When the French painter Paul Cézanne headed back to the south of France, he was retreating from an art world that greeted his paintings with indifference, but he was also returning to his ancestral home, full of a bright, penetrating light so different from the moisture-laden haze of Paris. Vincent van Gogh, and for a brief period, Paul Gauguin soon followed Cézanne’s move, resulting in the crisp, penetrating light of Provence making it’s way into their paintings and impacting the development of Modernism in Europe. Is it any wonder, then, that the American Southwest, with its equally dry penetrating light, became a destination for America’s modernists? That intense light, in a multitude of variations and mood, is a clear and unifying thread in the exquisite exhibition Simpler, Brighter, Stronger: Early Modernism and Southwestern American Art currently on view at Brigham Young University’s Museum of Art (MOA) . . .
Read Hikmet Loe’s review of the exhibit in the November 2013 edition of 15 Bytes.
has taught art history at Westminster College since 2006, and has also taught at the University of Utah and Weber State University. Her extensive exploration of Spiral Jetty will published next year by the University of Utah Press in a book titled The Spiral Jetty and Rozel Point: Rotating Through Time and Place.