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
Clyfford Still. For the opening of the Clyfford Still Museum, director Dean Sobel has installed a career survey of the great artist that 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. Then there's his first great leap forward, as the representational surrealist works give way to abstract ones. 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. Through December 31 at the Clyfford Still Museum, 1250 Bannock Street, 720-354-4880, clyffordstillmuseum.org. Reviewed January 31.
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 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 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.
Save It for Later. This good-looking duet combines neo-pop paintings by Eric Corrigan with neo-modernist sculptures by Mark Castator. Corrigan is a Denver-based artist who is interested in installation and new media, but the work at Walker comprises mostly paintings, that old fine-art standby. Many of them feature photo transfers of found images such as newspaper ads. A few concern his travels, others the culture at large. That's the case with the diptych based on a print advertisement in which a company offers to purchase pieces by major artists. In it, Corrigan reduces the fine arts to their grossest level: money. The sculptures and wall-relief pieces by Castator exemplify classic modernism with a minimalist tilt. The artist, who lives in Boulder, works in metal, and these recent creations are both distinctly different from what he has been doing over the last several years and something of a continuation of the same ideas, especially his taste for vertical shafts. They're really elegant, managing to be simultaneously aloof and expressive. Through July 28 at Walker Fine Art, 300 West 11th, #A, 303-355-8955, www.walkerfineart.com. Reviewed July 12.
Theodore Waddell. With the increasing interest in modern and contemporary Western art, Theodore Waddell's Abstract Angus, curated by the DAM's Thomas Smith, is perfectly timed. From the entrance to the Gates Family Gallery, visitors are confronted by "Monida Angus," a mural so big you can't see it all until you get inside. Running across four large panels, the painting — which was specially created for this show — depicts cattle grazing in the foreground of a mountain range. Or at least that's what it looks like from across the room, because when you get up close, the cattle and scrub and even the mountains and sky are nothing more than rough and heavy smears of paint. This is true of all the Waddells here; some of them are almost non-objective, with hardly any landscape referents at all. For instance, "Motherwell's Angus," from the DAM's collection, is made up solely of a scruffy, dirty-white color field over which black dashes have been randomly inserted to stand in for the cows on a snow-covered plain. Through December 2 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org. Reviewed June 28.