Photographs of historical reenactments by Edie Winograde suggest there is no single narrative of past trauma: the unfinished fight extends its negotiation to the present.
Xiaoze Xie’s humble books and photographs are quiet survivors that still hide in the shadows even when they are bathed in museum light.
Who wouldn’t find the possibilities and uncertainty of youth captivating?
The centerpiece of Jonathan Saiz’s show at Leon Gallery in Denver is a vast grid of 901 tiny paintings, the circles drawn around them and strings stretched between them evoking a conspiracy theorist’s obtuse research.
Kim Dickey’s exhibition at the Museum of Contemporary Art Denver is a strange environment of animals, plants, gardens, and floral forms rendered in clay.
BUFFALO — Many published interviews with the contemporary artist Mark Bradford focus on his youth and the geography of Los Angeles, but not his conversation with Abstract Expressionism.
DENVER — The paintings in Women of Abstract Expressionism at the Denver Art Museum are rich with emotion, monumental in scale, and totally original.
DENVER — With each passing decade, the images and advertisements in the monthly art magazine Artforum slowly shifted from black and white to color.
DENVER — Define monument art. Is it distinguished by its material, size, or relationship to a specific event?
DENVER — Marilyn Minter’s life’s work, four decades of which are brought together in Marilyn Minter: Pretty/Dirty at the Museum of Contemporary Art Denver, presents the viewer with a Lacanian mirror.
DENVER — The Clyfford Still Museum’s current exhibition, Repeat/Recreate, has been on the institution’s wish list for nearly 10 years, since well before it even opened.
DENVER — Do viewers outside of China still expect contemporary Chinese art to “look” Chinese, and what does that even mean?