María del Mar González-González, a Utah-based curator, bolsters artist voices that are too often relegated to the fringes of discussions about Latinx art.
The Center Can Not Hold—curated by Hikmet Sidney Loe and featuring works by Anne Mooney, John Sparano, and Hannah Vaughn—explores the varied meanings of holding space through architecture.
The Southern Utah Museum of Art celebrates the legacy of Utah artist Jimmie F. Jones with a new semi-permanent exhibition space and permanent, interactive touchscreen kiosk.
Elpitha Tsoutsounakis’s Unknown Prospect explores the material possibilities of ochre to showcase the beauty and agency of the Utah landscape and its nonhuman inhabitants.
Midvale, Utah recently instituted a cultural revitalization project to enhance its downtown. A large mural depicting two nude figures and a ghoulish specter has become the talk of the town. […]
A Rift Out West: Salt Lake City’s Arts Community Confronts Issues of Indigenous Representation at Local Gallery Modern West
New Mexico artist Billy Schenck has made a successful career of cowboy-and-Indian pop-art imagery, but a recent exhibition of his work brings present-day debates over representation and authorship into the harshest of spotlights.
John Sproul, a prominent local artist and owner of Nox Contemporary, will close the gallery following the end of Jared Steffensen’s exhibition Idem, Norms, Dorms Mine on November 4, 2022.
i know you are, but what am i? at the Utah Museum of Contemporary Art focuses on the figure to launch discussions about identity, fluidity, and body positivity.
Current Work, founded by longtime arts advocate Tiffini Porter, raises the contemporary art bar in Salt Lake City. The gallery also fills several sudden gaps in Utah's creative ecosystem.
Jorge Rojas’s retrospective Material Witness at Granary Arts in Ephraim, Utah, showcases a quiet yet still tenacious side of the Salt Lake City-based artist.
The pandemic forced Utah’s arts organizations to get creative with funding sources. The strategy ultimately allowed for more direct aid for individual artists and novel programming.
Nancy Rivera’s Laborious Practice Pulls a Thread Between Her Art-Making Process and Her Immigration Experience
Salt Lake City artist Nancy Rivera illustrates the immigrant experience in a series of complex and time-consuming embroideries.
A survey of Utah’s public monuments and architecture reveals devotion to the LDS faith, but various prominent examples of resistance to this narrative abound.
Land Art scholar Hikmet Loe has visited and studied Spiral Jetty, Sun Tunnels, and other earthworks for decades. She returned to a handful this summer—and found cause for concern.
Utah video artist VHS Vic (Victor Blandon) shows his audience how to find magic in the mundane, the goofy in the serious, and the artistry in making a pizza.
Urban Pop in Bountiful, Utah offers a unique opportunity to see big names, but the exhibition fails to situate artists within the movements to which the show claims they belong.
Southern Utah Museum of Art and Modern West exhibit concurrent shows in Utah examining the legacy of abstract expressionism in the Southwest, featuring Taos Moderns Beatrice Mandelman and Louis Ribak and contemporary arts Shalee Cooper and Arlo Namingha.
Clever Octopus’s unionization efforts in Salt Lake City speak out about potential exploitation within creative and arts careers. As living costs rise, unions are becoming more common among underpaid cultural workers.
Ya La’ford, Ogden Contemporary Arts’s first artist-in-residence, visualizes a past, present, and future Southwest in Survey: The West.
Sister SLC’s creative, fun, and diverse one-off events are as a safe space for all genders, sexualities, and ethnicities, and increase visibility for Utah’s femme, queer, and nonbinary artists.
Curator Alana Wolf mines the University of Utah’s archives to backdrop the various occurrences of the 1970s—the formative decade in which Robert Smithson’s earthwork Spiral Jetty made its debut.
Utah artist Andrew Alba’s newest series of stoic portraits, on display at Modern West starting later this month, come after years of dark brooding and artistic scuffles.
During Utah’s 2022 legislative session, poet and community leader Nan Seymour crafted a site vigil and collective poem, an act of community activism that highlighted the in-flux Great Salt Lake.
A believed first-time gathering of Utah contemporary art curators at the 2022 Spring Summit in Green River yields big dreams and ideas for improvement.
David Rios Ferreira and Denae Shanidiin collaborate in a multimedia exhibition at UMFA featuring portals to connect us to lost loved ones and heal communal pain.
In So That We May Fear Not at Finch Lane, photographer Jesse Meredith documents an American militia group and illustrates contradictory narratives of maleness and patriotism.
UMOCA’s artist-in-residence program in Salt Lake City provides studio space and exhibition opportunities for Utah artists while enriching the local arts community.
The For Freedoms collective, dubbed the country’s largest network of artists, cultural workers, and organizations, engages in tough and important conversations about social change through artistic civic activism.
In the heart of one of the nation’s most conservative states, the Utah Museum of Contemporary Art, led by Laura Hurtado and Jared Steffensen, brings groundbreaking contemporary art to the state.
Gilgal Garden in Salt Lake City is perhaps Utah’s most unusual homage to the Church of Jesus Christ of Latter-Day Saints.
The Utah Museum of Fine Arts acquired thirty-five works by Chiura Obata, a visionary whose imprisonment at the Topaz camp is among the nation’s most shameful episodes of racial injustice.
In Salt Lake City, Utah, murals of individuals killed by police have become a community site of remembrance and activism.
Aldy Milliken, the new executive director of Kimball Art Center in Park City, Utah, discusses his career, what surprises him about Utah, and his passion for education.