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Show . . , ,. .. -., - , - ... „ 4E The Salt Lake Tribune, Sunday, July 6, 1975 Utah's art scene: statewide competition i By George Dibble The Ogden Eccles Community Art Center has added atiother important chapter to the history of Utah Art with their first Statewide Competition in painting and sculpture. Assisted by a grant provided jointly by the Utah State Institute of Fine Arts Mr. Dibble Thirty-five works in the Eccles Center show represent a healthy cross section of the state's artists. Claudia Sizemore's canvas reminiscences the appeal of abstract expressionism and her con-elusions are sophisticated. Bonnie Phillips' "My Hat Is Off" engages expressive nuance and charm in water-color. The medium has other proponents who manage it • well. Paul Ellingson's "San and the National Endowment for the Arts, the project makes available another annual juried show. Statewide competition already includes events offered by the Utah State Institute of Fine Arts, Utah State Fair Board, Utah Watercolor Society, Salt Lake Art Center, Cedar City Art Association, Springville Art Association, Utah State University, Vernal Utah Gallery of Art and others that can hopefully be scheduled for maximum advantage. The notion of competitive showing with prizes awarded for meritorious works is a spur to determined artists and only the inexperienced seem to suffer emotional trauma. The rest seem to bounce back with renewed determination. It is this toughness that develops more resolute artists. Their'Peers Jurying is a self imposed discipline through which the professional artist achieves growth and distinction. It is an evaluation often given by their peers. For those who complain over rejections I like to recall the day a prominent Utah painter was taking five rejections from a local Biennial. He had a history of prize winnings in state and regional shows and was naturally disappointed but not enough to slow him down as subsequent events proved. fnilno5d and feelings sensed** by the ar^strTaFry Christen-sen's "Snow Sound" resolves a pleasing fantasy in a crystalline shower of dry coldness across a wet canvas. Bright Colors Three youngsters ranging upward from three and a half years were commenting on the show. I overheard obser-vations on Marilyn Lloyd's "Cambrian One" a collagen-ous study of shaped plastic and acrylic paint. The youngest said, "I like it because it is the same bright colors that I use." Another visitor commented that it was heartening to note that direct understanding didn't |
