DENVER ART MUSEUM
It takes more than great art and architecture to have an incredible museum experience.
DENVER ART MUSEUM
Table Of Contents
DAM History 1 DAM Architecture 2 Fredric C Hamilton 3 Funds 4 Membership 6 Benefits 7 Becoming a Member 8 Associate Membership 9 Annual Fund Campaign 10 DAM Good Friends 10 Planned Giving 11–12 Corporate Giving 13 Corporate Partners 14 Volunteer Programs 15 Job Internships 16–19 Support Groups 20–21
About 23 Tickets 24 Untitled # 22 Untitled #23, Untitled #24 25
Linda 27–28 FOXGAMES 29–31 Quantum Cloud XXXIII 32–33
Location & Hours 35–36 Parking 37 Shopping & Dining 38 Special Services 39
DISCOVER THE DAM
DISCOVER THE DAM
DAM history The Denver Art Museum is a private, non-profit, educational resource for Colorado. The mission of the museum is to enrich the lives of Colorado and Rocky Mountain residents through the acquisition, preservation, and presentation of art works in both the permanent collections and temporary exhibitions, and by supporting these works with exemplary educational and scholarly programs. Since its beginnings in the 1890s as the Denver Artists’ Club, the Denver Art Museum has had a number of temporary homes, from the public library and a downtown mansion to a portion of the Denver City and County Building.
The museum opened its own galleries on 14th Avenue Parkway in 1949, and a center for children’s art activities was added in the early 1950s. In 1971, we opened what’s now known as the North Building. Our most recent expansion, the Frederic C. Hamilton Building, opened in October 2006. Today, the 356,000-square-foot museum complex includes collection gallery space, three temporary exhibition venues, and the Lewis I. Sharp Auditorium. In addition to our art collections, the Denver Art Museum is internationally recognized for our familyfriendly environment, and has received critical acclaim for encouraging art appreciation through interactive activities.
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DISCOVER THE DAM
DAM architecture North Building In 1971, the museum opened what is now known as the North Building, designed by Italian architect Gio Ponti and Denver-based James Sudler Associates. The sevenstory structure, 210,000-square-foot building allowed the museum to display its collections under one roof for the first time. The North Building was an innovative move away from traditional, temple-style museum architecture. More than a million reflective glass tiles on the building’s exterior complement the dramatic windows and pierced roofline of the building’s castle-like facade. “Art is a treasure, and these thin but jealous walls defend it,” said Gio Ponti.
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Frederic C. Hamilton Building Continuing a legacy of bold architecture, the DAM commissioned architect Daniel Libeskind to design an expansion that would accommodate our growing collections and programs. The 146,000-square-foot Hamilton Building opened to the public October 7, 2006. The Hamilton Building’s design recalls the peaks of the Rocky Mountains and geometric rock crystals found in the foothills near Denver. “I was inspired by the light and the geology of the Rockies, but most of all by the wide-open faces of the people of Denver,” says Libeskind. The building is covered in 9,000 titanium panels that reflect the Colorado sunshine. To learn more, visit our Hamilton Building website. http://expansion.denverartmuseum.org/
DISCOVER DISCOVER THE THE DAM DAM
DAM fredric c. hamilton Libeskind’s design consists of geometric, titanium-clad angles, which reflect the nearby Rocky Mountain peaks and rock crystals. The new Frederic C. Hamilton Building is situated directly south of the two-towered North Building, designed by Italian architect Gio Ponti and James Sudler Associates, and adjacent to the Denver Public Library, designed by Michael Graves. The expansion, the museum’s first major addition since the North Building was completed 35 years ago, nearly doubles its facilities. The Hamilton Building rises from two stories to four as it moves towards the north. A sharply cantilevered section of the building juts across the street towards the North Building above an enclosed steel-and-glass bridge that links the two structures. The bridge also provides access to the new Duncan Pavilion, an indoor/outdoor event space. From the pavilion visitors can view the mountains and the Denver skyline. The new building will house the Modern and Contemporary art collection as well as the collection of Architecture and Design and Oceanic Art and serve as the main entrance to the entire museum complex.
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DISCOVER THE DAM
DAM FUNDS
Public bond: In 1999, Denver voters approved a $62.5 million bond initiative to fund an expansion of the Museum. This funding was the basis for the $75 million construction budget for the Hamilton Building. Endowment Campaign: The Museum’s Board of Trustees set a $50 million goal for its endowment campaign. With 100% participation from the Board, the Museum surpassed its goal. A total of $62.5 million has been raised through private funds for the endowment, which matches dollar-for-dollar the public bond funds. Capital Campaign: With the success of the endowment campaign, the Museum recognized several key upgrade opportunities within the Hamilton Building. A $28 million capital campaign was launched for enhancements to both the Hamilton and North Buildings. After the $28 million goal was met in spring 2005, the Museum added
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additional projects to improve the North Building and surrounding site. In total, more than $47 million has been raised from private funds to support the larger project.
GET INVOLVED
It takes more than great art and architecture to have an incredible museum experience.
GETTING INVOLVED
MEMBERSHIP Discover the benefits of a yearlong DAM membership! All members receive these basic benefits: • Free general admission for an entire year • Free admission to ticketed exhibitions • Ability to purchase additional discounted admissions to ticketed exhibitions • Discounted rates and priority registration for adult programs and kids’ camps and classes • 10 percent discount in Museum Shop • Invitations to members-only events • Subscription to On & Off the Wall, our bimonthly magazine • Option to sign up for our Art Mail e-newsletter • Opportunity to join support groups and volunteer councils • Reduced rates on Architectural Digest, Art in America, and other selected art magazines
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BENEFITS As a nonprofit organization, the Denver Art Museum is required by the IRS to provide written disclosure of the fair market value (FMV) of benefits received. The tax-deductible portion of museum memberships is as follows: Senior/Student/Teacher $36; Individual $41; Family/Dual $42; Sustaining $78; Supporting $384; Benefactor $859; Young Associates $809; Senior Associates $1,309; Associates $2,309; First 100 Associates $4,809. For more information or to join by phone, call the membership office at 720-913-0130.
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BECOMING A MEMBER Individual—$50
All member benefits from the basic package for one adult, plus: • One personalized m mbership card • Two admissions to each ticketed exhibition
It’s an exciting time to be a part of the Denver Art Museum! In 2006, we opened our first major expansion in 35 years—the Frederic C. Hamilton Building—and began a new chapter of the museum’s history. You can take part in this exciting moment as a DAM member, volunteer, or donor.
Senior—$45
All member benefits from the basic package, plus: • One personalized membership card (admits two for general admission) • Two admissions to each ticketed exhibition
Student—$45
All member benefits from the basic package, plus: • One personalized membership card (admits two for general admission) • Two admissions to each ticketed exhibition
Teacher—$45
All member benefits from the basic package, plus: • One personalized membership card • Two admissions to each ticketed exhibition
Dual—$70
All member benefits from the basic package for two adults, plus: • Two personalized membership cards • Six admissions to each ticketed exhibition • “Plus One” card option: extra card for designated nanny or caregiver, $25
As a nonprofit organization, the Denver Art Museum is required by the IRS to provide written disclosure of the fair market value (FMV) of benefits received. The tax-deductible portion of Associate memberships is as follows: Young Associates $809; Senior Associates $1,309; Associates $2,309; First 100 Associates $4,809. For more information or to become an Associate by phone, call the membership office at 720-913-2764.
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ASSOCIATE MEMBERSHIP As an Associate member of the Denver Art Museum, you can support the museum and enjoy exclusive benefits, including access to the museum’s collections and exhibitions, visits to private collections around the world, unique opportunities to meet our curators, and invitations to some of the year’s best events. When you become an Associate, you contribute to the rich cultural life of Denver and help to build a bright future for our world-class museum. For more information, please call 720-913-2764. Young Associate
$1,000 ($809 tax deductible) Young Associates (YA) are the future leaders of the museum and the next generation of museum patrons. In appreciation for their investment, they receive several of the same benefits as the Associate members and enjoy exclusive YA events. For more information please call 720-913-2764.
Associate
$2,500 ($2,309 tax deductible) All member benefits from the basic package for two adults and their dependent children/grandchildren (age 18 or younger), plus: • Invitations to the Collectors, Curators, and Connoisseurs Salon Series, where you can get to know curators and other art scholars • Private tours of ticketed exhibitions • Exclusive events with the museum director and curators • Unique art-related travel opportunities to significant museums and private collections • Membership privileges at more than 50 museums • Complimentary museum catalog of your choice from the Museum Shop • 10 percent discount in the Museum Shop
Senior Associate
$1,500 ($1,309 tax deductible) All Associate member benefits for two seniors (age 65 or older) and their dependent children/grandchildren (age 18 or younger). First 100 Associate $5,000 ($4,809 tax deductible) All Associate member benefits for two adults and their dependent children/grandchildren (age 18 or younger), plus: • Option to designate 50 percent of the total gift amount to the museum program or department of your choice • Opportunity to consult with curators about your personal acquisitions and collections • Annual recognition on the museum’s donor wall
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DONATIONS
annual fund campaign Every year, the Denver Art Museum relies on the generous contributions from friends like you. These tax-deductible gifts help the museum acquire, care for, and exhibit world-class works of art and build programs that benefit the community.
DAM Good Friends Annual Fund Each year, the Denver Art Museum relies on private contributions from friends like you to help us: Properly care for and present our collection • Plan and develop an exciting schedule of temporary exhibitions • Provide more than one hundred educational offerings for adults every year, including classes, lectures, and symposia • Introduce the joys of making and appreciating art to thousands of children through our family and kids programs • Enrich, enlighten, and inspire our community in many other ways Online gifts will be confirmed electronically within 24 hours. All gifts will be acknowledged within two weeks via USPS. You will not receive any goods or services in exchange for your gift, which is fully tax deductible. Your donation does not constitute the purchase or renewal of a museum membership. For more information, contact Katie Murphy at 720-913-0030. Cancellation Policy: All donations are nonrefundable. Privacy Statement: Your financial information and e-mail address are completely confidential and will not be shared with any third party.
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DONATIONS
Planned giving The mission of the Denver Art Museum is to enrich the lives of present and future generations through acquisition, presentation, and preservation of works of art. Supporting us in that endeavor is a group of incredibly dedicated friends and patrons. For more information about the planned giving options listed below, contact the development office at 720-913-0030. The Helen Dill Society In 1928, the bequest of a schoolteacher named Helen Dill enabled the museum to establish a fund for the acquisition of art. The Helen Dill Society honors those who continue her commitment with a bequest or other estate plan arrangement. Members enjoy an annual recognition event, private exhibition tours, free estate planning workshops, and recognition in our annual report. Bequests The simplest way to make a planned gift is through a bequest in your will. You may direct a bequest to support a specific acquisition fund for art or to endow a specific program or collection. Undesignated bequests allow the museum to use the funds where they are most needed. Charitable Remainder Trusts Contribute to the future of the museum, secure lifetime annual payments for yourself and/or other beneficiaries, and generate substantial tax benefits with a charitable remainder trust. A trust of this kind provides beneficiaries with income for life or a specified length of time and then distributes the remaining assets to the museum. An income tax deduction is available immediately.
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Charitable Gift Annuities Charitable gift annuities provide beneficiaries with a fixed income for life in exchange for a gift of cash or marketable securities to the museum. The rates of return are generally higher than those from savings or money market accounts, and you can choose whether to receive income immediately or wait until retirement.
Charitable Lead Trusts With a charitable lead trust, you make a significant multiyear gift to the museum and maximize the value of assets for your heirs. This type of trust pays an annual amount to the museum, with the assets ultimately passing on to another beneficiary. You can decide whether to receive an income tax deduction or pass savings on to your estate.
Retirement Plan Assets Bequeathing retirement assets to the museum allows you to fulfill your charitable objectives while preserving more of your estate’s value for family members. Designating the museum as the beneficiary of your retirement account may help your estate bypass multi-tier tax exposures, preserve the value of your estate, and protect your heirs from potential tax burdens.
Life Insurance Giving a life insurance policy is a great way to transform a modest gift into a dramatic one. You can transfer ownership of a fully paid policy to the museum, reassign ownership and beneficiary status for a policy on which premiums are still being paid, or establish a new policy and designate the museum as applicant, owner, and beneficiary.
Gifts of Art The Denver Art Museum has an excellent program for acquiring works of art to enhance its collections. Because gifts of art require careful preparation, please contact us at 720-913-0030 to ensure that the museum can accept your gift. We will guide you through the process and provide answers to your appraisal and tax questions.
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DONATIONS
Corporate Giving Thanks to overwhelming community support, the Denver Art
programs, and major temporary exhibitions. In addition to the
Museum is becoming one of the most exciting museum complexes
obvious cultural benefits, the museum’s positive economic impact
and innovative urban spaces in the country. We invite your company
on the community will continue to grow as a result of the expansion.
to help us build on past success as we enter a remarkable time in
We expect annual attendance to rise from approximately 440,000 to
our history. Our expansion, the Frederic C. Hamilton Building, is
more than one million visitors during the museum’s opening year. An
destined to become an international landmark that will significantly
affiliation with the Denver Art Museum will enable your company
enrich Denver’s cultural and economic life. Designed by world-
to share an unprecedented spotlight on our community. During this
renowned architect Daniel Libeskind, it joins the existing building
remarkable moment in time, your company will be identified with
to nearly double the museum’s size and create an unparalleled art
and provide meaningful support for the museum’s most visible and
experience. The expanded museum complex will support the region’s
significant activities and programs.
most comprehensive collection of art, award-winning education
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DONATIONS
Corporate Partners
The great tradition of bringing art and business together has served our community well. The Denver Art Museum is world renowned for its diverse and innovative exhibitions, ground-breaking education programs, and extensive community outreach—all made possible through the generosity of our supporters.
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VOLUNTEERS Thanks to overwhelming support from the community, the museum is NOT currently adding any new volunteers. If you want to be put on our waiting list and contacted in the future for possible volunteer placement, email volunteer@denverartmuseum.org.
Docent Program Every few years, the museum trains volunteer docents to provide tours to adults and children. To be considered for the next class, which will take place in approximately 2012, send your name and contact information to volunteer@denverartmuseum.org.
Interships The DAM takes on a limited number of unpaid interns each year. To apply for an internship, send a cover letter and resumĂŠ to:Denver Art Museum, Attn: Human Resources, 100 W. 14th Avenue Parkway, Denver, CO 80204.
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JOBS & INTERSHIPS The museum is committed to equal employment opportunity and to recruiting staff that represents the diverse communities we serve. We welcome you to apply for employment and/or internship positions listed below.
Jobs To apply for an employment position, send your rĂŠsumĂŠ, cover letter, and references to the human resources department via e-mail (hrcoordinator@denverartmuseum.org), fax (720-913-2768), or mail: Denver Art Museum, Attn: Human Resources 100 W. 14th Avenue Parkway Denver, CO 80204
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Internships To apply for an internship position, follow application directions within the internship posting. No phone calls, please. Due to the number of applications we receive, we are not able to respond to individual inquiries about application status. Thank you for your patience.
JOBS & INTERSHIPS
Internship - Education Art History Research Position Purpose Education Art History Research Interns will be assigned to complete research on objects in the collection. The Education Department utilizes research done on objects in the collection as a basis for interpretive work as well as to compose informational papers for docent use. Essential Duties/Responsibilities Interns will be responsible for researching objects and writing papers and should have exemplary research and writing abilities. Interns will work part-time during the hours of 9am - 5pm, Monday - Friday. Education or Formal Training Currently enrolled in an undergraduate or graduate program in Art History, Education, Museum Studies, Studio Art or related field. Additional Information This is a part-time internship with no compensation. If you are interested in this position, please email the Denver Art Museum Education Administrator at ebuck@denverartmuseum.org for application.
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JOBS & INTERSHIPS JOBS & INTERSHIPS
Internship - Education Interpretation and Exhibition Position Purpose Education Interpretation and Exhibition Interns will assist in development of installed interpretive materials for adults and families related to exhibitions and permanent collections galleries. Areas will include written didactics, use of technology driven tools, interactives for adults, and activities for families and children. Essential Duties/Responsibilities Conducts Art History research on objects in the Permanent Collection. Researches current practices relating to interpretive material in other museums. Searches for and procures illustrative material for didactics a n d activities. Conducts visitor research including surveys and observations to determine effectiveness of interpretive material.Education or Formal Training Currently enrolled in an undergraduate or graduate program in Art History, Education, Museum Studies, Studio Art or related field.
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Experience Knowledge of Microsoft Office applications, Adobe Photoshop and scanning. Ability to write clearly and effectively. Ability to conduct effective research both online and in library. Additional Information This is a part-time internship with no compensation. If you are interested in this internship, please email the Denver Art Museum Education Administrator at ebuck@denverartmuseum.org for an application.
JOBS & INTERSHIPS
Internship - Family Programs
Position Purpose Family programs are designed to engage families in activities that relate to the art and further exploration and learning through in-gallery interpretive components, summer camps and classes, drop-in activities and events. Intern will be responsible for providing support to Family Programs staff including maintenance of in-gallery activities, support for family events as well as research projects. Essential Duties/Responsibilities Support Family Programs staff with on-site maintenance of in-gallery interpretive components. Assist Family Programs staff with planning and execution of family events. Assist with visitor research, including conducting visitor observations and surveys. Conduct research on specific family audiences within the Metro Denver area. Education or Formal Training Currently enrolled in an undergraduate or graduate program in Art History, Education, Museum Studies, Studio Art or related field.Additional Information This is a part-time internship with no compensation. If you are interested in this internship, please email the Denver Art Museum Education Administrator at ebuck@denverartmuseum.org for an application.
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SUPPORT GROUPS Essential Duties/Responsibilities Support Family Programs staff with on-site maintenance of in-gallery interpretive components. Assist Family Programs staff with planning and execution of family events. Assist with visitor research, including conducting visitor observations and surveys. Conduct research on specific family audiences within the Metro Denver area. Education or Formal Training Currently enrolled in an undergraduate or graduate program in Art History, Education, Museum Studies, Studio Art or related field. Additional Information Alianza De Las Artes Americanas
Asian Art Association
Alianza was created in 1989 to support the museum’s Pre-Columbian, Spanish colonial, and southwestern collections. Activities include lectures, social events, and visits to other museums and private collections. Alianza also offers a popular travel program. A quarterly newsletter keeps members abreast of Alianza activities and new developments in the field. For more information, call 720-913-0173 or visit alianza.denverartmuseum.org.
Founded in 1981 to support the acquisition and conservation programs of the Asian art department, the Asian Art Association (AAA) offers lectures, symposia, exhibits, and receptions to its members. These include the popular monthly Wednesday-at-Noon lectures. AAA members get to know each other better through local social events and trips to exhibitions and collections throughout the country. For more information, call 720-913-0040 or visit exhibits.denverartmuseum. org/asianart/aaa.
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Douglas Society
Friends of Painting & Sculpture
Named in honor of Frederic Huntington Douglas, the museum’s curator of native arts from 1929 to 1956 and one of the first scholars to present American Indian, Oceanic, and African objects as artistic achievements, the Douglas Society carries on his efforts in education and in the continual development of the native arts collection. Programs include lectures, visits with contemporary artists, trips to regional museums, and tours of private collections. Although the principal purpose of the Douglas Society is education, fundraising activities support acquisitions and an extensive library. For more information, call 720-913-0162 or visit www.douglassociety.org.
Develop your interest in European and American painting and sculpture and explore the art of the American West with others who share your enthusiasm. The FOPAS calendar brims with social and educational activities-lectures, exclusive tours, and excursions to exciting destinations. Proceeds from benefit events help fund acquisitions in the painting and sculpture department. For more information, call 720-913-0178.
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UNTITLED
Untitled is about offbeat encounters with art. Take a detour through the galleries with a neurologist, a cartographer, or a perfumer to see art through new eyes. Be crafty and strut your creative stuff. Get a good talking to from an art guru atop a soapbox. Groove to local sounds, take in some homegrown theatre, catch a Denver artist in action, and celebrate just how cool it is to live in this creative cow town. We throw it all into the mix (along with a healthy dose of the unexpected), then sit back with a beer to watch what happens. Come on, try it. Everyone. Rinse. Repeat. Every final Friday through September from 6 to 10.
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Tickets
Untitled is included with general admission to the museum. Show your valid student ID at the door and get two-forone admission. Sorry, ticketed exhibitions like The Psychedelic Experience aren’t included in general admission or the two-for-one offer.
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6/26 UNTITLED #22 (Ps & Qs) Untitled #22 (Ps & Qs) takes a close look at rituals, rites of passage, and put museum dos and don’ts up for debate. Details at untitled.denverartmuseum.org. Untitled is included with general admission to the museum, which is twofor-one with valid student ID during the event. Cash bar. Sponsored by Charles Schwab, Untitled’s Official Listening Partner. Made possible by the Scientific and Cultural Facilities District. Catering provided by Bistro Boys and Gourmet Fine Catering.
7/31 Untitled #23 (Old School) Untitled #23 (Old School) begs you to lace up the hi-tops and rev up the DeLorean for an epic ride through the museum’s collections. Details at untitled.denverartmuseum.org. Untitled is included with general admission to the museum, which is two-for-one with valid student ID during the event. Cash bar. Sponsored by Charles Schwab, Untitled’s Official Listening Partner. Made possible by the Scientific and Cultural Facilities District. Catering provided by Bistro Boys and Gourmet Fine Catering.
8/28 Untitled #24 (Crossbones) Untitled #24 (Crossbones) explores your morbid side. Details at untitled.denverartmuseum.org. Untitled is included with general admission to the museum, which is two-for-one with valid student ID during the event. Cash bar. Sponsored by Charles Schwab, Untitled’s Official Listening Partner. Made possible by the Scientific and Cultural Facilities District. Catering provided by Bistro Boys and Gourmet Fine Catering.
UNTITLED. UNCONVENTIONAL. UNEXPECTED 25
ART
modern&CONTEMPORARY
Linda FOXGAMES Quantum Cloud XXXIII
Linda Linda, an incredibly lifelike sculpture of a sleeping woman by John DeAndrea, is one of the most popular and frequently asked about works in the DAM collection. Below, conservator Jessica Fletcher responds to commonly asked questions about DeAndrea’s works. Linda, 1983, John DeAndrea. Funds from 1983 Collectors’ Choice, Dr. Charles & Linda Hamlin, Sheila Bisenius, Phyllis & Aron B. Katz, Jan & Frederick Mayer, Caroline & Rex L. Morgan, Gulf Oil Foundation, Marsha & Marvin Naiman, Joel S. Rosenblum Fund, and anonymous donors.
How does John DeAndrea make his sculptures look so lifelike? When John DeAndrea starts a sculpture, he makes molds from living models. For example, a school teacher named Linda was the model for the DAM’s sculpture entitled Linda. After he created molds from her body, he cast the sculpture using melted polyvinyl, a type of plastic resin. Through this process he captured every wrinkle, goose bump and nuance of Linda’s body, including the wrinkled soles of her feet.
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We all know that plastic will last forever in landfills, but what about when it is used for works of art? While plastic does not biodegrade in the same way as say, a paper towel, it is subject to chemical and structural deterioration. A very common problem with plastic includes separation out of the plasticizer (the component that keeps the plastic flexible). When this happens an oily residue may be felt on the surface, while the plastic itself becomes brittle. Female figure from Clothed Artist and Model (details), shown before conservation treatment in 1976 (left) and after treatment in 2002 (right). Another common problem is cross-linking of the polymer chains. This means that the combinations of molecules that make up a plastic join together in new ways that change its properties. Cross-linking can be accelerated by exposure to high light levels and elevated temperatures. Water and high humidity in the environment can also interact with elements of plastic forming a weak acid as a byproduct. Where is Linda when she isn’t on display in the gallery? When Linda is not on display in the gallery, she is kept in a special storage environment that helps slow down deterioration of the plastic and the paint layers. Temperature and humidity levels are kept stable, and she is covered with cloth to protect against light and dust. While the deterioration of art work made from plastic is unfortunately inevitable, the preventive steps taken at the DAM will go a long way towards preserving pieces such as Linda for the future.
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FOXGAMES
Fox Games, Sandy Skoglund Sandy Skoglund combines a full range of disciplines: theater to set the stage and cast of characters, sculpture to define the space, paint to create color, and photography to fuse the elements together. Fox Games is no exception, combining various elements and imagery to create a fantastic world. The installation depicts an invasion of gray foxes, sculpted in clay and cast in polyester resin, within a restaurant. The foxes prowl on and around red tables in an entirely red room. Every element of the installation—forks, knives, plates, dinner rolls, and even a squirrel in the mouth of one of the foxes—is painted red.
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Sandy Skoglund was born in Quincy, Massachusetts in 1946. Skoglund studied studio art and art history at Smith College in Northampton, Massachusetts from 1964-68. She went on to graduate school at the University of Iowa in 1969 where she studied filmmaking, intaglio printmaking, and multimedia art, receiving her M.A. in 1971 and her M.F.A. in painting in 1972. Skoglund moved to New York City in 1972, where she started working as a conceptual artist, dealing with repetitive, process-oriented art production through the techniques of mark-making and photocopying. In the late seventies Skoglund’s desire to document conceptual ideas led her to teach herself photography. This developing interest in photographic technique became fused with her interest in popular culture and commercial picture making strategies, resulting in the directorial tableau work she is known for today. Skoglund currently lives in Jersey City, New Jersey.
Where do you get the animals and 3-D objects you use in your pieces?
I make the animals myself. Most of the animals that are in my work are handmade. There are many found objects in my work that I get from the Salvation Army or department stores.
Are these only installations or are they considered a sculpture?
The work is an installation which is a three-dimensional room sized environment. The sculptures of the animals which I make and that go into the installation, I also consider to be sculpture. When I’m making a sculpture that’s going to go into an installation I look at it as I am making a sculpture and not props. I think that’s an important distinction that I do see the individual pieces in themselves as works of art.
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Do you photograph your pieces and then use the photographs as your art?
I photograph the pieces and installations myself. I don’t feel that since I took the photographs means that everything else is meaningless and that only the photograph is the work of art. I don’t think the taking of a photograph cancels out the meaning and impact of the thing that you photographed. I end up with a hybrid existence where the photograph represents the work in a certain way, and the installation represents the work in a certain way.
How do you determine the number of animals, fish or images to be used? The individual sculptures are often exhibited alone. The number of animals or fish that’s in the work is dependent upon the filling up of the space. I’m thinking about the space as photographic space or as being a rectangle that gets filled up by these shapes. In the end that gives me a goal and I usually overreach the goal.
What do you want the viewer to get from observing your work?
I want the viewer to remember the work visually and carry away an image in his or her mind’s eye.
In “Fox Games,” why is one fox gray?
In “Fox Games” the changing of one fox and painting it gray is meant to allude to the idea of camouflage. We see certain things first and second, based often on color. Camouflage also pertains to the issues of racism and sexism where physical appearance either causes someone to blend in with our consciousness or causes them to stand out in our consciousness.
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Quantum Cloud XXXIII “One cannot be certain whether the body is a condensation of the energy or the energy is an emanation of the body,” Antony Gormley says of his Quantum Cloud sculptures. He bases these sculptures on his own body. He finds a position, then stays completely still while assistants encase him in a cast. “The whole project is to make the work from the inside,” he says, “rather than manipulate it from the outside.”
Antony Gormley’s endeavour has been to make sculptures from within, placing his own body at the centre and having sculpture grow around it. Working in heavy material such as lead, cast iron and concrete, these down-to-earth materials are paired with the everpresent material of air, as necessary for the density of a sculpture as breathing is for man. In the last years Antony Gormley has worked with a series of sculptures called Quantum Clouds and Domains, leaving concerns with mass and solidity for the suggested and the immaterial that paradoxically still evokes an absolute presence. In Quantum Cloud XXXIII, 2000, a standing figure materialises from the cloud of metal bars as if being created within an energy field or is it breaking up and its matter being returned? Antony Gormleys sculptures can be seen as places, topoi, evoking a deeply existential experience. But what is a place in the quantum world a world that often seem out of reach both intellectually and physically, but still intriguing, bordering on the sublime? An earlier sculpture, Passage, 1993, is a low slab of concrete that hardly gives away its secret until the foot sole shaped holes in one end is found to give entrance to a winding cave travelling through the block. Inside is space for a body, an imprint reminis-
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cent of the casts made in Pompeii of the victims of the eruption of Vesuvius in 79 AD, a death mask in full figure but also a channelled vessel through which air and time can flow. In a recent work, Domain XVI, 2000, this hollowness sets the perimeter for the open stucture of metal bars which form the work. Again, the artist seems to turn his attention towards the energy inside the human body and to the unseen behind the skin. Iron constitutes a large part of the core of the planet earth. Without iron, it would not have the particular qualities that life requires. Antony Gormley, who seems to search for the basics of being, uses cast iron for some of his dense pod-like sculptures giving them gravity, concentration and a bond to the core of the earth that no other material would. Antony Gormley was born in London, 1950. In 1968-1973 he studied Archaeology, Anthropology and the History of Art at Trinity College, Cambridge. After extensive travels primarily to the near and middle east, and to India where he studied Vipassana meditation together with S.N. Goenka, he returned to England in order to take up studies in sculpture at Goldsmiths College in London. In 1979 he completed his post-graduate studies in sculpture at the Slade School of Fine Arts. His characteristic body-work sculpture that he developed together with his wife, the painter Vicken Parsons, brought him to the forefront of a generation of celebrated British artists who emerged during the 1980s. He has exhibited works around the world and has major public works on display in the USA, Japan, Australia, Norway, Britain and Ireland. In 1997 he made a large-scale installation, Another Place, in Cuxhaven as part of “Follow Me: British Art on the Lower Elbe�, a group show curated by Eckhart Schneider. The installation has also been seen in Stavanger, Norway. In the same year he also made the installation Total Strangers at the Cologne Kunstverein. In 1994 he won the prestigious Turner Prize. He has shown several times at Galerie Nordenhake in Stockholm since 1991
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VISIT US
Location & Hours Parking Shopping & Dining Special Services
Location & Hours Tuesday–Thursday 10 am–5 pm Friday 10 am–10 pm* Saturday 10 am–5 pm Sunday Noon–5 pm Monday Closed *Hamilton Building only, including The Psychedelic Experience exhibition. The North Building closes at 5 pm. Holidays The museum is closed on major holidays, including Fourth of July, Thanksgiving and Christmas. Location We’re part of the Civic Center Cultural Complex, located on 13th Avenue between Broadway and Bannock in downtown Denver.
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Driving Directions The DAM is located on 13th Avenue between Broadway and Bannock. Our street address is 100 W 14th Ave Pkwy, Denver, CO 80204. From the South Drive north on I-25 to the Lincoln-Broadway exit (207). Go north on Lincoln and turn left at 12th Avenue. The Civic Center parking garage is two blocks ahead, just past Broadway. From the North Drive south on 1-25 to the Speer Boulevard South exit (212). Continue on Speer Boulevard past Colfax Avenue, then turn left onto 14th Avenue. The museum is six blocks ahead. To park in the garage, continue for one block and turn right onto Broadway, then right onto 12th Avenue. From the West Driving east on I-70, take the US-6 East/West 6th Avenue exit (261). After several miles, US-6 freeway becomes a one-way street. Turn left onto Lincoln Street. You are now approaching from the south. Proceed to 12th Avenue and turn left to reach the parking garage, which is just past Broadway. From the East Head south on 1-25 to the Speer Boulevard South exit (212). Continue on Speer Boulevard past Colfax Avenue, then turn left onto 14th Avenue. The museum is six blocks ahead. To park in the garage, continue for one block and turn right onto Broadway, then right onto 12th Avenue. Public Transportation You can reach the museum from anywhere in the metro area via RTD, the Regional Transportation District. For bus and light rail information, visit www.rtd-denver.com. For more information, call 720-865-5000.
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Parking Cultural Complex Garage The most convenient place to park, the garage at 12th Avenue and Broadway, opens daily at 6 am. Enter the garage from 12th Avenue just west of Broadway. Parking rates, which start at $1 per hour, are posted inside the entrance. Handicap Parking Designated accessible parking is available in the garage and at metered spaces along 13th and 14th Avenues. Parking Lots & Meters Several unattended parking lots and hundreds of metered parking spaces are located within walking distance of the museum. Transportation Options 16th Street Mall Shuttle Park anywhere downtown and take the free 16th Street shuttle to the museum. Get off at Cleveland Place, then walk south through Civic Center Park. For details, visit www.downtowndenver.com. Public Transportation You can reach the museum from anywhere in the metro area via the Regional Transportation District. For RTD bus and light rail information, including park-and-ride locations, visit www.rtd-denver.com.
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Shopping & Dining Looking for a souvenir or unique gift? Browse the exhibition catalogs, art books, jewelry, and fine gifts in the Museum Shop, which has two locations—on level one of both buildings. Members receive a 10 percent discount. LookClickPrint The shop offers custom reproductions of the most popular artworks in the museum’s collection at www.lookclickprint. com.
DAM Gift Cards Gift cards are redeemable for merchandise in the Museum Shop. Cards are valid for two years, may not be redeemed for cash, and are not eligible for refunds or exchanges. To check your gift card balance, visit www.givex.com or call 1-866-7944839. Palettes Restaurant Located in the North Building, Palettes offers fine American cuisine in an elegant setting. For hours and reservations, visit www.ktrg.net or call 303-534-1455. Mad Greens Inspired Eats This locally grown fast-casual restaurant is located on Martin Plaza, directly across from the museum’s main entrance. Mad Greens’ signature inspired salads, soups, and paninis make an ideal lunch. Or enjoy a variety of wines and artisan cheeses from the bar. For more information, visit www.madgreens.com.
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Special Services At the Denver Art Museum, we want everyone’s visit to be a pleasure. If you have special needs or require access services, please call 720-913-0059 one week prior to your visit. The Psychedelic Experience Want to take a closer look at the rock posters in The Psychedelic Experience? Magnifying sheets are available at the exhibition entrance for use by the vision impaired. Families Small children in strollers and baby backpacks that don’t extend above the parent’s head are welcome throughout the museum. A limited number of strollers are available for check out at our welcome centers, which are located in both buildings. Family restrooms with changing tables are located on level one of the North Building and on every level of the Hamilton Building except four. Pick up our Free Things for Kids brochure at any museum welcome center for information on special kids areas, games, and activities. Access Services The DAM is fully accessible, and free wheelchairs are available at welcome centers on a first-come, first-served basis. Adaptive and interpretive services, like sign-language tours, are available with one week’s notice. To make arrangements, call 720-913-0059. For more information on services for people with special needs, e-mail access@denverartmuseum.org.
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DENVER ART MUSEUM
100 W 14th Ave Pkwy, Denver, CO 80204. It takes more than great art and architecture to have an incredible museum experience.