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The faces that pop out of Denver’s newest, billboard-sized public art are not random, AI-generated or imaginary.
As befits the title of the mural, “Catalysts” features an overlapping display of 35 unsung local arts-and-culture heroes. But the reasons why they were chosen — and the fact that Denver recruited the world-renowned artist behind the cover of The Beatles’ 1967 album “Sgt. Pepper’s Lonely Hearts Club Band” — is unusual even in the realm of giant bear sculptures, red-eyed horses, and other major pieces.
“Denver has made exceptional use of their natural resources, if you will, in the public art scene, and other cities should be jealous,” said Jann Haworth, the 83-year-old creator of “Catalysts.” “The Denver mural is in its own kind of camp from my (other work). It’s community-generated. It’s workshop-generated.
“And the problem of a portrait is the most difficult thing you can do in fine art,” she added. “It isn’t necessarily an accurate photographic portrait of someone. It’s just a joyous piece of art.”
The three-paneled “Catalysts” features stenciled portraits of behind-the-scenes arts drivers “who are integral to the success and vibrancy of Denver arts and culture,” according to a statement. That ranges from maintenance staff at venues to nonprofit leaders, dancers and writers (read about each one at catalystsproject.com/honorees). They hail from groups such as Art from Ashes, Union Hall, Japanese Arts Network, Wonderbound, Youth on Record and many others.
Its three 26-by-24-foot panels are viewable on the side of the Buell Theatre, on Champa Street between 13th and 14th streets. Crews finished installing the mural this month, with a formal unveiling on March 14. But unlike some public art pieces, it’s temporary and scheduled to come down in two years.
“When talking with Jann we realized a lot of synergy between her practice and highlighting underserved organizations and individuals,” said Annie Geimer, a curator and leader of the Denver Theatre District’s special projects, which span 16 blocks in downtown Denver. “I loved her women’s mural in Utah and thought, ‘Why don’t we expand on that project?’ ”
The stenciled and colored portraits in “Catalysts” recall Haworth’s “Sgt. Pepper’s” style, but necessarily widen the subjects. She takes her depictions seriously, having completed Salt Lake City’s “Work in Progress” mural that includes 250 women integral to the history of the town where Haworth currently lives.
As a British-American Pop Art pioneer, Haworth emerged from England’s early-1960s art scene and has for decades put herself at the intersection of art and politics. Her feminist themes, exploration of “soft sculpture” (sewn and fiber materials), and willingness to reinvent herself has led to hundreds of installations and shows worldwide, including simultaneous shows in the U.S. and Europe.
“It’s an honor to reflect certain things that really need saying, and this is a public platform to do that,” Haworth said, referring to the top-to-bottom efforts at arts nonprofits. “Sometimes you feel like your other work is not as out there as a mural on a wall that lots and lots of people are going past.”
Haworth sees her piece as overlapping with street art, and Denver’s history with the medium — from groundbreaking Latino artists to festivals such as Denver Walls — as uniquely indicative of it. It’s ever-evolving, just like the art scene, Geimer said.
“If you view it as a sample or a mid-way report on what’s going on, there’s always more to be said,” she noted of “Catalysts.” “We were really intentional about who we reached out to, these people doing behind-the-scenes work that allows organizations to function — volunteers, security guards, cooks. It recognizes the people who take extra time and dedication to help these groups.”
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