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digital.movement.04. Tracy Weil, owner of the weilworks gallery, has a passion for computer-aided art. That's why he organized digital.movement.04: Installations in video, sound & digital animation, the first in a planned series of annuals featuring art that employs digital technologies in its creation. Weil put out a call for entries but got little response, so together with David Zimmer, he filled out the juried show with invitees, mostly from around here. Weil and Zimmer also included their own works. There are videos, such as the process piece by Viviane Le Courtois that records her wearing shoes that she made herself, part of a much larger piece involving many shoes. Ivar Zeile, owner of the + Gallery, edited videos of the gallery's activities during the previous year into a single speeded-up version. There are installations in which the monitors are part of sculptural pieces, such as those by Vincent Comparetto and Noah Emanuel Sodano. There's even a Power Point presentation -- an unlikely art medium -- that's projected onto the floor. The piece, about warfare, is by James Hilden. Through September 26 at weilworks, 3611 Chestnut Place, 303-308-9345.

Far Afield, et al. The Robischon Gallery is one of many area venues participating in the so-called Month of Photography, which is being held in conjunction with the Southwestern Regional Conference of the Society for Photographic Education, in town October 15 through 17. For its part of the festivities, Robischon is hosting a trio of intriguing exhibits -- FAR AFIELD, AWAY OUT OVER EVERYTHING and CONFIGURATION -- that open with a reception on Thursday, September 23, from 6 to 8 p.m. The interrelated shows concern the idea of place. FAR AFIELD is a large group effort and features the work of Edward Burtynsky, Guido Guidi, Ray Metzker, Richard Pare, Laura McPhee, Virginia Beahan, Kahn and Selesnick, Gary Emrich, Ruth Thorne-Thomsen and George Woodman. Thorne-Thomsen and Woodman are former Colorado art professors who were a great influence on their students. AWAY OUT OVER EVERYTHING is a solo dedicated to photos of the Northwest by Mary Peck, while CONFIGURATION includes additional pieces by Woodman and others by Eric Schwartz, Owen O'Meara and Janieta Eyre. All through October 30 at the Robischon Gallery, 1740 Wazee Street, 303-298-7788.

Federico Castellon. Hugo Anderson, director of the Emil Nelson Gallery, has put together a riveting solo show devoted to the work of a prominent twentieth-century artist. Castellon was one of the few Americans who embraced European surrealism and worked in the style from the early 1930s -- when it was cutting-edge -- until 1971, the year he died, when it was an all-but-forgotten historical style. Castellon was born in Spain, but he moved to New York as a child and spent the rest of his life there. Though Castellon had no direct personal connection to surrealist masters such as Picasso, Miró or Dalí, who, incidentally, were also born in Spain, his work was influenced by them. This noteworthy show came together when Anderson acquired a cache of Castellons purchased directly from the collection of the artist's estate. The crowded exhibit includes examples of Castellon's paintings, watercolors, drawings and printmaking -- his greatest claim to art-history fame. Through September 25 at the Emil Nelson Gallery, 1307 Bannock Street, 303-534-0996.

Place of Mind. It's surely surprising -- if not shocking -- to find one of the best ceramics shows of the year being presented at the modest and remote Lakewood Cultural Center. But that's exactly what's going on now with Place of Mind, a solo exhibit dedicated to the work of D. Michael Coffee. A recent transplant from Southern California, Coffee lives and works in Pagosa Springs, where he built his custom-designed Shy Rabbit Ceramic Studio. Designing a structure was easy for Coffee, who was an architect for over two decades. He started painting in the mid-'80s and soon after began making prints. In 1996 he discovered ceramics, which quickly became his medium of choice. Place of Mind highlights a range of work, including Coffee's hieratic monotypes, his expressively thrown tea bowls, and marvelous clay sculptures that take the shape of vessel totems and brick installations. The totems, some of which are called "Intuition Markers," are the real standouts; they're stunning, both in form and in the eye-catching colors Coffee uses. Through September 24 at the Lakewood Cultural Center, 470 South Allison Parkway, 303-987-7876. Reviewed September 16.

The Show of Good Fortune, et al. Longtime Pirate co-op member Brian Comber is presenting The Show of Good Fortune in the main space. This is Comber's seventh annual show at Pirate, and it's different from his previous efforts, because instead of exhibiting large figural abstractions, he's presenting his other passion: intaglio prints, many of which were done at Denver's Open Press. The prints were all inspired by the proverbs in fortune cookies, with the titles of the pieces being the so-called fortunes themselves. In the Associates' Space is Ground of Being, a solo that's made up of recent drawings and paintings by Lorey Hobbs. The drawings included are preparatory studies for the paintings. Though Hobbs is still a student, she has found early success and is already represented by the prestigious Sandy Carson Gallery. Hobbs works in an abstract-expressionist style and an automatist method, but she does make broad references to the figure and the landscape. Through October 3 at Pirate: a contemporary art oasis, 3659 Navajo Street, 303-458-6058.

SMALL ROOMS and HIDDEN PLACES. The Colorado Photographic Arts Center is hosting a memorial show, SMALL ROOMS and HIDDEN PLACES: photographs by Ronald W. Wohlauer, that was curated by John Grant, whose day job is with the Mayor's Office of Art, Culture and Film. Wohlauer, who died earlier this year, was a giant among local photographers, as well as being a highly regarded photographic educator. His work was in the tradition of the West Coast masters such as Edward Weston and Ansel Adams. Unlike many of his contemporaries, who have their work professionally processed, Wohlauer did it the old-fashioned way -- all by himself in the darkroom, of which he was an acknowledged master. The CPAC exhibit focuses on work from the 1990s that appeared in a book titled SMALL ROOMS and HIDDEN PLACES, which was published only days after his untimely death. The photos concern four of Wohlauer's favorite subjects: the British Isles, the Mountain West, the West Coast and his Denver studio. Through October 9 at the Colorado Photographic Arts Center, 1513 Boulder Street, 303-455-8999. Reviewed September 16.

William T. Wiley. The fall opener at the Center for Visual Art in LoDo is William T. Wiley: 60 Works for 60 Years. The exhibit was organized by Wiley himself, who selected sixty prints from the collection of the Belger Arts Center in Kansas City to celebrate his sixtieth birthday. Obviously the show's been kicking around for a while, because Wiley's actually close to seventy (he turned sixty in 1997). Wiley came of artistic age in the early 1960s and was part of a generation of San Francisco-area artists who embraced what is today called "funk," an offshoot of pop art. He almost immediately found fame, and his pieces were acquired by many American museums over the years, including the Denver Art Museum, which owns, among other things, a major installation. Like the rest of that Bay Area crowd, many of whom also got famous, Wiley combined an array of seemingly contradictory influences, including expressionism, figural abstraction, pop and conceptualism. His work, which has greatly influenced younger artists, is almost always clever -- and sometimes even downright funny, as revealed by this very large show. Through October 16 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.

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