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
Charles Partridge Adams. Rocky Mountain Majesty: The Paintings of Charles Partridge Adams highlights the career of a prominent turn-of-the-nineteenth-century impressionist who lived and worked in Colorado for decades. Adams first came to Colorado in 1876, when he was only eighteen years old. He was self-taught, but worked informally in Denver with Helen Henderson Chain, who in turn had studied with George Inness. By the 1890s, like many other landscape painters of the time, Adams embraced impressionism, with his signature style becoming increasingly more expressive into the 1910s. Adams was part of a generation of landscape painters who were grounded in Hudson River School aesthetics. But like other American impressionists, he blended this classic sensibility with the painterly devices being revealed at the time in France. In 1917, Partridge retired to California. Thomas Smith, the DAM's Curator of Western American Art, has chosen three dozen examples of the artist's best work. Through September 8 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org.
Conceptually Scattered et al. There are big changes afoot at the Edge co-op, with several members having cycled out (notably Mark Brasuell) and new ones coming in. Nine of those new members have come together for Conceptually Scattered, which includes a wide array of stylistic approaches. Among the standouts are abstract stiles by Nouman Gaafar and hyperrealist drawings by Faith Williams. But everything here is interesting: Michael McGrath's sculptures; the abstract paintings by Jessica Loving and those by Dennis Stowell; the conceptual realism of John Cross; the hybrids of abstraction and representation by Rachel Prago; the abstract ceramics by Genevieve Yazzie; and the architectonic collage paintings by Frederick Pichon. There is also a Pichon solo, Waterworks, made up of related collage paintings about swimming and pools. In the space in between is Abracadabra, an elegantly presented and thought-provoking duet of paired photo portraits done collaboratively by Deborah Henson and her late mentor, Garrison Roots, who died in 2010. Through June 16 at Edge Gallery, 3658 Navajo Street, 303-477-7173, edgeart.org. Reviewed June 6.
Pattern Play. Pattern Play: The Contemporary Designs of Jacqueline Groag, at the Denver Art Museum, is one of many shows that make up Spun, a museum-wide event that's anchored by fabrics and other materials. The pieces on view were selected by Darrin Alfred, curator of the architecture, design and graphics department, and were mostly taken from the vast collection of modernist textiles assembled by Jill Wiltse and Kirk Brown. Born in Czechoslovakia, Groag went to Vienna to study with Josef Hoffman, then to Paris, where she designed fabrics for Chanel, among others. With her husband, Jacques Groag, she moved to England on the eve of World War II. It was in post-war Britain that she emerged as a major player in pattern design. This show includes many examples of her fabrics — in the form of beautifully preserved swatches — as well as drawings and sketches that were done in preparation for the finished products. There are also designs for other materials like laminate tabletops. Through September 8 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org.
Phyllis Hutchinson Montrose. Kirkland Museum director Hugh Grant has made rediscovering historic Colorado artists something of a specialty, and has featured several once-famous artists who had previously been forgotten, including Al Wynne, William Sanderson and Frank Vavra. But for In Thin Air: The Art of Phyllis Hutchinson Montrose, Grant has tapped an artist with a nearly sixty--year career who was little known before this show. Part of the reason for this anonymity is that Montrose was associated with the long-gone and almost completely undocumented art scene in Central City, where she was a protégée of regular visitor and art celebrity Julio de Diego and of the town's acknowledged master, Angelo di Benedetto. Montrose began working in the 1950s in representational surrealism, and in this, she was behind the times, as her style recalled pre-war art. But in a strange twist, the reappearance of surrealism in the '80s suddenly brought her oeuvre up to date. The show follows her work from the '40s through the 2000s. Through July 14 at the Kirkland Museum of Fine & Decorative Art, 1311 Pearl Street, 303-832-8576, kirklandmuseum.org. Reviewed May 30.