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Bryan Nash Gill. The front space at Goodwin Fine Art is filled with an installation by nationally known Connecticut artist Bryan Nash Gill, who uses wood as both his material and his method. Nash has created two cubes made of cut-up pine beams. One, left in its natural color, has been taken apart and arranged around the floor. Gallery owner Tina Goodwin asked people to arrange the pieces any way they chose. The other cube, which is displayed as a cube, is colored, but only because Nash used its parts to make geometric relief prints and they've been covered with different shades of printer's ink. There are many other compelling pieces, including "Ash," a relief print of a section of a log, and "Three Stacks," a paper mural that wraps around a corner in the small gallery behind the office. Also striking is "Snowflake," in which identically cut pieces of wood have been slotted together in a symmetrical arrangement. In his work, Nash attempts to resolve opposites through the conflation of natural materials and idealized shapes. Through June 22 at Goodwin Fine Art, 1255 Delaware Street, 303-573-1255, www.goodwinfineart.com.

Clyfford Still. For the opening of the Clyfford Still Museum, founding director Dean Sobel has installed a career survey of the great artist. Clyfford Still: Inaugural Exhibition starts with the artist's realist self-portrait and features his remarkable post-impressionist works from the 1920s. Next are Still's works from the '30s, with some odd takes on regionalism and some figurative surrealist paintings. Sobel saw a seed for Still's abstract expressionism in the line following the shoulders of the figures in these works that appears throughout the artist's career. Then there's his first great leap forward as the representational surrealist works give way to abstract ones. Still makes his big break in the early 1940s, becoming the first artist to arrive at abstract expressionism. Seeing so many classic Stills at once is an indescribable experience. Looking at the work dating from the '40s and '50s, it's easy to see why Still is regarded as one of the great masters of American art. Sobel has also done a survey of Still's career in miniature using the artist's works on paper. Through December 31 at the Clyfford Still Museum, 1250 Bannock Street, 720-354-4880, clyffordstillmuseum.org. Reviewed January 31.

Material Abstraction. The pattern that connects the artists included in Material Abstraction is the way that each exploits the unique properties of his or her particular medium. And what a batch of mediums they use — including automotive lacquer, vinyl and recycled objects. The kind of work on view is conceptual abstraction, as it expresses intellectual content via abstract means. This is an approach that's been coming on strong internationally over the last decade, rivaling conceptual realism for primacy. The show includes artists from around the country, but many of the best pieces are by local talents. Among the standouts are the elegant pierced-metal sculptures by Linda Fleming, a notable figure in the history of contemporary art in Colorado. Striking, too, are the wall constructions made with bookbinding vinyl that take their forms through the exploitation of gravity, by up-and-coming art star Derrick Velasquez. Also included are choice pieces by Lisa Stefanelli, Katy Stone, Reed Danziger, Jamie Brunson, Ted Larsen, Tyler Beard, Terry Maker and John McEnroe. Through June 30 at Robischon Gallery, 1740 Wazee Street, 303-298-7788, www.robischongallery.com. Reviewed June 14.

Parson in Perspective. This is a major show for a major local artist, and it includes pieces that Charles Parson has done over the past decade or so, many of which have never been exhibited in Denver. Parson has tirelessly followed his own course since the 1970s, building sculptures and installations that bridge the gap between abstraction and conceptual art and between the figure and the landscape. His typical materials are ready-made hardware like nuts and bolts, and sheets of steel, glass and stone, as well as found materials like iron fragments from demolished structures and broken pieces of stone. Parson's pieces have a decidedly architectonic character and could even pass as building ornaments — but there's a lot more going on. First, many are totemic, while others suggest the shape of altars, gates or stanchions. These associations give the work an unspecified spirituality. Second, Parson has used industrial materials to convey said spirituality — an unlikely choice. Third, in size and shape, these works can be viewed as stand-ins for the human figure. Through June 30 at Z Art Department, 1136 Speer Boulevard, 303-298-8432, www.zartdept.com. Reviewed May 17.

What Is Modern? Department of Architecture, Design and Graphics curator Darrin Alfred has put together this large show dedicated to furniture and decor from the early nineteenth to the early 21st century. Alfred has included groundbreaking tables, storage units, lighting and — no surprise here, considering Alfred's specialty — graphics. Laudably, Alfred takes a chronological look at how technological advancements informed the development of modernism, starting with a bentwood chair from 1808 by Samuel Gragg. Its overall form is very sleek, with a gracefully curving back, but the details are very different, being almost precious, like the little hooves that mark the termination of the legs. One of the newest pieces in the show is "Roadrunner," a chair from 2006 by Colorado's own David Larabee and Dexter Thornton working together as DoubleButter. Made of a cheap synthetic, the chair is nonetheless elegant. In between the two chairs, Alfred has installed a wide assortment of classics from the annals of modernism. Through November 30 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org. Reviewed December 23.

 
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