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
It was back in 2007 that MCA Denver first made plans for a major show of new works by legendary Denver abstract painter Dale Chisman. The museum had just opened the doors to its brand-new David Adjaye-designed building, and Cydney Payton, the MCA's director at the time, had asked Chisman to create a show based on the four seasons.
This idea for a Chisman solo was appropriate in so many ways. Not only was Chisman one of the state's greatest painters, but, as one of the MCA's founders, was instrumental in the museum's very existence. To address the new body of work, Chisman asked his friend and fellow artist Jesus Polanco to come out from New York to help prepare the five (not four, as might be expected) mural-sized pieces.
Of course, it was not to be. Though there were other Chismans hanging at the MCA in 2008, they were on view for the artist's memorial service. With his death, there was immediate talk of presenting a proper salute to his career in the form of a large exhibit. But a complication arose because of a financial dispute between Chisman's longtime dealer, Robin Rule, owner of Rule Gallery, and the artist's daughter, Rebecca Chisman, who had decided to entrust the estate instead to Robischon Gallery.
When the dispute was resolved and discussions for a show renewed, a number of spots were considered. But like many other people, I thought it should be presented, for historic reasons alone, at the MCA. So I was disappointed when it was announced that the posthumous Chisman salute would be at RedLine.
A few weeks ago, the much-anticipated Dale Chisman in Retrospect was finally unveiled, and after taking it in, I have to admit that I couldn't have been more wrong about the choice of venue. RedLine is the perfect place for the show. With more than forty works, many of which are gigantic, the MCA's entire second floor would have been needed to accommodate it. There's simply no space at the museum that is as large, grand, or monumental as the main exhibition room at RedLine.
Though she shares credit with a raft of others, the lead curator of the show was Jennifer Doran, who together with her husband, Jim Robischon, owns the Robischon Gallery. Since there is no comprehensive accounting of Chisman's works or their whereabouts, Doran relied on the paintings and works on paper from his estate and from various collections that were known to have Chismans in them, notably the Denver Art Museum and the Kirkland Museum of Fine and Decorative Art.
Both Doran and Chisman's daughter have told me that because of this limitation, the show isn't a proper retrospective — and it's not — but the pieces that they were able to locate provide a coherent walk through the artist's stylistic development over several decades, with no obvious holes in the story.
Doran also designed the exhibit, and it's gorgeous, leading several people to tell me that they felt it was the best show they'd ever seen in Denver. I can't go that far, but I will say it's one of them. One decision by Doran that I should hate but don't is the reverse chronological order of the hanging, with the most recently done works at the front and the earliest pieces at the back. I think the decision was made because of how different the handful of '70s works are from what we think of as Chisman's signature style — and because they might be jarring up front. Interestingly, these early pieces were done during the decade and a half that the Denver-born Chisman spent living and working in New York, and they reveal that his return in 1984 prompted a spectacular change in style and led quickly to the development of his mature phase.
The reverse order also makes viewing the show akin to recalling a series of memories, with the most recent ones coming first and the earlier ones springing to mind later. And so it works on some fundamental level.
But since I don't think that way, I need to start with the earliest pieces and work my way forward. The oldest painting in the show is "Head Unwrapping," from 1974, which is hung unobtrusively in a back corner. Though it looks very different from the later pieces, especially because it has a representational image in it, there are some things about it that anticipate the approach Chisman would come upon ten years later. The "head" from the title is abstracted, but it's clearly a head. This suggests that the pure abstractions in his later work are based on the figure — something I never fully realized until I saw "Head Unwrapping." Not only that, but the painting also features the illusion of three-dimensional space — the head is clearly much closer to the picture plane than the ground that recedes behind it — as is the case with his signature pieces. So this dialectic between front and back is another characteristic of his later work that began forty years earlier, something else I could only have realized from seeing this show.