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
Clark Richert. In the few years it's been in business, Gildar Gallery has mostly showcased young and up-and-coming artists, but with Dimension and Symmetry: Clark Richert, the intimate space on Broadway has moved to Denver's big time, as Richert is among the best-known artists in the state. The show comes complete with an essay by Cydney Payton, former director of MCA Denver, and was co-curated by Robin Rule, the artist's longtime representative. It features ten major paintings, some digital prints and a projection. Though all the paintings reveal Richert's interest in mathematical formulas — formulas he uses to determine his patterns — and in straight lines, the pieces actually vary quite a bit. There are the expected all-over patterns — his signature approach — some carried out in vaporous shades, others in toned-up colors. And there are paintings depicting actual landscapes, including one of the world-famous art community Drop City, which Richert and others founded in the 1960s. The painting, which takes an archly geometric approach to perspective, depicts a scene populated by domed structures made from wrecked cars. Through January 18 at Gildar Gallery, 82 South Broadway, 303-993-4474, gildargallery.com.
Laura Krudener. There's definitely a retro '60s color-field aesthetic afoot in the oversized, toned-up and elegant abstracts that make up Suspended Chaos: Laura Krudener at Plus. The exhibit represents the artist's debut offering at the gallery, as Krudener has only been in Denver for the past few years. Using raw canvas on set-back stretcher bars, Krudener pours on paint while manipulating the canvas to control the flow. Nearly all of the works included are monumental in size, with the largest, "Awakened Dreamers," being essentially a mural. Since Krudener combines acrylics with enamels, which don't mix, she's able to orchestrate some interesting curdling where the two types intersect; it's a neat effect. She adds lines and shading using charcoal and markers. The compositions are fairly simple: splashes of paint with more raw canvas than pigment seen at the surface. One thing that really makes her work look fresh — and not mid-century modern — is her taste for bold colors and the way she puts the different shades together. Especially effective is the spare use, in some places, of metallic tones. Through November 30 at Plus Gallery, 2501 Larimer Street, 303-296-0927, plusgallery.com.
Sabin Aell et al. The standout among the offerings at Walker Fine Art right now is Sabin Aell: Mond:See, a solo installed in the gallery's main room. The show is dominated by the title piece, a site-specific mural in the entry space that climbs the north wall and bleeds onto part of the east one. Some elements have been painted directly onto the walls, but there are also resin-covered panels hanging here and there. The rest of the show is made up of rectangular versions of the resin parts of the mural, whose subject is Aell's memories of her childhood in Austria and visits to a lake called the Mondsee. Using ink, graphite and photo-based images carried out in digital pigment prints, Aell creates layer after layer, using the resin as a way to float them, one on top of the other. With the Aell pieces covering the walls, the Walker has installed a sculpture show, Jonathan Hils, on the floor. The sculptures are made of metal meshes that Hils manipulates into simple shapes, with some being nature-based and others geometric. Through January 4 at Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955, walkerfineart.com.
Tracy Weil. The fall show at Ironton, Los Esqueletos: New Work by Tracy Weil ,>is filled with depictions of skeletons and skulls. But given Weil's interest in creating work that's fun to look at, the mood of the show is anything but gloomy; it was inspired by a Latin American children's song in which skeletons are used to teach kids how to count and tell time. Though technically each painting illustrates a particular line of the song with the correspondingly correct number of skeletons in it, Weil's exuberance leads him to use many more instead. For example, in "When the clock strikes two, two skeletons eat rice," the two eating from a bowl refer to the title while many others are used as a motif. Weil has been working as an artist since the '80s, and the sensibility of these paintings — with their wild brushwork, jarring colors and crude renderings — is definitely an outgrowth of that era, so it's not surprising to learn that the artist admires Jean-Michel Basquiat, the late neo-expressionist genius, and considers Denver's own Susan Wick to be his most important mentor. Through November 30 at the Ironton Studios and Gallery, 3636 Chestnut Place, 303-297-8626, irontonstudios.com.