Archive for the 'Programs' Category

The Art of the Sea with Val Kells

Marine Science Illustrator Val Kells is an ‘obsessive compulsive’ fisherman. A photo of Kells on her website shows her proudly displaying a Permit that she caught off Cudjoe Key in 2011. “I take a photograph of every fish I catch before I release it,” she says.

Val Kells

Marine Science Illustrator Val Kells at home on the water

Kells is a full-time, highly trained, freelance scientific illustrator with over 30 years of professional experience. She works closely with educational, design, and curatorial staff to produce accurate and aesthetic scientific and interpretive illustrations. She has created over 2,000 illustrations for a wide variety of clients including publishers, designers, master planners, museums, nature centers, and public aquariums and is the coauthor of A Field Guide to Coastal Fishes – from Maine to Texas. “This comprehensive guidebook to all of the fishes found along the Atlantic and Gulf Coasts should become an integral part of the library of any naturalist, angler, or fish enthusiast,” says Edward O. Murdy, National Science Foundation.

Val Kells Book Cover

A comprehensive guide book to coastal fishes

She is currently working on the Pacific coast version which will include close to 800 species and will be published in the spring of 2016. These comprehensive books are used in classrooms, labs, and on boats by students, scientists, and nature lovers. “I love when people send me photographs of themselves on a boat with a fish in one hand and my book in another,” she says. Kells says her work is ongoing and she will unlikely run out of subjects to illustrate.

Kells’ research is meticulous and each illustration can take up to a full day to complete. She works from her studio in Virginia with the support of an extensive network of associates and colleagues across the country.  She begins with a preliminary pencil drawing to ‘work out the kinks’ paying close attention to the morphology of the species from the number of scales to the placement of fins. When she is satisfied, she transfers the drawing to watercolor paper and begins to paint. “I go into a Zen mode at this point. I turn on some Bruce Springsteen and paint until it’s done.”

Kells began drawing as a very young girl in Rye, New York, and studied art throughout high school. “I also had a deep love of the natural environment from the time I was young. And when my parents sent me to a summer camp in the Florida Keys, I decided that I wanted to be a marine biologist,” she adds. After studying Marine Biology at Boston University, she transferred to UC Santa Cruz in 1983 and ‘fell upon’ the (then) newly established Science Illustration Program where she was able to combine her two loves: art and science. One of her first clients was the Monterey Bay Aquarium and since then she has worked with over 25 aquariums and museums around the country including the Florida State, Long Beach, and North Carolina aquariums. Kells also worked for our own South Carolina Aquarium when it first opened.

One of the best compliments she received was when a woman mistook her paintings for photographs. Her illustrations are precisely detailed and she says, “The artwork I create cannot be produced by photographic or digital means.” She enjoys working with fishes that are unusual and mimic coral or those that have evolved in fascinating ways. “I also love painting iridescent fishes like Billfishes, Tunas, and Mackerels because they allow the watercolor to do what it does best.” The love of her work and the fishes she carefully constructs on paper is evident in each illustration.

During her upcoming discussion “Art of the Sea” at the South Carolina Aquarium, she will discuss the continuing value of original drawings and paintings in a visual world awash with digital photographs.  Join us for another fabulous Art With a Twist Event to hear Val Kells speak about her creative process on September 24 at 6:30 pm!

For more information about Val Kells visit: www.valkellsillustration.com

Location:  SC Aquarium, 100 Aquarium Wharf

Reception and Book Signing will follow.

$20 Members, $30 Non-Members

Reflections on Arts Education

Before starting my internship at the Gibbes Museum of Art, I didn’t have a true understanding of what arts education meant or how powerful it can be. I had read about arts education and heard how effective it is from countless Arts Management classes at the College of Charleston, but it never clicked until I experienced it firsthand this semester while interning in the Education department with Rebecca sailor, Curator of Education. Being able to interact with kids – whether it was handing out maps at the museum on Second Sunday, or doing crafts with them at an arts fair in Mount Pleasant – has given me a newfound appreciation for arts as a creative outlet for children. Even though I am an art history major, double minoring in arts management and studio art, concepts like seeking funding for arts education are relegated to paper topics and online quizzes for my classes and can feel far removed at times. Connecting with children through my internship has made these concepts come alive.

One of the programs that resonated with me is Art to Go. Through this program, teaching artists from the Gibbes are able to go to Title I schools in the Charleston County School District. This year those schools included Goodwin, Mitchell, Pinehurst, Murray LaSaine, and Angel Oak Elementary. Each year Art to Go culminates with the Charleston Marathon in January and the student’s artwork is on display at the marathon expo. I helped one of the teaching artists, Tara White, move one of the projects from Mitchell Elementary to the expo at Burke Middle High School, and saw the tangible results of this amazing program. The finished projects from each school were on display in the gymnasium, and I enjoyed hearing the teaching artists describe their experiences with the kids.

Goodwin Elementary School at Expo

Goodwin Elementary School’s art project on display at the Charleston Marathon Expo

Teaching Artist Tara White said,

“Art to Go provides an incredible experience, not just for the students participating, but also for the educator. As a teaching artist for two years at Goodwin Elementary, I’ve built relationships with approximately 300 students! The most memorable experience happened this year with two fifth grade girls who had not previously enjoyed art class and were getting into trouble at school. However, they chose to give up time on the playground to stay inside and paint with me, choosing art over negative situations. The girls’ willingness to try something out of their comfort zone continues to leave a lasting impression with me, and I’m so glad that Art to Go provided a positive intervention for them”.

Arts education doesn’t stop with children. Throughout my internship, I have been able to follow tours and hear lectures as part of the programming for adults from influential people like Peter Rathbone, who has worked at Sotheby’s New York since 1972 and orchestrated some of their highest American painting sales. I also sat in on studio art classes including pastel, and drawing the human form, that were filled with students from all walks of life. Whether it’s attending lectures by incredible people, or tackling a studio art class in an unfamiliar medium, it’s amazing to see adults continue their own arts education.

This internship has been one the most rewarding experiences that I have had in college and has helped me narrow down my passions and interests within the overwhelming art world (which is very helpful considering my graduation coming up in two short weeks!). Growing up, I was lucky enough to have taken art classes and attended arts camps that instilled in me a great passion for the arts! I am happy to say that I got to be a part of the Education department at the Gibbes, which is offering other children and adults in Charleston and surrounding areas similar opportunities.

Taylor Drury, Education intern

Education intern Taylor Drury posing in front of her favorite John Westmark painting “Exaltation.”

Taylor Drury, Outreach and Education intern, Gibbes Museum of Art

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.

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

 

Arts Education: A Continuing Legacy at the Gibbes

Arts education has always been central to the mission of the Gibbes Museum of Art. In 1912, the Charleston Sketch Club was formed and aspired to be “the basis of an art school where the fine arts in all branches should be taught by the best of teachers in the Gibbes art building.” With exhibition space, lecture room, and art studios, the museum was a hub for local artists and art supporters. Archival photographs show artists poised in front of their easels in a museum classroom in 1910. Another photograph shows artist Minnie Mickell working in the Gibbes Art Gallery Studio in 1925. By 1965, in need of additional exhibition space, the museum purchased 76 Queen Street, now the popular Husk restaurant, for its school of art. Studio art classes included drawing, painting, printmaking, photography, and clay and were held in this location for many years. As a college graduate in 1993, I took a drawing class in the Queen Street studio. Little did I know that nearly 20 years later, I would be an employee at the museum—a dream come true! Arts education has always been a vital part of the museum no matter where the actual classes have been held, and this focus on art education continues today.

Minnie Michael at work

Minnie Michael painting in the Gibbes Art Gallery.

Recent research from a partnership between the University of Arkansas and Crystal Bridges Museum of American Art has validated this mission through a large-scale, random-assignment study of school tours to the museum. Researchers were able to determine that strong relationships exist between arts education and a range of desirable outcomes. In other words, art makes students smart!

In an ongoing partnership with Charleston County School District Title I schools, the Gibbes education outreach program, Art to Go, combines art making and instruction through firsthand experiences with works of art. The goal of the program is to increase understanding of visual expression, creativity, and art. Gibbes Teaching Artists work with public schools to enhance the schools’ art curriculum. Through this program, the museum’s notable collection is explored as part of the instruction along with a field trip to the museum. All lessons are designed to broaden students’ understanding of art principles, art history, and creative expression.

A mosaic created for the 2012 Charleston Marathon

A mosaic created for the 2012 Charleston Marathon by Mitchell Elementary School students.

Art to Go has been implemented in five local Title I schools including Angel Oak, Murray LaSaine, Mitchell, Pinehurst, and Goodwin Elementary. “Our Art to Go program has been a great success year after year. It’s a wonderful partnership and collaborative effort that enhances the visual arts curriculum,” says Gibbes Museum Curator of Education, Rebecca Sailor.

Art to Go program at Angel Oak Elementary.

Students at work in the Art to Go program at Angel Oak Elementary.

Local artist and Gibbes Museum teaching artist Kristen Solecki has been involved in the Art To Go program for two years. She appreciates the access to fine arts and art education that the program provides to her students. “However, perhaps even more importantly it gives them confidence and pride,” she adds. This year Kristen is teaching at Angel Oak Elementary on Johns Island, a Title 1 neighborhood school that serves approximately 350 students.

“One week we learned about printmaking. This is a very forgiving medium and allows students to create abstract pieces using simple line and form. Students were so excited to reveal their prints and to show each other what they made. They would encourage each other and tell one another, ‘great job!’ ‘Wow! Look at hers!’ Some students would even ask me to show their work to siblings who were coming into the next class after them. The best part is seeing the same students later in the day walking around with their work still in hand.”

Kristen explains that her students have also been working on a mosaic mural where each child’s hand painted work makes up a piece of the giant mosaic. “We have assembled it and each child’s work is crucial because without it our mural will be missing a piece. This mutual respect between peers, teachers, and students, is wonderful. Art class encourages students to experiment, express their ideas, and to create. There is not a stress on perfection, it is a medium to celebrate who you are. When I walk through the halls on the way to class, students stop me and ask if I will be coming to their class today, and that they cannot wait for art.  I don’t think you could ask for anything better.”

Art to Go at Angel Oak Elementary

Artwork from the 2013 Art to Go program at Angel Oak Elementary.

For several years the museum has collaborated with the Charleston Marathon, which benefits the Youth Endowment for the Arts, a local non-profit that supports fine arts programming in Charleston County Schools. Gibbes Teaching Artists work with schools to create structures designed for the race expo that signifies the marathon’s purpose: Going the Distance for the Arts. Dr. James Braunreuther, Charleston County Fine Arts Learning Specialist says,

“The Charleston Marathon and the Gibbes Art to Go programs were both designed to offer greater opportunities in the arts for the children of Charleston County. It is only logical that these two tremendous programs would work together to increase the impact of both. The Charleston Marathon raises funds to support arts programs while increasing awareness of the importance of health and movement. The Gibbes museum supports this effort by working with schools to produce art work that highlights the athlete in the artist and the artistry of the athlete.”

This year’s marathon takes place the weekend of January 17–18 and the student’s artwork will be exhibited at the Health and Fitness Expo on Friday, January 17, 2014, held in the gymnasium at Burke Middle High School, 244 President Street. Come out and see the beautiful and creative art work the students have created. Enjoy the rewards of an arts education and maybe you’ll decide to enroll in a class yourself! To see a full listing of our studio art classes visit gibbesmuseum.org/events.

Amy Mercer, marketing and communications manager, Gibbes Museum of Art

Changing the World through the Visual Arts

Nelson Mandela Education quote

Nelson Mandela on the importance of education.

Last week the world lost Nelson Mandela; a great man who left a significant mark not only on the world, but on humanity. At the time of his death, my ten-year-old daughter noticed all of the news coverage and inquired about him. What did he do? Why was he important? Of course, I provided her with a basic summary that she might be able to comprehend, but then I began to consider the larger themes reflected by this person and his role in the history of humankind. As he stated, “Education is the most powerful weapon which you can use to change the world.”

This year the American Academy of Arts and Sciences published a study on the significance of the humanities. In this study entitled The Heart of the Matter, and the partnering video, the value of humanities is reflected upon as it serves to “remind us where we have been and help us envision where we are going.” Screenwriter and Director George Lucas shares his thoughts on the importance of science and technology in partnership with the humanities by saying, “science is the how and the humanities are the why.” He then argues “we cannot have the how without the why.” As a liberal arts major, I find it particularly disturbing that according to the study, “less than a quarter of 8th and 12th grade students are proficient in reading, writing, and civics.” The study goes on to say that “three out of four employers want schools to place more emphasis on the skills that the humanities and social sciences teach: critical thinking and complex problem-solving, as well as written and oral communication.”

The visual arts are a significant component of the humanities and decades of studies reveal that effective arts education promotes self-directed learning, sharpens critical skills, develops self-awareness, and improves school attendance. Yet a recent study from the National Endowment for the Arts on The Arts and Achievement in At-Risk Youth tells us that “nearly four million elementary school students do not get any visual arts instruction at school during their formative learning years.” In recent weeks, a number of articles have been published, such as the New York Times article entitled Art Makes You Smart, that emphasize the critical need for humanities programs including arts education. How will a ten-year old like my daughter be able to better understand the future world and her place without subjects like history and art?

Ashley River School group

Elise Detterbeck with students from Ashley River Creative School of the Arts.

To me the Gibbes Museum is a center for creativity that addresses these issues by offering solutions and resources. Museums are places where education thrives, and the Gibbes is no exception. It is a place that combines the how and the why. James Shoolbred Gibbes, who founded the museum after Reconstruction, envisioned a locus for creative capital in Charleston, and by providing it, he hoped to retain the area’s best and brightest minds. The academy-style institution he established continues this tradition to this day. Arts education remains central to the mission of the Gibbes and serves as a center of creativity for students and adults. From in-school programs such as Art to Go, Eye Spy, and Eye Opener, developed in conjunction with S.C. Learning Standards, to on-site museum programs such as Courage by the Sea: Revolutionary Tales of the Gibbes Family, where students become actors in a drama that traces the history of Charleston from the Revolutionary War to the dawning of the Civil War, these outstanding programs allow students within our community to stretch their minds and develop their potential.

At this time of year, I always reflect upon the past year and count my blessings. I can truly say that I am happy to have a place like the Gibbes Museum that stimulates innovation and discussion and offers our community a place to integrate our past with our future. I encourage you to take part in one of our many programs and to help share these programs with others. I also thank you for continually supporting the Gibbes and transforming education in the Lowcountry for generations to come.

Jennifer Ross, major gifts and grants consultant, 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

Esther Ferguson: A Woman with a Vision

Esther Ferguson is small in stature, but her dedication to the Gibbes Museum is immense. A long-time supporter of the museum, she joined the Gibbes Board in the spring of 2013. I sat down with her recently to talk about the inspiration behind The Distinguished Lecture Series.

Esther Ferguson at the Gibbes Museum of Art.

Esther Ferguson at the Gibbes Museum of Art.

Fifty years ago Esther Ferguson was a young woman alone in Manhattan. She traded the security of Hartsville, South Carolina, for the great unknown of New York City. “I was scared. Women didn’t do that sort of thing back then. I was very poor and on the weekend, I would go alone to The Metropolitan Museum to listen to the lecture series. I remember walking out of a lecture and sitting down to cry because I’d learned so much about the art world, and because I realized how much more there was to learn!” The experience was nurturing during an unsettling time in her life. “Attending these lectures kept me going throughout the week,” she explained.

The significance of the Met lecture series stayed with Mrs. Ferguson throughout the years, and after returning to the south, she began to dream about bringing a lecture series to Charleston. In 2010, the Fergusons loaned works of art from their private collection to the Gibbes Museum to form the exhibition, Modern Masters from the Ferguson Collection. Two mixed-media works by world-renowned installation artists Christo and Jeanne Claude were part of the exhibition, which ran from April 30–August 22, 2010. As part of Modern Masters, Christo was invited to speak about his large-scale temporary works of art including the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24 ½-mile-long Running Fence in Sonoma and Marin Counties in California, and The Gates in New York City’s Central Park.

Esther-Ferguson-Christo-JuliaLynnPhoto

Esther Ferguson with artist Christo.

“At the end of his stunning lecture, it was the men who clapped the loudest,” recalls Mrs. Ferguson. “After the lecture these men gathered around Christo and told him they didn’t know if they liked his work, but they understood it. That’s when I knew art could fill stadiums.” She smiled.

The Old Mill, ©Estate of Pablo Picasso/Artists Rights Society (ARS) New York; by Pablo Picasso, oil on canvas; 15 x 18 inches, Leonard A. Lauder Cubist Trust.

The Old Mill, ©Estate of Pablo Picasso/Artists Rights Society (ARS) New York; by Pablo Picasso, oil on canvas; 15 x 18 inches, Leonard A. Lauder Cubist Trust.

Mrs. Ferguson began to formulate her plan to establish a fund to create the Distinguished Lecture Series at the Gibbes Museum. She had the perfect speaker in mind, her friend of thirty years, Mr. Leonard Lauder. “Every time you see him it’s art, art, art,” she laughed. Mr. Lauder’s attention to art became evident to the world at large last spring when he donated his $1.5 billion collection of Cubist art to the very museum that brought Mrs. Ferguson to tears all those years ago. In a Vanity Fair article, Director of the Metropolitan Museum of Art, Thomas P. Campbell (who visited the Gibbes museum in October) said of the donation, “In one fell swoop this puts the Met at the fore-front of early-20-century art.” Mrs. Ferguson decided she would ask her friend and philanthropist, Leonard Lauder, to be the inaugural Distinguished Lecture speaker. “He is a very private man, but when I asked he said yes. I’ll do this for you Esther.”

Leonard A. Lauder

Leonard A. Lauder, Chairman Emeritus, Whitney Museum of American Art, and Chairman Emeritus, The Estee Lauder Companies Inc.

We are so fortunate to have friends like Mrs. Ferguson who are working to bring outstanding, world-renowned artists, art collectors, museum leaders, philanthropists, and art historians to Charleston to stimulate discussion about the visual arts and creativity. We are already planning for future speakers and are excited about the future of the Distinguished Lecture Series!

Amy Mercer, marketing and communications manager, Gibbes Museum of Art

The inaugural lecture in the Distinguished Lecture Series, featuring Leonard A. Lauder, is Wednesday, November 20. A limited number of tickets are still available for this event at gibbesmuseum.org/events or by calling 843.722.2706 x21.

Create and Educate—Preserving a Legacy

Harkening back to traditions set by the trail blazers of dance, a “Renaissance” is afoot in the Charleston arts scene. Arts collaboration breeds fresh new ideas and brings new works to the forefront. As the co-founder and director of the Charleston Dance Institute (CDI), I am excited to share our involvement in the creation of a new ballet.

Wheels started turning at a meeting of the minds between CDI co-founder Stephen Gabriel, composer Laura Ball, and me. After endless cups of coffee, brainstorming sessions, and in-depth conversations on artistic philosophies and goals The Little Match Girl collaboration was born. Through this process I found out that not only did Laura and I have matching outlooks on art and music but that we were in very similar places in our professional careers—we both have a dual passion to create and educate. We are true contemporaries and that led to a synergy that was instant and second nature. Having a cohesive composer-choreographer bond does not often occur in one’s career and finding that as a choreographer is a real gift. Live performance art is a fleeting moment that can never be duplicated, so we agreed that having live accompaniment for this project was a must. Live music and dance is a time honored tradition but in these times a real treat. I can’t wait to hear the talented musicians of Chamber Music Charleston bring this score to life. It is just as invigorating for a musician to play a world premiere piece as it is for a dancer to dance the steps for the very first time. It will truly be a memorable experience for all. I am thrilled and honored to have The Little Match Girl be presented for the Gibbes Museum’s Art with a Twist series as our first of many new works to come.

Cellist Tim O'Malley and Charleston Dance Institute Dancers. Photo by Tom McCorkle

Cellist Tim O’Malley and Charleston Dance Institute Dancers. Photo by Tom McCorkle

I’ve been asked many times, “Why The Little Match Girl?” There are many holiday characters and tales out there, so why choose this particular story? I often don’t have the time to elaborate and the superficial answer becomes, “because I like it.” But of course the choice to me was much deeper than that, and I do my best to take the time to explain why. This story sweeps the spectrum of themes and emotions and that in turn provides so much fodder to the imagination and potential for creation. As a choreographer, I am always looking for that spark of something special for inspiration, but just as importantly as an arts educator, I look for projects that will enhance the growth and training of my pupils. The process of growing as a artist is multifaceted and collaborating on this story has been a perfect opportunity to expand the minds and talents of the young dancers at the Charleston Dance Institute.

Sarah Masser will dance the lead in The Little Match Girl performance

Sarah Masser will dance the lead in The Little Match Girl performance.

As a choreographer, my role is to project my artistic vision through the dancers’ movements but I also have a duty to develop these dancers’ abilities. Relying on dancers’ strengths, while pushing boundaries within their minds and bodies, always produces the most tangible choreography. It becomes much more personal and seamlessly transcends to the audience members. Having a role created around you is a unique experience that even seasoned professionals long for, let alone an aspiring ballerina of 14 years of age. Sarah Massar, pictured above, has been cast in the title role of The Little Match Girl. When I asked what the experience of being the little match girl has meant to her, this is what she had to say:

“Taking on this role is a life changing experience because I have never gotten the leading role and never realized how much work it actually takes. I have a lot more responsibility and have to practice a lot more; not only on the choreography but on my expressions and how it connects to the movement. It’s hard and takes a lot of time and effort, but every minute is worth it because it’s turning me into the dancer I never thought I would be.”

These words motivate and inspire me to continue to create and educate. Sweat equity is a dancer’s life—actually, an artist’s life—and I can’t wait for all of the hard work by this incredible team of collaborators to be shared with our community.

Jonathan Tabbert, co-founder/director of the Charleston Dance Institute, and guest blogger

The Gibbes Museum is pleased to present a special performance of The Little Match Girl with Laura Ball, the Charleston Dance Institute, and Chamber Music of Charleston, on Saturday, November 16 at 11am.

The performance will be held across the street from the museum at the Circular Congregational Church. Following the performance, the audience is invited to the museum for a meet and greet with the performers, and to see the exhibitions on view.

Purchase tickets online or call 843.722.2706 x21.

A Successful Second Year for the Gibbes Art on Paper Fair

After months of preparation, this weekend the museum welcomed more than 1800 visitors for the second-annual Art on Paper Fair. In the days leading up to the event, art work was carefully taken off the walls in the Alice Smith and Garden galleries, and the Gibbes was transformed into a bustling community of artists, gallery owners, art collectors, art experts, volunteers, staff and curious onlookers. Vendors included eight galleries from across the southeast that showcased works celebrating the south and this year, we added new elements including the “Ask the Expert” booth and an Artisan Boutique.

Guests at the First Look Celebration perused the works of art for sale.

Guests at the First Look Celebration perused the works of art for sale.

Thankfully the rain held off and the fair opened on Friday night with the First Look Celebration. Guests enjoyed delicious treats from local food trucks, music and drinks. As a fan of anything with bacon, my personal favorite was the pimiento cheese, muenster, avocado, and bacon on sourdough sandwich made by Cory’s Famous Grilled Cheese. My colleague Justa Debnam of skirt! magazine and Where Charleston agreed. “Attending the party with fellow Gibbes supporters on Friday was extraordinary. It was such a treat to be part of a diverse and passionate group of Charleston’s arts community,” she said.

Food Trucks at the Art on Paper Fair

Food trucks lined up in front of the museum to provide delicious treats for the First Look Celebration.

Making art accessible to the public was the impetus behind the initial Art on Paper Fair. As a relative newcomer to the museum, I wasn’t around for the first fair, and so I asked Pam Wall, Gibbes curator of exhibitions, to elaborate on the intent of the fair. “It’s a good opportunity to learn about and be more comfortable around art. We offer free admission to the Art on Paper Fair in hopes that it will encourage the public to come into the museum to browse through the works on paper and to talk with the gallery owners. The fair helps to eliminate the intimidation factor.” Local artist Jonathan Green agreed, saying: “Works on paper are more affordable and less intimidating and will ignite a whole new culture of collectors.” His booth on the second floor displayed works of art that were twenty years old (and were pulled out of storage for this event!). Green’s early figure drawings are more linear and abstract than his contemporary oil paintings, and provided viewers a unique opportunity to glimpse the evolution of this artist’s journey. “Drawing is fundamental to being a good artist, and I’m glad I was a good student,” he laughed. The John K. Surovek Gallery of Palm Beach was a new addition to this year’s paper fair. Co-owner Clay Surovek, who participates in 2 to 3 shows including Art Basel and the American Fine Art Fair in New York, says these events provide a great opportunity to meet new clients.

Reynier-Llanes-Jonathan-Green-Paper-Fair

Artists Reynier Llanes and Jonathan Green represented Jonathan Green Studios at the Art on Paper Fair.

All weekend visitors strolled through the museum, stopping to browse through the Artisan Boutique and on to the booths where they could ask questions of gallery owners and artists. Erin Nathanson, Arts & Cultural Relations Director for ArtFields, visited the fair over the weekend. “Entering the Art on Paper Fair, I was delighted to see vendors selling handmade letterpress (Sideshow Press and Ink Meets Paper) and bound items for a very accessible price. I began my visit by sifting through many beautiful prints and monotypes—I LOVE being able to handle works and get them so close to my face that I can imagine the smell of ink and other materials through the plastic. My favorite piece was a large wood-cut print by Lese Corrigan! In all, the Art on Paper Fair was a great experience and I hope it expands. I am excited for next year,” she said. After another successful event, we are looking forward to next year’s fair too!

Amy Mercer, marketing and communications manager, Gibbes Museum of Art

Photo credits: MCG Photography

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