DARIA Art Magazine

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DARIA Art Magazine

DARIA: Denver Art Review, Inquiry, and Analysis is 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.

10/06/2026

“‘Here + Now,’ a group exhibition currently on view at the Curtis Center for the Arts, reunites the artists who were part of Mai Wyn Fine Art Gallery.”

Ayah Al-Masyabi visited the exhibition for our latest online review, noting that Mai Wyn Schantz’s work points “to the difference between the representational portrayals of the natural world and our human means of capturing and contemplating it with industrialized materials.”

“By combining emoji images used to communicate via email and text messages with older technologies like branding irons, Rian Kerrane asks us to consider the evolution of language.”

“Charles (Chuck) Parson uses industrial materials to contemplate how we confront and coexist with nature and the landscape.”

You have until October 23rd to visit the exhibition. Read the full review at https://www.dariamag.com/home/here-and-now

09/29/2026

Kyle Vincent Singer’s “Slopma###ing” is currently on view at Friend of a Friend through October 18th.

In Kamden Hilliard’s review, she explores how the solo exhibition “articulates a ‘metabolic’ art that consumes anything from McDonald's packaging to commercial-grade expandable foam as resources, ultimately suggesting possible methods of care under American hyper-consumption.”

“Singer's practice is not glob on glob, but rather a question of restraint. Ever iterative, never satisfied, desirous markets have infiltrated all other chambers of life and, if Singer's work is indicative of a potential response, perhaps one should reject consumerism and make a dignified life under its regime.”

Read Hilliard’s full review at https://www.dariamag.com/home/slopma###ing

09/22/2026

East Window in Boulder is currently hosting “RUINS: PERFORMING Q***R HISTORY,” the latest installment of artist and curator Nathan Storey’s “iterative, perpetual, and spaceless archival practice. The show collects LGBTQ+ work while contending with the loss inherent in tracing shared histories.” The exhibition features work by Ethan Cherry, Steven Frost, Apple Hultz, Robert Martin, Cody Norton, Joel Swanson, and MaryV.

As DARIA writer and editorial coordinator Madeleine Boyson notes in her review, “Archives bridge and rupture, especially when their remnants are fraught with scarcity and desire, and ‘RUINS’ embodies this perfectly imperfect negotiation by dropping visitors into an ongoing conversation. In the absence of a perfectly preserved, brick-and-mortar library of queerness, Storey asks, how and where do we (want to) find ourselves?”

The exhibition will be on view through October 21st. Read Boyson’s full review at https://www.dariamag.com/home/ruins-iii-performing-queer-history

09/17/2026

Carol Bivins’s “In Transition” and Jodie Roth Cooper’s “Intrasection” are currently on view at Blo Back Gallery in Pueblo through September 26th.

In her review of the concurrent exhibitions, Dani/elle Cunningham writes, “Process-driven, Bivins’s technique of layering paint and applying marks, results in a tremendous build-up of texture and color while maintaining a careful compositional balance. Not only that, but she seems to recognize precisely when to stop, resisting the temptation to push the paintings into unnecessary excess. At times, her multilayered brushstrokes signify her intelligence, resembling an invented written language whose meaning resides not in literal interpretation but somewhere within the collective consciousness.”

Jodie Roth Cooper’s sculptures “are as intellectual as they are constrained and meticulously constructed. They range stylistically from twisted, geometric beams to laser-cut wall hangings to a curved portal resembling oversized horn—all rendered in varying grades of steel. In a blue collar town like Pueblo, where steel once was a major income source for its citizens, Cooper’s work has symbolic as well as tangible meaning.”

Read Cunningham’s full review at https://www.dariamag.com/home/in-transition-intrasection

09/09/2026

The artist profile in our Summer 2026 print magazine focuses on Linda Bishara.

As our writer and editorial coordinator Paloma Jimenez asserts in her article: "Linda Bishara’s world reads like a list of magic potion ingredients: beetle, eggshell, raincloud, tooth, bubblegum, doll head, and a sprinkle of stars. Some other key elements are memory, dreams, and sculptural intuition."

"Her maximalist ceramic sculptures fuse fantastical elements with familiar objects until they burst into colorful new visions. Totemic, containing many transportive nooks and crannies to get lost in, Bishara’s work offers a place for escapism, protection, and transformation."

You can now read the full profile online at https://www.dariamag.com/home/linda-bishara and see Bishara's work for yourself in her exhibition "Sanctum Amaru," which opens at Understudy in downtown Denver on Saturday, September 12, 4-7pm.

09/01/2026

In celebration of the Arvada Center’s fiftieth anniversary, “50: A Half-Century of Art—Celebrating a Legacy of Creativity” is on view in the Theatre Gallery through December 31st.

Kamden Hilliard writes about the exhibition in our Summer print issue: “The show is a hybrid retrospective and celebration of the Arvada Center itself, which suggests that art spaces should be community spaces.”

“While galleries and museums often offer viewers a white-walled, contemplative experience, the bright walls with informative signage in this exhibition speak to the rich collaboration and inclusion that remains a hallmark of the Arvada Center. Divided in sections that represent each of the five decades with examples of art, graphics, and text, this show aims to help viewers understand the engaging, complex, and often community-oriented works that comprise the Center's fifty-year history.”

Read Hilliard’s full review at https://www.dariamag.com/home/50-half-a-century-of-art

08/27/2026

On view through September 6 at EDGE Gallery in Lakewood, Wynne Reynolds's exhibition "Retroflection: a decade of mixed media explorations" and Travis Vermilye's "Conduit" "move through" the "theme of connectivity with two different conceptual approaches," according to our writer and editorial coordinator Paloma Jimenez.

"Reynolds expels the thorny pain of the patriarchy with a relentless material curiosity and collaborative creation, while Vermilye looks outside of human narratives towards the meditative and generative properties of mycelial networks."

Read Jimenez's full review at https://www.dariamag.com/home/retroflection-conduit.

08/18/2026

Agnes Ma’s “it all ends the same” installation at Understudy uses bioplastic barbed wire posts and tumbleweeds to create a dynamic stage for “examining interactions and relationships.”

As Maggie Sava writes in her latest online review, “We as viewers are transported to a place both specific and general. On closer inspection, however, the seemingly straightforward scene starts to unravel. The barbed wire fences do not touch, making them more like gates than barriers.”

“What does it mean to travel through, when movement oscillates between the active status of rolling and the passive experience of being stuck? How do we navigate through the shifting experiences of convening and isolating, which can sometimes occur unpredictably or be caused by forces out of our control? And what does it mean to have boundaries, when they can be both gates and fences?”

“Perhaps this arrangement contests what our ideas of being out versus in might be. Here, there are porous passages instead of strict borders on a variety of scales, from the personal to the international and environmental.”

Agnes Ma’s installation will be on view through August 30th. Read Sava’s full review at https://www.dariamag.com/home/it-all-ends-the-same

08/11/2026

PlatteForum recently moved to 910 Galapago Street near Denver's Art District on Santa Fe. Their first exhibition in the space is "Future Archives" by their current artist in residence Erica Rawson and their high school interns.

Our writer José Antonio Arellano reviewed the show and recounts that "Rawson taught students how to create linocut prints and experiment with copper, using vinegar and salt to corrode the metal. The process renders crystallized structures and patinas of varying blues and verdigris greens."

"Rawson asked the students to think about how they hold the stories that constitute their evolving identities and what material archives they invoke beyond the digital networks that structure their lives."

"For Rawson’s own pieces in this exhibition, copper and folded marine vinyl lead the way, with her acrylic paintings following their contours. She describes marine vinyl as a kind of physical archive. Unlike other materials, whose 'shape memory' can return them to their original shape when triggered by heat, marine vinyl inverts this capacity to 'remember.'”

You can read the full review at https://www.dariamag.com/home/future-archives and see the exhibition for yourself through August 28.

08/04/2026

Have you heard of the Pueblo Levee Mural Project?

In an exhibition titled "Concrete Creativity: Historic Murals of the Pueblo Levee," on view at the Sangre de Cristo Arts and Conference Center until August 15, you can learn about its decades-long history.

Our writer and editorial coordinator Madeleine Boyson reviewed the show for our Summer 2026 print magazine, noting that it "historicizes a public artwork that once held the Guinness World Record for the largest outdoor mural from 1995 to 2016."

Situated on the levee built to prevent flooding from the Arkansas River, artists continue to add to the murals to this day.

"Much like the riparian zone they adorn, the murals celebrated by 'Concrete Creativity' are ever-changing but ever-present, flowing more or less steadily but always onwards through Pueblo."

You can now read the full review online at https://www.dariamag.com/home/concrete-creativity.

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