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
Centennial of William Sanderson. This exhibit was co-curated by Michael Sanderson and Kirkland Museum director Hugh Grant and includes pieces from that institution's permanent collection, loans from various local collectors and from the artist's estate. Sanderson was one of the most prominent Denver artists in the late '40s and early '50s, and his signature style had a cartoonish quality that sometimes referenced cubism. By the '60s, Sanderson was all but forgotten, but in the 1980s, not long before he died, his career enjoyed a second boom. The interesting thing is that this revival didn't happen because Sanderson's work changed -- the art world did. The show was hung mostly chronologically and includes the kinds of things Sanderson is best remembered for, plus a few odd paintings out, which connect to the rest through his meticulous paint-application technique. This skill is something that reveals his astounding hand-to-eye coordination to even the most casual viewer. Through January 22 at the Kirkland Museum of Fine & Decorative Art, 1311 Pearl Street, 303-832-8576. Reviewed November 24.
Colorado: Then & Now II. In the late 1990s, internationally known photographer John Fielder came up with the idea of re-photographing old shots done by William Henry Jackson. This idea led to an exhibit at the Colorado History Museum in 1999, with this current show being the long anticipated sequel to that one. The CHM has a vast collection of Jackson's work, dating back to his first photos of the state done in 1873, when he was part of the federal Hayden Survey of the American West. In 1880, he opened a Denver studio, which he closed in 1896. As he did for that first Then & Now, Fielder went through the vast Jackson archives and selected the images he wanted to re-create and then revisited those locales. This time, however, he picked more views of buildings rather than depictions of the wilderness. During the show's run, the CHM gift shop will have Fielder's accompanying book, Colorado Then & Now II, for sale, as well as Volume I for those who missed it. Through April 5 at the Colorado History Museum, 1300 Broadway, 303-866-3678.
Dale Chisman. Abstract painter Dale Chisman is at the top of everyone's list, both for his talent and his commitment to art. Chisman began his art career in the 1960s, when he studied with Martha Epp at North High School and, later, with Mary Chenoweth at Colorado College. After graduating from the University of Colorado, he left the area to seek fame in New York. He returned twenty years ago and has lived in town ever since. Dale Chisman at Rule Gallery is partly devoted to work Chisman did in New York in the 1970s and partly given over to paintings done just in the last few months. It's striking how consistent his aesthetic has been over the years; though the new paintings are clearly distinct from the old ones, they are obviously an outgrowth of them. Both sets feature simple palettes of strong colors and have all the tricks of the abstract trade, including smudges, drips, runs and scribbles. Expansive color fields provide a stage for isolated shapes -- geometrics in the old paintings, organic forms in the new -- to play on. Through January 14 at Rule Gallery, 111 Broadway, 303-777-9473. Reviewed December 15.
Revealing the Muse and Colorado Innovators. Hugh Grant, founder and director of the Kirkland Museum on Capitol Hill, curated both Revealing the Muse and Colorado Innovators at the Lakewood Heritage Center using pieces borrowed from his institution's permanent collection. The Kirkland Museum has an impressive assemblage that includes paintings by Kirkland himself, work by other Colorado artists and an extensive group of decorative arts. Colorado Innovators provides a survey of mid-twentieth-century artists working in Denver. Most of the objects included have either never been exhibited or haven't been seen in living memory. Revealing the Muse is a Vance Kirkland retrospective that begins with his work from the 1930s and ends with pieces done right before his death in 1981. I think it could be argued that surrealism was Kirkland's most important influence, and one of his most important innovations was the mixing of oil paint and water poured onto the surfaces of his pieces. Beginning in the 1950s, this mixture led to some of his greatest paintings ever. Through February 10 at the Radius Gallery, Lakewood Heritage Center, 801 South Yarrow Street, Lakewood, 303-987-7850. Reviewed September 8.