Emilio Lobato and Martha Daniels. The solos that open the season at William Havu Gallery combine the disparate work of two of the area's best-known and well-regarded artists. On the walls is Emilio Lobato: Desde Siempre (Since Forever), which comprises the artist's signature abstractions. The title refers to Lobato's self-exploration and to the fact that he can't remember not being an artist; he feels he's been creating art "since forever." The title is also meant to salute his great-grandfathers, both of whom were weavers, with Lobato laying in patterns of wavy lines across his geometric compositions, giving them an almost folk-art quality. Installed around the gallery is Martha Daniels, made up of large-scale figural sculptures and architectonic towers. In her work, Daniels riffs off the history of ceramics, combining the unlikely pairing of Mediterranean and Asian influences. Among Daniels's many strengths are her surfaces, which look like paint even though they are glaze, and her signature shapes, which are outrageously expressive. Through October 28 at William Havu Gallery, 1040 Cherokee Street, 303-893-2360.

Extended Remix. MCA curator and director Cydney Payton is doing hermeneutics by interpreting her own interpretations. This past summer, Payton oversaw the MCA's most ambitious offering, Decades of Influence, and for her followup, she organized Extended Remix, pairing some of the artists she chose for Decades with artists she had left out. The title, Extended Remix, refers to the musical process whereby DJs create new compositions by combining disparate material -- exactly what Payton did for this exhibit. Decades artists such as Bruce Price, Clark Richert and Kim Dickey are joined by artists who weren't part of that show, among them Paul Gillis, Mary Ehrin and Carley Warren. The work of several emerging talents, including Matthew Larson and Steve Read, is also here. Remix is a great idea, even if it isn't all that different from a typical museum change-out. The opening is Friday, September 15, from 6 to 9 p.m., with an after-party at 9 p.m. at Slim 7, in the alley between the 1400 block of Market and Larimer streets. Through January 7 at the Museum of Contemporary Art/Denver, 1275 19th Street, 303-298-7554.

Heaven and Earth. The Museo de las Américas is mostly given over to exhibitions of contemporary art that carry political messages. For Heaven and Earth, however, the institution turned its sights on historic art from Mexico, borrowing from the Jan and Frederick Mayer Collection of Spanish Colonial Art at the Denver Art Museum. In addition to the DAM, the Museo also collaborated with the Agency for Architecture, which designed environments for the pieces to sit in. Mexico was a Spanish colony from 1521 to 1850, thus Spain was the main source for cultural ideals. The Spanish made it their goal to convert the indigenous people to Roman Catholicism, and this show focuses on the religious art that played a role in that. Religious subjects, often commissioned by churches, convents and monasteries, represent the main aesthetic interest for Mexican artists of that time, and, as could be expected, there's no shortage of images of the Virgin, the Crucifixion and the saints. However, the exhibit ultimately reveals that Mexican art is not comparable to Spanish art, despite Spain's key role in its development. Through October 8 at the Museo de las Américas, 861 Santa Fe Drive, 303-571-4401.


Capsule reviews

James Surls, Ligia Bouton and Shark's. The Boulder Museum of Contemporary Art has gotten a jump on the upcoming season with the star attraction James Surls: A Cut Above, which features selected works by the famous sculptor who made his name in Texas in the '80s but has lived in Colorado since 1998. Surls's medium of choice is carved wood, and his signature is leaving the wood in its subtle array of natural colors. After carving, he assembles his sinuously cut forms into unlikely arrangements, often hanging them from the ceiling. Also on tap is Ligia Bouton: Hybrids, a video that explores identity though wardrobe with a decidedly feminist stamp; Bouton, who lives in Santa Fe, juxtaposes images of herself wearing different outfits like a burkha on one side and a tutu on the other. Finally there's Woodcut Prints From Shark's Ink: Out of the Woods, with works on paper by Betty Woodman, Red Grooms, John Buck, Roy De Forest and others, produced by Bud Shark in his famous print shop in nearby Lyons. Through October 14 at the Boulder Museum of Contemporary Art, 1750 13th Street, Boulder, 303-443-2122.

JENNY MORGAN, COLIN LIVINGSTON and JEFF STRAHL. Ivar Zeile's + Gallery is launching the fall season with three solos featuring emerging artists. Up front is JENNY MORGAN: Romantic Comedies, made up of edgy representational paintings. In recent years, Morgan has been doing nude self-portraits with key elements cropped out, and she's gained a lot of critical success with the formula. For these new paintings, she added a man, who's also been cropped. Morgan, who lived in Denver, recently moved to New York to attend graduate school. In the center space is an imaginative show, COLIN LIVINGSTON: Palettes, Patterns, Logos and Slogans, in which potential collectors are invited to select from a menu of -- you guessed it -- palettes, patterns, logos and slogans that Livingston will then use to create paintings on order. The show includes sample combinations by Livingston himself. The results have a pop-art flair, but the deadpan slogans and his innovative process add a neo-dada angle. In the back is JEFF STRAHL: Vallari, which lends + the atmosphere of a biker bar. Through October 7 at + Gallery, 2350 Lawrence, 303-296-0927.

PIECES OF ME. Michael Brohman is a sculptor who works in the traditional medium of bronze and refers to the equally traditional representational style. But it's what he refers to that makes so much of his work outrageous. Brohman is quite adept at setting off gag reflexes through his upsetting sculptures. (His hybrids of babies and chickens come to mind.) For his current solo at Pirate, PIECES OF ME, Brohman cast parts of his body and then assembled them -- or would that be disassembled? -- so that the imagery suggests dismemberment. There's that stomach-in-the-throat feeling that I was talking about. In one life-sized piece, the artist is depicted as having been castrated. Yuck. Brohman has also included a group of his "Reliquary" pieces, casts of his head with creepy things -- human teeth with gold fillings or glass eyes, for example -- inside. These objects were owned by people unknown to him, yet he feels the need to make these caskets for their remains, and for that funeral parlor effect, some have been placed on Victorian-style tables. Through September 17, at Pirate: Contemporary Art, 3665 Navajo Street, 303-458-6058.

Selected Prints From ULAE. After being closed for the better part of a year, Robin Rule has finally reopened her gallery. For the grand opening, she's presenting Selected Prints From Universal Limited Art Editions, which showcases works from the famous printmaker. ULAE was established in the 1950s when Larry Rivers and Frank O'Hara contracted to make a collaborative piece; since then, it has worked with many of the most important artists of our time. Founded on Long Island by Tatyana Grosman, a self-taught printer, ULAE is now world-renowned, with the Museum of Modern Art acquiring a piece from each edition. In 1969, Bill Goldston joined ULAE; he took over as director and master printer in 1982, after Grosman's death. Goldston has come to Denver to oversee the installation of this show, which includes work by Lee Bontecou, Chuck Close, Carroll Dunham, Robert Motherwell, Elizabeth Murray, Barnett Newman, James Rosenquist and others from the same lofty league. The exhibit opens with a reception on Friday, September 15, from 6 to 9 p.m.; Goldston will give a gallery talk on Saturday, September 16, at 4 p.m. Through October 21 at Rule Gallery, 227 Broadway, 303-777-9473.


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