By Zoe Yabrove
By Bree Davies
By Byron Graham
By Susan Froyd
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
BECAUSE THE EARTH IS 1/3 DIRT. The CU Art Museum on the University of Colorado's Boulder campus is an unlikely setting for a blockbuster contemporary ceramics exhibit -- but here it is, anyway. The show was curated by a committee that included museum director Lisa Tamiris Becker and CU art faculty members Scott Chamberlin, Kim Dickey and Jeanne Quinn, and it features an international array of artists working with clay. This quartet of experts invited eleven artists from around the world to exhibit their pieces, and nearly every one they chose is on the front lines of the ceramic medium. Some of them, such as Walter McConnell, are really pushing the envelope. His installation is made of moist clay in a plastic enclosure, meaning it's not even ceramic, because it hasn't been fired. On the opposite end of the spectrum is the hyperrealist "Bird's Wing," by Ted Muehling, crafted out of good, old-fashioned, high-fired white bisque porcelain. Leopold Foulem, Lawson Oyekan, Wim Delvoye and Annabeth Rosen are among the other talented participants in the show. Through March 19 at the CU Art Museum in the Sibell-Wolle Fine Arts Building on the CU-Boulder campus, 303-492-8300. Reviewed February 26.
Burdens. The current show at Denver's Artyard Sculpture Gallery features the latest body of work by Carley Warren, a famous name in local sculpture circles. The exhibit highlights Warren's signature style with a group of her familiar wooden sculptures, which are delicate and vulnerable-looking. Warren has exhibited her work in the Denver area since the 1960s, and it has long been informed by her interest in narrative feminist themes. She inspired a younger generation of feminist artists locally, and a number of them made their own reputations with work based partly on her example. Warren's sculptures demonstrate her enduring interest in fine craftsmanship, her judicious material choices, and her ability to imbue thoroughly non-objective forms with deep psychological meanings. Another strength is her simple palette of golden brown and flat black with a little red thrown in here and there. Warren's small and subtle sculptures make this modest little gallery look positively grand. Through March 13 at the Artyard Sculpture Gallery, 1251 South Pearl Street, 303-777-3219. Reviewed February 26.
Don Stinson, Chuck Forsman and Eric Paddock/Jim Colbert. The Western landscape's natural beauty has taken hold of the imagination of generations of artists, but during the last twenty years, some have chosen to examine the stickier topic of civilization's affect on the scenery. This intellectual approach is the collective theme of a group of exhibits at Robischon Gallery. In the front is Don Stinson: Art and Ruins, which includes three monumental representational paintings of three separate conceptual earthworks from the '60s and '70s along with his more familiar views of abandoned drive-ins and motels. In the middle spaces is Chuck Forsman, which is made up of photos from the artist's book, Western Rider: Views From a Car Window. Forsman is best known as a painter, but it turns out that he has also been taking photos for decades. In the Viewing Room Gallery is Eric Paddock/Jim Colbert, which combines Western landscape photos from Paddock's book, Belonging to the West, with paintings of the same subject by Colbert. Through April 10 at the Robischon Gallery, 1740 Wazee Street, 303-298-7788.
Frederic Remington. One of the great artist-propagandists for the Old West was Frederic Remington, an illustrator, sculptor and aesthetically ambitious painter. That talent is revealed in Frederic Remington: The Color of Night, which is displayed in the Gates Foundation Gallery on the seventh floor of the Denver Art Museum. The 25 paintings of night, ranging from sunset to sunrise and all hours in between, were done during the last years of the artist's life, between 1900 and 1909. These dark, mostly impressionist-style paintings indicate that Remington knew what was happening in the most sophisticated currents of the art world of his time. In addition, Remington based many of his paintings not on sketches but on photographs he took himself, and the graphic quality of his compositions is obviously the result. Many in the art world loathe Western art, but these Remingtons are not just about the romance of the frontier days -- they also have a lot to do with the rise of early modern art in America. Through March 14 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed March 4.
Full Frontal: Contemporary Asian Art from the Logan Collection. The normal stock in trade for the Denver Art Museum's Asian-art curator, Ron Otsuka, is traditional styles, but he's been drafted into doing contemporary duty by a gift that includes more than a score of pieces by Asian and Asian-American artists. The recently acquired booty provided Otsuka with the opportunity to explore new Asian art in Full Frontal: Contemporary Asian Art from the Logan Collection, now on display in the William Sharpless Jackson Jr. Gallery on the museum's fifth floor. Most of the standouts are neo-pop, such as Yu Youhan's "Mao Decorated," which is based not on the famous traditional portrait, but on Warhol's version. However, the front-runner among the current generation of Chinese artists, Zhang Huan, is not a pop artist, but a conceptualist. Huan is represented by a photo that documents a performance in which he coated his body with ground hot dogs and then had actual dogs lick it off him. The show may be small, but it's bold. Through May 23 at the Denver Art Museum, 100 West 14th Avenue Parkway, 1-888-903-0278. Reviewed December 11.
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