Archive for the 'Permanent Collection' Category

Sculpture under the Dome

When the Gibbes reopens on May 28, visitors will be welcomed to freshly renovated gallery spaces throughout the Museum. One of the most spectacular transformations is the newly named Campbell Rotunda, now restored to its original Beaux Arts architectural grandeur, and returned to its intended use as a sculpture gallery.

Rotunda Gallery, 1935.

Rotunda Gallery, 1935, before the woodwork was painted and the floor was covered.

Gibbes Rotunda, ca. 1960

Rotunda Gallery, ca. 1960, after it was painted and the floor was covered in linoleum.

The Campbell Rotunda exemplifies—in its original woodwork, flooring, and distinguished stained-glass dome—the classical forms and ornate renaissance detailing typical of Beaux Arts-style architecture. However, over the last hundred years many of these special architectural details were altered or masked. Recent renovations have rectified these modifications. The elaborately-patterned, red and green tile flooring has been revealed for the first time since 1935 when it was covered with linoleum and later carpeting. The ornamental oak woodwork, painted over in the 1930s to neutralize the decorative detailing, has been restored to its original finish. Finally, the stained-glass dome, characterized by its vibrant red, green, and yellow Greek-meander pattern, has been cleaned of decades of dust and debris, and outfitted with the latest in LED lighting to ensure its luminosity throughout the day.

Original Rotunda Floor, ca. 1974

The original Rotunda floor, ca. 1974, after linoleum was removed and before carpet was installed.

Beneath the dome, The Campbell Rotunda will showcase nineteenth-century neoclassical sculpture. Featuring works by both American and Italian artists such as Horatio Greenough, Hiram Powers, and Giuseppe Ceracchi the gallery will explore the emergence of the first professional school of American sculptors, all of whom trained and worked in Italy where they had easy access to Tuscan marble and skilled carvers. Thanks to funds provided by McGuire Family foundation, new sculpture acquisitions including Faith by Hiram Powers and Helen of Troy by Pierce Francis Connelly will join perennial favorites Veiled Lady, by Pietro Rossi, and Mrs. Robert Gilmor, Jr. (Sarah Reeve Ladson), by Horatio Greenough, in the newly renovated space.

Helen of Troy, 1867, by Pierce Francis Connelly (American, 1841–1932)

Helen of Troy, 1867, by Pierce Francis Connelly (American, 1841–1932). Marble. Museum purchase with funds from the William B. McGuire, Jr. Family Foundation (2014.009.0002)

Veiled Lady, 1882, by Pietro Rossi (Italian, active 1856 - 1882)

Veiled Lady, 1882, by Pietro Rossi (Italian, active 1856–1882). Marble; 28 3/8 x 20 1/2 inches; 42 1/2 x 39 x 18 1/8 inches (base). Gibbes Museum of Art, Gift of Mrs. Julian Mitchell (1910.011.0001)

Sara Arnold, Curator of Collections, Gibbes Museum of Art

Curatorial Perspective: Preparing for the Reopening

While the Gibbes has been under renovation, I am often asked, “What does the staff do while the museum is closed?” Behind the scenes, we are working harder than ever to reopen a stunning museum fit for the beautiful city we serve. For me, the pace has been frantic, but I have enjoyed the opportunity to focus on our collection and do some serious research and writing.

Gibbes Staff third floor

Gibbes staff test signage options in the third floor galleries.

During renovation, our curatorial team has worked hard to develop new interpretive approaches to the Gibbes collection. We began by researching best practices in museum interpretation and looking to our peers for examples of effective writing. From this, we developed a list of guiding principles to keep us on track. Our goal is to engage visitors and help them to see art in new ways. We aim to tell compelling stories with clarity and brevity, with the hope that visitors will find meaningful connections with the art on view.

Samples of exhibition text and collateral

Writing and proofing copy for gallery text and exhibition collateral.

But drafting the text is only half the battle. From there it goes through several rounds of proofreading and then into the hands of our talented Creative Director, Erin Banks, for design. Several rounds of edits later, it is off to the printer for fabrication. In the meantime, there are many gallery installation details to work through: paint colors to select, fabric samples to review, gallery layouts to design, casework to be delivered. The list goes on and on.

Fabric swatches for gallery cases.

Decisions… decisions… fabric swatches for gallery cases.

Now that we are in the homestretch of the Gibbes renovation, it is exciting to see our work come to life. After years of planning and many months of research and writing, seeing words in print means we are one step closer to our goal of reopening this beautifully renovated museum. I can’t wait for that day—see you on May 28!

Sample text panels and object labels.

Reviewing layouts for sample text panels and object labels.

Pam Wall, Curator of Exhibitions, Gibbes Museum of Art

Staff Resolutions for 2016

2015 has been a wonderful year, and we’re grateful for the support from our members, donors, volunteers, board members, and corporate partners—a community coming together to make the arts in Charleston shine. We asked the Gibbes Staff to share some of their resolutions for the Museum in the New Year. We’re calling 2016 “The Year of the Gibbes,” with so much in store as the Museum plans to reopen its doors this spring. We cannot wait to invite you into the newly renovated building to view the reinstalled collection and special exhibitions, and to participate in our roster of exciting programs and events. Wishing you a Happy New Year full of creativity and inspiration!

—The Gibbes Staff

Erin Banks, Creative Director
–Establish a new Gibbes logo with the help of Gil Shuler Design.

–Launch a new Gibbes website, created by Blue Ion.

–Gather new exhibition images to use in our print materials!

John Westmark exhibition opening

Photo by MCG Photography

Rebecca Sailor, Curator of Education

–Enjoy good food and drink at the new Museum Café.

–Reopen the Museum with exhibitions, programs, and events that excite the Charleston community and visitors alike.

–Have a successful six weeks of Summer Art Camp for the first time ever in the building.

Summer Art Camp 2013

Photo by Carolina Photosmith

Becca Hiester, Curatorial Assistant
–Bring all of my friends in town on a tour of the museum, my own personal Museum Hack. Some of my friends have never been to the museum before (even if they grew up here!), and I need to spread the love!

Gibbes exhibition opening

Photo by MCG Photography

Jennifer Ross, Director of Development

–First and foremost, achieve our goal of $13.4M for the capital campaign to renovate and restore the Gibbes.

Gibbes Capital Campaign Thermometer

–Welcome back our community—both visitors and long-time supporters—to the Gibbes, the oldest museum building in the south, this coming spring.

–Engage visitors in our center of creativity with world-class exhibitions, lectures and programs.

Lasley Steever, Director of Programs and Events

–Establish an Artist-in-Residence program with outstanding contemporary artists whose work contributes to a new understanding of art in the South.

–Provide great programs allowing visitors to fully engage with the visual arts through lectures, performances, tours, and classes.

Gibbes Museum Distinguished Lecture Series, 2015

Photo by MCG Photography

Jena Clem, Special Events Manager

–Have the museum booked with private events every weekend when we reopen.

–Grow our staff to support the increased programming and events we’ll be offering.

–Be featured as the number one event venue in Charleston, South Carolina/Southeast.

Laurie Clark Wedding photo cred: Whimsey Photography

Photo by Whimsey Photography

Zinnia Willits, Director of Collections Administration

–Execute safe return of 10,000 pieces of art from off-site storage locations to the renovated Museum spaces.

–Harmoniously work with Museum staff and contract crews to unpack the art collection and reinstall in new galleries in an extremely tight time frame.

–Remain calm, cool and collected over the next few months in order to successfully manage all that needs to be managed to reopen of the Gibbes! Eat fewer Tic Tacs to manage stress.

–Celebrate our beautiful new spaces and improved access to the collections in a BIG way once the Museum reopens with interactive, unique behind-the-scenes tours and programs.

–Share the Gibbes success with museum colleagues across the state and the region through continued, active involvement and leadership in professional museum organizations.

Gibbes Collection on the move

Art’s Impact

It is hard to believe that another year is about to end and we will soon be welcoming 2016. Not to be cliché or anything, but the end of a year always allows people an opportunity to reflect on the happenings of that year. Once again, I write my own lists of goals for 2016 – read more, meditate, be a better person and on and on. However, as most of us think about our personal resolutions, it is hard not to consider the larger world around us.

Watching the news this week, there were numerous replays of the year’s most significant events, many of which were tragic and heartbreaking. Shootings occurred everywhere from movie theaters, to colleges, to churches. Most significantly, we witnessed tragedy in our own community at Mother Emanuel AME on June 17. And the world watched in horror when Paris was overtaken by hatred on November 13. Unfortunately, many lost their lives in places meant to inspire. While reflecting on these events, I thought about the fact that it would be very easy to succumb to sadness, despair and possibly the lack of hope for our world today. Yet, quite the opposite, in that I think many of us quickly learned that the arts in all forms continue to endure. The arts help the human spirit to endure. This, of course, is not to trivialize the injustice that prevailed throughout these events, but rather to consider how we use art to reflect upon the social issues at play and how we use art as a way to handle our grief. Art often expresses more than mere words and people often welcome art when there is nothing left to say. Consider the many images that circulated through social media in response to the shootings in Paris and at Mother Emanuel AME.

Alloneword Design: Tears for Mother/Love for All   Gil Shuler Graphic Design - We Shall Overcome

Charleston Strong images by Y'allsome Goods

Images in response to the Emanuel AME tragedy on June 17, 2015. Top Row: Alloneword Design, Gil Shuler Graphic Design. Bottom Row: Y’allsome Goods.

The Gibbes Museum of Art held its annual Distinguished Lecture Series in November days after the Paris shootings. Former Met director Philippe de Montebello offered a lecture on “The Multiple Lives of the Work of Art” where he discussed how art can be “transformed by time and circumstances (and) that the meaning of the work itself can change, as well as our own response to it.” French illustrator Jean Jullien conveyed this same notion when he created a simple image of the Eiffel Tower in a peace sign that circulated throughout the world and became an instant symbol of peace and solidarity. Some saw it as a cross while others saw it as an image of Paris. He commented, “That’s the beauty of an image, people can see what they can see. And if it helps with their faith, then I’m fine with that.”

Image by Jean Jullien in response to the November 2015 terrorist attacks in Paris, France.

Image by Jean Jullien in response to the November 2015 terrorist attacks in Paris, France.

Opening ourselves to art enlightens us. Exploring its many layers, we uncover the physical details while delving into the metaphysical. We examine. We question. We process. And we feel. That is what art can do. It challenges us to perhaps see things in a different way or to consider a different meaning. This spring we will reopen the Gibbes Museum of Art, and our entire community will be reintroduced to its collection of art. To inaugurate the new space, the Gibbes is organizing the exhibition The Things We Carry: Contemporary Art in the South. This exhibition will feature paintings, sculpture, photography, and mixed media works by a diverse group of contemporary artists while addressing the difficult history of the south, and the many subtle and not so subtle ways it is manifest today. The goal is to provide a place where the Charleston community can come together and have meaningful conversations about our past, about the tragic shootings at the Emanuel AME Church, about the spirit of this community and its response to the challenges we face, and any other conversations inspired by the works on view.

Visitors at the Gibbes Museum of Art.

Visitors at the Gibbes Museum of Art. Photo by MCG Photography.

As we reflect on 2015, let us not be afraid to go out in the world and visit our museums, our churches, and our schools. Let us use art to make our world a better place. I encourage all of you to make a resolution that includes art in 2016! Art will prevail.

Jennifer Ross, Gibbes Museum Director of Development

Curatorial Perspective: Celebrating Contemporary Art

Since the Gibbes Museum of Art first opened its doors in 1905, contemporary art has been a core component of the museum’s mission. Much of the institution’s beloved historical art collection was, in fact, contemporary when it joined the museum collection. This spring, the Gibbes celebrates our continued commitment to the art of our time with two special exhibitions, John Westmark: Narratives and Beyond the Darkroom: Photography in the 21st Century. Both exhibitions will be on view April 4 through July 13, 2014.

The Narratives exhibition showcases new work by John Westmark, a contemporary artist who weaves imaginative story lines into his large-scale paintings. Westmark explores the human figure in dynamic ways through his innovative use of text and paper sewing patterns collaged on canvas. His paintings depict strong courageous women, some portrayed as stoic martyrs and others as warriors engaged in conflicts of rebellion.

Trained as a painter, Westmark created Abstract Expressionist work in graduate school but was searching for a new direction. One day, he noticed a pattern his wife was using for a sewing project. Westmark was intrigued with the pattern design and the cultural meaning of the pattern itself. He began reading feminist theory and also creating collage studies with the sewing patterns. Over time, Westmark found his artistic direction, combining painting and collage to explore the traditional roles of women, and how those roles have shifted over time. It is no coincidence that his change in approach occurred shortly after the birth of his second daughter. Westmark wanted to create art that had meaning for those around him, particularly his wife and two daughters.

In Westmark’s current body of work, many of the paintings depict women preparing for an impending crisis or conflict. Some women are stoic, some are playful, and others steel themselves for battle. Paintings such as Wave upon Wave and The Tinderbox portray women actively engaged in conflict, fighting to enact social change. Other works, such as Exaltation, show moments of transcendence after the conflict has ended.

Exaltation by John Westmark

“Exaltation,” by John Westmark (American, b. 1963)

Of this work he writes,

“My intention with “Exaltation’” is to present a scene suggesting a violent event, in this case an explosion. This event functions as the first layer to be peeled away to expose a deeper meaning of transcendence. The figures are not so much victims of a destructive event as they are propelled by the intense energy of white light. They are the beneficiaries of something powerful and unexplained. The sewing patterns are released from the role of containing flesh to fly away,” says Westmark.

With each painting, the narrative is open to interpretation; however, the embedded text offers clues to the implied storyline.

A resident of Gainesville, Florida, Westmark holds a BFA from the Kansas City Art Institute and an MFA from the University of Florida. In 2012, he received the Factor Prize for Southern Art, (renamed the 1858 Prize for Contemporary Southern Art) awarded by the Gibbes to an artist whose work contributes to a new understanding of art in the south.

The Gibbes explores another aspect of contemporary art through the exhibition Beyond the Darkroom: Photography in the 21st Century. Since the invention of photography in 1839, the medium has constantly evolved with the development of new technologies. In the twenty-first century, photographic processes have shifted from the darkroom to the digital world, bringing new possibilities to the medium. Beyond the Darkroom examines a variety of photography-based works acquired over the past ten years for the Gibbes Museum’s collection. Ranging from the text and photo-based works of Carrie Mae Weems to the digital montages of Stephen Marc, this exhibition showcases the great innovation in photography today.

A great example is Botany Bay Plantation Boardwalk by Atlanta-based artist John Folsom. Trained as a photographer, Folsom begins his mixed-media landscapes with a photographic image. Using digital software, the image is then divided into a grid and printed on separate panels. The panels are then attached to a large wooden panel to create a unified image. However, the grid remains visible as a reminder that the image is a construction of the artist’s making, not an objective representation of nature. Folsom pushes this idea further by working the surface of the image with oil paint and sealing it with a wax medium. The technique gives the surface of Folsom’s work a rich patina that suggests the layers of history accumulated in the Lowcountry landscape.

Botany Bay Plantation Boardwalk by John Folsom

“Botany Bay Plantation Boardwalk,” by John Folsom (American, b. 1967)

The connection between past and present is an underlying theme of Beyond the Darkroom. The introduction of the exhibition offers a history of photographic processes, including early works from the Gibbes collection. An antebellum daguerreotype, late nineteenth-century albumen prints, and early twentieth-century stereographs give context to the remarkable contemporary works on view. By combining the old and new, Beyond the Darkroom highlights a great strength of the museum’s collection—to engage people with the past while building an appreciation for the present.

Pam Wall, Curator of Exhibitions, Gibbes Museum of Art

John Westmark: Narratives and Beyond the Darkroom: Photography in the 21st Century, are on view at the Gibbes Museum of Art from April 4–July 13, 2014. Visit our online calendar to find programs and events related to these exhibitions.

Curatorial Perspective: Japonisme in Charleston

Rough Sea at the Naruto in Awa Province, No. 55 from the series Pictures of Famous Places in the Sixty Odd Provinces, 1855, by Ichiryusai Hiroshige

Rough Sea at the Naruto in Awa Province, No. 55 from the series Pictures of Famous Places in the Sixty Odd Provinces, 1855, by Ichiryusai Hiroshige

This winter the walls of the Rotunda Galleries will be decked with a vibrant array of Japanese woodblock prints from the Gibbes permanent collection. These examples of eastern art from Japan’s ukiyo-e school will be accompanied by works produced by Charleston artists who were profoundly influenced by the influx of Japanese art during the early 1900s. Ukiyo-e, or “pictures of the floating world,” is a term reflecting the long-held Buddhist belief in the ephemeral nature of the world of pleasure. Images by ukiyo-e artists were intended to appeal to broad audiences. Popular subjects were those of Kabuki theater actors, courtesans in the entertainment quarters, famous scenic spots, and views of the natural world.

“Japonisme” or, a taste for things Japanese, peaked in our port city during the first few decades of the twentieth century. Early introductions to Japanese art and culture in Charleston can be traced to the South Carolina Inter-State and West Indian Exposition of 1901-02, and to the 1905 inaugural exhibition at the Gibbes which included a room dedicated to the display of Japanese prints. Additional exhibitions of Japanese art took place at the College of Charleston and the Charleston Museum between 1905 and 1907.

Moonlight on the Cooper River, ca. 1919, by Alice Ravenel Huger Smith (American, 1876–1958).

Moonlight on the Cooper River, ca. 1919, by Alice Ravenel Huger Smith (American, 1876–1958)

The Japanese print collection at the Gibbes is comprised of over seven hundred prints, dating from early works of the mid-seventeenth century to the decadent styles of the mid-nineteenth century. The core of the collection was assembled in Charleston by Motte Alston Read between 1909 and 1920. Read began collecting Japanese prints after his retirement from Harvard University, where he was a professor of Physiography.  He acquired a cross section of types, styles, and methods from a wide range of artists, including works by ukiyo-e masters such as Utamaro, Sharaku, and many by Hokusai, and Hiroshige.

Read encouraged local artists to use his collection for study and many artists of the Charleston Renaissance period (1915 to 1945) found inspiration in the clean designs and vertical compositions characteristic of Japanese prints. Alice Ravenel Huger Smith, Anna Heyward Taylor, Elizabeth O’Neill Verner, and Antoinette Guerard Rhett all studied traditional Japanese printmaking processes and learned to assimilate elements of the Japanese aesthetic in their own work.
Sara Arnold, curator of collections, Gibbes Museum of Art

The Great Wave: Japonisme in Charleston is on view January 17–March 23, 2014.
See our calendar for programs and events related to this exhibition.

New Experiences

My internship at Gibbes Museum of Art, located in the heart of Charleston, was both fascinating and rewarding. Under the watchful eye of Rebecca Sailor, curator of education, I learned first hand what it takes to keep a world-class museum up and running. I gained a better understanding of the roles and responsibilities of my colleagues, who work tirelessly to see that all aspects of the museum are “picture perfect” each and every day.

While my two previous internships directly influenced my decision to major in Communications, coming into this internship I had no previous knowledge of art history or arts management. Through the various events I participated in over the semester, I increased my skills in communication and in art. My experience at the Gibbes Museum has inspired me to learn more about art history through some of the wonderful classes offered at the College of Charleston. I was happy to find out that many of the professors work directly with the Gibbes.

Museum educator, Pat Burgess with a group of elementary school students

Pat Burgess, museum educator, explores the Gibbes collection with a group of elementary school students.

The Gibbes Museum certainly delivers on its mission statement to “preserve and promote the art of Charleston and American South.” From the loan exhibitions, such as Photography & the American Civil War, to the important works of art illustrating Charleston’s history from the permanent collection, the Gibbes Museum contributes to Charleston’s reputation as one of the most historically rich cities in the United States. Working at the Gibbes has been a wonderful opportunity for me to learn more about my college town and to explore a subject I had not known much about before.

As a sophomore from Connecticut, I have sadly never endeavored to throw myself into Charleston’s history. Simply shadowing one of the Gibbes’ wonderful docents, I can now state random facts from Charleston’s history. Just as one individual, I can successfully say that the Gibbes Museum has made me more aware of my surroundings through their collection and their educational offerings.

MMA curator of photography, Jeff Rosenheim, and the Photography & the American Civil War exhibition.

MMA curator of photography, Jeff Rosenheim, led a group through the Photography & the American Civil War exhibition.

During my internship, the Gibbes Museum hosted one of the most enthralling and historically riveting exhibitions, Photography & the American Civil War, on loan all the way from The Metropolitan Museum of Art in New York City. Jeff Rosenheim, the Met’s chief curator in the Department of Photography, provided a detailed tour and lecture about all the different photographs presented in the exhibit. Having some photography background myself, I took particular interest in this exhibit and learned a lot more about the history of the art form. One of the most interesting facts that I had not previously known was that the Civil War was the first war to be captured by the camera, and this exhibition includes many of the first photographs from that time period.

Interns Amelia Roland, Chase Hughes, and Hannah Shepard

Interns Amelia Roland, Chase Hughes, and Hannah Shepard volunteered for the Gibbes Art on Paper Fair.

Working at the Gibbes Museum has opened my eyes to not only what it takes to operate a museum, but also to the rich history of Charleston. This internship has been one of the most inspiring experiences I have ever had, and has encouraged me to pursue the history of art through many different means, including courses here at the College. Having been an insider at this great institution, I can heartily recommend that both locals and visitors pay a visit the Gibbes Museum of Art. You will not be disappointed!

Chase Hughes, Education Intern and guest blogger

Curating Conversations

As a Programming & Events intern this semester, I’ve had the great opportunity to share the room with some pretty remarkable people. This list includes guests of the Gibbes such as Jeff Rosenheim of The Metropolitan Museum of Art in New York, Charleston’s own Jonathan Green, artist Louise Halsey (daughter of Corrie McCallum and William Halsey), Lieutenant Governor Glenn McConnell, and Estée Lauder chairman emeritus Leonard Lauder. But the Gibbes has some remarkable people of its own. Its entire staff—from Executive Director Angela Mack to the custodian Russell Morrison—realizes the importance of museums as places to bring art and people together. The Gibbes staff is composed of hard workers who are dedicated to the success of the museum’s mission, to preserve and promote the art of this unique city.

Lieutenant Governor Glenn McConnell at the Gibbes Museum.

Lieutenant Governor Glenn McConnell speaks to a group of visitors in the Photography and the Civil War exhibition.

To some, museums appear to be passive temples of art where visitors must be silent and detached. But the Gibbes is so invested in this community; they seek to promote an active conversation between their collection, their programs, and the public. And to initiate such great conversations, the Gibbes is bringing some really good stuff to our city.

Traveling from the Metropolitan Museum of Art, the exhibition Photography & the American Civil War presents intimate snapshots of life during the war—battlefields, street scenes, political propaganda, portraits of the young and the old. The exhibition also shows how photography influenced how we perceive the Civil War today. I was fortunate enough to talk with the Met’s curator in charge of the Department of Photography, Jeff Rosenheim, when he visited for the exhibit’s opening. He was incredibly knowledgeable about photography and its history and uses. But what impressed me most was his deep passion for the impact of photography. Jeff explained to me how photography is accessible, perhaps more so than any other medium, and how this justifies its instant popularity. He explained how photography is a democratic medium, an art form for everyone.

Photography and the American Civil War

Visitors explore the Photography and the American Civil War exhibition at the Gibbes.

I believe this idea of democracy and art for all can also be found in the Gibbes’s mission. They strive to present art and programming that is relatable to everyone. Their art speaks, and is, Charleston’s history—our history. If you love our city, then there is absolutely no way that you could not love what the Gibbes has to offer. I am incredibly grateful for the opportunity I’ve had this semester to work with such a dedicated team of art managers who care so greatly about art and its influence in Charleston. Like I mentioned above, the Gibbes team is truly committed to their work in this community and this is what will always stick with me long after my internship is over. I know what I’ve learned here will benefit me wherever I end up in the art world, and I’m proud to call Charleston, the Gibbes, and its great art my starting point.

Intern Amelia Roland

Intern Amelia Roland stands next to a painting by Robert Gordy at the Gibbes.

Amelia Roland, Public Programs & Marketing Intern and guest blogger

Curatorial Perspective: Charles Burchfield and Edward Hopper

Friends and colleagues, Charles Burchfield and Edward Hopper are considered two of the most significant American watercolor painters of the twentieth century. They were also among the many American painters and printmakers who visited South Carolina in the early decades of the century. During the months of October, November, and December we are pleased to display paintings by these two American masters side-by-side.

Gateway to Mule Stables [Camp Jackson, South Carolina], by Charles Burchfield (American, 1893–1967)

Gateway to Mule Stables [Camp Jackson, South Carolina], 1918, by Charles Burchfield (American, 1893–1967)

During World War I, Burchfield was stationed at Camp Jackson, South Carolina, from July 1918 until January 1919. It is estimated that he created as many as sixty watercolors while in residence at the camp. Most of these pictures were created in the form of sketches, done rapidly on weekend excursions, in the evenings, and even during lunch breaks. This past June, the Gibbes acquired one of Burchfield’s South Carolina watercolors for its permanent collection, Gateway to Mule Stables [Camp Jackson, South Carolina]. This purchase was made possible with funds provided by Mr. and Mrs. Van and Susan Campbell, Mr. and Mrs. Robert and Jeannie Dolson, Mrs. Katy Huger, Dr. and Mrs. Anton and Caroline Vreede, Mrs. Prudence Yost.

Charleston Slum, 1929 Edward Hopper (American, 1882–1967)

Charleston Slum, 1929, Edward Hopper (American, 1882–1967)

Edward Hopper (1882–1967) and his wife, Josephine “Jo” Nivison Hopper (1883–1968), came to Charleston for a brief visit in April 1929. During their three-week stay, Hopper produced at least twelve watercolors of Charleston, including Charleston Slum, which is on temporary loan to the Gibbes from a private collection.

Both Hopper and Burchfield chose watercolor as their primary medium, and both thrived on picturing everyday subjects. In an age of growing nationalism, American art and American subject matter was gaining recognition. In 1928 Hopper wrote an essay on Burchfield that was published in the July issue of Arts magazine. He declared, “The work of Charles Burchfield is most decidedly founded, not on art, but on life, and the life that he knows and loves best.” In turn Burchfield wrote of Hopper, “Edward Hopper is an American… It is my conviction that the bridge to international appreciation is the national bias, providing of course, it is subconscious. [For] An artist to gain a world audience must he belong to his own peculiar time and place.”

Sara Arnold, curator of collections, Gibbes Museum of Art

Curatorial Perspective: The Fine Art of Printmaking

The Gibbes’s permanent collection is rich with examples of fine art prints made by artists ranging from James McNeill Whistler to Jasper Johns. While printmaking techniques have been around for thousands of years, American artists’ interest in printmaking as a fine art form did not develop until the mid 19th-century. Since then, printmaking has played an important role in many artists’ creative repertoire. This fall, the processes behind some of the best-known printmaking techniques are explored in The Fine Art of Printmaking now on view in Gallery H.

Canyon Wall, ca. 1975, by Boyd Saunders

Canyon Wall, ca. 1975, by Boyd Saunders

Various methods of printmaking have evolved over the long history of the medium. This exhibition features examples of woodcuts, etchings, lithographs, and screenprints by a variety of artists who mastered these techniques including James McNeill Whistler, Alfred Hutty, Prentiss Taylor, and Hale Woodruff. Prints are created through an indirect transfer process in which an image is produced on a surface (known as a matrix) such as a metal plate, wood block, or stone. The surface of the matrix is then inked and the image is transferred to paper by applying pressure. The resulting impression or print is a mirror image of the composition on the matrix. Numerous prints can be made from a matrix, so unlike paintings or drawings, prints usually exist in multiple impressions.

Returning Home, Selections from the Atlanta Period, 1935, reprint 1996, by Hale Woodruff

Returning Home, Selections from the Atlanta Period, 1935, reprint 1996, by Hale Woodruff

To learn more about the art of printmaking, please join us November 1-3 for the second-annual Art on Paper Fair weekend! The Fair celebrates the visual arts of Charleston with lively programs, conversations, and even artist demonstrations. Most importantly the Fair features works on paper for sale from eight premier dealers from across the Southeast.

Sara Arnold, curator of collections, Gibbes Museum of Art

The Gibbes Museum of Art and Redux Studios teamed up with Marcus Amaker to create a video examining the tradition of printmaking in Charleston. Gibbes Executive Director Angela Mack, and Gibbes Curators Sara Arnold and Pam Wall share works from the museum’s collection and discuss the history of printmaking in the Lowcountry. Redux artists Alex Waggoner and Kate MacNeil discuss the current relevance of printmaking in today’s artistic community. Watch the video on YouTube.

Next »