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Show Old Town Gallery to welcome three young artists Sunday Park ( il News I hursday, March 17, 1983 Page B7 The Old Town Gallery is planning an exhibition of work by three young, gifted artists. It will open with a reception for the artists Sunday, March 20 from 2 to 5 p.m. and will continue through Wednesday, April 13. The gallery will be open from 10 a.m. to 6 p.m. Monday through Saturday and from noon to 6 p.m. on Sundays for this exhibition. Adobe, one of the featured mediums, is not necessarily native only to the United States, although the Indians of the Southwest have used the clay technique from very early times. It probably originated in ancient Egypt. Holly A. Haas has taken an artifact and turned it into an art form of the highest stature. She developed adobe as an art form after touring Egypt and Greece and being struck with the fact that these ancient people used materials indigenous to the area to recreate scenes from everyday life. Haas creates these same themes by carving carv-ing the adobe she finds in the Southwest and Mexico, where she explores for appropriate sand and clay. To these basic materials she adds ground pigments which form a strong bond with the clay. Each piece is then slowly cured and preserved with a seal. Her work ranges from small wall pieces to large wall panoramas commissioned com-missioned by banks and churches. Haas has an M.A. from San Francisco State University Univer-sity and also studied at Marquette University, Milwaukee, Mil-waukee, and the Lester Polakov Studio of Stage Design in New York City. She has exhibited widely in the Southwest, including Taos and Albuquerque. This will be her initial gallery exhibition in Utah. Batik is the Malayasian If ' . F if r i 1 1 M 0 : sa"r"T"ir'ti"mr inni , I ' J, II 1 PA I Holly Haas and her carved adobe art. word for wax writing. It describes an art form originally ori-ginally intended for the creation of printed fabric. Park City resident Holly Meeker Rom, however, has gone far beyond that limited utilitarian application and has developed a personal style of batik as a highly developed art form. Her batiks are finely conceived works, replete with all the elements that make oil paintings or watercolors truly tru-ly fine art. Rom holds an M.A. from California State University in Sacramento, and also studied at the Rhode Island School of Design, the Parson School of Design in New York City, and the University Univer-sity of Utah. In addition to her batiks, the Old Town Gallery will exhibit some of her watercolors which show the same superior artistic ability and talent as her unique batiks. Since the discovers of oil as an artistic medium by the Van Eyck brothers of Flanders Flan-ders at the beginning of the fifteenth century, the number num-ber of oil painters has become countless. Occasionally, Occa-sionally, one or two very young artists rise above the surface and are recognized by critics and others as being unique. One such artist is Kathryn Goodman Reynolds, Rey-nolds, who comes with impeccable im-peccable credentials. She holds a degree from Scripps College in California and has studied extensively in Europe Eu-rope and New York, working with such outstanding artists as Charles Pfahl, Burt Silverman, Sil-verman, Harvey Dinner-stein, Dinner-stein, Robert Beverly Hale, John Howard Sanden and David Leffel. She is a native of Salt Lake City, now resident resi-dent in Dade City, Florida. IEeefl WdDirldl by Rick Brough Frances Farmer Two movies shed light on rediscovered film legend Frances This week, movie-goers have a chance to match reality with fiction. In Salt Lake theaters, Jessica Lange is stunning audiences with her portrayal of film star Frances Farmer. At the same time, you can find the real Frances Farmer Far-mer in a movie called "Come and Get It," playing Saturday and Sunday at the Utah Media Center. It's one of a handful of movies she made during a stormy tenure in Hollywood. (The movie is considered one of her best, but in "Frances" the title character says she doesn't like it.) Bad or good, it's one part of the slim evidence we have to judge Frances Farmer. Overnight she has become a legendary figurea luminous, doomed rebel. I plan to see "Come and Get It," to see how much of that personality can be found on the screen. The movie "Frances" was primarily responsible for stirring our interest. Jessica Lange's performance carries the picture. And although the story of her victimization vic-timization is simplistic by today's standards, Frances' story would have made a good social-protest film during the 1930s. Frances Farmer, the movie tells us, first attracts fame with a high-school essay on her realization of the death of God. She snags a Hollywood contract, but questions the studio head too much. And she feels guilty about doing Hollywood fluff in the midst of the great Depression. Her attempt to escape to the idealism of the Group Theatre in New York is a failure. Trapped in a loveless show-biz marriage and the Hollywood rounds of bad movies and hypocritical gossip, Frances sinks into self-destruction behavior. A couple of violent episodes a drunk conviction, an assault on a studio make-up lady land her in an asylum. It's the first of several trips to the booby hatch, where female fe-male patients are subjected to electroshock, rapes, and the ego-tripping counsels of the doctors. (The script and Graeme Clifford's direction manage to keep your attention, atten-tion, even though Frances' life starts to look atrociously monotonous. She bounces in and out of padded cells like a yo-yo.) The villains in this picture are in several confusing shades complex, black and grey. Probably the weakest section is the depiction of Hollywood the standard picture of ruthless studio bosses and gossip. You can see Frances cracking under the tinsel, but you don't understand un-derstand it. Why did Farmer break when other Hollywood liberals, or rebels, managed to live with the system? The asylum sequences are some of the most shocking. It seems incredible to watch a doctor performing a transorbital trans-orbital lobotomy on Frances that involves making a quick thrust with a chisel under the eyelids. Actually, director Clifford has said he toned the material down. An exhibitionistic doctor of the time carried a pair of chisels and operated on patients two at a time before audiences, he said. (An afterword to the movie says that conditions have improved in California mental hospitals. But the producers claim a knife was held to their backs. The disclaimer, they say, was made to obtain facilities for filming.) The most interesting sequence, however, concerns the supposedly idealistic Group Theatre, where Farmer Far-mer performed for a time. It's a suprisingly sour view of producer Harold Clur-man. Clur-man. and author Clifford Odets, who carries on a romance with Farmer in the picture. In the story, both men talk a good game about the ideals of art. But, to secure the help of a wealthy actress, they abandon Frances Fran-ces as the company's leading lady and leave her to the Hollywood sharks. In the middle of Frances's story, the movie goes in for this sardonic attack on ivory-tower liberals. In a theater alley, Odets sits with Frances, watching a little beggar girl, and he tutors her on empathy with the suffering. suf-fering. Neither one, however, lifts a finger to help the child. (Did director Clifford realize the irony. Or is the joke on him too? ) As you may have guessed, the movie is often effective but it doesn't always hit the same tone. And toward the end, the director gets lazy. All the villains look the same. (When Frances comes home, from the asylum, she's introduced to her mother's attorney. You know the lady lawyer won't help, because she's got the look of all the heavies in the movie. She's a chunky bulldog look, and Clifford frames her looking straight into the camera. The picture's disparate elements are held together by Jessica Lange's performance. perfor-mance. Through high and low points, she shows the fire in Frances something that is bright, daring, rebellious, and audacious. That fire is the backbone of nearly everything we see the smug, precocious high-school high-school girl, the questioning actress and the woman whose anger in the asylum shifts into a spiny dementia. (No wonder the shrinks could fool themselves into thinking her rebellion was insanity.) The capper is Lange's last scene, after the lobotomy. The radiance is still there, but the intelligence and power is gone. You know the fire's been quenched. Another blazing performance perfor-mance is Kim Stanley as Frances' mother, who almost trembles in her hunger for a vicarious life through her daughter's fame. Stanley balances pathetic blindness with a detestable smother love. Sam Shepard does a decent job in a role that is little lit-tle more than a plot device. He is narrator, confidant to Frances, and a convenient friend who turns up to spirit her from one scene to another. "Frances" illuminates a tragic figure who was little-known, little-known, even to film buffs, a year ago. It will stimulate a demand for old Farmer movies, as people try to discover the real woman behind the new-born legend. Vfv JpfT , "-Silver Shears Salon, 649-8273, Park City. VJL... .,. "'0 Free s'ye Salon, 328 0421, Salt Lake. SPECIAL INTRODUCTORY OFFER PROFESSIONAL MANICURES . 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