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Gift cards may be redeemed onsite for tickets, memberships, or merchandise within the Shops in the Hamilton Building and Sie Welcome Center. Not valid for online purchases.

Gift cards should arrive within 5-10 business days.

Limit 1 per transaction. To purchase multiple gift cards, call 720-913-0130 to speak with an associate.

We look forward to your visit!

Gift cards may be redeemed onsite for tickets, memberships, or merchandise within the Shops in the Hamilton Building and Sie Welcome Center. Not valid for online purchases.

Gift cards should arrive within 5-10 business days.

Limit 1 per transaction. To purchase multiple gift cards, call 720-913-0130 to speak with an associate.

We look forward to your visit!

Gift cards may be redeemed onsite for tickets, memberships, or merchandise within the Shops in the Hamilton Building and Sie Welcome Center. Not valid for online purchases.

Gift cards should arrive within 5-10 business days.

Limit 1 per transaction. To purchase multiple gift cards, call 720-913-0130 to speak with an associate.

We look forward to your visit!

Gift cards may be redeemed onsite for tickets, memberships, or merchandise within the Shops in the Hamilton Building and Sie Welcome Center. Not valid for online purchases.

Gift cards should arrive within 5-10 business days.

Limit 1 per transaction. To purchase multiple gift cards, call 720-913-0130 to speak with an associate.

We look forward to your visit!

This one-day workshop will explore the Indigenous design practice of parfleche. The name parfleche was initially used by French fur traders and derives from the French language parer meaning "to parry" or "to defend", and flèche meaning "arrow". Parfleche was used to describe tough rawhide shields carried by Plains Indian warriors but was later used primarily for decorated rawhide containers. Plains Indian tribes often had an abundant source of hides in the buffalo they hunted, but, as they were nomadic, they had little opportunity to tan the skins. Parfleche, or rawhide, was prepared by cleaning and dehairing the skin and then by stretching it and allowing it to dry in the sun. This process created a stiff but durable leather that was used for many items, including bags, boxes, envelopes, and war shields. Designs historically consisted of geometric shapes and symbols in primary colors. Today, many contemporary Plains Indian artists evolved the idea of parfleche by making earrings, bracelets, wallets, etc. Students will explore parfleche techniques and create their own keychain or earrings using their newfound knowledge.

The Traditional Japanese Art of Bonseki: Seasons in Sand will introduce participants to the meditative practice of arranging white sand, stones, and small tools on black lacquer trays to create ephemeral miniature landscapes. Rooted in ancient Japanese and Chinese traditions and connected to the appreciation of suiseki (scholar’s stones), bonseki embodies themes of ephemerality, seasonal awareness, and poetic reflection. Through guided demonstrations, hands-on practice, and quiet viewing (haiken), students will learn both introductory and intermediate techniques for shaping landscapes such as winter skies, blossoms, and birds in flight. The workshop will incorporate seasonal poetry, a tea and sweets service, and group reflection. In addition, participants will have the rare opportunity to view selections from the instructor’s personal antique bonseki collection, including traditional trays and tools, offering a tangible connection to the art form’s history and refinement. The class resonates with Japanese aesthetic traditions within the Arts of Asia collections at the Denver Art Museum.

*Price includes a $60 Studio Fee for all materials provided.

Flow State is a 4-week abstract painting class that explores the connections between intuitive painting, mindfulness meditation, and community. Students will learn how to combine abstract painting and drawing skills with mindfulness meditation techniques. Each class will present different ways this hybrid practice can be used to hold space for ourselves and each other. Students will work individually and as a group using acrylic paint, pastels, paper and canvas. This class will connect to abstract works in the Denver Art Museum collection, including pieces by artists like Mark Bradford, Elaine de Kooning, Joan Mitchell, Sam Gilliam, Shinique Smith, and Sonia Gechtoff.

In this six-week class, students will abandon the idea of working on just one painting at a time and dive into creating many at once! Students will explore the dynamic process of making multiple abstract paintings in tandem, developing a cohesive set of works while experimenting with style, texture, and color. Instruction will begin with essential acrylic painting techniques and a bite-sized introduction to color theory, followed by guided exploration of the medium. Students will learn to balance spontaneity and intention while keeping their paintings connected yet distinct. By the end of the course, students will have completed their own miniature body of work with four abstract acrylic paintings and will have gained the skills and confidence to keep creating beyond class. All skill levels are welcome; this class is perfect for curious beginners to seasoned artists looking to shake up their process.

Have you ever wondered about an artworks journey before finding a home at the Denver Art Museum? Museum Friends are invited to join the provenance team for an evening of sleuthing and storytelling and learn more about the research that sheds light on an object’s origin story. As part of the program, guests will explore a selection of the museum’s collections including Western Art, Arts of Asia, European and American Art before 1900, Northwest Coast Indigenous Art, and Arts of Africa, to see firsthand how provenance work unfolds across cultures and time periods.

The evening kicks off with a relaxed reception and stunning views from the Martin Building's Summit Room terrace.

Join us on Saturday, April 18, to hear directly from artists featured in the expansive exhibition The Stars We Do Not See: Australian Indigenous Art. Moderated by DAM curator John Lukavic, this panel discussion brings together participating artists to explore the exhibition’s themes and share insights into their creative practices. Centering Indigenous perspectives, the conversation will offer a deeper look at the stories, ideas, and cultural contexts that shape the works on view.

Give to the Denver Art Museum's Annual Fund

Your 100% tax-deductible contribution supports inspiring art connections, powerful artist collaborations, community-minded programming at the Denver Art Museum. During these unprecedented times, your donation helps the museum reimagine how we connect in person and online through a series of new opportunities for visitors of all ages. Thank you for your support of the Denver Art Museum's annual fund.

Meet the spring Native Arts Artists-in-Residence, Adrian Stevens (Ute-Shoshone Bannock-San Carlos Apache) and Sean Snyder (Navajo-Ute), for an intimate artist lecture.

Stevens and Snyder were featured in Vogue for their beaded “Birkin” bag, which also won the top beadwork ribbon at the 2024 SWAIA (Southwestern Association for Indian Arts) Indian Market. Their most recent fashion ensembles hit the runway in 2025 at the SWAIA Native Fashion Week and the second annual Indigenous Fashion Gala in Los Angeles.

Learn about their craft, their passion for preserving Native American arts, and visit their studio.

This event is for members of CultureHaus, a membership package designed for young people ages 45 and under.

You are invited to come and listen to, and ask questions about what DAM conservators have been treating in the conservation laboratories for current and upcoming exhibitions. At the Kirkland Museum, travel back to the 1950s, 60s, and 70s in Space is the Place. See the paintings, furniture, and furnishings from this era that we worked on. On the sixth floor of the Martin Building, Conversation Pieces, highlights the work of our textile conservators and fashion from the collection. Learn about how we collaborated with tribal advisors for the upcoming Blackfeet exhibition. Plus more!

Enrique Chagoya’s prints, drawings, paintings, and codices in the tradition of satirical cartoons have brought him international recognition. Chagoya skillfully combines contrasting images sourced from secular and religious iconographies and popular culture to address colonialism, inequality, and international conflicts with biting humor. Using familiar pop icons such as Superman and Mickey Mouse, he creates deceptively friendly points of entry for a discussion of US hegemony and colonialism.

Chagoya began making political cartoons in the 1970s for union and student newspapers while studying economics at the Universidad Nacional Autonoma de Me?xico in Mexico City. He later directed rural development projects in the city of Veracruz, an experience that ignited his burgeoning interest in transnational politics that would eventually become the subject of his art. Chagoya employs a process which he calls “reverse anthropology,” depicting contemporary events on Amate, a type of paper used in traditional Central American bookmaking, folded like an accordion and read from right to left. His subjects range from revisionist histories of British and Spanish settlement in the Americas to challenging racial stereotypes.

I am unable to attend Luncheon by Design but would like to make a contribution in support of the event.

Members see it first!

The Stars We Do Not See: Australian Indigenous Art will be the largest exhibition of Aboriginal and Torres Strait Islander art ever presented internationally. Featuring approximately 150 works from the National Gallery of Victoria’s world leading collection, the exhibition offers a rare opportunity to experience the richness and innovation of Indigenous Australian art.

Join us for this exclusive member-only preview of customary forms and styles, including conceptual map paintings from the Central and Western Deserts, ochre bark paintings, and experimental weavings, alongside contemporary artists working in neon, video, and photography.

Please join the Denver Art Museum’s Native Arts and Provenance departments, along with special guest Mr. Olugbile Holloway, Director General of the National Commission for Museums and Monuments (NCMM) of Nigeria, for a special evening discussing the recent repatriation of a plaque from the Kingdom of Benin. We are pleased to host Mr. Holloway for a lively panel discussion focused on the significance of repatriating Benin Bronzes with Nigeria and the importance of fostering international relationships that go beyond the return of objects. We will also discuss the importance of provenance research and the role it plays in returning objects to rightful countries of origin.

The Denver Art Museum has held a long-standing relationship with the government of Nigeria, the Oba of Benin and the NCMM for over five decades. This partnership has been dedicated to the respectful identification and repatriation of cultural artifacts, including the repatriation of the Benin Bronze plaque in the DAM’s collection, now on view in the Arts of Africa gallery, after the agreement of a five-year loan from the Nigerian government. Repatriations like this reflect the DAM’s commitment to ongoing collaboration with African communities, working to build trust and repair wrongs of the past.

Please note that this ticket allows you to watch the lecture online via livestream; for in-person tickets, please click here.

Please join the Denver Art Museum’s Native Arts and Provenance departments, along with special guest Mr. Olugbile Holloway, Director General of the National Commission for Museums and Monuments (NCMM) of Nigeria, for a special evening discussing the recent repatriation of a plaque from the Kingdom of Benin. We are pleased to host Mr. Holloway for a lively panel discussion focused on the significance of repatriating Benin Bronzes with Nigeria and the importance of fostering international relationships that go beyond the return of objects. We will also discuss the importance of provenance research and the role it plays in returning objects to rightful countries of origin.

The Denver Art Museum has held a long-standing relationship with the government of Nigeria, the Oba of Benin and the NCMM for over five decades. This partnership has been dedicated to the respectful identification and repatriation of cultural artifacts, including the repatriation of the Benin Bronze plaque in the DAM’s collection, now on view in the Arts of Africa gallery, after the agreement of a five-year loan from the Nigerian government. Repatriations like this reflect the DAM’s commitment to ongoing collaboration with African communities, working to build trust and repair wrongs of the past.

Donations to this fund are invested by the DAM foundation with the intention to grow the fund in value over time. This fund provides an annual distribution based on the Foundation's policy.  Distributed funds are used to acquire new artwork for the DAM.

The Museum regularly reconciles expenditures made from distributed funds to ensure that they are allocated as intended.

Corporate membership packages allow you to curate the benefits your company receives at every level of support. From access and networking, to complimentary event space and VIP invitations, your company can have it all or select only what means the most to employees, clients, and stakeholders. To learn more about corporate membership options and benefits, please contact us at 

CorporatePartnerships@denverartmuseum.org.

Every Corporate Membership Includes:

• Corporate and Executive membership cards for free general admission
• Corporate special exhibition ticket price available to all employees
• 10% discount in the museum shop
• Recognition in the museum's Annual Report
• Access to virtual programming and art making activities
• Bimonthly member magazine On & Off the Wall and Beyond the Walls patron newsletter
• News and updates through exclusive member communications