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Allen True's West. Allen Tupper True was Denver's premier muralist during the first third of the twentieth century. Sadly, many of his commissions have been painted over or were lost when the buildings they were in were demolished. In an act of cooperation, the three big cultural institutions on the Civic Center are jointly presenting a three-part blockbuster in True's honor. At the Denver Public Library, on the fifth floor, is Allen True and American Illustration, examining his early work in illustration. In the Denver Art Museum's Hamilton Building is Allen True the Fine Artist, which examines his easel painting career. And finally, there's Art for the Public: Allen True's Murals, on the lower level of the Colorado History Museum. The shows demonstrate that True was a top talent and will help to correct the fact that he's mostly been forgotten. Through March 28 at the Denver Public Library, 10 West 14th Avenue Parkway, 720-865-1111, www.denverlibrary.org; the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org; Colorado History Museum, 1300 Broadway, 303-866-3682, www.coloradohistory.org. Reviewed January 7.

Clark Richert: 1960s to the Present. Surely among the top abstractionists working in Colorado is Clark Richert, a renowned geometric abstractionist and an influential teacher. This handsome exhibit is a brief survey of his aesthetic development. Despite the fact that the installation isn't in chronological order, the earliest piece, "Blue Room," from 1964, is placed at the start of the show. This painting anticipates Richert's later pieces, but only in retrospect, as the two key characteristics associated with Richert's work — hard edges and all-over patterns — are suggested in it. The first pieces in his early mature style feature meticulous, fanatically detailed patterns; a marvelous example is 1977's "I.C.E." "World Game," from 1990, is very different in that it is an illustration of three-dimensional space instead of being flat like Richert's earlier pieces (though it does hark back to "Blue Room"). Of the fifteen paintings here, nine were done since 2000, which might be why the decision was made not to put them in date order. Through March 12 at the Philip J. Steele Gallery, Rocky Mountain College of Art + Design, 1600 Pierce Street, Lakewood, 303-753-6046, www.rmcad.edu. Reviewed February 18.

Embrace! Christoph Heinrich, the Denver Art Museum's director-in-waiting, has unveiled his over-the-top installation show, Embrace! The sprawling exhibit meanders through the four levels of the Frederic C. Hamilton Building, with the atrium becoming the central axis. The idea was to have artists create pieces in response to the outlandish spaces found throughout the unconventional building. Heinrich favored works that allow viewers to walk into them, and since he's partial to painting, that medium plays the starring role (rather than new media, as might be expected). Heinrich selected seventeen artists, and they make for an international cast, including Katharina Grosse from Germany, China's Zhong Biao and El Anatsui from Ghana. But there's also a trio of Denver artists — Rick Dula, John McEnroe and Timothy Weaver — and bravo to Heinrich for that. Through April 4 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, www.denverartmuseum.org. Reviewed November 26.

Joellyn Duesberry. Subtitled Landscape Survey, this show includes paintings and works on paper done over the past twenty years by this Colorado artist, who is best known for her abstracted takes on the landscape. The selection here is impressively large, with many substantial paintings and a nice group of monotypes. One of the first things viewers see when they enter the gallery is the monumental "Entry Into Roxborough Park, Colorado," which dramatically renders a natural scene not far south of Denver. The other Duesberrys aren't limited to settings in the West, but there is a certain Western sensibility that seems to inform most of them. Her very consistent work illustrates her taste for dramatic rendering that has been done quickly. Parts of her pictures are sketched in with little more than scribbles. Then there's the character of her palette: The colors refer to those in nature but aren't completely naturalistic. Through February 27 at Gallery 1261, 1261 Delaware Street, 303-571-1261, www.gallery1261.com. Reviewed February 4.

Remembering Dale Chisman. There's no question that Dale Chisman, who died in 2008, was one of the most important artists to have worked in Colorado, and his output set a high standard. Furthermore, Chisman had direct connections to other important Colorado artists like Martha Epp and Mary Chenoweth, both of whom were teachers of his. Like them, Chisman was an heir to the abstract-expressionist approach that dominated twentieth-century American art. This exhibit highlights his work from the late '80s and early '90s and includes a group of his remarkable paintings and an even larger selection of luscious prints. Z Art Department owner Randy Roberts and gallery director Paul Hughes have done a beautiful job with the installation, giving the show a strong visual statement. Chisman's strengths included his excellent sense for color and his automatist approach to the compositions. The prints, nearly all of which were pulled by Mark Lunning at his Open Press, are closely related to the paintings and include small, intimate works as well as large, elaborate ones. Through February 27 at Z Art Department, 1136 Speer Boulevard, 303-298-8432. Reviewed February 18.

Shape & Spirit. This wonderful selection of antique bamboo articles is the first show in the newly unveiled Walter and Mona Lutz Gallery in the Denver Art Museum's Ponti building. The Lutzes began collecting bamboo from throughout Japan, where they lived; in the 1960s, they expanded their collecting to include bamboo pieces from the rest of Asia. There are baskets, of course, but there are also sculptures and lanterns, fans and brush-pots, trays and tea-ceremony utensils. Curator Ron Otsuka selected 200 items from the collection and has intelligently and beautifully installed them. Through March 31 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-866-5000, www.denverartmuseum.org.

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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

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