Arts and Culture

Five Things You Didn't Know About the Sculptures in Denver's Burns Park

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1) It all started as a drunken bull session at Bev and Bernie Rosen's place in the middle of the night.

Painter and University of Denver art professor Beverly Rosen and her husband, Bernie Rosen, were angels for Denver's cultural life. They were instrumental in the creations of the contemporary department at the Denver Art Museum and they established the Saint Charles on Wazee gallery, which became the indirect ancestor to the MCA Denver and helped people rediscover LoDo. The Rosens were also the catalysts for the sculptures in Burns Park. As Bernie recalled in an interview I did with him at the time of Bev's death, "It was 9:30 on Thanksgiving night of 1967, and Roger Kotoske and Wilbert Verhelst rang our doorbell after having had a fair amount to drink. At about 3 a.m. -- and after we'd consumed four bottles of wine -- Roger was complaining that there was nowhere to show sculpture in Denver. Bev said, 'Let's vow tonight to have a sculpture park in Denver.' The idea was radical, as there were no sculpture parks anywhere in America at that time."

Revisit my salute to the Rosens from 2006 for more stories.

2) It was originally the site of the one-time-only Denver Sculpture Symposium.

Out of the ramblings at Bev and Bernie Rosen's came the Denver Sculpture Symposium presented in the summer of 1968. Employing stacks of donated plywood coated with fiberglass -- a gift that Bernie had finagled -- nine artists created a suite of minimalist creations arrayed down the hilly site. These included works by Verhelst and Kotoske, along with those by Anthony Magar, Dean Fleming, Peter Forakis, Robert Morris, Robert Mangold, Richard Van Buren and Angelo Di Benedetto. In order to use the park, Bernie had signed a contract with the city that called for the removal of the sculptures at the end of the summer and sadly, several, including the Forakis, the Morris and the Van Buren were taken down at that time.

Learn more from my account of Burns Park from 2009, when many of the pieces were restored.

3) Dimwitted city officials taught Robert Mangold a lesson by demolishing his piece instead of repairing it.

One of the sculptures that survived the summer of 1968 was a blue-painted spire by Robert Mangold. By the mid-1970s, the sculpture was in terrible condition -- plywood, even the marine-grade stuff that was used for the pieces at Burns Park, is not meant to be permanent unless regular maintenance is performed. Mangold angrily confronted the parks department and demanded it be repaired and repainted. But those bureaucrats taught him: the piece was torn down, and in the process, yet another part of the Denver Sculpture Symposium was destroyed. (Sadly, city officials are just as short-sighted today as they were then, as the current discussion concerning the demolition of the Boettcher Concert Hall shows.)

I wrote a brief discussion of the removal of the original Mangold in 1996.

Continue reading for more of Michael Paglia's Burns Park factoids.
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Michael Paglia is an art historian and writer whose columns have appeared in Westword since 1995; his essays on the visual arts have also been published in national periodicals including Art News, Architecture, Art Ltd., Modernism, Art & Auction and Sculpture Magazine. He taught art history at the University of Colorado Denver.
Contact: Michael Paglia