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
The first show, Emmett Culligan: Sculpture, is elegantly installed in the gallery's smart-looking front showroom and is visible from Wazee Street through the huge windows. Culligan, who is only a few years out of school, is one of the city's most interesting young artists. Although there are only four pieces here, with a fifth in a connecting passageway, they seem to fill the place to the brim because of their size and the way they interact with the space around them.
Facing us as we enter is "Untitled," a masterful 2001 sculpture that's about as big as any you'll see in a temporary indoor exhibit. Too large to fit through the door, it was assembled in the gallery. "Emmett used six husky men and a small crane to put it up. It was remarkable to watch," Judish says. Like many of Culligan's sculptures, which have been displayed over the last few years, there's the suggestion that it might fall over, or at least move. A massive form, made of roughly carved granite, is set at a diagonal and connected to a fragment of a found beam that leans the other way. The two elements hold each other in place. The resulting form makes a powerful statement.
An interesting aspect of this piece is its luxurious surface, which includes a rich dark-brown patinated steel base, the pink and gray crystals visible in the granite, the peeling red paint and light-brown wood grain of the beam and the gleaming silver of the stainless-steel cap that Culligan placed on the top of the granite.
Two other monumental floor pieces and two small, jewelry-like wall-hung sculptures are also terrific, but this sculpture is Culligan's greatest triumph yet.
One of the two floor sculptures, also called "Untitled," features a freely carved rhyolite sphere on the end of a steel rod that has been counterbalanced by a big chunk of sandstone. It has been installed in the middle of the passageway leading out of the front gallery and provides a segue to Jeff Wenzel: Painting.
Wenzel is unquestionably one of Denver's most accomplished masters of abstract painting, and he's made compelling work of the highest standard for a decade or more -- so my expectations were high. But this show exceeds those expectations: The paintings here are spectacular.
Born in Denver, Wenzel launched his career in California in the mid-1980s after completing his graduate training in the fine arts at the University of California at Berkeley. He excelled in ceramics as a student and later worked as a studio assistant for the legendary Peter Voulkos, from whom he clearly got his inspiration.
Voulkos, one of the best recognized abstract-expressionist ceramic artists, created his vessels, plaques and sculptures by twisting, bending and distorting clay, often laying slabs over one another. Wenzel took this method and translated it to painting. His compositions are made by painting over torn and cut pieces of paper and then tearing the paper again and repainting it. He repeats this process as many times as his instinctual eye tells him to, then attaches the compositions to wooden panels.
Although Wenzel used this style for the pieces in the Judish show, these newer paintings are notably flatter than his earlier, more three-dimensional works. In this recent batch, the paper has been thoroughly and flatly adhered to a wood panel, as opposed to being only partially connected. The change isn't a rejection of his older method, but a refinement of it.
In addition, these new paintings are a lot lighter than the older ones, with respect to both the palette and the density of the compositions. "Jeff's exploring the white space in his paintings as he never has before," Judish notes.
This was seen clearly in the gorgeous and visually engaging "Black Steps," one of several eye-popping abstracts on display when the show opened (it has since been purchased and removed). In this painting, Wenzel used a variety of white and off-white shades set against geometric shapes in dark earth tones and black. The rectilinear shapes scattered across the panel's surface show up in other Wenzel paintings here, but they don't dominate the composition in the same way.
In the back gallery we're confronted with the majestic, horizontal "Sun Pak," which sets the mood for the main part of the show. The painting's surface is mostly made up of sparely painted sheets of ecru-colored paper. The paper was originally a wrapper for some kind of construction material, and the brand name, Sun Pak, is seen in places. Wenzel's color choices are always impressive, but they're brilliant here: The ecru ground is accented with cool tones such as black, ocher, blue and gray; these quiet hues are effectively juxtaposed with the one hot shade he uses -- brick red -- in a few perfect places.