The impending closure of Goodwin Fine Art is emblematic of the way that the current real estate boom has been detrimental to Denver’s urbanity, in particular its art scene. (Is it ironic or simply to be expected that as things get more expensive in the Mile High City, Denver also gets less interesting?) The first tenants to flee gentrification were the artist studios and co-ops, which are now scattered to the four winds of the metro area. Inevitably, galleries then started to feel the pinch. Some, including Robischon, William Havu and Space, own their properties, which buffers them somewhat from the potentially deadly interests of investors and developers; Goodwin is not so lucky.

“Well You Needn’t IV,” by Mark Villareal (left), and “Blue Persuasion,” by Rebecca Cuming.
Courtesy of Goodwin Fine Art/Photo by Wes Magyar
An effective gallery director and curator needs to have two essential attributes: an eye for fine material that spans the contemporary realm, and a refined sense for the placement of objects within a coherent exhibition design. As shown by Coalesce, the farewell exhibit at Goodwin Fine Art, Goodwin has both qualities in spades. While her gallery has usually presented paired solos — a big one in the front, a small one in back — this show is a group outing, intended to survey many of the artists whose work has been shown here over the past almost eight years. Goodwin has wide-ranging taste, and Coalesce includes both representational pieces and abstracts, many with conceptual aspects. Her artists are linked only by the extent of their talents and their interest in beauty, which they depict in their own ways.

Installation view of Coalesce, the final show at Goodwin Fine Art.
Courtesy of Goodwin Fine Art/Photo by Wes Magyar
The show also reveals Goodwin’s interest in contemporary abstraction, especially paintings and works on paper that are expressive but often non-objective. Among the artists in this group are Margaret Pettee Olsen, Andy Berg, Mark Villarreal, Marcia Weese, Alison Mary Kay, Debra Van Tuinen and Kimberlee Sullivan. One piece that surprised me was the sensational, neo-abstract-expressionist painting “Blue Persuasion,” by Rebecca Cuming, an artist typically known for abstracted landscapes. According to Goodwin, Cuming has done work of this sort all along but hasn’t shown it much.

Works by Matt Christie (from left), Alpert + Kahn and Jill Hadley Hooper.
Courtesy of Goodwin Fine Art/Photo by Wes Magyar

Martha Russo wall installation (from left), paintings by Kimberlee Sullivan and Buff Elting, and a drawing by Patrick Marold.
Courtesy of Goodwin Fine Art/Photo by Wes Magyar
Even though she’s shutting her gallery, Goodwin is not retiring. She’s launching an art consultancy dubbed Goodwin Fine Art/TS Project Art and will provide advising services and do pop-up shows, working off the same website. “I’ll still be spending time with art and artists,” says Goodwin. “I love going to studios and pulling back the curtain on the alchemy, but what I will really miss about having a gallery is regularly putting together shows.”
I’ll miss those shows, and I’ll bet you will, too.
Coalesce, through December 22, Goodwin Fine Art, 1255 Delaware Street. For more information, call 303-573-1255 or go to goodwinfineart.com.