DOCSLIB.ORG

Quarterly July • Aug • Sept 2011 from the Director

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Quarterly July • Aug • Sept 2011 from the Director CELEBRATING 10 years MARCIA AND JOHN PRICE MUSEUM BUILDING quarterly july • aug • sept 2011 from the director dear members and friends... It is with pride and gratitude that I write this letter on the tenth anniversary of the beautiful and award-winning Marcia and John Price Museum Building. Over the past decade, the Utah Museum of Fine Arts has welcomed hundreds of thousands of visitors into its galleries, facilitating magical connections between viewer and artwork. This would not be possible without the generous support of Marcia and 2011 UMFA Board John Price, as well as the community we love and are proud of Directors to serve. Marcia Price, Chair Jess Agraz I am pleased to announce that George Lindsey has been appointed to the new position of UMFA Associate Director Ron Allen for Administration. In this important role, George will provide Cynthia Sue Anderson oversight and administrative support to all Museum staff and Robert F. Bennett its operations. Toni Bloomberg Jim Bradley* Summer is upon us, and what a season it will be! On July 21, we are delighted to present a celebration of the art Fred Esplin* of LeConte Stewart, a much-loved Utah artist and former Suzanne Ferry University of Utah professor, in collaboration with the Church Lynn Fey History Museum. Join us to feast your eyes on more than John H. Firmage 200 powerful Regionalist scenes in these joint exhibitions. Jonathan Freedman Clark P. Giles At the UMFA we strive to create an active, engaging, and varied array of programs, offering visitors an opportunity to Wesley G. Howell, Jr. experience new ideas and think differently about the world. Marian Iwasaki In the end, we want our visitors—especially our members— John C. Jarman to have a sense of ownership of the UMFA. Please always Lucinda L. Kindred feel free to share your feedback with us. We want to hear Georgianna Knudson from you! Mihail S. Lari I hope to see you in the galleries soon. Jack Livingood Michele Mattsson* W. Brent Maxfield Kathie Miller Nicole Mouskondis Gretchen Dietrich, Executive Director Joseph J. Palmer David Pershing* On the cover: The Marcia and John Price Museum Building. The building opened to the public in 2001. Photo courtesy of Scott Zimmerman and Rashelle Perry Monica Holt. Chris Redgrave Robert H. Rose Ann B. Scott Joanne F. Shiebler Martha Siggard* Diane Stewart The UMFA gratefully acknowledges the continuing support it receives from the University of Naoma Tate Utah, Salt Lake County Zoo, Arts & Parks Program, Utah Arts Council, Salt Lake City Arts Council, R. Harold Burton Foundation, C. Comstock Clayton Foundation, Estate of Aurelia B. Cahoon, Lawrence T. & Janet T. Dee Foundation, Anne M. and David S. Dolowitz, Helene Elizabeth F. Tozer Druke Shaw Family, Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation, George S. & Dolores Doré Eccles Foundation, Marriner S. Eccles Foundation, William Randolph Hearst Raymond Foundation, Emma Eccles Jones Foundation, Wilma T. Gibson Family, Jeanette and O. Ernest Tymas-Jones* Grua, Jr. Family, Richard and Shirley Hemingway Foundation, Estate of John W. and Helen B. Jarman, National Endowment for the Arts, LaReta C. Madsen Family , Ray, Quinney Marva Warnock & Nebeker Foundation, John & Marcia Price Family Foundation, S. J. & Jessie E. Quinney Foundation, Joseph & Evelyn Rosenblatt Family Foundation, George Q. Morris Foundation, Estate of E. Frank Sanguinetti, Ms. Suzanne M. Scott, State Office of Education, State Office of Jenny Wilson Museum Services, Paul L. & Phyllis C. Wattis Foundation, UMFA National Leadership Council, Benefit Council, Docent Council, Special Exhibitions Council, Friends of the Art Museum, * Ex-Officio Young Benefactors, Friends of Utah & Western Art and UMFA Members. tenth anniversary The UMFA is pleased to announce its tenth anniversary in the Marcia and John Price Museum Building! ”Over the past decade it has been a pleasure to see the beautiful UMFA grow in stature and begin to fulfill its promise. It has been a privilege to work with the University, the director, and the fine staff and board to continually meet new goals of excellence.“ ~ Marcia Price Above: Ambassador John Price and Marcia Price. Architectural rendering of the new museum building. The building has been a setting for art, education, music conversation, reflection and celebration since opening to the public in 2001. Steven Streeter photos. Wedding image: Jessica Kettle Photography Right: 1998 article from the University of Utah’s development newsletter, Generations of Excellence. The article features the groundbreaking of the new building and highlights the participation of Price grandchildren Alexandra Wallin and Garrett Price. exhibitions PRESENTING SPONSORS: July 21, 2011– January 15, 2012 S.J. and Jessie E. Quinney Foundation In a groundbreaking collaboration, the UMFA teamed up Ray, Quinney & with the Church History Museum to stage the largest joint Nebeker Foundation exhibition ever mounted of Utah artist LeConte Stewart’s work. With a combined total of over 200 paintings and SPONSORS: works on paper selected from museums and private Charles Redd Center collections across the West, each venue will feature for Western Studies masterworks rarely seen in public, focusing on the most creative and dynamic period of Stewart’s long career. The Sam & Diane Stewart Family The UMFA’s exhibition LeConte Stewart: Depression Era Foundation Art examines defining works created during the Great Depression, a period when the artist painted the “raw side of life,” juxtaposing thematic images of progress with the human consequences of economic upheaval. Farms and homes are depicted in stark, urban scenes devoid of human activity, with bold shapes and unfamiliar lighting capturing UMFA Special a mood of isolation and loneliness. Stewart’s vision of the Exhibitions Council Great Depression in the 1930s sets his work apart from his peers, and places it within the broader context of American Scene painting of the time. IN COLLABORATION In the companion exhibition LeConte Stewart: Soul of Rural WITH: Utah, the Church History Museum surveys a large body of Stewart’s landscape paintings with a special emphasis on rural Utah. Farmhouses, barns, and fields are depicted in rich tones with thick impasto and loose brushstrokes; they are familiar scenes of the western environment. It is a place in which Stewart found not only the isolation he sought throughout his life, but a spirit in the land that was of solace to him. LeConte Stewart, American (1891-1990), The exhibitions will be accompanied by a variety of public Private Car, 1937, oil on canvas, programming and online resources. Please check detail, courtesy of the Church History Museum www.umfa.utah.edu for more information. exhibitions Right: Helen Levitt, Untitled (two seated women talking), 1935- 1945, gelatin silver print, UMFA 2003.15.2. Gift of William and Mimi Levitt, collection of the Utah Museum of Fine Arts, University of Utah © Estate of Helen Levitt, Courtesy Laurence Miller Gallery, New York. Extended through July 17, 2011 Due to popular demand, the UMFA extended the run of Helen Levitt Photographs. Take advantage of the opportunity to see works by this important photographer. Final Light V. Douglas Snow in Retrospect September 1, 2011 – January 8, 2012 The Utah Museum of Fine Arts and Salt Lake Art Center V. Douglas Snow, American, are pleased to present Final Light: V. Douglas Snow in Desert Landscape, oil painting, Retrospect, a collaborative exhibition celebrating the work detail, National Endowment for of eminent Utah artist, V. Douglas Snow (1927-2009). the Arts. UMFA # 1980.123 Museum visitors and long-time admirers will have the opportunity to encounter Snow’s large body of work at IN two local art venues. For more information please visit COLLABORATION www.umfa.utah.edu. WITH: September 15, 2011 – January 8, 2012 Showcasing a diverse range of artworks from around the world, Color is an exhibition that explores the powerful relationship of color to artists and audiences. Located in the Emma Eccles Jones Education Gallery, Color presents over twenty pieces that focus on color as a connector across cultures and time, and includes works by such artists as Robert Motherwell, Alex Katz, and Anna Campbell Bliss. Visitors will have the opportunity to use a hands-on, in-gallery collage wall to create their own color Walter Askin, American, compositions. Color is funded as part of the UMFA’s Sycronized Ski Team, 2001, color Art in a Box program and is presented in conjunction lithograph, wove paper, gift of with the debut of a new classroom box that helps teachers the Department of Visual Art, Brigham Young University. across Utah incorporate color into their curriculum. UMFA # 2003.5.1.6 exhibitions Splendid Heritage A Traveling Exhibition Above left to right: Osage In January 2009, the UMFA premiered its landmark Councilman Eddy Red Eagle, Gretchen Dietrich, Dr. Robert exhibition Splendid Heritage: Perspectives on American Indian Archibald, Cathy Archibald, Art. From the private collection of John and Marva John Warnock, Marva Warnock, Warnock, Splendid Heritage was curated by Bernadette Vann Bighorse, and Clinton Nagy Brown, retired Curator of African, Oceanic and New World Art at the UMFA, and Emma Hansen, Senior Curator of the Plains Indian Museum at the Buffalo Bill Historical Below: UMFA Executive Center. Featuring 145 objects of unique artistry and Director Gretchen Dietrich speaks at the Splendid Heritage powerful cultural expression, this world-class exhibition opening, Missouri History presented eighteenth and nineteenth century objects Museum, February 2011 created by Plains, Plateau, and Northeastern American Indians to more than 50,000 visitors in Salt Lake City. Following its premiere, Splendid Heritage traveled to two other venues, where many more children and adults were able to enjoy the display. From May through October 2010, more than 182,000 visitors attended Splendid Heritage at the Plains Indian Art Museum at the Buffalo Bill Historical Center (BBHC) in Cody, Wyoming.
Load more

Recommended publications
  • About the Artist
    ABOUT THE ARTIST LeConte Stewart was born 15 April 1891 in Glenwood, Utah. After school- ing at Ricks Academy in Rexburg, Idaho, he studied art in Salt Lake City in 1912, and with the Art Students League in Woodstock, New York, and New York City in 1913-14. While on a mission in Hawaii in 1917-19, he was assigned to paint murals and decorative detail for the temple in Laie. He married Zipporah Layton while in Hawaii, and taught school and proselyted as well. In 1920-22, he painted murals in the Cardston Alberta temple, and returned to settle in Kaysville, Utah, in 1923. He was head of the Ogden High School art department from 1923-38, and from 1938-56 was chairman of the University of Utah Art Department. Stewart taught in elementary schools, high schools, and at the University of Utah, and after retiring in 1956 continued to teach, both with the Univer- sity and privately in Davis County. His on-site landscape painting classes con- tinued through the mid-1980s, and he worked actively in painting and draw- ing the landscapes of rural northern Utah to the age of ninety-five. Stewart's failing health has recently forced him to retire from painting, and at present he resides in a health care center in Clearfield, Utah. In an essay accompanying a 1985 retrospective exhibit at the Museum of Church History and Art in Salt Lake City (published in LeConte Stewart: The Spirit of Landscape, Salt Lake City: Church of Jesus Christ of Latter- day Saints, 1985), Robert O.
    [Show full text]
  • WILLIAM M. MAJOR: Brigham Young, Mary Ann Angel Young and Family HASELTINE: Mormons and the Visual Arts/25
    JOHN HAFEN: Pasture WILLIAM M. MAJOR: Brigham Young, Mary Ann Angel Young and Family HASELTINE: Mormons and the Visual Arts/25 Fine Arts Center at Brigham Young University. Art thrives by its separate dignity, not by being made part of an open lobby. When art is finally liberated from the society and entertainment sections of newspapers, and when it comes off the walls of converted tearooms, top floors, or basements of other structures and is installed in a properly designed, humidity-controlled, air-conditioned, properly lighted modern museum, then shall we have come of age in the arts. And then, we can hope, the rich collections of Brigham Young University will have the professional attention — documentation, interpretation, exhibition, and conservation — they deserve. It is all very well to say that art should be integrated with life. That it should. But the scholarly responsibilities must be met if the culture is to be more than a superficial or transitory one. The quixotic remark of the contemporary American painter, Ad Reinhardt, "Art is art and everything else is everything else," has much relevance. Another hinderance to the full development of art in Utah, one which has most likely been influenced by Mormon attitudes, is the denial of the use of the nude model in all but one of the art depart- ments of our institutions of higher learning, although other educa- tional institutions have sporadically employed nude models, for instance, Brigham Young University, for a brief period in the late 1930's. How preposterous such proscription can be is best illustrated by a recent student exhibition of figure drawings, arranged by an art professor in one of Utah's universities.
    [Show full text]
  • National Register of Historic Places Registration Form
    NPS Form 10-900 (Oct. 1990) Utah WordPerfect 5.1 Format (Revised Feb. 1993) RECEIVED ??Sil IB No. 10024-0018 United States Department of the Interior National Park Service National Register of Historic Places MAY 2 8 1996 Registration Form This form is for use in nominating or requesting determinations of eligibility for individual properties or districts. See instructions in How to Complete the National Register of Historic Places Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer to complete all items. historic name Stewart. LeConte. House other names/site number m street & number 172 West 100 South N/A not for publication city or town Ka.ysvi 11 e_______ N/A vicinity state Utah code UT county Davis code Oil zip code 84037_____ As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this _X_nomination _request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property _X_meets does not meet the National Register criteria. I recommend that this property Be considerecTsignificant _nationally _statewide JXJocally.
    [Show full text]
  • A Portrait of Leconte Stewart
    Ensign February 1985, 38 DESERT, BRUSH, AND OIL A PORTRAIT OF LECONTE STEWART By Robert O. Davis On a country road in a northern Utah farming and suburban community lies a Normandy- style cottage surrounded by trees and overgrown brush. Bordering the property are a fence and a rutted dirt lane. Within a few blocks of this cottage are forthright, solid brick homes built by Latter-day Saint pioneers and their descendants. To the west is a rich agricultural flatland reaching toward the Great Salt Lake. To the east are foothills dotted with an occa­ sional stone or brick farmhouse. Forming a backdrop is the great snowcapped Wasatch mountain range. This is the home of LeConte Stewart, ninety-three-year-old dean of Utah landscape paint­ ers. This is land he knows and loves. The scrub oak against hill and mountainside, the in­ terplay of rural buildings and cultivated farmland, primitive roads which wind into pastoral views, scruffy, dry creek beds, weathered old barns which seem to sink into the earth— these are the elements which inspire his painting. LeConte Stewart is known as one of the finest LDS artists of the twentieth century. He has been commissioned by the Church to work on the murals in three temples and is well known for his impressionistic paintings of the desert landscape and northern Utah farm scenery. Over two hundred of his pieces are now being featured in a large one-man exhi­ bition at the Museum of Church History and Art in Salt Lake City. The exhibit is called "LeConte Stewart: the Spirit of Landscape." Growing Up LeConte Stewart was born in Glenwood, Utah, in 1891, and raised in nearby Richfield.
    [Show full text]
  • 3The Alberta Settlement
    The Alberta Settlement 3 REBECCA J. DOIG AND W. JACK STONE When Charles Ora Card and his little band of refugees sugar factory, which would provide employment and open established a settlement at Lee Creek, Alberta, in the spring lands for settlement in Raymond and area. This time no of 1887, a new era of permanent LDS settlement in Canada mission calls were needed to help Mormon settlers see humbly began. To these first settlers, Canada was a haven the opportunities before them. As Mormons spread across from prosecution for the practice of plural marriage. Many southern Alberta in additional settlements, Saints migrated who followed in the next few years found similar refuge in in groups or as individual families to pursue opportunities Canada, settling several communities in the Cardston area.2 to homestead, ranch, build industry, or pursue education However, it soon became apparent that Canada would and employment in cities. also be a land of opportunity for LDS settlers. When eco- Canada was a place of challenge for Mormon settlers, nomic difficulties hit Utah in the 1890s, many young LDS and these challenges tended to strengthen faith for those families looked beyond Utah for a place to settle. Mean- who remained. The southern Alberta climate can be harsh. while, Charles Ora Card and southern Alberta entrepre- Fierce winds, dry seasons alternating with flood years, neurs and land owners Elliott Galt and Charles A. Magrath hailstorms, untimely frosts, and powerful snowstorms are had been collaborating on an ambitious irrigation building among the elements southern Albertans have had to con- and settlement plan.
    [Show full text]
  • LGC Utah State
    Larry Clar kson CURRICULUM VITAE LARRY GRAHAM CLARKSON [email protected] Associate Professor, Graphic Design 2651 Springhollow Drive Department of Visual Art & Design, Weber State University Salt Lake City, Utah 8 41 09 Phone 8 01.272.2750 EDDUCUATICON ATION Master of Fine Arts Design Communications I University of Illinois I 1981 Graduated Cum Laude, Departmental Fellowship, Outstanding Teaching Award - 1978 Thesis: A Design Methodology Bachelor of Fine Arts Graphic Design I University of Utah I 1976 Graduated Cum Laude, Outstanding Student Award, Graphic Design - 1974/75, 1975/76 Founder/President of Graphic Design Student Association TEEACAHICNG HING Teaching Experience Weber State University Associate Professor I Department of Visual Arts & Design, Graphic Design Program I 2013 to the Present Assistant Professor I Department of Visual Arts, Visual Communication Program I 2005 to 2013 2D Design Visual Communication Typography & Publication Design Experimental Typography Design History & Theory Design Theory & Practice Illustratio n/Advanced Illustration Advanced Design Design Semina r Cooperative Work Experience Business of Design Individual Studies Drawing on the Land Writing & Drawing on the Land Westminster College Instructor I Department of Communication, Masters of Professional Communication I 1994/95 Desktop Publishing Newsletter Editing & Design Brigham Young University Instructor I Department of Design, Graphic Design Program I 1989 to 1992 Junior Design Identity Design Packaging Design Annual Report Design Senior
    [Show full text]
  • The Golden Age of Discovery
    THE GOLDEN AGE OF DISCOVERY TM Winter 19: January February Join Today! (801) 581-7155 www.osher.utah.edu Visual Arts • Politics • History • STEM • Fitness • Literature • Music • Fun OSHERLIFELONG LEARNING CONTENTS Happy AnniVErsary! Contact and Visit Osher 1 Contact and Visit Osher Something special just happened. Osher Lifelong Learning Institute at University of Utah Osher Office 2 Member Benefits just turned 15 years old! That’s right, 2019 marks the 15th year that Osher Lifelong Learning 801-581-7155 Institute has been at the University of Utah, and we are going to celebrate all year long. Hours vary. [email protected] 5 Courses by Category In addition to the regular scheduled courses and special events we’re adding some special 6 Courses Lauren Andersen, anniversary events and we’ve brought together an Osher Anniversary Committee to make Director, room 263 sure that not a month goes by without us doing something to celebrate turning 15 years old. 25 Special Events John Boyack, 31 Lunch & Learn Flip through the catalog and you will find an Osher anniversary mark next to everything Curriculum and Special Events Coordinator, that we’re doing to celebrate. You’ll see a special trip to Zion National Park to learn how room 280 32 Instructors the park and surrounding communities are adapting to increased tourism in the area. You’ll find The Transcontinental Railroad: The History and the Romance, 150 Years, a course Carla Price, Program Assistant, room 280 44 Class Schedule that remembers the 150th Anniversary through art, music, history and writing, and we’ve finally been given access to tour Loveland Living Aquarium.
    [Show full text]
  • Mormonbibliography
    mormon bibliography 19819855 scott H duvall ARTS AND literature allred gordon T love and the mountain salt lake city bookcraft 1985 anderson lavina fielding making the good good for something A direction for mormon literature dialogue A journal of mormon thought 18 summer 1981985 5 104 15 attebery louie W ed idaho folklifefolklikeFolklife homesteads to headstones salt lake city university of utah press 1985 beecher maureen ursenbach poetry and the private lives newspaper verse on the mormon frontier brigham young university studies 25 summer 1985 55 65 bennion john the interview dialogue 18 summer 1985 167 76 benson serge N old fashion poems ollifeoflifeof life and love logan utah npap 1985 bjork dale conversion sunstone 10 april 1985 28 40 bushman richard L my belief BYU studies 25 spring 1985 23 30 cannon hal ed cowboy poetry A gathering salt lake city peregrine smith books 1985 chandler neal C benediction dialogue 18 summer 1985 152 66 the only divinely authorized plan for financial success in this life or the next dialogue 18 fall 1985 130 37 the church of jesus christ of latter day saints hymns of the church of jesus canchristst of latter day saints salt lake city the church of jesus christ of latter day saints 1985 darkoarkclark D marden mormon poetry now sunstone 10 june 1985 6 13 clark mardenamardenjMardemardennjJ lightning barbs dialogue 18 fall 1985 150 51 cracroft richard H the day dawn Is breaking donald R marshall and recent trends in mormon fiction BYU today 39 december 1985 56 58 nephi seer of modern times the home literature
    [Show full text]
  • George Dibble and the Struggle for Modern Art in Utah
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2012-12-12 George Dibble and the Struggle for Modern Art in Utah Sarah Dibble Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dibble, Sarah, "George Dibble and the Struggle for Modern Art in Utah" (2012). Theses and Dissertations. 3421. https://scholarsarchive.byu.edu/etd/3421 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. George Dibble and the Struggle for Modern Art in Utah Sarah Dibble A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts James Swensen, Chair Heather Belnap Jensen Marian Wardle Department of Visual Arts Brigham Young University December 2012 Copyright © 2012 Sarah Dibble All Rights Reserved ABSTRACT George Dibble and the Struggle for Modern Art in Utah Sarah Dibble Department of Visual Arts, BYU Master of Arts In this thesis I explore the spread of modern art to conservative regions of the country, in particular Utah. By using George Dibble as a case study this thesis will also address the struggle that Utah artists had to endure to have their progressive ideas in art be accepted in such a conservative area. It will address the criticism that Dibble had to endure by discussing specific incidents involved with certain works of art.
    [Show full text]
  • Shared Solution Considered for Corridor
    Ghoulish delights THE at WXHS musical revue, page 9 Davis Region XC wins help Davis, WX on to state, page 21 Davis County Election Guide Clipper75 CENTS VOL. 124 NO. 35 find out more about local races, page B1 THURSDAY, OCTOBER 16, 2014 Shared solution considered for corridor BY MELINDA WILLIAMS are “very optimistic” their no- ing in Bountiful on Friday and UDOT should know within “I’m very optimistic that [email protected] build plan will come through the took a break during the proceed- the next couple of months if the evaluation process a winner. ings to speak with the Clipper. no-build alternative meets the going forward, we’re BOUNTIFUL — Utah “We’re looking at that alterna- “We’re giving it a detailed look purpose and if it needs to advance Department of Transportation tive (the shared solution) the same and evaluating it with the other al- it to a place where an Environ- going to get a fair officials are taking a detailed look as we would look at any alterna- ternatives,” he said, adding that the mental Impact Statement would at the “shared solution” alterna- tive,” said Randy Jefferies, UDOT’s agency has made no decision on be conducted. shake.” tive to the proposed West Davis project manager for the corridor. which alternative may be chosen. That thrills Roger Borgenicht, – Roger Borgenicht, co-chair of Corridor. Jefferies was attending a Utah “The no-build alternative is Utahns for Better And opponents of the corridor Transportation Commission meet- always a possibility,” Jefferies said. n See “CORRIDOR” p.
    [Show full text]
  • A Selected Bibliography of Recent Books
    AMONG THE MORMONS A Selected Bibliography of Recent Books Stephen W. Stathis formidable challenge faces those who try to write confidently about A Mormonism only to be denied access to critical resources. It is widely felt among those who follow Mormon scholarship that both Leonard J. Arring- ton and Richard L. Bushman experienced this problem. Neither of their long- awaited studies, Brigham Young: American Moses nor Joseph Smith and the Beginnings of Mormonism, has fared especially well among reviewers. Arling- ton and Bushman, it is suggested, should have been less apologetic as well as more intellectually challenging. Still, each book is an important work with which all serious students of Mormonism should ultimately become familiar. For now, however, most of the attention and praise is being bestowed on Jan Shipps's Mormonism: The Story of a New Religious Tradition, American Saints: The Rise of Mormon Power by Robert Gottlieb and Peter Wiley, and Mormon Enigma: Emma Hale Smith by Linda King Newell and Valeen Tippetts Avery. These three vastly different books will interest both the Mormon and non-Mormon reader alike. A similar experience awaits those who take time to look at Gordon and Gary Shepherd's A Kingdom Transformed: Themes in the Development of Mormonism and Clifford L. Stott's Search for Sanctuary: Brigham Young and the White Mountain Expedition. Other selections which seemed destined to be widely read include the sev- eral new works published by Brigham Young University's Religious Studies Center and Bruce R. McConkie's A New Witness for the Articles of Faith. GENERAL Alexander, Thomas G., and John F.
    [Show full text]
  • Leconte Stewart: Depression Era Art Utah Museum of Fine Arts • Lesson Plans for Educators • October 12, 2011 Table of Contents
    LeConte Stewart: Depression Era Art Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • October 12, 2011 Table of Contents Page Contents 2 Image List 3 About the Artist LeConte Stewart 4 Great White Throne, Zion National Park 5 City and Nature Themed Collages Lesson Written by Jennie LaFortune 7 The Day Before Christmas 8 Creating Storyboards/Expressive Color Lesson Written by Jennie LaFortune 11 The Victorian 12 Treasured Places Drawings Lesson Written by Jennie LaFortune 14 The Victorian, North Salt Lake City 15 Creating Mood in Painting Lesson Written by Jennie LaFortune 17 The Green Front 18 Synecdoche Collages Lesson Written by Jennie LaFortune 20 Private Car 21 Realism & Escapism in Depression Era Art Written by Jennie LaFortune Lesson Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 LeConte Stewart: Depression Era Art Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • October 12, 2011 Image List 1. LeConte Stewart (1891-1990), American Great White Throne, Zion National Park , 1927 Oil Gift of William N. Hite 1979.036 2. LeConte Stewart (1891-1990), American The Day Before Christmas , c. 1929 Oil on panel Gift of the Artist 1962.147 3. LeConte Stewart (1891-1990), American The Victorian , 1934 Pencil on Paper Purchased with funds from the Friends of the Art Museum 1976.062 4. LeConte Stewart (1891-1990), American The Victorian, North Salt Lake City , 1927 Oil on board Gift of Marilyn H.
    [Show full text]