Archive for the 'Events' Category

Reflections on Art and Healing

On June 2, artist John Westmark participated in a program at the Gibbes called Art of Healing. Over the past two years, the museum has hosted a number of programs that focus on the many ways that art connects with healing and wellness. This particular program entailed in depth discussions of several paintings on view in the exhibition John Westmark: Narratives, including a large-scale canvas titled Sisters.

SISTERS by John Westmark

Sisters, by John Westmark

For me, Sisters is a particularly powerful painting. The work depicts two women standing hand-in-hand, bound together by red string. They appear strong, resolute, and ready to take on the world. I connect with the painting because I am fortunate to have a sister who has been my lifelong best friend. In January 2013, my sister Angie was diagnosed with an acute form of leukemia. It was a devastating diagnosis, but I knew she would fight with every ounce of her being. It may sound cliché, but she is a warrior in every sense of the word, and has been since we were kids.

Angie's first day of kinder

Pam Wall and her big sister Angie

Shortly after Angie’s diagnosis, I began working on John’s exhibition. Sisters was one of the first paintings added to the object list. I worried about Angie constantly, but Sisters gave me a measure of reassurance. It reminded me that Angie was every bit as strong as the women in the painting, and I needed to be just as strong to help her through this battle. The red string held particular significance. Blood cancer was the enemy, but family bloodlines were ultimately what saved Angie’s life. In May 2013, she received a lifesaving stem cell transplant from our brother Chip.

I am thrilled that Angie’s story is now one of healing. She recently hit the one-year anniversary of her transplant, and life is slowly returning to normal. Whenever Angie is on my mind, I take a few minutes in the gallery with Sisters. The painting has helped me to cope over the past year and half, and reminds me of all I am thankful for. And as I raise two daughters of my own, I hope they will stand together like the sisters in John’s painting, ready to face the triumphs and challenges life has in store.

Pam Wall, Curator of Exhibitions

The Art Tells the Story

Q & A with Rice & Ducks author Virginia Christian Beach

Virginia Beach with Jonathan Green

Virginia Beach with Jonathan Green whose painting Rice Morning Harvest is featured in Chapter 9 of Rice & Ducks.

Q: What was the inspiration for this book?

Many people don’t know that Lowcountry South Carolina is considered a leader in land conservation in the United States.  We have more land permanently protected in our coastal plain—1.2 million acres—than any other East Coast state.  We are also extremely rich in wetlands and forestlands, two vital habitats for innumerable species of flora and fauna.  The story of how we came to be a national model in land conservation is unique, largely due to the fact that it is predicated on the grand and tragic and complex history of the rice culture, and the convergence and interaction between northerners and southerners after the Civil War.  What evolved here in the Lowcountry, what we today enjoy from a cultural and environmental standpoint, is unlike anywhere else.  We felt this was an important and interesting story, worthy of a beautiful book.

Q. Rice & Ducks includes interviews with experts and scholars in the fields of rice cultivation and plantation history, African-American studies, wetland and waterfowl biology, and wildlife and habitat conservation. Tell us about your experience conducting and sifting through these interviews-the research sounds extensive!

The project took three full years, from inception to publication.  I traveled up and down the rice coast of South Carolina, from the Pee Dee River down to the Savannah, with a digital recorder in one hand, pen and paper in the other, and a pair of binoculars around my neck.  I sought out landowners who had been active in the land conservation movement in their respective river basins, most of whom had already permanently protected their property with conservation easements, and whose families had either been here for many generations, or had arrived with the “second northern invasion” in the 1910s, 20s and 30s.

I also interviewed slave descendants, hunting guides and land managers, as well as field biologists, foresters and ornithologists — the people living and working closest to the land. RICE & DUCKS is as much a land use history, as it is a land conservation history.  One of many highlights included multiple conversations with a landowner, now in his 90s, whose great uncle had been a founding member of one of the earliest northern hunting clubs in the Lowcountry—the Okeetee Club in Jasper County—and who had wonderful memories of hunting here in the 1920s as a boy.  Another highlight was walking the slave street at Friendfield Plantation in Georgetown County, where First Lady Michelle Obama’s great-great grandfather was born and raised.  And lastly, walking the old rice field dikes of the Ashepoo River at dusk and watching thousands of waterfowl settling in for the night.  These are just a few of the many memorable experiences of my field research.

Q. Now to the art and how “The Art Tells a Story.” Tell us how you chose the images to accompany these stories. How and why was the Gibbes’ permanent collection important to this book?

After completing my research and the manuscript, I was tasked with curating the images for RICE & DUCKS, with the help of a Curatorial Committee that included Angela Mack, Executive Director of the Gibbes, who was an invaluable guide as you might imagine. During that first year of researching the text, I also made detailed notes of artwork, maps, and visuals that I was encountering along the way, which I thought would complement and enhance the RICE & DUCKS story visually.  When it came time to convene the Curatorial Committee, I created a master list of all the images I had noted, organized by chapter, and called it “A Working List of Potential Visuals.”  It was over 20 pages long!

Thankfully, Angela and Steve Gavel (another member of our committee) came up with the idea of choosing a work of art for the beginning of each of the 9 chapters — giving it a full page of its own —  that was representative of the overall theme of each chapter and was of the corresponding time period. This helped bring into focus and reinforce the major themes of RICE &DUCKS.

The Reserve in Summer

The Reserve in Summer by Alice R. H. Smith

The images serve both a historical purpose and an artistic and thematic purpose.  The adage that “a picture is worth a thousand words” certainly holds true for the images in RICE & DUCKS.  In many instances, we simply did not have room to include sidebars and additional text on many important topics.  One good example of how a painting can convey so much more information than the written word is “The Old Plantation,” lent to us by Colonial Williamsburg.  With that one painting, we were able to convey much more about the history and uniqueness of the Gullah culture.  Similarly, Anna Heyward Taylor’s linoleum block print from the Gibbes collection, entitled “Sowing Rice,” powerfully illustrates the African roots of rice cultivation in the Lowcountry.  At the same time, Charles Fraser’s portrait miniature of Nathaniel Heyward, as well as Benjamin West’s portrait of Thomas Middleton — also from the Gibbes collection — beautifully express the aspirations and authority of the New World landed aristocracy.

Sowing Rice by Anna Heyward Taylor

Sowing Rice by Anna Heyward Taylor

Q. The proceeds from this book go toward protection of the northern breeding grounds and protection of migratory bird habitat in the Carolina Lowcountry. Can you tell us about this effort and why it is important?

You’ve heard the expression “the canary in the coal mine?”  Well, migratory birds — whether they be waterfowl (e.g.ducks and geese), wading birds (e.g. egrets and herons), shorebirds or warblers— are huge barometers of the health of our overall environment, since they rely on a multitude of habitats along their ancient, amazingly long flyways.  They are the great “connectors”—between continents, between nations, between habitats — breaking down political and cultural barriers as they embark on their transcontinental, cross-cultural journeys year after year after year.  For example, take the little sanderlings that you see on South Carolina beaches each spring and fall.  They nest in the high Arctic tundra and migrate through the Lowcountry every year, traveling thousands of miles on their annual migration between North and South America.  Many of these species absolutely depend on the healthy habitat of the South Carolina Lowcountry for their survival along the way.  And much of our wetlands are used by both waterfowl and wading birds and shorebirds.  Saving their habitat is good for them and good for us; nourishing humankind both physically and spiritually.

Virginia C. Beach, Author and Guest Blogger

The Art Tells the Story book signing and discussion with Virginia Christian Beach
Thursday, June 12, 12noon
$15 per person
You may pre-purchase books at the Museum Store
To purchase tickets please visit gibbesmuseum.org/events or call 843.722.2706 x21

THE ART AND SCIENCE OF LIVING AT HOME: Turning Your House into a Work of Art

Photo of the Deans

Suzanne Pollak and Lee Manigault, aka The Domestic Deans!

Suzanne Pollak and Lee Manigault are bossy in the best sense of the word. After bonding at a cocktail party at Darla Moore’s house 4 years ago, they dubbed themselves the ‘Domestic Deans.’

“Why? Because we hold the only two PhD’s in ‘Food and It’s Many Uses’ and ‘Managing a Household’ ever awarded. We each spent decades of time, logged thousands of miles spanning all the continents, and raised six children between us to become the two most knowledgeable authorities in our respective fields,” write Pollak and Manigault in the intro to their book The Charleston Academy of Domestic Pursuits.

The book was released on April 15, 2014 and the Deans are gearing up for a busy spring and summer touring the southeast to promote their book. As part of our Art With a Twist series, the Gibbes is pleased to host the Deans on Monday, May 12 at noon for a lunchtime lecture and book signing. The Deans will speak to guests about using a museum to develop your eye. “We’ll walk you through the rooms of your home and teach you how to develop your taste over a lifetime,” says Suzanne. The book is laced with witty humor, practical tips, and charming illustrations that celebrate the time honored art of entertaining.

“We are two experts who are not afraid to tell you what to do. We have been living in, and proudly running, our houses for 25 years. People ask our advice all the time because they can see that we enjoy living in our houses and we make it look easy. This is because we have given so much thought and energy into how we do our jobs around the house. We celebrate everything. One of us gave an Emancipation Proclamation dinner dance on a moonlit barrier island when she got divorced, while the other hosted a Go Green dinner when her son mowed the lawn without being asked,” write Pollak and Manigault.

Suzanne was kind enough to stop by and talk with me about the book and her upcoming lecture at the Gibbes. As someone who did not grow up in the south and missed out on etiquette training, I was nervous about our meeting. With a house full of loud, messy boys, I wasn’t sure that their world of entertaining would apply to me. However, I was pleasantly surprised with Suzanne’s warm demeanor and drawn to her energy and passion. All jokes aside, Suzanne spoke about the importance of bringing the community back into our homes. She explained that our busy lives have taken us away from the home as a gathering place for family, friends, and neighbors. The Charleston Academy of Domestic Pursuits teaches readers that entertaining at home doesn’t have to be a big production and is filled with practical tips such as:

  • How to involve all available hands to make light work.
  • How to impress with a meal in mere minutes.
  • The Deans even suggest readers make-do with crates and cushions, should they not have enough chairs for a dinner party.

These women will share their joie de vivre as well as their knowledge and varied life experiences with guests. Join us for an entertaining and informative event on May 12th!

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

Charleston Academy of DP

The Charleston Academy of Domestic Pursuits by Suzanne Pollak and Lee Manigault

Suzanne Pollak, author of Entertaining for Dummies and The Pat Conroy Cookbook is one of the USA’s foremost experts on entertaining, parties and food. She is a wife and the mother of four adult children. After living in Africa for her first 18 years and then answering her own family’s questions for the next 25, she became the spokesperson for a division of Federated Department Stores (covering seventy-seven stores spread out over ten states), giving forty seminars a year on subjects ranging from home decorating to entertaining, including cooking demonstrations and bridal fairs. She became the “face of the home store”.

Lee Manigault is an internationally educated cook, who can set a table with over 100 utensils and butcher a side of beef. She is also a mother of two school-age daughters. She married into one of Charleston’s most prominent families 20 years ago. She lives in a meticulously restored 18th-century house that has been in the family since it was built. Her house is one of the few private houses in town to boast a ballroom and in it she has hosted a huge array of activities from lectures and formal dinners to intimate family holidays. Manigault’s children are the first to have lived in the house since the Civil War, so she has spent a considerable amount of her time re-acquainting the house to young children.

Art With A Twist
Monday, May 12, Noon
THE ART AND SCIENCE OF LIVING AT HOME: Turning Your House into a Work of Art
With Suzanne Pollak and Lee Manigault

For more information or to purchase tickets please visit gibbesmuseum.org/events or call 843.722.2706 x21.

Photo of the Deans by Vicki Stone.

14th Annual Kiawah Island Art & House Tour

I am fortunate to be involved with a wonderful group of women who belong to Gibbes, etc., an organization comprised of women who live on Kiawah Island. Each year, Gibbes, etc. sponsors a house and art tour and proceeds from the event support education, exhibition and outreach programs at the Gibbes Museum of Art. Since its origin, Gibbes, etc. has raised over 1.2 million dollars to fund traveling programs and art exhibitions in our community. For the past eight years, I have coordinated ticket sales and served as publicity chair. The friendships you make within this terrific group are unparalled. It is not just the golf group or the tennis ladies (although there are quite a few of us) but women who like to make a difference in their community.

 

Ocean Course Drive

Overlooking the 13th hole on the famed Ocean Course and the marsh to the ocean beyond is 14 Ocean Course Drive. This beautiful home is designed in the Dutch Gambrel style and is decorated in soft hues that bring outdoor elements inside.

Blue Heron

This home is beautifully nestled in the Preserve section of the island and overlooks Blue Heron Pond, offering a unique sense of privacy. The neutral palettes throughout emphasize the natural beauty of the outdoors. The artwork throughout the home includes a spectacular collection of original paintings and lithographs by artists such as Picasso and Joan Miro.

 

One of the joys of being publicity chair is that I have the opportunity to visit the five stunning homes on the tour well in advance so that I can write a description of each, including their beautiful art work and antiques and the architectural details. It is also an opportunity to meet the generous homeowners who offer to open their houses for the event. It takes approximately 130 volunteers to make the tour a success and each volunteer works diligently in their position. We also rely heavily on our husbands who assist with parking and security details.

 

Surfsong

This beautiful and spacious home is filled with treasures and furnishings the owners have collected over the years. The stunning house is filled with furnishings from Virginia, Delaware, and South Carolina.

 

In the past two years, we have partnered with merchants at Freshfields Village (at the intersection of Kiawah and Seabrook Islands) to promote discounts for ticket holders who come out to the island for the tour. This year, the Kiawah Island Golf Resort has also partnered with us to offer dining discounts. I am hoping that ticket holders will take advantage of this opportunity. They can come out early, shop, dine and enjoy the tour. It is a wonderful opportunity to see the beautiful homes and views in this privately gated community. I hope you all will come this Friday, April 11th from 1-5 pm. You can get your tickets at any of the real estate offices on the island or at the kiosk located just in front of the grocery market. Tickets are also available at the museum.

To purchase tickets please visit gibbesmuseum.org/events or call 843.722.2706 x21.

 

SUMMER ISLAND

This traditional shingle style home overlooks Cinder Creek and the ocean beyond. Both the first and second floors have terraces, and there is a deck and pool that provide wonderful views of the creek.

 

Fish Hawk Lane

This transitional style home on a quiet cul-de-sac is entered through a tranquil courtyard filled with majestic oaks, camellias, and confederate jasmine reminiscent of downtown Charleston gardens.

Carroll Dunn, 2014 Kiawah Art & House Tour Publicity Chair and Guest Blogger

Carroll Dunn, Gibbes, etc.

House photos by Tina Schell.

A Romance with Cuba, by Dr. Jeb Hallett

 

I have had a romance with Cuba all my life.

Havana Cathedral

Havana Cathedral

At the age of ten, I listened to the Revolution on Radio Havana via my small short-wave radio in my bedroom in West Virginia. I dreamed of visiting Havana. Riding in cool old Chevy convertibles. Maybe seeing Hemingway around town. But, the Revolution ended that dream.

Then came the Gibbes “artistic” trip in February. (Twenty-three Gibbes Fellows traveled to Cuba with Executive Director Angela Mack, Curator of Collections Pam Wall, and Membership Coordinator Amanda Breen to learn about Cuba and its art.) So well organized! So well executed! Angela, Amanda, and Pam hit this one out of the ballpark!

Classic Cars in Cuba

Dr. Hallett enjoying the ride!

Who can forget twenty five Charlestonians riding around Havana like a gang of teenagers  in ‘55 Chevy convertibles? Or, dancing to the music of the Buena Vista Social Club? Or, peering into the windows of Ernest Hemingway’s home at Vinca Figia?

Oh, wait! Angela reminds me that the trip was really about art. The amazing creativity of The Merger, Kadir Lopez, Roberto Fabelo, and Yoan Capote was inspirational for starters. And, the worn patina of the architecture that enigmatically felt both sad and beautiful in the moment. All of this culture in the context a truly resilient people who take pride in their independence and joy of life.

Roberto Fabelo's studio

Roberto Fabelo’s studio

None of this magic would have been possible without the company of so many old and new friends. My wife, Linda Austin, and I will always treasure this trip because of these friends.

So, my next dream: get back to see more of Cuba. When the Gibbes is ready for another Cuban “invasion,” count me in. Maybe on a Harley Davidson motorcycle riding toward Santiago with a Cohiba cigar in mouth and Linda in the sidecar!!

Dr. Jeb Hallett, Gibbes Museum Board Member and Guest Blogger

 

Collage, Cut, and Paste Curation by Charlotte Moss

East Hampton Garden

East Hampton Garden Collage by Charlotte Moss.

 

“Found objects, chance creations. . . abolish the separation between art and life. The commonplace is miraculous if rightly seen, if recognized,” wrote poet Charles Simic.

How true. Collage is a vehicle for disseminating ideas, organizing thoughts, and developing and determining your tastes. What I most appreciate about collage is that it’s not a snob. It’s an art form for everyman; it is ignorant of skill level and thoroughly forgiving. Collage doesn’t require a deft hand like painting, yet it has been prevalent in fine art through the ages. Collage has seen us through Cubism, Surrealism, Constructivism, and Abstract Expressionism. Artists throughout history have embraced the technique, artists such as Braque, Picasso, Jasper Johns, and so many others. Collage became a twentieth-century art form thanks to these artists. Dreams, dissonance, eccentric and disparate bits and pieces merged to produce juxtapositions that gave the subconscious and our inspirations a legitimate outlet.

I have always collected things, wherever I go, whether they were objects, ideas, quotes, or images taken by my camera. It was natural that I would be drawn to collage. As I am a visually inspired person, collage has been my vehicle for recording and retaining important moments in my life, as well as absorbing things that I am drawn to: still-lifes, gardens, interiors, and fashion among them. The medium welcomes chance findings and randomness and understands the consequence might well be a totally unintended one. My collages are put into books and they have become my visual memoirs, personal storyboards, my inspiration, and my creative outlet for years—the DNA of my design aesthetic as well as the story of my life so far. And I’m more aware than ever about the importance of these hand-recorded memories and dreams for my family and for the future.

 

Hautefort France

Hautefort France collage by Charlotte Moss.

 

“There are no new ideas in the world, only new arrangements of things,” wrote Henri Cartier-Bresson.

Scrapbooks are the working documents that have been essential in my evolution as a designer. I’m a teacher in my work. I am always studying and learning. By examining what others have written and done and processing those ideas with my hands, scissors, and a glue stick, I’ve been able to develop my own approach to living and design, one that works for my home and my life—the basis of which has been honed from others over the course of my career. Collage always made sense to me as a methodology. I am a hunter, a collector, an editor—in truth, a stylist, I think, since birth. I see the world in composition—always have. A gathering of anything, anywhere, inside or out, can be arranged into a still life. I’ve learned that the most ordinary of found objects can be elevated when artfully considered and arranged. It is in our carefully curated environments that we share a specific point of view, a personal aesthetic, a vision, and a passion for life. In essence, creating a composition is about seeing. And sometimes, it’s seeing the beauty in ordinary, everyday found objects.

 

The Orsan Gardens, France

The Orsan Gardens, France collage by Charlotte Moss.

 

Collage permits experimentation.

Collage is self discovery.

Like David Hockney said, “The thing with high-tech is that you always end up using scissors.”

Charlotte Moss, author and designer, and guest blogger
Learn more about Charlotte Moss on her website, charlottemoss.com.

Excerpted from A Visual Life by Charlotte Moss (Rizzoli, 2012). Purchase a copy of A Visual Life from the Gibbes Museum Store.

Charlotte Moss is the featured speaker at the Art of Design luncheon and lecture on March 7, hosted by the Women’s Council of the Carolina Art Association and the Gibbes Museum of Art.

Embracing the Disco Era

As the co-chair of this week’s long awaited Society 1858 winter party—taking place Friday, February 7th, at the museum—I could not be more excited to see months of planning, ideas, creative decor, and entertainment come to life. This year’s theme will not disappoint, as we embrace the disco era with Studio 58: Your Ticket to the Arts Beyond the Velvet Rope.

Photos from the original Studio 54 club in New York City.

Photos from the original Studio 54 club in New York City.

Encouraging seventies-style dress appropriate to the theme, we expect characters of all types to be filing past the paparazzi’s flashbulbs and bouncers, through the Gibbes’ blacked out entrance and into our infamous “club.” Once inside, our guests will see the Gibbes transformed into a fabulous disco, with dueling DJ’s downstairs and upstairs, a delicious spread by Cru Catering and Fuel, beer by Westbrook Brewery, wine and bubbly by The Wine Shop, and a delicious cocktail featuring Cathead vodka. Just after 9pm, we’ll present a very special performance in the Rotunda Gallery (a can’t miss experience)!

Being a part of the planning process has been a very rewarding experience, as we have worked hand in hand with Lasley Steever and the amazing museum team, and our wonderful and generous vendors partnering on this event. It is nothing short of incredible to be involved with our still fledgeling, but extremely strong and active group! It is so rewarding to see the difference that is being made amongst our peers in Charleston. I can see how we are bringing awareness to the arts, as well as making an impact in the museum by giving back financially, and securing new and active members. I am very proud to be a part of Society 1858, and I know I speak for the rest of our board when I say that we are honored see our auxiliary group grow into one of the largest of its kind in Charleston.

A collage of submissions from Finalists and Winners of the contemporary art prize.

A collage of submissions from past finalists and winners of the contemporary art prize.

Additionally, starting this year, we are thrilled to announce that we are sponsoring the 1858 Prize for Contemporary Southern Art. The prize accepts submissions from artists in ten regional Southern states, and awards $10,000 to an artist “whose work contributes to a new understanding of art in the South.” It will be presented annually, and will recognize the highest level of artistic achievement in any media. We are beyond excited to be making an impact in the art world in this way, and believe it will be a lasting gift from the Gibbes by way of Society 1858 in not only our community, but in the entire region. We hope this effort will put us on the map as a respected endowment for contemporary southern artists. Please visit 1858prize.org for complete details about this wonderful annual contest.

So plan to join us this Friday, donning your disco duds, as we transform the museum into a fantastic delight for the senses, and make this a night you will not forget! We can’t give away all of our secrets, so you will just have to attend to see what Society 1858 has in store, but don’t wait as tickets are almost sold out! See you Friday… be there or be square!

Liza Cleveland, Society 1858 Board Member

Liza Cleveland, Society 1858 Board Member.

Liza Cleveland, Society 1858 Board Member, guest blogger

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

The Art & Heart of Philanthropy

Why is giving back important to the community? This was the theme of a recent panel discussion hosted by the Gibbes Museum of Art and the Center for Women. The “Art & Heart of Philanthropy” panel discussion was held at The Sanctuary on Kiawah Island on Tuesday, January 14, and featured four prominent, local women who are passionate philanthropists. Panelists Laura Gates, Carolyn Hunter, Susan Romaine, and Anita Zucker spoke with moderator Jane Perdue about the art of giving back.

The Art & Heart of Philanthropy at the Sanctuary on Kiawah Island

Guests attending the Art & Heart of Philanthropy panel discussion at the Sanctuary on Kiawah Island.

As the marketing manager for the museum, I had been preparing for the event for some time, and was looking forward to it on a personal level because I was seeking inspiration. When I was young, my dad was very involved with our small town community in Vermont, and worked hard to model this behavior to my sister and me. However, instead of being inspired, I often dragged my heels and complained when he took us to a nursing home to sing carols on Christmas Eve, or pulled us out of the house to help build the town playground. Those memories are more than three decades old, and now it’s my turn to introduce the concept of giving back to my children. As the mother of three boys, I finally understand what dad was trying to do, but I don’t know how to do it. So, I was looking forward to hearing what these women would share about getting involved with the community.

I recorded several of the questions and answers I found most inspiring during the conversation to share with you below. Moderator Jane Perdue began with asking the women to explain why giving back was important to them.

A. Susan Romaine, a nationally recognized artist, said she starting giving out of a sense of gratitude. “I gave to Planned Parenthood because they offered me free health services and enabled me to be healthy when I was young and didn’t have any money.” As she grew older and earned more money, she began to widen her giving reach, and shared her time and money with other non-profits. Carolyn Hunter, President of C&A Unlimited, and owner of three local McDonald’s franchises, said giving back is important to her because “we need to share what we have with others.” Anita Zucker, Chairperson and CEO for the InterTech Group, said her parents were Holocaust survivors who taught her that if you don’t have the money, give your time. Laura Gates, Board President of the Carolina Art Association/Gibbes Museum of Art, said she is motivated to give back because she feels very fortunate. Laura began her philanthropy when she was young by giving $5 to her alma matter, Wellesley College, because she wanted to participate. “There is a thrill associated with giving,” Laura added. “Endorphins are released and there is a ‘giving high.’”

Q. In their book Reinventing Fundraising, the authors describe six reasons women are motivated to give:  create, change, connect, collaborate, commit and celebrate. Do any of these six resonate with you? And if so, why?

A. Carolyn Hunter said her reasons for giving were to Change and Celebrate. She said, “I want to know how I can get more African American women from the community involved.” Laura Gates said her reasons for giving were to Change and Create because “educated women will change the world.”

Q. What are your thoughts on how to get children participating in and learning about philanthropy?

A. Anita Zucker explained that when her children were young, she took them with her to volunteer at Crisis Ministries. “It’s important to show your children how other people live, then they understand that everything they do has an impact,” she explained. Susan Romaine agreed and said when her daughter was young that she tried to lead by example. “At the end of the day my daughter wanted me to stay home with her, but I explained to her that this was important work. Sometimes I would take her with me to volunteer or attend a meeting so she could see what it was all about.”

Q. The Women’s Philanthropy Institute writes, “Women have traditionally been heralded for their generations of life-changing service to society. But today, women are not limited to contributions of service as they are achieving full confidence in their capabilities as financial donors.” You all certainly embody this transformation! What advice do you offer to other women in gaining confidence relative to money and influence?

A. Susan Romaine said that nothing is too small. “Give $5, $10, or $1,000 and you will feel empowered!” Anita Zucker agreed and said that she began giving in increments of $18 and called it ‘bite-sized pieces.’ “Then you can inspire people through your giving,” she said. Laura Gates added that women need to understand their financial situation so they can give in their lifetime. “Enjoy giving now,” she encouraged the audience.

Carolyn Hunter summed up the discussion with the simple phrase: “The more I give, the more I get.”

I left the discussion feeling empowered, and realized that I didn’t have to follow in my father’s exact footsteps and make my boys sing carols at Christmas, but that I could create my own path of giving. I could follow the panelist’s advice and lead by example.

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

 

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

Next »