By Zoe Yabrove
By Bree Davies
By Byron Graham
By Susan Froyd
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Childsplay. For this show, the floor of Walker Fine Art has been covered with rough-hewn playground equipment made of wood and bronze. And despite the show's title, all of it has been made for, and scaled to, adults, who are meant to interact with the individual pieces. The mostly kinetic sculptures (some are static) are by Colorado artist Kim Ferrer, who's melded schoolyards with Buddhist philosophy: These pieces take up the topic of balance, from physical and psychological perspectives. Standing or sitting on the pieces, viewers aren't supposed to go up and down (though they could), but rather are asked to work with them so that they achieve a kind of equilibrium. In addition to the Ferrer solo, the show includes pieces by Walker's corps of artists, and the walls are covered with paintings, photos and collages that all focus on children, at least broadly. Standouts among these include works by Frank O'Neil, Ben Strawn, Sabin Aell, Bonny Lhotka, Roland Bernier, Jonathan Hils and Eric Corrigan. Through September 4 at Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955, www.walkerfineart.com.
Damien Hirst. You'd have to be living under a rock — or have absolutely no interest in contemporary art — not to know that Damien Hirst is a superstar, and that everything he makes is worth millions of dollars apiece. The tight solo at MCA Denver (formerly known as the Museum of Contemporary Art/Denver) is not the first time that local art audiences have had a chance to see Hirst's creations in person, but it is his first single-artist show anywhere in the American West. Hirst's "Natural History" series of dead animals in cases is surely his most famous type of work. There's an incredible one in the MCA show called "Saint Sebastian: Exquisite Pain," made up of a bullock that's been pierced with arrows. It's simultaneously compelling and repellent. "Saint Sebastian" dominates the Large Works Gallery, but there are three other Hirst pieces, including two very different paintings from his "Butterfly" series, in which actual butterflies are affixed to the paintings, and one of his post-minimal "Medicine Cabinets." It's apparent that Hirst is brilliant, with an eye for beauty, though his mind goes in for ugliness. Through August 30 at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Reviewed October 16.
Rex Ray. The Promenade Space on the second floor of MCA Denver is both a passageway and an exhibition hall. Given its limited size and unconventional plan — the main wall runs diagonally to the windows opposite it — the Promenade has been used exclusively for single installations. The latest example is an untitled mural by San Francisco artist Rex Ray, who used to live in Colorado. Ray has a national reputation based not just on his fine art, but as a designer of everything from books to coffee mugs. Ray created the mural specifically for this show and specially designed the fabulous wallpaper that surrounds it. The mural is signature Ray, with shapes that rise from the base in the manner of a still-life or landscape. The shapes have been made from cut-outs of painted papers that have been laid against a stunning blue ground, and were inspired by organic forms, or at least abstractions of them, as seen in mid-century modern design. The wallpaper has a spare, all-over pattern on a white ground, complementing the mural without competing with it. Through January 31 at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org.
Robert Kushner and Arlene Shechet. New York artist Robert Kushner, who first came to prominence as a performance artist in the 1970s, creates paintings and works on paper based on flowers. His Denver representative, the van Straaten Gallery, is presenting a handsome selection of both in this impressive exhibit. There's a decidedly post-pop-art quality to the paintings, in which large, simplified renditions of flowers are carried out in bright colors that have been accented with glitter, of all things. The works on paper have a much quieter appeal, though Kushner gets a little theatrical by using shiny metallic foils in some of them. The Kushners take up most of the front part of the gallery and have been paired with Arlene Shechet's monotypes in the back. These were done at Riverhouse Editions, a Steamboat Springs-based printmaker associated with the gallery. Shechet is also from New York and is currently the subject of a solo at MCA Denver. The monotypes at van Straaten, done with watercolors, depict abstracted scenes made up of silhouettes of vessels. Through August 29 at van Straaten Gallery, 760 Santa Fe Drive, 303-573-8585, www.vanStraatenGallery.com.
Systems of Knowing. Artist R. Justin Stewart, who has a RedLine residency right now, is the author of a compelling installation exhibit, Systems of Knowing, at Plus Gallery. The show is made up of five separate yet interrelated installations. Every one of them comprises a set of drawings hanging on the wall and a small sculpture placed nearby on a shallow plinth on the floor. The drawings and their related sculptures are literally connected to one another by a red line. Stewart is interested in laying out the way ideas can be translated and transformed from one medium to another — in this case, from drawings to sculptures. In this way, he hopes to illustrate the nature of ideas. Stewart uses drawings of circles done in layers to develop the basic designs. He then carries out the same ideas in the three-dimensional works. For the sculptures, he employs humble materials such as twist ties and plastic o-rings. Because the installations are made of repeated identical elements, they conceptually link up with contemporary ideas about pattern-building and fractals. Through August 28 at Plus Gallery, 2501 Larimer Street, 303-296-0927, www.plusgallery.com.
Trace (Figurative). Metro State Center for Visual Art director Jennifer Garner has taken a look at figural art that is, to say the least, offbeat. She's selected four artists who don't depict the figure, but rather directly refer to it. There are some stomach-turning aspects to this show, with dirty footprints, wads of hair out of drains, sweat stains on fabric and blood used to make the pieces. But far from being a gross-out fest, the exhibit is actually filled with thoughtful pieces, some of which are even conventionally beautiful. The works are abstract, but the content is conceptual, as indicated by the strange materials. The display gets under way with paintings by Jason Lee Gimbel made up of canvases covered with his footprints. Then there's a section given over to those wads of hair, done in digitized prints on paper by Nigel Poor. Probably the most compelling pieces are installations of sweat-stained cloth stitched together by Heather Doyle-Maier. The last of the quartet of body-snatchers is Denis Roussel, who uses digitized photos of smears of blood. Through August 13 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207, www.metrostatecva.org. Reviewed July 16.
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