Linnie Brown’s approximately two dozen pieces in her show Retrace at A Gallery, with titles like “Often Requires Additional Building,” “Need Only to Reattach,” and “The Line Between Now and Then,” make you think of nothing more than — what if all these paintings, with their flanges and […]
Rebecca Pyle is a writer and artist in Salt Lake City, living in a house the telegraph operator for The Salt Lake Tribune lived in a hundred years ago. She really is a journalist, as her short stories, poetry, and paintings appear in Remembered Arts Journal, Raven Chronicles Journal, Stoneboat Journal, and Requited Journal. And reviewed: her writing and painting are in New England Review, Wisconsin Review, and Roanoke Review. See rebeccapyleartist.com.
There is a neat taking-off trick here: two of Jennifer Rasmusson’s back-in-time representational paintings are here, separated from her New Abstracts now filling A Gallery’s white-on-white indoor sky-lit courtyard area. The pre-abstract “Collection of Blues” is eye-level; it’s very large; one bloom is the size of your head. […]
Ann Poore grew up an army brat — her late father, she jokes, would have emphasized the latter part — who spent her formative years in northern California in the late ‘60s. She came to Salt Lake City to finish college, which she did at the age of20, […]
. Once plants — were art? Most knew them, at least something about their medicinal powers, their lore. Unlucky Ophelia had her declarative listless list of flowers, her mad list, herb and flower names (“…rosemary, that’s for remembrance…Pansies, that’s for thoughts”) symbolizing pre-suicide remembrance and rue—though why-hadn’t-Hamlet-loved-her-enough was the meaning […]
1910. Matisse. All hail the death of “still lifes,” paintings which incorporated over-ornamentalized baked clay pottery, flowers sheared and arranged in water at their height of bloom, damask and linen made from once-living plants, mandolins and violins set out with all their elaborate fittings and gold filigree—once trees; […]
Taking place on a set with almost 20 clocks, Jenifer Nii’s “The Weird Play” has the calculus, the mind-numbingness of geometry. The set, by Halee Rasmussen, contains the gaping hollows of one actual door-opening and one window-opening, opening into the darkness of the Plan-B Theatre backstage, itself clearly […]