One of the key questions art plays with at the present moment can be implied to the five-word phrase it is and it isn’t. Most traditional works of art unambiguously intend viewers to see just what they pretend to be: a visage, a human figure, a moment from life. Kandace Steadman pulled three artists from Finch Lane’s slush pile, the stack of proposals every gallery (like every publisher, whence the term is borrowed) draws from, and juxtaposed them to call attention to three relatively new forms of this ambiguity.
In Don’t Read This, eight artists attempt to explore incorporating the verbal content of a message into the way it’s presented without allowing text to hijack the image.
In Giorgione’s enigmatic “The Tempest,” probably the most famous image of lightning in art, an electric blue bolt slices open a stormy cloudscape, dividing the landscape in two. It’s title alerts us to look for visual contrasts and symbolic conflicts, appropriate and easily found in a work done […]
On the radio recently, another self-proclaimed expert predicted confidently that from this day forward, the printing of maps would cease. Instead, from now on we will all find our way using the GPS-linked apps on our cell phones. An alternative future he unconsciously conjured, though, was of society […]
Water is one of art’s great subjects, and why not? One of four indispensable elements known to the Greeks, it’s the one that comes closest to being unique to our planet. Water makes life possible, but also shapes and even transports it. We know far more about water […]
Despite the obviously punning reference in its title, a first glance around Driven to Abstraction suggests a third layer of meaning: the impact of the open road on art. Here are three prominent canvases by Jean Arnold, her familiar perspective from her mobile studio—a public bus—condensing transport into a constellation […]
“It’s well known that while it’s only a forty mile drive from Ogden to Salt Lake, it’s at least a hundred and forty miles from Salt Lake to Ogden.” With tongue thus firmly in cheek, Scott Patria, co-founder of the gallery venture he likes to call a “low […]
“I love ambiguity,” Bernard Meyers says, and with that refreshingly unambiguous confession, highlights a principal characteristic of his photography. Ambiguity is what makes his photos—unlike the majority of images produced by today’s ever-more ubiquitous cameras—valid additions to our common visual language. Or in other words, works of art […]
Two things are soon apparent on entering the Shaw Gallery. The first is that, to paraphrase The Wizard of Oz, we’re not in Utah any more . . .
According to Wikipedia: The hippocampus (named after its resemblance to the seahorse, from the Greek hippos meaning “horse” and kampos meaning “sea monster”) is a major component of the brains of humans and other vertebrates. It belongs to the limbic system and plays important roles in the consolidation […]
Picasso famously told Gertrude Stein, before embarking on what became one of the most famous portraits of the twentieth century, that she needed to understand that it would not look like her. Picasso taught the world a new way of seeing, though, and his pre-cubist portrait of Stein […]
Across the room, Nuala Creed’s “Lament for Fukushima” looks like a child’s well-worn doll, but up close he’s seen to be an adult: one so rounded and smooth as to be mistaken for a child. He sits on the ground with his legs folded in front of him […]