By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
birds of a feather. There's a touching two-part exhibit at Edge Gallery in honor of Roger M. Beltrami, a longtime co-op member who died earlier this year. The show, birds of a feather, has two parts: In the front space is a memorial presentation featuring Beltrami's own work; in the middle space are other artists' works dedicated to the artist's memory. Beltrami moved to Colorado in 1972. In the '80s, his life was rocked by the AIDS crisis when he was diagnosed as HIV-positive; he later became an AIDS activist. His partner, Wayne Alan Lee, curated the memorial at Edge, installing a re-creation of Beltrami's bedroom wall. The rest of the show is made up of the late artist's sand paintings, which are amazingly varied in style, considering that Beltrami used only straight lines and a limited palette when creating them. In the center space, Sara-Lou Klein McKlayer organized the group salute inspired by another kind of Beltrami work -- his bird's nests. Among those who participated are Mary Cay, Mark Brasuell, Jerry Simpson, Sue Simon, Gail Wagner, Tim Flynn, Reed Weimer and Zoa Ace. Through June 13 at Edge Gallery, 3658 Navajo Street, 303-477-7173. Reviewed on June 3.
Dale Chisman: New Paintings. With Dale Chisman: New Paintings at the Rule Gallery, Denver abstractionist Dale Chisman has done it again: He's come up with a fresh batch of sophisticated works of art, as he always does. Chisman is, of course, the dean of the city's modernist painters. His artistic career stretches back to the 1960s, when he was in college. It's been two years since he's shown his work in town, but given the strength of this eponymous solo, it was definitely worth the wait. In this group of recent paintings, Chisman has clearly changed his style. But as radical as they appear, they still bear a relationship to his classic work of the '80s and '90s. Like those, these latest paintings feature compositions of shapes that are roughly geometric and have been laid over colored grounds. And though he's long used automatist lines applied instinctually to fill out his pictures, in these current pieces, the lines have become dense webs of paint that all but obscure the arrangement of forms underneath. With these thoroughly original paintings that look completely new, good old Chisman has been rejuvenated. Through June 26 at Rule Gallery, 111 Broadway, 303-777-9473. -- Reviewed June 3
John Buck and Manuel Neri. Sculpture is the main attraction at LoDo's Robischon Gallery, where the large solo, John Buck: New Sculpture, is paired with the tasty little confection, Manuel Neri: Sculpture/Drawings. Montana's Buck and California's Neri are among the most significant contemporary artists working out West. The Bucks, both sculptures and prints, are wonderful and represent a clear continuation of the work he's been doing for a long time. Buck's signature sculptures are torsos with elaborate abstractions where the figures' heads should be, making it easy to interpret that he's using the abstracts to convey the image of thinking. The Neri show has the mood of a museum offering, and it includes abstract figural sculpture -- Neri's acknowledged forte -- along with paintings on paper. Whether two dimensional or three, everything exemplifies Neri's signature style of one part classicism and one part funk. Through June 19 at the Robischon Gallery, 1740 Wazee Street, 303-298-7788. Reviewed May 20.
The Migrant Project: Contemporary California Farm Workers. California-based photographer Rick Nahmias was researching famed TV journalist Edward R. Murrow when he came upon Harvest of Shame, a 1960s documentary about farm workers. The Murrow film inspired Nahmias to revisit the topic, and the results are the dozens of wonderful photos that make up The Migrant Project at the Museo de las Américas. This traveling exhibit has been supplemented by a small salute to activist Cesar Chavez, who was a champion of farm-worker rights. The Chavez display is the perfect set-up for The Migrant Project, which highlights farm workers' struggles using poetically composed black-and-white photos. Nahmias's approach is to capture the picturesque quality of rural life while also raising such issues as low wages and overcrowded living conditions. The handsome selenium prints with blurry borders recall traditional paintings. Nahmias has a brilliant sense for composition and for using the effects of reflected natural light. Through June 12 at the Museo de las Américas, 861 Santa Fe Drive, 303-571-4401. Reviewed April 29.