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thurcdr, j3nusry 27. 1977
By Csrfa Eitrora
Sheldon Art Gallery's genesis was a "gift descended
out of the sky totally unexpected" according to Norman
Geske, director of university art gdlerics.
The gift neade in 1957 came from Frances Sheldon,
member of tlie Nebraska Art Association (NAA) who
bought art for her home, Geske said.
"No one anticipated she'd leave $1.5 million with the
stipulation to buy university housed art," he added.
Skldon's donation was part of the Sheldon Bequest,
which included her brother Bromley's gift of an additional
$1.5 nsiSSIon.
The bequest was used to construct and design the
building, sculpture garden and groundsPresently, the
bequest is "well over" the original $3 million dollars
"because of investments" and still is being spent on
upkeep and repairs for the building and grounds, he said.
Expensive repass ,
Sheldon Gallery has the "disadvantage of being a very
special building with expensive repairs, Geske said. The
buidang was designed to be "a work of art itself," he
added. .
Geske has been Sheldon's art director since its opening
in 1963. He came to Nebraska in 1950 and started as
assistant director, was acting director for three years and
became director in 1956.
Geske said his interest in art "goes all the way back
to my years in high school when I realized, with the help
of a good teacher, that I was probably not going to make
it as a professional artist.
"This teacher drew my attention to the museum field
as an alternative choice. So when I graduated from high
school I went to the University of Minnesota to study the
history of art, with the idea of working in a museum,"
he said.
"It provides contact with works of art and provides
contact with artists" he added.
Geske received his masters degree in the histor r-t
from New York University in 1953.
In a general sense, Geske said, he's the one who decides
what art will go into the gallery. But in a specific sense,
he said, he works with the Art Gallery consulting
committee.
Three duties
The committee has three duties. It gives advice in
matters of policies, accepts or rejects gifts and gives
approval of purchases.
As director, Geske said it's "my function to
recommend or not recommend a gift." Sheldon's collec
tion is "primarily, but not exclusively, a collection of
American art of the 20th century," he said.
Sheldon's spending funds "average about $30,000 a
year," he said, and about $20,000 of it conies from the
Endowment Fund, a gift from Mr. and Mrs. F. M. Hall.
It goes to the NU Board of Regents and is held in trust
by the National Bank of Commerce, Geske said.
This may make "our operation look rich. Well, we
sky' was Sheldon cpllery's beginning
FMmn
tren V Geske said, adding that $39,003 bought a lot of
art 20 yean ao, but net today.
The Hills left their entire estate, including their house
and investments, the main source of the money, he said.
The money is "erJy for the purchase of art objects,"
Geske added.
Geske estimates the appraised value of the collection
owned by the university and the NAA is $4 miion to
$5 million. The highest priced art object in the collection
is a sculpture purchased for IGO.CCO, according to Geske.
Commenting on the gsllery's budget, he said there has
been "no significant change for 20 years. I understand the
primary function" of the university is teaching.
Sheldon's annual budget is about $100,000 which pays
for salaries, utilities, maintenance and a "minimal amount
of programming," Geske said,
"Cut on the other hand it seems to me we are making
a substantial contribution on behalf of the university,"
he added.
However, 90 per cent or more of the money is gifts
from the public. A large part of the financing comes from
NAA, but Sheldon "enjoys a good relationship with the
university," Geske said.
Concerning his philosophy on art, Geske said, "there
is somebody in the world for a statement every artist
makes."
arts and entertainment
l j - i
' - fc
A.
. ftenssa Geske, Director f fee S&ddon RIesactM Art Gallery.
Photo by Ktvin tljgigy
Small Chanoe emotional without h&ina .0
By VV21 HufFmsn
In the film Small Change (currently at
the Plaza 4) French director Francois
Trufiaut has accomplished a very special
achievment-he entered and inhabited a
child's mind. The result is a film that is
, both marvelously understanding and touch
ing. SmaU Change has no plot. It merely
fellows the lives of a group of children,
portraying the day-to-day occurrences with
a straightforward simplicity.
Never gushy or sentimental, TrufTaut's
film manages to capture the child's
uncluttered view of life.
Trufiaut doesn't patronize the children
but treats them with great respect,
sympathizing with their problems and
sharing in their joys.
Constructed as a series of incidents, the
film moves along at a leisurely pace. There
are no great climaxes, yet it leaves the
viewer with a quiet feeling of peace and
enjoyment. It's as though Trufiaut were
able to transport us back to our own
childhood at a time when things were
simpler and happier.
Not osc-tidcd
However, the film doesn't present,
an entirely one-sided view. There is the
u i- a
I'
t
if
0
Tr-i
rr-ertlr LJy tzzt h the trpt cf Ha tzo h"kt pctrlrj Tcsa a
young boy Julkn, mistreated and abused
by his mother, reminding us of the darker
side.
Fortunately, most of the children in
Small Change lead happy, secure Eves,
where the greatest trauma is a young boy's
first kiss.
The non-professional cast of kids is
uniformly first-rate and even the adults in
the cast do a fine iob. though thpv tal
a back scat to the young stars.
The special magic of SmsU Change can
best be summed up in one scene where a
toddler attempts to rescue bis kitten from
a window ledge several storks high. In an
excruciating moment, the infant topples
and falls, As the stricken bystanders
scream helplessly, the young child lands
softly in a hedge, unhurt and with a smile
on his face. Here Trufiaut confirms the
belief that God truly does protect the
innocent.
The film is emotional without being
sentimental, and sympathetic without
ever becoming coy .or cute.
. Expresses cf qrtinusa - ... . ,
Smz3 Change is an experience, to be
savored as a true and deeply felt expression
of optimism, a rarity in these downbeat
times.
A different type of uplift h offered
by Tiff Fink rsnthsr Strikes Agzin
(currently at Dot'is 3).
Peter Sellers is in top form once again
as the bumbling . Inspector Jacques
CZottsssa,-! rok he has phyed three
pretiota rises.
like tie earlier PmJhsr Ems, this is
a dift rrixture cf wit and .good iajstick.
Ctz3 tu.-l!ca lia wry lujcvi a mist
cf z!l gr cid pnlfi th-t 3 picas
the r-,cct vit t'. yzLcd ccirIy fa. Cut.
though the gags are violent the participants
emerge unscathed.
Herbert lom returns as Chief Inspec
tor Dreyfus, recovering in a mental in
stitution from his previous clashes with the
infuriating Qouseau. -
When Dreyfus is'again pushed over the
brink of insanity after encountering
Clouscau, the plot takes off on its wild
zigzag course, eventually involving &tzMy
assassins, beautiful counterspies and, of
all people, Gerald Ford and Henry
Kissinger.
L&eaLle and infuriating
Typically Clouscau emerges from the
ensuing wreckage with his naive composure
undisturbed. Sellers' portrayal of Clouscau
makes him both likeable and infuriating;
his ignorance is frustrating but he is too'
preposterous not to be loveable.
Writer-director Elake Edwards moves
the film along at a brisk pace, using
glamorous people (Omar Sharif appears in
a cameo role) and lush settings makin the.
trip enjoyable.
Edwards direction - is so self-assured
(he directed the three previous Panther
films) that he underplays a sequence most
directors would build into a big elTect
an attempt on Oouseau's life by an assort
ment of the world's best assassins durin
Munich's Oktoberfest.
Best of all, however, is die animated
credit sequence. Here the filxn pays tribute
to movies in general, with special bows
AtPr1'1 nm of the Opera,
Alfred ILtchcock, Julie Andrew s (Edward's
wife) n the Sound of Musk ar.J Gene
keJy m Si-in'ti the Ren.
The Psxk Panther Strikes A-zin h i ht
wtit. enjoyable and weliaaftcd co-ly
J bc- Nf & the g3g, hit the rrrk;
cut the onei that do are more than ant-Ie!
