By Susan Froyd
By Byron Graham
By Robin Edwards
By Bree Davies
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Adam Helms. This solo in the MCA's Paper Works Gallery is the New York artist's first museum show anywhere. In his works on paper and in a monumental sculpture that conjures up a shooting blind, Helms explores political themes, especially armed struggle. He takes images of different radical and extremist movements from different places and times and makes copies of them. Then he combines them into singular images to create archetypes. In "Shadow: Portrait of a Jihadi," for instance, Helms has taken a shot of what looks like an American soldier in 1960s Vietnam and blackened out the face in the manner of the hooded Islamic terrorists of today. His technique is as interesting as his imagery, and in this piece, he has silkscreen-printed both sides of a sheet of translucent vellum, lending it an almost hallucinogenic character. Through January 18 at the MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org.
Alchemy. The green movement has gained ground lately, even if a lot of it is little more than marketing hype. One green-is-good idea is soft recycling, wherein found materials are assembled and used in their original forms. This approach has many supporters, and it's the chief connection linking the three artists featured in this impressive exhibit. The first is Colorado's Stan Meyer, who's been doing soft recycling for decades. Meyer employs tar paper that's meant to be used for roofs to create his abstract wall sculptures. Ann Weber, the second of the three artists, also uses prosaic materials — essentially cardboard and staples, though a few are more traditional, like bronze. Weber, from California, first came to the attention of Denver art enthusiasts when she completed a commission for "Promenade," a sculpture installed at Skyline Park. The final player is Marta Thoma, also from California, who uses recycled bottles as her principal material. Through January 3 at William Havu Gallery, 1040 Cherokee Street, 303-893-2360, www.williamhavugallery.com. Reviewed December 11.
Clyfford Still Unveiled. A master and pioneer of mid-twentieth-century abstract expressionism, painter Clyfford Still was something of an eccentric in the artist-as-egomaniac stripe. His antisocial behavior led to a situation where 94 percent of his artworks remained together after he died — a staggeringly complete chronicle of his oeuvre that is now owned by the City of Denver. As a planned Clyfford Still Museum won't be completed until 2010, the institution's founding director, Dean Sobel, decided to preview a baker's dozen of Still's creations at the Denver Art Museum. Sobel uses the very small show to lay out most of the artist's career and stylistic development. Still worked his way from regionalism to surrealism, then wound up developing abstract expressionism with one of the greatest abstract paintings imaginable, "1944 N No. 1" — and the rest is art history. Through January 18 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed July 26, 2007.
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 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.
Designing Women. The genesis for this surprisingly large show dates back to the late 1990s when Denverites Jill Wiltse and Kirk Brown began to discover British production textiles from the 1950s. Driven with a passion, Wiltse and Brown avidly sought out more and more relevant examples, most of them purchased in London. The exhibit was organized by their personal curator, Shanna Shelby, working together with Tariana Navas-Nieves, a curator at the Colorado Springs Fine Arts Center. Textiles were a key part of the "New Look" that helped redefine Britain after World War II. Wiltse and Brown identified three key designers — Lucienne Day, Marian Mahler and Jacqueline Groag — and there are major sections of the show devoted to each. And although all three were stylistically related, Day in particular found her own new way, while Mahler and Groag both did work rooted in early continental modernism. Through January 25, Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 1-719-634-5581, www.csfineartscenter.org. Reviewed December 18.
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