"The Sharjah Art Foundation (SAF) has released the list of nearly ninety emerging and established artist participating in the fourteenth edition of Sharjah Biennial, which will take place from March 7 to June 10, 2019. Titled “Leaving the Echo Chamber,” the biennial will consist of three exhibitions curated by Zoe Butt, Omar Kholeif, and Claire Tancons that will explore the possibilities and the purpose of producing art when history is increasingly fictionalized, when borders and beliefs are under constant negotiation, and material culture is under threat from human destruction."
"She uses the clash, conflation and compression of these components of her personal history to set up the content of her conceptual pieces, which touch on everything from European imperialism to the exploitation of colonized people and the travails of the immigrant experience. Mattai also includes collapsing time in the mix, as Cullen notes. The concerns she raises based on nineteenth-century narratives are extremely relevant today, given what’s been happening at our southern border, where brown-skinned asylum seekers are denied entry to this country and, worse, separated from their children." - Michael Paglia, Westword, Sept. 2018
Patton's approach never stops running routes between the past and present, or from minimalism to the decorative. The paintings are rooted in the photograph, so there is a visual kinship. But while the photo captures a story already completed, the painting invites a dialogue, not only with the choices within the frame but the uncomfortable acknowledgement of one’s own fading presence in the memory of others.
"Pretty much all of the paintings here are large, and some are enormous: The multi-panel, billboard-sized “Colorado River Flow” is over twelve feet across. The various shapes splayed across the three panels do not represent a literal landscape, and this is especially true across the bottom, where the elements seem to have been freely associated. Winkler conjures the illusion of the landscape through the tight margins of the various parts, especially across the tops of the compositions, which read like mountain ranges set against the skies. Her repeated use of horizontal elements stacked on top of one another successfully suggests the idea of a scenic view without specifically referring to it. Taking all these attributes into account, I realized that Winkler was right: Her paintings are abstractions and, technically speaking, not actually representations of external reality." - Michael Paglia, Westword, July 2018
Looking at these serene paintings, it’s hard to believe they are meant as a kind of resistance, but then again, that’s what seijaku refers to: a peaceful escape from the chaos....Each painting has its own limited palette of just a few predominant tones, yet Frances’s use of layer upon layer of oil glazes gives them an internal luminance. The results are complex and often majestic. The larger works are particularly striking.
Denver’s Westword Magazine names K Contemprary as the “Best New Gallery” in Denver for the 2018 Best of Denver Awards. “K Contemporary has been hosting some of the hottest shows in town. Artist Doug Kacena is the force behind the new space, and with K Contemporary, he’s shown himself to be an able curator who’s already assembled a formidable stable of high-profile Colorado artists, including Monique Crine, Michael Dowling, Kevin Sloan, Suchitra Mattai, Karen Roehl, Scott Young and Mario Zoots.”
Kevin Sloan‘s recent exhibition “The Wanderer’s Garden” was featured in the March 2018 edition of American Art Collector. “Kevin Sloan’s paintings have been witty, entertaining and flawlessly executed”
25 original works from Suchitra Mattai were recently purchased by the Museum of Contemporary Art Denver. Have you ever looked at a work of contemporary art in a museum and wanted to bring it home? Well, now’s your chance. MCA Denver’s Octopus Initiative is offering any resident of the Denver metro area the chance to borrow and live with a work of art for ten months.
Scott Young‘s monumental piece “Wish You Were Here”, (2016. Neon, steel, alupanel, and electronic) was installed in April on top of the Museum of Contemporary Art Denver. Young’s piece beautifully caps the David Adjaye-designed building.
Doug Kacena‘s recent ground-breaking exhibition “Crossover” is featured in the March/April 2017 edition of Art Ltd, reviewed by Michael Paglia.
“Denver-based abstract painter Doug Kacena noticed that there was a disconnection in the art scene, not just here in Colorado, but nationally. This clearly defined gap has artists working in contemporary styles—like him—on one side of it, and those whose efforts lie in the traditional realist realm on the other. So Kacena conceived of the exhibition “Crossover,” with the idea of bridging the distance between the two through radical interventions. Kacena selected some of the most significant representational painters active in the region and asked each to give him one of their pieces so that he could paint over it. Simultaneously he gave each of them one of his, so that they could paint over it.”
For the grand opening, K Contemporary has taken the lead position, filling the lobby and the main-floor rooms with a spectacular solo, Scott Young: Gas Light Love Bomb, which comprises conceptual art done with electronics, photos and lighted glass tubes that are filled with luminescent gases, including neon. The show cogently tells the story of a romance, or romance in general, by setting up discrete sections modeled on an oratorio.
Contemporary artist Sarah Winkler’s experimental painting technique mimics the addition and subtraction of geological processes in nature. Iceland’s geological drama and Alpine-Nordic design ethos inspired her current winter series of fantastical alpine landscapes.