Abelardo Morell creates innovative and surprising photographs that encourage us to question the way we see. Widely known for his pictures that capture the projections from room-scale camera obscuras—the earliest form of camera that uses a basic pinhole to resolve an image in a darkened room—Morell draws upon the origins of the medium to transform the everyday into something special. In the process, he emphasizes that photography always manipulates what we perceive. More
Cintra Pollack has strong memories of the Denver Art Museum, from visiting the Native American collection and Linda by John DeAndrea on school field trips to meeting artists while coming to events with her mother who has been involved with the museum for many years. When she moved back to Denver after living in Boston and Seattle, Cintra was thrilled to get involved with the DAM on a deeper level. “I believe in giving where you live, and that investing in culture brings great value to every community,” she says. More
Tapping into Creativity and Becoming Part of Something Bigger (PDF) is the result of an 18-month investigation into understanding the impacts the Denver Art Museum’s exhibitions and programs have on visitors’ creative lives. And after one literature review, three focus group sessions, 38 interviews with visitors, and a survey of more than 600 people, we came to see that visitors define creativity as an expansive way of thinking and approaching the world. More
Rare-earth magnets are frequently used in the mounting or hanging of textiles, as has been previously highlighted in Denver Art Museum blog posts on the installation of American Indian, Chinese, and resist-dyed objects. More
For many years, Jeanne Kearns has been an invaluable volunteer at the Denver Art Museum. Serving on both the Guest Services Council and Volunteer Executive Board, Jeanne has contributed more than 2,000 hours to the museum. Before her time at the DAM, Jeanne was a consultant for the federal government and taught nursing at the University of Colorado. In 1996, she retired from her position as Executive Director of the Western Institute of Nursing and decided to dedicate her time to the Denver Art Museum. More
Lyrical, structured, bold, colorful, whimsical, meticulous, commemorative, and even “crazy," the quilts currently on display in First Glance/Second Look: Quilts from the Denver Art Museum Collection cover a staggering amount of design territory. Enticing the viewer’s eye to the back of the gallery is a striking grid of red and black interspersed with a rainbow of other colors. More
The Shop at the Denver Art Museum now features a new selection of designs in the popular line of stationary cards from Art by Adelyn. You may remember Adelyn Wall from an earlier blog post. She is the young artist and founder of Art by Adelyn, a Colorado nonprofit organization benefitting the Neonatal Intensive Care Unit (NICU) at Children’s Hospital Colorado. More
Today is International Literacy Day, which highlights the importance of literacy to individuals and to society. In 1991, designer Julius Friedman addressed the problem of adult illiteracy in a series of posters, four of which are on view at the Denver Art Museum in Drawn to Action: Posters from the AIGA Design Archives. More
Want to be among the first to experience Brilliant: Cartier in the 20th Century? Consider joining The Museum Associates, members of a very special Denver Art Museum supporting membership level, who are invited to the elegant Opening Gala in November. The gala includes an exclusive exhibition preview with cocktails, hors d’oeuvres, music, and more. More
When Phyllis and Gary Vander Ark moved to Denver in 1970 they became members of the DAM to connect with their new community. Phyllis has now spent over 40 years as a volunteer, including serving as a greeter, docent, co-chair of three Collectors’ Choice events, and volunteer president. Meanwhile, Gary has made his mark in Denver as a neurosurgeon and founded Doctors Care in 1988 to provide healthcare to the underserved. More
Get the behind-the-scenes scoop on the Denver Art Museum’s exhibition, The American West in Bronze, 1850–1925, in two upcoming talks with the curators. More
In 1985 Tom Wesselmann wrote in his journal that “The prime mission of my art, in the beginning, and continuing still, is to make figurative art as exciting as abstract art. I think I have succeeded, but there is still a lot further to go.” More
“I’ve just had the best year of my life,” Tom Wesselmann said in a 1985 interview with The New York Times. “I always work in a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.” More
This Sunday at CelebrARTE we are taking a look at The American West in Bronze, 1850–1925, and exploring the idea of la frontera with Janelle Ayón and Dancing Across Cultures. More
The Untitled summer journey continues on July 25 with Untitled #69 (Uncharted). This month is not so much about venturing into uncharted territory as it is about revisiting what we think we already know. Case in point: pop artist Tom Wesselmann, the subject of the Denver Art Museum’s latest exhibition Beyond Pop Art: A Tom Wesselmann Retrospective. Wesselmann is best known as a painter—his claim to fame is his series Great American Nude. More
Ever wondered what it’s like to be a tour guide at a museum or what a person has to do to become one?
One of the most rewarding parts of my job at the Denver Art Museum is having the opportunity to train and work with tour guides, or as we call them, docents. Training a new class of docents certainly requires a strong commitment from the institution in both staff time and resources as well as a strong commitment from docent mentors and provisional docents (docents in training), yet it’s well worth it in the end since it results in enriching our visitors’ experience. More
There’s more to visiting the Denver Art Museum than just looking.
Immersive multimedia experiences help guide visitors as they view a single piece of art or an entire exhibition. Among them are audio tours offered with several temporary exhibitions. These tours provide the larger story behind a given object within 90 seconds of sound.
What Do They Do? More
With the success of his Great American Nude series in the early 1960s, Tom Wesselmann could finally afford a larger studio. With a new studio came larger work and longer hours. Wesselmann explained, “I couldn’t pull myself away from the studio when it came time to go home at night. My fingernails would literally scrape on the table—I didn’t want to leave. I would go home and lie in bed and plot what I was going to do the next day. I couldn’t wait to get back to the studio, and the next morning I would rush there. It became a circular frenzy.” More
When artist Alex Katz visited Tom Wesselmann’s small New York studio for the first time in 1961 he wasn’t sure what to expect. The two had known each other from a painting trip to Green Camp when Wesselmann was a second year student at Cooper Union. He was only then transitioning from being a cartoonist to a painter and now Katz had heard from art critic Henry Geldzahler that Wesselmann was doing collages. More