Stan Meyer

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.


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