Sail Away p. 12
A Art Exhibition NOVEMBER 15-24, 2019 510 KING STREET ( CORNER OF KING & REID) Today’s collectors want to discover their artists, especially local ones. INTRO identifies works from top emerging artists and engages new players in the art scene. INTRO will serve as the foundation to unite the contemporary Southern art market and 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! Stay up-to-date by visiting theartmag.com/intro
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Off A Cliff 40x40 Anne Abueva, artist
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SAIL AWAY
CREATURE CREATIONS
Katherine Dunlap
Animal Art at the SC Aquarium
Adele Earnshaw
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Brenda Orcutt James Richards
CONVERSATIONS IN THE ART WORLD
Cecilia Murray Tom Stanley Danielle Cather Cohen
Nancy A. Newton
Tony Gill Susan Altman Linwood William R. Davis, Jr.
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Colin Quashie, Smile, 2018-19 Digital collage
ARTISTIC PORT The New Art Collection of the South Carolina Ports Authority
66 ART SHOWS Craig Kraft
Jasper & Lois – Edisto, S.C., 1961, By Robert Rauschenberg (American, 1925 – 2008); Gelatin silver print; 15 x 15 inches; ©Robert Rauschenberg Foundation
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RAUSCHENBERG IN CHARLESTON
Gabriel Lovejoy Tony Chimento Katrina Andry Colin Quashie IN EVERY ISSUE: Gallery Maps - 76 Charleston Theatre - 80
Robert Rauschenberg
50 12 QUESTIONS Mary Erickson 8 | theartmag.com
ON THE COVER:
Lazy Wind by Adele Earnshaw Horton Hayes Fine Art Sail Away, pg 12
S OUTH CAROLINA AQUAR I U M
AFTER HOURS
Experience water, wildlife and wild places paired with food, drinks, and entertainment at After Hours, all-inclusive 21+ events at the South Carolina Aquarium.
See upcoming events at scaquarium.org/afterhours
Katherine Dunlap
Boats are rich in meaning. A boat can represent a journey, a crossing, adventure, and exploration. They’re often symbolic of where you’ve been and the direction you wish to go. It’s no wonder they captivate so many creatives. Here, we found 10 commanding artists whose work floats our boat. All aboard. Fall 2019 | 13
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KATHERINE DUNLAP Katherine Dunlap’s paintings toe the line between memory and truth. Family photos inspire many of her paintings, creating scenes closer to an idealized memory. “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 explains. “Growing up, going out on the boat meant a day set aside to be with friends and family. A boat physically separates one from one’s daily routine and forces one to connect, not only with the other passengers, but with the natural environment.” And since most of Dunlap’s work focuses on fond memories from childhood, “there is no way I couldn't use boats as subject matter.”
REDUX CONTEMPORARY ART CENTER 1056 King St, Charleston katherinedunlap.com @kat.lap
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ADELE EARNSHAW Maritime scenes have always been a major influence on Adele Earnshaw. The sixth generation New Zealander calls the port of Opua her home for most of the year, located on the east coast of New Zealand's North Island. “It's the first port of call for yachties arriving in New Zealand waters where they go through customs and biosecurity,” she describes. “Many choose to sit out the cyclone season in Opua, so there's an unlimited supply of boats to paint.” Interestingly, for 25 years Earnshaw was known as a watercolorist, even writing
a book called Painting the Things You Love, in Watercolor, but 10 years ago she switched to oil and continues to create exclusively in that medium. Her paintings have been exhibited at the Natural History Museum in New York and have toured with museum exhibitions through Japan and Sweden, but you can see her work locally at Horton Hayes Fine Art.
HORTON HAYES FINE ART 30 State St, Charleston 843.958.0014 | hortonhayes.com @hortonhayesfineart
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BRENDA ORCUTT As a self-taught artist, Brenda Orcutt credits nature as one of her most valuable teachers. Whether painting in plein air or watching boats on the water, she has always been an outdoor enthusiast. “My son used to sail on one of the high school sail teams,” says Orcutt. “They often had to share space during those regattas with other boats, chasing the winds.” The way the sails move and the creative designs on the spinnaker sails always attracts her eye.
She captures this feeling in her work with paint strokes that show spontaneity and movement. Painting quickly in alla prima, she uses texture and color to capture her subjects without perfecting form. “There is room for the viewer to interpret and experience for themselves,” she describes. "I've always loved the drama of thickly applied paint, the sculptural quality, and the purity of the colors."
ORCUTT FINE ART 7 Cochran St, Charleston 843.2755 | orcuttfineart.com @brendaorcutt Fall 2019 | 19
JAMES RICHARDS “Boats have for a long time been a favorite subject of mine,” tells James Richards. “Especially older boats and working boats.” To him, they evoke feelings of journey, adventure, and solitude. The impressionist painter was born and raised in rural Georgia, spending his days exploring the farms, fields, and forests that led to a strong connection with nature and created a deep sense of obligation to create his art in the most truthful manner possible. “I consider teaching and sharing my knowledge to be my primary purpose
and true calling as an artist,” he states. Richards conducts workshops across the US and Europe, and his mentoring program has a year-long wait list with spots in his monthly workshops at his school in Tucker, Georgia, selling out within hours of being announced. He recently lent his teaching talents to Paula Deen and President Jimmy Carter, where his demo painting sold at auction for $11,500 for charity.
MEYER VOGL 122 Meeting St, Charleston meyervogl.com | 843.805.7144 @meyervoglgallery Fall 2019 | 21
CECILIA MURRAY Scenes of the Lowcountry, particularly the serenity of sailboats along the waterways, captivate Cecilia Murray. “For me, they signify a holiday surrounded by nature,” she says. Her medium of choice is pastel. “Its luminescent qualities are perfect for painting light and shadow,” she explains. “Pastel is also wonderful for plein air painting. I can quickly render the hues of early morning on the marshes near my home.” Graduating with a BFA in Fashion Design from Parsons School of Design in New York City in 1986, Murray spent 20
years designing footwear for American and European women before returning to what she describes as her first love, plein air painting. Originally from Connecticut, Murray currently lives on Edisto Island and opened the Cecil Byrne Gallery in Charleston in 2014.
CECIL BYRNE GALLERY 60 Broad St, Charleston 843.312.1891 | cecilbyrnegallery.com @cecil_byrne_gallery
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TOM STANLEY “Young Painter Tom Stanley Drowns” read the headline. His long-lost grandfather, also named Tom Stanley, died a mysterious death in 1920 New Orleans. His grandfather was a house painter, not an artist, yet the headline was unnerving for Stanley when he discovered it. He mysteriously drowned where a street dead-ended into the Mississippi River, but by the time Stanley went searching, levees had been built and the spot was underwater. "So I went out on the ships," he says. Which is why boats make a common appearance in his work and represent something important and familiar. His process is also one of discovery. He uses a steel pencil to carve and draw textures onto his canvases. This technique, called sgraffito, scratches a layer of paint to reveal a contrasting layer beneath, creating imagery completely unique to his own vision and is personal, “whether viewers can see it or not.”
THE GEORGE GALLERY 54 Broad St, Charleston 843.579.7328 | georgegalleryart.com @georgegalleryart
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DANIELLE CATHER COHEN Living on the coast, it’s hard for boats to not capture Danielle Cather Cohen’s attention. “I love to observe all the different boats in the harbor, each with their unique reflections and colors,” she describes. The curvilinear shape is a challenge she enjoys capturing in her paintings. “But it’s the symbolism of a boat and its journey that really sparks my creativity. Thinking of where it’s been and what it’s endured, I feel it’s a parallel to life,” she muses.
Cohen uses color to create a mood and to unify composition in her pieces—“a dance with color” as she describes the process. “I’ve always had a great love for the interaction of color and spirit.”
DANIELLE CATHER COHEN FINE ART 1242 White Flat Rd, Mt. Pleasant 843.708.5641 | cathercohenart.com @daniellecathercohenart
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TONY GILL There’s a spiritual association with the boats in Tony Gill’s paintings. “Sailing can be a zen-like experience like no other form of transport,” he explains. “I attempt to convey this feeling through the juxtaposition of a hyper-realistic boat set in a nonrealistic background, representing the infinity of the oceans— be it a river, mooring, or lowland setting. All these waters eventually lead to the ocean and all the adventures possible.” Born in London, Gill was educated at Oxford and the Royal West of England Academy of Art. "My lifelong love of anything that floats started when I was at boarding school,” he says. After a
career as a creative director, Gill set out on a seven-year sailing odyssey around the Pacific and Asia with his wife and son, eventually finding his way to Charleston where he and his wife currently live. “At the end of the day, your little rowboat will take you safely to shore and leave you with a profound sense of peace and fulfillment. This is the message of my work.”
TRAGER GALLERY 577 King St, Charleston 843.882.5464 | tragercontemporary.com @tragercontemporary Fall 2019 | 29
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SUSAN ALTMAN For about a month every summer, Charleston artist Susan Altman visits Monhegan, Maine, a small island accessible only by boat. The island has long been known as an artist colony, and Altman goes there to escape the Charleston heat and to paint. Back home, Altman typically paints abstractly. But there's something about the boats off Monhegan that Altman can't help but capture. “I enjoy the sharp angles and hard edges of sail boats and their graceful masts as they cut against the curved and nuanced shapes of Monhegan’s natural beauty,” Altman describes. “My work is energized by juxtaposition, and the structure of these manmade vessels are the perfect contrast to the untouched natural beauty of the Monhegan harbor, dramatic sunsets, and the surrounding islands.” Mentored and deeply influenced by Charleston’s own William Halsey, Altman uses her layered gestural marks to express a sense of order in a seemingly chaotic and conflicting subject matter. “These expressive marks are the vocabulary of an exciting and very personal dialogue.”
MEYER VOGL 122 Meeting St, Charleston meyervogl.com | 843.805.7144 @meyervoglgallery
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LINWOOD Boats are a recurrent theme in Linwood’s abstract modern pieces. For him, they represent change, transformation and journey. “I’ve embraced this symbol of life’s transcendence and the buoyancy of the human spirit,” he explains. He uses strong flashes of color and is a master of mixed media, unifying disparate materials, like acrylic, oil, pastel, pencil, and found objects collaged on the canvas. Through his process, layers upon layers of images, themes, and relationships build up to create his deep and textured pieces.
MITCHELL HILL 414 King St, Charleston mitchellhillinc.com | 843.564.0034 @mitchellhillcharleston
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WILLIAM R. DAVIS, JR. "I was always the artist since childhood,” says William R. Davis, Jr. “But my obsession to live on the seas almost won out. I made the best of both." Which is why Davis’ life long passion with the sea has earned him a national reputation as one of the best maritime artists currently painting today. Davis’ work reflects his interest in 19th century tall ships. A self-taught artist from Hyannis Port, Massachusetts, he uses many of the techniques characterized by the American Luminists, emphasising light to create calm and tranquil scenes during sunrise and sunset. After nearly 30 years of painting, Davis is still inspired by the challenge of creating. “I never get bored, and I feel like my quality has increased. Now I can sit down and do a painting that a few years ago would have been really difficult for me.”
HELENA FOX FINE ART 106 Church St, Charleston 843.723.0073 | helenafoxfineart.com @helenafoxfineartcharleston Fall 2019 | 35
Artistic Port by Sarah Miller photos by Arielle Simmons
Every day we see colossal ships make their way along our coast and into the Cooper River. The 5 o'clock somewhere crowd raises their voices over the whistle of trains on the patio of Royal American. Those of us lucky enough to cross the Ravenel Bridge during rush hour watch cranes come to life against a hot pink sky. Nearly every part of Charleston is impacted by the South Carolina Ports Authority. The subtle hum of this booming industry brings economic growth to our city. Originally colonized for the nearly perfect natural harbor, a bustling 1700s Charles Town would have seen a dozen or so tall ships a week. Fast forward to 2019 and a recent study from the University of South Carolina's Darla
Moore School of Business estimates that the SCPA has a $63.4 billion annual economic impact on our state. Responsible for 10% of the entire state's economy, including $1.2 billion in state tax revenue, there’s no denying the port’s intricate part in the expansion of our beloved Charleston. A year before opening my gallery, I started an art consulting company called Canvas Charleston. After many days of strolling South of Broad with curious collectors, I realized that Charleston wasn’t quite large enough to make a living finding art for a mantle or a 700 square foot office. It was very much to my surprise when last summer an architectural design firm asked me to submit an art consulting bid for a new project. They were kind enough to send over the floor plans. 80,000 square feet later I Fall 2019 | 37
was even more surprised to find myself staring at the SCPA's new headquarters at the Wando Wench Terminal. Did I see that right? They want me to fill an 80,000 square foot building with art?! Sure, some art consultants might have warehouses full of neutral giclées ready for the next U-haul drop, but that isn’t me. It pains me to see anyone with even a small budget selecting artwork from a big box decor store for their walls. It’s a misconception that all art is expensive. Any of us in the game would be happy to help you find pieces that work within your budget. But I digress. Eighty thousand square feet. As I read through the request I saw I had a mere five days to get my proposal together. Excited, nervous, and feeling a little out of my league, I took out my notebook 40 | theartmag.com
and began sketching out my vision. If I managed to win over the SCPA design committee with a locally-sourced line up of artists, this wouldn’t only be my biggest project to date but it may just be the largest corporate collection of Lowcountry artists in the world. After 10 years of working in the Charleston gallery industry, I’ve managed to create a pretty thick mental Rolodex of artists. My approach to a well-rounded collection is “high, low.” When pulling for the high I looked to the local, contemporary big-timers: John Duckworth, Mary Edna Fraser, Kate Hooray Osmond, and Fletcher Williams are some of the established artists that made the pitch. Emerging artists are just as important as big names when creating a representation of the creative fabric of our community, so I turned
to gallery websites and Instagram as a resource. The George Gallery’s Heather Jones and Charleston Artist Collective’s Emily Brown added a perfect amount of bold minimalism. Jason Ogden’s drone photography packed the hyper-real punch needed in some of the common spaces. I knew Mitchell Hill’s Stephen St. Claire and local photographer English Purcell’s images of nature would bring serenity to rooms that called for a breath of fresh air. As the saying goes—well, kind of—it takes a village to fill the Ports Authority. Hopeful artists quickly answered my requests for quotes. A presentation came together seamlessly with the help of Charleston’s creative collective consciousness.
A few days later the bid was accepted, and artists were given the green light to create artwork for this monumental project. “From the conception of the project, one of our guiding principles was to embrace our regional impact,” explains Mary Beth Richardson, Director of Financial Planning and Analysis at the SCPA. “Sarah did a beautiful job of blending our core function as a port with our South Carolina roots in a meaningful way. Once we realized the talent that we have within the Charleston area, there was no doubt that this was the direction we would take.” To date, there are over 90 pieces of original artwork on the walls of the SCPA headquarters. Their decision to support artists and galleries in our community results in impressive statistics,
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but the impact holds a higher truth. The SCPA shared their strength. Individual lives were impacted. A sculptor supported a local business when buying supplies, which in turn supported another. They helped pay down a school loan. They gave a gallery hope during a slow season. A painter sent her daughter to art camp. A season of rent on studio space was taken care of. Their willingness to utilize the creative talent in their own community is a model I implore other businesses, large and small, to exercise. In a time when it’s frighteningly easy to have all purchases dropped at our door with a click of a button, it’s important to remember that there is a soul behind every piece of original art. That unique soul is connected to others, and, in the end, we’re all connected—bringing to light the SCPA’s motto: The World Connects Here. Fall 2019 | 43
Charleston Street, 1952, By Robert Rauschenberg (American, 1925 – 2008); Gelatin silver print, 15 x 15 inches; ©Robert Rauschenberg Foundation
Rauschenberg in Charleston by Emily Reyna
“The only thing I had to be careful with was not to stereotype Charleston as Charleston. I wanted to see it ‘humanistically’ instead of ‘historically’.” -Robert Rauschenberg
You can’t recreate a moment once it’s passed. We all know that. And yet, Robert Rauschenberg has preserved beautiful moments for us in this latest exhibition. I discovered Rauschenberg’s photography on a recent trip to the Gibbes Museum of Art. Their newest exhibition, Rauschenberg in Charleston, features photography works from Rauschenberg taken between 1952 and 1981. They capture his various trips to Charleston along with later works inspired by these early photographs. Fall 2019 | 45
Charleston, South Carolina, 1981, By Robert Rauschenberg (American, 1925 – 2008); Gelatin silver print, 12 ¾ x 19 inches; ©Robert Rauschenberg Foundation
Charleston, South Carolina, 1981, By Robert Rauschenberg (American, 1925 – 2008); Gelatin silver print, 13 x 19 inches; ©Robert Rauschenberg Foundation
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Born in 1925, Rauschenberg first visited Charleston when he was studying at the experimental Black Mountain College in Asheville, North Carolina, after World War II. Lauded for his combines—which are works comprised of non-traditional mediums and materials—during the height of the Abstract Expressionist movement and beginning of the Pop Art movement, his lesser-known photography work is the focus of this exhibition.
The first image you see when you walk into the exhibition is a photograph from 1952 showing the streets of Charleston. It immediately sets a sense of time and place through the clothes the people are wearing and the movement captured through Rauschenberg’s composition. Another photograph from his visit in 1961 features his friend Lois Long on a swing. “His vantage points were different,” explains Arnold. “When you look at his work you feel like you are the one taking the photo.”
I came back a second time to see this show, this time with Sara Arnold, Director of Curatorial Affairs at the Gibbes, to learn more about the significance of Rauschenberg’s work from his time in Charleston.
Walk across the room and you’ll see work from 20 years later. During this time, Rauschenberg selected our city as one of six for his photography project called In + Out City Limits, highlighting American cities in 1981.
“A lot of people don’t associate him with photography,” explains Arnold. “There are only about 200 images he exhibited and published that he considered fine art photography.”
This is what Rauschenberg excelled at. He took everyday moments—the buildings, the people on the street—and he memorialized that moment as he clicked his shutter. Fall 2019 | 47
Charleston, South Carolina, 1981, By Robert Rauschenberg (American, 1925 – 2008); Gelatin silver print; 13 x 19 inches; ©Robert Rauschenberg Foundation
“These are not tourist shots,” states Arnold. “He never cropped his images. He was interested in capturing what he was seeing at that exact moment.” His photographs are unexpected and capture the Charleston you may not initially recognize. His photo from the Battery focuses on the cannons and concrete sidewalks while everyone else points their lens at the water views and historic homes. His photo from Upper King Street points upward at the sky to capture a single lit bicycle that we all know too well, which became a motif he was inspired to use in his later work. “Looking back, a lot of the detail and historical architecture still exists,” notes Arnold. “Rauschenberg was trying to 48 | theartmag.com
look at Charleston humanistically. He wanted us to see the details we pass by everyday but don’t pay attention to.” And now, in 2019, is the perfect time for Charleston to revisit Rauschenberg and the impact his work has made. I came out reminded of the humanistic quality of Charleston and feeling as though Rauschenberg recreated those moments for me with every photo I viewed. Rauschenberg in Charleston is on view through January 5, 2020, at the Gibbes Museum of Art. Tickets and information can be found at gibbesmuseum.org.
ATRIUM ART GALLERY 61 QUEEN STREET
Charleston’s Most Exciting Art Space www.AtriumArtGallery.com 843.973.3300 CONTEMPORARY w ABSTRACT w PHOTOGRAPHY w LOWCOUNTRY
RAPID FIRE
12 Questions with
Mary Erickson
With her solo show Flying, Soaring, Hunting opening December 6 at Helena Fox Fine Art, we asked Mary Erickson 12 rapid fire questions to get to know her better. This new series explores her interest in birds, not only from a painter’s point of view but from that of a conservationist, with a percentage of proceeds benefiting Awendaw’s Center for Birds of Prey.
1. Have you always been interested in birds and their habitats? Ever since I can remember, my eyes have been lifted to the skies. I’m a very distracted driver. 2. Where is your favorite place, destination, or country to paint? I find beauty everywhere I go, so I find myself sad to leave where I am—yet when I arrive at my destination, I’m thrilled to be there! I spend a few months in Florida and a few months in Maine each year. The rest of the year I spend in North Carolina. France and South America are favorite painting trips, in addition to any coast in the US, but I’m always happy to return home to High Ridge Gardens in Marshville, North Carolina. 3. Last book you read? Legacy Journey by Dave Ramsey, Where the Crawdads Sing by Delia Owens and The Art of Gathering by Priya Parker.
I read several books simultaneously, usually a financial book, an art book, and a novel. 4. Most enjoyable travel experience in the past five years? I spent my 60th birthday in Provence with my very best friends. Sharing special moments with the people you love is what it’s all about. Celebrating milestones with them is even more important. 5. Dream vacation? I’ve not visited Costa Rica yet. Birding and painting there is in my future! 6. Music, podcasts, or silence in the studio? A little bit of all, depending on my mood and what I’m working on. I even watch, or listen to, Netflix stand-up comedy, sometimes documentaries, sometimes drama.
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7. Guilty pleasure? Dark chocolate and potato chips. Together. 8. What are the three most used colors on your palette? Ultramarine Blue, Transparent Oxide Red, and Cadmium Yellow Light 9. What’s your dream project? High Ridge Gardens is a work in progress. It’s my 39 acre property with home, studio, and guest house that’s slated to be left as a bird sanctuary and artists retreat. I’m in the process of starting a foundation that will support my vision after I am gone. 10. How do you relax? I sit at the pond just before sunset and listen to the critters settling in for the evening. Just listen. At first, it seems quiet, then, as you pay attention, you can hear wonderful things. Birds are flying in, stopping to get a drink, calling to each other, and flitting into the bushes. Frogs and crickets are singing their songs. Small mammals are rustling in the leaves beside the pond. Turkeys are calling. If I’m lucky, a deer will wander in just after sunset. My studio is nestled in the woods, next to the pond, so the lure of sitting outside is ever-present. I often take breaks during the day to appreciate where I am. Fall 2019 | 53
11. Who are you inspired by? Nature. This wonderful planet that God has given us dominion over inspires me. Given dominion doesn’t mean to exploit, but to use and take care of. 12. If you could spend a day in the studio with any artist, living or dead, who would it be? That is a hard one. Ray Harris Ching for his bird studies. Sorolla for his light. Wyeth for his emotion. Helga often 54 | theartmag.com
talks of Andrew’s private moments, how he felt so intensely, yet dismissed the ordinary needs and wants of the everyday. Of course, he had that luxury of only having to paint. No other intrusions, like, bookkeeping, marketing, dinner even—all of this was provided for him. But spending a day in the studio with Wyeth would be enlightening and entertaining. He is said to have had a wonderful sense of humor and loved a practical joke.
KATRINA ANDRY: Over There and Here is Me and Me
ON VIEW UNTIL DEC. 7
HALSEY.COFC.EDU
COLIN QUASHIE: Linked
Creature Creations THIS SEASON’S ARTIST TO WATCH? SCABBERS THE SNAKE.
by Katie Kerns Geer The benefits of creating art extend to everyone—and that goes for otters, turtles, and snakes. Over at the South Carolina Aquarium, animals are painting as part of an animal enrichment program, providing the little critters with the opportunity to explore and express natural behaviors. “Enrichment is integral to animal welfare, and we are constantly coming up with new and exciting ways to enrich the animals in our care,” says Josh Zalabak, a senior biologist at the South Carolina Aquarium. Allowing the animals to tap into their inner Jackson Pollock is just
one of the ways they’re doing that. “Animal art is an enrichment that helps promote increased physical and mental stimulation as well as a natural curiosity.” How does it work? “We are careful to make sure that the animals are actually the ones making the art, and not us,” Zalabak notes. To do that, Zalabak and his team place blank canvases and pools of animal-safe paint on a table. Then, they let the animals loose and give them the freedom to work their magic. “If they decide to walk through the paint and then onto the canvas, that’s great,” Zalabak says. “But that is completely Fall 2019 | 57
up to them.” Although visitors can sometimes get a peek at the process during educational programs, the artmaking usually takes place behind closed doors. Turtles, otters, and snakes are all on the Aquarium’s roster of budding artists. And while Zalabak says that turtles are probably the cutest to watch at work, he’s a big fan of snake art. “We mostly paint with one snake in particular, Scabbers the black rat snake,” Zalabak says. “He is the right level of active to create very cool swooping patterns that really highlight the way a snake moves. In some instances, you can even distinguish each scale on his stomach.” 58 | theartmag.com
Zalabak explains that the main purpose of painting is to provide mental stimulation, exercise, and a temporary change in environment—imperative to wellbeing when you don’t live in the wild. “The animals we use to paint are being given the opportunity to explore new situations and experience different stimuli,” he says. “Many of them show a natural curiosity and are fairly active during a painting session. Want to add a Scabbers original or a painting by Ace the North American river otter or Lucky Peanut the turtle to your collection? You’re in luck—the finished pieces are sold in the Aquarium’s gift shop.
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CONVERSATIONS IN THE ART WORLD An Interview with Frame Conservator
NANCY A. NEWTON by Michele Seekings
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Nancy A. Newton is a specialist in traditional gold leaf water gilding with a conservative treatment approach. I first met Nancy through a referral by the Gibbes Museum of Art when I had an antique gilded frame in need of conservation. This careful artisan is a gilder, conservator, and restorer of antique frames with experience working on museum, college, municipal, and private collections. She’s been awarded the Samuel Gaillard Stoney Craftsman Award from The Historic Charleston Foundation, and we’re lucky enough to have this talented conservator call Charleston home. When did you become passionate about frames? We had a portrait done of our two children when they were young. Someone recommended a gallery studio for a frame, and when I went I saw a girl working very meticulously on something. She was water gilding, which I didn’t know what that was at the time, so she brought it out and showed me. Honestly, I was completely bitten by the gold bug. I became completely hooked. It is such a fascinating process. How did that experience transition to frame conservation? That was probably in 1993. I couldn't find any information about water gilding other than in Martha Stewart books, and they were generally using a synthetic size for oil gilding. A few years later, my husband called from work and said, “I don’t know where this came from, but there’s going to be a restoration convention in Boston. Do
you want to go?” I went and met other gilders and traveled to some of their studios for short-term apprenticeships. I took several classes through the Society of Gilders and decided I just had to practice what I’d learned. So I did that. The water gilding process started my love affair with frames, but I’ve never been interested in making new frames. I thought it through and realized old frames are beautiful and need to be taken care of. How did you get your first client? One day I decided to go to antique stores on King Street and look at the styles and gilding of frames. I walked into one store and he said, “Can I help you?” I told him I was interested in gilding and frame conservation. He said, “What do you think about those two little frames up there?” They were little portraits of Martha and George Washington, so I said, “Sure!” I had no idea what to charge, of course, and I probably spent three weeks working on them, but I didn’t charge him a day’s worth. I kept working, and they gave me more. I ended up gilding a large sofa for them, which they were very pleased with. One thing just led to another and that’s sort of how it all began. Can you explain your process when you start working on a frame? I start with a wooden frame and sand it until it’s completely smooth. Rabbit skin glue is then applied to act as a binder between the finished product and the wood. Everything in between has rabbit skin glue in it but with different strengths. Fall 2019 | 61
A PA L L E T T E FO R YO U R H O M E .. .
CatherCohenArt.com
DanielleCatherCohenArt
1242 White Flat Road | Mt. Pleasant, SC by appointment
Next, I’ll apply several layers of gesso that I also make with rabbit skin glue. Some frames are oil gilded, some are water gilded, so I’ll match what I find on the frame. Sometimes if there’s been previous conservation work on a frame there will be multiple colors on there. I research or do what I can to find out where the original is. Sometimes I can tell by the period, but I generally let the frame tell me. There is a difference between restoration and conservation. Conservation is more of bringing the frame up to where, under the best circumstances, it would be at this point 62 | theartmag.com
Designer: Megan Molten Photographer: Margaret Wright
in time. I tend to think less is more, and I really let the frames dictate to me what to do. That is the big difference between conservators because you have to know when to stop. You have to have an innate feeling. I don’t know how to explain it. I just feel like I have to let the frame tell me when I’m finished and not overdo it. I want the history to remain. Some people will bring a piece back to the way it was when it was first made, but that’s not generally what I do. I try to make the repair. Let’s say a frame has fallen from a wall and the corner is missing. If there are other elements on
the frame that are identical, I can make rubber molds of those and put those on, cast a new piece, and apply it. If not, I would have to carve, actually make the piece itself, and manufacture it with my hands. Why is this work important to you? Frames are works of art in themselves. Sometimes they are original to the painting. Sometimes they are not. It’s kind of a detective discovery. I just think they’re worth saving. How well known is this career? I feel it's a little under the radar. I’ve been doing it for over 22 years, so I certainly have a client base. But there are so many people that when they hear what I do are like, “What?” Sometimes they give a glazed over blank stare, and they’re even afraid to ask what that is.
What do you think about the future of your profession? Are there more conservators like you out there? There are others out there. There’s an international network through the Society of Gilders if anyone is interested in learning. There’s a mixture of a lot of different ways people use water gilding. Some use it in their paintings, and some use it to design frames, or furniture, or architecture. As far as frame conservation goes, they’re more tied into museums up North than they are here. Does each frame present a new challenge? I always say they are like children. They’re all unique. They all have their different challenges. What works for one may not work for another.
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What’s been your most challenging project? One was a pediment for a pier mirror. The mirror was built in such a way so that it would lean out a little and finally gravity got the best of it. It just broke off and crashed into a million pieces, and it arrived to me in a box. I only had a partial photograph to work from, so I told them to let me work with it. If I started putting the puzzle pieces back together and it appeared as though I could continue and finish it, then I’d give them an estimate. If not, there would be no charge and I’d give it back. I ended up being able to do it. It was from Georgia so I went back with it and stayed two weeks to refit it back on the frame. Sometimes when frames are more broken, I enjoy the process even more. It’s something about the challenge of “I’m going to get you back together.” That one was fun to do. Do you receive items that have maybe not been conserved well? All the time. If you take off a repair and you smell peppermint, it means someone has used chewing gum. That doesn’t happen very often, but it happens enough. There’s a lot of radiator paint people have used that’s quite challenging to remove, and sometimes it’s impossible to remove. People have their best intentions, but they generally create more work for a conservator if they 64 | theartmag.com
mess with things. Or if frames are left in the attic for the seasons. It just hurts them and even kills them. How do frame conservators fit into the art world? I just think frames are works of art themselves. I find myself in a museum being completely blown away by the frames. I’m supposed to be looking at the paintings, but I’m just fascinated with the frames. The craftsmanship and the creative mind that has gone into it, and, of course, there are different periods and things. It’s just fascinating. Do you have a piece of advice for collectors? Yes. If something happens to your frame please do not try to fix it on your own. Unfortunately, it’s going to create more work for that piece later. How does someone find a qualified frame conservator? It’s been word of mouth for me. You need to talk to other people—a museum, maybe other conservators that are in a different field, people that have had work done—so that you find the reputation of the work someone has done. Anything else you’d like to add? Just that frames are beautiful and to appreciate them. Take time to look at those in a museum and not just the works of art!
MARY ERICKSON Testing the Wing
30 x 40 inches | oil on linen UPCOMING EVENTS DECEMBER 5
Passionate Pursuits, An evening with artist Mary Erickson DECEMBER 6-21
Flying, Soaring, Hunting: The Art of Mary Erickson
ADDRESS
106A Church St, Charleston, SC
TEL
843.723.0073
VICKI SHER S ECO N D N AT U RE , N OV EMB E R
S O LO E X H I B I T
WEB
helenafoxfineart.com
F I F T Y F O U R B R OA D ST 84 3. 579. 7328 G E O R G E G A L L E RYA R T. C O M
ART SHOWS
all things vibrant & bright “We’re striving to create a dominating energy that electrifies our main lobby through a diverse body of work consisting of neon, ceramic art, oil paintings, and color theory studies,” explains The Vendue’s Art Director Emily Curran. Inviting a diverse group of locally and nationally represented artists, over 20 creators were challenged to create a piece that celebrates all things vibrant and bright for the thematic show, GLOW. We’re shining a light on three artists featured in this show. Be sure to stop by The Vendue to experience this bright exhibit in all its brilliance.
Craig Kraft DAMAGED SPIRIT OF THE AFRICAN ELEPHANT Inspired by ancient drawings, Kraft’s research into the universal urge to connect through mark making lead him to Namibia. “The uniqueness of Namibia is threefold,” he explains, “the presence of the Sans, arguably the oldest indigenous people in the world, the rock art they created, and the wild animals who have inspired it.” The Sans believed animals were portals into the spiritual world, and when they put paint to rock the animal's essence
was harnessed, opening the spirit portals. Kraft’s use of neon suggests an inner spiritual world much more complex than its outer appearance. “The artwork is my attempt to capture the spirit of the African elephant, which is both tangible and intangible, elusive but recognizable,” he describes.
THE VENDUE 19 Vendue Range, Charleston thevendue.com Fall 2019 | 67
68 | theartmag.com
ART SHOWS
Gabriel Lovejoy ORIGIN Most of Lovejoy’s work is created with symbols. At times the meanings are personal, and at times they’re more universal. We asked Lovejoy to explain the symbolism used in Origin: The hand represents the blue hand of god. The dove signifies spirit, or the “other” that can’t be physically measured within our identities and the sparrow stands for the physical and earthly body. The smoke and cloudy structures are taken from sections of the ash plume photographed during the St. Helens eruption in 1980—the year I became aware of self. The philodendron vine is used to reference growth, health, and heart since the leaves are also shaped like hearts. The fabric is actually taken from the famous, Northern Renaissance painter, Jan Van Eyck’s headdress in his disputed self-portrait. This portrait has been questioned as to its authenticity as a “self ” portrait, so it seemed fitting to include a section of it in my painting about identity. I chose the head covering
to draw attention to the human intellect as the primary motivator for identity. The gold rays are great design elements, but they also serve to create emphasis on their origin point and a glow from the growth that follows. In this piece, I hope to cause one to question their own need for a fully defined self. Is it really necessary to exactly know thyself? Or could these concrete limitations be hindering us from becoming more than we once believed ourselves to be? Could we “glow” if these limiting definitions are removed, or are we “glowing” because of them? These are the types of questions I posed to myself in the process of creating this painting, even if they aren’t answered.
THE VENDUE 19 Vendue Range, Charleston thevendue.com
Fall 2019 | 69
ART SHOWS
Tony Chimento BUDDHA MARGE “My work is mostly about the exploration of beauty and the space we make for its contemplation,” explains Chimento. In Buddha Marge, Chimento creates a realistic yet comical take on this contemplation aimed at the overall feeling of meditation. The piece also connects to one of Chimento’s overall messages that "painting itself can be seen as a metaphor for what is best about life.”
THE VENDUE 19 Vendue Range, Charleston thevendue.com Fall 2019 | 71
ART SHOWS Feigned Fear of the Manufactured Chicken Head, 2019 color reduction woodcut
Katrina Andry OVER THERE AND HERE IS ME AND ME through Dec 7, 2019 The work of Katrina Andry addresses the power structures of race-based stereotypes. As Charleston neighborhoods are rapidly changing, Andry specifically explores the stereotypes that engender gentrification for this exhibition. Using large-scale prints and installation, Andry portrays derogatory cultural clichés so viewers can confront their own preconceived notions of society. Andry specifically uses non-minority figures in this role to illustrate how stereotypes are unjustly perpetuated. “Stereotypes are neither based in truth nor innate characteristics of a specific person, instead they are ideas forced onto a group of people as a whole,” she says. “Portraying entire populations in a negative light, stereotypes confer on the perpetuator an impression of superiority and a greater sense of normalcy.”
HALSEY INSTITUTE OF CONTEMPORARY ART 161 Calhoun St, Charleston 843.953.4422 | halsey.cofc.edu @halsey_institute Fall 2019 | 73
Colin Quashie, Steal Away, 2018-19 Digital collage
Colin Quashie, All Fall Down, 2018-19 Digital collage
ART SHOWS
Colin Quashie LINKED through Dec 7, 2019 Combining historical relics and artifacts with icons from past and present popular culture, Colin Quashie sharply critiques the way people of color are portrayed in modern culture. In this exhibition, Quashie juxtaposes images of well-known Black figures with other representations of artifacts to comment on stereotypes as they exist today. In Gabriel, Quashie tweaks an image of Louis Armstrong, updating his signature trumpet with a set of slave shackles. Similarly, in Rose Colored, he creates an image of Harriet Tubman donning a pair of rose-colored glasses. With these works, Quashie teases out underlying stereotypes to confront our beliefs and force us to think about the roles we occupy in society.
HALSEY INSTITUTE OF CONTEMPORARY ART 161 Calhoun St, Charleston 843.953.4422 | halsey.cofc.edu @halsey_institute Fall 2019 | 75
DOWNTOWN Visual Arts
*Charleston Gallery Associate Member CGA Art Walks are held the first Friday of each month, 5-8pm
Gallery Guide
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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
14. Horton Hayes Fine Art*
27. Alkyon Arts and Antiques
15. Revealed Art Gallery*
28. Meyer Vogl Gallery*
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
120 Meeting St | 843.276.5899 alkyon.us 122 Meeting St. | 843.805.7144 meyervogl.com
29. Principle Gallery*
125 Meeting St | 843.727.4500 principlegallery.com
30. Sportsman’s Gallery*
165 King St | 843.727.1224 sportsmansgallery.com
31. Hagan Fine Art*
177 King Street | 843.901.8124 haganfineart.com
32. Reinert Fine Art*
179 King St. | 843.345.1785 reinertfineart.com
6. Corrigan Gallery*
19. Charleston Artist Guild*
33. LePrince Fine Art*
7. Neema Gallery*
20. W. Andre Allen
34. Audubon Gallery*
7 Broad St | 843.722.9868 corrigangallery.com 1 1/2 Broad St | 843.353.8079 neemagallery.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
160 East Bay St | 843.722.2425 charlestonartistguild.com
Contemporary Art Gallery 140 East Bay St | 843.732.9011 wandreallencontemporary artgallery.com
21. Anglin Smith Fine Art*
9 Queen St | 843.853.0708 anglinsmith.com
22. The Vendue*
19 Vendue Rg | 843.577.7970 thevendue.com
23. Robert Lange Studios*
2 Queen St | 843.805.8052 robertlangestudios.com
24. Gordon Wheeler Gallery* 180 E Bay St | 843.722.2546 gordonwheelergallery.com
25. Lowcountry Artists Gallery*
148 E Bay St | 843.577.9295 lowcountryartists.com
26. Atrium Art Gallery*
61 Queen St | 843.973.3300 atriumartgallery.com
184 King St | 843.442.1664 leprince.com 190 King St | 843.853.1100 audubonart.com
35. Chuma Gullah Gallery
188 Meeting St | 843.722.1702 gallerychuma.com
36. One of A Kind Art and Fine Craft
74 N Market St | 843.534.1774 oneofakindgallery.com
37. Studio 151*
175 Church St | 843.579.9725 studio151finearts.com
38. Tate Nation
257 King St. | 843.568.9911 tatenation.com
39. Jennifer Black
265 King St | 843.763.0861 lowcountrystudio.com/Jennifer.htm
40. Grand Bohemian Gallery* 55 Wentworth St 843.724.4130 grandbohemiangallery.com
Fall 2019 | 77
MIDTOWN
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41. Ben Ham Images
43. King Street Studios
46. Sanavandi Gallery
42. Mitchell Hill*
44. Molly B. Right
47. Fritz Porter
511 EKing R St | 843.628.5515 UG Hthecharlestonphotographer.com
416 King St | 843.410.1495 benhamimages.com
68 Spring St | 843.568.3219 M O mollybright.com R
438 King St | 843.564.0034 mitchellhillinc.com
N 45. TragerSOContemporary*
66 Spring St. | 843.937.0107 sanavandiart.com 701 East Bay St | 843.207.4804 fritzporter.com
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Improve your online presence Increase your client base Strengthen your brand loyalty
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Patricia Reno Huff Gallery & Art Center Bohicket Marina | Johns Island, SC patriciarhuff.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
JAN 25 & 26: THE LION THE WITCH AND THE WARDROBE
NOV 22 – DEC 31: IT’S CHRISTMAS BABE
QUEEN STREET PLAYHOUSE 20 Queen St | 843.722.4487 footlightplayers.net
A cheerful new musical set in a 1960s department store. JAN 24 – FEB 22: SUPER FREAK A lovesick icon is on the run in this musical-comedy. NATIONAL THEATRE LIVE AT 34 WEST DEC 8: PRESENT LAUGHTER & FLEABAG JAN 17: HANSARD JAN 18: A MIDSUMMER NIGHT’S DREAM CHARLESTON STAGE AT DOCK STREET THEATRE 135 Church St | 843.577.7183 charlestonstage.com DEC 4 – 22: ELF DEC 14 & 21: THE BEST CHRISTMAS PAGEANT EVER
80 | theartmag.com
DEC 6 – 22: SHE LOVES ME JAN 31 – FEB 16: I LOVE YOU, YOU’RE PERFECT, NOW CHANGE
PURE THEATRE 134 Cannon St | 843.723.4444 puretheatre.org VILLAGE REP AT WOOLFE STREET PLAYHOUSE 34 Woolfe St | 843.856.1579 woolfestreetplayhouse.com DEC 6 – 22: ALL IS CALM – THE CHRISTMAS TRUCE OF 1914 A show of grace, beauty, and stillness and a reminder the true spirit of Christmas can be found in all of us.
DAMN. GOOD. THEATRE.
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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
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14 George St | 843.579.3100 spoletousa.com
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135 Church St 843.577.7183 charlestonstage.com
3. 34 West Theatre
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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
itchell Hill is celebrating 10 years of business with the grand-opening of Charleston’s first-ever design center. The duo-floor space will serve as a multi-line showroom and art gallery, and we’ve added new partnerships to offer Farrow & Ball, Style Library, Italian hardwood flooring, and a rug gallery. Walk-ins, designers, and do it yourselfers are all able to receive a fulldesign consultation in store by a team of designers with a designer-on-call program, aiming to be a resource for the Lowcountry design community. OPENING AT 414 KING STREET EARLY DECEMBER
414 KING STREET mitchellhillinc.com
CHARLESTON SC 29403
843.564.0034
@mitchellhillcharleston
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