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
Chimera. The University of Denver's Victoria H. Myhren Gallery is hosting an unusual multimedia installation called Chimera. The title refers to a mythical female demon, and young South African artist Minnette Vári places herself in that difficult role. The piece, done in 2001, focuses on the "Voortrekker Monument" in Pretoria, which honors the Afrikaner pioneers of the nineteenth century. It's perfect for Vári's purposes, as the artist has been interested in the racial politics that have been standard fare in her homeland for decades. The monument depicts many figures in a classical, Greco-Roman style, and it's all been done in white marble, which has an added poignancy when we remember that it honors the white people who at one time took over the black-majority country. That's surely why Vári (who is white, incidentally) digitally turned the monument black in her video projections. She also distorts its forms, animating them, and inserts self-portraits, disguising herself as the she-devil of the title. Through May 7 at the Victoria H. Myhren Gallery, 2121 East Asbury Avenue, 303-871-2846.
Colorado Clay 2006. Beginning some thirty years ago, Foothills Art Center in Golden established Colorado Clay as an annual juried exhibit highlighting ceramics. But this year, director Jenny Cook changed its format into a biennial. Colorado Clay 2006 is a good group show, but it is somewhat disappointing in comparison to past outings. This is the case because celebrity juror Michel Conroy chose too many goofy ceramics and too few functional pieces, and because curator Michael Chavez randomly scattered the pieces around instead of grouping the works of individual artists together. Among the standouts are the sculptural ewers by Paul Morris, Bebe Alexander's architectonic lidded bottles, the quirky and beautifully glazed figures by Caroline Douglas, and Jim Klingman's classic wheel-turned vessels. Others represented in the show include Katie Caron, Amy Chavez, Christine Owen, Julie McNair, MaryLynn Schumacher, Valerie and Jonathan Nicklow, Kazu Obu, David Beumée, Peggy Crago and Joyce Bikel. Through May 7 at Foothills Art Center, 809 15th Street, Golden, 303-279-3922. Reviewed April 6.
Finding Place, The Last Supper and 38 of 50. There's an unusual show called Finding Place: Life in Ritual on display in the main gallery at the Museum of Contemporary Art in Fort Collins. The exhibit not only incorporates dance, video and painting, but also interconnects and interprets them. Dancers Judy Bejarano and Lisa Morgan created movements based on everyday rituals while visual artists Kaidi Dunstan and John Giarrizzo did pieces based on the dancers. Conceptual artist randall sinner brought it all together by recording the dancers and the visual artists on video and in photos, thus interpreting the interpretations. On the mezzanine, sinner is the subject of a solo titled 38 of 50: CAPITOL EMBROIDERY. The show documents a performance piece sinner's done on the steps of 38 of 50 state capitol buildings, in which he embroiders ropes in the manner of state flags as a protest against the death penalty. The companion exhibit, Julie Green's The Last Supper, is made up of white plates decorated to depict the last-meal requests of inmates on death row. Finding Place through May 20, The Last Supper and 38 of 50, through May 13, all at the Museum of Contemporary Art, 201 South College Avenue, Fort Collins, 1-970-482-2787.
Gwen Laine and Lorelei Schott. William Biety, exhibition director of the Sandy Carson Gallery, is great at putting together complementary shows. That's exactly what he's done in the pairing of Gwen Laine, featuring contemporary photo-based pieces, and Lorelei Schott, filled with nature-based abstract paintings. Both Laine and Schott are respected local artists who've shown their work in the area for years. In Laine's majestic photos, the artist layers images one over another by re-photographing it repeatedly until it is vaporous and the subject matter ambiguous. In a conceptually similar though thoroughly different practice, Schott buries her canvases in her backyard garden so that they are altered through natural processes. The natural stains and attached debris become the taking-off point for the painted compositions, the details of which -- flowers, leaves, etc. -- also refer to her garden. As usual, there's also a nice selection of artists from the gallery's stable displayed in the back. As an added treat, there's a mini-solo reprising last month's Frank Sampson show of magical-realist works. All through May 12 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585.