DARIA Art Magazine, 1485 Delgany St, Denver, CO (2026)

06/09/2026

In 2020, Jasmine Baetz organized the “Los Seis de Boulder Community Sculpture Project” to memorialize the six civil rights activists who were killed in a car bombing.

Madeleine Boyson reviewed the two permanent installations for the Last Page article in our Spring print issue, writing “The six activists, posthumously remembered as Los Seis de Boulder, were involved in United Mexican American Students (UMAS), a group concurrently sitting-in at Temporary Building 1 that May to protest treatment by the university. Yet no one was charged with their deaths, and the FBI case files burned in a fire.”

The first sculpture is located outside of Temporary Building 1 on the University of Colorado Boulder Campus. Boyson writes, “The trapezoidal sculpture displays kiln-fired mosaic retablos positioned in the direction that each activist died. Each face emerges ghost-like from a nicho, much like the shadow boxes of an altar.”

You can find the second sculpture on 17th and Pearl Street. “On it, figures fall and reach towards each other within a clenched fist. On the far side, a three-person protest expresses solidarity between Chicanx and Black student movements.”

The full article is available to read at https://www.dariamag.com/home/los-seis-de-boulder

06/02/2026

Galleri Gallery inside of Meow Wolf Denver hosts rotating exhibitions by local artists. Currently, Jodi Stuart’s “Second Body” is on view in the space through June 15th.

Raymundo Muñoz visited the space with the artist, writing in his latest online review, “Jodi Stuart draws inspiration from our complicated and expansive relationship with plastics, creating works that are not meant to solve the plastics problem necessarily, but rather give new life, forms, and purpose through upcycling and artmaking.”

“Stuart’s intense 3-D pen process is a marvel in patience, ingenuity, and planning. Using colored PLA plastics (polylactic acid plastics, by the way, are biodegradable) and a variety of molds (e.g. concrete-form tubes, exercise balls, piping tips, etc.), the artist slowly draws a detailed and chaotic web of fine lines that add up to light, yet durable, sheets that she later joins to create a variety of complex, three-dimensional shapes.”

“That uneasy feeling of being crowded and surrounded by beautiful yet threatening forms is underscored by the gallery’s decision to install Stuart’s human-sized pieces around the perimeter of the space. A large mirror on one side multiplies this crowd effect even more, supporting the exhibition’s theme of plastic’s pervasiveness.”

Read the full review at https://www.dariamag.com/home/second-body

05/26/2026

On view through July 14 at the Lyons Community Library, Kylee Covili and Jim Kearns' exhibition "Reconstructing Perspectives" features "precise construction and unexpected patternmaking" and "materials embedded with stories of previous lives," according to our writer and editorial coordinator Paloma Jimenez.

"Kylee Covili presents a collection of works that dig up an earthen symmetry from the often-chaotic world of vintage object assemblage. A distressed Southwestern color palette makes them feel like relics discovered amongst the surrounding rocks of Lyons."

"Jim Kearns finds his own brand of harmonious wonder, and a fair number of glitches, in the wood grain of various trees. Eschewing the 'rustic log' aesthetic often found in Colorado cabins, Kearns uses salvaged wood to create intricate mosaics. The intensity of Kearns’ perceptual focus reveals psychedelic patterns not normally expressed by the average woodworker."

Read the full review at https://www.dariamag.com/home/reconstructing-perspectives.

05/21/2026

Our Spring print issue features a review of “Gathering Place,” the new reinstallation of the permanent collection at Colorado Springs Fine Arts Center at Colorado College.

José Antonio Arellano writes, “In a collaborative effort to tell a more complex story of this collection and the institution, the FAC invited four guest curators—selected from a diverse set of community stakeholders—to reimagine its exhibition spaces. The historian Bill Bryans describes how such a collaborative practice enables public history, ‘doing history for and with the public,’ often with ‘non-academic partners.’”

“The exhibitions staff built wooden façades from locally sourced red cedar to create a feeling of intimacy and reverence within the Duff Gallery. The red cedar emits a sweet, resinous aroma that delicately suffuses the gallery. As visitors cross the wooden threshold, they hear recordings of New Mexican alabados, Spanish-language hymns of praise and lament that developed in colonial New Mexico. Córdova displays the santos (the carved wooden saints) reverently, alluding to their original devotional use in chapels and homes.”

“The FAC curatorial staff, Michael Christiano, Katja Rivera, and Alana Adams, collaborated to reinstall the Loo Gallery, which displays contemporary art. They used the concept of ‘movement’ to guide their efforts and serve as an organizing principle, rather than a chronology to be followed. This generative metaphor undermines the constraining authority of rigid art-historical timelines, enabling the curators to show how ‘contemporary’ works remain in dialogue with ‘traditional’ visual cultures and practices.”

Read the full review at https://www.dariamag.com/home/gathering-place-permanent-collection-reinstallation

05/12/2026

Galen Cheney’s “Brief Transit” and Clark Derbes’s “Time Travelers” are currently on view at Nick Ryan Gallery in Boulder through June 12th.

Felicity Wong reviewed the concurrent exhibitions, writing “Certainly, Cheney and Derbes take on investigations of color, line, and material with great vigor. But perhaps more curiously, both artists also beckon the viewer to look closer—to trace the edges of the canvas that appear in the middle of Cheney’s paintings, or the roughness of the wood that Derbes accommodates for as he fashions it into sculpture. These acts of close looking allow us to destabilize interpretations of the artists’ abstract and conceptual works as the wholly purified forms they might appear to be when one glosses over them quickly.”

“Throughout the ‘Brief Transit’ exhibition, visual symbols appear and reappear: recognition of the checkered pattern or the raked paths in multiple paintings cements a formal cohesion—a conversational moment—between all of Cheney’s paintings.”

About Derbes’s work, “They are no ordinary polyhedrons; rather, their warped constructions manipulate the viewer’s perception of the object. In this series, the silhouette of a wooden sculpture changes depending on the viewer’s vantage point. Taking a step further away or closer, or left or right, shifts the colors and form that meet the eye.”

Read Wong’s full review at https://www.dariamag.com/home/brief-transit-time-travelers

05/05/2026

In addition to permanent installations and murals, Denver International Airport also hosts a variety of rotating art exhibitions. Currently, you’ll find a collection of collaged works by Libby Barbee inside the Airport Office Building.

Maggie Sava visited the airport to review the exhibition, writing “Just as place can inform art, art can shape our sense of place. Having art at the airport can provide the opportunity not only to bolster the public image of the city and state, but can also reconnect travellers with what it means to be ‘here.’”

“Consisting of six collaged works from over the past sixteen years, the show is a sharply focused exploration of Barbee’s career-long examination of our connection to our environment.”

“To make these images, Barbee takes what she calls ‘fragments of cultural debris’ and uses them to build out landscapes that exist somewhere between surreal geographies and glitches in the matrix.”

You have until June 30th to check out these works before your next flight takes off. Read Sava’s full review at https://www.dariamag.com/home/libby-barbee

04/28/2026

The cover of our Spring 2026 print magazine features an image of the "Eyes On: Susan Wick" exhibition, which is on view at the Denver Art Museum through May 10.

In her review of the show, our writer and editorial coordinator Paloma Jimenez notes that "Dedication to creation requires long bouts of solitary contemplation, configuration, and general manual labor. Inevitably, the work also starts demanding external materials and inspiration to keep the unpredictable muse in motion."

"Susan Wick wrangles with this joyous tension in her 'Eyes On' exhibition, which combines imagery of everyday home objects with glimpses of faraway lands, all curiously abstracted by a menagerie of enticing materials."

"Encountering the small space, located at the entrance to the Contemporary and Modern galleries, is like opening a pack of Tropical Starburst® candies. An artist who truly understands color will make you taste it."

"Wick’s juicy palette invites viewers into her universe, where color becomes a form of gratitude; she has painted an earnest note of thanks, in both English and Spanish, directly onto the walls. The purity of this expression sparkles."

You can now read the full review on our website at https://www.dariamag.com/home/eyes-on.

04/21/2026

For our latest online review, Madeleine Boyson delves into the three concurrent exhibitions at Robischon Gallery: Kahn + Selesnick’s “Dark Matter,” Stacey Steers’s “The Stars Watch From Long Ago,” and Kim Dickey’s “And All the Meadows Wide.”

Boyson writes, “Drawing on allegories from the thirteenth through twentieth centuries, Kahn and Selesnick’s troupe guides players of all stripes, creeds, and costumes through a pallid desert—a psychologically and eschatologically pristine consideration of the subconscious realm we weave in and out of on our march toward nothingness.”

“Elsewhere in the galleries, Steers offers GIF-like blurbs of her animation set into wooden star charts built by Michael Schliske (Steamboat Woodworks), prints from the film, hand-cut and colored collages, and even a mixed media 'Star House' (2026) that shrinks the film’s celestialities into one 24-by-16-by-16 inch sculpture. Each work feels like a whisper and a chorus, with a muted tone offering more subtleties than can be absorbed in a single viewing.”

“Tethered to one room but not one influence, Dickey’s vases and terracotta heraldry offer the ‘deep pleasure of slowing down’ in response to medieval millefleur tapestry and birds of paradise.”

You have until May 30th to visit the exhibitions in person. Read Boyson’s full review at https://www.dariamag.com/home/dark-matter-the-stars-fell-from-long-ago-and-all-the-meadows-wide

04/14/2026

Our Spring print issue features a review of the group exhibition “Printed Page V”at the University of Denver’s Anderson Academic Commons.

Maggie Sava writes “A continuation of Abecedarian Artists’ Books’ participation in the biennial Colorado Mo’Print, or Month of Printmaking, ‘Printed Page V’ explores how books are an essential component of the legacy and continuing expansion of printmaking. Jurors Katherine Crowe, Special Collections Curator at the University of Denver, and Alicia Bailey, Director of Abecedarian Artists’ Books, have brought together thirty-eight works by thirty-two U.S. artists, unified by their use of traditional techniques ranging from letterpress to botanical printing.”

“’Printed Page V’ asks viewers (and readers) to thoughtfully engage not just with stories being told, but also with how they are being told. Communication occurs both in words themselves and in how they find their way onto the page.”

You have until April 26th to visit the exhibition in person. Read Sava’s full review at https://www.dariamag.com/home/printed-page-v

04/07/2026

Leonard Suryajaya’s “Parting Gift: Fitting in America” and Matthew Finley’s “An Impossibly Normal Life” are currently on view at the Colorado Photographic Arts Center through April 18th.

Nina Peterson writes, “Family photography has been and continues to be a tool of nationalism and imperialism as well as a mechanism of constructing and enforcing normative visions of the family as a happy, white, heterosexual, nuclear unit. Against these disciplinary and exclusionary histories, Suryajaya’s and Finley’s images use photography as a method for imagining and practicing kinship otherwise.”

“The moments of rupture in Suryajaya’s work burst from violent contexts of policing gender, sexuality, and national belonging, suggesting how these disciplinary structures, despite their brutality, are not totalizing.”

About Matthew Finley’s work, Peterson notes, “Applying glitter—iridescent flecks well-known for their persistence, proliferation, and stickiness—presents this image of homoeroticism as a beauty that grows despite forces that seek to limit it. The glitter is a metaphor for q***r love and relationships that attest to and make possible a kind of sustenance systematically denied to q***r people in homophobic society.”

Read Peterson’s full review at https://www.dariamag.com/home/parting-gift-an-impossibly-normal-life

DARIA Art Magazine

06/09/2026

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05/26/2026

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