By Susan Froyd
By Byron Graham
By Robin Edwards
By Bree Davies
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Place and Time and Walt Kuhn. One of the ways you can tell that Blake Milteer is an imaginative curator is by how well he programs shows. The most recent evidence can be seen in two interrelated exhibits at the Colorado Springs Fine Arts Center. In Place and Time, Denver photographer Edie Winograde has traveled to live re-creations of various historic events and taken photos from which she does tinted inkjets. The narrative is the struggle of the Indians and settlers. Her signature images are blurry, conveying movement, but they also provide a link to the other show. In Walt Kuhn, the early-twentieth-century painter, who spent a lot of time in Colorado, does cowboys and Indians under the influence of European vanguard art, which means his images are blurry, too. The paintings are part of a series, "An Imaginary History of the West," that Kuhn did between 1918 and 1920. They are from the CSFAC's permanent collection, a gift from the artist's widow made over fifty years ago. Through January 4 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 1-719-634-5583, www.csfineartscenter.org.
through a glass, darkly. The inaugural exhibition at Laura Merage's RedLine is through a glass, darkly, curated by Jenny Schlenzka, who's from Germany but lives in New York. The title was inspired by the classic Ingmar Bergman film of the same name, but Schlenzka discovered that the phrase is from the Bible. Watching the elections made her want to do a political show, though not everything here has an apparent message, especially the initial work, "Self-Portrait As Us," by Douglas Gordon, an altered publicity shot of the cast of the TV show Dynasty, set in Denver. Dynasty has a personal resonance for Schlenzka because it was her grandmother's favorite show — called Der Denver Clan in Germany. The one truly incredible piece in the show, and the only one that coherently expresses a political point of view, is by Annette Roberts-Gray, who lives not in Manhattan, London or Berlin, but in Glenwood Springs. It is a large set of shelves painted gray; on them are 1,000 hand-thrown porcelain vases, all impressed with the names of soldiers who died in Iraq and Afghanistan. Through January 16 at RedLine, 2350 Arapahoe Street, 303-296-4448, www.redlineart.org. Reviewed November 6.
Wynne/Wynne. Hugh Grant, director of the Kirkland Museum of Fine & Decorative Art, has relentlessly carried the torch for Colorado's art history, doing more to promote awareness of this important legacy than anyone has. Wynne/Wynne is the latest in a series of shows at the Kirkland saluting artists who came to the fore between the '50s and the '70s. It highlights the careers of Al and Lou Wynne, an abstract painter and a modernist ceramicist, respectively. The Wynnes have lived and worked in the Black Forest north of Colorado Springs for decades, each creating significant bodies of work. Further, Al is among the most important abstract painters to have ever worked here. Wynne/Wynne was co-curated by well-known painter Tracy Felix, who selected all the works and unfortunately embraced diversity instead of cohesiveness in Al's work – something that makes it impossible to notice the artist's signature style. On the other hand, Felix was able to convey Lou's career cogently. Through January 4 at the Kirkland Museum of Fine & Decorative Art, 1311 Pearl Street, 303-832-4774, www.kirklandmuseum.org. Reviewed October 23.
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