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Locals don’t often get a chance to see the work of Glenwood Springs artist Daniel Sprick. Sprick is represented by galleries in New York City, Denver and San Francisco, keeping him sufficiently occupied. And Sprick’s latest work is headed for Soho, for a one-person show at Arcadia Fine Arts. But, at the invitation of Glenwood’s CMC Gallery, 14 or so of those works will have a preview showing in the artist’s hometown. Sprick’s subjects – lots of skulls and roses – and the meticulous, otherworldly way he handles them, will be familiar to viewers who know his work. (There is also a rare self-portrait.) But the new work reveals a certain visual tone he has been exploring: blues, whites and grays that contain a monochromatic feel (but not, Sprick stresses, an internal distress on his part). The exhibit is currently on display, and runs through June 9. A reception for the artist is scheduled for Friday, May 11.

When the Drive-By Truckers played a drunken, casual, four-hour show at a North Carolina farm in 2001, it was the beginning of the end. Soon after that memorable affair, the band’s “Southern Rock Opera,” a two-CD concept album about Southern rock and changing times, was picked up by a label, and became a critics’ favorite. The Truckers hit the studio – they’ve released three albums since then – and the road even harder. The busy schedule didn’t leave much time to sit back and assess what they were doing. But the band took the last few months off, giving them time to write new songs, rethink old ones, and re-evaluate everything they do. The result is The Dirt Underneath, a tour that has the hard-rocking quintet easing back on the volume some, and presenting their show in a different way. The Truckers make their Aspen debut Friday, May 11, digging up The Dirt Underneath at Belly Up.

Dutch-born director Paul Verhoeven, known for such thrillers as “Basic Instinct” and “Total Recall,” moves into unexpected territory with “Black Book.” Co-written by Verhoeven, the film is set toward the end of World War II and examines the activity of a Dutch resistance cell. Verhoeven’s version of a World War II story is long on suspense and surprises, as the resistance fighters – including a Jewish woman whose family had been wiped out by the Nazis – get dangerously close to the enemy. The film is an endless maze of double crosses and double agents. But “Black Book” maintains a gravity appropriate to the setting, and successfully crystallizes issues, especially of identity: How much are we defined by our actions, as opposed to our intentions? And for a director whose films include the futuristic “Robocop” and “Total Recall,” Verhoeven displays a deft touch for the past, giving “Black Book” the feel, look and sound of an old-fashioned spy thriller. It shows Wednesday through Saturday, May 9-12, at the Wheeler Opera House.

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