Spring Salon images 0 | 1 | 2

by William C. Seifrit

Rich. Varied. Often exciting. Well presented.

These descriptors come quickly to mind with an initial walk-through of the 2005 Springville Salon. Many familiar names are represented; some old favorites are not. Newer, less well-known artists are also shown, and I find their inclusion encouraging and personally satisfying.

Our editor has given me, of his own volition, carte blanche for this review. (NOTE: I carefully avoided reading anything about the show prior to seeing it; I asked friends not to talk with me about it. Further, I paid no attention to the wall cards for each piece until after I had strolled a couple of times through the entire exhibit. I’ve not spoken to the director; I've no idea what guidance, if any, he offered the jurors; I just looked at what was presented.) Here's what I thought.

The overall quality of this year’s Salon is excellent. There seems to be a rich mix of accepted works in the four groupings specified in the call for entries.

I was quite favorably taken by images from artists whose work is familiar to me. Many seem to be pushing their talents, technical skills, and media in newer, different directions. Susan Gallacher's "Day Break" |1| is an example. She's used a larger format, a different, brighter palette and so offers the viewer a fresh reading of a familiar subject. Kaziah Hancock's"The Waiter" |0| is another example. The composition, drawing, and brushwork are appealing. What's changed with this image is that the passion and strength are still there; they are now stated quietly, confidently, rather than shouted. Several works by other artists show similar change and progress.

Pastelists offered some larger, impressive images. Colleen Howe's "Low Clouds, Sardine Canyon" |2| is quite likely one of the best she's created in her expanding career. Julie Rogers' "Music of the Hands" is striking for its vivid color and detail. I had a minor niggle about the physical relationship between musician and instrument. I haven't seen that many harp soloists or watched them carefully enough in chamber or orchestral ensembles to know for certain.

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by Shawn Rossiter

Though at times it seems the galleries in Utah go into hibernation during the summer months, art is still alive and thriving across the state. You just have to go outside to find it.

Last week, I ran into artists Karl Pace and Martha Klein, busily choosing frames for their pieces at Tanner Frame Shop. They were getting ready for their summer, which is planned around the art festival circuit. Pace would be accompanying Klein to Portland, for the festival; both would be going to Idaho to show; and, locally, Pace would be at the Utah Arts Festival and Klein at Park City. Like many artists, the summer festival circuit is an annual pilgrimage for these two.

Many art patrons are equally enthused by the summer art festivals. The festivals provide a unique opportunity to view a wide range of artistic styles, genres and media, all in a festive setting. From community street fairs to prestigious art festivals, patrons across the state of Utah have the opportunity to browse through pottery, glass, prints, paintings and sculpture, all in an outdoor, bustling and up-close setting unlike the normal gallery experience.

We thought to present a guide to the art festivals happening around the state this summer, but quickly found that the Utah art festival season continues way into the fall and begins in the Springtime. We've already missed the Moab and St. George Art Festivals, but you have time in the next five months to catch an art festival from Ogden to Escalante and from Helper to Salt Lake.

by Kent Rigby

In this "Grab, Gulp and Go, Life in the Fast Lane" society we live in, it is often difficult to find something of substance and value. The Etsuko Ogura Freeman exhibit, RITUAL-CEREMONY-IMMORTALITY, at the University of Utah's Alvin Gittins Gallery, has real substance, plus much more.

The work on display at this exhibit, which took place at the end of May, is enhanced with underlying currents of ancient cultural traditions. Metaphysical concepts such as Time, Death and Afterlife are evident. The exhibit challenges the fortunate observer to study not only the richness of the surface textures, tones, and colors of the individual pieces, but also the psychology and religious connotations of the parts and their organization as a whole.