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
Emilio Lobato's new paintings are stunning, and though they're clearly signature pieces for him, he's also shifted gears. As could be expected, Lobato used pages from found books as grounds. Also as anticipated, there are dark, rich colors and constructivist compositions crowded with geometric shapes. But what seems new is his use of brightly colored stripes laid on the uppermost layer of some panels. It's almost as though Lobato has taken his classic paintings and added an extra step that makes them look thoroughly new.
According to the artist's statement, the stripes are meant to be threads that reference his great-grandfathers, who were weavers in the San Luis Valley in Southern Colorado. The show's subtitle, Desde Siempre, means "since forever" and refers to Lobato's weaving ancestors as well as his own lifelong pursuit of art.
Through October 7, + Gallery, 2350 Lawrence Street, 303-296-0927
There are any number of great paintings here, including the majestic "Bien Vestido" and the equally fine "Sin Fin," both of which are hanging in the entry. In these oil and collage on panels, Lobato painted the squares and rectangles and then did the pinstriping, which does evoke the idea of weavings. Plus, like so much of Lobato's work, they have a Chicano flavor and simultaneously riff off international modernism. All in all, this is an extremely strong outing for Lobato.
Filling the floor space in between the Lobatos are some remarkable sculptures by Martha Daniels, a grand dame of Colorado ceramics. Golden Age includes several abstracted busts and plant forms displayed in the window, along with a handful of her "towers" -- architectonic piles of related forms that resemble spires.
As wonderful as the smaller pieces are, it's her tower sculptures that steal the show. Daniels has included four of them, though a fifth was planned. It was destroyed in a kiln accident, but the artist is philosophical about the setback, joking to Havu that it needed to be sacrificed to the gods to protect the others. Three of the smaller towers -- and by small, I mean under six feet tall -- are markedly similar to one another. "Maize Tower," right inside the door, "Temple Tower," displayed in the window, and "Mongo Tower," in the center space, were all done in multiple parts, with each section involving three-dimensional repeating patterns in an all-over configuration.
"Endless Tower," the most ambitious of these sculptures, is an aesthetic tour de force that stopped me dead in my tracks. It is slightly different than the others because it does not taper at the top. Daniels says it's meant to refer to Constantin Brancusi's famous "Endless Column," in which identical wooden shapes (and later, concrete ones) in the form of truncated four-sided pyramids were stacked up. Though Brancusi used simple flat-sided shapes, Daniels pierced hers to create radiating decorations on each element. She then gilded the raised parts and covered the recessed portions with dark-blue glaze, thus exaggerating the different levels of the sculptures' exterior surfaces.
I've admired Daniels's sculptures for a long time, so I can say with confidence that Golden Age is one of her best efforts ever. Neither it nor the Lobato show should be missed.
On the other side of downtown, + Gallery is hosting three solos, each installed in its own dedicated space. In the front is ROMANTIC COMEDIES: New Paintings by Jenny Morgan, featuring the artist's latest works in the realm of the self-portrait. In the center space is PALETTES, PATTERNS, LOGOS and SLOGANS: New Paintings by Colin Livingston, which pushes the artist's conceptual and post-pop sensibility to the limits. Finally, in the small back space are photo-based erotic portraits in VALLARI: New Photographs by Jeff Strahl.
Morgan, who graduated from the Rocky Mountain College of Art and Design in 2003 and who just began graduate studies at the School of Visual Arts in New York, has made quite a name for herself with her striking self-portraits. Though her technique is fairly traditional, she adds something new by cropping the figure so that only a fraction of the body is within the picture plane. This device, and the use of a multiple-panel format, gives her paintings a fresh look. And, as we all know, the principal pursuit for contemporary representational painters is to make their work look different from that of artists of the past.
On the wall facing the entrance is the remarkable triptych "Round I, II, and III." Each of the three attenuated vertical rectangles is nearly identical, with renditions of draped cloth running down the centers and figures on either side. These figures -- Morgan's nude body on the left and an anonymous young man's body on the right -- are apparently in bed and holding hands. Given the nudity and supine position of the two, we're clearly looking at private moments shared between a pair of young lovers, though the paintings are in no way sexually charged or explicit. A more complicated scene is captured in "Recognizing the Pattern," a long horizontal that almost has the presence of a mural. On the extreme left are two male figures, who seem to be arm wrestling, and on the extreme right is the ubiquitous Morgan, who appears to be fleeing. The whole thing is set on what appears to be a king-sized bed covered in draping red fabric.