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
Cydney Payton, director of Denver's Museum of Contemporary Art, has been putting a lot of effort into expanding that plucky little institution, which occupies only limited space on a first floor and mezzanine at Sakura Square. Her plan to construct a from-the-ground-up building is unfolding, and the competition to select an architect is well apace, with six finalists from around the world vying for the gig. Payton also came up with another expansion idea: off-site exhibitions. One such offering is middle ground: STEPHEN BATURA, a solo that spotlights one of Denver's best contemporary painters.
The Batura show is in a strange place called the Walnut Foundry, located in the northern reaches of the railroad district. This is a hot area, and gentrification has gotten within a couple blocks of the building. From the street, the Walnut Foundry seems "hot," too, but that's only because it looks like an EPA Superfund site. It's even surrounded by a forbidding-looking chain-link fence topped with barbed wire.
In fairness, I need to point out that this bad first impression turned out to be wrong. Outside, the Walnut may be pretty scruffy, but inside, it's quite spiffy. Beyond the new glass front doors, there's a large, open room beautifully lit by skylights. And as validated by the breathtaking middle ground, it's a great place to have an exhibit. This much room might be a daunting task for many artists to fill, but not Batura, who, besides being extremely prolific, does enormous, mural-sized paintings.
Dave Yust: PAINTING IN CIRCLES and Other Abstract Works
Through January 3, Fort Collins Museum of Contemporary Art, 201 South College Avenue, Fort Collins, 1-970-482-2787
Batura was born in Denver in 1959 and received his BFA in 1983 from the University of Colorado at Boulder. He's exhibited his work for nearly fifteen years, in such low-down locales as Pirate and such upscale spots such as the Denver Art Museum, the Museum of Fine Arts in Santa Fe, and Copenhagen's ARKEN Museum of Modern Art. Batura has also received commissions for murals that are now installed in Union Station in LoDo, the Schlessman Family Library at Lowry and the Burnham Hoyt Visitor Center at Red Rocks Park in Morrison.
The pieces on display at the Walnut Foundry represent the latest examples of Batura's longtime interest in using historic photos as the first step in creating his expansive representational paintings. He uses photos from the collection housed in the Denver Public Library's Western History Department, a treasure trove he became interested in several years ago while working at the Central Library.
These DPL photos are available online, and Batura selects images, prints them out and then uses them to determine the specific details of his paintings. "I sometimes crop them for effect," Batura explains, "but I don't do any manipulation; I don't put figures in. People have compared me to Mark Tansey, but he's all about manipulation, and I'm completely about reality."
Though the imagery in these paintings originated in photography, Batura does not see himself as being a photo-realist. I know what he means: His surfaces are way too painterly and imprecise. However, I can also understand why many would link his work to photo-realism. They are, after all, very obviously based on photos.
For many years, Batura exclusively used casein, an old-fashioned milk-based pigment, and although that limited his palette, the effects he got were impressive. Some of these newest paintings are done with acrylics combined with casein, which allows him to do some full-color paintings, such as "commotion," instead of just monochrome or duotone ones, as in the green-and-white "excursion" or the orange "tomorrow."
The scenes Batura selects are laden with drama, and some have an almost Hollywood-movie quality to them, including "nineteen twenty-one," one of several about the aftermath of train wrecks. The wonderful "misconception" depicts sprawling construction projects -- in this case, moving a house across a ravine. All of the paintings are set in the late nineteenth or early twentieth centuries, which is when the photos Batura used were originally taken. This fact is revealed by the style of clothing worn by the workers, the horse-drawn vehicles, and the trains and buildings themselves.
Batura's middle ground has a lot to recommend it -- as does the MCA's idea of giving a worthy Colorado artist a solo. Let's hope it's the first of many, and not simply a change of pace.
While I'm on the topic of worthy Colorado artists being feted with solos, there's Dave Yust: PAINTING IN CIRCLES and Other Abstract Works at the Museum of Contemporary Art in Fort Collins. The MOCA, as it is called, has done a great deal to promote local artists, and well-known abstractionist Yust is the latest to be given a star turn in its galleries.
Yust was born in Kansas in 1939. He earned a BFA at the University of Kansas in the early 1960s and, shortly after, an MFA at the University of Oregon. In 1965 he moved to Fort Collins to take a job teaching art at Colorado State University, where he is still on the faculty. In the intervening decades, Yust has produced a sizable body of paintings, more than forty of which are on display at MOCA.
These pieces range in date from 1966 to 2003, spanning the artist's entire career. But Yust, who put together the show with the MOCA's ace curator, Erica France, does not consider it a retrospective. "I try to avoid the R-word regarding this show," he muses. "It touches on only a few things, about how certain things evolved. I hope I provided the museum with the paintings I did along the way that help to explain how I got to where I am today."