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March 2007
Published Monthly by Artists of Utah, a non-profit organization.
Amy Caron
Artist Spotlight: Salt Lake City
Amy Caron: Theory of Mind
by Ed Bateman || photograph by Trish Empey

It is often easy (yet dangerous) to pigeonhole artists. Amy Caron, winner of the Utah Arts Council's 2007 Fellowship Award, is an artist who defies easy categorization. She's a bit of a shape-shifter that pursues a variety of disciplines all linked to the physicality of her early years. With seemingly boundless energy, her past mirrors her work, attitudes, and play.

The Vermont native began as a figure skater who studied both ballet and gymnastics. But it was her interest in skiing and particularly ski jumping that lured Caron to Salt Lake to train and compete for the US Freestyle Ski Team at the age of nineteen. For eight years her energies were directed toward competitive skiing - but ideas of creativity were never far away. Dance has always been one of her passions and during this time she kept one foot (so to speak) in the dance world by enrolling in the modern dance program at the University of Utah, where she completed her Bachelors degree in 2001. That might have been enough for most people, but not for Caron. To pursue her passion for performance, Caron has worked as an actor, stuntwoman, and sports model. To recharge her creative batteries, she escapes into Utah's back-country to hike and explore the mountains.

A need for a few more credits hours during her last year of college led Caron to video and experimental animation classes. Her first video work, "Don't Blink," propelled her into the realms of dance/video (see page 3). In fact, that piece still has a life in the larger world... it will screen at the Joyce SoHo in New York this March.

Caron is currently working on her most ambitious project to date (for which she won the Utah Art Council's Fellowship). Titled "Waves of Mu: Watch and Learn," it promises to be a multi-media tour-de-force incorporating sculpture, large-scale digital prints, found objects, video installation (using a new projection technology involving two-way mirror glass), animation, and audio. It gets its name from the EEG frequencies generated when the mirror neuron system is activated.
continued on page 3

Gallery Spotlight: Provo
Growing Pains: Gallery OneTen Turns One
by Elizabeth Matthews

Provo’s Gallery OneTen, a community gallery celebrating its one year anniversary this month, has spent the past year learning what it takes to create a non-profit art space. Gallery OneTen emerged a year ago, but its genesis stems back five years. That is when Raquel Smith Callis and some friends transformed a Provo warehouse into Art Front Community Space, and used it to present art exhibits and offer intensive summer art workshops for children. Five years later, this initial idea developed into Gallery OneTen through the help of two fortuitous connections.
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Exhibition Reviews: Salt Lake City
Sunday in the Dark with Bill
Bill Viola at the Salt Lake Art Center & UMFA
by Geoff Wichert

Bill Viola, this year’s Tanner lecturer on human values, is the best known and most critically admired video artist. He has the kind of all-but-exclusive prominence held by Nam June Paik in closed-circuit TV and Robert Smithson in earthworks, that Dale Chihuly has in glass or, for that matter, Christo and Jean-Claude have for draping large objects. Each has essentially become the poster child for a purported new medium of art. If you doubt the accuracy of claims made for such mediums, these examples will be cited to prove their capacity to move us as well as any modern work of art. Never mind that we might not be looking high and low for the new medium if the modern wing of traditional arts wasn’t so nearly empty. Never mind that every day something like 7,000 videos are posted on the Internet, most of them unwatchable. And most of all, never mind the reasonable argument that the success of Viola’s videos rests less on the debatable contribution of their medium and more on the visionary talent of their maker: on his ability to hammer something special out of a commonly intractable medium.

Last month the Central Utah Art Center hosted an assortment of videos by the Welshman, Peter Finnemore. This month, the Salt Lake Art Center has Viola’s "Ascension" until March 17th, while the Utah Museum of Fine Arts will be showing his "The Quintet of Remembrance" until May 15th. Finnemore is a young post-Duchampian: his videos eschew the exploration of visual beauty or the plumbing of spiritual depth in favor of criticizing the contemporary scene, especially the art world. Viola, on the other hand, makes films of nearly heartbreaking beauty that plangently evoke emotions and spiritual yearnings. If nothing else, the Utah art audience can’t complain that we aren’t being given the opportunity to taste a wide range of video art styles.
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A still from Bill Viola's video Ascension