{"id":72401,"date":"2023-11-29T18:21:31","date_gmt":"2023-11-30T00:21:31","guid":{"rendered":"https:\/\/artistsofutah.org\/15Bytes\/?p=72401"},"modified":"2023-11-30T08:01:09","modified_gmt":"2023-11-30T14:01:09","slug":"long-live-the-groucho-marxist-sam-wilson-1943-2023","status":"publish","type":"post","link":"https:\/\/artistsofutah.org\/15Bytes\/long-live-the-groucho-marxist-sam-wilson-1943-2023\/","title":{"rendered":"Long Live the Groucho Marxist: Sam Wilson (1943 – 2023)"},"content":{"rendered":"
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Photo by Zoe and Robert Rodriguez, shot in 2018 as part of Artists of Utah’s Utah’s 15.<\/p><\/div>\n

A prominent figure in the Utah art world and a dedicated faculty member at the University of Utah College of Fine Arts, Sam Wilson leaves behind a rich legacy characterized by his unique blend of passion, innovation, and commitment to authenticity in art. He passed away Monday, Nov. 27, at the age of 80.<\/h4>\n

He was born Roger Dale Wilson in Kansas City, Missouri, in 1943. “Sam” was a nickname his father gave him five years later. His family moved west to California where he graduated from high school in Long Beach in 1961. His studies at Long Beach State College were interrupted by a tour or duty in Vietnam. In 1978 he came to Utah as a visiting artist and never left.<\/h4>\n

Known for his distinctive style and relentless work ethic, Wilson’s approach to art was deeply personal and reflective. Working seven days a week, even into his 70s, his dedication was evident in his striking self-portraits, characterized by his shaved head and piercing blue eyes. Wilson’s work often featured the “Groucho Marxist,” a whimsical self-representation that underscored his light-hearted view of the art world and life. His paintings, brimming with diverse and often unexpected elements, were a testament to his imaginative and humorous approach.<\/h4>\n
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An example of Sam Wilson’s work, from an exhibit at 15th Street Gallery in May, 2013.<\/p><\/div>\n

Known for beginning his paintings without a predetermined plan, Wilson allowed his subconscious to guide his hand. This spontaneous process, coupled with his meticulous use of various mediums, highlighted his unique approach to creating art that was both realistic and abstract.\u00a0Wilson’s art was a melting pot of influences, ranging from Renaissance masterpieces to mid-20th-century pop culture. This eclectic mix not only showcased his wide-ranging interests but also his ability to juxtapose disparate elements to create something truly original.<\/h4>\n

As Geoff Wichert expressed it in the profile he wrote<\/a> of Wilson for Artists of Utah’s Utah’s 15 publication,\u00a0Wilson’s tenure at the University of Utah College of Fine Arts was not just a job but a calling. He joined a vibrant community of artists, fostering an environment that valued diverse artistic expressions and the pursuit of quality in art. His role as an educator was as much a part of his legacy as his creations, influencing generations of aspiring artists.<\/h4>\n

His notable works, including The Stations of the Cross<\/em> at the Cathedral of the Madeleine in Salt Lake City, displayed his ability to blend historical reverence with a modern artistic touch. His annual travels to Italy further connected him to the rich tapestry of art history that he so admired.\u00a0Wilson’s views on contemporary art and its societal interactions were marked by a preference for substance over style. He advocated for art that balanced conceptual depth with tangible craftsmanship, challenging the prevailing trends in the art world.<\/h4>\n

Wilson’s home studio in Salt Lake City remained a mirror to his eclectic mind even after he retired from the University of Utah. Packed with a myriad of objects from plaster busts of historical figures to quirky items like a mannequin in a Foreign Legion hat, his studio was a testament to his diverse inspirations and playful approach to art. It expressed a notion he repeated on more than one occasion: “It’s far better to make art than to ‘be an artist.'”<\/h4>\n