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
The six sculptures, all of which have Italian titles, are very dignified and create an elegant environment with a contemplative mood. The display looks absolutely great, but I've come to expect nothing less from McEnroe since first seeing his efforts at the long-defunct ILK cooperative.
That's also where I first came across the smart post-pop paintings by the third artist now in a solo at +, whose latest smart-alecky daubs make up Stop Signs of the World: New Paintings by Evan Colbert.
For this exhibit, in the small niche toward the gallery's office, Colbert hung paintings of stop signs inscribed with warnings written in languages that do not use our Roman alphabet, such as Laotian and Ethiopian. The paintings are the same octagonal shape as a stop sign, and each has a white border and white lettering, so there's a repetitive quality to the installation. The only difference is which version of the word "stop" is used. Though clearly a new vocabulary for Colbert, the idea behind these paintings is completely in line with what he's been doing all along -- in particular, his well-remembered paint-chip paintings. Like the paint chips, these stop signs have an archetypal form that accommodates many variations.
For a complete slide show of the exhibit, click here.
I think the solos dedicated to Price, McEnroe and Colbert at + Gallery are all marvelous and smart. I run into people all the time who bemoan the lack of sophistication in the Denver art scene, then have the nerve to miss shows like these. My advice to you? Don't be among them.