It looks like a blanket, though it might be a flag. There’s an image on it, taken from the most famous work of Josiah Wedgwood, the English potter, entrepreneur and abolitionist who founded the Wedgwood pottery works, with its signature cameo effect, in 1759. In 1787, he made […]
In her video installation, Who’s Coming to Save You? artist Christy Chan undermines what has become a too-familiar impulse in the population at large. That is, as her title suggests, the assumption that salvation, either political or something stronger, is our only hope for the future and so must […]
The paintings of Heydar Rasoulpur include some of the most vivid dreamscapes, capturing the most telling and painful memories, to have emerged from the ship-wreckage of nations that have literally cast so many homeless millions onto stormy seas in the decades since the Millennium. It should perhaps come […]
The main upstairs gallery at UMOCA boasts a long front room, in which two dozen or so vibrantly colorful paintings of sumptuous foodstuffs currently hang. They surround a couple of tables placed end to end, on which are arranged a dozen pairs of clamshell take-out boxes. The congruence […]
“Here” is always “between there,” just like now is always between then and anyone is between others. Whoever seeks an explanation of what John Sproul’s art says is making a categorical error. It doesn’t render judgments; it illustrates possibilities. Not what is but what could be. Not all […]
Tobias Fike has filmed what it feels like … not to die, but a related experience we never have for ourselves. Most of us know what it is like to lose a loved one, a dear friend, or even a stranger we admired above all others. We know […]
As a general rule, masks are intended to conceal the wearer’s identity. Why, then, does Hakeem Olayinka routinely conceal the faces of his Nigerian subjects from view? Nigeria is a country that has seen its environment destroyed by outsiders seeking petroleum, even as its own government murders citizens […]
Photography brought many things to the visual arts, like permission to cut a figure in half at the edge of the canvas, or leave some undesirable empty space, neither of which was done much, if ever, before the camera made them necessary and convincing visual facts. The shutter […]
In Renaissance workshops, artists often specialized: for a nativity scene or portrait of a noble, one artist might work on all the background landscapes, while another might be called in to paint the folds in a saint’s robes and a third would show off their skills on delicately […]
Every museum or community art center needs a really big room. At the Utah Museum of Contemporary Art, the biggest gallery extends like an atrium up through the floor above, so when they wanted to showcase Salt Lake’s explosive mural art movement, which has decorated buildings of every […]
Located in the Utah Museum of Contemporary Art’s Codec Gallery, Shattering the Pictures in Our Heads uses multiple screens to deconstruct stereotypes of the “Mythic Indian.” Shattering the Pictures in Our Heads is the most sophisticated exhibit currently running at UMOCA, presented in a gallery that uses “codec” […]
In Black River, Charles Edward Williams tells a personal story of universal relevance through eloquent physical metaphors. He could have written it down in one of those dubious memoirs that became all the rage a few years ago: how the author fell into addiction or abuse, hurt loved […]
Sometimes it seems like the current desire to make art a tool of political activism and social change is threatening to displace its fundamental virtues. If a gallery show asks us to put on headphones and listen to anonymous speakers talking about their lives, does it augment a […]
It was recently calculated by the University of Cambridge that the amount of electricity required by Bitcoin in a year would power all the tea kettles of the United Kingdom for 27 years. This startling assertion brings to mind two facts, both of which are part of the […]
At first glance, there’s something distressingly familiar about Nick Pedersen’s Slow Apocalypse, which — installed in the Exit gallery at the Utah Museum of Contemporary Art — represents a traditional gallery, including an upholstered viewing bench surrounded by 14 framed-and-hung works. Initially it recalls, among other things, a […]
