Showing posts with label Douglas Walker. Show all posts
Showing posts with label Douglas Walker. Show all posts

Wednesday, December 19, 2012

PLUS GALLERY - A LOOK BACK AT 2012 ...AND AHEAD TO 2013


The year 2012 has been a an exceptional one for Plus Gallery and our artists, one of solid exhibitions within the gallery throughout the year as well as a number of notable offsite exhibitions at the hands of other curators. We have always felt that what has most distinguished Plus Gallery over the years and continues to build with greater depth over time is the high quality of our artist's work and the wide degree of resonance they impact on the contemporary scene, both here in Colorado and now starting to move well beyond. We conclude 2012 with a recap of some of the most significant moments by our artists that we feel set their careers and our program apart from others in 2012:


1. Plus Gallery artist William Betts made several advances that distinguish him as one of the leading painters in the world today. At the beginning of 2012, just before his solo exhibition at Plus Gallery, he was awarded the annual National Juried prize from New American Paintings, a singular award amongst contemporary painters in the US. He followed that with his first overseas group exhibition "Tracing the Grid" at the Kunstmuseum Stuttgart amongst some of the worlds most prestigious and historic artists, an honor greatly amplified by the fact that his career was still less than 10-years strong. On top of that, his name kept cropping up in the art-related news as collectors swept up his works at select fairs throughout the year. We applaud Betts for his achievements this year and maintain that his paintings are some of the most unique works of art in the world.



2. We can think of no painter originating from Denver that has made deeper, more remarkable inroads towards a prestigious career than Jenny Morgan. 2012 proved to be a pivotal one for this young artist, putting forth the single most successful exhibition in Plus Gallery history and receiving representation with a major Chelsea-based dealer shortly thereafter. Morgan's paintings were included in no less than three local curated exhibitions in 2012 including the CVA's outstanding "Out-Figured," curator Jennifer Garner's swansong with the institution and one in which Morgan was represented by works made up entirely from private local collections. Plus Gallery released a second gorgeous and collectible hard-cover book that documents her output from 2010 though the summer of 2012, and we continue to support and follow her career as she moves into her second decade exhibiting. We expect great things from her and eagerly await her solo debut with Driscoll Babcock galleries, set for October of 2013.



3. If there is one thing we have learned from the contemporary art business in the last 12 years, it's how limited the local market is for truly distinct, progressive sculptural work. Fortunately Mike Whiting has broken multiple boundaries in that regard, whether market driven or otherwise. Whiting was involved in several curatorial efforts this year including the exceedingly clever four-person show "Suburbia" at GOCA in Colorado Springs, as well as two solid NYC based group shows. But it was his first outdoor solo exhibition "8-Bit Modern" at the BYU Museum of Art that truly shows how well Mike's career has blossomed since emerging with Plus Gallery back in 2004. His monumental sculptures are simply spectacular grouped together in an outdoor setting, and with his commissions in the public realm continuing to build across the country, we are confident that we'll be seeing even more prestigious exhibitions from Mike in the years to come.



4. There are certain accolades artists manage to achieve that the art-following public might be firmly aware of, and then others that remain subdued but are of far greater importance. Xi Zhang has been no stranger to the former, having previously received recognition in 2011 as a "Pathmaker" in the visual arts on top of being acknowledged by the Denver Post as one of the leading artists under 35 years of age (and in Zhang's case, still under 30). But none of that compares, though it certainly helped him in achieving, one of his greatest awards of 2012: his U.S. citizenship through merits as an "artist of extraordinary ability." Only a few individuals know the efforts that were undertaken for Xi to receive his citizenship, not to mention the tight-timing that he was up against. We could not be more thankful that his application was approved this year, allowing him to stay in the US and continue to grace our region (for now) with his unprecedented talent. A few of Denver's print-based publications profiled Xi this year, including 303 and 5280, and his March solo exhibition "11 Ceremonies" was one of the year's standouts here at Plus. His recent acceptance by Platform 5280 Biennial of the Americas as an ambassador for Denver as well as the US for a month-long residency in Buenos Aires truly pushed the year over the top for Zhang. He continues to work at an amazing level in his Denver based studio on no less than three distinct, and wonderful, bodies of work.



5. Allie Pohl may not have been on the front-lines in Denver this year, but her reputation across the country continued to build in unprecedented and impressive fashion. Pohl's "Defaced" project stormed both the internet as well as her NYC debut via ArtCart. Her magnificent "Fuscia-chrome" caryatid went from her studio in LA to prominent outdoor setting in Winter Park Florida as part of that city's "Art on the Green" juried sculpture exhibition, certainly one of the most provocative forms ever exhibited publicly. On top of that Pohl exhibited in multiple LA based galleries, including the bathroom of the BaƱo Gallery where she unveiled newest, uber-sexy photographs in "Hot Seat," a series of self portraits that take place in select bathrooms of distinguished art destinations and beyond. Pohl is a fascinating and completely transcendent artist, one who continues to amaze us with her singular ideas and boundless energy and one whom we expect great things for in the future.



6. 2012 proved to be a notable year in more ways than one for Colorado's most stalwart and revered contemporary painter Dave Yust. After more than 40 years teaching on the frontlines of the Art Department at CSU in Fort Collins, Dave finally retired this past spring, a life-changing move if ever there was one. With more time than ever to focus on his artistic legacy and continued studio practice, Yust then thrust his efforts towards a retrospective that opened recently at the Loveland Museum Gallery, one that spans over four decades of his exceptional devotion to and work in printmaking. Dave has also devoted a great deal of his recent time on new paintings in his studio for his upcoming solo exhibition here at Plus, his first since 2006 and undoubtedly one of the most anticipated of the coming year.



7. If there was one event that has been the most memorable in Plus Gallery history, it was Bill Amundson's over the-top artist talk delivered in 2011 to a tightly packed house in full view of his first solo exhibition with us "Blurred Vision." It's no wonder the Denver Art Museum invited him this year to be one of the guest speakers as part of the fall Logan Lecture series, following on the heels of notable artists like Dana Schutz, Larry Bell and El Anatsui. Bill's lecture was another thrill, providing perhaps the most depth yet into his career in one sitting, as well as plenty of laughs and deeper thoughts to ponder that his work certainly inspires. Bill had a couple of small-scale exhibitions this year outside of Colorado, with several works from private collections also on view in the Arvada Center's summer show "Faces, Places and Spaces." But his best drawings of the year were reserved for Plus Gallery in a small showcase that is currently on view in our second-floor exhibition space, coinciding with his Logan Lecture. Though this years election provided good fodder for Bill to wrap his brain and pencil around, it's his upcoming 60th birthday that resonates heavily over the newest works.



8. Oh Canada, how is it that you are graced with a traveling exhibition of Douglas Walker's large-scale paintings that has spanned into two years now in multiple cities and venues.........and we are not? If ever there was an exhibition making the rounds right now in any location on this earth that we'd love to see in the United States, it's Walker's "Other Worlds" which began it's trek across Canada in 2011 at the Robert McLaughlin Gallery in Oshawa, Ontario, made its way in early 2012 to the Dalhousie Art Gallery in Halifax, Nova Scotia, proceeded slightly West to the Justina M. Barnicke Gallery in Toronto during the summer, and is currently on view through March 31st at the Confederation Centre of the Arts in Charlottetown, Prince Edward Island. Plus Gallery unveiled the first of Walker's breathtaking, large-scale paintings during our 2010 Biennial of the Americas related exhibition "You Are Here," ones that simulate unearthed ceramics as if created on another planet, albeit one related to ours. Walker's works have advanced in both scale and dynamic content since then, highly deserving of the touring show that has occurred in multiple locations up North this year.



9. Plus Gallery related art-collections also made a tremendous impact this year, supporting exhibitions at the Arvada Center, the Center for Visual Arts, the Victoria Myhren H. Gallery at DU, as well as collection tours through the Boulder Museum of Contemporary Art. We expect to see more along these lines as our artists engage the public on a wider level and our patrons experience the joy of sharing their passion for art.



10. A number of additional Plus Gallery artists hit notes of achievement this year, including Austin Parkhill who is featured in the current issue of New American Paintings as well as on the walls at our gallery in his stunning solo exhibition "At Your Best." We are proud of our entire family of artists and the spirit that drives them towards excellence in their work and careers, whether that is acknowledged on a broader level or not.





PLUS GALLERY - A LOOK FORWARD TO 2013


We don't expect to replicate the achievements of this last year on all fronts in 2013, but do know that we'll have an entirely new set to celebrate twelve months from now. Here is a brief, advance view of what 2013 already has in store with our artists, including two highly anticipated Denver Museum exhibitions:


1. Patti Hallock is set to become the first Plus Gallery artist to be featured with a solo exhibition at the Museum of Contemporary Art Denver this next year, with recent as well as new selections from her expansive "The West Is Here" series going on view this January. The exhibition is a good fit for the museum, Hallock having been included in group exhibitions at the MCA in their previous location both in the "Biennial Blowout!" of 2006 as well as the "Extended Remix" major survey of Colorado contemporary art that same year. There is still time to acquire works that will be on view in the exhibition, a level of patronage and support that we highly recommend for one of the state's most thoughtful and renowned young photographers.



2. Bruce Price is set to become the first Plus Gallery artist since Dave Yust (yes, pre-Plus Gallery, way back in 1976) to be given a solo exhibition at the Denver Art Museum. Recognized as one of the foremost abstract painters in the region, Price has integrated fabric directly into his paintings and works on paper for the last few years. Curators at the DAM recognized this unique quality perviously this year at a DAMC sponsored studio visit, and later asked Bruce to show a selection of his works on paper as part of their upcoming Museum-wide exhibition "Spun: Adventures in Textiles" in 2013. The exhibition commences in mid-April and will include a selection of more than 30 drawings from Price in the Hamilton Wing's Works-on-paper gallery. We also highly recommend supporting Bruce through acquisition of his work through this extremely rare opportunity.



3. Finally, Melissa Furness will have one of her most recent paintings, and Colin Livingston will give a preview of his latest body of work at the Arvada Center juried exhibition "Art of the State" in January. Livingston will follow up that exhibition with his next show at Plus Gallery later in April. Also on tap for 2013 at Plus Gallery are solo exhibitions from Dave Yust, Tsehai Johnson, Donald Fodness and Allie Pohl, with a few more slots waiting for final confirmation. We expect it to be another exciting year at the gallery and an opportunity to explore further in depth some of our most celebrated artists, as well as a taste of some of our newest family members. And stay tuned to our newsletter for more exciting developments with our curatorial efforts for the Denver Theatre District and their LED platform for exhibiting motion-based arts. We are looking to develop a full program of "Friday Flash" showcases to commence in late spring, and also set to initiate a permanent collection of works commissioned by local and national artists.


Please note that this is our final newsletter of the year. Plus Gallery will be open for regular hours through Friday, December 21st. The gallery will close for a short holiday break between the 22nd and 26th, but will be open for regular hours again starting the 27th and into the new year.


Friday, January 27, 2012

PLUS GALLERY ARTIST DOUGLAS WALKER CURRENTLY FEATURED IN THE WORLD'S MOST STUNNINGLY GORGEOUS EXHIBITION

Plus Gallery artist Douglas Walker has undertaken one of the most ambitious bodies of work possibly in the world, one that started with his extraordinary Plus Gallery painting "A-601" back in 2009, a massive work in oil on paper that was the centerpoint of our Biennial exhibition "You Are Here."   Walker has continued to build on that work for recent institutional exhibitions throughout Canada, with paintings of such enormous scale and dexterity it's almost impossible to fathom.  On January 12th he opened his most recent and ambitious viewing of the works in the exhibition "Other Worlds" at the Dalhousie Art Gallery, the oldest public art gallery in Halifax, Nova Scotia. We applaud Walker's efforts and envy anyone with the opportunity to view the exhibition during its run through March 4th.  Here are a few select images from the artists scrapbook during the installation of the show (with Dalhousie text on the show following).


From the Dalhousie Web Site:
Douglas Walker: Other Worlds
Curated by Peter Dykhuis and Corinna Ghaznavi

Organized by the Dalhousie Art Gallery in partnership with the Robert McLaughlin Gallery and the Kelowna Art Gallery.

Douglas Walker's mostly monochromatic blue paintings on paper from the past decade are executed in a manner that pays homage both to historical fine art illustration and the graphic production strategies found in "outsider art" and tattoo culture. For the past few years Walker's imagery has revolved around three motifs: fantastical, other-worldly landscapes with mutant, modernist architectural structures; portraits of mid-20th Century women in which, for example, garments and hair morph into plant-like image-fields; and sinewy floral tendrils that parallel graphic flourishes, also from another century. All images and surfaces are finished in a top-coat of Walker's invention that simulates crackled 18th Century Delft-blue ceramic glazing - which itself quotes the Chinese porcelain that was highly valued by the colonial Dutch traders. These paintings are Walker's visitations to other places - perhaps real, perhaps imagined - where exotic graphic figures, human and otherwise, float in science fiction-like fields and atmospheres.

Walker has created new works for Other Worlds that synthesize pictorial components of his previous work into single images which are filled in with obsessively rendered references to cellular structures and organic matter. And Walker has significantly increased the size of these works. Indeed, the first installation of Other Worlds, which occurred this past Fall at the Robert McLaughlin Gallery in Oshawa, Ontario, featured a nearly full-scale image of a sperm whale flanked on one side by a moon-like celestial body and on the other by an androgynous mask-like human, and occupied an entire 77' long wall.

Alongside the work installed at the Robert McLaughlin Gallery, this exhibition will present five new pieces that Walker has produced specifically for the Dalhousie Art Gallery: a modernist office building in a landscape, a suspension bridge, a large wave, a tree, and a human body laid out horizontally in a tomb-like structure. These works allude to transitory life forms, energy fields and natural forces in states of flux that are juxtaposed with engineered constructions which penetrate the sky or connect opposite shores over dangerous waters. Remaining poetically unfixed in specific meaning, Walker's images appear to be assuredly rooted in an experience of earth that we collectively know. Yet there are too many little slippages, distortions and embellishments within the images to make us feel certain whether what we are looking at is from this world - or another.

Thursday, July 15, 2010

PLUS GALLERY SPOTLIGHT ON BIENNIAL ARTIST DOUGLAS WALKER

One of the foremost reasons we've focused our vision up North to Canada for our Biennial exhibition "You Are Here" is because of the presence of Douglas Walker in the Plus Gallery stable.  We first came across Doug's work while exhibiting at the Art fairs in Miami back in 2007, out of the entire floor of the massive fair site, Walker's paintings stood out as some of the most visually striking, exuding other-worldly characteristics that were distinct and sublime.  We followed up with Doug later that year and propositioned him for inclusion in our intern-curated exhibition "Vis-a-Visage" set to take place at Object + Thought.  The works we received catapulted the caliber of the show to major heights, the entire effort perhaps one of the most solid group shows of the year.  We were convinced that Walker would make a terrific addition to the Plus Gallery stable and decided to introduce his work properly in our new space last summer for the three-person exhibition "Brave New World" alongside Bill Amundson and Melissa Furness.



While those who have followed Plus Gallery may now be familiar with Walker's work, those brief glimpses are minor in comparison to his contribution for our new exhibition "You Are Here."   Doug has sent us a new large-scale work that will definitely be hailed as the show-stopper amongst one of the most impressive collections of work ever in the gallery.  Created in preparation for a traveling museum exhibition Walker has slated to commence in 2011, the painting is the largest work on view at PlusGallery to date and a real sign of the artists dedication to his career and caliber as one of Canada's most respected and successful contemporary artists.




We asked Douglas to answer a few questions last week in anticipation of the opening of You Are Here:
1. What do you feel was your first real work of art and what can you tell us that's significant about it?


For my first solo show in Toronto I did a series of black and white photodrawings. Throughout  art school I had been looking for my own 'voice'; to be able to have things just come to me rather than go chasing after them. I had been ok with the work from art school and thought I that maybe I had formed what to do and how to do it. But right after graduating I chanced across a few influences and techniques which I put together for the photodrawings and the first one just seemed to fall off my hands like I had been doing this for years. It really had the sense of  this is what I've been searching for. It wasn't the image so much but the place I was making work from. It was significant in that, since then, I have always tried to keep a connection with that way of making work, of having an intuitive understanding of what to do.
2. You have a very vast portfolio with a variety of work, are there any common threads over the course of your career or would you say they are all independent or individual?  Any particular exhibition that has been your favorite?


The blue and white paintings are very similar to the aforementioned photodrawings. In some ways its like going full circle back to where I started. I feel comfortable with monochrome because it is always essentially drawing no matter what the medium is and for me drawing offers the most freedom. You can quickly merge and handle a lot of disparate influences, thoughts and images that in full color would take more consideration. Also monochrome has that much less association with the real world and I've always tried to make things that seem to be about or from somewhere else. If I was to see a common thread in all my work it might be that. Perhaps my work follows a precept of science fiction, where 'now' is exposed in greater clarity by its contrast to an imagined 'not-now'. The work tries to look at here from 'over there', intending that a shift in perspective will create a fresh image that will engage the viewer.




3. What made you lock into the current blue and white palate that seems dominant of the last decade.  Does it symbolize anything?  How long do you think you'll continue with it?


I started painting in 1992 and at first concentrated on learning technique and then began to make a series of paintings of melancholic lost places. I had a sense of what these paintings might look like and developed a technique to paint them. Later I wanted to represent a disparate variety of subjects, like architectural renderings, landscape paintings, portraiture, botanical drawings, microscopic photography, ceramic illustrations, azulejos, calligraphy, and typography. I didn't want to be restricted to to those subjects that I knew how to paint. I kept experimenting with technique and mediums until I came upon working with transparent colors and then I dropped it to just blue and developed a way of brush handling that offered a technique that could handle all these different subjects. All at once any subject became possible so that has opened things up endlessly. I may add some color at some point but I feel I've come across something that will keep me occupied from here on.  
4. What is the greatest influence on your work now as well as in your early development?


I was lucky to have some great teachers in art school. 
5. How did the opportunity for your upcoming traveling museum show unfold and what can you tell us about it?


In 2001 I did a show of large folded paper paintings at The museum of Contemporary Canadian Art in Toronto. They were painted in a more naturalistic style, and the show was well relieved. A few years ago I mentioned to a curator who had seen the show that I would like to do  a blue & white version of that show and that idea grew into fruition. The show is curated by Corinna Ghaznavi and Peter Dykhuis and will travel to Robert McLaughlin Art Gallery in Oshawa, the Kelowna Art Gallery, and the Dalhousie Art Galleryin Halifax and will be accompanied by a catalog. I'm really honored to have this opportunity but I have to admit that when I first saw how large the room was in Oshawa I  almost balked. Its huge! Its a room that's 40 x 80' with 14' ceilings. The room in Kelowna is the same size. The starting plan is to make really big folded blue and  white paintings and link them all together so that they form a continuous wall of paintings that cover completely two walls of the room, in effect a 120' long painting. Its a lot, probably way too much, but I'm going to start with that plan, try for it, and see where we end up.3. What made you lock into the current blue and white palate that seems dominant of the last decade.  Does it symbolize anything?  How long do you think you'll continue with it?


I started painting in 1992 and at first concentrated on learning technique and then began to make a series of paintings of melancholic lost places. I had a sense of what these paintings might look like and developed a technique to paint them. Later I wanted to represent a disparate variety of subjects, like architectural renderings, landscape paintings, portraiture, botanical drawings, microscopic photography, ceramic illustrations, azulejos, calligraphy, and typography. I didn't want to be restricted to to those subjects that I knew how to paint. I kept experimenting with technique and mediums until I came upon working with transparent colors and then I dropped it to just blue and developed a way of brush handling that offered a technique that could handle all these different subjects. All at once any subject became possible so that has opened things up endlessly. I may add some color at some point but I feel I've come across something that will keep me occupied from here on.  
4. What is the greatest influence on your work now as well as in your early development?


I was lucky to have some great teachers in art school. 
5. How did the opportunity for your upcoming traveling museum show unfold and what can you tell us about it?


In 2001 I did a show of large folded paper paintings at The museum of Contemporary Canadian Art in Toronto. They were painted in a more naturalistic style, and the show was well relieved. A few years ago I mentioned to a curator who had seen the show that I would like to do  a blue & white version of that show and that idea grew into fruition. The show is curated by Corinna Ghaznavi and Peter Dykhuis and will travel to Robert McLaughlin Art Gallery in Oshawa, the Kelowna Art Gallery, and the Dalhousie Art Galleryin Halifax and will be accompanied by a catalog. I'm really honored to have this opportunity but I have to admit that when I first saw how large the room was in Oshawa I  almost balked. Its huge! Its a room that's 40 x 80' with 14' ceilings. The room in Kelowna is the same size. The starting plan is to make really big folded blue and  white paintings and link them all together so that they form a continuous wall of paintings that cover completely two walls of the room, in effect a 120' long painting. Its a lot, probably way too much, but I'm going to start with that plan, try for it, and see where we end up.






6. How does the work that you created for "You are here" relate to the museum show?


The first thing I wanted to work out for the museum show was how to keep an intuitive approach to paint handling and composition at this new scale. For the 'you are here piece' I did a very quick small, roughly drawn thumbnail  and tried to keep its speed and crudity while I figured out how to 'big up' the brushes and process for the painting. It was a technical challenge but it was really fun to do and  I'm relieved in that the few that have seen it so far are finding it successful.  I'm looking forwards to making more.

7. What is your main goal when creating art?


To make something I haven't seen before.
8. Would you say that your art has an agenda and if so what is it?


No, I've tried to avoid determining what I do because the process of doing that  can interfere with establishing an intuitive process in the studio.




Walker has been reviewed extensively by Canadian and International press sources since emerging as an artist in 1982.  His most recent solo exhibition was reviewed by "Canadian Art" and can be viewed at


http://www.canadianart.ca/art/reviews/2009/09/01/douglas-walker/


To see more on Douglas and his work, visit his website at
http://www.douglaswalker.ca