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Preparatory Division String Camp, June 20-24, Ages 6-9 and 9-12. Registration deadline is May 20th. Preparatory Division, Tanner Dance and Youth Theatre Arts Passport, June 27 - July 1, Create an original performance work to be presented at the Tanner Dance Building. Preparatory Division International Piano Festival, July 26 - July 29, Musicianship, ukulele, and choir classes. University of Utah, School of Music.

Home in Their Eyes: Images and Stories of Home by Residents in Rural China, Friday, March 25 – Thursday, June 2, 2016, J. Willard Marriott Library 3rd Floor

Salt Dance Fest 2016 brings together internationally renowned dance artists and dance makers Jeanine Durning, Alex Ketley and Jennifer Nugent, along with esteemed SLC dance artists Daniel Charon, Molly Heller and Stephen Koester for two weeks of moving, collaborating, dance making and the lively exchange of ideas, June 6-17, 2016.

Summer Chamber Music Workshop, Matt Zalkind, June 26 - 30, 2016, Hasse Borup, Director, Open for serious string and piano players, age 12 - 26,  School of Music, University of Utah

University of Utah Department of Ballet Summer Intensive, June 20 - July 15, 2016. Join us for an exciting four-week ballet intensive with internationally recognized faculty and guest artists.

Performance Calendar of 2015 - 2016 Season, Department of Ballet, University of Utah

Performance Calendar of 2015 - 2016 Season, Department of Modern Dance, University of Utah

Natural History Museum of Utah 2015 Lecture Series

College of Fine Arts, University of Utah

The Artwork of Albert Irvin

Albert Irvin, the British prolific painter, who has died on March 26, 2005 at the age of 92, started out in the 1950s as a figurative artist of the kitchen sink school, but after discovering Willem de Kooning, Jackson Pollock and Mark Rothko at a famous Tate exhibition in 1956 he reinvented himself as an exponent of a dazzlingly vigorous abstract expressionism, becoming one of Britain’s most respected abstract artists.

Irvin once described the experience of seeing the Tate exhibition as “like a bomb going off”. It convinced him that the challenge faced by his generation of artists was to try to paint truths about the world without depicting things; to discover whether it was possible to make paintings about reality without resorting to imitation. “Can I make a painting about a human being, about the human spirit, without having to paint noses and feet?” he asked.

He moved into abstraction because, like music, it represented pure experience; there was “no need for interpretation”. As a catalogue to a 2012 exhibition of his work at the Gimpel Fils gallery observed: “For over 50 years, his work has been predicated on the conviction that non-descriptive colours, shapes, brush marks and intimated space can directly express a sense of life in its most essential form.”

More Coverage:

Link 1 (The Telegraph)

Link 2 (Gimpel Fils)

Link 3 (website of Albert Irvin)

Spring, 2011, acrylic on canvas, 60 x 48 in/ 152.4 x 121.9 cm:

Beacon II, 1994, acrylic on canvas, 72 x 60 in / 183 x 152 cm:

Trophy, 2012, acrylic on canvas, 91 x 60 in / 231.1 x 152.4 cm:

Rosetta, 2012, acrylic on canvas, 60 x 48 in/ 152.4 x 121.9 cm:

Emanuel II, 2011, acrylic on canvas, 24 x 24 in / 61 x 61 cm:

Andromeda, 2012, acrylic on canvas, 30 x 48 in / 76.2 x 121.9 cm:

Presence, 2012, acrylic on canvas, 72 x 60 in / 182.9 x 152.4 cm:

Tabernacle III, 2012, acrylic on canvas, 24 x 24 in / 61 x 61 cm:

Spring II, 2011, acrylic on canvas, 24 x 24 in / 61 x 61 cm:

Fidelio, 2012, acrylic on canvas, 84 x 120 in / 213.4 x 304.8 cm:

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