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Show 1 lie art scene Which gallery has most viewing hours? By George Dibble Art quiz: Which Salt Lake City Gallery offers tlie greatest number of Mr. Dibble viewing hours? If you haven't already guessed, its the Public Library's Atrium Gallery. Located in the Civic Center where everyone goes sooner or later, it is open 72 hours ac week with convenient afternoon and evening hours. Enthusiasm for the c a s u a 1 v i e w i ng of sidewalk salons, eating establishments and department store displays can be dulled considerably by encounters with elbows connected to soup spoons and the inconvenience of having to contend with golf carts or lingerie displays. It is a broad stretch of the imagination that links painting with lasagna or sculpture with bread-mixers. Arena of Books If there is. to be a sharing it probably succeeds best in the arena of books. The bookseeker ordinarily boasts an open mind and a creative attitude that tolerates genuine curiosity. Furthermore such may be inclined to feel that casual discovery of art works is essentially self-motivated. ,..„'â- â- A library offering seems more like a bibliophile ' s bonus â€" a de- luxe book jacket as it were. . The Utah Watercolor Society show in the Atrium Gallery this month offers a variety of technical approaches. Anyone who at some time has painted with the medium will enjoy the diversity which extends from Alice Henderson's detailed eggplant and chrysanthemum petals to Kathleen Petersen's spontaneous brush statements in "Hacienda, San Anatonio". About midway in the range of styles Homer Clark's "Honfleur" has an exciting sense of discovery with a positi ve fe%iing that draws the viewer into the experience. Bonnie Phillips' "Stanley Basin" derives ordered rhythm from natural land forms. A carefully modulated palette focuses strong interest on detail in the valley. Minute flecks of pure color collide in a wet skein of moist broad areas in Sharlehe Christ-ensen's garden theme. A relatively few aquarellists employ the full range of expression, finding within a single study extreme subtleties of tone and infinite ranges of energy that lift spontaneously from the slightest of nuances. It was such a command of language that distinguished the works of such painters as Turner. Foggy Vapors Paul Ellington in rendering the foggy vapors of the San Francisco Bay area shows a flexible contemplation of his subject in "Golden Gate". A sweep of sky is relatively unimpassioned â€" flat. However, sensitive, it is simply and properly there. A familiar drama develops nearer at hand. The implacable sea wall though well related, is of still another skein than the spidery thread that tells of the bridge. Farm Scene Essences of spring flowering; abundance , are important in Rose Ann Peterson's "Forsythia," Cynthia Fehr's precise cornices are, nonetheless, expressed without tenseness. A luminous background infuses Robert Call's farm scene and monotholithic values are important in Ann Day's red cliffs. Abstract radiance in John Wood's piece carries from a panel at the end of the gallery that includes studies by Peg Kotok and Francis Zim-beaux whose direct strokes of the brush in the latter function like a elearx dialogue in casual conversation. Exploding light at evening seeps through nearby rooftops in Richard Brown's "Bisbee." A curtain of Aspen trees threaded by light and shadow recalls high country in Thomas Leek's rendering. Reflec- ' lions are important in the detail of Richard Van Wagoner's harbor study. R. V. Bullough and other studies offering firm treatment are by Can-dace Rideout, Stan Sa u 1 i s bu ry and Ken Davidson. Pain tin g that flourishes in precise thin elements, ebbs and invites other images in the canvases of David Rigby at the Kimball Art Center, Park City. Painting and sculpture are merged in "Personage #45" â€" a parity that is agreeably pleasant. Photo images and sublimated passages of wan color work with crisp plastic containers. Familiar qualities of aged wood and abraded canvas fund interesting and perceptive ideas. A congenial sort of attachment between the work and the setting is expressed in cascading elements that move between. Although the artist dis- avows intention toward) specific technique, "I would rather smear paint with my toes â€" the images occur because we're human". His statements are lucid and pre-1 cise as the medium in j which they are expressed. Watercolors Watercolors by Louis Peck, head of art at Boise! State Univesity will be featured in the following! display at the Center.! The opening scheduled for Feb. 18 will be followed by a reception for the artist on the 19th. Newest in the group is a series of studies of] birds. Working with ai fluid ground, the character of the setting evolves from overlays of muted tone. \ \ |
