Stan Meyer

Stan Meyer creates flat-woven artworks out of roofing felt paper, utilizing inspiration for patterns from Celtic, Maori, and various other aboriginal cultures, combined with patterns found in nature or contemporary architecture. His large-scale wall works are unique and combine artistic aesthetic reminiscent of abstract expressionists with the handmade technique of fine craftspeople.

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EDUCATION

Stan Meyer received his degree in Art Education from the University of Wisconsin – Stou in 1973 and MFA in painting and drawing from Southern Illinois University – Carbondale in 1975. Throughout his artistic career he has taught at Rend Lake College in Mt. Vernon, Illinois, Rocky Mountain College of Art and Design in Denver, and at the ArtReach Program in Denver.

EXPERIENCE

Meyer has been a working artist for forty years and has exhibited nationally.  His work can be found in both national and international collections, both public and private. Meyer is one of the first artists to use flat-weaving as a technique for creating contemporary art. He live in the foothills, southwest of Denver.

Selected One-Person Exhibits
  • Hibbard McGrath Gallery, Breckenridge, Colorado—2006
  • William Havu Gallery, Denver, Colorado
  • Dairy Art Center. Boulder, Colorado—2005
  • William Havu Gallery, Denver, Colorado—2004
  • Del Mano Gallery, Los Angeles, California—2003
  • Robischon Gallery, Denver, Colorado—2001
  • New Gallery, Houston, Texas—2000
  • Robischon Gallery, Denver, Colorado—1998
  • Robischon Gallery, Denver, Colorado—1994
  • New Gallery, Houston, Texas—1993
  • Clay & Fiber Gallery, Taos, New Mexico—1992
  • Hoag Gallery, Sangre de Christo Arts Center, Pueblo, Colorado—1991
  • Robischon Gallery, Denver, Colorado—1991
  • Emmanuel Gallery, Auraria Higher Education Center, Denver, Colorado—1991
  • Gallery of the Aspen Institute, Aspen, Colorado—1989
  • Robischon Gallery, Denver, Colorado—1988
  • New Gallery, Houston, Texas—1987
  • Robischon Gallery, Denver, Colorado—1986
  • Sebastian-Moore Gallery, Denver Colorado—1983
  • St. Charles on Wazee Gallery, Denver, Colorado—1980
  • Gallery of the Illinois Arts Council, Chicago, Illinois—1977
  • John A. Logan College, Carterville, Illinois—1976
  • Rend Lake College, Mt. Vernon, Illinois—1976
  • Mitchell Gallery, SIU-Carbondale—1975

Selected Group Exhibits
  • Ars Nova Gallery, Palm Desert, California—2007
  • Ironton Gallery, Denver, Colorado—2007
  • Nature of Things, Things in Nature, Art Students League of Denver, Denver, Colorado—2005
  • Four Friends, Durst Studio, Denver, Colorado—2005
  • Invitational, Evergreen Art Center, Evergreen, Colorado–2004
  • Together Again, Durst Studio, Denver, Colorado—2003
  • Men at Work, Museum of Contemporary Art, Ft. Collins, Colorado—2003
  • 35th Anniversary Invitational, Foothills Art Center, Golden, Colorado—2003
  • 35th Anniversary Invitational, Foothills Art Center, Golden, Colorado—2003
  • Solace (Remembering 9/11), Robischon Gallery, Denver, Colorado—2002
  • Robischon Gallery, Denver, Colorado—2000
  • New Gallery, Houston, Texas—2000
  • Corporate Collection—2000, Republic Plaza, Denver, Colorado—2000
  • Colorado Abstraction:1975-1999—Arvada Art Center, Arvada, Colorado—1999
  • Enchantment of Japan, Foothills Art Center, Golden, Colorado—1995
  • Under Southwestern Skies, Sangre de Christo Arts Center, Pueblo, Colorado—1991
  • Diverse Images, One West Art Center, Ft. Collins, Colorado—1991
  • Faculty Exhibit, Rocky Mountain College of Art & Design Denver, Colorado—1990
  • Spectaculum Botanica, One Tabor Center, Denver, Colorado—1989
  • Colorado Artists:Selections from the Permanent Collection, Denver Art Museum—1989
  • Major Works, Robischon Gallery, Denver, Colorado—1989
  • Works on Paper, New Gallery, Houston, Texas—1986
  • Denver Art Expo, Best of Show Exhibit, Denver, Colorado—1986
  • Sebastian-Moore Gallery, Denver, Colorado—1984
  • Colorado Annual, Denver Art Museum—1983
  • Interlacements Invitational, Boulder Center for the Visual Arts, Boulder, Colorado—1982
  • Sixth Colorado Annual, Denver Art Museum—1981
  • Lake Superior 77-4th Biennial International Craft Exhibit, Tweed Museum of Art, Duluth, Minnesota—1977
  • 3/3 Open Invitational, ARC, NAME, Artemesia Galleries, Chicago, Illinois—1976
  • Alumni Invitational Art Exhibit, University of Wisconsin-Stout, Menomonie, Wisconsin—1976
  • 10th Annual Drawing and Small Sculpture Show, Del Mar College, Corpus Christi, Texas—1976
  • McKinley Foundation, Champaign, Illinois—1975
  • Wabash Valley Exhibition, Sheldon Swope Gallery, Terre Haute, Indiana—1975
  • Mitchell Gallery, Southern Illinois University, Carbondale, Illinois—1974
  • Image on Paper, Springfield, Illinois—1974
  • Gallery 206, University of Wisconsin-Stout, Menomonie, Wisconsin—1973
  • Mid-States Art Exhibition, Evansville Art Museum, Evansville, Indiana—1973

Purchases
  • AMOCO, Denver, Colorado
  • United Technology-Mostek Corporation, Colorado Springs, Colorado
  • University of Wisconsin-Stout, Menomonie, Wisconsin
  • Kirkland and Ellis, Denver, Colorado
  • Neo Data, Inc., Boulder, Colorado
  • Robert Cowan, MD, Denver, Colorado
  • U.S. West, Boulder, Colorado
  • Kutak, Ross and Campbell, Denver, Colorado
  • One Hour Optical, Denver, Colorado
  • Stites Development, Denver, Colorado
  • Denver Art Museum, Denver, Colorado
  • Mission Viejo Realty Group, Denver, Colorado
  • A.D.P., Houston, Texas
  • First Bank of Shreveport, Louisiana
  • Steven Susman, Dallas, Texas
  • Bank South, Atlanta, Georgia
  • Roth and Brega, Denver, Colorado
  • Davis, Graham and Stubbs, Denver, Colorado
  • Buie Corporation, San Diego, California
  • Creiger and Associates, Denver, Colorado
  • Mutual of New York Real Estate Company, Denver, Colorado
  • Coors, Golden, Colorado
  • Texas Instruments, Houston, Texas
  • Mitchell, Silverburg and Knapp, Santa Monica, California
  • Emerson Electric, Inc., St. Louis, Missouri
  • British Petroleum, Houston, Texas
  • Coldwell Banker, Boulder, Colorado
  • Paine Webber, Houston, Texas
  • Compaq Computer, Houston, Texas
  • MONY, Colorado Springs, Colorado
  • Valleylab, Boulder, Colorado
  • Frederick Ross and Company, Denver Colorado
  • University of Colorado-Colorado Springs, Colorado
  • Synergen, Boulder, Colorado
  • Yale and Seffinger, Denver, Colorado
  • Minorco USA, Denver, Colorado
  • Red Rocks Junior College, Lakewood, Colorado
  • Community First National Bank, Thornton, Colorado
  • Panhandle Pipeline, Houston, Texas
  • Nancy Tieken, Denver, Colorado and La Jolla, California

Selected Commissions
  • United Bank of Cherry Creek, Denver, Colorado
  • Washington State Arts Commission, Olympia, Washington
  • Westin Hotel, Denver, Colorado
  • Piper Jaffray and Hopwood, Minneapolis, Minnesota
  • Kaiser Permanente, Denver, Colorado
  • Edye Hughes, Denver, Colorado
  • PepsiCo, Irvine, California
  • United States Department of State, Cairo, Egypt
  • Pacific Mutual Life Insurance Company, Newport Beach, California
  • Hyatt Regency Hotel, Beaver Creek, Colorado
  • Caterpillar, Inc., Peoria, Illinois
  • Dragon Hill Lodge, Seoul, Korea
  • Radisson Hotel, San Diego, California
  • Beta West, Denver, Colorado
  • Albert C. Martin & Associates, Los Angeles, California
  • Prudential Centre Hotel, Hong Kong
  • Carlsbad Airport Centre, San Diego, California
  • Dr. and Mrs. Howard Corren, Denver, Colorado
  • Ross-Cherry Creek Library, Denver, Colorado
  • St. Joseph Hospital, Orange, California
  • Honeywell, Denver, Colorado
  • OneComm, Denver, Colorado
  • U.S. West, Denver, Colorado
  • Ft. Collins City Hall, Ft. Collins, Colorado
  • Time Warner Telecom, Littleton, Colorado
  • Colorado State Bank and Trust, Highlands Ranch, Colorado

Reviews

NEW ART EXAMINER
Jacquelyn Ann Harrison/Donald Rue Kingman

“It’s good to see the subject/structure or circumstance/structure premises of, say, earthworks begin to enter the gallery situation in figurative rather than literal terms. One of the really fine subject/structure pieces in the show is the large creosoted woven paper mat by Stan Meyer on the rear wall, at N.A.M.E. This is the only piece from which we pick up a strong mythic quality. And, if it’s not too old fashioned to say, this work has presence. Holy cripes does it ever have presence! Imagine sharing a phone booth with a rhinoceros and you’ve got the general idea. The combination of paper doily and creosote is not one that our tender, every-day, garden-variety art sensibilities are accustomed to. Creosote? Creosote is something your find underneath wharves down on the waterfront where the big brown rats live. Surprisingly, this big black lovely/ugly is the only literal weaving in the show. Maybe the rest of the woven pieces fled in terror.”

WESTWORD
Michael Paglia

Meyer has been around for a while, though his presence on the local art scene goes back “only” eighteen years. Born in Geneva, Illinois, in 1949, Meyer attended the University of Wisconsin and Southern Illinois University, where he earned his MFA. He got his first solo show in Denver in 1980 at Bev Rosen’s St. Charles on Wazee, the first art gallery to open in LoDo. Since that time, he has made a name for himself with his signature woven paintings—or should it be painted weavings? Meyer has been with Robischon since 1986 and over the years has had five solo shows there. For this exhibit, the versatile artist has created two different kinds of work: geometric abstractions and more organically formed compositions. No matter the approach, his pieces always use repeated grids, an inevitable by-product of his practice of weaving strips of roofing tar paper to form his wall hangings. The tar paper strips are stained with dry pigment both before and after being woven, and the resultant effect suggestes everything from quilts and tapestries to architectural elements like screens or grills. This multiplicity of interpretations may help to explain Meyer’s considerable prowess in the realm of corporate commissions; his work is frequently sought out to enliven public spaces such as lobbies of office buildings. Each piece in the Robischon show has been given its own wall, and that’s a good thing, not only because Meyer typically work large, but also because his pieces are irregularly shaped. This is the case even when he’s using only straight lines, as in “Drape,” which is made up of a short vertical rectangle hanging below a larger horizontal one. In both “Drape”and the closely related “A Construct,” which is smaller and more tightly composed, Meyer arranges rectangles flatly in layers against the wall. But in other pieces, three-dimensional elements more obviously relate to sculpture. In “Over Under,” planes created by Meyer’s weaving dive in and out of the center of the piece, with his shadow-enhancing dry pigments heightening the effect. “Wave,” which comes out from the wall a considerable distance, pushes the 3-D effect still further.

 

  • Westword, Denver, Colorado—May 3, 2006
  • Rocky Mountain News, Denver, Colorado—April 21, 2006
  • Daily Camera, Boulder, Colorado—June 26, 2005
  • Rocky Mountain News, Denver, Colorado—July 25, 2003
  • Westword, Denver, Colorado—February 20, 2003
  • Westword, Denver, Colorado—May 31, 2001
  • Denver Post, Denver, Colorado—December 1999
  • Rocky Mountain News, Denver, Colorado—October 3, 1999
  • Westword, Denver, Colorado—September 16, 1999
  • Denver Post—March 20, 1998
  • Westword, Denver, Colorado—April 22, 1998
  • Denver Post—February 23, 1995
  • Rocky Mountain News—January 15, 1995
  • Rocky Mountain News—June 12, 1994
  • Pueblo Chieftain, Pueblo, Colorado—December 29, 1991
  • Rocky Mountain News—June 9, 1991
  • Rocky Mountain News—January 25, 1991
  • Pueblo Chieftain—December 3, 1989
  • Houston Post, Houston, Texas—June 7, 1989
  • Rocky Mountain News—December 11, 1987
  • Art Space—Fall 1986
  • Rocky Mountain News—June 6, 1986
  • Westword—June 4, 1986
  • Denver Post—May 16, 1986
  • Art Space—Nov/Dec 1985
  • Muse—Winter/Spring 1985-86
  • Art Line—Nov/Dec 1983
  • Colorado Daily, Boulder, Colorado—September 10, 1982
  • Daily Camera, Boulder, Colorado—September 2, 1982
  • Rocky Mountain News—May 24, 1980
  • Denver Post—May 23, 1980
  • New Art Examiner, Chicago, Illinois—February 1977
  • New Art Examiner—January 1977