24th Annual Spiritual & Religious Art of Utah Exhibition
We are please to annouce that 188 works have been selected from over 300 entries to be exhibited in this year's show. http://sma.nebo.edu/ to see a complete list of accepted works, award winners, and images.
"Crown" - 2009 has been accepted
The exhibition will be on display in the Museum's main floor galleries through December 27, 2009.
The Springville Museum of Art is located at:
126 East 400 South
Springville, UT 84663
Phone Number: (801) 489-2727
Note: Gallery closed on Mondays
|"Burning Bush" and "Blow...Make a Wish"||are currently on display||Freedom Festival Fine Art Exhibit|
June 19 - July 29, 2009
June 19 at 7:30 p.m.
Covey Center for the Arts, 425 West Center, Provo
The Covey Center for the Arts celebrates its 13th outstanding Fine Art Exhibit as part of America's Freedom Festival at Provo. Painting, drawing, sculpture, print making and fiber art are displayed in this juried show. Artists throughout the state submit hundreds of entries, and approximately sixty are chosen for display . The Covey Center for the Arts recognizes first, second, and third place winners with cash awards and acknowledges honorable mentions. America's Freedom Festival at Provo also recognizes the most patriotic entry with a cash award, Three prominent Utah artists juried this year's show: Sunny Belliston, LeRoy Transfield , and Justin Taylor. The exibit is free to the public and artwork may be purchased during the exhibition.
Awards will be presented by Mayor Lewis K Billings at the exhibit's opening reception,
For more information, contact Covey Center for the Arts Gallery Coordinator, Kathryn S. Allen: 801.852.7013
Tammara Ballard’s current sculpture is as disarming as a Bosch painting—both pretty and horrific—the polished mechanics of violence and war brought together as if in craft projects one might see on any coffee table in a middle class home—the odd nightmarish counterparts to silk flowers and plastic fruit. At first, I am surprised by their crazy appeal, immediately scrambling to find a foothold in my own experience. But Tammara’s pieces are not that easy to digest or forget. They go beyond the intellectual politeness of clever juxtaposition. Their real impact is that unfortunately I do finally recognize them—in my own ambiguous relationship to the blood and guts realities of daily news broadcasts that stream to me innocently enough on my radio, TV, and Internet. Ballard’s sculpture is like the best poetry—which leaves one reaching inside where there are no pre-packaged responses.
Alex Bigney—Artist, Author - "Talking to Tesla", UVU Adjunct Professor of Art
Visually the work is balanced, symmetrical, resolved. Ballard brings this same steadiness to the tumultuous topics at hand: war and faith, patriotism and disillusion. Her tone is neither anarchic nor propagandist. It apologizes not for its boldness, yet refrains from blind accusations concerning current political conflicts. Instead it offers us a place of solace in which to quiet the discord.
A.M. Turley - UVU Instructor
A Dangerous Beauty:
The Sculptural Works of Tammy Ballard
Pablo Picasso once stated, “The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.” From Monet’s haystacks to Warhol’s soup cans, artists awaken hidden beauty in the unexpected, the accidental, or even the banal. But artistic expression has always been a dangerous beauty—it has the power to challenge our opinions and to shape our perceptions, to steal our attention and to lead us into the most secreted corners of our minds.
We have conversations with works of art, conversations that often reveal more about ourselves than the artwork at which we are gazing.
Within the context of artistic conversations, the sculptural works of Tammy Ballard like to ask questions. On an aesthetic level, Ballard’s assemblage works are tightly composed with classical proportions and harmonious balance. The artist creates strong visual interest through the interplay of polished and matte surfaces, as well as the intricate association of contrasting shapes. The viewer wants to reach out to touch sculptures like Blow . . .Make a Wish, if only to satisfy his or her tactile cravings; but upon closer inspection, one realizes that the delicate edges of dandelion fluff are actually the sharp metal 50 mm brass bullets.
Ballard’s current series, Visual Voice, stems from the twentieth-century tradition of Assemblage Art, a style that has roots in Dada, the seemingly “anti-art” style born as a reaction to the First World War. Nearly one hundred years ago, the ready-mades of Marcel Duchamp opened the door to artistic experimentation that would extend far outside the conventions of traditional media. Mid-century found-object reactionaries would incorporate a range of unconventional materials into their works; such as Louise Nevelson, who created large-scale installations out of wood objects scavenged from the streets of New York. She then painted them uniformly in shades of white or black.
Like Nevelson, Ballard scavenges to find her materials, but rather than assembling wooden dowels, finials, and other domestic bric-a-brac as Nevelson did, Ballard takes her inspiration from less organic materials. Scraps of metal, chips of aluminum, and fragments of barbed wire can be found alongside dog tags, medical tools, uniform buttons, and, of course, bullets. Unlike Nevelson, Ballard does not shy away from powerful religious symbols—Forbidden Fruit, Tree of Life or Death, and Burning Bush each transform recognizable Judeo-Christian emblems into disturbingly calculated assemblages of bullets, grenades, and metal fragments.
In some ways, Ballard seems like a better Dadaist than the original proponents of the style meant to refute the society that produced “the war to end all wars.” But perhaps that is where the connections end. Although she references ideas related to politics and religion, Ballard’s works may be best understood within the construct of industry. By juxtaposing organic with industrial, natural with artificial, Ballard’s works reference the paradox of modern society. But that is not to say her works are symbolically linked to Futurism, the anarchy-driven movement of the early twentieth century that promoted war and cultural rebellion. Ballard is not necessarily putting forth a specific agenda; instead, she is using her works to probe deeply into powerful concepts and queries.
In an era when our portal to the world is our computer screen (they gaze at our faces more than our loved ones), when our most intimate companions are our phones (they hear all our secrets) and our electronic gadgets (they know the melodies that makes our hearts race), where do we find solace? Where do we go to ask the most important questions of life? Sometimes answers are found in the most unexpected of places.
April 6 - May 2, 2009
April 10, 2009 7 - 9 PM
The Sutherland Archives Gallery
Utah Valley University - Library 3rd Floor
800 West University Parkway
Orem, UT 84058
Everyone is invited to this premier launch of
this three year national tour.
FOOD - FUN - FRIENDS - MUSIC