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Show I 1 â- â- â- â- â- â- â- â- â- â- â- â- â- â- â- â- ' â- â- â- â- 4 K The Salt Lake Tribune, Sunday^ August 22, 1976 The art scene Landscape Painting Exhibition marks Karen R. Andrews selected a familiar area, the alley side of an urban building, for her work "Alleyway." By George Dibble The Auerbach Company and the Salt Lake Art Center are presenting another first in Utah art â€" an Annual Landscape Painting Exhibition from which a purchase is to be made yearly. A reception and awards will be given in the fifth floor auditorium of Auerbach's Monday at 8 p.m. Jt is a.n uneven show. Closer jurying would help. Landscape painting in general is subject to . â- â- «**• a malaise that responds to stringent selection procedures. Artists are fascinated by nature and nature's propinguity scarcely diminishes the temptation to get involved. Contrary to popular opinion, landscape painting is a demanding art that succeeds under the urgency to express feelings, emotions, sensations and ideas with a fair degree of technical expertise. Like a Pony Exhibitors at times remind me of a pony I once owned. He could outrun anything on the ranch but was disposed to take things easy unless moved by competition. Strict jurying encourages the exhibitor to show only the best works. • Nancy A. Lund's "Late Afternoon" is suggestive of the moods of recumbent day. The canvas is assigned in two major divisions. Warmth enthuses the lower half set against a cooling panel of sky ,and mountain. James C. Christensen's hanging rock is ominous with its upthrust of handsome rock surface. The disparity in proportion between a tiny figure in the foreground and the rock is puzzling â€" perhaps other (literary) reasons prompt its inclusion. In that event it is more illustration than landscape, but treatment of the rock is somewhat special. Symphonic Elegance One of the clues to Denis Phillips' mastery of landscape art is the facile treatment of foreground areas â€" shoals on which many aspiring painters flounder. Continuity of space activates Norma Fors-berg's "One Soft Summer Morn" landscape. "Morning Mood," expresses precisely that in Lo J. Andriese's canvas. Paul Ellingson involves clues to introspection and resolution that afford pleasurable access to his creative processes in a watercolor. One, therefore, enjoys elearcut events that relate the total sequence. Ann Day's "China Bay" has jewellike radiance. Elenor Smith's painting technique is forthright. The overall mood in Randall Lake's "Salt Lake Valley" study is sustained by judicious spates of almost intuitively placed comments. It has symphonic elegance â€" > ^ |