By Susan Froyd
By Byron Graham
By Robin Edwards
By Bree Davies
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Picasso: 25 Years of Edition Ceramics From the Edward and Ann Weston Collection. The Metro State Center for the Visual Arts is hosting this must-see traveling show of Picasso's experiments with clay. Beginning in 1947 and at regular intervals until 1971, Picasso would go to the Madoura studio of Georges and Suzanne Ramié in Vallauris, France, and do ceramics with them during brief, if intensely creative, visits. The Ramiés formed plates, bowls, vases and other pottery items that Picasso then carved and manipulated while the clay was still wet. Finally, Picasso painted them with glazes in his own inimitable way, decorating the surfaces with images of the kinds of strange animals and figures that had already been made famous in his paintings. The resulting pieces were the prototypes for the handmade limited editions on display in Picasso: 25 Years of Edition Ceramics. This type of collaborative and serial approach to studio ceramics may seem strange by American standards, but it's a tried-and-true practice in countries such as France. Through February 28 at the Metro State Center for the Visual Arts, 1734 Wazee Street, 303-294-5207. Reviewed February 5.
ROBERT COLESCOTT & GLENN LIGON. This noteworthy effort is the first in a planned series of exhibits at the Victoria H. Myhren Gallery at the University of Denver. The series will explore the more than 200 works of contemporary art that have been promised to the Denver Art Museum by high-profile collectors Vicki and Kent Logan. This show represents a new era of cooperation between DU and the DAM, even garnering DU access to the Logans' private stash. Shannen Hill, a DU art historian, organized the show, and her expertise in African and African-American art was put to good use, as Colescott and Ligon are currently among the most prominent black artists nationally. Both artists address the African-American experience, but that's where the similarities end. Colescott is an expressionist, mixing a faux-naive style with references to everyday experience. In contrast, Ligon is post-pop and often employs photo-based techniques that result in super-sophisticated pieces. Through February 27 at the Victoria H. Myhren Gallery, 2121 East Asbury Avenue, 303-871-2846. Reviewed February 12.
Vance Kirkland. This year marks the 100th anniversary of the late Vance Kirkland's birth. In honor of the centennial, the Colorado History Museum has mounted a salute to the legendary Colorado artist with the epic title of Vance Kirkland: A Colorado Painter's Life, Early Works and Beyond. Though there are some remarkable early Kirklands in the show, notably a full-sized pencil sketch for a WPA-era mural, the exhibit includes lots more than that. First, there is the work of nearly twenty of Kirkland's friends and colleagues -- among the modern artists in the state from the mid-twentieth century -- and even some contemporary art. Second, interspersed throughout is a design show surveying furniture, pottery and other decorative arts from 1900 to the 1960s. This over-the-top approach can only mean one thing: Hugh Grant, director of the Kirkland Museum, orchestrated it. Grant was a co-curator of the show, and nearly all the art and artifacts in it were selected personally by him and loaned to the CHM from the Kirkland's fabulous collection. Through April 4 at the Colorado History Museum, 1300 Broadway, 303-866-3682. Reviewed December 25.
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