A new exhibit at the Denver Art Museum transforms a celebrated space into a multi-dimensional canvas

In October of 2006, the Denver Art Museum (DAM) opened its doors to a long-awaited and muchtouted extension: the Frederic C. Hamilton Building, designed by the internationally renowned architect Daniel Libeskind. Despite critics’ claims that the building’s tilting walls and vertiginous spaces would prove unsuitable for art, local enthusiasm— along with the architect’s unique vision—prevailed. The museum erected vertical partitions to hang art, and built low-lying barriers to help visitors navigate the space.

Now the museum has plans to leverage these odd angles in an entirely new way. In preparation for this winter’s Embrace! Exhibit, Chief Curator Christoph Heinrich commissioned temporary works from 17 renowned artists—each made specifically for (and constructed largely within) the non-traditional galleries of the Hamilton Building. The group includes artists from seven countries, including American conceptual artist Lawrence Weiner and African artist El Anatsui.

Art museums worldwide are hoping to bridge the gap between visitors and art; think iPod tours and participatory exhibitions. So, with this in mind, DAM welcomed visitors to observe the artists at work prior to the opening of the exhibition. Art enthusiasts could observe as American artist Nicola Lopez assembled an array of prints into a dramatic sculpture, or look on as Katharina Grosse air-brushed a four-story mural on a slanting museum wall. On the second level, interested viewers were invited to reflect on Zhong Biao’s creative process using hand-held mirrors as the artist made large-scale drawings—or watch Denver-based artist Rick Dula make a trompe l’oeil painting that imagines one of the gallery walls peeled back.

Some artists opted to integrate the public more directly in the process; Timothy Weaver—also a professor at the University of Denver—collaborated with four of his Electronic Media Arts Design students to make an interactive, multi-sensory environment on the fourth floor. German artist Rupprecht Matthies worked with local community groups to cull words for use in his multi-media contribution.

But regardless of medium and location, what Heinrich imagines is not so much an installation but a genuine communication between art and architecture. “Each [artist] has presented a very individual way to embrace these unique spaces. We look forward to seeing how their work will transform the museum and connect visitors with living, breathing artists.” For schedules and tickets, visit www.denverartmuseum.org.