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
Colorado & the West. Every summer for many years, David Cook Fine Art has presented a show on the history of regional art, and this year's version, Colorado & the West, rivals a museum exhibit. The show starts off with a rare example of Jan Matulka's oeuvre, an abstracted landscape from 1925. Matulka, a European emigré, is an important artist whose work is rarely exhibited, so it's worth checking out the show just to catch a look at this piece. The influence of cubism was important in Western art, especially in New Mexico and Colorado, and in addition to the Matulka's references to it, there's the spectacular cubo-regionalist black watercolor of a rainstorm by Charles Bunnell and a fully cubist composition of a figural group by Frank Vavra. Expressionism was another dominant force in the art of the West, and there are two wonderful though modest landscapes by Birger Sandzén (whose work is an immediate predecessor to abstract expressionism). In addition to Colorado artists, the show includes pieces by famous New Mexico transcendentalist painters Alfred Morang and Raymond Jonson. Through June 30 at David Cook Fine Art, 1637 Wazee Street, 303-623-8181. Reviewed May 24.
Fourteen Stations/Hey Yud Dalet. The Singer Gallery of the Mizel Center is nominally a Jewish institution, but the programs are typically more secular than religious. But not right now: The subject of the current exhibit is the Holocaust as conveyed through Arie Alexander Galles's fourteen monumental charcoal drawings of the concentration camps. The title of the suite refers to the Stations of the Cross in Roman Catholicism that follows Christ's passion and death in fourteen vignettes — but this time it's the Jews being crucified. Polish-born California artist Galles copied the aerial photos of the camps with such painstaking detail that the resulting images appear photographic from a distance. Up close, however, they do not look like photos, because the tooth of the paper is visible and the surfaces have thick streaks. Hidden in the drawings are parts of the Kaddish, a prayer for the dead. If you don't mind having the hairs on the back of your neck stand on end, go see Fourteen Stations. Through June 24 at the Singer Gallery, 350 South Dahlia Street, 303-316-6360. Reviewed June 7.
Homare Ikeda. It's been five years since the artist had his last solo in town, making Homare Ikeda at Sandy Carson Gallery something rare and special. Plus, the show's a knockout. The self-titled exhibit is very large, spreading out through most of the multi-space gallery, and is completely made up of work Ikeda did during the few months that he held an artist residency at the Bemis Center for Contemporary Arts in Omaha, Nebraska. Ikeda is one of a number of Denver artists to have taken advantage of the Bemis lately, owing to director Mark Masuoka's former connection to the Mile High City. There's nothing amazing about an artist creating a large body of work during a several-month gig at an art retreat, but there is something unusual when it's Ikeda, since he's traditionally worked very slowly. The new works are signature Ikeda, showing off his taste for awkward forms held out of balance in uneasy compositions, all carried out using unevenly applied pigments. They're really strange and very fine. Through July 7 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585. Reviewed June 7.
Japanese Art. The spectacular exhibit Japanese Art From the Colorado Collection of Kimiko and John Powers is installed in the Gallagher Family Gallery of the Denver Art Museum's new Hamilton Building. It was put together by Ron Otsuka, the esteemed curator of Asian art who has built an important collection during his thirty-plus years at the institution. Decades ago, Otsuka established a friendship with the Powerses, which is why they put their collection of more than 300 Japanese masterworks on long-term loan with the DAM. It's from this hoard that Otsuka chose the more than 100 objects he included in Japanese Art. As collectors, the Powerses were old-fashioned connoisseurs who chose things based on their innate fineness. "They were certainly very selective," says Otsuka in something of an understatement, considering the high quality of these pieces. The Powerses, who are also known for their stunning modern-art collection, sought out Japanese works of art that anticipate modernism despite that fact that they are hundreds of years old. Through September 9 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed January 25.