The word “thrash” brings to mind visions of stage diving and shrieking feedback. At the THRASH Open Show at Edge Gallery, however, the term takes on new significance. According to curator Sherrie Ingle, THRASH stands for “The Harshest Radical Art Since Hell.” But the art here, though outrageous at times,…
Contemporary Native American artists face a strange dilemma. The same white race that tried to destroy them now wants to celebrate their dying culture–not to mention profit from it. Art that supposedly revives ancient Indian traditions, fulfilling the white buyer’s expectations of what Indian art “should” look like, still fills…
Stock Show season traditionally gives Denver galleries a yearly opportunity, if not a mandate, to showcase art of the West. Most of it stereotypically portrays the romantic ideals of cowboy life, often expertly mimicking work from the era of the Golden West, say, 1860-1920. Among the herd, The West as…
While making a good likeness is the consummate goal to most representational artists, some insist that resemblance to the subject and its mood aren’t enough. Painting and sculpture at two LoDo galleries find profound meaning in the realistic depiction of ordinary things. At 1/1 Gallery, Jim Alford uses airbrush and…
Two new shows stretch the definition of the photograph as art while offering original and exciting visual experiences. Experimental Vision: The Evolution of the Photogram Since 1919, at the Denver Art Museum, tracks the long, fascinating history of cameraless photos, dubbed “photograms.” And Beyond Photography, at Emmanuel Gallery, skips past…
Most Denver art cooperatives celebrate the turn of the year with big group shows of members’ work. These exhibitions provide both an opportunity to party and a way to assess the year’s achievements on the “alternative” scene, offering an infrequent overview of a co-op’s talent and diversity. Last year the…
Everybody knows about instant photos–aim, shoot, and sixty seconds later a small square of photographic paper pops out and develops itself into an image of Aunt Rosie. Because there’s no negative, reprints, retouching and other arty effects aren’t possible: What you see is what you get. Even so, a number…
The show’s title implies that the art history we were taught in school — in which every stylistic phase appears in a neat chronological order — has fallen by the wayside. Now anything goes, as tight representational imagery is hung side by side with non-objective compositions, abstract sculptures are paired…
