1 - 200 of 181
| Creator | Title | Description | Subject | Date | ||
|---|---|---|---|---|---|---|
| 1 |
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Erickson, John Owen | 50% Solution | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 2 |
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Erickson, John Owen | Academia | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 3 |
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Erickson, John Owen | Adam | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 4 |
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Neimoyer, Susan | After the rhapsody: George Gershwin in the Spring of 1924 | The year 1924 was a banner period in the early career of the young George Gershwin. The astonishingly successful premiere of the Rhapsody in Blue with Paul Whiteman's orchestra in 12 February 1924, in some ways made it the year of the Rhapsody. Thanks to the business acumen that prompted Whiteman to... | 2014-01-01 | |
| 5 |
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Erickson, John Owen | Apple Boy | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 6 |
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Chuaqui, Miguel Basim | Arioso for alto recorder and live electronics [performance materials] | This is a zipped file which contains the following materials for the renedering of this piece for performance, as follows: 1) Chuaqui_Arioso_Max6_Patch_9-9-12 (folder of Max6 Patch files); 2) Chuaqui_Arioso_Patch_9-9-12; 3) Chuaqui_Arioso_Program_Notes_9-9-12.pdf; 4) Chuaqui_Arioso_Score_9-9-12.pdf. | Instrumental music; Electronic music; Chamber music; dataset | 2012-09-09 |
| 7 |
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Chuaqui, Miguel Basim | Arioso for alto recorder and live electronics [score] | Program notes from Miguel Chuaqui, the composer: Program Notes: Arioso is a style of singing between the recitative and aria that arose in the 16th century. The form is usually free, and it tends to include frequent tempo changes. The piece is inspired by a print from a picture of a captive unicorn ... | Instrumental music; Electronic music; Chamber music | 2012-09-09 |
| 8 |
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Chuaqui, Miguel Basim; Chaufty, Lisa Marie | Arioso for alto recorder and live electronics [videorecording] | Performed by Lisa Chaufty (recorder) and Miguel Chuaqui (composer) as part of the Sundays@7 concert series, School of Music, The University of Utah. Program Notes from Miguel Chuaqui, the composer: Arioso is a style of singing between the recitative and aria that arose in the 16th century. The form ... | Instrumental music; Electronic music; Chamber music | 2012-09-09 |
| 9 |
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Krensky, Beth | Arts-based service-learning: a state of the field | Over the past two decades, there has been significant academic and public discourse in the United States regarding matters of civic engagement, with particular interest in the behavioral trends demonstrated by young people. Research shows that in the US, young people demonstrated the lowest voti... | 2008 | |
| 10 |
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Snapp, Brian | Big Drain, Little Flame, Lots of Pain | 2007 | ||
| 11 |
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Chuaqui, Miguel Basim | Blues Claro | Blues en el Coraz?n is a set of three piano pieces connected by the use of a simple blues scale. The scale is used as the basis for all the material in the pieces and it is used both as a generator of surface motives, as in the second piece, and as source material for the harmonic background of all... | 3 Pieces for Piano; Music | 2009 |
| 12 |
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Chuaqui, Miguel Basim | Blues en el Corazón | Blues en el Corazón is a set of three piano pieces connected by the use of a simple blues scale. The scale is used as the basis for all the material in the pieces and it is used both as a generator of surface motives, as in the second piece, and as source material for the harmonic background of al... | 3 Pieces for Piano; Music | 2009 |
| 13 |
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Chuaqui, Miguel Basim | Blues M?gico | Blues en el Coraz?n is a set of three piano pieces connected by the use of a simple blues scale. The scale is used as the basis for all the material in the pieces and it is used both as a generator of surface motives, as in the second piece, and as source material for the harmonic background of all... | 3 Pieces for Piano; Music | 2009 |
| 14 |
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Chuaqui, Miguel Basim | Blues Ronco | Blues en el Coraz?n is a set of three piano pieces connected by the use of a simple blues scale. The scale is used as the basis for all the material in the pieces and it is used both as a generator of surface motives, as in the second piece, and as source material for the harmonic background of all... | 3 Pieces for Piano; Music | 2009 |
| 15 |
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Krensky, Beth | Bridge II | Form: sculpture; Medium: bronze; Dimensions: 16 x 17-1/2 x 6" | 2007 | |
| 16 |
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Krensky, Beth | Bridge III | Form: sculpture; Medium: bronze; Dimensions: variable, (108) each approx. 1 x 12 x 1/4" | 2007 | |
| 17 |
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Krensky, Beth | Bridge III (detail) | Form: sculpture; Medium: bronze; Dimensions: variable, (108) each approx. 1 x 12 x 1/4" | 2007 | |
| 18 |
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Chuaqui, Miguel Basim | Canto Repartido | El Canto Repartido (The Shared Out Song) takes its title from a poem in the collection Las Uvas y el Viento (The Grapes and the Wind) by the Chilean poet Pablo Neruda. Many of the poems in this collection have a communist political tone, and critics often describe the poems in this book as among the... | Shared Out Song | 2004 |
| 19 |
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Chuaqui, Miguel Basim | Casi Cueca | I grew up in Chile during the 70's, and early 80's, a time of political upheaval and economic distress in Chile, and this has probably exerted as strong an influence on my musical outlook as any other aspect of Chilean culture. While I distrust "political art," I do have an abiding desire for my mu... | 1997 | |
| 20 |
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Snapp, Brian | Collapsible Chair (back) | Chairs -- Art | 2005; 2006 | |
| 21 |
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Snapp, Brian | Collapsible Chair (front) | Chairs -- Art | 2005; 2006 | |
| 22 |
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Chuaqui, Miguel Basim | Cuarteto Claroscuro | I grew up in Chile during the 70's, and early 80's, a time of political upheaval and economic distress in Chile, and this has probably exerted as strong an influence on my musical outlook as any other aspect of Chilean culture. While I distrust "political art" I do have an abiding desire for my musi... | 1997 | |
| 23 |
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Snapp, Brian | Curing, detail view | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 24 |
|
Snapp, Brian | Curing, detail view | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 25 |
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Snapp, Brian | Curing, sitting view | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 26 |
|
Snapp, Brian | Curing, sitting view | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 27 |
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Snapp, Brian | Curing, view from the entrance | Form: installation; Medium: mixed media; Dimensions:variable | Painting | 2006 |
| 28 |
|
Snapp, Brian | Curing, view from the entrance | Form: installation; Medium: mixed media; Dimensions:variable | Painting | 2006 |
| 29 |
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Snapp, Brian | Curing, view from the southeast corner | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 30 |
|
Snapp, Brian | Curing, view from the southeast corner | Form: installation; Medium: mixed media; Dimensions: variable | Painting | 2006 |
| 31 |
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Webster, Maryann Sorensen | Cybermuse | Form: object/sculpture; Medium: porcelain, china paint, circuit boards; Dimensions: 18 x 15 x 5"" | 2002 | |
| 32 |
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Chuaqui, Miguel Basim | Danza del Ocaso | Danza del Ocaso (Dusk Dance) is a dance for three instruments, which evolves from a simple catchy humming tune shared by the three, in a Latin American inspired dancing 7/8 meter, to a complex contrapuntal texture, in a more abstract atonal language. Running throughout is the notion of transformati... | Dusk Dance; Latin American; Three instruments | 1998 |
| 33 |
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Chuaqui, Miguel Basim | Danza del Ocaso | Danza del Ocaso (Dusk Dance) is a dance for three instruments, which evolves from a simple catchy humming tune shared by the three, in a Latin American inspired dancing 7/8 meter, to a complex contrapuntal texture, in a more abstract atonal language. Running throughout is the notion of transformati... | Dusk Dance; Latin American; Three instruments | 1998 |
| 34 |
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Chuaqui, Miguel Basim | De metal y madera: for flute, cello, percussion, and electronics | 1999 | ||
| 35 |
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Chuaqui, Miguel Basim | Desde el Límite | In Desde el Límite (From the Edge) I was inspired by the experience of my granduncle, Benedicto Chuaqui as presented in his book "Memorias de un Emigrante" (Memoirs of an Immigrant), who immigrated to Chile from Syria in the early 1900s. In the work there are disguised references to American musica... | From the Edge; Benedicto Chuaqui; Chilean music | 2006 |
| 36 |
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Krensky, Beth | Desire | Form: sculpture; Medium: bronze, pigment; Dimensions: 8 x 3 x 3-1/2" | 2005 | |
| 37 |
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Webster, Maryann Sorensen | Dioxin Sea | 2009 | ||
| 38 |
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Martinez, Valerie Kim | Dottie | Oil on aluminum, 48 x 48", from the 'Mujeres de Colores' series | Painting; Woman | |
| 39 |
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Webster, Maryann Sorensen | Dream Reliquary (side A) | 2009 | ||
| 40 |
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Webster, Maryann Sorensen | Dream Reliquary (side B) | 2009 | ||
| 41 |
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Chuaqui, Miguel Basim | Dream Swim | Score for work for 2 violins, viola, and 2 cellos. | music, score, strings, quintet | 2011 |
| 42 |
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Webster, Maryann Sorensen | Dying Reef | 2005 | ||
| 43 |
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Webster, Maryann Sorensen | Dying Reef II | 2009 | ||
| 44 |
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Webster, Maryann Sorensen | Endangered Earth Reliquary | 2006 | ||
| 45 |
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Erickson, John Owen | Entrance | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting; Door; Lighted entryway | 2008 |
| 46 |
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Jones, Pamela Palmer; Chaufty, Lisa Marie; Richards, Leslie Jean; Grundvig, Kimberly Ann; Hart, Cheryl | Evening of baroque music | U School of Music Faculty Concert. Sundays @ 7 Spotlight Concert. "An Evening of Baroque Music." Pamela Palmer Jones, harpsichord. Cheryl Hart, soprano. Lisa Chaufty and Kim Grundvig, recorders. Leslie J. Richards, viola da gamba. Sunday, October 9, 2009. Libby Gardner Concert Hall. 7:00 p.m. | 2009-10-04 | |
| 47 |
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Jones, Pamela Palmer; Chaufty, Lisa Marie; Richards, Leslie Jean; Grundvig, Kimberly Ann; Hart, Cheryl | Evening of baroque music | |||
| 48 |
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Jones, Pamela Palmer; Chaufty, Lisa Marie; Richards, Leslie Jean; Grundvig, Kimberly Ann; Hart, Cheryl | Evening of baroque music | |||
| 49 |
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Webster, Maryann Sorensen | False Healer | Form: object/sculpture; Medium: porcelain, china paint, wood frame; Dimensions: 18 x 20 x 5"" | 2002 | |
| 50 |
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Krensky, Beth | Finials | Form: sculpture; Medium: bronze, gold leaf; Dimensions: (14) each approx. 2 x 2 x 1-1/2" | 2007 | |
| 51 |
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Erickson, John Owen | Flight | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting; Woman running away | 2008 |
| 52 |
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Snapp, Brian | Flying Chair | Chairs -- Art | 2005; 2006 | |
| 53 |
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Krensky, Beth | Four Worlds | Form: sculpture; Medium: alabaster, gold leaf; Dimensions: (4) each 13 x 7 x 8-1/2" | 2005 | |
| 54 |
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Handman, Eric Michael | Ghost Ship | |||
| 55 |
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Krensky, Beth | Going to the Other Side | Form: sculpture; Medium: bronze; Dimensions: 10 x 23 x 7" | 2007 | |
| 56 |
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Webster, Maryann Sorensen | Golem | Form: object/sculpture; Medium: porcelain, milagro charms; Dimensions: 16 x 15 x 15"" | 2008 | |
| 57 |
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Webster, Maryann Sorensen | Good Twin, Evil Twin (back) | Form: object/sculpture; Medium: porcelain, glass eyes; Dimensions: 15 x 13 x 14"" | 2006 | |
| 58 |
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Webster, Maryann Sorensen | Good Twin, Evil Twin (front) | Form: object/sculpture; Medium: porcelain, glass eyes; Dimensions: 15 x 13 x 14"" | 2006 | |
| 59 |
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Krensky, Beth | Hamsa | Form: sculpture; Medium: copper, gold leaf; Dimensions: 36 x 30 x 1/2"" | 2007 | |
| 60 |
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Krensky, Beth | Hamsa (detail) | Form: sculpture; Medium: copper, gold leaf; Dimensions: 36 x 30 x 1/2"" | 2007 | |
| 61 |
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Erickson, John Owen | Hayden | Form: painting; Medium: oil and latex; Dimensions: 36 x 48" | Painting | 2009 |
| 62 |
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Krensky, Beth | Heart | Form: sculpture; Medium: bronze; Dimensions: (2) each 2-1/2 x 4 x 2-1/2"" | 2007 | |
| 63 |
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Krensky, Beth | Heart, Lung, and Hand Milagros | Form: sculpture; Medium: copper, gold leaf; Dimensions: 11 x 36 x 1" | 2005 | |
| 64 |
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Snapp, Brian | Highchair | Chairs -- Art | 2005; 2006 | |
| 65 |
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Erickson, John Owen | Holy Cow | Form: painting; Medium: oil and latex; Dimensions: 11 x 14" | Painting | 2008 |
| 66 |
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Erickson, John Owen | Holy Cow | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2009 |
| 67 |
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Chuaqui, Miguel Basim | Hyperbole for flute, clarinet, violin, cello, and piano | 1996 | ||
| 68 |
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Krensky, Beth | Icarus Chair | Form: sculpture; Medium: wood, copper, and mixed media; Dimensions: 36 x 17 x 17" | 2002 | |
| 69 |
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Krensky, Beth | Icarus Chair (detail 1) | Form: sculpture; Medium: wood, copper, and mixed media; Dimensions: 36 x 17 x 17" | 2002 | |
| 70 |
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Krensky, Beth | Icarus Chair (detail 2) | Form: sculpture; Medium: wood, copper, and mixed media; Dimensions: 36 x 17 x 17" | 2002 | |
| 71 |
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Krensky, Beth | Incantation Bowls | Form: sculpture; Medium: bronze; Dimensions: (2) each 3 x 9 x 9" | 2007 | |
| 72 |
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Krensky, Beth | Installation View of 'Four Worlds' (left) and 'Heart, Hand, and Lung Milagros' (right) | Form: sculpture; Medium: 'Four Worlds': alabaster and gold leaf, (4) each 13 x 7 x 8-1/2"; 'Heart, Hand, and Lung Milagros': copper and gold leaf, 11 x 36 x 1" | 2005 | |
| 73 |
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Krensky, Beth | Jacob's Ladder | Form: sculpture; Medium: bone, bronze; Dimensions: 36 x 3-1/2 x 4-1/2" | 2004 | |
| 74 |
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Martinez, Valerie Kim | Jody | Oil on aluminum, from the 'Mujeres de Colores' series | Painting; Woman | |
| 75 |
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Krensky, Beth | Journey | Medium: ink and thread on giclee print; Dimensions: 18' 7"" x 20"" | 2007 | |
| 76 |
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Krensky, Beth | Journey (detail) | Medium: ink and thread on giclee print; Dimensions: 18' 7"" x 20"" | 2007 | |
| 77 |
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Krensky, Beth | Keys For Houses That Are No More | Form: sculpture; Medium: bronze; Dimensions: (6) each approx. 4 x 2 x 1" | 2009 | |
| 78 |
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Krensky, Beth | Keys For Houses That Are No More II | Form: sculpture; Medium: bronze; Dimensions: (6) each approx. 4 x 2 x 1" | 2009 | |
| 79 |
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Webster, Maryann Sorensen | Lazarus III (front) | Form: object/sculpture; Medium: porcelain, milagro charms; Dimensions: 13 x 12 x 12"" | 2006 | |
| 80 |
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Webster, Maryann Sorensen | Lazarus IV (back) | 2008 | ||
| 81 |
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Webster, Maryann Sorensen | Lazarus IV (front) | 2008 | ||
| 82 |
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Krensky, Beth | Liberation | Medium: mixed media; Dimensions: 9 x 54 x 8" | 2002 | |
| 83 |
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Krensky, Beth | Lineage: Angel, Saint, Bird | Medium: gold leaf on giclee print, engraved glass; Dimensions: 31 x 76 x 1"" | 2007 | |
| 84 |
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Martinez, Valerie Kim | Loretta | Oil on aluminum, 48 x 45", from the 'Mujeres de Colores' series | Woman; Painting | |
| 85 |
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Webster, Maryann Sorensen | Lost Sea Reliquary | 2008 | ||
| 86 |
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Webster, Maryann Sorensen | Lost Sea Reliquary (view inside) | 2008 | ||
| 87 |
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Webster, Maryann Sorensen | Lunacy (back) | Form: object/sculpture; Medium: porcelain, glass eyes; Dimensions: 13 x 12 x 13"" | 2009 | |
| 88 |
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Webster, Maryann Sorensen | Lunacy (front) | Form: object/sculpture; Medium: porcelain, glass eyes; Dimensions: 13 x 12 x 13"" | 2009 | |
| 89 |
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Chuaqui, Miguel Basim | Mareas | In Mareas (Tides), the dark timbre of the alto flute is immersed in a dark, watery, electronic sea. The bell sounds in the work evoke for me the bells of fishing boats as they toss around in choppy waters. These are sounds I first heard in the port of Valparaíso, Chile as a boy, their rhythm being ... | Tides; Carlton Vickers; Chilean music; Bell sounds | 2005 |
| 90 |
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Chuaqui, Miguel Basim | Mareas | In Mareas (Tides), the dark timbre of the alto flute is immersed in a dark, watery, electronic sea. The bell sounds in the work evoke for me the bells of fishing boats as they toss around in choppy waters. These are sounds I first heard in the port of Valparaíso, Chile as a boy, their rhythm being ... | Tides; Carlton Vickers; Chilean music; Bell sounds | 2005 |
| 91 |
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Snapp, Brian | Martini (1) | Martinis -- Art | 2005 | |
| 92 |
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Snapp, Brian | Martini (2) | Martinis -- Art | 2005 | |
| 93 |
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Snapp, Brian | Martini (3) | Martinis -- Art | 2005 | |
| 94 |
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Snapp, Brian | Martini (4) | Martinis -- Art | 2005 | |
| 95 |
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Snapp, Brian | Martini (5) | Martinis -- Art | 2005 | |
| 96 |
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Snapp, Brian | Martini (6) | Martinis -- Art | 2005 | |
| 97 |
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Krensky, Beth | Matriarchs | Form: installation/sculpture; Medium: olive wood, Dead Sea salt; Dimensions: 14 x 60 x 120" | 2007 | |
| 98 |
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Chuaqui, Miguel Basim | Meditaci?n | I grew up in Chile during the 70's, and early 80's, a time of political upheaval and economic distress in Chile, and this has probably exerted as strong an influence on my musical outlook as any other aspect of Chilean culture. While I distrust "political art," I do have an abiding desire for my mu... | 1997 | |
| 99 |
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Webster, Maryann Sorensen | Monsanto Pond | 2002 | ||
| 100 |
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Webster, Maryann Sorensen | Moth Spirit Reliquary | Form: object/sculpture; Medium: porcelain, china paint; Dimensions: 14 x 13 x 7"" | 2002 | |
| 101 |
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Webster, Maryann Sorensen | Motherboard III | Form: object/sculpture; Medium: porcelain, china paint, circuit boards; Dimensions: 16 x 11 x 7"" | 2002 | |
| 102 |
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Webster, Maryann Sorensen | Mutant Pond with Snake | 2005 | ||
| 103 |
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Webster, Maryann Sorensen | Mutant Tide Pool with Genetically Modified Corn Fish and Lobster | Form: object/sculpture; Medium: porcelain; Dimensions: 18 x 13 x 5"" | 2006 | |
| 104 |
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Webster, Maryann Sorensen | Night Sea (back) | Form: object/sculpture; Medium: porcelain; Dimensions: 13 x 12 x 12"" | 2005 | |
| 105 |
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Webster, Maryann Sorensen | Night Sea (front) | Form: object/sculpture; Medium: porcelain; Dimensions: 13 x 12 x 12"" | 2005 | |
| 106 |
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Krensky, Beth | Of Hearts and Orchards | Form: sculpture; Medium: bronze, pigment; Dimensions: 2-1/2 x 48 x 2-1/2" | 2004 | |
| 107 |
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Krensky, Beth | Of Hearts and Orchards (detail) | Form: sculpture; Medium: bronze, pigment; Dimensions: 2-1/2 x 48 x 2-1/2" | 2004 | |
| 108 |
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Krensky, Beth | Offering | Form: sculpture; Medium: copper, gold leaf, soil from Israel; Dimensions: 2 x 12 x 12"; 8 x 3 x 3-1/2" | 2005; 2006; 2007 | |
| 109 |
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Webster, Maryann Sorensen | Overly Idealized Portrait of the Artist with Muses and Demons | Form: object/sculpture; Medium: porcelain, wood frame; Dimensions: 21 x 19 x 6"" | 2005 | |
| 110 |
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Martinez, Valerie Kim; Coppersmith, Kurt Joseph | Painting the town, inside and out | Process of creating and painting murals in different locations around Salt Lake City. | Trapeze Interactive Poster | 2010-03-15 |
| 111 |
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Erickson, John Owen | Park | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting; Park Building | 2008 |
| 112 |
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Chuaqui, Miguel Basim | Penumbra | I grew up in Chile during the 70's, and early 80's, a time of political upheaval and economic distress in Chile, and this has probably exerted as strong an influence on my musical outlook as any other aspect of Chilean culture. While I distrust "political art," I do have an abiding desire for my mu... | 1997 | |
| 113 |
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Chuaqui, Miguel Basim | Persistencia de la Memoria | La Persistencia de la Memoria (The Persistence of Memory) takes its title from the iconic surrealist painting ("The Persistence of Memory") by Salvador Dalí. The flexibility of this work's tempo, unusual for a work in which the electronics are closely coordinated with the live performer, mirrors th... | Persistence of Memory; Salvador Dalí | 2008 |
| 114 |
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Erickson, John Owen | Picture Plane | Form: painting; Medium: oil and latex; Dimensions: 36 x 48" | Painting | 2009 |
| 115 |
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Erickson, John Owen | Picture Plane | Form: painting; Medium: oil and latex; Dimensions: 36 x 48" | Painting | 2009 |
| 116 |
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Krensky, Beth | Pileum Cornutum | Form: sculpture; Medium: bronze; Dimensions: (5) each 3-1/2 x 3 x 3"" | 2007 | |
| 117 |
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Krensky, Beth | Pileum Cornutum (detail) | Form: sculpture; Medium: bronze; Dimensions: (5) each 3-1/2 x 3 x 3"" | 2007 | |
| 118 |
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Snapp, Brian | Pit Fired Vase (side A) | Vases | 2008 | |
| 119 |
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Snapp, Brian | Pit Fired Vase (side B) | Vases | 2008 | |
| 120 |
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Erickson, John Owen | Pole | Form: painting; Medium: oil and latex; Dimensions: 11 x 14" | Painting; Pole | 2005 |
| 121 |
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Krensky, Beth | Portal | Form: sculpture; Medium: copper, gold leaf; Dimensions: 36 x 36 x 2"" | 2005 | |
| 122 |
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Krensky, Beth | Portal (detail) | Form: sculpture; Medium: copper, gold leaf; Dimensions: 36 x 36 x 2" | 2005 | |
| 123 |
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Martinez, Valerie Kim | Portia | Oil on aluminum, from the 'Mujeres de Colores' series | Woman; Painting | |
| 124 |
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Krensky, Beth | Prayer Wings I | Form: sculpture; Medium: wood, copper, gold leaf, feathers, beeswax; Dimensions: 7" x 5' x 1' | 2002 | |
| 125 |
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Krensky, Beth | Prayer Wings II | Form: sculpture; Medium: wood, copper, gold leaf, milagros; Dimensions: 7" x 5' x 1' | 2002 | |
| 126 |
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Snapp, Brian | Present, detail view 1 | Tiles | 2007 | |
| 127 |
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Snapp, Brian | Present, detail view 2 | Tiles | 2007 | |
| 128 |
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Snapp, Brian | Present, detail view of bookstand tile | Tiles | 2007 | |
| 129 |
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Snapp, Brian | Present, installation view | Form: installation; Medium: mixed media; Dimensions: variable | Decorative tiles | 2007 |
| 130 |
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Snapp, Brian | Present, installation view | Form: installation; Medium: mixed media; Dimensions: variable | Decorative tiles | 2007 |
| 131 |
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Snapp, Brian | Present, view from the entrance | Form: installation; Medium: mixed media; Dimensions: variable | Decorative tiles | 2007 |
| 132 |
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Snapp, Brian | Present, view from the entrance | Form: installation; Medium: mixed media; Dimensions: variable | Decorative tiles | 2007 |
| 133 |
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Snapp, Brian | Present, view towards the bookstand | Tiles | 2007 | |
| 134 |
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Krensky, Beth | Presente II | Medium: photo transfer, embroidery; Dimensions: 14 x 10" | Photo transfer | 2003 |
| 135 |
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Krensky, Beth | Re-Member | Form: sculpture; Medium: copper, mica, enamel paint, mixed media; Dimensions: (6) each 4 x 4 x 4"" | 2007 | |
| 136 |
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Krensky, Beth | Re-Member (detail) | Form: sculpture; Medium: copper, mica, enamel paint, mixed media; Dimensions: (6) each 4 x 4 x 4"" | 2007 | |
| 137 |
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Erickson, John Owen | Red Apple | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting; Apple; Mouth | 2008 |
| 138 |
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Krensky, Beth | Reliquary I | Form: sculpture; Medium: bronze, gold leaf, mica, tefillin; Dimensions: 14 x 5 x 5" | Mica | 2009 |
| 139 |
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Krensky, Beth | Reliquary I (detail 1) | Form: sculpture; Medium: bronze, gold leaf, mica, tefillin; Dimensions: 14 x 5 x 5" | Tefillin | 2009 |
| 140 |
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Krensky, Beth | Reliquary I (detail 2) | Form: sculpture; Medium: bronze, gold leaf, mica, tefillin; Dimensions: 14 x 5 x 5" | Tefillin | 2009 |
| 141 |
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Krensky, Beth | Reliquary II | Form: sculpture; Medium: bronze, gold leaf, mica, tallit; Dimensions: 10 x 9 x 4" | Tallit | 2009 |
| 142 |
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Krensky, Beth | Reliquary II (detail) | Form: sculpture; Medium: bronze, gold leaf, mica, tallit; Dimensions: 10 x 9 x 4" | Tallit | 2009 |
| 143 |
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Krensky, Beth | Reliquary III | Form: sculpture; Medium: bronze, gold leaf, mica, Shabbat candles; Dimensions: 14 x 6 x 6" | Mica; Shabbat candles | 2009 |
| 144 |
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Chuaqui, Miguel Basim; Iachimcuic, Igor Eugene; Standing, Shawn C. | Resistencia | The piece is called Resistencia (Resistance), and it was presented as part of the celebrations for the Chilean independence bicentennial. The title refers both to the Chilean war of independence (Resistance against the Spanish Crown), and to the concept of overcoming the resistance of time and spac... | Improvisation; Telematic performance; Santiago; Salt Lake City; Interactive music; Interactive dance; Motion capture; University of Chile; Resistance; Chilean independence | 2009-08-28 |
| 145 |
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Chuaqui, Miguel Basim; Iachimcuic, Igor Eugene; Standing, Shawn C. | Resistencia | The piece is called Resistencia (Resistance), and it was presented as part of the celebrations for the Chilean independence bicentennial. The title refers both to the Chilean war of independence (Resistance against the Spanish Crown), and to the concept of overcoming the resistance of time and spac... | Improvisation; Telematic performance; Santiago; Salt Lake City; Interactive music; Interactive dance; Motion capture; University of Chile; Resistance; Chilean independence | 2009-08-28 |
| 146 |
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Martinez, Valerie Kim | Rosie | Oil on aluminum, from the 'Mujeres de Colores' series | Woman; Painting | |
| 147 |
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Chuaqui, Miguel Basim | Salmo 139 | Choral music work in Spanish based on Psalm 139. | music, SSATB Choir | 2009 |
| 148 |
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Chuaqui, Miguel Basim | Saturniana | Score for work for bass trombone and electronics. | music, trombone, electronics | 2009 |
| 149 |
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Krensky, Beth | Scepter (view 1) | Form: sculpture; Medium: olive wood, bronze, gold leaf; Dimensions: 20 x 3 x 3" | 2009 | |
| 150 |
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Krensky, Beth | Scepter (view 2) | Form: sculpture; Medium: olive wood, bronze, gold leaf; Dimensions: 20 x 3 x 3" | 2009 | |
| 151 |
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Krensky, Beth | Seal of Solomon | Form: sculpture; Medium: bronze; Dimensions: 4 x 4 x 1/2" | 2005 | |
| 152 |
 |
Krensky, Beth | Sefirot | Form: installation/sculpture; Medium: copper, gold leaf, salt; Dimensions: 12 x 60 x 120" | 2005 | |
| 153 |
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Krensky, Beth | Sefirot (detail) | Form: installation/sculpture; Medium: copper, gold leaf, salt; Dimensions: 12 x 60 x 120" | 2005 | |
| 154 |
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Webster, Maryann Sorensen | Shallow Edge of the Gene Pool II | 2007 | ||
| 155 |
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Krensky, Beth | Shofars for Zev | Form: sculpture; Medium: bronze, gold leaf; Dimensions: (2) each approx. 2 x 11 x 2"" | 2007 | |
| 156 |
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Erickson, John Owen | Shopping | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2009 |
| 157 |
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Chuaqui, Miguel Basim | Sonora Run | Sonora Run is a 7 minute work for orchestra dedicated to the memory of the Chilean writer Roberto Bolaño. Although his novels take the reader all over the world, the Mexican state of Sonora and the Sonoran desert play a central role in several of his works, including his acclaimed major works, The... | Roberto Bolaño; Sonora Mexico | 2006 |
| 158 |
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Chuaqui, Miguel Basim | St. Mary Magdalene at the Holy Sepulchre: fantasy on a vespers hymn from the feast day of St. Mary Magdalene | Score for work for organ for the feast of St. Mary Magdalene. | score, music, organ, St. Mary Magdalene. | 2006 |
| 159 |
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Erickson, John Owen | Steps | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 160 |
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Krensky, Beth | Story Quilt | Medium: mixed media on library catalogue cards; Dimensions: 5-1/2' x 10-1/2' | 2001; 2002 | |
| 161 |
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Krensky, Beth | Story Quilt (detail) | Medium: mixed media on library catalogue cards; Dimensions: 5-1/2' x 10-1/2' | 2001; 2002 | |
| 162 |
 |
Erickson, John Owen | Stuffed | Form: painting; Medium: oil and latex; Dimensions: 18 x 24" | Painting | 2008 |
| 163 |
 |
Erickson, John Owen | Tashi | Form: painting; Medium: oil and latex; Dimensions: 36 x 48" | Painting | 2009 |
| 164 |
 |
Erickson, John Owen | Temple Rider | Form: painting; Medium: oil and latex; Dimensions: 11 x 14" | Painting | 2008 |
| 165 |
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Krensky, Beth | Ten Generations | Form: sculpture; Medium: bronze, Dead Sea salt; Dimensions: (10) each approx. 1-1/2 x 2-1/2 x 1-1/2"" | 2007 | |
| 166 |
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Chuaqui, Miguel Basim | Tiempo norte, tiempo sur (north time, south time) | Score for work for chamber orchestra commissioned by the Utah Arts Festival (NEA). | music, chamber orchestra | 2008 |
| 167 |
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Krensky, Beth | Tree Amulets | Form: sculpture; Medium: bronze; Dimensions: each approx. 5 x 3-1/2 x 1/4" | 2007 | |
| 168 |
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Krensky, Beth | Tree Amulets (detail) | Form: sculpture; Medium: bronze; Dimensions: each approx. 5 x 3-1/2 x 1/4" | 2007 | |
| 169 |
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Erickson, John Owen | Untitled | Form: painting; Medium: oil and latex; Dimensions: 11 x 14" | Painting; Street scene | 2008 |
| 170 |
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Krensky, Beth | Vestment | Form: sculpture; Medium: bronze; Dimensions: 5 x 18 x 5" | 2005 | |
| 171 |
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Krensky, Beth | Vestment (detail) | Form: sculpture; Medium: bronze; Dimensions: 5 x 18 x 5" | 2005 | |
| 172 |
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Martinez, Valerie Kim | Vicki | Oil on aluminum, from the 'Mujeres de Colores' series | Woman; Painting | |
| 173 |
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Martinez, Valerie Kim | Wanda | Oil on aluminum, from the 'Mujeres de Colores' series | Woman; Painting | |
| 174 |
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Krensky, Beth | Where Are My People? | Medium: photo transfer, paint, thread on copper; Dimensions: 8 x 11" | Photo transfer; Thread | 2004 |
| 175 |
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Krensky, Beth | Where Lies the Border Between Us? | Form: sculpture; Medium: marble; Dimensions: (2) each 13 x 7 x 7"" | 2007 | |
| 176 |
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Krensky, Beth | Where Lies the Border Between Us? (detail: Hagar) | Form: sculpture; Medium: marble; Dimensions: (2) each 13 x 7 x 7"" | 2007 | |
| 177 |
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Krensky, Beth | Where Lies the Border Between Us? (detail: Sarah) | Form: sculpture; Medium: marble; Dimensions: (2) each 13 x 7 x 7"" | 2007 | |
| 178 |
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Krensky, Beth | Womb | Form: sculpture; Medium: bronze, gold leaf; Dimensions: 8 x 8" | 2009 | |
| 179 |
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Krensky, Beth | Womb (detail) | Form: sculpture; Medium: bronze, gold leaf; Dimensions: 8 x 8" | 2009 | |
| 180 |
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Krensky, Beth | Yad | Form: sculpture; Medium: bronze; Dimensions: 7 x 4 x 3" | 2009 | |
| 181 |
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Scott, Kali | You do you: A theoretical exploration of audience agency in theatre | How is audience agency implemented in today's theatre? What elements are used in this type of performance? How do audiences react to such experiences? | 2017 |
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