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Show with art were to be included with a cereals promotion or a haberdashery sale. Would it inspire respect for ;the furniture craftsman's art? Naturally every chair is not a Chippendale nor is every painting a masterpiece. Perhaps everyone who, f has wanted a work of art would be moved to acquire one through unexpected dis-i plays. f Some Areas | But the fact remains that |some areas are more approp-Iriate for display than others land except for the hurly-burly occasion of a street fair which becomes exclusively a ' one e-in-a-while affair it is reasonable to suggest that art works flourish best in a climate that favors reasonable contemplation. The Salt Lake City Public Library has featured an exhibition program that afforded many visitors pleasant and contemplative viewing; This year the Art Department's Annual Inter mountain juried show is on the walls beginning with the sub-basement. For the latter floor, visitors should take the elevator at the Fifth South entrance. Nancy Lund's imaginative treatment of flowers, Ethel Paul's tree study arid Don Ricks' vigorous painting are in the initial floor display. Nor ma Forsberg • explores simplified forms in an oil on the first floor in a group that; includes portraits by Richard Horroeks and James Jensen and a tree study by Edward | Taggart. • . ; Watercolors by Homer "Sabbath Tourists," a watercolor by Osral Allred, is on display on the second floor of the jSalt Lake City Public Library, 209 E. 5th South. Clark, Michel Petersen and Ronald Bergen are on the second floor. Osral Allred's treatment of San Marco has the excellent features of a watercolor rendering coupled with ready draftsmanship. There is certain appeal in the treatment of an elaborate surface, electing then omitting enough detail to pique curiosity of the viewer. Print Section Thomas Leek's "Powell XV" resolves intriguing planes in a landscape treatment. There are fresh renderings by Anthony Taylor. James Stewart, Jay Henefer, Chris Jensen, Michelle Welc-ker and Douglas Ricks. An interesting print section in-, eludes serigraphs by Michele DeBouzek and Darel Johnson; an etching by Mark Bangerter and Mary Van Winkle; drawings by Keri Nichols and Linda Schim-min; intaglios by Adrian Van Suchtelen and prints by Harry Taylor and Duane Palyka.1 Cliff Petersen' s kitchen study received the top award for oil painting and Bonnie Phillips' watercolor scored first in that division. Best of Show honors were given to Walter C. Chaney for a drawing "Deuce Coupe". Top Floor J^TPaul Eflingson and Mark Swain have crisp aquarelles on the top floor. There are also oils by Denis Phillips and, Rosalyn Richards that offer pleasant viewing in a congenial setting. Jerry Fairciough sends an announcement of a new show in New York along with comments about his recent activities. "Should be having a one-man show at the Uptown Gallery in November at 1144 Madison Avenue â€" Also I won a John and Anna Lee Stacey grant of $1,000 in April. 'â- â- "â- „, Anna Bliss who was represented with one of the outstanding works in the Museum Without Walls exhibit during the summer has a, one-woman show at the Suzanne Kohn Gallery in St. Paul, Minnesota, that maybe seen through October. Frank and Gloria Erickson are showing their paintings in a newly opened gallery and framing shop at 1954 East 27th South. Animal paintings in oil on velvet are by daughter Kaye. Landscapes by Frank and Gloria are executed with palette knife in a pointillistic approach that allows active response from the generous impasto. One Agency . A fulsome use of paint, however, is only one agency for dramatic effect. Pigments chosen systematically vibrate between extremes of warm and cool tone. Titles reveal local sources of scenic appeal. "Lone Peak" relies like others on .basic planes in a sort pf frugal designing that proposes enrichment with sumptuous color and textures. The rugged contours of "Mt. Olympus" affords an example. A new canvas by Gloria entertains similar impressionistic goals but with more subtle tones. |