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.
K Contemporary in downtown Denver is currently hosting Daisy Patton's exhibition Before These Witnesses and Ya La'Ford's The Spectrum of Blue. Together, they offer dignity to what is often lost and model critical-minded, liberatory approaches to the appreciation and recovery of details.
Art Gym’s current exhibition tackles the details of this emotional, material, and bodily labor in Women’s Work is Never Done, featuring the art of Carrie Shiffrin, Charis Fleshner, and Jasmine Dillavou. In the Leyden Jar Gallery, towards the back of Art Gym’s work space, Kathryn Oberdorfer’s solo exhibition To See Takes Time favors looser lines and an abstract expressionist approach to composition.
Behind the beautiful and storied Buell Theatre is a big, modest-looking brick wall where you’ll find an unassuming stage door. It’s easy to miss if you’re driving towards the Auraria Campus or downtown Denver, but it’s a vital portal through which all the theatre’s actors and crew enter, symbolic of the compelling behind-the-scenes efforts that make viewing theatrical performances there so magical. As such, it’s a fitting location for Catalysts, a recently installed community artwork by Jann Haworth that celebrates the individuals working behind the scenes in organizations that are so integral to Denver’s arts and culture.
Drawing on Elizabethan style, Jesse Mathes’s body jewelry in Territorial Defense at Foothills Gallery’s Astor House explores themes of authority, protection, and gender that transform jewelry into a form of visual communication. Mathes’s adornments become conceptual and sculptural interventions, extending the body to amplify physical presence and assert spatial dominance, while establishing a dynamic interplay between viewer and object.
Jaime Carrejo’s work is grounded in considerations of individuals’ relationships to community within broad—and possibly even metaphysical—contexts. In the studio, he explores his personal relationships with a body of research. In the classroom, he focuses on cultivating relationships among faculty members and students, giving them the space to probe the questions that will allow them to achieve their goals. Within the wider community of Denver, the United States, and the world, Carrejo’s community-oriented practice poses a new question of relationship: what might it mean to belong to a larger whole?
The artist Olive Moya has developed a visual language of “noodles”—a term she uses to describe the undulating, colorful strands that wiggle and twist in her artworks. Moya’s solo exhibition Where You Are, And Where I Really Am at Bell Projects makes the case for a playful, iterative approach to enacting and understanding identity.
The current exhibitions at William Havu Gallery showcase a captivating trio of artists—Homare Ikeda, Naomi Scheck, and Cheryl Ann Thomas—each exploring the in-between spaces that are formed through distinct yet harmonious mediums.
At the National Center for Atmospheric Research’s Mesa Lab in Boulder, the exhibition Exploring Water Through Art unfolds like a long thank-you note. Whether solid, liquid, or gas, water is everywhere here: as blessing, as memory, and as contested resource.
Curated by Hamidah Glasgow and featuring the work of Mona Bozorgi, Odette England, Melissa Grace Kreider, Marcy Palmer, Danielle SeeWalker, and Shuyuan Zhou, Beyond Resilience draws from current events, politics, personal narratives, and cultural experiences to create a multivocal dialogue about the manifestations of patriarchy and what it might mean to seek a different way of coexisting and caring for one another.
Creative Capitol: The Art of Teaching Artistry attests to how teaching and making art are tactics of social transformation and how teaching artists are agents of this change. The Colorado State Capitol—the site at which officials formulate and enact the laws that govern our ordinary lives—is an apt location for the works, which make clear the link between arts education and the politics of everyday life.
Meditative observation, of both physical and emotional terrains, unites the three concurrent exhibitions at Core Art Space. Kathy Mitchell-Garton and Elizabeth Ansley Delap contemplate belonging to timelines greater than oneself in the main gallery, while the annex space holds a collection of Jonathan Garbett’s liminal “clood” paintings. Each artist creates from a quieter channel of energy, probing at life’s more open-ended questions.
History is Painted by the Victors, currently on view at the Denver Art Museum until August 17, 2025, is artist Kent Monkman’s (Fisher River Cree Nation, born 1965) first major solo exhibition in the United States. Co-organized with the Montreal Museum of Fine Arts, the exhibition focuses on Monkman’s deeply layered monumental paintings from the DAM’s extensive collection of the artist’s work alongside new works and loans from other institutions and private collections.
It is with these concerns in mind that I first encountered Mutual Terrain at RedLine Contemporary Art Center this summer. The Denver Month of Video (.MOV) exhibition is curated by Adán De La Garza and Jenna Maurice and presents works that analyze the natural environment not “as a passive backdrop but as an active, animate force.” As such, the exhibition questions Western tendencies to see land as disentangled from us, extractable by us, and profitable for us.
Maya Guatemala and Us: Divergent Convergences at the Gregory Allicar Museum of Art (GAMA) in Fort Collins sets out to do just that, looking specifically at the legacy of colonization for the Maya peoples, the foreign interventions in the development of the Guatemalan nation, and how it continues to manifest in American politics and current events as the population of Guatemalan immigrants in the United States continues to grow.
On display at the Littleton Museum, Port de Banana is a solo exhibition by Lio-Bravo Bumbakini—a Boulder/Brooklyn-based artist with Congolese blood and a Belgian upbringing—that weaves together a complex, visually and emotionally powerful, yet disjointed narrative about his deep cultural heritage. The earnest artist really reaches for the stars in this exhibition, pulling from historical events, folkloric mythologies, archetypes, and symbols, all expressed in his bold and energetic visual style.
Despite my excitement, I expected an impersonal cacophony to greet me at the doors of RECESS at The Collective Community Arts Center in Lafayette, on view through July 13, 2025. Looking back at the line-up, I should have known better.
That doesn’t preclude the Adams County Government Center from hosting moments of beauty, the unique task of the Gallery at Taza Coffee House in the central lobby, where until August 26 you’ll find the oil-painted panels that make up Jenna Annunziato’s exhibition What we hold dear. Which objects do we imbue with special meaning? How do we treat them differently? What happens when they inevitably crack and crumble? Do they lose their value? What about their meaning?
Glass Expressions: Diverse Visions in a Transparent Medium at the Center for the Arts Evergreen welcomes us into this season of the Sun’s fiery reign with a group of glass artists who sculpt with fantastical flexibility. Fire has a recent track record of mass destruction, but it is also vital for the sustenance of life and can be used to manipulate glass to dazzling creative effect. Glass Expressions reflects, refracts, and reimagines the mercurial energy of growth, both psychological and physical.
Installed concurrently at Michael Warren Contemporary, Andrew Roberts-Gray’s Singularity and Collin Parson’s Reflectivity create a dialogue between two Colorado-based artists who examine the relationship between art, technology, and perception in different media: Andrew Roberts-Gray in painting and Collin Parson in installation and sculpture. Experienced together, the works in the gallery implicate viewers in the fraught discourses surrounding contemporary technologies such as social media and artificial intelligence.
On view through July 26, Oracle at Union Hall in Denver presents fourteen works by Yazz Atmore, Faatma Be Oné, Linda Bishara, Rebecca Peebles, Sarah Tenney, and Harriet Woodman. Fiber and bead art braid with ceramics, digital collage, mixed media, and ephemera to invite “a receptive state of mind” and integrate viewers with themselves and the unseen, which are sometimes the same thing.
