"Antelope Panorama" by Dayle Record

For most photographers, finding the right moment to press the shutter is crucial. Dayle Record, whose large, color photographs of the Great Salt Lake, Singular Images: The Lake I Love, are currently on display in Charley Hafen’s cozy, brick-and-glass jewel box of a gallery, handles the critical moment like a painter who first draws her subject, then waits until the sun is right to limn the light and capture the defining moment. In the imagination, one sees her motionless on the lakeshore, her camera pointed at a favorite view for hour after hour, selecting instants from the continuum of time, then back in her studio, choosing from a handful of images the one that she will make into a one-of-a-kind print.

Advance notice for this show mistakenly implied that Record would be showing ‘altered’ photos. In fact, while she practices straight photography, each vista comprises a single print she will not duplicate. Such was, of course, the rule in the early days of photography, when each daguerreotype was a unique, positive image, and the only way to make another was to take a second photo. Since then, some photographers have limited the prints that could be made of their works, even going so far as to destroy the negatives. In the digital age, the whole idea of an original has to be reconsidered. For Record, the solitary print is a metaphor for the single act of looking. Sunrise, sunset, squall: these things happen often, yet each time they are witnessed is unique. A photograph can become as singular as a painting.

"Causeway Sunset" by Dayle Record

Perhaps the best-known face of the Salt Lake is the one it turns to the sky: a mirror that inverts everything, rounding and completing distant islands that float centered in a spherical heaven. Then the water’s surface becomes a doorway between identical realms locked in conversation. It is Dayle Record’s achievement to go beyond this cliché and set that dialog in motion. She finds those rare seconds when oncoming wind is about to chop the mirror into a conventionally opaque seascape, and in that instant captures two apparently different moments in a single frame. In “Antelope Panorama,” weather closes tightly around the snow-clad island, until stress cracks shiver the lower space. In “Causeway Sunset,” a Baroque sky, full of subtly colored clouds, is reflected by Monet’s impression of that sky: one very obviously made by paint and brush.

Sometimes, Record sets in motion a dialogue between what she shows us and the way we already see it in our mind’s eye. When the Spiral Jetty emerged from the lake, patient fans and intrepid visitors were surprised to find it covered in salt resembling snow and ice. Something similar happens in reverse in photographs taken when shoreline features known for every color of the chemical rainbow are covered, not in salt, but in actual snow. Thus domesticated, this eerie swamp landscape, neither fully land nor entirely lake, becomes a place one can imagine loving.

"Weber Slaugh and Clouds Reflected" by Dayle Record

Directors Torben Bernhard and Travis Low breathe life into a relic of Utah’s past with Boomtown, their short film showing this week at the Big Sky Documentary Film Festival in Missoula, Montana. In competition for the “Big Sky Award” given to best documentary focused on the American West, their twelve-minute film is the only one I have seen. Its story follows the well-known arc of a former Western mining town’s rise, heyday, and fall. Truly unforgettable, though, is the taut portrayal of Frisco, Utah as it unfolds through gorgeous cinematography, evocative sound, and expert research. Bernhard and Low recreate Frisco’s stunted history in a film short on length yet long on resonance.

Silver mining was a boom business in Utah in the mid-1800s, no more so than in Frisco, situated on the southeast side of the San Francisco Mountains, west of present-day Milford. Transportation and industry went hand in hand as Utah’s railroad system expanded statewide. After the transcontinental railroad opened in 1869 across northern Utah, additional lines and extensions were laid: in 1871, the Utah Southern railroad line was extended from Salt Lake City to points south, reaching Frisco in 1879 via the Utah Southern Extension.

As with other towns, rail transportation facilitated quick growth. At its heyday in the early 1880s, thousands inhabited Frisco as hundreds of men were employed to mine silver and ore in the Horn Silver Mine. The town included a hospital, general store, and multiple salons – it also saw lawlessness and multiple murders as residents grappled with a rough life on the frontier. Voice-overs by former residents tell the tale of a town full of promise, then laid to waste as the mining shaft, then mountainside caved in. One of the more poignant passages is heard as a female resident recounts making a life in a region short on natural resources: “Everything you had, you couldn’t raise anything up there, there was nothing. When I look back and think about it, why, it must have been quite a trial. But we never thought about it, because that is what we had to do and we did it.”

The film opens with a broad view of the landscape. It takes a moment to discern the material remnants of Frisco’s former life: signs of human habitation and toil are represented by dilapidated wooden structures, the abandoned mine, and beehive-shaped stone-structured charcoal kilns.  Amidst beautifully framed ruins and rusted material objects strewn across the land, the only living creatures we see in Boomtown are a tarantula skirting across the grass and a bull snake slithering across a gravel path. The once forgotten graveyard holds just a few of the town’s many dead. Yet it is a few past residents who bring the town alive to the viewer as the film seamlessly incorporates historical information through written text, audio tracks of interviews with former residents, and historical photographs – all granting us a glimpse of a functioning society in its prime.

The inscription “Gone, but not forgotten” is etched on the side of stacked stones. Bernhard, Low, and their crew assure us with Boomtown that Frisco will not be forgotten. My only regret in Boomtown is its length. The film left me wanting more of everything it has to offer: our history retold through the beauty of expert film making; the remembrance of a lost, minimalist life surrounded by the sound of high winds and cawing birds; luscious images of rolling desert vistas drenched in golden sunlight, covered in brush and sage. This is the story of just one former Utah town in many, a story which can – and I believe should – be told time and again as we grapple today with the same issues as yesterday: how to make a go at living on these awe inspiring, sometimes forbidding, Western lands.

Boomtown is part of the Lost and Found Series, five short documentary films by Utah filmmakers that explore “what it means to lose something and what we can potentially gain from finding it again.” You can view a preview of Boomtown here. Find out more about the Lost and Found Series here.

It’s not that Steven Fawson has been gone. He’s been making art ever since graduating from the painting and drawing program at the University of Utah in 1977. He paints commissions. He enters group shows. But his current exhibition in the fourth floor gallery at the Main Salt Lake City Library is his first major exhibition in 17 years.

Filling two gallery walls are ten 30 x 30-inch portraits of his artist friends, those he sat in with at Alvin Gittins’ classes at the U, and those he has met since. All are about his age, and, despite their varied life experiences, they’re all still making art. Because of Fawson’s accumulated memories and knowledge of these friends, he is able to include personal symbols, or “inside jokes” in some cases, that make these paintings mysterious and intriguing even for viewers who don’t get the symbols.

Though he would normally ask a subject to sit for at least 10 sittings for a commissioned portrait, Fawson worked from photographs for this series. He took five or more shots of each person in their personal workspace, studio, or office. Then he exercised his artistic freedom to change the background to include the symbol or narrative that personalizes the painting even more than the captured likeness.

John Erickson, by Steve Fawson

Tim Tolman, by Steve Fawson

Howard Brough, by Steve Fawson

Sam Wilson, by Steve Fawson

Tom Hoffman, by Steve Fawson

Susan Beck, by Steve Fawson

Maureen O'Hara Ure, by Steve Fawson

Steve Fawson at the Gallery at Library Square

His best college buddy, John Erickson, now an art professor at the U, was going through the angst of divorce when Fawson photographed him. A somber expression suggests part of the story, while a string with a loose knot dangling from the top left side of the painting tells the rest.

Tim Tollman is painted looking into the distance as a blue ribbon unfurls out of the picture plane. With stormy clouds behind him, his eyes are bright and hopeful. Fawson says this painting “had more reincarnations than a Hindu with bad karma.”

Howard Brough is pictured sitting in a desk chair with a shadow falling over most of his head and chest. Fawson explains that his friend had just recovered from a stroke. When he sat for his photograph and the shadow appeared, it was just the right symbol.

Sam Wilson, also a professor at the U, was photographed in his prop-filled studio. Yet Fawson painted him with a plain, dark background and chose to ignore the “Hawaii” on the chest of his sweatshirt. Instead, he removed the Nike swoosh from it’s usual spot on the sweatshirt and “taped” it on the right of Wilson’s chest with a piece of masking tape. Those who know Wilson’s art will recognize the allusion to his favorite trompe l’oeil effect.

That Fawson studied with Gittins, whose portrait paintings hang all over the University of Utah campus, should come as no surprise. Fawson stayed in school a couple of extra years just to take more classes with Gittins. It shows in Fawson’s painterly, yet realistic, style and beautiful skin tones and shadows.

That this comeback exhibition is at the Main Salt Lake City Library is appropriate. Fawson worked for 30 years in the art collection area of the library, retiring just five years ago. At first he worked just 20 hours a week, in the evening hours, so that he could paint all day in studio in the Guthrie Bicycle building. Then, as his family grew to include three children, he increased his hours to full-time. His portrait of his children hangs just outside the fourth floor gallery, making the circle of friends, family, and work complete.

Well, the other day we were driving in the south part of Salt Lake (not quite South Salt Lake, but nearby),  when we ran across this truck, completely covered in yarn. It looks like a food services truck. Has anyone seen it about town? Anyone know where it operates or who owns it?

We want to give them a shout out for helping make Salt Lake visually interesting.

11 AM by Amanda Moore at Alpine Art's 24 x 24

Are you heading out to the Salt Lake galleries tonight, and wondering what you should check out?

Our February edition of 15 Bytes has a number of articles on shows you can catch tonight, including:

The opening reception for 24 x 24 at Alpine Art.

Sundance’s New Frontier 12 at UMOCA

Cris Baczek at Nox Contemporary.

Hilma Mole Payne at Williams Fine Art.

And Fahimeh Amiri & Lone Vilnius at Finch Lane.

Of course, that’s not all that’s going on tonight. To see a complete listing of exhibitions in the Salt Lake area check out page 8 of the current edition.

Means Of Egress is a body of work by painter Sarina Villareal that exhibits five
years of evolution as she searches for a felicitous balance in her figurative,
abstract and typographic work. Each individual painting explores a composite of
styles and subject matter. Some pieces are process investigations that merge
flowing curved line drawings with a painted surface while others articulate a
figure disappearing and reemerging from a sea of line and color.
“I paint lines as a physical and expressive metaphor of emotion: flowing, bending,
rigid, simple or convoluted. My figures and portraits are captured in private
moments, seeming to hide secrets. When these two elements combine, we begin
to learn a little more about each situation.”
Sarina Villareal received her Bachelor of Fine Arts degree in painting from the
University of Houston in 1998 and has recently surrendered a career as an award
winning graphic designer to pursue her passion.
Artist Site: www.sarinavillareal.com

The Utah Museum of Fine Arts (UMFA) and the American West Center (AWC) at the University of Utah are pleased to present At Work: Prints from the Great Depression, an exhibition exploring the role of work and art during one of America’s most trying eras. At Work prompts contemporary questions about the place of labor in our lives today, a theme that is further explored through a series of companion programs and projects.

The At Work exhibition was organized through the collaborative efforts of AWC director Matthew Basso, University of Utah Department of History graduate student Emily Johnson, and UMFA curator Donna Poulton. At Work will be on view at the UMFA from February 10 to May 6, 2012.

“Remembered as one of the most devastating periods in the history of the United States, unemployment and the Great Depression are linked in people’s minds for good reason,” says Dr. Basso. “At its height, the Depression left more than 20 percent of Americans out of work, and iconic images of Dust Bowl migrants and soup kitchens dominate our picture of 1930s America. But as the exhibition At Work reveals, Depression-era artists were equally interested in depicting people at work.”

At Work features more than 60 prints by Thomas Hart Benton, Herschel Levit, Claire Mahl and dozens of other printmakers, many of whom were among the 5,000 visual artists employed by the federal government in the 1930s. Their prints provide a complex portrait of the place of work in the social politics of the era. They illustrate, for example, that many white-collar workers were forced to take blue-collar jobs after the collapse, and that government programs designed to support family breadwinners often left women with limited opportunity for paid work.

Printmaking became a particularly popular artistic mode of expression for Depression-era artists. Inherently democratic, the medium enabled printmakers to easily create and cheaply distribute copies of their work. Many artists celebrated the working class through their prints, creating dignified images of farmers, railroad workers, seamstresses, and street vendors.

At Work features some similarly heroic images of the working class, with prints depicting muscular men building dams, drilling oil or working in factories. The exhibition draws parallels between the hard labor of these men and images of women working at home, serving as seamstresses or cooking meals. A less heroic portrait of the working class is also present in At Work, as some artists portrayed hardened, stoop-shouldered victims of the economic crisis.

The prints featured in At Work are drawn from the collection of Marcia and Ambassador John Price.

Related Projects

Men at Work
The inspiration for the At Work: Prints from the Great Depression exhibition came from the recent discovery of a lost 1941 Federal Writers Project book manuscript entitled Men at Work. This manuscript provides a literary portrait of Americans working a variety of jobs during the Depression, and will be published for the first time by the University of Utah Press later this year.

Wo/Men at Work
At Work: Prints from the Great Depression is opening in conjunction with Wo/Men at Work, a hand-made artists’ book produced by the American West Center and Marriott Library’s Red Butte Press. Wo/Men at Work examines the place of women’s and men’s labor during the 1930s, as well as in more contemporary times, and asks us to meditate on how the production and consumption of work define who we are.

Public Programs

At Work Film Series: Pare Lorentz: Documentaries from the 1930s
2:00 p.m. on February 25, 2012, FREE
Pare Lorentz was a well-known film critic before he directed and wrote documentaries in the 1930s for the Roosevelt administration. His films about the Dust Bowl, clear-cutting, and other environmental issues were successful in garnering the director critical acclaim.

Evening for Educators
5:30 p.m. – 8:30 p.m. on March 7, 2012, FREE
Evening for Educators is a workshop designed to help teachers incorporate printmaking in the classroom. The workshop is geared toward educators in all disciplines and grade levels. Teaching packets containing art images and information, biographies of the artists, and lesson plans with across-the-curriculum lessons are available. State in-service credit is available to educators.

At Work Film Series: Nine to Five (1980)
2:00 p.m. on March 10, 2012, FREE
Jane Fonda, Lily Tomlin and Dolly Parton star in the 1980 comedy Nine to Five. Mistaken identity and miscommunication are at the center of this film as three colleagues fantasize about taking revenge on their “lying, hypocritical” boss.

Third Saturday Art Activity for Families: Self Portraits at Work
1:00 p.m.– 4:00 pm on March 17, 2012, FREE
At Work is a collection of Depression-era prints showing men and women at work. Join us in the galleries and the classroom to explore your own ideas about work, and then paint a picture of yourself doing your dream job. Third Saturdays are funded in part by the Salt Lake County Zoo, Arts, and Parks fund.

At Work Film Series: Soy Mi Madre (2009)
2:00 p.m. on March 31, 2012, FREE
Released in 2009, Soy Mi Madre examines issues of immigrant populations who live and work in Colorado’s Roaring Fork Valley. Inspired by Jean Genet’s 1974 film The Maids, the film explores the power dynamics that exist between people of disparate socioeconomic groups.

Third Saturday Art Activity for Families: Monoprints
1:00 p.m.– 4:00 pm on April 21, 2012, FREE
The UMFA is full of different kinds of prints this spring. From etchings and engravings to woodcuts and lithographs, prints of all kinds can inspire you to make your own print. Third Saturdays are funded in part by the Salt Lake County Zoo, Arts, and Parks fund.

About UMFA

As Utah’s official state art museum, the Utah Museum of Fine Arts (UMFA) at the University of Utah is the primary cultural resource for global visual arts and culture in the region. The UMFA has long served as a bridge from the University of Utah campus to the broader community, working to engage visitors in making meaningful connections with the world of art. The Museum’s permanent collection spans more than 5,000 years of human creativity and features over 18,000 works of art. An ambitious special exhibition program and a variety of educational events are scheduled year-round to foster dialogue and discovery. The UMFA is located in the Marcia and John Price Museum Building at 410 Campus Center Drive on the campus of the University of Utah. General admission is $7 for adults, $5 for youth and seniors, FREE for U of U students/staff/faculty and children under 6 years of age. For more information, call 801 581 7332, visit www.umfa.utah.edu, or follow us on Facebook and Twitter.

About AWC
Founded in 1964, the University of Utah’s American West Center is the oldest western studies center in the nation. It is considered a national leader in collecting, preserving, interpreting, and disseminating the history and culture of the U.S. West, and in training graduate students as community-engaged scholars and public historians. The Center’s principle objective has been to recover and facilitate the telling of marginalized communities’ histories. The Center has worked with Latina/o, Japanese, African American, and Pacific Island groups, but is best known for its collaborations with American Indian nations. The Center is widely regarded as at the forefront of oral history practice and methodology. AWC researchers have taken almost 10,000 oral histories over the last forty years. More recently, the Center has undertaken a variety of new media and digital history projects. Examples include the award-winning Utah Indian Curriculum Project, www.utahindians.org, and the Iraq and Afghanistan Veterans Oral History Project website. The Center also has a long history of environmentally focused projects, including contract-based research for tribes and governmental agencies on water, grazing, and nuclear energy. These initiatives, the conferences, lectures, and workshops the AWC organizes and sponsors, and the vast majority of the Center’s other undertakings, are described in more detail at www.awc.utah.edu.

The Utah Museum of Fine Arts (UMFA) serves as a primary visual arts resource on the University of Utah campus and in the broader community. As part of the UMFA’s ongoing collaboration with campus entities, the museum is pleased to present The Faculty Show, an exhibition of work by the acclaimed art faculty of the University of Utah Department of Art and Art History.

On view in the UMFA’s Great Hall and first-floor galleries from February 17 to May 6, 2012, The Faculty Show will boast over 70 new works from 28 tenured, tenure-track and adjunct faculty artists. The exhibition reflects current trends in contemporary art as well as traditional practices in a variety of media including ceramics, printmaking, painting, photography, sculpture, digital imaging, video and new media. The Faculty Show was organized by guest curator Deb Banerjee, who currently serves as curator of exhibitions and programs at the Nora Eccles Harrison Museum at Utah State University.

“The works on display in The Faculty Show allow us to step back and survey the leading edge of contemporary art practices,” says Banerjee. “In keeping with the art of today, the exhibition allows for a diversity of media and thought.”

“We are so pleased to present the work of this outstanding group of artists,” explains Jenny Woods, UMFA campus outreach coordinator. “As educators, these faculty members mentor and cultivate new generations of artists. As working artists, they enrich our lives with engaging, high caliber work. It’s a treat for the UMFA to celebrate both of the vital roles they play.”

Featured artists, listed in alphabetical order, include: Zuzanna Audette, Edward Bateman, Sandy Bruvnard, Larel Caryn, Van Chu, Lewis J. Crawford, Al Denyer, John Erickson, Dan Evans, Thomas S. Hoffman, Holly K. Johnson, Lenka Konopasek, Kristina Lenzi, Beth Krensky, Jimmy Lucero, Joe Marotta, V. Kim Martinez, Ray Morales, Martin Novak, Maureen O’Hara Ure, John O’Connell, Sylvia Ramachandran Skeen, Brian Snapp, Carol Sogard, Jared Steffensen, Paul Stout, Emily Tipps and Maryann Webster.

The Faculty Show honors the rich legacy of visual arts at the University of Utah. The featured artists are successors to the many eminent teachers who have contributed to the development of the program since its founding in 1888, including notable artists such as Lee Green Richards, Alvin Gittins, LeConte Stewart and James Taylor Harwood. Today, faculty members in the University of Utah Department of Art and Art History are instrumental in fostering creative minds and contributing to Utah’s dynamic visual culture.

A series of three informal gallery talks will take place throughout the run of The Faculty Show exhibition. Free with general museum admission, the programs will take place at 12:00 p.m. on February 24, 6:00 p.m. on March 21, and 3:00 p.m. on April 24. The gallery talks will provide museum visitors the opportunity to meet some of the featured artists and gain insight into their work.
####

As Utah’s official state art museum, the Utah Museum of Fine Arts (UMFA) at the University of Utah is the primary cultural resource for global visual arts and culture in the region. The UMFA has long served as a bridge from the University of Utah campus to the broader community, working to engage visitors in making meaningful connections with the world of art. The Museum’s permanent collection spans more than 5,000 years of human creativity and features over 18,000 works of art. An ambitious special exhibition program and a variety of educational events are scheduled year-round to foster dialogue and discovery. The UMFA is located in the Marcia and John Price Museum Building at 410 Campus Center Drive on the campus of the University of Utah. General admission is $7 for adults, $5 for youth and seniors, FREE for U of U students/staff/faculty and children under 6 years of age. For more information, call 801 581 7332, visit www.umfa.utah.edu, or follow us on Facebook and Twitter.

Utah Arts & Museums announces a showcase of artwork from the State Fine Art Collection on the fourth floor of the Utah State Capitol. The exhibition, presented in collaboration with the Capitol Preservation Board staff, is open to the public and will run from February 13 through March 29. Admission is free.

Utah State Senate President Michael G. Waddoups asked Utah Arts & Museums to curate this exhibition from the State Fine Art Collection so it would be available for the public’s enjoyment during the 2012 legislative session. Among the pieces are works by well-known Utah artists such as J. Leo Fairbanks and Alvin Gittins.

In March 1899, a bill authored and sponsored by Representative Alice Merrill Horne was passed to create the Utah Art Institute (now Utah Arts & Museums) as the first state-sponsored arts organization in the United States . The 20 artworks now being displayed on the fourth floor of the Capitol are selected works from the State Fine Art Collection initiated by Representative Horne’s vision. These artworks, spanning 123 years of Utah artists and their work, honor this directive to nurture the arts and artists in Utah .

The exhibition also fulfills the vision of Capitol architect Richard Kletting that the fourth floor of the Capitol be used as a space for exhibitions of Utah artists and their work.

“I’m delighted that Utah ’s citizens will have this opportunity to view these original pieces of artwork in our state collection,” said Margaret Hunt, Director of Utah Arts & Museums. “The state has a rich history of talented artists, and the Capitol’s majestic setting is the ideal showplace for these wonderful pieces.”

For more information, contact Public Art & Design Arts Manager Jim Glenn at 801.533.3585, jglenn@utah.gov, or visit Utah Arts & Museums at artsandmuseums.utah.gov.

February 17 – March 30, 2012.

For over 25 years, the Utah Division of Arts & Museums has awarded two fellowships annually to outstanding professional artists to acknowledge their artistic excellence and encourage their careers. For the first time, we are looking back at these artists to exhibit their work and showcase how this prestigious award has advanced their careers. The exhibit will feature five fellowship recipients: Susan Cotter (1992), James Charles (1995 and 2012), Jane Catlin (2000), Gary Barton (2001), and Madison Smith (2005).

For more information please visit

http://riogallery.org

http:/artsandmuseums.utah.gov

Southern Utah University, Cedar City, Utah: Creating moments in people’s lives where they can interact with something beautiful, meaningful, and powerful is Dan Goods’ motivation when he creates work in public spaces, art museums and outer space. Visual strategist Dan Goods will discuss his unique career and his unconventional path to creating his own job at one of the most prestigious science institutions in the world during his presentation as part of Southern Utah University’s Department of Art and Design’s weekly lecture series, Art Insights, on Thursday, February 23, 2012. The lecture begins at 7pm at Centrum Arena, Section K, admission is free and the general public is encouraged to attend.

During the day, Dan Goods is the Visual Strategist at NASA’s Jet Propulsion Laboratory where he transforms the complex concepts of NASA into meaningful stories that can be universally understood. In the evening, Goods works on other creative problem solving projects around the world. He is currently collaborating on a dynamic “digital mirror” for BMW in Paris, a large data driven sculpture at the Atlanta airport, and new ways to celebrate exceptional teachers in the Los Angeles School District. Dan Goods resides in South Pasadena, California, with his wife and three kids.

Art Insights is a weekly program hosted during the fall and spring semesters by SUU’s Art and Design faculty. Students and community members meet weekly to experience presentations and discussions by visiting artists and art educators from around the nation who share their work and insights and attend gallery openings. Admission is free, and the general public is invited to attend.

Learn more about Dan Goods innovative vision by attending his Art Insights’ appearance. For more information on the SUU College of Performing and Visual Arts events, please call the Arts Hotline at (435) 865-8800, or visit www.suu.edu/arts.

ABOUT THE COLLEGE
The Southern Utah University College of Performing and Visual Arts is comprised of nationally accredited departments of Art and Design, Music, Theatre Arts and Dance, as well as a graduate program in Arts Administration. The College offers 16 different degree areas, including liberal arts Bachelor of Arts and Bachelor of Science degrees; professional Bachelor of Music and Bachelor of Fine Arts in art and theatre degrees; and a Master of Fine Arts in Arts Administration degree. More than 60 full- and part-time faculty and staff are engaged in teaching and mentoring over 550 majors in the College. Over 1100 students enroll each year in over 195 arts classes on the SUU campus. The College presents 100 performances, lectures, presentations, and exhibitions each year. The College’s affiliate organizations include the Braithwaite Fine Arts Gallery, American Folk Ballet, Utah Shakespeare Festival and the SUU Ballroom Dance Company. For more information about the College of Performing and Visual Arts, contact the Office of the Dean at (435) 865-8561, or by e-mail at cpvamktg@suu.edu.

Utah Museum of Contemporary Art’s Locals Only gallery
Situated near the entrance to UMOCA, the Locals Only Gallery is the first exhibition space that visitors view upon entering the building.
The Locals Only Gallery, which exhibits only Utah artists, provides those artists with a professional exhibition environment, prominent exposure to UMOCA visitors, and through UMOCA’s increasing national ties, greater exposure around the country.
Applicants for the Locals Only Gallery should have a clear proposal for a compelling and feasible project that will fit appropriately in the gallery. Artists may propose an exhibition of their own work, or a curated exhibition of artists living in Utah. UMOCA seeks work that is contemporary, professionally-produced, and responds to the diverse demographic of visitors that Utah Museum of Contemporary Art enjoys. Proposals in all formats –from site-specific, multi-media, or performative projects, to photography, painting, drawing, video, sound, and sculpture are welcome.

Utah Museum of Contemporary Art, formerly Salt Lake Art Center, is Utah’s premiere venue for contemporary art, and was recognized as Best Museum in the state for 2011. Founded in 1931 and now located in the heart of Salt Lake City, UMOCA exhibits groundbreaking work by leading local and international artists. Notable exhibitions include Fallen Fruit of Utah, a state-wide collaboration with museums and individuals about the role of fruit in Utah’s history, led by artist collective Fallen Fruit; Magic and Mysticism: videos by Mark Wallinger, Emilie Halpern and Shana Moulton; Robert Fontenot’s The Place This Is, a conceptual exploration of the stories and histories of Utah and America through materials commonly associated with the domestic realm; Contemporary Masters: Artist-Designed Miniature Golf, the Sundance Film Festival exhibition New Frontier, and Lawn Gnomes Eat Your Hearts Out, a community public sculpture initiative designed to move the very best in contemporary art outside the four walls of the gallery and into places where people work, live, and play. UMOCA rounds out its offerings with a lively mix of award-winning educational programs, film screenings, panel discussions, and events celebrating Salt Lake’s vibrant local art scene. Visit www.utahmoca.org.

When: February 13 ­ March 10, 2012; Artist¹s reception during Gallery
Stroll, Feb. 17, 6-9 p.m.

Where: Art at the Main, a gallery located on the ground floor of the Main
City Library, 210 East 400 South, SLC, UT

As a field engineer for a mining machine company, John Stout lived and
worked in many wild places around the world. Those wild places, and
especially his beloved Rocky Mountains, figure prominently in his watercolor
paintings. Though he often detours to new subject matter, he always returns
to the mountains. His new paintings at Art the Main, Feb. 13 ­ March 10,
demonstrate some diverse subjects and styles he has explored in the past
year and, as always, his ³Return to the Mountains.²

Stout has been painting since he was about six years old. He found an
appreciative collector in his stepfather who served in Europe during World
War II. He predicted Stout would be a great painter someday. Unfortunately,
John¹s stepfather was killed in combat. Stout honors him by putting his
stepfather¹s name ­ Hunter ­ on his paintings.

Art at the Main, on the ground floor of the main Salt Lake City Library,
will be open for Gallery Stroll on Friday, Feb. 17, and the artist will be
on hand to discuss his work with visitors. Live music by the Rowland Hall
Choir will be featured, and light refreshments served.

Art at the Main is a not-for-profit artists¹ co-operative gallery whose
primary purpose is to promote and provide public access to art created by
Utah artists. An important goal of Art at the Main is to support public
arts education by offering periodic demonstrations, small classes and talks
on various artistic techniques.

Hours of operation: M-Th 10 am ­ 7 pm, F-Sat 10 am ­ 6 pm, Sunday 1-5pm
Phone: 801-363-4088
Web: www.artatthemain.com

Artist Members

Terrece Beesley, Janet Bondi, Caryn Feeney, Sandy Fullmer, Nan Gray, Cary
Griffiths, Jerry Hardesty, William James, Sue Martin, Julie Morriss, Joy
Nunn, John Stout, Kathy Stobaugh, Diana Stover, Nancy Swanson, and Joan
Zone.

Salt Lake City, UT: The Utah Arts Festival Gallery presents Travelogue photography by Randy Laub, Steve Midgley and Paul Titus February 17 through March 9 at the Festival headquarters, 230 South 500 West, Suite 120.
Randy Laub (www.randylaubphoto.com) was born and currently lives in Salt Lake City but grew up in Reno, NV and lived in Germany. He has a degree in German and Business Administration from Utah State University. His extensive travels in Germany inspired this exhibit “From a Moving Train—A Ride Along the Rhine.”
Steve Midgley (www.stevemidgleyphotography.com) is a Fine Art photographer based in Utah working in classic landscape photography as well as capturing images of our decaying, not-so-distant, past. Working in both black & white and color, Midgley uses older, large format film cameras almost exclusively and the results are scanned, then printed on a high-end Epson Giclée printer.
Paul Titus’ interest in photography began when he got a Brownie in 1954. His work is displayed in two galleries on the Oregon coast, as well as the gift shop in the Columbia River Maritime Museum.

Artists’ reception, in conjunction with the Salt Lake Gallery Stroll, is Friday, February 17 from 6 to 9 pm.
Regular gallery hours are Monday through Friday, 10 am to 5 pm.
The Utah Arts Festival Gallery is housed in the Festival headquarters, 230 South 500 West, Suite 120.
For details visit www.uaf.org.
# # #
Upcoming 2012 Utah Arts Festival Gallery Shows:
March 16 – April 13: Perception with Miranda Whitlock, Blake Palmer and Verl Adams
April 20 – May 11: Natural Treasures with Richard Horrocks, Kevin Wellard and Gary Merrell
May 18 – June 8: Particulation/Caught Up in the Moment with Christine McDonough, Michelle Condrat and Kim Blackburn

2012 Utah Arts Festival: June 21–24

Utah Arts Festival Gallery Mission: To provide a rotating exhibition space for local artists who have participated in the Utah Arts Festival and to introduce emerging artists to the public while familiarizing them with the Gallery and Festival experience.
Utah Arts Festival Gallery is a member of the Salt Lake Gallery Association.