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
The show continues on the second floor in Natasha's Gallery, where New York artist Erin Shirreff displays a group of her "Untitled (Shadow)" series of post-minimalist sculptures created in the home town of minimalism, Marfa, Texas. The sculptures — made of ash and Hydrocal over metal armatures — are simple shapes that sit on the floor and lean against the wall so that their actual shadows become essential elements. Also in this gallery is a wall projection by Shirreff titled "Ansel Adams, RCA Building, circa 1940," for which she took thousands of photos of the building, framed as Adams did them originally, under various atmospheric conditions that seem to make the famous art deco high-rise morph continuously before our eyes.
In addition to covering up the exterior light sources, Lerner and Abrams have altered the flow of the interior of the building on the second floor by blocking off one of the entrances to the Promenade Space in order to make it into a formal gallery. In this space, the film Xilitla: Incidents of Misalignment, by British-born Mexican artist Melanie Smith, is being projected. The film records in a lyrical and non-narrative way the remarkable architectural follies of another Brit who worked in Mexico: Edward James, a surrealist. The film runs for nearly half an hour, so the chairs arranged in front of it are essential, but I hated the forced informality of using an eclectic assortment of junk furniture to satisfy this need.
Up next, in the Joseph Crescenti Family Gallery, are several different high-tech pieces by Denver's David Zimmer, and the group represents something of a crescendo in Another Victory. All the Zimmers are marvelous, but "Chorus" is a tour de force. Zimmer has mounted thirteen apothecary jars on small brackets on the wall. The overall shape is amorphous, with the many electrical cords that connect the elements to one another — and to a power source — adding an unexpected expressionist element, like scribbled lines. Inside the apothecaries are screens on which birds appear and disappear as they alight on Zimmer's windowsill at home.
The final part of the show, in the Project Gallery, is an installation titled "Waiting for Jerry," by deceased Spanish artist Juan Muñoz. It's made up of an illuminated mouse hole at the base of one wall, with a soundtrack from the old Tom and Jerry cartoons.
The most interesting thing about Another Victory is not the darkened space, but the fact that two of the three most successful parts of the show are by the two Colorado artists, Johnson and Zimmer. These guys didn't just keep up with the better-known players; they blew nearly all of them completely away.