddoes does, looking for broad areas of color and shape rather than details. He uses brushes of much the same size, which give the strokes of his paintings a uniform quality. It is not until the viewer is seven or eight feet away from most of the paintings that objects emerge from these strokes.
IN MOST of his paintings Richter has conquered two of the biggest problems faced by architects—composition and light. He uses space at a low level to create a sense of space. The hills in his painting must appear to rise, and the plains must seem to stretch far miles on a two-lane road.
At closer range, the paintings appear to be abstract color compositions. Pine trees, snow-covered mountains, and a shimmer of sunlight. The effect is reminiscent of some Impressionist work, especially Monet's. The objects are never very large; they are small, yet but exist in a pleasant, mirage-like haze.
"I search for a feeling of the wind and light, drought and rain, and extremes of temperatures which dramatize the seasonal Kansas landscape," Richter wrote in the artist's statement that accompanies the show.
Richter's mastersy of composition helps to build this space. "In 'Buffalo Mound I' the viewer can imagine that he is standing edge of a bluff, looking over green pastures.
In "Tree Farm" the viewer has a bug-eye view, and gazes up through weeds and between long aisles of trees to the tiny figure of the nurseryman in the distance.
Richter, who received his bachelor's degree in fine arts from the University of Kansas in May, was taught by Robert Sudlow, professor of art and another landscape artist who has exhibited often in this city. His influence is evident in Richter's work.
Two problems Richter reveals in a few of his paintings are middiness of color and lack of detail.
THE COLORS of "Deer Creek Stall" are on the verge of being muddy. Richter's colors are usually fresh and look as if they were decisively applied, but in this and a few other paintings they look worried over, as if the artist had applied too many layers, trying to make up his mind. The white light that pervades most of his work drowned.
Zigzagging ridges of clouds in "lakeview
After Rain" a spacious sky.
Kansas artist paints local scenes
When painting landscapes, the artist either paints exactly what he sees or edits it to fit his own vision.
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KANSAN At the Gallery
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the overall composition, for instance. Although Richter has strong compositions in most of his pieces, in a few cases he should have edited more than he did.
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A single dab of yellow paint, representing a dandelion, jumps from the soft, quiet foreground of "Tree Farm," interrupting the overall mood. A smudge of white in the midst of brown and purple weeds surrounding "Marty's Pond" seizes the viewer's eye and puzzles his mind—what does it represent?
BUT THESE problems are small. Richter
accrues in a loving feeling of sunlight and
sunlight that illuminates the earth.
"Catfish!" is a Daumierlike print that was a study for a bedside Richter later serigraphed. From a few rusty-red slashes on sea-green paper emerges a fat, lethargic creature that surveys the viewer with drooping eyes.
"Plowed Field" is a print of the shadows in a snow-coered Kansas field. Cold blues and lavenders and crisp blacks reveal the owl's tracks.
Richter's show is worth a visit for both his prints and his paintings.
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