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THE DIRECTORS ISSUE
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Jared Sanders
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Contents 7 8 9 10
From the Publisher Editor’s Note Editor’s Choice Mountain West Art & Events
Visual Arts 14 The Tie That Binds
by Ehren Clark
18 Painting a Narrative
by Sue Martin
22 Social Artists as Creative Directors
by Janice Brooks
28 Western Region Arts Spotlight
by Lynette Carrington
30 Light & Shadow
by John Hughes
Performance Arts 34 Better Together
by Rebecca Edwards
38 Composing Utah’s Story
by Nathan Bowen
44 Making Music
by Laura Durham
48 Beauty and Virtuosity
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by Robert T. Benson
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DIGEST
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Film 55 Sundance Film Festival
by Savannah Turk
60 Second to None
by Savannah Turk
64 Location, Location, Location
by Richard Maturi
70 Color Tones
by Esai Falcon
74 Constructing a Film
by Lyman D. Dayton
76 One Film at a Time
by Kendall Perkinson
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81 Hollywood Moves East
by Rebecca Edwards
83 Gallery Catalog 101 Gallery Directory
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DIGEST
PUBLISHER Robert T. Benson M.D., M.B.A. MANAGING EDITOR Savannah Turk PRODUCTION MANAGER Chad Zavala DIRECTOR OF SALES & MARKETING Devin Liljenquist ADVISORY BOARD Isaac Christensen Joe Olivas Travis Henderson FEATURED WRITERS Esai Falcon Kendall Perkinson Laura Durham Lyman D. Dayton
CONTRIBUTING WRITERS
On the Cover: Into the Spotlights by Karen Horne 16x12, Oil on Linen Born in New York City, Karen Horne grew up in California and Utah. The great-granddaughter of the “First Lady of the Arts,” Alice Merrill Horne, and daughter of landscape artist, Phyllis Horne, Karen was raised surrounded by art. She enrolled at Yale as a pre-med student, but after falling in love with color and figure drawing, she changed her major to art. Horne graduated from Yale with honors, and received her MFA in Painting from Indiana University. After studying art in Italy, Horne moved to Manhattan, working at the Frick Collection, and immersing herself in the art and museum scene. After 11 years in New York City, she returned to Utah. Horne and her husband, Michael Rowley, founded the downtown Salt Lake City studio and gallery, HORNE Fine Art. She still co-directs the gallery, which is in its 12th year. Horne has been fortunate to receive numerous awards, including a 2014 Arty for “Best Impressionist Paintings of Salt Lake City” as well as the 2013 Mayor’s Visual Artist Award. Her paintings are featured in public collections such as the Springville Museum of Art, the Salt Lake County Collection, and the State of Utah collection. “Into the Spotlights” describes the dramatic moment of a ballet dancer about to make her entrance. It is from Horne’s ongoing series on the “Art of Performance/Art of Dance,” which celebrates local dancers, musicians, and the theatres they appear in. Horne’s unique style brings these stories to life with her bold brushstrokes and carefully placed color. This particular piece not only demonstrates Horne’s skill, but manages to perfectly summarize the theme of the Directors Issue from a single glance. It is art inspired by art, something Fibonacci strives for each day. Horne applauds Fibonacci’s mission of connecting the visual and the performing arts, and is delighted to have “Into the Spotlights” featured on the Directors Issue cover.
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Lynette Carrington Rebecca Edwards Richard Maturi Sue Martin
Ehren Clark Janice Brooks
John Hughes Nathan Bowen
CONTRIBUTING PHOTOGRAPHERS 15 Bytes Alan O’Neill Anne Marie Fox Bob Coates Calvin Knight
Dave Brewer Jerry Henry Luke Isley Lynette Carrington Kendall Perkinson
For advertising information send inquiries to: Fibonacci Fine Arts Digest 633 N 400 West Salt Lake City, UT 84103 P 801.521.4002 www.fibonaccidigest.com advertising@fibonaccidigest.com The opinions contained in the articles and advertisements published by Fibonacci Fine Arts Digest are not necessarily those of Fibonacci Fine Arts Digest, its officers, directors or employees, nor does publication in Fibonacci Fine Arts Digest constitute an endorsement of the views, products or services contained in said articles or advertisements. The publisher is not responsible or liable for errors or omissions in any advertisement beyond the paid price. Fibonacci Fine Arts Digest is published six times annually by The Taft Co., LLC and is distributed throughout Utah and surrounding areas. Any reproduction, electronic, print, or otherwise without written consent from the publisher is strictly prohibited. Address requests for special permission to the Managing Editor at savannah@fibonaccidigest.com. To subscribe to the Fibonacci Fine Arts Digest, make changes to your current subscription, or purchase back issues, call 435.656.3377 or visit us online at www.fibonaccidigest.com. Copyright © 2014 Fibonacci Fine Arts Digest, The Taft Co., LLC. All rights reserved.
From the Publisher
American writer, Kurt Vonnegut, said to a group of high
the Sundance Film Festival, on display is the virtuoso ability
school students, “Practice any art, music, singing, dancing,
to tell a story through film. The Ballet West company, lead
acting, drawing, painting, sculpting, poetry, fiction, essays,
by supreme talents in Adam Sklute and Scott Altman, is a
reportage, no matter how well or badly, not to get money and
testament to the artistic direction and executive direction
fame, but to experience becoming, to find out what’s inside
that culminates into a premium presentation of the high art
you, to make your soul grow.”
of ballet right in downtown Salt Lake City. The gallery direc-
What makes art matter to our lives is that even though
tors throughout the Mountain West, and many more who
we each see life through the lens of our own experience, sen-
assume the role of director at the fabulous fine arts entities
timentality, and sensibilities, we all want to be elevated. In
like UMFA, UMOCA, CUAC, the Springville Museum of
the world we live in, where the 24-hour news cycle is fast,
Fine Art, Utah Symphony, and the Las Vegas contingent
furious, and full of fear, something has to provide escape.
including Las Vegas Philharmonic and Nevada Ballet: these
Fear of shrinking 401Ks, war, societal ills, and disease are
are part and parcel to the treasure trove we refer to often.
enough to cause one to lose hope. Art not only helps us
This issue celebrates and thanks these curators of the
understand the human condition, for better or worse, but the
fine arts, directors of the stage, film, galleries, and muse-
fine arts elevate, inspire, and replenish hope. Some say arts
ums. We thank you for taking on the tall order to procure
are a great escape from the toils of life. I say they are not so
the talent, to understand the story to be told, and to manage
much an escape, but a restorative elixir, an edifying gift, and
the operation that brings the art form to the public, the com-
a stimulus to reach for our best selves.
munity, and to your audience.
The late philosopher Dennis Dutton said, “For us moderns, virtuoso technique is used to create imaginary worlds
Robert T. Benson M.D., M.B.A.
in fiction and in movies, to express intense emotions with music, painting, and dance. But still, one fundamental trait of the ancestral personality persists in our aesthetic cravings: the beauty we find in skilled performances. From Lascaux to the Louvre to Carnegie Hall, human beings have a permanent innate taste for virtuoso displays in the arts. We find beauty in something done well.” To deliver the arts in all their forms to the community requires a host of specialized talent who create the end product. The “story” is told by the director, who has the tall order, the responsibility and burden, to make it happen, to “pull it off.” If it’s true that the arts in their fine art expressions, can help “make our souls grow,” and if the arts have the power to lift and elevate, then the weighty role of a director is to ensure that the art they are curating, managing, and directing is done well. The directors in our midst are a wealth of talent and experience. They do indeed pull it off with flying colors. In this Directors Issue, the Digest directs spotlights on some of the director talent here in the Mountain West. At
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Editor’s Note
When I began my career in journalism I started working
locations, and to be able to spotlight these entities was thor-
for a local newspaper. This newspaper took on a lot of young,
oughly thrilling. Elevating film as a fine art is not a chal-
new writers—myself included—and had a packet of infor-
lenge, the challenge was being discerning in what we could
mation they gave to newcomers. In this packet there was a
cover, there was so much to choose from.
page about editing. The newspaper was very aware of the
As we worked to curate this issue of Fibonacci Digest,
stigma that comes with editing. Young writers have yet to
we constantly reminded ourselves that this is not just
build up the tough skin necessary in this industry and can
another art magazine. When someone reads an issue of
feel burned by an editor’s heavy hand.
Fibonacci, they are publically announcing their commitment
This newspaper took the time to explain the editing
to the arts. When a business pairs with the digest, they are
process, to illustrate an editor’s method, and to encourage
declaring their passion for sustaining art in the community.
writers to understand when changes are made to their work.
When a hotel shares Fibonacci Digest, they are telling each
At the end of the handout, it simply stated, “Everyone needs
guest that they believe in quality and the preservation of the
an editor.”
essential values that art gives us.
This statement struck me as incredibly simple, and
When you read Fibonacci, or share it with your friends,
incredibly true. I have since repeated the line time and time
families, and co-workers, remember you are sharing more
again, to myself and to others. An editors is a writer’s direc-
than a magazine. You are sharing our mission to foster a
tor. So in a more broad sense, the statement can be changed
strong, interconnected art community in the incredibly beau-
to “Everyone needs a director.”
tiful Mountain West. You are promoting the hard work that
Another undeniable fact: directors guide us. They help
millions of artists put in day after day to perfect their craft.
us produce the best work we can, and they curate the amaz-
And you are encouraging a high standard for quality that
ing works we witness. And yet, so seldom do directors get
Fibonacci strives to reach each day.
the credit they deserve. Often sitting behind the scenes, pushing others into the spotlight, directors must take their
Just as everyone needs a director, every director needs an audience. And we are thankful to have you as ours.
bow behind the curtain. It was so special to be able to highlight some of the many talented directors in the Mountain West in this issue. To honor, in some small way, the gifted and prolific directors that are largely responsible for the arts entities we take for granted—the work of the directors at Ballet West, the gallery directors across Salt Lake City, the film festival director in Sedona. All of these curators of art have done amazing things, as you’ll see in the pages that follow, and we are happy to pull them into the spotlight, if even just for a moment. The joys of this issue continue with our coverage of the Sundance Film Festival and film in the Mountain West. Very few people are aware of the vibrant film community that exists here. From Nevada, to Utah, to Wyoming, the Mountain West is avidly sought after by filmmakers. The West has some of the most talented film crews and scenic
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Savannah Turk, Managing Editor
Editor’s Choice
Mark Slusser, Egyptian Theatre, Park City, Utah, oil on panel, 11” x 14”, Mark Slusser earned his BFA in Painting and Drawing from the University of Utah in 2005. He is a well-traveled artist who frequently paints the majestic Utah landscape, as well as the incredible Monterey coast. Slusser has long been interested in the resurgence of the American Realist Movement. He often paints his figurative and still-life paintings in a realistic style. Slusser also owns Slusser
Gallery in downtown Salt Lake City. “My wife, Sherrie, and I raised our two daughters in Park City. Consequently, both the Egyptian Theater and the Sundance Film Festival hold fond memories for us. I painted this piece in July of 2013, in preparation for the Park City Art Festival. I set up my easel and painted right across the street from the theater.”
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Mountain West Art & Events EVE Winter Fest
Utah Ar ts Alliance Builds USA’s Largest Disco Ball for New Year
Photos courtesy Derek Dryer & Austen Diamond
December 31, 2014 - Galavan Plaza, Salt Lake Cit y, UT
In an effort to reduce the air pollution of fireworks at this year’s New Year’s Eve celebration in Salt Lake City, the Utah Arts Alliance built the largest disco ball in the country to raise during the countdown to 2015. Derek Dyer spearheaded the project, who previously earned the Guinness Book of World Record’s title for largest disco ball in the world 12 years ago. Although this ball wasn’t the largest in the world anymore, it is the largest in the U.S., measuring 20 feet in diameter and weighing a hefty 2,433 pounds. 12
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Guy Davis in Concer t
Photos courtesy Dev Khalsa
Sun Valley Center for the Ar ts Dec 12, 2014 - Sun Valley, ID
Guy Davis is a musician, composer, actor, director, and writer, but most importantly, Guy Davis is a bluesman. The blues permeates every corner of Davis’ creativity. Throughout his career, he has dedicated himself to reviving the traditions of acoustic blues and bringing them to as many ears as possible.
“Ar ts to Zion” Ar t and Studio Tour
Ar tists and Patrons Explore Galleries and Studios in St. George
Photos by Carmen Steadman
Januar y 15-19, 2015 - Fibonacci’s Main Street Galler y, St. George,, UT
This annual art tour, designed to expose patrons and artists to the current art entities in St. George, occurred over Martin Luther King weekend. Fibonacci’s Main Street Gallery was fortunate to be included on the destination list this year and proudly brought in artists, musicians and patrons over the weekend to observe, learn, and enjoy.
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Kate Starling, November Afternoon, 20 x 24 in.
Fredrick Stephens, After the Rain, 24 x 36 in.
Kate Starling, Autumn Road, 40 x 50 in.
1214 zion park boulevard springdale, utah 84767 tel: 435-772-0464 lafavegallery.com 14
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Visual Arts
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The Tie That Binds
The Gallery Directors of Salt Lake City by Ehren Clark
L
ike most regional art communities, Utah has a distinctive heritage built on history, tradition, and innovation.
Utah’s art history is a discourse of its own that is diverse and dynamic and grounded on integrity. Today, the burgeoning capital of Salt Lake City is one of the great epicenters of abstract art and painting in general, having an uninterrupted tradition of sophisticated artists who kept on painting while the 80s saw the death of this artistic medium. This advantage of an ongoing tradition of exceptional painters in Utah puts it on the art world map. As painting experiences a revival, local artists continue to forge ahead here in Utah. With a region inclusive of Salt Lake City and beyond, where painting is strong, yet ideologies are diverse, and artistic methodologies varied, how is a community to find cohesion and thrive? When extreme polarities exist between strong spiritual, philosophical, moral, political, cultural, demographic, and social differences, what is the single thread that ties this art community together? I sought to learn of the commonality that makes this phenomenon a reality and peaceful haven for myriad exceptionally gifted and unique artists who proudly call Utah home. My road to finding a link in the chain was exploring a source that is the concentrated core of influence behind current artistic representation. These are gallery directors. These unheralded heroes work indefatigably at maintaining not only revenue for their gallery, but the unique integrity of their gallery, while promoting the art they represent. I sought out five distinctive galleries and their directors that are a plausible representation of the breadth of local artists. I intended to ask each, firstly, what is it that makes their gallery unique in Salt Lake City, and given this unique mission, how is their position of director facilitated to perpetuate and to build upon these aims?
Meri DeCaria Photo by Chad Zavala
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Phillips Gallery, Meri DeCaria The first gallerist that I spoke with was Meri DeCaria, director of Phillips Gallery. DeCaria spoke zealously about what makes Phillips a unique institution in Salt Lake City. “We were established in 1965. The gallery is owned by two artists [Dennis Phillips and his wife Bonnie] who really understand art, and aren’t just about carrying art to decorate, but for the integrity of the quality of the artwork. We represent over 100 artists, with three floors—there’s a huge variety. We’ve been around so long we have the older clientele and younger clientele, and due to the art we carry, it’s varied clientele.” I asked DeCaria how she, as director, is able to personally maintain and progress these essential Phillips qualities
Tom and Linda Alder Photo courtesy Tom Alder
for the artist and for the community. She was very adamant about the many details that are involved in the maintenance of a gallery, that the artists each get equal spacing, the manufacture of wall tags, walls must be patched and painted every month, the gallery to be cleaned once a week. Why? “It makes a difference to the clientele. Making sure that clients are attended to is part of the advantage that we have. I have been here for 24 years now and pretty much know everybody who walks in the door and that makes a huge difference because I know what they collect, I know what they like, and what they might want to see…A lot of them I’ve been to their houses or their law firms so it’s a huge wealth of information. We all know and love our clients and love to say hello by their first name and hear how they’re doing. It’s not just about selling art, but sharing the love of art.” I left Phillips Gallery that day, elated and enlightened, but not realizing that I already had my answer. It would take more gallerists and further conversations for me to realize it.
Alderwood Fine Art, Tom Alder My discussion with Tom Alder at Alderwood Fine Art shortly following was terse, but meaningful. Amongst myriad roles, such as member of many boards, appraiser, historian, curator, scholar, and writer, the role Alder plays as director, and the mission of his gallery, quickly became clear and made perfect sense. Affirmatively, Alder said, “We don’t do framing, we don’t do prints or giclées, we don’t sell antiques,” but emphatically he declared, “We like Utah art and Utah artists. We have certain people that love to come in and get early Utah work and then some love landscapes and iconic places. These are narratives, not just landscapes. Landscape is a pretty painting, but if it is of Mt. Olympus it becomes a narrative and historical.” According to Alder, the operative word in all of this is “iconic.” He told me that there is ideally a personal connection, be it with a LeConte Stewart drawing of a derelict old barn, or an abstract painting in muted tones and lush brush strokes by Alexander Morris, Alder appreciates the iconic element of Utah paintings as he does the history of Utah art, of which he is the prominent historian. This distinctive characteristic is clear in his gallery. Regarding his operation and control of the gallery, Alder likes to be accessible. With as many paint brushes as he has going at one time besides being director, Alder maintains a strict ethic of availability. He said thoughtfully, “I have a degree in business as well as a masters in art history, so with the business we need to be open Monday through Friday. I’m in and out. I do
Kandace Steadman Photo by Chad Zavala
appraisals, but I have my staff here. We are open all of the time. This meshes with the culture and population and the art we sell. We keep the lights on all night long so hopefully people driving by see the art in here and say, ‘Hey, let’s come back tomorrow.’ It helps the visibility.”
Finch Lane Gallery, Kandace Steadman Walking into the serine tranquility of the historic Finch Lane Gallery gave an allusion of what I might expect from my conversation with gallery art director Kandace Steadman. The peace I felt is a harmony many years
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Diane P. Stewart Photo by Chad Zavala
in the making of the iconic “Art Barn” facility, the home of
relationships with artists and other galleries, strengthen-
influential Utah epochal art history, and in which Finch Lane
ing the community, and maintaining the tradition of serv-
Gallery is situated. Much of this history has to do directly
ing this city.”
with people like Steadman. “The gallery has a rich history and tradition of supporting artists in exceptional showings of work,” commented Steadman on the unique quality of the gallery in this unique community. “Be it an artist in an early phase of his or her career to whom a show at Finch Lane is an auspicious launch, or the seasoned artist, already beloved in the community, showing a new series of works gives each the same opportunity based on the quality of their art. As Finch Lane is part of the Salt Lake City Arts Council…the focus is on the exhibitions for artists and the enjoyment of the community, rather than selling art. Therefore, exhibitions are focused on the art, rather than what will sell.” Learning the specific role Steadman as gallery director plays in the progression of this tradition, she is seemingly the living embodiment of this tradition. “As developer of the exhibition schedule as curator,” she said, “my focus is on the artist and the relationships I build with the community. I visit each artist in his or her studio prior to any exhibition to assist in progress and any developmental needs. “When the work is ready to be hung, I work alongside the artist and art handler through the process to ensure their work shows as favorably as possible. I frequently visit other galleries and host regular group events of local directors to discuss ways in which the visual arts in the community can be furthered and to discuss common challenges.” The overall purpose, for Steadman, is in “building
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Modern West Fine Art, Diane P. Stewart Modern West Fine Art opened its doors on March 28th of last year and has raised the bar to an unprecedented height for the art gallery community of Salt Lake City. There is one focal reason for this level of excellence and this is the result of the immense effort and driving force of patron, philanthropist, civic and community organizer, collector and expert in the fields of contemporary and traditional western fine art, premier collector and expert on Native American art and artifacts, and now independent gallery owner and director, Diane P. Stewart. Without hesitation, Stewart said, “I first tried to create a space where we could display, exhibit, and contextualize the art of the West. Where artists and their art could thrive in an environment that collectors and patrons would understand. And that’s what we’ve created here. [A place] where these contemporary artists can live together and compliment one another and yet their narratives are very different. It was very important to me that this be a new space in Salt Lake City where these artists have a unique place in Utah to be understood, to be displayed, and to be talked about, in a way that had not existed in the art scene in Utah before. My Utah artists are as important as my Montana, my New Mexico, my Arizona, my Colorado; my artists from all over the United States are all on the same plane.” There is no equivocation when Stewart was asked to respond to the primary question regarding her role as direc-
tor of this unique gallery environment. Stewart responded, “I
Bateman manifested an essential aspect of my query,
have a relationship with all of my artists and I only represent
which I found demonstrative in all of the directors: the dedi-
artists that I feel some passion for. It’s important to me the
cated support and promotion of artists represented or exhib-
way the art is displayed and exhibited, that we have a kiva
ited. This is something unique to this community and excep-
room with a very distinctive floor that represents our brand
tional amongst these directors, who must be applauded, not
and compliments the art. And we have gallerists that also are
only for featuring an extreme diversity of artists, but encour-
informed and know the art and can talk about the art and
aging their authenticity and unique aesthetic vision, with no
that every month bring an artist here to our space to meet
sign of artistic control or manipulation. But, my query has
our patrons, to meet our collectors, to keep the space vibrant,
only begun to be answered. Excitedly, Bateman and I con-
and changing, and that every time someone comes through
tinued the conversation, and as I had trusted, Bateman con-
our door, they see something new and interesting and worth-
cludes my search for me.
while, and keep it dynamic.”
He stated with much conviction, “There is a cultural fabric here, there are lots of components to what vibrant cultural
Central Utah Art Center, Adam Bateman At this point, I am resolved about what it is that keeps the artists and the art community—such a dynamic and exceptionally diverse entity of Salt Lake City and beyond— something cohesive and thriving. But instead of my revealing the answer frankly, I will trust it to the thought of a most outstanding gallery director, Adam Bateman, truly a renegade, but truly on the inside and at the heart of the community, to reveal the secret and the essential beauty and magic that is the art community of Salt Lake City. After some controversy ended in the overwhelming favor of Central Utah Art Center (CUAC), Bateman decided that the building remain as an art center for central Utah and
life is in Salt Lake, and all of these different galleries are participants, in that it takes all of us to make that, and it’s not point and counter-point, but everything happening together creating a unity.” For DeCaria, it is history and the personal touch with artists and clientele, for Alder, tradition, accessibility, and dependability, for Steadman, relationships of representation on all levels, for Stewart, establishing a reputation of excellence for a newly established market and its artists, and for Bateman, creating a level playing field for local artists on a global scale. All are “together creating a unity,” and collectively building a community in Salt Lake City. And that is the fundamental tie that binds.
Ephraim, while CUAC was relaunched in Salt Lake City at its current home next to Modern West Fine Art. Bateman said, “I think that CUAC exists as sort of a hybrid space; we are a non-profit and we don’t represent artists…With the non-profit end of what we do, we’re interested in providing an opportunity for Utah artists to exhibit their work outside of commercial constraints. We provide an alternative that isn’t based on sales, but based on academic merit to the art.” In Bateman’s response to his role in this effort, he epitomized essentially what each of the gallerists had expressed in their individual efforts for their galleries. He stated with clarity, “I have a role as director and curator of CUAC, and CUAC has the same role, to contextualize Utah artists in the context of an international conversation about art. I have the opinion that if I can identify artists from all around the world that are exhibiting their work at a high level internationally and receiving a high level of critical acclaim at an international level, then I can exhibit Utah artists work with
Adam Bateman Photo by Chad Zavala
them, and it contextualizes Utah artists with them. It helps to elevate the artists of Utah, both within Utah, and to make connections outside of Utah.”
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Painting a Narrative Philip Barlow at Phillips Gallery by Sue Martin, 15 Bytes
P
hilip Barlow doesn’t want to be pigeonholed, boxed in as
in “His and Hers,” the models are two coffee cups, flanked
this kind of painter or that kind. The 80-years-young art-
by his and her respective eyeglasses and reading materials.
ist says he keeps “one foot in the box and the other outside –
Another painting features an old console radio on which a
exploring the unexplored.”
folded American flag is draped. Text at the bottom notes the
That’s why, in Barlow exhibit this month at Phillips Gallery, you’ll see a few moody landscapes, some narrative still lifes, and a bit of whimsy, too. Exploration makes him
date of President Roosevelt’s broadcast and his words: “A state of war now exists.” These concepts for still life subjects often come to Barlow
happy. And, “When I’m happy, my art is happy,” he says.
in the middle of the night, but he doesn’t have to write them
Though Barlow denies having a “style,” his oil paintings are
down; they’re still there the next morning or when he starts
consistent in their smoothly glazed realism reminiscent of the
his next five-hour stint in his studio.
classical masters. For his highly realistic still life paintings,
His affinity for narrative or communicating some kind of
he carefully sets up his models, lights and shoots them, and
feeling for his subject may go all the way back to sixth grade
then paints from the photographs.
when he created his own comic strip. Or maybe it stems from
Sometimes his subjects are simple and simply beautiful,
his career as a graphic designer, working with clients on
such as a bowl of blueberries and a spoon. Other times, his
advertising and packaging design projects, where clear com-
subjects suggest explicit or implied narrative. For example,
munication was key. Or perhaps it was the influence of his
Rick’s Cafe, Casablanca by Philip Barlow Oil on Canvas 18” x 24”
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Photo courtesy Zoe Rodriguez ,15 Bytes
instructors at the University of Utah—George Dibble, Leconte Stewart, and Doug Snow—or his favorite artist John Singer Sargent. All of these experiences and influencers produced an artist who can only paint what he cares about, whether it’s the whimsical or ironic juxtaposition of objects, the way light hits a bowl of berries, or the way storm clouds gather over the landscape.
“Barlow keeps ‘one foot in the box and the other outside, exploring the unexplored.’”
After graduating from the University of Utah in 1962, Barlow set up his own commercial art firm in downtown Salt Lake City. Those were the days when the tools of design were pen, ink, watercolor, and gouache. Even as he produced work for his clients, he was using those same tools to create paintings for fun. He got involved in the Utah Watercolor Society and served as its president from 1985 to 86. He also found time to begin scouting galleries and began to sell his watercolors in Taos, Albuquerque, and Park City. Barlow later switched to oil paint and honed his skills in the classical realism style that he is best known for today. But with that other foot outside the box, he acknowledges that some of the biggest influences on artists in the last part of the 20th century were the abstract expressionists, like Pollock and de Kooning, and pop artists like Warhol. There’s a part of Barlow that just wants to play with paint for the sheer joy of it. He may do so, alone in
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Songs Gone by Philip Barlow Oil on Canvas 16” x 22”
Home Alone by Philip Barlow Oil on Canvas 18” x 24”
his studio where no one can see. But he feels an obligation to his galleries and collectors to meet expectations. However, that doesn’t stop Barlow from a whimsical
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used to, he couldn’t resist the drama of stormy darkness. It reminded him of the way mystery writers used to start a
series of egg paintings, at least one of which may be in the
story or novel with, “It was a dark and stormy night.” So,
Phillips Gallery exhibit. Noting that eggs are so perfect in
working from photos he has taken during his travels, these
their symmetry that they might be boring, Barlow challenged
paintings became a series of moody, almost monochromatic,
himself to make them anything but boring in the ways he
paintings of storm clouds gathering over the landscape.
posed and painted them—brown eggs next to white ones in
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Though he doesn’t paint as many landscapes as he
Barlow’s daughter, Elizabeth Barlow, is also a painter
a comment on diversity; and real eggs next to a plastic egg
based in San Francisco. Her style is also classically realistic
spilling its jellybean contents.
and she shares her father’s interest in narrative or symbolic
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Songs Gone I by Philip Barlow Oil on Canvas 20” x 16”
meaning, though their subjects are different. They are both represented by District Gallery in Park City, where they have had father-daughter exhibits in the past. Barlow’s work is also in the Park Gallery in Carmel, California. He notes that one gallery can’t hang as many paintings as he can produce, which is why is likes having relationships with three. When asked if it’s even possible to retire from art, Barlow’s answer is emphatically, “No. As long as God gives me time, I’ll keep painting.” For now he’s quite happy with two golf outings per week and a painting schedule that averages five hours per day, seven days a week. When pressed, he acknowledges that maybe someday he’ll no longer want or need galleries or money and can just step way outside the box and do something entirely different. “Maybe completely abstract. Maybe throw paint down and walk across it with my bare feet. If I got some enjoyment out of it, it would probably be worth it.” Barlow’s work will share the main gallery with Sandy Freckleton Gagon at Phillips Gallery May 17 – June 14.
Photo by Lynette Carington
DANTOONE.COM
DAN TOONE FINE ART METAL SCULPTURES
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Social Artists As Creative Directors Traits that Drive Artistic Leaders by Janice Brooks
A
t the start of a new year, my best friend, Lynn Davis, and I always engage in our year-end ritual of reviewing and analyzing the events and projects that have taken place over the last 12 months. In 2014, Davis successfully spearheaded a strategic campaign to organize multiple collaborators, advocacy groups, tribal leaders, legislators, and lobbyists to allocate a new National Park site in Las Vegas. Designating Tule
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Springs Fossil Beds as a National Monument was an advocacy endeavor for sure. But, more than anything else, it was a creative pursuit in getting people to attach importance to antiquities; to value and preserve things in nature and in the arts that continue to be timeless classics. As usual our conversation veered into a discourse about living an artistic life and our favorite arts and
Tule Springs Fossil Beds National Monument Photo by Alan O’Neill
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“Artistic experiences that build and elevate community engagement always add to and enhance the social capital of a community.”
cultural events of 2014. We ruminated on the great inner
between these two paradigms, when we add human etho-
impulse we both share to create public artistic experiences
logical context to the experience. Artistic experiences that
that interact with the community and activate the collective
build and elevate community engagement always add to and
social imagination.
enhance the social capital of a community. Art experiences
We pondered the director’s role in creating acts of art and culture for public consumption. We landed on a lengthy dialogue regarding two artistic movements where the imagi-
created by the observer become part of the unfolding creative consciousness. Making art, according to art philosopher Ellen
native, highly creative, and socially attuned directors have
Dissanayake in her book “Homo Aestheticus,” gives us “the
been able to capture collective imagination in the public
ability to shape and thereby exert some measure of control
sphere. One is the recent phenomenon of classical music flash
over the untidy material of everyday life.” The directors that
mobs that are introducing scores of individuals around the
bring forth these new forms of interactive art experiences
world to classical music. The other is the rampant occurrenc-
possess a unique, inherent quality.
es of live-drawing events such as plein air events, live paint-
So, what does it take to be a social artistic director? In
ing exhibitions, and painting soirées, which bring to light and
my work as a social creative artist and art consultant, I have
restore training, standards, and excellence in the visual arts.
found the following characteristics consistent in the individu-
Aristotle, Saint Thomas Aquinas, Leonardo da Vinci―a few of the great philosophers of the past who suggested
al who rises up to this calling in life. A vivid and keen social imagination is the predominate
criteria for beauty or excellence in the arts and believed
attribute emerging social artists and art entrepreneurs pos-
excellence in the arts were as mirrors held up to nature.
sess. As a result, they can present a vision to awaken pos-
Nineteenth- and twentieth-century thinkers proposed other
sibilities in others, as they create or produce their own works
criteria such as truth, order, unity in variety, and signifi-
of art. Most often that artistic vision is fiercely courageous.
cant form. I believe the ultimate essence lies somewhere in
As an example, Beethoven’s Ninth Symphony “Ode to Joy,”
Tule Springs Fossil Beds National Monument Photo by Alan O’Neill
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Janice Brooks
has inspired hundreds of flash mob performances by musicians in countries around the world. Storytelling and listening provide a dual platform for creativity. A social artistry director is able to hear and synthesize collective voices within the group planning dynamic. Social artistry directors understand the intimate two-way interaction between the narrative of the story being presented and the listeners’ and spectators’ points of view. The prime connection for the social artistic director is a sharp EQ (emotional intelligence). An in-tune social artist can see, hear, and feel the implied in humanity and nature, thereby tapping into the imperceptible collective soul of a community and the project. Patience and trust is paramount, and founded with an unwavering inner knowing that their art project and the experiences it brings forth will inspire and spark creativity in others. The ability to stimulate, direct, and draw out the best and greatest talent in each individual becomes a creative manifesto. And, social artistic directors do not doubt that the magic will happen the instant the lights flash on, cameras start to roll, and the action begins. Creative place-making, that intuitive sense that this “location,” this “space” must be “the place” for artistic magic to happen, is often the edict of the social artistic director. The place where the social landscape has a livability quality becomes the greatest investment in creativity. The Sofia Opera and Ballet company’s most recent opera flash mob in a supermarket in Zurich and the prestigious Laguna Beach Plein Air Painting Invitational created place where live art was no longer only on display, but put to work to help the community socially sculpt out and shape the way we experience the world around us. In the moment in a seemly impromptu live and interactive performance when the audience realizes what’s going on is magical and inspirational, synergy overflows. Hands begin to clasp over the chest listening to an aria. Smiles and exchanged glances become the entrance ticket. Heads start to nod and feet begin to tap to the beat of the orchestral notes. Fingers point in elation as a dancer moves about, and a collective rhythmic swaying of the spectators in cadence occurs. The visionary, social artistic director’s heart takes a silent and reverent creative bow. And it becomes a harmonious moment for all.
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B r ya n M a r k Tay l o r
The Heart of Summer Driving Into the Night 16” x 20”
“One doesn’t have to get far into a conversation with Mr. Taylor or look at many of his oil paintings to realize why he has quickly risen to the top ranks of plein air painters.” - M. Stephen Doherty, editor-in-chief Plein Air Magazine
F o r g a l l e r y a n d e x h i b i t i o n i n f o v i s i t : w w w . b r y a n m a r k t a y l o r. c o m C o n t a c t : 9 2 5 - 3 2 5 - 6 2 9 2 h a l e y @ b r y a n m a r k t a y l o r. c o m 28
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NOW OPEN 35 N. Main Street, • St George, UT 84770 435-817-7869 Premier Fine Arts Digest of the Mountain West • 29 mainstreetgallerystgeorge.com
Western Region Arts Spotlight:
A Closer Look at Fine Arts Establishments Within Our Region by Lynette Carrington
S
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ince it first opened its doors in 1959, the Phoenix Art
next level of distinction.”
Museum has grown to become the largest art museum in the
Southwestern United States. The museum has grown right
her experience at Artpace gave her a solid background in
along with the city of Phoenix and continues to provide access
working directly with artists, staff, boards, and more. She
to a comprehensive collection of art works while engaging
brings experience working with art itself, understanding and
visitors and patrons with festivals, performances, and educa-
developing infrastructure, and engaging audiences.
tional programs that enlighten and inspire.
and aspirations for the Phoenix Art Museum. “Audiences
Much has evolved since 1959 and a lot of that thought-
While Cruz takes on an impressive and large museum,
Even this early into her new position, Cruz has ideas
ful change has happened under the direction of the Sybil
are changing and the demographics of the United States are
Harrington Director of the Phoenix Art Museum, Jim
changing and we have to adapt ourselves to that in some
Ballinger, who served as director at the museum for 32 years.
intelligent way,” Cruz said. “I’m basically building upon the
He retired shortly after his 40th anniversary with the muse-
good work that Jim and the staff has done.” In assessing
um in December 2014, and has been followed by new director
what she will do at the museum going forward, Cruz knows
Amada Cruz who took the reigns February 1st.
that she will be dealing with many of the same issues as
other museums across the country.
Cruz came to Arizona from San Antonio-based Artpace,
one of the premier artist residency and exhibition programs
in the world, where she served as executive director. The
of audiences: who is coming to museums and how to attract
Phoenix Art Museum’s executive committee chose Cruz
younger audiences,” Cruz stated. In a city that boasts a hefty
after an intensive seven-month search with the guidance
Hispanic population, Cruz will also be exploring various bilin-
of executive leadership and search firm Russell Reynolds
gual program ideas to possibly draw new people to the museum.
Associates.
Art Museum and reflected on some highlights of his 40 years
“Amada has a solid track record of building programs
“There are a lot of challenges for museums now in terms
Ballinger has had an illustrious career with the Phoenix
and new initiatives at Bard College, USA Artists, and
with the museum. “The biggest single thing that has hap-
most recently Artpace,” said Phoenix Art Museum Board of
pened here over the history of the museum would be the 1988
Trustees Chairman Jim Patterson. “She brings a very high-
bond election passage. The reason that is so huge is that it
energy, creative and entrepreneurial approach to museum
is what gave you ‘this,’” stated Ballinger as he gave a broad
leadership, and we are confident that she can lead us to the
sweeping motion around the museum.
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A massive Phoenix Art Museum expansion occurred in 1996
where the museum more than doubled in size and added new exhibition galleries, an art research library, a 300 seat public theater, studio classroom, a café, and the PhxArtKids Gallery. The museum grew again in 2006 when the Ellen and Howard C. Katz Wing for Modern Art, the Heather and Michael Greenbaum Museum Lobby, the Bennett and Jacquie Dorrance Sculpture Garden, and an expanded museum garden were also added.
The Egyptian show in 1999 was a highlighted exhibition with
huge attendance. Ballinger singled the ticketed event out as one of the museum’s first high profile “blockbuster” shows. “It gave us enthusiasm to do more of those and then there was Monet and Rockwell and one led to another. Most recently there was the Hollywood Costume show,” he explained. “That helped the reputation of the museum a great deal in having big shows offered to them, so it keeps ratcheting up the scale of who we are.”
Ballinger will continue to be available to Cruz and her staff
for questions and advice. “I’ve been here for all these years and when I announced my intention to retire, I said I would be here until replaced. I said depending on how my successor wanted to use me, I would be happy to participate for a while. I told Amada I would make myself available, but stay out of the way. I think I can be a continued resource for a while,” finished Ballinger. Although he is technically retiring and looking to spend more time with his family, Ballinger may explore some other art-related projects and possibly write a book.
While Cruz transitions into her new role as the Sybil
Harrington Director of the Phoenix Art Museum, current exhibitions include “PLATINUM: Contemporary Photography” and “Leonardo da Vinci’s Codex Leicester and the Power of Observation.” Highly anticipated upcoming exhibitions include
Above: Photo by Lynette Carrington Below: Photo courtesy Phoenix Art Museum
“Andy Warhol - Portraits” and “From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection.”
“We are confident that she can lead us to the next level of distinction.”
Photo by Lynette Carrington
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Light and Shadow For Painters and Art Lovers Alike by John Hughes
H
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ave you ever wondered what it takes to be an accomplished
For centuries artists have been talking about light. It has
plein air painter? Aside from a willingness to brave the
almost become a clichĂŠ, but it still directs everything they do
outdoors in all kinds of weather, the plein air painter needs to
and they owe everything to it. Landscape painters especially
have knowledge of composition and design, an understanding
have long been aware of light’s possibilities; the way it touch-
of color, a grasp on values, edge control and brushwork, and a
es the top of a mountain at dawn, the bright glare of noon, its
solid command of painting materials and tools. Additionally,
fleeting graceful retreat at dusk, the diffused light of a rainy
a plein air artist needs to have a firm hold on the subject of
day. Without the glorious possibilities of light there would be
light, with all of its many characteristics.
no art.
Light is the big one in my opinion. All of the other things
Shadows, too, are an important appendage of light and
mentioned culminate in this single skill. For plein air artists,
exist because of it. They emerge out of the light that affects
being able to create the illusion of light is imperative. Light
them, and thus are spoken of as a type of light among paint-
permeates everything. There is no escaping its influence and
ers. Shadows are not black holes devoid of light; they are
landscape artists either embrace light or ignore what it has
very much alive and should be painted with luminosity. They
to offer to the detriment of their work.
are enhanced and become more beautiful by reflected light
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bouncing into them from nearby planes and the sky and
none of that. The key to painting forms correctly really comes
atmosphere that surround them in an envelope of spatial
down to an understanding of how light affects these forms in
unity. The artist who ignores this reality or is unaware of it
nature, along with an ability to transfer that understanding
is destined to paint shadows that are neutral shapes on the
into the medium of painterly representation. The learning
canvas and detract from the work.
curve on painting is fairly steep and oft times discouraging,
Go out in nature and look at the shadows of trees and rocks and you will be amazed at the way they pick up warm and cool tones from their surroundings. To paint a landscape, still life, portrait, figure, or any other subject without this
but the rewards are well worth the years of effort that go into the process. To truly understand the affect light has in a painting, one must know the many types of light and shadow that exist
understanding would be to lessen the impact
in an artist’s world. To aid
of the work before it ever reaches the frame.
in your understanding, I
I have seen some amazing works by artists that I admire with juicy transparent shadows and beautiful lighting effects that made me want to scoop paint right off the canvas and
“Without the glorious possibilities of light there would be no art.”
taste it. It is this quest to depict the subtle
will briefly outline some important facets of light, and consequently, shadows. The light family includes highlights, direct
relationships between light and shadow that keeps most plein
light, mid-tones, and translucent light. On the other hand,
air painters going.
the shadow family consists of shadow, reflected light, core
Some may think that a well-painted landscape can be attributed to a certain brush, medium, or technique, but it is
John Hughes, Anacapa Island Oil on Canvas, 16 in x 24 in.
shadow, and dark accent. Shadows also come in two types— form shadows and cast shadows.
John Hughes, River Cut Oil on Canvas, 9 in x 12 in.
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Add to these diffused light and a thing called counterchange and you can see that an artist has a lot to think about in order to create a credible painting. Although light and shadow principles may seem self-explanatory at first, there is a lot that must be understood to properly evoke the light effect an artist desires. For example, even though reflected light may sometimes seem very light, one must remember that it exists in the shadow category and needs to be painted darker than the planes facing the light. Notice how this principle works in the painting of “Anacapa Island.” The difference between the cliff in shadow and the sunlit area above, however slight, hold their place in the plane they reside. Note, however, that this principle doesn’t apply for two objects separated by distance. Due to atmosphere and local color there could be some situations of overlap. In other words, a light plane in the foreground could be as dark as a shadow miles away. When the artist is in doubt, they are cautioned to observe and paint accordingly. Furthermore, look at how the all of the light planes in the scene show up as light and there is no confusion as to which plane it is in. The highlights in “Anacapa Island” also reinforce this idea and help create the illusion of light on the top of the cliff. “River Cut” is another example of reflected light from a field study I did as a demo for my college painting class. The situation here was late-afternoon light that was soon to be directly in my eyes with a lot of glare. The only solution was to paint quickly and execute this scene in under an hour before the light blinded me. Notice the similarities between this painting and “Anacapa Island.” The river cut area in shadow was quite light with reflected light bouncing everywhere, making that form almost as light as the sunlit grass on top; it was a fine distinction that had to be handled with care. I was further able to accentuate the difference between the two planes by the indication of strong light on the bank and grasses in the middle distance and foreground. Naturally, there is much more to painting light and shadow than is described here, but hopefully this introduction will open your eyes to the intricacies of not only plein air painting, but painting in general. The next time you are in a museum or art gallery, look a little more closely at the paintings to see how the painter approached each subject while keeping light and shadow principles in mind.
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Performing Arts
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Better Together
Ballet West’s Two Halves Work in Harmony by Rebecca Edwards
S
itting in a red, velvet seat listening to the sounds of the orchestra warming up, there is a tangible feeling of anticipation crackling in the air of the Janet Quinney Lawson Capitol Theatre. When the lights go down and the heavy curtain finally rises, you are whisked away to a world of beauty, grace, and transcendence. That is the power of Ballet West. And it can be addictive. Ballet West isn’t just the resident company of the Rocky Mountain West—it’s one of the most well-regarded ballet companies in the country, if not the world. As an avid fan of Ballet West, I look forward to each new season and the chance to escape into a magical world
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away from the dreary winter months, even if only for a few hours. Creating the magic for which Ballet West is known is no simple feat. And just as it takes a village to raise a child, so it takes a village to create a Ballet West production. At the helm are the two halves that make Ballet West whole: Adam Sklute, Artistic Director, and Scott Altman, Executive Director. These two passionate men are the yin and yang of Ballet West, and together they strive to expand and grow Ballet West and its many facets. Sklute oversees the artistic elements of the company, including every element you see on stage and the instruction at the
“I fell in love with the art form. I fell in love with the beauty of what they were doing, the athleticism, the music.”
Ballet West Academy. Altman is responsible for the admin-
ing in, and if we don’t have the finances to do it we can’t do it
istrative aspects, which includes not only managing the com-
at all.”
pany’s finances, but also making sure there are finances to manage. While it’s easy to be dazzled by the lights, tulle, and
In the spirit of collaboration and teamwork that is abundantly evident between Altman and Sklute, Altman echoed Sklute’s sentiments, saying, “There is a very complex, very
impossibly beautiful movements of the dancers on stage,
massive machine that has lots and lots of moving parts that
without an audience there could be no production. Sklute and
is living in administration. And its sole purpose is to support,
Altman work as partners to create something special and to
promote, and make the art form possible…It’s just as com-
make sure people are buying tickets.
plicated on the administrative side as it is putting together a
“Our world is a balance,” Altman explained. “In fact, in
production. Many, many moving pieces.”
the dance world both the artistic side and the administration
The business of Ballet West is as expansive and broad
are equal and both Adam and I report to the Board as equals.
as the passion of its two primary leaders. While their love
It’s a very progressive and important structure. Unlike many
for Ballet West runs deep, their passion for art itself runs
other art forms, there is a true collaboration all the way up to
deeper.
the artistic director and the executive director.” In addition to Altman and Sklute, Ballet West consists of
Sklute was a professional ballet dancer before exiting the stage to take a turn as director. If it seems like a stretch
close to 200 people including everyone from the cashiers who
to transition from performer to director, it wasn’t a hard one
sell the tickets to the musicians and set designers. It takes every
for Sklute. “I fell in love with the dancers. I fell in love with
single one of those people—the majority of whom will never be
the art form. I fell in love with the beauty of what they were
in the spotlight—to give life to a Ballet West performance.
doing, the athleticism, the music…but I was fascinated with
“We see the dancers; they are what people are coming to see,” Sklute said. “But the orchestra is integral to what they’re listening to, and the sets are integral to where they’re dancing, and the costumes are integral to what they’re danc-
Artists of Ballet West performing “Swan Lake” Photo by Luke Isley
how an entire show was put on. I do think that early on I envisioned myself being a director of some sort.“ Altman comes from the world of opera, where he was a performer before starting his own opera company with his
Left: Adam Sklute, Artistic Director Photo courtesy Ballet West
Right: Scott Altman, Executive Director Photo courtesy Ballet West
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wife and, ultimately, taking the reins at Ballet West. “I don’t know if it was destiny,” Altman shared. “But I
theatricality, the highest caliber of art, and taking chances,”
tribute to the art form, really any art form, from just a differ-
Sklute said. “And I think he instilled that in all of us. And
ent vantage point.”
that goes down to our earliest staff members, to our patrons,
him better at the business of running a thriving ballet company. “I am very lucky to have had the experience of performing, because the language of the performer—their needs, their attributes, their demeanor, their emotional state, their sense of creativity, and their sense of being—I’ve been there. I lived it. I trained to do that. So, I feel like it gives a sympathetic partnership in having had that world,” said Altman. Both Sklute and Altman share more than a past on stage. Their love for Ballet West is palpable. And who can blame them? Ballet West is a major player on the national ballet stage, and these two directors see nothing but growth and excitement in the company’s future. It could be easy to dismiss a little ballet company from Salt Lake City, but that is certainly not the case with Ballet West. Altman wastes no time dispelling the idea that Ballet West is just a little local company. “That’s probably the biggest misconception. In the world of ballet, Ballet West is in that upper echelon of world-class companies from the United States. We’re in that top handful, that top 10, and we are representatives of the art form beyond our borders. Beyond Salt Lake City, beyond the intermountain region, beyond Utah. We are looked at as a major contributor to the world of ballet.” Sklute shared a bit of Ballet West’s history that helps to explain the more than respectable reputation the company
Artists of Ballet West performing “Nutcracker” Photo by Luke Isley
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William Christensen, created a company that was built on
don’t miss performing at all. I feel grateful to be able to con-
But Altman definitely feels his time on stage helps make
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has garnered internationally. “Our founding artistic director,
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to our Board of Directors, and each successive artistic director.”
Sklute also explains another attribute that has elevated Ballet West above the rest: their consistent commitment to creativity. “Each artistic director has brought something different to the organization and I think that that’s what keeps it alive. It is truly that ongoing commitment to excellence, not being afraid to take chances, and never resting on our laurels. I think that’s another big aspect of why we continue to grow… It is my impression that all of us as artistic directors never got complacent…because the minute you know everything or the minute you feel that you’ve done enough is the minute you stop doing anything.” With such an impressive reputation comes a huge responsibility. Both Altman and Sklute emphasized the importance of Ballet West’s grander mission, which is to educate and create awareness for the art form they both so love. “Anything that is exposing people to the whole idea of dance and everything that it is, as an art form, as physical expression and the athleticism, as a musical expression, all are beneficial to the art form because ultimately the art form benefits us as human beings. As any piece of art does.” Because of the powerful impact art and dance has on
people’s lives, Ballet West is serious about their commitment
world class. I think there may be a sense here that people
to education and outreach in the community. Their goal isn’t
don’t quite realize it because Ballet West, to our audiences, is
just to create new legions of ballet fans, but to expand minds
like wrapping yourself in a warm blanket that’s been around
and teach real-life skills that will make a lasting impact.
for the last 50 years. When they’re in that house, seeing those
“We have a very clear responsibility, we feel, to our com-
performances, I’d like them to feel a sense of pride at what
munity. A lot of our programs aren’t about only ballet, but
we and what they have produced. Ballet West comes from
are getting kids to understand about teamwork and work-
these roots, we are a local organization built and bred here,
ing together,” Sklute shared. “We have a wonderful program
but the resonator is very, very far and wide.”
called the I Can Do program, which goes to many, many
This spring there will be ample opportunities to embrace,
schools throughout the state. They ask students to work
marvel at, and take pride in the performances and work
together for an amount of time choreographing, creating a
of Ballet West. From fun performances like “Aladdin,” to
real team experience.”
“Innovations 2015,” which explores the work of emerging
Under Sklute’s and Altman’s watchful eyes, Ballet
American choreographers, there is no doubt that each perfor-
West is flourishing. Altman reported that the company has
mance will once again exemplify that special alchemy that
seen remarkable growth over the past 18 to 24 months,
Sklute and Altman, working together, use to create the won-
with unprecedented brand awareness, 20 percent budgetary
derful world that is Ballet West.
growth, and record ticket sales. That growth allows these directors to focus their energies on the future. “The joy of working at this company is how absolutely beloved it is. Its history is extremely deep, its roots are very, very grounded, and to be here at this moment in time when we are [entering] a new era, a new ballet center, is very, very magical.” Altman said. Altman continued, “The next steps for Ballet West are really to solidify that brand and to educate our audiences, both local and far and wide, to the fact that from a dance perspective, the artistic integrity and what we produce is truly Artists of Ballet West performing “Swan Lake” Photo by Luke Isley
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Composing Utah’s Story The Salty Cricket Collective Provides Modern Classical Music by Nathan Bowen
T
here is an old adage that to be famous as a composer, one
an oft-repeated concern that audiences are literally dying—
who is living today, many would struggle to recall a single
aging season ticket holders are not being replaced by the new
artist. The reality is that most people associate classical
generation of music consumers. The implicit message is that
music with a bygone era, where masterworks were both writ-
concert halls are essentially museums that curate and pres-
ten and premiered to a receptive concert-going public that
ent compositions from the past.
had not yet been exposed to new forms of entertainment such
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While some of this reputation is deserved, contemporary
as television, radio, or film. And even though public aware-
classical music endures in a startling variety of ways and
ness of classical music has actually increased through broad-
unexpected places. In addition to longstanding institutions
casting and music devices, the common perception is that
like philharmonic orchestras that commission new works by
classical music is now just one genre among many newer and
living composers, there are myriad small ensembles and art-
trendier options.
ists that function quite similarly. Smaller organizations and
As the classical music world has been forced to compete
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with other types of music and amusements, there has been
has to be dead first. If asked to name a classical composer
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ensembles are more nimble and have the flexibility to evoke
current trends in their music. Chamber ensembles such as Chicago-based Eighth Blackbird and San Francisco’s Kronos Quartet represent current, highly-influential groups that have a broad-based appeal without compromising quality in their repertoire. Within the Mountain West, there is a tremendous amount of vitality within classical music, with chamber concert series such as Intermezzo, Nova, and the Moab Music Festival, to name a few. The challenge for promoters is to show that contemporary classical music can not only keep up with the times, but have a little swagger as well. Enter the Salty Cricket Composers Collective. Mainly based in Salt Lake City, this is a group of composers devoted to advancing contemporary classical music specifically throughout Utah. Salty Cricket bills itself as “crunchy, savory new music
Cricket’s greatest attributes is the openness of it. Most compos-
to assimilate your auditory palette.” In a broad sense this is
er collectives that I’ve been around usually gravitate toward a
a reference to the more immediate influences from the avant-
particular style that they like to do. With Salty Cricket we’re
garde, which tends to embrace dissonant harmonies, angular
pretty open. There are amateur composers who get a chance to
melodies, and rhythmic complexity.
have their music played all the way to composers with masters
Salty Cricket prides itself on being far more adventurous in programming than most classical performance groups.
and doctoral degrees working to build careers.” The group began from a simple idea: to create a legiti-
Although the instruments may be associated with classical
mate scene for Utah composers to have their works per-
music, the pieces may bear little resemblance to household
formed. Composers M. Ryan Taylor and Young-Otterstrom
names such as Beethoven, Mozart, or Rachmaninoff.
began having conversations about starting a new music
To illustrate just how far away things can get, there have
group, and soon, with the legal consultation of Rick
been pieces for iPhones, a piece for theremin and flexatone
Mortensen, they were able to establish the non-profit. Taylor,
instruments, and an upcoming concert will feature an unlike-
who serves as Salty Cricket’s chairman, said, “There are a lot
ly trio of bassoon, tuba, and string bass.
of national opportunities, grants, and competitions that com-
But ensemble choices are just one facet of how things can get wild. Dave Sullivan’s “A Little Recipe,” for instance, required soprano and Salty Cricket marketing director,
posers can apply for, but there really wasn’t anything at the time that was focusing on local composers.” Salty Cricket had its first season in 2007, which began
Crystal Young-Otterstrom, to sing the instructions for mak-
the tradition of composers organizing and presenting their
ing a spicy buffalo chicken dip while making it before the
own concert series, most often hiring performers from the
audience. In recounting the experience, Young-Otterstrom
Utah Symphony. From their small beginnings the collective
said, “It was hilarious, regardless of whether you know some-
and its audience have been growing steadily, and are poised
thing about modern music. The dip was actually really good,
to increase their numbers in both areas.
we all ate it after the piece was done.” By design the concerts, although themed, are programmed
The board of directors is currently comprised of ten composers, and the collective is designed to extend affiliations to
to reflect the variety of styles and novel approaches to art and
any composer living in Utah. The majority of the composers
music within Utah. “We’re not just performing the super weird
live in either Salt Lake City or Utah County, but the hope
in music, which we do too, but we’re trying to show the variety
is for the collective to grow and attract submissions from all
that is the compositional voice of Utah composers,” said Young-
over the state.
Otterstrom. “If a Utah composer submits a tonal piece without any bells and whistles, we’ll program that too.” Nathaniel Eschler, a composer who recently moved back to Salt Lake City from Boston, said, “I think one of Salty
Salty Cricket also has a youth commission program in the works for composers under 20 that they’ll be doing in conjunction with education groups. The idea is to solicit submissions through outreach efforts in schools, and then to program a
Photos by Chad Zavala
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young composer’s work in each concert. The collective also just recently forged a relationship with the Utah Arts Festival to perform an annual concert. Salty Cricket will be an official sponsor to help commission a composer living in Utah for the event. Salty Cricket puts on four themed concerts a year, with two in the spring and two in the fall. Their current venue is the Ladies Literary Club in Salt Lake City. Annually, there is one concert for a non-standard ensemble, one for a standard ensemble, a “Belt Canto” concert featuring works from both Broadway and Opera, and then a “Melange” concert, which typically features electronic music and mixed media. For the 2015 season the non-standard ensemble concert will feature an uncommon trio of trombone, bassoon, and string bass. The standard ensemble will be a Pierrot ensemble, which includes flute, clarinet, violin, cello, piano, and percussion. Young-Otterstrom noted, “This year we’re taking an art song theme for the ‘Belt Canto’ concert, which I’m pretty excited about. And for ‘Melange,’ we are encouraging composers to write for world instruments because we have a wonderful group of performers/composers who play cymbalum, didgeridoo, koto, and gamelan.” These instruments hail from very different geographic regions, but eclecticism is part of the ethos for Salty Cricket. In hearing both Taylor and Young-Otterstrom talk about the ensemble, one gets a strong sense of pragmatism, of building with what’s available, and concerted effort. The collective is rather modest in size and scale. They operate with a small budget that is made possible through grants from Salt Lake City Arts Council and Salt Lake County Zoo, Arts and Parks. Through Young-Otterstrom’s connection with the Utah
“Salty Cricket plays a key role in unifying the local scene and bringing greater exposure to music that deserves wider audiences.”
Symphony as a marketing consultant, Salty Cricket spends the bulk of their budget on hiring Utah Symphony players to perform their concerts. The attraction for composers is that they can know they’ll get excellent recordings of their live performances without having to pay out of pocket. And audiences know that the performances will be top-notch, even if the works they will be hearing are sometimes surprising. “This 2014 season we had really solid audience growth. We made sure that we were really focused on the logistical end of things, and it worked in our favor. We had about a hundred people per show,” Young-Otterstrom said. These numbers are typical for chamber music venues, but Salty Cricket would like them to grow. “Because we have a limited budget that goes mostly toward paying our performers, we don’t typically get to spend a lot on advertising. So we try to be creative with what we’re doing to catch people’s attention on Facebook and through other digital media.” It is important to note that Salty Cricket is not the only organization of its kind along the Wasatch Front. The Salty
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Cricket has overlap with Canyonlands New Music Ensemble,
on a broader scale that Salty Cricket is happening and people
Brigham Young University’s Group for New Music and Group
should come,” said Young-Otterstrom. “Of all the modern art
for Experimental Music, the “Crosstalk” Concert Series, and
forms that are being created anew, I think people are least
other similar initiatives. In other words, there is a lot more
prepared to experience and enjoy modern music. Part of the
activity surrounding new music than one might suspect.
challenge for the new music community at large is to figure
Salty Cricket’s distinguishing factor is that all per-
out how to communicate what we’re doing so that people can
formed works are by composers who reside in Utah.
connect to it.”
Consequentially, Salty Cricket plays a key role in unifying
While the gains have thus far been modest, things are
the local scene and bringing greater exposure to music that
just getting started. Eschler noted, “Salt Lake City right now
deserves wider audiences.
is turning itself into a metropolitan area. There’s a lot of
There are signs that this movement to create a more
money being thrown in, lots of tech companies popping up,
cohesive identity is starting to take hold. Salty Cricket and
the Symphony’s bringing in all sorts of talent…It’s becoming
local music schools actively cross-post events on each other’s
an exciting place to be a grass roots startup with the chance
email lists, and coordinate for master classes when guest
of being around for a while, getting into the fabric of the com-
composers come to Utah. Young-Otterstrom notes, “We’ve
munity, and staying.”
performed works by BYU professors Michael Hicks, Neil
At the most recent board meeting Salty Cricket discussed
Thornock, David Sargent, and Steven Ricks. Marden Pond at
plans to do an orchestral concert, an endeavor that will
Utah Valley University is on our Board. Because our concerts
take considerable logistical planning and resources. Young-
are in Salt Lake, University of Utah professors and students
Otterstrom stated, “We are really wanting to grow. I’d really
usually form a significant chunk of our audience. We do have
like to see two hundred people show up for new music con-
great relationships with these schools. We advertise their
certs. What is exciting to me is that we’re really helping to
stuff, and they advertise our stuff.”
build the story about why composition is relevant here. We’re
Still, there are challenges that go beyond simply spread-
making this about the Utah story and the Utah voice.
ing the word. “I think it takes more than getting the word out
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Making Music How Morris Rosenzweig Evolved Through Composing by Laura Durham, 15 Bytes
“Writing music has to do with your version of what you
he says, but he had a good teacher.
think music is—and it’s hard to have it taken at just that,”
“He was thorough, and a very good conductor. He was
explains Salt Lake City composer Morris Rosenweig. “People
the first person in my experience that actually taught us
often think you’re trying to make some kind of point, but I
some theory; key signatures, intervals, etc. This increased
don’t think that’s what it’s about at all; it’s about an idea, a
our awareness.” Toward the end of Junior High Rosenzweig
musical formation that changes over the course of time and
was connecting with music at a significant level and although
in many cases, rejoins to the original formation.”
he admits he wasn’t particularly good at school, music was a
motivating force in his education.
Rosenzweig’s compositions are not what you may be
accustomed to when you listen to “classical” music. He
He ended up attending Fortier, a public high school that
writes what many refer to as “new music.” Or, if you ask
wasn’t the best school academically, but it had an excellent
him: “music.” He’s written chamber works, large ensemble
music program. Pete Dombourian was the high school band
works -- even an opera. The American Academy of Arts and
teacher. “How that person ended up teaching public school...”
Letters cites his music as projecting “narratives rich with
he pauses, “It’s just one of those things that made the experi-
rhythmic energy, orchestral wit, and intense expressive-
ence terrific. He was a taskmaster and would have you play a
ness.” He’s recorded several albums and his music is per-
chord as a group, try and fix it, and then he would have you
formed internationally.
play the note individually. And then he would tell you how
“New music” to the untrained listener might be con-
sharp or flat you were. He was fairly good spirited, but it was
sidered inaccessible and unappealing. One might speak of
business—he was proud of the fact that he got his groups to
it as they would a Picasso painting, saying “my child could
play repertoire way above their abilities. And I think I got
do that,” assuming their kindergartner could plunk notes
the bug from him in a way to believe that was possible.”
out on a keyboard and come up with something that sounds
He compares the feeling of walking into the band room
somewhat similar. But, as you might guess, there is a tre-
to walking into a locker room of a very accomplished sports
mendous amount of structure behind a seemingly simple
team. “There was a feeling to it, a look to it; there were all
piece of music.
kinds of things on the walls from competitions the band
had won. If you weren’t prepared, Mr. Dombourian would
Young Rosenzweig wasn’t exactly writing music, but
he was playing it. “The elementary school I went to in New
be all over you. It was tough love, and most of us respond-
Orleans insisted that everyone take music” he remembers,
ed very well.”
“and by that, I mean you had to play music and read music to
a certain extent.” As a fourth grader, he learned to play the
Orleans and his time in school. This was the 60s, and
trumpet, which led to playing in the school band. In Junior
although looking back he doesn’t exactly know where he fit
High Rosenzweig moved to the horn and was “pretty lousy”
into the ‘60s, he did know one thing: he was cool. He was
Rosenzweig looks back fondly on his childhood in New
“I used to go to this record store. I liked all kinds of music, but I particularly liked classical and I would save up my money for records.”
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Photo courtesy 15 Bytes
(snap fingers) a Jet all the way. But the coolest person he
but the sounds he was making and the sense he was making
knew of was Igor Stravinsky.
just blew me away.”
“I used to go to this record store. I liked all kinds of
Young Rosenzweig not only enjoyed listening to good
music, but I particularly liked classical and I would save up
and challenging music, he enjoyed playing it as well—and
my money for records. There was this one store that oblig-
with at least five rehearsals in school each week, he had
ingly carried everything Columbia Records put out and
gotten quite good at the horn. He also took private lessons
Columbia made a deal with Igor Stravinsky to record all his
from a horn teacher who attended Julliard and had retired
music. I would come in and see this guy’s face on the cover,
from the New Orleans Symphony. When Rosenzweig entered
buy his music, take it home and it would knock me out. They
college, he continued practicing the horn and even played
recorded stuff from ‘The Rite of Spring’ to what he was most
with the Utah Symphony for a short while when he first
recently writing. I was very taken by that.”
moved to Salt Lake City to teach at the University of Utah.
Rosenzweig also remembers public television broadcast-
Although becoming quite proficient at the instrument had a
ing a special for Stravinsky’s 85th birthday. “He was sitting
profound effect on his decisions as he grew up, his interests
in his studio, playing the beginning of the Huxley variations,
shifted toward composition.
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“I started college at Eastman and my
horn teacher was so demanding—it was difficult to get any kind of compliment out of him. But the important thing was he was a composer. He was a horn player and a horn teacher, but what he really did was write music. I was also taking composition, so that was very influential. My identity grew more to be a composer than to be a horn player. The other thing I think has been of influence for me is the mere fact that it’s really a great thing to be an educator.” Rosenzweig teaches composition at the University of Utah and this semester’s theory seminar studied Chopin Nocturnes exclusively. “My music is not going to sound like Chopin on the surface, but what you learn by digging deep beneath the surface is some procedural things, methodological things that are remarkable and unique. You’re initially attracted to them by the way they affect you, by the way they sound. But when you figure out the way those pieces work, you get this kind of floating grace and it’s all supported by these iron I beams and tough struts. Structurally, it is unbelievably strong. I’m influenced by things like that. Subconsciously those things leap into what I do.”
For those who have yet to be introduced
to new music, Rosenzweig recommends you ask someone to prescribe the names of people they think have merit. “There are some remarkable people who will be part of the canon: Olivier Messien, Ligeti—who is just recently dead,” he says. “I think what you try to do is find out what some people think the best stuff is and listen to it. Or go back a gen-
“Go back a generation or two and listen to the guys who are sticking around.”
eration or two and listen to the guys who are sticking around. The coolest guy from my teenage years, Igor Stravinsky, is still a very good person to listen to if you haven’t listened to any new music— especially his later stuff that gets you into the next chapter.” If you decide to attend a new music concert, you’re not going to have the same kind of experience as if you were to go hear the Emerson Quartet play an evening of Haydn or mixed concert of Beethoven and Debussy. “It’s a completely different experience because those are tried and true things played by experts. Those of us who do new music concerts try to find the best repertory we can that is playable by the resources we have – which is pretty
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good. And I’m real happy when I run into people afterwards
concert of his music at Trinity Church. “It was an incredibly
and they say something like, ‘I really, really hated the
well-played concert and some of the people that showed up
Babbitt’ and then someone says, ‘I just loved the Babbitt.’
were people I was in ensembles with in high school and there
And then someone will say, ‘That last piece, I’m so sick of
was anything from surgeons to school teachers. I recognized
minimalist music’ and then someone else will say, ‘Oh that
them right away. It was a terrific event.”
last piece was so spiritual.’ My programming ideal is not
He remembers reading an interview with Wynton
to do one kind of music ever, unless it’s a themed concert. I
Marsalis who pontificates how important and influential
think having just one kind of music is pretty deadly. I happen
high school music directors are in the lives of their students.
to believe every age produces pretty extraordinary stuff and
Pete Dombourian, Rosenzweig’s high school director, was his
when we’re around it we don’t really know what it is.”
teacher as well. “The point is this: Most of those people in
high school did not become musicians—some did. But most of
Rosenzweig gives an example: “We have a romanticized
version of what Beethoven’s life was like and how he was this
them went on to have wonderful careers in all kinds of fields.
superstar and had to find solitude because people were bug-
I’m convinced that music with that kind of discipline that was
ging him all the time. He actually had very few performances
demanded of us at that juncture forged the ability for them to
of his work in his life. His string quartets were played in
go forward.”
private homes—not in public. He was an avant garde com-
poser and it was very difficult for a bunch of people. The most
tage of growing up make up what he describes as an “unbe-
famous composer at the time was probably Rossini. Rossini is
lievable conflation of very fortunate events,” which led to a
a wonderful composer, but he is no Beethoven. Towards the
remarkably successful career as a composer. When it comes
end of his life, the 9th Symphony was being done in London
to writing music, Rosenzweig never subscribed to an ideology;
and things like that. Of course now, that period of music is
he never adopted a label as to how his music should be. “That
all about Beethoven.”
works for some people,” he explains, “but it doesn’t work for
me. I evolve through the process of writing music. I get worn
Musicians, like all artists, are interpreters. They cre-
The opportunities Rosenzweig was able to take advan-
ate something that gives you a glimpse of how their mind
out by resorting to the same kinds of things. Besides, every
works and how their heart feels. Some of Rosenzweig’s work
time someone says that you have to do something, someone
is more personal than others. One work of note is something
else demonstrates how that is not true.”
commissioned by the New York New Music Ensemble called “Rough Sleepers.” It’s about homelessness and touches on some individuals who were disrupted by unfortunate events, including Hurricane Katrina. His own ensemble, Canyonlands, recorded it. “It’s overwhelming to think about not having a place to live and what people do to make things work. It bugs me and so I have people talking about it in aria-like statements and I wrote music for them. It wasn’t a movie music like thing, there’s a mutual space that they made for each other; the music is aware that they’re there, but it’s not really tuned in to the fact that they’re there because homeless people are invisible. It was an interesting experience. It’s not a memorial like Steve Reich’s Different Trains—a holocaust piece that we can all say, ‘It shouldn’t have happened.’ This is happening. It’s discomforting if you live in Salt Lake and go to the Broadway Theatre and see the guy playing cello outside. He’s in the first movement, playing cello. I’m just trying to reconcile those worlds.”
New Orleans holds a lot of meaning for Rosenzweig who
says Salt Lake City is where he lives, but New Orleans is his home. He recently returned from home after attending a
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Beauty and Virtuosity
The Greatest Minds Comment on Art’s Indefinable Qualities by Robert T. Benson
I
do not intend to take on the question asked by many over the eons, “What is Art?” That behemoth of a debate is
praise and controversy when he published his book, “The Art
plate whether “beauty” in the areas of the high arts is based
Instinct,” on evolutionary biology, wherein he posits that art
on some universal elements that appeal to all humans. Is it
is a need built into our systems, a complex and subtle evolu-
fair to suppose that there is some basic, fundamental form
tionary adaptation comparable to our facility for language.
which resonates to most viewers as “beautiful?” As early as Aristotle, there was a well-defined normative
•
The late philosopher Denis Dutton provoked some
better left for the philosophy journals. Instead, I will contem-
whose derivatives are a common thread within music and art,
50
thus agree with her judgment of taste.”
Critics are quick to take issue with this idea. It’s a stretch to say that humans evolved to love art because it helps us survive or that, for example, a well-expressed appreciation of
belief that we could expect to find familiar arts being devel-
art can—even in modern times—help us to find a mate. That’s
oped in independent human cultures to “adorn and enrich
granted. It’s a bit of a crass description that humans are hard-
life.” Kant developed the term “taste” wherein it is possible to
wired to succeed and breed. But soften that premise and with
correctly “judge an object to be beautiful, [and be] entitled to
pragmatic eyes, look around you, and even across humans
demand that everyone else feel a corresponding pleasure and
from all cultures and contexts. You’ll see there are universals.
fibonaccidigest.com
For example, most humans want to improve or be
masterpiece that is common between masterpieces.
eleated. Most of the plight of human life is to survive and
Beyond the playlists we rotate through, and the art
find happiness. Within struggle there is an implicit defini-
we hang on our walls, is there something exquisite about a
tion: humans toil to find the betterment they seek, whether
masterpiece? What’s unique to a Beethoven Sonata and a
it be rice or riches, peas or peace, or mere enlightenment and
Tchaikovsky Concerto? What is it about Michelangelo that we
inspiration. Where there is shining success, again a definition
all can see as compelling, special, and inspiring? Maybe that
is implied: human nature is to seek to imitate success, wheth-
one thing is true virtuosity. And maybe it is that whatever
er it be dressing like it, acting like it, or trying to attain it.
our personal preferences, the truth is that there is something
It is true that our context, experience, and our own values create a variance in what each believes to be beautiful.
common in our brains that responds to beauty—albeit our own version of the definition.
In economics it’s called a set of preferences or a utility func-
In 2005, LA journalist Steve Lopez was walking near
tion. If one were able to plot the millions of utility functions
Pershing Square when he heard a homeless man playing his
across cultures pertaining to art or beauty it would likely be
violin on the street. He was blown away by the music, so he
a normal distribution. There must be something innate in a
struck up a conversation with the vagrant, whose name is
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Photo courtesy Pete Earley
Nathaniel Ayers, and eventually they became friends. Ayers was an amazing musician, he’d been trained at Juilliard earlier in his life, but sadly developed schizophrenia and ended up homeless. LA Philharmonic First Chair violinist Robert Gupta was eventually introduced to Ayers. Gupta’s generosity to teach him began a lifelong friendship, but also illuminated some of what we are postulating here about the universal power of beauty in the arts. Gupta describes his first lesson meeting the slightly manic-eyed Ayers, saying: “I [knew I] would ruin his relationship with the violin if I started talking about scales and arpeggios and other exciting forms of didactic violin pedagogy. So I just started playing. And I played the first movement of the Beethoven Violin Concerto. And as I played there was a profound change occurring in Nathaniel’s eyes. It was as if he was in the grip of some invisible pharmaceutical, a chemical reaction for which my playing the music was its catalyst. And in a miracle he lifted his own violin and he started playing by ear certain snippets of violin concertos, which he then asked me to complete. Mendelssohn. Tchaikovsky. Sibelius. And through playing music this man had transformed. From the paranoid, disturbed man that had just come from walking the streets of downtown Los Angeles to the charming, erudite, brilliant, Juilliard-trained musician. And I understood that this was the very essence of art. This was the very reason why we made music. That we take something that exists within all of us at our very fundamental core, our emotions, and through our artistic lens, through our creativity, we’re able to shape those emotions into reality. And the reality of that expression reaches all of us and moves us, inspires and unites us.” What is it—this thing that does something to us when we experience the very best of what the fine arts have to offer—true virtuosity? To Ayers, that thing was the power of beautiful music by master composers played by a virtuoso, the beauty that he felt in that music. To Lopez it was permutations of the same masterpieces played by a virtuoso, once at Juilliard now on skid row, but moving and doubtless beautiful. But why was it so powerful and how did they know it was beautiful? What’s more, why was it transformative? This is arguably the biggest question, which leads to the question, “What constitutes great art?” While the market may determine what has a lasting prevalence in the museums, history books, and showcases of fine art, there must be some invisible hand that collects the best works.
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“And through playing music this man had transformed. And I understood that this was the very essence of art.”
1
3
2
4
5
1: Gustav Klimt, The Kiss (Lovers), Österreichische Galerie Belvedere, Vienna, Austria 1907–1908, Oil and Gold leaf on Canvas, 79” × 79” 2: Alexandros of Antioch, Venus de Milo, Louvre Museum, Paris, France Between 130 and 100 BC, Marble. 3: Vincent van Gogh, Starry Night Over the Rhone, Musée d’Orsay, Paris, 1888, Oil on Canvas, 28.5” × 36.2 “ 4: Pierre-Auguste Renoir, Luncheon of the Boating Party, The Phillips Collection, Washington, DC, USA 1880–1881 Oil on Canvas, 51” × 68” 5: Katsushika Hokusai, The Great Wave off Kanagawa, multiple locations c. 1829–32, Color Woodcut, 10” × 15”
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Yet, if 100 people walked through the Louvre and were to pick their favorite piece in that vast armamentarium of art, there’s a good chance they’d each choose something different. What, if anything, is there that we can pinpoint as a common element of beauty? When defining “great art,” there are many Western art connoisseurs that put in their two cents. Robert Flynn Johnson, Curator Emeritus at the Achenbach Foundation, said, “People are not willing to take the time and effort to develop their own personal sensibilities through study or reflection, but are prone to ‘go with the flow’ from the ‘tastemakers’ so as not to be seen as square and out of touch...so sad.” Scott M. Levitt, Director of Fine Art at Bonhams & Butterfields, agreed with Johnson, saying, “If you want to know what is good and what is not, you have to get out and look for yourself and make that decision. Take a year… and make it a rule to visit museums and galleries every weekend and read art-related books and magazines as much as possible in as many art fields as possible. You will have your answer.” Furthermore, DeWitt Cheng, an art critic in the Bay Area, tries to define great art. “Good visual art looks stunningly right and, in retrospect, obvious, or inevitable—yet it’s also continually surprising. It is a powerful paradox. How can someone have possibly made this? How in the world could it not have been made?” Although the answer to the many questions surrounding art—what art is and why we love it—may never be answerable, the undeniable truth is that fine art adds value to our lives. As Leo Tolstoy said, “Art is indispensable for the life and progress toward well-being of individuals and of humanity.”And so it is. We love things that are done well, we can sense things that take a gifted soul years to perfect, and we may have varying degrees of “tastes” colored by our context and our experience. But it’s safe to say that there are qualifiers for magnificence in the arts. One knows it when he sees it. Beyond that, to define it, is a journey. Take it.
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Film
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Sundance Film Festival 2015
by Savannah Turk
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I
N THE LAST 30 YEARS SUNDANCE has grown to be more than filmmakers and screen-
ings; it has become an epicenter of music, technology,
cinema, art, and culture. The festival crosses into multiple medias and attends to a variety of subjects. And yet, Sundance doesn’t feel scattered or disjointed. Each screening, panel, and performance had something in common, a single thread that pulls this expansive festival together and brings meaning to the various events Sundance hosts. It wasn’t until the final few days of the 10-day event that the common thread became apparent. The answer? Storytelling. From my first interaction fresh off the shuttle with director Jean Carlomusto of “Larry Kramer in Love & Anger” to my final day at the Slamdance Film Festival award show, storytelling was the idea that pervaded everything the festival did. The importance of Sundance quickly became clear. During the festival I met people from New York City, Minnesota, LA, Romania, France and beyond. Film lovers mingled with film critics. Publicists cheered with producers. And the world’s greatest and most creative minds in a number of mediums found a safe and energizing space to share ideas. That’s what is so important about this annual event. On more than one occasion I heard award-winning teams tell stories of how they first met at Sundance labs in previous years. Or saw people exchanging cards in line after having found a common passion. Sundance not only encourages unique storytelling, but creates a space for artists to share their stories and for patrons to see them. Sundance explores storytelling in many ways—from the films it presents to the discussions it curates and the technologies it explores. I opened up my ears, ready to listen to the many stories Sundance had to share with me, and quickly became impressed with the various ways Sundance chose to explore storytelling this year. Through numerous panels and screenings, I followed the conversations being had in the world of cinema, media, and technology, hoping to find the heart behind the stories Sundance chose to share. During a YouTube panel on interactive storytelling, young media entrepreneurs described the ways they were utilizing technology to retell old stories and share new ones. Bernie Su described how he captivated a wanting audience with retellings of “Pride and
Photo courtesy Dave Brewer
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Panel from L to R: P Bernie Su, Pemberley Digital; Aaron Koblin, Digital Media Artist; Matthew Bate, Writer/Director of Sam Klemke’s Time Machine; Danny Gabai, Executive Creative Director for Vice. Photo by Chad Zavala
Prejudice” through social media platforms and Aaron Koblin shared some of the technologies Google’s Data Arts Team is creating that allows stories to be told in a new, interactive way. But Danny Gabai’s, Executive Creative Director at VICE Media, comments resonated most with me. VICE works in print and film, and uses the two mediums to compliment each other. Gabai explained that a collaboration between mediums works to expose both pieces and create new experiences. Gabai’s ideas resonated well with the motives we have at “Fibonacci Digest,” and Sundance’s theme of comprehensive narratives. Telling a great story, about an artist, their creation, or their medium, means finding the right platform and oftentimes combining platforms to curate a complete story. Creating collaboration and understanding between mediums is another way Sundance works to effectively tell stories. During the BMI Film and Music Roundtable, composers and directors sat down to talk about their processes in developing music for film and the important role music plays in cinematic narrative. Music was described as a character, and as a way to translate sounds into ideas and moments. Composers and directors alike agreed that being a musician is secondary to being a storyteller; that one is developing a narrative and music is simply the medium. Music and film is a subject that repeatedly came up when discussing filmmaking. Another idea readily talked about is the role a director plays in film creation and executing a story.
to comment on the value of entertainment, and defended enter-
Most agree that the director is the guide, including James
tainment as the purpose for film as a medium. But both of these
Franco, who sat down with the Slamdance Film Festival to
cinema legends agreed that story is essential, and that storytell-
discuss filmmaking and the film industry. Franco is quick to
ing is the lifeblood that keeps Sundance’s heart pumping.
recognize film as a business, filled with red tape from studios
experience or a young cinema entrepreneur, the conversation
the importance of independent film and the untold stories
always comes back to the tales being told. The content that
it reveals. As with many filmmakers at the festival, Franco
fills the many mediums exposed during the Sundance and
expressed gratitude for being able to make the films he’s want-
Slamdance film festivals is always the centerpiece, and the
ed to make and tell the stories he’s wanted to tell.
rest of the pieces follow afterward. Behind these stories lie a multitude of motivations. Some
Redford, Sundance Institute founder, and George Lucas
want to change the industry, as Rick Famuyiwa aimed to do
sat down to discuss film and the festival, and shared many
with his avant-garde telling of a low-income African American
of Franco’s sentiments. While Hollywood studios seem
teenager. Some want to change the world, as “Sweet Micky for
to restrict storytelling to blockbuster films, festivals like
President” aimed to do by exposing injustices in Haitian poli-
Sundance stand to give creative minds another outlet.
tics. And some simply want to share a secret that has made
Mystified by the power of story since childhood, Redford
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Whether speaking with a film veteran with decades of
and money-making initiatives. But he also readily defends
During Sundance’s “Power or Story” panel, Robert
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Film critic Leonard Maltin (left), George Lucas (middle) and Robert Redford (right) during Sundance’s Power of Story panel. Photo courtesy Calvin Knight
their lives better, as Laura Gabbert did in her exposé on a
sees cinema as a pure medium, able to stand on its own while
well-known LA food critic. The beauty is in the perfect storm
accessing every other platform to tell an all-encompassing
that culminates between vision, medium, and artist to move
story. Redford also advocated for diversity as the name of the
people to contemplation, tears, or action. Sundance is the cata-
game, and that the future of film lies in the hands of women
lyst for these clouds to form and pour heavy drops of innova-
and young people. When discussing content, Lucas was quick
tion onto the tongues of any eager listener.
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Sundance by the Numbers Sundance quick look:
Hong Kong Global Selects, Film Forward (a film
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The Sundance Institute was established in 1981
The first Sundance Film Festival was held in 1985
The first festival screened 86 films in 2 theaters with 13 staff members
Besides the Sundance Film Festival, the Institute also supports: NEXT Fest in LA, Sundance London, the Sundance Film Festival
1,950 Volunteers
touring program), the Shorts Tour, and a num-
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ber of Utah community screenings and events
Programmers begin viewing films in July, 7 months before the festival
The Institute hosts over 50 programs to connect artists and audience
The Institute is a non-profit organization
2015 Stats:
15 theaters 4 cities Park City, Salt Lake City, Ogden, and the Sundance Mountain Resort
150 year-round employees between Park City, Los Angeles, and New York City
24 residential labs
$2.5 received in grants 350 artists supported by grants and memberships
$
The festival had an economic impact of $86.4 million in Utah
Photo courtesy Dave Brewer
2014 Stats:
45,352 in attendence 186 films screened 12,000 submissions Artists from
48 countries were represented
152 Sundance supported films and plays made it to the big screen/stage worldwide
2,000+ donors
Data courtesy sundance.org
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Best in Show The Finest Films and Their Creators
T
HE HEART OF SUNDANCE, THE FILMS it brings to the screen, is what truly drives the theme of
this festival. Storytellers from around the world are able to share their tales with a wanting and willing audience. This year featured some of the best films ever shown at Sundance, films that have broken records and will go on to promote cinema’s new rising stars and garner the industry’s most prestigious awards. Here are a few films from this year to watch for.
jerking tale becomes one of hope and hilarity, and the humor of the film quickly makes audiences fall in love. The talent, young and old, that brings this film to life includes Thomas Mann, RJ Cyler, Olivia Cooke, Nick Offerman, and Molly Shannon. And finally, Gomez-Rejon’s way of using the camera as a character in the film, combined with his overwhelming dedication to the heart of the story makes “Me and Earl and the Dying Girl” a must-see movie from Sundance this year. This feel-good flick took the U.S. Grand Jury Prize for the Dramatic competition, as well as the Audience Award for
Me and Earl and the Dying Girl
a U.S. Dramatic film, presented by Acura. “Me and Earl and
Directed by Alfonso Gomez-Rejon
prize as well as an audience award, following closely in the
This film chronicles a high school-aged boy named Greg and his friend Earl who secretly make homage films to their favorite directors. Greg is forced to friend a girl in his class with leukemia, and the pairing evolves into an intimate friendship when Greg decides to make a movie about her life. The film promotes the idea that a person’s life does not stop when they die, that their story proceeds their time on Earth. It seems that this film hits home for viewers for many reasons. Quirky, artistic, and brilliant characters bring the
the Dying Girl” was the only film to walk away with a jury footsteps of last year’s “Whiplash,” which garnered the same prizes in 2014 and is now nominated for five Oscars. The film also had the opportunity to walk away from the festival with a record breaking $12 million deal with Fox Searchlight, but ended up taking a lower deal with hopefully long-term payback, similar to Wes Anderson’s “The Grand Budapest Hotel,” which earned $175 million globally. The good news is that it shouldn’t be too hard to find “Me and Earl and the Dying Girl.” And when you do, don’t miss the opportunity to let this film add a
film’s personal story to life. What seems like a tear-
Alfonso Gomez-Rejon Photo by Anne Marie Fox
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little sparkle to your life.
Rick Famuyiwa Photo courtesy Sundance
Laura Gabbert Photo by Jerry Henry
Photo by Rick Fauyiwa
City of Gold
Dope,
Directed by Laura Gabbert
Directed by Rick Famuyiwa
Sundance is known for the groundbreaking documenta-
Set in a rough neighborhood outside of Los Angeles, this
ries it brings to the forefront of society’s mind. But, unlike
film follows Malcolm, an unpopular high school geek with
many of this year’s documentaries that chronicle complicated
dreams of going to Harvard. Malcolm and his misfit friends
injustices in the world, “City of Gold” is a welcome ray of
share a deep love for all things 90s hip-hop and band together
light. This film follows Pulitzer Prize-winning food critic
to navigate their outsider status. But when Malcolm is invit-
Jonathan Gold through the city of Los Angeles, exposing his
ed to a party by a popular drug dealer, a whirlwind of hilari-
unique tastes as well as his love of culture, which he seam-
ously bad choices force Malcolm to consider his character and
lessly ties into each restaurant review.
his future.
Gold has been exploring eateries in LA for over 30 years.
This film was probably the biggest breakout surprise of
The once anonymous journalist reveals his identity through
the festival. Not long after “Dope” premiered, it became one
“City of Gold,” using it as a tool to expose his process as
of the most talked about movies on the sidewalks and sought
much as the film uses him to write a love letter to the City
after screening tickets. A creative and hilarious story, writ-
of Angels. The critic’s understanding of the deep connect
ten and directed by Famuyiwa, this film demonstrates a new
between food and culture, combined with his penchant for
aesthetic while paving the way for similar untold stories
enjoying “dive” restaurants has made him a local hero, a
of America’s tougher cities, exploring the realities of drug-
champion of taste and community.
riddled neighborhoods and destructive low expectations with
Creatively bringing together food, culture, and the aesthetic of LA, Gabbert made the film to feature Gold and thank
a steadfast sense of humor. This humor is a light overtone to a more serious issue.
him for introducing her to the more intimate, cultural side
Famuyiwa tackles the false perception that African American
of LA. “He got me to see it in a different way,” Gabbert com-
communities have lower expectations for their youth to strive
mented. “LA is one of those places where you have to dig
for higher education.
a little deeper. It doesn’t have that immediate charm of San Francisco or the cultural heft of New York. [Gold]
We wish we could include every Sundance film here, but
made me start to love the city and I started to explore it
since we can’t here are some honorable mentions of films to
more.” This documentary leaves the viewer completely
watch for: “The Wolfpack,” “Slow West,” “James White,” “The
full, from their stomach to their heart.
Russian Woodpecker,” and “Cartel Land.”
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Second to None
Slamdance Film Festival Holds Its Own
U
pon hearing that the Slamdance Film Festival is held
during the same week of Sundance, many assume that
the two programs butt heads. Two film festivals happening at the same time in a small city? They must be in competition. But that assumption is far from the truth. Although Slamdance was indeed created as a response from Sundancerejected filmmakers, the two festivals juxtapose seamlessly and compliment each other in a way that brings out the best in both. Slamdance is a rough-around-the-edges film festival by design. Self-described as a slightly dysfunctional but loving family, the program fills a niche that Sundance is unable to accommodate due to its now-prestigious status. Slamdance is a festival haven for truly independent, first-time filmmakers, directed entirely by filmmakers. Its playful, laissez-faire atmosphere brings nervous debut film makers in and gives them not only a support system, but a family with which to lean on and laugh. Started in 1995, Slamdance founders—a group of disgruntled filmmakers burned by Sundance—decided to make something different, and for themselves. Nestled at the very top of Main Street in Park City in a single building, Slamdance
sponsorship that dominates much of Sundance’s surface. Although Slamdance may seem a little more kooky and laid back, they are a quality festival with the chops to back it. Notable alumni include industry leaders such as Christopher Nolan (Inerstellar), Jared Hess (Napoleon Dynamite), Seth Gordon (Horrible Bosses), and Lena Dunham (Girls). The festival also brags discovering the first film in the “Paranormal Activity” franchise and a number of widely-released documentaries. This year Slamdance received over 2,500 submissions from wishful filmmakers hoping to garner some of the recognition Slamdance provides. Because the festival is uncompromisingly focused on filmmakers, Slamdance offers a number of film workshops, legal seminars, and artist roundtables. Awards for the festival include credits for legal counsel and camera equipment, proving that Slamdance is truly dedicated to furthering the craft and helping artists tell their stories. This exceptional festival deserves more space that this feature allows it. The films are truly unique and the people are selflessly embracing and some of the most creative new minds in the industry. We are thrilled to feature two directors and a film from Slamdance this year that you should watch for.
provides a refuge away from the overwhelming celebrity and
“Sundance decided to make something different, and for themselves.”
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Dağ and Saydam accept their Slamdance award with members of Across the Sea
Across the Sea Directors Nisan Dağ and Esra Saydam
Both Columbia University’s MFA Film Program alumnae,
this Turkish duo dominated Slamdance this year. Humble and earnest, these ladies gracefully received the Audience Award for Narrative Feature, as well as a Jury Honorable Mention for Narrative Feature for their film “Across the Sea.” The film received accolades for its sweeping cinematography exposing the mystical Mediterranean, as well as its honest storytelling. As women remain underrepresented in the film industry, these intelligent, creative, and driven women are shining beacons bound for greatness. We hope to see Dağ and Saydam continue to expose untold stories in an intricate and captivating way. Watch for Dağ’s work on MTV and at festivals across the country, and anticipate Saydam’s current project, which explores the genesis of a crime.
Sweet Micky for President Directed by Ben Patterson
Blowing away the competition, “Sweet Micky for President”
won the Audience Award for Documentary Feature and the Jury Award for Documentary Feature. Following Pras Michel of the Fugees and musician turned presidential candidate Michel Martelly aka Sweet Micky through a rigged presidential election in Haiti, the film exemplifies Slamdance’s mission—to celebrate new works by new directors that have the ability to change our perspectives about the world. Breakout director, Ben Patterson, was elated by the film’s reception during the festival. He came to
Ben Patterson gives thanks after winning the second Slamdance award for his film Sweet Mickey for President Photos by Chad Zavala
Slamdance with an important message to send about the state of Haiti and its people, and his message was made clear, evident in the overwhelming support the film received throughout the festival. Patterson has a story to share, and it’s worth listening to.
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Location, Location, Location
The Rocky Mountain Region is a Filmmaker’s Paradise by Richard Maturi
B
efore the cry of “lights, camera, action,” decision making over film locations and financial constraints comes into play. The phrase “location, location, location” looms large as more production is lured out of California by low costs and tax incentives. The right combination of attractive locations and fiscal enticements can lure film production companies. “The reality of today’s industry is that you can’t talk about attracting film production without also talking about financial incentives,” said Kevin Clark, execu-
tive director of the Association of Film Commissioners International (AFCI). “Film production is an important economic driver, which means competition is fierce. There are multiple factors when selecting a location, including the quality and uniqueness of the location, but financial incentives are usually a first point of discussion,” said Clark. There is a lot at stake. PwC Global’s entertainment and media outlook for 2014-2018 reflects a global cinema growth of 4.9 percent, equaling $46 billion, and
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North America continues to drive the global market with 43,000 screens between the U. S. and Canada. The Rocky Mountain states work hard to get their share of film production work leaving West Coast studios. “The Rocky Mountain region is packed full of truly unique locations and film friendly communities. Film offices are well equipped to overcome the challenges in the region—crew base, accessibility, weather. The cost to shoot a production in the region can be significantly less expensive than in metropolitan areas,” said Clark. But, financial incentives and locations alone won’t do the trick. There must be a qualified film labor pool to keep production costs down. While the Mountain West has always been a strong player in film, from classic westerns to modern blockbusters, the competition between states is intense and the incentives are high to capture the lucrative film market. Here’s a rundown on what steps these states are taking to gain traction in the film production business.
New Mexico
Former New Mexico Governor Bill Richardson made it a key
priority to reinvigorate the state’s film industry. The state offers a 25 percent refundable film production tax credit and post-production services for projects shot in New Mexico, 50 percent wage Above: Red Rock Crossing, Sedona Photo courtesy Margaret Knight
reimbursement for film crew advancement training, and a film
Valley of Fire, Photo courtesy Don Graham
each year with a $10 million carryover to the next year.
investment loan program up to a maximum of $15 million. Overall New Mexico allows up to $50 million in credits to be expended As a result, film production in New Mexico shot up from a paltry $8 million in 2002 to $492 million in fiscal year 2013.
Boars Tusk Sweetwater County Photo courtesy Wyoming Film Office
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Salt Flats Photo courtesy Utah Office of Tourism
“We not only offer unbelievable landscapes and tax cred-
originated in Hollywood. We offer year-round shooting with
its, we tout incredible soundstages and experienced film
excellent weather and dependable sun conditions for these
crews all within a four-hour flight from Hollywood,” said
types of projects,” said Phil Bradstock, program manager for
Nick Maniatis, director of the New Mexico Film Office. New
the Phoenix Film Office.
Mexico offers such varied film locations as the late 1800s St.
Regarding film projects, Bradstock pointed out that while
Francis Cathedral in downtown Santa Fe to the stunning red
there are no longer any financial incentives for film produc-
cliffs of Diablo Canyon, where production crews filmed scenes
tion companies in Arizona, they do assist companies with
for the 2007 “3:10 to Yuma.”
“soft” incentives such as free road closures and speedy per-
Producer Sedge Thomson stated, “We’re delighted to
mitting. “If a movie story is set in Monument Valley or near
be making “Kepler’s Dream” where the novel is set. It’s not
Sedona, we will get that part of the filming regardless of any
just the beautiful landscape, it’s a second blessing that New
tax incentives,” Bradstock assured.
Mexico is filled with creative filmmakers.” The movie is in
Former Arizona Film Office director Harry Tate works
post-production with a 2015 release date. Likewise, “Batman
to bring back the state film office and financial incentives.
vs. Superman: Dawn of Justice,” starring Ben Affleck and
“The film and television industry is a financial catalyst. In
Henry Cavill and directed by Zack Snyder, wrapped up shoot-
today’s economic environment, financial incentives rank up
ing in New Mexico in December with an anticipated 2016
there with location as top consideration for many production
release date.
projects. Arizona has lost out on hundreds of millions of dollars in revenues and economic development since the closing
Arizona
Across the border, Arizona manages and promotes film
production through seven regional film offices located in
of the state film commission office,” said Tate. He is pursuing getting the Arizona Film Commission restored with a wellwritten tax incentive program to attract more film production back to Arizona.
Flagstaff, Page/Lake Powell, Phoenix, Prescott, Tucson, Wickenburg, and Yuma. Unfortunately, the 2011 state government re-organization eliminated the Arizona Film Commission and any financial incentives to the film industry.
Nevada
In nearby Nevada, the 15 percent production cost credit
“It’s important to realize that the entertainment industry
and 12 percent wages and salaries tax credit for productions
includes advertising, commercial, and other film projects not
over $500,000 took effect in January of 2014. The program
Bruneau Sand Dunes Photo courtesy Idaho Tourism
Sawtooth Mountains Photo courtesy Idaho Tourism
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Vegas Skyline Photo courtesy Ben Blackenbury
includes a project cap of $6 million and an annual funding
and commercial productions by promoting local, professional
cap of $10 million with unused credits carried over to the fol-
industry crew, talent, and services. “Utah has been a hub of
lowing three years. Over the years, the Nevada Film Office
filmmaking since the early days of cinema with over 900 films
has assisted thousands of productions.
produced in the state. Our local crews, suppliers, and other
“From the glittering neon lights of Las Vegas to pic-
personnel are talented and experienced. We offer dramatic
turesque lakes and majestic mountains, to ghost towns and
and diverse locations, all accessible by a major airport,” said
scenic roads, to The Valley of Fire in the Mojave Desert and
Virginia Pearce, director of the Utah Film Commission.
Lake Mead…You will find it all in Nevada. We possess a vast
Utah offers $6.8 million annually in its motion picture
pool of industry professionals, talented crew, state-of-the-art
incentive program as a fully refundable tax credit. Films
production facilities, vendors, and 300-plus days of sunshine
made in Utah that spend at least $200,000 are eligible for a
for any film, commercial, video game, or animation project,”
20 percent tax credit, while projects spending over $1 mil-
said Eric Preiss, director of the Nevada Film Office.
lion may be eligible for a 25 percent tax credit. According to
Speaking of the film conditions in Las Vegas, “The
Pearce, the available $6.8 million production tax credit is
Hangover” director Todd Phillips said, “More movies should
used up each year and in the past five years crews shot more
be shot here. It really was one of the greatest cities I’ve gone
than 100 productions in Utah, creating 7,500 jobs and $149
to, to film, and I’ve been to many cities.”
million in economic impact. Furthermore, the Sundance Film Festival brings a large
Utah
The Utah Film Commission, a part of the Utah Governor’s
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number of directors, producers and other film personnel to Utah each year, giving them an opportunity to see varied and spectacular locations such as the horses and riders at
Office of Economic Development, undertakes the mission to
Antelope Island, the Bonneville Salt Flats, and the Coral
market the entire state as a destination for film, television,
Pink Sand Dunes.
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Idaho
Moving further north, Idaho fends for film productions
without the benefit of tax incentives. The bill, which would
Office rolled out the red grass-prairie carpet to make us feel right at home.” The Mountain West is unique in many ways, but it is
provide for a 20 percent tax rebate on productions $200,000
largely the beautiful and distinguished topography that
or more, sits stalled in the legislature. “Even though there
makes the Rocky Mountain states special. Each state has
are no tax incentives at this time, settings such as the
something to offer, especially in terms of landscape, so it’s
Sawtooth Mountains and the Bruneau Sand Dunes offer
clear why the film industry is thriving here. From tax incen-
attractive locations that draw film production companies to
tives, skilled work crews, and unbeatable locations, we can
the state,” noted Amy Rajkovich, Tourism Specialist for Idaho
expect to see film production increase in the Mountain West.
Tourism, under which the Idaho Film Office operates.
And festivals like the Sundance Film Festival, the Sedona
Up-and-coming Boise-based producer, Jake Fullilove, put
Film Festival, and the Third Coast Dance Film Festival only
things into perspective. “We may not have tax incentives, but
help to bring not only production, but viewership and film-
we have what are called producer incentives: solid, low-cost,
lovers to this thriving Mountain West film community.
experienced work crews, the ability to work without film permits, and an easy-to-work-with, supportive community. Idaho sports every imaginable location possible: forests, mountains, rivers, ghost towns, and city shots. A recent production even used downtown Boise to replicate Chicago settings,” said Fullilove.
Wyoming
“If you’re going to use the Tetons, Devil’s Tower or
Boar’s Tusk as a setting for your film, you’re going to film in Wyoming,” pointed out Colin Strickland, film production senior coordinator with the Wyoming Film Office. “Right now Wyoming has in place a $1.08 million tax incentive program for production firms that spend a minimum of $200,000 to qualify for a rebate percentage between 12 and 15 percent. Coupled with spectacular scenery, our incentive program keeps us relevant in the film production business,” said Strickland. Strickland stressed that Wyoming gets its share of documentary, commercial, and extreme sports productions along with film production work. “When Mammoth, California weather failed to produce the necessary snow for ‘Django Unchained’ we moved the production to Jackson, Wyoming. There were many locations that were really terrific. It opened up the picture and became really grand,” stated Michael Riva, production designer. Director Quentin Tarantino added, “Wyoming is a fantastic place to shoot. It’s beautiful country. If you’re doing a western that requires beautiful, rugged terrain, it’s a glorious place to go. It screams ‘America.’” “Nebraska” director Alexander Payne concurred, “Filming in beautiful and exotic Wyoming was a ton of fun. The people were extremely friendly and the Wyoming Film
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Color Tones
The Role of Music in Film by Esai Falcon
O
ne of the key components to any film is the music accom-
To begin, the painter must know his palette. It’s important to
panying the story. A song on its own is a documented experi-
know the different approaches that well-received soundtracks
ence or story, and it is possible to retell a song, change it,
have used before to build one’s own.
or interpret it. In film, music is used to help detail the story within the audience’s mind. If a film could be captured in a
within the film. Nicolas Winding Refn’s “Drive,” released in
room, the color the walls are painted in the room would be
2011, features a prominently original tracklist of vintage syn-
the soundtrack. The room is still the room, regardless of what
thpop and ambient music with strong indulgences into 80s aes-
color the walls are painted, but the color is going to change
thetic. However, the fact that the music was unorthodox wasn’t
the entire ambiance of the space. But how does a filmmaker
what made it a good soundtrack. It was successful because of
go about finding the right colors to accentuate his work?
the way it complimented and completed the nostalgic, neo-noir
To begin, there are many different things the painter, or
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style the film followed. The dreamy, heavily processed vocals
filmmaker, must consider about the space before he gets his
set over a daunting, pulsing beat was the glue that pulled
brush ready. How much of the soundtrack is going to be origi-
together the scenes of police chases to the long, quiet moments
nal? What sort of instrumentation should the composer use?
shared by the protagonist and his romantic interest.
How much of the song is actually going to get screen time?
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Some soundtracks are known for their more unique uses
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This points to the recurring theme of stylized hyper-vio-
lence and synthpop going hand in hand. It is similar to comically clichéd tropes overplayed back into an applied cool factor with stylized uncommon subgenres of rock music, which is exactly what director Edgar Wright’s “Scott Pilgrim vs. The World” tapped into. Noise rock, the type of music performed by the inuniverse protagonist’s band in “Scott Pilgrim vs. the World,” is grunge music for the girl next door. With poppy chord progressions overdriven into a distorted mess screaming over the upbeat drums, the music definitely provides a clearer picture on the narrative as an over-saturated parody of itself with actual depth in the details. The overall goal of these types of soundtracks is to help give the film some character, an identity that’s easy to remember by the viewers. There is also some music that is used to help intertwine the audience with the movie by exciting the audience with a song that leaves a strange energy in the air. The protagonist experiences this kind of energy as well, creating a meta-connection between the characters and the audience. A clear example of this can be found in Alfred Hitchcock’s “Psycho.” Everyone knows the iconic scene in which pseudo-protagonist Marion is taking a shower, and violins shriek as the curtain is pulled back revealing an obscured murderer. Stanley Kubrick used more experimental contemporary soundtracks with his films “2001: A Space Odyssey” and “The Shining.” A majority of the music featured in the sci-fi classic, “2001: A Space Odyssey,” is dissonant and mysterious. Instead of bowed notes and held chords, viewers experience a cacophony of frantic, atonal plucking. It works wonders outlining the strange, eerie sense the film tries to convey, while simultaneously tapping into a futuristic contemplative feel without the use of
“Building that connection between the audience and the cast makes them more immersed in the film, intensifying the experience.”
synthesizers or other modern equipment one might use to help create the feeling they are trying to capture. Likewise, “The Shining” has a multitude of disorienting, erratic pieces that intensify in speed and dissonance as the main character descends into madness. This tactic works especially well in thrillers or horror films. Building that connection between the audience and the cast makes them more immersed in the film, intensifying the experience. Simply relying on a single approach isn’t a key to instant success, unfortunately. It’s always important to know what the film demands in order to fulfill it as an art piece. Although “Bronson,” also directed by Refn,
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touches upon the synthpop/hyper-violence technique, the soundtrack features a lot more musical variety, as well as uses music as a literate device to help the audience delve into the mind of the titular character. In one example, the protagonist is being arrested. As he is walking down the corridor, inmates clap for the brutality he shows against the prison guards. The soundtrack swells in the background, slowly reaching a peak of applause and cheering as if Charlie Bronson were some sort of performer who had just finished putting on the show of his life. There’s also the intro, with Bronson pacing around in his solitary confinement cell. Deep, bassy plucks separate the shrill, high pitched drone of violins before the song suddenly kicks into a much more mellow, feel-good groove as Bronson begins fighting the guards that burst into his cell. What it all ultimately comes down to is interpreting visual overtones into music, and trying to find a way to communicate that to the viewer. How do you let the audience know the protagonist and his romantic interest are at a nice restaurant? Have a piano playing an intricate classical piece. How do you clue people into the fact that the sidekick to the superhero might not be entirely loyal? Easy, a simple run through an augmented or diminished chord. There isn’t ever a wrong song to use, but there are certain things about certain songs that make them better than others. It’s all about using clever musical articulation, the paint on the film’s walls, to express the themes or ideas the film is trying to convey.
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Constructing a Film
A Director’s Take on What Makes a Great Director by Lyman D. Dayton
O
ver the years, I have been asked by friends many
times, “What does a director actually do?” The best parallel I have been able to come up with is to compare the process to the construction of a house. The developer is the producer, the architect is the screenwriter, and the builder is the director. The producer makes certain the director follows the blueprint, but in the case of a highly respected director, he is given latitude in making changes that, in his view, make the film better or more stylistic. As you think about great directors, like Woody Allen, Martin Scorsese, Stanley Kubrick, Alfred Hitchcock, and Francis Ford Coppola, to name a few, and as you reflect upon their work, you may come to an interesting conclusion. Each director has a distinct style that brands them. Seeing their work is like an imprint of their DNA. They can’t create anything that doesn’t reveal who they are as directors. Sam Peckinpah was a successful action director in the 1960s and 70s. His films, “Straw Dogs,” “The Wild Bunch,” “The Getaway,” and “Pat Garrett & Billy the Kid,” were manifestations of his philosophy that man is basically violent. He took delight in depicting action scenes as though they were beautiful ballets, shooting them in slow motion so we could see the blood gushing from bullet holes. In the film “A Clockwork Orange,” Stanley Kubrick goes even further than Peckinpah in depicting the idea that man is essentially evil. I’ve always been fascinated by the way a director works with those who surround him. Some are dictators, although they would refer to themselves as the auteur, who take responsibility for every square inch of film. I see Alfred Hitchcock
in lending his own creative interpretation of a scene. When films like “Psycho,” “The Birds,” “Rear Window,” and “North by Northwest” were released in the 60s, I was captivated by their precision, their style. I still appreciate their taut storytelling, but now, as I look back, they lack a sense of spontaneity. They didn’t allow for intuitive things to happen between actors on the set, nor did they allow for changes in dialogue. It
“Each director has a distinct style that brands them. Seeing their work is like an imprint of their DNA.”
as an example. Having started out as a film editor, he envisioned and storyboarded every scene he directed with precision. He then shot the film in such a way that the film editor had no leeway
seems to be kind of a directing-by-numbers style. What I did appreciate about Hitchcock was his restraint in how he depicted violence. He allowed the audience to use their imagination when it came to violent or sexual scenes rather than spell it out graphically. I consider Woody Allen’s style quite
opposite of Hitchcock’s. He surrounded himself with a stable of crewmembers that he deemed to be more qualified in their specific areas of expertise than he was. Allen Photo courtesy Lyman Dayton
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would merely give a general overview of the scene and
to join him in going over the script. We collaborated well
then allow the director of photography, the lighting
and at 2:00 a.m. we shook hands on the changes. When he
people, and the set designers to create. The end result
showed up on the set late that morning and received acco-
was that there was a great sense of harmony and consis-
lades from the cast and crew, he pulled me aside again.
tency in the final product. He is known for working with
This time he said he’d thought things over and that he
the same ensemble of cast and crew time and time again.
liked the script the way it was before we had changed it.
When asked by an interviewer how he managed to be so
From that moment on we hit it off and he was a joy to
prolific, he responded by saying, “I surround myself with
work with. What I discovered, of course, was that there is
far more qualified people than me and if the film is suc-
so much more to directing than directing. As a member of
cessful, I take all the credit.”
the Director’s Guild of America, I receive screeners from
My evolution of becoming a director was not sudden.
various studios to evaluate the films and vote on them for
My first three films were “Where The Red Fern Grows,”
Best Director before the year ends. As I put the DVDs in
“Seven Alone,” and “Against a Crooked Sky,” but as a
my player and watch these films, I find myself saying I
producer, not the director. I chose Norman Tokar to
would have done it this way or that way, but when watch-
direct “Where The Red Fern Grows” and learned greatly
ing a masterpiece, those thoughts never enter my mind.
from him. He taught me early on to talk with the actors instead of merely instructing them on what to do. I realized fairly quickly that as much as I might have appreciated the appointed director’s approach, there were certain interpretations and nuances of the story that I wanted done the way I wanted. After my first three films were in the can I ended up going back and re-shooting the endings. As a producer, I re-wrote and directed scenes I believed would improve the climaxes and resolutions. In the case of “Against a Crooked Sky,” I discarded the last 12 minutes of the film and with a tiny crew and pertinent actors, went back on location in Moab, and in one day got the footage I felt was needed. My actual debut as a director was a little frightening. Not just because I was making a film, but because I was working with great actors like Clint Walker, Diane Baker and Academy Award-winner Burl Ives. The film was “Baker’s Hawk,” which was based on a successful novel by Jack Bickham. The day before Ives’ first scene, he came to me with a litany of concerns. He needed cue cards, which meant we needed to find a professional cue card writer from LA to be flown out to Utah immediately. He was concerned about the altitude above Sundance, which meant we needed to provide oxygen, and most pertinent, he was not satisfied with the dialogue between him and the protagonist, 12-year-old Lee Baker. I had been working fourteen-hour days and I was able to pass off the problems of cue cards and oxygen tanks readily, but when it came to changing a four-page scene with a few hours notice, it was a little scary. His hotel quarters were next door and I still remember the image well. He was propped up on his bed where he invited me
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One Film at a Time
Director Patrick Schweiss Transforms the Sedona Film Festival by Kendall Perkinson
W
hen the sun sets in Arizona’s Verde Valley, the red
been merely one facet of a larger project called the Sedona
amidst these radiant cliffs and the surrounding ochre stone
Cultural Park, an ambitious but ill-fated attempt to create a
is the Mary J. Fisher Theater, home of the Sedona Film
new public venue for a diversity of arts in the city. Sedona’s
Festival. The nine-day event includes more than 150 screen-
mayor, Rob Adams, reminisced on its demise in a 2013 article
ings, workshops, and celebrity and filmmaker appearances.
for the “Sedona Eye.”
A decade ago the organization was bankrupt and in
of events spelled out the Cultural Park’s demise. [T]here was
telemarketing center. Patrick Schweiss changed all of that.
not a plan for the financial sustainability of the Park. There
When he was first approached about serving as direc-
tor of the Sedona Film Festival, Schweiss was working at
•
“Concurrently with the opening of the Park, a combination
debt. The theater, not yet conceived of, was being used as a
Rough Beginnings
78
a small, family-owned newspaper. The film festival had
sandstone walls of Sedona glow like massive embers. Nestled
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was no economic engine, and the Park had to rely on constant fundraising and philanthropy for revenue. The board had a substantial loan to service and a cost/revenue analysis of the operations of the park had not been done,” said Adams.
Photo by Bob Coates
The Cultural Park opened in 2000 and was forced into bankruptcy by 2003. Before its demise, several members of the board of directors broke away to form a committee dedicated to preserving the film festival as its own entity. When two of those members, Herb and Linda Smith, asked Schweiss to serve as the director, his reaction was not what they had hoped for. “I actually laughed them out of my office,” said Schweiss. I didn’t know anything about independent film. I didn’t know how to put on a film festival. And why would I leave a cushy family job to work for an organization that was $75,000 in debt?” This was not to say that Schweiss was unfamiliar with film entirely. Years earlier, he had found himself constantly engaged in good natured debate with the newspaper’s office receptionist about whatever happened to be playing in the theater at the time. “I would love a film and she would hate it. She would love a film and I would say, ‘That’s the stupidest movie I’ve ever seen.’” The banter amused their coworkers, who suggested that they start writing a he said/she said review column. The column became popular, and when his sparring partner left the paper a couple of years later, Schweiss found himself continuing the column on his own. Later, he created an Oscar party event for the Sedona Arts Festival. His organizational and communication skills, along with his ability to generate enthusiasm and donations, had not gone unnoticed. Not long after Schweiss flatly declined to become involved with the film festival, the Smiths returned to him with a new proposal. They were so sure that he could be the person to turn things around that they offered to match the first $25,000 he raised with their own personal money. At first, his response was just as dismissive.
Photo by Kendall Perkinson
However, for two weeks the idea haunted him. Despite his best efforts, he couldn’t stop thinking about it, and after seeking some assurance from the paper that he could return to work if things didn’t pan out, he accepted the position of Director of the Sedona Film Festival. By his own estimation, their doors should have already been closed.
Rebirth
Schweiss‘s first order of business was bringing the orga-
nization back from the financial brink. He approached friend and board member Georgia Frontiere about hosting a fundraising party that would determine the future of the organization. Frontiere was well known in the world of professional football
“A decade ago the organization was bankrupt and in debt. The theater, not yet conceived of, was being used as a telemarketing center. Patrick Schweiss changed all of that.”
as the former majority owner and chairman of the St. Louis Rams, earning the title “Madame Ram” for a career that saw the team to 14 playoffs, three Super Bowl games, and one championship. She agreed without hesitation.
Photo by Kendall Perkinson
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At the fundraising party, Smith explained the offer to
ward to on a regular basis.
match the first $25,000 donated. He encouraged the crowd to
One Tuesday a month, the festival started renting out
meet the goal that very night, but suddenly and unexpectedly
a single screen at a national movie theater chain. On that
stepped away from the microphone to consult with his wife. A
night they would show an independent film and invite a writ-
dead silence held the room of 300 people. When he returned,
er, director, or actor involved in its production to be a guest.
he announced that they were now offering to match the first
“The first couple of months, I was literally out on the street
$50,000. The crowd went wild.
giving tickets away,” Schweiss said.
Patrick was shocked. “I pulled him aside off stage and
Soon the monthly event developed a small but regular
said, ‘Herb, we can’t do that tonight. We can’t raise $50,000.’”
following. After a year or so, people started asking if it could
Smith encouraged him to just see what happened.
happen more often. The crowds grew. The frequency of the
By the end of the night, the Sedona Film Festival had
screenings doubled to every other Tuesday. Meanwhile, the
gone from bankruptcy to solvency, and a new future for both
main festival itself was getting longer each year as the qual-
Schweiss and the festival was born. The infusion of cash was
ity and quantity of submissions improved.
only the beginning. The pressure was now on for Schweiss to live up the potential that others had seen in him.
By the year 2010, the Sedona Film Festival was hosting a screening on 45 of the year’s 52 Tuesdays, with the main event itself lasting an entire week. In 2011, they were able
Hustle
to purchase and renovate a building adjacent to their offices
As Schweiss suspected, writing film reviews and plan-
that had been sitting vacant for two years. Named for its
ning Oscar parties didn’t necessarily prepare him for run-
benefactor, the Mary J. Fisher Theater stands as a crowning,
ning an entire independent film festival. He maintains an
tangible symbol of an organization that was nearly extinct.
upbeat sense of humor about just how clueless he was. Even simple communication with filmmakers proved to be a puzzle. “Stupid me. I was calling the agents. It would take me more
Focusing on the Heart and the Art
The Sedona Film Festival has a different demographic
than a month to even get an answer back, not realizing that
than many of its peer events. The attendees tend to be older,
you deal with managers or distributors. It was a big learn-
between the ages of 50 and 65, largely hailing from more
ing curve to figure out who you talk to, to just get something
sophisticated cultural centers like New York City and Los
done. But I asked the right questions.”
Angeles. This shows both in the festival’s film selections and
But Schweiss learned quickly, and soon the films starting
the kind of films that tend to have a positive reception there. Schweiss concedes that viewers are not likely to catch
rolling in. After figuring out how to delegate film submissions
many slasher flicks during the event. The films that do well,
viewing and rating, he turned his personal attention to the
he says, tend to put soul above all else. They tend to be docu-
board’s quest to find a year-round identity in the community
mentaries that inspire action, dramas that pull heartstrings,
of Sedona. At that time the annual festival only lasted three
and stories that have social and spiritual messages to deliver.
days, and they wanted to build a membership base that not
Today, there’s a screening committee of 25 to 30 people that
only supported the event, but also had something to look for-
rate submissions, and each film has to be seen and rated by
Photo by Bob Coates
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Photo by Kendall Perkinson
Photo by Bob Coates
several other people as well for the sake of diversity. What makes the Sedona Film Festival more than just a nine-day emotional movie binge is its particular focus. “We are very much a filmmaker-friendly festival. The filmmaker, in our world, is the artist,” Schweiss explained. Most mornings of the festival a workshop is held on some aspect of the craft—from screenwriting to cinematography to musical scoring—by advisory board member Kathleen Glynn. Glynn brings her experience as a producer for all of Michael Moore’s award-winning films to round-table discussions, panels, and audience Q&As with other experienced filmmakers. Which isn’t to say that the festival hasn’t had its fair share of celebrity appearances as well.
A City Apart
When Nicholas Cage took the stage in 2011 to introduce
his directorial debut, he told the audience that his family had been coming to Sedona for almost 20 years, calling it “the most beautiful and mystical place in the United States.” He added, “I hope that one day I can call Sedona my home and we can all be neighbors together.” Cage is not alone in this characterization. There does seem to be something magical about Sedona that forces anyone observing its majesty to be present in the moment of observation. Perhaps this helps to explain the draw of the place for people who believe in the mystical, the ethereal. An
Photo by Kendall Perkinson
entire New Age tourism industry has sprung up in Sedona since Jose Arguelles, co-originator of the Earth Day concept, organized the world’s largest synchronized meditation event,
The festival also brought out infamous and groundbreak-
“Harmonic Convergence,” in Sedona in 1987. The city is now
ing independent filmmaker John Waters. The particularly
flush with crystal shops, aura readers, psychics, and informa-
crass style of DIY storytelling he pioneered in the 1960s
tion about how to find and best experience the four primary
drew classes from Northern Arizona University in nearby
“spiritual vortices” in the area.
Flagstaff, which made for a convergence of very different
Schweiss gives no indication about whether he buys into all of that, but he has no doubt that the raw beauty of Sedona has been a major factor in the success of the film festival.
audiences. “Yes,” Schweiss said with a laugh before the festival, “I’m scared.” As for the future, Schweiss said he never wants to get
“It’s the natural, physical awe of what Sedona is that attracts
away from what has made the Sedona Film Festival success-
people here. If I was doing this festival in some place that
ful: “challenging, inspiring, thought-provoking, conversation-
didn’t have this scenic beauty and this national reputation,
starting films.” He explained that while the filmmakers are
we wouldn’t be doing nearly as well.”
the artists of his world, he tries not to forget his own place in
Now & Later
In February of 2015, the film festival honored Orson
Wells on what would have been his 100th birthday. His
the grand scheme of this art, calling to memory a conversation he had with a woman who had just been particularly moved by a screening. “I want you to go home tonight,” she said to him, “and
daughter Beatrice, who currently resides in Sedona, received
repeat something to yourself for me. I want you to go home
the honor of hosting the ceremonies.
and tell yourself, ‘I am changing the world, one film at a time.’”
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Hollywood Moves East Demystifying Three of Utah’s Premier Film Organizations by Rebecca Edwards
B
eyond the reaches of Sundance, Utah has an active and
Through screenings and events at their two main the-
avid film community that celebrates cinema all year long.
atres, the Tower and the Broadway Centre Cinemas, SLFS
From bringing Hollywood to Utah to exposing as many people
presents over 12,000 films every year and serves more than
as possible to great stories and cinematography, Utah is com-
250,000 film-lovers annually.
mitted to the art of film. Three main organizations have taken up the mantle
SLFS is a non-profit organization that has received grants from The Hemingway Foundation, Zoo, Arts and
of film exposure, creation, and preservation in the Beehive
Parks, the George S. and Dolores Doré Eccles Foundation,
State: the Utah Film Commission, the Utah Film Center, and
the Salt Lake City Arts Council, and the George Q. Morris
the Salt Lake Film Society. While there are other film societ-
Foundation. A large part of their funding comes directly from
ies in cities throughout the state, these three seem to have
patrons, as well. Salt Lake City residents can become mem-
the highest profiles in Utah.
bers of SLFS for as little as $50 per year. There are different
But with names that are slightly similar and don’t tell
levels of membership, each with its own set of perks from free
you much more than each group’s penchant for film, it can be
screenings to free popcorn and even guaranteed tickets to
hard to discern what the goals, missions, and purposes are
Sundance films.
behind each organization. To help demystify these forces for film, we’ve boiled down the nuts and bolts for you about each of these groups, including why you want to know who they are.
Salt Lake Film Society
Priding itself on being the “premier film establishment”
in Salt Lake City, the Salt Lake Film Society (SLFS) exists to promote diversity in both film exhibition and film creation. The Society works to educate through cinema as well as cultivate appreciation of the art form. Their mission is to make sure the “potent ideas and voices of film are accessible to everyone in our community.” In addition to providing a variety of high-quality films to the Salt Lake community, SLFS also offers a forum for cinephiles to gather, discuss, and debate the diverse topics presented in the films they screen. There are also programs in place to support both new and established filmmakers, such as the Utah Screenwriters Project, which is a year-long educational workshop where budding screenwriters have the opportunity to collaborate with one another and established mentors.
The Utah Film Commission
As part of the Utah Governor’s Office of Economic
Development, the Utah Film Commission has been working to get films made in Utah since 1974. The Utah Film Commission is also a member of the Association of Film Commissioners International and is available 24/7 to support every aspect of filmmaking, from scouting locations to preand post-production. Dedicated to an unofficial mission of “bringing Hollywood to Utah,” the Utah Film Commission is designed to market the entire state as the perfect place to film a movie, television show, or even commercials. In addition to bringing filmmakers to Utah, the Commission also works to promote film crewmembers and support services available in-state. Their website has a film directory where anyone can search for crewmembers
Photo by Chad Zavala
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and support service companies to use while filming in Utah.
sity of offerings ranges from classics like Disney’s “Sleeping
Talent can also register with the Utah Film Commission, but
Beauty” and the original “King Kong,” to independent psy-
there is no public search available for Utah-based talent on
chological thrillers like “Man from Reno,” which was directed
the Commission’s website at this time.
by former Utah resident Dave Boyle. As an added bonus, the
The Utah Film Commission also helps support film in Utah through the Utah Motion Picture Incentive Program (MPIP), which makes financial incentives available to produc-
Center will often bring directors and other film professionals to the screenings for a post-film discussion. Two film festivals are sponsored by the Center each year,
tion companies. The incentives are designed to help develop
the Tumbleweeds Film Festival for Children and Youth and
the film industry presence in the state and contribute to
the Damn These Heels! (DTH!) Festival. Tumbleweeds is the
Utah’s economy. The MPIP is a post-performance tax credit
only children’s film festival in the Intermountain West, and is
available for production dollars spent in the state.
a chance to showcase family films and inspire creativity and
From acclaimed hits like “127 Hours” to classics such
an appreciation for film as an art form. Damn These Heels!
as “2001: A Space Odyssey,” the Utah Film Commission has
is the Center’s longest-running annual program and focuses
been instrumental in helping expand the prevalence of film
on giving a voice to LGBT issues through art and discussion.
production in Utah.
In addition to the annual festival, DTH! also has monthly screenings offered throughout the year. Film has long been an important aspect to Utah’s economy and culture, but, the state is not unique in terms of the Mountain West’s dedication to creating and sharing films. The resources available in this cinema-loving state are here for all to take advantage of, whether it’s a budding young filmmaker finding a skilled crew or a curious viewer lending an evening to Broadway Cinemas for an indie flick. Whatever film camp you find yourself in, don’t be afraid to divulge into the resources Utah has to offer.
Utah Film Center
Rather than bringing filmmakers to Utah, the Utah Film
Center is dedicated to bringing great films to Utah audiences. According to their website, the Utah Film Center reaches more than 38,000 film-lovers each year, and over 86 percent of their offerings are made available to the public for free. The Utah Film Center seeks to explore film beyond a simple viewing. In addition to free screenings, they also facilitate outreach programs, post-film discussions, and opportunities to meet visiting artists and other film industry professionals. Their focus is on documentary, dramatic, and independent film that explores relevant social issues and exemplifies the highest in artistic quality. But the Utah Film Center doesn’t do it without a little help from their friends. The Center collaborates with educational and community partners such as the University of Utah, KUER, the Natural History Museum of Utah, and even the Sundance Institute. Each week Utah Film Center offers free screenings in cities across the state, from Ogden to Moab. The schedule of screenings is available on the Center’s website. The diver-
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Selected Works on Display
To Advertise Your Gallery’s Selected Works in our Digest Catalog contact: 801.232.8523 advertise@fibonaccidigest.com
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Moonshine by Mark Eberhard 42 x 42 Oil on Canvas MODERN WEST FINE ART
Razorback Bluff by Rob Colvin 42 x 42 Oil on Canvas MODERN WEST FINE ART
Twelve by Annette Lemieux Acrylic Silkscreen Ink on Wood Panel (2) panels at 38 x 40 MODERN WEST FINE ART
Sea Butterfly by Ario Namingha 15 x 13 x 4 Texas Shell, Bass Wood & Bronze MODERN WEST FINE ART 86
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Night Owl-Crow Indian Man by Kevin Red Star 30 x 40 Acrylic on Canvas MODERN WEST FINE ART
Gibson Wilderness by Woody Shepherd 72 x 71 Oil & Acrylic on Hardwood Panel MODERN WEST FINE ART
Horses on the Hill With Cloud by Phil Epp 40 x 40 Acrylic on Board MODERN WEST FINE ART
Heat by Lenka Konopasek 30 x 40 Oil on Canvaas MODERN WEST FINE ART
Into the Glittery World by Shonto Begay 48 x 24 Acrylic on Canvas MODERN WEST FINE ART
Filtered Sun by Dan Namingha 40 x 30 Acrylic on Canvas MODERN WEST FINE ART
Warrior on Horse by Ben Steele 90 x 80 Oil on (3) Panels MODERN WEST FINE ART
Mountain Storm by David Jonason 36 x 48 Oil on Canvas MODERN WEST FINE ART
Nude 1 by Jann Hathworth 36 x 42 Oil on Canvas & Vinyl MODERN WEST FINE ART
Suzie Yazzie by Logan Maxwell Hagege 30 x 20 Oil on Linen MODERN WEST FINE ART Premier Fine Arts Digest of the Mountain West
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Red by Dave Newman 30 x 30 Mixed Media MODERN WEST FINE ART
Bladed Bloom by Ed Mell 24 x 18 Oil on Linen MODERN WEST FINE ART Grazing Under the Needle by John Berry 16 x 20 Oil on Canvas MODERN WEST FINE ART
The Grand Tetons by Tracy Felix 36 x 48 Oil on Panel MODERN WEST FINE ART 88
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Keokook by Stanley Natchez 40 x 46 Oil and Mixed Media on Gold Leaf MODERN WEST FINE ART
Waiting by Carlos Reales 30 x 24 Oil on Canvas MAIN STREET GALLERY
November Rain by Fredrick Stephens 20 x 30 Oil on Canvas MAIN STREET GALLERY
Colors of Autum by Roland Lee 8 x 12 Watercolor MAIN STREET GALLERY
The Artist by Edward Hlavka & Kate Starling #10 of #36 Bronze MAIN STREET GALLERY
Mama Boots by Angela Fife 30 x 15 Oil on Canvas MAIN STREET GALLERY
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A Chill in the Air by Phyllis Horne 24 x 30 Oil HORNE GALLERY
Whispering Aspens by Phyllis Horne 30 x 40 Oil HORNE GALLERY
Quiet Riders by Glen Edwards 12 x 16 Oil HORNE GALLERY
Dressed in Purple by Phyllis Horne 16 x 12 Oil HORNE GALLERY
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Behind the Scenes by Barbara Edwards 18 x 14 Oil HORNE GALLERY
DC Cherry Blossoms by Ken Baxter 20 x 24 Oil HORNE GALLERY
Sunday in the Garden by Karen Horne 12 x 12 Oil on Panel HORNE GALLERY When in Rome by Karen Horne 40 x 38 Oil on Linen HORNE GALLERY
Enchanted Evening at the Vienna Ball by Karen Horne 48 x 96 Oil on Linen HORNE GALLERY
At the Springville Art Ball by Karen Horne 24 x 18 Oil on Linen HORNE GALLERY Premier Fine Arts Digest of the Mountain West
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Homage to Bitterroot Shanna Kunz 36x26 Oil BELLA MUSE GALLERY Sunflowers in Jade Elizabeth Robbins 16 x 20 Oil BELLA MUSE GALLERY
Dahlia’s in Silver ELizabeth Robbins 16 x 20 Oil BELLA MUSE GALLERY
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Quiet Evening Lori McNee 8X8 Encaustic BELLA MUSE GALLERY fibonaccidigest.com
Silver LIght Cindy Baron Oil 8 x 10 BELLA MUSE GALLERY
Sound of Autumn Jennifer Johnson 12 x 16 Oil BELLA MUSE GALLERY
A Walk in the Woods Shanna Kunz 15 x 16 Oil BELLA MUSE GALLERY
Glacier LIght Cindy Baron 8 x 10 Watercolor BELLA MUSE GALLERY Glorious by Elizabeth Robbins 14x18 Oil BELLA MUSE GALLERY Premier Fine Arts Digest of the Mountain West
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Polperro Boats by Steve Songerr 36 x 48 Oil MONTGOMERY-LEE
Trio in Black and White by Don Weller 10 x 17.5 Watercolor MONTGOMERY-LEE
A Close Watch by Jake Songer 20 x 16 Oil MONTGOMERY-LEE
Weathered by Jarred Sanders 45 x 48 Oil MONTGOMERY-LEE
Depths of Autumn by Robert Moore 30 x 30 MONTGOMERY-LEE
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Alta Hills by John Hughes 10 x 12 Oil MONTGOMERY-LEE
Black on White by Jared Sanders 60 x 48 Oil MONTGOMERY-LEE
Down the Valley by Barbara S. Edwards 24 x 20 Oil MONTGOMERY-LEE
Mid Winter Morning by Joseph Alleman 34 x 48 Oil MONTGOMERY-LEE
Tranquility by Ivan Blagorenko 30 x 40 Oil MONTGOMERY-LEE Premier Fine Arts Digest of the Mountain West
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Canyon Monarch by David Pettit Dimensions vary Original Photograph LAFAVE GALLERY Big Storm Coming by Kate Starling 20 x 20 Oil on Linen LAFAVE GALLERY
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Horse Valley Wash Culvert by Kate Starling 16 x 12 Oil LAFAVE GALLERY fibonaccidigest.com
Keryy County Ireland by Fredrick Stephens 48 x 24 Oil LAFAVE GALLERY
Sterling Silver & Copper Jewelry By Karla Player LAFAVE GALLERY
Lily, Tulip, Mirinda III by Lyman Whitaker dimensions vary LAFAVE GALLERY
Zion Canyon by Peter Nisbet 29 x 30 Oil LAFAVE GALLERY
Red Sandstone Narrows by Kate Starling 60 x 48 Oil LAFAVE GALLERY
Warm October Sun by Fredrick Stephens 24 x 44 Oil LAFAVE GALLERY Premier Fine Arts Digest of the Mountain West
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Millcreek Canyon by Frank Huff 48 x 60 Oil on Canvas HAVEN GALLERY Yellow Duster by Robert Benson 10 x 12 Oil on Canvas HAVEN GALLERY Tahani by Robert Benson 11 x 14 Oil on Canvas HAVEN GALLERY
Back by Glen Hawkins 24 x 36 Oil on Canvas HAVEN GALLERY 98
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The Player by Jason Bowen 30 x 20 Oil on Canvas HAVEN GALLERY
Learning to Fall by Zach proctor 24 x 18 Oil on Canvas HAVEN GALLERY Monkey Business by Dennis Smith #3 of #30 Bronze HAVEN GALLERY
Lucien’s Apple by Sam Smith Oil on Canvas HAVEN GALLERY
Charolaise Bull by Ron Russon 48 x 48 Oil on Canvas HAVEN GALLERY Premier Fine Arts Digest of the Mountain West
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Red Cliffs of Kayenta by Gary Collins Oil on Canvas HAVEN GALLERY
Favorite Spot by James Biggers 12 x 16 Oil on Linen HAVEN GALLERY
Saturday Morning by Susette Gertsch 36 x 38 Oil on Canvas HAVEN GALLERY
The Conversation by Stewart Seidman 40 x 30 Acrylic on Canvas HAVEN GALLERY 100 •
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Larry Conrad Winborg
Beautiful Noise, 72.5”x 64”, 3” gallery wrap
www.winborg.com 435-760-4737
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Gallery Directory
Listings Throughout the Mountain West
15th Street Gallery 1519 S 1500 East Salt Lake City, UT 84105 15thstreetgallery.com A Gallery 1321 S 2100 East Salt Lake City, UT 84108 agalleryonline.com Al Rounds Studio 60 E South Temple Ste 34 Salt Lake City, UT 84111 alrounds.com Alderwood Fine Art 641 E South Temple Salt Lake City, UT 84102 alderwoodfineart.com Alice Gallery 617 E South Temple Salt Lake City, UT 84102 alicegallery.org Alpine Art 430 E South Temple Salt Lake City, UT 84111 alpineartinc.com
Anthony’s Fine Art & Antiques 401 E 200 South Salt Lake City, UT 84111 anthonysfineart.com
Astoria Fine Art 35 E Deloney Ave Jackson, WY 83001 astoriafineart.com
Contemporary Arts Center 1217 S Main St Las Vegas, NV 89104 lasvegascac.org
Art Access Gallery 230 S 500 West #125 Salt Lake City, UT 84101 accessart.org
Authentique Gallery Art & Design 199 N Main St St George, UT 84770 authentiquegallery.com
Cornerstone Gallery of Fine Art 175 S Main St Ste 100 Salt Lake City, UT 84111 cornerstonegallery.net
Art at the Main 210 E 400 South Salt Lake City, UT 84111 artatthemain.com
Bellagio Gallery of Fine Art 3600 Las Vegas Blvd S Las Vegas, NV 89109 bellagio.com
Coyote Gulch Art Village 875 Coyote Gulch Ct Ivins, UT 84738 coyotegulchartvillage.com
ARTe Gallery and Framing Shop 415 S Dixie Dr. St George, UT 84770 arte4artgallery.com
Bret Webster Images 312 Main St Park City, UT 84060 bretwebsterimages.com
David Ericson Fine Art 418 S 200 West Salt Lake City, UT 84101 davidericson-fineart.com
Brushworks Gallery 160 E 800 South Salt Lake City, UT 84111 brushworksgallery.com
David J. West Gallery 801 Zion Park Blvd Springdale, UT 84767 davidjwest.com
Charley Hafen Jewelers 1409 S 900 East Salt Lake City, UT 84105 charleyhafen.com
DeZion Gallery 1051 Zion Park Blvd Springdale, UT 84767 deziongallery.com
ArtisticLifestyles Gallery Las Vegas 2758 S Highland Dr Ste B Las Vegas, NV 89109 artisticlifestyles.com Artworks Park City 461 Main St Park City, UT 84060 artworksparkcity.com
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District Gallery 751 Main St Park City, UT 84060 districtartgallery.com
Hope Gallery 151 S Main St Salt Lake City, UT 84111 hopegallery.com
King’s Gallery 13 W Center St Logan, UT 84321 antiquesutah.com
Earth & Light Gallery 847 Coyote Gulch Ct Ivins, UT 84738 cdwood.zenfolio.com
Hope Gallery 268 Main St Park City, UT 84060 hopegallery.com
Kush Fine Art Las Vegas 3500 Las Vegas Blvd S Ste G27 Las Vegas, NV 89109 vladimirkush.com
Evergreen Framing Co. & Gallery, Inc. 3295 S 2000 East Salt Lake City, UT 84109 evergreengallery.com
Horne Gallery 142 E 800 South Salt Lake City, UT 84111 www.hornefineart.com
F. Weixler Gallery 132 ‘E’ Street Salt Lake City, UT 84103 fweixlerco.com Fatali Gallery 556 Main St Park City, UT 84060 fatali.com Gallery 873 873 Coyote Gulch Ct Ivins, UT 84738 gallery873.com Gallery MAR 436 Main St Park City, UT 84060 gallerymar.com Haven Gallery 1495 S Black Ridge Dr St George, UT 84770 fibonaccifinearts.com
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Illume Gallery of Fine Art 60 E South Temple Salt Lake City, UT 84111 illumegalleryoffineart.com J GO Gallery 408 Main St Park City, UT 84060 jgogallery.com
LaFave Gallery 1214 Zion Park Blvd Springdale, UT 84767 lafavegallery.com Lanny Barnard Gallery 74 S Main St Salt Lake City, UT 84101 lannybarnardgalleryslc.com Logan Fine Art 60 W 100 North Logan, UT 84321 loganfineartgallery.com
Julie Nester Gallery 1280 Iron Horse Dr Park City, UT 84060 julienestergallery.com
Lucheni Sculpture Gallery 110 Bristol Rd Logan, UT 84341
Kevin Barry Fine Arts 6001 S Decatur Blvd Las Vegas, NV 89118 kevinbarryfineart.com
Lustre Gallery 171 S Pine St Telluride, CO 81435 lustregallery.com
Kimball Art Center 638 Park Ave Park City, UT 84060 kimballartcenter.org
Main Street Gallery 35 N. Main St St George, UT 84770 mainstreetgallerystgeorge.com
Mangelsen-Images of Nature Gallery 364 Main St Park City, UT 84060 mangelsen.com Martin Lawrence Galleries 3500 S Las Vegas Blvd S Las Vegas, NV 89109 martinlawrence.com McMillen Fine Art Gallery 1678 Redstone Center Dr Ste 120 Park City, UT 84098 mcmillenfineart.com Meyer Gallery 305 Main Street Park City, UT 84060 meyergallery.com Michael Bedard Fine Art Gallery 29 W 200 North St George, UT 84770 bedardfineart.com Milici Studios 95 E Shelbourne Ave Las Vegas, NV 89123 milicistudios.com Mission Gallery 173 N Main St St George, UT 84770 themissiongallery.com
Modern West Fine Art 177 E 200 South Salt Lake City, Utah 84111 modernwestfineart.com
Rare Gallery 60 E Broadway Ave Jackson, WY 83001 raregalleryjacksonhole.com
Split Rock Gallery 2 W St George Blvd St George, UT 84770 splitrockinc.com
West Light Images 333 Main St Park City, UT 84060 westlightimages.com
Montgomery-Lee Fine Art 608 Main St Park City, UT 84060 montgomeryleefineart.com
Rio Gallery 300 S Rio Grande St Salt Lake City, UT 84101 riogallery.org
Stanfield Fine Art 751 Main St Park City, UT 84060 stanfieldfineart.com
Wide Angle 51 N Main St St George, UT 84770 wideangleart.com
Mountain Trails Gallery 301 Main St Park City, UT 84060 mountaintrailsgalleries.com
Sagebrush Fine Art 3065 S West Temple Salt Lake City, UT 84115 sagebrushfineart.com
Terzian Galleries 309 Main St Park City, UT 84060 terziangalleries.com
Whitaker Studio 899 Coyote Gulch Ct Ivins, UT 84738 whitakerstudio.com
Old Church Gallery 868 Zion Park Blvd Springdale, UT 84767
Sean Nathan Ricks: The Main Street Gallery 909 S Main St Ste F Logan, UT 84321
Thomas Anthony Gallery 340 Main St Park City, UT 84060 thomasanthonygallery.com
Williams Fine Art 132 ‘E’ Street Salt Lake City, UT 84103 williamsfineart.com
Sears Art Museum Gallery 155 S University Ave St George, UT 84770 dixieculturalarts.com/ sears-museum
McCarthey Gallery 444 Main St Park City, UT 84060 mccartheygallery.net
Willie Holdman Utah Photographs Gallery 580 Main St Park City, UT 84060 willieholdman.com
Park City Fine Art 577 Main St Park City, UT 84060 parkcityfineart.com Phillips Gallery 444 E 200 South Salt Lake City, UT 84111 phillips-gallery.com Relics Framemakers & Fine Art Gallery 4685 S Holladay Blvd Salt Lake City, UT 84117 relicsframemakers.com Rich Haines Galleries 751 Main St Park City, UT 84060 richhainesgalleries.com
Silver Queen Fine Art 577 Main St Park City, UT 84060 silverqueenfineart.com Slusser Gallery 447 E 100 South Salt Lake City, UT 84111 slussergallery.com Sorella Gallery 868 Zion Park Blvd Springdale, UT 84767
Trove Gallery 804 Main St Park City, UT 84060 troveparkcity.com Utah Artist Hands 163 E Broadway Salt Lake City, UT 84111 utahands.com Urban Arts Gallery 137 S Rio Grande St Salt Lake City, UT 84101 utaharts.org/locations/ urban-arts-gallery
Winborg Masterpieces 55 N Main St Logan, UT 84321 winborg.com World Focus Gallery 20 N Main St St George, UT 84770 Worthington Gallery, Inc. 789 Zion Park Blvd Springdale, UT 84767 worthingtongallery.com
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Dixon’s Legacy Continues in Mt. Carmel
A
merican artist Maynard Dixon (1875-1946) began roaming through the American West when he was a young man. Born to a former confederate soldier, Dixon grew up in Fresno, California, a place that was barely a settlement at the time. Dixon was encouraged by his mother to pursue his creative talents: drawing, making paper collages, writing, reading, and all pursuits that suited him well as he was a bit of a sickly child. By the time he was a teenager Dixon knew he wanted to be an artist and received encouragement from his hero, the famed artist Frederic Remington, who had replied to his request for a critique of drawings he had sent for review. “You are a much better artist than I ever was at your age,” Remington said. “And if you continue to draw, draw, draw everything you see, you will be a great artist someday.” Dixon took this advice to heart and by the early 1900s he was actively pursuing his career in art. Dixon traveled with his friend and fellow artist Edward Borein, and the two camped and painted along the way. He also traveled by horseback with his friend Xavier Martinez in Mexico, again drawing, sketching, and painting his adventures. In 1933 Dixon and his wife, the famous photographer Dorthea Lange, took their two small sons to Zion National Park, where they camped along the river and in the canyons. The family then traveled to Mt. Carmel Junction, on the east side of Zion, where they camped for several weeks. Dixon became acquainted with the local farmers and mesmerized by the beauty of this area, the farms, the white sandstone cliffs that changed colors constantly, and the big sky, often full of billowing clouds after a summer rain. He loved to camp, loved to make a campfire and cook directly on the coals. In the later years of his life after a broken marriage to Dorthea Lange, Dixon met a young artist by the name of Edith Hamlin
who had engaged him to give her consultations on a mural project she was doing. They fell in love, married, and decided to leave the San Francisco Bay Area. Having always wanted to live in the Southwest, Dixon remembered fondly the beautiful area of Long Valley. A local rancher was selling some of his property so they bought what ended up being 20 acres. The Dixon family designed the home themselves; it would be out of logs and stone and reflect the pioneer spirit of the area. While the home was being built they camped in the farm shed next to it. They moved into the home in 1939, spending their summers there from May until November, and then veturing back to their home in Tucson for the winter. In November of 1946, Dixon passed away at his winter home in Tucson. In the spring of 1947, Hamlin brought his ashes to Mt. Carmel where she buried them on a high bluff above the art studio being built on the property. This had been at his request—and she felt it a fitting tribute where friends could come to pay respects and view the land that he loved. In 1998 Paul and Susan Bingham purchased the Dixon home and studio from California watercolorist Milford Zornes. The Binghams established the Thunderbird Foundation for the Arts, a non-profit organization committed to preserving the Dixon legacy and historic property. In addition to conducting tours of the property and other educational programs, the original log cabin, bunkhouse, and studio is open to artists who wish to come to the area to paint. In 1999 the Bingham Family launched “Maynard Dixon Country,” a nationally renowned art show held at the Dixon property featuring work by some of America’s most important artists. In May of this year the Thunderbird Foundation will host the first annual “Maynard Dixon Camp Out Invitational,” an event created specifically for artists to gather together, camp out in the mountains of southern Utah, create beautiful art, and take in the spirit of Maynard Dixon and the beautiful landscape that he loved so much. The event will culminate with a paint out and sale at the end of the week.
CAMP IN THE ROCKIES Cold September moonlight in the mountains: The silent pale-gleaming tent below the dark and steep-edged peaks, The dutch-oven, black in the red fading coals, The dish towels hanging rigid with cold in the frosty air, The faint smell of bacon and aromatic smoke of spruce, Sleepers warm in the tent, And small sharp stars, wintry, remote in the north. - Maynard Dixon, 1917
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Two Man Show
Featuring Jake Songer and Marty Ricks
Any Wich Way
Cottonwoods in Warm Light
Snake River Plain
April 3-4, 2015 Main Street Gallery 33 Main Street St. George, UT
Contentment
Premier Fine Arts Digest of the Mountain West • 111 Premier Fine Arts Digest of the Mountain West • 1
JASON BOWEN Pelican PointForms, Italy Cloud 24” x 36” oil on canvas 22 x 28 Oil on Canvas
Garden Gallery Half Moon Bay, CA Selby House Menlo Park, CA Repartee Gallery Orem, UT Haven Gallery St. George, UT Main Street Gallery St. George, UT 1474 Springdell Dr., Provo Utah 84604 (925) 323 0664
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jasonbowenart.blogspot.com Jasonbowenart@att.net
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©2015 Engel & Völkers. All rights reserved. Each brokerage independently owned and operated. Engel & Völkers and its independent License Partners are Equal Opportunity Employers and fully support the principals of the Fair Housing Act.
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