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
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.
Embrace! Christoph Heinrich, the Denver Art Museum's director-in-waiting, has unveiled his over-the-top installation show, Embrace! The sprawling exhibit meanders through the four levels of the Frederic C. Hamilton Building, with the atrium becoming the central axis. The idea was to have artists create pieces in response to the outlandish spaces found throughout the unconventional building. Heinrich favored works that allow viewers to walk into them, and since he's partial to painting, that medium plays the starring role (rather than new media, as might be expected). Heinrich selected seventeen artists, and they make for an international cast, including Katharina Grosse from Germany, China's Zhong Biao and El Anatsui from Ghana. But there's also a trio of Denver artists — Rick Dula, John McEnroe and Timothy Weaver, working together with his students from the University of Denver — and bravo to Heinrich for that. Through April 4 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org. Reviewed November 26.
Jim Milmoe: Choice. Jim Milmoe is a legend in the local photo scene, with a career that's more than six decades long (he's lived Colorado since the 1940s, when he graduated from Colorado College). The photos displayed in this show at the Byers-Evans House briefly survey his considerable output. Some date back over half a century, while others were just done during the last few months. Over that considerable period, Milmoe has done a wide range of things, and in Choice, he highlights some of the ongoing series he's worked on — and continues to explore — including "People," "Found Art," Nature," "Cemeteries," "Architectural Details," "Abstraction" and "Humor." The photos reflect many of the technical changes that have affected photography over the years; for instance, some were made with film while others are digital. He's also worked in both color and black-and-white imagery. But if there's one thing that does link nearly all the disparate approaches he's taken, it's Milmoe's abiding interest in doing straight-on shots. Through January 31 at the Byers-Evans House Gallery, 1310 Bannock Street, 303-620-4933, www.coloradohistory.org/be.
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.
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