October 2016 Edition
Artist Profile: Joe Marotta

He chooses to photograph primarily in black and white and largely in France and Italy, but writes excellent short stories in any café on a silvery laptop. It's how he begins most days: coffee, prose, perhaps thinking about what he's going to discuss in class. "Teaching has to be interesting for me, as well as the students," says the University of Utah professor, who will retire this year after nearly four decades at the art department. A music aficionado, he listens to jazz, Bach and Dylan with equal avidity (well, perhaps jazz wins out here); reads poetry and serious literature (some in slightly rusty Italian); and makes small tables and tiny boxes from exotic woods - the boxes to hold the collection of classy fountain pens with which he writes. (He even uses a typewriter-manual, of course). . . 


Everyone has received ads and coupons that pile in a corner or are thrown away, but few want to imagine the scale of that junk, piling up in landfills around the world. For his exhibit Desert Trashscapes, van der Wal places and photographs shredded paper, rusty cans, shotgun shells, old TVs , and other discarded consumables in the Utah landscapes . . ." 

Potato Eaters

Perhaps the important thing about Rebecca Campbell is her generosity of spirit, a good will that suffuses her art and allows her to paint an often uncomfortable truth without alienating her audience in the process. Between that and her virtuosic ability to find and share brilliant new uses for painting, she points the way to a future for art, and for those who would not do without. . .  
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Zaqistan in the Age of Irony

I can't tell if Zaq Landsberg is simply having a good bit of fun or actually taking himself seriously. Landsberg is the founder of an art project in Utah's west desert called Zaqistan, which consists of two rather inaccessible acres of scrubland that has been given the meta-contextual properties of a sovereign nation-there's a flag, a motto, national monuments, etc. And Landsberg and his crew have managed to orchestrate mention of the project in various media outlets so that, a decade in, while not exactly viral, it is building some internet steam. People might even be taking the project seriously. But as is becoming increasingly clear in the political arena, it can be a depressing world when something that begins as a joke gets taken too seriously. . .

The New Sublime      

"To me, the sublime represents that which simultaneously excites and terrifies us," says Scotti Hill. "Nature and the expansiveness of space are particularly strong vehicles for the sublime, because we as humans are both enormously attracted by and fearful of its vastness." In a new exhibit at The Granary, Hill brings together the work of Trent Alvey and Andrew Rice, two artists she calls Tourists of the New Sublime. Alvey explores the conjunction of her idyllic childhood in the mountains of central Utah with the age of atomic detonations while Rice creates daunting images of interior spaces that both protect and imprison. . .  

The 1-5-B: Selections from our New Podcast in this Edition

We Accept the Place   

In his first exhibition as curator, Salt Lake City-based photographer Jared Christensen brings together his friends and colleagues for an examination of place, at Green Loft in Salt Lake City. "With the undeniable impact of globalization and the constantly increasing presence of social media in our daily lives, it can easily feel as though we are more connected than ever," Christensen says. "But with so many options available to us in a seemingly endless supply, we may quickly sacrifice quality in favor of quantity in our daily experience." We begin to lose touch, he says, with our immediate environment and with those around us. 

Work in Progress    

Can you name five women artists? What about five women scientists? Mathematicians? Poets?

Jann Haworth couldn't, and in her new community-sourced mural project, the creative director of The Leonardo set out to investigate and celebrate the accomplishments of women in our lives. The 28-foot long mural - a work in progress -  opens this Friday, October 7, in the Street Gallery of the Utah Museum of Contemporary Art. For our second episode in The 1-5-B podcast, Shawn Rossiter sat down with the artist to discuss the project. . . 


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