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Traveling Exhibitions from the Colorado Collection * Please note that due to the construction of our exciting new Visual Arts Complex, The Museum’s Permanent Collection, also known as the Colorado Collection, is in storage. Bookings for 2011 and beyond are being accepted. The Power of the Press: Selected prints from the Colorado
Collection This exhibition, curated by Colorado publisher and Master printer Bud Shark, focuses on prints from the Colorado Collection that have a socio-political inclination. Works in the exhibition span printmaking history, beginning with Jacques Callot, William Hogarth and Francisco Goya, through more recent prints by Robert Arneson, Louise Bourgeois, Glenn Ligon, Hung Liu, and Peter Saul. Also included is a 92" long codex by Mexican/American artist Enrique Chagoya. 26 works, ca. 85 running feet, single hung
MINIMALISM: Presence-Absence Includes color brochure
A Looking Glass of One’s Own: Contemporary Women
Photographers
Two Mexican Views: Photographs by Paul Strand and Manuel
Bravo Manuel Alvarez Bravo is considered Mexico's greatest photographer. This group of black and white photographs reflects daily life in the city and in the countryside. Elegant and rich in texture, Bravo's images isolate the poetic, telling detail--the lyrical shape of a plant's leaves, the interlocking forms of an adobe entranceway, the pattern of people against the horizon. These brilliantly composed images have a sense of stopping time. 35 works, ca. 125 running feet, single hung From Cherry Blossoms to Snow Gardens: The tradition of ukiyo-e (which translates as "pictures of the floating world") began with the rise of the Edo period, in the late 17th century. Ukiyo-e prints offered inexpensive, popular artwork for the rising prosperous, literate merchant class. Included in the exhibition are selections from Hiroshige’s series "Fifty-three Stations of the Tokaido," "One Hundred Views of Famous Places in Edo," and "Fashionable Genji." Light level restrictions
Salvador Dali: His Image and Imagination Halsman's accompanying images (taken from 1950-64) show Dali in his famously eccentric poses and guises. These photographs often resulted from their experiments together in the photo studio. "Dali wants to startle and to shock with every one of his actions. His surrealistic creativity finds only a partial outlet in his art. Dali himself is the most surrealistic of his creations. He is a great painter and the last and only great mustache of our time," said Halsman. 22 works ca. 90 running feet, single hung American Pop Included in this exhibition are works by James Rosenquist, Jim Dine, Roy Lichtenstein, Ed Ruscha, Wayne Thiebaud, Robert Indiana, Red Grooms, Richard Lindner, Audrey Flack, Claes Oldenburg, Marisol, and Chryssa among others. 69 works, ca. 200+ running feet, single hung Mark Makers: Painterly Abstraction from the Colorado Collection The idea of the artist's "mark," or gesture, is a mainstay of modernism. As modern artists moved beyond the need to represent the world illusionistically, they began to examine art from the inside out, with a healthy dose of self-consciousness. They focused intently on the vocabulary and components of their craft: e.g. the shape and flatness of the canvas, the optical effects of color, the choreography of line and of brushstrokes, the emotional effects of volumes and masses and the character of a shape. Each of these so-called "formal elements" conveys a kind of visual personality and a territory of feeling. The prints in this exhibition, dating from the early 1960s to 1990s, are primarily by painters interested in the emotional and visual vibrancy of abstraction and of gesture. Many of them work "from the subconscious." They thus seek to incorporate elements of chance and to tap into intuitive, pre-verbal thought processes as part of the creative act. Included are works by pivotal artists Sonia Delaunay, Helen Frankenthaler, Sean Scully, Larry Poons, Sam Francis, Frank Stella, Betty Woodman, Robert Motherwell, Gregory Amenoff, and George Mathieu. 16 works, ca. 75 running feet, single hung Eyes Wide Open: The Art of Viewing Art
12 works, ca. 70 running feet, single hung David Hockney: A Rake’s Progress This post-war artistic masterpiece recasts William Hogarth’s popular 18th Century chronicling of man’s fall from grace in his suite of prints also titled A Rake’s Progress, created in the 1730’s. Hockney updates Hogarth’s focus on London’s 18th Century underworld of brothels, harlots and the spendthrift Rake, who sinks into desperation and confusion. In Hockney’s portfolio, the artist replaces London with the setting of New York and places himself in the role of the Rake. The portfolio was created shortly after Hockney emerged in the New York art world and began working with galleries there. The series humorously and ironically conveys the artist’s personal trepidation about his own fate within the context of the ‘high life’ of the art world. 19 works, ca. 82 running feel, single hung Delights of Drawing: Baroque works from the Colorado Collection There are studies of individual figures: A lonely, disheveled, drunken Bacchus sits on a rock, an angel prepares to cartwheel into a room, a young man plucks at a violin, a cavalier stands patiently by, an unpretentious Venetian boy meets our gaze, a fashionable woman in 18th-century Paris models her finery. Landscapes and city views are alive with peasants, palaces, churches, Roman buildings, and even ruins. Bits and pieces of daily life, glimpses of grand architecture, and studies of figures lost in their own thoughts offer to the visitor of this small exhibition a chance to taste the delights of drawing in the Baroque age. Light-level restrictions Alexander Calder’s "Our Unfinished Revolution" The National Emergency Civil Liberties Committee (NECLC) published "Our Unfinished Revolution" in 1976 to celebrate the organization’s 25th anniversary and the bicentennial of the United States of America. It combines 10 of Calder’s lithographs with 15 text panels of quotes and historical passages that form the legal and moral groundwork for Americans’ right to dissent. 17 works, ca. 77 running feet, single hung
Exhibition dates are confirmed on a first-come, first-served basis according to availability. Exhibition periods are for approximately eight to twelve weeks. A packet that includes a complete checklist and a selection of images can be furnished upon request. Electronic copies of the text for exhibition labels and title panels are provided with each exhibition. Installation and handling instructions accompany exhibitions when necessary. Before booking can be finalized, borrower must submit a Standard Facilities Report completed within the last three years. If the CU Art Museum approves the Facility Report, a contract will be forwarded for review and signature. Borrowing institutions are responsible for making all shipping arrangements via ground transport fine arts shippers approved by the CU Art Museum. Borrowers are responsible for round trip shipping costs. All works are crated or soft-packed and ready for transport. Borrowing institutions are responsible for providing all risk, wall-to-wall insurance for each exhibition contracted. Certificates of Insurance must be received and approved by CU Art Museum staff prior to finalizing the contract. All borrowed works must be protected from exposure to excessive light, insects, vermin, and extremes of temperature and humidity during transit, storage, and exhibition. The exhibition space must have limited access. Guards or other trained personnel are required to be present during the hours that the exhibition is open to the public. The exhibition space shall be locked and alarmed when the museum is closed. Additional requirements regarding security and environmental controls vary by exhibition. Please contact the CU Art Museum for specific guidelines. Fees are based on exhibition periods of eight to twelve weeks, plus adequate time to install and de-install the exhibition. The exhibition period can be extended up to an additional four weeks provided that there are no conflicts with other borrowing institutions and the works on loan continue to be in stable condition. Exhibition extensions are billed on a prorated weekly basis at $200 per week. A 50% deposit is due upon signing the contract with the balance to be paid two weeks before shipment. To rent an exhibition or for further inquiries and a complete listing of terms and conditions, please contact The Collections Department at 303-492-2551. |
Prints have been used by artists as a form of expressing social and political
ideas for centuries. Artists have taken advantage
of the graphic quality
and ease of duplication afforded by printmaking processes, allowing them
to distribute their images to wide audiences. 
with
contemporary works of art, to question the ways in which we "see" images and
construct their meaning. Works from the sixteenth-century that use
very specific religious symbolism, for example, are juxtaposed with
artworks from the 1980s that are purposefully ambiguous and metaphorical.
The exhibition looks critically at the role of the viewer, of the artist
and of the presenting institution: it examines the ways in
which the experience of viewing art is framed and thus controlled. Eyes
Wide Open questions the presumptions that viewers bring to the
practice of looking at art and the authority that underlies any form
of public display. It looks at art as a vehicle for both great visual
pleasure and for careful thought. Included in Eyes Wide Open are
works by Charles LeBrun, Cornelis Cort, Francisco Goya, David Hockney,
Albrecht Durer, William Hogarth, Nathan Lyons, Robert Longo, Gregory
Amenoff, Philip Guston, Johannes Baptista Homann, Carrie Mae Weems,
Jan Peitersz Saenredam.