UTAH'S ART MAGAZINE
February 2017 Edition
Artist Profile: John O'Connell
John O'Connell's new work fascinates on several levels: they are abstracted 3-D compositions with spare painted portions that beg for lots of time to absorb. Mark-making and writing are there but mostly obscured beyond recognition; inexplicable cuts are evident in the surfaces of the structures, some modular sections are almost sled-like in construction, others squared off. "It started maybe a year, year and a half ago," says the artist. "All these new ideas, all the possibilities, all the new strategies that can be folded into this work: That's what it's all about for me - making things that I haven't seen yet...
How do children see war? It's a question Brian McCarty explores by asking children in Israel and Palestine to draw their experiences, which he then translates into photographs using everyday toys.
The Future Isn't What It Used to Be
What happens when the future doesn't turn out quite as nicely as you expected? UMOCA's Street Gallery features a curated exhibit of international artists exploring that question.
Can art and STEM mix? Jylian Gustlin's exhibit at Gallery MAR says yes.
Can you make art with a rake? You can if you go big, like Steve Smock at J GO Gallery.
Read the Review
The Holladay artist explores life in foster care at Art Access.
Stitching and staining her way to a feminist art at The Gallery at Library Square.
Music Profile: Christian Asplund
"When I was a student, the feeling was composers were super nerdy, academic, and kind of out of it," says Christian Asplund. "Composers were the pocket protector guys." Asplund didn't see himself in that vein, but he knew he wanted to write and perform music since grade school. Now a professor at BYU, he's equally comfortable performing in and writing for concert halls and basements. In fact, he may prefer the latter, where he can keep his garde avant and plenty raw . . .
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