The Brigham City Museum of Art & History is Northern Utah's art, history, and culture hub.

The museum is home to a permanent exhibition on the history of Brigham City, and five temporary historical and fine art exhibitions a year.
The outstanding collection covers more than 150 years of the history of Box Elder County with more than 10,000 objects. The growing art collection includes more than 300 pieces by outstanding artists including Florence Ware, David Howell Rosenbaum, E.J. Bird, J.T. Harwood, Mabel Frazer, Russell Case, and more.
Nestled in the heart of historic Brigham City, Utah, the Brigham City Museum of Art & History is consistently rated as one of the top things to do in Brigham City and Northern Utah. This unique museum provides opportunities to see exhibitions showcasing fabulous Utah artists, as well as historical exhibitions that illuminate the history of Utah, and our place in the world.


Tuesday - Friday 11am - 6pm
Saturday 1pm - 6pm

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24 North 300 West
Brigham City, UT

Current exhibit


April 7 - June 12 at the Brigham City Museum of Art & History

Roughly 147 miles west of the Brigham City Museum of Art & History lies one of Utah’s most celebrated works of art — Nancy Holt’s Sun Tunnels. Located in  Box Elder County, Sun Tunnels is a seminal piece of Land Art, an artistic movement emphasizing place-based works concerned with the relationship between art and its environment. Constructed in 1976, Holt’s four concrete tunnels, each roughly 9’ tall and 18’ long, immerse visitors in the encircling horizon of the Great Basin Desert to contemplate place, presence, and time.

In order to explore this local treasure and its troubled connection to both Utah and digital representation, Salt Lake City artist Kelly O’Neill created the work rend/er

rend/er presents models of the tunnels, 3D printed from collaged photo documentation, floating above playa sand collected on site. Through this work, O'Neill asks, how close can one really get to the tunnels without ever stepping outside? While digitally bringing the tunnels from the desert to the museum reveals them to Brigham City residents who may have not yet experienced or known of them, it also loses something in that translation. rend/er's exacting detail highlights the imperfect distance of digital recreation as each tunnel appears damaged by the pixilation and fragmentation of its forced simulation. This digital corruption, while emphasized in O’Neill’s prints, lingers quietly in all representations of the Sun Tunnels. 

Yet, in this dislocation, O’Neill argues that something has also been gained. 

rend/er asks the audience to not only consider their place and presence in relation to Holt’s project, but to contemplate their own digital experience and the models on which our contemporary understandings of space teeter; exploring the distances between our local landscapes and online presence. In a sense, rend/er re-performs Nancy Holt's own artistic endeavor: attempting to re-frame our relationship between physical and imagined spaces, emphasizing the ways in which these modes of experience diverge, coalesce, and interfere with one another. Reminding us of the forgotten spaces in our own backyards, and the means by which we understand them. 

Image of artist Kelly O'NeillKelly O'Neill first became interested in photography as a senior in high school. He got a film camera and started to explore the medium. Having planned to study science or math, he switched to studying photography. He attended the University of Utah and graduated with an Honors Bachelors of Fine Arts in Studio Art, with an emphasis on Photography/Digital Imaging. Kelly is a local of Salt Lake City where works at the University of Utah. 

He shows locally around Utah and had a one year residency at the Utah Museum Of Contemporary Art (UMOCA) from 2016-2017 as part of their A-I-R Program. He is interested in the western desert, land art, photography, digital culture, and representation. 

Imagining Innovation: Aerospace Art

April 7 - June 12 2018 at the Brigham City Museum of Art & History

Employees of Thiokol Chemical Corporation, known today as Orbital ATK, in Promontory, Utah, had the solemn responsibility over the years to produce solid rocket boosters for space launch vehicles as well as other products. Thiokol hired skilled artists to depict in art its challenges and accomplishments. In the 1980s and 1990s, high-end prints of their paintings were used to promote the company’s products at trade shows.

An exhibit of Orbital ATK’s aviation art titled “Imagining Innovation: Aerospace Art” opens April 7 and continues through June 12 at the Brigham City Museum of Art. Work by Mark Waki and Allan Eaton, employees at the Promontory facility, will be on display. 

Image of artist Mark Waki in front of a paintingWaki was hired as a model builder and illustrator in 1982 and has become a space program artist of wide renown. He has completed 30 major paintings for the company. Waki’s artwork has been displayed with the U.S. Air Force Art Collection in New York, at the Pentagon in Virginia, The U.S. Air Force Museum Wright-Patterson AFB in Ohio and the Paris Air Show in France. Waki and his brother Matthew painted a large mural for the Thunderbirds Air Demonstration Squadron, and it’s on permanent display at Nellis Air Force Base in Nevada.

The painting “T+30” by Waki that depicts a space shuttle 30 seconds into flight is widely thought to be the most reproduced space painting ever.

Waki remembers, “My childhood was filled with pencil drawings and scale models of flying machines of all types. Drawings of B-25s shooting down Zeros and models of Fokker DR-1s to Saturn Vs go back to my preschool years. I never considered art as a profession until I realized that I was not going to fly military aircraft due to poor vision. Paintings became my connection to the fighter pilot community, military aviation and spaceflight.”

One of Waki’s works hanging in the exhibit is “Killer Scouts.” It depicts the U.S. Air Force F-16C Fighting Falcons making a morning attack on enemy targets during Operation Desert Storm. The artwork pays tribute to the 388th Tactical Fighter Wing from Hill Air Force Base for participating in the liberation of Kuwait in February 1991.

Allan Eaton says that art, astronomy and space flight have been part of his life for as long as he can remember. He recalls, “I was a child of the 1960s, like most of my friends, and I had dreams of becoming an astronaut. I followed the space program with the same enthusiasm some kids followed rock stars. An accident when I was 14 dashed all hopes of ever becoming an astronaut as I was paralyzed from the waist down. I pursued art while still enthusiastically following the space program. The discoveries of the 1960s through the 1980s thrilled me and NASA was my rock star.”

After Eaton graduated from high school, he worked at the Hansen Planetarium, now the Clark Planetarium, in Salt Lake City. This fueled his desire to at least be part of the space program. Eaton furthered his education at Sevier Valley Technical College, graduating with an associate degree in commercial art. He began his career as a jewelry illustrator in Salt Lake City specializing in airbrush illustration and soon transitioned into technical illustration and drafting.  After working for a variety of engineering firms, Eaton became a freelance artist. Eventually he went to work for Thiokol where his artistic talents documented the Space Shuttle Program as well as other space and military projects. The artist states, “These experiences fulfilled a lifelong dream.”

Included in the exhibit is Eaton’s “Challenge Traditions,” a montage of significant transportation events throughout history. Utah’s connection is illustrated by a space shuttle rising above two trains facing each other when the ceremonial “golden spike” was driven at Promontory Summit connecting the first transcontinental railroad in 1869.

The history of Thiokol is as fascinating as spaceflight. In 1926, two chemists, Joseph C. Patrick and Nathan Mnookin, were trying to invent an inexpensive antifreeze. While experimenting with ethylene dichloride and sodium polysulfide, they created a gum that emitted a terrible odor and clogged a sink in the laboratory. None of their solvents could remove the gum. The frustrated chemists then realized that the resistance of the material to any kind of solvent was a useful property. They had invented a synthetic rubber, which they christened “Thiokol,” a combination of the Greek words for sulfur and glue.

Thiokol Corporation was formed in 1928 to commercialize the new product. The company’s future changed forever in 1945 when scientists discovered that the polymer made the best solid propellant fuel binder known to man. In 1947, Thiokol entered the solid rocket motor market.

This exhibition was supported, in part, by Orbital ATK.