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Denver

Displaced in Denver: A Discussion With the Artists Kicked-Out of Rhinoceropolis and Glob

by Michael Anthony Farley on June 26, 2017
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On December 8th of last year a dozen artists in Denver were forced from their homes unexpectedly. The warehouse building at 3551-3553 Brighton Boulevard had for over a decade illegally housed artists and musicians in two roughly 2,000-square-foot units that doubled as venues at the epicenter of Denver’s DIY scene: Rhinoceropolis and Glob. Just days before, 36 people had been killed by a fire at Ghost Ship, a warehouse live/work venue in Oakland, California. That tragedy has since inspired a series of raids on artist-run spaces nationwide—often leading to displacements.

For months, the landlord and tenants have been trying to get the spaces brought up to code and reopened. The outpouring of support from the art community has since inspired Denver City Council to draft legislation aimed at dealing with issues of illegal live/work spaces, and turned a local zoning violation into a national discussion. I sat down with Warren Bedell and John Golter, two of the displaced artists, to talk about the displacement, the process of reopening the venues, and the politics surrounding the current war on DIY spaces.

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A 10th Grader’s Artwork Is Setting Off a Shitstorm of Ridiculous Controversy

by Michael Anthony Farley on March 25, 2016
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On March 15th, an exhibition of high school students’ artwork went up in the atrium of Denver’s Wellington Webb Municipal Building. And now a lot of grown men are crying crocodile tears about it. An unnamed 10th grader responded to an assignment to recontextualize a piece from art history with contemporary themes by combining Goya’s “The 3rd of May 1808” with the more recent “A Tale of Two Hoodies” by Michael D’Antuono. Those paintings commemorate the execution of Spanish resistance fighters by Napoleon’s armies, and the murders of African American youth by police and vigilantes, respectively.

Predictably, the #BlueLivesMatter reactionaries are out in full force to cry victim.

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Art F City at The L Magazine: Biennial Fail

by Paddy Johnson on July 31, 2013
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What does a biennale look like when it’s run by a group of businessmen and politicians? If Denver’s Biennial of the Americas (July 16-September 2) is any indication, like some awful, biennale-length franken-conference in the service of multinational corporations. Art, when it was given a place at all, was used primarily as a branding tool for the event; it’s not surprising then that it has little to offer art lovers or businesspeople. Even the Biennial’s expressed aims—idea exchange, and looking to booming economies in the north and south—weren’t achieved.

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