The Charleston Issue by Art Mag

The Charleston Issue Charleston as a Muse | p. 22

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IS CHARLESTON’S ART SCENE ON THE VERGE OF A REBIRTH?

48 INTRO Discover Top Emerging Artists Craig Lynberg

THE ULTIMATE SELFIE Stephen Elliott Webb

Carrie Beth Waghorn Katherine Dunlap Paul Cristina Alex Waggoner

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ART IN THE PARKS Joseph Dreher

Adam Eddy Anne Rhett Chris Nickels Sara Pittman

ART AND ARCHITECTURE Alan Jackson Fred Jamar Jennifer Smith Rogers Ignat Ignatov Dos Bandidos Anne Blair Brown Ken Hamilton Morgan Kinne Salter Scharstein

62 THE NEW SOUTH FROM THE EYES OF OUR GENERATION SOUTHBOUND AT THE HALSEY INSTITUTE

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70 ART GALLERIES

11 QUESTIONS Billyo O’Donnell

Principle Gallery Revealed Art Gallery Lowcountry Artists Gallery Mitchell Hill

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It’s been nearly 100 years since the Charleston Renaissance, an era that transformed our city into a thriving creative destination. From 1915 to 1940, local and visiting artists, architects, and writers collaborated to drive cultural progress, putting Charleston’s art scene on the national map. At first glance, this bit of historical trivia might seem nostalgic, but on closer look, it’s wildly relevant to the current moment. There’s an undeniable creative energy in Charleston these days, a soaring population growth, and a collaborative rising tide that hints towards some kind of rebirth.

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According to the Charleston Regional Development Alliance, our region’s population is growing three times faster than the U.S. average, with 28 new people moving here each day. Not to mention the nearly seven million visitors who found their way to Charleston last year alone. As the city continues to gain national recognition, and the foot traffic that comes with it, we have to wonder: Does this notoriety and growth have any impact on the art scene? Is Charleston experiencing a second artistic renewal? Frank Russen, Director of Principle Gallery and Vice President of the Charleston Gallery Association, thinks so. “The explosive population growth in Charleston has brought a new wave of young, distinguished, and savvy art collectors moving here in search of an art experience that ventures beyond the mainstream.” Robert Lange, co-owner of Robert Lange Studios, has witnessed that momentum firsthand since opening his gallery over ten years ago. “When we first opened, I felt like the art scene was on the precipice of a progressive movement. There were a lot of cool things happening at The Halsey and Redux and the city seemed to be filled with a youthful, hip demographic of creatives,” he says. “As we all watched the culinary scene explode, it seemed as though the art scene was riding on their coattails. Now, it seems like the city is very much en vogue, and there’s new and exciting work being made around every corner.”

Almost as quickly as tourists flock to dinner reservations downtown, so, too, do art collectors and creatives, ready to see what the Holy City has to offer. “I think the population growth has really helped the art scene in Charleston,” shares Cara Leepson, Executive Director of Redux Contemporary Art Center. “People moving here from bigger cities have brought wider perspectives, specifically open-mindedness toward the art world. So much of the work being created and shown in Charleston for so long was very similar—it's nice to see an influx of people who appreciate more conceptual artwork and ideas.” The traditional marsh scenes are still here, and still very much appreciated, but a broader demographic shift in Charleston—the median age here in 36—has opened opportunities for new styles to take hold. In an art scene once defined by pastel Lowcountry landscapes and watercolor sporting scenes, aesthetes can now find works that reflect the changing fabric of the city, from modern photography to abstract sculpture and everything inbetween. “While traditional art mediums and subject matter still have a place in the art market, experimental and nontraditional artists are coming here from other areas and finding audiences,” says Angela Mack, Executive Director of The Gibbes Museum of Art. “We’ve noticed a wider age range [in our visitors] and a greater interest in works of art that are challenging and have a story to tell.”

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The influx of youthful energy and transplants from creative meccas like New York, Washington, D.C., and Atlanta have, in a way, guided our city’s art spaces in a new direction. The more traditional outlets of Gallery Row are still thriving—in fact, many art lovers venture here specifically for the unique Southern charm of our Broad Street and French Quarter galleries—but there’s a noticeable new layer to local arts programming and patronage. Says Lange, “The diversity within our art scene is a sign that we are evolving. If we want an arts community that will attract and satisfy all types, then we want a little bit of everything.” It’s an evolution noted in almost every cultural corner of Charleston. Just as hip pizza joints and coffee shops open next door to award-winning mainstays, the local art community has followed suit, hosting exhibitions and events that honor the city’s history while pushing towards a vibrant future. Says Russen, “Charleston has quickly grown into one of the most visited cities in the United States because of our diverse collection of galleries. In recent years, many spaces are featuring artists working in all mediums, showcasing modern sculpture, abstract paintings, and original photography alongside collections of traditional and impressionist works of art.” Within a three-mile radius, art enthusiasts can peruse realist exhibitions in the Historic District, view contemporary works by emerging artists 14 | theartmag.com

at The Halsey, and see interactive shows at Redux Contemporary Art Center. That dynamic mix of spaces and styles is what keeps our art scene interesting. As Anne Siegfried, owner of The George Gallery, puts it, “We need to have a diverse group of artists and galleries or we'd be bored to death.” But the evolution of our art scene doesn’t mean that consumers or curators are forced to choose between modern or traditional. Says Mark Sloan, Director and Chief Curator of the Halsey Institute of Contemporary Art, “There are times when we have playfully toyed with the existing tastes, such as our recent residency of Italian artist Hitnes. He followed in the footsteps of John James Audubon, a Charleston favorite, and created his own, quite contemporary, version of the Birds of America.” Adds Leepson, “Artists are constantly seeking and sourcing inspiration from others. What we present and program at Redux and what is shown in the galleries on Broad Street are equally important for Charleston. The mix of old and new is critical to any community because a pigeonholed perspective doesn't allow for much creative exploration.” As we consider the possibility of a modern creative renaissance, it won’t just come down to young versus old, past versus present, or even the concept of personal artistic tastes. The potential for another rebirth will rest on the same

ideals that it did over 100 years ago: collaboration, representation, and the betterment of the city as a whole. Notes Mack, “At the Gibbes, we don’t see it as two competing styles, but rather as different ways of seeing and interpreting our human existence. The more we share diverse approaches to art, the more we will learn to understand each other.” Terry Fox, Co-Founder and Associate Director of Charleston Arts Festival and Founding Member of Charleston Parliament, stresses that our galleries, museums, and arts programs “need to project the broad and diverse spectrum of the total community.” “One notable positive which I see among the city’s creatives is the willingness to be mutually supportive and cross-engaged between disciplines,” he says. “PechaKucha launched at a

time when there was far less intercommunication between creative entities and provided a vital catalyst for meeting and sharing. We need to collaborate—the sustaining of a vital creative community is ever more challenging and requires the proverbial village.” Much like DuBose Heyward and Alfred Hutty may have described it in the 1920s, Lange describes Charleston’s creative scene today as “the definition of camaraderie and cross-pollination.” “I’m happy to send people out my door and into other galleries around town because I want those galleries to succeed, and I want the people I’m speaking with to find a piece of art to love that comes from Charleston,” he says. “It’s this friendship that makes Charleston unique and allows for a rising tide within the art scene.”

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With enough collaboration, can Charleston’s art community become just as much of a draw as our beaches and biscuits? Or will a full-fledged modern renaissance require more work? For Seigfried, the creative community still has room to grow. “I would like to see the Charleston art scene get more diverse,” she shares. “I think artists and galleries are both guilty of playing it too safe. Galleries and clients need to support artists that have a unique voice and talent, and we could be better about getting out of our comfort zones.” Both Sloan and Lange point out the need for open and honest art critiques to continue the forward momentum. Says Sloan, “I would very much like to see an arts publication that offers critical responses to exhibitions and performances. Every community needs a critical press in order to grow, progress, and remain relevant to the national and international dialogue about the arts.” Adds Lange, “All of the practicing artists in this city can benefit from some truthful critique. I have long wished that the College of Charleston could have a class that allows students to write reviews of exhibits to be featured online.”

for “expanded city-funded support of homegrown creative endeavors and affordable live-work studio spaces for creatives of all stripes.” Adds Mack, “We need to continue to be strong voices for arts advocacy in our community.” For six years running, our charming cobblestone streets, rainbow-colored houses, and bustling culinary scene have earned Charleston the title of America’s best city in Travel + Leisure. What if our region’s art played a more prominent role in that gravitational pull? As the local creative community becomes more diverse, collaborative, and progressive, can it, too, garner just as much media attention to put Charleston on the map? Leepson thinks we’re moving in the right direction. “As the city evolves and changes, the art produced and presented here will as well,” she says. “There's lots of room for forward progression and for creative exploration to take place.” “With enthusiasm and collaboration between our amazing art community,” adds Russen, “I believe Charleston can become an international art destination.”

Obviously, cultural progress looks a lot different now than it did during Charleston’s first artistic renaissance. To experience a true creative rebirth in the coming years, Fox suggests a need Fall 2018 | 17

Stephen Elliott Webb, Selfie, mixed media on panel, 48 x 36”

The Ultimate Selfie A C O N V E R S AT I O N W I T H S T E P H E N E L L I OT T W E B B Recently completing his visiting artist residency at The Gibbes Museum of Art, artist Stephen Elliott Webb delves into our past and current hyper-obsession to capture one’s own image in Project Selfie. We would like to know more about your background and beginnings. How do you define yourself? I am a Son of the Lowcountry. A 5th generation Lowcountry artist. I studied under the tutelage of my mother, learning color theory, composition, perspective and all the techniques needed to accurately reproduce what the eye sees—realism. So realism is the foundation for your works of art. When and why did you depart from this genre? Picasso is credited with saying, “Learn the rules like a pro so you can break 18 | theartmag.com

them like an artist.” I became restless in my 20s and moved into my period of loose representation, impressionism. This genre brought me the freedom to create a different way to portray the world. Not unlike the great painters of that time—Monet and Renoir who broke away from what was the norm starting in the 1860s—I broke away from what I was taught and expected to create since the age of 10. And now, what drives you? Today my paintings have deconstructed even further. I’m an abstract expressionist who also continues to

incorporate sculpting mixed media onto the canvas. By nature, I’m curious, always experimenting, trying new techniques, pushing the limits of what the medium will allow. Your latest endeavor Project Selfie seems to incorporate your initial foundation of realism with your abstraction and sculpting techniques. I’m currently fusing my realist period with my abstract sculpting style to create a new genre that I’ve coined “real abstraction.” Project Selfie is that new genre. However, the intent of the project is also to look at how we, as humans, have always been obsessed with capturing our own image in a flattering light. A visit to the Gibbes Museum's miniature collection confirms this obsession. What was once small, rare, private, and costly is now larger than life,

prolific, public, fleeting and accessible to all. Is this good? Is this detrimental? How will our descendants view this age of the selfie? In fact, will they even be able to view any of our selfies. Is that even important, to leave a legacy? Where will all our selfies be in 50 to 100 years? How will they be accessed? Should we once again go back to print so that our great grandchildren will be able to see who we were? Should we leave them our phones instead of an album? Any special projects looming in the near future? Yes, Van Gogh Vodka has asked that I come on board as their artist brand ambassador. I’ll be creating a painting for them that will travel to their events. The first event will be in Charleston. View more of Webb’s work at stephenelliottwebb.com

Art in the Parks by Sarah Miller

A little known fact about Charleston’s beloved Hampton Park is that John Olmstead, the nephew-turnedadopted-son of Frederick Law Olmstead, designed it. Now, if you don’t recognize the name Frederick Law Olmstead then maybe you’re familiar with some of his life’s work—Central Park, the Niagara Reservation, over a dozen American universities, and the Capitol Hill grounds. Olmstead and his children designed hundreds of outdoor spaces throughout America until the 1920s.

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Even 112 years after its completion, Hampton Park’s 60 acres of rich history, lush vegetation, and dynamic use of space provide a green haven for its visitors. If you’ve frequented the park recently, you may have noticed a few artful additions to the southern lawns facing Mary Murray Boulevard. In a combined effort between the Charleston Parks Conservancy, Redux Contemporary Art Center, City of Charleston Office of Cultural Affairs, and ArtFields, large outdoor sculptures by Georgia-based artist Joseph Dreher were installed.

Dreher created four freestanding, semitransparent portraits inspired by local schoolchildren and members of the Boys and Girls Club for his installation titled “Plant Vitae.” The sculptures consist of vibrantly painted wooden faces sandwiched between layers of engraved cast acrylic sheets. The colorful acrylic exposes etchings of children’s drawings, maps of the Lowcountry, and plant life. His goal was to capture Charleston residents in a way that celebrates our people and our community. “People are my primary interest,” explains Dreher. “It’s my appreciation for people that informs so much of my creative work. [It] is always multidimensional because I see a world where people are not flat. They are not obstacles, or heroes, or rogues, or saints. They are people— dimensional and deep.” A natural fit for The Charleston Parks Conservancy’s first ArtFields prize, Dreher’s inspiration encompasses elements of the Conservancy’s mission to inspire the people of Charleston to connect with their parks to create stunning public spaces and a strong community. Next up on the docket for the Charleston Parks Conservancy's Art in the Parks program is the upcoming revitalization of the West Ashley Greenway and Bikeway. To add to the Conservancy's efforts, the National Endowment for the Arts has granted $50,000 for the public art component of this project. The Speedwell Foundation has pledged $100,000 towards

enhancing the 10.5 mile trail that runs along a former rail line between the Stono and Ashley rivers. If you’d like to become involved with the Charleston Parks Conservancy then look no further than their website, charlestonparksconservancy.org. You’ll find that whether it’s getting dirty in the gardens, promoting community events, educating, or just having a good time with like-minded people, the conservancy has a place for all Charlestonians.

Alan Jackson, Poise, acrylic on panel, 12 x 12â&#x20AC;?

CHARLESTON AS AN ARTIST’S MUSE

Inspiration for artists is just about everywhere in Charleston. From Colonial, Georgian, and Federal-style landmarks to those iconic church steeples to the classic “Charleston Single,” architecture in Charleston has been provoking artists for as long as we can remember. Here, 9 visual artists who are inspired by our buildings share why. by Katie Kerns Geer

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0 George Night Sky, acrylic and graphite on panel, 16 x 16â&#x20AC;?

Grid Coat 1, acrylic and graphite on panel, 16 x 16”

ALAN JACKSON Alan Jackson is an architect by profession. He’s also a painter, creating abstract geometric compositions that beat with an architect’s heart and speak to lovers of minimalism and clean lines and shapes. “I draw from the pattern, texture, and patina of the building materials and colors of historic Charleston architecture, as well as the stately geometry and simple formality of its exterior spaces as defined by the plentiful piazzas, patios, and planting beds,” says Jackson, who is represented by The George Gallery. “As an architect, I appreciate that so many fine buildings and spaces have been preserved and meticulously restored to meet Charleston’s rigorous preservation standards. My goal is to create modern, abstract pieces that complement the elegant, vintage interior spaces.”

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Breath of Heaven 36 x 36 inches | Oil on Linen

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From Above, oil on canvas, 30 x 40"

FRED JAMAR “Wherever I look in Charleston, I want to paint something.” So says Fred Jamar, the artist better known among art lovers simply as Fred. Fred paints Charleston streetscapes that push color and shape dramatically beyond the traditional format. Take a look at his body of work, and it seems that, soon enough, he’ll have painted every building on the peninsula. His buildings feel alive, like they’re dancing—a stark contrast to the eerily dark skies and empty streets. The lack of people in his paintings reinforces the idea that it’s the buildings that are breathing, their hearts beating. Fred started painting the Holy City in 1997 when he retired here. After 30

years working for JP Morgan in cities around the world, he says he found peace in the old streets of downtown Charleston. “The brick houses and the stone sidewalks reminded me of Belgium,” he says. The artist, who is represented by Robert Lange Studios, grew up in Belgium. “Charleston’s way of life is American with a European flavor,” he says. “The architecture is beautiful and Caribbean and exotic. I also love the flowers and the trees, which I paint in bubbles of colors.”

ROBERT LANGE STUDIO 2 Queen St, Charleston rober tlangstudios.com 843.805.8052 Fall 2018 | 27

JENNIFER SMITH ROGERS Jennifer Smith Rogers is not the first artist to paint the iconic Charleston rooftop view, but she succeeds in making the subject her own—and coveted among collectors. Her rooftop paintings are vivid in color, and they exude excitement, as if they’re through the eyes of someone who is seeing the breathtaking scene for the very first time. To Rogers, part of what makes her Charleston rooftop paintings so special is the process. “Viewers seldom realize the lengths I’m willing to go to find that spectacular rooftop view,” says the artist, who co-owns Anglin Smith Fine Art with her mother and twin sister. “Recently, I was fortunate enough to be invited to the rooftop of the Old Exchange building. It’s vantages like that which help me find the beautiful friction between manmade structures and their natural surroundings.”

ANGLIN SMITH FINE ART 9 Queen St, Charleston anglinsmith.com 843.853.0708 Old Town, oil on canvas, 60 x 40”

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IGNAT IGNATOV “Every Charleston corner offers an interesting architectural view,” says Ignat Ignatov. “The city has many unique and historic buildings—and although I’ve painted many of them, I keep coming back for more.” Ignatov is “coming back” to Charleston from southern California. Although he’s technically a Californian—and a Bulgarian by birth—he visits and paints the Holy City often, with roots here thanks to his association with the gallery LePrince Fine Art. When Ignatov was 13 and living in Bulgaria, the young artist gained one of only 30 positions to the School of Arts in Tryavna. It’s here that he mastered his unique approach to painting, rich in color and brushwork and full of atmosphere, energy, and emotion. “Charleston is a painter’s paradise,” Ignatov says. And although architecture isn’t the only subject he paints here—he’s also drawn to seascapes, marshy landscapes, and the shrimp boats at Shem Creek—his architectural representations, from downtown churches to colorful front doors, feel especially full of spirit.

LEPRINCE FINE ART 183 King St, Charleston leprince.com 843.452.3935 After the Rain, oil on canvas, 20 x 16"

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DOS BANDIDOS

“There are other beautiful historic places in this country, but none have the magical single house.” That’s according to Candace Patterson, half of the screenprint-making couple, Dos Bandidos.

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Dos Bandidos’ screen prints are indeed a love song to Charleston—but the idea to create the series, Chucktown Chronicles, actually sparked after a visit to New Orleans. Candace and her partner Will Kiser (partner in life and in business) left the Big Easy impressed by New Orleanians’ fierce pride for their

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city. “That led to us to think about what we love about Charleston,” Candace explains. “We love the architecture. We love the dirty streets. We love the peeling paint.” The screen prints—an analog-digital hybrid, hand-drawn with colors manipulated digitally—depict everything from downtown corner stores to the Colburg Cow to, of course, that classic

Charleston Single. “Anytime we need inspiration for our art or life in general, we take a walk,” Candace says. “The single house, the Victorian, the Georgian— even the art deco feeds our souls. The architecture tells the story of the city. It’s the heartbeat that separates us from anywhere else.”

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Play the Blues, oil on linen, 16 x 16â&#x20AC;?

Corner Market, oil on linen, 24 x 24â&#x20AC;?

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ANNE BLAIR BROWN Don’t say anything to her hometown of Nashville, but Anne Blair Brown has long had a love affair with Charleston architecture. “It started when I was a young girl visiting with my family,” she explains. “I was mesmerized by the colors, secret alleyways, and the unique architectural details specific to each structure.” Now Brown travels to Charleston at least a few times a year to paint— usually en plein air, as she thrives on the spontaneous energy and intimacy with a subject that is sparked when she paints outdoors. And although she may not have a permanent residence in Charleston, she paints like a local, drawn to “hidden gems” like old corner stores and shabby structures.

Brown also teaches plein air painting workshops in Charleston through Meyer Vogl Gallery, and she loves helping her students find their own inspiration on the city’s streets. “I feel blessed that I eventually became an artist and can now capture the spirit of the city on canvas,” she says.

MEYER VOGL GALLERY 122 Meeting St, Charleston meyervogl.com 843.805.7144

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Maximum Charge

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KEN HAMILTON Ken Hamilton builds miniatures— miniature homes, miniature fireworks stands, miniature abandoned gas stations. He’s been building them for as long as he can remember, but his 2014 move to Charleston just added fuel to the fire. “Whatever the medium, an artist can’t help but be inspired by the beauty of Charleston,” Hamilton says. “My approach to building miniatures has been greatly influenced by the architecture and culture of the Lowcountry.” Since his move, he’s tackled the Charleston Single, and he’s even tackled the restaurant Martha Lou’s Kitchen—

recreating even the minutest of details, like a South Carolina Gamecocks planter out front. Hamilton exhibits his miniatures at the Lowcountry Artists Gallery, and his work has been accepted into the ArtFields competitions for the past three years. “I wouldn’t want to be anywhere else,” he says of his new hometown.

LOWCOUNTRY ARTISTS GALLERY 148 East Bay St, Charleston lowcountryar tists.com 843.577.9295

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MORGAN KINNE “Buildings naturally speak of contrasts,” says Morgan Kinne. “Of opening and closing, revealing and concealing. They penetrate deep into the imagination and stimulate mystery, poetry, beauty, and play.” Kinne is a Charleston-based sculptor and print-maker, and she goes on to explain what it is about buildings and architecture that intrigue her as an artist: “Stories lie in the history, labor, and structural intelligence of the material object. Even in its finished form, it bears the imprint of the people who have built it.” Kinne’s process is unique, one that involves printmaking and painting on plaster. Charleston dwellings are often her subject, be it a Charleston Single or a sagging side porch. The work is unmistakably Charleston, but the essence is quite lonely, perhaps even a bit eerie. The structures have a story to tell, if you’ll listen. “Wandering the streets, among the homes, I see relationships between the geography and culture, people and objects,” she says. morgankinneart.com

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Who Do You Love?, pigment on archival cotton rag paper, 18 x 22”

SALTER SCHARSTEIN Salter Scharstein was born and raised in Summerville, SC. Not far from downtown, Salter has witnessed a rapidly changing Charleston over the years—new trendy hotels, big-name retailers, and skyrocketing rents. Perhaps that’s why the photographer is so drawn to the old and the authentic.

aren’t documented now, in the present moment, they could disappear and be forgotten forever.

On film, Salter captures Charleston’s forgotten buildings—boarded up homes and run-down corner stores. To Salter, this breed of buildings shows that Charleston still has soul. But if they

THE GEORGE GALLERY

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“These images are one part love letter, one part memorial. Love, loss, and celebration are always bound together in my photographs,” says Salter.

54 Broad St, Charleston georgegalleryart.com 843.579.7328

These Arms of Mine, pigment on archival cotton rag paper, framed, 19.5 x 22.5â&#x20AC;?

It Hurts Me Too, pigment on archival cotton rag paper, 16 x 20â&#x20AC;?

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Billyo O’Donnell, The Pink Door, oil on panel, 16 x 12”

11 Questions with Billyo O’Donnell With his current solo show Billyo’s Lowcountry hanging at Helena Fox Fine Art, we’re getting to know a little more about what drives the artist. 44 | theartmag.com

Billyo O’Donnell, Little Blue Houses for Everyone, oil on panel, 11 x 14”

1. When did you begin painting? In high school, and it was only because the art department, though limited, had paints, brushes, and all that was needed. Otherwise, I would have never been able to afford the materials. 2. What are the most used pigments on your palette? White, Ultramarine Blue, and Cadmium Yellow light. You’ll use white to varying degrees with most every color to achieve the right value. The only exception is when making black or using pure color. Ultramarine Blue is all around us. The sky reflects onto all things, and it is in the distant atmosphere all around us. Sunlight is yellow and to capture the feeling or warmth of the sun you need yellow in most colors and in your greens. The weakest part of the palette is in the reds, so I’ll include a few

different reds only because reds are so varied in nature. 3. Favorite style of music to paint to? Django Reinhardt. His music has a timeless feeling that is not distracting. It helps me get lost in a painting. 4. What is a defining moment in your artistic career? It was 1975. I had just finished a year in college on an art scholarship and felt the dream of becoming an artist was just impossible, so my focus shifted to just having a good time while in college. With this mindset, I flunked out. A couple of the art teachers, the same ones who gave me failing grades, told me they failed me because of my lack of effort, even though they told me I was one of the most talented students they’d Fall 2018 | 45

ever had. They encouraged me to sit out for a year, get my head together, and then return. It so happened that the year I sat out was during the 1975 recession. There was little to no work anywhere during this recession. I went through a series of horrible jobs. I paid an ex-con $100 for a job at an iron foundry. I then moved on to working for a local hog farmer for a summer who recommended me for a sawmill job. I was working at the sawmill when unexpectedly a saw kicked out, seriously cutting my hand. I ran a couple hundred yards to the office trailer, leaving a trail of blood. As I stood in the office, I remember my blood running out the office door and I was getting weak. There was this strange timeless moment that came over me. As my boss examined my hand, I felt this similarity with him. He was near retirement, and in him I saw a man who was honest and hard-working— someone who worked his whole life, had nothing, and I was on the same path. This epiphany came to me—since I was to have nothing, I could then pursue my passion in life as an artist, and I’d be who I want to be. Since that moment I’ve never looked back. 5. How do you describe your art to others? I see with clarity! My work is all about developing the landscape with my own surface language of marks in the paint to describe the world around me using a variety of visual methods to understand the experience. I also want to achieve brightness in color, and, at times, a simplified gesture that can be expressive.

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6. Who are the artists that have influenced you the most? Anselm Kiefer, Guy Rose, Birger Sandzén, Edward Willis Redfield, Lucian Freud, William Robinson Leigh, Frank Auerbach 7. What did you want to be when you were a child? In the third grade we were asked to draw what we wanted to be in life. I drew an artist painting at an easel, but then I felt the artist didn’t look tough enough so I put boxing gloves on the artist. 8. Is there a place you paint that you would consider your muse? There are three places that have a similar effect on me: the island of LānaʻI in Hawaii where I spend two months of every winter, the Lowcountry areas of South Carolina, and canoeing and camping on the Missouri River. Each of these places give me a feeling of freedom and creativity. Each of these areas inspire me to the point that when I inhale I’m breathing in the life force of these areas and it feeds my inner self. 9. Favorite food? Being from a family of nine kids, I eat it all! I’m currently building my own large pizza oven made with special firebricks, and I’m doing all the stonework myself. The pizza oven came about from all the trips my wife and I have taken to Italy. It wasn’t always like this—as one of nine children it wasn’t rare for us five boys to have a little evening sport for a leftover chicken wing or pork chop.

10. How has being an artist changed your outlook? It’s turned me into a searcher. I’m always searching for understanding knowledge from my own thoughts and philosophy to the big picture around me at times. This searching has increased my desire to teach and understand the complexities of solving a problem. 11. What’s the best piece of advice anyone has given you about being an artist? Respect all forms of creativity.

SYBIL FIX Unsliced: Turkeys Off the Plate NOV 2, 2018 – JAN 5, 2019 102 Church Street Charleston, SC 29401 843-577-5500 dogandhorsefineart.com

Billyo O’Donnell, Red and Blue, oil on panel, 9 x 12”

Billyo’s Lowcountry featuring Billyo O’Donnell Helena Fox Fine Art 106 Church St, Charleston helenafoxfineart.com 843.723.0073

A Art Exhibition DISCOVER TOP EMERGING ARTISTS At Art Mag, we’re always thinking about ways to help art lovers connect with more artists. We know today’s collectors want to discover new artists—artists who excite them and artists they can champion as they build their careers. That’s why we’ve partnered with Spire Art Services and some talented young artists to present Intro. Intro identifies works from top emerging artists and engages new players in the art scene. This inaugural pop-up exhibition will serve as the foundation

to build an annual week devoted to the visual arts, giving artists and collectors a big reason to be in Charleston every November. We’re excited where Charleston is heading! In the following pages, meet some emerging artists whose work we’re really proud to hang at Intro. Then come visit us and see what Intro is all about from November 9 – 18 at 535 King Street. Discover some new artists who excite you.

Opposite: art by Craig Lynberg, Carrie Beth Waghorn

Fall 2018 | 49

Craig Lynberg

Craig Lynberg is inspired by figures and paintings from the past. Using lighting in his paintings that represent classic techniques, he creates an atmosphere of the old masters, yet also destroys the imagery with an abstract application of paint giving the illusion of the image disintegrating on the canvas. Some of his details are focused while others are washed away. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s about accidents and discovery on the painting from scraping away at the surface which causes something else to be revealed through the layers of paint,â&#x20AC;? he says. craig-lynberg.com @craigamundo

50 | theartmag.com

Katherine Dunlap

Katherine Dunlap understands the way our surroundings shape our experiences and emotional responses. “My current work exists in a realm between truth and memory. It’s a recollection of a place that doesn't necessarily exist but instead a place of which someone has an idealized memory,” she explains. Family photos inspire many of her paintings. “By referencing old family photos, I hope to connect to my family's past experiences but also be reminded of my own experiences of the ordinary but memorable moments,” she says. katherinedunlap.com @kat.lap Fall 2018 | 51

Carrie Beth Waghorn Carrie Beth Waghorn specializes in monochromatic renderings of the female form. Both raw and expressive, her work invokes a sense of feminine beauty and vulnerability. She uses a minimalistic approach and bold line work to create stunningly simplistic pieces, portraying roles of feminine stereotypes and sexuality. â&#x20AC;&#x153;Each woman I create is an instinctive translation of my own femininity,â&#x20AC;? she says. carriebethwaghorn.com @carriebethwaghorn

52 | theartmag.com

2018 BENEFIT PARTY SAT. NOV. 17 8-11PM With hula tunes from DJ Professor Ping

T H A N K YO U T O OUR SPONSORS! BROAD STREET

100+ WORKS UP FOR BID. T H IS Y EAR'S AUCT I ON WILL BE LUAU THEMED! G E T YO U R T I C K E T S BEFORE THEY SELL OUT!

MEETING STREET

reduxauction2018.eventbrite.com

RUTLEDGE AVENUE

AS OF 1026.18

The Annual Art Auction is Redux’s primary fundraising event which provides essential support for a comprehensive exhibition program, ro bust edu c at i o n an d out re a ch p r o g r a m s , an d emergi n g v isua l artists’ ideas and production of work.

Adam Eddy

“Art is a useful tool for processing experiences and learning from them. The odd jobs I’ve worked, objects I’ve interacted with, and people I’ve met all make their way into the art. I think my work tells the story of an average person trying to navigate the absurdities of life. Like when you go in for a hug but the other person offers you a handshake. My aim is to challenge individuality, exceptionalism, and the social hierarchies that isolate us. Dissolving these boundaries is essential to a complex moral understanding of one’s relationship to others.” adameddy.com @adam.eddy

54 | theartmag.com

Alex Waggoner

Alex Waggoner’s paintings are based on the traditional Southern urban landscapes and architecture that surround her in Charleston. Employing a dreamy color palette, she contrasts these images with a meticulous paint application. “What I hope people gather from my work is an appreciation of the beauty around us,” she says. “To encourage a thoughtful dialogue concerning Charleston's historical significance, forgotten spaces in-between, and the impact of gentrification.” alexwaggoner.com @alexwaggoner Fall 2018 | 55

Anne Rhett

Anne Rhett is a visual storyteller with an affinity for color, emotion, and detail. Her photographic images delight and, at times, are challenging. Her background in documentary photography from Duke University and her work as a photographer and educator has taken her all over the world. “Photographs inspire me with their promise to stall time, to hold fast to the beautiful moments in life, bottling up fleeting joy so that it can someday be revisited,” she says. “For me, photographs are first and foremost a way of remembering who we are, who we were, and what we might otherwise soon forget, personally and collectively as a society.” annerhettphotography.com @annerhettphotography

56 | theartmag.com

Sara Pittman Sara Pittman uses her subconscious as a guide. Her work focuses on creating over-scale, balanced compositions that derive from a constant exchange between her repressed state of mind and her conscious self—a balance between loose and controlled movement, pockets of detail with the use of negative space, and the tension of bold and soft color. “The depth of my work creates an experience by asking those viewing it to come closer and unveil what is buried beneath,” she says. sarapittmanstudio.com @sarapittmanstudio Fall 2018 | 57

Paul Cristina

As a self-taught artist, Paul Cristina has continued to develop his creative sensibilities through the study of books, film, music, people, and photographic images. These sources of education continue to inform his work through the experimentation of various style and media. He worked several years as a paramedic, which allowed for a stark insight and investigation into the often disturbing aspects of society and human behavior. This experience involuntarily contributes an emotional undercurrent to his work and provides insight toward the underbelly of life. paulcristina.com @paul_cristina

58 | theartmag.com

Chambers Austelle

Chambers Austelle is best known for her compositions of vivid color and female subjects. The isolated environments in her work challenge the viewer to question the way beauty and women are perceived in our culture. “My work is a personal investigation of the issues and experiences I’ve had as a woman growing up in the South,” she says. “It explores the complex way our society views women and their relation to beauty. I believe there is a dialogue that can be found in all of my pieces, no matter your gender or background.” chambersaustelle.com @chambersaustelle

Fall 2018 | 59

Chris Nickels

Chris Nickels is an illustrator who describes his art as “line work- driven, colorful, and conceptual.” Originally from Athens, Ga, Chris attended the Savannah College of Art and Design where he earned his BFA in Illustration. He has worked with a number of publications on projects for both print and digital media. @itschrisnickels chrisnickels.net

NOVEMBER 9–18 535 KING STREET 60 | theartmag.com

SMALL WORKS GROUP SHOW, GALLERY ARTISTS OPENS DEC 7 RECEPTION 5-7PM

F I F T Y F O U R B R OA D ST 843.579. 7328 G E O R G E G A L L E RYA R T. C O M LORI GLAVIN “PIAZZA” COLLAGE ON PAPER

Susana Raab, Untitled, 2009, From the Natchez series, Natchez, Mississippi

The New South from the Eyes of Our Generation by Emily Reyna To have an understanding of the New South, we must come to grips that there is a tension between what we think about the South and what actually is true about this place.

62 | theartmag.com

Southbound: Photographs of and about the New South becomes the lens through which we explore these questions and ideas. Presented by The Halsey Institute of Contemporary Art at the College of Charleston and curated by Mark Sloan

“These photographers provide us with privileged access to different worlds that most people would never have access to.” and Mark Long, Southbound will be on view from October 19, 2018 to March 2, 2019 at both The Halsey Institute of Contemporary Art and City of Charleston’s City Gallery. It’s a propitious feeling for both curators to finally present this body of work they have been toiling over these past four and a half years. “Mark and I have worked on various projects together since the early 2000s,” explains Long. “We’re both on the faculty here at College of Charleston—I’m in political science and Mark is school of the arts. One thing that struck us in the conversations we had over the years was the kind of insider/outsider perspective that we brought to this part of the United States. By happenstance we are both here, Mark is a North Carolina boy, and I’m from Ireland originally. Thinking about this place and talking about this place was a constant in our conversation, and gradually we arrived at this idea that it would be a really worthwhile prospect to look at and about photographs of the New South in the early part of the 20th century.”

Defining the New South is to come to terms with its effervescent nature— not fixed but ever moving to the beat of each generation. Southbound understands this and embraces the nuanced interpretations of what it means to be Southern. Both Sloan and Long have grappled with this concept so that an honest narrative is presented. “The purpose, the key, the quarry for us throughout has been the study of thinking about the New South,” explains Long. “Thinking and looking at the South through this visual medium that is photography, we used the extensive universe that was out there. We didn’t commission images. We interviewed documentary photographers to fine art photographers. That was the kind of genesis in the first steps of our genealogy.” In total, the exhibition has 56 photographers—their careers ranging from emergent to celebrated artists— that tell their story of and about the New South. “The project is really image driven,” says Sloan. “It didn’t matter to us at all what their history was. We were more interested in finding artists

Fall 2018 | 63

Susan Worsham, Marine, Hotel near Airport, Richmond, Virginia, 2009, From the By the Grace of God series, Richmond, Virginia

Shelby Lee Adams, Martha and Kizzy in Pink Room, 2008, Wolfe Creek, Kentucky

64 | theartmag.com

John Lusk Hathaway, Little Stony Creek, 2011, From the One Foot in Eden series, Watauga Lake, Tennessee

ÂŠ Gillian Laub, Prom Prince and Princess Dancing at the Integrated Prom, 2011, From the Southern Rites series, Lyons, Georgia

Fall 2018 | 65

Preston Gannaway, Untitled (Tent Family), 2013, From the Between the Devil and the Deep Blue Sea series, Ocean View, Norfolk, Virginia

Lucas Foglia, Andrew and Taurine Drinking Raw Goatâ&#x20AC;&#x2122;s Milk, 2009, From the A Natural Order series, Tennessee

66 | theartmag.com

who had a sustained engagement with a subject or many subjects in the American South. So, for example, there were quite a few photographs we saw that were quite good by The New York Times—photographers that were helicoptered in, dropped in, to [Hurricane] Katrina or some other thing like the BP Oil Spill that made some amazing images—but we were interested in people who came back year after year and those that have had an ongoing engagement with Southern subjects. That was important to everyone.” Another key facet of artist selection was representing the voices of underrepresented and minority artists. “We worked really hard to make sure the vision we were completing of the South, idiosyncratic as it is, really was one that gave access to people whose voices maybe traditionally weren’t heard,” explains Long. There are multiple vantage points for the viewer to engage with the subject matter in Southbound. These range from a micro-site reached at southboundproject.org, a commissioned documentary from Emmy-award winning filmmaker John David Reynolds, an interactive map of the South by geographic information scientist Dr. Rick Bunch, a curated playlist, a catalog, and accompanying essays that give supporting language around the New South. Being immersed in education themselves, both Sloan and Long understand the privilege that comes with the study and

practice of photography. They were intentional with how they thought about educational programming for an exhibition as expansive as Southbound. “For the Halsey, we see our role as being a catalyst for discussion and dialogue about issues that are important to society today as a non-collecting contemporary art museum. And so we have educational programs and outreach that we got grant funding to put some of the Southbound photographers in schools,” explains Sloan. In total, there will be three Southbound artists—Rachel Boillot, Titus Brooks Heagins, and John Lusk Hathaway—and one Charlestonbased memoirist, Cincelle Barnes, brought to seven Lowcountry schools. Students will have time to explore their own narrative of the New South through documentation processes using photography and writing. “But one of the things we hope comes out of it is a renewed sense of what this South is, the people around us, the richness of it, the diversity of it, and to learn things that they didn’t know before. I think that’s a tall order, but I do think that these photographers provide us with privileged access to different worlds that most people would never have access to. We hope the exhibition will introduce people to Southern cultures and individuals, landscapes, and places.” Theirs is not an empty hope—there are already discussions reverberating through the city, specifically a three-part lecture series presented by Camera Works Cafe and Redux Contemporary Art Center in partnership with the Halsey. Created by Mark Stetler, Camera Works Cafe’s focus on presenting an Fall 2018 | 67

Daniel Beltrá, Oil Spill #12, 2010, From the Spill series, Gulf of Mexico

open dialogue for the arts community about photography will culminate with lectures from Southbound photographers John Lusk Hathaway and Michelle Van Parys. The body of work is curated alphabetically, A-K at the Halsey and L-W at the City Gallery—the presentation running secondary to the subject matter. The subject matter leaves people with the space to ponder the dimensions of the New South they potentially have never engaged with before. Long argues the effect would be a renewed appreciation for our shared region. “This is a chance for people to see newfound political power around African American activists. This is a chance for people to see the influence of the Latino population and culture in the South. This is an opportunity for people to see urban change. One thread 68 | theartmag.com

that even emerges in the exhibition is the looming environmental crisis and climate change. That’s all in the exhibition,” says Long. Though Southbound encompasses a wide variety of work by a diverse group of artists, it’s important to remember it is singularly representative of the first part of the 21st century—essentially from the early 2000s until today. The New South will again change, and today will become history. “There is really no way to be comprehensive or complete in the sense. It’s never over,” says Sloan. “We’re not pretending or presenting this as if it is any kind of comprehensive survey because that is really an impossible task.” Southbound asks the question back to you, what does the New South mean to you?

New Books by Artists

MODERN ACRYLIC by Blakely Little

PAINT ALCHEMY by Eva Magill-Oliver Paint Alchemy explores how to create freely by combining a foundation in techniques and design principles with an open approach that focuses on the moment rather than the end result. Oliver teaches how to prepare an art space, work with intention, and move between action and observation, responding to the work along the way. She uses exercises to help you gain a better understanding of color theory, mark making, representational form, abstraction, and composition. Paint Alchemy helps you cultivate a full perspective on the process, from developing ideas in a sketchbook to crystalizing your vision.

Modern Acrylic, by Charleston-based artist Blakely Little, is an accessible guide for beginners that teaches basic painting techniques and concepts to create expressive works of art. You'll learn to paint flowers, animals, patterns, and even how to transfer your hand-lettering skills to paint. “Modern Acrylic explains everything you need to know to start working in acrylic paint,” says Little. It begins with an introduction to the tools you’ll need and continues with explanations of key painting concepts like color mixing and atmospheric perspective. “The book is packed full of step by step tutorials, and fun exercises so you can follow along exactly or put your own personal spin on things,” Little says. Modern Acrylic is available at Barnes & Noble and Amazon.

Paint Alchemy and Magill-Oliver’s artwork is available at Mitchell Hill, 438 King Street, Charleston. Fall 2018 | 69

ART GALLERIES

Principle Gallery The Principle Gallery space is sunny and expansive—basically one long room that seems like it will never end, with art lining the walls in a museum-like fashion. Here, you can take your time quietly exploring the space and studying each piece. Much of the art is museumquality as well, with work from the highly awarded Jeremy Mann, portrait artist Kyle Stuckey, and dozens more. Principle is sister gallery to a space with the same name in Alexandria, Virginia. The gallery is managed by Frank Russen, who keeps the doors open late, hosts events in the space, and will tell you that “there’s always something exciting going on at Principle Gallery.”

125 Meeting St, Charleston principlegallery.com/charleston 843.727.4500

Jeremy Mann, Undressing, oil on panel, 60 x 36”

70 | theartmag.com

John Almaguer, Radiant Heart

Revealed Art Gallery Though relatively new to Charlestonâ&#x20AC;&#x2122;s art scene, Revealed Gallery has quickly ramped up an impressive and diverse roster of artists, from scrap-metal sculptor Matt Wilson to figurative welder Susan Woodford to glass artist John Almaguer. The galley represents painters and photographers, too, all with a contemporary edge. Tucked away on a quiet stretch of Church Street, Revealed Gallery is a gem to stumble upon.

119-A Church St, Charleston revealedgallery.com 843.872.5606

Susan Woodford, Bust Limited Series

Fall 2018 | 71

ART GALLERIES

Lowcountry Artists Gallery Joyce Harvey

Lowcountry Artists Gallery has been around since 1982—that’s a long time in Charleston’s current gallery setting. A really long time. The gallery has prevailed for good reason. Visiting and local art collectors can be sure to find work here that oozes Lowcountry—paintings of marshes set against brilliant Lowcountry sunsets, portraits of local haunts like Dunleavy’s Pub, sailboats, seascapes, and abstracts, too. Plus, Lowcountry Artists Gallery is owned and operated by its artists, so the devotion is authentic.

148 East Bay St, Charleston lowcountryartists.com 843.577.9295

72 | theartmag.com

Mitchell Hill

Mitchell Hill is a unique art-gallerywithin-an-interiordesign-shop. With over 35 artists represented, gallery director Ashley Miller curates an exciting, bright, and contemporary collection. Highlights include painter of hyper-realist still-lifes (such as macaroons and jelly donuts) Denise Stewart Sanabria, pop artist Brian Nash (think cheeseburgers and station wagons), and Jared Owens, an abstract conceptual artist who taught himself how to paint in prison.

438 King St, Charleston mitchellhillinc.com 843.564.0034

Brian Nash, The Hunt Slonem Museum, acrylic on canvas, 48 x 60â&#x20AC;?

Fall 2018 | 73

DOWNTOWN

Visual Arts

Gallery Guide

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41 42 38

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27 26

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8 7 6 5

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20 19 14 18 25

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DOWNTOWN 1. Carolina Antique Maps and Prints

91 Church St | 843.722.4773 carolinaantiqueprints.com

2. Dog & Horse

Fine Art & Portraiture

102 Church St. | 843.577.5500 dogandhorsefineart.com

3. Charleston Renaissance Gallery

103 Church St | 843.723.0025 charlestonrenaissancegallery.com

4. Helena Fox Fine Art 106-A Church St 843.723.0073 helenafoxfineart.com

5. DiNello Art Gallery

111 E Bay St | 843.764.9941 lauradinello.com

6. Corrigan Gallery

7 Broad St | 843.722.9868 corrigangallery.com

7. Ellis-Nicholson Gallery

1 1/2 Broad St | 843.722.5353 ellis-nicholsongallery.com

8. Edward Dare Gallery

31 Broad St | 843.853.5002 edwarddare.com

9. Martin Gallery

18 Broad St | 843.723.7378 martingallerycharleston.com

10. The George Gallery

54 Broad St | 843.579.7328 georgegalleryart.com

11. Ella Walton Richardson Fine Art

58 Broad St | 843.722.3660 ellarichardson.com

12. Cecil Bryne Gallery

60 Broad St | 843.312.1891 cecilbyrnegallery.com

13. Mary Martin Gallery of Fine Art

103 Broad St | 843.723.0303 marymartinart.com

25. Lowcountry Artists Gallery

148 E Bay St | 843.577.9295 lowcountryartists.com

14. Horton Hayes Fine Art

26. Atrium Art Gallery

15. Revealed Art Gallery

27. Alkyon Arts and Antiques

30 State St | 843.958.0014 hortonhayes.com 119-A Church St 843.872.5606 revealedgallery.com

16. Gaye Sanders

Fisher Gallery

124 Church St | 843.958.0010 gayesandersfisher.com

17. John Carroll Doyle Art Gallery

125 Church St | 843.577.7344 johncdoyle.com

18. Miller Gallery

149 1/2 East Bay St 843.764.9281 millergallerychs.com

61 Queen St | 843.973.3300 atriumartgallery.com 120 Meeting St | 843.276.5899 alkyon.us

28. Meyer Vogl Gallery

122 Meeting St. | 843.805.7144 meyervogl.com

29. Principle Gallery

125 Meeting St | 843.727.4500 principlegallery.com

30. Atelier Gallery

153 King St | 843.722.5668 theateliergalleries.com

31. Sportsmanâ&#x20AC;&#x2122;s Gallery

165 King St | 843.727.1224 sportsmansgallery.com

19. Charleston Artist Guild

32. Hagan Fine Art

20. Graffito

33. Reinert Fine Art

21. Anglin Smith Fine Art

34. John Pope Antiques

22. The Vendue

35. LePrince Fine Art

23. Robert Lange Studios

36. Audubon Gallery

24. Gordon Wheeler Gallery

37. Charleston Craft Co-op

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38. Real Estate Studio

214 King St | 843.722.5618 dunesproperties.com/the-realestate-studio/

39. Chuma Gullah Gallery

188 Meeting St | 843.722.1702 gallerychuma.com

I N T E R S TAT E

40. One of A Kind Art and

43. Jennifer Black

Fine Craft

74 N Market St | 843.534.1774 R oneofakindgallery.com GE HU

41. Studio 151

265 King St | 843.763.0861 lowcountrystudio.com/Jennifer.htm

44. Grand Bohemian Gallery

55 Wentworth St 175 Church St | 843.579.9725 843.724.4130 studio151finearts.com M O grandbohemiangallery.com RR 42. Tate Nation IS N O 45. Alterman Studios O N 257HKing NS St. | 843.568.9911 O Jtatenation.com 36 George St | 843.577.0647 altermanstudios.com 52

MIDTOWN

NA SS AU 53

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MIDTOWN 46. Art Mecca

427 King St | 843.577.0603

MIDTOWN artmeccaofcharleston.com 47. Ben Ham Images

416 King St | 843.410.1495 benhamimages.com

48. Mitchell Hill

438 King St | 843.564.0034 mitchellhillinc.com

49. King Street Studios

511 King St | 843.628.5515 thecharlestonphotographer.com

50. Molly B. Right

68 Spring St | 843.568.3219 mollybright.com

51. Trager Contemporary

Improve your online presence Increase your client base Strengthen your brand loyalty

academy.themodernconnection.com

Enroll Today! Your hostess: Ashley T Caldwell CEO of The Modern Connection

577 King St. | 843.882.5464 tragercontermporary.com

52. Sanavandi Gallery

66 Spring St. | 843.937.0107 sanavandiart.com

53. Fritz Porter

701 East Bay St | 843.207.4804 fritzporter.com

PERFORMING ARTS

Charleston Theatre

K E E P U P W I T H T H E L AT E S T A RT S E V E N T S AT T H E A RT M AG . C O M / E V E N T S OR BY SIGNING UP FOR T H E A RT M AG N E W S L E T T E R

34 WEST 200 Meeting St | 843.901.9343 34west.org

QUEEN STREET PLAYHOUSE 20 Queen St | 843.722.4487 footlightplayers.net

NOV 20 – DEC 31: Moonshine County Christmas

DEC 7 – DEC 22: Miracle on 34th Street, The Musical

“X” marks the spot when some holiday hooch goes missing in Moonshine County, with roadhouse tunes from Dolly to Gaga.

PURE THEATRE 134 Cannon St | 843.723.4444 puretheatre.org

NATIONAL THEATRE LIVE AT 34 WEST DEC 9: The Madness of George III CHARLESTON STAGE AT DOCK STREET THEATRE 135 Church St | 843.577.7183 charlestonstage.com NOV 28 – DEC 19: A Christmas Carol DEC 8 & 15: Junie B. in Jingle Bells, Batman Smells! JAN 19 & 20: Number the Stars

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DEC 11 – 22: A Doll’s House, Part 2

VILLAGE REP AT WOOLFE STREET PLAYHOUSE 34 Woolfe St | 843.856.1579 woolfestreetplayhouse.com NOV 30 – DEC 22: Vanity Fair by Kate Hamill

JAN 4 – JAN 20: All About You by Liz Butler Duren

This new adaption from William Makepeace Thackeray’s novel recasts its heroines as complex, vibrant women, delivering “a gift to actors and a good bag for its audience” (The New York Times). Kate Hamill (Sense and Sensibility) was recently named The Wall Street Journal’s Playwright of the Year 2017, and her athletic, quickwitted and distinctly unfussy retellings of great works of literature have been rapidly embraced with productions around the country.

Based on the best selling memoir of the same name, at 15 Liz learns a long-held secret about her life. The discovery that she was adopted leads her on a 30-year journey to find her mother.

DAMN. GOOD. THEATRE.

I N T E R S TA T E

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performing Arts

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5. Theater 99

S. BATTERY

6. Spoleto Festival USA

MURRAY

Headquarters

7. Sottile Theatre 44 George St | 843.953.6340 sottile.cofc.edu

8. College of Charleston Theatre Dept

161 Calhoun St 843.953.6306 theatre.cofc.edu

9. Gaillard Center 95 Calhoun St | 843.724.5212 gaillardcenter.com 82 | theartmag.com

CHURCH

84 Society St | 843.277.2172 charlestontheater.com 280 Meeting St 843.853.6687 theatre99.com

VENDUE

QUEEN QUEEN

Theatre

14 George St | 843.579.3100 spoletousa.com

CONCORD

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4. Threshold Repertory

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200 Meeting St #100 843.901.9343 34west.org

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135 Church St 843.577.7183 charlestonstage.com

3. 34 West Theatre

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Charleston Stage

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2. Dock Street Theatre/

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20 Queen St | 843.722.4487 footlightplayers.net

US MB

Guide

1. Footlight Players

MIDTOWN 10. Charleston Music Hall 37 John St | 843.853.2252 charlestonmusichall.com

11. Music Farm 32 Ann St | 843.577.6989 musicfarm.com

12. PURE Theatre 477 King St | 843.723.4444 puretheatre.org

13. Charleston Academy of Music

189 Rutledge Ave 843.805.7794 charlestonmusic.org

14. Jazz Artists of Charleston/ Charleston Jazz Orchestra 93 Spring St | 843.641.0011 jazzartistsofcharleston.org

15. Woolfe Street Playhouse/ Village Rep.

34 Woolfe St | 843.856.1579 woolfestrretplayhouse.com

“MARIE ANTOINETTE, PROFILE” SEBASTIAN SMITH

LINWOOD | 50” X 38”

“THE HAND” JEANNIE WEISSGLASS | 72” X 60”

O N D I S P L AY N O V E M B E R - A P R I L

19 VENDUE RANGE

CHARLESTON, SC

843.577.7970

THEVENDUE.COM

“Blue Incline” | J Louis | 30” x 21” oil on panel