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
Alden Mason, Kimberlee Sullivan and Lorey Hobbs. The changing of the seasons from spring to summer is what inspired William Biety, director of the Sandy Carson Gallery, to put together three solos, each comprising nature-based abstractions. Alden Mason marks the debut of the Washington artist, who is represented in this show by neo-expressionist watercolors that are densely populated by cartoonish depictions of people, animals and plants. Mason, who is in his late eighties, is a well-known artist in the Northwest, where his work appears in the collections of many museums. Kimberlee Sullivan features paintings inspired by microscopic views of natural things. The Denver artist's small abstracts are painted mostly green, a detail that heightens the naturalistic reference. Finally, there is Lorey Hobbs, a show made up of this Denver artist's recent neo-abstract-expressionist canvases. It's hard to believe, looking at these boldly colored and powerfully painted works, that Hobbs actually begins with sketches of the countryside. Through July 6 at the Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585. Reviewed June 9.
Blueprint. For the past several years, sculptor Bryan Andrews has been attempting to reconcile the folk-art aesthetic he came to love during his childhood in the Ozarks with his interest in contemporary art, a sensibility he's nurtured since moving to Denver as a young man in the 1990s. Toward this end, over the past several years Andrews has created several series of mostly vertically oriented pieces that seem simultaneously primitive and modern -- sort of like the artist himself. He calls these sculptures "Fetems," a homemade contraction of "Fetish" and "Totem." The latest "Fetems" can be found in Blueprint, his current solo show at Artyard, where it all began for Andrews and where he's only recently returned after several years displaying elsewhere. These new "Fetems" are a continuation of his earlier concerns but with an added twist, such as the use of figural and representational imagery in otherwise abstract compositions. One thing that's remained the same is Andrews's taste for a distinctive shade of blue, which symbolizes his deceased grandfather's eyes and, by extension, his own. Though July 9 at Artyard Contemporary Sculpture, 1251 South Pearl Street, 303-777-3219.
Chihuly. Michael De Marsche, president of the Colorado Springs Fine Arts Center, has orchestrated the extravaganza Chihuly, a sprawling survey of the career of glass master Dale Chihuly. Working near Seattle, Chihuly is among the best-known glass artists of all time, right up there with Louis Comfort Tiffany and Paolo Venini. De Marsche, following the formula he has established in other exhibits over the past couple of years, set Chihuly within the context of the CSFAC's spectacular Southwestern and American Indian collections. And then there's the incomparable setting of the iconic John Gaw Meem-designed building itself. Chihuly's illustrious career is surveyed beginning with the oldest pieces, from his very first generation of vases done in the 1970s to some brand-new, hot-from-the-furnaces chandeliers and towers. During those thirty years, his work became increasingly expressionistic, a product of his awareness of the Venetian aesthetic. The show is installed throughout the center, and there are even examples displayed outdoors in the courtyard. Through August 14 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 1-719-634-5581. Reviewed June 23.
Five Presses: Selected Works, et al.The enormous Lower Gallery at the Arvada Center have been given over to a massive print show, Five Presses. The show's title refers to the five presses from which curator Jerry Gilmore has selected the 75 prints he's included in this impressive exhibit. The presses include two famous ones located right here in Colorado -- Anderson Ranch and Shark's INK -- as well as New Mexico's Hand Graphics, Segura Publishing Company from Arizona and White Wings Press of Illinois. Among the artists who are represented are Terry Allen, Vernon Fisher, Jaune Quick-to-See Smith, Emilio Lobato, David Barbero, Robert Colescott, Emmi Whitehorse, Enrique Chagoya, James Turrell, Carrie Mae Weems and Betty Woodman. In the Upper Gallery is Donald Quade: Journal, a big solo filled with abstracts by this up-and-coming Denver painter. In the theater lobby is the more intimate Chuck McCoy: New Works on Paper, made up of abstracts on paper. Donald Quade and Chuck McCoy run through August 21; Five Presses through August 28 at the Arvada Center for the Arts and Humanities, 6901 Wadsworth Boulevard, Arvada, 720-898-7200.
Japanese Design Today 100. This exhibit, which features an examination of contemporary Japanese design, is likely to be the last of the big shows at Metro State's Center for Visual Art. That's because the budget's been drastically cut and director Kathy Andrews is leaving as a result. Poignantly, the show opens June 30, Andrews's last day. But she intends to be at the reception being held from 7 to 9 p.m., keeping a stiff upper lip while bidding a farewell to her supporters and to the institution. Although Andrews installed the design exhibit, the Japan Foundation organized it with selections made by a panel of Japanese curators and designers. A lot of their choices are high-tech gadgets, including digital cameras, game stations and even a robotic dog, but there are also low-tech articles, such as vases and toys. One of the exhibit's most interesting features is the lack of a discernible Japanese aesthetic, which is so obvious in older material. Instead, almost everything seems as though it could just as easily have been made in the U.S. as in Japan. Through August 27 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.
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