Maynard Dixon, Cloud World, 1925. Oil paint on canvas; 34 × 62 in. Denver Art Museum: Funds from the LARRK Foundation, Tom and Jane Petrie, and Craig and Nicole Harrison, with funds, by exchange, from the Peck Collection, Harmsen Collection, Roath Collection, and the Art American Purchase Fund, 2025.433
(DENVER) — March 10, 2026 — Throughout 2025, the Denver Art Museum (DAM) continued to energize and expand its collection, adding remarkable new works across all eleven curatorial departments. Each acquisition builds on the museum’s long-standing dedication to cultivating a vibrant, diverse collection—one that mirrors the community it serves while offering visitors rich access to artistic traditions and cultural stories from around the world and across centuries.
Artworks acquired between Oct. 1, 2024, and Sept. 30, 2025, included both purchases and gifts and encompass a range of works by women and artists of color, including important contemporary voices.
The museum also continued its tradition of acquiring works by artists featured in DAM-organized exhibitions for the permanent collection, this year adding works by Dawoud Bey, Andrea Carlson, Minjae KIM, YoungJune P. LEW, Kent Monkman, Tokio Ueyama and Susan Wick.
The Architecture & Design department strengthened its holdings in 2025 with 35 new objects created by 27 artists and designers—14 of whom are women or identify as BIPOC. Several of these acquisitions mark significant firsts, with the DAM becoming either the first museum, or the first U.S. museum, to bring these artists’ work into a public collection.
Denver-based artist Monica Curiel’s La Mari Chair honors her Mexican American heritage through elegant formal abstraction, with its circular backrest ornaments referencing the silver buttons of charro suits and its curved base echoing the shapes of mariachi string instruments. Named one of Dwell magazine’s 24 best new designers of 2024, Curiel challenges reductive perceptions of Mexican design through her minimalist aesthetic and material exploration. The DAM is the first museum to acquire Curiel’s work, expanding representation of Mexican American artists and complementing recent acquisitions that abstract cultural symbolism into contemporary design.
Brooklyn-based Belgian Congolese designer Kim Mupangilaï’s Brazza Screen, created as part of her debut Kasaï collection, is a powerful exploration of postcolonial identity, cultural lineage, and the construction of self across geographies and time. The screen’s puzzle-like assemblage of teak, volcanic stone and woven rattan was carefully chosen for symbolic associations with Congolese culture, while its abstracted forms reference Central African currency tools: objects that served as markers of major life events and consolidations of power. The work’s formal resemblance to Art Nouveau brings full circle the unacknowledged African influences that shaped that movement. The Denver Art Museum is the first U.S. institution to acquire Mupangilaï's work, joining the Vitra Design Museum in recognizing her significance to contemporary design. Her recent inclusion in the Smithsonian Design Triennial further underscores her emerging influence.
The Kirkland, now fully integrated into the DAM, acquired three pieces in 2025—two works by women artists working in a partnership with their husbands as well as painting by a noted Colorado artist.
Otto and Gertrud Natzler are considered by many to be one of the greatest teams of ceramic artists in the world. Gertrud threw the pots while Otto oversaw the glaze work. Their collaborations achieve perfect harmony, the shape of the vessel just as important as the glaze, neither part overtaking the other. This stunning bottle-necked vase utilizes uranium glaze, showcasing both Otto and Gertrud's expertise.
An important figure in Colorado art history, Edward Marecak studied at the Cleveland Institute of Art and Cranbrook Academy of Art before attending the Colorado Springs Fine Arts Center. He married ceramic artist Donna Fortin; The Kirkland’s third acquisition of 2025 is a tiled coffee table collaborated on by the couple. Born in Ohio to Slovakian immigrants, Marecak often references mythology or folk tales in his work. This painting probably draws its imagery from the biblical story of Salome dancing for Herod, with the golden orb representing the head of John the Baptist.
The Mayer Center for Ancient and Latin American Art added two works to its collection—an exquisite Inca figurine and a contemporary work by a Guatemalan artist.
The Miniature Female Figurine depicts a female standing with open eyes and mouth, hands clasped at the chest, and hair braided in a typical Inca fashion. Made of solid gold alloy produced by lost-wax casting, it has no visible seams as hollow figurines produced by hammering and soldering do. While naked, the figurine would have been clothed in miniature textiles. Archaeologically, these figurines appear as offerings associated with some of the most significant Inca rituals, including capacocha. Performed only a handful of times, this critical Inca rite involved the procession of specially selected children and juveniles throughout the empire that ended with their sacrifice often on top of a snow-capped peak high in the Andes. The Inca believed that the natural world (including humans, animals and landscape features like mountains) possessed a sacred essence called camay (“breath” in Quechua). Small objects such as this figurine (as well as children) were thought to be extremely potent, containing the same amount of camay but compressed in a small package.
el SUDOR de mi GENTE (the sweat of my people) is by Guatemalan artist Jackie Amézquita, a multidisciplinary artist based in Los Angeles, who considers place, time, migration and ancestry in her work. This work speaks to the corrosive effects of banana plantations on both the land and people of Central America as well as the entangled histories of the United States agriculture and American archaeology. The piece consists of three patinated copper strips hung vertically. The imprint of bananas stands out against the blue green surface, the result of a nine-month controlled experiment in which the fruit, sealed in plastic domes, decayed on the copper surface corroding the material, while fruit flies traveled between the sealed domes via plastic straws.
The Arts of Asia department acquired 175 objects, including works by Minjae KIM, Steven Young Lee, and YoungJune P. LEW, displayed last year in the exhibition Lunar Phases: Korean Moon Jars.
A plaited bamboo tray by Iizuka Shōkansai is one of 28 important bamboo masterpieces recently gifted to the museum. Scion of the Iizuka lineage of bamboo artists, Shōkansai dedicated his life to bamboo and traveled internationally raising awareness of the medium. At age 63, he became the second bamboo artist to be designated a Living National Treasure. This piece is on view in the exhibition, Grass Scripts: Bamboo Art from the Abbey Collection, on view since January 25.
Born in Osaka, MORI Tetsuzan (Tessan) (森徹山, 1775−1841) was adopted by his uncle, MORI Sosen (森狙仙, 1747–1821), to continue his artistic lineage. Appointed as an official painter for the Kumamoto domain. Mori became known for his masterful depictions of beautiful women, animals and birds.
The set of four sliding doors (fusuma 襖) which entered the collection in 2025 is painted with serene scenes—one side features two tigers in a slightly gilded landscape; the reverse presents birds in a more subdued composition. The doors, constructed with paper surfaces, lacquered wood frames, and metal door pulls, exemplify the refined craftsmanship of the period. The interplay of realism and decorative elements in this work highlights the artist’s signature style—rooted in direct observation yet infused with a lyrical, almost dreamlike quality.
The department of European & American Art before 1900 added 16 works to the department’s collection, including works by noted women artists Berthe Morisot and Camille Claudel, as well as a portrait by Charles Émile Auguste Durand, called Carolus-Duran.
A key figure of the Parisian art scene, Carolus-Duran was the most sought-after portrait artist of the time. Best known for his high society portraiture, of which this full-length double portrait of sisters Lady Renée (standing) and Lady Juliette (seated) de Trédern is a significant example. Based on this commission, which was exhibited at the Universal Exhibition of 1889, he received the Medal of Honour and was promoted to the rank of Commander of the Legion of Honour. This portrait of the Trédern daughters hung in the family’s Parisian mansion from 1889 to 1916, until it was inherited by Lady Renée, remaining in the family and her collection until her passing in 1964.
Rêve au coin du feu (Fireside Dream) was part of a series by Camille Claudel. A talented sculptor who apprenticed with the renowned artist Auguste Rodin (1840–1917), Claudel worked with materials, like bronze and marble, that were considered the realm of men because of the physical effort involved. At the beginning of the 1890s, Claudel began working on objects that blurred the line between sculpture and decorative arts that she called “sketches from nature.” This work, intended as a nightlight, conveys the intimacy of everyday life, a focus that distanced her from the monumental ambitions of Rodin.
Camille Claudel is one of the most important French sculptors at the turn of the 20th century. While her partnership with Rodin has long contributed to her lack of visibility, her oeuvre has been reassessed in recent decades thanks to major exhibitions.
The department also officially accessioned Berthe Morisot’s The Lesson in the Garden (La Leçon au jardin) in 2025. Part of a generous and transformative bequest of Impressionist paintings by Frederic. C. Hamilton, the work has been on display in the galleries for several years.
The Modern and Contemporary Art department expanded its holdings by 59 artworks made by 52 artists. Denver-based artist Susan Wick often uses windows and frames to play with composition and space in paintings of domestic interiors and views of the outdoors. The Garden of Eden is inspired by Wick’s love of flowers and daily observations of her neighborhood, merging the space of her home and studio with the exterior world. Embroidered floral motifs become potted flowers, which become a vibrant garden in Wick’s uncanny world. White and blue drapes evoke a cloud-filled sky in an endless exchange between inside and outside, private and public, real and imaginary. The Garden of Eden is currently on view in Eyes On: Susan Wick.
A key figure in hard-edge painting of the mid-1900s, Karl Benjamin experimented relentlessly with color and form in pursuit of beauty. Created in 1969, #30 is a prime example of Benjamin’s triangle pattern paintings, a series created between 1966 and 1973. Based on an elaborate grid structure, these paintings feature right triangles in intense and vibrant color. Their repeating forms expand to create larger and more complex sequences of squares, diamonds and chevrons, imbuing these works with a sense of rhythm and animation.
In 2025, the department was gifted works by Ai Weiwei,Lenz Geerk and Morris Louis, among other acquisitions.
The Modern and Contemporary Latin American Art department enriched its collection with 12 new artworks in 2025, with more than half created by BIPOC-identifying artists, including three women-identifying artists. These additions underscore the department’s ongoing commitment to representing a wide spectrum of voices and experiences—championing diversity, fostering inclusivity and ensuring that the stories reflected in the DAM’s modern and contemporary holdings are as multifaceted and vibrant as the communities they serve.
Chonon Bensho is an artist from the Shipibo-Konibo people in the community of Santa Clara in the Central Amazonian region of Peru. Bensho studied visual arts at the Escuela Superior de Formación Artística Pública Eduardo Meza Saravia in Yarinacocha, Peru, where she deepened her reflection on the kené—drawings that respond to communicating and decorating the body, architecture and other aspects of life. Her practice encompasses drawings, paintings, weaving and writing. In The Woman that Flew, viewers witness a narrative where women, their backs toward the viewer, are transformed into flying birds. With the absent faces, the audience is invited to imagine, perhaps envision, themselves in their position. Chonon Bensho is recognized as one of the most widely exhibited Indigenous artists in Latin America, with her work featured across prominent museums, cultural institutions and major art fairs.
In 1950, Venezuelan-born artist Jesús Rafael Soto moved to Paris, where he lived and worked for most of his life, becoming a key Latin American presence in the European art world. A pioneering figure of kinetic and optical art, Soto explored the intersection of movement, perception and space through a rigorous visual language of geometry and color. In his 1969 work, Plata, Negro, y Verde, set against vertical lines, the squares at the bottom appear to vibrate and shift as viewers move around it. This work encapsulates his lifelong investigation into the instability of visual experience and the discontinuation of static imagery in artworks. Plata, Negro, y Verde displays Soto’s ability to draw active participation from viewers, as light and movement transforms his work.
In preparation for its inclusion in the 2023 Fox Gallery exhibition Stains, Corners, and Spaces, this work underwent significant conservation, restoring the piece to excellent condition for long-term study and exhibition.
The department also celebrated curator Raphael Fonseca’s continued recognition on the prestigious Power List 100, reaffirming his influence in the global art world. This year, his leadership and curatorial vision extend even further as he helps shape Taiwan’s pavilion for the upcoming Venice Biennale and co-curates Iceland’s Sequences biennale—underscoring his dynamic presence on the international stage.
The Native Arts department—which encompasses the museum’s renowned collections of Indigenous Arts of North America, Arts of Africa and Arts of Oceania—expanded its holdings with 22 new works in 2025. Every acquisition was created by a BIPOC artist, including six by women artists such as the celebrated Dyani White Hawk. Together, these works bring powerful new perspectives and artistic excellence to the collection, enriching the stories the department is able to share with audiences.
Dyani White Hawk, at the vanguard of the Indigenous contemporary art world, has also established herself within the broader contemporary art world with a mid-career retrospective, Dyani White Hawk: Love Language, currently on view at the Walker Art Center in Minneapolis. Much of White Hawk’s work focused on calling attention to the collective spirit of art making and how we are all related. Her work helps to show the connectedness of the world, including people, animals, plants, the land and sky. In her work Visiting, White Hawk shifts aesthetics from the calm and meditative palette of some of her other works to a bold and maximalist aesthetic that highlights the diversity of Indigenous Nations.
Dakar, Senegal-based artist Alioune Diagne is known for his striking signature style, figuro‑abstro, in which intricate constellations of tiny, distinct elements come together to form larger figurative scenes. Through this visually rich, universal language, he articulates ideas and emotions that transcend words, crafting layered, dynamic compositions that reflect the everyday lives and lived experiences of Africans and the African diaspora.
The DAM is the first U.S. museum to acquire one of Diagne’s works. His monumental painting, which measures approximately 9 by 6 ft., Jeune marchand ambulant (The Young Street Vendor), transports the viewer into the heart of a densely populated Senegalese market scene. The movement at the heart of the painting evokes the life of street vendors who are forced to travel far and wide to sell their wares, often in extremely precarious conditions. Through the figure of the street vendor constantly on the move, Diagne echoes his childhood, which was marked by months of solitary walking through the Sine-Saloum region in search of his father, himself perpetually on the move to provide for his family.
Wahgi artist, Male Figure and Female Figure
These rare and important figures from the New Guinea Highlands are among the best examples of these works in existence. After consulting with Michael Mel, an Indigenous Highlands Papua New Guinea community member, scholar and Indigenous rights advocate, Mel advised the DAM to accept these gifts “because of their value and significance in ceremonies in the past.” He noted, “The figures were usually common in my community especially for depicting male dancers. They would’ve been [made] with reverence to great leaders of the past… (They) would be carried by dancers (in the Western Highlands) as part of their performance. Towards the end they were hung in a house or in a location and in time the elements have an impact.”
Unlike anything currently in the Arts of Oceania collection, these four works (the two figures and two dance masks from the same area) are stellar examples of these art forms and are also from a region of Papua New Guinea not well represented in DAM’s collection (which mainly focuses on the Middle Sepik River region). The presence of these works in the collection will help DAM present a more nuanced representation of artistic work produced and used in this remote part of the world.
The Native Arts department also acquired works by two artists featured in solo exhibitions this past year: Kent Monkman’s Wild Flowers of North America and Andrea Carlson’s The Constant Sky, as well as works by Roxanne Swentzell (Pot Maker) and Steven Yazzie (Flux Abyss).
The Petrie Institute of Western American Art enriched one of the DAM’s most nationally recognized and globally regarded collections with 32 acquisitions this year. Highlights include 26 works on paper generously gifted by Barbara J. Thompson—building on previous gifts honoring her grandfather, artist C.A. Seward—and including works by unrepresented artists including Philip Cheney’s lithograph Sweet Water.
In addition, a compelling portrait by Tokio Ueyama, previously featured in a DAM solo retrospective, was gifted by the family of the artist after the closing of the exhibition.
Cloud World (image on page 1), a major painting by Maynard Dixon, also entered the collection. Highly regarded during his lifetime, western artist Maynard Dixon’s work continues to influence contemporary artists. This iconic masterwork reveals his ability to simultaneously depict the vast spaces and minute details of desert landscapes
These additions strengthen a collection that plays a pivotal role not only within the museum but also in shaping broader conversations about the art and narratives of the American West.
The Photography department made significant strides in 2025, adding 133 photographs to the collection—including notable contributions from women artists (14 works) and BIPOC artists (59 works). This year’s acquisitions underscore the department’s commitment to preserving diverse artistic voices while deepening its holdings of influential photographers whose work captures the complexities of place, history and visual culture.
Frank Gohlke is renowned for photographs he made in the aftermath of natural disasters such as the 1980 eruption of Mount Saint Helens and tornado damage in his hometown of Wichita Falls, Texas. Yet the bulk of his work focuses on everyday landscapes—Midwestern grain elevators, a river in suburban Boston, the wild apples of Kazakhstan—that he studies and photographs over months or years. Among the 36 Gohlke photographs received by the DAM, this photograph of two boys atop a big dirt pile reflects the photographer’s gentle humor and his affection for landscapes that are easy to overlook.
Born in Budapest, Hungary, photographer, designer and theoretician György Kepes played crucial roles in the founding of Chicago’s New Bauhaus and the Center for Advanced Visual Studies at MIT. His 1944 book, The Language of Vision, was a monument of art theory that shaped the practice of architecture and design for three generations. During his 25 years at MIT, Kepes made frequent use of the nearby Polaroid Corporation’s 20x24 instant camera, where he mixed hand-made constructions with natural materials to create elegant still life pictures. The DAM added seven examples of his work to the permanent collection.
Careful planning and in-depth research underpin Victoria Sambunaris’s large-scale photographs of the American West. Her project-oriented approach has taken her to the sites of famous 19th century photographs, to truck terminals on the Southern Plains, and along 2,000 miles of the US-Mexico border. Traveling from her base in New York City, she looks for moments when sunlight, clouds and human elements align as the makings of a haunting picture like this Yellowstone landscape—one of three photographs by Sambunaris acquired by the DAM.
Additional works by Dawoud Bey from the recent exhibition Dawoud Bey: Street Portraits, Meghann Riepenhoff, Laura Gilpin and Pablo López Luz also entered the collection.
The Avenir Institute of Textile Arts and Fashion (TAF) saw a banner year in 2025, accessioning 279 new pieces into the collection from a wide range of artists and designers. These additions showcase the breadth and creativity of global textile innovation, further enriching a collection known for its dynamic blend of historic craftsmanship and contemporary fashion vision.
A donation of avant-garde menswear establishes a new area of collecting for the Avenir Institute of Textile Arts and Fashion. New York financier Ricardo Zaragoza (1959–2023) bequeathed more than 200 high-end menswear fashions. Eighteen unique designers—including Yohji Yamamoto, Rei Kawakubo, Dries van Noten, Rondo and Walter Van Beirendonck—are represented in the bequest with an emphasis on the Japanese designers Yamamoto and Kawakubo. Together, they introduced to the fashion lexicon deconstructed fashions characterized by relaxed tailoring, asymmetrical cuts, playful toying with proportions, hints of androgyny and ample use of black. Such flaunting of conventions resulted in redefining men’s wardrobe. Four styles from the donation are now on view in Conversation Pieces: Stories from the Fashion Archive.
The Turkish heritage brand of Dice Kayek, based in Paris, has been part of the Fédération de la Haute Couture et de la Mode since 1994. They make exquisite fashions which combine modernity, art, personal memories and architecture to create strong sculptural silhouettes. Created as an exclusive set of dresses inspired by the city of Istanbul, the Dice Kayek Istanbul Contrast exhibition launched in 2010, and was presented in museums around the world. The DAM added four designs from this important collection, including Tulip, Magnolia and Calligraphy, which are now on view in Conversation Pieces.
TAF acquired 18 masterpiece textiles from the Indonesian archipelago through a combination of purchase and gift. This acquisition includes extremely fine and rare examples from five Indonesian island cultures—Sumatra, Bali, Flores, Timor and Sulawesi. Indonesia, the world’s fourth-largest country, spans more than 17,000 islands shaped by centuries of migration, trade and cultural exchange. Settled by Austronesian peoples around 4,000 years ago, the archipelago later absorbed Hindu and Buddhist influences from India by the 7th century, followed by the spread of Islam beginning in the 14th century. Today, Indonesia is predominantly Muslim, with Christianity more common in the eastern islands and Hinduism remaining central to Bali and parts of Lombok. This layered blend of global religions and enduring local beliefs has given rise to an exceptionally diverse and symbolically rich array of textile traditions.
In Bali, Hindu imagery is most prominently featured on ceremonial textiles used in temple rituals, where scenes from the great Indian epics—the Rāmāyana and Mahābhārata—provide rich narrative inspiration. While temple valances were typically painted, a brief period in the late 19th century saw the creation of striking hand-embroidered hangings in northern Bali. This example, depicting a scene from the Mahābhārata, is rendered in brilliantly colored silk on white cotton. Its precise embroidery and accompanying Balinese script suggest it was crafted by a literate noblewoman deeply familiar with local artistic conventions and highly skilled in a silk embroidery technique rarely practiced on the island.
Across all curatorial departments, the artworks acquired this year reaffirm the DAM’s commitment to expanding the range of voices, perspectives and artistic traditions represented in its holdings. Each addition strengthens the museum’s ability to share richer, more inclusive stories throughout its galleries—stories that resonate with visitors from Denver, Colorado and the wider region. Together, these acquisitions ensure that the DAM’s collections continue to grow in depth and relevance, offering the community meaningful opportunities to experience the diversity, creativity and cultural histories that shape our world.
Monica Curiel, La Mari Chair, 2023. Oak, steel, and matte black oil finish; 30-1/4 × 21 × 21 in. Funds from 2023 Luncheon by Design, 2025.35. ©Monica Curiel
Otto and Getrud Natzler, Vase, 1963. Uranium-glazed earthenware; 9-1/2 x 3 in. The Collection of The Kirkland at the Denver Art Museum: Gift of Catherine Glynn Benkaim and Barbara Timmer in honor of Ron Otsuka, 2025.358
Edward Marecak, Untitled, 1979. Oil paint on canvas; 48 x 47-3/4 in. The Collection of The Kirkland at the Denver Art Museum: Gift of the Congdon Family, 2024.715
Inca artist, Peru. Figurine, 1438-1532 CE. Cast solid in a gold-copper-silver alloy. 1-1/8 in. in height. Denver Art Museum: Gift of Helen B. Davis, 2025.320
Jackie Amézquita (Guatemalan, b. 1985), el SUDOR de mi GENTE (Nuestro Norte Siempre Series), 2023. Bananas incubated for nine months on copper, 96 x 33 inches. Denver Art Museum: Acquisition funds from Modern and Contemporary Art, 2022 Collectors' Choice, and gifts in memory of Ann Daley by Amigos de las Artes Americanas, 2025.36A-C. ©Jackie Amézquita
Charles Émile Auguste Durand, called Carolus-Duran, Portrait of Lady Renée and Lady Juliette de Trédern, 1889. Oil paint on canvas; 82-5/8 × 57-5/8 in. (209.9 × 146.4 cm). Denver Art Museum: Funds from Sally Cooper Murray, 2025.333
Camille Claudel, Fireside Dream (Rêve au coin du feu), conceived 1899-1905, sand cast by Eugène Blot between 1905 and 1937. Colored marble and bronze with functioning electric light; 12-1/2 × 9-3/4 in. (22.4 × 30.5 × 25 cm). Denver Art Museum: Funds from the Ralph L. and Florence R. Burgess Trust, European and American Art Before 1900 acquisition and deaccession funds, and the European Masters Acquisitions fund, 2025.2
IIZUKA Shōkansai 飯塚 小玕斎, Tray-Style Basket for Tea Sweets (kashiki), about 1975–80. Split, leached, and stained bamboo, rattan, and lacquer; 10-1/4 × 11-1/4 × 11 in. Gift of Diane and Arthur Abbey, New York, 2024.734. Photography courtesy Kagedo Japanese Art.
MORI Tetsuzan 森徹山 (Tessan), Tigers in Landscape and Birds, late 1700s–mid 1800s. Sliding doors with ink and gold on paper, with lacquered wood frame and metal door pulls; 68-1/4 in × 35-7/8 × 3/4 in. Gift from Jana and Fred Bartlit, 2023.782A-D
Tishan Hsu, mammal-screen-green-1, 2024. UV-print, silicone, ink, acrylic paint, and stainless steel on wood; 47-3/8 x 61-1/2 x 5-3/4 in. Denver Art Museum: Funds from the Contemporary Collectors’ Circle with additional support from Chris & Lu Law, Bryon Adinoff & Trish Holland, and Sharon Martin, 2025.428
Karl Benjamin, #30, 1969. Oil paint on canvas; 68 x 68 in. Denver Art Museum: Funds generously provided in memory of J. Landis Martin by John and Lynne Boyer Family Foundation, Anna and John J. Sie Foundation, William P. Butler Rev Trust, Topel Forman LLC, Craig Ponzio, El Pomar Foundation, Christoph Heinrich and Kira van Lil, Norman and Sunny Brownstein, Merle Chambers, Bon French, Robert and Virginia Fuller, A. Barry and Arlene Hirschfeld, Ronald Otsuka, Julia Zimmer, and other donors, 2025.442. ©Estate of Karl Benjamin
Chonon Bensho, Noya nombabxo (The Women that Flew), 2024. Embroidery on canvas; 61 x 80-3/4 in. Denver Art Museum: Funds from 2022 Collectors’ Choice, Avenir Endowment for the Institute of Textile Art and Fashion, and Craig Ponzio, 2025.314
Jesus Rafael Soto, Plata, Negro, y Verde, 1969. Aluminum and enamel; 42.125 x 41.75 in. Denver Art Museum: Gift of ARCO, 1995.943A-D
Dyani White Hawk (Sicangu Lakota), Visiting, 2024. Acrylic, glass bugle beads, thread, and synthetic sinew on aluminum panel, quartz base; 120 x 15-1/2 x 15-1/2 in. Denver Art Museum: Funds from Vicki and Kent Logan, by exchange, 2024.584A-H. ©Dyani White Hawk
Alioune Diagne, Jeune marchand ambulant (The Young Street Vendor), 2022. Oil paint on canvas; 118-1/8 x 78-6/8 in. Denver Art Museum: Purchased with Black Arts Collective funds from U.S. Bank, Craig Ponzio, Daniel and Saron Yohannes, Aminata and Hamidou Dia, Maude Lofton, Geta and Janice Asfaw, Wally Bakare, Javon Brame, Denise Burgess, Chris and Lu Law, Tamara and Damani Leech, Tina Walls, Letarik Amare, Abasi and Toni Baruti, Jayde and Delroy Gill, Paula Hanson, James and Wendy Holmes, Brooke and Julien McClean, Cleo Parker Robinson, Senga Nengudi, Stephanie and Floyd Rance, Ellen Anderman and James C. Donaldson, Donna and Steve Good, 2024.433. ©Alioune Diagne. Photography courtesy the artist and TEMPLON, Paris–Brussels–NYC. ©Isabelle Arthuis
Tokio Ueyama, Untitled (Amache portrait), January 17, 1944. Oil on canvas; 19-1/2 × 17 in. Denver Art Museum: Gifted to the Denver Art Museum by private collector, 2025.352. ©Estate of Tokio Ueyama
Philip Cheney, Sweet Water, 1925. Lithograph on paper; 11-3/4 × 14-7/8 in. Denver Art Museum: Gift of Barbara J. Thompson in Memory of C.A. Seward, 2025.384
Frank Gohlke, Boys in Dirt Quarry, near Forest Lake, Minnesota, 1977. Gelatin silver print; 11 x 13-3/4 in. Denver Art Museum: Gift of Lori and Kenneth Polin Family, 2024.853. ©Frank Gohlke
György Kepes, Untitled, 1984. Dye diffusion transfer print; 24 x 20-7/8 in. Denver Art Museum: Gift of Joel and Frances Soroka, Aspen, CO, 2025.371. ©Estate of György Kepes
Victoria Sambunaris, Untitled (travertine), Yellowstone National Park, 2008. Chromogenic color print; 41 x 57 in. Denver Art Museum: Gift of Lannan Foundation, 2024.899. ©Victoria Sambunaris
Yohji Yamamoto, (Japanese, b. 1943), Ensemble: Jacket, shirt and pants, Fall-Winter 2019. Jacket and shirts: Wool with rayon-thread machine embroidery; pants: printed wool. Denver Art Museum: Gift of Ricardo Zaragoza, 2025.220A-C
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