Cassandra Barney & Emily McPhie

Cassandra Barney and Emily McPhie are sisters and painters who each have thriving careers. They are also the daughters of the late James C. Christensen, an influential and pioneering artist who taught at Brigham Young University. In the interview, they discuss what it meant to grow up with an artist, how each developed her own separate aesthetics and working practices, and their works for the Church International Competition and Certain Women Art Show.

Cassandra Barney | Cassandra Barney.com

Cassandra Barney. Thistles & Lilies (2018) Oil and antique wallpaper on panel. On view at the International Church Art Competition, Church History Museum. Salt Lake City.

Cassandra Barney. “I do not wish to be a drone in the hive of Deseret" (2019) Certain Women Art Show on view at Anthony’s Fine Art, Salt Lake City.

Emily McPhie | emilycmcphie.com

Emily McPhie. Sorrow & Hope (2018) Oil on panel. On view at the International Church Art Competition, Church History Museum. Salt Lake City.

Emily McPhie. Sisters in Zion (2019) Oil on panel. On view at the Certain Women Art Show, on view at Anthony’s Fine Art, Salt Lake City.

Tonya Vistaunet

Tonya Vistaunet is an artist, entrepreneur, community organizer, and overall doyenne of joyful color, who makes work on her own and sometimes in partnership with her husband Steve. Tonya works — seen in the most recent Church International Exhibition and Springville Museum’s Annual Spring Salon — range from fine art to coloring books, and murals. She is an advocate and organizer, playing a major role in teaching, supporting, and promoting artists and their work. For her latest work, Tonya is participating in the Certain Women Art Show.

Below are images of the works Tonya and the interviewer, Micah Christensen, discussed in the podcast interview.

Tonya Vistaunet. There Is No End to Love (2019), pictured from its first stage (upper left) to final version (lower right).

Tonya Vistaunet. Are you Experienced (2018)

Tonya & Steve Vistaunet. Not Today (2016)

You can keep up to date with Tonya Vistaunet and see more work on her website.

The Certain Women Art Show

In 2018, the Certain Women Art Show was the first exhibition held and dedicated exclusively to Latter-Day Saint Women artists. This year’s artist-organizers — Mary Brickey Cole, Laura Erekson Atkinson, and Nicole Woodbury — have more than doubled the size of the show by inviting 90 artists to create original works. In this interview, they discuss the process and intent behind the show.

For more information about dates and locations, please visit certainwomenartshow.com, where you can also RSVP.

In The Arena: The Art of Mahonri Young with Ashlee Whitaker

Ashlee Whitaker is the Head Curator and Roy & Carol Christensen Curator of Religious Art at the Brigham Young University Museum of Art and has just opened a new exhibition on renowned sculptor and artist Mahonri Young. We talk about the exhibition, Young’s life and remarkable circle of influence.

In the Arena: The Art of Mahonri Young runs through September 21 at the BYU Museum of Art.

Mahonri Young (1877-1957), Plowing Valley of the Great Salt Lake, c.1930, oil on canvas, 28 ¼ x 72 1/8 inches. Brigham Young University Museum of Art, purchase/gift of the Mahonri M. Young Estate, 1959.

Mahonri Young (1877-1957), The Pavers, c.1924, oil on canvas, 29 ¼ x 48 inches. Brigham Young University Museum of Art, purchase/gift of the Mahonri M. Young Estate, 1959.

Mahonri Young (1877-1957), Man with Stones, charcoal, 8 ½ x 11 5/16 inches. Brigham Young University Museum of Art, purchase/gift of the Mahonri M. Young Estate, 1959.

Megan Knobloch Geilman

Opening May 3, Geilman’s show Works of Translation is a multi piece show featuring photos of her incredible works of art. From worksoftranslation.com:

This show is about transmission, recontextualization, and symbolic meaning—in essence, they are works of translation. I am fascinated with objects, their history and the meaning they imbue, especially when that meaning changes once placed within a different context. This show explores my faith and my relationship to my faith using the tools of art historical composition and object placement.

Below is a list of the works in the show with inspiration sources tied to the pieces. The commentary is not exhaustive in that I want you, the viewer to have space to make your own connections and meaning with the pieces.

Queen of the South by Megan Geilman

Adam’s Dilemma by Megan Geilman

Jane by Megan Geilman

Joseph’s Book of the Dead by Megan Geilman

The 95th Spring Salon at the Springville Museum of Art

The Spring Salon was first held in 1922, begun by students and teachers of Springville High School who wanted to exhibit and promote original artwork. The Salon has been held annually since that time, except during World War II when fuel and other goods were rationed nationwide. This episode is a preview of the show. We were fortunate enough to walk through the Salon, see the award-winners and share some thoughts about each of them for you. You can view the 95th Spring Salon from Thursday April, 25 until July 6.

Innum Varum by Regan Reichert.

Innum Varum by Regan Reichert.

Reluctance by David Dibble

Sharing Light by Colby Sanford

The 11th International Art Competition

Every three years, the Church of Jesus Christ of Latter-day Saints holds an art competition spanning the globe and featuring works from members of the Church on a central theme. This year, we were please to be invited to an early viewing of the show and provide our reaction to the show and a number of works that stood out. In this special podcast episode, we dive into the show and the works, and as always would love to hear your thoughts on what stood out to you. Feel free to leave them in the comments below or reach out to us on Instagram @zionartsociety.

The following works were discussed in the episode. For more information visit history.lds.org

And I am Here by Danielle Hatch. Scripture Paper and wooden armature

The Plan of Salvation by Julie Yuen Yim. Chinese Paper Cutting.

For Us by Walter Rane. Oil and Graphic on Canvas.

And Should We Die by Jen Tolman. Oil on panel.

Coming Full Circle by Jenedy Paige. Oil on panel.

Ask of God by Janna Siebert. Glaze and glass sculpture on wood.

Mercy’s Embrace by Annie Henrie Nader. Acrylic, oil, gesso, charcoal, and metallic paint on wood panel.

Living Waters by Rose Datoc Dall. Oil on canvas.

Sorrow and Hope by Emily McPhie. Oil on panel.

Gratitude by Annette Everett. Bronze.

An Issue of Blood by Brian Kershisnik. Oil on canvas.

The Heavenly Host Praising God by Stephanie Billings. Digital print.

He Healed them All by Michael Malm. Oil on board.

First Vision by Elizabeth Coughanour. Hand-cut cardstock.

Sculptor Ben Hammond

We are back from winter break for a sit down with Ben Hammond, who among other achievements was just awarded the commission to sculpt Martha Hughes Cannon for the US Capitol. The national competition pays homage to the trailblazing Cannon, the first woman to serve in the Utah State Legislature.

Until the Statuary Hall Curator Committee officially approves Hammond’s design for the Martha Hughes Cannon statue, unfortunately we cannot post any images of the process. But the following images of Hammond’s piece titled Connexion and installed at Ashton Gardens at Thanksgiving Point demonstrates the steps of his sculpting process.

Dr. Lisa DeLong

In this episode we sit down for a special conversation with Dr. Lisa DeLong, Outreach Programme Manager for the Prince's School in London, and a talented artist in her own right.  

Dr. DeLong will be hosting a geometry workshop on September 13 at Anthony's Fine Art in Salt Lake City

Works discussed in the episode

Parable of the Seed by Lisa DeLong. Gold leaf, lapis lazuli, vermillion, gum arabic, Rotring ink, and handmade watercolour on marbled paper.

Umbilicus by Lisa DeLong. Ink, gold leaf, and handmade paint on paper.

This painting was inspired by Lucy Mack Smith’s description of the urim and thummim as “2 smooth 3 cornered diamonds.” I imagined this mysterious tool in geometric form as triangles – one striving heavenward, the other reaching earthward – until a bridge of light was formed. 

Using compasses and square, I built up a composition of triangles. Gradually a pattern revealed itself. While this design has its roots in a traditional Islamic pattern, as I drew and painted, it became something new. The process of discovering a new pattern feels to me very much like the process of revelation. 

I make my own paints – my teachers in London taught that the discipline of preparing one’s materials from the earth was participation refining and purifying matter, elevating it from something base to something spiritual. Preparing my colours becomes a meditation on creativity and Creation. Subtle textures sparkle up and down to make a pillar of light. I chose gold leaf and crushed minerals to reflect and refract the light. Even the glittery black was gathered from the seaside on the island of Hormuz.  

At the very centre of the composition, the navel is marked in blood red – the point where heaven and earth meet. Tiny gold triangles at the top and base of the composition echo the shapes Mother Smith described.

UPDATE: A New Podcast!

For months now, we have been tossing around the idea of taking this podcast in a new direction. As a result, Mormon Visual Culture is no more. Well, the name is changed. We are still going to bring regular interviews with artists, scholars and collectors, hopefuls much more regularly in the coming months. We are back. Tell your friends. Share the news.