wp-plugin-bluehost domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home2/lindacev/public_html/blog/wp-includes/functions.php on line 6121atahualpa domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home2/lindacev/public_html/blog/wp-includes/functions.php on line 6121The Embrace<\/em> show<\/a> at the Denver Art Museum <\/a>was one of the more extensive and interesting installation shows I\u2019ve seen. Seventeen artists created their own \u2018dialogues\u2019 with the unusual architecture in various areas of the museum. Although \u2018painting\u2019 was a term often used to describe the art; the installations encompassed everything from plastic, cloth, wood, mirrors, found art, sculpture, video, and so on.<\/p>\n In addition to the interplay of the art and architecture, the use of language, interesting materials, and the interaction of the audience in the artwork were also important components of the Embrace<\/em> exhibit.<\/p>\n El Anatsui\u2019s Rain Has No Father?<\/em> <\/a>was a huge \u2018cloth\u2019 made of found bottle tops that were sewn together with copper wire. It was displayed in the African Art area where you observed other ancient African art in it\u2019s proximity, seeing a common link between the traditional and the contemporary. His analogies to the Rocky Mountains and raindrops in shimmering clouds was remarkable. DAM is well known for it\u2019s Native American collection and the art reminded me of Native American blankets and clothing as well. The flowing nature of Anatsui\u2019s \u2018cloth\u2019 negated the actual stiffness of the metal components, and I admired the sheer amount of work involved in creating his \u2018cloth\u2019. Although his art did not have the same use of the diagonal wall spaces that was so obvious in other installations, the shadows created on the wall behind the \u2018cloth\u2019 were beautiful.<\/p>\n In Chamber<\/em>, Charles Sandison used the diagonal walls and ceiling of a cavernous space for his video projections of swirling colors, letters, words, and symbols.<\/a> Language was an important component. What I enjoyed about Sandison\u2019s installation was that the viewers were also part of the artwork. Their bodies created shadows on the walls, so they were also \u2018creators\u2019. The images swirling on their bodies and clothing made them into mini artpieces walking throughout the space. The art repeated itself, yet it was constantly changing. It was a wonderful experience!<\/p>\n Another artist who\u2019s art involved the audience through the use of mirror\u2019s was Zhong Biao<\/a>. In Mirage <\/em>his combination of abstraction and different sized figures at different perspectives and angles added complexity to his huge painting.<\/p>\n In Twilight\u2019s Compendium<\/em>, Shinique Smith\u2019s <\/a>installation was probably the smallest in size. Yet her \u201cbinding and bundling\u201d of found materials (usually fabrics) that were \u201cunwanted, abandoned, coveted, and mass-produced\u201d was an intriguing environmental comment on multiple levels. Many years ago I did a lot of sewing and also worked in the fashion industry, so her materials were reminscent of past experiences for me. Shinique Smith\u2019s artwork is autobiographical, and tells stories not only about herself, but others as well. Again, language is a important component of her artwork.<\/p>\n Christian Hahn\u2019s art <\/a>did not relate to the architectural space of the building so much, but his use of space within his paintings was quite intriguing. His uniformed figures within unusual environments were prettily colored, yet somewhat scary and hazardous. The scenarios created conflicting emotions of \u201cplayfulness and aggression\u201d. There were countless stories and possible lessons to be learned from Hahn\u2019s art.<\/p>\n The walk up and down the stairways of DAM gave me multiple perspectives and created questions on several of the installations. Did I like the spray painted art of Katharina Grosse <\/a>better from above or below? Where did that cord on the Jessica Stockholder\u2019s plastic art on the staircase wall lead to? Was it interesting to view one installation through another installation? Would John McEnroe\u2019s drippy art <\/a>fall? Would I get cut by Matthew Brannon\u2019s <\/a>humungous knives? Why did the children love the bungie cord installation by Tobias Rehberger<\/a>, but I got claustrophic? How did his interpretation of \u2018rain\u2019 compare to Anatusi\u2019s \u2018rain\u2019? Did Rick Dula\u2019s painting of the skeleton of the Hamilton building <\/a>emphasis the complexity of the buildings structure?<\/p>\n