Artist Profile: Spring City
Conflict Resolution: The Art & Life of Jared Latimer
Painter, filmmaker, free-lance graphic artist, educator, and Director of the Central Utah Art Center, Jared Latimer can often be found huddled over a laptop in his limestonewalled basement office at the Art Center, a few blocks from Snow College in the Sanpete County town of Ephraim. He may be making a short film he will upload to the Web, or creating commercial images like those I found him working on recently: convincing satellite photographs of a not-yet-built island city in the Persian Gulf. It’s hardly noteworthy anymore how the Web allows a literally subterranean workspace to serve as the platform for a global vision, but Latimer has finessed this opportunity and his particular skills to enable him to manage multiple roles, each one of which is jealous of his time. Operating the Art Center is a full-time job, as are his commitments to the LDS community and his family. Throw in earning a living, and artespecially the demands of being one of Utah's cutting-edge painterscould easily fall by the wayside. Yet Latimer continues to forge new works in the manner that has made him a respected member of a national network of young painters who foster and encourage each other's work.
Essay: Art & Issues
Life in the Slow Lane
Jean Arnold, Peak Oil and the Modern Flaneur
Modernism brought about a re-examination of all aspects of life, including music, architecture, literature and art. As a movement, it also gave birth to the flâneur, a term derived from the French verb "to stroll." Coined by 19th-century poet and art critic, Charles Baudelaire, the flâneur was seen as having a key role in understanding, participating in and portraying city life. Baudelaire believed that traditional art was inadequate for the complications of modern life, and that it was the flaneur's role to stroll amongst the populace and become "a botanist of the sidewalk."
Baudelaire's concept of the flâneur is important because he opened up the city as a space for investigation and critique. Instead of focusing on how people affected a city, Baudelaire and others sought to analyze the impact cities had on people. Late 19th-century sociologist Georg Simmel, for example, theorized that city dwellers are constantly bombarded by the fast pace of the crowd and an assault of light, movement, and sound (at a time when big cities were defined as having a population of 100,000 or more and the car was still an experimental, slow-moving anomaly). This overstimulation, Simmel believed, led to a "blasé attitude" -- an intellectualized way of merely observing without emotion. Thus, the importance of the flâneur was clear, for in his non-time-limited strolling, he carefully critiqued phenomena that busy urban residents failed to notice on their hectic ways from one specific place to another.
Exhibition Preview: Springville
Wayne Thiebaud: American Icon
70 years of Paintings at the SMA
by Ehren Clark
Wayne Thiebaud is an American icon who paints icons of America. He is famous for his lush and colorful ice creams, pies, cupcakes, a famous and charming Mickey Mouse and many other timeless American imagery. Thiebaud has always managed to capture the American establishment and its spirit, through minimal representations and touchstones of who we are, relevant to the past, present and future. Wayne Thiebaud: 70 Years of Painting, the extensive retrospective currently at the Springville Museum of Art both surveys the artist's long and productive career and presents new works. The show allows the viewer to see firsthand the quality of work that has made this one-time Utah resident an artist of national stature. Thiebaud's works decipher the fleeting mystery of just what America is showing the essence of America by reducing the salad bowl to its basic essentials.
The exhibit opened with a lecture and Q&A with the artist on March 29, a rare occasion for a Utah audience to listen to Wayne Thiebaud, ask questions and participate in a dialogue, that revealed a universe in this artist that no history book alludes to. His work is fun, exciting, vibrant, catchy, but Thiebaud is much more than frosting on a cake. Through his professed love for America and the subjects he chooses to epitomize in his work, he is a profound philosopher in the truest sense of the word and his icons are portals into these realms. The layers of impasto of his painting might be metaphorically likened to his many-layered love of paint, painting and art. When asked who some of his favorite American painters are, he made a reference to the phrase, "I never met a painting I didn't like."