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Show The art scene There's good sculpture in bronze By George Dibble All that glitters isn't gold as any prospector know! and all that is cast in bronze isn't necessarily worth its weight unless some perhaps are solid silver or gold. On the other hand much good sculpture is rendered in bronze these days and a fortunate buyer may be able to hedge inflation with sound esthetic worth in Mr. Dibble bronze that outlasts the period of its creation. Dallas Anderson has an exhibit of his fine works in bronze and marble at the Tivoli Gallery this month A figure of a youth, casual, insouciant, stands easily on both feet, hands in back pockets - relaxed but ready to move. Energy that belongs only to youth flows through the lines > that separate planes of light and ''shade." - definitions of inspiring strength. / Superficial details are economical | and appropriate to the formal steps that! build the structure. Further explication I could only serve to weaken the effect. \ Equally forceful is a statement in, "Lets Play" expressing the tirelessness I of a boy with a basketball or the I momentary pose of another perched i quietly on a stool. f There is dignity and preoccupation! with more complicated issues in the] study of a, "Gill Fisherman"* plying Ma trade. One of the strongest in the show is an untitled marble in which vigorous organic forms suggest a united organid drive. Each unit though similar in shape and dimension expresses indij viduality. Economical shapes presehf an essence of purified form with element of perfection being expresses in precise symmetrical summitry. "Puppy Love", is sentimental, a! trifle sweet perhaps. A bronco buster! rides serenely in a graceful perfor-j mancei Less of,the expected cussednessl of a plunging animal or of the contest!, between man and horse "Linda and Raggedy Ann", balances gracefully from a pivotal position in another sensitive sculpture ]°^J^^^_j 1^ Paul EUingson is an apt watercolorist who has no difficulty expressing his own persuasion in the wet medium. Unlike some artists compelled toward academic cliches there are few if any in his statements that move with telling economy, reading at times like a journal entry about a time E ach study in his exhibit at the Public Library seems to have a significant beginning in a recital that ends with almost tantalizing brevity at times, but with a true sense of conclusion. An earthy warmth sustains the wall of an old brickyard. There is a clue to j native soil color and most intense is a ! brisk growth of all grass. Cool tones | buttress the warmth in the flat masses I of a mountain - clean washed in loose/ gray tones. Nervous calligraphy de-J lineates detail and texture that is more of contemplation than visual reality. A whimsical overture delights ir another study- as if the idea wer« allowed to pursue a fairly investigative approach. In another there is probing not too confidently (I see this as i matter of strength rather than hesitation) - a willingness to allow the idea to take shape. ; A more formal arrangement is seen ) in "Winter Gulley". A single panel of | gray takes the upper half of the design with added understatement that affords J an impression of roof tops and an unpainted road with wiry notations in the foreground. j . Rail, yards interest the artist with iu I linear devices --> rails, wires and fenc© I posts, A row of boxcars offers blocks of pigment in a large study with sky and f mountainous shapes uniting to form whole elements of organic simplicity, j The telephone poles are fairly rigid and wires are taut, affirming rather than relieving rigorous lines in the thesis. The Blue Mouse has a collection of drawings, paintings and prints by Tommy Trantino, a New Jersey prison inmate who spent eight years on death row. '¦•¦ ' ¦ '¦.''.¦ ¦• - ¦ ' Included in the work arranged by Pat Eddington is a series of self-pGrtraits rendered during the years of solitary confinement. These were represented as Christmas cards in order to get thert Opening at Atrium - , Watercolors by Paul EUingson will be I ¦ at the Atrium ' Gallery of th« Salt Lake City ~ EUingson, a University of Utah fndt^\U'- ire and music, «nd a ma Jter degree in art, has taught waterco or land.scapo at the Salt Uko Art Center and jazz piano at Brigham Young University. Watercolors in the exhibit were painted between 1968 and ¦ ;•¦; in San I rancisco and the Salt Lake Valley. |