Fibonacci Fine Arts Digest Volume 3 | Issue 2

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$7.95 US $9.95 CAN Volume 3, Issue 2


Enhancing your art, not competing with it.

www.framegilders.com 801.298.1227 1403 S. 600 W. Bountiful, UT 84010 A division of Apple Frame Gallery


Satisfying Acura owners 30 years in Utah at the same downtown location

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1111 Main St, Salt Lake City, UT 84111

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Connie Borup

“Borup’s work cannot simply be described as landscape; it is the transforming light of dusk - the afterglow of day, that spell-like, borders on dream and reverie”. –Jane Connell

April 15 - May 13 | 2016

A R T • R E S T O R A T I O N S U P P L I E S • F R A M I N G

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•444fibonaccifinearts.com E. 200 S. | SLC, UT 84111 | 801.364.8284 | www.phillips-gallery.com | Hours T -

F 11 to 6 | Sat 11 to 4 | Closed Monday


DISTINCTIVE SALT LAKE AREA PROPERTIES

Mountainside Heaven | Unobstructed Views of the Entire Salt Lake Valley | $5,900,000

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Justin Dock DISTINCTIVE SALT LAKE AREA PROPERTIES

Cozy Canyon Rim Estate | No Expense Spared Breathtaking Views | $5,900,000

Courtesy of Tyler Parrish

801-793-6550 Justin@WinUtah.com www.JustinDock.com

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Contents

At one point, sculpting was nearly impossible for him. Sculptor Matt Clark lived because of his drive to weld, pg. 54

12 From the Publisher 14

People of Fibonacci

16

Around Town

Wonder what your Fibonacci Team looks like? Learn about them.

The People and Events throughout the Mountain West- open to submissions

20 Events Guide

2016 Calendar of events- What's hot in Arts and Entertainment in our region

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Wine & Dine

Landscape on a Plate and Platinum Plate Recipients. Beauty in Food

28 From the Cover

Gentle and Fearless. An approach to art that has yielded many rewards.

30 Culture Beat

Wonder what goes on behind the scenes in film choice at Sundance?

38 Community Transformation

Come alive with art around the country

45 Studio Pages

Cheryl Merkley, Ron Brown, Brandt Bernston & Koichi Yamamoto

54 Against the Odds A young cowboy loses his way and finds it again, through sculpture

33 All in the Family

How a mothers love for art translates into a family passion for metal

MEDIUMS

Peter Christie

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"Music begins inside human beings, and so must any instruction. Not at the instrument, not with the finger, nor with the first position, not with this or that chord. The starting point is one's own stillness, listening to oneself, the 'being ready for music' listening to one's own heartbeat and breathing. ~Carl Orff

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Contents

Each instrument a work of art, a Luthiere tells a little more, pg 64

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86 WILD Plans

106 Collector's Destinations

64 Connecting a Community

90 Born to Film

110 Poets Corner

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94 Stop & Setup: Snap

112 Editor's Choice

Contrast and Harmony

Concepts in planning out how your piece will be impacted by the little things

Collectors Willis and John open their home to Fibonacci and share why they love this place

Iconic Medium

On the making of a Luthiere, and building dreams

Wildlife filmmakers with global impact on their agenda

Launching Film Careers and philanthropic endeavors

A somewhat accidental photographer finds solace behind the lense

74 Tune Into the Body

100 Find RARE

82 Hit The Spot

103 300 Plates, A Classic Favorite

Bodymapping from the tongue and beyond

A small acting company provides something much more grand for travelers to Sun Valley

Galleries, Studios and Art Centers throughout the Mountain West

from Suzi Q.

Uncovering a sea of beauty with artist Brad Larsen

Take a tour of a gorgeous find in Historic Jackson

A favorite Wasatch Front Art event and its origins

MEDIUMS “I believe we create our own lives. And we create it by our thinking, feeling patterns in our belief system. I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.” ~ Louise L. Hay 6

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Beauty Made By You "We are so proud of what we made! Thanks for your time and patience." -Kelly & Terry

www.BrittanyGolden.com

Jewelry Classes, Workshops Premier Arts Digest of the Mountain West andFine Group Parties

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DIGEST

THIS PIECE

The story of our cover.

PUBLISHER Molly Bitton

EDITOR-IN-CHIEF Asenath Horton

EDITORIAL TEAM Jerusha Pimentel Elif Ekin

ACCOUNT MANAGEMENT D’Ann Millward Elizabeth Barbano

Daniel Pimentel John Hughes Peter Christie Elif Ekin

CONTRIBUTING WRITERS Willis McCree Laura Kakolewski Gordon Hultberg Tom Haraldsen

Mike Hathenbruk Jerusha Pimentel Brett Moellenberg

CONTRIBUTING PHOTOGRAPHERS Kresta Stavre Molly Bitton Asenath Horton Elizabeth Barbano DeAnn Millward Springville Museum of Art Denver International Airport

Trevor Coe John Partipilo Paul Ramirez Jonas Matt Clark Riley Boice Jonathan Hickerson Jackson Wildlife Film Festival

Sundance Film Festival Mike Hathenbruk Tom Haraldsen Art Access Gallery RARE Gallery Mark Maziarz

For advertising information send inquiries to: Fibonacci Fine Arts Company 221 E Broadway, Salt Lake City, UT 84111 P 385.259.0620 www.fibonaccifinearts.com advertising@fibonaccifinearts.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 and is distributed throughout the Moutain West Region, including Las Vegas, NV, Denver, Co, St. George, UT, Salt Lake City, UT, Sun Valley, ID, and Jackson, WY. Any reproduction, electronic, print, or otherwise without written consent from the publisher is strictly prohibited. Address requests for special permission to the Editor-In-Chief at asenath@fibonaccifinearts.com. To subscribe to the Fibonacci Fine Arts Digest, make changes to your current subscription, or purchase back issues, call 385.259.0620 or visit us online at www.fibonaccifinearts.com. Copyright © 2016 Fibonacci Fine Arts Company, LLC. All rights reserved.

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We're getting a little crazy around here lately, and before they actually pop, we've brought you some beauties. Celebrate an artist COURTNEY DERRICK with her piece Spring Peonies Oil on Board 30" x 40" "I did not know that when Courtney Derrick agreed to paint our March cover that she would paint peonies. When I saw the piece for the first time I was thrilled! "There is such symbolism in peonies, and having this beautiful piece on our cover is a sign that Fibonacci Fine Arts Digest will be around for many years to come. "Peonies are a symbol of good fortune and strength, they are resistant to disease, and can grow to be 100 years old. "Courtney has covered this publication with a truly amazing work of art as well as given us indication we will have a lengthy and successful future." ~Molly


Utah Arts Festival June 23-26 uaf.org

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From the Publisher IMMERSION

A

s I explore the world of Fine Art and immerse myself in

own individual talents and gives these students no choice but to believe

cultural exploration, I meet so many artists who create

in themselves, and the chef who orchestrates an entire kitchen to create

magical works from a bit of color and a few badger hairs,

beautiful, mouthwatering dishes that are as much of a feast for the eyes

and others who manipulate porcelain or clay in to lifelike

as they are a symphony of flavors on the tongue.

forms, capturing intricate details of emotion and depth.

Talent is not selective or elusive. Artistry is innately human, each

There are also those who can move with such grace and beauty, the

of us possessing abilities unique and personal. What moves you? What

audience has no choice but to feel, love, and respond to what they are

makes your heart flutter and your tummy flip-flop? An artist doesn’t

seeing. The talent I get to witness is breathtaking. What I am experi-

have to wield a paint brush, mold a statue, or perform music or dance

encing is changing my life.

on stage. Artists exist in all walks of life. Every individual is an artist

I also think about non-traditional artists, artists who don’t use

in their own way.

paintbrushes, pastels, clay, or music. There is the businessperson whose

This variety of artistic talent affects the culture of our communi-

artistic ability is to lead a successful team, building the members, and

ties. Healthy communities nurture their artists, encourage forward

using creative strategy to help the company and community thrive.

thinking, and support creativity in community design. Community is

There is the engineer who creates a piece of art that reaches 30 stories

culture. No matter ethnicity, religion, or age, art connects everyone,

high. This building is not only beautiful to see in the skyline, but is so

bridging cultural differences and expressing values beyond the written

structurally sound it can withstand earthquakes and devastating weather

word.

conditions, while at the same time, comfortably housing thousands of people. I also see the teacher who continually awakens students to their

I am fortunate to be able to travel up and down the Mountain West, attending art festivals, visiting galleries, and attending concerts, out door shows, and a multitude of different types of events. I see different cities and wander up and down main strips, experiencing how each area fosters the creativity of their community. These eye-opening experiences teach me something new about humanity every day, how the health of a community is dependent on the care and emphasis the community pays to the arts and how something as simple as an encouragement to collaborate can open up opportunities for everyone involved. I am completely in love with our community. Our corner of the world is a mecca filled with a richness of culture. One that includes a wide variety of art that can be found in food, structure, beverages, performances, galleries, education, and many places in between. We are thrilled to be able to give this vibrancy a voice of it’s own.

~Molly

Publisher

MEDIUMS “My philosophy is that I'm an artist. I perform an art not with a paint brush or a camera. I perform with bodily movement. Instead of exhibiting my art in a museum or a book or on canvas, I exhibit my art in front of the multitudes.” ~ Steve Prefontaine 12

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“Nothing that I can do will change the structure of the universe. But maybe, by raising my voice I can help the greatest of all causes— goodwill among men and peace on earth.” ~ Albert Einstein


MARY JANE GROW

COURT OF THE PATRIARCHS

ARROWHEAD GALLERY ETC | ST. GEORGE, UT RED CLIFF GALLERY | ST. GEORGE, UT SPLIT ROCK AT ANCESTOR SQUARE | ST. GEORGE, UT LOGAN FINE ART GALLERY | LOGAN, UT

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PremierWWW.SOUTHERNUTAHARTGUILD.COM Fine Arts Digest of the Mountain West • 13 435/628-9592 | GALLERY HOURS: TUES-SAT 11 AM - 6 PM


People of Fibonacci BEHIND THE PAGES OF THIS ISSUE Tom Haraldsen,

Nathan Bowen, writer.

writer. The word.

The computer. This is the

Some may not think

medium through which

of writing as art, but

most of my music is com-

it truly is. Words do

posed and heard. I have

more than simply

also become enamored

depict an image.

with inventing software-

They allow each of

plus-hardware instruments

us individually to

through creative coding.

create the image in

Game controllers, mobile

our minds--a setting

phones, digital cameras can

of a story, a person

all be used to make music,

in that story, or the

and the sonic outcome is

circumstances sur-

also incredibly configurable.

rounding the story-

There are limitations, and I

line. It's one reason I'm both a writer and a reader. Words are

believe it will take a while

unquestionably an influential and inspiring artistic medium."

before really great art emerges from this medium, but being part of the early development of digital real-time expression is inspir-

Daniel Pimentel,

ing.

writer. Beethoven once said that music is the "one incorporeal entrance into

D'Ann Millward,

the higher world of

Account Manager.

knowledge which

Film is quintessen-

comprehends man-

tially modern, impact-

kind but which man-

ful, and influential. As

kind cannot compre-

an art form, film is the

hend." He understood

modern “medium of

that, much like math-

choice” for the masses.

ematics, music is

The medium of film

something that exists

moves the senses;

in the universe inde-

sight & sound and

pendent of the human

often inspires a vis-

mind. As a song-

ceral response. Film

writer myself, music

offers up “Art’ for all

has always been the

tastes and interests

purest form of expression for when mere words just don't cut it.

across the art spec-

It is my outlet to the world, and a window into the realm of its

trum.

Creator. And it's cheaper than therapy.

MEDIUMS “When you make music, you're forming these invisible vibrations in the air into different shapes and consistencies and speeds in order to create music, and understanding how the math of that works just gives you more colors to paint with, and allows you to get to what you want quicker.” ~ Flea 14

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D ave Mal one New Work

A R T • R E S T O R A T I O N S U P P L I E S • F R A M I N G

444 E 200 S

SLC, UT 84111

Mar c h 1 8 - Ap r il 8 801 -364-8284

www.phillips-gallery.com

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Around Town

For the Love of Ar t: The Crimson Ball Februar y 11, 2016 - Salt Lake Cit y, UT

Photos Courtesy of Fibonacci Foundation

Here, There and Ever ywhere: Places and Spaces Through May 15, 2016 - Springville, UT

Photos Courtesy of Springville Museum of Art Left: Mark England, Pioneer Woman (2015) oil on linen | Middle: Levi Jackson Right: Ali Royal, Brittany Scott, and Emily Larsen at the exhibition opening

MEDIUMS “Your mind knows only some things. Your inner voice, your instinct, knows everything. If you listen to what you know instinctively, it will always lead you down the right path.” ~ Henry Winkler 16

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“No ray of sunlight is ever lost, but the green it wakes into existence needs time to sprout, and it is not always granted to the sower to live to see the harvest. All work that is worth anything is done in faith.” ~ Albert Schweitzer


Eccles Ar t Auction March 5, 2016 - Ogden, UT

Photos by Molly Bitton

Arrowhead Galler y Grand Opening

Photos by DeAnn Millward

More event photos at w w w.FibonacciFineAr t s.com/event s. To submit your event s and pic s, send us an email event s@ f ibonaccif inear t s.com.

Januar y 15, 2016 - St. George, UT

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Around Town

Sotheby's Ar t Salon Februar y 13, 2016 - Park Cit y, UT

Photos by Asenath Horton

White Par ty, Utah Ar ts Alliance Januar y 23, 2016 - SLC, UT

Photos by Elizabeth Barbano

MEDIUMS “The act of putting pen to paper encourages pause for thought, this in turn makes us think more deeply about life, which helps us regain our equilibrium.” ~ Norbet Platt 18

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“This is where I begin to do the writing. I am now going to be the pen and not the paper.” ~ Peter Greenaway


Salt Lake Galler y Stroll

Top Left: Slusser Gallery Middle Left: UMFA Temorary Closing Party Top Right: Phillips Gallery Middle Right: Urban Arts Gallery Bottom: Rio Gallery - Utah Division of Arts and Museums Photos by Elizabeth Barbano

More event photos at w w w.FibonacciFineAr t s.com/event s. To submit your event s and pic s, send us an email event s@ f ibonaccif inear t s.com.

Janurar y 15, 2016 - Salt Lake Cit y, UT

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Event Guide 2016

APRIL 16-17 Boulder City, NV 31st Annual Boulder City Art Guild Spring Artfest bouldercityartguild.com MAY 22-24 Denver, CO 17th Annual Downtown Denver Arts Festival downtowndenverartsfestival.com MAY 23-25 Estes Park, CO 16th Annual Estes Park Art Market artcenterofestes.com JUNE 6-7 Denver, CO Capital Hill People's Fair - Art & Music Festival Peoplesfair.com JUNE 18-20 Logan, UT Summerfest Arts Faire Logansummerfest.com JUNE 19-21 Glenwood Springs, CO 118th Annual Strawberry Days Festival strawberrydaysfestival.ning.com JUNE 19-21 Alpine, WY Alpine Solstice Fine Art Show Alpinesolstice.com JUNE 20-21 Lyons, CO Art on the Green Arts Festival Lyonsartfestival.com

DIGEST

JUNE 25 Boise, ID Boise Music Festival Boisemusicfestival.com JUNE 25-26 Estes Park, CO Scandinavian Midsummer Festival estesmidsummer.com JUNE 25-28 Salt Lake City, UT Utah Arts Festival uaf.org JULY 1-3 Breckenridge, CO Breckenridge July Art Festival mountainartfestivals.com 20

coating.indd 1

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2/17/15 9:12 PM

JULY 2-4 Denver, CO Cherry Creek Art Festival Cherryarts.org JULY 3-5 Colorado Springs, CO Pikes Peak Art and Music Festival Pikespeakartsfest.com JULY 4-AUGUST 20 Jackson, WY Grand Teton Music Festival Gtfm.org JULY 4-AUGUST 14 Park City, UT Deer Valley Music Festival Deervalleymusicfestival.org JULY 10-12 Jackson Hole, WY Art Fair Jackson Hole Jhartfair.org JULY 11-12 Steamboat Springs, CO Art in the Park Steamboatarts.org JULY 11-12 Salida, CO The Salida Arts Festival Salidaartsfestival.com JULY 17-19 Kalispell, MT Arts in the Park JULY 18-19 Salida, CO 7th Annual Salida Riverside Fine Arts Festival coloradoeventsandfestivals.com JULY 18-19 Evergreen, CO Summerfest Arts Festival Evergreenarts.com JULY 25-26 Aspen, CO 13th Annual Downtown Aspen Art Festival artfestival.com JULY 25-26 Denver, CO Cheesman Park Art Fest JULY 31 - AUGUST 2 Park City, UT Kimball Arts Festival Kimballartcenter.org


AUGUST 8-9 Loveland, CO 51st Annual Art in the Park artintheparkloveland.com

SEPTEMBER Lad Vegas, NV Life is Beautiful Festival Lifeisbeautiful.com

JULY Salt Lakt City, UT Tumbleweeds Film Festival Tumbleweedfilmfest.com

AUGUST 8-9 Frisco, CO 9th Annual Main Street to the Rockies Art Festival Artfestival.com

SEPTEMBER 11-13 Boise, ID Art in the Park SEPTEMBER 13 Las Vegas, NV Second Sunday Artextrordinair

AUGUST 1-2 Avon, CO 28th Annual Beaver Creek Art Festival artfestival.com AUGUST 5-7 Crested Butte, CO Crested Butte Festival of the Arts Crestedbutteartsfestival.com AUGUST 7-9 Ketchum, ID Sun Valley Center Arts & Crafts Festival AUGUST 7-9 Bozeman, MT Sweet Pea - A Festival of the Arts AUGUST 7-9 Jackson, WY Art Fair Jackson Hole Jhartfair.org

AUGUST 8-9 Nampa, ID 29th Annual Nampa Festival of the Arts AUGUST 8-9 Sandpoint, ID 43rd Annual Arts & Crafts Fair AUGUST 15-16 Steamboat Springs, CO The Downtown Steamboat Springs Art Festival on Yampa Street AUGUST 15-16 Golden, CO 25th Annual Golden Fine Arts Festival goldenfineartsfestival.org AUGUST 22-23 Evergreen, CO Evergreen Arts Festival Evergreenfineartsfestival.com

AUGUST 8-9 Denver, CO Denver Arts Festival at Sloan’s Lake Coloradoeventsandfestivals.com

AUGUST 30 Littleton, CO 4th Annual Affordable Arts Festival affordableartsfestival.com

SEPTEMBER 8-18 Jackson, WY Jackson Hole Fall Arts Festival Jacksonholechamber.com SEPTEMBER 19-20 Durango, CO Durango Autumn Arts Festival OCTOBER 8-9 Las Vegas, NV Festival of the Arts at DOWNTOWN SUMMERLIN® Summerlin.com/festivalofarts OCTOBER 19-23 Sun Valley, ID Sun Valley Jazz and Music Festival Sunvalleyjazz.com NOVEMBER Denver, CO Denver Film Festival Denverfilmfestival.denverfilm.org

Send Your Event s! event s@ f ibonaccif inear t s.com.

JULY 31 - AUGUST 2 Coeur d'Alene, ID Art on the Green & Coeur d'Alene Downtown Street Fair

Brian Kershisnik and Steve Vistaunet played live music for the Here, There, and Everywhere: Places and Spaces at Springville Museum of Art, Going through May 15, 2016

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Wine & Dine

Landscape on a Plate The Art of Plating by Willis McCree

L

andscapes, Abstracts or Still Life works of art are not just found in museums. Landscapes can also be found in the culinary world today as chefs’ plate and present works of art on your plate. Much like their fellow artists who use oil, acrylic or watercolor, a chef uses color, design, and

dimension with food instead of paint to give diners a gastronomic form of art, tickling both the eyes and stomach.

DIGEST

Vegetable chutney is swished across the plate, creating movement and guiding your eye to take in the artistic beauty before you. The balsamic reduction is gracefully laced across bits of watermelon; cantaloupe and feta cheese add the anchoring color to this “still life” entrée. Much like walking into a gallery and seeing a painting framed, our eyes first absorb what is before us and decide if there is attraction. Once our attention has been grabbed, we move in to observe and visually dissect what the artist has created. When we sit down at our tables, we too use our eyes to establish an attraction to the food before us. Has the artist grabbed our attention? Will we look closely to see the brush strokes, the color, the dimension and garnishes that make an edible piece of art? Or, will we dismiss

MEDIUMS

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“The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.” ~ Antoine Predock


it as unrecognizable and abstract? Chefs must use seasonal ingredients and natural flavors to create a masterpiece of simple elegance on a plate. This is not as easy as the cooking shows on television make it seem.

thus, transforming the culinary landscape world. It also leaves us with the question: Does the art created on a plate imitate the other aspects of our lives? To help answer this question, I visited the Culinary Center

Plating has evolved, creating its own science of form, fit and

of Salt Lake and spoke to Chef Mollie Snider about her experi-

function. The creative act of plating takes us from the basic free-

ences and thoughts on plating. Chef Snider, speaking on the

for-all feast, to the 1500’s and the Medici’s edgy extravagances,

art of plating, said: “ I have had the pleasure of dining all over

progressing through the pastry revolution of the 18 century and

the United States and in several foreign countries. I do believe

culminating to today’s artistic flavor compositions.

plating is an expression of art. Bringing the creativity of cooking

th

Today, eating has become a multisensory art form that tan-

full-circle. Whether it’s reflective of people lifestyles, I can’t say.

talizes our eyes and our palate. Plate color, food arrangement

However, I do feel it is a reflection of our human desires; to be

and texture delicately come together in an attractive landscape

delighted, filled with anticipation, and to feel satisfaction. Food

presentation. The art of plating leaves us in a state of anticipa-

is the physical result of a chef’s time, spirit, heart and pursuit of

tion that we must truly savor the experience before us.

perfection. Plating is the final piece of the composition. The end-

Expectation can be more intense than the actual experience. Plating culinary creations cannot merely be for decoration. They

game is appeal. We eat with our eyes first.” Even simple dishes can be beautiful. Plating food, whether

have more than mere aesthetic value: they are visual represen-

it’s bison chili decorated with an arrowhead arrangement of yel-

tations of flavor stimulation. That stimulation will leave the

low corn tortilla chips or tuna ceviche centered in a remoulade

diner satisfied, yearning for more or dismayed because the aes-

crosshatch, is a creative process.

thetic enticement did not match the flavors represented. Art appreciation stems from visually experiencing art, giv-

Any creative process gives all of us forward motion. So, the next time you sit down and your plate comes dotted with dulce

ing us a connection with the object – a sort of harmony with the

de leche, take the time to visually access what has been created.

piece of art. It is this connection that artist and chef alike strive

Then, smear all the components together and let a bite sit on

to create, liberating their creative flow. It is in that presentation

your tongue to see if you have truly witnessed art.

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Photo credit: freeimages.com/zsuzsa

they create a signature that can be recognized and appreciated,

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Wine & Dine

DRAFTS SPORTS BAR & GRILL Chef Jess doesn’t believe that chefs do what they do for the money, but because they have passion; passion to take simple ingredients and make something beautiful. Chef Jess creates an experience for everyone that eats his food. He wants his food to tell a story. Chef Jess began his college career at the University of Utah. After a year of studying architecture, he quickly realized he would not be content spending the rest of his life at a desk. Sparked by his creativity and need to work with his hands, he transferred to Le Cordon Bleu in Las Vegas, Nevada and began his culinary journey. Starting first as a prep cook, Chef Jess is now the Chef de Shrimp Tacos with house made pico de gallo, drizzled with chipotle ranch.

Cuisine at Drafts Sports Bar & Grill. He has reinvented the venue, taking the restaurant from a sports bar to a gourmet gastro pub. Chef Jess Everson 3000 Canyons Resort Drive Park City, Utah 84098 Restaurant Manager: Isaac Krejci 435.940.2570 www.WGParkCity.com

MEDIUMS “It was such a pleasure to sink one’s hands into the warm earth, to feel at one’s fingertips the possibilities of the new season.” ~ Kate Morton “The glory of gardening: hands in the dirt, head in the sun, heart with nature. To nurture a garden is to feed not just on the body, but the soul.” ~ Alfred Austin “A garden is a grand teacher. It teaches patience and careful watchfulness; it teaches industry and thrift; above all it teaches entire trust.” ~ Gertrude Jekyll

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3000 CANYONS RESORT DRIVE | PARK CITY, UTAH 84098 435.655.2270 | @DRAFTSPARKCITY | WWW.DRAFTSPARKCITY.COM WGPC 100572


BLUE LEMON

Chef Brandon started working in the restaurant business in 2002 at the age of 14. His experience is vast, spanning from fast casual to

Photos by Kresta Leigh Portrait Couture

fine dining. Graduating from UVU with a culinary arts degree in 2011, he took second place in the ACF western region student chef of the year competition that same year He has been the executive chef of Blue Lemon for almost two years. Brandon Strebel 11073 North Alpine Highway Highland, Utah 84003 Slow Braised Short Beef Short Ribs - braised short beef ribs, fingerling potatoes, heirloom carrots and house demi-glace.

Restaurant Manager: Tammy Duenas 801-703-0425 www.BlueLemon.com

cuisine chic

Pear and Gorgonzola Spinach Salad

Salt Lake City, UT 801.328.2583 55 W. South Temple

Highland, UT 801.756.7993 11073 N. Alpine Hwy

Cottonwood Heights, UT 801.944.7787 6910 S. Highland Dr.

Premier Fine of the Sandy, UT Arts Digest Ogden, UT Mountain West 801.944.7750 11372 S. State Street

801.612.2583 339 East 2250 South

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Farmington Coming Soon


Wine & Dine

EDGE STEAKHOUSE

Lobster and Black Truffle Risotto - risotto with lobster, black truffles, Parmigiano-Reggiano Chef Nick Lees has served as the Executive Chef of the awardwinning Edge Steakhouse since its opening in 2012 and has been named Best Chef in Park City for three consecutive years by the Park Record Best of Park City Awards. Under Lees’ guidance, Edge Steakhouse was named overall Best Restaurant in Utah. The restaurant has also been awarded Wine Spectator’s Award of Excellence and has received more than twenty OpenTable awards. In 2015, Edge was named “One of Top 12 Steakhouses in the nation” by Forbes and one of “10 Best

Restaurants in Park City” by USA Today. Additionally, Chef Lees was selected by Bon Appétit magazine and Park City Chamber of Commerce to represent Park City’s culinary talent at the One World Trade Center in New York City this past October. Lees has cooked in some of Utah’s best kitchens, including Tuscany, Log Haven, Boulevard, The Aerie, Creekside, St. Bernard’s, The Yurt, and the Tree Room at Sundance Resort. Nick Lees Park City, Utah 84098 3000 Canyons Resort Drive Restaurant Manager: Nicole Waltrip 435.655.2260 www.WGParkCity.com

OUR TEAM TAKES YOU TO THE EDGE...

OUR FOOD TAKES YOU

OVER THE EDGE. 26

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Westgate Park City Resort & Spa 3000 Canyons Resort Drive • Park City, Utah 84098 435.655.2260 • www.edgeparkcity.com • @edgeparkcity

WGPC 100571

Wine Spectator


LOG HAVEN

Chef David moved to the majestic Utah mountains from the hills of Northern California in

Photos by Kresta Leigh Portrait Couture

1994 to reopen Log Haven. While classically trained in European cuisine, Dave has created his own globally inspired cuisine with a significant influence in American Regional and Pacific Rim. Accolades for Chef Jones’ cuisine at Log Haven include Salt Lake’s Best American Cuisine Fine Dining, Best Restaurant, Best Canyon Restaurant and Best Romantic Ambience. His cuisine has been featured in Food Arts, Bon Appetit, Sunset, Via, Gourmet, Food & Wine, Cowboys & Indians, Pappardelle Pasta, Smoked Goose Breast - butternut squash, house-made ricotta, dried cherries, brown butter, toasted hazelnuts.

USA Today, and Salt Lake Magazine. Chef Jones has been a guest chef at the James Beard House. Chef David Jones 6451 East Millcreek Canyon road Salt Lake City, Utah 84041 Restaurant Manager: Ian Campbell

L Th ive urs M day u -Su sic nd ay

801-272-8255 www.Log-Haven.com MEDIUMS “I am Me. In all the world, there is no one else exactly like me. Everything that comes out of me is authentically mine, because I alone chose it -- I own everything about me: my body, my feelings, my mouth, my voice, all my actions, whether they be to others or myself.

TOP MOST ROMANTIC RESTAURANTS

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For reservations, call (801) 272-8255 or visit Log-Haven.com Open every night for dinner starting at 5:30pm Located 4 miles up Millcreek Canyon—just 20 minutes from downtown SLC.

I own my fantasies, my dreams, my hopes, my fears. I own my triumphs and successes, all my failures and mistakes. Because I own all of me, I can become intimately acquainted with me. By so doing, I can love me and be friendly with all my parts. I know there are aspects about myself that puzzle me, and other aspects that I do not know -- but as long as I am friendly and loving to myself, I can courageously and hopefully look for solutions to the puzzles and ways to find out more about me. However I look and sound, whatever I say and do, and whatever I think and feel at a given moment in time is authentically me. If later some parts of how I looked, sounded, thought, and felt turn out to be unfitting, I can discard that which is unfitting, keep the rest, and invent something new for that which I discarded. I can see, hear, feel, think, say, and do. I have the tools to survive, to be close to others, to be productive, and to make sense and order out of the world of people and things outside of me. I own me, and therefore, I can engineer me. I am me, and I am Ok.” ~ Virginia Satir Premier Fine Arts Digest of the Mountain West

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From the Cover

Courtney Derrick

C

ourtney Derrick is, at her core, a creator. In college, a

ing to be alive—juicy paint and variations in texture, color, and

self-imposed urge and a leap of faith took her from a music

value. I don’t think of the painting as precious. If I do, things

scholarship to art classes, and she immersed herself in her

invariably tighten up and the spontaneity is lost.”

obsession. Extensive work in graphic design afforded the opportunity

Courtney runs on inspiration from sources both expected and unlikely. Van Gogh, Euan Uglow, and John Singer Sargent

to collect experience, but Courtney knew her preferred medium

lend influence rooted in her preferred styles of work, but her

was a far more tactile one. After receiving her BFA from the

four children have had a powerful affect on her own approach:

University of Utah in 2002, she put brush to canvas and sought

“They are willing to waste paint and use a million sheets of

to find her niche in landscape, still life, and portraiture. Techni-

paper, and ultimately, they don’t care about any opinion of the

cal training in college notwithstanding, Courtney’s artistic

final product aside from their own. It’s a fearless approach to

process is a practice in adventure and failure. “I want the paint-

art.” Her own process is one that begins like a subconscious outCourtney Derrick, photos courtesy of the artist.

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pour of expression, after which she begins to refine and rework. In 2012, Courtney began an apprenticeship under internationally-renowned artist, Randall Lake, who has encouraged her to further distill that process: “Hurry and screw it up, so you can fix it.” Later that same year, Courtney was commissioned for 14 oil paintings for Pallet Bistro, a Salt Lake City restaurant that has since been featured for its award-winning interior design. “I want the viewer to have an experience with my paintings, but often times, the thought I initially wanted to express is replaced by something entirely different in the process. That’s what’s so exciting to me.” To see more of Courtney’s work, visit www.courtneyderrick.com.

Top: Guardsman's Pass, 48 " x 48 ", Oil Bottom Left: Fall in the Wasatch, 48 " x 48 ", Oil Bottom Right: White Peony, 20 " x 24 ", Oil

MEDIUMS “A loud voice cannot compete with a clear voice, even if it’s a whisper.” ~ Barry Neil Kauffman Premier Fine Arts Digest of the Mountain West

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Creatives Corner

“Storytellers broaden our minds: engage, provoke, inspire, and ultimately, connect us.“

- Robert Redford,

President and Founder, Sundance Institute

Kara Cody by Laura Kakolewski

E

very year in January, the internationally-recognized Sundance Film Festival showcases over 120 independent films from both national and international filmmakers, with more than 90 of these films making their

debut in Utah. Just as the festival has brought attention to films such as Garden State, Little Miss Sunshine, and Napoleon Dynamite, many distinguished independent filmmakers have met their big break at the festival, including Quentin Tarantino and Kevin Smith. However, while the annual Sundance Film Festival remains the largest independent film festival in the United States, it is just one of many programs that the Institute offers. At Sundance Institute in Park City, Utah, Kara Cody is passionate about engaging with and building audiences through the art of independent film. Her role -- Senior Manager for the Sundance Institute’s Community Programs— allows her to engage audiences through a breadth of arts and cultural experiences that span year-round as well as at the annual Sundance Film Festival.

KARA CODY Photo Credit: Mark Maziarz Provided courtesy of Sundance Institute

With what she describes as a “grassroots organizing background,” it’s not surprising that Kara’s work focuses on curating both unique and meaningful artistic experiences tailored to the local Utah Community. Free of cost, Utahbased audiences are able to attend and engage with independent film. From the annual Outdoor Summer Film Series to the Utah Student Screening Series that includes film screenings and post-screening discussions with filmmakers, the Institute’s community programs make independent film accessible; that’s what makes Kara’s work so special. Of Course, there’s no question that her role also allows her to successfully carry out the official mission of Sundance

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Institute, which is “ to discover and develop independent artists and audiences. Through its programs, the Institute seeks to discover, support, and inspire independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work.” Although the majestic mountains of Park City are home to Kara, her roots are located over 900 miles Northwest in Yankton, South Dakota, a city that sits along the beautiful Missouri River. Kara left Yankton for college in Washington, D.C., where she attended the Catholic Univer-


sity of America, before relocating to Utah where she lives with

As artists, filmmakers and “characters” from the film alike

her husband, son, and their Bernese mountain dog. For the last

carry a deeply-rooted interest in engaging young audiences. At

four years, Kara has been overseeing both the Institute’s Com-

the student screening of Life, Animated, directed by Academy

munity Program as well as its Student Outreach Programs, a

Award winner Roger Ross Williams, students learned about

facet of her role that energizes her most.

Owen Suskind, a boy on the autism spectrum, who learned to

Each year, the Student Outreach Program selects and

communicate through Disney animated movies. Williams and

curates independent films from the annual Sundance Film Fes-

the Suskind family attended the film screening and partici-

tival to present to student audiences. At this year’s Film Festi-

pated in the discussion. “Many of the students have siblings or

val, over 8,000 students and teachers participated in Student

friends who are on the autism spectrum. The Suskind family

Outreach Programs, a record breaking turnout. Students were

was moved by how respectful and engaged the student audience

given the opportunity to view free film screenings that exposed

was both during the film screening and the discussion. It was a

them to stories and filmmakers from across the globe. Kara, who

beautiful moment for Utah students,” said Cody.

finds great meaning in young audiences engaging with the art of

As someone who watches independent film with an eye

independent film, has found thoughtful ways to deepen the level

toward connecting with the local Utah community, it is clear

of engagement following each screening. This year, she curated

that for Kara Cody, a fully engaged audience means success. To

a number of live discussions between the Filmmaker and the

ensure engagement, Kara provides a range of stories, topics and

students surrounding themes found within the films. “It's like

genres, letting the films speak for themselves. She notes, “Each

they get to take a cinematic field trip around the world,” says

year I am delighted to find that our audiences are adventurous,

Cody. “It never ceases to amaze me how smart and perceptive

open minded and trust us to program films that will be thought-

students are. Both participating filmmakers and I are always

provoking.”

amazed by the depth of the questions students ask.”

It’s hard to predict what the future holds for artistic me-

This “cinematic field trip around the world” exposes young

dium of all kinds. However, for Kara, the future of independent

audiences to significant global issues and art genres outside of

film is full of hope and promise because “audiences are continu-

Independent Film. During the 2016 screening of Sonita, a film

ously craving original and unique stories.” Shifts in technology

that tells the story of a young girl who is an undocumented refu-

have allowed for space around the evolution of independent film

gee living in Iran, students were treated to a rap performance

creation and consumption. Cody notes, “We hosted the first ever

by Sonita. During the post-film discussion with the film’s direc-

synchronized viewing of a virtual reality work at the festival.

tor, students were able to learn more about Sonita’s life and her

So, not only is the medium strong, it will also evolve to adopt

work to end child marriage.

new forms of storytelling.” Collisions in Eqyptian, by Stephen Speckman, 2016 Provided courtesy of Sundance Institute

Premier Fine Arts Digest of the Mountain West

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BA R BA N O I N M U R A N O W h e n c o n t e m p o r a ry a r t m e e t s t r a d i t i o n a l t e c h n i q u e s

A new technique in the glass blowing industry is about to marvel the city of Murano, Italy. Anthony Barbano, a glass-blowing artist, specializes in fumed glass blowing, a process during which gold and silver is melted into molten glass on a torch. Barbano is taking the technique to the “Glass Island,” just off of Venice. This contemporary technique was discovered by accident nearly thirty years ago in the U.S. And while fumed glass has grown momentum in America, it has yet to debut abroad. Rumor is, the ancient craft of glass blowing is a dying art in Italy. Centuries ago, it was a highly-prized profession. Glass blowing artisans were afforded special privileges, such as marrying into Venetian aristocracy or being allowed to wear swords. However, the rewards came with consequences. In the event a glass blower attempted to leave the island of Murano, he would have his hands cut off ! While this hefty punishment has long been abolished, the sentiment remains. Many Murano glass blowers

pass down skills and secrets through their bloodline. It takes fifteen years to be called a master glass blower in Murano. Glass art has been a tradition since the 13th century on the island, yet it is becoming more and more frequent for sons to forge their own professional paths outside of the glass blowing business. This, as well as a plethora of cheap Chinese knock-offs, has resulted in a declining number of Murano glassblowing masters. Anthony Barbano has been blowing glass for nearly a decade, embracing it as both his passion and profession. As an artist with Italian ancestry, Barbano is eager to follow in the footprints of his forefathers. He also anticipates sharing his knowledge on fumed glass blowing, expressing, “I will share everything I’ve learned—I don’t have any secrets.” When he returns from the land of his heritage back to the inner mountain west, he plans on providing glass blowing classes and workshops to students of all levels and abilities. Look for him this summer at the Utah Arts Festival and the Park City Sunday Market.

www.barbanoglass.com │ facebook.com/Barbano-Glass

Lunds Fine Art Gallery │ Park City, Ut ∙ 15th Street Gallery │ SLC, Ut ∙ Art Access Gallery │ SLC, Ut Urban Arts Gallery │ SLC, UT ∙ Gallery 873 │ ivinS, Ut 32

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Advertisement


Three Generations of Sculptors

All in the Family Premier Fine Arts Digest of the Mountain West

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Sculpture "For our term project, the instructor told us we could either write a paper on art or cre-

ate something. I liked the kinetic sculpture

part of the class curriculum, so I went to my

dad’s junk yard at the farm and picked out

a bunch of fun stuff—junk—and built a kinetic

sculpture.”

All In The Family Three Generations of Sculptors by Tom Haraldsen

T

he artistic gene has spanned several generations of the Toones, with Dan saying his father “could visualize things and was very mechanically inclined. Both of my grandmothers were artists.” Dan Toone grew up on a farm in Spokane, Washington, and

remembers drawing constantly when he was in grade school. “I had a lot of my friends ask me to draw things for them,” he recalled. “When I got to Spokane Falls Community College, I took an intro to art class. For our term project, the instructor told us we could either write a paper on art or create something. I liked the kinetic sculpture part of the class curriculum, so I went to my dad’s junk yard at the farm and picked out a bunch of It was made from a bicycle frame and an old lamp that Dan said “had elephants on it so that when you turned a handle, everything would move. It was a fun piece. The teacher called me afterwards and said, ‘Let’s get you signed up for more art classes.’ So I went into commercial art for about two years.” His profession soon turned to the dairy and food industry, where Dan, and now Joshua as well, work with food processing equipment. But he never lost his passion for art, and six years ago, providence arrived. “There was a 30,000 gallon stainless steel silo that imploded, and someone asked if I could fix it,” he said. “I told him, ‘No, I can’t. But I want it!’” He loaded the silo onto a flatbed truck and drove it to a friend’s farm, where he rolled it off and began cutting it apart. It took many hours, but he

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Photos by Kresta Leigh Portrait Couture

fun stuff—junk—and built a kinetic sculpture.”


Premier Fine Arts Digest of the Mountain West

•

35


Sculpture

cut and saved both small and large pieces, grinding and pol-

be found most every Saturday, welding metal and creating

ishing until he’d created a stainless steel sculpture that looks

unique pieces of art from materials others might consider

somewhat like a flower.

scrap. One man’s garbage is another man’s treasure and art is

11' x 10' x 6' sculpture currently on display in downtown Salt

“We just start playing around with different mediums,”

Lake City. This work of art started his family on what is now

Joshua said. “I sketch a lot, but then I’ll start working with

both a hobby and a second profession as sculptors.

some metal and make something that looks nothing like what

“I was welding in the shop when I was a kid, helping him out, and he started doing his sculptures even then and would say, ‘Here, come hold this for me,’” Joshua recalled. “He’d ask

with it.” “We bounce stuff off of each other all the time,” Dan said of the collaborative effort that has produced hundreds of

just as he did, and so I started building my own pieces and

sculptures, each given a name by the artist. “Joshua’s work

having a blast.”

is a little different than mine. His is a little rougher around

the creative gene as well. “I started to see my Dad’s sculptures and wanted to do it,”

the edges, but the contrast gives us each a unique look and design.” Creating art is one thing. Marketing it is another. Any

he said. “One day, my dad let me make my own and I really

artist will tell you the market is tough, with lots of competi-

liked it. I named it ‘Haunted House,’ and it was just random

tion and opinions from fellow artists and gallery owners about

pieces welded together. But it was mine.” He has made four

what works and what doesn’t.

sculptures of his own so far, with plans for many more. In the workshop adjacent to the home that Dan and his wife Janean own in Taylorsville, the Toone family can

I’ve drawn. If you see a shape and it speaks to you, you just go

me what I thought of this piece or that. I grew up loving art

Burton, who is now a fifth grader in Davis County, caught

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in the eye of the beholder.

fibonaccifinearts.com

“Several things happened that kind of got us started down the road to selling: one in particular,” Dan said. His brother owns a jewelry store in Spokane and brought him a photo of

Photos by Kresta Leigh Portrait Couture

“We call it ‘Rescued,’ because it truly was,” he said of the


a diamond, asking him to create an ideal cut diamond replica he could use in front of his store. So Dan made it, installed it, and “that kind of pushed me. I realized we could have success selling our art creations.” He also quickly learned about the demands that can come from galleries. After finishing one of his first stainless sculptures that included a rock, he showed it to a gallery owner who said, “That’s quite nice. Now do 100 of them and come back.” “There’s some truth to what he said jokingly,” Dan said. “Most galleries want you to create and produce. We can do a series, but most of our artwork are one-of-akind.” Janean is the ultimate source of support, watching her husband, son and grandson spending hours in the workshop, and displaying many pieces of art in their home and their yard. “It’s been awesome to see it grow,” she said. “It’s something Dan wanted to do for some time, and it’s been fun to see Joshua and Burton embrace it as well.” Through arts festivals and exhibitions, the Toone’s work is gaining visibility and popularity. Dan’s work is currently on exhibit at Phillips Gallery in Salt Lake City, LaFave Gallery in Springdale and Exposures Fine Art in Sedona, Arizona. Joshua’s work is on exhibit at the 15th Street Gallery in Salt Lake City.

Tom Haraldsen is Managing Editor of the Davis Clipper, a weekly newspaper based in Bountiful. He has been a working journalist for 40 years, and has won numerous awards from the Utah Press Association and the Society of Professional Journalists. He is a published author and serves as a member of the Utah State Records Committee. A native of the San Francisco Bay Area, he was educated at both Stanford University and Brigham Young University. He and his wife, Peri Kinder, have seven children and 11 grandchildren. Premier Fine Arts Digest of the Mountain West

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“Mustang,” affectionately nicknamed “Blucifer” by the local Denver community, is the work of internationally-recognized artist Luis A. Jiménez Jr. (1940-2006), an American sculptor of Mexican descent.

Community Transformation What do you see?

D

by Laura Kakolewski

riving from Denver International Airport (DIA) to Uptown Denver begins on the nine-mile stretch that is Pena Boulevard. To our right, the grandeur of the Rocky Mountains stand majestically against the horizon line. My nine-year-old niece, Emma Michelle, waves her finger and points. “A Blue Horse!” she blurts; toothy grin exposed. Ahead, an electric blue statue of a Bronco stands fiercely on his splayed hind legs. His eyes are glowing fire engine red; his nostrils flaring. Mythical and violent in appearance, the ‘Blue Horse’ is a colossal 32-foot fiberglass and steel sculpture that was commissioned by the Denver International Airport in 1992. “Mustang,” - often referred to as “Blucifer” to the local Denver community - is the work of internationallyrecognized artist Luis A. Jiménez Jr. (19402006), an American sculptor of Mexican descent. Mustang’s exaggurated muscle mass paired with a bold color palette and and neon-lit eyes reflect Jiménez' characteristic style: it harnesses the energy of the Mexican Muralists while drawing upon his childhood spent in his father’s neon sign making

company. As a pubic artist, Jiménez had strong intentions as to how individuals should interact with his Art. “I want to create a popular art that ordinary people can relate to as well as people who have degrees in art,” Jimenez explained to Chiorio Santiago, Art Critic and Contributing Writer for Smithsonian Magazine. That is to say that while “Mustang” certainly memorializes the “Wild-WildWest,” the work also reflects the artist’s desire to provide increased access to free art for the public; Art that sparks inner reflection as well as community dialogue around issues of space, place and time. “Art should in some way make a person more aware, give him insight ‘to where’s he's at’ and in some way reflect what it is like to be living in these times and in this place.” - Luis Jimenez, The Latin American Spirit: Arts and Artists in the United States, 19201920, 1998. PUBLIC ART AS COMMEMORATION Public Art that memorializes or commemorates a particular place in time is commonly found across the United States. In

Photo Credit: Mustang by Luis Jiménez Peña Blvd, Peña Boulevard approach to DIA Photograph provided courtesy of Denver International Airport. Premier Fine Arts Digest of the Mountain West

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Sculpture

her 2010 book Memorial Mania: Public Feeling in America, author Erika Doss argues that “memorials in America underscore an obsession with issues of memory and history, and the urgent desire to express—and claim—those issues in visibly public contexts.” Arguably, Doss’ hypothesis around memorials in America is spot on. There are some 700 recorded memorials in the U.S. and many more are underway or in various stages of planning. For example, on October 27, 2015 in Nashville, Tennessee, a dedication ceremony was held for artist Alan LeQuire’s newest creation: The Tennessee Woman Sufferage Monument, a heroic five-figure monument commemorating Tennessee’s critical role in passing the 19th Amendment. The monument, commissioned by the Tennessee Woman Suffrage Monument organization,

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depicts five women that were pivotal in the 1920 passage of the amendment, including Carrie Chapman Catt, Anne Dallas Dudley, Abby Crawford Milton, Frankie Pierce and Sue Shelton White. LeQuire, who grew up outside Nashville, has obvious roots that connect him to the sculpture’s subject, place, and time. Like Jimenez’ “Mustang,” the monument is inspired by the past while reflecting both the artists identity. What distinguishes these two Public Art pieces is that LeQuire’s work also reflects an event of nationwide significance. However, just as Jimenez had intentions as to how the public should relate to his work, LeQuire’s Public Art pieces are intended to mirror and nurture the values of the greater Nashville community. “I’ve always had this attitude that art is something you grow. You nurture it in people, nurture

Sculptor Alan LeQuire’s newest creation: a heroic five-figure monument commemorating Tennessee’s critical role in passing the 19th Amendment. Women include Carrie Chapman Catt, Anne Dallas Dudley, Abby Crawford Milton, Frankie Pierce and Sue Shelton White. This is a smaller bersion of the monument LaQuire carved before starting on the larger one. Photo: John Partipilo / The Tennessean


Photo Credit: Before I Die, by Candy Chang Photo by: Trevor Coe, Savannah, GA

people to pursuer their interests and to better their skills. It’s not something you bring from the outside and subject your people to,” LeQuire stated to students and teachers during a recent visit to Central High School in Columbia, Tennessee. LeQuire’s belief that Art should be something that both is nurtured within community and the individuals that make up a community is not uncommon among Public Artists. Moreover, this community-centric belief among Public Artists extends beyond site-specific works such as statues, memorials or monuments. With a now estimated 200,000 works of Public Art in the United States, Public Art is transforming utilitarian-based public spaces across the nation into community-centric places everywhere. Standing on the fringe of the Western Canon of Fine Art, the intention of this essay is to uncover the history of Public Art, where it may be headed, and most importantly, why Public Art is vital for strengthening communities everywhere. PUBLIC ART: THEN AND NOW The history of Public Art in America dates back to Nineteenth Century Philadelphia, Pennsylvania. Philadelphia native and Neoclassical sculptor William Rush (1756-1833), often referred to as the “Father of Public Art” was the first artist in America to be commissioned to create art for public

spaces. His most famous work, Allegory of the Schuylkill River, become Philadelphia’s first free-standing piece of public art (Today it is housed at the Pennsylvania Academy of the Fine Arts). Beyond Rush’s legacy as the first Public Artist, it can also be argued that he was the first artist-as-planner and negotiator-of-public spaces. Rush — who was disengaged with the pretentiousness of High Art, understood that Art in Public Space can have a transformative effect on the making of a place; serving as central hub for community gathering and collaboration. In the the 1982 New York Times article, author John Russell states “Rush was what we now call a concerned citizen - someone who wanted to change the life of his fellow human beings for the better.” With outdoor sculpture such as Jimenez’ Mustang and Rush’s Allegory of the Schuylkill River , the individual’s act of looking in privacy converges with public habit. Given that most Public Artists realize a democratic ideal in outdoor settings that are free to all, experiencing public art is a communal activity in and of itself; its reach can be powerful for strengthening communities and building healthy neighborhoods. The increased reach of public art can increase understanding of people, community, place, and society at large. While outdoor, site-specific works such as sculpture are Premier Fine Arts Digest of the Mountain West

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Sculpture

constantly shifting and mutable; temporary public art projects summon the inconstant nature of our surroundings. Artist and TED Senior Fellow Candy Chang is best known for transforming a badly degraded post-Katrina home into a work of participatory Public Art in 2011. “Before I Die,” is a piece located approximately one mile East of the Tremé district, and “serves as a living testament to community, inclusion, creativity, and purpose,” a project The Atlantic called “one of the most creative community projects ever.” Chang, who describes herself on her website as "a public

installation artist, designer, urban planner, and co-founder of Civic Center who likes to make cities more comfortable for people," lives in the neighborhood. The website also describes the project as "self-initiated with permission from the property owner, residents of the block, the neighborhood association's blight committee, the Historic District Landmarks Commission, the Arts Council, and the City Planning Commission." Chang explained: “Before I Die transforms neglected spaces into constructive ones where we can learn the hopes and aspirations of the people

Photo Credit: Kinetic Air Light Curtain, by Antonette Rosato and William Maxwell Jeppesen Terminal Passenger Train Tunnel, East Side Photograph provided courtesy of Denver International Airport.

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around us. This process (including obtaining official approval from many entities) has been a great lesson--more on that later. I believe the design of our public spaces can better reflect what's important to us as residents and as human beings.” Like those that came Before her, Candy Chang believes in the power of inner reflection and collective wisdom in public space to transform communities and help individuals lead better lives. In Paul Ramírez Jonas’ 2010 participatory Public Artwork, Key to the City, the key to New York City—an honor usually reserved for dignitaries and heroes—was given to esteemed and everyday citizens alike. Upon receiving a key, individuals were then encouraged to explore locations ranging from community gardens to cemeteries, and police stations to museums. The project expanded upon Jonas’ fascination in the key as a vehicle for exploring social “contracts” such as trust, access, and belonging. SOCIAL PRACTICE ART It can be argued that whenever art enters the public sphere -some artist-driven and others commissioned -- an immediate yet powerful transformation of both space and place occurs. Sitting at the intersection of Earth and ‘social practice art’ - an art medium that emphasizes social engagement and collaboration with individuals, communities,

and institutions — Public Artworks are a direct reflection of placemaking, or the creation of a new, welcoming physical space designed to be inviting for all. Dating back to the work of William Rush, is all Public Art “Social Practice Art?” An individual’s quality of life transforms with shifts in both physical and psychic environments, realms that public art fills. Thus, unlike a work of "fine art" or “high art” that one might be inclined unpack its aesthetic elements, forms, or function, public artworks share a common mission of connecting lives and transforming communities. Like William Rush, contemporary Public artists, who also serve as community developers, often feel a broader responsibility to help individuals connect with each other and communicate just a little bit better. Perhaps the public artist knows a secret that the rest of us do not: that the relationships built during the creative process will ultimately define how the public art project will grow. Community conversations, building relationships, and full immersion into the making of a place is essential to the success of a public art project. By applying creative solutions to social challenges, the artist proves that there can be new ways to solve old problems. A successful public art project means that an individual artist and the residents of a place worked in concert to create a cultural asset for the neighborhood, and it is those assets and the programming developed around those assets that create healthier and more vibrant communities. PUBLIC ART AND TRANSFORMATION With public art programs nationwide becoming increasingly interested in affecting community dialogue and change, it is the public artist that acts as a catalyst for creating a meaningful, authentic, and engaging sense of “place” that individuals want to be in, engage with, and experience. Although communities have long used Public Art to adorn and commemorate, perhaps transformation occurs because people make a memory associations spaces, creating this so-called sense of place. “Creative Placemaking” - a phrase that has become commonplace in the public art community — “respects existing places that have arisen organically through the community and that are inclusive, creating a sense of belonging across cultures.” Perhaps it is worth taking into consideration this recognition

Premier Fine Arts Digest of the Mountain West

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of public art as not merely a decorative strategy but rather an integral component of community building and strengthening. Public Art - as a medium - brings people together, reflects the community, dismantles barriers that may exist, and ultimately can become the voice of the community.

Laura Kakolewski currently works and lives in Denver, Colorado. Her background in Art. History has allowed her to live and Photo Credit: Keys to the City, by Paul Ramirez Jonas

breathe the notion that art has the power to transform the lives of others. She currently oversees the development and execution of the National Arts Marketing Project (NAMP), a premiere program of Americans for the Arts. In this role, she works to build an understanding of the relevance of the arts in America by providing services that strengthen and validate the work of arts

organizations

and artists on the national, regional, and local

levels.

Laura

holds a B.A in Art History from Fordham University and an M.A. in Art History from Brooklyn College.

F I N E

A RT

M E TA L

TOONE

DAN

DANTOONE.COM

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S C U L P T U R E S

TOONE

JOSHUA

JOSHUATOONE.COM


Time to Dance 16 " x 20 " Oil on Canvas 2015 $1,400.00

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Studio Pages

The Art of the Dance 36 “ x 36 “ Oil on Canvas 2016 $3,200.00

Artists and their Pieces Cheryl H. Merkley

45 - 47

Brandt Berntson

48 - 49

Koichi Yamamoto Ron Brown

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"Colors intrigue me. I am constantly looking at objects and noticing the different colors in the scenery and people around me. Whether it is the mess of making cookies, dishes in the sink, or an interesting person, something within me says, 'This would make a wonderful painting'. "I enjoy finding the beauty in the simple everyday life that surrounds me. There is great beauty around us, if we just take the time to really look and enjoy the world." Cheryl H. Merkley graduated with a BFA from the University of Utah in 1997. She studied under Paul Davis, David Dornan, and Tony Smith. Her favorite medium is oil and loves to paint directly from life and enjoys portraying the beauty in our everyday lives, with bold bright colors and loose brush strokes. Studio is located at 3474 South 2300 East #3, in East Millcreek, in a building that was a radio factory during World War II.

Summer Days 16 ” x 20 “ Oil on Canvas 2015 $1,400.00

Silver 10 “ x 20 “ Oil on Canvas 2015 $700.00

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Studio Pages

Late Night Respite for 7794 by Brandt Bernston Oil on Canvas 30" x 40"

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A Chariot for Two by Brandt Bernston Oil on Canvas, 2015 17 ¾” x 41 ¾”, Framed Price: $2200

The Two Towers by Brandt Bernston 40" x 16" Oil on Canvas

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Studio Pages

Jihatzu 2015 Intaglio/ monotype Chine colle 78"x 42" $2,400

Oredani 2015 Intaglio/ monotype Chine colle 78"x 42" $2,400

Ridatzu 2015 Intaglio/ monotype Chine colle 78"x 42" $2,400

Koichi Yamamoto is an artist who merges traditional and contemporary techniques so as to

develop unique and innovative approaches to the language of printmaking. His prints explore issues of the sublime, memory, and atmosphere. Koichi has worked at many scales, from small and meticulously engraved copper plates to large monotypes.

He completed a BFA at the Pacific Northwest College of Art in Portland, Oregon and then

moved to Krakow, Poland, later he studied engraving at the Bratislava Academy of Fine Arts

in the Slovak Republic. Koichi also studied at the Academy of Fine Arts in Poznan, Poland and

completed an MFA at the University of Alberta, Canada. In addition he has worked as a textile designer in Fredericia, Denmark.

Koichi has exhibited internationally. He has taught at Utah State University and the University of Delaware and is currently an Associate Professor at University of Tennessee, Knoxville.

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Bridal Veil Falls by Ron Brown Print of Photograph 40" x 30", Framed $600 Bridal Veil Falls up Provo Canyon is a 607 foot tall tiered waterfall.

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Studio Pages

Resurrection Stone by Ron Brown Print of Photograph 30" x 40", Framed $600 This unusual rock balanced on 3 points was formed naturally in nature. These rock formations are near the small southern Utah town of Escalante, a city in Garfield County, United States, along Utah Scenic Byway 12. I drove a 40 year old Chevy Suburban over 50 miles of ruff dirt road in through the desert. No trail we had to bush wack it! It was so hot hiking through the desert that the glue that held my fiends boot together melted and so he lost his soul! Can you believe it he lost the soul of his boot and had to tie it together with boot laces and chewing gum. What an expedition!

The Holy Ghost And His Companions by Ron Brown Print of Photograph 30" x 40", Framed $600 One of my favorite pictographs. The aesthetic center of the Great Gallery is the Holy Ghost Group—certainly the most striking Barrier Canyon style composition. The Holy Ghost composition has the appearance of visual depth. At a distance, it is easy to see the composition, framed by a shallow arch, as a group of dark figures standing, or hovering, around (behind, in front, and to the sides) a tall light figure (Holy Ghost) which is, literally and figuratively, "head and shoulders" above them. In addition, the head of the Holy Ghost is represented in a threequarter view—the only three-dimensional representation of an anthropomorphic head in Utah and, probably, the United States. Horseshoe canyon has “The Great Gallery” and is one of the largest and best preserved collections of Barrier Canyon Style rock art in the United States. It is sometimes called the Sistine Chapel of the west. The gallery was a product of the Desert Archaic culture, a nomadic group of hunter-gatherers predating the Fremont and Ancestral Puebloans. The panel itself measures about 200 feet (61 m) long and 15 feet (4.6 m) high. The panel contains about 20 life-sized anthropomorphic images, the largest of which measures over 8.5 feet tall. Human presence in Horseshoe Canyon has been dated as far back as 7000-9000 B.C., when Paleo-Indians hunted large mammals such as Mastodons and Mammoths across the southwest.

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Calf Creek Falls, 2004 by Ron Brown Print of Photograph 30"x40", Framed $600

Lower Calf Creek Falls is a Grand Staircase Escalante hike leading to a 130-foot-high waterfall and refreshing swimming hole. The perfect desert oasis.

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Sculpture

“My body has been broken and may not heal, but my spirit can and will transcend my limitations.”

Against the Odds The Cowboy Rides By Molly Bitton

"I'm

going to do magic today young man,” said the welder to Matt Clark, then seven years old. “I’m going to glue metal together.”

All he ever wanted to be was a world champion cowboy, but at this impressionable age, Clark had a different spark ignite inside him; a spark that would feed his artistic adventures for the rest of his life. This spark was for welding, thanks to his father taking him to an old welding shop and seeing that magic happen first hand. He knew deep down the magic was real. What this tiny boy did not know was that this spark would feed his artistic adventures for the rest of his life, and that he was going to be a different kind of champion. Throughout his entire childhood, all Clark wanted was to be a cowboy; riding and roping was his life; welding was his hobby. At 15, this shy cowboy purchased his very own welding machine and worked hard, teaching himself how to be the magician he had witnessed as a child, gluing metal together. At 17, his dreams of being a world champion cowboy were frightfully stripped away. One day when he was working under his old truck, it slipped and started to roll down his driveway. Inspired by the weight of the truck and the sloped driveway, nothing could get in the way of the tires using Clark’s head as a chuck. This accident broke his neck and left him with a severe spinal injury, which would keep him from moving for several

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Sculpture

months. Upon release, doctors proclaimed he would never be his own man again. He would never ride a bull, drive his old

Clark couldn’t accept any fragment of this prognosis. After a couple of years of healing and hard work, Clark

truck, or make magic with his miraculous welding machine.

was able to pick up his old welding machine and began to

To add to the agony of stripping away his passions and hob-

build again. He would fix things, very basic things, like wood

bies, they recommended he find a good assisted living home

stoves and trailer hitches. These were easy to most, but for

to check in to and live for the remaining three to five years

Clark, it was a way to practice to teach his body what it

they thought he had left. He was now a big lug of a burden to

needed to do, and it was not simple. He was not about to let

everyone around.

this injury stop him from having an amazing life, no matter what anyone told him he could or couldn’t do. An early realization for him was that “Nobody defines me but me. If I worried about all of this, then I’d be doomed.” His first piece of art was an accidental piece created with together to create a small dinosaur. With his families encouragement, one thing lead to another, and he worked to create a few other small pieces, as well as some South Western themed pieces to sell at his grandfathers trading posts in New Mexico. When Clark decided to pursue an art career, he went to three fabrication shops and asked if he could work with them as an intern or apprentice to learn different skill sets in metal work. All three fabrication shops turned him down.

Photos Courtesy of Matt Clark

scrap metal from around the yard that, with his care, came

Matt Clark in Studio Photo by Molly Bitton 56

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Sculpture

They did not believe he could work and perform in their industry. Of course this only spurred his drive. He built his own shop and installed a variety of apparatuses to assist him in his art. He also invented a few things, such as a special hammer to fit his ineffectual hands. One of the best, yet most painful moments as an artist, was when Professor Glen Blakley, Professor of Art at Dixie State College, said, “You know, you just aren’t on your game with this. There’s no spirit, there’s no soul in your work. You’ve got to step it up.” As painful as this was, he took it to heart and began to create what he felt. His art is a reflection of his life’s journey. In the beginning he was a cowboy. This is what he knew and something he wanted to be his whole life. With his accident came challenges and a life he was not expecting. The doctors told him he was useless; broken beyond repair. Clark had to pick up the pieces, the few scraps he had left of himself, and make them in to something beautiful. His creations show beauty where scrap and garbage once was. Every one of his sculptures has a piece that is broken, to keep this strength and drive for recreation alive. Clark is well known for his horses. This design developed through a commission piece he was asked to do for the Painted Pony restaurant in St. George. The client came to him with an idea of a horse that had a 55 gallon barrel as a body, stick legs, and a muffler as a head. Clark told them he would make them a horse, but he would design it himself and it would be beautiful. The horse he made is now a very well known landmark throughout St. George, standing near the entrance of the Painted Pony, welcoming their patrons from around the world. Another notable piece, which was the beginning of the Spirit Series of sculptures, is one he made as a gift for his aunt and uncle. The sculpture is of a young girl sitting, reading a book, with a butterfly flittering around her. This piece represents the eternal soul of his cousin who passed away at just twenty-three years old. She was a beautiful young woman full of love who dreamed of being a teacher. “Art should not only be created to evoke a positive or happy response, it can evoke multiple responses. It should just be a catalyst, a chance to create a response. I’m not going to control how they respond to it.” Clark resides with his wife and fourteen-year-old son just outside of St. George, Utah. He has a few pieces in galleries, but mainly does commission pieces.

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Understanding Composition and Design in Landscape

Concept of Contrast and Harmony


Visual Arts

Concept of Contrast and Harmony Understanding Composition and Design in Landscape by John Hughes

W

hen an artist plans a landscape, the first consideration

much research, I came up with an equation for, what I call, the

should be how the elements of the scene (rocks, trees, riv-

Key Principle.

ers, grasses, sky and mountains) function together as a unified design. It’s not reasonable to think that nature, in its raw

Contrast: Interest + Unity = Stability Variety within a painting stems from contrasting elements.

state, will arrange itself to fit neatly into a coordinated scheme

This creates interest. Unity, a product of predictability or same-

on a canvas! For this reason, the landscape painter should be

ness, creates stability. Unity acts as a foil for the contrast in a

prepared to rearrange certain elements of the scene to suit the

painting. Successful paintings have elements of both in different

painting.

proportions, depending on the needs of each.

When beginning a new painting, the artist needs to for-

Unity and contrast of what, one might ask? This is where the

get about what the various items in the scene represent, and

five basic tools of design come in, they are: Drawing, Color, Value,

approach the subject as a pure abstraction. One way to approach

Edges and Brushwork. When

this is by starting with a solid, flat design, either in monochrome

we look at a painting we can

or color. Using a broadly stated underpainting of this type, lay a

isolate the unity and con-

solid foundation that holds the subsequent brushwork together as

trasts in each of these areas

a cohesive unit.

to formulate an effective cri-

Conversely, a painting that lacks this underlying structure is apt to fall apart from the very beginning. It can be disappointing,

tique of the work. However, too much

when a well-handled work falls apart because the basic design

sameness is boring and too

structure wasn’t thought out properly and the various objects in

much contrast creates chaos;

the scene don’t function in a unified way.

therefore, the artist should

What design principles are most important in achieving a

vary the proportions of each.

successful plan of attack? It can be overwhelming for a beginning

The artist might ask, how

artist or collector to be able to judge a painting’s quality because

much sameness or contrast is

of the influx of information.

too much, or how much is not

In my own quest to understand design principles, I have

enough? This is an individ-

often sought out wisdom through various mediums and venues

ual decision, but something

with the intention to distill the various theories, systems and

needs to dominate in order

practices, down to one universal principle that is easily under-

not to end up with a static,

standable. I want a principle that answers the why’s of various

uninteresting painting!

rules of composition and design, instead of do’s and don’ts. After

Since the five design

Opening Page: Canyon Overlook, 10 " x 8 " Oil Opposite Page Topt: Canyon Jewel, 20" x 16" Oil Bottom: Wyoming Autumn, 12" x 24", Oil All paintings by John Hughes 60

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areas operate in unison, each area should be approached separately, yet together. This is achieved through the lens of the aforementioned key principle. Let’s see how it works. With drawing being the first area of consideration, the artist thinks about line variety or counterpoint. Conversely, line repetition or similarities of linear movement help achieve linear unity in a painting through the principle of sameness. These two opposing ideas, together, create linear interest in the work. When orchestrating the natural elements of a landscape painting, the artist should not forget to make linear groupings to create movement along a path. Painting the actual scene may not structurally translate onto the canvas. Design within the arrangement becomes a conscious effort on the part of the painter to enhance the visual flow. Within such groupings, variability of size, shape and placement are paramount to preventing monotony or competing forms. With this linear foundation set, it’s now time to move on to color, value, edge control and brushwork. This assessment works as a platform for artists and collectors to judge a painting’s success or failure. For instance, if the

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Visual Arts

artist is trying to convey a sense of tranquility such as a pastoral motif on a summer morning, he/she might opt for more elemental unity or, conversely, more contrast if depicting a stormy sea. It all comes down to what the artist’s vision. Regardless, any painting needs a certain amount of contrast and sameness in order to work. This tension holds the audience’s interest and engages them in the artist’s visual story. Most people are familiar with the concept of composition and design. They are quite often used interchangeably, suggesting a certain amount of discord as to their exact meaning. What do these two terms really mean? Are they interchangeable or different? How do these two words relate to each other? It has become clear to me that design and composition are certainly related, but convey somewhat different ideas; design being most important. Composition, a subset of design, is accomplished through drawing. Placing the important forms on the canvas creates movement and balance. Design, on the other hand, encompasses drawing, color, value, edge control and brushwork to accomplish a coherent context. With regard to painting, the artist is in a constant state of design, with each brush mark. No matter what the artist does to the canvas, it is all part of the design process. To paint is to design! Again, composition deals with the large placement of forms or directional lines that make up the overall structure of the painting. Composition is about creating balance and movement in a work of art, symmetrical or asymmetrical, and is the first step in the design process. Compositional types or stems can be easily taught and reduced to several forms, such as steelyard composition, pyramid or circular observation, etc. Design is not as easily quantified because of its organic design process. It continues to grow and morph as the art progresses, according to each artist’s contemplative sensibilities. Design becomes the real essence of artistic thinking, imbuing each work with the artist’s heart and soul. Consequently, design can’t be planned out in advance with any precise accuracy. This would reduce the painting process to a slick set of tricks and artistic clichés. Design principles are solid concepts that can and should inform an artist as well as a collector’s education. Design in practice is like a giant chess game with a multitude of small decisions, each affecting the look of previously placed marks on the canvas. There is not just one design principle that works on every painting. Thus, the demands of each painting require various solu-

From top to Bottom: Breath of Spring 16" x 20", Oil Salamander Lake 10" x 10", Oil Star Valley 11" x 14", Oil All paintings by John Hughes 62

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tions. Design principles should never be applied as hard and

John Hughes has been

fast rules, isolated from the contextual realities of a particular

painting the landscape in

painting. It’s those contextual realities that should be the final

and out of the studio since

arbiter of what looks best with each addition or subtraction on

1983, and although he

the painting’s surface.

has been painting much

Composition then, is set at the beginning of the work and

longer than that, this is

should be kept immoveable throughout the process. The design-

the year he got serious

ing doesn’t end until the last brushstroke is placed!

about his art. Hughes is

While the key principle and the information presented

a teacher of plein air painting, both privately and through the

here, go a long way in helping artists and collectors understand

Salt Lake Community College. As an artist and instructor, he is

the reasons behind composition and design principles, they

highly sought out on a national level. Hughes resides in Taylors-

don’t give an in depth look at what these principles are. For

ville, Utah with his wife Teresa.

this reason, I will refer the reader to several books that I have

Contact: www.johnhughesstudio.com

found helpful and informative. It is my hope that this information will make these various readings more accessible and shine a new light on an otherwise complex subject.

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Connecting a Community Building a Stronger Foundation on Art by Molly Bitton Premier Fine Arts Digest of the Mountain West

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Visual Arts

J

ohn and Willis have been collecting artwork for decades. The love to select artwork from galleries, yard sales and consignment shops in the various cities they have lived

in and visited. Perusing local galleries and local shops, treasures are found around every corner. For them, collecting is about finding artwork they love combined with having fun. As active advocates of the arts, John and Willis thoroughly enjoy discovering new artwork, artists, and galleries. John, trained with an eye for artistic detail and technical ability in composition at Pratt University, has a tendency to be a bit more logical of the two when purchasing a piece. Willis, a romantic at heart, trusts his intuition and falls in love at first sight. Just as balance is achieved through repetition, this couple complements one another perfectly. Their passion for art is evident with their heated conversations, gaining the attention of those around them. Their collection is compiled of various artistic mediums and genres: abstract to representational realism and everything in between. Their home resembles an art gallery, saturated with paintings, drawings, sculptures, photographs and mixed media. Their collection consists of artwork created by artists worldwide, from France to New York to Utah. There are quite a few local watercolorists, landscape artists, sculptors who’s work adorns their walls and shelves such as John Harbert, Brandon Cook, Bev Wilcox, Shanna Kunz, Mac Stevenson, Max Shepherd Rich, as well as so many others. A few artistic highlights from their travels are a matted and framed photograph of Andy Warholl by Billy Name for an exhibit in France, Todd German’s pastels out of New York, and pencil drawings by William Homer Leavitt also from New York. Their love for art, displayed throughout their home, is also apparent in their relationships with Utah’s cultural community. nerships and collaboration. John enjoys planning gatherings and travel, enhancing their passion for community and connection. They are meticulous in creating connections with people and organizations that mutually benefit each other and greatly impact the community as a whole. The Eccles Community Art Center illustrates this perfectly. This art center, under the direction and dedication of Patrick Poce, is a hub of the Ogden arts community. Fostering growth and creativity throughout Utah. As their art collection evolves, so does their passion for community and both are highly active on boards of local organizations. They contribute to our creative community with their continuous support and celebrate art in the local and global community.

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Photos by Kresta Leigh Portrait Couture

Willis connects people and projects that align well, encourages part-


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Music

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Iconic Medium From the Lips of a Luthiere

Photos by Kresta Leigh Portrait Couture

by Patrick Robbins

I

am often asked what inspired me to build guitars; it is not something I would have imagined for a career. I doubt I would have even given it a thought as a hobby until my father suggested I look into guitar building school. This was after watching me drop out of college three times and quit some forty-something unchallenging, mindless, menial jobs

by the age of 28. It seemed crazy because I had no knowledge of luthierie. I’d played the guitar for a few years but could hardly change the strings without instruction. My woodworking experience was an 8th grade woodshop class. Of most benefit to me at that time, I believe, were a good ear and a modest background in painting, drawing and pottery. That, as well as a modicum of patience and perseverance; traits that continue to serve me well.

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Music

After a little research I found a school in rural Michigan

them are just a few areas I’ve learned about. In addition to

which promised to instruct students in the building and

the many books I’ve read and the wealth of knowledge avail-

repair of fretted instruments. I booked a trip to investigate

able online, I’ve continued to seek hands on instruction from

the Galloup School of Luthierie, and upon entering the school

the world’s best in inlay, archtop construction, finishing, and

I instantly knew this was something I yearned to do. What

instrument voicing. My father jokes that I’ve had the equiva-

a harmonious merging of my passions this could prove to be.

lent of an Ivy League education in luthierie, and my journey’s

Not long thereafter I was immersed in learning everything

just begun.

I could about this fascinating and depthless subject. School

Regardless of how beautiful and intricate a guitar may

was 24 weeks, forty or more hours per week, and I built four

be, first and foremost it must excel as a musical instrument.

instruments while there. It was the experience of a lifetime,

So naturally, my primary area of study has been how to influ-

and I felt confident that I was well on my way to a promising

ence and control the sound produced by my guitars. There

career.

are numerous things that influence the sound of a guitar,

I came home and soon realized I had barely scratched

including body shape and size, the materials used, the finish

the surface of what there was to learn. Tool set up and main-

applied to protect the wood, and construction. In regards to

tenance, jig and fixture making, the properties of numerous

construction and materials, of much interest to me are the

tone woods, as well as various finishes and how to apply

bracing and the top, the entirety of which is referred to as the soundboard. It is agreed that the soundboard has more to do with how a guitar will sound than any other factor, and how to construct the soundboard is the single most debated area in luthierie. Most steel string guitars use a spruce top with a variation of an X-brace pattern, while classicals often have a fan braced pattern and may have a spruce or cedar top. These are by no means the rule, but the wood used and the bracing structure greatly determines the sound that a guitar will make by controlling the rigidity of the top and thereby its ability to pump air, and these woods and bracing structures have proven themselves favorable over time. Generally speaking, I want my soundboards to be as light and delicately built as possible, while still maintaining enough stiffness to withstand the pull of the strings. I begin by selecting woods that exhibit the ideal properties of stiffness to weight I’m looking for and work from there. Once the soundboard with all its braces has been glued to the sides, I begin the voicing process by removing minute shavings of wood from the braces and sanding the top until the desired stiffness has been reached. I’ve always favored a very handson and tactile approach to whatever I create, my methods for voicing are old fashioned. I tap with my thumb, flex the entire top, and scratch with my fingernails, all the while listening to the finite changes that are made as I remove more wood. This is when the instrument begins to come alive for me. It’s hard to describe what sound I’m looking for, but it’s much like tapping a drum. The more lively and responsive it is the better.

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Music

My paramount endeavors are to create an instrument of excellent acoustic qualities, as ambiguous and subjective as that may be, and to meet the demands of the musician. Qualities that are often desirable are responsiveness, brightness, warmth, volume, balance, sustain, clarity, and projection. I may try and achieve all of these or select just those qualities which best suit the musician depending upon what style of music they play and for what the guitar will be employed. For example, it may not suit the musician if he has an extremely loud guitar which drowns out those of his accompanists, so I work closely with those who hire me to achieve a guitar tailored just for them. Personally I love instruments that are responsive to the slightest touch, have wonderful balance between the bass, mid and treble notes, and that are able to project across a room full of listeners sans amplification. The instruments I create all seem to have a bit of me in them, and this is true of almost any luthier to whom you may speak. You can give the exact same materials to two different guitar builders and tell them to create the same guitar and invariably they will sound slightly or perhaps entirely different. People have described my guitars as being bright, warm, woody and balanced. I value musicians’ opinions of my guitars as much as my own. I’m naturally a little biased towards my own work, so it’s invaluable to me to have others play them and give me critical feedback. I use this knowledge to either achieve similarities in the next guitar I build or as an opportunity to experiment. Not surprisingly, no two guitars of mine are exactly the same. Each one has its own distinct personality and voice, and progressively they are sounding better as my experience grows. I’ve yet to have an easy day at work, as luthierie continues to challenge me and I continue to push the limits of my abilities. It requires mastery of several disciplines, of which I’m just beginning to truly appreciate, and I’ll never learn all there is to know. That’s what keeps it exciting for me. It’s something I hope do for the rest of my life as I strive to create lasting instruments of both aural and visual beauty.

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Music

Tune Into The Body Tapping the emotional power of music with the oboe by Elif Ekin

I

have a secret obsession, stemming from an experi-

love of music. His parents would take him to symphony con-

ence I had as a child oboist. “The Wall Street Journal

certs, and he always wanted to stay longer, never really wanting

says that all oboists go crazy eventually because of the double

to leave. He began with piano, then violin, finally deciding to

reed, and the back pressure of the air affects the brain and

pursue the oboe because of its unusual sound. Understood from

makes them turn,” my teacher explained as she handed the

experience, playing the oboe in school takes determination and

article over for me to peruse.

dedication because it is such an unusual bird. This makes for

Feeling slightly crazy already, I was intrigued and jumped

long drives to and from oboe teachers and constant frustration

at the opportunity to learn, and I have been privately research-

because it is so easy for the instrument to become out of tune.

ing this odd phenomenon ever since. “It’s making the reeds that actually makes us crazy,”

There are continuous adjustments happening with the instrument as well as the never-ending task of reed making.

Stephen Caplan of the Las Vegas Symphony began with, and on

Every two weeks a new reed needs to be assembled and scraped,

a further note, “anyone who wants to play the oboe already has

essentially resulting in a new sound for the instrument. Due to

the propensity to be crazy.” In all truth, the information I had

a reduction in cork supply worldwide, there has been extensive

been given as a child had been nothing more than a senseless

experimentation with other materials in making the staple, the

rumor.

reed base. In addition to cork, staples can be purchased in brass,

At an early age, Caplan’s life adventures started with his

gold, and silver. They also come in a variety of shapes. A staple affects the oboe’s tone and, using one of the non-traditional metalsound coming from your instrument. “When you add another layer or variable, you have to experiment to see how it will work for your instrument. What works for one may not work for another. The upside to making your own reeds is that you can adjust it to get projection with warmth in other ways.” Not only is Caplan a musician, but

Martin Schuring, Nancy King and Stephen Caplan with Chudnow staples. Opposite Page: Stephen Caplan 74

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his utilization of Barbara Conable’s

Photos courtesy of Stephen Caplan

based staples, may result in a brassier


Bodymapping techniques is changing how musicians are tuning

musicians avoid injuries all together, and if a musician is

in to their bodies anatomically, not just tuning their instru-

injured, it will speed recovery time.

ments. Bodymapping is based on neuro-plasticity and how

Through Bodymapping, musicians tune in to how their

the brain is wired for movement. It helps musicians find more

whole body moves and loosens up, which allows for greater

efficient, healthy ways to make music. Understanding the ana-

expression and a longer career.

tomical structure of the body is important, so a musician can work with their body, not against it. A long career as a professional musician can take its toll on the body with injuries due to overuse. Bodymapping helps

Caplan has taken Bodymapping one-step further and applied these techniques specifically to the oboe player in what he calls Oboemotion. He began with a list of oboe playing problems, then soon moved on to investigating how the oboist articulates or “tongues” the reed. The missing link was how the tongue was to move. How did the tongue move in relation to the reed? This articulation was determined from the quality of the movement away from the reed, how fast or how far it moved, and the tension of the tongue muscle. Taking basic Bodymapping principles, and applying them to the tongue, has pretty much revolutionized this aspect of a previously unstudied element of oboe playing. Caplan’s research has been translated into many languages and has enhanced oboe playing all around the world. Some final advice from Caplan for aspiring musicians: The only way to make it in music is to be 100% sure. Talent is just as important as persistence and who you know in the industry. Persistence and patience may get you the job, but the spark needs to continuously be reignited. It’s important for a musician to remember what the joy of music is all about. They need to get away from the professional scene and play for those who don’t get to experience live classical music regularly. This will give musicians fresh feedback and help them feel that deep emotional essence of why they became a musician in to begin with. “We are Shamans as musicians,” explains Caplan. “We forget that we can tap into an underlying emotional power that is available to all of us. Musical vibration brings to the bones the sound we are creating. We have a choice if we send out positive healthy sounds or not. We can use that music to become a better person every day.”

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Music

One doesn’t need to be a musician to understand the

Elif Ekin is a creative soul. Creativity flows into all that she

importance of tuning in to our own inherent power. The les-

does from writing to her punk rock

sons and advice in this piece are applicable to any discipline.

baking. Her M.A in Art History and her

How you think affects how you move. Being mindful of creat-

experiences from working at the UMFA

ing harmony within, will enable you to reconnect with the

coupled with her love of writing can be

spark of who you are.

felt in her articles. Her playful insights bring the artist and the art to life on the page. Always up for a new challenge, she dives into researching each article with spirited enthusiasm. Can be found at twitter.com/@mostlyhappyjrny

Left: Hilary Hahn (on the left), Stephen Caplan and his daughter, Alyssa Caplan Bottom: UNLV plays IDRS Photos Courtesy of Stephen Caplan

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Premier Fine Arts Digest of the Mountain West

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At Curtain Call Comfort in Knowing by Gordon Hultberg

W

hen planning a night out, most go in search of

can truly allow yourself to get lost in their characters, their

familiar entertainment; a cuisine we enjoy, a

lives, and to essentially connect and enjoy. One main goal

favorite activity, or a band we like. Every once in a

is to watch and listen for believability with their story;

while, we creatures of habit venture into less familiar territory. If you are one who has been curious, yet timid, about

their performance. At the same time, the playwright structured the

heading out to a symphony, opera, or play, keep reading. I

drama using a particular art and craft. Can you see it

urge you to try something new; if you are a performing arts

woven throughout the layers of the performance? This is

veteran, I invite you to rediscover the childlike wonder that

something that, when truly listened and watched for, can

held you wide-eyed and spellbound as the curtain went up

make the performance more satisfying. Issue plays can be

during your earliest shows.

intriguing, but the best art doesn’t preach: the ingenuity is

What follows are a few tips for getting the most plea-

in how a playwright constructed a script about people.

sure out of plays, concerts, or operas. If you are new to the performing arts, I urge you to try them; if you are returning to the theater after a week, a year, or a decade away, compare them with your own manifesto.

ORCHESTRAL /SYMPHONIC MUSIC Generally, performaers stay seated in one place for the whole program. Turn this static pose to your advantage. You can trust the instruments will be located in the same

PLAYS With each performance given, the actor find greater ease and flow with being their character, and they are

78

place; this allows you to notice subtle differences in rank between them, and to plan ahead to watch certain sections. Be patient and wait for it. There is always something

working as diligently as ever to be as transparant as pos-

worth waiting for. In one of Mahler’s symphonies, he

sible: they want you to forget they are acting so you so you

employs a sledgehammer! It pays to know a little about a

fibonaccifinearts.com


Rose Wagners Theater Lobby Photos by Gordon Hultberg piece before you go. But it is also disappointing to go and hear something you know really well.

Preparing for an opera you have never seen, has been simplified with Spotify. You can read a synopsis or listen to sound bites before you go to the live event to learn the story

OPERA Opera is the grossest offender of all, with its overblown acting, makeup on the romantic leads suitable for a horror movie, sets the size of a small town, and the singing—not even

line. Figure out where the areas or "highlights" are located if possible. These points are typical points where applause is appropriate. Shout BRAVO for a male and BRAVA for a female. Rarely,

in English! Yet being primed to enjoy yields such delicious

someone will attract attention to himself with BRAVI, for the

rewards.

whole ensamble. Save that one for your 50th opera experience.

Listen to the mood, not the words. Allow yourself to get

Keep in mind that an opera is a place where bigger is bet-

lost in the emotion of the event, whether light and airy or

ter. Get lost in the celebration of 'Over the Top'. This is one art

heavy and sad. You are always welcome to read supertitles on

form that combines singing, acting and elaborate costumes and

monitors to help you understand.

sets. Premier Fine Arts Digest of the Mountain West

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No microphones! Be in awe of what human voices and handmade instruments can do in a setting of splendid architecture designed with acoustics and aesthetics in mind. The performing arts: this space is the final refuge of human connectivity. If the performers can go two hours without a distraction to honor you, their guest, and Bach, Neil Simon, or Puccini, surely you can switch off and be attentive to the medium acts of attention In a sense you are removing the veil that stood between you and the author/composer and between yourself and all the past audiences of this work. Occasionally you will attend world premieres. You are hearing the same words Shakespeare’s, Verdi’s, or Tennessee Williams’ first audiences heard, but with today’s vitality and careful conservation. Unlike a movie that seems dated 20, 40, or 75 years after its debut, a thoughtful and well-produced performance lives and breathes the same air as we do, and anticipates the questions we bring with us today. We become part of a growing community, united by having attended the work on stage. Every time a new person participates as an audience member in a performance of Nutcracker, The Fifth Symphony, or Macbeth, she is brought into relationship with an enduring understanding that fears, thrills, wonders, dances, thinks.

TIPS TO HELP YOU ENJOY YOUR PERFORMANCE 1- DRESS APPROPRIATELY

3- COAT CHECK

6- TIMING SIGNALS

Keep venue and Performance in mind.

Unpredictable weather? Most audi-

In the lobby of a concert hall or opera

Remember that you are creating a fes-

toriums have a coat check service.

house, a bell or chime signals five

tive environment that contributes to

Sometimes there is a fee, but always

minutes’ time to get to your seat before

everyones enjoyment.

plan on tipping.

the act. When the lights dim, this is the

2- TYPE OF ATTIRE

4- FRAGRANCE

final signal to quiet and settle into your

Attire for the opera, symphony, and

Wear little to no fragrance - it can trig-

seats.

theatre are like “church clothes” - not

ger allergies and mingle unpleasantly

8- APPLAUSE

necessarily Sunday best, but take time

with others’.

When a conductor steps to the podi-

to looks nice. Dress modestly so you

5- BE EARLY

um, or even into the orchestra pit, this

are not rubbing skin with those you sit

Leave plenty of time to get to the

is time for applause. It is also custom-

by. Wear shoes and clothing without

venue, accounting for traffic, parking,

ary to welcome the concertmaster (a

holes, and of course tie and jacket are

walking, and the unexpected. 20 min-

violinist near the podium) with a round

always appropriate.

utes early is considered on time.

of applause, before the conductor and soloist make an appearance.

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Performing Arts

Hit The Spot An intimate and visceral experience by Brett Moellenberg

O

ur company is called The Spot; our studio is a converted store front that we use for classes, pri-

vate lessons and performances. Since opening in September of 2014, we have produced five shows: Next to Normal, 25th Annual Putnam County Spelling Bee, Rocky Horror Picture Show, Venus in Fur and Angels in America: Part 1 Millennium Approaches. Along with my partners Kevin, Peter, Yanna and dream of many artists across the country. In our little skitown of Ketchum/Sun Valley, Idaho, we are provided with the privilege and sovereignty over our creative work. We work in theatre because it is an art form unlike any other. The medium allows us to work with the struggles, challenges and joys of being human in a live setting. What separates theatre from other art forms is the collaboration of actor and audience, and this relationship is on hyper-drive in our tiny space. With a capacity that ranges 82

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Photos courtesy of The Spot

Natalie, I’m proud to produce my original work, which is a


Above: Stage En Route; not afraid to make some messes along the way. On the Right: One of the many and varied stage setups for this highly flexible, white-box space. Opposite Page: Spot student Riley Boice showcases The Spot's minimalist aesthetic. from 50-70 audience members, The Spot offers an unusual, visceral theatrical experience; resulting in a growing audience. Through 2015, we offered a large range of experiences, from the deeply wounding Next to Normal to the psycho-sexual Venus in Fur. We realized through most of 2015 that we would be producing the first part of Angels in America. This three and a half hour production focused on a number of themes from AIDS to Religion to Reaganomics. All of our previous projects had a level of safety attached to them because our physical space limits the risks we can take. However, Angels, was an enormous risk. Above all, we want to reach our audience’s heart. A play like Angels in America requires an extremely talented cast and some very specific technical moments, such as crashing “The Angel” through the ceiling of the set and elevating her above the play’s protagonist, Prior Walter. There are some projects you do for the sheer love of the work, and this was one of them. We aren’t master marketers, Premier Fine Arts Digest of the Mountain West

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Performing Arts

and we certainly don’t have a lot of resources; but, we learned

Learning how to use what you have more economically can cre-

that if you do great work, no matter where you do it, people

ate better art because it requires both talent and focus. We still

will hear about it and eventually they will come. We got to hire

live for those meaningful moments, though, when we can put

some of our closest friends from around the country and pro-

all our work on the line.

duce one of the most audacious and brilliant plays of our time. That feeling of accomplishment is irreplaceable. Moving forward as a theatre and a business, we will learn

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The medium of theatre will always live on and constantly evolve, over time, from day to day and performance to performance. To produce your own work is the freedom to live in that

to be more conscious of our limits. When we were younger,

evolution, to be constantly excited by what comes next. As we

we were told to reach for the stars, and while sometimes that

complete our season with the musical Spring Awakening, which

works, artists don’t always have that luxury. Fortunately,

features mostly high school aged kids, we go back to our roots.

instead of waiting tables or working temp jobs, our compro-

Learning how to tell a story with the bare minimum, growing

mise is more about scaling back when we needed to, or picking

as artists because we have to; and, most importantly, learning

more accessible material. Those choices can still be exciting.

from the younger generations.

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Above: The cast of Next to Normal, The Spot's first show, in January 2015. Opposite Page: The Spot's Young Company performs the controversial and powerful musical, "Spring Awakening."

"This small performing arts group is OUTSTANDING ... the most professional group of young actors we have seen outside of Toronto and New York!" ~Jeanie Catchpole

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Film

WILD Plans Films with Global Impact by Daniel Pimentel very fifteen minutes an elephant is killed by poach-

tally, World Wildlife Day. Screenings of the films will be held

ers. At this rate, if nothing changes, it may only be ten

for a limited time at US embassies all over the world, and will

years until there are no more of them left in the wild. “The

soon be available as part of a free programming package for

fact of the matter is, elephants in some places are going to be

conservation efforts.

extinct in one year,” laments Lisa Samford, executive director of the Jackson Hole Wildlife Film Festival (JHWF). It’s a sobering statistic: just sobering enough to sound a

ters around a topic of extreme crisis; in this case, the endangerment of wild elephants. The festivals are designed to create a

the rest of the Jackson Hole WILD team might as well quit

showcase accessible to elephant safe-holders around the world.

their jobs and go into accounting or politics. But it’s not, and

The ultimate goal of course, is to spread awareness and incite

they won’t.

human change-in-behavior. “The notion is,” she says, “that in a little village in Tanzania, some elephant organization can

Nations to host the first ever International Elephant Film

host an evening event so the people in that village have an

Festival. It’s exactly what it sounds like: nearly 250 films are

opportunity to learn what’s going on in their community and be

competing for seven different awards, each one of them star-

inspired to do something.”

ring the world’s foremost giant, long-nosed, mammals. Some of

The elephant film festival was the brainchild of the

the categories include: People & Elephants, available to films

Jackson Hole Conservation Summit, which meets every other

that explore the complex relationships between humans and

year in Jackson Hole, Wyoming. This past fall, conservationists

elephants; and African Voices, which is open to any elephant

and researchers gathered from around the globe to tell their

film made by citizens of an African country.

stories to filmmakers. The main topic was elephants. Next year

The winners of each category were announced at a special event at UN headquarters on March 3rd, which was, incidenLeft: Our Staff Right: Public WILD Festival

has always been to inspire excellence in storytelling that cen-

little hopeless. But if it really is hopeless, then Samford and

This March, the JHWF is partnering with the United

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The idea behind all JHWF projects, according to Samford,

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the summit will focus on another species, and the films will follow suit. The system of private summits, followed by public

Photos Courtesy of Jackson Hole Wildlife Film Festival

E


Top: ElephantSummit Bottom Left: Minds of Giants Bottom Right: Lisa Samford & John E. Scanlon festivals, ensures that the films parallel the issues of the day. Since the mid 90’s, the Jackson Hole Wildlife Festival has

an environmental nightmare, according to Samford. “We walk the talk”, she promises. But don’t worry; you won’t be forced

sought to engage the intersection where media collides with

into dehydration if you attend a festival in Jackson. They give

involvement with the natural world. “Everyone here believes

out reusable water bottles which you can refill at designated

that we can still make a difference,” Samford says of her team,

water stations.

and it’s critical to do so while the window of opportunity is still

It’s really no secret that this planet is in trouble. Elephant

open. That attitude appears to be what distinguishes Jackson

endangerment and plastic waste are such small pieces of a mas-

Hole WILD from other film festivals. While other festivals often

sive puzzle. One, it seems, that is being multiplied faster than

do contain films that inspire change in people, it always seems

it can be solved. In today’s day and age, media has tremendous

to be secondary to the art form of film itself. Although Samford

power. It is arguably the greatest tool that conservationists

insists that the wildlife films coming through her festival are

have at their disposal. If these filmmakers wanted to be famous

of the highest quality—and the fact that they can be found on

or make a lot of money they would not be making documenta-

Netflix, Discovery, and BBC certainly helps the claim—the

ries about conservation, Samford insists. “They are in it because

festival is about the real world first. The films themselves are

they want to use their time and their talent to make the world a

simply a vehicle into it. “As far as I’m concerned,” she says, “if

better place.”

media does not serve as the connective tissue between you and the world around you, then everybody is wasting their time.” The earth is serious business to the JHWF, just visit any

The topics of films that have gone through the Jackson Hole Wildlife Festival have ranged from population growth to rising sea levels, and everything in between. Many of the films are

one of the their public events. You won’t find a plastic water

massive productions, having been distributed by media giants

bottle anywhere on the premises, the consumption of which is

like National Geographic, but others were simply the result

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Elephant Summit Panel Discussion of one man with a video camera maxing out his debit card. No

sustains other creatures with whom we share it. The Jackson

matter what, Samford promises that every film that is entered

Hole Wildlife Film Festival hopes to achieve just that.

is viewed from start to finish by a group of at least three-to-five

“The bottom line is, media connects you to the world around

people before a decision is made on who the finalists will be. The

you,” Samford adds, “but it doesn’t replace the world around

panel understands that a proper impression cannot be made of

you.” She’s right, it certainly doesn’t. But hopefully it can open

a film unless it is watched in its entirety. And that’s a critical

the door.

attitude to have when it’s a lot more than just good art that’s at stake. When it comes down to it, it has been humans, and humans only, that have damaged this planet and forced it into its current

Daniel Pimentel is a lifelong musician,

parched and stripped condition. It is humans that have drained

writer and, now, producer. He has a BFA

it of its resources and clogged its rivers with unnatural waste.

is Cinema & Media Arts. He began writing

It is humans that have hunted down its beautiful, majestic ani-

early, completing his first screenplay in

mals to harvest their tusks and carve them into trinkets to place

the fourth grade and developed a talent for

on a mantelpiece. But if it is humans who have done this, then

song writing, starting in eighth grade. He

it is humans who must undo it. And it is completely within our

has self-released three records, produced

grasp to do so. Just because we are in red alert mode does not

also written and directed award-winning student films. Learn

up in our own world. The first step is realizing that there is

more at danielpimentel.bandcamp.com.

another world out there—an actual world that sustains us, and 88

several of his own music videos and has

mean it’s over—not even a little bit. But it’s easy to get caught

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NATIONAL CHOREOGRAPHIC FESTIVAL may 19–27

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Premier Fine Arts Digest of the Mountain West

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Film

E

very January, the worlds of television and motion pictures come together in Park City for the annual Sundance Film Festival. It gives many in the entertainment industry a chance to

talk about what they’re doing both in front of and behind the cameras to help others, and this year’s festival was no exception. It started on Day 2, when six prominent entertainers met in a panel discussion on the state and the importance of filmmaking, including independent films. Panel mem-

Born To Film Diane Ladd Viggo Mortinson Bryce Dallad Howard Matt Damon Hannah Simone Nate Parker

Bryce Dallas Howard. They talked about taking on roles out of their comfort zones, but roles with stories to tell. “When I first thought about acting, I said to myself, ‘I can’t do this,’” said Howard, who starred most recently in Jurassic World (and will be in its sequel) as well as

by Tom Haraldsen

The reason independent films are so important is to continue cultivating our filmmakers here in the U.S., to give them a venue to tell their stories. That’s why I’m so happy to be part of Sundance this year. Panel from left to right: Thomas Mittleditch, Diane Ladd, John Krakinski, Rebecca Hall, Bryce Dallas Howard and Viggo Mortensen 90

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Top: Egyptian Theatre Marque, photo by Jonathan Hickerson, Courtesy of Sundance Institute Bottom and Opposite Page: Photo credit Tom Haraldsen

bers included actors Diane Ladd, Viggo Mortensen, and


The Help and many other films. She’s the daughter of actor/

taking films away from the United States, offering better tax

director Ron Howard. “I knew I had to challenge myself, and

incentives, and our industry is losing jobs. The reason inde-

I think that’s something all of us here have done. It’s what

pendent films are so important is to continue cultivating our

drives you.” That drive, she said, enabled her to prepare for

filmmakers here in the U.S., to give them a venue to tell their

her role in The Help, a film she’s proud of.

stories. That’s why I’m so happy to be part of Sundance this

“Maybe the role or story you are trying to tell is something nobody else can,” Mortensen added. “You know you should do

year.”

The festival also gives actors a platform on which they

it but feel you might not be able to. And yet, that gut feeling

can pitch their causes, as was the case this year with actor

you have is to go for it.”

Matt Damon. In 2009, Damon and businessman Gary White

He said his biggest concern has been “getting the movies

co-founded a nonprofit organization that’s now called Water.

to the movie house. Nothing happens until your films can be

org. Its goal is simple—bring clean drinking water to citizens

seen, and the work of so many cast and crew members recog-

in countries such as Ethiopia, Haiti, India and Honduras. He

nized.”

said that every day, more than 663 million people worldwide

Ladd, a veteran actress and director of more than 120 films and TV programs, said she’s taken roles “sometimes for the challenge, and frankly, sometimes for the money. But I

lack access to clean drinking water, adding, “It’s totally unnecessary, something we know how to prevent and cure.” Water.org has partnered with beer maker Stella Artois

think most of us take parts because our souls have something

to create the “Buy a Lady a Drink” campaign, which Damon

to say.”

introduced at this year’s Sundance. A limited-edition collection

She applauded the public audiences who have sup-

of decorated glass chalices, sporting the Stella logo and the

ported Sundance for almost four decades (it was started in

theme, is being sold for $13. Each purchase provides a woman

1978), saying “there are so many other countries who are

in one of those countries with clean water for five years.

Celebrating with business partner Gary White , Matt Damon (center) and others launch of Water.org new campaign with Stella Artois Glasses: “Buy a Lady a Drink”. Damon introduced at Sundance 2016. A limited-edition collection of decorated glass chalices, sporting the Stella logo and the campaign theme, sold for $13. Each purchase provides a woman in one of those countries with clean water for five years. Premier Fine Arts Digest of the Mountain West

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Film

“Sundance gives me the opportunity to talk about this

Experience Through the Eyes of a Cat.” Guests donned cat

everyday dilemma that millions of people face,” he said. “We can

ears and virtual reality goggles to experience for the first time

be the generation that ends this. Americans respond to things

ever what it’s like to be a cat being adopted, “from the tearful

that work as this program has done, and we need to get the

moment they’re overlooked to the joyful union with its new fam-

word out.”

ily,” as festival promoters put it.

And then there’s the work others are doing for four-

Simone also presented entrants vying for, no kidding,

legged friends. For actress Hannah Simone, star of New Girl on

the “Golden Litter Scoop” award for best original short feline

FOX, it meant hosting the Catdance Film Festival, one of many

film. That award came with a $25,000 first prize.

events held at venues along Park City’s Historic Main Street

“There’s a great cause associated with Catdance,” she

told an overflow crowd at Cisero’s. “Fresh Step with the Power of Febreze is presenting the Catdance Film Festival as part of its Million Meow Mission, a campaign to help more shelter cats find loving forever homes. I’ve always loved cats, so being part of this is a wonderful experience for me.” Of course, Sundance is first and foremost about movies, and this year’s big winner was the powerful film “Birth of a Nation.” Writer/producer/director/star Nate Parker’s powerful period piece about Nat Turner, the African-American slave who led a slave rebellion in Virginia in 1831, won both the Audience Award and the Grand Jury Prize in the U.S. Dramatic Competition. Its distribution rights were picked up quickly, selling for $17.5 million to Searchlight Pictures, (it was made for $10 million). That marked the largest deal at the film festival this year. Searchlight also committed to heavily promoting the film on next year’s awards circuit. The 2016 film uses the same title as the title of D.W. Griffith’s 1915 KKK propaganda film in a very purposeful way, according to Parker. “Griffith’s film relied heavily on racist propaganda to evoke fear and desperation as a tool to solidify white supremacy as the lifeblood of American sustenance,” he told The Hollywood Reporter. “Not only did this film motivate the massive resurgence of the terror group the Ku Klux Klan and the carnage exacted against people of African descent, it served as the foundation of the film industry we know today. I’ve reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change.”

Filmmaker Mike Thompson, winner of 2016 Golden Scoop Award eachfor year part of Sundance. filmas "The Purfect Patsy" and actress and hostess Hannah Simone unveiled thepresented first-ever by “Virtual Reality Simone. Catdance Film Festival new Fresh Step and Febreze on Jan. 23, 2016 in Park City. Photo Courtesy of "new Fresh Step with the power of Febreze" 92

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Award Winning Builder “Best Of Show”

A Fresh Perspective On Home Building

801.455.6965 www.altacreekhomes.com Premier Fine Arts Digest of the Mountain West

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Stop & Setup: Snap Time Lapsed Lifestyle by Mike Hathenbruk

I

have been involved, and have enjoyed visual arts for as long as I can remember. As a kid and past my teen

years, I loved to draw anything and everything. From pencil and ink to watercolor and wood to metal and clay, I have dabbled in just about every medium. It seems that I have always clung to some sort of artistic outlet, for enjoyment as well as to keep me sane. In the early days of my college career, I was forced to do all sorts of crazy assignments that I really didn’t enjoy. It was about this time that I decided I hated art. Knowint that art was one of those things that you myst enjoy, I chose not to pursue it as a career. After years of leaving this component out of my life, photography began to creep in and I was intrigued. Work keeps me traveling; I see amazing stuff on the road. In November of 2012, I started driving to my jobs, and I bought my

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Half Dome

Tse Bit'a'i

Milky Palmetto

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Fleeting


Photos Courtesy of Mike Hathenbruk

first camera. My main goal was to be able to shoot the stars.

first I started off with really bad HDR. When I was doing it, I

Having always been into science, specifically astronomy, cap-

thought the images looked absolutely amazing, but with a more

ture amazing pictures of the Milky Way was top of my list.

mature eye, I see everything that was wrong with them. I find

About a year and a half ago, I started experimenting with time-lapse photography, and found it fascinating. Something as simple as watching clouds dance with moutain peaks, the

it humorous how artistic taste changes and matures with experience. Before I bought my first camera, I’d never been to

sun sink into the horizon, and stars speeding through the night

Yosemite; never had to urge to go. Now, after planning work

sky. This art is extremely time consuming from capturing the

trips around the great places I can shoot along the way, I've

frames in the field, to the creation of the final product with

been back 5 times. Photography has helped me appreciate

editing the thousands of photos. The outcome, however, is the

nature and opened my eyes to the beauty around me, no matter

most rewarding of the photography I do.

what I am doing; it is everywhere!

I have been shooting for about three years, and I have so

From Shiprock, to Bisti, to Las Cruces, to Alamogordo, to

much to learn about this art, but from to my beginning photos

Eagle Nest, you can find some absolutely breathtaking country

to my most recent, I have learned an insane amount about pho-

throughout New Mexico, my favorite place to shoot. I think it

tography. I feel as though my photos have matured greatly. At

might be one of the most underrated states in the union. Every

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Photography

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time I go there, I leave with at least one photo that makes me grin from ear to ear. This is a state that needs to be explored, and not just driven through. My main goal with photography is to be as original as possible. With so many talented photographers in the market, it seems to be a tough goal. I strive, though, to always find a different view of the subject. Mesa Arch, The Wave, and Antelope Canyon are a few examples of over photographed places, but I still find it possible to get unique captures. I think with everything we do, finding the path less taken will always be the most rewarding.

Wendy Chidester

14th Annual Fundraiser & Exhibition Thursday, May 19, 2016 6:00–9:00 pm Online registration opens April 22, 2016 at www.accessart.org

This signature event presents unique artwork that is both affordable and highly collectible, created by approximately 160 established and emerging artists from the local community. Using 10 x 11 inch plates (tempered panel or plexiglass), each artist prepares small works in their recognizable style. It is a virtual kaleidoscope of one-of-a-kind artwork. For the past 4 years, tickets to this popular event have sold out. To learn more, please visit our website www.accessart.org.

230 South 500 West #125 Salt Lake City, UT 84101

Premier Fine Arts Digest of the Mountain West

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99

THE STORIES OF ALL OF US


100 •

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Find RARE A Gem of Historic Jackson

O

submitted by Rare Gallery nce you cross the threshold of the RARE Gallery in

to join in their own love of art. Origami-inspired sculpture

Jackson Hole, you feel at home. Calming natural ele-

by Kevin Box emphasizes Shonto Begay’s Van Gogh-like

ments paired with comfy furniture encourage you to take a

memories of his early life on the Navajo reservation.

seat in front of your favorite artwork. As you sit listening

Tomas Lasansky’s masterpiece portrait collection dives

each piece’s story, you are invited into a unique experience

deep into perfecting mediums while exploring some of the

you will always remember, fondly recalling the careful

most interesting characters of our history. Dave Newman’s

attention to art, detail and friendliness.

elaborate mixed media creations contrast Nine Francois’s

RARE is owned by Rick and Hollee Armstrong,

minimalist and modern photography. One of our favorite

Jackson Hole residents for over two decades. They under-

artists, Rick Armstrong, carefully weaves together realism

stand what the sophisticated art buyer searches for in

and fantasy throughout his collection. Each artwork is a

this niche market, “Art for the New West.” The gallery is

delicate balancing act between traditional and modern, old

designed to entice locals, tourists and everyone in between

honors new.

Front Room Gallery, Photo courtesy of RARE Gallery

Premier Fine Arts Digest of the Mountain West

• 101


Destinations

RARE’s unique feel is enhanced with their high caliber art. Ansel Adam’s Parmelian Prints of the High Sierra is stunning as the galleries crown jewel. Warhol, Lichtenstein and other historically important collections hang adjacent Adam’s blend beautifully as a highly acclaimed collection. The gallery represents a wellcrafted mix of established museum artists and emerging artists to satiate a refined taste. In a single statement: “A life lived well is a RARE thing.” The Gallery houses over 45 artists within its 6,000 sq. ft. of artistic terrain. The Armstrong’s are masterful with enticing emotion and conversation over their favorite topic, art. Utilizing technology to provide an intimate glimpse into the techniques and inspirations of their artists, they have made it possible for visitors to cultivate a personal relationship with paintings, sculptures, photography and jewelry. In fact, many guests say that the gallery feels more like a museum due to their interactive experiences with the art that is both emotional and factual.

Top Left: Tomas Lasansky 'Sitting Bull with Skull' Top Right: Rick Armstrong 'Cabin in Snow' Right: Tomas Lasansky 'Einstein V'

102 •

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"These are not dinner plates. The plates question is common, and we’re happy to clarify." explains Sheryl Gillilan. In the beginning, each artist created a work of art using donated recycled printer’s plates measuring 10 ” x 11 ” with two holes punched in the top.

300 Plates A Classic Favorite Submitted by Art Access Artists of Plates, clockwise from top left: Karina Cutler, Paul Vincent Pernard, Wendy Chidester, Angela Fife, Valori Boss, Carter, Leslie Duke, Ryan Premier Fine ArtsJoe Digest of the Mountain West Ackerly. • 103


Destinations

"T

hese are not dinner plates,”

ing, and invited multiple artists to

explains Sheryl Gillilan, exec-

participate. Each artist created a

utive director of Art Access, fielding

work of art using donated recycled

a call from a mildly perplexed artist.

printer’s plates measuring 10 ” x 11

“The plates question is common, and

” with two holes punched in the top.

we’re happy to clarify,” she adds.

The event was so successful that Art

For those unfamiliar with Art Access’ 300 Plates Fundraiser &

ally. Now in its fourteenth year, the

Exhibition, the name might sound

event features the work of approxi-

a bit confusing, but a little history

mately 160 artists, each creating two

goes a long way in explaining the

plates.

origin of the fundraiser’s name.

104 •

Access has repeated the event annu-

While the event’s name and

In 2003, Art Access was looking

format has remained the same, the

to diversify its funding base since

artists now create art on 10 " x 11 ”

the majority of the organization's

masonite or acrylic plates provided

funds came from a single source. At

by Art Access. Working in their own

the suggestion of then-board mem-

medium, each artist creates unique

ber, Joe Ostraff, Art Access held a

pieces for the exhibition. The plates

fundraiser using progressive pric-

are hung side-by-side in the gallery,

fibonaccifinearts.com

Artists of Plates, top left: Lucia Heffernan, Nathan Florence, Stephanie Hock, and Erin Berrett.


creating a colorful and eclectic dis-

donation of printers’ plates and the

play showcasing Utah’s diverse art-

decision was made to turn them

ist community.

into art. “The collective group of

Who participates?

artists who contributes to this event

In early January, Art Access

has always given its finest work. I

sends out a call for artists for 300

think we all welcome the opportu-

Plates. “The idea is to have a wide

nity to be part of an unbroken circle

representation of Utah artists

of community and creativity,” she

because there are as many diverse

says.

Photos Courtesy of Art Access Gallery

art styles as buyers. Everyone has

Then there are artists like

a different budget and taste, and

Brian Bean, with his signature

at 300 Plates, there’s something for

style of using oil pastels on paper

everyone,” says Gillilan.

grocery bags.

Meri DeCaria, a seasoned artist

“Seven years ago, at the insis-

who has participated in the event

tence of my friend Mark Robison,

since its inception, is also director

I gave Art Access a tattered 9x12

and curator for Phillips Gallery. “As

envelope filled with scrap paper

a painter, I can’t think of anything

drawings. I didn't think much of

better than to support an organiza-

my work, and I was sure Art Access

tion that allows people of all abili-

would think even less. Instead, I

ties to benefit from the act of mak-

was encouraged to apply for a show

ing art,” she says.

there. Without Art Access, no one

Marcee Blackerby, a local

(except Mark and my family) would

mixed-media artist and story-

ever have seen my work. Giving

teller, has shared in many Art

back through 300 Plates is a small

Access experiences, including as an

way I can express my gratitude for

apprentice in the Partners Artists

all of the opportunities Art Access

Mentoring program. She was there

gives local artists like me.”

when Art Access received its first Premier Fine Arts Digest of the Mountain West

• 105


Must-See Hot Spots for People Who Love Art

Collector's Destinations

Fibonacci Fine Arts Digest Volume 2 Issue 1 cover UV coating.indd 1

106 •

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Salt Lake City Metro Antoinette’s Antique Jewelry Tonya Mahood

447 E 100 South Salt Lake City, UT 84111

239 East Broadway Salt Lake City, UT 84111 801-359-2192

slussergallery.com

www.antoinettesjewelry.com

Bella Muse Gallery

Illume Gallery of Fine Art

101 25th Street Ogden, UT 84401 385-399-7969

illumegalleryoffineart.com

Urban Arts Gallery

60 E South Temple Salt Lake City, UT 84111

Horne Fine Art Gallery 142 E 800 South Salt Lake City, UT 84111 www.hornefineart.com

Evergreen Framing Co. & Gallery, Inc. 3295 S 2000 East Salt Lake City, UT 84109 evergreengallery.com

15th Street Gallery 1519 S 1500 East Salt Lake City, UT 84105 15thstreetgallery.com

DIGEST

Slusser Gallery

Phillips Gallery Meri DeCaria, Director/Curator 801-364-8284 444 E 200 South Salt Lake City, UT 84111 phillips-gallery.com

137 S Rio Grande St Salt Lake City, UT 84101 utaharts.org/locations/ urban-arts-gallery

Sagebrush Fine Art

3065 S West Temple Salt Lake City, UT 84115 sagebrushfineart.com

Utah Artist Hands

163 E Broadway Salt Lake City, UT 84111 utahands.com

Modern West Fine Art 177 E 200 South Salt Lake City, Utah 84111 modernwestfineart.com

MEDIUMS

a Fine Arts Company

1

2/17/15 9:12 PM

“In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.” ~ John Van Hamersveld


St. George Area Arrowhead Gallery ETC

Mission Gallery

Electric Theater Center 68 E. Tabernacle St. St. George, UT 84770

173 N Main St St George, UT 84770

435-628-9592

Split Rock Gallery

facebook.com/

ArrowheadGalleryETC

Coyote Gulch Art Village 875 Coyote Gulch Ct Ivins, UT 84738

coyotegulchartvillage.com

Earth & Light Gallery 847 Coyote Gulch Ct Ivins, UT 84738 cdwood.zenfolio.com

Whitaker Studio

899 Coyote Gulch Ct Ivins, UT 84738 whitakerstudio.com

Gallery 873

873 Coyote Gulch Ct Ivins, UT 84738 gallery873.com

themissiongallery.com

2 W St George Blvd St George, UT 84770 splitrockinc.com

World Focus Gallery 20 N Main St St George, UT 84770

Wide Angle

51 N Main St St George, UT 84770 wideangleart.com

Worthington Gallery, Inc. 789 Zion Park Blvd Springdale, UT 84767 worthingtongallery.com

DeZion Gallery

1051 Zion Park Blvd Springdale, UT 84767 deziongallery.com

Sears Art Museum Gallery 155 S University Ave St George, UT 84770

dixieculturalarts.com/sears-museum

Left of Center Gallery

Centaur Art Galleries

leftofcenterart.org

centaurgalleries.com

Martin Lawrence Galleries

Kevin Barry Fine Arts

martinlawrence.com

kevinbarryfineart.com

2207 W Gowan Rd North Las Vegas, NV 89032

3500 S Las Vegas Blvd S Las Vegas, NV 89109

Don’t see a gallery you love? Let us know by emailing advertising@fibonaccifinearts.com

4345 Dean Martin Dr Las Vegas, NV 89103

The perfect scenario; a couple with artistic flare in their fibers makes it official.

www.KrestaLeighPortrait.com 801-916-3952

Las Vegas Area

6001 S Decatur Blvd Las Vegas, NV 89118

Premier Fine Arts Digest of the Mountain West

• 107


Must-See Hot Spots for People Who Love Art

Collector's Destinations

Fibonacci Fine Arts Digest Volume 2 Issue 1 cover UV coating.indd 1

108 •

fibonaccifinearts.com

Artistic Lifestyles Gallery

Contemporary Arts Center

artisticlifestyles.com

lasvegascac.org

2758 S Highland Dr Ste B Las Vegas, NV 89109

1217 S Main St Las Vegas, NV 89104

Sun Valley Area Jennifer Bellinger Art Studio & Gallery 511 East 4th Street Ketchum, ID 83340 208-720-8851

jbellingerart@aol.com

Broschofsky Galleries 360 East Avenue Ketchum, ID 83340 208-726-4950 art@brogallery.com

Gallery De Novo Ketchum, ID 83340 denovoartconsulting.com

Gail Severn Gallery 400 1st Ave N Ketchum, ID 83340

gailseverngallery.com

Gilman Contemporary 661 Sun Valley Rd Ketchum, ID 83340

gilmancontemporary.com

Denver Area Robischon Gallery 1740 Wazee St Denver, CO 80202

Native American Trading Company 1301 Bannock St Denver, CO 80202

nativeamericantradingco.com

DIGEST

Sandra Phillips

Plus Gallery

420 W 12th Ave Denver, CO 80202

2501 Larimer St Denver, CO 80202

thesandraphillipsgallery.com

plusgallery.com

Counterpath

Ice Cube Gallery

counterpathpress.org

icecubegallery.com

613 22nd St Denver, CO 80202

3320 Walnut St Denver, CO 80202

MEDIUMS a Fine Arts Company

1

2/17/15 9:12 PM

“Because watercolor actually moves on the paper, it is the most active of all mediums, almost a performance art.” ~ Nita Engle

“Let us remember: One book, one pen, one child, and one teacher can change the world.” ~ Malala Yousafzai


Jackson Hole Area Trio Fine Art

Tayloe Piggott Gallery

triofineart.com

tayloepiggottgallery.com

Rare Gallery

Astoria Fine Art

raregalleryjacksonhole.com

astoriafineart.com

545 N Cache St Jackson, WY 83001

60 E Broadway Ave Jackson, WY 83001

62 S Glenwood St Jackson, WY 83001

35 E Deloney Ave Jackson, WY 83001

Park City Area Montgomery-Lee Fine Art 608 Main St Park City, UT 84060

Terzian Galleries 309 Main St Park City, UT 84060 terziangalleries.com

montgomeryleefineart.com

Gallery MAR

Julie Nester Gallery 1280 Iron Horse Dr Park City, UT 84060

436 Main St Park City, UT 84060 gallerymar.com

julienestergallery.com

Kimball Art Center 638 Park Ave Park City, UT 84060 kimballartcenter.org

McMillen Fine Art Gallery

1678 Redstone Center Dr. Ste 120 Park City, UT 84098 mcmillenfineart.com

King’s Gallery 13 W Center St Logan, UT 84321

Sean Nathan Ricks: The Main Street Gallery

antiquesutah.com

909 S Main St Ste F Logan, UT 84321

Winborg Masterpieces

Logan Fine Art

55 N Main St Logan, UT 84321 winborg.com

Don’t see a gallery you love? Let us know by emailing advertising@fibonaccifinearts.com

Kresta Leigh Portrait Couture Turning your occasion into a masterful work of art.

www.KrestaLeighPortrait.com 801-916-3952

Logan Area

60 W 100 North Logan, UT 84321

loganfineartgallery.com

Premier Fine Arts Digest of the Mountain West

• 109


Poet's Corner

Dark Force by Suzi Q. Smith

you know how my hips have never forgotten the drum? you know the way my voice sounds like a conjured Grandmother? you know how I write poems like invocations, right? you know how my spirit never sleeps? how we laugh at our own temporary blood? and oh, sweet Lord, how we laugh; how buckets of glass leap from our heads, thrown back and open, how we spill sharp, choking out the swallowed stingers; how we dance until our feet blister and open, knowing the stains will tell the story of our movement; we super magic, we beloved immortal, even our echoes got knuckles; listen, in the canyons, over the ocean crashing, our ancestors stay chanting:

we in here. we still here. we been here. we stay here. we survived. we survived. we survived. 110 •

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FIND YOUR VOICE. FUEL YOUR PASSION. Premier Fine Arts Digest of the Mountain West IGNITE YOUR FUTURE.

• 111


Editor’s Choice

L

et out in awe, my breath was gone from my chest. This painting, large, warm, and begging to be jumped into, had me at hello. I first met Brad, along with a small body of his work at

a private show out of Dan Toone’s home in Taylorsville, UT last year. Brad had been a longtime family friend of the Toone family and I have not been able to get the pieces, the coolness of the evening, out of my mind. Make time to paint, Brad. Make time to let your brain unravel a while and do it often.

The Artist As told by Brad Larsen I've enjoyed drawing since I could hold a crayon but I didn’t take art seriously until high school. Since then, painting has kind of slid to the back burner. I am a construction superintendent by day, and I really don't spend as much time painting as I would like. The mindset I need to paint is a completely different one than at work, and it is difficult for me to make the switch. I was lucky to have had amazing teachers, one being Ms. Peggy Anderson. She introduced me to watercolor and since then, it has been my favorite medium. I really enjoy the feel of water to spread pigment and using transparent layers to create the image I have in my mind.

Brad Larson HONU, 2012

17 " x 27 ", Watercolor 112 •

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