Utah Museum of Contemporary Art

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This collection includes documentation of exhibitions, installations, artwork and other related materials from the Utah Museum of Contempory Art in Salt Lake City, Utah.


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1994-1995 Utah Arts Council: A View of Eight
The Utah Arts Council: A View of Eight, Fellowship Finalists in the Visual Arts., TIFF image scanned at 3600 dpi from the original using a Plustek 8200i scanner. PDF created with Adobe Acrobat.
1996 Utah Arts Council: A View of Seven
The Utah Arts Council: A View of Seven, Fellowship Finalists in the Visual Arts., Original version: Utah Museum of Contemporary Art (UMOCA); Archival digital version: SLCC Digital Archives.
1997 Utah Arts Council: A View of Eight
The Utah Arts Council: A View of Eight, Fellowship Finalists in the Visual Arts., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe
1998 Utah Arts Council: A View of Nine
The Utah Arts Council: A View of Nine, Fellowship Finalists in the Visual Arts. Amy Adams; Jennifer Hillam Barton; Drex Brooks; Wayne Chubin; Downy Doxey-Marshall; Andrew Glantz; Brian Kershisnik; Fuifuilupe Niumeitolu & Joseph Ostraff; Kaiti Slater.
1999 Utah Arts Council: A View of Five
Five presentations are included in this exhibition and represent the professional pursuits of these exceptional Utah artists. These works include a diversity of disciplines, styles and media investigation. This exhibition stands as the final step in the selection of the Visual Arts Fellowship Awards in which two artists, as selected by the juror Fay Jones, receive $5,000 Fellowships., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe Acrobat.
2011 Sundance Film Festival New Frontier
Salt Lake Art Center’s exhibition of Sundance Film Festival New Frontier opens the door to new forms of creativity. The New Frontier artists and filmmakers reconfigure art, technology, film, and performance to explore narrative structure, the three-dimensionality of the cinematic image, and innovations in transmedia storytelling. Interactive, community-curated video archive In Ghostcatching (1999), Bill T. Jones dances a series of original and haunting choreographic sequences accompanied by his own vocalizations as OpenEnded Group captures and portrays the movement using a customized technique. After Ghostcatching expands this work to incorporate 3-D technology, immersing audiences inside the dance and allowing them to experience this wondrous world of virtual movement with new depth. OpenEnded Group & Bill T. Jones, U.S.A., 2010, 13 min. loop. Single -Channel, 3-D Video Installation Our prolonged and increasing exposure to dramatic entertainment shapes our imaginations, our aspirations, and the way we reference our memories and structure the time in our day. Mixed-Media Video Installation The Johnny Cash Project and The Wilderness Downtown. These two participatory, web-based projects are the result of the innovative collaboration between data-visualization artist Aaron Koblin and filmmaker Chris Milk. The Johnny Cash Project invites participants to create individual drawings that are woven into a collective, animated music-video tribute to Johnny Cash, set to his song “Ain’t No Grave.” The Wilderness Downtown is an interactive film that uses HTML5 programming and Google Maps to create startlingly personal videos that accompany the Arcade Fire song “We Used to Wait.” Milk+Koblin (Chris Milk and Aaron Koblin), U.S.A., 2010, 3 min. and 5 min. respectively. Participatory Website, Interactive Film. Myth and Infrastructure and Dreaming of Lucid Living. Brimming with elevated visions of the ways the human body interacts with its surrounding environment, award-winning animator Miwa Matreyek integrates her own shadow into her whimsical, handcrafted, animated worlds. Her breathtakingly beautiful images mix with dreamy original music to create glistening realms of enchantment. Dreaming of Lucid Living explores domestic spaces, large and small cities, and magical powers in dreamlike vignettes. Myth and Infrastructure expands the scope of the connections to the environment as a whole. Miwa Matreyek, U.S.A., 2010, 17 min. Multimedia Performance. Pandemic 1.0. A mysterious virus begins to affect the adults in a small rural town, and the youth soon find themselves cut off from civilization, fighting for their lives. How fast is the virus spreading? It is confirmed—the virus has hit Salt Lake City. Can you survive? Pandemic 1.0, a transmedia storytelling experience, unites film, mobile and online technologies, props, social gaming, and data visualization, enabling audiences to step into the shoes of the pandemic protagonists anytime during the day. Mission Control is the only way to learn where you stand in the face of the spreading pandemic. Lance Weiler, U.S.A., ongoing. Transmedia Storytelling. Exhibition held in the Main Gallery Space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Adam Worden: Collages
Worden's threadbare collages are the result of scavenging for inexpensive materials. They are exquisitely composed compositions and derived from a wide variety of material and sources. He was able to combine funky Beat aesthetics with the utopian visions of the Hippie culture. One of the most distinctive features of his collages are their diminutive size, the smallest of which are affixed to business cards and measure a mere 3 1/2 x 2 inches. Worden also produced complete sets of collaged playing cards. As supports for his pasted papers and fabric, he used cut up cardboard, game boards, masonite, and wall paneling. His largest collage works are still modestly scaled, averaging 24 x 15 inches and fashioned from day-glo papers salvaged from billboards and fireworks stands. Worden tended to work in sets or series of related subjects or compositions. These include framed collages that feature apocalyptic visions, such as goddesses and bodhisattvas confronting characters from popular culture sources. Visual poetry fashioned from the common and the extraordinary. Exhibition held in the Street Level Gallery space., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe Acrobat.
Alex Israel: AS IT LAYS
Los Angeles-based artist Alex Israel uses Hollywood as a material to produce videos, objects, performances, and installations. AS IT LAYS, 2012 employs the television talk-show format as a platform to produce contemporary portraits. Using his own flat and backdrop works as set, Israel interviewed some of Hollywood’s most fascinating personalities in a manner that is uncomfortably blank and stoic. The work investigates the absurd behaviors and quotidian rituals that make up the waking hours of each subject’s life. Through an awkward hilarity, these interviews deflate the mystique of Hollywood, engaging each participant in a humbling performance of the self. UMOCA is proud to present nearly five hours of AS IT LAYS, featuring unforgettable interviews with Vidal Sassoon, Bret Easton Ellis, Marilyn Manson, and many more. Exhibition held in the New Genres Gallery space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
All American: Defining Ourselves in a Time of Change
As a nation, Americans look continually to our heritage, beliefs, and daily rituals to define ourselves as a culture. Yet our national identity is complex, and it is difficult to characterize a people by any one symbol, ethnicity, or boundary. All American: Defining Ourselves in a Time of Change features 13 contemporary artists whose work evokes a vital dialogue, whether with patriotic pride or cautious skepticism, about the icons and traditions that define us. These artists, working in a variety of media, incorporate history, ideologies and symbolism into their art as a means of exploring what it means to be an American. Exhibition held in the Main and Projects Gallery spaces. Eric Beltz; Jerry Bleem; Joe Compean; Brian Dettmer; Gajin Fujita; Jacqueline Goss; Scott Greiger; Patrick Lichty; Tracy Linder; Larry McNeil; Robert Reynolds; Brad Slaugh; Steven B. Smith., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Allison Lacher: Think Pink
Allison Lacher's work focuses on making objects and installations that are shamelessly flirtatious. Attached to four lustrous, pink fabric panels are over 1,000 hand-tied satin pink bows. The bows, dense and heavy at the bottom of the fabric, gradually thin out as they rise to the top. Somewhere between abstraction and figuration, their functional resemblance to domestic draperies is sublimated by a teasing prom gown reference. Congregating and dispersing, they allude to flowers, songbirds, and towering wedding cakes. The viewer is invited to question this blushing installation as it unabashedly invokes many romantic cliches. Exhibition held in the Projects Gallery space., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe Acrobat.
Ana Prvacki: Neutralize Negative Feelings
An Installation About Etiquette. Using social codes and cultural structures as a raw material, Serbian-born, Los Angeles-based artist Ana Prvacki (pronounced Pri-vatch-key) turns the rituals of hospitality into a theater of performance. Until 2010 the artist was CEO of the brand Ananatural Productions, a conceptual factory of ideas ranging from the practical to the absurd, creating products which offered shortcuts to better living and designs for needs we never knew we had. Merging Martha Stewart with Marina Abramovic, the language of Prvacki’s work seems as familiar as IKEA or Emily Post but awkwardly turned on its head. For the recent edition of Germany’s renowned contemporary art survey dOCUMENTA13, Prvacki was commissioned to create a series of Public Service Announcements (PSAs) that were cleverly dispersed in locations throughout the city and on German television. The television spots helped citizens and tourists navigate difficult social circumstances like personal space, spinach in one’s teeth or accidentally spitting while speaking. These scenarios were played out on camera and then corrected by the artist, etiquette counselor Vartouhi Keshishyan and comedy group The Intecollectuals. The result is a strong mix of humor and instructional empathy empowering viewers with tools to recover their possible embarrassments with grace. In her exhibition Neutralize Negative Feelings at UMOCA, Prvacki morphs her PSA work into a new artistic direction, historicizing the codes of imposed etiquette with the motivational sloganeering of past generations. Embroidered adages like “Happy Wife, Happy Life” are given new and more relevant meaning by updating it with current, universal situations of human folly and faux pas. Prvacki’s installation is comprised of ceramic hearth plates, napkins with embroidered spinach spots, and the complete cycle of her PSA series. The public is invited to engage in dialogue about social codes, gossip, sewing circles and days of old in the founding of our new “Embroidery and Etiquette Club.” Exhibition held in the New Genres Gallery space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Analogital
Analogital is an exhibition of international artists who engage with concepts generated from the transitional space between analogue and digital. Specifically the notion analyzes the forms that emerge from our culture’s conversion from film grain to computer pixel. However, more broadly the term identifies a perceptual evolution in the human experience and its mediation. In the mid-seventies at the University of Utah, innovators made breakthrough developments in early computer graphics and virtual designs like the “Utah Teapot”, experiments that would lead to the founding of Pixar and early pursuits of digital reality. Eventual media such as ASCII, ProTools, Nintendo Entertainment System, CAD, gifs, jpegs and above all the Internet opened a multiverse of possible ways to render, perceive and copy the world around us. Social networking interfaces, video game systems and reality television additionally provide new avenues through which communication, behavioral learning and interaction occur virtually or with mediated remove. Analogital is about artists analyzing this science-fictional relationship existing between technology and the human condition., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.

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