Archive for the 'Artist Spotlight' Category

Make Your Own Wave: Japanese Woodblock Printmaking with Kate MacNeil

Distinction, by Kate MacNeil

Distinction, 2013, by Kate MacNeil

 

Woodblock printmaking is an ancient art that was used as early as the eighth century in Japan to reproduce written texts. As technology evolved, printmakers were able to work with a range of colors to create romantic landscapes and historical events. On January 17th, we opened The Great Wave: Japonisme in Charleston that features a variety of woodblock prints from the museum’s permanent collection. We always work to include interesting programs and events that relate to our exhibitions, and this weekend we are partnering with Redux Contemporary Art Center to host Make Your own Wave: Curator-led Tour and Woodblock Printmaking Demonstration. Sara Arnold, Gibbes Curator of Collections, will lead a private tour of the exhibition, and later guests will travel to Redux for a printmaking demonstration by local artist Kate MacNeil. Kate was gracious enough to take some time to speak with me about her work and creative process.
 

Kate MacNeil in her studio

Kate MacNeil in her studio.

Q. You studied printmaking at the College of Charleston. What drew you to that medium?

There’s a bit of a printmaking history in my family. My mother studied printmaking at the College of Charleston back in the day, and my aunt and uncle operate Abaca Press in Buffalo, NY. So it’s definitely something I grew up with. Beyond that, it’s an incredibly complex medium with a wide range of techniques available to interpret my imagery. I love the versatility that it offers and the dedication to process it requires.

Q. Tell me about your process.

For me, I start by building an image in my sketchbook, and from there I determine how I want to interpret it. Recently, I’ve been working a lot with intaglio, which gives me the opportunity to create some really detailed line work. It changes from image to image, though. The important thing for me is to constantly keep making images, whether drawing, printing or painting, good or bad, in the hopes of finding something real. It’s all research.

Q. Tell me about the current relevance of printmaking in today’s artistic community.

Printmaking is everywhere. Whether it’s a screen-printed poster, or a letterpress wedding invitation, or a lithographed nautical map. I think people are surprised when they realize how vast and prominent of a medium printmaking is. It’s an integral part of human history and I think it’s only natural that it continues to play a part in the art world. New techniques are constantly being invented and it gives artists a wide range to interpret their work.

 

The Ink Jar, by Kate MacNeil

The Ink Jar, 2013, by Kate MacNeil

 

Q. Are you inspired by the Japanese prints or have you studied them previously? In looking at the prints in the museum’s permanent collection, how (if at all) do they speak to your own work?

I have had a few opportunities to view of some of the Japanese woodblock prints in the Gibbes’ collection. They are simply breathtaking, especially when you realize how much work and expertise was put into each and every print. I was inspired to take a workshop this past summer on Japanese woodblock printing, and I’m eager to continue working within that medium (Though I doubt I will ever be considered a Master Carver/Printer!).

 

Bats and Moon, n. d. By Katsushika Hokusai (Japanese, 1760–1849) Woodblock on paper Image courtesy of the Gibbes Museum of Art/ Carolina Art Association

Bats and Moon, n. d., by Katsushika Hokusai (Japanese, 1760–1849)

 

Q. What will this workshop involve?

I think Make Your Own Wave will give people a great deal of insight on the Japanese woodblock prints. They play an interesting part in world history, starting in Japan and moving to Europe to inspire many Impressionist and Post-Impressionist artists. For my part, I will be demonstrating how these prints would have been created, and giving participants a chance to make their own print. I really think people will walk away with a greater appreciation of the Japanese woodblock print and hopefully printmaking in general.

Thanks Kate for your time! We will continue to explore the Japanese culture with a cooking demonstration at Southern Season in Mt. Pleasant on February 15 at 5pm. For more information please visit our calendar at gibbesmuseum.org/events.

Amy Mercer, Marketing and Communications Manager, Gibbes Museum of Art

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

Artist Spotlight: George Biddle (1885–1973)

This summer the spotlight is on Philadelphia native, George Biddle (1885–1973). Biddle spent most of his childhood in New England. He went to the Groton School, where President Franklin Roosevelt was a classmate, and received both his undergraduate and law degree from Harvard. In 1911, upon graduating law school and passing the Pennsylvania Bar exam, Biddle left a career in law behind setting off for Paris, France, to study art at the Académie Julian. Over the next five years, Biddle also studied at the Pennsylvania Academy of the Fine Arts, learned printmaking in Madrid, Spain, and spent summers in Giverny, France, to study Impressionism. After serving in World War I, he traveled extensively, going to Tahiti, Haiti, Puerto Rico, Cuba, the West Indies, and France.

The Battery, Evening, 1931, by George Biddle

The Battery, Evening, 1931, by George Biddle

In 1928, Biddle traveled to Mexico with muralist Diego Rivera. He spent six months with Rivera, learning the techniques of mural painting and soaking up the social and political ideas embodied within the art of the state supported Mexican School. In 1933, Biddle wrote a letter to President Roosevelt, his boyhood friend, campaigning for a government funded arts program to use as a platform for “expressing in living monuments the social ideals [President Roosevelt] was struggling to express.” The letter was acted on almost immediately and by year’s end the Public Works of Art Project (PWAP) was established—the predecessor of the Federal Arts Project (FAP).

The Crowd, Folly Beach, 1930 By George Biddle

The Crowd, Folly Beach, 1930 By George Biddle

Biddle spent May and June of 1930 in Charleston, South Carolina, sketching a series of illustrations for George and Ira Gershwin, who were then developing the opera Porgy and Bess based on the 1925 novel Porgy, written by Charleston native Dubose Heyward. While Biddle was in town, Heyward encouraged him to explore downtown Charleston and the piers of Folly Beach. During those two months, Biddle created works reflecting the spirit and customs of everyday life and developed a large folio of drawings and watercolors recording the social and cultural landscapes of Charleston.

Sara Arnold, Curator of Collections, Gibbes Museum of Art

Works by George Biddle are on view at the Gibbes Museum through September 29, 2013, in the H Gallery.

Andreas Karales’ Memories of his Father, James

How does a photograph stand the test of time? What makes it different than one taken at the same moment and place?

Selma to Montgomery March for Voting Rights in 1965

Flag-Bearing Marchers, Selma to Montgomery March, 1965, by James Karales

“Get Right with God” Sign on Highway 80, Selma to Montgomery March, 1965, by James Karales

“Get Right with God” Sign on Highway 80, Selma to Montgomery March, 1965, by James Karales

Many people have told me that the photographs by my father, James Karales, are iconic, beautifully printed, great works of art and I agree with them. What makes them what they are is still a bit of a mystery to me. I was too young to be around my father when he took his most important photographs and I never asked him much about his work or talents before he passed away when I was 21 years old. Before I came down to Charleston to attend the opening night of the exhibition of his work my mom asked me to say a few words to the audience. I thought of what it means to be a photographer and what it takes to make a great photograph. The analogy I came up with was that a photographer is like a fisherman. He must have patience, talent with the tools he uses, and must be in the right place at the right time to make that great catch. That is how I view my father, a man of great talent with the camera and print making equipment, who had this calm demeanor and patience, and who worked in a period of time in our nation which was full of meaningful, interesting, and historical moments.

Selma to Montgomery March, 1965, by James Karales

Selma to Montgomery March, 1965, by James Karales

I am assured of my idea with a story that he told many times of his iconic picture of the Selma March, in which he described trying to find an image that would symbolize the meaning and feeling of the march. He struggled over the course of the five-day march, making countless attempts to produce something that he felt worthy of his goal. On the last day a storm swept in and he knew that this was his moment. He rushed to get to the right spot to frame both events as they happened. He was fortunate to get the shot as the storm moved on quickly. It so happens, another photographer was trailing him and attempted the same shot, but did not get the same effect. The menacing clouds and synchronized stride of the marchers happened in one short moment and is what makes this photograph so special. It was one of my father’s greatest catches and was the result of his great patience.

Andreas Karales and his father, James

Andreas Karales and his father, James, in Nantucket, MA, 1988.

My father would be honored that the Selma March photograph and his other works are on display in Witness to History: Civil Rights Era Photographs at the Gibbes Museum.

Andreas Karales, Architectural Designer, NYC, and guest blogger

Monica and Andreas Karales celebrate the opening of Witness to History at the Gibbes Museum.

Monica and Andreas Karales celebrate the opening of Witness to History at the Gibbes Museum.

Artist Spotlight: Mark Catesby (1683–1749)

In conjunction with the 300th anniversary of Mark Catesby’s first voyage to the New World, the Gibbes is hosting a special exhibition of Catesby’s prints and two rare bound volumes of his work. This British-born artist, scientist, and explorer, set sail for the American Colonies for the first time in 1712. During his seven year stay, Catesby began studies of the natural world that would occupy the rest of his life. He traveled through parts of the Appalachian Mountains and to Jamaica collecting botanical samples and making sketches of American flora and fauna. His discoveries impressed the scientists of his day and after Catesby returned to England in 1719, London’s Royal Society—then led by Sir Isaac Newton—reviewed his findings and raised funds for Catesby to return to the Colonies for further study.

Catesby made his second voyage to British North America in 1722. This time, his port of arrival was Charleston. This four year sojourn, which allowed Catesby to explore and document the natural habitats of the Carolinas, Florida, and the Bahamas, ultimately resulted in the first major work on New World botanical and animal life, The Natural History of Carolina, Florida and the Bahama Islands. Catesby personally translated his original watercolor paintings into the 220 engraving plates of birds, reptiles, amphibians, fish, insects, and mammals that illustrate his monumental, two-volume study—a process that took him nearly twenty years. Accompanying the plates, are Catesby’s descriptions of the plants and animals as well as the soils, climate, agriculture, and Native Americans that he observed during his journeys.

Though Catesby considered himself a scientist first and an artist second, his lively depictions of animal and plant life are considered masterful works of art and his meticulous observations served as the foundation for the work of other significant scientists and artists including Carl Linnaeus and John James Audubon.

This special exhibition featuring rarely seen works from both private and public collections will be on view until January 30, 2013.

Sara Arnold, Curator of Collections, Gibbes Museum of Art

Artist Spotlight: Prentiss Taylor

Experience Meeting, Macedonia A.M.E., 1934, by Prentiss Taylor
Experience Meeting, Macedonia A.M.E., 1934

This summer a small exhibition of works by the fascinating American Scene lithographer, Prentiss Taylor, will be featured in Gallery H at the Gibbes. Born in Washington, D.C., Prentiss Taylor (1907–1991) began his art studies at the Corcoran Gallery of Art, followed by painting classes under Charles Hawthorne in Provincetown, Massachusetts, and training at the Art Students League in New York. In 1931, Taylor joined a lithography class at the League and quickly discovered great satisfaction working in this graphic medium, later recalling, “with the first magic feeling of the crayon on the fine grain of the stone, I knew that I was at home in lithography.”* He produced 142 lithographs over the course of his career.

Carpet Bagger's Grandeur, Sullivan's Island, 1937, by Prentiss Taylor
Carpet Bagger’s Grandeur, Sullivan’s Island, 1937

In addition to his interest in the visual arts, Taylor interacted and collaborated with many writers and musicians. His time in New York during the late 1920s and early 1930s coincided with the emergence of the Harlem Renaissance and Taylor was one of a few white artists active in this literary and artistic movement. Among his close friends and collaborators during this period were photographer and writer Carl Van Vecthen, and poet Langston Hughes.

Charleston Battery, 1934, by Prentiss Taylor   Prentiss Taylor, 1933, by Carl Van Vecthen
Charleston Battery, 1934                                     Prentiss Taylor, 1933, by Carl Van Vecthen

At age twenty, Taylor met Charleston novelist, Josephine Pinckney, at the MacDowell artists’ colony in Peterborough, New Hampshire. Their ensuing friendship prompted Taylor to visit Charleston in 1933; “I arrived on the Clyde-Mallory Line Steamer about the end of May 1933…I was lent the Pink House on Chalmers Street & I was able to stay until Labor Day. I spent most of my time sketching, up one side of the street & down the other.” Taylor returned to the city in 1934 under the auspices of the Public Works of Art Project (PWAP) a predecessor to the Work Progress Administration’s Federal Art Project. He executed numerous prints and several watercolors of Charleston and the surrounding Lowcountry—some for the PWAP and some for himself. He maintained close ties to the city for the remainder of his life.

This exhibition featuring several of Taylors lithographs and watercolors of Charleston will be on view until September 1, 2012.

Sara Arnold, curator of collections, Gibbes Museum of Art

*Prentiss Taylor to Gwen Davis, June 1, 1981, Artists Files, Prentiss Taylor, Gibbes Museum of Art.

Mary Whyte: Working South

By now you have probably heard about our current Main Gallery exhibition, Mary Whyte: Working South. The exhibition has been written up in magazines, newspapers, online newsletters, and even has a billboard on I-26. And if you have seen the exhibition, you know that all of the attention is merited. Working South includes fifty watercolor paintings and sketches that depict blue-collar workers across the American South. The portraits are astonishingly beautiful, capturing weathered hands and timeworn faces with incredible detail and sensitivity.

As our curatorial team unpacked the paintings for installation, I knew the works would be beautiful, but was overwhelmed to see them in person. The scale, the color, the sharp detail contrasted with delicate washes—I couldn’t stop staring at the paintings. And the works are made all the more stunning by the exquisite frames, handcrafted by Whyte’s husband and master gilder, Smith Coleman. Each frame is unique to the painting, picking up on a subtle nuance of the work. The frame surrounding a portrait of a tobacco farmer has the rough hewn feel of an old barn, and the frame for a portrait of a waterman is embedded with fishing net, layered with silver leaf. This exhibition has so many wonderful details to absorb, down to Whyte’s sketchbook, brushes, and palette used to create the paintings.

Frame detail

Handcrafted by Whyte’s husband and master gilder, Smith Coleman, the frame for a portrait of a waterman is embedded with fishing net, layered with silver leaf.

So if you haven’t been to the Gibbes in a few weeks, make sure you get here before Working South closes on September 9. Join us on July 8 for Working South Sunday, when the museum will be open free of charge from 1 to 5pm. And you never know, you may see the artist herself wandering through the gallery!

Pam Wall, curator of exhibitions, Gibbes Museum of Art

Seven Reasons to See The Art of Alfred Hutty: Woodstock to Charleston (January 20 – April 22, 2012)

As an intern reporting to Sara Arnold, Curator of Collections, I spent the fall at the Gibbes adapting text from the book The Life and Art of Alfred Hutty: Woodstock to Charleston for the exhibit The Art of Alfred Hutty: Woodstock in Charleston. Below are my seven reasons this show is one not to miss:

1. Numbers don’t lie! A banner number—over 400—Gibbes members who came out for the opening of the retrospective cannot be wrong…

2. Alfred Hutty was a foremost figure of the Charleston Renaissance. In the second quarter of the twentieth century, a period with more than it’s share of cataclysmic activity around the world, the Holy City was a hotbed of artistic activity, both home-grown and migrant.

Jenkins Band (no. 2), by Alfred Hutty

Jenkins Band (no. 2), ca. 1933, by Alfred Hutty. Drypoint on paper, 10.5 x 9.75 in. Gibbes Museum of Art, Gift of Mrs. Alfred Hutty (1955.07.24)

3. Yet, Hutty is UNLIKE many Charleston Renaissance artists. Non-native Alfred Hutty (American, 1877–1954) drew attention to scenes and subjects that his local contemporaries did not. One such subject… the Jenkins Orphanage Band.

4. Hutty was prolific! In his lifetime Hutty produced over 230 works in print, and countless watercolors and oil paintings.

5. The artist’s technical acuity won him high acclaim. Hutty co-founded the Charleston Etcher’s Club and was the first American inducted into the prestigious British Society of the Graphic Arts, amongst other high praise.

Day's End (also known as Close of Day), by Alfred Hutty

Day

6. Genius use of tonality. “Day’s End,” with its exemplary use of dark and light is a must see painting.

7. Scale and Reach of the works on view. This is the largest show of the work of Alfred Hutty that has ever been mounted. This show will travel beyond the Lowcountry to Greenville County Museum of Art (May 15–July 15, 2012) and the Morris Museum of Art (August 4–October 28, 2012).

Susan Kridler, Gibbes Museum Intern and guest blogger

See more works by Alfred Hutty in the Gibbes Collection by visiting our online collection database.

Jill Hooper: Contemporary Realist

Portraits have always played a significant role in the art of Charleston, and the Gibbes collection. The very first work of art accessioned into the collection was a portrait of Benjamin Smith by Jeremiah Theus, an important artist working during the mid eighteenth century. Fast forward some 250 years, and the portrait tradition remains very much alive in Charleston, thanks in part to another artist in our collection, Jill Hooper.

This winter, the Gibbes is showcasing Hooper’s extraordinary talent with the solo exhibition Jill Hooper: Contemporary Realist. On view in the Rotunda through April 22, the show includes landscape and still-life paintings, but primarily focuses on portraiture. Each likeness is beautifully painted, and conveys powerful emotion. A number of the paintings are paired with preparatory drawings that reveal Hooper’s working process, and her mastery of charcoal. The drawings are simply breathtaking. Another highlight is the group of five self-portraits included in the exhibition. Painted over a span of eleven years, they shed light on her development as an artist and tackle her own struggles and insecurities. Hooper’s work is honest and full of life and beautifully expresses what it means to be human.

If you want to learn more about Hooper’s work, please join me for a tour of the exhibition on February 16 or March 15 at 2:30pm.

Pam Wall, curator of exhibitions, Gibbes Museum of Art

Artist Spotlight: Corrie McCallum (American, 1914–2009)

Our current exhibition, Breaking Down Barriers: 300 Years of Women in Art, features over 30 groundbreaking women artists, each with their own compelling story and artistic vision. Included among this group is Charleston’s own Corrie McCallum. Throughout her long and productive career, McCallum was a fixture in the Charleston art community. As a result, the Gibbes collection includes many of her works, a selection of which are featured above.

McCallum was born in Sumter, South Carolina in 1914. She attended the University of South Carolina and the School of the Museum of Fine Arts, Boston. Following an extended period of study in Mexico with her husband, fellow artist William Halsey (American, 1915–1999), McCallum and her family settled in Charleston in 1942. Though she chose to live in Charleston, McCallum stayed current with the New York art scene. She followed the development of Abstract Expressionism and incorporated the style into her work, as demonstrated by paintings such as View of Toledo and Boats of Nazare that feature gestural brushwork and reduction of forms.

Under the guidance of Corrie McCallum, the Gibbes created and conducted the first comprehensive art appreciation program for Charleston County public school students.

Under the guidance of Corrie McCallum, the Gibbes created and conducted the first comprehensive art appreciation program for Charleston County public school students.

In addition to her vast body of work, McCallum made significant contributions to the Charleston art community as an educator. She held education positions at several institutions, including the Telfair Museum of Art, Gibbes Museum of Art, College of Charleston, and Newberry College, and throughout her life remained an outspoken advocate for the visual arts.

McCallum’s painting View of Toledo will remain on view in Breaking Down Barriers through January 8, 2012—don’t miss this great exhibition! Have you already seen Breaking Down Barriers? Leave a comment here to share your experience with us.

Pam Wall, curator of exhibitions, Gibbes Museum of Art

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