Reviewed: Expanding the Dialogue, Stephen Batura, Ana Maria Hernando and More

Installation view, Colorado Springs Fine Arts Center
Installation view, Colorado Springs Fine Arts Center
Wes Magyar

There's a lot to see in Denver this weekend, including the just reviewed Expanding the Dialogue: Part One at Space Gallery. But you only have a few more days to get to the Colorado Springs Fine Arts Center, where Stephen Batura's solo closes this weekend. Keep reading for capsule reviews of those exhibits, as well as others around the metro area.

"Un Vestido Para la Ñusta (A Dress for the Ñusta)," by Ana Maria Hernando, installation view.
"Un Vestido Para la Ñusta (A Dress for the Ñusta)," by Ana Maria Hernando, installation view.
Jeff Wells, © CU Art Museum, University of Colorado Boulder

Ana Maria Hernando: We Have Flowers: Noted Colorado artist Ana Maria Hernando is the subject of a large, multi-part solo titled We Have Flowers at the CU Art Museum on the University of Colorado campus in Boulder. Hernando was born and raised in Argentina, and though she’s lived in this country for thirty years, more than twenty of those in Boulder, she maintains close ties to South America, which is clearly revealed in her installations, including those in this show. In the title piece, Hernando employs small flower-shaped doilies made by cloistered nuns in Argentina, arranging them on the wall into a large flower shape surrounded by smaller elements. In another, “A Dress for La Ñusta,” crocheted petticoats made by indigenous women in Peru take the form of a mountain. Hernando supplements these custom-made needleworks with acrylic circles that she cast herself and sometimes encase pieces of cloth; these circles are spread across the floor, extending the dimensions of the installations, which are further enhanced by Hernando's black-on-black paintings of flowers. Through October 22 at the CU Art Museum, 1085 18th Street, Boulder, 303-492-8300, colorado.edu. Read the complete Ana Maria Hernando review.

Monotypes by Taiko Chandler, left; paintings by Carlene Frances, right.
Monotypes by Taiko Chandler, left; paintings by Carlene Frances, right.
Michael Burnett

Expanding the Dialogue. Space Gallery is participating in the current craze for women’s art by presenting the elegant group show Expanding the Dialogue: Part One. More than any other gallery in town, Space has focused on abstraction, so that’s what on tap in this exhibit. On the main level, four Colorado artists — Jane Guthridge, Taiko Chandler, Carlene Frances and Tonia Bonnell — are each given their own discretely defined section. Guthridge's includes an airy installation and an assortment of mixed-media wall pieces. Chandler does monotypes, presented straightforwardly and cut, pierced and bent in order to create a wall installation. There’s a selection of Frances’s scribbled paintings, and Bonnell displays some of her obsessively done drawings. Upstairs is the work of three artists — two from Colorado (Sophia Dixon Dillo and Wendy Kowynia), and one, Nancy Koenigsberg, from New York. These artists have stylistic affinities with those represented downstairs, but their efforts are distinctly different, too, in that they eschew traditional mediums and create 3-D works that function as 2-D ones. Through October 1 at Space Gallery, 400 Santa Fe Drive, 720-904-1088, spacegallery.org. Read the full review of Expanding the Dialogue here.

"What You Believe Is What You See," by Jennifer Davey, oil, chalk and collage on board.
"What You Believe Is What You See," by Jennifer Davey, oil, chalk and collage on board.
Bob Compagna

Jennifer Davey: What You Believe Is What You See. An ambitious painting solo at Point Gallery, Jennifer Davey: What You Believe Is What You See, features a nice selection of recent abstract paintings by Jennifer Davey, a Loveland-based artist. Davey’s style references classic modernism — in particular, abstract expressionism and color-field abstraction. Most of these pieces sport wide swaths of paint applied horizontally and vertically, creating intersecting bars of color that alternately reveal or obscure the painted layers she’s done below. Davey also incorporates scribbled automatist lines and spells out words across the picture plane with stenciled letters. Many of the works rely on pentimenti, the illusionary “ghosts” of under-painted passages showing through to the surface; some of this semi-hidden imagery suggests representational subjects like buildings or landscapes. But when when you look closer, it’s apparent that the forms Davey creates are non-objective — in spite of the fact that she has written that, as a Colorado native, the Western scenery informs her work. As is always the case at Point, the exhibit has been well laid out by gallery co-directors Frank Martinez and Michael Vacchiano.Through September 30 at Point, 765 Santa Fe Drive, 720-254-0467,  pointgallerydenver.com.

"The Green Ballet," by Everett Shinn, 1943.
"The Green Ballet," by Everett Shinn, 1943.
Denver Art Museum/Westmoreland Museum of American Art

Rhythm & Roots. Over the summer the Denver Art Museum has presented shows and events about dance inspired by the anchor exhibit, Rhythm and Roots: Dance in American Art. The show is filled with masterworks, particularly in the form of paintings; some are famous but most are not well-known. The same goes for the artists: Some giants of art history are surrounded by less famous peers. Organized by the Detroit Institute of Arts and curated by Jane Dini, the exhibit was overseen in Denver by DAM curator Angelica Daneo. She tweaked the show’s existing structure by separating the works into four parts — “Roots,” “Rhythm,” “Stage” and “Collaboration” — and added sociological and historical content. Among the heavyweight works included are signature efforts by George Caleb Bingham, Joseph Henry Sharp, Walt Kuhn, John Singer Sargent, William Merritt Chase, Robert Henri and Max Weber. Particularly compelling is the unusual Franz Kline portrait of a Russian dancer done just before the artist embraced abstract expressionism. Through October 2 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, denverartmuseum.org.  Read the full review of Rhythm & Roots.

"Late Supper," by Stephen Batura.
"Late Supper," by Stephen Batura.
Wes Magyar

Stephen Batura. The Colorado Springs Fine Arts Center has made a habit of presenting important solos focusing on contemporary Colorado artists, as evidenced in this summer’s major offering, Stephen Batura: A Reservoir of Occurrences, which looks at the artist’s work of the past fifteen years. During that time, Batura created his paintings, drawings and photos by appropriating imagery from photos by an itinerant Denverite, Charles Lillybridge, who worked in the early 1900s. Batura used the old photos to serve as ad hoc studies for his conceptual-realist paintings. The show occupies a large set of galleries on the CSFAC’s second floor and includes around thirty paintings and as many works on paper. The opening sequence in the entry space is dramatic, with three Batura paintings propped up against a charcoal-gray wall that serve as an index to the typical subjects that Lillybridge addressed (and Batura appropriated). It’s a great eye-catching moment that instantly hooks us into taking in the rest of this captivating exhibit. Through September 18 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 719-634-5581, csfineartscenter.org. Read the full review of Stephen Batura's show.

Detail of "Trios," by Walt Kuhn.
Detail of "Trios," by Walt Kuhn.
Colorado Springs Fine Arts Centger

Under the Big Top. As suggested by its title, this charming group show at the Colorado Springs Fine Arts Center samples art about circuses. The idea for the exhibit arose because of the availability of a suite of prints from Marc Chagall’s “Le Cirque” series, depicting different circus scenes in the artist’s magic-surrealist style. Those have been supplemented by works from artists associated with the CSFAC’s history, such as Edgar Britton, Adolf Dehn and others. Among the Britton pieces is a small bronze of acrobats in which the figures and their implied movement have been abstracted. The Dehn lithographs are regionalist depictions of circus tents set at the foot of the mountains. The show also includes a major work from the center’s permanent collection: Walt Kuhn’s gorgeous “Trio,” a conventionalized — and somber — full-length portrait of three lean male acrobats decked out in their tights. Kuhn has simplified the figures, but their faces are rendered realistically. The two at either end are dressed in red, and the one in the middle is in white. “Trio” dominates the entire gallery. Through September 18 at the Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, 719-634-5581, csfineartscenter.org.

Elaine de Kooning, "Bullfight."
Elaine de Kooning, "Bullfight."
Denver Art Museum

Women of Abstract Expressionism. This groundbreaking show, the first of its kind at a major museum, is the brainchild of the Denver Art Museum’s modern-art curator, Gwen Chanzit. The underlying idea is that the women who participated in the abstract-expressionist movement have been overlooked, and that this injustice is something that needs to be righted. Starting with a list of more than 100 potential participants, Chanzit ultimately chose the twelve that are showcased. She came up with this tight list so that each could be given a solo of sorts, in order for viewers to more easily perceive their respective styles. Despite the short shrift given to women abstract expressionists, four are already famous — three (Elaine de Kooning, Helen Frankenthaler and Lee Krasner) because of their more famous husbands (de Kooning, Motherwell and Pollock, respectively), and one who gained fame on her own (Joan Mitchell). The others are Grace Hartigan, Judith Godwin, Mary Abbott, Sonia Gechtoff, Perle Fine, Deborah Remington, Jay DeFeo and Ethel Schwabacher. Through September 25 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, denverartmuseum.org. Read the review of Women of Abstract Expressionism.

Keep reading for more shows along the Front Range.



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