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October 2011
Utah's Art Magazine: Published by Artists of Utah
Page 9    
Detour Art at Kimball Art Center
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Up and Upcoming: To The North
Exhibition Listings in Northern Utah
Prepared by 15 Bytes staff unless otherwise indicated. UPCOMING and UP listings should reach us by the last Wednesday of the month. Those accepted will run until the closing date, or for one month if no closing date is given. Readers using the guide are cautioned to check with the exhibitor if the accuracy of the listing is crucial. Please send listings for this page to editor@artistsofutah.org

The Park City Gallery Stroll usually takes place the last Friday of every month.

Kimball Art Center
UP: Detour Art: Outsider, Folk Art and Visionary Environment Coast to Coast highlights art and images by visionaries, untrained artists, and folk creators found along the back roads of America. It honors the creative spirit that is at once traditional and whimsical, spiritual and irreverent, earthy and sublime.|0| The exhibit is an informative introduction to contemporary American folk art, and echoes the collector’s passion and intrigue in creative expression off the beaten path. . AND: Marcee Blackerby: Inside Out brings together a large collection of art boxes, mixed-media assemblages and collages that creates stories using eclectic arrangements of found objects with history and character, and places them on center stage giving them a new purpose and life.|1| AND: Members Pin-Up Show,
Julie Nester Gallery UP: On the Water brings together two artists that have long used water as a central topic in their work. Robin Denevan has spent extensive time touring the watery landscapes of the Amazon and Yangtze Rivers as well as the inlets along the shores of the San Francisco Bay.|2| In this latest series Denevan uses oil paint on aluminum to create a series of organic and abstracted shoreline images. Thea Schrack works with color photographs printed with archival pigment inks which are then combined with a number of layers of encaustic wax.|3| This process transforms the original photograph, resulting in artwork that looks more like a painting than a photograph. Schrack’s latest series titled “Time Rushing By” includes images captured along the waterways of the California Delta (see our review page 1).

BDAC UP: illustrators Utah! returns to BDAC and this year features: A life drawing workshop with renowned illustrator and BYU professor, Robert Barrett; Original artwork from the collection of Paul Mann featuring Hall of Fame Illustrators including Tom Lovell, Joe Bowler,|4| Robert Fawcett and Robert McGinnis. Artist demonstrations by professional illustratorAND: In the north gallery paintings by local artists Lester B. Lee and Aaron Bushnell.|5| Lee is a well-known artist, illustrator and retired high art educator. Aaron Bushnell, a Bountiful resident, is a nationally known artist who sells his paintings widely, and recently won first place in Southwest Art's 21 under 31 competition.

Western Heritage Art Museum UP: 16th Annual Uintah Arts Council Juried Photo Shootout. This year's theme is Fences, Paths and Waterways.

Brigham City Museum UP: For Wanted, the museum is exhibiting 50 12- by 16-inch studio and casual photographs taken during the 19th and 20th centuries that have been donated to the museum, mostly by Box Elder County residents. They are hoping patrons will be able to help them identify the subjects and give a future to these historical documents. Photographers include Jens C. Gasberg, Brigham City; Torgeson, Logan; and Fox & Symons, Salt Lake City; subjects range from a pretty young woman in hat and umbrella to a bald-headed baby in a dress twice her size; group shots include eight Brigham City women planning a Sorority Ball and mourners at the funeral of early-settler Alvin Nichols presided over by religious leader Lorenzo Snow.

Nora Eccles Harrison Museum of Art UP: New Acquisitions highlights a selection of the museum's recently acquired artwork.
AND: Bang! Thwack! Plop! %#$&!!! Comics: an Influence on Contemporary Art explores the intersection of comics and art with specific attention on how certain themes and stylistic forms have crossed over from the genre of comics into the world of visual art. This exhibit helps point toward a growing interdisciplinary trend in the arts that allows for a flow of ideas between media and form, creating a liberation of high art.

Chase Fine Arts Gallery (USU campus) UP: Study Abroad Exhibition: Vienna.

Tippets Exhibition Hall
(USU campus) UP: Student Scholarship Recipients Exhibit.

Thatcher Mansion UPCOMING: Utah Watercolor Society Fall Show, hosted by the Cache Valley Watercolor Society.

The Ogden First Fridays Art Walk takes place every month on the First Friday of the month. Galleries will hold receptions 6-9 pm.

Eccles Community Art Center UPCOMING:
The paintings of Mac Stevenson of North Ogden and the Windfall woods of Joe Deru of Ogden will be on display in the Main Gallery; while in the Carriage House Gallery the paintings of Bessann Swanson of Salt Lake City. Mac Stevenson landscapes include a number of local works including scenes from Mantua, Bear Lake, and views of Ben Lomond in addition to Western landscapes.|6| Joe Deru recently retired from teaching after 35 years in public elementary schools. He is drawn to the uplifting natural beauty of wood.|7| A Salt Lake City artist, Bessann Swanson's watercolor paintings include scenes of Southern Utah, travel, wildflowers and seaports.

Gallery 25 UPCOMING: Featured artists Lucile Chamberlin and her granddaughter Josephine Bradbury. Chamberlin, a Utah Watercolor Society member and past president of the Ogden Palette Club, has worked with and taught oil, watercolor and pastels, winning many awards over the years, and is drawn to Utah's landscapes.|8| Bradbury currently teaches art at Viewmont High School, and has taught portrait classes at Eccles Community Art Center.|9| The show will feature new works by both artists in oil and watercolor, with a wide range of subject matter including portraits, landscape and still life.

Mary Elizabeth Dee Shaw Gallery (Weber State University) UP: Edward Burtynsky: The Industrial Sublime. Burtynsky's large-format color photographs explore our impact on the planet (see September edition).|10|

Hints 'n' Tips
What do you do when it rains?

Sooner or later every plein air painter is going to face a situation out in the field when the weather changes right in the middle of the study. This actually happens a lot, so you might as well get used to the idea and come up with a plan for when it does.

Itís sort of like working in a figure drawing class when the model has to take a break. I always found that frustrating in college, because I wanted to keep on working until I got done with the sketch. I remember the instructor would always say that we should stop drawing or painting until the model returned. Then we would have to go through the old ritual of finding the same pose again, line up the feet on the tape marks, wait until everyone was satisfied with the pose and get into it again for the umpteenth time. If it were up to me I would have super-glued the model to the chair and pushed on until the end of class (lucky for the models I wasnít in charge!). I guess, in a way, my temperament was never right for that sort of thing and I naturally gravitated to the landscape. Of course that didnít totally solve the problem and in some ways itís even worse out there. At least in the classroom or studio you have consistent light to work with.

Be that as it may, I have learned to deal with the situation of changing light out in the field by doing several things, all involving either speed of execution or a course correction of some kind. I think all of those gesture drawing exercises, where we had to do a complete sketch in 30 seconds, then work our way up to an hour pose, paid off in the long run and is now helpful in the field. It is possible to do a complete painting in 15 minutes or a half hour; one merely has to pop in color notes and general shapes on a very small canvas, like a 6x8, with gusto! While these types of studies are not super-finished they do provide some color and value information that can be used to good effect back in the studio at a later date in conjunction with a photograph or two.

There is another procedure that works quite well and one I had to employ at a recent Plein Air Painters of Utah field excursion. This one involved getting down as much information as possible at a leisurely pace, taking a few photos while the light was the same and stopping work during the weather change. I could see that the conditions were changing rapidly and knew that I would only have a short time to get some finish on the canvas, about two thirds of the way through the painting. I decided to work in a finished manner without a ďlarge mass block inĒ and just finish as I went. When the storm came through I packed up my gear and waited it out with the plan to return after it passed. As it happened, it didnít pass for about three hours and by the time I got the view back the lighting effect had gone also. Oh well, the model stood up and left the room, nothing I hadnít seen happen before -- but I had got enough information that it made the experience all worthwhile. Besides, I was out painting with friends and that made the day enjoyable even if I didnít finish the piece.

Midway study
Years ago I had the good fortune of going down into the desert with painting buddy Dick Heichberger and spending some time with Don Miles, Carl Albert and Darwin Duncan at one of their yearly get togethers near Palm Springs. It was thrilling to hear Carl and Darwin talk about how they had gone out painting many years before with the likes of Edgar Payne. Don also had some stories of his time working with Sam Hyde Harris. I recall that Carl Albert started a painting, probably a 20x24 size of some sage brush and mountains; he only completed a portion of it and decided that he had enough information to go back into the studio to finish it. I remember being impressed with this approach and the casual way that he executed the painting, putting washes of abstract shapes down until he was satisfied that he had accomplished his goal for the morning. At that time I always felt like I had to rush to the finish line and come away with a completed study in a 1 and Ĺ hour time span. These guys never seemed to be in a rush and would plod along on their paintings for however long it took. If the shadows changed they were able to stay with the original concept because they got all the important shadows down in the preliminary wash. The bottom line here is, that it is not necessary to get a finished painting out there every time you venture into the field; sometimes that works out and you hit all the green lights all the way across town, but the next time itís all red for miles. Pacing yourself, getting good information in the time allotment and simply starting a new piece when the storm hits may be your best bet. Sometimes the model just needs a break and so do you, itís all part of the process, so just let it happen.

From the Blog
Jim Rennert: Playing with Fire

If you went up to Park Cityís Fashion Stroll on Friday you might have seen Jim Rennertís sculptures in Meyer Gallery. Rennert is becoming increasingly well-known for his ďSuits,Ē series, which combines his business background with his enthusiasm for sports to explore the competitive nature of business. In 2006 we visited Rennertís studio as part of our Studio Space series of photo essays. In this video you can watch as the patina application is put on ďWalking the Tightrope,Ē a commission piece. The video was shot at the Adonis Bronze Foundry in Alpine, Utah.

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