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