frlday, September 14, 1&79
pcgalO
daily nebraskan
Artist uses everyday objects in his work
By Martha Murdock
When you meet someone who sees
beauty in the lines of a Clorox bottle, you
know you've found a soul with a special
artistic sense.
Sheldon Art Gallery found such a man
in Robin Smith, whose paintings will be on
display through Sept. 23 .
The first quality many viewers see in
Smith's paintings is the abundance of
household objects. His still life paintings
are filled with eggs, Pepsi cans, fruit, silver
platters, and meat grinders. The same
objects appear again and again.
Critics have found that many still life
painters exploit a small range of subjects.
As Alfred Frankenstein, a California art
critic hs written, 'Their basic interest lies
in formal arrangement: reset the table so
that new silhouettes appear, and they are
happy."
This is partly true of Smith'. He is
concerned also with light, reflections
and color.
"I like the way light moves in and
around objects," he said "I see eggs a lot
because they're perfect forms and have lots
of color. Usually you look at eggs and
you say they're just white, but they're fil
led with color. I like reflections in silver
and all the colors they produce."
Although his Sheldon exhibit is Smith's
first one-man show, he is an experienced
artist. Because his father was a painter and
architect, Smith, 36, has long been inter
ested in art. At first, he worked with
photography, but when he entered art
school he began painting seriously.
GROWING UP IN Maine and Massachu
setts, he attended the Swain School of De
sign in New Bedford, Mass.; and the Skow
hegan Schobllof Painting and Sculpture in ;
Skowhegan, Maine. During ,1974 and 1975,
he was :a UNi; student. W l978j Smith
took first place in Omaha's Metropolitan
Arts Council show with "Writing," on dis
play at Sheldon.
Smith said there have been many influ
ences on his work. He said of his use of
color,' 1 try to copy nature. I try to apply
the laws of color, the, physical properties."
Some of his works contain bright hues.
"A definite influence on my color was
Edouard Vuillard, i French painterat the
beginning of the century who was a Fauve
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Photo courtesy of the artist
Smith's "Self-portrait, Eggs, Silver Bowl" . . . exhibited at Sheldon.
at one time. Hans Hoffman also affected
me."
The Fauvist movement bf the early
years of the 20th century and Hoffman, a
member of the abstract expressionist move
ment in the 1940s, where both known for
their vivid hues.
Smith's "Eggs and Pepsi Cans," which Is
included -in the Sheldph exWbitshowS it
table at eye level; The table edgS is a bright
red line and above oh the tabletop are a
row of Pepsi cans and eggs. The red line
carries one's eyes across the work, empha
sizing the rhythm created by the objects.
THERE'S A DEFINITE design in that
painting," he said. "I'd been studying
Cezanne's landscapes and their pattern
effect. My theory alsjo was influenced by a
15th century Italian painter named Piero
della Francesco, who did religious paintings
that were very geometric."
Smith takes techniques from the past
and applies them to his art. His "Eggs,
Oranges Tryptych" hangs at Sheldon. A
tryptych is a painting composed of three
separate panels.
"In the early Italian religious renais
sance or even before, in about the thirteen
th century, tryptychs were done a lot. I
way always fascinated in how the three
panels related. I wondered how I could
apply that relation to still life. 1 did a
whole series of tryptychs of which this is
the only one left."
In addition to his still life works, Smith
also does portraits.
"I've done a lot of self-portraits and
usually I turn out looking serious and
stern. I wanted to get away from that." In
one portrait at Sheldon, Smith shows him
self with a table suspended over his head.
"IVn rnnrpmeA with the OSVcholofcical
effect of having a table at eye level. What
I'm really doing is regressing the viewer,
taking him back as a kid. What I did for
that self-portrait was to set the mirror
higher than my head to get the effect of
an adult looking down it a child."
SO HOW DOES an artist with so many
theories and esoteric ideas become inter
ested in Clorox bottles? Smith attributes
the style of his work "Clorox Bottle" to
Giorgio Morandi, an Italian still life painter
of this century. Smith talked of light and
color.
"But," he added, "I don't think Mor
andi used Clorox bottles. Clorox bottles
are really beautiful. I may do a whole
series on them."
"When you take the label off, the bottle
is white and has that blue top. The shape
is beautiful: it has great curves, arabesques.
That's some Matisse influence there."
Smith has a special feeling for all the
objects he uses.
"That black pocketbook that appears
in so many of the paintings has been obses
sing me lately. I like to go to junk stores
and look for objects. Treasurers are What
they really are. They all have some kind of
meaning for me."
He also has a certain affection for his
works.
"I really hate to sell my paintings. When
I was in school 1 would always put 'not for
Sale' on them.'
Beyond his art, Smith has other inter
ests. Living in Ashland, he is a "hotise
husband ," taking care of his 11 -month -old
daughter while his German wife works as
the program director of a mental retarda
tion program in David City. Smith plays
guitar and calls himself "an avid bluegrass
1 miisicain." His other vocation is tending
'beehives; " '
"ON A SCALE of one to 10, I'd give
myself a three," he said. "Out ofJO paint
ings I can get three good ones. That's bet
ter than I used to do. I used to get just one
of ten. Every painter has to make some bad
paintings. That's an inescapable fact. I'm
gettingbetter."
However , Smith doesn't crave notoriety .
"After Im dead maybe, but it scares me
right now. If my ego was inflated, I'm not
sure what it would to do me ."
Co
irupt government is once again cinema message
By Pete Schmitz
The Seduction of Joe Tynan, written by Alan Alda,
who also stars in the title role, has many alluring qualities.
In the end, however, the viewer is left cold.
- The main problem with this film is that its story, as
"well executed-as it may be in parts, is painfully unimaginative.
After the numerous political-personal scandals" of the
1970s, the entertainment industry has capitalized on, we
should know by now that "decent" politicians in Wash
ington are easily led astray, as Joe Tynan is, by the temp
tations of power, lust and recognition,
r We have been informed by popular magazines that the
demands made of our statesmen put much strain on their
family lives. Enter Senator Tynan unhappy wife
(Barbara Harris), foul-mouthed son and daughter.
.. Many times our civics lessons have taught us that poli
I tics often dictate that personal feelings for friendly
colleagues must be put aside. This is where Melvyn Doug
las comes in as Joe's elder, southern mentor in the Senate,
'who has t penchant for speaking French when things
don't go his way.
L On many occasions, Americans axe somehow lucky
enough to learn about the wild parties and extra-marital
f romances that our government leaders engage in. Alda
"makes sure to include this in his script, utilizing the
talent of Rip Torn, who plays another southern Senator -?who
is macho to the hilt Meryl Streep Is Karen Trayner,
an activist-lawyer who also is our hero's mistress.
4 Fortunately though, Alan Alda as the senator, is ironic, '
funny and believable. His striking resemblance in looks
and aura to former New York Mayor John Lindsay, is an '
asset. Many people also will appreciate his Jimmy Stewart,
nice-guy appeal.
As Karen Traynor, Meryl Streep attracts the audience ..
with her sensuous and calculating manner. But there art'
flaws With her role. '
First of all, one cannot help thinking that Karen be
came a lawyer because her .husband travels a lot for his
company. Also, one gets the idea that her success in her
profession is due to having a powerful father who has
been in the political game for a long time.
Furthermore, the abrupt change in Karen's behavior in
her last scenes are inconsistent with what we've seen ear
lier in the movie.
Given the fact that Streep has played a spoiled socialite
in Julia, a self-effacing girlfriend to Robert DeNiroin The
Deerhunter and a hateful lesbian in Manhattan in addi
tion to this role as a stereotypical southern belle in a
Washington milieu, it is indeed strange that Ms. Magazine
has referred io this actress as the new hope Tor women in
cinema. ,
The strongest saving grace of this Him is Barbara Harris.
As Ellie, an articulate psychologist, mother and poli
tician's wife, Harris is an icon of sensitivity and rational
ity, like Ingrid Bergman in Autumn Sonata, this actress .
conveys a whole dialogue and subplot with just her facial
expressions. - , i
The most impressive piece in this screen event is when v
she listlessly gives a speech at a banquet In her husband's. '
honor. This scene relates in most substantial terms the ' '
,harm done to Individuals by liberals who act harshly Co
these around them while contemplating the fate of the
masses. ,. :
When movie awards are passed out, Harris may get the
recognition she deserves. - ; - s , -y ';;
Also likely to garner an award or two is Melvyn Doug
las. This actor evokes an amazing amount of sympathy for
the character he plays, who wants t racist appointed to .
the Supreme Court so he does not have to face him as an
opponent in his re-election bid.
In all fairness, credit must be given to Alda for some
memorable parts in his screenplay. For example, young
Tynan's reaction td feeing the butt of his father's joke on
the Merve Griffin Show. v
The scenario Is helped further by the dnematographer
(Adam Holender) in his frequent Use bf individual dual
close-ups of the performers.. This accentuates the aliena
tion and loneliness that plagues many, of the characters.
However, Holender's manipulation of tight failed to cap
ture the different tones that were germane to various set
tings and moods.
Also inadequate is the pokey music of Bill Conti. His
score, would have been more suited Iri an episode for
beath Valley Days.
Despite the weaknesses of Alda's story and, in particu
lar, his ambiguous way of ending the film, this actor-turned-writer
at least has proven that he is capable of
creating something much more powerful-, if only he is will
ing to take a few risks. It Was a mistake to try so hard at
being entertaining and didactic with his first script.
Gould performs
K ,i Ronald Gould will kick off a series of organ
' recitals on the Bedient orgil it the Wesley House '
t Chapel. 640 N. 16th St. 8 p jn. Sunday.
. Gould, professor of music at Youngstown State
University in Ohio and organlsUhoirmaster at St. 1
Johns Episcopal Church m Youngstown, holds )
degrees in sacred music. He. studied with Hugh
. Porter and Vernon DeTar. - .
.- His program will Include German, French and
American music from three centuries, Including
works by Bach, Clerambault, Luebeck, Brahms.V
Hmdemith and UNL Professor Emeritus Myron
- - Roberts. - - . . - . .
