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
Colorado Classic Architects, et al. Many of the finest buildings in town were done by firms with offices right here in the Mile High City, and they're the subject of Colorado Classic Architects, a handsome and informative exhibit in the Western Art Gallery on Level 5 of the Denver Central Library. With plans, drawings, sketchbooks, memorabilia and photos from the library's collection, the show zeroes in on architects whose careers span the last century and represent a range of aesthetic visions -- from historical revival style to doctrinaire modernism. Some pieces are unforgettable: the very arty nighttime view of the Denver Gas and Electric Company Building, by H. W. J. Edbrooke; the sublime interior shot of the long-gone Albany Hotel by Burnham Hoyt; and a meticulous drawing of Eugene Sternberg's 1960s Denver General Hospital before its character was lost through insensitive additions. On Level 1, as an added bonus for architecture buffs, Michael Graves and the Denver Public Library includes the original model that won the architectural competition. Both shows run through December 31 at the Denver Central Library, 10 West 14th Avenue Parkway, 720-865-1111.
Dale Chihuly. Last year, the Colorado Springs Fine Arts Center had a record-breaking show that attracted over 80,000 visitors to see the work of Dale Chihuly. Inspired by this, the CSFAC subsequently acquired more than forty pieces by Chihuly for $2 million. These treasures are now on display not at the venerable old building -- the galleries there are closed while an addition is built -- but in a satellite facility called the FAC Modern housed in a building downtown. The Chihuly pieces, selected by director Michael DeMarshe with the artist's guidance, survey his long and distinguished career, beginning with works inspired by American Indian baskets done in the 1970s and continuing through the Venetian-derived vessels of today, including his famous Macchia bowls. In addition, the CSFAC has acquired several Chihuly chandeliers, which are installed in the old building, and a Persian wall relief displayed in the Jazz Bistro; the collection also includes a selection of Chihuly's works on paper that are less well known than his glass. Through January 7 at the FAC Modern, Plaza of the Rockies, 121 South Tejon Street, Colorado Springs, 1-719-634-5581.
ERIKA BLUMENFELD: Enduring Light. Rule Gallery, owned by Robin Rule, includes minimalism and its stylistic progeny among its specialties, as exemplified by ERIKA BLUMENFELD: Enduring Light. This is Blumenfeld's first solo show at Rule -- she was previously in a group outing at the gallery -- as well as her first one in Denver. Blumenfeld currently lives in Santa Fe, where she's been for a dozen years. Beginning in 1998, she began to experiment with reducing photography to its essentials: light and photo-sensitive surfaces. Without using a camera -- though she does employ some special equipment of her own invention -- Blumenfeld exposes film, paper or digital media to the sun or moon in order to record the light they emit. The process produces unbelievably subtle graduations of light against dark grounds. She often lines up a series of prints that record a process of some sort, like light streaking across the sky or coming and going. The show is extremely elegant and looks great in Rule's newish digs, a crisply finished long, narrow space. Through December 9 at Rule Gallery, 227 Broadway, 303-777-9473.
MEL STRAWN: All Together Now, 1940s-2000s. The Denver Central Library's Vida Ellison Gallery is hosting an important show saluting one of the most important artists in Colorado. In its content, All Together Now is a retrospective, but because of the way it's installed, it does not take that distinctive form. The paintings are hung as though they were shuffled like a deck of cards, with each one played right where it randomly came up. This prevents an easy reading of Strawn's development, though it's clear he underwent a series of stylistic changes, from abstraction through pattern painting and into a digital-inspired representational approach. Strawn was born in Idaho in 1929 and began painting when he was twelve. While pursuing his education, he worked with the likes of Rico Lebrun and Richard Diebenkorn. In 1969 he took over as the head of fine arts at the University of Denver, where he remained until the 1980s. Twenty years later, he's still active. Through November 24 at the Vida Ellison Gallery, Denver Central Library, 10 West 14th Avenue Parkway, 720-865-1111. Reviewed September 28.