Washington state to New Jersey in a little more than three months; this ride would be the most ambitious Bliss and Robert Sawyer attempted.

The Saratoga Springs couple began road biking seriously about 25 years ago. One long haul at a time, they rode all over the country and all over the world, taking their bikes to the UK, Norway and Switzerland.

Read more: https://ksltv.com/?p=909537

SALT LAKE CITY — A new art museum located in the historic B’nai Israel Temple in downtown Salt Lake City, dedicated to preserving Utah culture and providing a platform for Utah artists, is opening.

The Salt Lake Art Museum, 249 S. 400 East, aims to highlight both historic and contemporary Utah artists while also promoting thoughtful conversations on modern topics. It is the first new art museum to open in the city in more than 40 years.

“Opening the Salt Lake Art Museum is a defining moment for our state’s cultural landscape,” said Chris Jensen, museum executive director.

While the official grand opening of the museum isn’t until July 24, it has already begun hosting events and programming, including an interactive “Make Your Mark” installation where community members can trace their silhouettes onto the walls.

“The project serves as both an introduction to the museum and a living time capsule capturing the voices and identities of the community in the weeks leading up to the grand opening,” a statement from the museum said.

The Salt Lake Art Museum was founded by Micah Christensen, a distinguished art historian based in Salt Lake City. About a year ago, Christensen contacted Jensen, who has a background in nonprofits and cultural and historical preservation, to discuss purchasing the B’nai Israel Temple to create a museum.

The focus of the museum would be to elevate Utah artists, Utah art collections and art created in Utah.

“Utah is home to an incredible number of artists, yet we’ve long lacked a dedicated space to fully celebrate their work. This museum changes that. It’s a place where Utah artists are centered, their stories are elevated and our community can come together to experience the power of art,” Jensen said.

The museum began its programming with a Utah Master Series, which celebrates Utah’s most influential visual artists and recognizes their contributions to the state’s cultural legacy.

“It’s almost like a hall of fame of Utah artists,” Jensen explained.

The first three artists to be part of the exhibition were Galina Perova, Stanley Wanlass and Ben Hammond. Each artist had a dedicated night at the museum, where their work was displayed and they discussed their art-making process and the arts in Utah.

One of the museum’s opening exhibitions will be on Albert Bierstadt, a famous painter in the late 1800s who painted the American West. He spent three weeks painting in Utah and the museum will display 25 of his approximately 30 Utah landscapes he created.

To make the gallery extra special, the museum will have modern pictures of the same landscapes alongside each painting.

“It’s really a tale of how human interaction changes landscape and how our landscapes in Utah have changed since the 1800s. So that is really exciting and it’s the first of its kind on Albert Bierstadt,” he said.

The museum will also have exhibits on Pilar Pobil, a Spanish-born immigrant who self-taught herself painting and sculpture and died in 2024, and a show on the Julia Reagan billboards and how they intersected with pop culture and art in Utah.

Additionally, the museum’s opening exhibitions will include a gallery on the history of the B’nai Israel Temple, which was completed in 1891, two years before the Salt Lake Temple was finished.

Museums preserve the culture of whatever they are targeting, Jensen said. The Salt Lake Art Museum aims to preserve Utah’s art culture and its communities, he added.

There are many great artists from Utah who are famous around the world but unknown within their home state, and this museum hopes to change that, Jensen said.

“We have more artists here per capita than anywhere in the U.S., and it’s time that we shine a light on it and celebrate it. And that goes all the way from arts and crafts up to fine art,” he said.

He hopes people are proud of how much quality art comes from our state. When people come to the museum, they support great Utah artists and have a chance to learn more about the place they call home.

Art can be a great avenue to discuss modern issues, such as immigration, climate change and discrimination, through both historical and contemporary lenses, Jensen said. For example, the Salt Lake Art Museum plans to do a show soon on the Great Salt Lake and host a plein air competition at the lake.

“I want people to think of everything that’s happening in our modern world when they come through here and to see themselves reflected in that and how they should be reacting to it,” he said.

Overall, Jensen hopes people appreciate and support art museums as they “tell the story of us as a species.”

“When you go to a museum, it’s a chance to reflect on what we were and what we have become — things lost and things improved. So I really think it’s important because it tells us the greater story of humanity,” Jensen said.

An adolescent owl that was found stuck in a concrete mixer in southwestern Utah is finally on the mend, flying free and maybe a bit wiser from the ordeal.

The great horned owl somehow made his way into the truck-mounted mixer in late October and was discovered by workers pouring concrete at a resort construction site.

Lucky for him, a series of people gave a hoot about his predicament. Workers hosed the bird down before it was wrapped in a towel.

It took days for employees at the Best Friends Animal Sanctuary in Kanab to pick the concrete from the bird’s face, chest and right wing, using forceps to carefully crack the dried debris and cleaning the feathers with toothbrushes and dish soap.

The owl started its long recovery at an aviary run by the organization, and employees anxiously waited for it to grow new feathers. But the bird didn’t molt as predicted.

In early May, he underwent a procedure called imping, which uses adhesive to graft donor feathers onto existing shafts.

“The first few feathers were extremely nerve-wracking, but as we got into the groove, the imping became more comfortable, and everything went smoothly,” said Bart Richwalski, a supervisor at the sanctuary.

Great horned owls typically have tufting on the edges of some of their feathers that allows them to fly quietly as they hunt.

But the concrete frayed the rescued owl’s feathers and caused it to make a whooshing sound while flying.

To prepare for the imping procedure, sanctuary staff examined the owl’s feather patterns every few weeks and snipped damaged shafts in advance.

The owl was anesthetized and the donor feathers from a similarly sized owl that had died were laid out nearby to replicate each wing.

The staff then cut the feathers to the necessary length, lined them up and adhered them to the bird.

By the end of the 90-minute procedure, the owl had 10 new primary feathers and a secondary feather on his right wing. But then came the real test: could he fly silently?

The bird was placed in a large aviary to recover from the anesthesia and quickly took flight after awakening.

Richwalski used a decibel meter to measure the sound of the owl’s wingbeat and determined its flight was quiet enough for it to safely be released.

The owl hovered for a moment while the aviary roof was retracted, gained speed and then flew out into the wild.

“It feels so, so good. I think my heart finally started beating again. The nervousness was starting to overtake the excitement, but once I saw him fly out that opening in the roof, it just was, it was a sight to see. It was so fun,” said Richwalski, who has cared for the owl since picking him up at the construction site.

Karla Bloem, executive director of the Minnesota-based International Owl Center, said imping has been practiced by falconers “for eons” and is a very effective treatment.

“I’ve never heard of it not lasting, because you use some pretty good stuff when you’re doing imping,” said Bloem, who has studied great horned owls for nearly three decades.

She added that it would be OK if a couple of the grafted feathers fell out. The bulk of them just need to stay put until the owl can grow new ones in the coming summer months.

“And now it just needs to figure out, ‘whoa, I’m back in the big world again, hunting,’” she said. “Find a territory … you know, find one of the opposite sex and settle down and have kids.”