Breaking the Mold. In 2003, Connecticut collector Virginia Vogel Mattern donated some 300 pieces of contemporary American Indian art to the Denver Art Museum. For one of the special shows inaugurating the new Frederic C. Hamilton Building, Native Arts curator Nancy Blomberg has selected over a hundred works for the impressive Breaking the Mold: The Virginia Vogel Mattern Collection of Contemporary Native American Art, which is installed in the Martin & McCormick Gallery on level two. Mattern began collecting in 1992, when she purchased a miniature pot by Delores Curran in Santa Fe; though she remained interested in miniatures, she also pursued prize-winning pieces from annual American Indian art shows, focused on multiple generations of the Tafoya and Nampayo families and explored through pottery, textiles and paintings the interrelationships of the Navajo, Zuni and San Ildefonso peoples. But Mattern was also interested in innovation -- the "breaking the mold" of the show's title -- with such pieces as Hubert Candelario's coiled clay jar with holes cut into the sides so that it's non-functional, but beautiful. Through August 31 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed November 23.
Caroline Douglas and Santiago Perez. William Beity, director of the Sandy Carson Gallery, took two solos and combined them into a seamless duet discussing the topic of magic realism. This cohesion is interesting, because the show presents more differences than similarities between the two artists. The first is Caroline Douglas, a Boulder-based ceramic sculptor whose solo, Entering the Dream, is mostly standing figures based on women, some of which are life-sized. The Douglas sculptures work perfectly with the extremely strange, exaggeratedly idiosyncratic and very compelling pieces in the second solo, Fantastical Paintings, featuring the work of Santiago Perez. In the smaller paintings, Perez lays out his personal iconography, including little birds and big heads. Some of these paintings were preparatory for the enormous and eye-dazzling "Moby Dick vs. Quetzalcoatl in Heaven for a Million Rounds," but others were done later, in response. Through April 27 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585.
Halim Al-Karim, et al. The two shows on the first floor of the Boulder Museum of Contemporary Art, Halim Al-Karim/Passage to Sumer and Kris Cox/New Work are good examples of the post-minimal trend popular during the last ten years. The two artists, both of whom live in Colorado, are working in different materials to different ends, yet both create work that's simultaneously simple and complicated. Passage to Sumer, by the Iraqi-born Al-Karim, comprises nearly a dozen works, but the way they're displayed makes them seem like parts of one big environmental piece. The switch from the Al-Karim's flamboyant installations to the dignified paintings by Kris Cox is perfectly carried out and evocative of a journey. Many of the paintings are done in ivory tones, though several have dots in a rainbow of shades. The last of the shows, on the second floor, is Christopher Morris/My America, made up of color photos. Morris, who has said that the photos are the conjunction of "patriotism, politics and devotion," crops his images of people in unexpected ways. Through May 19 at the Boulder Museum of Contemporary Art, 1750 13th Street, Boulder, 303-443-2122. Reviewed April 5.
Japanese Art. The spectacular exhibit Japanese Art From the Colorado Collection of Kimiko and John Powers is installed in the Gallagher Family Gallery of the Denver Art Museum's new Hamilton Building. It was put together by Ron Otsuka, the esteemed curator of Asian art who has built an important collection during his thirty-plus years at the institution. Decades ago, Otsuka established a friendship with the Powerses, which is why they put their collection of more than 300 Japanese masterworks on long-term loan with the DAM. It's from this hoard that Otsuka chose the more than 100 objects he included in Japanese Art. As collectors, the Powerses were old-fashioned connoisseurs who chose things based on their innate fineness. "They were certainly very selective," says Otsuka in something of an understatement, considering the high quality of these pieces. The Powerses, who are also known for their stunning modern-art collection, sought out Japanese works of art that anticipate modernism despite that fact that they are hundreds of years old. Through September 9 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed January 25.
RADAR. With its outlandish appearance, the Denver Art Museum's new Frederic C. Hamilton Building has overshadowed what's on display inside. There are a few exceptions to this, and first among them is RADAR: Selections From the Collection of Vicki & Kent Logan, installed in the Anschutz Gallery on the second level. Put together by Dianne Vanderlip, the outgoing curator of the Modern and Contemporary Art department, RADAR includes sections on the cutting edge in Asia, Europe and America. Many of the works were donated by the Logans, who live in Vail and are among the most important collectors of contemporary art in the country -- and, in recent years, among the DAM's most significant donors, having given as gifts over 200 works of art and promised hundreds more. Some of the biggest names in international art are in the show, among them Takashi Murakami, Yoshitomo Nara, Zhang Huan, Damien Hirst, Jenny Saville, Michel Majerus, Neo Rauch, Carroll Dunham, Kiki Smith, George Condo and Fred Tomaselli, all represented by major works. An absolute must-see. Through July 15 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed December 28, 2006.
Tipping Point. Sometimes alternative spaces feature shows only an artist's mother could love, but once in a while there's one that's as good as anything else around, and that's the case at Edge. The show is Tipping Point, and it combines the efforts of Gayla Lemke and Tim Flynn, who live and work together in their mountain home in Pine. Both artists have impressive individual careers, and each has shown in the region for the last decade or so. Lemke is principally known for her abstract ceramic sculptures and installations, while Flynn works in metal and wire to create his non-objective, three-dimensional work. In addition to many smaller pieces, each has created a tour de force, with Lemke's being "Consequence," which comprises abstract ceramic stones, and Flynn's being "Re-generation," a group of woven wire constructions. Most of the included objects are by either Lemke or Flynn, though a few are collaborations. The hand-built ceramics by Lemke and Flynn's hand-wrought metal -- singularly and together -- are beautifully conceived. Through April 22 at Edge Gallery, 3658 Navajo Street, 303-477-7173. Reviewed April 5.
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