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
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 3 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 January 30 at Artyard Contemporary Sculpture, 1251 South Pearl Street, 303-777-3219, www.artyardsculpture.com. Reviewed December 3.
Shape & Spirit. This wonderful selection of antique bamboo articles is the first show in the newly unveiled Walter and Mona Lutz Gallery on the fifth floor of the Denver Art Museum's Ponti building. Walter and Mona Lutz, for whom the gallery is named, began collecting bamboo from throughout Japan, where they lived; in the 1960s, they expanded their collecting to include bamboo pieces from the rest of Asia. The couple collected ahead of the curve, allowing them to find exquisite things in a wide range of categories. There are baskets, of course, which is what most people might think of when the idea of objects made of bamboo comes up, but there are also sculptures and lanterns, fans and brush-pots, trays and tea-ceremony utensils, among a wide range of both decorative and utilitarian objects. For Shape & Spirit, curator Ron Otsuka selected 200 items from the Lutz collection, which have been given to the DAM. And he has intelligently and beautifully installed them in minimalist-designed showcases made especially for the new gallery. Through March 31 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-866-5000, www.denverartmuseum.org.
Spittin' Image. Singer Gallery director Simon Zalkind can always be relied on to put together good-looking and intelligent shows, and that's exactly what he's done with Spittin' Image: Ten Artists Consider Their Children. Noting that depictions of children date back to antiquity, Zalkind — himself the father of a young daughter — decided to explore the current expression of this tradition among a select group of contemporary artists active in our area. The show, which well expresses Zalkind's taste for conceptual realism, includes pieces by Bill Adams, John Bonath, Karen Bozik, Margaretta Gilboy, Carol Golemboski, Tsehai Johnson, Gabriel Liston, Wes Magyar, David Mesple and Julie Puma. Most depicted their children directly, either in paintings or in photographs and photo-based works. Johnson took a very different approach, however, reproducing her daughter's drawings in decals that were then applied to found ceramic plates. Each of the artists also authored a statement about their children's effect on their work, and these have been turned into text panels. Through January 17 at the Singer Gallery, Mizel Arts & Culture Center, 350 South Dahlia Street, 303-316-6360, www.maccjcc.org.
Streams of Modernism. A smart-looking survey of modern design put together by guest curators Katherine and Michael McCoy, this show features some of the many important pieces of furniture — mostly chairs — that are part of the Kirkland's impressive permanent collection. The McCoys' narrative is that designers influence one another, and they've taken a doctrinaire approach to the topic, creating a direct line that connects early-twentieth-century vanguard works to pieces done in the late twentieth century. The survey begins with works by the likes of Frank Lloyd Wright and Charles Rennie Mackintosh before moving on to Bauhaus masters like Mies van der Rohe and Marcel Breuer; it continues with objects by the Cranbrook fellows, such as Charles Eames and Harry Bertoia, and concludes with objects by Italian designers of the '50s through the '70s, notably Gio Ponti and Ettore Sottsass. The show is striking, not only because of the pieces included, but also as a result of the installation that incorporates graphics based on portraits of the designers in the show. Through January 24 at the Kirkland Museum of Fine & Decorative Art, 1311 Pearl Street, 303-832-8576, www.kirklandmuseum.org. Reviewed November 12.