Archive for the 'Events' Category

A Throwback to the Stork Club

When my co-chair Jay Benson and I originally started brainstorming for this year’s Society 1858 Winter Party, all we knew for sure was that we wanted to do something no one had seen before. With all of the productions, functions, and events always going on in Charleston, that is not an easy feat. We ran through several great ideas, but none were exactly what we wanted… and then it came to us: we wanted to recreate the appeal and excitement of the fabulous NYC Stork Club! With the help of some of the most creative minds in Society 1858, the idea became a reality.

The entrance to the Stork Club in NYC.

The entrance to the Stork Club in NYC.

Sherman Billingsley’s Stork Club was the swankiest place to see and be seen from 1929–65. Everyone who was anyone made their way to the Stork Club, including celebrities, sports figures, politicians, and socialites. Can you imagine being seated next to Grace Kelly, Humphrey Bogart, Judy Garland or Marilyn Monroe?

Actress Marilyn Monroe and baseball player Joe Dimaggio.

Actress Marilyn Monroe and baseball player Joe Dimaggio.

One of the things that I really like about the Stork Club theme is all of the glamour behind it. Women wore evening gowns with silk gloves and men had to wear a tie. In looking through the old photos, you never see anyone dressed down or a hair out of place. In the current era of casualness, it’s nice to imagine a place like this.

Shirley Temple and company the Stork Club.

Shirley Temple and company the Stork Club.

In planning for the party, I have heard lots of fun stories about the original Stork Club. One of my favorites involves Evalyn Walsh McLean losing the Hope Diamond—all 45.52 karats!—at the Stork Club while wearing it out for a night on the town. You’ll never believe that it was later found underneath the table! Another favorite is Ernest Hemingway cashing his $100,000 check for film rights to For Whom the Bell Tolls to settle his bill.

Ernest Hemingway, Sherman Billinsgley, and John O'Hara.

Ernest Hemingway, Sherman Billinsgley, and John O’Hara.

We started building the buzz in December by inviting our fabulous Host Committee for a preview at The Spectator Hotel, which felt like a throwback to a cocktail club in the Jazz Age. At this party, we also unveiled our stunning logo, created by Fork & Knife. Thanks to the Neighborhood Dining Group, our Stork Club will take place on January 29 at No. 5 Faber, and I can’t think of a better place with its sweeping dance floor, polished granite bar, and suede and leather banquettes. No. 5 Faber will be transformed into Charleston’s very own version of the Stork, for one night only! With décor by InventivEnvironments, a marvelous menu by Hamby Catering & Events, and just as the Stork Club was famous for its knowledgeable bartenders, we’ll be offering a specialty cocktail next Friday night. Once you get there, you’ll never want to leave!

Coat check girls

The coat check girls were aspiring actresses who had to audition for their role at the club.

If you want to be privy to all of our surprises, you’ll have to buy a ticket to pass through the gold chain. Expect live jazz and a performance or two from Broeworks. We will also be bringing back the chance to win original art by local artists; you don’t want to miss your chance to take home a work by Karen Ann Myers, Raven Roxanne, Sally King Benedict, Marissa Vogl, Jill Hooper, Alan Jackson, Lese Corrigan, Francis Sills, and Kate Long Stevenson. There will also be a few pieces of special, authentic Stork Club artwork donated by Shermane Billingsley, heiress to the original Stork Club’s legacy, and Stork Club Enterprises, LLC. Stay tuned to our social media pages to get a few more hints.

New Year’s Eve in the Shermane Suite at the Stork Club, 1953, by Albert Dorne.

New Year’s Eve in the Shermane Suite at the Stork Club, 1953, by Albert Dorne.

Dress your ritziest (cocktail suggested, costumes are not required but certainly welcome) to come relive the allure of the Stork Club and don’t be left out in the cold! Tickets can be purchased at www.storkclubcharleston.org.

Susie Armstrong, 1858 Winter Party Co-chair and guest blogger

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

The Gift of the Gibbes

I’ve been working at the Gibbes for a little over a year now and I’ve been sharing my love for this fabulous institution with family and friends. I’ve taken my sister to parties and my mom to lectures. I encouraged my niece to take summer camp and some friends to take a studio art class with me. They all loved it! So this holiday season I decided to give the gift of the Gibbes to my Aunt Julie: I bought her a membership to the Gibbes (and a bottle of wine).

Becca and her sister Julie Foster celebrate La Belle Epoque

Becca and her sister Julie Foster celebrate “La Belle Epoque” at the Gibbes on the Street party in May.

Gibbes CFO Jim Dixon, Becca, and her friend Hannah Hosemann, at the 1858 Prize Unveiling Party in September.

Gibbes CFO Jim Dixon, Becca, and her friend Hannah Hosemann, at the 1858 Prize Unveiling Party in September.

Aunt Julie and I are very close. She is my mom’s only sibling, never married or had children, and has always loved to travel. As a young adult she traveled to amazing places with her aunts, going to Egypt, Alaska, Hawaii, France and Italy (to name a few). Over the past few years we’ve started travelling together and have enjoyed visiting museums, among other things, across Europe. Our first travel experience together was while I studied abroad in Venice, Italy. She and my mom came for a week and we had a great time exploring the city and even ventured to a local soccer match. That was an experience. Our next adventure together was to the motherland in Poland with my mom and some of their cousins. We all had a great time eating pierogi and learning the language (or at least trying).

Aunt Julie and Becca enjoying a whisky tasting at the Glenfiddich Distillery in Scotland.

Becca and Aunt Julie enjoying a whisky tasting at the Glenfiddich Distillery in Scotland.

The next year she found a tour to London called “Theatre in the West End” with Road Scholar (if you don’t know, this is a tour company that caters to the retired set). I told her she needed a travel companion and she said she’d love to take me along. We haven’t looked back since! We’ve been on organized tours and also toured on our own to Cornwall, England and Scotland. Most recently we went on a Danube River Cruise which was an amazing experience that took us to Prague, Vienna, and Budapest. The two of us have had a blast tasting regional specialties, admiring old churches, attending performances, exploring grocery stores, and, of course, visiting all different types of museums. Some museum highlights include the London Transport Museum, the Czartoryski Museum in Krakow (home of da Vinci’s Lady with an Ermine), the Culloden Battlefield in Scotland, and the Hungarian National Museum in Budapest.

She has given me so much over the years, especially a taste for adventure, a full passport, and a love for museums. She has shared her passion for travel and many of her travel tips. She has also inspired me to have a very close relationship with my niece, and I hope one day to take her on wonderful trips when she’s older. With everything she has given me, the least I could do was give her unlimited access to one of my favorite places in Charleston.

Becca Hiester, Curatorial Assistant, Gibbes Museum of Art

Art Education for All Ages

After a great summer working with the Gibbes Museum of Art as a Summer Camp intern, I was excited to return as an office intern over the fall semester. Working with Rebecca Sailor, Curator of Education, has provided me with many opportunities to broaden my understanding of the inner workings of a successful museum, and the great lengths this staff goes to in order to provide such stimulating programming to all ages.

Philippe de Montebello speaking at the 2015 Gibbes Distinguished Lecture Series.

Philippe de Montebello speaking at the 2015 Gibbes Distinguished Lecture Series.

A significant highlight of my time at the Gibbes was the opportunity to help with the Museum’s 2015 Distinguished Lecture Series. The Gibbes brought the esteemed Philippe de Montebello, the longest serving director at The Metropolitan Museum of Art, to discuss the multiple lives of a work of art. Being able to take part in such a successful and truly informational event was quite fulfilling. As an Art History student, de Montebello’s lecture was elegant and inspiring to me. Working together to bring events like this to the people of Charleston is just one of the Gibbes’ many efforts to enhance art education in the city.

Naomi Edmundson at John Pope Antiques, Charleston.

Naomi Edmondson at John Pope Antiques in Charleston, SC.

Last week, I was able to take part in The Gibbes’ Art With a Twist: Antique Stroll. Not knowing exactly what to expect, I walked with the group from the lobby of the Gibbes’ new offices (conveniently located across the street from the renovation site) to the first stop—John Pope Antiques. I was pleasantly surprised, as the walls were brightly colored and the cozy space was full of an eclectic collection of paintings, old instruments, beautiful pottery, and antique chests. The tour leaders provided the group with interesting details about several of the objects, and John entertained us with fascinating facts about his collection. I probably could have strolled around the space for another hour pondering the history of all these items, but I pulled myself away and walked down the street to Birlant & Co. Antiques. Although the setup of the space was quite different from John Pope’s, Andy Slotin and team were just as welcoming and were thrilled to show us around. We ended the visit discussing a beautiful silver dining set on display in the shop. By the end of the night, after stopping in several other shops, I couldn’t believe I’d lived in Charleston my entire life and never been inside any of these wonderful places.

George C. Birlant's & Co., Charleston, SC.

Silver Service at George C. Birlant’s & Co., Charleston, SC.

The Museum’s efforts to provide quality art education doesn’t end with intellectual lectures for art history lovers. Art education for children is a great priority at the Gibbes. Working with Rebecca, I witnessed the huge amount of planning, scheduling, and documenting that goes into the Gibbes In-School Programming. The Gibbes offers quite a few In-School Programs for elementary students, such as Art to Go, Eye Spy, and First Steps. Teaching artists visit Charleston County schools and essentially bring the art to the students with hands on projects, followed by a visit to the museum.

Mitchell Elementary students visit the Halsey Institute

Mitchell Elementary students visit the Halsey Institute as part of an Art to Go program.

During the Museum’s renovation, we’ve been lucky to partner with the Halsey Institute, City Gallery, and The Charleston Museum to continue our in-gallery programming. This semester, I was able to observe a group of first graders from Mitchell Elementary on an Art to Go field trip, as they experienced contemporary art at the College of Charleston’s Halsey Institute. The children were beyond excited to be this close to such colorful artwork! With such engaging instructors, the children felt at ease asking questions and describing the artwork in front of their peers. After learning a bit about the two featured artists, the kids walked around the gallery on a scavenger hunt to find repeated motifs in each artist’s work. I was impressed with their understanding of this concept, and took advantage of the opportunity to excite them as they turned to me with question after question about the art.

I’ve definitely enjoyed my time at the Gibbes, both in the camp classroom and behind the desk, and have gained a whole new perspective on the day to day life within a museum. I can’t wait to come back to the Gibbes for its re-opening in the spring!

Naomi Edmondson, Senior at College of Charleston and guest blogger

Interning at a Closed Museum

Intern Valerie Coughlin in front of the Gibbes Museum of Art.

Intern Valerie Coughlin in front of the Gibbes Museum of Art.

When I tell people that I am an intern at the Gibbes Museum of Art, I am often met with a confused look and the question: “How can you intern at a closed museum?” While this question is valid I have come to see the Gibbes’ renovation as an added bonus to interning at one of Charleston’s finest museums. As an arts management major at The College of Charleston, I have learned about all types of arts organizations, from well-established ones to completely new. I have learned about the challenges of developing programming from scratch as well as building upon existing programs. As a Public Programs and Special Events intern this fall under Lasley Steever, I have gotten to experience things I have only read about in textbooks. It is one thing to read about board responsibilities, but to see the number of hours and the amount of energy board members put into the Gibbes is something entirely different. As an intern I have learned about every aspect of an event, from artist accommodations to the logistics of securing a venue. But during my time here I have learned much more than how to successfully execute an event.

Insider Art with Andrew Brunk

Brunk Auctions president, Andrew Brunk, spoke to a crowd at the Gibbes Museum’s Insider Art Series.

I have been given the unique experience to be an intern at a museum with a reputation that goes back 150 years but also a museum that is undergoing renovations in more ways than one. Along with the floor to ceiling renovation of the building, the Gibbes is rebranding itself. This includes a new website, a new logo, a new mission statement, all in time for the re-opening this spring. So while I get the benefit of interning at one of Charleston’s most recognized and respected institutions, I also get to see how a museum develops on the ground floor. I have seen how the entire staff is coming together to build a new Gibbes. I have experienced how much planning and attention goes into creating a logo, how many meetings go into designing a website, and how the staff and board spend countless hours working together to discuss their hopes for the future of the Gibbes. I have learned that “Reimagine the Gibbes” is much more than a renovation tagline, it is reflective of what I experience day to day as an intern here. So while yes, I am interning at a closed museum, my time here has been invaluable. I am surrounded by the most talented, passionate, and hardworking staff and I cannot wait to see everything come together this spring when the Gibbes Museum of Art reopens!

Valerie Coughlin, College of Charleston intern and guest blogger

Many Moving Parts – A Gallerist’s Perspective

[While the Gibbes Museum is closed, we find ourselves aching to interact with real-live art. The pictures online are nice to glance at, but it can’t replace the experience of standing in front of an original work of art and seeing all the nuances of an artist’s hand. On Thursday night, Society 1858 members had the opportunity to visit the studio of artist Tim Hussey as he prepares for a solo exhibition at The George Gallery. Gallery owner Anne Siegfried shares with us what it takes to pull off a successful show.]

Most people would agree that art openings are fun to attend. You can meet with friends, have a glass of wine, and discuss what you like or not like about the art on the walls. If you connect with the art on exhibit you might also have the opportunity to meet the artist. If you are really into the art, you can buy a piece to hang in your home and enjoy forever. But how does the art opening actually happen?

Society 1858 members enjoy a behind-the-scenes peek at Tim Hussey's studio.

Society 1858 members enjoy a behind-the-scenes peek at Tim Hussey’s studio.

It takes a lot of moving parts coming together.

As a gallery owner I consider many things when planning an exhibit, the most important of these things are my clients, show logistics, promotion, and the quality of the art. I need to be confident that my clients will respond to the artist’s work. Does it match what they are looking for? Is the art work unique? Is the price point reasonable? If I can think of a dozen people off the top of my head that I believe will really appreciate the show then I move on to the next step.

The logistics are the boring part. When does the show best fit into the gallery’s calendar? What else is going on in Charleston when I want to have this show, I want to be sure there are not any obvious conflicts. Is there enough time for the artist to complete a full body of work?

The next consideration is promotion. Do I have an appropriate amount of time to get writers interested in the body of work? I’m hosting the event because I feel passionate that the artist has a story to tell. My job is getting that message out there, sometimes even before one painting has been completed. But through communicating with my artists and visiting their studios I get to understand what is motivating them, why this collection of work is important, and what the message will be once it’s hung on the walls.

The most exciting part of the exhibit for me is when I see the work in person for the first time, which is when the wheels in my head really start turning. I trust in myself and my artist that the quality of the work is up to or exceeds our standards. So far, my artists have never let me down.

When it’s time to hang the show, I finally get to be creative. I have to take into consideration where the best lighting is, which piece need to stand alone, or which is the most subtle and needs extra attention.

An opening reception at The George Gallery.

An opening reception at The George Gallery.

All of this planning, creating, promoting, etc., gets us to the wine drinking and chatting with friends. The process takes about 6-18 months on average. But it’s so worth it! I get to share the art that I love the most. The artist gets to show off his/her hard work, and hopefully you have also fallen in love, taken a piece home and will enjoy that work for many years to come.

—Anne Siegfried
guest blogger, Society 1858 Board Member and owner of The George Gallery

The Secret Language of Cloth, an Interview with Susan Hull Walker

Susan Hull Walker, who founded ibu in 2013, studied World Religions at Harvard Divinity School and served for eighteen years as a minister in Maine, San Francisco, and Charleston, SC. When she returned to school to study Fiber Arts, she learned to weave and speak in the language of cloth. It opened her eyes to the very thing she had been looking for in her previous work – a woman’s way of recording her mind and soul. What she didn’t find in parchment and page, she found in textiles. A woman’s text. Walker is the featured speaker at the Gibbes October Art With a Twist event entitled, The Secret Language of Cloth and graciously agreed to share some of the meanings of cloth with us here.

Susan Hull Walker in her studio

Susan Hull Walker, ibu Founder

Amy: Susan, your upcoming talk is titled, “The Secret Language of Cloth.” Are you saying there is more to fabrics and cloth than meets the eye? Can you explain what that means?

Susan: Of course. In the middle ages, stripes were uncommon and disturbing to the eye – a striped garment moved in uncertain ways rather than waiting politely like a smooth, solid color. Which is how stripes came to be called The Devil’s Cloth and relegated to the edges of their society: worn by jesters, prostitutes, serfs, the condemned. Even in recent years, prisoners suit up in wide horizontal stripes against the vertical bars of their cell and form a visual grid, a cage, in which they live. The history of striped clothing is one fascinating skip through the western sartorial canon, all the way up to sailors, referees, and Picasso – all on the edge of their game.

In Eastern Europe, red embroidery long protected the vulnerable openings of neck and wrists where evil spirits might slip through, and is shaped into a beautiful armor of threads over the chest. A Pazyryk linen shift dating back to the 4th century, BC, has been found bound in red – embroidered with amulets, tokens of sacred power, to ward off the unworthy. Red thread, almost universally, denotes the vital flow of blood, life, passion and fertility, fierce against the dark powers that would diminish it.

IBU fabric

ibu fabric

On the Indonesian island of Sumba, only women of a certain mature age may go near the indigo dye bath, so potent is its power. Women over 50 have known the losses of this world and can bear the deep mysteries of the dye – a ‘blue art’ not suitable for women of a child-bearing age. Men are forbidden to go near it altogether. Indigo has its own secret society of the wise elders, strong and initiated.

Cloth is a trove of story and symbol. The creation of cloth consumed the vast majority of a woman’s time before the industrial revolution – cultivating flax, tending sheep, spinning yarn, dyeing, weaving, stitching, embellishing, piecing and repairing. And so it is saturated with the imagination of women in every step. Needle and thread form a kind of writing. Cloth reveals a secret language that opens to a curious mind.

It’s been my fascination to dive into these stories and try to decipher some of the most common motifs we see but no longer understand.

Why is the woven diamond pattern so universal and ancient – from Laos to Morocco to Guatemala?

Why the ubiquitous Tree of Life, the many shapes of sun, the fertile pomegranate?

Where do brides wear black? And why does a priest wear ‘a little house’? which is, after all, what a chasuble means . . .

Let’s explore more of these mysteries together. I look forward to translating with you the secret language of cloth.

Amy: Thanks so much Susan! We are looking forward to this event.

Susan Hull Walker founded the ibu movement, an enterprise aiding women artisans around the world by offering their hand-crafted textile wares for sale at a showroom on King Street and online. ibu, which means, a woman of respect in the Malay language, aims to continue the world’s great cultural languages in cloth and to empower the women who still carry these rich languages in their hands.

Art with a Twist: The Secret Language of Cloth with Susan Hull Walker 
Wednesday, October 21, 6pm
$20 Members, $30 Non Members
Location: Ibu, 183 King Street

Hearts Mend Hearts, Charleston Heals Through Art

Laura De La Maza and Dianne Tennyson Vincent reached out to the Gibbes Museum after the tragic shootings at the Mother Emanuel AME church. They wanted to do something to help the community heal and were in the beginning stages of formulating a plan so we suggested bringing in our colleagues from the Halsey Institute of Contemporary Art and Redux Studios to help brainstorm. Dianne had led an Art of Healing workshop for the Gibbes in 2012, in which students created mandalas, and following the tragedy, she spoke to us about offering this concept to the community as a way to heal. Laura has worked as an art teacher for years and uses mandalas in the classroom. In the last few weeks these women have worked tirelessly to create a series of free workshops to be offered at the Charleston County Public Library on Calhoun Street through the end of September. They were kind enough to answer a few questions about Hearts Mends Hearts.

How did you become involved with art as a healing endeavor?

Dianne: I became interested in art as a way to heal personally while going through a divorce. Intensely personal, I found it easier and more natural to draw what I experienced on an emotional level than to write or talk about it. I began painting again, which I had given up while married. I discovered the images that I was drawn to reflected what I was going through at the time emotionally: landscapes of paths, roads, and desert scenes. While trying to discover my next path, I stumbled into the field of art therapy and eventually went back to graduate school and became a registered art therapist.

Laura: I realized the healing power of art after going through Hurricane Hugo that destroyed my home. Creating mandalas in the evenings by candlelight as there was no electric power, helped calm me as I dealt with loss, natural devastation, and shock. I also began creating mandalas with students as we were all experiencing losses connected to this natural disaster. The very act of producing images or designs within the circle helped us heal from the devastation in our lives. We came together as a group and embraced another school that had been totally lost due to the hurricane. As we worked side by side for several months that school year, we created human healing circles as well as the visual metaphor called a mandala.

mandala workshop

A student’s mandala

Can you tell me more about these healing circles?

Dianne: Healing circles are mandalas. The word mandala comes from Sanskrit, the ancient language of India. A mandala is a universal symbol or archetype used in all religions and cultures that means “healing circle,” “completeness” or “sacred circle.” Circles suggest unity, wholeness, completion, and eternity. Circles are universally associated with meditation, healing, and prayer.

Psychoanalyst Carl Jung used mandalas with his clients and himself. He saw the mandala as “a representation of the unconscious self,” and  “expressing the idea of a safe refuge, inner reconciliation and wholeness.”  Jung called mandalas “vessels” into which we project our psyche. Experienced consciously, this message from the unconscious is a means for restoration and growth.

mandala workshop

Students at work

What do you hope these workshops will do for the community?

Dianne: As a witness to the life changing effects of art therapy for over fourteen years as an art therapist, including two trips both to Bosnia and Haiti through the ArtReach Foundation and here at home while in private practice, I am still amazed of the power of making art. Art is a creative, non-threatening way to deal with trauma. Children are less articulate verbally, and are often afraid to express themselves, so the metaphors of art are a powerful, direct means to deal with the intense emotions of horror, loss, sadness, anger, and isolation. Increased self-awareness, decreased anxiety, energy and empowerment increases self-worth and confidence and helps reconcile emotional conflict.  Any age can and will benefit and each participant, one person at a time, will ultimately help heal our community.

Laura: I hope these workshops provide a platform for healing. Our first workshop was on Sunday, July 26th and we had a nice turnout with 16 participants of all ages and races. The attendees were engaged and all shared what they had created for display, and most engaged in the processing afterwards. At both sessions this week, attendees that knew one of the slain members at Emanuel AME came to the library to take part in the workshop. On Sunday, a mother and daughter came, and the young girl had visited the West Ashley branch of the library often, having made the acquaintance of Cynthia Hurd. This 4-year-old asked her mother to share what her drawing was about. It was very moving to hear the mom recount their visits to the library, and their conversations with Miss Cynthia, and how she had encouraged the little girl to love books and to visit the library.

Free Hearts Mend Hearts drop-in sessions are offered at CCPL Main Library on Calhoun Street through the end of September. They are designed to help individuals process their feelings and express emotions in a safe environment.

Sundays from 2-4:30pm

Tuesdays from 5:30-7pm

Thursdays from 5:30-7pm

For more information visit their website at HeartsMendHearts.com

Dianne Tennyson Vincent, MAT, ATR, Registered Art Therapist

Dianne has been creating art since she began painting at age 12. Graduating in Nursing from the Southern Adventist University when she was only 19, she quickly realized life as an OR nurse was not for her, so she went to the College of Charleston for her bachelors in Studio Art and then to the University of South Caroline for her Masters in Art Education. Odd, though fortuitous events landed her a job as Art Therapist at Fenwick Hall Hospital, (a psychiatric-substance abuse hospital.) and from there she went on to complete 30 graduate and two thousand clinical hours to earn her requirements to be a registered art therapist with the American Art Therapy Association.

She has taught art privately since she was 19, and as an elementary, middle and high school art instructor for the Charleston County School District for 14 years. She now runs her Art Connects Art School with her husband while maintaining her private art therapy practice in Mount Pleasant. She promotes art therapy locally through an ongoing series of presentations geared for both professional mental health care givers and the general public, and has done numerous mandala workshops to familiarize the public with the healing power of the mandala.

Laura De La Maza, National Board Certified Teacher, Art

Expressing art through teaching, art making, and creating visual stories defines the work of Laura De La Maza. Influenced by the Caribbean color and landscape where she grew up, De La Maza expresses life’s journey through mandalas, mixed media, and symbol. The spiritual connection expressed in her images defines her art teaching and personal work. De La Maza teaches high school art in the Lowcountry.

A Community United, a conversation with organizer Mickey Bakst

 

A Community United

A Community United

Mickey Bakst, General Manager of the Charleston Grill, has done it again. He has reached out to the Charleston food and beverage community to ask for their help in honoring the victims, families and congregation of Mother Emanuel AME church with a gathering bringing together the people of Charleston. The event will be at the Belmond Charleston Place Hotel on July 9, 2015. Silent auction bidding on a variety of luxury items will be available to supporters around the country beginning on July 3 at Noon and ending Midnight on July 9.

You have a passion for philanthropy and for helping those in need. You are the mastermind behind successful charities including Chefs Across America, Benefit for Katrina, and Dine for Nine. In 2014, the Gibbes Museum presented you with the James S. Gibbes Philanthropy award to recognize those efforts. Can you tell me where that passion came from?

Mickey Bakst

Angela Mack presenting Mickey Bakst with the 2014 James Shoolbred Gibbes Philanthropy Award at the Annual Meeting.

Honestly I am not sure. I was once asked why do you do those things and my response was “why not?” It seems to me we all have gifts that would enable us to help others around us. The question becomes not can you but will you? I feel strongly that I have been given some certain gifts and I feel a responsibility to use those gifts as effectively as I can. There are many people who have amazing abilities to help others but choose not to. I choose to!

Tell us about the A Community United event. What restaurants are involved? Share some details about the silent auction. 

There are over 50 restaurants and beverage purveyors involved so to list them would be a bit tedious. All of the major restaurants in town are involved. The event will be a stroll around somewhat like we do for the Gibbes Street Party. The program will consist of the Mark Sterbank Spiritual Hymn group as well as a gospel group called the Low Country Voices. We will also have members of the Emanuel victim’s families, as well as other members of the church. We have given the church 200 free invitations. Reverend Goff, who did Reverend Pinckney’s service will preside over the event. We also have some pretty powerful presentations planned. Finally there will be over 200 items at a silent and on line auction so please tell your members to bring their phones!

What do you hope will come out of this event?

A little help for the family members and some unity for this community! This fund will donate 100% of the proceeds directly to the families.

In order to bid in the silent auction, you must register a credit card. If at the end of the auction, you wish to pay with check or cash, you will be given the option to do so. To make a DONATION, text 3000 to 843-606-5995 and follow the text prompts.

A Community United

Thursday July 9

6:30- 9:30

Charleston Place Grand Ballroom

Tickets $200

To purchase tickets and to view the silent auction items, please go to this website.

 

A Magical Mystery Tour of the Gibbes, by Elizabeth Gumb

Where the Gibbes is going, and where the Gibbes has been, certainly isn’t a mystery, but the amount of planning, creating, and excitement that has gone into Society 1858’s Winter 2015 party has been, frankly, magic. By “magic,” I mean, it’s amazing how easily things have fallen into place for this party. The generosity and involvement of our local vendors, venues, artists, sponsors, and patrons have really been the driving force behind this party (and of course, Lasley Steever, Director of Programs & Events at the Gibbes Museum)!

Magical Mystery Tour

I couldn’t be more excited or honored to co-chair, along with Kristin Romness, the first “off-campus” party! For the last four years our annual winter party has been held inside the museum, but due to the renovations, we’ve had to look elsewhere for a venue. While it has been overwhelming at times knowing that we were responsible for pulling off this unique event at another space, it has also allowed us to be as creative as we possibly could. For example, we were able to toy with different themes, formality, and ideas depending on which venue we decided upon, and the Woolfe Street Playhouse could not be more perfect for this British mod-pop Beatles party. Think psychedelic colors, swinging 60s set-up, and anglophile style. Beats by DJ Jeff will spin throughout the night for the ultimate dance party.  Guests will love the appropriately themed eats by Tristan and drinks by Striped Pig Distillery and Westbrook Brewery. But of course in true Gibbes style, we will have a few tricks up our sleeves as well.

Studio 54, MCG Photography

A party scene from last year’s winter party, Studio 54, MCG Photography

This is a party with a purpose because proceeds go to support the 1858 Prize for Contemporary Southern Art, which is open to artists from Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, or Virginia and includes a $10,000 cash price for an artist whose work contributes to a new understanding of art in the South. That’s why we are so excited to offer guests the chance to win a piece by one of the following contemporary southern artists: Charles Ailstock, Brian Coleman, John Duckworth, Richard Hagerty, Christopher Holt, Robert Lange, Megan Lange, Hirona Matsuda, Andrew Smock, Kate Long Stevenson, Lulie Wallace, John Westmark, and Ben Gately Williams. I have both of my fingers crossed for winning! Prices start at $15!

The fourth-annual party is sure to be a groovy gig, so I hope you get your tickets before it sells out!

58 Winter Party: The Magical Mystery Tour
Friday, February 20, 8-11pm
$70 Society 1858 Members, $95 Non Society 1858 Members
$130 Ticket, plus an Individual Membership for the Gibbes Museum and Society 1858 ($10 Discount)
Location: Woolfe Street Playhouse, 34 Woolfe Street

Elizabeth Gumb

Elizabeth Gumb, Co-Chair Magical Mystery Tour and Society 1858 Board Member

 

 

 

 

Next »