I was surprised and pleased with the number of images showing carefully considered and realized detail. I mean honest realism, not a romantically sanitized or scrubbed variety, and not the often painstakingly crafted photorealistic images of recent years. D. McGarren Flack's "A Fading Dream" is one such |1|. Others include Daniel Glen Dolberg's "Span," Maura K. Naughton's "A Good Place to Rest," and Christopher Shill's "Railyard at Dusk." Those all portray, in grittily accurate detail, manmade objects as they now appear after years of hard use or neglect. There is faded, scaled paint; there is physical marring and scarring; there is damage from hard use. These details are so welcome! There is life, and human history, in these objects. Some of these images could well become historical documents. It was a joy to see them!

Other, more traditionally conceived and executed images drew the eye. Valoy Eaton's "Hitching Up" |0| reveals a master in full command of his skills. Royden Card's "Sulfur Wash Goblin," |2| Osral Allred's "Gas Settling Bulb," and Frank Huff's "Pay Phones" |3| reveal dependable artists doing what they do best. It is possible, though, that Card's red rock formation, in this instance, may have more humanoid musculature than his earlier efforts.

Steve Songer's larger landscape, "Liberty Sunrise," |4| deserves comment as well. I was taken by his palette and brushwork. There is an almost studied casualness in his creation of light and shadow. Softly different hues are applied quickly and thinly to form engaging changes in perceived light. Visually and technically it is a striking image.

"The Stork," by Heidi Daynes Darley, and Peter Livingston Myer’s “The Inventor” are large scale, easily accessible work scenes that will surely have a wide appeal.

Steven Robert Newman’s work is new to me; and I’m not quite certain how I feel about his “Faith in the Harvest.” |5| There is starkness in his drawing, an interesting rhythm in the composition, and his palette is strong (and perhaps a bit dark). Still, his image holds the eye; and I can easily get past what I sense may be a certain self-consciousness. There is a great deal of promise in this effort.

Many of the visionary or fantasy images provoked interest. Aaron Brent Harker’s “Evaporate” |6| is an example of technical skills well combined. The chilly, enamel-like finish encases assembled objects and figures. The viewer is thereby offered an imagined scene that challenges and invites questions. Kent Wing’s “Imitator” is reminiscent of Howell Rosenbaum’s fantasy images. The latter’s seemed angry and violent. Wing’s painting is cooler, carefully crafted and more studiously realized.

A mixed media piece, “Press,” by Bruce D. Robertson |7| drew me back several times. This is more than mere assemblage. A number of other, larger abstract creations deserve more study, and I encourage those artists to pursue what entices them.

Much of the spiritually themed work is familiar in subject and competent in execution. Faith and belief are older than history, and they are as vital as the breath we just inhaled. For spiritual introspection at a near-cellular level one turns to Frank McEntire’s creations. |8| His pieces are not easy to see. They are worth the effort to contemplate. Often!

A number of photographic images were included in this exhibit. Most of them, I found, were certainly competent, some of them superbly so. I could not stop myself from returning several times to Dennis Mecham’s “Gehry #10.” |9| It is simply stunning. And I couldn’t prevent recollections of Man Ray (& others of his time) from crowding into my mind.

One could go on, and I am tempted. This ‘zine needs many voices, and I’ve probably said more than enough. Do yourselves a large favor, please -- spend a leisurely afternoon in the SMA. This exhibition runs through June. You deserve to see it.

William C. Seifrit is a well-known scholar of the pioneer period of Utah art. He is co-author of Utah Painting and Sculpture published by Gibbs-Smith.

Spring Salon images 7 | 8 | 9

by Mariah Mann Mellus

Salt Lake City’s Unknown Gallery hit the scene in October of 2004, and, every month since, they have delivered a gallery experience like nothing Salt Lake has ever been offered before. Seven months after opening there are no signs of slowing down. The three co-creators generously sat down with me to offer some insight into how this gallery was conceived and what direction they plan to take in the future.

The trio is made up of Justin Zimonja, Owner and President, Amity Waldecker, Owner and Vice President and Jeremy Herridge, Manager and Curator. The three have a wonderful collaboration that stems from years of friendship.

They all grew up in Utah, each with his or her own passion: Justin in cinematography, Amity in cosmetology and Jeremy, the “Art Guy.” Their interests flourished into careers but their paths never strayed far from the visual and fine arts.

Jeremy, the “Art Guy,” received a BFA from The University of Utah. During his years of study, he became aware of the lack of promotion for emerging artists in the state. “I saw so much amazing art at the student and emerging level and it didn’t have a venue or a particular home; it didn’t get seen outside of this small realm of the school or a close group of friends. When Justin and Amity approached me with the idea for the gallery, it just seemed like it was meant to happen. I was very excited. I had been tossing around the idea in my head for years. When we all merged together, our visions were parallel to each others and we decide to go all in together.”

When I joke that “all in” is similar to “going for broke,” a nervous laughter breaks out among the group.

It is common knowledge that opening a gallery is not a get rich quick business, but these three have thought ahead and are creating successful business strategies, such as cross promoting their shows with established galleries in larger markets. Justin explains: “Blue Bottle Gallery and Aftermath Gallery in Seattle are two of the organizations we have discussed swapping artists and different possible show options. We have artists that we continually show but our vision is a gallery that is a stepping stone in the artist’s career.”

Jeremy reveals, “We don’t want to hoard the artist and sign them into a contract that would hinder or stifle them; we are totally open to having artists show in other galleries simultaneously.”

“So you do take a commission when it’s shown in your gallery?” I ask.

“Yes, we have to keep the lights on. It’s a traditional commission amount, but the cross promotion and open agreement sweetens the deal. Recently, Max Grundy who has participated in several of the shows, has been requested to send some of his “media fear” prints and merchandise up to one of the galleries in Seattle.”

“Do you try to find local artists first and is “local” a priority?” I ask. To which Amity responds, “We try to accommodate local artists; there is an amazing amount of talent here so we try to cater first to the Salt Lake artists. But we also like to bring in artists nationally and internationally that might add a certain flare to the show.”

As a sign of the international makeup of the gallery, the trio points out two artists in the current show, Claudia Wach-Beetz, who hails from Munich, and Will Varner, who lived and studied in Tonga. The Board Show (Skate and Snowboards - January 2005) featured work from artists all over the United States and Hawaii, and a group show out of California is scheduled for August.

The exhibition slated for June, the “Heavy Metal Show,” interests me so I ask, “What artists have signed on?” ȁWell the deadline has not approached,” Justin replies, “so we have some [artists] penciled in but not completely confirmed.”

“I have really enjoyed your themed shows. You’ve had the “Glamour” show and now ’Heavy Metal.’ Why themes?” I ask. Jeremy expounds, “The idea for the theme shows are to get artists working. I hate to say it would be like “Reflections” but… you throw out the topic and see what the different artist come up with.”

Justin points out that with a few pieces in the “Idols and Icons” show, currently on exhibit, a particular artist who primarily paints landscapes has seamlessly transfigured her work to depict this month’s theme.

images 0 | 1 | 2 | 3|

Part of the cutting edge appeal this gallery offers is the sleek models -- styled in accordance with the theme of the show -- who attend the exhibition openings. Amity’s cosmetology background influenced this aspect of their plan. “It was always part of the plan; it seemed to be a good fit. We think it enhances the atmosphere and allows the stylist to step out of salon setting and explore their artistic side.” Kristin Fry, of Lunatic Fringe Salon (again with the cross promoting), allows her artistic side to be revealed when designing the models for the show. In past shows, she has painted the models right into the picture or made a two dimensional character come to life. I’m told she gets quite excited to see the photos of the new pieces and start coordinating the models and styles.

Unknown Gallery offers the metropolitan gallery experience, minus the high-pressure sales and over priced work. Easily achievable deadlines and no contracts provide the flexibility and respect that is often lacking in the artist/gallery experience. Emerging artists and virgin art patrons are introduced to each other for the first time. This gallery speaks to the public and the public continues to respond positively. Don’t miss this summer’s hottest shows at the hottest gallery Salt Lake has to offer. Unknown Gallery is located at 353 W. 200 South Downtown Slat Lake City Utah. Idols and Icons will be on display until June 10th with the Heavy Metal Show opening on June 17th in correlation with the monthly Salt Lake City Gallery Stroll. For more information on future or past shows held at Unknown Gallery or to submit work please visit their web page at www.unkgallery.com