Utah Sculpture Exhibition Features a Variety of
Styles and Forms
WHAT: The Face of Utah Sculpture 9 Exhibit and Opening Reception
WHEN:
Exhibit:
July 11 – Aug 28, 2013
Opening Reception:
July 11, 6 – 8 p.m.
WHERE: Utah Cultural Celebration Center
1355 West 3100 South
WVC, UT 84119
WHO: Both the exhibit and opening reception are free
and open to the public.
WHY: Every year the Face of Utah Sculpture provides
Utah artists a forum to present Utah culture through sculptural form. The
origins of this dynamic exhibit, envisioned nine years ago by glass artist Dan
Cummings, features both well-known and emerging Utah sculptors, showcasing both
traditional and contemporary sculpture in a variety of techniques, styles,
mediums and forms. The result is an exciting and eclectic mix of
excellence in artistry in countless forms!
Jodee Bitner’s
photography will also be on display, capturing unique angles or different perspectives of her father and
brother’s sculptures, creating entirely new works of art.
Everyone is invited to
meet the artists at the opening reception on July 11 from 6 – 8 p.m.
Admission is free, and includes food, live music, cash bar, and the finest new
works by Utah’s best sculptors. A majority of artists participating in
the exhibition will be on hand to discuss their artwork, and cash prizes will
be awarded.
For more information about
this and other exhibits or events at the Utah Cultural Celebration Center,
please call 801-965-5100 or visit www.culturalcelebration.org, ‘like’ us on facebook atfacebook.com/CulturalCelebration or follow us on twitter @WVCUCCC.
RECEPTION
FRIDAY JUNE 21 6-9
Front Gallery:
EVA SPEER: SOOTHSAYERS
Back Gallery:
KASEY LOU LINDLEY: BACKYARD OASIS
EVA SPEER: SOOTHSAYERS
Back Gallery:
KASEY LOU LINDLEY: BACKYARD OASIS
Exhibition dates: June
21-August 10, 2013
Exhibition opening reception: Friday, June 21, 6pm-9pm.
CUAC hours: w-f 12-7pm, sat 12-4pm.
Exhibition opening reception: Friday, June 21, 6pm-9pm.
CUAC hours: w-f 12-7pm, sat 12-4pm.
CUAC
175 E 200 S
SLC, UT 84111
www.cuartcenter.org
175 E 200 S
SLC, UT 84111
www.cuartcenter.org
SOOTHSAYERS
AND BACKYARD OASIS
Painting is the use of color and plane to create composition, these artists push the boundaries of that tradition. Although in practice, both artists make physical objects that exist dimensionally, their modes of production lie firmly within a painterly practice. Speer uses industrial materials like Plexiglas, casting resins, oil, glass, as well as acrylic paint to build highly layered art pieces that are more constructions than traditional paintings, though they occur within a rectangular frame with a flat surface. The layering achieved through the use of transparent and translucent materials engage with the basic functionality of traditional painting practices. Lindley turns the gallery space itself into a painting the viewer enters to explore the dimensionality of an architectural installation that functions as a painting. Her materials sometimes depart from the painting tradition as she uses often uses found objects as compositional elements within an artwork that depends on color and plane for meaning. As Speer’s paintings are confined to a traditional format with industrial materials, Lindley’s works explode past the picture frame and engulf the viewer, but her materials tend to be more traditional in nature as she applies acrylic paint directly to the architecture of the space using walls, ceiling, and floor as her canvas. Both artists are truly painters but seek the liminal space between painting and object-ness after the tradition of Frank Stella, Josef Albers, Robert Rauschenberg, and Jessica Stockholder.
Painting is the use of color and plane to create composition, these artists push the boundaries of that tradition. Although in practice, both artists make physical objects that exist dimensionally, their modes of production lie firmly within a painterly practice. Speer uses industrial materials like Plexiglas, casting resins, oil, glass, as well as acrylic paint to build highly layered art pieces that are more constructions than traditional paintings, though they occur within a rectangular frame with a flat surface. The layering achieved through the use of transparent and translucent materials engage with the basic functionality of traditional painting practices. Lindley turns the gallery space itself into a painting the viewer enters to explore the dimensionality of an architectural installation that functions as a painting. Her materials sometimes depart from the painting tradition as she uses often uses found objects as compositional elements within an artwork that depends on color and plane for meaning. As Speer’s paintings are confined to a traditional format with industrial materials, Lindley’s works explode past the picture frame and engulf the viewer, but her materials tend to be more traditional in nature as she applies acrylic paint directly to the architecture of the space using walls, ceiling, and floor as her canvas. Both artists are truly painters but seek the liminal space between painting and object-ness after the tradition of Frank Stella, Josef Albers, Robert Rauschenberg, and Jessica Stockholder.
Eva
Speer received an MFA in
painting from Indiana University and attended college at the University of
Washington and Otis College of Art and Design. She has had solo exhibitions at
Beaux-Arts des Ameriques in Montreal, QC and several at Hartman Fine Art in
Portland, OR, and group exhibitions in Aspen, CO, Oakland, CA, and at the
Seattle Art Museum.
Kasey Lou Lindley received an MFA in
painting from University of Connecticut and attended Ringling College of Art
and Design and the New York Studio Program. She has exhibited her work in
galleries in Ogden, UT, Fort Lauderdale and Sarasota, FL as well as New York
City, Istanbul, Turkey, Rijeka, Croatia, Germany, and Boston.
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