Beginning in the middle space but mostly consigned to the back Viewing Room is another show, Colorado Abstract, that's been paired with Counterpoints. Careful readers may note that the show's title is the same as that of a book I co-authored with Mary Chandler, but the exhibit is not officially associated with that writing project, which is why I think I can speak about the Robischon feature without there being a conflict of interest. However, I won't be writing about the shows at the Kirkland Museum or the Center for Visual Art, which are based on the book, either now or in the future.

Robischon is not a Colorado art specialist, nor is it particularly associated with abstraction, but as this small endeavor proves, the gallery represents a number of Colorado's most significant abstract artists. Among this august group are painters Terry Maker and Trine Bumiller, and sculptors Carl Reed and Scott Chamberlin. Maker, whose triumphant show at MCA Denver just closed this past weekend, is represented by some of her signature sliced paintings, in which she embeds material in resin blocks and then slices and polishes them to create flat panels. Bumiller has one of her multi-part abstracts, in which she places images based on nature on separate panels and then assembles them into constructivist arrangements. Reed is an old-line modernist who shows metal and stone assemblages that are something like three-dimensional line drawings. Chamberlin, who works in clay, does blobby, wall-hung anthropomorphic forms.

The show also includes work by Tony Coulter, Halim Al-Karim and Ana Maria Hernando, who are lesser known than the other four but equally talented. Coulter has a smeary picture that is a cross between pattern painting and abstract expressionism, an unlikely combination of influences. Al-Karim and Hernando are conceptual artists, with the former doing a painting on canvas that has been pierced so that much of the picture plane is made up of voids, while Hernando is represented by a pile of clear plastic disks, each with a cloth flower in it, the whole thing arranged in a circle.

"Black Watch, I," by Gene Davis, silkscreen on paper.
"Black Watch, I," by Gene Davis, silkscreen on paper.
"Year of the Dog #10," by Judy Pfaff, block print, digital print and hand work on paper.
"Year of the Dog #10," by Judy Pfaff, block print, digital print and hand work on paper.


Through January 24, Robischon Gallery, 1740 Wazee Street, 303-298-7788, a slide show of this exhibit, go to

Times being what they are, I've been off for a few weeks and have thus gotten somewhat behind schedule with my reviews. What that means for you is that I've only just gotten around to reviewing these shows at Robischon, and they are both about to close. If you haven't seen them yet, do so before Saturday.

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