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  November 2009
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Poser by Jonathan Frank
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Jonathan Frank . . . from page 1

No lens could filter light with as much luminosity and impact as Frank’s brushes create. His landscapes vibrate with saturated colors and definition. He still takes photographs which he uses as a departure point for his paintings. Usually, he maintains the subject matter and composition of the photo, manipulating small details and, of course, the colors and light.

Between the original photos and the ensuing watercolors, it’s easy to choose which landscape is the more appealing. Looking intently at his watercolors is often followed by a desire to jump into them. For example, in “Morning in Del Muerto,” the purple road leads invitingly to a dry wash bathed in shades of cheerful yellow, evocative of the first warm rays of early morning light. Who doesn’t want to follow that wash and see what other fanciful colors and shapes lie around the corner? Thanks to the layering of hues and the crisp black outlining he uses, Frank creates a hyper reality that arrests the viewer’s eye and holds it.

The irony in his claim that he did not possess enough patience to master photography is clear when one considers the painstaking process Frank uses to create his paintings. He achieves a vibrancy in the hues by layering color upon color. This time-consuming technique creates deep, saturated shades that belie the use of watercolor and achieve an intensity more often associated with acrylics or oils.

To demonstrate this painstaking process, he has taken a series of twenty photographs of a particular painting, “Ephemeral Pool,” showing each step as it evolved. Each successive photo depicts a new layer of color as it was applied (view here). The depth this process adds to the overall painting is evident halfway through the series. At that point the landscape looks complete and unlikely to be improved on, yet Frank adds several more layers of color which enrich the palette and enhance the relief of the landscape.

The last step in Frank’s process makes up his signature style; the outlining in India black ink with a Radiograph pen of every contour. I do mean “every” contour. The painting, “Convergence of Memories,” depicts Delicate Arch under a picture-perfect winter storm replete with fat flakes permeating the scene. Every flake is smoothly outlined. The effect is stunning, and particularly obvious in a landscape whose colors and mood are inherently muted by the snowfall. The painting is vivid.

Frank’s watercolors are deservedly garnering attention and winning awards. Most recently, he was honored with the prestigious National Watercolor Society Special Award (2009). His paintings have appeared in numerous publications, including twice making it into Splash (7 and 10), the premier watercolor collection. He has paintings that belong to collections around the world and that are exhibited in galleries throughout the Southwest. Despite his burgeoning success, he remains active in the artist community of Moab, his chosen home since 2005, and often exhibits at The Framed Image, where he will be the featured artist for November’s Art Walk.

Having found his true calling, Frank isn’t sitting on his laurels. The recognition he is deservedly receiving is pushing him on, encouraging him to stretch his limits, both figuratively and literally. He is painting in larger dimensions, following a “bigger is better” philosophy. Considering the detail incorporated into his landscapes, such as a secondary world reflected in a desert puddle in “Three Graces,” he is right in stating that this larger size allows for “more going on; more impact” in the composition.

Frank is also moving away from his predominantly desert scenery to the Pacific Northwest. His paintings rarely reflect human presence and, apart from an occasional raven, rarely any animal. They are windows into a pristine world reflecting more what we imagine it to be. Each painting offers a communion between the viewer and a perfect world that feels almost attainable.

During November Moab's The Framed Image Gallery presents the work of Jonathan Frank, beginning on Saturday, November 14, at 6:00 p.m., as part of the Moab Art Walk. The Framed Image is located at 59 East Center Street. To view more of Frank's work visit his website.

15 Frames: Video Interview
Something Bad is Happening
Matt Glass and the Apocalypse

Matt Glass' photographs, as slick and polished as a Nike ad, are out of place in a contemporary scene dominated by plastic cameras, cell phone imagery and out-of-focus close-ups. But it is precisely the juxtaposition of his finely crafted scenes with their unsettling and surrealistic subject matter the Ogden artist's work memorable.

Over the next two months Glass is showing his work in four different exhibitions, in Salt Lake and Ogden. His two large, apocalyptic photographs, "Doubting Thomas" and "St. Francis," (see video below) are the first things visitors see at Artists of Utah's 35 x 35 exhibition at Finch Lane Gallery (which closes this Friday, November 6). They are part of a larger suite of related photographs that will be on display at Ogden's Universe City in December. This month the same gallery will include his pieces in a group exhibition of small works that opens on Friday, November 6. Finally, another series of photographs, Examples of Absurdity, is currently on display at Salt Lake's galleryUAF through November 13.

In this video interview, shot in October in conjunction with the 35 x 35 exhibit, and part of Artists of Utah's film WORKZONE, Glass explains the process and meaning of his work.
Want to see more video interviews like this in the pages of 15 Bytes? Make a tax-deductible contribution to our 15 Frames program.
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Business & Pleasure
Art Happenings in Salt Lake, Bluff, Park City, St. George and Kanab

A bright spot of hope was visible on the local art scene this month with the opening of the 15th Street Gallery in Salt Lake City. Late this summer local art aficionados mourned the closing of Palmers Gallery -- which had given exposure to emerging and underappreciated artists -- and have waited with bated breath to see who would be next to fold under the pressure of the economic downturn. To date, however, no one else has shuttered their doors -- some galleries are holding on as best they can, others are thriving and some, like Utah Artist Hands, are busy reinventing themselves (more on this later, but stop by and watch the process as it goes along). The opening of 15th Street Gallery (1515 E 1519 S; 801-468-1515) has bolstered the spirits of many, especially the artists who have found a home in its bright, open space. The Gallery held a gala reception on October 23, a glittering event packed with patrons, good food and dazzling art. The inaugural exhibit features works by Wendy Chidester, Blue Critchfield, Steve Larson, Trent Call, Dennis Smith, Chris Miles and others.

Being on the south end of the city, 15th Street Gallery is somewhat outside the downtown orbit of Salt Lake's Gallery Stroll. But with a number of other venues in a similar situation -- Evergreen Art & Frame, A Gallery, Patrick Mooore, Sugarhouse Gallery and Charley Hafen -- maybe an additional reception evening could be held for south-end venues?.

Up the mountains, Park City's gallery scene is about to start hopping again. For the past month a number of galleries have been holding fundraising events for local charities, but as the ski season approaches they will get back into the business of exhibitions in earnest. And by earnest we mean two to three a month. Phoenix Gallery kicks off the season with their annual SMALL Invitational, a group show, like many in the state at this time of year, that features small works -- which would make the exhibit hardly worth mentioning if it weren't for the pre-party the gallery holds. For SMALL, gallery owner Judi Grenney invites several artists to join her gallery regulars uses the event as an opportunity for the artists to mix and have a little fun. The drop off party features a lively, friendly atmosphere with pizza and ping pong. The opening for the general public (November 27) is a little more white-collar: sushi and jazz will be used to fete the works by over twenty artists.

Back down in the valley, Salt Lake County is holding its own reception, for its newly purchased works. Since 1985 the County has been providing art for its citizens by purchasing works from Utah artists and putting them on display in its various buildings. Not only is the collection worth a considerable amount more than has been paid for it, but unlike other large collections in the state, all the art is always on public display. This policy is one of the reasons the trustees of the Francis Zimbeaux estate recently decided to donate a number of the artists' work to the collection. "Our mission is to promote his work so if we donate it somewhere we want to be sure it is on display and not tucked into a basement somewhere," said Duncan Hilton, one of the trustees.

Every November the County Art Committee, in conjunction with Mayor Peter Corroon, unveil the new acquisitions at a public reception. Like last year's reception, the November 10th event will include the screening of video interviews with many of the artists, produced by Art Committee member Michael Stack. The reception is 5 - 7 pm at the County Government Center, 2001 South State.

Cycles by Ed Bateman
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In 2009 Salt Lake County has added to its collection over a dozen works by living artists, including digital images by Ed Bateman |0|, an installation by Trent Alvey |1|, and paintings by Heather Barron |2|, Nathan Florence |3|, Jean Arnold |4|, Jared Gilette |5|, Clay Wagstaff |6|, Dennis Smith |7|, Karen Horne |8|, Lisa Hubbert |9| and Ron Richmond |10|. These are augmented by a number of works by historical artists including Francis Zimbeaux, Mary Teasdel and Bertran Youth Andelin.

Note to Art Lovers: a healthy crowd at these receptions helps convince policy makers the program is worth funding. Note to Artists: works purchased by the County are nominated and voted on by the volunteer members of the Art Committee, who will be in attendance at the reception -- getting to know them would not hurt your career.

Hobknobbing with influential people is just one of the keys to making it in the business of art. Two events this month will address additional issues.

On Thursday November 5th Artists of Utah will hold Pick Our Brains, a ninety-minute workshop where members of Artists of Utah's board and staff open themselves up for questions. The event is organized in conjunction with the 35 x 35 exhibition and has been designed to aid emerging artists in understanding key issues in their future careers (see page 2).

If you're interested in the business of art but are looking for an all-day gig in warmer climes, The Business of Art, being held in Kanab on November 14, is the thing for you. The free event is being organized by Dixie State College and addresses such nuts and bolts issues as packing, shipping and photographing your art, to broader and more developed concepts like copyright and tax issues to broader issues like gallery representation, portfolio development and building creative communities. Click here for a full list of the day's events and registration information.

Another opportunity we've learned of down south is the Zion National Park Artist in Residence program, which offers professional artists the opportunity to live and work in the majestic desert environment of southern Utah for a period of one month. The residencies are February, March and April, but the deadline is coming quick: November 12. Go to our forums to learn about this and other opportunities.

Utah's south is not only for artists this month. The Bluff Arts Festival, the last of the year, gives art lovers a reason to head down to the four corners area. The 5th annual event, November 12 - 15, gives visitors the opportunity to explore the landscape, art and culture of the area surrounding the San Juan River.
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