By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
Like Jung, I want to get underneath it, beneath it,: says McCullough, miming the act of digging with his hands. And then thereís Joseph Campbell, and John Cage, and Buckminster Fuller. My work is about geomancy, itís ancient, itís where feng shui comes from,: he says. (Consulting my Websterís, I find that geomancy: is a divination by means...of dots jotted down hastily at random.:)
To answer the rhetorical question presented by the exhibitís title, this isnít jazz. But then, what is it? Even hearing McCulloughís confusing and obtuse explanations doesnít help connect his theories with his art, which is indeed random in quality. McCullough is at his best in To Maki: (above), a richly encrusted canvas covered in acrylic paint and embedded with sand. Like the other pieces here, To Maki: mixes hard-edged passages with wildly expressive ones; unlike other pieces here, To Maki: is very good.
Lisa Spivak, the director of the Philip J. Steele Gallery, has done a fine job of installing Is that Jazz?,: once again managing to convert this difficult lobby space into a bona fide exhibition venue. With a remodeling planned for the building, which also houses offices and the design department of the Rocky Mountain College of Art and Design, Spivak will be moving into a proper gallery space -- one with a door, even -- and reopening the Steele gallery next summer.
Itís commendable that a little school like RMCAD can expand its gallery while the immense Auraria campus, home of three big educational institutions, lets the once highly respected Emmanuel Gallery languish without an exhibition budget and without a director. That the space has been empty for months is a disgrace; the powers that be at Auraria should be ashamed.