Exhibition Guide Biennial MAY 10 – Dec 14 The inaugural Utah Biennial: Mondo Utah offers succinct artistic statements, collections, artifacts and positions that take an anthropological look at the history of contemporary art, folklore and culture in Utah. Generating new projects and unearthing archival legacies, the exhibition demonstrates how Utah has produced its own visual language within our country’s cultural puzzle.

Mondo Utah or “the world of Utah,” is taken from the eponymous book by cult filmmaker Trent Harris, a publication of contemporary mythology that looks into the fables and idiosyncrasies originating from the Beehive state. The word “mondo” references a filmmaking genre dating back to the early 60s from Italian filmmaker Gualtiero Jacopetti whose 1962 film Mondo Cane pioneered a filmmaking style known for cinema verité, a pseudo-documentary that blurs reality and fiction. The film was structurally divided into short, unrelated vignettes or stories that brought one through a panorama of events unfolding before the camera.

This first biennial looks at the myriad of ways in which Utah has been used as a site, subject, support, and material. Structured like a Russian doll, the Utah Museum of Contemporary Art is taken over by a series of exhibitions within the larger framework of the biennial. The recursive format reveals parallel worlds of art history, recent cultural productions, contemporary practices, outsider trajectories and aesthetic positions. Mondo Utah celebrates the diversity and richness of Utah’s cultural landscape with a spectrum of voices from all sides of the community. Utah’s cultural lore, forgotten icons and parallel art worlds reimagine the possibilities and relevance of regionalism within an ever-globalizing perspective on contemporary art and cultural production.

- Aaron Moulton, Senior Curator

Participating artists Ansel Adams Allen Midgette Bob Moss Adam Bateman Diane Orr Chris Burden Gianni Pettena Mike Cassidy Annie Poon Jared Clark J. Kirk Richards Maddison Colvin Jean Richardson Stephen Groo C. Larry Roberts Hagen Haltern Derek Rigby Michael Handley Casey Jex Smith Trent Harris Jared Steffensen Nancy Holt Summum Levi Jackson UltimusMormon Annie Kennedy Morganne Wakefield Cara-Lynne Krebs Jennifer West David Chapman Lindsay Andrea Bowers Paul McCarthy & Cori Redstone Jon McNaughton Matthew Antezzo Jim Mangan & Seher Shah Jason Metcalf Salt Lake Art Center Collection

Contributors for captions Matthew Antezzo Becca Maksym Adam Bateman Hikmet Sidney Loe Matt Coleman Alex Smith Chris Coy Jason Metcalf Michael Handley Aaron Moulton Scotti Hill Jared Steffensen Laura Allred Hurtado differences on memories of her parents, Kennedy are before-and-after images of a character process undergone through meditation toward The Beautification of Activism evokes a form of nostalgia that is familiar to anyone reminiscent of the Everyman or even the 2008 spiritual awakening. However, the physical body through Sculpture who has ever been in the Boy Scouts, attended Election campaign’s “Joe the Plumber.” Our and its desires and daily demands of the ego By Becca Maksym church, or participated in an emergency drill. martyr is tragically fallen and pulls himself up hinder this process. The Summum approach exists With activism as her primary medium, Andrea Because of the commonness of these experiences by his proverbial straps to resist the futility of a within nature and across time. Summum and Bowers employs social justice as a means to across the United States, Kennedy’s work not only citizen David to the Goliath state. its philosophy were founded by Claude “Corky” explore important causes by engaging with reflects larger cultural practices, but also reveals Nowell, an Elder of the Church of Christ of various demographics and institutions. In 2012 how Utah has institutionalized these customs of Notwithstanding McNaughton’s talent for Latter Day Saints. In 1975 Corky, eventually named Bowers was selected for the Warnock Artist preparedness in its own distinctive way. updating the vernacular of allegorical narrative Corky Ra, was visited by higher beings who inspired Residency at the University of Utah where she and history painting, his omission demonstrates him to pioneer a new way of thinking that was the met artist, community organizer, and activist an exclusionary conservatism within one of our sum total of creation, an average of religion’s ever- Cori Redstone. Social Justice Table, , culture’s most advanced avenues for expression: varied directives and creeds. Utah is just one manifestation of the two artists’ the visual arts. His inclusion in Mondo Utah helps creative and political collaboration, as these advance the hopeful democracy through which Taking aspects and symbols of freemasonry that justice tables demonstrate how activism and art Jon McNaughton one can grasp the varied voices in Utah’s cultural are referenced within the LDS church back to Diane Orr and C. Larry Roberts production can serve as both aesthetic experience Obamanation dialogue but also embrace a spectrum outside their Egyptian roots, the organization offers an SL-1 and social movement. 2012 partisan blinders. alternative path of spirituality. They hold their 1983 Courtesy of McNaughton Fine Art, LLC meetings in a copper-tone pyramid in the west For the Utah Biennial, Bowers and Redstone focus Courtesy of Special Collections, J. Willard side of Salt Lake City. Visitors, members and on activist groups primarily located in Salt Lake Marriott Library, University of Utah Right is Right devotees receive “lessons”—including readings City. A myriad of organizations are represented By Aaron Moulton in the gallery. From women’s and LGBT rights from the Dhammapada and Osho—as a means Provo-based painter Jon McNaughton is A Forgotten Chernobyl Love Story to climate change, community gardens to of addressing the position of an individual’s considered one of Utah’s most famous artists By Becca Maksym political amendments, these groups are given an consciousness. This documentary film depicts a story about untraditional platform to state their causes, as today. Championed by Glenn Beck and the Tea America’s first disastrous nuclear reactor the museum is repurposed into a protest zone. Party, his paintings range from charismatic religious The organization operates the radio station KPHI explosion in 1961, a tragedy that escaped public In this sense, the justice tables conflate art and Jennifer West tableau to bitingly political critiques of current as well as a TV program, both transmitted on the attention for over twenty years. Utilizing the activism through sculptural and conceptual means. Salt Crystals Spiral Jetty Dead Sea Five Year Film events. Despite his position in American culture, Internet. It is Utah’s first wine producer bottling Freedom of Information Act, filmmakers Diane Using bright-colored vinyl, Xerox copies of flyers, (70mm film negative floated in the Dead Sea and he is virtually unknown within the mainstream “nectar,” a libation fermented for 77 days and Orr and C. Larry Roberts investigate what news postcards, and brochures, Bowers and Redstone given a healing clay bath in extreme heat in 2008 - contemporary art world. The reason can be drawn used to facilitate meditation. Modern day usage of reports claimed was a strange murder-suicide, turn standard folding tables into vibrant stations stuffed in a suitcase, placed in studio buckets, covered from the political stance of paintings such as the mummification is the organization’s most widely perpetrated by one of the operators of a nuclear of social justice and community outreach. in clay and salt for five years-dragged along the salt ones on view and their heavy ideological lean known practice in popular culture. Creating vessels reactor on a military site in Idaho. This disaster encrusted rocks of the Spiral Jetty and thrown in the toward a conservative political agenda. to transit individuals from one state of being to the killed three people and initiated a dire cleanup pink waters in 2013 in below 10 degree weather - Summum next and possibly greater state, a process referred effort as hundreds of people were exposed to high Dead Sea floating and mud baths by Mark Titchner, Obamanation epically portrays the commander- Golden Life Masks to as “transference.” As an alternative trajectory levels of radiation. Karen Russo and Jwest - Spiral Jetty dragging and in-chief as a charlatan buoyantly blinded to the 1990 in a place steeped in spiritual options, Summum’s rolling by Aaron Moulton, Ignacio Uriarte and Jwest spoils of his folly. Every corner of the painting Courtesy of Summum output asks primordial questions about art as a Although the explosion resulted from an improper - DIY telecine frame by frame of salt covered film meticulously maps an encyclopedia of essential vehicle for spirituality and its purpose as a gateway withdrawal of the central control rod, the film by Chris Hanke - Spiral of Time Film #1 for Chris players and events associated with the Obama Sum of Us to a higher state of being. focuses on the melodramatic back-story that Marker) presidency in dour detail. McNaughton uses By Aaron Moulton one of the three victims had marital problems 2013 satire to tell a truth convenient to the believer. Summum describes itself as an informal gathering and sabotaged the reactor for revenge. Using Commissioned by the Utah Museum of The Forgotten Man and The Empowered Man of people seeking to understand themselves, a this sensational narrative, Orr and Roberts Contemporary Art present an artistic rendition of the catastrophe by combining archival film footage with interviews An Oedipal Spiral Jason Metcalf of supervisors and workers who helped with By Becca Maksym A Historical Tour of the Kingdom of Deseret, Volume III the eighteen-month cleanup. The previously Known for her physically altered and “camera-less” 2013 concealed material indicates the failure of films, L.A.-based artist Jennifer West collaborated Courtesy of the artist government attempts to cover up major industrial with UMOCA’s curator Aaron Moulton and disasters while simultaneously raising questions Annie Kennedy Spanish artist Ignacio Uriarte to create a new film A Historical Tour of the Kingdom of about human fallibility. Filmed in an austere and Safety Hers/Woman’s 72 Hour Emergency Kit of layered experience. After submerging celluloid Deseret, Volume III – Foreword to the formally challenging visual style, SL-1 plays with Safety His/Man’s 72 Hour Emergency Kit in the Dead Sea five years ago, West immersed Second Edition contemporary issues revolving around nuclear 2013 the same film into the Great Salt Lake waters By Jason Metcalf safety and ultimately dispels the assumption that Courtesy of the artist that surround Smithson’s Spiral Jetty, producing a When I was invited to participate in the first Utah people can control and outlive the lethal effects of crystallized artifact that recalls these two different Biennial, the timing could not have been more radioactivity. saline experiences. Viewers are able to see images In the event of the Event perfect. I had recently discovered a rare out-of- By Becca Maksym from the original recording in conjunction with print book, “A Historical Tour of the Kingdom of Influenced by her Mormon upbringing, Utah artist the final digitized project. Deseret, Volume III”, published in 1997 by the Annie Kennedy explores preparedness, food storage, Historical Society of Deseret in Salt Lake City. and biblical themes as a means to communicate her Juxtaposed in two corners of the gallery, the This mysterious society was at the time unknown experience of LDS culture through eschatological contrast of the film as reference and referent is to me, and for some reason I had never heard accoutrements. Vacuum-sealed bags of gauze, played out in a psychedelic trajectory of previous of the series of tour books that explored the matches, dried fruit, compasses, and zip ties mimic footage and recently recorded abstract forms. history of Deseret that were published by the colorful swatches of fabric that make up traditional The film on the left flashes images of West’s trip organization, although I consider myself well-read quilts. The individual compositions are packaged as to the Great Salt Lake while the film on the right when it comes to matters pertaining to history neat assortments of important supplies for any type documents—frame by frame—how the mounds and folklore of the Beehive State. At any rate, it Although I had visited most of the ten sites at was what was designed for the reader and traveler of emergency, but as a collective piece, each blanket of salt from the jetty culminate as an observable was obvious to me what my contribution to the one point or another in my life, I was interested by the Historical Society of Deseret, as they recalls LDS customs of needlework, home storage, phenomenon of entropy. The corroded and biennial would be. I proposed to complete the in experiencing firsthand the chronology of purposefully did not include page numbers in the and family ties. modified film invokes Smithson’s theory of tour as outlined in the book, visiting each site places as set forth in the tour, and in the possible book, hinting that there was no reason to jump systematic reduction, revealing how this famous as chronicled in the text, and to document my connections that would be made between from one point to another, but that one should For this rendition of Kennedy’s survival kits, the piece of Land Art in Utah continually influences appearance at each with a single image. Finally, forgotten histories and the people who had lived start at site number one in Ephraim Canyon, Andrea Bowers and Cori Redstone artist has created a “his” and hers”, using gender contemporary art practice. I proposed to re-publish the text in a second and died in these various locations. I wanted to and continue until reaching the tallest point in Justice Tables, Salt Lake City, Utah constructs to distinguish between male-oriented edition and to make it available to the audience imagine the events while standing in each place, to the Kingdom, the summit of King’s Peak in the 2013 emergency supplies versus objects that are more of the exhibition so that they too, could allow my mind to paint a picture of what happened Uintah Mountains. It was at this final site, while Courtesy of the artists and Susanne Vielmetter appropriate for female preparedness. Each panel experience a portion of the vast landscape of the by visually and spatially referencing the subjects peering across the immensity of space within the Los Angeles Projects utilizes a symbolic arithmetic, loading the individual Kingdom of Deseret through the lenses of history, at hand, and to fill my lungs with the same air that Kingdom, that I realized that the journey that I had items with allegorical meaning. Basing these travel, and imagination. they had once breathed. It seems that this method completed was now my own unique story. picturesque. By pooling together images found would develop an undeniable trajectory that would space. The notion of the step became the focus of through Internet searches of Utahn monuments, forecast his career for the next 40 years. the background content for his proposal for the the artist assembles a layered history of “view- UMOCA Plaza. finding.” Realigning each image to a common During his brief stay, he produced a number of vanishing point, they are set one atop the other significant works, however his legacy resides in All these elements and ideas come together in like an ahistorical jigsaw of memory. The artist what is referred to as “The Salt Lake Trilogy.” He the image of the UMOCA Square, as imagined by renders the vistas of collective consciousness into would cover an entire house from cornerstone Antezzo. Three steps along the north edge of the an algorithmic tag. to rooftop in earthen red clay, known as The Clay embankment could serve as a place to overcome, House. In another moment, with students from the to rise up and find oneself elevated, and able to The photographs have been laser-cut according University of Utah, he drove a pickup truck around see the Plaza in a new way, and perhaps raise one’s to every image’s respective edge in a manner that the entirety of the city limits delineating this fist in unity, feeling very orange. transcends the typical square frame. The result otherwise abstract geographic space by spraying is a literal palimpsest where an icon’s alignment a red line, a work referred to as Siege (A Red Line). determines the geometry of the work. Bateman In the west end of town was a crystalline wooden extends the formal side effect of this series into structure, an edifice blurred from top to bottom the exhibition space itself by introducing an by itinerant sage brush known as tumbleweed; it Matthew Antezzo and Seher Shah unorthodox patio deck that serves as a viewing towered some forty feet in a vacant lot and was Step Up and Feel Orange/Soft Brutalism platform. His architectural intervention proves dubbed the “first skyscraper of Salt Lake City.” 2013 the photo’s form to be contagious as it mimics the Tumbleweeds Catcher stands here as a forgotten Courtesy of the artists and Klosterfelde Gallery, jagged order. icon of the city skyline. Berlin

Bob Moss Soft Brutalism Allen Midgette The Letter I By Aaron Moulton Shadow Warrior 2005 This project is the outcome of a conversation c. 1960 Courtesy of Robert and Cleo Moss between the artist Seher Shah and Matthew Courtesy of the artist Antezzo. Stephen Groo Production Still From Wolf Productions Deseret’s Lost Darling Allen Midgette: In June of 2012 in Berlin, the two artists observed By Aaron Moulton 2013 The Man, the Myth, the Imposter the housing complex on Böklerstrasse during a The late artist Bob Moss championed the use of Courtesy of Wolf Productions By Scotti Hill conversation about Brutalist architecture. The pyrography in his artistic practice. One of the “Imposters succeed because not in spite of their term “Soft Brutalism” was coined during this artist’s common practices was to use the Deseret Groo and His Players fictitiousness. They take wing with congenial discussion to signify an architecture which is of alphabet as material by burning its characters and By Chris Coy cultural fantasies.” the same spirit of the Brutalists but has a lighter designs into misshapen pieces of wood or other For the creative residents (and expatriates) of -Hillel Schwartz appearance due to the use of color, rounded found material. The alphabet itself was created Utah, Stephen Groo is an enigma—a highly forms, or other details. It is a term which needs to in the mid-nineteenth century at the University prolific filmmaker with a body of work that Allen Midgette has made a career out of being an be unpacked. This project is part of the ongoing of Deseret (now the University of Utah) to offer speaks to his force of will and creative vision imposter. Despite success as both an actor and a conversation between the artists and this process a more phonetic transliteration of English. The while exposing the limitations of the backyard painter, Midgette is best known for his portrayal of unpacking. experiment never completely took off. The blockbuster. His 125+ short films, music of one of the 20th century’s most famous artists: defunct script transforms Earth’s dominant Trent Harris videos, feature films, and training videos have Andy Warhol. While initially reluctant about the In preparing for the exhibition here at the tongue to a near alien resonance scarred into The Beaver Kid it all: mermaids, vampires, elves, angels, sailors, association, Midgette has since embraced his role Utah Museum of Contemporary Art, Antezzo gourds, leather, and beehive formations. For the 1978 schoolgirls, devils, damsels, zombies, soldiers, she- as artistic double. recalled his time as a student at the University Utah Biennial, Moss’ presentation is focused on Courtesy of Special Collections, J. Willard hulks, and real-life action heroes. These figures of Utah, where he studied photography under the artist’s attention to folkloric myths present Gianni Pettena Marriott Library, University of Utah populate worlds without number, a pastiche of As a product of the 1960’s Cultural Revolution, Joseph Moratta and was also a participant in the and past, showing imagery from Gilgal Gardens Tumbleweeds Catcher popular culture collaged from Michael Bay movie Midgette appeared in legendary director performance workshop lead by Paul McCarthy in as well as his obsession with the mysterious 1972/2013 How Do You Make an Underground Film? posters and Saturday morning cartoons. Bernardo Bertolucci’s film Before the Revolution the winter of 1984. While living in Salt Lake City, disappearance of folk legend Everett Ruess. Courtesy of the artist By Aaron Moulton (1964). Midgette’s connection to Andy Warhol Cult filmmaker Trent Harris provides the starting the artist also traveled extensively throughout the As a viewer, it is natural to laugh at the limitations wasn’t an immediate one. After meeting at the Forgiven by Nature point for entering this exhibition. His book Mondo state with a fellow student at the time, artist David of a film by Stephen Groo. We laugh as we artist’s infamous Factory in 1963, Midgette By Aaron Moulton Utah, an appropriated namesake of the biennial, Baddely. Familiar with the museum, its building, recognize the obvious imperfections in his initially declined offers to work with Warhol. In the late Sixties architects began reacting to the functions as a guide to contemporary folklore and the surrounding environs—albeit a 30 year homespun narrative fabrics. We laugh at the He would later become a veritable Warhol star, restraints of Modernism and the utopian master specific to the Beehive state. His films and their old familiarity—these memories provided a base production gap between Hollywood and Utah making notable appearances in screen tests and plans for living put forward by Le Corbusier among rough style of professionalized amateurism and to begin working. County. We laugh because Fantasy is uglier the feature films Naked Restaurant (1967) and others. Their belief was that architecture and awkward characters put him in a canon alongside than casting agents have led us to believe. We Lonesome Cowboys (1968). His most important urbanism did not need to be a prison or a way of the likes of John Waters. In conversation with curator Aaron Moulton, laugh (nervously) at the possibility of our own role however, came in early 1967, when Midgette controlling the pathways of humankind but could Antezzo inquired about the public areas around inclusion as actors in a Utah Wolf Production. We transformed from muse to artist impersonating be something liberated through new thinking. Harris, along with Diane Orr and C. Larry Roberts, the museum. Aaron sent materials and video, laugh, immensely pleased with our advantaged the famed artist himself. The event happened This shift is referred to as “radical architecture”. worked as a TV journalist for the Channel 2 along with encouragement to do whatever the position as passive spectators. Like the royals in spontaneously, as Warhol suggested that In the same moment artists began to leave the program Extra. The loose approach to the program artist wanted within a certain time constraint, Shakespeare’s A Midsummer Night’s Dream, we Midgette impersonate him for a college lecture in confines of the white cube gallery to make works allowed for the filmmakers to adapt the journalistic lack of necessary zoning approval, and, most laugh as Bottom’s amateurish theatre troupe Rochester, New York. that challenged the way the art experience lens to more experimental sensibilities in capturing importantly budget constraints. Within these faithfully performs “a most lamentable comedy.” parameters and in response to the architecture, Adam Bateman could be produced through performance and a subject. But if we succumb to laughter only, we miss what To create a physical resemblance, Midgette Antezzo thought the context for the conversation Kennecott Smokestack grandiose mark-making in the landscape, the is crucial: the implicit belief that art can save the applied white face makeup, a grey wig and donned about Soft Brutalism could be a productive way to 2013 latter a phenomenon that came to be known as The Beaver Trilogy begins with the documentary world. That imagination is real. Warhol’s signature leather jacket and sunglasses. approach the project; the process could be one of Courtesy of the artist Land Art. Groups and thinkers such as Archizoom, film entitled “The Beaver Kid,” a story of Groovin’ The conceptualism of this event and the apparent Superstudio, Archigram, Buckminster Fuller, Gary from Beaver, Utah, a man on a quest for fame real freedom from planning approval and all take Art is, in fact, saving the world for Stephen Groo. thrill it evoked for both Midgette and Warhol Gordon Matta-Clark, Robert Smithson and Gianni and an innocent desire for cross-dressing like Olivia the form of drawing and presentation as you see It is saving the world for his players, too. It is saving spawned the idea for more ‘forged’ lectures. That In Search of a God’s-eye View here. By Aaron Moulton Pettena were pioneers of this radical approach. Newton John. Gary urges Trent to visit Beaver all of our worlds—circumscribing them inside a autumn, Warhol booked four stops on a college Is a Google search the closest we get to and see the talent on offer—a filmic journey that shared universe that desperately needs Fantasy to lecture tour of the Western United States. The In 1972, Gianni Pettena came to Salt Lake City With this in mind, Antezzo invited Seher Shah an essence? Are icons merely an echo in a reveals an eclectic underbelly of Americana. This fight back the Dark Lords of Reality. Like Bottom, University of Utah in Salt Lake City was the last at the invitation of Bob Bliss to teach a semester to participate with him for the presentation at subconscious template? Do we tend to look documentary becomes a scripted template to Groo freely cavorts with the humans and the stop, preceded by The University of Oregon at at the University of Utah. He had just been the Mondo Utah exhibition. With Shah in New through someone else’s eyes? produce the second and third films of the trilogy, fairies, modeling the transformative potential of Eugene, Linfield College in McMinnville, Oregon in Minneapolis where he made his famous Ice respectively starring Sean Penn and then Crispin York and Antezzo in Berlin, their collaborative art and the euphoric freedom of abandonment and Montana State University in Bozeman. On House and was at the beginning of a practice processes were all done remotely. This activity of Adam Bateman’s new series of photographic Glover. The trilogy, with all of its scandal and to the wildness of make-believe. Actually, he’s Monday, October 2, 1967, Midgette stopped that would analyze the tension between the built virtual site visit also informed the dialogue and works blur perspectives of amateur and scarcity, claims an international legacy that sets an probably out back right now, building filmic at the University of Utah to deliver this highly environment and the forces of nature. It was in opened possibilities for drawing on material from professional photography with the physicality of early precedent of recursive filmmaking. bridges to Never-Never Land, and willing us all to anticipated lecture. Salt Lake City that his practice and philosophy archives. Shah’s suggestion of a viewing space join him. sculpture to analyze archetypal notions of the led Antezzo to consider how one reaches such a In Michael Handley’s work, the themes of home his non-existent childhood home or to make the by sending his parents a package containing a Chris Burden is most well known for his piece titled and family are interchangeable and are ideas journey between Utah and Illinois left him with digital audio recorder. The subsequent recording Shoot (1971), wherein a friend shoots him in the he returns to frequently. As is the case with a nostalgic desire to return home, to be close to contains moments of human interaction ranging arm with a rifle. Burden is a performance artist North Creek, a performance from 2010, Handley his family. Handley searched for a way to have a from the package being bounced around while and sculptor working in Los Angeles and his early documents a 300 mile walk through the Utah surrogate make that journey for him. being handled, to the voice of the artist, the store artworks are characterized by some element of mountains from Salt Lake City to his childhood clerk, drivers, and eventually the artist’s father, to putting himself or others in danger. Oh Dracula home in North Creek, a small town outside of Handley’s untitled audio work for the biennial songs playing in the truck during its delivery route, (1974) is a performance piece that occurred at the Beaver, by collecting a tablespoon of soil from plays off the romantic notion of love letters, a but it is the painfully drawn out silence between Utah Museum of Fine Arts and was commissioned where he slept each night of his journey. Upon way for loved ones to feel connected over large those moments that is the strength of the work. by the Western Association of Art Museums and his arrival where his home once stood (it had distances. Those letters arrive bent and tarnished, The silence is an auditory record of the distance the Western Regional Conference of the American been recently torn down to prepare for new but the one thing the letter cannot do is provide between loved ones that allows the listener to Association of Museums. Burden huddled up inside construction), he traced the outline of the four an actual account of the time and distance it feel the loneliness of the digital recorder and a chrysalis-like sack that was hung between two outer walls on the ground using flour and also traveled. However, the love letter has been the artist. Even though both experience human eighteenth-century paintings with candles on the Jared Steffensen removed one square foot of that soil from the replaced by programs like Skype and FaceTime interaction at times, they cannot fill the void left ground at his head and feet. The performance Three of Four Corners four corners of the drawing as a way to mark that shrink distances with the touch of a button, by the physical and emotion distance between the lasted for six hours, a shorter duration than that of 2013 what once was and will never be again. His family but lack the thoughtfulness integral to the hand artist and his parents. Burden’s usual performances. Courtesy of the artist eventually left the home they shared together and written letter. Handley merged these two forms of Paul McCarthy temporarily relocated to Chicago. Unable to visit communication, analog and digital (old and new), Mountain Bowling Burden’s television commercials operate on a Gleaming the Cube 1969/2005 similar level as Oh Dracula, in that they are self- By Michael Handley Courtesy of the artist and Hauser & Wirth, Zurich promotional insertions into the art historical Three of Four Corners presents a conflation of Mondo Mormon: Cristo, and of C.C.A Christensen, these works incorporate cannon. His commercials were aired on television histories and cultures, a palimpsest of terrain, the Celestial Style the body in a devotional way that express deeply The Aesthetics of Repression networks between 1973 and 1977 when the territories, and Jared Steffensen’s interest in the By Matt Coleman By Laura Allred Hurtado, Global Acquisitions personal investments in religious convictions and price of advertising was relatively inexpensive. body’s navigation through space. In this work, the It was clear during Paul McCarthy’s years as an art Specialist, Art, LDS Church History Department both can be seen as a type of visualized prayer. In Promo (1976), Burden inserts his name into a use of angles, mirroring, and symmetries reduces student at the University of Utah that he would One defining characteristic of contemporary art list of artists that were selected as the most well the liveliness, malleability, and irreducible qualities go to on to be one of contemporary art’s greatest is the critique and deconstruction of institutional Meanwhile, J. Kirk Richards’ 150 paintings known in a nationwide survey: “Leonardo Da Vinci, of space experienced by the body into an image provocateurs. One account tells of McCarthy’s authority. Yet how do artists implement a post- collectively titled Untitled (Cristo Series) make Michelangelo, , Vincent Van Gogh, Pablo plane, or place within a graph. This map-like re-enactment of Yves Klein’s self-defenestrating modern (or even a modernist) aesthetic while reference to the well-known Saint Fabiola Picasso, Chris Burden.” treatment of space with a map-like vernacular performance Leap Into the Void (1960). Unaware simultaneously examining the function of religious portraits of the Belgium performance artist points to the challenges of space before this that Klein’s performance was staged, McCarthy leapt observance and devotion without irony, cynicism, Francis Alÿs. Not only does the sheer number of transformation or reduction occurs, and perhaps out of a second window feet first. McCarthy’s work or sentimentality? paintings enact the same sublimely bewildering even the extent to which the imaging and has been described as horrifying and disturbing, yet effect found in Alÿs’ Fabiolas, they question a fixed graphing of space influences our bodies’ everyday smart and sharply critical of American consumerism. While popular images most commonly associated or traditional depiction of Jesus Christ. The series movement through spaces. McCarthy’s oeuvre takes particular influence from with Mormonism resist by choosing modes that literally blurs the image, maintaining the skeleton the performance artists of the 1950s and 60s and are, at times, folkish, illustrative, or didactic, one of His symbolic portrait while obscuring any exact The vinyl component of this work’s mark upon the from American popular culture, including assimilating should not assume that the familiar stands as the lens one might encounter in more traditional existing architecture reveals the artist’s concern the grotesque and kinky with family-friendly icons. definitive example of all art production. In fact, depictions. for creating motion, and rendering gravity and Mondo Mormon: Cristo, Cumorah and the Celestial speed, and developing a visceral relationship of In Mountain Bowling (1969), McCarthy documented Style explores the variety of aesthetic practices This blurriness is significant because as Brad the body with gravity. Steffensen’s use of the once his performance in which he hurled a bowling ball that rise to this challenge and seem to strike a Kramer explains, “It is among the very least of outlawed subculture of skateboarding shows its down a Utah mountain to see how far it would careful, if rare balance to index Mormon spirituality us—the outcast, the marginalized, the reviled, the transition into a praised and applauded cultural go. The piece has been said to be his humorous using a contemporary aesthetic vocabulary. downtrodden and the invisibly suffering—that phenomenon. This work asks viewers to situate response to the happenings and actions of And although the word mondo suggests a we most encounter Christ, most often and most Jim Mangan themselves where the next cultural ruptures and performance artists in the 1960s. The work explores comprehensive or even encyclopedic look at literally.” Kramer’s writing emphasizes the personal Untitled #13 tears might occur, asking that we reinterpret and Annie Poon loss of control, danger, and a humorous uncertainty , this exhibition is more accurately nature of one’s relationship with Christ, especially 2013 redevelop our ideas, positions, and presence. Book of Visions of what the bowling ball destroyed or will destroy Courtesy of the artist c. 2005 framed as strategic samplings of the collective vis-à-vis individual experiences. In this frame, in its path. Mountain Bowling also represents his Courtesy of The LDS holdings of contemporary art currently found at attempts at rendering an exact physicality do way of simulating a destruction from above Utah’s Man in the Holocene the LDS Church History Museum. not quite have the same effect, as much as the street grids that girdle and huddle up against the By Matt Coleman shadows, the abstractions, and the divinity one mountainous landscape. Symbolically striking the Jim Mangan quit his job, sold his possessions, The photographic works of Ansel Adams and sees emerging through this repeated, if obscured, rigidity of Utah’s culture, McCarthy’s work is a and took up photography. Lake Bonneville slowly Dorothea Lange set in dialogue with Amy material lens. prime example of the West Coast’s treatment of receded, dried up, and became the Great Salt Lake. Jorgensen, focuses on small southern Utah performance art—one that is more politically and His first photographs were featured in the bad-boy Mormon communities set in isolation. Such So, to what end are these projects significant in socially challenging. magazine Vice. A railroad causeway split the Great framing of the Mormon people as set apart dialogue with the larger art world? Perhaps some Salt Lake in the 1950s, causing the salinity and emphasizes what Tyrrel Given’s calls “the rhetoric will suggest they are not. Yet, in the influential colors of the two sections to change. Mangan’s of difference” and makes reference to the historic BYU art professor Hagen Haltern’s philosophical photography explores freedom, a contemporary exile, persecution, and subsequent gathering of handbook, Art Integration: The Spiritual Foundation jugendstil, and unity with nature. The Great Salt the Mormon people to a location of refuge. Such and Anagogical Level of Meaning of the Celestial Lake’s colors bloom seasonally due to different gatherings were experimentations of communal Style he quotes the poet Rainer Maria Rilke who living saturated with utopic hopes that were said, “The experiences that are called ‘visions,’ species and concentrations of algae and bacteria. Michael Handley organized around the primacy of a sacred space, the whole so-called spirit world, death, all those D.D.A. much like the structure of Salt Lake City. things that are so closely akin to us have, by daily Ansel Adams photographed the West; Dorothea 2009 parrying been so crowded out of life, that the Lange photographed the People. Now we have Courtesy of the artist Facebook and Google. The Federal Aviation Annie Poon’s Book Of Visions uses the beginnings sense with which we could have grasped them is Administration predicts that there will be over of Mormonism as source material, focusing on atrophied, to say nothing of God.” The Space Between Us the significant role of visions, the mystical and the 30,000 drones in American airspace by 2020, By Jared Steffensen coming forth of the . However, Perhaps then, from the collection of artists surveying the People’s minute actions. The Great “You can’t go back home to your family, back Poon does so by positioning within included in the Mormon pavilion, the aim is this: Salt Lake’s salinity ranges from 5 – 27%. 40 home to your childhood ... back home to a young a wider dialogue regarding the divine callings of to have courage to explore religious devotion and million photos are uploaded to Instagram each man’s dreams of glory and of fame ... back home Chris Burden others, namely Joan of Arc and Black Elk. Such worship and to do so in such a way that engages, day. Mangan’s “Time of Nothing” series consists to places in the country, back home to the old Chris Burden 74-77 pairings suggest a historic precedence for divine rather than resists, the contemporary. of 14 aerial photographs of the Great Salt Lake. forms and systems of things which once seemed 1978 dialogue. Stephen Moore’s transcendent Healing Gigabytes, megabits, the practical salinity scale, everlasting but which are changing all the time – J. Kirk Richards Blessings and David Chapman Lindsay’s meditative the archive, God, phytoplankton, cause and effect, back home to the escapes of Time and Memory.” Untitled (Cristo Series) Handprints can be viewed as performative gestures. DIY Art History hypothesis, conjecture. Without us there will - Thomas Wolfe, You Can’t Go Home Again By Matt Coleman always be something, when nothing is everything. 2013 Like the nineteenth-century Mormon panoramas Courtesy of The LDS Church History Museum 1 The constellations of Sun Tunnels exist through memory trace (as per Holt’s quote). Conversely, The Sublime of Conceptual absence. After the tunnels were custom fabricated Absence is a work born from another; it is an Landscapes in 1975 by U.S. Pipe Company along the Wasatch independent object, an autonomous physical By Alex Smith Formally established in 1950, the permanent Front in Pleasant Grove, they were drilled by absence that serves as a cultural marker of art. collection of the Salt Lake Art Center (SLAC) A-Core Concrete Cutting Co. on site to remove Absence is the substance of the now empty 2 reflects the variety of artworks that have been circular segments – concrete cores – thus making space, the hole that allows the sun, a star in created and collected by Utahns for over sixty Sun Tunnels’ star-holes. Templates were used to itself, to shine through and cast spots of light years. Unlike most fine art institutions that house indicate the center of each hole. The core drilling in the tunnels. This dialectic differs from the 3 permanent collections, SLAC has taken a more had to be precise since steel rings had been Site/Nonsite work created by Robert Smithson passive stance toward collecting, as the majority welded to the steel inner structure of the tunnels in the late 1960s. His displacement of natural 3 of artworks in its care have either been gifted or wherever there was to be a star hole. Holt has materials, placed into an exhibition space within donated, instead of actively acquired. Most of the since called the concrete cores resulting from this containers and supplied with maps and other works in the collection have not been exhibited core-drilling process “Absences.” information about the environment where the since their donation, making this presentation an natural materials were chosen created a loop of 4 important component to the Utah Biennial. As a fragment of a work that garners international reference, from the exterior Site to the interior 8 5 acclaim and graces the cover of more than a few Nonsite, from viewing in an expansive field to 6 9 The collective body of work is culturally books related to Land Art, Absence is an artifact. seeing in a constricted space. Absence calls upon 7 significant, as it exhibits an astonishing degree of Nancy Holt It was never at the site of Sun Tunnels, instead certain similarities, yet its fundamental existence diversity throughout media, genre, and subject Absence it – along with the rest of the concrete cores is exactly what its title states it to be: it is a solid matter. The salon-style manner of hanging is 1976 – were placed in various locations by Holt. The concrete core made of the elements of the 10 meant to highlight the strengths of the collection, Courtesy of Hikmet Sidney Loe work on display resided with nine other cores in earth—sand, stone, cement, water. Its removal 12 which are predominantly the landscape and the basement of the Salt Lake City home/studio has left a space, a no-thing, it is an absence 16 abstract pieces. By juxtaposing more naturalistic Considering Absence through of Holt’s friend Lee Deffebach (a prominent Utah which at the same time is full of meaning and 11 landscape depictions with highly abstracted Presence abstract expressionist painter) where Holt resided signification. 13 works, one can see the breadth of study from a 14 15 By Hikmet Sidney Loe on the second floor while creating Sun Tunnels. variety of artists, as well as how monumental an “Words and photographs of the work are memory The dialectics and tension inherent in the shifting impact the striking geography of Utah has had on 17 traces…they are inducements for people to go and The cores remained in the basement until the position of art through geographical movement is 21 22 generations of local artists and collectors. 23 see the actual work.” summer of 2010, when Holt asked Loe to see if seen here as an extension. Absence is a symbol of 26 Many of the artworks blur the distinction between -Nancy Holt, “Sun Tunnels” they were still there. Loe recovered the cores a distant star, shimmering in the night sky above 18 19 24 25 30 38 39 landscape and abstraction, turning mountain and stored them at her home until five of the Sun Tunnels. We can read Absence as an object vistas and desert red rock into distilled forms Nancy Holt’s seminal earthwork Sun Tunnels ten cores were displayed at the Utah Museum whose displacement stands in for the original work (1973-1976) is located in the remote reaches of Fine Arts during the fall of 2012 during the of art, as an inducement to travel to Sun Tunnels 20 34 36 and colors. By using the visual language of their 32 contemporaries, Utah artists transformed and of Utah’s west desert. It is composed of four traveling exhibition of Holt’s work, Sightlines. The to see the star-holes that created the concrete 33 reinterpreted their landscape into something new concrete tunnels that form an X shape on the accompanying wall label informed viewers “Holt cores. Born from a work that evokes time, multiple 37 29 35 and sublime. While most of the artworks in the land; each tunnel is 9 feet, 2.5 inches in diameter has called the cores “absences” in reference to the sensory stimuli, and perception, Absence remains 27 28 and 18 feet long. One constellation is represented empty holes they left in the original sculpture.” singularly alone, a solid 3-dimensional sculpture 31 permanent collection were created and donated 40 41 42 around thirty years ago, they provide continuity in the top half of each tunnel: Draco, Perseus, The Utah Biennial: Mondo Utah exhibition is the we can only walk around. While viewing Absence is 43 44 45 for how artists have used Utah as a literal subject, Columba, and Capricorn. The constellations were first time a single core, now titled by the artist not the same as seeing and being with Sun Tunnels, as well as inspiration in their practice. chosen based upon their wide variance of star Absence, is being displayed. it is a unique experience in itself—a suggestion of magnitude, resulting in holes measuring 7, 8, 9, the fullness of emptiness. 1 Donald Brent Shepherd 16 Unknown 31 Charles Sawyer and 10 inches. Each hole denotes a star—a mass Absence represents a star; Absence is a star-hole. Untitled Title Unknown Mt. Mansfield of unimaginable size and power, located light years Absence is an artifact whose mere existence from Earth. conjures up Sun Tunnels, and thus serves as a 2 Donald Olsen 17 Maury Haseltine 32 Mary Chenoweth High Radiance Dove Creek #2 7 x 7 3 Susana Jacobson 18 Waldo Midgley 33 Marion Hyde Her Gracious Promise View of the Wasatch Mountains Fire Canyon 4 Harrison Groutage 19 John Boylston Fairbanks 34 Scott Croft Installation View Green River Landscape Untitled 2013 Courtesy of UMOCA 5 Moshie Smith 20 John Henry Moser 35 Richard Burton China Wall Bear Lake Piles, Great Salt Lake Faithful Abstraction 6 Fred Hunger 21 William Vaughn Howard 36 Corinne H. Sweet By Adam Bateman Sandstone Cliffs Karmabandh Lowering Sky Within the larger framework of Mondo Utah, 7 Gary Collins 22 Edwin Evans 37 Unknown Faithful Abstraction is given its own quiet room—a Autumn Infusion Seen Through the Trees Title Unknown chapel for things spiritual and things grounded in tradition. These artists are faithful to a vocabulary 8 Donald Olsen 23 Lee Deffebach 38 Dennis Phillips of Modernism and they freely graft within it the The Dark Knight of St. John of the Cross Abstract Forest Landscape grammar of classical architecture, contemporary 9 Richard Murray 24 Rodger Newbold 39 Henry Lavender Adolphus Culmer and local iconography, and religion. The result Title Unknown Wall Detail, #2 Capitol Reef Onachomo is a highly encoded dialect that can be mutually 10 Ed Garman 25 Lawrence Squires 40 H.W. Culmer understood by this group and a few others, but remains somewhat problematic, as it is a regional Variation of a Structure- No.63-A Arizona Desert Untitled dialect that borrows heavily from the already 11 John Telford 26 George Smith Dibble 41 Cornelius Salisbury Vertical Rock Face Cubist Sketch obtuse language of contemporary art. This Landscape (Pines) specialized grammar allows them to address issues 12 Florence Ellen Ware 27 Craig Law 42 Charles Sawyer of art historicity, popular culture, and their own Aspens White’s Trout Farm, Paradise, UT To Join the Brimming River questions about spirituality. The works take the 13 Cornelius Salisbury 28 David Melby 43 Charles Sawyer form of empty God portals, Masonic symbols, Out Where the West Begins Witness to the Silent Light II Deerfield River beehives, and they appropriate landscape to be a 14 Dennis R. Phillips 29 Alfred Lambourne stage for epic spiritual narrative and as a symbol 44 Charles Sawyer at the heart of a Mormon manifest destiny. Untitled A Nook in the Desert Profile Lake and Eagle Cliff 15 George Smith Dibble 30 Donald Bear 45 Charles Sawyer Ghostly Mountain Salt Lake City: Detail Awaiting Your Pleasure Ansel Adams Mike Cassidy Wolf Productions Trailer Reel cotton rounds, cotton swabs, cough drops, cross Mormon Temple, Manti, UT Handprints: Temple Spires Complete List Attack of the Brine Shrimp 2013 stitch square, decongestant, dish rags, dish towels, 1948 2013 1980 DVD dog food, dried apples, dried apricots, dried cherries, Gelatin silver print from Portfolio One signed in Handprint, black archival ink on paper DVD Courtesy of Wolf Productions dried mangos, emergency whistle, face mask, family of Works pencil (on the mount), stamped and dated on the Courtesy of the LDS Church History Museum 25:51 minutes group sheets, felt with salt crystals, finger splint, verso, numbered in red crayon Courtesy of Special Collections, J Willard Marriott Harrison Groutage fireplace matches, flashlight, flint and striker, fork, Courtesy of Mitch and Katie Dumke Jim Mangan Library, University of Utah Green River garbage bags, grape juice, hot chocolate, ibuprofen, Untitled #1 Acrylic on board important numbers, index cards, keys, knife, lace, Henry Lavender Adolphus 2013 Mary Chenoweth Date unknown Lactaid, latex gloves, laxatives, layered paper, medical Onachomo Archival inkjet print 7 x 7 Salt Lake Art Center Permanent Collection information, medical scissors, multi vitamins, multi- 1938 Courtesy of the artist 1966 tool, napkins, needle, nylon cord, olive oil, paper Watercolor on paper Paper and acrylic on canvas Hagen Haltern doilies, paper towels, passport holder, patch, patient Salt Lake Art Center Permanent Collection Untitled #3 Salt Lake Art Center Permanent Collection Art Integration: The Spiritual Foundation and tag, pencil sharpener, pencil, pennies, Pepto-Bismol, 2013 Anagogical Level of Meaning of the Celestial Style photos of family members, plate, playing cards, Matthew Antezzo and Seher Shah Archival inkjet print Jared Clark c. 1989 pocket knifes, postcard, prescription information, Step Up and Feel Orange/Soft Brutalism Courtesy of the artist Seer Foam Green, Seer Foam Violet Handwritten book puppy pads, red tape, ribbon, rolled cotton, rubber 2013 2013 Courtesy of the LDS Church History Museum bands, rubber gloves, safety pin, sanitary napkins, Photographic installation Untitled #8 Resin and Styrofoam sanitary pads, scriptures, sewing scissors, shirt, Courtesy of the artists and Klosterfelde Gallery, 2013 Courtesy of the artist Michael Handley shoes, shop rags, shorts, soap, socks, spoon, sports Berlin Archival inkjet print D.D.A tape, spray bottle, storm proof matches, sting relief Courtesy of the artist Gary Collins 2009 pads, strike anywhere matches, survival planning Wulf Barsch Autumn Infusion Performance lists, Swedish fish, thermometer, thread, toilet paper, Untitled #13 Reflecting Pool 1987 Courtesy of the artist tongue depressors, tooth brush, tourniquet, tuning 2013 1948 Oil on canvas fork, Tupperware, twist ties, underwear, vitamin D, Archival inkjet print Oil on canvas Salt Lake Art Center Permanent Collection Trent Harris vitamin E, water purifying tablets, wet wipes, wire Courtesy of the artist Courtesy of Dave Ericson Fine Art The Beaver Kid drag saw, and zip ties, in vacuum sealed patches on Maddison Colvin 1978 an outdoor tarp Paul McCarthy Adam Bateman Template (Churches) DVD 8 x 6 feet Mountain Bowling Temple of the Sun 2012 38:53 minutes Courtesy of the artist 1969/2005 2013 Graphite on paper Courtesy of Special Collections, J Willard Marriott 18 b/w photographs, silver gelatin prints AP 1/1 of C-print on aluminum Courtesy of the artist Library, University of Utah Safety His/Man’s 72 Hour Emergency Kit an edition of 5 + 1 AP Courtesy of the artist 2013 Courtesy of the artist and Hauser & Wirth, Zurich Scott Croft Maury Haseltine Abdominal pad, Ace bandages, American flag, aspirin, Half Dome Untitled Dove Creek #2 band aids, beef jerky, butterfly bandages, callous Jon McNaughton 2013 Date unknown 1964 pads, camping towel, can opener, carabineer, cheese The Empowered Man C-print on aluminum Oil on board Oil on canvas and crackers, crackers and peanut butter, copies of 2012 Courtesy of the artist Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection important documents, cotton squares, cotton swabs, Acrylics on board cough drops, decongestant, dish rags, dried apples, Courtesy of McNaughton Fine Art, LLC Kennecott Smokestack Lee Deffebach Nancy Holt dried apricots, dried cherries, emergency whistle, Obamanation 2013 Abstract Forest Absence face mask, finger splint, fishing weights, fishing 2012 C-print on aluminum 1951 1976 bait, fishing hooks, fishing line, flashlight, flies, fork, Acrylics on board Courtesy of the artist Oil on canvas Concrete core drilled from a tunnel in Sun Tunnels to garbage bags, glow sticks, ibuprofen, important Courtesy of McNaughton Fine Art, LLC Salt Lake Art Center Permanent Collection form a star-hole in a constellation of star-holes numbers , key holder , keys, knifes, latex gloves, Viewing Platform #1 Courtesy of Hikmet Sidney Loe Leatherman, match books, medical information, 2013 The Forgotten Man George Smith Dibble medical scissors, multi-vitamins, multi-tool, needles, Dimensional lumber 2012 Cubist Sketch William Vaughn Howard nylon cord, olive oil, paper towels, peanut M&Ms, pen, Courtesy of the artist Acrylics on board Date unknown Karmabandh pencil, Pepto-Bismol, photos of family members, Courtesy of McNaughton Fine Art, LLC Watercolor on paper 1968 plate, pocket knife, porcelain fish, postcard, radio, Donald Bear Salt Lake Art Center Permanent Collection Acrylic on canvas rags, tape, ribbon, rolled cotton, rubber bands, Salt Lake City: Detail David Melby Salt Lake Art Center Permanent Collection rubber gloves, scissors, scouting handbook, 1949 Witness to the Silent Mystery of Light I Ghostly Mountain scriptures, shirt, shorts, smelling salts, snake bite Ink on paper Date unknown Watercolor Fred Hunger kit, soap, socks, spoon, sports tape, sting relief pads, Salt Lake Art Center Permanent Collection Acrylic on board 1984 Sandstone Cliffs storm proof matches, strike anywhere matches, Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection 1973 survival planning lists, Swedish fish, thermometer, Andrea Bowers and Cori Redstone Serigraph thread, toilet paper, tongue depressors, tooth brush, Social Justice Table, Salt Lake City, Utah Witness to the Silent Mystery of Light II Edwin Evans Salt Lake Art Center Permanent Collection tourniquet, triangle bandage, twist ties, utility knife, 2013 Date unknown Seen Through the Trees vitamin E, water purifying tablets, wet wipes, and zip Folding tables, political flyers and colored vinyl Acrylic on board Date unknown Marion Hyde ties, in vacuum sealed patches on an outdoor tarp Courtesy of the artists and Susanne Vielmetter Los Salt Lake Art Center Permanent Collection Watercolor on paper Fire Canyon 8 x 6 feet Angeles Projects Salt Lake Art Center Permanent Collection 1972 Courtesy of the artist Jason Metcalf Silkscreen print Chris Burden A Historical Tour of the Kingdom of Deseret, Volume III John Boylston Fairbanks Salt Lake Art Center Permanent Collection Cara-Lynne Krebs Chris Burden 74-77 1990 Landscape Smaller Clear Red 1978 Publisher/Author: The Historical Society of Deseret 1923 Levi Jackson 2012 Illustrated compendium of documentation of the From the collection of the artist Oil on board Dust Cover-Gold Gummy candy, plasticine, petroleum jelly artist’s performances from 1974 – 1977 Salt Lake Art Center Permanent Collection 2013 Courtesy of the artist A Historical Tour of the Kingdom of Deseret, Volume III, Inkjet print Second Edition The TV Commercials 1973-1977 Ed Garman Courtesy of the artist Alfred Lambourne 2013 1973-77/2000 Variation of a Structure- No. 63-A A Nook in the Desert Publisher / Author: Multiversal Services and Jason Video transferred to DVD 1967 Susana Jacobson 1875 Metcalf for the Utah Biennial 3:46 minutes Acrylic on board Her Gracious Promise Oil on canvas Courtesy of the artist Courtesy of Electronic Arts Intermix Salt Lake Art Center Permanent Collection 1988 Salt Lake Art Center Permanent Collection Oil on canvas The Original Flag of the Kingdom of Deseret Richard Burton Stephen Groo Salt Lake Art Center Permanent Collection Craig Law Based off original drawings by Jonathan Goldman of Piles, Great Salt Lake Production Stills from Wolf Productions White’s Trout Farm, Paradise, UT Salt Lake City, 1849 1981 2013 Annie Kennedy 1983 Design from a re-illustration commissioned by Photograph Pigment prints Safety Hers/Woman’s 72 Hour Emergency Kit Photograph the Historical Society of Deseret, as appears in “A Salt Lake Art Center Permanent Collection Courtesy of Wolf Productions 2013 Salt Lake Art Center Permanent Collection Historical Tour of the Kingdom of Deseret, Volume Abdominal pad, Ace bandages, alcohol swabs, III”, 1997 Vernon Carlson Resident Evil: Dark Chronicles Alka-Seltzer, anti-diarrheal, aspirin, baked paper, David Chapman Lindsay Courtesy of the artist Neter of Creation Shikito Rubi band aids, beef jerky, blood, breath mints, butterfly Handprints: 1992 2013 bandages, button, callous pads, can opener, 2013 Air brush Movie posters carabineer, chocolate kisses, compass, compressible Handprint, black archival ink on paper Courtesy of Summum Courtesy of Wolf Productions cup, copies of important documents, cotton ovals, Courtesy of the LDS Church History Museum Allen Midgette Richard Murray Derek Rigby Cat Mummiform (Small) Artifacts from the artist’s lecture tour series of the Title Unknown Twelve Unsealed Boxes with Interstices, After Judd 1992 Mountain West 1985 2012 Cultured marble ca. 1960s Oil on panel Enamel paint on wood Courtesy of Summum Pan Am bag, talcum powder, 16 mm film reel and Salt Lake Art Center Permanent Collection Courtesy of the artist canister Golden Life Masks Courtesy of the artist Rodger Newbold Cornelius Salisbury 1990 Wall Detail, #2 Capitol Reef Landscape (Pines) Ceramic and glass Allen Midgette as Andy Warhol, 1988 Date unknown 1981 Courtesy of Summum Pigment print Photograph Photograph Courtesy of Marcia Resnick Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection Phoenician Amphora ca. 1200 BC Shadow Warrior Donald Olsen Out Where the West Begins Clay Pigment print High Radiance 1970 Courtesy of Summum Date unknown Date unknown Oil on panel Acrylic on canvas Salt Lake Art Center Permanent Collection Middle Eastern Jerusalem Vase Allen as Andy Salt Lake Art Center Permanent Collection ca. 200 BC 1967/1998 Charles Sawyer Clay Pigment print The Dark Knight of St. John of the Cross Awaiting Your Pleasure Courtesy of Summum Courtesy of Edward E. Shott Date unknown Date unknown Oil on canvas Painted photograph Corinne H. Sweet Portrait of Allen Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection Lowering Sky 1989 Date unknown Pigment print Diane Orr and C. Larry Roberts Deerfield River Watercolor Photographer unknown SL-1 Date unknown Salt Lake Art Center Permanent Collection 1983 Painted photograph Allen as Andy DVD Salt Lake Art Center Permanent Collection Steve Taft 1967/1988 1:16:43 minutes Inventory Pigment print Courtesy of Special Collections, J Willard Marriott Mt. Mansfield 1985 Courtesy of Edward E. Shott Library, University of Utah Date unknown Mixed media on paper Painted photograph Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection Waldo Midgley Kent Parsons John Telford View of the Wasatch Mountains The Lion and the Lamb Profile Lake and Eagle Cliff Vertical Rock Face Date unknown 1981 Date unknown Date unknown Oil on panel Oil on canvas Painted photograph Photograph Salt Lake Art Center Permanent Collection Courtesy of Summum Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection John Henry Moser Gianni Pettena To Join the Brimming River UltimusMormon Bear Lake Tumbleweeds Catcher Date unknown Bubbling 1973 1972/2013 Painted photograph 2013 Oil on canvas Wood, iron, tumbleweeds Salt Lake Art Center Permanent Collection Salt Lake Art Center Permanent Collection Courtesy of the artist Pigment print Courtesy of Adam Bateman Donald Brent Shepherd Bob Moss Dennis R. Phillips Untitled Unknown Shattered Giant Landscape 1969 Title unknown 2005 1977 Acrylic on canvas Date unknown Pyrography and mixed media with inset and mounted Oil on board Salt Lake Art Center Permanent Collection photographs Salt Lake Art Center Permanent Collection Oil on board Salt Lake Art Center Permanent Collection Courtesy of Robert and Cleo Moss Casey Jex Smith Untitled Too Many Attacks to Count 1970 Morganne Wakefield Feet and Bug 2012 Acrylic on board Color Fill, The Dam 2005 Color pencil, spray paint and pencil on paper Salt Lake Art Center Permanent Collection 2011 Mixed media on wood with three inset photographs Courtesy of the artist and Allegra La Viola Gallery, Found image, marker Courtesy of Robert and Cleo Moss New York Annie Poon Courtesy of the artist Thomas B. Child “Brick Pants” Book of Visions Moshie Smith Date unknown Florence Ellen Ware c. 2005 China Wall Pyrography with mounted photograph Aspens Paper cut, stop motion animation 1979 Courtesy of Robert and Cleo Moss 1971 Courtesy of the LDS Church History Museum Intaglio Oil on canvas Salt Lake Art Center Permanent Collection Praise to the Man J. Kirk Richards Salt Lake Art Center Permanent Collection 2005 Untitled (Cristo Series) Lawrence Squires Mixed media with mounted photograph Jennifer West 2013 Arizona Desert Courtesy of Robert and Cleo Moss Salt Crystals Spiral Jetty Dead Sea Five Year Film Mixed media Date unknown (70mm film negative floated in the Dead Sea and given Courtesy of the LDS Church History Museum Watercolor a healing clay bath in extreme heat in 2008 - stuffed 2005 Salt Lake Art Center Permanent Collection Pyrography with mounted photograph Jean Richardson in a suitcase, placed in studio buckets, covered in clay and salt for five years-dragged along the salt encrusted Courtesy of Robert and Cleo Moss Wasps Byke Jared Steffensen rocks of the Spiral Jetty and thrown in the pink waters 2013 Three of Four Corners in 2013 in below 10 degree weather - Dead Sea Standard Works Wasps nest, oil paint 2013 floating and mud baths by Mark Titchner, Karen Russo 2005 Courtesy of the artist Wood and vinyl and Jwest - Spiral Jetty dragging and rolling by Aaron Pyrography with mounted photograph Dimensions variable Moulton, Ignacio Uriarte and Jwest - DIY telecine Courtesy of Robert and Cleo Moss C. Larry Roberts Courtesy of the artist I Was a Teenage Travelogue frame by frame of salt covered film by Chris Hanke - Spiral of Time Film #1 for Chris Marker) The Letter I 1977 Summum 2013 2011 DVD Cat Mummiform (Large) 54 seconds Frame- pyrography, inset letter- mixed media on 13:32 minutes 2013 70mm film negative transferred to high-definition linoleum cut print Courtesy of Special Collections, J Willard Marriott Bronze with patina Commissioned by the Utah Museum of Courtesy of Robert and Cleo Moss Library, University of Utah Courtesy of Summum Contemporary Art Lost Forever 2005 Mummiform Pyrography with mounted news clipping 1988 Courtesy of Robert and Cleo Moss Polished stainless steel Courtesy of Summum Proud Sponsors of the Inaugural Utah Biennial: Mondo Utah

Special thanks to Zoo, Arts and Parks, The Andy Warhol Foundation for the Visual Arts, and the UMOCA Ambassador’s Circle for their support.

Also, thanks to UMOCA’s media sponsors: City Weekly, Slug Magazine and KPCW Broadcasting.