Karen Cleaver, Thunbergia mysorensis, watercolor on paper.
Artworks from the Gardens’ Botanical Illustration Certificate Program are being featured in an offsite exhibition at Republic Plaza in Botanica Spectaculum II, in Celebration of Earth Day. The show includes botanical-themed works from 22 local artists, curated by Andra Archer, and 17 works from students and instructors of the Botanical Illustration program, curated by Mervi Hjelmroos-Koski, Manager of Botanical Art & Illustration.
Join the artists at an opening reception at Republic Plaza on Friday, March 18, 2011, 5:30 – 7:30 p.m.
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Melanie Yazzie, By the Pond, acrylic on canvas, 60" x 48", 2011.
Story Keeper: Works by Melanie Yazzie marks the start of an innovative, year-long look at contemporary Native arts that explores ideas and issues facing today’s American Indian communities.
At this gallery talk, local artist Melanie Yazzie (Dineh, the term Navajo use to identify themselves) shares stories of her artistic process and talks about the plants she found throughout the Gardens that inspired this new body of work.
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In support of the exhibition Native Roots | Modern Form: Plants, Peoples & the Art of Allan Houser (opening May 1, 2011), the Gardens is partnering with the International Institute for Indigenous Resource Management (IIIRM) to present a year-long film series highlighting indigenous voices and issues from around the world. Films are free with a suggested donation of $5. Doors open at 6:30 p.m.
Films showing at the Gardens in Gates Hall Wednesday, Feb. 23, 7 p.m. :
Te Whare (The House) (New Zealand) and The Artists of Ali Curung (Australia)
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Planting Seeds in the Dirt at Wide Ruins, acrylic on canvas, 30" x 30", 2010.
Story Keeper: Works by Melanie Yazzie marks the first of an innovative, year-long look at contemporary Native arts that explore ideas and issues facing today’s American Indian communities.
This new body or work created by Melanie Yazzie (Dine, the term Navajo use to identify themselves) tells plant-inspired stories. While colorful and whimsical, her work has serious undertones, and references Native post-colonial dilemmas. She often brings images of indigenous women to the forefront, alluding to matrilineal systems and pointing to the possibility of female leadership.
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Mon, Jan. 31 the monumental sculptures of Henry Moore will start to be craned and crated and begin their long journey back to Moore’s estate at Perry Green in the countryside of England. The sculptures start getting packed up on Monday, but they’ll still be here. Today or tomorrow are the best days to visit – especially given the weather!
Reclining Figure at sunset at Henry Moore's estate in Perry Green.
It will take nearly two weeks to prepare the 100,000 lbs. of sculpture for the first leg of the journey from Denver, CO to the east coast at the New Jersey port.
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In support of our upcoming 2011 exhibition, Native Roots | Modern Form: Plants, Peoples & the Art of Allan Houser (opening May 1), the Gardens has partnered with the International Institute of Indigenous Resource Management (IIIRM) to present a year-long film series highlighting indigenous voices and issues from around the world.
All films are free to the public with a suggested donation of $5 to support public programming at IIIRM and Denver Botanic Gardens. Tonight kicks off this monthly film series with the award-wining Israeli documentary, The Film Class.
The Film Class (trailer)
directed by Uri Rosenwaks: Ruth Diskin Films (53 min., 2006)
A filmmaking class in the Bedouin town of Rahat in Israel’s Negev Desert becomes a life-changing experience for a group of Black Bedouin women. The director, hired to teach a filmmaking class, begins with the basics of how to use the equipment, but as the women talk about the discrimination they face on a daily basis from White Bedouins, he begins to ask questions about their roots that they cannot answer.
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As the chill in the air finally gives way to snow, you may be feeling too snugly to get outside and see Moore in the Gardens. Whether you’re on a visit to see the Gardens in their winter glory or are reading this on your couch with a cup of tea in hand, here are 5 ways to stay warm and experience the majestic works of Henry Moore.
- Henry Moore, Locking Piece, 1963-64. Reproduced by permission of the Henry Moore Foundation. Photo by Scott Dressel-Martin
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“Sculpture should always at first sight have some obscurities, and further meanings. People should want to go on looking and thinking; it should never tell all about itself immediately.” – Henry Moore, 1968
The impressive and seamless interaction of Henry Moore’s sculptures with the landscape of the Gardens gives the impression that Moore (1898-1986) had been working intently with form and landscape from the early days of his art career. However, it wasn’t until he was nearly 50 years old during the end of World War II that he began to focus on creating sculpture for landscape, and it wasn’t until he was well into his 60s that he began to reference natural objects in his sculpture work.
"Goslar Warrior" (LH 641, 1973-74) Reproduced by permission of the Henry Moore Foundation. Photo by Scott Dressel-Martin.
After losing his home and studio in London to damages from air raids, Moore and his wife moved to Perry Green at Hertfordshire in 1940. The lush rolling hills enveloped by the Chestnut and Beech trees became inspiration for Moore to focus on creating dialogue between sculpture and landscape and a source for working pure, organic forms into his work.
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