Essays & Reviews

Ryan Harrington is a Utah artist and community organizer whose disciplined, design-driven practice and long-term commitment to showing up for other artists have made him a quiet but essential connective force in the state’s creative ecosystem.

Dan Evans’ work pares imagery down to its structural essentials, using clarity and reduction to hold attention where recognition falls away.

Rios’s new exhibition uses collage, text, and quietly uncanny imagery to explore how women learn to see themselves, inviting a slower, more attentive kind of looking.

Built in 1890 for Salt Lake City’s first Jewish congregation, the restored B’nai Israel Temple brings a long-overlooked chapter of the city’s history back into view.

These paintings draw light, air, and color from quiet horizons, offering a sense of visual relief without sentimentality.

Presslee constructs a parallel visual universe from cult-horror detritus and pulp sci-fi residue, less an exhibition than a leaked transmission.

Corporate parody, myth-building, and sensory overload collapse into a fully weaponized funhouse disguised as a grocery store.

A genre-bending film that dissolves the boundary between what is watched and what is lived.

Circular collage portals and ritual-driven media create a space where absence behaves like a living force.

A calm, unsettling documentation of militia culture that exposes masculinity and patriotism as constructed myth.

Green River’s artist-run outpost challenges assumptions about where cultural innovation survives.

Three artists manufacture personal myth using symbol, confrontation, and abrupt imagery.

Art-historical homage and parody collide in a tightly controlled exercise in visual imitation.

A reminder that there is no untouched nature — only hybrid terrain under constant negotiation.

Comics and cartoons treated as legitimate psychological record rather than guilty pleasure.

Large-scale canvases work in murky tonal fields where form repeatedly threatens to dissolve.