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This website is just a small representation of the products we have available. We are an authorized mattress dealer for several major mattress manufactures and we strive to have the best discount pricing in Colorado on everything we carry. We also carry the full furniture lines of Fashion Bed Group, Acme Furniture, Big Tree Furniture, Coaster Furniture, Ashley Furniture, Homelegance Furniture, Modus Furniture, Furniture of America, Amisco, Wesley Allen, Lifestyle Solutions Furniture, William's Home Furnishing. After 48 years of being in business, it's important to offer quality products and service to our Colorado community Credit & No Credit Check FinancingThe shock and awe has died down. Nine exhibitions have come or gone, and more than 1.2 million people have poured through the doors of the Denver Art Museum’s $110 million addition. It’s time for some reassessment, and Tuesday’s two-year anniversary of the opening of the Frederic C. Hamilton Building offers an ideal opportunity to do just that.
The extreme reactions — pro and con — that greeted architect Daniel Libeskind’s unconventional design have cooled some, but the structure remains an emotional lightning rod and probably always will be. It was meant to be provocative, and it’s going to stay that way. Not helping the building’s case: nearly nonstop work on the roof. The addition suffered leaks related to its unconventional skylights and roofing materials. The repairs are not expected to be completed until the fall of 2009 because of necessary breaks for the weather during winter.The good news is that the work is being handled under the original building contract with no additional cost to the museum. Validating the museum’s original case for an addition have been the attendance numbers since its opening. Although the museum as a whole did not reach early projections of 1 million visitors for the debut year, annual visitorship during the first two years the new wing has been open have been the first and third highest ever.
With the benefit of two years of hindsight, here are some thoughts on the expansion and how the museum has made use of it. The exterior: New shapes on the Denver skyline. It’s still too early to know if the radically angled and jutting form of the museum will maintain its sense of daring or become a kind of dated albatross a few decades down the road. Already detracting from the building’s novelty and distinctiveness are other Libeskind projects around the world that have an all-too-similar look, especially the Lee-Chin Crystal, a recently opened addition last year at the Royal Ontario Museum in Toronto. Future perceptions will also be affected by how expected construction near the building interacts with it, because architecture is perceived in relationship to what is around it. What impact, for example, will the planned Clyfford Still Museum to the west and the second phase of the Museum Residences to the east have? Will they obstruct views or change the delicate balance of building volumes?
What has lost none of its power is the extraordinary plaza between the Museum Residences and the Hamilton Building. A stroll up the stairs of the Greek Theatre, between the original museum building and the Denver Public Library, and south along that plaza remains an exhilarating spatial experience. But other views of the addition are already stale. The interplay of angles on the west facade does not strike much of a visual chord, but perhaps that will improve if the power lines on that side are buried and adjacent buildings are removed and replaced. The interior: a house for art. The Hamilton Building’s interior has proven every bit as challenging for displaying art as predicted, and it will always remain so. Slanted walls and sharp angles just don’t work very well for hanging paintings. For the most part, the museum’s savvy curators have managed to overcome these hurdles, as evidenced by Christoph Heinrich’s imaginative reinstallation of the modern and contemporary galleries on the third and fourth floors.
Among other things, he took a thematic approach because it makes better use of the Libeskind’s nonlinear arrangement of galleries, and he carefully chose certain paintings that would still communicate even hung high on the sloped walls.A worse-case example is the awkward display of “1955D (Ph-387),” part of a temporary exhibition devoted to Clyfford Still. Suspended by two cables descending from the ceiling, it blocks off a corner formed by the intersection of two outwardly slanted walls. The work becomes a kind of partition, a function a painting should never have to perform. A bright spot is the second-floor Anschutz Gallery, now the museum’s main temporary exhibition space. A big question at the outset was how this 11,000-square-foot space, with walls as tall as 26 feet, would handle anything on a small scale.The exhibition, “Inspiring Impressionism,” demonstrated that with a thoughtful configuration, this vast room could comfortably accommodate more intimate art, such as Monet landscapes and Velázquez portraits.
The fixtures: Dressing up the rooms. The museum has shown a strange, compulsive desire to decorate the Hamilton Building, often in ways that detract both from Libeskind’s architecture and from a meaningful viewer experience. Given the overabundance of sofas and benches around the museum in general, what really isn’t needed are bizarre decorative touches such as tall vases with dried plants and leaves. If these vases were objects from the museum’s collection, like a spectacular one on view by Betty Woodman, perhaps this might be acceptable. But these are just off-the-shelf examples that can be found in any lobby. In addition, the museum has seen fit to clutter the walkway that wraps around the 118- foot-tall central atrium, arguably the most dramatic element in Libeskind’s interior design. Shouldn’t this dramatic space be left as pristine as possible? In one alcove along the atrium, the museum has installed a projection game in which children jump across the floor trying to land on ever-moving circles.
What this has to do with art or an art museum is anyone’s guess, but that aside, is this really where this game belongs? Only making things worse are the furnishings, which include a lava lamp and bean-bag chairs, giving the alcove the unwelcome feel of a 1960s den. A final insult is a makeshift 3-foot-tall white panel tacked above the entryway (screw heads showing) to block the sun. Another odd set of furnishings can be found on the bridge that links the old and new buildings. Perhaps because it is near a coffee station, there are four sets of tables and chairs (almost never in use), each with mobiles hanging above them. First, these objects encumber what should be an unencumbered architectural space. They look particularly bad when viewed from the outside, their outlines cluttering the angled pattern of the truss framework. Second, the “A & M Metal Art Mobiles” are just Calder knockoffs with a label below giving their price — $160 — and telling people they are available in the museum shop.