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
Clark Richert. In the few years it's been in business, Gildar Gallery has mostly showcased young and up-and-coming artists, but with Dimension and Symmetry: Clark Richert, the intimate space on Broadway has moved to Denver's big time, as Richert is among the best-known artists in the state. The show comes complete with an essay by Cydney Payton, former director of MCA Denver, and was co-curated by Robin Rule, the artist's longtime representative. It features ten major paintings, some digital prints and a projection. Though all the paintings reveal Richert's interest in mathematical formulas — formulas he uses to determine his patterns — and in straight lines, the pieces actually vary quite a bit. There are the expected all-over patterns — his signature approach — some carried out in vaporous shades, others in toned-up colors. And there are paintings depicting actual landscapes, including one of the world-famous art community Drop City, which Richert and others founded in the 1960s. The painting, which takes an archly geometric approach to perspective, depicts a scene populated by domed structures made from wrecked cars. Through January 18 at Gildar Gallery, 82 South Broadway, 303-993-4474, gildargallery.com. Reviewed December 12.
David Kimball Anderson et al. The winter offerings at Robischon include four distinct exhibits, with the marquee offering, David Kimball Anderson: Altitude, installed in the series of spaces immediately inside the entrance. Altitude marks the first Denver solo for this California artist, who has used the opportunity to fill the space with installations meant to evoke the journey of twentieth-century Tibetan Buddhist teacher Chogyam Trungpa Rinpoche; not surprisingly, the show includes evocations of the Buddha. Beyond the connecting space is Bill Armstrong, a display of photo-based works by this New York artist concerning the Buddha and the mandala. Beyond is Gibson + Recorder: Transparency, in which New York couple Sandra Gibson and Luis Recorder use old-fashioned film projectors and film as key materials in their sculptures and projections. Finally, in the niche space, is Chuck Forsman: From the Vietnamerican Series, which comprises a quartet of the Boulder artist's mashed-up views of the U.S. and Vietnam. Through December 28 at Robischon Gallery, 1740 Wazee Street, 303-298-7788, robischongallery.com.
Nature as Muse. This homegrown blockbuster — part of the Passport to Paris series — was curated by Denver Art Museum director Christoph Heinrich, who's proven over and over that he's a curator at heart. To organize it, Heinrich mined the rich vein of impressionism in the museum's permanent collection and combined works from it with selections from the collection of Frederic C. Hamilton, for whom the wing is named. These Hamilton paintings have for the most part not been exhibited in public in anyone's memory. The show starts with the foundational work of the realists and quickly shifts to the pioneering work of the impressionists; then there's a section devoted to American followers of the French-based movement, and finally, a salute to Monet, the star of Nature as Muse, many of whose paintings are included, notably the DAM's "Waterloo Bridge." In fact, right now there are eleven Monets on view at the DAM — an unprecedented number for Denver — with eight of them being paintings, and all but two of those are in this show. Through February 9 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, denverartmuseum.org; tickets are required. Reviewed November 28.
Sabin Aell et al. The standout among the offerings at Walker Fine Art right now is Sabin Aell: Mond:See, a solo installed in the gallery's main room. The show is dominated by the title piece, a site-specific mural in the entry space that climbs the north wall and bleeds onto part of the east one. Some elements have been painted directly onto the walls, but there are also resin-covered panels hanging here and there. The rest of the show is made up of rectangular versions of the resin parts of the mural, whose subject is Aell's memories of her childhood in Austria and visits to a lake called the Mondsee. Using ink, graphite and photo-based images carried out in digital pigment prints, Aell creates layer after layer, using the resin as a way to float them, one on top of the other. With the Aell pieces covering the walls, the Walker has installed a sculpture show, Jonathan Hils, on the floor. The sculptures are made of metal meshes that Hils manipulates into simple shapes, with some being nature-based and others geometric. Through January 4 at Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955, walkerfineart.com.