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
Allen True's West. Allen Tupper True was Denver's premier muralist during the first third of the twentieth century. Sadly, many of his commissions have been painted over or were lost when the buildings they were in were demolished. In an act of cooperation, the three big cultural institutions on the Civic Center are jointly presenting a three-part blockbuster in True's honor, the first time in many years such a collaboration has been attempted. At the Denver Public Library, on the fifth floor, is Allen True and American Illustration, examining his early work in illustration. In the Denver Art Museum's Hamilton Building is Allen True the Fine Artist, which examines his easel painting career. And finally, there's Art for the Public: Allen True's Murals, on the lower level of the Colorado History Museum. The shows demonstrate that True was a top talent and will help to correct the fact that he's mostly been forgotten. Through March 28 at the Denver Public Library, 10 West 14th Avenue Parkway, 720-865-1111, www.denverlibrary.org; the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org; Colorado History Museum, 1300 Broadway, 303-866-3682, www.coloradohistory.org.
Barnaby Furnas: Floods. Furnas is a New York artist who's been exhibiting his work since 2000, and this exhibit, in the MCA's Large Works Gallery, is made up entirely of his large abstract paintings. A unique feature of Furnas's personal history is his early embrace of watercolors as his medium. The watercolor method has been out of fashion for fifty years or more and is almost exclusively used today by Sunday painters who typically depict fruit and flowers, so the artist's decision to take it up was a courageous one. The paintings at MCA are not watercolors, but Furnas points out that since they're acrylics, they're water-based and thus behave in some of the same ways. The "Flood" works are large — most notably, "The Whale," which is thirty feet long and was painted on site in the gallery with an audience, no less. Furnas became internationally known in the last few years with representational pieces, but everything at MCA is completely abstract, even if Furnas sees them as hypothetical landscapes. Through January 10 at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Reviewed October 15.
The Power of Then. Curated by Patty Ortiz, the former director of the Museo de las Américas who now runs the Guadalupe Cultural Arts Center in San Antonio, this uneven group show explores the shared Latino experience, as in old-fashioned Chicano art — hence the reference to 'then' in the show's title. But Ortiz adds a wrinkle by zeroing in on post-Chicano works. She selected several Western artists, including two from Colorado: Francisco Zamora and Alex Hernandez. One of the others, Roland Briseño, is essentially given a show within in the show, being represented by many more pieces; unfortunately, as a result, the balance of the exhibit has been thrown off. On the opposite pole is Franco Mondini-Ruiz, who is represented by a handful of tiny sculptures made of found materials. Among the real standouts are David Almaguer, who does neo-pop art using stencils, and Linda Arreola, a conceptualist with a taste for installation. Through January 11 at the Museo de las Américas, 861 Santa Fe Drive, 303-571-4401, www.museo.org. Reviewed October 1.
Rex Ray. The Promenade Space on the second floor of MCA Denver is both a passageway and an exhibition hall. Given its limited size and unconventional plan — the main wall runs diagonally to the windows opposite it — the Promenade has been used exclusively for single installations. The latest example is an untitled mural by San Francisco artist Rex Ray, who used to live in Colorado. Ray has a national reputation based not just on his fine art, but as a designer of everything from books to coffee mugs. Ray created the mural specifically for this show and specially designed the fabulous wallpaper that surrounds it. The mural is signature Ray, with shapes that rise from the base in the manner of a still-life or landscape. The shapes have been made from cut-outs of painted papers that have been laid against a stunning blue ground, and were inspired by organic forms, or at least abstractions of them, as seen in mid-century modern design. The wallpaper has a spare, all-over pattern on a white ground, complementing the mural without competing with it. Through January 31 at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org.
Robert Mangold. The dean of Denver's modern sculptors is the subject of a solo for the first time in more than four years. Simply titled Robert Mangold, it is made up of fairly recent work and contains examples of many well-known series, including his famous "Anemotive Kinetics," which are wind-driven spheres made up of colorful metal scoops mounted on rods, and his "PTTSAAES," sculptures, which do not move but are meant to suggest movement. These linear compositions purportedly record the hypothetical and seemingly random movements of an object as suggested by the acronym that stands for "Point Traveling Through Space at an Erratic Speed." A special feature of this exhibit is the fact that it almost didn't happen, since the seventy-something Mangold had a brush with death last year and might not have been around to complete the pieces. It's an absolute must-see. Through December 25 at Artyard Contemporary Sculpture, 1251 South Pearl Street, 303-777-3219, www.artyardsculpture.com.