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Charles Bunnell. A pioneer abstractionist is the star of Charles Bunnell: Rocky Mountain Modern at the Colorado Springs Fine Arts Center. The show was curated by Blake Milteer, the CSFAC's museum director and curator of American art, who built it around the private collection of James and Virginia Moffett, who live in Kansas City. It was supplemented with pieces from the CSFAC's own hoard and from local private collections. Though the exhibit appears to include every dead end or cul-de-sac that Bunnell ever went down, it actually doesn't, since the artist was relentlessly experimental. The show also reveals those periods in which the experiments came together and he was able to create some very solid work. If you ignore the wrong turns he made, you can definitely see how each of his successful experiments led to the next. There are the expressionist landscapes from the 1920s, the cubo-regionalist scenes from the 1930s, and the geometric abstractions of the 1950s, which morphed into abstract expressionism in the 1960s. Through September 15 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 719-634-5583, Reviewed August 22.

Collin Parson. Collin Parson wears two hats in the local art world — three, if you count the fact that he's the son of prominent area sculptor Charles Parson. One is as the director of the visual-art program at the Arvada Center; the other is as an artist. Working with light as his chief medium, Parson is currently the subject of a good-looking solo at Z Art Department with the preposterous title ReWorked: the Collin Parson Experience. The show is something like a brief survey of Parson's work done over the past few years, with the oldest pieces dating back to 2008 and the newest ones done only in the past few months. Parson's work is in the form of lightboxes — that is, boxes that hang on the wall and have internal lighting. The earliest boxes are made of wood that's been painted black, with voids routed out that allow the light to come through. At first Parson used fluorescent lights, but as time has gone on, he's switched to LEDs, which allow the colors to change periodically. For the newer pieces, Parson switched to acrylic panels in a range of colors and with laser-cut voids. Through September 15 at Z Art Department, 1136 Speer Boulevard, 303-298-8432, Reviewed August 15.

Jae Ko, Lisa Stefanelli, Linda Fleming, et al. The Robischon summer series begins with Jae Ko, an eponymous single-artist show given over to post-minimal wall pieces by the Korean-born, Washington, D.C.-based artist. Ko dyes and twists paper, then shapes it to her desired forms. Also at the gallery is Lisa Stefanelli, dedicated to a post-abstract expressionist from back east. For these paintings, Stefanelli has created grounds using sprayed automotive paints, then added carefully rendered "scribbles" by hand. Up next is Linda Fleming, which features the work of a part-time resident of the state and a key figure in the history of contemporary art here. Fleming's pieces are wall-mounted sculptures made of steel, either chrome-plated or carried out in powder-coated colors. Then there is a group show, Ted Larsen, Peter Millett and Don Voisine, which highlights three individual takes on minimalism. The last of the exhibits, Andrew Millner, is different, as the works displayed are not abstracts, but depictions of flowers. Through August 31 at Robischon Gallery, 1740 Wazee Street, 303-298-7788, Reviewed August 8.

Nick Cave. Though it's billed separately — and requires separate tickets — Nick Cave: Sojourn is the pièce de résistance

of Spun, the over-the-top salute to textiles comprising a dozen shows at the Denver Art Museum. In the center of the entry space is a found baptismal font surmounted by a bower of steel rods accented with strings of beads and little ceramic birds. This is an exemplar of Cave's latest interest: elaborate, funky assemblages that lie somewhere between sculpture and installation. Though there's plenty of childlike wonder to behold in his work — crocheted doilies, bird figurines, sock monkeys — the pieces displayed in the steady progression of connected rooms create what Cave sees as a "sacred space." The show also includes a nice selection of Cave's remarkable Soundsuits, androgynous disguises sometimes used in performances that were originally protest pieces sparked by the Rodney King beating in the '90s. There is also a group of found-object assemblage sculptures, like the baptismal font, that represent a new direction for the artist. Through September 22 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, Reviewed July 26.


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