Image provided by: Clackamas Community College; Oregon City, OR
About The print. (Oregon City, Oregon) 1977-1989 | View Entire Issue (Feb. 25, 1981)
arts & lives Sandgren’s painterly paints, prints on annual Jury display Eric Sandgren Staff photo by Ramona Isackson “It’s transforming common subject matter into something visually exciting,”^ said Eric Sandgren of the art of water color painting. Sandgren, a teacher of art, painting, and drawing here on campus, cur rently has two of his prestigious works on display at Mt. Hood Community College and Willamette University. At Mt. Hood, Sandgren’s print was one of .many chosen for the Oregon Printmakers Annual, a yearly competition of lithographs of original artists’ prjnts that is now in its fifth ¡Film view by Peggy Conrad year. “My print is titled, ‘St. Julian,’ and it’s a play on a story by Flaubert,” Sandgren said. “He wrote his story based on a stained glass window, so now it’s back to its original form,” Sandgren. mused: “St. Julian” is on display from now until March 10 at the Art Mall Gallery at Mt. Hood. Sandgren’s second display can be found at Willamette University until March 20 at the Art Building. It’s titled “Paper and Tin,” and was chosen by the Oregon Jury Water Color as one of the best watercolors in the state. Painted in 1980, ‘’Paper and Tin” is a still life of the materials in the title. “1 do a lot of water colors,” Sandgren said. Is his watercolor impressionistic? Ex- pressionistic? ‘T don’t suppose you could label it anything other than painterly, which is an interpretation of a story,” the Ivy League alumnus said. Born and raised around art in Corvallis, Sandgren was at tracted like a magnet to Yale University’s art program. Later, he attended Cornell on a scholarship. This isn’t San- dgren’s first art display. At the Portland Art Museum last will succeed is his wife, played November, he had an exhibit at by Blair Brown. She reaches the Rental Sales Gallery. In out and literally pulls her hus that same month, Sandgren band back to human form was also awarded a grant from the Oregon Committee for the more than once. “Altered States” fills not only Hujnanities, and gave a your mind, but your eyes and presentation on the subject of ears to capacity, as well. It is a American landscapes. visual, fast-paced, and electri Sandgren, who taught at fying film. Nominated for Best Portland State University for Music Score arid Sound at the two years before turning his at upcoming Academy Awards in tention to this college, is April. teaching three different courses This movie left me for next term: painting, draw breathless, and yet I felt I could ing and basic design ? painting go outandrun 10 miles. drawing commercial Art. fAltered States’ an audio* visual feast I “I’m no longer observing, I am one of them.” J This is only one of the many chilling lines from the bizarre new movie, “Altered States” Dcurrently playing at the Westgate in Beaverton and the Hollywood on Sandy Blvd.). [‘Altered States” is a story of a man searching for absolute truths, absolute causes, and his absolute beginnings. Directed by Ken Russell »Tommy, Litzomania, and The Devils), with a screenplay by Sidney Arròn (Paddy Chayèf- sky’s real name), this film is a blend of “2001,” “Dr. Jekyll and Mr. Hyde,” and every love story ever written. But it is so unique, it truly makes one pause to consider life and its origins. Edward Jessup, portrayed by William Hurt, is a young Harvard professor obsessed with finding man’s link to his own evolution. He brings back a mind-expanding drug from' Mexico, and when he com bines it with an immersion tank (which he has been placing his students in order to obtain their innermost psychological ex periences), he is transformed into a human animal. Jessup is fascinated and yet, terrified, wanting to continue the experiments with the aid of his two cohorts, brilliantly played by Bob (“Close En counters”) Balaban and Charles (“Hill Street Blues”) Haid, and yet knowing he may cross over into another dimension and not be able to return. Perhaps the person who worries the most that Jessup ‘2001: A Space Odyssey’ materializes Friday Ey Thomas A. Rhodes scene) into a nuclear weapon “2001,” a film without, blobs floating in space in the year (Kubrick had filmed aliens- I Thirteen years ago, a film 2001 (hence the title). which shows you how much in Bvas released that was ranked The plot turns to a new-and fluence he had-but he decided ■by the film, critics’ circle and by shocking-discovery on the not to use them because they ■audiences alike. Today, moon that might change all the didn’t look believable), without ■‘2001: A Space Odyssey” is theories on the development of laser beams, and- with ■generally considered by those, man and his brain. (Eric Von dialogue—which is impossible tame critics to be a great film, Danieken, pay attention.) That to get away with today, unless Bind an historical landmark in discovery? A tall black you’re Stanley Kubrick. ■he film industry. It is playing mpnolith that was radiating an Uniike the rest of the genre ■his Friday at noon in the Com- enormous magnetic field. up until ’68, “200l’s” special t unity Center Lounge. The film now ' turns to the effects were subdued—but Produced, co-written (with third and final portion of man’s 'realistic. No longer would peo rthur C. Clarke), and directed journey to the limits. The ple accept low budget films By Stanley Kubrick, “2001” il- • same, exact magnetic field Bustrates a theory on the detected on the moon has been ■development of man’s in- discovered on . the planet Belligence, an intelligence Jupiter. Two astronauts (Keir Kssisted by sentinels from the Dullea, and Gary Lockwood)1 Rosmos. Based on one of and their companion com Ellarke’s early short stories, puter, HAL 9000, are sent out The Sentinel,” this odyssey in search of the origin and pens with the dawn of man- possible discoveries accom pes living on a virgin earth, panied with the field. ■iolent, ignorant, and without Another theme is introduced Kubtlety. While the apes sleep, to the audience, and that is B black monolith is placed by- man becoming overwhelmed Kxtraterrestials outside their by his own technology. Rave. When “2001” opened first in I The monolith is the prover- 1968, it baffled and confused ■ial “think, tank” for the soon- many people (and it still does). Bo-evolve beings, and from it, In ’68, America was in a cold' Rhe apes (played by mimes, war with the Soviet Union and Believe it or not) gain the most science-fiction films up to Knowledge to use bones as that time were concerning huge Bveapons, which helps the blobs (representing com Bpecies survive and eventually munism) attempting to take Kvolve into man. over the world. Science-fiction ■ As an ape revels in joy over films based on this subject pret ■is new discovery (a weapon), ty much ran their course in Ke unleashes his weapon into about two years’, so for about Rhe air. In mid-air, this primitive 10 years, this film genre pretty teapon changes (as does the much died. Then came _ ednesday, February 25, 1981 ■Of The Print centimeters Colors by Muriseli Color Services Lab with cheap-jack special effects. They had to be realistic. So rare is this Friday’s noon film, that no 6ne has even made an attempt to reproduce it. You’ll notice how many carbon copies have been made out of “Star Wars.” To be blunt, “2001” added stature to a dwarfing genre, and without it, there ¡would have been no “Star Wars,” “Empire Strikes Back,” “Alien,” or “Close Encounters” (as good as it was) . It’s a horror film without blood, without hands bursting out of the darkness, and without the 101 strings (used in every horror film since “Psycho”). “2001” works on a subtle level of hor ror. When HAL turns on his human comrades, it’s as horri fying as anything in “Psycho,’J because the effect of the horror is psychological, not physical. Next term, Kubrick, Howard Hawks and Sam Peckinpah will be the directors focused upon in the Great Directors Series.
