By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
Surely this situation was predicated at least in part by the impending construction of the new museum wing, which will be on line in four or five years. The department is set to move there when the wing is completed and, as a result, will have severely limited space until then. As disappointing as it is to us, it must be really awful for Vanderlip and her crew. And one wonders who made this wrongheaded decision and foisted it on them.
Of course, the changes don't mean there won't be any modern and contemporary art on view, just considerably less than we're used to. Schlessman Hall, just opposite the entry lobby, will continue to be used, as will the passageways leading to the Hamilton and Stanton galleries and the elevator lobby. The Vance Kirkland Close Range Gallery will continue to feature contemporary art, and the sixth and seventh floors will still include some examples of modern and contemporary art within more broadly historical displays of paintings and sculptures.
The Mirage photography gallery, now within the Stanton rooms, will move up to the seventh floor, where it will replace the existing photo gallery, and in spring 2002, the seventh floor's Gates Gallery will be turned over to Modern and Contemporary Art as well. All of this sounds a lot better on paper than it actually is, since the seventh floor, which primarily features Western art, is only half the size of most of the other floors. And since contemporary art is often mighty big, it will be difficult to find enough breathing room up there, especially in the cozy Gates Gallery.
The only rational response to this alarming situation -- after, of course, an interval devoted to lamentation -- is to rush over to the DAM in the next few days and revel in the many wonderful things on display in the Stanton rooms.
For instance, John DeAndrea's famous 1983 sculpture, "Linda," is back. The super-realistic reclining nude is displayed just outside the entrance to the Stanton space and has been demurely -- and strategically -- draped. Beyond, in the large front room, is "Reuben," by Larry Poons, from 1965. This piece has been hung vertically, though it's most often been seen in an incorrect horizontal orientation. Across from the Poons is the marvelous "Air Conditioned Jungle," by David Budd, from 1974. The artist smeared thick layers of green paint onto this painting, producing a luscious color field.
In the main central space are several major pop and post-pop works -- notably, Edward Ruscha's "It Is Said," from 1984, and Roy Lichtenstein's "Reflections: Whaam!" from 1990. Also referring to popular culture is the 1988 silkscreen-on-vinyl painting "Turned Trick," by Jenny Holzer. In a very different mood is Jim Dine's "Color of the Month of August," from 1969, in which the artist used not only paint, but things like an attached cowboy boot and a freestanding camp stool.
In the first of the series of galleries that radiate around the large central space, we can find selections by Bay Area funk stars Joan Brown, William Wiley, Robert Arneson, Peter Voulkos and Robert Hudson. Some of this stuff is very difficult in that it subverts standard ideas about beauty, but then again, that does seem to be the point. Two wonderful Roland Berniers, both from his 1990s "Mouth Pieces" series, are displayed in the next of the small galleries. Bernier, one of Denver's most innovative contemporary artists, is scheduled for a solo in the DAM's Close Range Gallery this spring.
Choice older pieces can be seen in the small gallery in one of the back corners. In this section, put together by associate curator Nancy Tieken, is the DAM's well-known Picasso, a still life related in date and style to "Guernica." There's also that exquisite 1930s Gorky drawing, "Nighttime Enigma and Nostalgia," along with several of the DAM's many Motherwells and a historically significant Barnett Newman, "#61," from 1949, that's been loaned anonymously.
Across the narrow back gallery, where Dine's large 1989 sculpture "Wheat Fields" has been paired with Mondrian's charming little "Blue, White, Yellow," from 1930, are pieces by Dan Flavin and Richard Serra.
Back in the front is the exhibit Colorado Masters of Photography, in the soon-to-move Mirage Gallery. In this exhibit, former DAM assistant curator Jane Fudge put together in-depth looks at four local photographers: Ferenc Berko, Hal Gould, Mary Alice Johnston and Myron Wood.
In the last of the small galleries is a notable James Turrell installation, "Trace Elements," from 1991. In the darkened room, using lights and a simple window-like opening at one end, Turrell has created a thoroughly unreal environment.