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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Tony Smitt: Raven Paintings, Landscape Paintings
Raven and landscape paintings by Tony Smitt. Exhibition held in the Phillips Gallery., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe
Transcendence
The premise for this exhibition began with the desire to feature contemporary Salt Lake City based artists working in diversity of media as well as forms of expression. The sense of renewal--by its alchemical and apocalyptic themes--weaves through and binds together the works that otherwise may be only marginally related. In spite of the diversity of media, expression and personal styles, the art tends to reflect states of transcendence, representations of experience beyond ordinary thought and belief. From Maryann Webster's tattooed ceramic dolls, to Lewis Francis' haunting photographs of salt encrusted pylons, to Anne Watson's moving "painted journal" chronicling the passing of her mother, to Lincoln Lysager and David Ruhlman's imaginatively cryptic, mixed media panels, the sense of other-world-liness is strongly implied throughout this exhibit. Exhibit held in the Main Gallery space., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe Acrobat.
Trevor Southey: Reconciliation; Joseph Marotta: Without Memory
"Reconciliation" is Trevor Southey's unique vision--an heroic, idealized and utopian vision of spirituality, companionship and family, and humanity. The exhibit includes paintings, prints, and sculpture highlighting aspects of Southey's career over the last 30 years. Exhibition held in the Main Gallery space April 18 - July 6, 1997. "Without Memory" uses a collage of technique, these large scale photographs are manipulated through the use of stain, paint, and text. Marotta invites his viewers to not only experience his memories, but the evidence of the process of making the photograph as well. Exhibition held in the Street Level Gallery space April 4 0 May 11, 1997., TIFF image scanned at 600 dpi from the original using an Epson Expression 10000 XL scanner. PDF created with Adobe
University of Utah Sculture Garden
University of Utah Sculpture Garden 2012 exhibition created by the UofU architecture students. Exhibition held in the Plaza outside the Architecture Building., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Unseen Shores: The Post-Vietnam Era from the U.S. Navy Art Collection
"Unseen Shores" fills a void in the now traditional contemporary art world that typically favors avant-garde artworks of large scale in a non-referential style and/or with a theoretical foundation and/or in a technologically-innovative medium. These twenty-eight artworks, draw from the U.S. Navy Art Collection, reveal a surprising autonomy in art-making and acquisition in the official embrace of this (and other) branches of the United States military, despite suspicions to the contrary. There is a remarkable cross-section of subjects and styles from expected watercraft and aircraft, to the unexpected -- diversity of gender and race; civil engineering and rescue operations; off-duty leisure -- carving out a space in contemporary art for a realist mode of representation, existing as a hybrid between the objectivity of documentation by intricate theories and not dependent on the novelty of trendy materials. 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.
Utah Biennial: Mondo Utah
Celebrating the diversity of Utah's cultural landscape. Utah Biennial: Mondo Utah is an anthropological look at the history past and present of contemporary art, folklore and culture in Utah. The theme of this first edition looks at the myriad ways in which Utah has been used as a site, subject, support, and material. Generating new projects and unearthing archival legacies, the exhibition demonstrates how Utah has produced its own language of contemporary art within our country’s cultural puzzle. “Mondo Utah” or “the world of Utah”, is taken from the eponymous book by Utahn filmmaker Trent Harris, a publication of contemporary mythology that looks into the fables and idiosyncrasies originating from the Beehive state. The word “Mondo” references a filmmaking genre dating back to the early 60s from Italian filmmaker Gualtiero Jacopetti whose 1962 film “Mondo Cane” pioneered a filmmaking style known for cinema verite and pseudo-documentary that blurred reality and fiction. The film was structurally divided into short, unrelated vignettes or stories that brought one through a panorama of events unfolding before the camera. Structured like a Russian doll, the Utah Museum of Contemporary Art is taken over by a series of exhibitions within the larger framework of the biennial. The recursive format reveals parallel worlds of art history, recent cultural productions, contemporary practices, outsider trajectories and aesthetic positions. Projects include Andy Warhol’s hoax, Chris Burden’s guerrilla art history, a tower of tumbleweeds, a film bathed in the Dead Sea before being thrown into a Spiral Jetty, a survey of faithful abstraction, the sublime of conceptual landscapes, a contemporary guide to a lost Utah, a 72-hour survival blanket, and an attack of a giant brine shrimp on downtown Salt Lake City. Institutional collaborations and collections come from the Church History Museum, the Central Utah Art Center, Summum, Wolf Productions, and the Salt Lake Art Center Collection. Exhibition held in the Main Gallery space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Utah Draws: Contour and Context
Making marks is a basic human impulse. From prehistoric caves to computer-designed graphics, drawings can be described as the fundamental act of mark making using a tool (charcoal, graphite, pen, etc) on a surface, typically paper or canvas. Once relegated to a minor, more preparatory role as a step in the production of a finished painting or sculpture, drawing began to be elevated as an art form during the 15th century Italian Renaissance. By the early 20th century, artists began to shift away from realistic modes of representation to more abstract depictions, a tendency that continues with many of today’s artists. The eight artists selected for Utah Draws: Contour and Context devote significant time to drawing in their artistic practice. While all of these artists approach drawing through its formal qualities, each grapples with differing concerns including personal reflection, the environment, and language. The drawings in Utah Draws have been selected as a demonstration of the dynamic array of styles, media and subjects–ranging from the human figure, to landscape, to more conceptual explorations–currently being explored by Utah artists. Exhibition held in the Street Gallery space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Utah Perspectives
The exhibition is a small survey of images created by Utah artists over the past sixty years. Limited in scope, one may nonetheless discover something about local traditions and aesthetic values front the landscape, still-life, figurative and nonobjective work included. here. For example, Utah has not been completely isolated from the larger art world as both non-Utahns and its own citizens often claim. While this region was geographically remote from East Coast and European art centers, Utah artists made contact with New York and Paris beginning in the nineteenth century and established a pattern of such study for subsequent generations. The result was that new ideas and ways of working were regularly imported. Some ideas and techniques found read acceptance (Impressionism), while others encountered hard resistance (modernism). Historically, this very tension in Utah between an essentially conservative community and the ever-present forces of change has kept dialogue on the arts lively. Permanent Collection.
Utah X/I: Video Art from Utah
Contemporary Trends in Video Art. The Salt Lake Art Center, in partnership with the SLC Film Center and the Utah Humanities Council, presents the recent videos of artists selected for UTAH X/I, an investigation of contemporary video art being created in Utah. UTAH X/I was originally curated by Anne Watson for SLC Film Center’s Sidewalk Cinema, the Art Center's presentation includes works by four video artists. Inspired by Documenta X, an international art exhibition that takes place every five years in Germany, UTAH X/I stretches beyond the conventional idea of exhibition space. Exhibition held in the Auditorium space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
V. Kim Martinez: Mimesis
Paintings by V. Kim Martinez. 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
Venessa Gromek: The Sublime is Light and Easy-To-Assemble
Venessa Gromek uses tent poles and lace to create elegant sculptures in the pursuit of intersecting ideas from the outdoor industry and the tradition of modernism and sublime in the landscape. Gromek distinguishes her sculptures as different from the traditional form through the ability to transport them with ease. Her sculptures transcend from the traditional steel, wood, glass or clay and instead use the lace and tent poles to create lightweight structures that can be easily assembled and disassembled. The sculptures resemble tents, but take the function out of the tent, allowing the focus to be on form and the boundaries of materials. Gromek describes her tents an example of how tent design has turned to complex design and form to make searching out the sublime in landscape easier. Exhibition held in the Locals Only Gallery space., Digital image files converted from Raw file format to TIFF using Adobe Photoshop and Adobe Bridge.
Victor Kastelic: Cloudburst
A site-specific installation by Victor Kastelic. The unique relationship between the artist and Director Ric Collier is manifested in "Cloudburst," described by the artist as "...an enormous cumulus of imagery--free of filters, schemes, limits and rules that I normally apply to my paintings." This freedom is visible in the multicolored gallery walls; the 200-plus drawings taped to the wall; four large oil paintings and several drawings that were penciled directly on the wall. There sheer number of scenes, people and objects was overwhelming-- a feeling that was only enhanced by the unusual nature of the installation. 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

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