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UTAH'S ART MAGAZINE
April 2017 Edition
For southern Utah artist Matt Clark, found metal sculpture is a metaphorical re-enactment of the process of physical and emotional self-redefinition and, ultimately, transformation. In 1979, 17-year-old Clark was well on his way to actualizing his dream of becoming a champion rodeo cowboy. Supporting his goal with odd jobs, he'd entered and successfully competed in many rodeos, culminating in participation in the National Rodeo Championships his junior year of high school. Then, while repairing his pickup truck, he suffered an accident that would catalyze his transformation. The truck began to roll, with Clark trapped underneath it, dragging him until it eventually stopped in a ditch, pinning his head underneath a front tire...
Can I Eat That? Mark Crenshaw and the Edible Landscape
Do we really know where our food comes from? How it grows? If it's really nutritious? Unless we grow all of our own vegetables, spices, and raise our own livestock, we cannot know for sure. In his new exhibit The Edible Landscape - now showing at the USU Eastern's Gallery East - Mark Crenshaw wrestles with this concept. "There's just something primal about digging a turnip up from the ground and eating it. It feels more natural," he says. "I like to eat the food I grow because I feel more connected to it."
Embracing Diverse Voices: A Century of African-American Art
If all art exhibits have a focal point, this exhibit arguably chooses Jacob Lawrence's 22 color screenprints on the life of the abolitionist John Brown for that focal point. As both an artist and educator, Lawrence used his paintings to teach lessons to students and art patrons alike. By his own account, his works embody a "dynamic Cubism" influenced by the shapes and colors of Harlem. In the John Brown series, the title figure is portrayed as a "complex, tragic figure, often depicted alone or with his back to the viewer" so as to heighten the emotional effect of each vignette.
Like most writers of his generation, Paul Ketzle has spent considerable chunks of his time honing his craft at creative writing workshops - the good ones, where "this is what I see you doing" leads the discussion, as well as the bad ones, where it's "if this were my story . . ." But he also had that important year making carrot juice in Oregon . . .
Find out what carrot juice and pool shots have to do with creative writing:
The author of The Late Matthew Brown will be reading from his newest novel - still in development - at our April READ LOCAL series at Finch Lane Gallery.
Painting Arcadia
In ancient Greek mythology, Arcas, the son of Zeus and Callisto, ruled over Arcadia, a utopian paradise that later housed the god Pan. Arcadia eventually eclipsed its namesake to become a symbol for a mythical and unblemished landscape, a visage much revered by Renaissance artists. Now, a group of emerging Utah artists seeks to grapple with this longstanding art historical trope in their group exhibition, The Great Good Place, on view at the Alice gallery until May 5th. . . .
What defines sculpture and painting? How do we understand the difference between flat surfaces and dimension? What colors represent contemporary misery? Specific Abject, a group show open throughMay 12 at the Rio Gallery, features two- and three-dimensional pieces that play with these ideas, inverting expectations of media and texture, as well as confronting dark contemporary social issues in colors and materials unique to our LED and polymer-saturated present. Taken together, the conversations between all the artists' pieces deepen themes about current events and modern perspectives that run through the exhibit as a whole.
Read the Review
Long a big deal in Utah's arts community, Victoria Panella Bourns has just been named director of the Utah Division of Arts & Museums - a very big deal, indeed.
ADDITIONAL ARTICLES YOU SHOULD CHECK OUT:
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