Geoff Wichert has degrees in critical writing and creative nonfiction. He writes about art to settle the arguments going on in his head.
As someone who studies and writes about Contemporary art, I have often pointed out its tendency to be overly specific. There’s a real difference between Theodore Gericault’s “Raft of the Medusa” (1819), protesting a single event that scandalized Europe, and a porcelain figure of Michael Jackson by Jeff […]
“It was the best of times, it was the worst of times . . .” So Charles Dickens characterized the French Revolution in A Tale of Two Cities. So we may pray writers in the future will reflect on our plight today. In any event, it certainly can be […]
Less than a century ago, Abstract Expressionism brought the United States squarely into the dramatic center of world art for the first time. Pollock, de Kooning, Kline, Motherwell, Mitchell, and their peers formed the spine of a reinvention that evolved from the earlier revolt of Picasso, Matisse, Miro, […]
The Statewide Annual Exhibition invites all Utah artists to submit their work—the art itself, not slides—the accepted works to be shown as a group in the Rio Gallery. Each year’s exhibit tackles a loosely defined subset of art, three or four specified media, all work made in the […]
“After the Flood” ca. 1940, oil on board, 28″ x 36″ Winston Churchill, who wrote history when he wasn’t busy making it, once quipped that history is written by the victors. He might have written instead that it is only through the writing of history that a victory […]
Katie Paterson (Scottish, born 1981), Totality, 2016, printed mirrorball, motor, and lights, 85 cm in diameter, photo © Ben Blackall, courtesy of the Lowry Take a moment to imagine a Cubist meteor shower, in which a whole sky full of points of light fly through the darkness, through […]
“Rhetoric,” Matt Kruback, 24”x 36”, Pigment Print, 2016 No matter how much we may enjoy and even prefer an immediate and strong response to what we see, not all artworks can be adequately replied to with a simple “yes” or “no.” For two promising young multidisciplinary artists, […]
“Mannequin Defectors I” Much has been written about Jann Haworth, but two things seem customary to mention. One is her formative involvement with Pop art, which began in England and with which she still identifies. This biographical fact might otherwise escape her American audience, since the substantive work […]
Installation view of “Cities of Conviction” at UMOCA. My dad told me a story once, from his childhood in Kansas. This kid lost all his money at a carnival, pitching rings at the necks of Coke bottles, trying and failing to win a prize for his sweetheart. The […]
Angela Ellsworth’s “Seer Bonnets” frame works in the modern and contemporary gallery. Perhaps the only constant for venues that show art is change. Exhibits come and go, while curators faced with more objects to show than space to display them rotate often uncompromising objects through necessarily flexible, though […]
Also known as prestidigitation or legerdemain, sleight of hand refers to the manual dexterity used by conjurors and magicians to manipulate commonplace physical objects so that they appear to materialize and dematerialize right before our eyes, making the impossible and remarkable appear normal and ordinary. The painter Jeff Juhlin does something analogous in […]
“It was the best of times; it was the worst of times . . .” So Charles Dickens celebrated an era that has resonated far too often with human history, but perhaps never more so than it does with the Americas today. In A Tale of Two Cities, Dickens […]
