| 2004 EXHIBITS ARCHIVE |
|
|||||||
|
|
||||||||
|
Royden Card
Dale Peel |
Overlook: A Retrospective Exhibit December 3, 2004 - January 29, 2005 Although the UVU Woodbury Art Museum has no windows, its next exhibit will give one the nostalgic feeling of sitting on grandma’s front porch watching the sky shift colors and listening to story after story of the way things used to be. Royden Card, known for his Utah desert prints and Dale Peel, pioneer furniture maker, are combining their talents for an exhibit entitled, “Overlook: A Retrospective Exhibition” from December 3, 2004 to January 29, 2005. Card chose the theme “Overlook” to look back at his career but also to look out at a beautiful vista, the kind he loves to paint. Although he has degrees in both painting and printmaking, Card is recognized for his monochromatic woodcuts of the Utah desert. “I’m probably more well known for my prints. In fact, some people don’t know that I paint.” This is unfortunate because with his paintings Card expands his palate to include rich fauvist-like colors, bold blue mountains, brilliant yellow bushes, and deep red foothills. His paintings intimately reveal the respect and love he holds for the desert. Dale Peel is another gifted artist grateful for the Utah desert, or at least the people who lived there. He builds heirloom-quality replicas of early Utah pioneer furniture and has been doing so for the past 14 years. After receiving a master’s in painting from Claremont Graduate University and being exposed to the work of Sam Maloof, Peel decided to preserve Utah historical culture by crafting beds, dressers, stools, chairs and tables just like the pioneers. Pioneer furniture displays an eclectic mix of styles of the time. Though a range of skill levels is evident, it is not crude make-shift frontier furniture. Most pioneer cabinetmakers were very skilled, coming from Great Britain, Scandinavia, and the eastern U.S. where they had been trained in the apprentice tradition. The most distinctive physical feature of this furniture is in the finish, not the style. At least 90% of this furniture was grain painted to look likes oak, walnut and mahogany; the painted grain often included a burl or crotch figure as well. Dale Peel continues this heritage of craftsmanship. His furniture is welcoming and simple. In fact, this will be one of those rare exhibits where touching is allowed and even encouraged. “It’s made to be used,” says Peel regarding his work. “No one can touch Royden’s pieces, but I hope people sit down in my chairs and enjoy a good conversation.” So visit the UVSC Woodbury Art Museum until the end of January to feed your artistic appetite and appreciate Utah’s treasures. http://www.peelfurniture.com |
|||||||
|
|
||||||||
Jack Harris The Shining 
Greg and Tim Hildebrandt Fellowship of the Ring |
"Favorite Flix" from the Society of Illustrators "Lord of the Rings" from the Neibaur Collection November 5 - 23, 2004 Is There Such a Thing as a “Chick Flick?” Movies. American conversations can’t go three minutes without the mention of a movie. It is a subject that evokes all kinds of responses from the general population. After all, who doesn’t know a couple that argues over which film to watch for date night: the latest romantic comedy or Schwarzenegger’s latest action thriller? Who doesn’t have a favorite flick, that classic reel that’s watched over and over? Whose family doesn’t have a movie buff, a zany character who’s obsessed with Hollywood? Artists aren’t immune to the cinema’s infection. Over fifty illustrators have lent their talents to a great experiment and the outcome of this project determines, once and for all, whether there is indeed such a thing as a guy film as opposed to a “chick flick.” One half of the artists are gents and the other half are ladies. They have been asked to illustrate a scene (actual or imagined) from their all time, #1 favorite motion picture. The illustrators have put their own spin on that instant of celluloid magic that continues to resonate in their personal theater of the mind. So, no talking please, stock up your Milk Duds, get ready to get those Jujubes unstuck from your rear molars and enjoy the show. How did they Cast the Blockbuster Film, Lord of the Rings? Greg and Tim Hildebrandt, the same artists who created the original Star Wars movie poster for George Lucas were commissioned in the late 1970’s to create a series of Tolkien’s Lord of the Rings. Calendars that were made from these images are now a hot collector’s item and the Hildebrandts have since created art series of Alice in Wonderland, Phantom of the Opera, Snow White and the Seven Dwarves, and other popular stories. Because they are commercial artists, once the image is captured on film and ready to publish, the original work is dumped in the back of studio storage, unframed and unvarnished. A Provo couple, Dale and Terry Neibaur, fell in love with the Hildebrandt’s work years ago and now have a brilliant collection of over 85 pieces of fantasy art. Their collection includes dozens and dozens of Hildebrandt originals; they’ve even commissioned Greg to paint their portraits. (Of course, that piece will be on display as well.) It’s rumored that casting agents used the Hildebrant’s original illustrations to cast Peter Jackson’s blockbuster hit, The Lord of the Rings. So grab your kids (or your parents!) and come see for yourself. |
|||||||
|
|
||||||||
Victor Jal Uber Mask of Love and Tradtion 
Mario Lual Deng Untitled |
"The Lost Boys of Sudan: The Hidden Holocaust" "The Women: Finding New Life in America" by Bevan Chipman September 10 - October 23, 2004 The atrocities of war, bloodshed, famine and extreme loss haunt Atem Aleu, one of thousands who fled Sudan during a brutal civil war that is still ravaging the country. But since Aleu came to Utah in 2001, he has found an artistic escape. Aleu’s work will be on display, along with the work of 20 other Sudanese artists, at the Utah Valley University Woodbury Art Museum, Sept. 10 through Oct. 23. The exhibit will be shown in conjunction with “The Women: Finding New Life in America,” Bevan Chipman’s watercolors of Sudanese women living in Salt Lake City. The exhibit is supported by a grant from the Arts Education Program of the Utah Arts Council, a state agency funded by the Utah State Legislature and the National Endowment for the Arts. “The Lost Boys of Sudan, The Hidden Holocaust” exhibit is a project compiled by Aleu, who is currently studying art at Brigham Young University. Aleu was one of “The Lost Boys of Sudan,” 20,000 Sudanese boys whose fathers were killed and mothers and sisters enslaved after Islamic Fundamentalists launched a genocidal attack against their people. Aleu and the others trekked across the African jungle, barefoot and desperate to survive. Many of his fellow “lost boys” did not make it to the refugee camp in Kenya, including his own brother. Aleu survived, lived at the camp for several years and ultimately came to America through the assistance of the International Rescue Committee, leaving behind many of his peers. Knowing the power of art to heal and educate, Aleu recently returned to Kenya to hold a 12-day art workshop at the refugee camp. He gave 20 young Sudanese refugees an opportunity to express themselves through art, something they could not have done without his assistance. Their collective works will be displayed as part of the Woodbury Museum’s “Lost Boys” exhibit. “Atem wants to give the youth hope, something to look forward to instead of death and fear,” said Elizabeth Nelson, museum curator. “He wants to inspire his people to heal and mend and give them strength to carry their stories to the world.” Watercolors depicting Sudanese women living in Salt Lake City will also comprise a part of the exhibit. Bevan Chipman took photos of the women, dressed in multicolored African clothing and gold jewelry, and their husbands and children. “One of my goals with these paintings is to celebrate the Sudanese people who have been through tremendous struggles and are trying to put their lives together here in Salt Lake City,” said Chipman. Abdullahi A. Gallab, visiting professor at Brigham Young University, began his education at the University of Khartoum in Sudan studying Arabic and history. He received a B.S. in communication from Boston University. His studies brought him to BYU, where he received an M.A. in communications, as well as a Ph.D. in sociology. His areas of specialty are sociology of religion and Islamic studies, Islamists and Sudanese, globalization and global communication and multiculturalism. As a Muslim from Sudan, his professional and personal opinions and observations about that country, as well as global justice are insightful and perceptive. Bevan M. Chipman was born in Utah. He received a B.S. in sociology from Brigham Young University and an M.A. in social work from the University of Utah. He spent his career working as a public school counselor and social worker, but his art was always a hobby. When retirement drew closer, he decided to “get serious” about painting. In 1989, Chipman studied at La Romita School of Art in Terni, Italy. He has subsequently traveled to Turkey, Mexico, Greece, Singapore and Eastern Europe on painting trips. Chipman’s past exhibits include the Bountiful Art Center, Art Access Gallery and Flat Rabbit Gallery in Park City, Utah. Atem Thuc Aleu was born in Sudan. As a small boy, his parents and family were killed during a civil war, and at the age of seven he began walking to refugee camps in Ethiopia and Kenya to survive. In 2001, he was granted asylum to the United States through the efforts of the International Rescue Committee (IRC). He is currently pursuing his artistic interests at Brigham Young University as a student in the visual arts program. Aleu started painting at the Kakuma Refugee Camp in 1994. He began with watercolors then used acrylic and oils. His art depicts life in the refugee camp as well as his journey and cultural evolution. His art also expresses his hope for the freedom of his people, and the beauty he sees in his new home in America. In May 2004, Aleu returned to the Kakuma Refugee Camp and founded the ARAC (African Refugee Artists Club). Refugees ages 16-30, each with varying artistic skill, were invited to educate the world through their art as well as begin healing from the trauma of their war-torn lives. |
|||||||
|
|
||||||||
Richard Johnston Dual Courtyards Steel, Pigment, Concrete and Natural Materials |
Utah Public Sculptural Arts Commissions August 6 - 28, 2004 The UVU Woodbury Art Museum is pleased to host the last 20 years of commissioned sculpture by the state of Utah, courtesy of Utah Arts Council. To see images of Utah's Public Art Collection click here. |
|||||||
|
|
|
|||||||
Phillip Ah You Nightscape |
AVC Faculty Show
August 6 - 31, 2004 A collection of recent works from members of UVSC's Art & Visual Communications faculty members. The exhibit features examples from a broad spectrum of media and approaches. This annual show gives both full-time and adjunct faculty an opportunity to exhibit their works to the community and to potential AVC students. |
|||||||
|
|
||||||||
Lee Udall Bennion Flowers of Havasu 
Linda Baker Woven Patterns Watercolor |
Lucille T. Stoddard Annual Women's Exhibit American Watercolor Society Exhibit June 4 - July 31, 2004 The UVSC Woodbury Art Museum is pleased to announce the first annual women’s juried art exhibit, named after UVSC President Emeritus, Lucille T. Stoddard. The exhibit was open to any woman artist residing in the state of Utah in two categories: amateur and professional. The artists could submit up to three pieces of any media and style for $15; all entry money will go strictly to awards. The Utah Arts Council awarded the Museum a Project Grant to fund this event which will be juried by Sharon Gray, Associate Director and Curator of Education of Springville Museum of Art. Three women artists will be featured: Jacqui Biggs Larsen, Lee Udall Bennion, and Penny Creasy. Penny Creasy has lived and worked on National Wildlife Refuges her entire married life due to her husband’s career. This enabled her to experience wildlife in a way few others can. She paints what some only glance at during a packed vacation, but do not really see, striving to recreate a particular mood or moment that is often quiet and almost sacred. Working to communicate an understanding of form and habit she gives her viewer a little pinch of time. Whether she chooses pastel or oil, the rendering creates a feeling that is peaceful and private. Penny studied art at the Universities of Nevada and Arizona and was one of six women wildlife artists to be represented in the Top Forty paintings at the Wyoming Conservation Stamp Competition. She’s also exhibited at the Easton Maryland Waterfowl Show and High Plains Audubon Wildlife Art. Jacqui Biggs Larsen, originally from Syracuse, New York, has exhibited in several one person and group shows in Texas, Utah and New York, as well as in many national juried shows across the country. She has received numerous awards, grants and honors, including a Utah Visual Arts Fellowship. Most recently, her work was selected by Lowery Stokes Sims, former twentieth-century curator at the Metropolitan Museum of Art to be included in The De-Constructed West at the Millennium Arts Center in Washington, D.C. Jacqui has an MFA from Brigham Young University and has taught as an assistant professor at Northwest College in Houston. She is married to the poet Lance Larsen. They live in Springville, Utah with their four children. She says of her art, “As a mixed media artist, I am constantly collecting---photographs, torn-up maps or prints, string, casters, discarded quilts and clothing, old savings stamps—all artifacts from our life stories. When gathered together, combined in new ways, and layered with painted images and text, I make discoveries about the commonplace, the ordinary, all the fragments that make up the drama of our individual lives.” Born in Merced, CA in 1956 to Ada and Addison Udall, Lee came to BYU in 1974 to do a BFA in printmaking. Terrified of using color, she didn’t take the required painting classes until her third year. By the time she was half way through her first piece, she knew she was going to change her major to painting. “I loved the texture, smell, color and instant gratification of oil paints. I still do…The strongest desire I have when painting is that my work be beautiful and reflect the love and interest that I have in what I paint. I hand carve and paint the frames for my paintings. I often put as much time and energy into the frames as the paintings. I feel that frames are an integral part of the piece.” She left school to start a family but finished her BFA in 1986. Since then she’s worked in her studio in Spring City where her artist husband, Joe, and she have lived all their married life. Her first studio was in the kitchen, then the master bedroom while the couple slept in the attic, but since 1991 has been a restored log cabin on their property. The American Watercolor Society was founded in 1866. This traveling exhibit was selected from the New York exhibition and consists of forty paintings by artists from all corners of the United States. The New York exhibition is composed of over 100 paintings chosen from over 1600 slides. These slides were submitted to an elected jury whose chose awards as well. The society boasts among its past and present members Edwin Austin Abbey, Winslow Homer, Sir William Russell Flint, and Andrew Wyeth. |
|||||||
|
|
||||||||
Andrew Kosorok Kiva of Snakes Stained-Glass |
The Cloward Collection of Western American Art "Arrow to the Sun: A Tale of the Search for Meaning" by Andrew Kosorok May 7 - 29, 2004 A very long time ago, a shaft of sunlight fell upon a fair maid and she conceived and bore a son. As he grew, he tried to discover who his father was, but none would say. Finally an old arrow maker, without saying anything, bound him magically to an arrow and shot him to the sun. When he arrived, Arrow asked the Master of the Sun, or the Sun King, if he knew who Arrow's father was. The Master told Arrow that before the answer could be given, he would have to pass through and overcome four kivas, or holy rooms, each of which would endow him with special powers. The first kiva was filled with lions, the second with bees, and the third with snakes. Arrow passed through and overcame each one, growing from each trial. The fourth kiva was filled with the storm's lightning. This was the most powerful and most frightening kiva, but Arrow passed through it and survived. He returned to the great hall and again asked the Master of the Sun his question. Here Arrow learned that the Sun King was his father, and the trial of kivas endowed him with his father's power. Arrow returned to earth and used his power to bless his people. The story of Arrow to the Sun expresses a theme shared among most myth cycles, and buttresses a hope common to the human condition. The story shows that someone who appears to be ordinary may not only possess an incredible heritage and reserve of ability, but may also have a completely unbounded potential. The Pueblo version, which is used for the window series, is echoed in stories told by people as diverse as the Navajo in the south to the Kwakiutl in the north; the Yakima in the west to the Cherokee in the east. Similarities can be seen in Aztec and Inca stories, pre-Colombian cultures, and rock art throughout the Americas. Similar stories occur in the ancient histories of Korea and the Norse, and people sharing much with Arrow appear in written accounts from the Epic of Gilgamesh to the Bhagivad Ghita. The process of developing the windows was long and sometimes extremely labor intensive; each window is a result of 20-50 sketches, a watercolor study, several color studies, and 6-10 pattern drafts. Symbols and images were researched and gathered that seemed appropriate to the subject, a consistent color vocabulary was defined, a watercolor image was done to coalesce the ideas for the window, and full size patterns were begun. Sometimes after lead lines are drawn and glass cutting begins, certain areas become completely unworkable or the glass itself suggests 0ther approaches. Casting and painting the glass involves several firings between 1100 and 1350 degrees Fahrenheit, layering the treatments so successive layers do not destroy each other. While assembling the window, attention was paid to the different kinds of leading used and the extra structural support needed in some areas. The windows were finished and sealed with a hard-drying glazing cement. The story for the windows is expressed using images from many different cultures in an attempt to make the ideas more accessible to a broader range of viewers. At no time is the attempt made to identify this story as a Christ-myth, but rather images are used that identify the Christ story as another expression of the underlying themes of this ancient American myth. By Andrew Kosorok |
|||||||
|
|
||||||||
Peter de Sève Animals |
The Society of Illustrators Annual Traveling Exhibit New and Recent Works by Sharon Cannon and Joyce Baron Annual High School Jewelery & Small Metals Exhibit April 1 - 30, 2004 The Society of Illustrators’ annual traveling exhibit of 40 works will be on display at the UVSC Woodbury Art Museum in the month of April. These works are selected from the Society's 23rd Annual Exhibition in New York City for a nationwide tour. They are a representative sample of the best pieces within the six categories of the Annual Exhibit: Sequential, Editorial, Book, Advertising, Institutional and Uncommissioned. Of the 40 artists in each show, some are familiar and some are the rising stars of tomorrow, including: Yvonne Buchanan, Leslie Cober Gentry, James Ransome, and Murray Tinkelman. This show spans the 20th century and explores the changing role of the illustrator. Early black and whites by Gibson and Raleigh...juicy story illustrations by LaGatta, Teper, Cornwell and Helck...Advertising art for cigarettes, automobiles, and travel...50's story art by Whitmore, Whitcomb, Bowler, and the current stars such as Kelley, Duillo, Fuchs and Hooks. The second show features two local artists, Sharon Cannon and Joyce Baron. Sharon was born and studied in California, but has also studied in Wisconsin, Illinois, Utah, Nevada and New Zealand. She received her MA in Art Education at BYU and taught art at Orem Junior High until last year. Her list of responsibilities, in addition to mother of eight and wife of BYU Chem Professor John Cannon, i ncludes membership in the American Watercolor Society, SCERA Art Board, and board member for the Utah Watercolor Society. “I love the spontaneity of children, light and shadows, oceans and birds, as well as textures of old walls and ancient structures. I want to remember them with the spontaneity and freshness of watercolor so I keep working and learning. My favorite painting is always the next one I’m going to do.” Joyce received her bachelors at Weber State University but studied at USU, BYU and U of U as well. She learned from nationally acclaimed artists like Gerald Brommer and Skip Lawrance, but has exhibited and published mostly in the Western United States, including venues like Springville Museum of Art, Kimball Art Museum, Art Encounter in Las Vegas, and Beverly Hills, CA, receiving many awards for her work. “My goal is to capture the spirit and feeling of the unique Western landscape. The bold colors and shapes express the emotions I view in nature. The dynamic Western landscape holds a special passion for me because of its abstract qualities and dramatic contrasts. My works include acrylic, watercolor, collage, mixed-media, jewelry, and glass.” This is the tenth year of the Annual Utah High School Jewelry and Small Metals Exhibit. The previous nine years were held at the Utah Museum of Fine Arts. It was designed to highlight creative artwork from local high school students in a less commonly shown medium. Its goals are to expose the students to the museum experience as both a patron and an artist. One juror from Freshmans and one from Gold Design will present the awards on April 2 at 7pm. |
|||||||
|
|
||||||||
Ernest Brenner Birds Oil |
The UVSC Annual Spring Student Exhibition March 10 - 31, 2004 The Spring Student Art Exhibit is presented to you by the Woodbury Museum and the Art and Visual Communication Department as our most important annual student exhibit. In it the AVC faculty and students have put together a unique exhibit of experimental and traditional works of many different medias that express the wide range of artistic sensibilities of our students. We have encouraged each student to find the core of their own expression, to take responsibility for their work, and to use it as a voice of communication to others. We hope you as the viewer will enjoy these exciting contemporary pieces that demonstrate the true diversity within our department. We, in the department, would particularly like to thank the director of the museum, Barbra Wardle, for her continuing help and support, Liza Nelson, and the wonderful staff at the museum without which this exhibit would have been impossible -Catherine Downing, Exhibit Coordinator, and The AVC Faculty and Staff |
|||||||
|
|
||||||||
Laura Lee Stay Bradshaw The Gleaner Bronze |
UVSC Woodbury Open featuring Royden Card & Laura Lee Stay Bradshaw February 3 - March 6, 2004 Fifty-five Utah artists filled the doorway of the UVSC Woodbury Art Museum from morning to evening on January 15, 2004. Some carried large paintings, some varying sizes of photographs, others heavy sculptures. Still others brought an envelope of slides instead of the actual piece. “It makes it more convenient for me,” joked Beccy Bingham, a UVSC student employee majoring in Art, “Less carrying with a slide, although it makes it more difficult for the juror because the slide doesn’t always capture the full effect of a piece.” Of the 145 pieces entered, 89 were accepted. “This being our first year, we were impressed with not only the amount of entries, but the quality as well. It was also such a delight to see a nice variety of media and style,” said Elizabeth Nelson, Assistant Curator. Some of the accepted works include a ring that looks like a mouth and a self-portrait made from 52,000 painted Q-tips. Royden Card and Laura Lee Stay Bradshaw, who both received BA and MFA degrees from BYU, will be the featured artists of this show. “We wanted Royden and Laura Lee because they represent Utah art so well. We were very pleased when they accepted our invitation,” said Barbra Wardle, Director. The entrees were juried by Peter Myer, a retired professor from BYU, who will also show a few pieces of his own. Card was born in Canada, but raised in Utah; his work exemplifies the red rock landscape of southern Utah. He has recently chosen a more fauvist approach to these desert scenes, as evident by his bold, colorful palate. Bradshaw is known for her larger-than-life figurative bronze sculpture. Talking about her art, she said, “I like the content in my art to reflect themes and passions of my life. My life consists of being a mother, a woman, and a wife creating a family with my husband.” Her principle piece, a 5 ½ foot bronze of a mother holding her child high in the air, was commissioned by the LDS Church and will be displayed at the Conference Center entrance after the show. |
|||||||
|
|
||||||||
| 2006 EXHIBITS ARCHIVE |
|
