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Robert Mangold. The dean of Colorado sculpture, who's been working for more than half a century, is the subject of this strong solo with the epic title Colorado Gold: The Many Facets of Robert Mangold at Z Art Department. The show represents something of a chaser to the major Mangold career retrospective that was presented early this year at the Arvada Center, and many of the works from that show are also in this one. Mangold has undertaken a number of series over the years, nearly all of them on the topic of movement, either actual or implied, and there are examples of his many different types of pieces at Z. Surely Mangold's best known series is the one given over to his "Anemotive Kinetics," those spherical multi-part whirligigs in which colorful cones catch the breeze and rotate along a central axis; there is a choice one, on a granite stand, included here. An example from his "I-beam" series, and several "PTTSAAS," which purport to follow the trajectory of an imaginary particle, are also on display, the latter ranging in size from tabletop to gigantic. Through October 28 at Z Art Department, 1136 Speer Boulevard, 303-298-8432,

Theodore Waddell. With the increasing interest in modern and contemporary Western art,

Theodore Waddell's

Abstract Angus, curated by the DAM's Thomas Smith, is perfectly timed. From the entrance to the Gates Family Gallery, visitors are confronted by "Monida Angus," a mural so big you can't see it all until you get inside. Running across four large panels, the painting — which was specially created for this show — depicts cattle grazing in the foreground of a mountain range. Or at least that's what it looks like from across the room, because when you get up close, the cattle and scrub and even the mountains and sky are nothing more than rough and heavy smears of paint. This is true of all the Waddells here; some of them are almost non-objective, with hardly any landscape referents at all. For instance, "Motherwell's Angus," from the DAM's collection, is made up solely of a scruffy, dirty-white color field over which black dashes have been randomly inserted to stand in for the cows on a snow-covered plain. Through December 2 at the Denver Art Museum, 100 West 14th Avenue Parkway, 720-865-5000, Reviewed June 28.

William Joseph. The Kirkland Museum has a lot to recommend it, but its greatest service to the community is the way it continually resurrects the careers of all-but-forgotten Colorado artists. That's exactly the point of William Joseph: Sculptor & Painter, which showcases the half-century-long career of this deceased Denver artist and teacher. If his name is obscure, his work isn't; some of Joseph's major sculptures are in very public places around town — notably, the Christopher Columbus monument in the Civic Center. The show was put together by Kirkland director Hugh Grant and museum registrar and deputy curator Christopher Herron, who combed the contents of the artist's estate (which is still held by Joseph's family) and contacted collectors in order to gather the material. Though Joseph is surely best remembered for his sculpture, the Kirkland show puts extra attention on his paintings. As with his three-dimensional work, Joseph combined abstraction and representations of the figure to come up with his signature style. Through November 11 at the Kirkland Museum of Fine & Decorative Art, 1311 Pearl Street, 303-832-8576,

Yoshitomo Saito. Goodwin Fine Art is hosting the impressive Yoshitomo Saito: Espírito Alegre, made up of the Colorado-based Japanese-American artist's signature nature-based bronze sculptures. It includes pieces from his "Colorado Loop" series as well as his new "Espírito Alegre" work. From a distance, the pieces, which are simultaneously super-realistic and abstract, look like non-objective three-dimensional scribbles, but as you get closer, you realize that the elements are actually skillfully cast and welded bronze elements based on tree limbs, roots and even entire plants, with all of their details preserved in the metal. For Saito, the use of Colorado plants links this work to the Western landscape tradition. Interestingly, since Saito is interested in stacking one idea on top of another — abstract, representational, Brazilian jazz, the Western landscape — it's not surprising that Japanese calligraphy, which looks like elegant doodling to the Western eye, underlies all of these compositions. Through October 6 at Goodwin Fine Art, 1255 Delaware Street, 303-573-1255, Reviewed September 20.

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