At the Utah Museum of Contemporary Art, response to Nobody Likes It Here, the installation by Alexis Rausch in the Projects Gallery (near the entrance), has been spilling over into the adjacent Street Gallery, where the Utah Division of Arts and Museum’s Statewide Annual is on display. It’s […]
In spite of the relatively narrow design principles Sunny Taylor has chosen to follow for two decades now, she somehow manages to mix up the results so that within her large body of work, while every Sunny Taylor could only be a Sunny Taylor, each one manages to […]
Maura Segal isn’t the first artist to settle on a paradigm or format to repeat in a series of variations, nor is she the most extreme proponent of a fundamental modern, indeed Minimalist or Conceptual, approach. Donald Judd, for instance, designed the same metal box — technically described […]
The 13 new paintings by Hayden White at Finch Lane Gallery challenge an audience and a community used to sharing broad assumptions with its indigenous circle of artists. By skillfully employing representational techniques, such as the behavior of light on materials and surfaces, White makes his work visually […]
When Trishelle Jeffery enrolled in the printmaking program at Snow College, it was clear that she was already an accomplished artist who had come to art school to add some essential skills to her tool belt. She wasn’t the first artist to admit that she lives with periodic […]
Two small panels among her nearly 30 works currently in the Dibble space at Phillips Gallery may represent a moment of freedom and spontaneity that Nancy Vorm needed to make for herself amidst the meticulously controlled efforts seen around them. Their titles, “Sojourn 1” and “Sojourn 2,” confirm […]
The history of art, like the structure of the physical universe, has become a settled matter — a grand paradigm — in the last few years. Each now has a story that will stand the test of time, or until a new age demands a different theory: whichever […]
Like the classic notion of beauty, traditions of craftsmanship were often rejected by modern art. For much of the last century, artists felt a need to make works that were not only ugly by conventional standards, but crude. Many still do, but clearly Dan Toone is not one […]
If a doorway is seen to be standing all by itself, without a building or even a single wall to justify its presence, it’s probably either a ruin or a monument. Or both. Door frames are normally built stronger in order to survive despite their inherent weakness, since […]
The Springville Museum of Art’s Spring Salon is the largest annual exhibition of work by Utah artists in the state. More than 1000 works are entered for consideration each year. From these, the museum manages to hang several hundred on their ground floor galleries. The Salon is too […]
“Regina is a compact, trapezoid-shaped tower, like a slender version of a ziggurat, the temple structure that spread across the Fertile Crescent three thousand years BC, which almost certainly inspired the story of the Tower of Babylon. Where ziggurats were made of sun-dried clay bricks, however, this tower […]
For a couple of magic years during her adolescence, I drove my step-daughter to and from school five days a week. During those shared moments, one of her favorite things was to tell me her dreams. Eventually I realized her narratives went on far too long for her to be remembering them: that she had, in fact, returned to the dream state and was telling me the dream as she witnesses it continuing. The literary novelist, Robert Olin Butler, describes the process of artistic creation just so, as dreaming while awake, and I realized that I’d had the rare privilege of witnessing that process in play.
That description comes close to accounting for the art of Trent Alvey, in that her works are rooted in abstractions and resist ascribing them to subject matter.
Some Things We Noticed at the Spring Salon: Jason Lanegan, Emily Hawkins, Pamela Beach, Shari Darley Griffiths, Santiago Michalek
Jason Lanegan’s “Relic and Icon of a Rural Life” unites a found toolbox with an icon: a model barn made on the scale of the small churches often held by saints in their portraits, here fabricated from building materials and covered with plans and patterns. Inside the box lies a baling hook, a handheld extension of the worker’s arms and fingers, restored to the environment in which it spent its working life. Lanegan’s reliquaries express his faith that his life and its milestones are as valid, and more entertaining, than those of long gone figures whose names few recall.
Out There includes 17 artists, most of whom will be familiar to Modern West’s regulars. They all appear frequently, and most have some work in the collection, giving their audience a chance to witness their gradual, and occasionally sudden evolution. Two themes that made for new work were the ongoing environmental crisis, which has only grown worse while almost nothing is done by those who could and ought to help, and the pandemic, with its associated social isolation and continuing controversy, in spite of mortality remaining high.
Touring Broadway shows, rock bands, and blockbuster art shows schedule venues and acts years in advance. That’s great for events that take place over decades or even centuries, but contemporary art hasn’t that luxury. So when the Kimball Art Center’s curator, Nancy Stokes, undertook to survey the evolution […]
They’re clearly plants, though unlike any we see here in Utah. The tallest one looks like a tree, but with something like a handful of twisted fingers at the top. Closer to the viewer, something pink looks like a Fourth of July firework: a single stem like the […]
There are a lot of whale bones in the AIR. (That’s the gallery at UMOCA where their Artists In Residence cap their experience with a one-person show.) There are also a number of red herrings, which can happen when an artist tries to do something unconventional. In Razorbacks, […]