Gary Lynch. The Emmanuel Gallery, in association with the Colorado Photographic Arts Center, presents Gary Lynch: A Memorial Retrospective. Lynch, a Denver native who was born in 1953, died unexpectedly in the fall of 2005. A well-known fine-art photographer who served on the board of CPAC, Lynch took up the camera when he was a small child. Emmanuel is the perfect place for this memorial, since Lynch not only earned his B.A. at adjacent Metropolitan State College, but he also taught there, as well as at the other two Auraria institutions, the Community College of Denver and the University of Colorado at Denver. (He did his M.F.A. in photography off the campus, at the University of Denver.) Lynch was fascinated by the human figure and face, including his own, and was interested in creating special lighting effects that give some of his photos an otherworldly character. He also experimented with unlikely methods, including carbon printing. Though his professional career ranged over a mere ten years, he was almost universally regarded as a master of the photographic medium. Through July 20 at Emmanuel Gallery, Auraria campus, 303-556-8337.

Homare Ikeda. It's been five years since the artist had his last solo in town, making Homare Ikeda at Sandy Carson Gallery something rare and special. Plus, the show's a knockout. The self-titled exhibit is very large, spreading out through most of the multi-space gallery, and is completely made up of work Ikeda did during the few months that he held an artist residency at the Bemis Center for Contemporary Arts in Omaha, Nebraska. Ikeda is one of a number of Denver artists to have taken advantage of the Bemis lately, owing to director Mark Masuoka's former connection to the Mile High City. There's nothing amazing about an artist creating a large body of work during a several-month gig at an art retreat, but there is something unusual when it's Ikeda, since he's traditionally worked very slowly. The new works are signature Ikeda, showing off his taste for awkward forms held out of balance in uneasy compositions, all carried out using unevenly applied pigments. They're really strange and very fine. Through July 7 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585. Reviewed June 7.

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 July 8 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000. Reviewed January 25.


Capsule reviews

Kim Dickey: Cold Pastoral. Artist Kim Dickey, who teaches at the University of Colorado at Boulder, has turned her solo at Rule Gallery into a single coherent installation made up of large-format color photos, ceramic sculptures and mirrored tiles that refer to historic French gardens. Most of the photos, carried out in light jet prints, are hung at wide intervals on the gallery's long unbroken south wall, which seems to go on and on because Dickey lined the back wall with the mirrored tiles. Evenly spaced between the photos are a series of ceramic sculptures based on potted topiary plants, the kind of thing seen in the photos. Several sculptures have integral concrete pedestals that work well with the ceramic plants on top of them. The title, Cold Pastoral, seems inordinately apt, as this show makes Rule feel chilly even on a hot summer day. Through July 7 at Rule Gallery, 227 Broadway, 303-777-9473. Reviewed May 24.

Masterpieces of Colorado Landscape. The world-famous scenery of the nearby Colorado Rockies — the gorgeous mountains, not the sorry baseball team — has attracted artists to our state for well over a century. This broad narrative provides a foundation for Masterpieces of Colorado Landscape at Golden's Foothills Art Center. The show includes a large selection of historic landscape paintings and juxtaposes them with an equally large assortment of contemporary landscape paintings. It's a traveling show put together by Rose Glaser Fredrick to celebrate the fortieth anniversary of the Colorado Council on the Arts. Fredrick chose historic artists who worked in impressionism, expressionism and cubo-regionalism, including Birger Sandzén, Ernest Lawson, Vance Kirkland, Charles Bunnell and Frank Vavra. Sadly, the show falls apart as it moves into contemporary landscape painting because Fredrick tried to cover too much stylistic ground. Still, there are some great things included, such as the pieces by Chuck Forsman, Tracy Felix and Joe Arnold. Through July 8 at Foothills Art Center, 809 Fifteenth Street, Golden, 303-279-9470. Reviewed May 24.

Manuel Neri. This solo at Robischon Gallery is a spectacular presentation filled with breathtaking sculptures and works on paper by Manuel Neri, the well-known California artist. One interesting fact about Neri is that he's that rare bird who is part of the current contemporary art scene and who also has a place in art history. Neri came of age as part of the 1960s funk movement in California and slowly transformed his work by adding a classical aesthetic, which he'd picked up during frequent working trips to Italy. The Robischon exhibit is dominated by large-scale sculptures, including a handful of monumental works in fragile plaster and some more durable bronzes. Despite all the heavy-duty expressiveness of Neri's surfaces and his efforts to simplify the form of the figure, there's no question that the subject of nearly all his pieces is a nude woman. In the Viewing Room, there's a little group show that's very compatible with the Neri feature, including C-print photos of blurry figures by Bill Armstrong and billboard-sized neo-expressionist oil-on-canvas paintings of nudes by Stefan Kleinschuster. Through July 21 at Robischon Gallery, 1740 Wazee Street, 303-298-7788. Reviewed May 24.

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.

Roland Bernier. Unquestionably, Retrospective: 20 Years of Roland Bernier is among the very best offerings Walker Fine Art has ever put up. Bernier's career stretches back to the 1950s, but this show begins in the '80s, with a single piece from that time — an untitled acrylic on paper with a calligraphic quality. The use of calligraphy prefigures Bernier's later efforts, when words would be spelled out to become not only the subject, but also the form of his work. "Body Language," from 1996, and "Second Thoughts," from 1997, are nearly square wall-hung wooden rectangles covered with raised words wrapped in color photocopies. "Wall of Words" is an entire wall covered in words written in laser-cut, mirrored Plexiglas pieces. The whole thing is visually stunning. The most recent pieces are twelve sculptures from his "A Word in Hand" series that take the form of his own hands. Through July 21 at Walker Fine Art, 300 West 11th Avenue, 303-355-8955. Reviewed June 21.

Three 2D/Three 3D. Unlike most of the other top galleries, where significant solos currently reign, Havu has taken the tried-and-true summer routine of presenting a group show. Three 2D/Three 3D features three painters and three sculptors. Clearly the lead painter is Emilio Lobato, who works in Denver. Lobato's fabulous geometric abstractions are showcased in the window space and on the mezzanine. The other two painters are New Mexico's Aaron Karp and Michigan's Melanie Parke. Their styles — Karp's painterly geometry and Parke's neo-abstract expressionism — work well with Lobato's constructivism and also complement the equally abstract sculptures featured in the other half of the show. There's no question that David Mazza has the dominant presence among the sculptors; Havu has included a group of his smaller pieces inside as well as some larger things outdoors. The other two sculptors filling out the exhibit are Arizona's Mary Bates Neubauer and Bernice Strawn, a well-known artist from Salida. Through July 21 at the William Havu Gallery, 1040 Cherokee Street, 303-893-2360. Reviewed June 28.


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