Daily, through October 28
Research Institute Galleries I and II
Artists’ books occupy a creative space between traditional books and contemporary works of art, challenging what a book can be. This highly visual and experiential presentation of some of the most lively and surprising works from the Research Institute’s extensive collections focuses on artists’ books that can be unpacked, unfolded, unfurled, or disassembled. They are made to be displayed on the wall or deployed as sculptures or installations. The exhibition seeks to provoke new inquiry into the nature of art and to highlight the essential role that books play in contemporary culture.
New Territory: Landscape Photography Today
Daily, through September 16
Hamilton Building – Level 2
The exhibition is a survey of contemporary landscape photography from around the world. The exhibition of more than 100 photographs will explore how artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions, and values of our time.
The works revive historic photographic processes as well as use innovative techniques and unconventional equipment and chemistry to depict landscapes in surprising ways. Taken individually and as a whole, the photographs will show how about 40 artists have manipulated materials and processes for expressive purposes, blurring the distinction between “observed” and “constructed” imagery. The exhibition challenges us to see photography differently, and contemplate our complex relationship with the landscape.
Christopher Russell’s Landscape series was recently acquired by Los Angeles Contemporary Museum of Art, Center for Creative Photography in Tucson, California Museum of Photography, and One National Gay and Lesbian Archives. Works from this series are also currently on view in the exhibition Way Bay at the Berkeley Art Museum Pacific Film Archive, curated by Lawrence Rinder.
Additionally, Christopher Russell is included in the exhibition Cut! Paper Play in Contemporary Photography at the Getty Center. The exhibition features works by Thomas Demand, Christiane Feser, Daniel Gordon, Soo Kim, Matt Lipps, and Christopher Russell and is on view February 27–May 27, 2018.
Justin Favela is featured in Pachucos y Sirenas at Museo de las Americas. Pachucos y Sirenas includes works by Justin Favela, Antonia Fernandez, Carlos Fresquez, Josiah Lopez, Jerry Vigil, and Daniel Salazar and highlights the impact that the 1940’s Pachuco legacy has had on the American experience. Artist talk on February 9th, from 6-8pm. On view through May 26, 2018.
Sarah McKenzie and Tobias Fike are included in the exhibition, Elsewhere, a group exhibition co-curated with Brooke Grucella and Martina Shenal, at University of Arizona’s Joseph Gross Gallery. The exhibition features Kevin Cooley, Noemie Goudal, Nazafarin Lofti, Dario Robleto, and Chris Thorson. On view through March 23, 2018.
Don Stinson to be included in group exhibition, Open Space – The Finite Frontier, on view at The Curtis Center for the Arts, January 6 – February 28, 2018. Click here for more information.
Don Stinson, What Lies Between, a new catalogue featuring works from Don Stinson’s recent solo exhibition at David B. Smith Gallery is now available. Featuring a foreword written by Karen McWhorter, Scarlett Curator of Western American Art, Buffalo Bill Center of the West, and catalogue essay by Amy Scott, Chief Curator and Marilyn B. and Calvin B. Gross Curator of Visual Arts at the Autry Museum of the American West. Click here to purchase your copy.
Michael Paglia, arts and culture writer for the Denver Westword, refers to Swanson as, “one of the region’s top conceptual artists.”
Read the full article here.
In her article from The Boulder Weekly, Caitlin Rockett writes that Swanson, “makes tangible the intangible, transforming words into physical manifestations, and in the process often dismantles the contemporary power structures words create.”
Read the full article here.
The Denver Westword’s arts writer Michael Paglia reviewed Desirable Objects and Cabinet, in which he notes, “At first blush, Desirable Objects has an elegant minimalism; it’s a spare installation with lots of rectilinearity. But when you look closer, you realize that the topic is not formalism, but rather autobiography.”
Independent writer Ray Rinaldi analyzes the material and social aspects of Desirable Objects and Cabinet in his article for the Denver Post, referring to Milner as “… the most talented of Denver’s emerging, young artists “.