Pintura expresionista abstracta con formaciones de color oscuro a la izquierda y formaciones de color amarillo intenso a la derecha
Image Credit

Mark Bradford (estadounidense, 1961)Realness (Realidad), 2016. Técnica mixta sobre lienzo, 108 1/8 x 168 1/2 pulg. Denver Art Museum: Obra adquirida con fondos de donantes anónimos, fondos suministrados por Vicki y Kent Logan mediante intercambio, Baryn, Daniel y Jonathan Futa, Craig Ponzio, Ralph L. and Florence R. Burgess Trust, DAM Contemporaries, Volunteer Endowment Fund, Suzanne Farver y Clint Van Zee, Andrea y William Hankinson, Amy Harmon, Arlene y Barry Hirschfeld, Lu y Chris Law, Sharon y J. Landis Martin, Tina Patterson y Bill Cottingham, Amanda J. Precourt, Judy y Ken Robins, Annalee y Wagner Schorr, Ellen y Morris Susman, Tina Walls y Margaret y Glen Wood, Préstamo temporal, 28/11/2016, Obra adquirida con fondos de donantes anónimos, Vicki y Kent Logan, Baryn, Daniel y Jonathan Futa, Craig Ponzio, Ralph L. and Florence R. Burgess Trust, DAM Contemporaries, Suzanne Farver y Clint Van Zee, Andrea y William Hankinson, Amy Harmon, Arlene y Barry Hirschfeld, Lu y Chris Law, Sharon y J. Landis Martin, Tina Patterson y Bill Cottingham, Amanda J. Precourt, Judy y Ken Robins, Annalee y Wagner Schorr, Ellen y Morris Susman, Tina Walls y fondos de varios donantes mediante intercambio, 2017.29A-B Cortesía del artista y de Hauser & Wirth © Mark Bradford

Arte Moderno y Contemporáneo

Explora la colección

Mark Bradford (estadounidense, 1961)Realness (Realidad), 2016. Técnica mixta sobre lienzo, 108 1/8 x 168 1/2 pulg. Denver Art Museum: Obra adquirida con fondos de donantes anónimos, fondos suministrados por Vicki y Kent Logan mediante intercambio, Baryn, Daniel y Jonathan Futa, Craig Ponzio, Ralph L. and Florence R. Burgess Trust, DAM Contemporaries, Volunteer Endowment Fund, Suzanne Farver y Clint Van Zee, Andrea y William Hankinson, Amy Harmon, Arlene y Barry Hirschfeld, Lu y Chris Law, Sharon y J. Landis Martin, Tina Patterson y Bill Cottingham, Amanda J. Precourt, Judy y Ken Robins, Annalee y Wagner Schorr, Ellen y Morris Susman, Tina Walls y Margaret y Glen Wood, Préstamo temporal, 28/11/2016, Obra adquirida con fondos de donantes anónimos, Vicki y Kent Logan, Baryn, Daniel y Jonathan Futa, Craig Ponzio, Ralph L. and Florence R. Burgess Trust, DAM Contemporaries, Suzanne Farver y Clint Van Zee, Andrea y William Hankinson, Amy Harmon, Arlene y Barry Hirschfeld, Lu y Chris Law, Sharon y J. Landis Martin, Tina Patterson y Bill Cottingham, Amanda J. Precourt, Judy y Ken Robins, Annalee y Wagner Schorr, Ellen y Morris Susman, Tina Walls y fondos de varios donantes mediante intercambio, 2017.29A-B Cortesía del artista y de Hauser & Wirth © Mark Bradford

Overview

Desde su fundación en 1978, el Departamento de Arte Moderno y Contemporáneo ha evolucionado desde sus humildes inicios para convertirse en una colección de más de 7,000 obras de arte creadas entre 1900 y la actualidad. Las fortalezas de la colección histórica incluyen la representación de artistas de la Escuela de París, el círculo de artistas de Alfred Stieglitz y el surrealismo. La distinguida colección de mediados de siglo incluye obras de Robert Motherwell y Herbert Bayer, así como pinturas de artistas pioneras del expresionismo abstracto. Entre los artistas contemporáneos de fama internacional encontramos nuevos pintores alemanes, jóvenes artistas británicos, así como artistas chinos, latinoamericanos y estadounidenses.

Highlights

El museo comenzó a celebrar el arte de su tiempo coleccionando obras a principios del siglo XX de Frederic Remington, Henri Matisse y Aristide Maillol, adquiridas pocos años después de su creación. El objetivo principal del departamento es adquirir obras de arte que “cuenten la historia de nuestros tiempos a través de la colección”. En consecuencia, la colección ha crecido gracias a una combinación de donaciones, legados y adquisiciones.

La Colección Charles Francis Hendrie Memorial Collection, ampliada por las donaciones de su nuera Marion Hendrie, proporcionó los cimientos para el modernismo temprano. Este amplio grupo de obras de arte, cuya accesión se realizó entre 1950 y 1966, incluye ciento cincuenta ejemplares modernos de la Escuela de París, el expresionismo alemán y el modernismo estadounidense. El legado de 75 objetos modernos por parte de T. Edward y Tullah Hanley amplía aún más esta área de coleccionismo. La colección también cuenta con obras de Wassily Kandinsky, Paul Klee y Hebert Bayer, que fueron líderes en el desarrollo del modernismo europeo y enseñaron en la Bauhaus. El alcance de la Colección Herbert Bayer, donada por Herbert y Joella Bayer, permite al museo presentar la influencia de la Bauhaus en Estados Unidos.

En 1944, un grupo de benefactores con conciencia cívica adquirió veinticuatro obras de arte de Robert Motherwell, entre ellas, collages, pinturas y dibujos de la Dedalus Foundation, fundada por el artista. El museo ha priorizado la adquisición de pinturas de artistas mujeres del expresionismo abstracto, incluida la magistral Bullfight (Corrida de toros) (1959) de Elaine de Kooning y Dune (Duna) (1970) de Joan Mitchell .

Más recientemente, los benefactores del museo se han unido para adquirir o donar significativas obras de arte contemporáneo a la colección. Entre los benefactores se encuentran la Alliance for Contemporary Art / DAM Contemporaries, Cathey y Richard Finlon, Baryn, Daniel y Jonathan Futa, Lucille y Donald Graham, la fundación NBT Foundation, Kimiko y John Powers, y Nancy M. y Donald F. Todd.

El arte conceptual y el arte de los nuevos medios experimentaron un crecimiento sin precedentes, con más de 500 donaciones de Polly y Mark Addison. Además, la fundación Eleanor and Henry Hitchcock Foundation apoyó el crecimiento del amplio y profundo foco en dibujos de los maestros estadounidenses del museo. En 2001, se aseguró una donación transformadora por parte de Vicki y Kent Logan, que ha resultado en cuantiosas donaciones al museo cada año. Es el visionario liderazgo de los Logan , junto con el leal mecenazgo y el valeroso coleccionismo de otros, lo que ha distinguido a la colección por medio de numerosas donaciones destacadas y el apoyo a los proyectos del departamento.

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Abstract black and white paintings with intersecting shapes crossing over each other

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Obras destacadas de la colección

Portrait de Femme

Amedeo Modigliani

Portrait de Femme

Amedeo Modigliani
Portrait de Femme, 1918
Oil on canvas
29 3/4 x 23 7/8 x 2 1/4 in. framed
Denver Art Museum Collection: The Charles Francis Hendrie Memorial Collection, 1966.180
Image courtesy of the Denver Art Museum

School Days

Robert Colescott

School Days
Robert Colescott; School Days; 1991.56 School Days is a rich, dense narrative painting that deals with interracial inequality and tension by juxtaposing white and black stereotypes. Neither group is depicted in a flattering light. “Unfortunately, stereotypical images are part of the American heritage,” Colescott writes. “I had to come to terms with it for myself, ultimately controlling the images by making them say some things for me. First I made these paintings and drawings as messages from myself to myself, getting in touch with my own fears, frustration, anger…I have no doctrine. I want to talk about the foolishness of it all. I want to encourage people to relate [to] rather than to punish one another.” (Text from The First Hundred Years)

Robert Colescott, School Days, 1988. Acrylic paint on canvas; 90 1/2 x 114 1/4 in. Denver Art Museum: Funds from NBT Foundation, 1991.56. © Estate of Robert Colescott

colorado mural

Herbert Bayer

colorado mural
Bauhaus master Herbert Bayer championed a new direction in modern American art and design. He lived in Colorado for 28 years—some of the most productive and influential years of his career. When he left Colorado for California, he gave the Denver Art Museum the beginning of what would become the largest public collection of his work anywhere. The collection demonstrates the breadth of his work in all media and his lifetime commitment to the Bauhaus ideal of total design. In the 1940s, Bayer became fascinated by the inner structure of mountains, particularly the movements within the earth’s crust. This painting depicts an abstract vision of both the inside and outside of a mountain, including its snow-covered peak.

Herbert Bayer
Colorado Mural, 1948
Oil paint on canvas
Gift of the Estate of Herbert Bayer, 1986.1917

Untitled

Nick Cave

Untitled

The soundsuits are a product of Cave’s ongoing hunt for flea/thrift-market finds, his daring use of ordinary objects, and his homage to handcrafted textiles. Cave’s inclusion of everyday objects, like we see in the piece, such as vintage toys and textiles makes his work accessible to a wide audience while also questioning society’s valuing of these often discarded everyday objects. Usually the soundsuits have a front and back but in this more recent work, he has contrasted these opposing sides on opposite sides of a seesaw.  This duality represents a double identity in Cave’s work that illustrates his interest in creating a metaphor for our ability for change or, as Cave puts it, to “step out of ourselves.” Built from an accumulation of found objects, the suits also become a mirror of our culture’s excess. The once-discarded surplus of society is transformed into objects of desire and human proportions. 

Cave has been a pioneer among a growing number of artists who have been exploring the intersection of craft, performance art, and fine art since the turn of the twenty-first century. He received his BFA from the Kansas City Institute of Art in 1982 and MFA from Cranbrook Academy of Art in 1989.

Nick Cave, Untitled, 2013. Mixed media, including mannequin, fabric, hot pads, vintage toys, synthetic hair and seesaw. Denver Art Museum: Purchased with Modern and Contemporary acquisition funds and the support of Vicki and Kent Logan, 2013.76A-F. © Nick Cave. Photo by James Prinz Photography. Courtesy of the artist and Jack Shainman Gallery, New York.

 

Made in China

Sui Jianguo

Made in China

In the early 1990s, Sui Jianguo began precisely recreating tiny toy dinosaurs, but in monumental proportions. He conceived of his huge dinosaurs after visiting Shenzen, the Chinese city where these toy dinosaurs are mass-produced. The artist transforms these cheap, plastic objects into monumental works of art. The phrase “Made in China”—featured prominently on the dinosaur’s stomach— is well-known. In fact, “Made in China” is more recognizable than any Chinese brand name. Sui Jianguo’s work participates in the politics of high art and consumerism and raises questions about what has value, who is selling, and who is buying?

 Sui Jianguo (Chinese), Made in China, 2005; edition 1 of 4. Painted fiberglass; 78 ¾ x 40 1/8 x 72 7/8 in. Gift from Vicki and Kent Logan to the Collection of the Denver Art Museum, 2011.357. © Sui Jianguo.

Africa No. 2

Robert Motherwell

Africa No. 2

Approved, abbreviated caption:
Robert Motherwell, Africa No. 2, 1964–65. Acrylic paint on canvas. Acquired in memory of Rex L. Morgan through the generosity of the Dedalus Foundation and the following donors: Florence R. & Ralph L. Burgess Trust, Laurencin Deaccessions Fund, Vance Kirkland Acquistions Fund, and the Marion G. Hendrie Fund. © Dedalus Foundation, Inc./Licensed by VAGA, New York, NY.

Remaining donor line to include, if needed:
Major memorial gifts from Joan E. Anderman, Mr. and Mrs. Hugh R. Catherwood, Mr. and Mrs. John B. Chafee, Mr. and Mrs. Thomas E. Congdon, Mr. and Mrs. Cortlandt S. Dietler, Suzanne Farver, Katherine L. Lawrence, Jan and Frederick Mayer, Caroline Morgan, Linda Ringsby, Mr. and Mrs. Walter S. Rosenberry III, Sally H. Story, and three anonymous donors. Additional funding from the Motherwell Angels: Mark and Polly Addison, Philip and Nancy Anschutz, Nancy Lake-Benson, H. Kirk Brown III, Robin and Steven Chotin, Colorado National Bank, John and Lisa Dorn, William L. and Dr. Margaret B. Dorn, Mr. and Mrs. Lewis W. Douglas Jr., Duncan Oil Inc., First Interstate Bank of Denver, Charles and Diane Gallagher, Dorothy Strear Goodstein, Diane and Bob Greenlee, Fred and Jane Hamilton, Dr. Charles and Linda Hamlin, Mark and Diana Hayden, Hinckley & Schmitt Inc., J. Charles Jordy Jr., Key Bank of Colorado, Elizabeth T. Kirkpatrick, Amie Knox and Jim Kelley, Mr. and Mrs. William C. Kurtz, Edward and Margaret Leede, Susan and John W. Madden III, Jan and Frederick Mayer, McClain-Finlon Advertising Inc., Lilly and Paul Merage, Larry and Carol Mizel, Andrea Pollack, Priscilla Press and Joel Ehrlich, Judy and Ken Robins, Barbara and George Schmitt, Tremont Corporation, Vail Valley Arts Council, Ginny Williams, and Robbi and Carl Williams. 1994.1141

Nature morte à la bouteille de Bordeaux (Still life with a bottle of Bordeaux)

Juan Gris

Nature morte à la bouteille de Bordeaux (Still life with a bottle of Bordeaux)
Juan Gris Nature morte a la bouteille de Bordeaux (Still life with a bottle of Bordeaux) painting 1919 canvas, oil paint Oil on canvas Ch/Grant checklist FH: 40in; FW: 33.75in; FD: 4.125in; IH: 32in; IW: 25.5in Gift of Marion G. Hendrie, 1966.176 Juan Gris was an early convert to Cubism, and often went to the studio Pablo Picasso and Georges Braque shared from 1908 until 1912. From 1916-1919, after extensive work in papiers collés (cut paper collage), Gris undertook a systematic analysis of the Cubist style. He reduced the number of objects represented and used fewer simultaneous views, resulting in flat but legible forms. Gris described the works from this period as “flat colored architecture.”

Juan Gris, Nature morte à la bouteille de Bordeaux (Still life with a bottle of Bordeaux), 1919. Denver Art Museum: Gift of Marion G. Hendrie, 1966.176

Two Sisters

Henri Matisse

Two Sisters

Henri Matisse was a French artist known for his boldly colored compositions and his fame among the Fauvist art movement. Matisse constantly strived to simplify his forms, emphasizing contour and eliminating modeling. His forms were designated by flat planes of color in landscapes without perspective. Following trips to Morocco in early 1913 and Nice in 1916, Matisse painted a number of studies with his model Lorette along with her sister or sisters in oriental costume. The portrait of Lorette and her sister, Two Sisters, relates to these paintings done in southern France and Morocco but without costumes.

Henri Matisse, Two Sisters, 1917, Oil on canvas, 23 1/8 x 28 1/4 in. Denver Art Museum: Gift of Horace Havemeyer for the William D. Lippitt Memorial Collection by exchange, 1950.42. © 2023 Succession H. Matisse / Artists Rights Society (ARS), New York

The Bright Breakfast of Minnie

Marsden Hartley

The Bright Breakfast of Minnie

Marsden Hartley, The Bright Breakfast of Minnie, 1915. Oil paint on cardboard, Denver Art Museum: Gift of Morton D. May, 1952.51

 

Quantum Cloud XXXIII

Antony Gormley

Quantum Cloud XXXIII
Using materials like lead, dirt, and, here, stainless steel rods, British sculptor Antony Gormley makes sculptures of the body (often his own) to investigate the many aspects of the human condition. His Quantum Cloud series departs drastically from earlier male figures cast in lead or modeled from dirt. In Quantum Cloud XXXIII, a near-bodiless arrangement of floating rods explodes into the world around it.

Antony Gormley, Quantum Cloud XXXIII, 2000. Stainless steel; 128-3/8 x 105 x 60-1/4 in.
Denver Art Museum: Funds from NBT Foundation in honor of Lewis I. Sharp, 2001.43. © Antony Gormley

Mask Series No. 10

Zeng Fanzhi

Mask Series No. 10

Masks became powerful symbols for Zeng Fanzhi, who used them to explore individuality and express the alienation he experienced when he moved to Beijing. “I saw myself in that mask, saw that in my heart there were a lot of complexities,” he said.

The masks might imply that the figures are concealing their true selves, but Zeng’s statement suggests more complicated realities of human existence. Given their clothing, postures, and masked expressions, what story do you think Zeng is telling? 

 

 

© Zeng Fanzhi

Zeng Fanzhi, Mask Series No. 10, 1998. Oil paint on canvas; 70 ¾ x 78 ¾ in. Gift from Vicki and Kent Logan to the Collection of the Denver Art Museum, 2001.888.  © Zeng Fanzhi

Department Staff

Rory Padeken, Vicki and Kent Logan Curator of Modern and Contemporary Art
Rory Padeken came to the DAM from the San José Museum of Art. For more than a decade, he worked to develop cross-disciplinary exhibitions and programs that encourage creative and critical thinking. His curatorial work is centered on advocacy for artists, expanding the narratives of modern and contemporary art through key acquisitions for the collection, and the critical examination of timely social issues. Notable exhibitions and projects included an exploration of Vietnamese and Vietnamese American stories of war and migration through Dinh Q. Lê’s video installations; a workshop on racial justice with artist Glenn Kaino; the critically-acclaimed exhibition Border Cantos: Richard Misrach | Guillermo Galindo, which addressed the humanitarian crisis at the Mexico-US border; the first major U.S. solo exhibition of video animations and drawings by Tabaimo from Japan; and the first solo museum exhibition and scholarly catalogue on the work of Jean Conner.

Danielle Stephens, Senior Interpretive Specialist
As a Senior Interpretive Specialist in the department of Learning and Engagement at the Denver Art Museum, Danielle Stephens specializes in the development of interpretive materials for the museum’s collections and special exhibitions. This includes labels, audio guides, videos, and participatory experiences that encourage visitors to create, share, and connect with each other and the work on view. She also hosts community advisory committees, conducts visitor evaluations, trains volunteer docents, leads gallery tours, and works with cross-departmental staff to deliver live programming related to the collection.

Since joining the DAM in 2013, Danielle has served as the interpretation lead for Jordan Casteel: Returning the Gaze, Shade: Clyfford Still/Mark Bradford, Mi Tierra: Contemporary Artists Explore Place, Audacious: Contemporary Artists Speak Out, and Women of Abstract Expressionism. Prior to the DAM, Danielle worked as the Docent Program Manager at the Museum of Fine Arts, Houston and the Education Curator at the Aspen Art Museum. Danielle has her bachelor of fine arts from the University of Oklahoma in art history and photography, and a master’s in art history from Southern Methodist University.

Hadia Shaikh, Curatorial Assistant
Hadia Shaikh is the Curatorial Assistant for Modern and Contemporary Art. Shaikh has over a decade of experience working in museums, arts spaces, and community organization. She has held positions at Indianapolis Museum of Contemporary Art, Museum of Contemporary Art Chicago, and The Block Museum of Art, Northwestern University. Shaikh completed her master of arts degree in museum studies at Indiana University Purdue University – Indianapolis and her bachelor of arts in art history at Herron School of Art and Design. She previously worked on Aao Mil through Spaceshift Collective, dedicated to amplifying South Asian artists and voices. Her writing has been published in NUVO and Newcity Art.

Publicaciones

El Departamento de Arte Moderno y Contemporáneo del Denver Art Museum publica catálogos, guías de las colecciones y folletos que profundizan en las significativas exposiciones y objetos de las colecciones. A continuación, encontrarás una lista de publicaciones clave que sirve de registro académico para el historial de exposiciones y coleccionismo del museo. Estas publicaciones, que dan cuenta del compromiso del museo con el estudio académico y la interpretación, proporcionan la oportunidad de enriquecer las experiencias de la visitantes y de los públicos lejanos.

  • Jordan Casteel: Returning the Gaze (Jordan Casteel: devolviendo la mirada). Rebecca R. Hart. Denver Art Museum, 2019.
  • Mi Tierra: Contemporary Artists Explore Place / artistas contemporáneos exploran el concepto de lugar. Rebecca R. Hart. Denver Art Museum, 2017.
  • Women of Abstract Expressionism (Mujeres del expresionismo abstracto). Editado por Joan Marter; Gwen Chanzit, curadora. Denver Art Museum en colaboración con Yale University Press, 2016.
  • Nick Cave: Sojourn (Nick Cave: estadía). Kyle MacMillan y William Morrow. Denver Art Museum, 2013.
  • Collecting Ideas: Modern & Contemporary Works from the Polly and Mark Addison Collection (Coleccionando ideas: obras modernas y contemporáneas de la Colección Polly y Mark Addison). Nancy B. Tieken. Denver Art Museum, 2013.
  • Companion to Focus: Robert Motherwell de la colección (Guía complementaria para Foco: Robert Motherwell de la colección). Nancy B. Tieken. Denver Art Museum, 2011.
  • Companion to Focus: The Figure, Art from the Logan Collection (Guía complementaria para Foco: la figura, arte de la Colección Logan). Nancy B. Tieken. Denver Art Museum, 2011.
  • Overthrown: Clay Without Limits. Volumes I and II (Superación: la arcilla sin límites. Volúmenes I y II). Gwen Chanzit. Denver Art Museum, 2011.
  • Companion to Blink! Light, Sound and the Moving Image (Guía complementaria para ¡Pestañea! Luz, sonido y la imagen en movimiento). Jill Desmond. Denver Art Museum, 2011.
  • Embrace! Volumes I and II (¡Adóptalo! Volúmenes I y II). Christoph Heinrich, Denver Art Museum, 2009–2010.
  • RADAR: Selections from the Collection of Vicki and Kent Logan (RADAR: selecciones de la Colección de Vicki y Kent Logan). Dianne Perry Vanderlip, Gwen Chanzit, et al. Denver Art Museum, 2007.
  • From Bauhaus to Aspen: Herbert Bayer and Modernist Design in America (De la Bauhaus a Aspen: Herbert Bayer y el diseño modernista en Estados Unidos). Gwen F. Chanzit. Boulder: Johnson Books, 2005.
  • The View from Denver: Contemporary American Art from the Denver Art Museum (La vista desde Denver: arte estadounidense contemporáneo del Denver Art Museum). Dianne Perry Vanderlip et al. Denver Art Museum/Museum moderner Kunst Stiftung Ludwig Wien, 1997.
  • Visions of America: Landscape as Metaphor in the Late Twentieth Century (Visiones de Estados Unidos: el paisaje como metáfora a finales del siglo XX). Nueva York: Harry N. Abrams, Inc., en colaboración con el Denver Art Museum y el Columbus Museum of Art, 1994.
Painting portrait of Kent Logan on the left and Vicki Logan on the right

Francesco Clemente, Portrait of Kent Logan and Vicki Logan, 2005. Oil on canvas, Gift from Vicki and Kent Logan to the Collection of the Denver Art Museum.

Colección Logan

El generoso mecenazgo de Vicki y Kent Logan ha tenido un profundo impacto en el museo y en la comunidad más amplia del arte contemporáneo de Denver. Las obras, que se condicen perfectamente con la actual dirección del Departamento de Arte Moderno y Contemporáneo, reflejan la perspectiva global de los Logan y representan parte de las obras más fascinantes y revolucionarias creadas en la década de 1990 y principios del siglo XX.

The Logan Lecture Series

Since 2007, the Denver Art Museum has presented over 150 artist talks as part of the Logan Lecture Series, which is generously sponsored by patrons Vicki and Kent Logan. Logan Lecture artists have included Ed Ruscha, Katharina Grosse, El Anatsui, George Condo, Coco Fusco, Fred Wilson, Jordan Casteel, and Anthony McCall.

Artists are invited to discuss their innovative work and respective backgrounds, demonstrating the wide range of disciplines and themes that encompass contemporary art. Browse through upcoming lectures and see more events and programs on our online event calendar.

View Event Calendar
Gallery view of an Eyes On exhibition

The Eyes On Series

Eyes On, a focused multi-year contemporary art series sponsored by Vicki and Kent Logan, showcases the work of contemporary artists who we believe should have broader exposure to our audiences.

Learn More
Hombre sentado en un banco de las salas leyendo

Colección y archivo de Herbert Bayer, (CS)

La Colección Herbert Bayer contiene más de 8,000 obras de arte y forma parte de la colección permanente del Denver Art Museum. La Colección Bayer, que incluye desde fotografías hasta pinturas y carteles, abarca varios departamentos, como los de Fotografía, Arquitectura y Diseño, así como el de Arte Moderno y Contemporáneo.

El Archivo Herbert Bayer consta de un vasto material documental sobre el maestro de la Bauhaus. En septiembre de 2018, el archivo se transfirió a la Biblioteca Pública de Denver. Ahora está disponible siete días a la semana en el Departamento de Historia y Genealogía Occidentales en la sede de la central de la biblioteca.

Habiendo vivido en Denver durante muchos años, Herbert Bayer diseñó el campus histórico en el Instituto Aspen para Estudios Humanísticos. El instituto continuó ampliando el legado de Bayer con la apertura del Centro Resnick para Estudios Herbert Bayer en el verano de 2022 con fondos donados por Lynda y Stewart Resnick.

Artículos destacados

Profundiza en las historias que esconden algunas obras de arte de la colección leyendo artículos escritos por los curadores, conservadores y el personal del museo.