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Show Exhibit ranges from mundane to provocative maaM MaaaaaBaaM aBaaBBaaaaBBBaaaaaaai aaaaaaaaaai aaaaa aaaaa"" """a (Vg 1 W V U . b -: .rjf , I": : ' -" ' T . . : .j .6 T ; ; ; , ... wifiw i m ' K n i sit J4:r.: gL r iMiaiiinimnftiiniiiiiiMiiiiiniiiiiin ihhtiuhmh inwniiiiiiiniMiiirniiii iiiiiii r" m lIlil.! Kimwmi i umi wigii iniwnT -iinr n m ilnwtw iiimiiiihih nifnliiiiimii.iwio m rjiniiitnrn-n photos by Nan Chalat by Nan Chalat The Kimball Art Center exhibit jury seems to let its hair down when selecting artists to show their work in the Little Gallery. While the Main Gallery tends to feature fea-ture more established names in the art world, the Little Gallery is a showcase for less-well-known artists whose work is more experimental. experi-mental. As it happens, the exhibits in the Little Gallery are often more exiciting than the larger upstairs exhibits which are meant to have a broader (and more salable) appeal. Such is the case at the Art Center this month. Last Sunday, in the Main Gallery the Utah Designer Craftmen unveiled an abbreviated ab-breviated exhibit of juried work ranging from stained glass and ceramics to furniture. furni-ture. The show was to have occupied the entire Main Galler but, according to Director Corke Pepper, "Their judge juried so much out of the show that there wasn't enough to fill the walls." As a result, one third of the gallery space was turned over to Sharon Shepherd, Shep-herd, Harold Larsen and Daniel Gelakoska. The collection of work from the Utah Designer Craftsmen has high points and low points. Ann Glea-son's Glea-son's ceramic platter, Sara Chamber's sewing table and matching stool, Kyle William's Will-iam's Amish-style quilt, Kristie Krumbach's metal sculpture of The Last Resort and Lilly Harvey's stained glass Kabuki theater scene all deserve the cash prizes awarded by the juror. Nancy Hawk's fiber tableau of Little Bo Peep, Nadra Haf-far's Haf-far's series of trout swimming swim-ming through a shiny sea of straight pins, and the Frank Lloyd Wright Dining Set by Jeffrey Fitzwilliams and Peter Squires also merit special recognition. And David Pendell's "Letters from San Diego" ceramic wall sculpture and Richard Santigo's face masks are intriguing. But much of the other work is mundane. The individual pieces are executed with skill but the results fall far short of making any new artistic statements. In the past, the group has exhibited much stronger shows and one wonders what has happened to some of those early members who are no longer represented. Around the partition from the craftsmen, Sharon Shepherd's Shep-herd's pastel collages of hand-made paper quietly call for attention. The texture tex-ture and color is pleasing and her paintings pick up the same theme but a certain measure of vitality is still lacking. Harold Larsen's landscapes land-scapes are bolder but once again the same theme is repeated and it reminds one of the art which is found in office buildings carefully composed so as not to overly distract or offend. Daniel Gelakoska's abstracts are well executed but they too fit under the heading 'nice art.' Those who venture downstairs, down-stairs, however, will be treated to a compelling tradition-breaking exhibit of airbrush watercolors by Carleen Jiminez. For subject sub-ject matter, Jimenez takes on nothing less than the universe, creation and the unknown. Her compositions are surreal but not abstract, precise and yet mysterious. Her symbolism evokes a range of experience from medieval alchemy to futuristic futur-istic science fiction. Viewing her work is what art should be an experience. Along with her paintings, Jimenez has included exerts ex-erts from her diaries-poems diaries-poems about substance, perspective per-spective and insight. They reveal a sharp inquisitive intelligence probing for a deeper understanding of the universe. The Utah Designer Craftsmen Crafts-men and Carleen Jimenez shows will be on exhibit at the Kimball Art Center through Oct. 13. --1B-MIIIHIIIIIIII..IIIIIII I Hill Hll |
