January 16, 2015
Betty Gold
ArtScene, 01/16/2015
Kathy Zimmerer


Betty Gold
ArtScene, 01/16/2015
Kathy Zimmerer

Betty Gold's incisive geometric sculptures in glowing primary colors are always deceptively simple yet rooted in complexity. She folds over her forms and they interact with space in intriguing ways. Best known for her sculpture, she also has always painted and her jewel-like stylized acrylics are also included in the exhibit. The sculptures and paintings here work well together, each one playing off the other in terms of spatial relationships and brilliant color. For example, the sculpture “Tiron" occupies different spatial layers as the three folded forms, respectively yellow, blue and red, are interconnected in space yet stay apart. This is similar to what happens on the surface of her painting "Felix II," where the same bold colors are used. Gold uses black lines to delineate the geometry of the painting, whereas in the sculpture she uses the negative space between each piece to accentuate the staggered spatial relationship.

Geometry is inherent to both her painting and sculpture, as she writes, “… everything I have done for the major part of my career has been based on a geometric concept. It never becomes tiresome and I continue to find new ways in which to express its truth and universality." Curves play against lines in the masterful "MA-1," whose vivid orange color delineates the spatial complexity of her form. Although not large in scale, this sculpture possesses a monumentality that would make it a perfect candidate for a larger public version. Her forms are strong enough to hold their own no matter what the scale. Bold yellow forms intersect in "Mallorca II," where curves meet to create a dynamic interplay of line and space, emphasizing the whimsical nature of the primary hue and geometry.

"Majestad VII" represents a departure, as she works with burnished steel instead of powder coating it in her usual bright colors. This work resembles a piece of paper folded over and frozen in time. Although pared down, it is quite beautiful in the way it quietly encompasses space. The silver/grey surface shimmers in a more subtle way than her more clearly defined, color-saturated works.

Most noteworthy among these sculptures is "Majestad V," where glowing crimson planes fold over and lean on each other. Negative space again plays an important part as well as lines that intersect and change in this seminal piece. The intense color makes the forms jump out at the viewer even as the sculpture enfolds space.

Her painting “Cava" is more complex in imagery given the linear channels that form, intersect and run through the surface, accentuated with circles, all in her trademark colors with the addition of light pink and a soft blue. The yellow and tangerine geometric abstract areas vibrate is response. Even her paintings have a dimensionality, as the circles seem to tumble out of the surface, one on top of another. The entire composition is finished off in black with a red edge.
There is an instinctive vitality that permeates both her paintings and sculpture that bursts forth in the brilliant colors and unique forms. By concentrating on geometric imagery, Gold manages to create an infinite variety of sculptural imagery that punctuates space with decisive authority and élan.

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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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