Devon Dikeou’s Mid-Career Smear in downtown Denver is a retrospective that examines "in-between" spaces with keen observation and irreverent humor.
Hunt Slonem: Curiouser and Curiouser at K Contemporary in Denver features 200 pieces from the New York artist's career—including his signature bunnies.
During a long and dizzying tour of the new Meow Wolf in Denver, a local writer homes in on how the immersive experience conjures a Colorado vibe.
The Denver Selfie Museum is a pleasant, photogenic distraction during trying times.
In the tiny town of Fort Garland, Colorado, Unsilenced: Indigenous Enslavement in Southern Colorado by Chip Thomas (the artist known as jetsonorama) spotlights uncomfortable and paramount histories of Indigenous captivity.
Known for its two-year Artist Residency program, RedLine Contemporary Art Center plays additional important roles in the Denver art scene, especially when it comes to grants and social activism.
A large-scale collaboration between Marie Watt and Cannupa Hanska Luger, both long invested in community-sourced artmaking, takes the spotlight in Each/Other at the Denver Art Museum.
Jetsonorama’s Unsilenced installation at the Fort Garland Museum and Cultural Center dismantles the settler-colonial narrative in the San Luis Valley and amplifies the history of Native enslavement in Southern Colorado.
Featuring divergent works in various mediums, The Stubborn Influence of Painting at BMoCA lets guest curator Kate Petley make the case for artists breaking free of preconceived notions.
Eileen Roscina's installation at BreckCreate challenges sentiments about memorials in our pandemic-informed world.
Laura Shill’s Future Self Storage at Denver’s Leon Gallery features 9,000 feet of pink and red tubes that combine humor with heartache and the sensual.
The Denver Botanic Gardens’s $40-million Freyer-Newman Center, with its three art galleries, establishes itself as fertile ground for exhibitions.
Jason DeMarte's Trappings of Arcadia at Denver’s Rule Gallery addresses the clash between nature and artificiality.
The virtual-reality installation Carne y Arena, the brainchild of acclaimed director Alejandro G. Iñárritu, is an unforgettable twenty minutes of walking in migrants’ shoes at the U.S.-Mexico border.
The provocative work of Francesca Woodman, an art photographer who took her life at only twenty-two, takes on new dimensions in Portrait of a Reputation, an exhibition at MCA Denver that combines Woodman’s experimental work from the late 1970s with candid photos of the artist by her friend, George Lange.
Denver artist Jonathan Saiz believes in the value of shock and surprise, as evidenced in two overlapping solo exhibitions. One is #WhatisUtopia, in which ten thousand miniature squares come together in a mosaic-like column given its own space at the Denver Art Museum. The second exhibition, at K Contemporary, is darker in tone, shocking you to attention with foreboding images.
Whatever all of this change ultimately means for Denver as an arts and culture community and market is to be determined. But even in the space of four years, my experience of the city as an arts destination has changed. I previously felt charmed and thrilled to stumble upon a scrappy operation in the then-industrial RiNo district, but now that district has gentrified to the point of pushing many of those emergent art spaces out...
Nathan Carter: Meet the Dramastics, Kim Dickey: Words are Leaves, and Bodacioussss, Museum of Contemporary Art, Denver
If you’re Denver-bound this ski season, the MCA Denver has a trifecta of concurrent exhibitions on view through January 29. Kim Dickey: Words Are Leaves is a major survey of work by the Boulder, CO–based artist. Primarily working in ceramics, but also other media including textile and photography...