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
But things have really turned around, and everywhere I look lately, there's some promising young newcomer doing something great. An example is John Morrison, who ranks up there with the best of his elders. This hitherto-unknown painter is the subject of John R. Morrison: New Paintings, a spectacular show at Ron Judish Fine Arts.
Morrison's quick trip to the front lines began last spring when his work was included in a pair of widely seen group shows at the Raven's Nest studio complex and at Denver's Museum of Contemporary Art. Judish gallery director Ron Judish saw Morrison's paintings in the MCA show and immediately signed him up, even though Morrison had yet to graduate from the Rocky Mountain College of Art and Design (though he has since). It's highly unusual for an art student to get picked up by a major Denver gallery, and for the life of me, I can't think of another example.
But it's easy to see what Judish saw in Morrison: his ambitious scale and the consistent high quality of his stuff. Looking at his marvelous paintings, it is hard to believe he's been painting seriously for only three or four years. Even more astounding is that, unlike most artists, Morrison didn't take an interest in art until he was an adult.
From 1999 to 2001, Morrison, in his mid-twenties, studied at RMCAD with painter Clark Richert and created his first fully mature paintings. "The most important influence Clark had on me was freedom," Morrison says. "He allowed me to be free in my painting." Indeed, Morrison's paintings don't resemble Richert's at all. But they're connected conceptually in that, like Richert, Morrison sees his paintings as an arena for expressing ideas.
This interest in the new led Morrison to the study of postmodernism. "But postmodern is a dead end for painting," he observes, "and I found myself going to modern, where a lot was happening."
His paintings are completely non-objective and free of any references to anything except other modern paintings, and Morrison can reel off the names and movements that he sees as having influenced him. "Matisse, Cézanne, Rothko, the abstract-expressionists, the minimalists, the painters of the last 25 years," he says. "A case could be made for the influence of any non-representational painter, because I see myself in the flow of modern painting."
Thus, like that of his modernist -- read: formalist -- mentors, Morrison's subject matter is the act of painting itself. "Painting is a visual thing, and it's not about the idea behind it," he says. "I want to attract the viewer to the painting and so, first and foremost, it needs to be about the visual." For this reason, Morrison uses bold and unpredictable color combinations and multifaceted painterly techniques like drips and underpainted passages. Unnervingly, he sometimes makes the drips flow up or sideways in order to move the viewer's eyes in a given direction. The multi-hued tones of the color fields and the jagged, linear or organic shapes he uses also help to move the eyes across the canvas.
All seven of his paintings at Judish were done in the last six months. In them, Morrison orchestrates a number of approaches at once. In places, the paintings are abstract-expressionist, but above, below, or adjacent are passages with hard edges. All of them have awkward compositions and seem ready to teeter off balance at any moment. An example is the best painting in the group, "A Free Radical Ideological Landscape," in which the multiple layers of the taped lines at the bottom are juxtaposed with the vast emptiness of the red color field above.
Further testament to the quality of Morrison's work is how well it holds up to that of acknowledged master Al Wynne, a Colorado abstract-expressionist painter with more than fifty years' worth of fine work under his belt.
Wynne is the subject of the stunning Al Wynne: Paintings, installed right around the corner from the Morrisons, which is a nice complement, as the abstract approach of the younger man is perfectly matched with the elder's.
Wynne, who is eighty, is one of the only living artists with a firsthand association to the now-closed Colorado Springs Fine Arts Center School, which made Colorado Springs the art center of the state from the 1910s to the 1950s. He studied there with Boardman Robinson, and, like other students of Robinson, notably Ken Goehring, another living connection to the CSFACS, Wynne rejected the teacher's regionalist style and turned to abstract expressionism.
The eight gorgeous paintings in this show fall into two camps: those that are abstract-expressionist and those that represent what's traditionally called second-generation abstract expressionism, in which there is a representational subject running underneath the abstraction. The lyrical "Festival," an oil on canvas from 2000, is a good example of the former, while the evocative "Two Windows on September," an oil on canvas from 1993, represents the latter.