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
Andy Warhol's Dream America. Hot on the heels of its smash hit, Chihuly, the Colorado Springs Fine Arts Center is presenting yet another blockbuster devoted to the work of a household name in contemporary art: Andy Warhol's Dream America. The exhibition was curated by Ben Mitchell of Wyoming's Nicolaysen Museum. The more than 100 prints -- on loan from the Jordan Schnitzer Family Foundation -- survey the pop pioneer's career from the late '60s to 1986, the year before he died. There are many iconic Warhol images included, such as his depictions of soup cans, shoes, Marilyn, Jackie and Mao. More than any other pop artist of his generation, Warhol anticipated the art of today by working not only in traditional media, such as the prints in this show, but also in film and performance. He is generally regarded as having been among the most important artists in the world during the second half of the twentieth century, and one of the greatest American artists of all time. The wide range of prints in this show neatly explains why. Through December 31 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 1-719-634-5581.
Geometric Abstraction. This group show at the UMC Gallery at the University of Colorado at Boulder brings together works by a variety of artists who did geometric abstraction in the '60s and '70s. This kind of thing was perfect for the times, because the simplicity meant that there was no content other than form and color, making it corporate-friendly, unlike the narrative-heavy pop art of the same period. Despite the stylistic affinities that link all of the Geometric artists, the show includes two distinctly different generations: Frank Stella and Sol LeWitt, who were responding to abstract expressionism; and Herbert Bayer and Ilya Bolotowsky, who were embracing geometry before the first abstract expressionist flung the first wad of paint. The two generations were motivated by different impulses, even if their pieces are all superficially compatible. The included works come from the Colorado Collection, CU's impressive art holdings. Through November 4 at the UMC Gallery, University Memorial Center, Broadway and Euclid Street, Boulder, 303-492-7465.
Metro Effect. Metropolitan State College of Denver is celebrating its fortieth anniversary, and in honor of that milestone, the Center for Visual Art is presenting a juried show of works by Metro alumni. A committee made up of former CVA director Kathy Andrews, art-department chair Greg Watts and art professor Yuko Yagisawa selected the 26 artists included. As could be expected from a commuter school like Metro, most still live in the area. What is unexpected is that some of them have emerged as major figures in the local art scene. This is surely true of Phil Bender, whose appearance in this show reminds everyone that Pirate, one of the city's oldest co-ops, was a spin-off of Metro's art department. Other artists familiar to Denver art audiences include Carlos Frésquez, Mark Friday, Lauri Lynnxe Murphy, Elaine Ricklin, Dave Seiler and Bill Starke. There are also those who left town to seek their fame and fortune elsewhere -- notably, Shaun Acton, who is now in New York. More than anything else, the show reveals Metro's significance to the life of the art scene in the Mile High City and beyond. Through October 29 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.
The Modern Muybridge Series. This is a clever show that features recent work by Rodney Wallace, who runs the gallery with the oddball name of KOUBOU a Deux, an invented Franco-Japanese phrase that means "artist workshop for two." The show's title refers to Eadweard Muybridge, a pioneer of scientific photography who took sequential photos of people and animals in motion. Free association connects them to Warhol's repetitious imagery, and Wallace references both sensibilities simultaneously. Particularly Warholian are Wallace's bright colors. Also compelling is Wallace's gritty take on city life: His pieces include depictions of a woman loaded down with luggage, a homeless man pushing a shopping cart and an assault in progress, among other contemporary urban scenes. To do the paintings, Wallace took digital photos, some of them staged using models, and then projected the images onto blank canvases. Tracing the images with watercolor pencils, he painted in the forms using acrylics that melted the tracings so that no outlines were left behind. Through November 5 at KOUBOU a Deux, upstairs at 7571/2 Santa Fe Drive, 720-203-1944. Reviewed October 13.
Revealing the Muse and Colorado Innovators. Hugh Grant, founder and director of the Kirkland Museum on Capitol Hill, curated both Revealing the Muse and Colorado Innovators both at the Lakewood Heritage Center using pieces borrowed from his institution's permanent collection. The Kirkland Museum has an impressive assemblage that includes paintings by Kirkland himself, work by other Colorado artists and an extensive group of decorative arts. Colorado Innovators provides a survey of mid-twentieth-century artists working in Denver. Most of the objects included have either never been exhibited or haven't been seen in living memory. Revealing the Muse is a Vance Kirkland retrospective that begins with his work from the 1930s and ends with pieces done right before his death in 1981. I think it could be argued that surrealism was Kirkland's most important influence, and one of his most important innovations was the mixing of oil paint and water poured onto the surfaces of his pieces. Beginning in the 1950s, this mixture led to some of his greatest paintings ever. Through February 10 at the Radius Gallery, Lakewood Heritage Center, 801 South Yarrow Street, Lakewood, 303-987-7850. Reviewed September 8.
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