How do you capture the essence of something like artist Jonathan Green’s personal art collection and translate it into a party? A collection which Green and partner Richard Weedman have spent the past thirty years curating? A collection that includes works from around the world by artists from Cuba, Africa, the Caribbean, Latin America, and North America? Well, you put together an experience that incorporates the cultural milieux of all the native lands from which the works come. Imagine drummers drumming on the front steps of the museum; vintage autos lining the street; a well-heeled champagne-mojito drinking crowd filtering in to find a Garage Cuban band playing funky beats; a Latin Jazz trio in the groove; and an explosive performance by a West African drum and dance ensemble. You serve traditional cocktails, and hors d’oeuvres inspired from those regions, and create a décor element to complement it all. What am I talking about? Habanero Rhythm, of course.

Jonathan Green and Richard Weedman at their home. Photo by Julia Lynn.

Okay, I should back up. I am the co-chair for the winter party hosted by the Gibbes Museum’s Society 1858 auxiliary group, and it’s based on the current exhibition VIBRANT VISION: The collection of Jonathan Green and Richard Weedman. We’ve named our event Habanero Rhythm and created an experience that we hope speaks to the cultural heritage of many of the artists included in the collection. But it’s more than that. We’ve actually had a chance to meet and get to know Richard and Jonathan, and to go to their home and see their collection. This party is for them and to honor the generous and giving spirit with which they share their love of art with anyone and everyone—we are trying to do them proud!

Last February’s party, Luce e Colore, was a sold-out smash success! Photos by Fia Forever Photography.

I don’t want to give away all our little surprises here… just to say the event is going to be awesome. Buy your ticket. Today. I know many of you have (hopefully) been to a Society 1858 event, so you already know the careful thought and planning that goes into them. Each one uniquely based on a current exhibition and the inspiring personality(ies) behind it. With the artists and collectors themselves at each party, these celebrations are a chance to meet and talk to the people in the art world who make it happen. And on top of all the important art-world relevance, they are FUN. See you Friday, February 8th, for Habanero Rhythm!

Margaret Seeley Furniss, co-chair of Society 1858’s Habanero Rhythm, and guest blogger

To purchase tickets to this event, visit gibbesmuseum.org/events.

Watch videos of past Society 1858 events: Bitters & Twisted in the Salon d’Orleans and Luce e Colore: La Bella Notte Italiana

adminlasley    Jan.31.2013    Events, Exhibitions    No Comments »

Dr. Martin Luther King, Jr., Addresses Rally, Sixteenth Street Baptist Church, 1963, by James Karales (American, 1930–2002). Image © Courtesy of the Estate of James Karales

Today, as we witness the second inauguration of our first African American president, we will also celebrate the life and work of Dr. Martin Luther King, Jr. It has been thirty years since the federal holiday memorializing the great civil rights leader was first signed into law by President Ronald Reagan. For many people, this holiday means a day of service in honor of Dr. King’s legacy. For others, it is simply a time to reflect upon the significant changes his stalwart leadership helped to bring about during the Civil Rights Movement.

In addition to the annual celebration of King’s birth, 2013 also marks the 150th anniversary of the Emancipation Proclamation, and the 50th anniversary of the desegregation of South Carolina public schools. These landmark anniversaries are cause for both reflection and celebration. This winter at the Gibbes, we are showcasing an important collection of civil rights era photographs by acclaimed photographer James Karales. Engaged as a photo-journalist for Look magazine, Karales witnessed and documented many historic events during the Civil Rights Movement, and, in doing so, generated a remarkable body of work depicting Dr. Martin Luther King, Jr.

Dr. Martin Luther King, Jr., with his daughter, Yolanda, 1962, by James Karales (American, 1930–2002). Image © Courtesy of the Estate of James Karales

Karales traveled extensively with Dr. King in 1962 and 1963. He captured King alongside other significant civil rights leaders including Rev. Ralph Abernathy, Jackie Robinson, Rosa Parks, and Rev. C.T. Vivian. Many of the inspiring images depict King in familiar public roles—leading rallies at the Southern Christian Leadership Conference (SCLC) conventions in Birmingham, and preaching sermons at Ebenezer Baptist Church in Atlanta. However, Karales was one of a handful of photographers allowed to document King at home. These rare images of King in private moments with his family at their Atlanta home are equally compelling. Most notable may be the photograph of King sitting with his daughter, Yolanda, at the kitchen table. Published in the February 12, 1963, issue of Look, the caption described that King was trying to explain to his daughter why she could not attend the city’s segregated amusement park. King’s daughter listens quietly, but the inexplicability of racial intolerance is evident in the exchange between the father and his young daughter, and this poignant moment is still palpable in Karales’ photograph today.

As we celebrate these landmark anniversaries we invite you to the Gibbes to reflect upon the people and events that made them possible. Witness to History: Civil Rights Era Photographs by James Karales will be on view at the Gibbes through May 12, 2013.

—Sara Arnold, Curator of Collections, Gibbes Museum of Art

contributesara    Jan.21.2013    Exhibitions    No Comments »

Fishing Spot, 2011, by Jonathan Green (American, b. 1955), oil on canvas, 11 x 14 inches. Courtesy of Jonathan Green and Richard Weedman.

People throughout the south are familiar with Jonathan Green’s paintings. He is beloved by many for his vibrant depictions of Gullah life and culture in the Lowcountry. Few, however, are familiar with the incredible collection of artwork assembled by Jonathan and his partner and studio manager, Richard Weedman, over the past 35 years. And what a collection it is. To share this remarkable group of works with the public, the Gibbes has organized the exhibition Vibrant Vision: The Collection of Jonathan Green and Richard Weedman, on view in the museum’s Main Gallery through April 21, 2013.

Southern Family Series, 1943, by William H. Johnson (American, 1901–1970), serigraph on paper, 17 x 13 ½ inches, courtesy of Jonathan Green and Richard Weedman.

Zoo Again, 1972, by Sam Gilliam (American, b. 1933), oil on raw canvas, 48 x 58 inches. Courtesy of Jonathan Green and Richard Weedman. Photography courtesy Marsha Mateyka Gallery, Washington DC.

Over the past year and a half, Richard, Jonathan, and I worked collaboratively to select the exhibition from their astounding collection of nearly 1,300 paintings, sculpture, and works on paper. Deciding upon the final group of 49 works was difficult, but also an enjoyable process. The core of Jonathan and Richard’s collection focuses on artwork created under the Works Progress Administration (WPA) of the 1930s and 40s, and era of American art that has always been of great interest to me. The collection also spans beyond the WPA, encompassing works by a broad range of artists who reflect the diverse cultural influences that have shaped American art over the past hundred years.

Society 1858 members Abby Rosenthal, Stacy Huggins, Lindsay Fleege, and Liz Macpherson at the opening reception.

Richard Weedman, Gibbes Executive Director Angela Mack, and Jonathan Green.

Vibrant Vision opened last week with a lovely reception attended by 300 Gibbes supporters. Hearing Richard and Jonathan speak so passionately about the artwork and the exhibition was one of the highlights of the night. And lucky for us, they have agreed to speak several times throughout the run of the exhibition to share their knowledge and passion with others. Special gallery tours are scheduled for Thursdays January 24, February 21, March 14, and April 18 at 2:30pm; and the Art of Healing—a conversation and cocktail reception—will be held at the museum on Thursday, January 31, at 6pm. These programs are an opportunity you won’t want to miss!

—Pam Wall, Curator of Exhibitions, Gibbes Museum of Art

Visit our online calendar for more information about the programs listed above.

The Gibbes Museum has produced a mobile website feature with additional information on the WPA and several of the artists included in the Vibrant Vision exhibition. Visit http://bit.ly/VibrantVision to learn more.

contributepam    Jan.18.2013    Events, Exhibitions    2 Comments »

This semester, I have been working with Megan Sweeney’s Angel Oak Elementary School classes on a project called “Going the Distance for the Arts.” It is a wonderful feeling to go into a classroom and see how excited students are over creating something that is their own, as well as collaborating on a larger project together. As an introduction to the Gibbes Museum, classes learned about the bust of George Washington, sculpted by Giusepe Ceracchi ca. 1792, and the importance of a portrait. The students learned how to draw a self-portrait and to translate onto paper what they see in 3-D.

As a school, we are creating a large owl sculpture of the Angel Oak mascot that will be displayed on the route of the Charleston Marathon. Students learned how to make a relief print using recycled materials and created feathers for the owl using this technique. The 4th and 5th graders helped make the owl form and assemble the feathers. They also designed a large mural as a background for the sculpture.

The marathon installation goes up on Friday, January 18, and can be viewed during the marathon on January 19 in the expo center. The marathon takes place in downtown Charleston, and raises funds to support fine arts programs in our community schools.

In addition to the classroom activities, I have been meeting with the Art Club at Angel Oak. Each member received his or her own sketchbook and we discussed the importance of drawing from life, from your imagination, and from words. We have been writing about our work as well, as an exercise to examine the connection between visual art and the written word. I find each of my encounters with the students so inspiring.

—Kristen Solecki, Teaching Artist and Guest Blogger

Learn more about programs for K-12 students at the Gibbes on our website or by contacting Rebecca Sailor, Associate Curator of Education, at rsailor@gibbesmuseum.org.

Read about another Art to Go—Charleston Marathon collaboration on our blog.

adminlasley    Dec.17.2012    Education    No Comments »

Never doubt that a small group of thoughtful citizens can change the world. Indeed, it is the only thing that ever has. —Margaret Mead

Students at Mt. Zion Elementary enjoy the Art to Go program, funded by contributions to the Gibbes Museum's educational programming.

In early November, I was fortunate enough to attend the Lowcountry Chapter of the Association of Fundraising Professionals annual Philanthropy Day Luncheon. Over the years I have been to the luncheon, but on this particular day, I was overwhelmed by the “spirit of giving” that filled the room. Philanthropists, non-profit professionals, corporate sponsors, and foundations all came together to celebrate giving within the tri-county community as part of National Philanthropy Week. Events like these always remind me of why I do what I do. Every single person in that room believes passionately in the cause or mission of an organization. Most, in fact, support numerous causes. Yet, in that setting, we were all connected as we honored Marion and Wayland Cato, Trident United Way, General Dynamics, and Mr. and Mrs. Charles T. Cole Jr. for their wonderful philanthropic support. We learned from Blackbaud’s CEO Marc Chardon about examining the ways we engage with our donors. As Marc stated, donors today want to give more than money, they want a personal experience created through the give and take of information; they want to be part of the cause of the organization whether it be through advocating or volunteering.

Marion and Wayland Cato, and Gibbes Board Member Helen Pratt-Thomas, at the Gibbes Museum. Photo by Carolina Photosmith.

We recognize that it is an uncertain time for non-profits as we face the near future and the possibility of potential charitable giving caps. While Americans do not make gifts for tax reasons only, incentives do encourage more giving. The true beneficiaries of these donations are not the generous Americans who make the gifts, but all citizens whose local communities, nation, and world are made better through the work of charitable organizations.

Marnie and Marc Chardon enjoyed the Art on Paper Fair at the museum this fall. Photo by MCG Photography.

As a new member of the Gibbes’ staff, I look forward to getting to know all of our members and supporters. Through your generosity, I am reminded daily of the importance of philanthropy. On my end, I will heed Marc’s advice to listen to you and to continually engage you so as to understand your changing needs and interests in relation to the work of the Gibbes. Additionally, I hope that you will continue to work on behalf of the Gibbes through your time, talent, treasure, and advocacy. Thank you for all that you do to support the Gibbes. Our organization is made better each day because of you. Happy Holidays!

—Jennifer Ross, Major Gifts and Grants Consultant, Gibbes Museum of Art

Jen Ross and singer/songwriter Donovan. Photo by John Cusatis.

Jen Ross    Dec.10.2012    Awards    No Comments »

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

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

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

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

—Sara Arnold, Curator of Collections, Gibbes Museum of Art

adminlasley    Nov.30.2012    Artist Spotlight, Exhibitions    No Comments »

Shorter days, warmer coats, and fewer leaves on the trees; these all come to mind when we think about fall and Thanksgiving. It’s a great time of year for traditions and for appreciating the things that are really important in our lives. The true meaning of the holiday can become lost sometimes in the busyness of the preparations though, which is why it is so important to slow down and give thanks for both the big and little things in our lives.

One thing I give thanks for everyday is the beautiful city of Charleston that I proudly call my new home. Not only can I walk out the front door of the Gibbes Museum and witness firsthand this vibrant city, but the works depicting Charleston within the walls of the museum are also cause for thanks. I feel blessed to work at the Gibbes each day where the city’s beauty and history have been captured by such talented artists. I’m reminded of all those who have come before us and called Charleston home when I look at John William Hill’s Panorama of Charleston and wonder how Charlestonians in years past marked the Thanksgiving holiday.

I’ve called many places home over the years, and the distance has kept me from being near family and friends on several occasions. I feel instantly closer to my family in New Hampshire though when I see the Gibbes Museum’s painting Autumn Foliage by William Aiken Walker . I can see them fighting over the last apple cider donut a few days from now as the remainder of the leaves fall from the trees. Emma Gilchrist’s painting On the Arno, Florence reminds me of the Thanksgiving I spent in Italy, where the occasion was marked with $10 cans of cranberry sauce and an unsuccessful search for a turkey. Art has the power make our memories more vivid when we see them come to life on the canvas. We each have our own traditions and versions of home that will always be uniquely special to us. This Thanksgiving, no matter where or how you celebrate, remember to slow down and appreciate those details you might otherwise miss.

—Amanda Breen, Membership Coordinator, Gibbes Museum of Art

Amanda Breen    Nov.21.2012    Permanent Collection    1 Comment »

In late August, I met with Gibbes staff members Zinnia Willits and Greg Jenkins, and Chris Botti from Botti Studio of Architectural Arts, Inc. to discuss the dome in the Rotunda Gallery on the second floor. Botti has worked on many ornate Beaux Art ceilings including the Tiffany Domes at the Chicago Cultural Center and at the Driehaus Museum in Chicago. First, we sat in the conference room to just talk about the 107-year history of the dome and the issues that we thought needed to be addressed. Then we walked out to the gallery and studied the ceiling, noting the various repairs that have occurred over the years. We discussed the very elaborate ceiling decorations, and imagined their earlier grandeur and ornate finishes, long since painted white.

Then it was time to climb the ladder from the second floor up to the old attic space. Getting into the area around the dome is like navigating a labyrinth in the stifling Charleston heat. We crawled through the very small hatch into the attic area above the second floor Main gallery. We walked across the ceiling, holding on to the steel pipes and cabling while we navigated from one steel support beam to the next to protect the very delicate and fragile plaster below. Finally, we squeezed through the last doorway into the Rotunda light attic. The light attic is a large space that is engineered to catch as much light as possible and focus it onto the surface of the dome—almost like a giant tanning parlor.

When we got up to the dome we walked around it balancing on the large steel beams that the dome rests upon. As we skirted the perimeter, Chris began to talk about how the dome was made and installed, and pointed out some of the areas in need of conservation. The arched steel “T” shaped beams that formed the bones of the dome were all stamped “Carnegie” which identified them as being made by the famous company in Pittsburg, Pennsylvania that supplied most of America’s steel at the beginning of the twentieth century. We have not found markings on the dome as of yet that identify it as being designed and manufactured by the studio of Louis Comfort Tiffany (1848 – 1933), but the Carnegie Foundation has kept very good records so we anticipate that we might be able to find out if the steel was ordered by Tiffany’s company. Chris said that we may find one of Tiffany’s famous lead tags stamped “Tiffany,” or the Tiffany name etched somewhere in the bottom right corner of one of the large triangular leaded glass panels.

To create the dome, each piece of stained glass was hand cut in the studio. Then, they were assembled into leaded glass panels resting on a large table and soldered into place. At that point, the panels were shipped to the museum. Upon arrival, the panels were laid into triangular spaces between the steel beam supports and secured with solder or wooden shims. Lead cross bars were wired onto the back of each of the panels to prevent the heavy pieces from collapsing due to gravity. Installers carefully aligned the bars, so that the bracings would then line up when viewed from the floor level below.

As we reviewed each of the panels we identified cracks and points of minor damage that had occurred during installation and over the years. Overall, Chris was not worried about the security of the dome, and suggested that it should stay in place rather than being taken down for repairs. We concluded that one of the most important safety repairs we could make would be to install safety railings and walkways around the entire dome area.

The final prognosis for the entire dome was that it simply needed a complete cleaning and certification that the leading and bracings were all secure. The glass is covered with a thick layer of dust, but one section which we wiped clean with damp cloths showed just how much crisper and brighter the stained glass will be once it has been professionally cleaned. Special solutions will be used that are specifically made for cleaning stained glass without harming the glass or leaving any film residue. As a funny aside, Chris said that some people actually clean the stained glass with horse shampoo because it has the right consistency and delicacy for gently getting the grime off the stained glass windows!

Once the entire dome has been cleaned we will all look very carefully for any signature or a lead stamp to certify that the dome was made by the Tiffany studios. We will continue to do further research with the Carnegie archives and consult with Tiffany scholars for additional clues. Our hope is that before we re-open the renovated museum to the public, our investigation will reveal the undeniable proof of Tiffany’s craftsmanship. But regardless of its provenance, the Rotunda Dome will remain a major showpiece for the museum that will sparkle much brighter with a little TLC.

—Jeff Daly, museum designer and guest blogger

adminlasley    Nov.19.2012    Behind the scenes, Renovation Plans    No Comments »

For several years I have been dreaming of hosting an art fair at the Gibbes. I could see it perfectly in my mind: booths of beautiful artwork, a festive opening night party, and the museum bustling with visitors in search of the perfect work of art to take home. I am absolutely thrilled that this vision will become a reality as the Gibbes hosts our first ever Art on Paper Fair the weekend of November 2–4, 2012, in conjuction with the Charleston Fine Art Dealers’ Association Fine Art Annual weekend.

Several people have asked, “What exactly is an Art on Paper Fair?” To give you the basics, the Gibbes has invited 12 galleries to set up booths in the museum and offer works of art for sale. We have chosen to focus on works on paper, which includes prints, drawings, pastels, photographs, watercolors and oils on paper. Throughout the weekend, visitors will be able to enter the museum free of charge and peruse the works of art for sale, while also enjoying the wonderful exhibitions on view. Each booth will be manned by gallery representatives, all willing to explain the artists and various works of art available for purchase. The great thing about works on paper is that they are available in a wide price range. Whether this is your first art purchase or you are a seasoned collector, come join us. And even if you just want to learn more about art, this is the perfect opportunity. We are offering daily curator-led tours and artist demonstrations throughout the weekend. And like I mentioned, the gallery representatives are more than willing to share their knowledge, so don’t be shy about asking questions—they are wonderful resources for learning about art and building a personal collection.

For the complete Art on Paper Fair schedule, list of participating galleries, and more, visit the Gibbes website. The weekend kicks-off on Friday, November 2, with the opening night preview party Rock, Scissors, Art on Paper hosted by our Society 1858 auxiliary group. On November 3 and 4 the entire museum is free and open to the public, so bring a friend and come see what the Art on Paper Fair is all about!

—Angela Mack, Executive Director, Gibbes Museum of Art

contributeangela    Oct.29.2012    Events    No Comments »

Me and Elvis we were cool with the chicks
We had a smooth delivery and we knew how to get our kicks
Me and Elvis never worried ‘bout the cops
He flashed that badge he got from Nixon every time that we got stopped
Me and Elvis used to play pinball all day
And the machines would never tilt, no one ever had to pay
Me and Elvis liked our leather jackets black
And we’d ride up and down the river in a brand new Cadillac
Me and Elvis, Elvis and I…
— Human Radio (1990)

Elvis Presley, Chattanooga, 1956, by Alfred Wertheimer (American, b. 1929), pigment print on watercolor paper, © Alfred Wertheimer

I always say, Memphis music is about one-third of any Memphis boy’s discourse, the other two-thirds being the Civil War and barbecue. Those are not rules of my own creation; it just works out that way.

By the time I was old enough to appreciate the world around me, several huge figures in Memphis music had come and gone, some tragically, others by choice or poor fortune. W. C. Handy, the first person to put Memphis music on the map, died in 1958, five years before I was born. Otis Redding and four of the Bar-Kays were killed in a plane crash in 1967, and Stax Studio, home of the Memphis sound, went bankrupt in 1975. Also, the owner of Graceland was found dead in his upstairs lounge on August 16, 1977. However, F. Scott Fitzgerald’s comment that “There are no second acts in American lives” does not apply to Memphis music. If anything, Memphis is the musical cat that has nine lives, and quite possibly more.

Growing up, we took great music for granted. Even though I can barely read a note of music, the Memphis music experience is such an immersive one that most people who are like me—eclectic listeners, really—recognize Memphis as the center of not one, but several schools of quality sound. Clubs and concerts featured acts coming through the city who wanted to play Memphis just for the sake of playing Memphis. The Sex Pistols played Memphis on January 6, 1978, one of their seven American stops before their breakup.

By the time I was in college, I started hearing the stories and meeting a lot of the people. It seemed like every guy I knew in Memphis said he was a musician; some guys actually were. A lot of us would go drink beer in places where bands played. Even in Memphis there are awful gigs, of course, and I remember two guys I know absolutely murdering a cover of the Eurythmics “Here Comes the Rain Again.” Another night, I remember a metal band in a low rent club crucifying a baby-doll on a drum stand while the band members stripped and danced naked around the scene. Those guys are probably accountants or database administrators now.

I was not impervious to it all, by any means. I learned to run sound a little, I ran laser shows for a while—I titled and co-produced the longest running Elvis laser light show to date back in the 1980s—Elvis: Legacy in Light, a sanctioned event of Elvis International Tribute Week. Later on, I even moved pianos—possibly the heaviest work I’ve ever had outside working for my dad—for a rockabilly piano player named Jason D. Williams, a man who claims to be Jerry Lee Lewis’s illegitimate son.

Through it all, I kept notes and listened, and built up my mental encyclopedia of Memphis music and I saw, I heard, I met, and I read about many, many of those who helped give Memphis the name it has in music. Without ever realizing it was happening, I was taken over by the hometown industry, no different than had I grown up in Hollywood and decided to go into entertainment.

For the past eleven years, I have lived in Washington and researched and written for the Smithsonian National Portrait Gallery. In that time, I have curated and co-curated two Elvis exhibitions, and written thirty articles and co-produced ten short films on the Civil War. I am hoping my next assignment will be to put together a nice work on barbecue.

—Warren Perry, writer, Smithsonian National Portrait Gallery, and guest blogger

Warren Perry—author of Echoes of Elvis: The Cultural Legacy of Elvis Presley and co-author of Elvis 1956: Photographs by Alfred Wertheimer—will discuss how Elvis’s life, widespread fame, and legend fit into the greater framework of American culture and beyond on Friday, October 12, as part of the Gibbes Museum’s Art & Fame lecture series. The series was organized as a complement to the Sound and Vision: Monumental Rock and Roll Photography exhibition. To purchase lecture tickets, visit our online calendar at gibbesmuseum.org/events.

adminlasley    Sep.28.2012    Exhibitions    No Comments »