Film and TV

Now Showing

Angela Beloian and Roger Hubbard. For In Technicolor, her new exhibit at Walker Fine Art, Boulder artist Angela Beloian created a body of retro '60s and '70s paintings and screen prints based on "sketches" done using an iPhone. The works refer to minimalism, abstract surrealism and psychedelic art using just a couple of formal moves. Using flowing organic lines done with hard edges, Beloian orchestrates overlapping pictorial elements: the ground and, on top, overlapping color fields. As each of the fields crosses the other or the ground, a color shift occurs. When gray runs over lavender, for example, the two colors aren't blended, but rather stacked, with the intersection of the colored forms coming out blue. For Beloian, these shifts suggest light, shadow and the implication of three-dimensionality, with the results being incredibly fresh-looking. The Beloians have been paired with kinetic sculptures by Roger Hubbard from Arizona. These polished-steel contraptions move easily but need to be started with a push, and are too heavy to respond to the subtle movements of the air. Through September 6 at Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955,

ID Series. For this show, Sandra Phillips brings together artists who've created works based on codes. The featured artist is Sue Simon, who is brand-new to Phillips but has been showing her art for many years. Simon focuses on conveying scientific concepts in an abstract manner — a logical development, since she used to work as a scientific illustrator. Her pieces concern mathematical expressions of DNA applied over angular abstract forms and carried out in a range of approaches, from smooth to wildly tactile. Interestingly, collaborative artists Dana Kleinman and Ruth Avra, who work under the name Kleinman Sisters, also look at DNA. Their wall pieces combine aluminum panels made by Avra laid over oil painted panels by Kleinman. Finally, there are the sophisticated conceptual collages by Dave Phelps, who, unlike the others, is not looking at DNA, but at UPC — the Universal Pricing Code. He's taken the linear codes from boxes, cut them out, and arranged them in stacks on panels. As simple as the idea is, it really works. Through September 6 at Sandra Phillips Gallery, 420 West 12th Avenue, 303-573-5969, Reviewed August 14.

Introductions II. Part of a crop of new galleries that have been sprouting up like mushrooms around town in the past few months, Michael Warren Contemporary occupies the storied Santa Fe Drive space that formerly housed the van Straaten Gallery, and before that, the Sandy Carson Gallery. The current exhibit, Introductions II, is, as the suffix suggests, a follow-up to Introductions, which was presented earlier this summer. That show was an everything-but-the-kitchen-sink kind of thing, with a zillion artists included, whereas this one is more focused, zeroing in on just eight artists from the gallery's stable who are each seen in some depth. There is no particular theme, with some artists working with representational imagery while others work abstractly, and it includes paintings, sculptures, installations and photographs. In the show are several established artists, plus a couple of emerging ones, most of whom are from Colorado or have some connection to the state, including Yoshitomo Saito, Robert Brinker, Heidi Jung, Patsy Krebs, Collin Parson, Thomas Müller, Paul Sisson and Meghan Wilbar. Through September 6 at Michael Warren Contemporary, 760 Santa Fe Drive, 303-667-2447,

Unbound: Five Installations.In this strong outing, each of five local artists takes over one of the lower-level galleries at the Arvada Center with an installation. In the first gallery, Sophia Dixon Dillo uses transparent filament stretched from wall to wall to make the magical "Forming Light." Next is Rian Kerrane's "Knitting Wallpaper," in which scores of objects are suspended from the ceiling to create a jungle-like atmosphere. A soundtrack of Kerrane knitting and motion-activated electric mixers add a cacophony of sounds and movements to the dense tangle of objects. In the center space, Laleh Mehran's "Entropic Order" features a robotic device at the ceiling that guides a weighted stylus hanging almost to the floor. The stylus pushes through a bed of black sand, leaving behind elaborate geometric patterns. In one of the back galleries is Katie Caron's "Drosscapes," in which garishly colored tendrils hang over a reflecting "pool." Finally, there are remarkable inflated works made of stitched vinyl forming "Enrapture: My Microscopic Life-cycle," by Nicole Banowetz, which was put together right in the gallery. Through August 31 at the Arvada Center, 6901 Wadsworth Boulevard, 720-898-7200,

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Michael Paglia is an art historian and writer whose columns have appeared in Westword since 1995; his essays on the visual arts have also been published in national periodicals including Art News, Architecture, Art Ltd., Modernism, Art & Auction and Sculpture Magazine. He taught art history at the University of Colorado Denver.
Contact: Michael Paglia