“Immersive van Gogh,” which leads visitors through floor-to-ceiling projections and other digital backdrops inspired by the post-impressionist master Vincent van Gogh, will begin selling tickets to its Denver tour stop this week.
The show, which recently announced a Colorado visit, minus dates or a venue, will offer “pre-sale” (people who signed up at denvervangogh.com) tickets starting March 25, with the public on-sale beginning March 27 at immersivevangogh.com. The show debuts in Denver starting Sept. 30, with no end date announced.
Ticket prices and a venue have not yet been announced. But the touring company likely has lots of places to choose from given how the coronavirus pandemic has hollowed out public spaces (albeit ones that are slowly returning).
The show also has planned 2021 installations for Los Angeles, New York, Chicago, Charlotte, N.C., Dallas, San Francisco, Phoenix and Toronto. In those markets, tickets range from $40 to $50 each.
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The exhibit is only one of a half-dozen van Gogh “experiences” in the works nationally, according to The New York Times. The one coming to Denver will not feature any actual van Gogh works, but rather digital recreations of “Starry Night” and other famous paintings, organizers wrote online. The installation promises 500,000 cubic feet of projections (not just out and about, but up in the air), 60,600 frames of video and 90 million pixels, The Know has reported.
Like the touring “Sistine Chapel” exhibition that came to the Hangar at The Stanley in 2019, it’s a commercial attempt to steal some thunder from fine-arts museums and their wildly popular van Gogh exhibitions. Art museums, and especially Denver Art Museum, have lately done well by hosting the works of marquee impressionist and post-impressionist painters and sculptors such as van Gogh, Claude Monet and Edgar Degas.
Recently, Denver Art Museum opened an exhibition from its collection featuring “mostly French superstars” Monet, van Gogh, Berthe Morisot, Degas, Gustave Caillebotte, Paul Cézanne, Édouard Manet and Pierre-Auguste Renoir, wrote Denver Post freelance critic Ray Mark Rinaldi.
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