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Exhibitions Current
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the Road
Significant
funding for Denver Art Museum exhibitions is provided by
the citizens who support the Scientific and Cultural Facilities
District (SCFD). Since its creation in 1988, SCFD has funded
more than 300 scientific and cultural organizations in the
seven metro Denver counties of Adams, Arapahoe, Boulder,
Broomfield, Denver, Douglas, and Jefferson. Unless otherwise
noted, exhibitions are organized by the Denver Art Museum.
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Ritual Carpet
Mongolia, about 1900
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Debut:
Textile Art Acquisitions
Debut introduces 21 textile art
acquisitions from 2000 to 2007, all on view for the first
time. From a rare pre-Columbian weaving made nearly 2,000
years ago to Jane Mathews’s DAM Crazy, a paper quilt
created in 2006, these objects illustrate the broad scope
of the museum's textile art collection. Central Asian ikats
and a highly unusual Tibetan Buddhist meditation mat from
Mongolia expand our Asian holdings, while two family heirlooms
and an Amish doll quilt are welcome gifts to the museum’s
extensive quilt collection. Printed kerchiefs and handkerchiefs
show how textiles have been used for everything from souvenirs
to religious instruction. Representing the diversity of contemporary
works in fiber are a folk-inspired tapestry, provocative miniature
crocheted sculptures, and a “cosmic passageway.”
March 17, 2007 – November 25, 2007
Neusteter Textile Gallery
Level 6, North Building
Organized by the Textile Art Department
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Engi
by Tatsuo Miyajima
El Pomar Grand Atrium
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Engi
by Tatsuo Miyajima
A unique work of art created by
Japanese artist Tatsuo Miyajima dots the spectacularly angled
atrium walls in the Hamilton Building. Miyajima was extremely
enthusiastic about creating a piece that is integral to
the architecture of the building. Similarly, he created
his project with an eye toward the Buddhist concept of relationship,
or en, which says that humans cannot exist independently—they
exist only by relating to nature, the universe, and other
people. Within each of the eighty circular units that make
up Engi, there is a mirror, which Miyajima says
demonstrates en by reflecting the structure of
the building itself, other units, and museum visitors. Each
unit also features a constantly changing LED number, a metaphor
for an individual's life force, history, and time. Attendees
at a workshop in August 2006 set each unit's speed as a
way to record Denver's time and history.
October 7, 2006
Atrium, Level 1, Hamilton Building
Commissioned by the Denver
Office of Art, Culture, and Film’s Public Art Program |
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Floating
Time Marine Blue
by Tatsuo Miyajima
2000
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Floating
Time: An Environment by Tatsuo Miyajima
In 2000, Vicki and Kent Logan donated
Floating Time V2-12 Marine Blue by Tatsuo Miyajima
to the Denver Art Museum's Modern & Contemporary Art Department.
Using LED (Light-Emitting Diode) counters, Miyajima generates
a space to explore time and the perception of time. When visitors
walk through the projected numbers in the darkened gallery,
they become part of the artwork itself. Born in 1957, Tokyo-based
Miyajima defined three principles that guide his work: keep
changing, connect with everything, and continue forever.
February 5, 2005 - April 2, 2006
Reopened October 7, 2006
Fifth floor, William Sharpless Jackson Jr. Gallery
Made possible with support from the
William Sharpless Jackson Jr. Endowment, and with cooperation
from the Modern & Contemporary Art Department. |
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Watchtower
China
100s BC-AD 100s
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Heaven
and Home: Chinese Art of the Han Dynasty from the Sze Hong
Collection
During the Han dynasty (206 BC-AD 220),
the Chinese placed objects in tombs to accompany the deceased
into the afterlife. This practice prepared for the soul’s
journey from one world to another. Jars with mountain-shaped
lids conjured images of Penglai, a celestial realm inhabited
by spirits and mythical creatures. The Chinese also viewed
the afterlife as a continuation of earthly existence. Tomb
furnishings reproduced familiar household buildings, livestock,
and daily provisions. Models of granaries and wellheads
symbolically provided food and water. Sculptures of watchdogs
and domestic fowl assured animal companionship, and vessels
and containers held food and other commodities.
February 7, 2004 - April 2, 2006
Reopened October 7, 2006
Fifth floor, Sze Hong Gallery
Virtual Gallery Tour
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