Adam Milner: Desirable Objects, now on display at the David B. Smith Gallery, highlights recent works by Adam Milner, an artist who lives in Pittsburgh but is still well remembered in Colorado for his time here. Many of these pieces hark back to the kind of personal things Milner has…
Mark Bradford is big at the Biennale this summer, but you don’t need to go to Venice to see his work; you can see his paintings at the Denver Art Museum, and the Clyfford Still works that inspired him at the Clyfford Still Museum.
Among this summer’s attractions at the Museum of Contemporary Art/Denver is Derrick Velasquez: Obstructed View, a solo curated by Zoe Larkins that represents a followup to Velasquez’s 2015 Black Cube project. It’s a timely topic in a rapidly gentrifying city.
While paper may seem a flimsy theme around which to organize art, it adds up to three solid shows at the Arvada Center.
The Denver Botanic Gardens has a growing reputation in the art world, and Calder Monumental only adds to that. Even without the Calder sculptures, the Gardens are worth a visit, but with this show, it’s a must.
Artists get back to nature in Out of View at Robischon Gallery, and the way their work has been stitched together through their different if interrelated aesthetic concepts and media indicates that the show was very thoughtfully curated. Once again, Jennifer Doran and Jim Robischon, the gallery’s owners, have put on an exhibit that rivals those at top museums in the area.
Forms evocative of those found in nature connect the paintings and sculptures now on the first floor of the William Havu Gallery, and with growing season just under way, the presentation is perfectly timed. Although there’s an aesthetic seamlessness to the whole endeavor, what we’re actually looking at is three single-artist shows — two dedicated to painters and one to a sculptor.
Bobbi Walker, gallery director of Walker Fine Art, which just celebrated its fifteenth anniversary, has traditionally dedicated the front of her space to two solo shows; a painter would take over the walls and a sculptor would fill the floors.
In presenting Mi Tierra at this time, the Denver Art Museum is not only promoting tolerance and acceptance of a community currently being stigmatized by some, but also demonstrating that Mexican-American art is one of the strongest cultural forces in our region right now.
Artist residencies inspired two back-to-back solos at Michael Warren Contemporary.
In the second half of the nineteenth century, painters and photographers came to the American West to depict the majestic scenery. Amazingly, the landscape tradition is still relevant a century and a half later. For proof, see Don Stinson: What Lies Between, a solo now on view at the David B. Smith Gallery.
From the early 1920s to around 1960, Colorado Springs was the unrivaled center for art in this state. The Colorado Springs Fine Arts Center is highlighting this illustrious history by presenting solos dedicated to the artists who were important to its development as an institution; FAC Legacy Series: Mary Chenoweth is the latest in this tradition.
In Dmitri Obergfell’s solo at Gildar Gallery, Man Is a Bubble/Time Is a Place, the artist offers ” meditations on long arcs of time, informed by different sources,” the artist says.
The Robischon Gallery has a talent for assembling separate shows that seamlessly interact with one another, and that’s definitely the case with a trio of exhibits on display now. They’re connected by both a goth mood and the enigmatic quality of the included works.
This past September Sandra Phillips relocated her namesake gallery to a smallish storefront on West 11th Avenue near Bannock Street which is just a block away from the Denver Art Museum and the other attractions of the Civic Center Cultural Complex.
Two excellent shows at the Colorado Springs Fine Arts Center — Force/Resistance and Don Coen: The Migrant Series — have special resonance in the age of Trump.
The new Kirkland Museum, honoring Denver’s premier artist of the mid-twentieth century, won’t open for visitors until mid-2018, but a tour of the project shows it’s a true landmark in the making.
There’s always good reason to catch a Phil Bender solo at Pirate: Contemporary Art, but this current effort, straightforwardly titled Phil Bender, has the added attraction of being thoroughly poignant. Though not Pirate’s last show, it will be Bender’s last at the co-op’s longtime home in northwest Denver, which the group will soon leave.
Mark Sink, organizer of Denver’s Month of Photography, has also curated Between the Medium: Seeing Photographically at RedLine.
The Rule Gallery has decided to participate in Denver’s Month of Photography by mounting Basic Pictures: Joseph Coniff, which oddly enough is not made up of photos but is, instead, a painting show.
Wall Writers, Basquiat Before Basquiat and Ryan McGinley, three exhibits focusing on twenty-somethings from the recent past, should be eye-opening for the twenty-somethings who frequent the Museum of Contemporary Art Denver.
With the Month of Photography flooding city venues this month, Denver is drowning in photo shows. Among the standouts in this more intimate category are the conjoined solos at Goodwin Fine Art, Brenda Biondo: Paper Skies and Alpert + Kahn: Of Progress.
