Welcome to DARIA: Denver Art Review, Inquiry, and Analysis, a publication devoted to art writing and criticism focused on the Denver-area visual art scene. DARIA seeks to promote diverse voices and artists while fostering critical dialogue around art.
Understudy Art Incubation Space has a unique, fishbowl-like design, with floor-to-ceiling windows that invite passersby to either observe art from the outside or physically experience it inside. Enhanced by the gallery’s compact layout, Tricia Waddell’s immersive solo exhibition, We Will Be Strange, emphasizes phenomenology, a philosophy that focuses on how the body shapes perception.
The word that seems most apt to describe Deborah Jang’s sculptural works is “lyrical”—each piece is built from a motley assortment of disparate objects which, once together, find balance and rhythm. According to Jang, her constructions are a study in radical inclusion.
Guest curator Valerie Hellstein had her work cut out for her with the exhibition Dialogue and Defiance. The exhibition tries to qualify Clyfford Still’s notorious “defiance” of the artworld by emphasizing the “dialogue” between him and his contemporaries—those who came to be called the Abstract Expressionists. Still, though, would no more have admitted to having been in dialogue with his peers than he would have wanted an art critic to review his paintings.
This year’s All Colorado Show is 2024 Fiber Art Colorado, juried by Cecily Cullen, the Director and Curator of Metropolitan State University’s Center for Visual Art. Bringing together 75 artworks by 49 artists from across the state — some of whom are members of the guild — the show quite literally fills the entire exhibition space, spanning three rooms with weavings, sculptural pieces, clothing, and more.
The artists in the group exhibition X.v, celebrating the tenth anniversary of Michael Warren Contemporary in Denver, have tapped into an elemental energy to create works of spirited material exploration. Grounded in process-led practices, they traverse the range of physical realities, from scorched paper to powder coated steel.
The Boulder Museum of Contemporary Art (BMoCA) is currently hosting the exhibition Tracking Time, which will be on view until September 2, 2024. This show presents the works of two artists—Chelsea Kaiah and Noelle Phares—who address the pressing ecological issues surrounding the Colorado River.
Rounding out the summer, three exhibitions at Blo Back Gallery in Pueblo explore different perspectives from Colorado-based artists Christine Rose Curry, Kim Sewell, and Adam Toksöz. Together, these exhibitions reflect the dynamic and diverse artistic voices Colorado has to offer, each contributing to a broader dialogue on modern issues and personal expression.
If there is a unifying message to be gleaned from A Hand in Nature, a show dizzying in its thematic and material scope, it is this: try as we might to control it, the natural world has a life of its own. The pandemic forced us into this realization four years ago when a coronavirus tore open every fissure in our social fabric, but while COVID exposed us to the dark side of nonhuman agency, Gala Porras-Kim opens our eyes to its poetry.
Sister Rosetta Tharpe was the “first guitar heroine of rock & roll,” in the words of the Rock & Roll Hall of Fame. [1] But for all her undeniable contributions to American music history, Tharpe is still not quite widely known. “I couldn’t believe more people weren’t familiar with her,” says Chloé Duplessis. “I resolved then to begin researching her life, with the intention of telling the story of this American music pioneer and founder of rock-n-roll.”
The exhibition Resist at the Avenir Museum of Design and Merchandising in Fort Collins centers on the artistry of shaped resist dyeing—a technique in which the cloth is manipulated through folding, tying, twisting, and binding—where textiles become canvases for artisans to imprint their movements and memories. The garments on display represent cultures across space and time, from India to Guatemala, starting in the late nineteenth century to present day.
The latest exhibition at SeeSaw Gallery, “Oscillations,” features four artists who unravel their connections to place and demonstrate the interplay between instinct and honed technical skills. While each brings a unique perspective to the show, curator Hayley Schneider expertly weaves together a cohesive and harmonious collection featuring Leslie Fitzsimmons, Jamie Gray, Ilan Gutin, and Autumn T. Thomas. The result is an atmosphere of serenity that ignites introspection, contemplation about the artmaking process, and commentary on the relationship between artists and their materials.
Hương Ngô’s Ungrafting at the Colorado Springs Fine Arts Center focuses on the politics of visibility in the context of French colonial knowledge production in Vietnam. The exhibition examines how power shapes what is seen and what is made to be unseen.
The We CU: A Visual Celebration of Black Womanhood, Presence, and Connectedness exhibition, presented by The Museum for Black Girls, unfolds as an extensive and profound exploration of the influence of Black women on the concept of “home.” Curators Charlie Billingsly and Von Ross have masterfully assembled an installation that captivates visually while also inspiring deep reflection. Through the show, they urge visitors to contemplate the substantial, yet frequently underestimated, contributions of Black women in shaping both familial and cultural frameworks.
I belong in a museum: Colorado Women Artist Museum Members Exhibition, Part 1, currently on show in D’art Gallery East, is the museum’s third exhibition since its formation in August of 2023. Curated by Carrie MaKenna, Rebecca Gabriel, and Carlene Frances, the exhibition features work by over 20 artist members of the museum ranging in medium, style, and theme.
Twisted forms, heavy with their own weight, aspirationally stretch and strain towards sweaty pastel gradients in Sarah Bowling’s current exhibition at Rule Gallery. Titled Quicksand, the expressively saggy sculptures and textured paintings grapple with the quiet ache of transformation.
Amidst the corporate sterilization of pastel tints in the past decade, Quicksand comes as a refreshing reminder of color’s more transcendental potential. Bowling’s neon pastel palette resembles the luminous transitional time of a California sunrise. She balances the more buoyant creamsicle cloudscapes with psychologically heavy plaster voids.
Two exhibitions dedicated to healing grief, trauma, and loss are currently on view at the Colorado Photographic Arts Center (CPAC). The Presence of Absence by artist Inbal Abergil and The Silhouette Project: Newcomers by photographer Dona Laurita capture two of the consequences perpetrated by war.
The artist-run gallery NKollectiv is currently hosting its second annual encaustic invitational, which showcases the work of sixteen Colorado artists specializing in this ancient art form. Named Apis Opus, the exhibition cleverly combines the world of bees and art, highlighting beeswax as the primary medium in encaustic work. Encaustic is made by heating layers of beeswax mixed with pigment and applying it to different substrates.
Currently on view in the artist-run space of neü folk, Ways to Leave (Save) Earth is a group exhibition curated by Dani/elle Cunningham that invites viewers to ponder the bleak, multifaceted realities of current and future space travels. Like warp drives and wormholes, this strange and thoughtful exhibition is not without its conceptual and practical faults. However, its deep and personal Earthbound narratives do help shine a truthful, if unpleasant, light on what’s really going on above our heads.
Albert Chong is perhaps the most acclaimed photography, installation, and sculpture artist in Colorado who you’ve never heard of. His long and illustrious career includes pieces that he hopes, as his artist statement proclaims, “[give] expression to [his] human visual intuition, [operating] at levels inhospitable to verbal or literary expression.”
Mychaelyn Michalec’s first major solo exhibition at K Contemporary showcases new directions and experiments in her fiber paintings. Trying to get all my birds to land in the yard is made up of shifting organic forms and allegorical, collaged compositions. With these new works, the artist examines the cultural and historical uses of avian symbolism to articulate womanhood, domestic life, and freedom.
