Diversity in 'Color of the Land'

The words "Color of the Land," a fixed phrase in the title of the Deseret Morning News/Days of '47 Landscape Art Show, were established to encourage the portrayal of Earth's diversity — more specifically, the variety of Utah's terrain.

While entries were down this year by a quarter, "Color of the Land" continues to demonstrate the virtuosity of Utah landscape painters. There are oils, acrylics, watercolors, prints and more on display through July 24 in the Museum of Utah Art and History.

"I thought last year's 'Color of the Land' exhibit was great," said Kandace Steadman, executive director of the MUAH. "A lot of people came in and a lot of people commented on how pleased they were with the new venue."

With MUAH's new, extended hours — Tuesday-Saturday, noon-5 p.m. — visitors to the landscape show will have even more time to immerse themselves in the "Color of the Land."

This year's Purchase Award winner (with a $5,000 cash prize), "Deja Vu," by Chris Miles, is an acrylic-on-panel piece that is reminiscent of Grant Wood, harking back to American Regionalism of the 1930s and '40s. It's nostalgic in the best sense, flush with rich colors of earth and sky. The composition flows, enticing viewers to become part of the rolling land.

Nate Ronniger's first place winner ($1,000), "2 Wrong Turns Don't Make a Right," employs two dead and abandoned automobiles juxtaposed in tall field grass. The harsh afternoon sun reflecting off the cars' rust contrasts with the bright green of the grass, making a sophisticated statement in its simplified brushstroke; Ronniger's piece is a lot of fun to study.

"Irrigation," a diminutive acrylic on canvas (8 by 10 inches) by Cory M. Webster, oozes expressionism with free-flowing color. Compositionally, the second place winner ($800) is simple yet bold, which makes for its strength, proving once again that size doesn't matter when it comes to a successful work of art.

Steve Kropp's "Late Summer Gold" (oil on canvas) took third place ($600) in the exhibit. Like Miles' "Deja Vu," Kropp's piece offers a nod to Regionalism but has a definite Dixonesque flavor: two poplars are the painting's main subject matter, the complementary colors of the foreground and background solidify the piece. It is a beautiful, completely satisfying work.

The eclectic mix of jurors Ruby Chacon, Edie Roberson and Brad Teare made for a fascinating jurying process. Besides selecting the first-, second- and third-place winners, the trio also selected five noncash award honorable mentions: Nancy S. Layton's oil, "Snow Sage"; Robert D. McFarland's watercolor, "Winterwood — Emigration Canyon"; Terrel VanLeeuwen's oil on board, "Last Light"; Cassandria Parson's oil on board, "Ready to Plant"; and Larry Clarkson's oil, "Tree of Life."

As successful as this year's "Color of the Land" will be, it would have been much stronger with drawings, more printmaking and more pastel. There continues to be a dearth of these mediums in the show. They need more representation in Utah, and the Landscape Art Show is a venue willing to exhibit each.

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