8 Artists Bringing the Heat p. 25
The Source by Susan Haynsworth
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Reason #233: Lucky Peanut, Diamondback Terrapin Lucky Peanut's favorite color to paint with is Pantone 233. Her artistic influences include Jackson Pollock and Wassily Kandinksy, with a splash of Frida Kahlo.
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TRIBUTE The Life and Work of Tom Potocki
INFLUENCE AND INSPIRATION Jill Hooper Ben Long
20
Frank Mason
ARTIST STORY
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William R. Beebe
ART CONSERVATOR SERIES
25
Marion L. Hunter, Jr.
8 ARTISTS BRINGING THE HEAT Angela Chrusciaki Blehm Antwon Ford
60 PLAYFULLY PROFOUND
Francis Sills
Ryan Lytle
P-Nut Shannon Smith Hughes Kyle Stuckey Kristi Ryba
Rafael Barros
66 SCHOONHOVEN SILVER AWARD
Kathleen Jones
Kaminer Haislip IN EVERY ISSUE: Art Shows - 68 Art Galleries - 72 Gallery Maps - 76 Charleston Theatre - 80
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Julia Deckman
LOWCOUNTRY ARTIST OF THE YEAR Julia Deckman
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ON THE COVER:
Snowy's Island Sanctuary by William R. Beebe Artist Story, pg 20
1941-2019
by Emily Reyna
“Let the fun begin..." is how Tom Potocki always signed his emails when he started working on a new piece. He spent his life creating beauty and pushing the boundaries on how people thought about art. From the time he was born in 1941 to his death this year in 2019, his life has always been about creating art and having a good time doing it.
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As a child, he learned on the job beside his father, who painted large commercial walls and billboards for a living. In college, he majored in fine art at Carnegie Mellon University in Pittsburgh, PA and studied neoclassical art in Rome as a student. But what really defined his style was living in New York City during the 1960s at the height of the Pop Art Movement, where he learned to incorporated bold colors and cultural subject matter to elicit a visceral response to his work.
We are lucky to be able to gain insight into how he created his work through his artist bio, provided by his wife, Debra Potocki: He created through a constantly evolving, experimental process by applying colors to a surface, usually by splashing, blotting, or stamping, and has even set pieces out in the rain. He would have no preconceived notion of where his creative process would lead, so the process itself was often the subject of his art.
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“The work takes on a life of its own and tells me what direction to take it,” Potocki has said, describing his work. “The process of painting the piece is just as important as the final result. It usually becomes a play on creation and destruction, a constant adding to and taking away.” You can sense this involvement and recognize his energy when viewing his work, which is exactly what he wanted you to
note. “To me, the viewer really completes the creative cycle,” Potocki has said. “He was an ever-present part of the gallery,” reflects Ashley Miller, gallery director at Mitchell Hill where Potocki’s work is represented. “He attended all of our openings and events with his wife, Debbie,” Miller continues. “He had a goofy side to him that consistently made us all laugh and feel at ease around him. Last year, he
KATRINA ANDRY: Over There and Here is Me and Me
AUGUST 23 - DECEMBER 7
Charleston, SC | halsey.cofc.edu
COLIN QUASHIE: Linked
had a bust of David he painted that we have since sold, but while on display he would sneak props on to the David to get a rise out of us and the gallery patrons. We still have the red clown nose and a mardi gras mask he added.” This fall, Mitchell Hill will remember the life and work of Potocki with a show dedicated to his last body of work. “We plan on taking over the Mitchell Hill space at 438 King St for the month of November with work from Tom’s studio we haven’t shown before,” shares Miller. “Filling the space with just his work is going to be so fun. He always said he was getting more radical with color choice as he got older, and I’m going to love seeing just how radical his color choices are when hung all together.”
Potocki said it best when he invited us, as viewers, to become part of his creative process: “The finished piece should entice and challenge the viewer to look beneath the surface of what we think we see around us and discover something new. This gives the viewer the opportunity to become part of the creative process.” This is where the fun really begins.
Tribute The Life and Work of Tom Potocki
MITCHELL HILL 438 King St, Charleston mitchellhill.com 843.564.0034
AN ARTIST’S QUEST FOR INSPIRATION AND THE STORY BEHIND HIS LATEST PIECE
ARTIST STORY
by William R. Beebe
About this time every year in Charleston, birders are treated to seeing large colonies of great egrets and snowy egrets nesting in dense foliage along the wetlands. Nesting begins in early spring, but summer is when the young birds really become active and start testing out their wings. Adult birds are very active too, raising the little ones and continuing to court their mates, sporting beautiful breeding plumage and strutting their stuff. I’m fortunate to live near several of these rookeries and have spent quite a bit of time studying the habits of snowy egrets around the Lowcountry. This season has been exceptional as far as imagery goes, inspiring my most recent aviary painting, Snowy’s Evening Retreat. Summer 2019 | 21
Favorite Birding Spots AUDUBON SWAMP GARDEN MAGNOLIA PLANTATION AND GARDENS mostly spring and summer for nesting rookeries to spot egrets, herons, and anhingas
PITT STREET BRIDGE MOUNT PLEASANT great spot year-round for a wide variety of birds
WHITE POINT GARDENS DOWNTOWN CHARLESTON early summer for night herons
CHARLESTON NATIONAL MOUNT PLEASANT spring and summer nesting in rookeries
WILD DUNES ISLE OF PALMS spring and summer for nesting egrets and herons year-round by the water for a wide variety of birds
SULLIVAN’S ISLAND spring, fall, and winter for shorebirds like sandpipers, plovers, and black skimmers summer for brown pelicans
SHEM CREEK BOARDWALK MOUNT PLEASANT great for brown pelicans, egrets, and herons year-round
KIAWAH year-round for a wide variety of birds
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Interestingly enough, almost 200 years ago in the spring of 1832, John James Audubon was in Charleston doing the same thing! He reported having seen thousands of snowy egrets in full breeding plumage. He painted the delicate white snowy egret as I often see them, stalking along the water’s edge. In the distance of his painting one can detect a tiny hunter coming toward the bird, a sign of danger lurking, for they were considered a delicacy. The beautiful white breeding plumage became highly sought after in the late 19th century for women’s fashion, to the point where the species almost became extinct. Thanks to individual state Audubon Societies formed in the 1890s, and eventually the National Audubon Society formed in 1905, we’re all blessed to have a strong egret population today. It has inspired me to paint a number of bird portraits, choosing to paint the birds roughly life size with solid backgrounds so not to distract from the bird. I’ve read that Audubon, on his quest to paint every bird in America, painted each bird life size. Although I’m not scientific like he was, measuring each bird’s length and height, I do prefer to paint so the viewer can get an idea of roughly how big each bird is.
On Isle of Palms, I recently witnessed snowy egrets in a wonderfully dark botanical background. After photographing the birds, I knew this was what I wanted to paint–focusing not just on the bird but also on the background. I found the dark background fascinating, and as I looked further into the darkness, I discovered overlapping layers of palmetto leaves, tropical in nature. The interesting flora surrounding the bird brought to mind not only Audubon’s famous work, but also the aviary art of another wonderfully talented Charleston artist, John C. Doyle. I discovered his art and passion for painting wading birds when I moved to Charleston two years ago. From the 1980s-2014, Doyle traversed the Lowcountry, studying, drawing, and painting birdlife. In particular, his paintings of great egrets and great blue herons caught my eye. He filled his backgrounds with light and color, many of which captured the magnificent swamp and surrounding flora at Magnolia Plantation.
courting its mate with its breeding plumage displayed, actively flirting. Evening light highlights greenery in the foreground and makes the bird stand out. And even though the trees are dense and mainly monochromatic, light filters through the palmetto leaves adding depth and drawing your eye around the canvas. These birds are delicate looking birds with fine feathers. I use their bright yellow feet and yellowish beak area as identifiers to distinguish them from similar looking birds. They’re also very social birds, and I wanted to capture their playful personality. Snowy’s Evening Retreat is the first in a series of snowy egret paintings all inspired by my bird outings here in the Lowcountry this season. View more of William R. Beebe’s work at williamrbeebe.com.
In Snowy’s Evening Retreat, I portray the snowy egret away from the nest,
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JULYAN DAVIS Rising Sun
18 x 18 inches | oil on canvas DECEMBER 6
Opening with Mary Erickson & the Center for the Birds of Prey
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ARTISTS BRINGING THE HEAT Above: Kathleen Jones Right: Angela Chrusciaki Blehm
IT’S BLAZING OUTSIDE... AND INSIDE CHARLESTON’S ART SPACES
by Katie Kerns Geer
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ANGELA CHRUSCIAKI BLEHM “Color is my antidote.” And color, according to Georgia-based artist Angela Chrusciaki Blehm, is what she’s chasing after in the pursuit of happiness. In a life tinged by regular routines and the tension between daydreams and reality, color is key. But she hasn’t always had direct access to her drug of choice. "I've spent years waiting to make my art…often impatiently, often sour, often sad,” Blehm says. Today, the artist plays with stereotypical female roles in her layered wood assemblages and on canvas, exploring themes of sexuality, obligations, absurdity, and nature. Her work feels simultaneously playful and gutsy, exaggerated and precise. “It's never too late to seize the dream. I had to realize
everyone's timing is different. I'm here now, and it feels as good as I thought it would," she says. If “here” is where Blehm has finally landed, she arrived with a bang. The artist, who is represented by Miller Gallery in Charleston, currently has work hanging at the Hampton Designer Showhouse presented by Traditional Home magazine. Her work can also be seen at The Vendue’s current Fortunate exhibition, and she is expected to have a new release at Miller Gallery in September.
MILLER GALLERY 149 ½ East Bay St, Charleston millergallerychs.com 843-764-9281 Summer 2019 | 27
FRANCIS SILLS If summer was a painting, it might very well be one by Francis Sills, who captures lush flower gardens, wild greenery, and tropical flora in colors that feel very alive. Though his paintings are structured and geometric in nature, Sills’ gardens also feel untamed in the very best way—like a hot summer day with saltwater in your hair and ice cream dripping down your chin. “As different flowers bloom, they provide me with fresh colors and textures to work from,” Sills explains. “What attracts me to paint a subject is usually a formal concern, either a color or combination of colors, shapes and patterns, or a light effect.” The Charleston-based artist, who is represented by Horton Hayes Fine Art and teaches drawing at the College of Charleston, is also known for his paintings of swamps, Southern trees, and bodies of water; all subjects that involve him working directly from observation in nature. While his flora paintings provide Sills with a sense of familiarity (they’re often from his own garden), his swamps symbolize the unknown. Both subjects, however, are always “subtly changing with the seasons.”
HORTON HAYES FINE ART 30 State St, Charleston hortonhayes.com 843-958-0014 Summer 2019 | 29
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P-NUT “I like happy art because I’m a happy person.” So says P-Nut. P-Nut—who was born Joseph Johnson in 1950s Charleston—began writing poems on napkins at the age of 16. Before long, he gained recognition as the “Lowcountry Poet” and eventually published two books of his folk-style poetry. But in 2017 P-Nut discovered another medium for telling stories: painting. “I like art that talks about my life and my history,” he says. “When I do art, I like you to feel my art, so I give it life." P-Nut breathes life into his paintings by portraying people (or animals, or snowmen) in dialogue and adding speech bubbles (“Shit that snowman
drink my eggnog”). But there’s more to his work than whimsy: he’s often touching on themes of race in Charleston and the realities of Southern segregation and displacement. After a jam-packed summer—he just concluded a solo show at Dog & Horse Fine Art and led a workshop in conjunction with the Gibbes Museum of Art's Black Refractions: Highlights from the Studio Museum in Harlem—P-Nut plans to get back to hosting his Saturday "P-Nut Porch Sales" in the fall.
DOG & HORSE FINE ART 102 Church St, Charleston dogandhorsefineart.com 843-577-5500
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KYLE STUCKEY “I enjoy painting all the things I find beautiful,” says artist Kyle Stuckey. Take a look at his body of work, and you’ll determine the list of things he finds beautiful must include people (Stuckey’s wife is a common muse), places (Charleston street corners at night), and things (vases filled with delicate white flowers and greenery). So it’s no surprise that Stuckey’s upcoming solo show at Principle Gallery focuses on just that. Peoples, Places, Things opens October 4 and will debut more than 25 new paintings. That might sound like a grand tally, but just compare it to the number of new works he painted last fall for his “50 Portraits of Charleston,” an exhibition for which he painted 50 portraits of people making
positive impacts on Charleston—and one that got a lot of folks talking about his art. At just barely 30 years old, Stuckey was recently awarded a certificate of excellence from the Portrait Society of America and was a finalist in the Oil Painters of America’s 26th Annual National Exhibition. The accolades are nice, but most importantly, Stuckey just wants to capture beautiful things. “If I find beauty or interest in it, and it speaks to me, then I want to paint it.”
PRINCIPLE GALLERY 125 Meeting St, Charleston principlegallery.com 843-727-4500
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KRISTI RYBA If you’ve visited the Gibbes Museum of Art recently, you noticed more than just art on the walls; there’s also paintbrushes and half-finished works on easels in a dedicated studio for visiting artists on the first floor. The museum has been rotating through an impressive roster of visiting artists who use the space as their working studio for four to six weeks, including sweetgrass master Mary Jackson, mixed media artist Fletcher Williams, and abstract painter Tim Hussey.
subjects and messages of morality in paintings using 22k gold leaf and handmade egg tempera on wooden panels and animal skin.
Next up for the month of September: artist Kristi Ryba, whose bragging rights include winning the $25,000 second place prize in the prestigious ArtFields competition in 2018. Using the study of Medieval and Renaissance art as a reference, Ryba alludes to contemporary
GIBBES MUSEUM OF ART
One particular subject has dominated her recent work: the Trump administration. “This work from earlier times serves as a vehicle to simplify an urgent moral and political message by providing the symbolic and instructional imagery to illustrate and illuminate the leadership crisis we are in,” Ryba says.
Visiting Artist Series 135 Meeting St, Charleston gibbesmuseum.org 843-722-2706
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ANTWON FORD Antwon Ford began making sweetgrass baskets at the age of four. Growing up in Mount Pleasant, he’d watch his grandmother, Albertha, weave her signature "twist handles" and "elephant ears" for the family basket stand. By seven years old, he made his first sale: a two-piece top basket, known as a jewelry box, to a family member for $5. Now 34, Ford is still going strong. While he still feels Albertha’s influence today, he has certainly made the sweetgrass basket his own. And for Ford, that means involving math and science. His Grass in Motion series exemplifies the illusion of having a fourth dimension by “blending the mathematical and scientific concepts of dimension into one,” according to the sweetgrass basket artist. In 2012, Ford gained notoriety after presenting his
theory to the Association of Bone and Joint Surgeons. Ford hopes to inspire a new generation of artists to fuse science and art. His recent pieces have sharper angles and fewer “curls and swirls,” and he’s working on a new sculptural collection called Geechee Life that he expects to release in the fall. Neema Gallery recently started representing the artist, and it’s here that Ford hosts weekly Sweetgrass Basket Fridays, during which he discusses his mastery and talks all things sweetgrass (registration is required).
NEEMA FINE ART GALLERY 3 Broad St, Charleston neemagallery.com 843-353-8079
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SHANNON SMITH HUGHES You may know Shannon Smith Hughes for her family’s art dynasty. Hughes, along with her artist mother, Betty Anglin Smith, and artist brother and sister, photographer Tripp Smith and painter Jennifer Smith Hughes (they’re triplets!), own Anglin Smith Fine Art and have collectively been dominating Charleston’s fine art scene for decades. Call them the Wyeths of the Southeast. But while the family connection makes for an interesting story, Hughes has been proving again and again that you’d be ogling over her art, a Smith or not. Take her most recent recognitions, for example. Hughes has just been juried into the American Impressionist Society's 20th Annual National Juried Exhibition at the Salmagundi Club in New York City; last year, she won third place in the influential exhibition. She was also accepted into the prestigious Oil Painters of America's (OPA) 28th Annual National Juried Exhibition of Traditional Oils this year, while, in 2018, she was awarded the Impressionist Award of Excellence in the
OPA Salon Show Juried Exhibition of Traditional Oils. “Although my paintings are varied in subject matter, it’s my use of light that unifies my work,” Hughes explains. “I paint what excites me.” The artist is best recognized for her brushy, juicy paintings of old mossy oak trees and warm interiors. But in a summer group exhibition at Anglin Smith, she tackled something a little different: the female figure. "My recent figurative series of the nude is merely my continuing education,” she says. “I’ve been working in oils for 20+ years in all other subjects, but I never applied my oils and brushes to the classical nude figure. I’m so glad I did! Learning is growing and growing is learning. It never stops in art.”
ANGLIN SMITH FINE ART 9 Queen St, Charleston anglinsmith.com 843-853-0708
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KATHLEEN JONES Do you remember the china pattern from your mother’s dinnerware? Do you have flashbacks to the faded colors of your great-aunt’s Persian rug, or your piano teacher’s leopard-print sofa? Artist Kathleen Jones remembers these details. In fact, she’s infatuated by them—and she channels those little flashes of nostalgia into her art. “Most of my paintings are like snapshot collages of imagery from my life,” Jones explains. “I find inspiration in my environments, both past and present tense. Color combinations, rug patterns, organic shapes—all of these are pulled from my life.”
Although these compositions have been forming in Jones’ mind for as long as she remembers, it was just a year ago that she made the leap to creating art full-time, leaving her job as a teacher in Macon, Georgia. Since then, Jones has been tapped for the emerging artist show at Atlanta’s Anne Irwin Fine Art and sold out of her work in a summer group exhibition at Meyer Vogl Gallery in Charleston; both galleries now represent her permanently. “I’m not looking back!” she says.
MEYER VOGL GALLERY 122 Meeting St, Charleston meyervogl.com 843-805-7144 Summer 2019 | 41
2019 GRIFFITH-REYBURN
Lowcountry Artist of the Year
by Emily Reyna For artist Julia Deckman, Charleston is a feeling—a feeling she captures in her work of joyful street scenes using rich, saturated colors. Her most recent work-in-progress is the result of the Griffith-Reyburn Lowcountry Artist of the Year award, presented by the Coastal Community Foundation. This $6,000 grant is awarded each year to an artist to create a new work that embodies the Lowcountry’s culture and environment. “I’m incredibly honored and excited to have received this generous grant,” says Deckman. “It gives me the opportunity to pay tribute to this unique city I call home. Charleston is a very special and important place to me, and I believe moving back here in 2012 saved my life in many ways. I found the more time I spent in this beautiful city, the more alive, present, and peaceful I felt.” Summer 2019 | 43
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For the Griffith-Reyburn Award, Deckman plans to use a street scene on the corner of Society and Anson Street to capture the essence of life in the Lowcountry. It’s important to her to capture not one specific, identifiable place in Charleston, but the feeling when walking down any of the city’s streets. “I aim for my piece to depict a local’s stroll through Charleston,” she explains. “I want the finished product to evoke a sense of happy nostalgia for the people who make their lives here.” “Charleston gently woke me up out of an unfulfilling life and offered the perfect environment to earnestly pursue my dreams. I want to reflect these themes in my piece.”
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A LLISO N G I LD E RS LE E V E T I LT A W H I RL O C T 3 - 25 ARTIST RECEPTION T H U RS DAY, O C T 3, 5:30 -7:30 PM
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
A R T I S T TA L K : T H E G I B B ES MU S E U M O F A R T, O C T 4 , 12 PM T I C K E T S AVA I L A B L E T H RO U G H MU S E U M
Influence and Inspirat ion
Opposite: Untitled, 2019, By Jill Hooper (American, b. 1970); Unframed drawing stretched on canvas; Courtesy of the artist Right: Reclining Sunbather, 1972, By Frank Mason (American, 1921–2009); Sepia on cream paper; 20 5/8 x 15 inches; Courtesy of the Estate of Frank Mason; D091
EXPLORING ART THROUGH MENTORSHIP AND TRAINING by Allyson Sutton
As patrons of visual art, there’s a certain level of appreciation that comes with observing a new piece. Subconsciously, we make assumptions about the inspiration behind a piece. We aim to understand, at least to a certain extent, the amount of work that went into its creation. But rarely do exhibitions provide a deeper exploration of that process. Of the years—often decades —of toil and training that bring art to fruition. For classical realist painter Jill Hooper, training is the lifeblood of her creative process. Hooper’s commitment to craftsmanship has taken her to Florence,
Italy, where she studied figure drawing and portraiture with Charles Cecil, to the Universite de Haute Bretagne in Rennes, France where she studied printmaking, and to the mountains of North Carolina, where she apprenticed under Ben Long at the League of the Carolinas. Not to mention countless domestic and international trips to study works by the Old Masters and draw and paint plein air landscapes. This commitment to training will be on display during an exhibition at the Gibbes Museum of Art, where Hooper is the youngest living artist to ever be collected. Summer 2019 | 49
Influence and Inspiration: The Art of Jill Hooper, Ben Long, and Frank Mason, will explore the lineage of traditional training that unites three impressive classical artists: the late Mason, a noted American painter and longstanding teacher at the renowned Art Students League of New York; Long, a prolific fresco artist and classical painter who studied under Mason; and Hooper, who is internationally-recognized for her classical realist work. Just like the artwork itself, the inspiration and development of this exhibition has been years in the making. During a 2017 trip to the Metropolitan Museum in New York with Gibbes Museum Director Angela Mack, Hooper suggested they visit Mason’s studio, which is now maintained by his family. She’d been connected to his work through Long, her mentor, and hoped his materials might inspire some education offerings back at the Gibbes. The visit sparked an idea: why not explore the connectivity between Hooper, Long, and Mason? Mack suggested a possible show at the Gibbes to examine the relationship between these three artists, their artistic processes, and how a shared commitment to training has impacted their work. “These three artists are united through their style,” says Gibbes Curator Pam Wall. “We wanted to explore the lifelong relationships and stories that connect them.”
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Hooper quickly embraced the idea: “That lineage is crucial,” she says. “Frank had a real emphasis on craftsmanship and coveted the Old Masters and archival materials. He passed that onto Ben, who then shared it with me. It’s not only passing classical training through generations, but generations of friendships.” Hooper’s friendship with Long spans decades. When she was 15 years-old her then mentor D. Jeffrey Mims took her to see one of Long’s frescoes at St. Peter’s Catholic Church in Charlotte, NC, a work she describes as “the most phenomenal thing I’ve ever beheld.” After visiting the church, they attended an artist lunch where she was introduced to Long, who had mentored Mims years before. As we chatted, she laughed about feeling intimidated by Long at first; she now thinks of him “like family.” “We’ve all dedicated our lives to learning and being the best artists we can be,” says Hooper. “There’s a kinship in that. We are kindred spirits.” This show will be the Gibbes’ first-ever exploration of mentorship relationships among contemporary artists working today. “Our hope is that this exhibition gives a closer look at the importance of these relationships and finding these mentors to be inspired by throughout your career,” says Wall.
Susan in Costume, 1959, By Frank Mason (American, 1921–2009); Oil on canvas; 59 x 37 inches; Courtesy of the Estate of Frank Mason; P078
Self Portrait, no date, By Ben Long (American, b. 1945); Oil on linen; Courtesy of the artist
Influence and Inspiration will feature sketches, drawings, and finished paintings by all three artists. “The three of them are artists who are rare today,” shares Wall. “They take no shortcuts—they’ve trained rigorously, they grind their own pigments, create varnishes; it’s a level of preparation and dedication to the craft that you don’t always see and it’s reflected in the show.” The exhibition will primarily feature figure drawings and paintings, including new large-scale, never-before-seen pieces by Hooper and multiple works from her trip to Palestine a few years ago with humanitarian non-profit Order of St John. During our conversation, she spoke of sketching a nurse named Hani, trying to 52 | theartmag.com
capture his spirit despite the fluorescent lights and distractions of the hospital waiting room where they sat. She also sketched a young woman named Marwa in the small village of Anabta, entranced by the “tiger’s eye color” of her eyes and her willingness to sit despite suffering from diabetes-related pain. During her trip, she painted and drew 55 portraits, later auctioning the works in a fundraiser for the St John of Jerusalem Eye Hospital. It’s a process that would not have been possible without her extensive training. “You have to be quick. You have to know anatomy. You have to know how to troubleshoot, especially when the person in front of you is not a professional sitter,” she shares of the process. “You also have to bring joy.
Hani, 2014, By Jill Hooper (American, b. 1970); Oil on linen; Museum purchase; 2015.001
It’s not enough to just look like you’re having fun—you have to really mean it.” She learned much of this from Long. “Ben is a phenomenal draftsman, possibly the best living draftsman,” says Hooper of her mentor. “Seeing a drawing being produced in front of you with that kind of elegance and skill
and beauty—it makes it tangible. Being around someone with that level of skill and craftsmanship has been immensely helpful.” True to the intent of the show, visitors will also have a chance to experience the concept of “influence and inspiration” firsthand.
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Richard Maury, 2017, By Ben Long (American, b. 1945); Courtesy of the artist
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“Our programming with this exhibition focuses on the opportunity to engage with and learn from Jill directly,” says Lasley Steever, Director of Programs and Digital Engagement at the Gibbes. In addition to hosting a guided tour on opening day, Hooper will lead a plein air landscape painting demonstration and workshop alongside Ann Witheridge, founder of London Fine Art Studios. Over cocktails and conversation, participants will have the chance to paint their own watercolor or oil painting with expert guidance from these two master artists.
“Jill is such an educator and is so open to sharing her wealth of knowledge,” says Steever. “The workshop is a unique experience for people to ask questions, see Jill’s process in action, and then try it themselves.” Adds Wall, “Jill is such an inspiration to be around. Anytime you can soak up anything from her, take the opportunity.” Influence and Inspiration runs from September 6, 2019 to January 5, 2020 at the Gibbes Museum of Art. Tickets and information can be found at gibbesmuseum.org.
Living Longer by Michele Seekings
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“Art without conservators is like a house without someone making repairs—it’s going to go away. Conservators help preserve art for the future.”
Marion L. Hunter, Jr. specializes in the conservation of photographs and works of art on paper. This, at first, sounds straightforward, but a work on paper can be anything on paper, “everything from your grandmother’s handwritten recipe that is falling apart to a Rembrandt,” Hunter explains. Which can make things very complex. “Artists began using found objects in the second half of the 20th century, and even more so now. Artists are driven by creativity versus materials,” Hunter says. Which is how he once ended up conserving a piece by a Vietnamese artist who used coffee grinds brushed on paper as pigment. “Materials and techniques will determine what will last regarding artwork,” says Hunter. But everything breaks down
over time. “Art without conservators is like a house without someone making repairs—it’s going to go away. Conservators help preserve art for the future.” While most conservation treatments can be straightforward, every piece is different. “There are endless possible combinations of media and materials for artists to use,” Hunter says. “It’s impossible to know everything, but it’s important for a conservator to stay on top of things in their area of expertise.” To Hunter, issues and ethics are the hardest part of the conservation profession. “It’s the line between what we can and cannot do,” he explains. “Conservators are not the creators— the artist is the creator. A conservator has to have the sensitivity to look at something and see what makes it work and what makes it beautiful without Summer 2019 | 57
destroying it or otherwise creating something different.”
alone since that’s how the artist sold the piece.”
“Some people have asked me to create something different, like adding flowers to a hand or changing the eye color of someone’s eyes.” Which is something Hunter says he will not do. He’s even had requests to cut people out of photos!
Since paper is part of the value of a print, he won’t trim the original paper of a piece he’s conserving to a different size to fit a particular frame. “If, for example, you trim a Havell edition of an Audubon print, you may cut the Whatman Watermark that authenticates prints from the original Havell editions,” he explains.
“Conservators should respect and preserve the historic integrity of the artwork, trying not to change the artwork,” Hunter reasons. “Rather, I try to bring it back as much as possible to what the artist was trying to create.” Another important aspect of his profession is knowing when to stop. He showed me an artist’s fingerprint on the side of a work on paper and explained the ethical question: Should he in-paint it or leave it alone? His answer, “leave it
Climate is also a huge factor in conservation. “Having trained in New York City, one of the more challenging things I faced when moving here was at the degree of degradation of both works on paper and photographs due to the restless heat and humidity.” He had to re-think treatments and adjust to the effects of environment and lack of air-conditioning.
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As for the future of conservation, Hunter says, “it should be excellent; however, there are probably not enough conservators for the amount of work that is out there.”
American Institute for Conservation of Historic & Artistic Works (AIC) at a Professional Associate level. “You want a conservator that approaches a project very thoughtfully.”
It takes time to gain the necessary expertise. Hunter, who has an MFA in Photography from Pratt Institute, says a conservator should be trained through a program or through an apprenticeship. “I was an apprentice for seven years,” says Hunter, who apprenticed in NYC under José Orraca, a works on paper conservator who was a pioneer in the conservation of photography.
When asked about his advice for collectors, Hunter provided me a copy of his “cheat sheet” of Guidelines for the Storage, Display and Framing of Photographs and Works of Art on Paper in the Lowcountry, which he summarizes by saying, “Materials and framing are critical. Only use a qualified framer. Humidity and temperature are the enemy in South Carolina. If you take care of materials, temperature, and humidity you will extend the life of your piece.”
Hunter also suggests choosing a conservator who is a member of the
Summer 2019 | 59
PLAYFULLY PROFOUND
Ryan Lytle, More Than One Can Bear, needle felting with wool, 73 x 96 x 36"
HOW TWO LAKE CITY EXHIBITIONS SPARK CONVERSATION THROUGH ART by Allyson Sutton
Larger-than-life stuffed animals knit with vibrant hues like magenta and turquoise. Brightly-colored paintings depicting beloved cartoon characters like Popeye. A giant wool bear. An eight foot painting of a toy pirate ship. These are some of the works that will be on display in Lake City, South Carolina this fall; the wool creatures in a show called Animalia: Needle Felted Works by Ryan Lytle, and the toy paintings in a show titled Not All Fun and Games by Rafael Barros. And while both exhibitions are filled with some sense of childlike wonder, there’s a deeper meaning at play. “These exhibitions are fun to a certain degree,” explains ArtFields Executive Director Jamison Kerr. “But that’s not where it ends.” The ArtFields team has wanted to bring Barros’ work to Lake City ever since
visiting his studio during a trip to Miami in 2016. “We felt strongly about his work for years, and this ended up being the right time to bring him here,” says Kerr. “Many of the issues Rafeal touches on are timely and necessary conversations.” Originally from Colombia, Barros says he grew up in a culture where people “joke a lot” to cope with hardship and violence. His work draws upon that playful spirit and witty sense of humor to bring attention to social injustice. Says Barros, “I’m inspired by the dayto-day, the social trouble, the world in which we live. I might hear a news story or have my own lived experience that I want to represent, and I try to use humor to represent that in my paintings.”
Summer 2019 | 61
At first glance, his iconographic paintings look like modern depictions of our favorite childhood objects: trains, planes, Ring Pops, Lego’s, even characters from Star Wars and Toy Story. But upon closer inspection, a deeper message comes into view. The Ring Pops? Those call attention to marriage equality. Buzz Lightyear? He’s in a piece titled School Shootings. “I want to be a fly on the wall so I can see people doing double-takes,” says Kerr. “It’s that kind of work. At first glance, you think it’s one thing, but look a bit further and his message goes far beyond a simple toy.” Adds Barros, “If with my art, I can raise awareness and inspire someone to make a change, it’s a win-win.”
A few blocks away from Barros’ exhibition, visitors to Lake City can also catch the stunning works of Ryan Lytle, who was invited back for a solo show after winning this year’s sculpture award at ArtFields. His winning multi-piece installation, More Than One Can Bear, was attentiongrabbing not only because of its stature (it stands a staggering six feet tall and eight feet long) but because of its message: we all have a choice to act as prey or predator, and the way we choose to act affects those around us. The works he’ll display during Animalia will be similarly captivating and subtly complex.
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Rafael Barros, Gringo-Land, acrylic on wood, 30 x 30�
Right: Ryan Lytle, Dishonest Jest, needle felting with wool, 45 x 18 x 36” Below: Ryan Lytle, Until the Bitter End, needle felting with wool, 52 x 60 x 18”
“I’m interested in the predator/prey dynamic and how these roles can overlap into our own society,” shares Lytle. “I use rabbits frequently because they are a prey animal with a lot of predators, but they use their community and their instinct to protect themselves. Pieces like More Than One Can Bear show a role reversal of power, with the prey defying their natural instincts and overcoming their oppressors.” “Ryan’s work is bright and interesting and there’s an element of nostalgia to it,” says Kerr. “But it’s not just vibrant, fun colors. Upon closer inspection, you see the craftsmanship and technique that’s gone into it, and it brings a whole new level of appreciation.”
True to ArtFields’ mission, these two exhibitions are intended to make art—and the discussions that inevitably ensue—accessible to a broad audience. “We want our visitors to feel that art is for everyone,” says Kerr. “There’s a level of accessibility to these two artists’ work. Whenever you have exhibitions like these that are fun and bold and exciting, you may get people in the galleries that normally wouldn’t feel like it was their place.” The colors and characters of these two shows are meant to capture people’s curiosity, drawing them in to explore
a bit further, to consider different interpretations of the familiar, and to gain new perspectives. “Art prompts conversations,” says Kerr. “ArtFields is not here to tell anyone how they should feel or think or how to have these discussions, but it’s our job to give a platform to artists who aren’t afraid to talk about bigger issues. We’re excited to be part of the conversations that these two shows will spark.” Visit Animalia at Trax Visual Art Center and Not All Fun and Games at Jones Carter Gallery in Lake City, SC. Both exhibitions are on display from August 23 to October 19.
Summer 2019 | 65
Kaminer Haislip: Schoonhoven Silver Award by Emily Reyna
66 | theartmag.com
Charleston makes its way across the pond to Europe where local artist and silversmith Kaminer Haislip will exhibit her silver vessel, Gradual Erosion. “It was an incredible honor to have my silver vessel, Gradual Erosion, selected for the international Schoonhoven Silver Award. The opportunity to share my silver work with a European audience in both Schoonhoven, The Netherlands and Freiberg, Germany is very much appreciated,” says Haislip. “It’s the second time my silver hollowware has been exhibited in this special silver exhibition, and it’s a wonderful compliment.” The piece’s name is inspiration by natural erosion. “The vessel form was based on a mountain shape and the etched surface lines are my own artistic interpretation of the gradual linear disintegration. The erosion begins at the base of the vessel, so the center
line is tapered in to portray the slow breakdown of the mountain over time. The concept of erosion relates to the passing of time, what is lost, and what is taken away,” Haislip explains. Technique and craft are central to Haislip’s creative process when working with fine metals. “I crafted the vessel by fabricating sterling silver sheet, which was hammered over five different cast iron stakes to create the asymmetrical shape,” describes Haislip. “The linear surface design was drawn by hand and etched with nitric acid to create the erosion inspired texture. All aspects of the construction were done entirely by hand utilizing traditional silversmithing techniques.” Gradual Erosion will be on view at the City and Mining Museum in Freiberg, Germany from June 29 - October 2019.
Summer 2019 | 67
ART SHOWS
Jessica Pisano FEATURED ARTIST | Sept 6 – 27 Jessica Pisano has always been inspired by nature. It is her muse. “Birds, trees, and the sea are the heroes of my stories,” she says. To her, the varying elements of nature work together to create balance, a theme she explores in her work by using a combination of abstract and realism. “I use the traditional indirect painting techniques of the Old Masters by applying oil paint in many translucent layers,” she describes. “I also use contemporary techniques in which paint is loosely applied in an experimental and intuitive manner.” The combination is stunning. Pisano graduated from Lewis and Clark College in Portland, Oregon with a BFA in painting and photography. She participated in a year abroad program, studying fine art at the Lorenzo de Medici School in Florence, Italy. And in 2002, she earned an MA in Arts Administration from The School of the Art Institute of Chicago.
ATRIUM ART GALLERY 61 Queen St, Charleston 843.973.3300 | atriumartgallery.com
68 | theartmag.com
Marina Dunbar ECHO | Sept 6 – 27 Marina Dunbar uses oil paints and pigments to tint resin, which she then spreads across wooden panels. The layers of multicolored resin overlap, creating deep and vibrant colors. In her solo show Echo, Dunbar creates diptychs, triptychs and multi-panel paintings as a contemporary revisiting of the tradition of storytelling through a multi-panel display. “The exhibition challenges viewers to consider the correlation of grouped images to each other,” she explains.
MILLER GALLERY 149 ½ East Bay St, Charleston 843.764.9281 | millergallerychs.com
Summer 2019 | 69
ART SHOWS
Mary White WE THE PEOPLE | Oct 25 – Dec 22 This exhibition has been seven years in the making. Mary Whyte created We the People to honor our country’s veterans through art, creating a series of 50 large-scale watercolor portraits of modern day veterans of all ages and from all walks of life reintegrating back into society and the workforce. “I set out on a project to paint the face of America,” Whyte says. “What I discovered in my travels across America was an astonishingly beautiful country as 70 | theartmag.com
well as an extraordinary group of men and women willing to do whatever it would take to preserve its abundance of blessings.” The collection debuts at City Gallery and will then go on a national museum tour.
CITY GALLERY 34 Prioleau St, Charleston 843.958.6484 citygalleryatwaterfrontpark.com
ART GALLERIES
Dare Gallery
Photography, sculpture, pottery, jewelry, glass, metalwork, and–yes–paintings: a broad and colorful spectrum of artwork can be found at Dare Gallery on Broad Street. An outgrowth of its older sister Sandpiper Gallery, Dare’s been in business for 14 years—a long time in Charleston’s gallery world. Many of the artists are local, and much of their art exudes Lowcountry and bursts with color. Be sure to check out paintings by Tammy Papa, who’s exhibiting new work in October, Leslie Pratt-Thomas, and Andre Lucero, as well as wrought iron pieces by Aaron Heisler.
31 Broad Street, Charleston edwarddare.com 843.853.5002
72 | theartmag.com
The Vendue “Art hotel, not hotel art.” That’s the thinking behind The Vendue’s art program and gallery space. Featuring two to three different group exhibits per year in the hotel’s public areas, the hotel offers a full-time art docent that provides daily tours and to answer any questions about the exhibit or art program. Its current exhibition Fortunate features artwork inspired by fortune cookie fortunes. This exhibit is helping raise funds for local non-profit, I Heart Hungry Kids, and its mission of kids helping kids fight hunger.
19 Vendue Range, Charleston thevendue.com 843.577.7970
Summer 2019 | 73
ART GALLERIES
The George Gallery Charleston contemporary art enthusiasts need no introduction to The George Gallery— although if you haven’t yet visited its new location on Broad Street, you should. After an impressive, and sold out, exhibition of works on paper from the estate of William Halsey this summer, the gallery is looking forward to a solo show for NYC-based artist Allison Gildersleeve in October. The show, Tilt-A-Whirl, is an output of Gildersleeve’s yearlong residency at the Sharpe-Walentas Studio Program in Brooklyn. Artists Frank Phillips, Catherine Booker Jones, and Paul Yanko are also among the gallery’s roster of artists.
54 Broad Street, Charleston georgegalleryart.com 843.579.7328
74 | theartmag.com
Sandpiper Gallery
Whether you find artist and owner Karen Hagan or one of her gallery’s 40-something other artists with a wet paintbrush in hand, it feels like someone is always creating at this expansive space on King Street. Perhaps that’s why the gallery has such a contagious energy. Hagan’s body of work consists of impressionistic Charleston street scenes and painterly landscapes; the other artists’ work varies from whimsical European streetscapes to handmade iron light fixtures.
2201 C Middle Street, Sullivan’s Island sandpipergallery.net 843.883.0200
Summer 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
Summer 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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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
QUEEN STREET PLAYHOUSE 20 Queen St | 843.722.4487 footlightplayers.net
THRU SEPT 7: SIMPLY IRRESISTIBLE
OCT 11 – 27: BORN YESTERDAY
The faculty of Arden High return for a new musical-comedy to the max.
PURE THEATRE 134 Cannon St | 843.723.4444 puretheatre.org
SEPT 20 – NOV 16: CAN’T BUY ME LOVE To win their inheritance, a career-driven executive must get married in three days in a new ‘80s musical from the creators of Uptown Girl. NATIONAL THEATRE LIVE AT 34 WEST SEPT 29: THE LEHMAN TRILOGY OCT 20: ONE MAN, TWO GUVNORS CHARLESTON STAGE AT DOCK STREET THEATRE 135 Church St | 843.577.7183 charlestonstage.com THRU SEPT 22: FOOTLOOSE THE MUSICAL OCT 16 – NOV 3: NEVERMORE
80 | theartmag.com
THRU SEPT 14: LAST RITES
OCT 11 – 19: OSCEOLA’S MUSE VILLAGE REP AT WOOLFE STREET PLAYHOUSE 34 Woolfe St | 843.856.1579 woolfestreetplayhouse.com THRU SEPT 8: SUMMER AND SMOKE By Tennessee Williams In turn-of-the-century Mississippi, the local minister’s daughter walks the line between piety and sensuality with the neighborhood doctor who grew up next door.
A piece about the fragility of a moment and its effects on one’s identity. Told out of chronological order, it follows the title character as played by six actresses and one doll. OCT 24 – NOV 9: AND THEN THERE WERE NONE by Agatha Christie Ten strangers are lured to Indian Island by a mysterious host who accuses each person of murder once they arrive. Unable to leave the island, the guests begin to share their darkest secrets— until they begin to die. A suspenseful thriller aptly timed for Halloween.
SEPT 20 – OCT 12: MARY PAGE MARLOWE by Tracy Letts
DAMN. GOOD. THEATRE.
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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
VERNER FIRESCREEN
“PURR MACHINE” ELIZABETH FOSTER 36 X 60 | ACRYLIC ON CANVAS
CURRENTLY ON DISPLAY Thirty works of art by thirty artists, each accompanied by the fortunes used to inspire them. This exhibit will help raise funds for local non-profit, I Heart Hungry Kids, and their mission of kids helping kids fight hunger.
UPCOMING EXHIBIT GLOW: Vibrant Paintings & Sculptures by more than 20 artists Opening November 24th Juan Cossio ‘Zen Dream’ mixed media on panel 71 x 32 in
19 VENDUE RANGE CHARLESTON, SC
THEVENDUE.COM