Apparition. The brand-new Gallery Severn, which is owned by art collector and retired executive Andy Dodd, aims to be what he has called a "launch pad" for emerging artists. This specialty in fresh faces instantly makes the place interesting. Also interesting is Dodd's decision to feature only one artist at a time so that the gallery can promote individuals, individually. Limiting inventory in this way seems like a risky business move, but who knows? It might just work. For the inaugural exhibition, Apparition: The Act of Appearing, Dodd chose to highlight abstract paintings by Dante Ortiz, a young artist who is little known in Denver. Born in Colorado, Ortiz was educated at the Rhode Island School of Design, earning degrees in landscape architecture and fine arts. This led directly to his founding of Studio Forma, a landscape design firm in Boulder. Last year he started painting again, creating the abstracts of overlapping color fields set off by enthusiastic scribbles that make up this show. These bright Ortiz paintings look pretty good in the tidy space. Through June 30 at Gallery Severn, 3210 Tejon Street, 303-532-9369.
Colorado & the West. David Cook Fine Art in LoDo presents an annual survey of regional art that was done in the second half of the nineteenth century and the first half of the twentieth. Every year, the show turns out to be one of the best around. Then again, the finest material from this period is so wonderful that it would be difficult not to come up with a good exhibit. For this, the fifth year, the gallery acquired a large private collection that had been hidden away right here in Denver. This was supplemented by pieces from the estate of Ethel Magafan, including many of her own creations and some by her twin sister, Jenne. Both were protegés of Boardman Robinson at the Colorado Springs Fine Arts Center School. That institution and its predecessor, the Broadmoor Academy, were important to the development of art in Colorado, and Cook's has frequently focused on artists associated with these schools. Denver artists are also included, notably Vance Kirkland and William Sanderson. Through June 3 at David Cook Fine Art, 1637 Wazee Street, 303-623-8181.
Emmi Whitehorse et al. Joan Markowitz, senior curator and co-director of the Boulder Museum of Contemporary Art, has put together a trio of single-artist shows. First isEmmi Whitehorse, a solo dedicated to recent work by the nationally known New Mexico artist. Whitehorse was raised on a Navajo reservation and attended the University of New Mexico before becoming famous in New York during the 1980s. She does abstract paintings and prints that incorporate Navajo imagery and words. Whitehorse recently worked in Lyons, near Boulder, producing prints at Shark's Ink. The second show,Tracy Krumm, highlights this artist's woven-metal sculptures, which explore gender issues by juxtaposing industrial material with the domestic method. Krumm is a teacher of fiber art at the Kansas City Art Institute. The last show is Mica Chamber, a site-specific installation by Colorado artist Rebecca DiDomenico, who has used layers of thousands of mica rectangles and thousands of black-and-white photos to suggest the passage of her life. Through July 29 at the Boulder Museum of Contemporary Art, 1750 13th Street, Boulder, 303-443-2122.
From Nordenskiold to Nusbaum. This impressive photo show, on view in the Western History/Genealogy gallery of the Denver Central Library, has the five-volume title ofFrom Nordenskiold to Nusbaum: Archaeology, Photography and Tourism in the Early Years of Mesa Verde National Park. The show was jointly curated by Thomas Carr, archaeologist at the Colorado Historical Society, and Trina Purcell, curator of photography at the Denver Public Library. Carr and Purcell picked through the extensive collections of both the CHS and the DPL to select the pieces. The Nordenskiold part of the title refers to Gustaf Nordenskiold, a Swedish scientist and photographer who explored Mesa Verde in 1891; the Nusbaum part refers to Jesse Logan Nusbaum, who excavated the ruins and became the superintendent of Mesa Verde National Park in 1921. But there's more to it than photos by Nordenskiold and Nusbaum; pieces by William Henry Jackson, Thomas McKee, George Beam, Laura Gilpin and many others fill out the show. Through May 31 at the Western History/Genealogy gallery, Denver Central Library, 10 West 14th Avenue Parkway, 720-865-1821. Reviewed April 20.
James McNeill Whistler. For the first time in seventy years, there are no art shows on display at the Colorado Springs Fine Arts Center, that gorgeous New Mexi-deco-style landmark by John Gaw Meem. But that doesn't mean the place is closed down. On the contrary, while the Meem building is being expanded, the CSFAC has opened an annex in downtown Colorado Springs to keep the institution up and running and in the eye of the public. The new space has been dubbed FAC Modern and is located in the Plaza of the Rockies complex. Currently on display there is James McNeill Whistler. Whistler was one of the great artists of the nineteenth century. Born in America, he spent almost his entire career in London and Paris, where he was associated with the impressionists. Despite that connection, he wasn't one of them -- even if he did do many impressionist-style works. The pieces in this show are from the collection of Scotland's Hunterian Art Gallery and include a few small paintings, a handful of objects owned by Whistler and, for the main course, his famous etchings and other works on paper. Through August 20 at FAC Modern, 121 Tejon Street, Colorado Springs, 1-719-634-5581.
Photographs by EDWARD WESTON. You don't need to know much about photography to have heard of the greatest of the black-and-white knights from the West Coast, the late Edward Weston. His totemic position in history no doubt explains why Camera Obscura Gallery has had a steady flow of visitors since Photographs by EDWARD WESTON opened a few weeks ago. Weston took these shots from the 1920s through the 1950s, and his son, Cole, printed them up in the 1980s. That was the last time they will ever be produced, so the prints at Camera Obscura are the last of their kind. Among the selections are some of Weston's most famous photos, including "Shell I," "Double Shell" and "Pepper #30." In these classic examples of modernist realism, Weston isolates the subjects in such a way as to make them look like abstractions, though all he's done is record them straightforwardly in soft light. The details are crisp and clean, and there's a tremendous degree of clarity. Another concern for Weston was the female nude, and the same naturalism he applied to his other subjects was used with these. Through June 4 at Camera Obscura Gallery, 1309 Bannock Street, 303-623-4059. Reviewed May 18.
Place. For the past ten years, the Rocky Mountain College of Art + Design has emerged as a local powerhouse, producing more than its fair share of emerging artists. Place: Fine Art Alumni Invitational highlights the work of some recent graduates. But good expectations not withstanding, there are problems with the show -- no theme, for example -- making it something of a disappointment. This is not to say that there aren't things worth seeing, because there are. Those little pigment puzzles by Karen McClanahan are pretty cool. The James Morgan taped paintings showed promise. The same goes for Robin McClure's charming line drawings done directly on the wall using strips of black adhesive vinyl instead of ink. Justin Simoni continues to riff off Andy Warhol in this group of impressive conceptual works. Morgan Barnes is always good, so it's no surprise to see his heavy-duty kinetic sculptures being among the true standouts. Ditto for Colin Livingston, with three of his marvelously deadpan neo-pop pieces included. Through June 10 at the Phillip J. Steele Gallery, Rocky Mountain College of Art + Design, 1600 Pierce Street, 303-753-6046. Reviewed May 18.
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