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
Christo and Jeanne-Claude. The fall opener at the Center for Visual Art is a conscientious survey of the careers of Christo and Jeanne-Claude as seen through their personal print collection documenting their pioneering conceptual work that began in the 1960s. The exhibit, which includes more than a hundred works of art, is a major effort and clearly proves that, like Warhol, Christo and Jeanne-Claude were accurately anticipating the direction of contemporary art over the intervening four decades. Beginning in 1963, Christo began to fantasize about covering landmarks around the world in cloth secured by cables. The show includes ideas such as covering the Flatiron Building in New York, the Pont Alexandre in Paris, and the Vittorio Emanuele monument in Milan. The prints and drawings are all credited solely to Christo, while credit for the environmental pieces, like "Over the River," is shared with Jeanne-Claude. "Over the River" is set for Southern Colorado and will be the second piece by the artists in the state; "Valley Curtain" was installed in Rifle Gap back in the '70s.Through November 1 at the Metro State College Center for Visual Art, 1734 Wazee Street, 303-294-5207, www.metrostatecva.org. Reviewed September 4.
Damien Hirst. You'd have to be living under a rock — or have absolutely no interest in contemporary art — not to know that Damien Hirst is a superstar, and that everything he makes is worth millions of dollars apiece. The tight solo at MCA Denver (formerly known as the Museum of Contemporary Art/Denver) is not the first time that local art audiences have had a chance to see Hirst's creations in person, but it is his first single-artist show anywhere in the American West. Hirst's "Natural History" series of dead animals in cases is surely his most famous type of work. There's an incredible one in the MCA show called "Saint Sebastian: Exquisite Pain," made up of a bullock that's been pierced with arrows. It's simultaneously compelling and repellent. "Saint Sebastian" dominates the Large Works Gallery, but there are three other Hirst pieces, including two very different paintings from his "Butterfly" series, in which actual butterflies are affixed to the paintings, and one of his post-minimal "Medicine Cabinets." It's apparent that Hirst is brilliant, with an eye for beauty, though his mind goes in for ugliness. Through August 30, 2009, at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Reviewed October 16.
Daniel Richter: A Major Survey. Christoph Heinrich, the curator of modern and contemporary art at the Denver Art Museum, must be a workaholic — the latest evidence being this exhibit featuring more than fifty Daniel Richter paintings, most of which are monumental in size. Heinrich sees the youthful Richter as among the most important painters working in Germany today. Richter credits French impressionism among his inspirational sources, but he is more of an heir to early-twentieth-century expressionists like Edvard Munch and Ernst Ludwig Kirchner. He is also connected to modernists like Asger Jorn, whom Richter believes to be among his aesthetic foundations. In most of the paintings in the show, Richter has tried to cram as much visual material into his pictures as he can. He also applies paint in many different ways and in an array of hues so that they explode with form and color. This DAM solo reveals Richter's talent and, even more so, his heroic ambition. Through January 11 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org. Reviewed October 9.
Dave Yust: Looking Back/Looking Forward. This show, put together by Collin Parson, is enormous, taking over the Lower Galleries at the Arvada Center. But it's not a retrospective, because it doesn't provide an overview of Yust's career; instead, it focuses on only two types of his work: circular and semi-circular paintings and prints done in the 1970s, and elliptical pieces created in the last couple of years. The differences between the two types are easy to see, and not just because the earlier ones are round and the later ones are oval. Yust's approach to picture-making also changed from the flat, evenly-painted or printed hard-edged works of the '70s to the expressively painted or printed soft-edged feeling of his later efforts. Interestingly, while post-minimalism has brought Yust's earlier aesthetic to the forefront, his newer style is fairly idiosyncratic and doesn't plug in directly to current international trends. Through November 16 at the Arvada Center for the Arts and Humanities, 6901 Wadsworth Boulevard, 720-898-7200, www.arvadacenter.org. Reviewed October 2.