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
Anxiety and Desire. Clare Cornell, assistant professor of digital imaging at the Metropolitan State College of Denver, put together Anxiety and Desire, an exhibit of photo-based pieces that address psychological concepts. He included work from an array of artists from around the country, each working in their own ways, though much of it is only vaguely psychological in content. Cinthea Fiss takes photos of bedridden people on television. Donna Tracy uses special effects to create portraits of people and animals. Leta Evaskus does montages of nude women with their X-rays, while Robert Flynt's montages combine historic shots with contemporary ones. Mark Kessell does oddball, intimate portraits. Clarissa Sligh records a woman becoming a man. And finally, Mary Beth Heffernan photographs copies of Christ's loincloth made of chicken skin -- no kidding. Anxiety and desire are strange concepts on which to hang an art show, which is surely why the art in this show is so strange. Through January 15 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.
Better Times, et al. Contemporary painter Evan Colbert has been successfully riffing on minimalism, pop art and conceptualism for the last several years -- and he's not about to stop now. Among his most interesting pieces are those in which Colbert creates a color field based on paint chips and then labels it with an evocative word. For this recent body of paintings, displayed in Better Times at the + Gallery, Colbert uses colors and words to evoke political themes, such as the one referencing the Department of Homeland Security's color coding of terrorist threat levels. It's great. Also at + Gallery is Nocturnal Suburbia, in which Patti Hallock takes shots of the suburbs at night. There's an implicit indictment in these views of cheap materials used mundanely, but this socio-cultural narrative is offset by the poetics of the darkness that envelops the scenes. Finally, there's Cremasteric Reflex Corset, a signature piece by Ira Sherman, one of the region's most respected vanguard sculptors. The contraption is a high-tech torture device with the fine detailing of a piece of jewelry. Implicitly, it's intended to be worn by an unlucky man. Through January 7 at + Gallery, 2350 Lawrence Street, 303-296-0927.
Filters of the Twentieth Century. Over the last couple of decades, there's increasingly been a problem with making neat and tidy distinctions between photojournalism and fine-art photography. Art is exactly what's in store for viewers of Filters of the Twentieth Century: Margaret Bourke-White, Carl Mydans on display at Cherry Creek's Gallery M. True, Bourke-White and Mydans were photojournalists, but their works are examples of fine-art photography anyway. Bourke-White did Lifemagazine's first cover, "Fort Peck Dam," in 1936; an estate print of it is included at Gallery M. The exhibit also has photos Bourke-White took for Erskine Caldwell's 1939 book, You Have Seen Their Faces, which was her personal response to photos of the rural poor taken for the Farm Service Administration. Like Bourke-White, Mydans was one of the first generation of Lifephotographers, and before that he worked for the FSA. The show could be criticized for being way too crowded, but considering what it's crowded with -- stunning images by Bourke-White and Mydans -- who cares? Through January 31 at Gallery M, 2830 East Third Avenue, 303-331-8400. Reviewed October 14.
Jeff Starr: A Way of Life. For the past twenty years Denver artist Jeff Starr has managed to be relevant to the contemporary art scene, which is no mean feat. Back in the '80s, he established himself as a top contemporary painter with his body of idiosyncratic, surrealist-style paintings. In fact, just last year he was one of the anointed in the Museum of Contemporary Art's biennial, where he was represented by his retro-abstract ceramics. How he went from being a painter to a sculptor is the topic of this exhibit at the Rule Gallery, where Starr's efforts have been seen over the years. The show lays out his development over the last decade, with the oldest pieces in the show dating from the early '90s and the newest having been done within the last few months. The message is that Starr's sculptures come out of his paintings -- sort of. Starr's pieces in any medium are created in a range of styles, but there are always references in them to the art of the past. As an added bonus, conceputal artist David Brady's recent work is on display in the Viewing Room. Through January 8 at the Rule Gallery, 111 Broadway, 303-777-9473.
NOT YOUR TYPE. The Singer Gallery at the Mizel Center for Arts and Culture is presenting NOT YOUR TYPE: Works in Words by Roland Bernier, Rick Griffith and Martin Mendelsberg, an art show about words. Simon Zalkind, Singer's director, organized the exhibit as the visual-art component of the center's annual Leah Cohen Festival of Books and Authors. Zalkind cleverly put graphics -- a widely seen but rarely exhibited art form -- with that old exhibition workhorse: painting. The lone painter in the show, Roland Bernier, has been using words as an aesthetic device for nearly forty years. Bernier's work looks great next to the graphics of Rick Griffith and Martin Mendelsberg, because they also use words to make their art -- but for different reasons. Bernier is one of the modern masters of the area, and Griffith and Mendelsberg are both extremely well known. It's a diverse group of pieces, but the show is somewhat unified because there are all those words everywhere. Through December 30 at the Mizel Center for Arts and Culture, 350 South Dahlia Street, 303-399-2660.
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