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
CPAC MEMBER AWARDS. Every year the Colorado Photographic Arts Center brings in guest jurors to select one member for a Project Grant and two others for Personal Visions Awards. The three are then brought together in the CPAC MEMBER AWARDS exhibition, which is currently on display. Though this may sound like a group endeavor, it's installed so that each artist is separate from the others, making it seem more like a set of solos. The Project Grant recipient -- Gary Lynch this year -- receives a stipend to help defray the costs of making work. Lynch creates engaging character studies of people by working with an archaic nineteenth-century developing process that uses carbon and has the same tonal and archival qualities as platinum prints. The two Personal Visions Award winners were R. Skip Kohloff and Sally Stockhold, each of whom take photographs of exotic locales. Kohloff records in silver-gelatin prints the encroachment of the jungle on the ruins of Angkor in Cambodia; Stockhold does impressionistic-toned cyanotypes of a village on the coast of Mexico. Through March 5 at the Colorado Photographic Arts Center, 1513 Boulder Street, 303-455-8999.
Cribs. Carley Warren is the subject of a thoughtfully conceived and handsomely presented solo, Cribs, on display in the intimate indoor space at Artyard Sculpture Gallery, an unbelievably small and modestly appointed room that almost always looks good. Warren, a Golden-based artist, established her local reputation in the late '70s with large-scale installations, typically made of wood, but in recent years she's gotten more interested in smaller-scale works, like the pieces in Cribs. The most common understanding of the word "cribs" would be as babies' beds, but the mostly vertically oriented Warren sculptures seem more like stalls in a barn, which could be considered "cribs" as well. (They also have horizontal, rather than vertical, bars, unlike baby cribs.) Though Warren's sculptures are relentlessly non-objective, with no direct references to recognizable imagery (most are triangular towers that refer to architecture and even furniture), they nonetheless have a narrative component suggesting a sense of confinement. Through March 12 at Artyard Sculpture Gallery, 1251 South Pearl Street, 303-777-3219. Reviewed February 24.
IN LIMBO. Internationally known contemporary-art collectors Vicki and Kent Logan maintain a residence in Vail and, lucky for us, have become involved in the cultural life of Colorado. In addition to providing a raft of works partially promised to the Denver Art Museum, the collecting couple has facilitated a relationship between the museum and the University of Denver. IN LIMBO is the second Logan-connected show at DU, but the first in which students -- under the direction of curator and professor Gwen Chanzit -- have been allowed to use the DAM's Logan Collection as well the couple's private stash to come up with it. More often than not, too many cooks spoil the broth, but not in this case. The show is first-rate but surprisingly conservative, considering the tender ages of the organizers. The students chose mostly representational paintings and photographs, and there are only two sculptures. Among the artists included are Bo Bartlett, Jack Pierson, Ron Mueck, Cindy Sherman, Su-En Wong, and almost a dozen others. Through March 11 at the Victoria H. Myhren Gallery, 2121 East Asbury Avenue, 303-871-2846. Reviewed January 20.
James Westwater. The current solo in the main space at the Rule Gallery is James Westwater; 10 Years, Geometric Narcissism, 1995-2005. This is not the first time Westwater has had his work exhibited in Denver, but this is the first major offering. The Rule show is a brief survey of the conceptual artist's work done during the time he's lived in Santa Fe, where he moved in 1994. For Westwater, who exhibits his pieces nationally, "geometric narcissism" explains what he's doing, specifically using simple shapes, most often ovals, Westwater marks the surface of his pieces as if he were putting a personal stamp on them. In the late'90s, Westwater put the shapes within neo-minimalist formats -- and they look a lot like Ellsworth Kelly's compositions -- but in the later pieces, he puts the shapes on top of appropriated images and found objects, including a reproduction of a seascape, a sheet of faux bois laminate and a suitcase. Through March 5 at the Rule Gallery, 111 Broadway, 303-777-9473. Reviewed February 3.
Leaving Aztlán. The Center for Visual Art in LoDo is presenting a provocative show, Leaving Aztlán: Rethinking Contemporary Latino and Chicano Art. Kaytie Johnson from the Peeler Art Center at DePauw University put it together with input from, among others, CVA director Kathy Andrews. The show examines new trends being embraced by Latino and Chicano artists -- and by Latinas and Chicanas -- and in the process explores the convoluted relationships between art and ethnicity. Ten years ago this would have been an overtly political show, but now, though politics are still in the mix, there are also many pieces that express cutting-edge aesthetic theories. Artists from across the country were selected -- including Jesse Amado, Connie Arismendi, Javier Carmona, Alex Donis, Diana Guerrero-Mácia, John Hernandez, Benito Huerta, Chuck Ramirez, Juan Ramos and Rubén Ortiz Torres -- but Johnson also chose two local talents, Carlos Frésquez and Maria Michelle Gonzalez. A reception for the artists along with curator Johnson and collector Cheech Marin is scheduled for February 24 from 6 to 9 pm. Through April 23 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.
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