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SEWE The Premier Gathering for Wildlife Artists
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BUILDING A COLLECTION
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MAVERICK WOMEN National Association of Women Artists SC Chapter
ARTFIELDS Small Town, Big Impact
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62 FEAST FOR THE EYES
BIRD’S EYE VIEWS Joseph Bradley Gret Mackintosh Marissa Vogl Karen Hollingsworth Kate Hooray Osmond Michael Cyra Raven Roxanne Robert Lange William R. Beebe West Fraser Catherine Erb Michael Dickter
ON THE COVER:
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68 NEW ARTIST. NEW GALLERY. Keith Tolen at Neema Gallery
72 ART GALLERIES Grand Bohemian Art Gallery Dog and Horse Fine Art Horton Hayes Fine Art W. Andre Allen Contemporary Art Gallery
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Feast for the Eyes, p.62
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The Premier Gathering for Wildlife Artists FEBRUARY 15–17 by Allyson Sutton
For three days each February, downtown Charleston is filled with hunting dogs, birds of prey, and outdoorsy types decked out in leather boots and Barbour jackets. And while it might look like they’re filming a remake of Jumanji, these crowds fly south each year for the Southeastern Wildlife Exposition, or SEWE, a weekend celebration of wildlife, nature, and conservation. The largest event of its kind in the nation, SEWE welcomes nearly 40,000 attendees each year, eager to learn from wildlife experts, enjoy gourmet culinary experiences, and see highly-trained pups show off their skills.
But SEWE isn’t just fly fishing demos, oyster roasts, and dock dogs. Launched in 1983 as solely a wildlife art show, the Expo is now one of the largest wildlife art events in the country, and an international destination for collectors and creators of the genre. This year, over 125 distinguished wildlife artists will travel to Charleston to show their works, including renowned rock artist Stephen Townley Bassett and fine art painter Michelle Decker, both from South Africa. For the Traditionalist: Vivian Boswell (top left) For the Dog-lover: Lou Pasqua (bottom left) For the Contemporary Sculpture Collector: Eric Tardif (above)
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For the Contemporary Collector: Larry Moore
“Even as the event has grown, we’ve always remained steadfast to our roots,” says Natalie Henderson, SEWE Art Curator. “Art is the heart and soul of SEWE.”
“When we’re curating the show, we make sure all the art is nature-inspired,” says Henderson. “Within that, we’re able to get a pretty vast range of styles and subject matter.”
During the Expo, visitors can peruse hundreds of original works in a range of mediums, spanning from pastel and oil paintings to intricate wood carvings and sturdy steel sculptures.
This year’s schedule includes an array of ticketed and public art events, including an opening night party at the Gibbes Museum featuring works by master sporting arts painter Ogden Pleissner. Dealers and collectors can vie for
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For the Safari Collector: Grant Hacking
antique decoys and 19th-century wildlife paintings during private auctions led by Boston-based Copley Fine Art Auctions, the world's premier sporting art auction company. And art enthusiasts can browse works for sale in the Fine Art Gallery at Belmond Charleston Place or the SEWE marketplace at the Gaillard Center. Each year, SEWE also chooses a featured artist through a juried selection process, a unique honor and a chance to earn international acclaim. “We know about two years out who’s coming down the pipeline,” says Henderson. “We always want to make sure that the work is distinctive each year.”
Previous featured artists have included Kathryn Turner, whose watercolor and oil paintings capture the wild spirit of the West, Ezra Tucker, a Colorado artist who creates old-world portraitures of animals, and Grant Hacking, a South Africa native who paints vivid depictions of American and African big game. This year, the selection committee chose Pittsburgh-based painter Lou Pasqua. “Lou is brilliant sporting artist,” says Henderson. “As an avid outdoorsman, he’s spent a ton of time with and has very intimate knowledge of sporting dogs. We haven’t had a dog as the featured work since the ‘80s, so it’s fun to go back.”
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For the Dog-lover: Lou Pasqua
Pasqua’s featured painting, “Little Havoc,” will be auctioned off at the signature gala. February’s event also highlights two guest artists, Marylandbased bronze sculptor Walter Matia and Wyoming-based bronze sculptor Sandy Scott. “The artists we work with are passionately involved with their subject matter. If you see work by a sporting artist, chances are they are a hunter or fly-fisher,” says Henderson. “So many of them are conservationists, so there’s a mission behind what they’re doing, too. It’s very rewarding to be able to promote their work.” As SEWE continues to grow both in attendance and notoriety, the programming has evolved beyond traditional art shows and auctions, making
wildlife art—and SEWE’s larger mission of preservation and conservation—accessible and relevant to new audiences. “We’ve started incorporating more contemporary wildlife artists,” says Henderson. “Patricia Griffin’s work has a major ‘wow factor’ and Carrie Wild has a fantastic, vibrant style. Larry Moore painted an amazing series called ‘Intrusion’ which brings a really fresh perspective to wildlife art. It’s been fun to incorporate these new interpretations of the genre.” Attendees looking to experience wildlife art beyond the gallery walls can check out high-energy events like the Quick Draw and Speed Sculpt, a fast-paced competition that gives artists one hour to paint or sculpt an original piece, or Winter 2019 | 13
For the Traditional Sculpture Collector: Stefan Savides
the Live Action Auction with YETI, an exciting live-painting event featuring artists Ryan Kirby and Chad Poppleton painting epic outdoor scenery on the brand’s signature coolers. Another major arts component of SEWE is the “Host an Artist” program, a donor opportunity that helps provide hotel stipends for visiting artists. “This was the brainchild of our Executive Director and it’s been really successful,” says Henderson. “So many of our artists come from across the country and the costs can add up. Hyatt has been a great partner to make the trip more accessible.” Beyond the three-day event, SEWE organizes several arts-education 14 | theartmag.com
programs, including Junior Duck Stamp, which integrates wildlife and nature education with a visual arts curriculum, Kids for Conservation, a Tri-County student art competition, and Artists in Schools, a unique opportunity to bring the wildlife artwork of SEWE into the classroom. “These programs are such a great way to spread this movement of wildlife art education outside of the event,” says Henderson. “Artists in Schools has even grown internationally, with some of our South African artists working with schools in their local communities.” To learn more about the 2019 Southeastern Wildlife Exposition or SEWE’s year-long arts education programs, visit: sewe.com.
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Building a Collection
by Michele Seekings Art by Raven Roxanne & Gret Mackintosh
Contemporary art is one of the faster growing asset classes among investors. Traditionally, an asset class includes stocks, bonds, and gold, but an interesting shift in today’s high-net-worth individuals is the shift in investing more in alternative asset classes. These alternative asset classes include art, wine, and luxury cars, and more investors have been consciously investing in art to diversify their asset holdings into luxury commodities that parallel their lifestyles. Simply put, they’re investing in things they like. 16 | theartmag.com
And it looks like this may be paying off. Art was the fastest luxury appreciating asset class of 2018. Art, according to The Wall Street Journal (Avantika Chilkoti, December 31, 2018), even outperformed stocks and bonds this year: “Investors who put money into art at the beginning of the year saw an average gain of 10.6% by the end of November, according to Art Market Research’s Art 100 Index, the closest thing the industry has to a benchmark.” “Contemporary art now is a product more commodified than ever before,”
observes Paul Fisher, Director of Art Collection Management for AIG Private Client Group. How do you navigate and collect in this growing market of investment and commodity? Paul’s advice: Buy what turns you on and go in that direction. And it’s ok to ask for advice. “Copycat collections get boring, although they may be valuable,” says Fisher. “The best collections have meaning to the collector. Begin with what your collecting interest is and let that be the cornerstone to build your collection. This helps give your collection purpose.” Commonly that starts with simply buying what you like. “I most often hear collectors from all corners of the country say that they bought what they liked,” he explains.
A person’s focus generally evolves with their collection. “As collectors explore the ‘tributaries’ of the genre of art they collect, collectors shed earlier ‘mistakes,’ swap, and upgrade their art,” says Fisher. The evolution of a person’s art collection is often just as interesting as the collection itself. “You can see a progression in the art acquisitions of certain collectors,” observes Zinnia Willits, Director of Collections and Operations at the Gibbes Museum of Art. “At first they acquired what was affordable–always looking for quality, even if a piece was small. Then moved on to larger pieces as finances were available, often backtracking to pick up a seemingly less valuable piece by an artist to round out the collection, add depth, and to continue the story.” This takes some self-awareness and reflection, but it all adds up to make
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a great collection. “People collect and create an environment around them which is their own identification and interpersonal brand,” adds Fisher. This is something Willits has noticed too. “I love to see if the person ‘matches’ their collection, and I’m often surprised. Collecting art is a passion project and allows the individual endless means to express themselves freely by what they acquire, which may not be the case in other aspects of their lives.” As with any passion, learning to express yourself takes some education. “You can’t learn about art or what you like regarding art by reading about it,” advises Fisher. “You should get out and see art. Meet people along the way who are interested in art. Using art advisors to guide you can be helpful.” He encourages collectors to go to art shows and galleries frequently. He highly recommends going to your local museums and check out all new exhibitions. “I have clients, friends, and colleagues that devote one to two hours a week visiting a museum or other art initiatives,” Fisher says. This will help set the parameters to build a great collection, no matter the investment reasons.
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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
Small Town
Big Impact by Allyson Sutton
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Nestled about 30 minutes south of Florence, South Carolina lies a quaint little place called Lake City. With its 7,000-person population, old brick warehouses, and quiet downtown streets, Lake City might seem like any other sleepy small town. But as you stroll past outdoor art installations and colorful, large-scale murals, you’ll quickly realize this isn’t your average map dot. With the help of an annual event called ArtFields, this rural Southern town has
defied stereotypes and transformed itself into one of the country’s most thriving art destinations. Once a flourishing agricultural city, the former “Bean Capital of the World” fell on hard times when the market declined in the mid-1900s. Businesses shuttered, locals moved away in search of new opportunities; Lake City wasn’t much more than a mile-marker off of Highway 52. Winter 2019 | 21
Heather Thorton, ‘Graft’, 56 x 36, collage. Showing in ArtFields 2019.
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That was until 2012, when Lake City native Darla Moore returned to town. Deemed one of the most powerful women in American business, Moore had a highly successful career in finance in New York and was the first woman profiled on the cover of Fortune. Proud of her hometown and hoping to save it from further decline, she hatched a comprehensive plan “to reignite Lake City's energy and economy, and to forever change the lives of Southern artists, through art.” The cornerstone of her plan? ArtFields, a bustling nine-day art competition and festival that infuses the town with liveliness and celebrates creatives from across the region. To say her plan is working would be an understatement. The event has grown both in attendance and impact every year since it first launched in 2013. Last year, USA Today named Lake City as the 'best small town cultural scene’ in America, an award that Seth Kines, Founder and Executive Director of Visit Lake City SC, calls “a testament to the power of ArtFields.” In addition to the Jones-Carter Gallery (a Smithsonian-certified art space), over 40 local businesses temporarily transform into art venues during ArtFields, from bakeries and barber shops to Mexican restaurants and mattress stores. “I love how Lake City, this little unassuming town, turns into a mecca for art and artists,” says Natalie Daise, a painter and storyteller whose piece ‘The Evolution of Cornbread’ was displayed
during the 2018 event. “There's music and food and children playing on the greens. An eclectic group of artists and art lovers roam the streets talking about art. It's magic.” Johns Island-based watercolorist Anita Laudone has competed in juried shows at ArtFields for the past three years, and she will show her work in Lake City again this spring. She’s excited to be part of an effort that champions creativity and makes art accessible to all people, no matter their background. “By taking art out of the formal museum and allowing viewers to appreciate it in everyday settings, ArtFields reinforces the sense that art is alive, to be lived with and to enrich our daily life,” says Laudone. “Because the art runs the gamut from the traditional to cuttingedge, from painting to sculpture to installation to video, it allows those visiting to further expand their idea of what ‘art’ can be.” Each year, the competition offers more than $140,000 in cash prizes, including the juried $50,000 grand prize and $25,000 second place awards, and two $12,500 People’s Choice awards, determined by attendee votes. This year, ArtFields has added twelve, $1,000 State Awards, honoring one artist from each of the qualified Southern states. Kristi Ryba, a Charleston artist who won second place last year for her installation ‘The Chapel of Perpetual Adoration,’ says ArtFields offers a platform to connect with new audiences that she may not otherwise encounter. Winter 2019 | 23
“As a South Carolina artist, there are few opportunities to showcase our work where so many different people will see it,” says Ryba. “ArtFields has been a wonderful addition as it connects artists from all the states in our region.” For Heather Thornton, ArtFields marked an important stepping-stone in her career. The 2017 event was her first experience showing work outside of Charleston, an opportunity to build confidence and meet art curators, critics, and fellow creatives. “As an emerging artist, ArtFields encouraged me and made my work feel more valued,” says Thornton. “I felt like a part of something larger.”
Hers is a sentiment that many Charleston-area artists share. “When I first learned of ArtFields, it seemed like a great opportunity to gain some visibility,” says Vince Lombardy, a Summerville artist whose mixed-media piece ‘Channel 99’ was in last year’s competition. “After participating, I saw it was much more than that. ArtFields is a celebration of Southern art and artists. It is an opportunity to share our talents and perspectives, learn from each other and revel in the diversity of community that ArtFields has nurtured.” As the event’s benefactor, Darla Moore, had hoped, ArtFields has certainly made its mark on the lives of Southern artists. Now entering its sixth year, ArtFields
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2019 is set to be one of the largest yet, with over 385 participating artists and nearly 50 exhibition venues. “We received more artist submissions than ever before, with more equal representation across the 12 eligible states,” says Jamison Mady, Creative Project Manager for Lake City Creative Alliance, the local non-profit that manages ArtFields. “Growing awareness across the Southeast means that we are truly exhibiting the best the region has to offer.” But ArtFields’ impact hasn’t just been isolated to the creative scene. This nineday event has been a major catalyst for economic growth in the small South Carolina town.
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According to Kines, ArtFields is often a more profitable time of year than Christmas for local retailers. He recounted the story of Deanna’s Bath & Body, a downtown shop whose owner was able to purchase and renovate her building thanks to ArtFields. Deanna’s story isn’t an anomaly; there are markers of economic revitalization at almost every turn. “Since ArtFields started in 2013, we have seen our downtown come to life with new businesses, new opportunities, and more year-round foot traffic and out of town visitors,” says Mady. “The transformation from empty storefronts to shops that are full of life has been remarkable to witness, and there is no sign of it slowing down.”
This year, Lake City Creative Alliance will open two new permanent art venues, including the TRAX Visual Art Center. At 5,000-square-feet, this impressive space is set to be one the largest art centers in South Carolina. The town will also unveil a new, state-of-the-art visitors center in April, providing a central hub for travelers throughout the year. They’re also in the process of completing additional downtown renovations, including upgrading storefronts along some of the main streets and adding new residential units upstairs. “We added ten apartments in 2018, and they were rented before they were even ready,” says Kines. “We’re adding 10-14 more this year and already have a waiting list.”
The population of Lake City nearly triples during ArtFields, with more than 20,000 visitors stopping through town to partake in the event festivities. To handle this influx of guests, the town of Lake City is developing a 35-site luxury RV park and working on ways to help residents rent their spare rooms, including hosting an upcoming seminar with an employee from Airbnb. “Our boutique hotel, The Inn, gets booked up well in advance of ArtFields, so we realized we needed more options for artists or tourists coming to town,” says Kines. With the addition of these new spaces, Lake City has quickly become a thriving destination for festivals beyond ArtFields,
Anita Laudone Harley, ‘Beauty is Life Deep’. Showing in ArtFields 2019.
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including the South Carolina Tobacco Festival and the Rhythm & Q’s BBQ and Live Music Competition, which offers the largest prize money in the state for an event of its kind. According to Kines, Lake City also played host to 14 statewide conferences in 2018, including events for the American Institute of Architects and the South Carolina Independent School Association.
receives a $55,000 incentive package to jumpstart their brick-and-mortar business.
“Had it not been for Artfields, everything else that we’re doing may not be going on,” says Kines. “ArtFields was the catalyst for so many economic drivers in Lake City. Now we figure out how to take it to the next level, year over year.”
“ArtFields has made the impossible seem possible,” says Mady. “It has bridged gaps between groups of people who never had a reason to interact before. Many visitors have told us that they look at Lake City as an incredible example of what a small town can accomplish. We hope that those visitors can take that energy and inspiration to make a difference where they live, too.”
Perhaps nothing illustrates that vision for progress better than Lake City Launchpad, an exciting economic development effort that started last year. This six-month small business competition helps entrepreneurs open storefronts in downtown Lake City; the winner commits to a four-year lease and
The inaugural winner, a new restaurant called Piggyback’s BBQ & Catfish, opens later this month on Sauls Street, right in the heart of historic downtown. In true Lake City fashion, they’ll transform into a gallery during ArtFields 2019.
Learn more about ArtFields at artfieldssc. org and discover all of Lake City’s attractions at visitlakecitysc.com. ArtFields will be held April 26 – May 4.
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Joseph Bradley, ‘Goldfinches’, 48 x 36, oil and metal leaf on panel
Perhaps more than any other animal, humans are fascinated with birds. We admire birds, we make a hobby of peering at them through binoculars; we lure them into our yards with seed; some of us even tattoo them onto our bodies. What’s the enchantment? It may be this: Birds have access to something we never will—flight. We humans can fake flight all we want, but we’ll never truly know what it feels like to simply spread our wings and soar. But can you imagine? Here, 12 artists take inspiration from birds—both in their true form and in what they see from the heavens. by Katie Kerns Geer Winter 2019 | 31
Joseph Bradley, ‘Finches And Blossoms’, 36 x 48, oil and metal leaf on panel
JOSEPH BRADLEY “I began painting birds around the same time I started gardening,” Joseph Bradley says. “I noticed that certain birds would gather near specific plants.” An artist fascinated by imagery, Bradley paints birds—typically goldfinches—in a rhythmic pattern. Look at the work long enough, and you lose a sense of the subject, though you can quickly come back to it by fixating on just one member of the flock. According to the artist, the work is a process of layering, intuition, and experimentation. “I think all of my paintings are about taking notice of what I see right in front
of my face,” Bradley adds. “Birds are constantly teaching us about rhythm, pattern, and balance.” The artist’s repertoire expands beyond birds, though animal imagery is usually the focus. Koi fish is another common subject. “My work is meant to depict concepts of our relationships with the environment and the emotions these relationships elicit.”
ATRIUM ART GALLERY 61 Queen St, Charleston atriumar tgallery.com 843.973.3300
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Gret Mackintosh, ‘Bermudaful’, 24 x 24, mixed media on panel
Gret Mackintosh, ‘Lighthouse Creek’, 30 x 30
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Gret Mackintosh, ‘Charleston Harbor Mini’, 6 x 8
GRET MACKINTOSH “I love looking at Google Earth,” admits Gret Mackintosh, a somewhat new-on-the-scene artist who paints out of a studio in Charleston’s Redux Contemporary Art Center. This fascination with online aerial views joined forces with a background in landscape architecture and love of water to push her to explore aerial landscapes as her next series of paintings—“my first series as a full-time professional artist,” she adds.
The series will focus on Lowcountry waterways. “The patterns made by the water combined with our manmade environment are endlessly fascinating,” says Mackintosh. “I start by gridding off the canvas and sketching the map out in a rather formal way”—that’s her inner landscape architect at work. “Then the real fun starts. I choose a color palette to work with and explore different materials, textures, shapes, and layers.” She calls the final result a map-meetsabstract-art mish-mash. gretmackintosh.com Winter 2019 | 35
Marissa Vogl, ‘J.J.’, 8 x 8, oil on birch panel
Marissa Vogl, ‘Lady of the Hour,’ 8 x 8, oil on birch panel
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MARISSA VOGL Marissa Vogl’s last name is also the German word for bird (though that’s spelled “vogel”). That alone is enough to spark a connection with the feathered animal, but for Vogl, who grew up in Montana, there’s more. “For as long as I can remember, my mother would stand at the window searching for the first sight of spring—a bluebird,” she says. “We’d celebrate at the first spotting and call all our family members to let them know spring had arrived.” The Vogls revered the bluebird so much that her grandfather built bluebird houses for all of his children, and they lined them up along their 20 acres of barbed wire fence at the base of the Elkhorn Mountain range. “After my grandfather passed, we all believed
he visited in the form of a bluebird,” she says. Today, Vogl paints birds in bright colors and with loose brushstrokes—typically on an 8” x 8” birch panel. Each bird exudes personality, reinforced by names such as “Dolly,” “Eeyore,” and “The Bouncer.” The paintings have become quite coveted; in fact, hundreds of collectors, called “Vogl’s Bird Watchers,” receive a monthly email for first dibs on the newest paintings, which quickly fly out the window.
MEYER VOGL GALLERY 122 Meeting St, Charleston meyervogl.com 843.805.7144
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Karen Hollingsworth, ‘Noble’, 22 x 28, oil on canvas
KAREN HOLLINGSWORTH Karen Hollingsworth paints birds and other animals, from regal-looking zebras to tiny inchworms, with a bend towards realism. What makes the work dreamlike and somewhat whimsical is the animals’ whereabouts—the birds are not in a tree or nest or sky, but perched on top of an elephant that happens to be in a boat, or a box of crayons, or crinkled Starbucks bag, usually set against a stark black background. “Birds are a subject that I have always enjoyed painting,” Hollingsworth says. “Painting birds is pure joy, but at the same time they are challenging for me to paint and capture their distinctive personalities.”
But capture their personalities she does. Some of Hollingsworth’s birds exude curiosity; others are proud; others are mischievous. No matter what the bird is thinking, or where he’s perched, she draws the viewer in to look and linger a little longer.
PRINCIPLE GALLERY 125 Meeting St, Charleston principlegallery.com 843.727.4500
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RIght: Kate Hooray Osmond, ‘Rig’, 36 x 24, oil and gold left on canva Below: Kate Hooray Osmond, ‘Port’, 60 x 60, oil and gold leaf on canvas
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Kate Hooray Osmond, ‘Transposition’, 40 x 60, oil and white gold leaf on canvas
KATE HOORAY OSMOND When Charleston artist Kate Hooray Osmond isn’t in her art studio, you may be able to find her 1,000 feet up in the air, in a helicopter, looking down. The artist is fascinated with viewing the earth from this entirely different perspective— from a bird’s eye view. She recreates those views with paint and gold leaf, often depicting coastlines and aerial peeks at different industries, such as ports and factories. The industrial work turns a potentially drab picture into something beautiful, showing off its patterns and sequencing and color. And while it’s beautiful, the artist says her work is intended to prompt viewers to consider social issues.
“If everything is made of energy and motion, then all things are connected,” Osmond says. “Things that are close to us and things that we hold dear are just as colorful and vibrant as those things that are unfamiliar and daunting. Time has brought all of us to this moment of wonder. Take a look around you. Life is sweet and will shine through.”
MILLER GALLERY 149 ½ East Bay St, Charleston millergallerychs.com 843.764.9281
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Michael Cyra, ‘Taking Flight’, 20 x 20, oil on canvas
MICHAEL CYRA Humans may never know what it feels like to spread their wings and fly, but—thanks to drone technology— we can create pretty incredible photographs of what birds must see from way up there. Using images from his own drone camera, photographer and painter Michael Cyra recently found inspiration for a series of aerial-view oil paintings. "The first time you see the Lowcountry marshes from an airplane, you can’t help but be mesmerized by the meandering waterways,” Cyra says. “I can see like a bird with my drone, which provides references from a unique perspective—an artist with wings.” The artist says that painting the scene allows him to share a mood and atmosphere beyond what he is able to capture on film.
HAGAN FINE ART 177 King St, Charleston haganfineart.com 843.901.8124 Winter 2019 | 43
RAVEN ROXANNE ravenroxanne.com
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"My parents named me after a bird, and I’ve felt a connection to them since I was young.” So says Raven Roxanne, the Charleston artist whose bird paintings and abstract “Nest” series have helped ignite the art bug in many budding collectors—many of whom make up the artist’s more than 30,000 Instagram followers—and attracted the attention of big-name retailers alike.
“I like the idea of how birds represent freedom and love,” she says. She’s also found that admirers often find their own personal stories in her work. “Through my connection to birds, and the way I depict them in my work, I’ve found an audience who finds representations of people they love in the birds in my paintings. I think birds carry a symbolism within them that is beautiful and different for everyone.”
In the spring, a national retailer will be releasing a tabletop collection featuring Roxanne’s birds, and she plans to set loose a new collection from her bird series toward the end of the summer.
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Top: Robert Lange, ‘Down to Earth’, 9 x 16, oil on panel Bottom: Robert Lange, ‘Holding On And Letting Go’, 9 x 16, oil on panel
ROBERT LANGE At the heart of Robert Lange’s paintings is imagination. A miniature panda bear resting inside of a shiny, tin bowl; chocolate-glazed donuts duct-taped to the wall; a man in camo shorts soaring over a snowy mountain range—the artist’s hyper-realistic paintings drift past what he calls “the line of possible.” The work also exudes a sense of optimism, which is the thinking behind Lange’s series that depicts people flying, leaping, swinging, and tumbling through the atmosphere. "There is a calling that comes from within,” Lange says. “It may be a whisper for some or a shout for others. This calling asks us to live an authentic life. A life filled with purpose, love, and joy. My hope is to depict subjects in the act of listening to this calling.” Lange says of the series, “Perspective is an important thing. Reflecting on our day to day rather than going through the motions of life is often a challenge. The subjects in this series are doing just that, viewing their life from above and finding inspiration through this new viewpoint."
ROBERT LANGE STUDIO 2 Queen St, Charleston rober tlangestudios.com 843.805.8052 Winter 2019 | 47
William R. Beebe, ‘Striking a Pose’, 30 x 24, oil on canvas
William R. Beebe, ‘Henry the Great’, 24 x 30, oil on canvas
WILLIAM R. BEEBE For years, artist William R. Beebe has kept an almost daily routine. He observes birds in nature, and then he photographs them. “I love the challenge of capturing birds in striking poses and in action,” he says. “Brown pelicans, great blue herons, and great egrets have become my muse.” Then, he paints them. His recent move to Charleston provided ample access to marshland and its winged inhabitants. Beebe has been painting professionally for over 30 years, and in addition to his
aviary art, these days he’s also working on a body of Charleston streetscapes and maritime scenes. “I try to approach each new work with fresh eyes, allowing myself moments of spontaneity in the painting process and appreciating it when the paint surprises me," he says. williamrbeebe.com
Winter 2019 | 49
West Fraser, ‘Peregrine's Perch,’ 36 x 50, oil on linen
WEST FRASER When a bird flies over the Charleston peninsula, he’s in for a treat—a rainbow of historic homes, church steeples, and rooftops. For many years, artist West Fraser has been painting this Charleston “rooftop” view seen only by birds and people with access to high places. What keeps bringing him back to the subject? “Several years back, an art critic compared me to Canaletto, an Italian painter born around the same time my ancestors were settling in South Carolina,” says Fraser. “In the early 18th century, Canaletto actively painted 50 | theartmag.com
urban cityscapes of London and Venice. He is regarded as a precursor to Impressionism.” “The rooftop views of Charleston, along with hundreds of street scenes, are in keeping with a long tradition of urban art,” he adds. “All of this contributes to my goal of compiling a 'portrait of place' of my very paintable, adopted city of Charleston, South Carolina.”
HELENA FOX FINE ART 106 Church St, Charleston helenafoxfineart.com 843.723.0073
Catherine Erb, ‘Cloud Study 9’, mixed media photo encaustic
Catherine Erb, ‘Cloud Study 5’, mixed media photo encaustic
52 | theartmag.com
CATHERINE ERB The artist Catherine Erb believes that, as a culture, we’re obsessed with viewing the world through our own personalized lenses. So rarely do we look at things from a different perspective, a different vantage point. This idea prompted Erb to create her “Thin Air” series, which she calls “an exploration and meditation focused on ‘looking up’ and changing the way we see things.” The artist’s process involves printing a photographic image onto heavy watercolor paper, mounting it onto birch panel, and manipulating the image with soft pigments. She then adds 20 or more layers of wax. Many of the “Thin Air” images were taken from airplanes. “This gives us a rare chance to see the world from a bird’s eye view.”
Erb says she is fascinated by relationships—“in particular, our relationship to divinity, spirit, and the things we cannot see.” She explains: “I spend the most time searching for glimpses of divine essence. There is a little break in time that occurs after something comes into my viewfinder but before I have had a chance to react or form a judgment. There is clarity in that interval of time and I try to shoot and capture that moment. When I am successful, the result is not just an image, but a feeling and reminder that the magic always happens in the present.”
THE GEORGE GALLERY 54 Broad St, Charleston georgegalleryart.com 843.579.7328
Winter 2019 | 53
Michael Dickter, ‘When the Day Comes’, 48 x 36, mixed media on panel
MICHAEL DICKTER "I like the idea of birds,” says artist Michael Dickter. “Not so much the idea of flight and freedom, but rather the idea that with great beauty comes great fragility. It's a compelling connection to the human condition.” So Dickter creates birds—with the use of panel, pencil, and oil paint. Dickter’s birds are not captured in their natural environment; that’s not what interests the artist. Instead, they are depicted in vibrant colors against a mostly white background, save for some pencil markings, paint drippings, and the occasional flower. The birds appear to be caught in a moment, allowing the viewer to study the bird itself—its fire-orange heads contrasted against a black-and-white-specked body and grey wings. Beautiful, yes, but fleeting. The artist says he’s interested in creating permanent records through his art, as the world we live in is transient. “For me, birds are the ideal vehicle for mark making,” he adds. “The synthesis of idea and hand are what gives painting its soul.”
MITCHELL HILL 438 King St, Charleston mitchellhillinc.com 843.564.0034 Winter 2019 | 55
21+
2019
AFTER HOURS Friday, Friday, Friday, Friday,
May 17 June 7 August 16 October 25
Learn more at scaquarium.org/afterhours
Carolina Wine Mixer Jazz on the Harbor Beer From Here Southern Spirits
by Sarah Miller
Left: Patricia Machiorlete, ‘Hibiscus’, watercolor on paper. NAWA SC chapter member. Right: Candace Lovely, ‘Venus Goes H2o’, 54 x 44, oil on linen. NAWA SC chapter member
As the story goes, on the evening of January 31, 1889, in the New York City studio of Grace Fitz-Randolph, four determined and illustrious female artists joined their hostess to create the first women’s art club in the US. In spite of their considerable talents, the percentage of women represented in major art exhibitions were few. For women to engage in a professional career of any sort was considered unacceptable. These five women were determined to change that. And they did. 130 years ago, in that candle-lit studio in the West Village, painters Anita C. Ashley, Adele F. Bedell, Elizabeth S. Cheever, Grace Fitz-Randolph, and Edith M. Prellwitz founded the National Association of Women Artists. Their goal? To support public awareness of the visual art created by women throughout the United States. Since their establishment in the late 1800s a lot has changed for women in the art world– much of which can be attributed to the efforts of the members of the NAWA. Some of their most notable members include Mary Cassatt, Alice Neel,
Gertrude Vanderbilt Whitney, and the founder of South Carolina’s Brookgreen Gardens, Anna Hyatt Huntington. Female artists residing in the Lowcountry are of a lucky lot. This past year Jennifer R. Stone, a retired public educator living in Bluffton started the South Carolina chapter of the NAWA. Women from the Upstate to the Lowcountry are encouraged to apply for juried-membership and take part in the historically influential programming organized by the association. The NAWA serves professional women visual artists from all backgrounds and traditions that are at least 18 years of age. Classes, lectures, networking, and curated exhibits throughout the country are just a sampling of what members can look forward to. "As of now, most Winter 2019 | 59
archived at the Smithsonian Institution of the National Museum of Women in the Arts, The Metropolitan Museum of Art, and numerous other important institutions. More immediately, members can join the newly minted chapter in March for a lecture led by Tiffany Taylor, a gallery owner and professor of marketing at the Savannah College of Art and Design. Look for details about upcoming programming on the NAWA South Carolina Chapter Facebook page.
Jennifer Rocco Stone, ‘Harmony’, 24 × 36, acrylic on canvas. NAWA SC chapter member
of our 34 South Carolina Chapter members are 2D artists. There’s a jury meeting in mid-March, so we expect many new members by April. We’re hoping for sculpture and 3D artists as well," says Stone. This local chapter intends to set up a scholarship program for regional high school students as well as monetary awards for chapter participants. All national members are entitled to exhibit in the NAWA’s yearly exhibit, held in the New York City headquarters’ gallery— which is a very big deal since the NAWA exhibition catalogs are annually 60 | theartmag.com
Stone explains that after moving down from New York she “quickly realized that the region has many talented women artists within its growing and vibrant art scene. Artists [in this area] would benefit from the NAWA’s professionalism and the many opportunities the association offers.” Stone’s establishment of a South Carolina chapter gives legs to the New York City organization, which also has active chapters in Massachusetts and Florida. Over 800 professional female artists comprise the national membership of the NAWA. Stone and the SC chapter members are producing an upcoming exhibit titled “Transparency and Light”, which will open April 4 at the University of South Carolina Beaufort Center for the Arts. This exhibition coincides with the NAWA’s 130th anniversary show “Transparency”, showcasing at the Arts Club of Washington DC. All art-lovers are encouraged to attend and see what indisputable talent walks among us, continuing the legacy of those five maverick women in 1889.
Feast for the Eyes by Allyson Sutton 62 | theartmag.com
by Allyson Sutton
Denise Stewart-Sanabria, ‘Fermenting Meloncholia’, 48 x 72”, oil on canvas
Denise Stewart-Sanabria’s hyper-realist still lifes are anything but still. You can practically taste the cinnamon sweetness crumbling off the canvas in “King Cake Glitter” and half-expect fruit flies to start swarming at the sight of “Fermenting Meloncholia.”
With an extensive knowledge of history, a wry sense of humor, and a joyful curiosity for human behavior, this Knoxville-based artist has developed an impressive body of work that examines our cravings, quirks, and shared experiences. In addition to her paintings, Winter 2019 | 63
Denise Stewart-Sanabria, ‘Post Atomic Frontier’, 10 x 10”, ink, watercolor, and oil on paper
Sanabria is known for her life-size charcoal portrait drawings on plywood, which offer a subtly ironic observation of how people move and interact when no one is watching. After receiving her BFA in painting from the University of Massachusetts in Amherst, Sanabria worked in the garment industry for nearly 18 years, sewing everything from commercial clothing lines to custom cheerleading uniforms. And while it was certainly a creative endeavor, she longed to be more immersed in the Knoxville art community. “Once I shifted back into art, I really went into hyperdrive,” she says. 64 | theartmag.com
Since making her professional arts debut in 2001, Sanabria has exhibited her work in over 125 solo and group shows across the country. Her art is featured in various museum, private, and corporate collections, including the Evansville Museum of Art in Indiana, the Knoxville Museum of Art, Omni and Opryland Hotels, the Knoxville Botanical Gardens, and more. Here, Denise Stewart-Sanabria shares a closer look at her creative process, why sweet treats and produce are some of her favorite subjects, and what’s next on her artistic journey.
Denise Stewart-Sanabria, ‘The Debauchery of Versailles’, 46” x 60”, oil on canvas
How do you describe your style? I consider my paintings to be anthropomorphic culinary paintings. I use food as stand-ins for humans; like actors on a stage, the food depicts a narrative or some kind of emotional statement. I’ve done everything from depicting the Deadly Sins acted out by Krispy Kreme donuts, to what I’m doing now, which is kind of an analysis of human culture. My paintings juxtapose one century against another by using vintage patterns in the background and foods in the foreground. I often use toile wallpaper in the background, a pattern dating back to the 1740s that really glamorized and
idealized rustic country living when it was not glamorous at all. I’m fascinated by commercial creative industries, whether it’s food or design goods, and how they psychologically affect people in a given time period. With cakes and baking, there’s this glorious optimism and level of amusement to it. What was the catalyst behind this body of work? My dad had several businesses, including working as an antique collector and dealer, and I would always go to auctions with him as a kid. Growing up in Massachusetts, we lived in a reproduction Federal house, and I was surrounded by historic houses and Winter 2019 | 65
Denise Stewart-Sanabria, ‘#130 Classic Coral Cream Glitter’, 24 x 24”, oil on panel
museums, which inspired my interest in history and design.
species is in my drawings and the worst of the human species is in my paintings.
When I was in college, some of my professors worked on genetically reversing tomato and corn plants back to how they were in the 1820s (for use in history museums). They also did research on 200 to 300 year-old houses, doing chemical analyses of the paint on the walls and old wallpapers they found in crevices. They learned that people lived surrounded by bright colors, which inspired me to over-saturate colors a lot in my work, thinking about how we perceive the past as more subdued than it actually was.
For my drawings, I love sneaking around with a camera during gallery receptions and snapping pictures of people while they’re absorbed in something they love. I have to be completely unselfconscious of my presence, otherwise people will start posing and their whole attitude changes. I have a ton of photo files I pull from to create the drawings, and when I put the final pieces in a big installation, it’s a virtual reality examining how you can read a person. For my paintings, sometimes I will wander the bakery at Fresh Market, stare at the beautiful cakes and sneak cell phone photos. I worked on-andoff as a commercial baker, so I also make some of the cakes. I have a ton of backdrops and props, so I will gather
Tell us about your creative process. How do you find inspiration? Everything I do is inspired by what’s around me. The best of the human 66 | theartmag.com
food, create a stage, and dramatically light everything. I do really involved photoshoots, not unlike shoots for food magazines, just more operatic. Then I combine images, create new angles and saturate the colors in Photoshop. Color theory is huge in food and baking; similarly in my work, I want to raise an appetite for something visual. What stories do you hope to tell through your work? What do you hope people take away from seeing your pieces? In a way, what I convey doesn’t matter because each individual interprets things from their own experience. As an artist, what you’re providing has no text; it’s not as specific as other art forms like literature or theater, so it leaves a lot of the work to be done by the viewer. I want the viewer to develop their relationship to my art with their own ideas, because it will have more meaning to them that way. I get a real kick out of hearing what people take away from my work and gaining perspectives I never would’ve thought of. I don’t like to work in isolation—I like to talk about my ideas, talk to people at opening receptions. When that dialogue happens, new ideas come up. You’ve been showing your work professionally for over 20 years. In your experience, how have the arts changed? I’m female and we’re finally being seen. It’s great being a female artist. A lot of my recent work has been focused on things associated with female, especially
the color pink, which became really gendered and diminutized after the 1950s. But pink is becoming empowered again, and I’m taking back the power. The great thing about the art industry in the Southeast is that it’s become more and more connected. So many people know each other, it’s intimate, and you keep running into each other. The more you can get into juried shows and get connected, the more opportunities start to pop up. I was actually in two solo shows and a group show because my work was seen at ArtFields. Anything exciting coming up for you later this year? I’m really excited to participate in ArtFields for the third time. There are so many people and so many ideas there; it’s fascinating. I have a show coming up at Mitchell Hill in Charleston—they’ve sent me a bunch of wallpaper and fabric samples from their style library, which I’m using as backdrops in some of the paintings. And I have two solo shows coming up, one at Lowe Mill in Huntsville, Alabama in March, and one at the Tennessee Arts Commission Gallery in Nashville as part of their 2019 Individual Artist Fellowship. Mitchell Hill 438 King St, Charleston mitchellhillinc.com 843.564.0034
Winter 2019 | 67
New Artist. New Gallery. by Sarah Miller
Those who can’t do, teach. This is something we hear time and time again, yet time and time again this statement has been proven wrong. Mozart, Clara Barton, Stephen Hawking, and even Mother Teresa balanced work and the role of educator. I think we all need to make things a little less confusing for future generations and cut this phrase out of rotation. Adding another name to this list of talented educators is artist Keith Tolen. In the 1970s Tolen was a freshman at South Carolina State University. “I decided to become an art education student after hearing a gentleman named Dr. Leo Twiggs talk about the program. I was intrigued by both his passion for communicating ideas as well as the chance to be creative. Dr. Twiggs was what this small town mind needed, having grown up in Batesburg, South Carolina,” says Tolen. To add a bit of context to this monumental moment, Dr. Leo Twiggs earned his MA from New York University and was the first African American student to receive a Doctorate of Winter 2019 | 69
Arts from the University of Georgia. He started the art department and I.P Stanback Museum at South Carolina State University, received the Verner Award, and earned the title of Professor Emeritus in 2000. Dr. Twiggs has had over 50 solo exhibitions during his life. Like, I said, that phrase has got to go. Tolen graduated with a teaching degree but decided against diving into the structured realm of education. What he really wanted to do was create. For the next ten years, Tolen practiced freelance photography and dabbled in real estate. It wasn’t until he married and had a baby on the way that he decided to double-down and put his degree to use. One job interview and 70 | theartmag.com
30 years later Tolen explains, “Teaching middle school students has become the joy of my life. That job I spent [ten years] avoiding became my ideal career. I became amazed and was always eager to see how [the students] bring their creative excitement into daily assignments. During my teaching career I have been fueled by the ideas and work of these great, young minds.” The subject matter he teaches also speaks to him. “I’m fascinated with the time period of Impressionism for many reasons. This was, in many ways, a battleground between the painter and the emerging photographer. With the introduction of the camera in Paris, artists began to feel threatened and had to re-solidify his creative position in the visual art world. It birthed a change
in painting style. Because of this, I’m always captivated by movements—times when artists have worked together to exchange ideas.” Tolen’s own work draws on all aspects of his life. His students, art history movements, and color theory have woven their way into his expressive creations. Most importantly though, Tolen explains, “The key element defining all my work is derived from a photographic style. Whether I’m working with a figure or nonobjective work, the placement of the parts define the image.” In his most recent paintings and drawings, color has become his best friend. “I love working with color,
whether it’s the values of a single color or the entire color spectrum. In many ways, we have a love-hate relationship because we wrestle over the outcome of the final image–knowing my work would not be the same without the use of expressive colors.” Tolen has recently been picked up by a stellar new gallery in Charleston, Neema Gallery, representing 15 South Carolinabased African American artists and artisans. Tolen’s work can also be seen at the Camden SC Art Association and the Charlotte Art League. Neema Gallery 3 Broad St, Charleston neemagallery.com 843.353.8079
ART GALLERIES
Grand Bohemian Art Gallery When you hear “Grand Bohemian,” you may think luxury hotel or trendy-chic rooftop bar before you think art gallery. But now you know: There is an art gallery on the bottom floor of the Grand Bohemian Hotel, and it’s absolutely worth visiting. Established by hotelier and art collector Richard Kessler, the gallery represents dozens of artists, from painters to sculptors to makers of fine jewelry.
55 Wentworth St, Charleston grandbohemiangallery.com 843.724.4130
72 | theartmag.com
Dog and Horse Fine Art
The gallery represents over 40 artists who create, no surprise here, dog and horse art—but you don’t have to be a fanatic of either animal to appreciate the impressive range of work. From bronze sculpture and black-and-white photography to sporting art and paintings of yellow labs dressed in business suits, Dog and Horse Fine Art’s collection is curated by Jaynie Spector, who has sourced some of the most notable animal art in the United States and Europe. Plus, if you’ve been thinking about commissioning a portrait of Fido, the gallery will help you pinpoint the right artist with style and budget in mind.
102 Church St, Charleston dogandhorsefineart.com 843.577.5500
Winter 2019 | 73
ART GALLERIES
Horton Hayes Fine Art and Horton Hayes Fine Art Studio.
Having recently moved back into a newly renovated space, the Horton Hayes Fine Art gallery feels fresh as ever. Stroll into the small, sun-drenched gallery at the corner of State and Queen Streets and enjoy paintings by both local and nationally recognized artists, and then head across the street to the shared open studio of artist Mark Horton, Larry Moore, and Chris Groves. You’re likely to find at least one of the three artists with a paintbrush in hand.
30 State St & 27 ½ State St, Charleston hortonhayes.com 843.958.0014
74 | theartmag.com
W. Andre Allen Contemporary Art Gallery
One of the newest kids on the block, W. Andre Allen Contemporary Art Gallery recently opened its doors at 140 East Bay Street. The gallery features work by three acrylic artists—W. Andre Allen, who paints abstractly with acrylics on glass, Jeffrey Holden, and Ingrid Kay.
140 Easy Bay St, Charleston wandreallencontemporaryartgallery.com 843.732.9011
Winter 2019 | 75
DOWNTOWN Visual Arts
*Charleston Gallery Associate Member CGA Art Walk, Friday, March 1, 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
Winter 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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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
APR 3 – 28: BEAUTY AND THE BEAST
THRU FEB 23: SHE DRIVES ME CRAZY
QUEEN STREET PLAYHOUSE 20 Queen St | 843.722.4487 footlightplayers.net
This Friends meets Seinfeld ‘90s romcom is back after it’s three-month sellout last summer.
FEB 1 – 17: THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE
MAR 5 – JUN 1: POWER OF LOVE
MAR 8 – 24: DEATH OF A SALESMAN
America’s sweetheart hires the city’s worst detective agency in this ‘80s musical-comedy. NATIONAL THEATRE LIVE AT 34 WEST FEB 10: ALLELUJAH! MAR 17: THE TRAGEDY OF KING RICHARD THE SECOND CHARLESTON STAGE AT DOCK STREET THEATRE 135 Church St | 843.577.7183 charlestonstage.com FEB 6 – 24: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME MAR 6 – 24: STEEL MAGNOLIAS
80 | theartmag.com
APRIL 12 – 28: THE MISS FIRECRACKER CONTEST PURE THEATRE 134 Cannon St | 843.723.4444 puretheatre.org MAR 7 – 23: SMALL MOUTH SOUNDS VILLAGE REP AT WOOLFE STREET PLAYHOUSE 34 Woolfe St | 843.856.1579 woolfestreetplayhouse.com FEB 22 – MAR 10: DADDY LONG LEGS by Paul Gordon and John Caird
MAR 22 – APR 6: BEN BUTLER by Richard Strand When a runaway slave demands sanctuary at a Union Army garrison, the general in charge is faced with a moral quandary. APR 26 – MAY 18: HOLLYWOOD by Joe DiPietro The mysteries unfold in this true unsolved Hollywood crime story about famed director William Desmond Taylor found murdered in his home in 1922.
A heartwarming Cinderella story about a witty and winsome young woman and her mysterious benefactor, based on the treasured novel that inspired the classic 1955 film.
DAMN. GOOD. THEATRE.
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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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14
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I N T E R S TA T E
2. Dock Street Theatre/
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20 Queen St | 843.722.4487 footlightplayers.net
US MB
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Guide
1. Footlight Players
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OP
CO
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
“CONNECTION 6”
“ROSE GOLD PIG BANK”
EVA MAGILL-OLIVER
“18TH CENTURY FRENCH PASTORAL TOILE CULTURE SHOCK” DENISE STEWART-SANABRIA
C U R R E N T LY O N D I S P L A Y
UPCOMING EXHIBIT:
F O R T U N AT E
OPENING RECEPTION APRIL 18TH
19 VENDUE RANGE
|
CHARLESTON, SC
|
843.577.7970
|
THEVENDUE.COM
“Blue Incline” | J Louis | 30” x 21” oil on panel