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CPAC MEMBER AWARDS. Every year the Colorado Photographic Arts Center brings in guest jurors to select one member for a Project Grant and two others for Personal Visions Awards. The three are then brought together in the CPAC MEMBER AWARDS exhibition, which is currently on display. Though this may sound like a group endeavor, it's installed so that each artist is separate from the others, making it seem more like a set of solos. The Project Grant recipient -- Gary Lynch this year -- receives a stipend to help defray the costs of making work. Lynch creates engaging character studies of people by working with an archaic nineteenth-century developing process that uses carbon and has the same tonal and archival qualities as platinum prints. The two Personal Visions Award winners were R. Skip Kohloff and Sally Stockhold, each of whom take photographs of exotic locales. Kohloff records in silver-gelatin prints the encroachment of the jungle on the ruins of Angkor in Cambodia; Stockhold does impressionistic-toned cyanotypes of a village on the coast of Mexico. Through March 5 at the Colorado Photographic Arts Center, 1513 Boulder Street, 303-455-8999.

Leaving Aztln. The Center for Visual Art in LoDo is presenting a provocative show, Leaving Aztlán: Rethinking Contemporary Latino and Chicano Art. Kaytie Johnson from the Peeler Art Center at DePauw University put it together with input from, among others, CVA director Kathy Andrews. The show examines new trends being embraced by Latino and Chicano artists -- and by Latinas and Chicanas -- and in the process explores the convoluted relationships between art and ethnicity. Ten years ago this would have been an overtly political show, but now, though politics are still in the mix, there are also many pieces that express cutting-edge aesthetic theories. Artists from across the country were selected -- including Jesse Amado, Connie Arismendi, Javier Carmona, Alex Donis, Diana Guerrero-Mácia, John Hernandez, Benito Huerta, Chuck Ramirez, Juan Ramos and Rubén Ortiz Torres -- but Johnson also chose two local talents, Carlos Frésquez and Maria Michelle Gonzalez. A reception for the artists along with curator Johnson and collector Cheech Marin is scheduled for February 24 from 6 to 9 pm. Through April 23 at the Center for Visual Art, 1734 Wazee Street, 303-294-5207.

IN LIMBO. Internationally known contemporary-art collectors Vicki and Kent Logan maintain a residence in Vail and, lucky for us, have become involved in the cultural life of Colorado. In addition to providing a raft of works partially promised to the Denver Art Museum, the collecting couple has facilitated a relationship between the museum and the University of Denver. IN LIMBO is the second Logan-connected show at DU, but the first in which students -- under the direction of curator and professor Gwen Chanzit -- have been allowed to use the DAM's Logan Collection as well the couple's private stash to come up with it. More often than not, too many cooks spoil the broth, but not in this case. The show is first-rate but surprisingly conservative, considering the tender ages of the organizers. The students chose mostly representational paintings and photographs, and there are only two sculptures. Among the artists included are Bo Bartlett, Jack Pierson, Ron Mueck, Cindy Sherman, Su-En Wong, and almost a dozen others. Through March 11 at the Victoria H. Myhren Gallery, 2121 East Asbury Avenue, 303-871-2846. Reviewed January 20.

Lines of Position and Rudiments. Technically speaking, Lines of Position and Rudiments, at Sandy Carson Gallery, are separate solos, but they've been outlandishly installed together as a duet. Lines of Position features wall-hung sculptures by Jeremy Jernegan, while Rudiments comprises recent abstract paintings by Floyd Tunson. Jernegan's work is precise and intimate, Tunson's expressive and bold. Their pieces shouldn't work well together, but for some reason they do. The whole thing looks stunning, even if viewers are constantly forced to shift their attention from one to the other. Jernegan teaches ceramics at Louisiana's Tulane University, but these recent pieces are something else, because they don't look like ceramics; they look like photos. Jernegan uses a photo silkscreen, pushing fine slip through the screen instead of ink and using a clay slab instead of paper. Manitou Springs-based Tunson has been a mainstay of Colorado's contemporary scene since the '70s. A neo-pop artist, he swings back and forth between representational and -- as in these pieces --abstraction. Through February 26 at Sandy Carson Gallery, 760 Santa Fe Drive, 303-573-8585

Upstarts and Matriarchs. Feminism transformed American society in the '70s, allowing female artists to turn the art world upside down. This trend is the topic of Upstarts and Matriarchs: Jewish Women Artists and the Transformation of American Art: 1970-Now. The exhibit was curated by Simon Zalkind, the director of the Singer Gallery of the Mizel Center for Arts and Culture, who has presented a formidable roster of first-rate shows over the years. It's hard to say that he's outdone himself this time, but he has. The scholarly show is installed both in the main multi-part space and in the nearby atrium gallery. The extra room was needed because Zalkind has included pieces by more than a dozen artists, among them major historical figures such as Judy Chicago, Audrey Flack, Nancy Grossman, Joyce Kozloff, Martha Rosler, Miriam Shapiro, Joan Semmel, Nancy Spero, Joan Snyder and Mierle Laderman Ukeles. Through March 27 at the Mizel Center for Arts and Culture, 350 South Dahlia Street, 303-399-2660. Reviewed February 17.

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