Berghaus, Douglas and Riverhouse Editions. In the front spaces at Sandy Carson, there's a whimsical yet intelligent show called Clearing: The Kinetic Sculpture of Marc Berghaus. The pieces are mechanical, with the most clever use of machinery being "Freeway Chase," in which viewers look through the frame of a TV screen to tune into a miniature highway pursuit being played out on a rotating cylinder. "Freeway" is definitely memorable for its neat effects. In the inner reaches of the gallery is Life Is but a Dream: Caroline Douglas, featuring ceramic figural sculptures of people and animals having a magic-realist character. Douglas is especially adept at achieving stunning surface effects, with her skill in glazing readily apparent. The gallery is in transition right now, with new owners Jan and Bill van Stratton taking over from Sandy Carson herself. At this point, shows scheduled before the sale are continuing, but the van Strattons are also introducing themselves with Selections From Riverhouse Editions, an exhibit made up of pieces by famous artists created at their fine-print studio in Steamboat Springs. Through May 31 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585, www.sandycarsongallery.com. Reviewed May 8.
Burnett, McInnis and Castator. In the front room at Space Gallery are three abstract solos that have been combined into a single, coherent exhibit, with one painter on the south wall, another on the north, and sculptures by a third filling the floor space in between. It really works as a whole. First is Michael Burnett, made up of recent paintings by the artist, who is the owner of Space. The new paintings are notably simpler and less heavily painted than his earlier work, as well as being lighter in color, more boldly graphic and downright lyrical. Opposite the Burnetts is Lewis McInnis, featuring some choice geometric abstracts by this Fort Collins-based painter who is all but unknown in Denver; based on his work, this is something that should be fixed. On the floor, in between Burnett and McInnis, is Mark Castator, made up of steel sculptures in the form of spheres and towers. Castator, out of Boulder, cuts steel tubes and pipes and welds the slices into assemblages. The spheres are extremely nice, but they are absolutely blown away by the much more interesting towers. Through May 24 at Space Gallery, 765 Santa Fe Drive, 720-904-1088, www.spacegallery.org. Reviewed May 8.
Dale Chisman. Since Dale Chisman is among the greatest abstract painters who ever plied their trade in Colorado, this show is unquestionably one of the most significant of the year. Recent Paintings by Dale Chisman is also a rare chance to see his work in depth, as it has been three long years since his last in-town solo, which was also at Rule. Chisman was born and raised in Denver and earned his BFA and MFA at CU in Boulder, but he also studied in London and elsewhere. For fifteen years, he lived in New York, where he became involved with that city's cutting-edge art scene. A little over twenty years ago, he returned to Denver. The paintings at Rule, all of them done in 2007 and 2008, are stylistically a continuation of his previous painterly interests while simultaneously covering new ground. They are notably airier and more atmospheric than his earlier efforts, and many incorporate linear elements, often a horizontal line that's meant to be a metaphor for the landscape — but we'll have to take Chisman's word for that. Through June 28 at Rule Gallery, 227 Broadway, 303-777-9473, www.rulegallery.com.
Clyfford Still Unveiled. A master and pioneer of mid-twentieth-century abstract expressionism, painter Clyfford Still was something of an eccentric in the artist-as-egomaniac stripe. His antisocial behavior led to a situation where 94 percent of his artworks remained together after he died — a staggeringly complete chronicle of his oeuvre that is now owned by the City of Denver. As a planned Clyfford Still Museum won't be completed until 2010, the institution's founding director, Dean Sobel, decided to preview a baker's dozen of Still's creations at the Denver Art Museum. Sobel uses the very small show to lay out most of the artist's career and stylistic development. Still worked his way from regionalism to surrealism, then wound up developing abstract expressionism with one of the greatest abstract paintings imaginable, "1944 N No. 1" — and the rest is art history. Through June 30 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed July 26, 2007.
Inspiring Impressionism. This is hardly your run-of-the-mill effort in which a cavalcade of big-name European artists are represented by minor works. Instead, it's an intellectually stimulating exhibit crowded with iconic pieces by some of the most significant artists who ever took brush to canvas. Curated by the DAM's Timothy Standring and London's Ann Dumas, the traveling show examines the little-explored relationship between the Impressionists and the Old Masters. The intelligent installation has been handled so that viewers are literally forced to recognize the relationships Standring and Dumas have laid out among several sets of separate pieces of widely different dates and from various points of origin. These comparisons lead viewers to make insightful observations because their conclusions have been built in to the installation itself — not through wall text, but through the paintings and drawings alone. There are a lot of important pieces, including in-depth selections of Cézanne, Monet, Renoir and others. Through May 25 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed February 21.
Wes Magyar and Robin Schaefer. Plus Gallery is now showing Wes Magyar: Convergence, made up of idiosyncratic representational paintings that comfortably fall within the conceptual-realist category, the hottest trend in international painting. Magyar's paintings aren't pointedly beautiful or classically composed, and they contain ambiguous and somewhat contradictory messages about the conditions of life, both in terms of isolation as well as connectedness. In two similar paintings together titled "Restless," a male and female couple is shown in bed. But their poses and facial expressions suggest an air of alienation, with each facing the world alone. In the middle space at Plus is Robin Schaefer: Mimesis, in which paintings of isolated natural subjects are carried out precisely, in a peculiar contemporary-realist format that's in the air right now. Schaefer creates monumental pictures marked by the illusion of dramatic lighting, with the subjects — vegetables and flowers — standing out against dark grounds. Through May 24 at Plus Gallery, 2350 Lawrence Street, 303-296-0927, www.plusgallery.com. Reviewed May 15.
Jeff Starr. MCA director Cydney Payton has a long tradition of supporting regional artists, and though she erred in not including locals among the Star Power exhibits that opened the new building, she's making up for it with a promised series of solos dedicated to Colorado artists. The first features Jeff Starr, a painter and sculptor with a two-decade-plus-long career. His show is dominated by quirky, idiosyncratic paintings and includes a selection of even quirkier ceramic sculptures. The representational paintings fall into two distinct categories: those that are Hollywood-related, like the portrait of Lee Marvin, and others that are fantasy-based, like the village in the treetops. The ceramic sculptures ape kitsch knickknacks, which is even the case with the monumental bust of a young guy who used to work at Twist & Shout. There is also a fragment of his studio — furniture, books, clippings and study pieces — installed in the corner, giving viewers insight into Starr's sources. Through May 25 at the Museum of Contemporary Art/Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Reviewed April 24.
Yu-Cheng Chou. On view in the Lu and Chris Law New Media Gallery on the first floor of the Museum of Contemporary Art is a video installation that represents this Chinese-born, Paris-based artist's first-ever museum show in America. Director Cydney Payton was an early proponent of the new Chinese art, and it was the MCA that hosted the area's first major show on the topic several years ago. Yu-Cheng's conceptual work in video and digital printing conveys the appeal of Chinese art because it's based on a hybrid of Eastern and Western sensibilities. In assembling and organizing Yu-Cheng Chou, Payton combated video's greatest shortcoming — that it is often boring — by taking a more-is-more approach to the installation, in which a lot is going on at the same time. The artist embraces a wide range of approaches, with some pieces referencing classic Chinese art and others coming out of Japanese-derived animation. But regardless of his sources, all have been created in an international context. Yu-Cheng Chou is a nice little show, and even if you're indifferent to video, it's still worth seeing. Through July 6 at the Museum of Contemporary Art/Denver, 1485 Delgany Street, 303-298-7554. Reviewed March 6.
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