Denver’s ‘Mustang’: Baffling, frightening, strangely compelling
Over at Westword, Jared Maher (at least I think he took the photos), was one of the many media members present at the “official” dedication of one of the most storied pieces of public art in Denver, and probably the nation. Hats off for being the only one to admit to taking the above photo.
Long story very short: City orders sculpture for it’s new fancy airport in ‘92, delay, delay, delay, lawsuit, compromise, missed deadline, ART LITERALLY KILLS THE ARTIST, finished by colleagues, unveiled to shocked and confused Denver public and now, officially becomes a part of the Denver landscape. (did you catch the part where this damn thing killed its creator?)
Compared to the unassuming softness of the Cutest Peeping Tom in Town, the Big Blue Bear “I See What You Mean” at the Convention Center, The Dorky Aliens “Dancers” at the Performing Arts Center and That Giant Dustpan In Front Of The Art Museum that giant dustpan in front of the art museum, the Mustang looks as if it galloped straight out of hell, right after it bucked off Satan himself.
I’m not an art critic, so I don’t have the toolbox to necessarily critique it aesthetically, but here’s what I know: It’s a little jarring, no doubt, but I can’t ever take my eyes off it, which, I suppose is the end goal of all art, right?
Sad-ish bonus: The daughter of the stallion’s late artist Luis Jimenez, Elisa, is the same awesome Elisa from last season’s Project Runway! But she, beyond the death of her father, has a tragic past.
Indeed, I took the photo. The power of the Mustang’s front is undeniable. But its rear is where the true energy exists. I knew that capturing the horse’s amazing butthole on film was my duty, as likely no member of the public would see it from that vantage. I have titled it “Welcome to Denver.”