The Lumineers happen to be based in Denver, but even if they weren’t, the band would be at the top of my list of favorites. So imagine my delight at having interviewed both of the founding members: Jeremiah Fraites and Wesley Schultz.
My article about Wes is published today in The Denver Gazette with a teaser on the front page. We had an engaging conversation about writing music for The Lumineers’ fourth studio album, “Brightside,” to be released this weekend. We talked about his dad, his go-to lullaby for his son, his mother’s advice for the new record, and The Lumineers’ ritual right before going on stage. We talked about the band opening for Tom Petty and U2, playing for President Barack Obama at the White House a couple of times and other highlights of the past decade since the release of their first record.
Years ago, I interviewed Jeremiah Fraites for The Denver Business Journal. As fate would have it, I met Jer in our neighborhood one day while I was walking to yoga and passed him playing guitar on his balcony. Here’s a link to that article.
As for the new music, I have been listening a lot over the past month to “Brightside.” It’s rare for me to like every song on an album, yet that’s the case with “Brightside,” a record consistent with the excellence of The Lumineers — a band that helps us feel all the feels.
AMY LAUGESEN’s artistic lineage makes her art especially interesting. As if her horse sculptures didn’t already harken to different places and eras, her family tree’s roots in sculpture lend a timelessness to her art.
The artist spoke to me about her childhood horse muse, her process and her definition of a successful sculpture in my article published by Art & Object:
Researching and writing about the Coors Western Art Exhibit & Sale changed my mind about Western art and taught me that there’s a lot more to the genre than cowboys and Native Americans. The annual Coors show exhibits compelling Western art and also raises scholarship funds as part of the National Western Stock Show in Denver, Colorado.
Having tea with Morris Price, Jr. at the Clayton Club in Denver introduced me to one of the most beautiful people I’ve ever had the opportunity to interview: Morris Price, Jr. He’s a leader in higher education, philanthropy and our federal government.
We discussed the serious — George Floyd’s murder, gay-bashing, the “N” word — but also more lighthearted subjects — clothes, music and dogs.
One of the most in-depth art article I wrote this year was just published by Art & Object. The topic was realism, and the work brought the pleasures of delving into mind-bogglingly realistic representational art.
“Wake From Dream” by Daniel Sprick demonstrates his mastery of painting both the human figure and landscapes in the style of realism.
Despite the art world’s shenanigans such as shredded paintings and NFTs and software that replicates watercolors and AI that creates “art,” Realism really is relevant. In the digital era, the sign of the human hand matters, and representational art continues to delivery something other than even fine art photography can present.
Daniel Sprick has given much of his life to painting, and his hyper-realistic art evidences the results of a man with not only talent, but also devotion. Along with being an exceptionally gifted painter, Sprick is articulate. Recently, we spoke of beauty, the smoke and mirrors of the art world, and aging.
On Christmas Day 2021, The Denver Gazette published my feature about the artist, linked here.
For the article, I also interviewed Sprick’s peer, another Colorado realist, Scott Fraser. I interviewed one of Colorado’s leading art collectors, John Madden. And I also interviewed Timothy Standring, Denver Art Museum painting curator emeritus. Everybody who casts a gaze toward a Sprick painting can see perfectly well that he is a master among us.
My friend Mila Garcia Glodava and I met almost 30 years ago as communications colleagues. About 25 years ago, Mila showed me around her homeland in The Philippines–a place of beauty and poverty, of pristine islands and polluted cities, but overall a culture of beautiful people of warm hospitality and wide smiles. Mila is akin to the Mother Teresa of The Philippines.
When Mila asked me to serve on the board of the Metro Infanta Foundation she established 25 years ago, I couldn’t say no. Over the years, Mila and her foundation have accomplished a lot in three areas: education, faith-formation and cultural heritage preservation. I especially have a spot in my heart for the indigenous people similar to those pictured above whom I met while on my pilgrimage in Asia.
When Mila asked me to help her create communications for the 25th anniversary of her foundation, again I could not say no. But I had not idea until we got into the project how much she had accomplished, not only in The Philippines, but around the globe. We collaborated over the summer and produced a 24-page commemorative booklet in addition to collateral materials mailed just before Thanksgiving. The project was a lot of fun because we compiled all the foundation’s many wins. We also because we worked with the bright colors, rich indigenous textiles and tropical plants, as well as captivating images of The Philippines as we designed the direct mail package to reflect the islands.
Mila and I have a special synergy. We work hard together, but we always laugh hard, too. It’s been my honor to serve as a member of Mila’s Metro Infanta Foundation board since its inception 25 years ago and to contribute to this major project. Salamat Po! That’s Tagalog for “thank you.”
When a PR staffer from History Colorado contacted me to say they’d enjoyed my recent magazine article about the director of Denver’s Museum of Contemporary Art, he also invited me to interview the new director of History Colorado. I was already overbooked, yet I wanted to help a fellow female who was taking on a top position, so I agreed to report the feature for The Denver Gazette. I learned a lot about History Colorado, an organization that does much more than I ever imagined. History Colorado’s presence is in all corners of the state. Here’s the compelling layout published by The Denver Gazette:
My feature and my photography published by Art & Object spotlights the three architectural gems of Denver Art Museum. Read my article at this link with no paywall. I interviewed the DAM’s director, Christoph Heinrich, prior to the DAM’s recent reopening of the $175 million upgrade. Part of the project was the sprucing up of the DAM’s 50-year-old building designed by Gio Ponti. The project also introduced a sparkling new Welcome Center. The Welcome Center features curved glass windows nearly 40′ tall, a new application used for the first time in the building.
One of the best aspects of the upgrade is the opening of the Martin Building’s rooftop terraces with fresh air and fresh views of the city and, in the distance, Colorado’s Front Range of the Rocky Mountains.