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Many pieces from the 1950s and 60s, for example, are focused on the abstract, yet they bear names of nature and it can clearly be seen that the southern Utah landscape has influenced Snow. Pieces and themes which reveal a affinity for light and shadow, the deliberate use of color as a focal point or to indicate shapes or movement and an exact understanding of visual balance with a consistency in technique and style that transcends the decades. Douglas Snow,” making this the first chance for the public to see in person the talent of a master. Both are a precursor to the publication which is due to follow in 2012, titled, “Final Light: The Life and Art of V. He attended the American Art School and Columbia University, then the Cranbrook Academy of Art in Bloomfield Hills, Michigan.įrom there he began his career as a teacher at the University of Utah, where he would continue for the next 35 years until 1971, inspiring the next generation after him with his interpretive eye and devoted use of color to showcase the landscape of Utah.įinal Light is a work of combined effort by Frank McEntire, Susan Snow and many others to share this brilliant artist, teacher and muralist’s work, with a team of supportive individuals striving to fulfill the last wish Snow made just days before his death at the age of 82 that of publishing a book about his art. From there the concept has expanded to include a dual exhibition hosted at two locations by the SLAC and UMFA as well as an art student scholarship. Douglas Snow was born in 1927 in Salt Lake City, essentially knowing his calling as an artist from the start and doing art as a teenager. Douglas Snow as a visual centerpiece, an artist whose life was tragically lost Octoin a car accident and who is now remembered through his work. The two presentations place the work of V. Douglas Snow in Retrospect, the Salt Lake Art Center and the Utah Museum of Fine Arts joint exhibition, the former running till Octoand the latter January 8, 2012. It is these things that first draw the eye to Final Light: V. Symmetry and asymmetry balanced in a series of principles and elements of design that are seemingly happenstance at first, until the viewer realizes just how deliberately placed they are. Color awash in creamy tones and blotted with vibrant reds and Kelly green.
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(Tyler Alexander)Ī pattern of light and shadow. Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA.A group of onlookers study one of V. The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction cinema and performance horror and the grotesque myth, carnival, and fairy tale and gender and class identity. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series “Untitled Film Stills” (1977–80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films her ornate history portraits (1989–90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. This month The Museum of Modern Art will be opening what is likely to be one of the most talked about exhibitions of the year, a large Cindy Sherman retrospective.īringing together more than 170 photographs, this retrospective survey traces the artist’s career from the mid 1970s to the present.