Rigsby in the Rearview

More than ten years after his death, David Rigsby still rules.

There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. Dots, Blobs and Angels surveys more than forty years' worth of the remarkable artist's paintings and sculptures.

The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy and figural abstract painter Edward Marecak. Interestingly, all had been the subjects of solos within the previous two years, so they were fresh in everyone's minds.

I bring up Kennedy and Marecak in relation to Rigsby because the fate of their works debunks the widely held myth that once an artist dies, interest in his or her art increases. In truth, most artists, even those with distinguished careers and credible oeuvres, are gradually forgotten after they pass away.

Sculptural group by David Rigsby, on display at the 
MCA.
Sculptural group by David Rigsby, on display at the MCA.

Kennedy is a good example: Other than a piece or two in a group show, when's the last time you've seen one of his works? Marecak has fared better because he was part of the mid-century modern scene, and there's increasing interest in the artists of that period. Finally, there's Rigsby, who, like Kennedy, has been slowly forgotten. Dots, Blobs and Angels aims to rectify that -- and to a great extent, it does.

Cydney Payton, the MCA's able director, put together the show, selecting the pieces and, as usual, supervising the installation. On both counts, she's done a bang-up job. Her selections represent what she sees as the pivotal pieces of Rigsby's art, and by intelligently arranging them in chronological order (though there are some exceptions), Payton walks the viewer through Rigsby's subtle shifts of aesthetic theory.

Some may see the choice of Rigsby as odd. After all, as I said, he's been dead for over a decade and has gradually faded in memory. But maybe that's what makes it a wise call, because even if everything in the show is old, it's essentially new to most.

"I always have a pool of Colorado artists that I'm interested in putting together exhibitions for," Payton says. "And David Rigsby has been in that pool." Payton met Rigsby when she was in her twenties, getting to know him through her association with artists who were in and out of the so-called Big Chief building on the 1500 block of Platte Street, which was then given over to artists' studios. Among the others associated with the place were, oddly enough, the aforementioned Kennedy, plus Dale Chisman, Michael Pedziwiatr, Martha Daniels and the late John Fudge. The young Payton walked right into a who's who of the period, so to speak, and made contacts that she still maintains.

"This is my first solo exhibition at MCA for a Colorado artist," Payton notes. "But it kind of fits in with my history of doing solo shows for Colorado artists, and my history of investigation and putting out exhibits about the kind of work that has been generated here." Payton put on dozens of exhibits on Colorado subjects before joining the MCA, presenting them at her own gallery, Cydney Payton Art Folio, and later at the Payton-Rule Gallery and the Boulder Museum of Contemporary Art. "It's the perfect jewel in my curatorial crown -- if there is such a thing as a curatorial crown," Payton says with a laugh.

Perhaps it's all this experience that makes Dots, Blobs and Angels one of the best shows Payton's ever done. That, and the fact that Rigsby was a brilliant artist who left behind stacks of paintings, reams of drawings and a warehouse full of small sculptures. "During his career, Rigsby's work followed the same trajectory as some of the most significant players that we've come to associate with the last fifty years of art -- Diebenkorn, Rauschenberg, Guston," Payton says. "Rigsby was exploring the same ideas at the same time, and even prior, in some cases, to these artists who have been credited with pioneering them."

It's a bold claim, but the show backs her up from the very start. One of the first paintings in view, "Sunken Ship," a mixed media on board, was done in 1959 and includes both abstract painted passages and found imagery. Yes, in 1959! The painting, like the work of Rauschenberg and Johns at that time, has one foot in abstract expressionism and the other in the beginnings of pop art. I guess Payton is right: Rigsby really was on the same trajectory as the most significant players of his generation.

"Sunken Ship" hangs on the wall facing the entrance alongside a painting by Japanese artist Tatsu Heima, who was Rigsby's mentor. The pairing demonstrates how Rigsby took off from Heima's approach, though it also demonstrates how what he learned from Heima would continue to affect his ever-evolving style throughout his life.

"Ship" was painted when Rigsby lived in New York, having followed Heima there. Heima was his teacher at the University of Alabama, which Rigsby entered with the help of the GI Bill after serving a stint in the Army band during the Korean War.

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