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.
Gary Lynch. The Emmanuel Gallery, in association with the Colorado Photographic Arts Center, presents Gary Lynch: A Memorial Retrospective. Lynch, a Denver native who was born in 1953, died unexpectedly in the fall of 2005. A well-known fine-art photographer who served on the board of CPAC, Lynch took up the camera when he was a small child. Emmanuel is the perfect place for this memorial, since Lynch not only earned his BA at adjacent Metropolitan State College, but he also taught there, as well as at the other two Auraria institutions, the Community College of Denver and the University of Colorado at Denver. (He did his MFA in photography off the campus, at the University of Denver.) Lynch was fascinated by the human figure and face, including his own, and was interested in creating special lighting effects that give some of his photos an otherworldly character. He also experimented with unlikely methods, including carbon printing. Though his professional career ranged over a mere ten years, he was almost universally regarded as a master of the photographic medium. Through July 20 at Emmanuel Gallery, Auraria campus, 303-556-8337.
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.