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By Jim Basile For The Oklahoman"The Assistants" by Camille Perri (G. P. Putnam's Sons, 288 pages, in stores)
Camille Perri began writing “The Assistants” while she was an assistant to the editor-in-chief of “Esquire” magazine, and since authors are often advised to write what you know, it's probably safe to say that her position was instrumental in the germination of this novel and that some truths may crawl just beneath the fiction.
The overall premise is a relatively simple one: Tina Fontana has spent six years as an assistant to Robert Barlow, CEO of the globally powerful Titan Corporation, but she's starting to feel as if she is going nowhere.
Tina can't help but be aware of the discrepancies that exist between those who have money and power and those who work under them and seem to have little to show for it, those for whom life consists of Ramen noodles for dinner and crippling student loan debt that effectively shackles them into years of wage slavery.
One fateful day, due to a company accounting mix-up, Tina finds herself in the position of being able to pay off her student loans with the click of a button — and with company funds.
Colorful realistic-expressive paintings and stylized “aerial landscapes” contrast nicely with a relative lack of hue, in three solo exhibits.
The shows by Carol Beesley of Norman, Bob Nunn of Dallas, and John Wolfe of Oklahoma City, are at JRB Art at The Elms, 2810 N Walker.
University of Oklahoma professor emeritus Beesley brings the most vivid color schemes to her mixed media oil, acrylic and watercolor works.
A big red bluff reflects in blue waters, in front of lush yellow-green plants, in Beesley's large, eye-catching 72-by-86-inch oil of New Mexico's “Ghost Ranch.”
Blue dominates a lower key, subtle but satisfying depiction of “The Pedernal,” offering us a new take on a favorite subject of Georgia O'Keeffe.
Rocks “Off the Trail” at Quartz Mountain partly block passage to the top, while snow or white space “NearTurner Falls”seems semiabstract, in two more of her works.
A horizontal format aides Beesley's portrayals of a pink New Mexico mesa behind green fields, giving way to a diamond pattern, and of Colorado's red “Echo Mesa Canyon.”
Aerial views of richly earth-toned land forms, alternate with sky, water, rivers and places where people live, indicated by dots, in the oils of Dallas native Nunn.
Cubistically subdivided planes add impact to a Nunn oil called “Refracted: A Far Better Place,” and to a work offering us “Another View” of a town sandwiched between red rock towers.
Crowns, circles, ovals and jagged geometric shapes are suggested by Wolfe's paper constructions, made from cut up pieces of paper, in muted pink-rosy and off-white shades.
Closer to white, but with rusty iron oxide stains, are Wolfe's reduction fired, ceramic, “paper clay” structures, stacked up like two or three-story, buildings, of some odd sort.
A bit more cohesive, yet also abstract are Wolfe's small white ceramic forms, on dark wooden bases, which can bring to mind anything from weird waves to bird heads or strange teeth.
Wolfe is a longtime artist-educator-sculptor and assemblage artist.
By Brandy McDonnell Features Writer email@example.com In the midst of big changes, Oklahoma City Theatre Company is celebrating its 18th birthday with a season of daring plays for adults.
After the spring departure of Artistic Director Rachel Irick, the board of directors convened a selection committee to finalize plans for the 2016-17 season, choosing the theme “Barely Legal.” It's more than just a catchy play on the company turning 18, said board member and interim Managing Director Callison Coburn.
“All these subjects we're talking about are things that are barely legal.