In Celebration of Seven Years

In celebration of seven years of fine art in Park City, we are sharing this photo series from our beginning. Oh, to be 25 again…

It’s been an extraordinary seven years — thank you for being along for the ride. Below are a few photos from those early times, in just 1,000 square feet at 580 Main Street. There we were, painting the gallery space, receiving artwork from our brave artists, and making final adjustments.

In the interest of being sentimental, here are a few of our first blog posts:

Grand Opening Weekend 

How to Fest – Kimball Art Festival

Shawna Moore, New to Gallery

PC Mag Gallery Interior-s

Our first winter season and Park City Magazine feature, December 2008.


Gallery MAR Celebrates Seven Years

Landscape paintings by Ryan Brown, Utah artist.

Gallery MAR, a Park City gallery, opened in 2008

Ceramics by Sharon Jackman, California potter.



Guiseppe Palumbo sculpture


Gallery 5.30.08 002

Brad Stroman and Shirley McKay in the front of the gallery, May 2008.


Final adjustments on the gallery furniture. Thanks, Matt!


Gallery 6.1.08 008

Lighting and signage, May 2008.



Never-ending painting, with help from Mom.

Bridgette Meinhold’s Layers of Mystery

Bridgette Meinhold, "Benefactor," 2015, near the artist's studio in Brighton Estates.

Bridgette Meinhold, “Benefactor,” 2015, near the artist’s studio in Brighton Estates.

Bridgette Meinhold has exhibited at our gallery for nearly 5 years, and has grown in her career to be one of our most popular artists. She is working on a new commission for two collectors who had a very specific size in mind, and just sent us over her sketches.

These little pieces of ephemera are lovely in and of themselves, and I wanted to share this part of the process with our readers. We will be sure to post the final painting, when it is ready to ship to our collectors.


A pencil sketch by Meinhold, which details the composition and layers of a 20′ x 40″ painting.

Artist statement:

Change is constantly part of our lives and flux is something we must learn to deal with in order to be happy. Adaptation is one of our stronger abilities as humans and dealing with it gracefully is one of our greatest challenges. Enjoying each moment along the way is the best way I’ve found to do that.

A watercolor sketch by Meinhold, to help her decipher the color and values to use in the finished encaustic painting.

A watercolor sketch by Meinhold, to help her decipher the color and values to use in the finished encaustic painting.

As a landscape painter, I continually look at the trees, the sky, the mountains, the flowers, and the clouds. I see many of the same things every day. I pass by the same trees on my hikes, run by the same rocks, drive around the same bends in the road and see the same vistas from my windows. But with the change in seasons comes a new outlook. Fog obscures a hill, sunlight highlights a ridge, rain shrouds the trees and snow blankets the meadows, which gives me a new way to see something that’s always been there.

Venice Biennale Commentary: What’s Wrong with Happy Art?

By Eileen Treasure, Fine Art Consultant


Installation view of artwork included in “All the World’s Futures” exhibition at the Venice Biennale. Photo: Ben Genocchio.

(Excerpts from article by Ben Genocchio for Artnet News)

Okwui Enwezor, this year’s curator of the international contemporary art exhibition in Venice, has delivered what can only be described as the most morose, joyless, and ugly biennale in living memory; a show that, in the name of global action and social change, beats the visitor up with political theory rather than giving us the pleasures and stimulation of great art. His vision of the world is bleak, angry, and depressing.

All art has its moment as “Contemporary Art.” One could argue that most art throughout the centuries was created or altered with a political angle. Artists are passionate people! Picasso’s “Guernica” is regarded as the most expressive anti-war painting of all time. While it may not be the sofa painting for most of us, you have to agree that it’s a magnificent piece of fine art. Are we (artists and admirers alike) so sophisticated today that we cross all lines of decency and throw away the definition of fine art?  In my opinion, it’s more challenging to create politically forceful messages within the confines of traditional fine art mediums. And if an artist wanted his message to last for centuries, that’s what he/she would do.

Anyway, what’s wrong with art that makes us happy?

The Biennale is 120 years old and if it still has value as an exhibition then it is in the fact that it delivers, on an influential stage, successive and often conflicting perspectives on contemporary artistic practice and its relevance to the world in which we live. You might not agree with Enwezor’s vision of art and its utopian role in today’s world—I certainly don’t—but there is no denying the world today faces deep divisions and crises and an uncertain future. How those forces impact artists is worth exploring, I agree.

It seems pointless, in a way, to argue further with the exhibition theme, “All the World’s Futures.”  This is Enwezor’s vision of the world today through the art he admires. I just don’t know why it has to be without compassion, love, beauty or hope and so relentlessly earnest and bleak that it excludes all aesthetic pleasure and fun.

From here “All the World’s Futures” quickly descends into a catalogue of all of the world’s misery. Ebola, civil war, human trafficking, natural disasters, labor exploitation, environmental destruction, inequality—it’s all here, in artwork so conceptually driven as to be in many, many cases annoyingly didactic.

Large black curtains hang from the exterior of the Italian pavilion, making the building look like there is a wake going on. Is the art world in mourning? Violence and death are everywhere here. I usually go to CNN and BBC World to get my depressing world news, not the Venice Biennale.

Enwezor is known for his preoccupations with geographical diversity and a staunchly anti-capitalist approach to art. Guests are welcomed by a reading of all four volume’s of Karl Marx’s 1867 opus Das Kapital.

For some reason, there has been more comment about the commercial aspect of the Biennale this year than usual.

Although not ostensibly a selling event, it has also become, inevitably, a “honey pot” for dealers to promote their artists to the collectors who attend.

Even a small location outside the official event can cost 100,000 dollars to rent. With the price of contemporary art escalating, that kind of outlay can be easily recouped. Most work you see at the Biennale is unobtrusively for sale.

But for an idealist like Enwezor, this proximity to the market should not present a problem: Marx supported the market, writing that no work of art was complete until it had been sold.

Adrian Searle of The Guardian said after viewing this year’s Biennale, “I have seen the future and I’m not going.”

Here’s a link to Ben Genocchio’s complete article in Artnet News:



Ain’t That Clever

“Clever Bear” by Matt Flint, new to Gallery MAR this week.

"Clever Bear," by Matt Flint, 40" x 40", 2015

“Clever Bear,” by Matt Flint, 40″ x 40″, 2015

As we have sold every painting (but one!) from our February show for Matt Flint, we are thrilled to have a new painting from his studio in the gallery. The image of this artwork does not do the piece justice, so if you are able to visit our “Clever Bear” in person, we hope that you will.

Beginning his artistic career as a freelance illustrator, Matt Flint quickly found his passion for painting upon entering graduate school.  The journey of making a painting is the touchstone for Flint’s work. “I begin my paintings without a plan. No preliminary sketches are made; every thought is worked out directly on the canvas.” Even after two decades, Flint is still transforming and experimenting with his palate, medium, and subjects. During his youth and today Flink seeks out the solitude of untamed places and the wildlife that inhabits them. The rich textures and worked surfaces of his paintings evoke the constant changes and processes found in the natural world.

“My paintings are of animals, plants, and landscapes seen through a moment of shifting focus.  I paint the way I explore the rugged mountains by my house, always pushing to see what is over the next hill, searching for the unexpected.”


An Artful Beginning…


By Victoria Kennedy, Fine Art Consultant

When it came time to propose, Trevor weighed the differences between himself and his soon-to-be fiancée, Maddie. As a lover of the outdoors, Trevor knew Maddie expected him to propose on a romantic hike or picnic in nature. However, both of their love of Park City and for art galleries provided a compromise for a way to pop the question.

During Maddie’s two-year mission in Japan, her father wrote letters and drew pictures to send to her each week. Upon returning, and after dating Trevor for some time, Maddie’s father and Trevor compiled all of the drawings and snippets from his letters into a long, horizontal collage. Trevor called Gallery MAR in Park City, and asked if it would be possible to hang the collage in the gallery the night that he planned to propose. Of course, we said “yes!”

Attempting to make the night as casual as possible, Trevor took Maddie to a pizza joint on Main Street and then suggested they embark on a tour of the galleries. As they passed by Gallery MAR, Trevor nudged Maddie in, just to “check it out.” They strolled through the gallery, admiring the art, until Maddie came to a piece that looked familiar. And as she studied the piece, Trevor got down on one knee…

A big congratulations to Trevor and Maddie, who will be tying the knot this May. We are so pleased to have assisted in your special night and wish you both all the happiness in the world.