Mrs. Coyle’s fourth grade art classes at Hunley Park Elementary School have been on a “Grand Tour” in true Charlestonian fashion, visiting Greece, Italy, Egypt, Japan, and Africa to learn about the art and culture of these far away lands. After touring the world, we decided to construct our own globe. Over the past sixteen weeks, eighty fourth graders have constructed a paper-mache globe that is six feet in diameter!

I am very proud and impressed with how hard these students worked, and how enthusiastic they were about the project. Every day, they come to class eager to get to work. I have enjoyed working with Mrs. Coyle and her students immensely. I hope they have learned half as much from me as I have from them.

The globe will be on display January 13 – 15 along the course of the Charleston Marathon, which benefits the Youth Endowment for the Arts. I could have not done this project without the support of the teachers and parents of Hunley Park Elementary School. Thank you so much!!

—Chessie McGarity, Gibbes Museum Teaching Artist and guest blogger

adminlasley    Jan.06.2012    Education, Events, Programs    1 Comment »

This Fall, the Gibbes Museum was the host site for the College of Charleston class for Art History/Studio Art (340/335), on Wednesdays from 1:15 to 4:00. Gibbes Fellows and Museum Educators were offered the opportunity to audit the class alongside the college students. I was excited to take advantage of the access to professors Marion Mazzone and John Hull, but knew that “going back to school” would present me with multiple challenges. I felt prepared for the art history content, however the in-gallery drawing assignments were very intimidating. Having never participated in a studio art class, I found the sketching of art works in the museum difficult at first. However, I persevered, and with the help of Professor Hull, I discovered I could actually draw. Through this experience, I developed a new appreciation for composition and all the elements that contribute to a finished work of art.

As a class, we were able to view many art objects from the museums archives, as well as those on display in the galleries. The art-historical insight that Professor Mazzone shared about often unseen works of art in the museum’s collection was extremely enlightening and useful to me as a museum educator. I began to relate to works of art that I had previously passed by in my tours. Of particular interest was The Source, by Edward Middleton Manigault, located in the main hallway on the first floor. I had previously avoided the dark and foreboding scene, but with Professor Mazzone’s help I came to appreciate the artist’s use of color—specifically, the blending of various shade of blues and greens throughout the painting. Manigault’s choice of subject matter reflects back to the classical period of art and the influences of Greek mythology. I realized how lucky we are to have this artist’s work at the Gibbes, because his works are relatively few and highly esteemed.

I am already looking forward to auditing another College of Charleston art class in the future, perhaps to test some of my new found skills.

—Annette Wanick, Gibbes museum educator and guest blogger

Learn about other continuing education classes at the Gibbes Museum on our website calendar.

adminlasley    Dec.21.2011    Classes, Education, Permanent Collection    No Comments »

Cassandra Whiteside creates her own artwork. Photo by Julia Lynn

As the Associate Curator of Education, Community Days are a highlight of my job. I organize these family-friendly, free days four times a year. But Community Days are not just for families. I love seeing young adults or elderly couples walking through the galleries. It warms my heart to think that by making the day free and accessible, new visitors may walk through our doors. I hear much too often that parents are scared to bring their children to an art museum for fear that they will talk too loud or touch something. My hope is that Community Days help everyone realize museums can be fun for all ages.

A young artist at work in the galleries.

A volunteer helps with face painting activities.

Our collection is so important to Southern culture and history. We make it a priority to provide opportunities for visitors to enjoy our galleries without a fee. This year we are able to do so with the help of Roper St. Francis Healthcare, and in past years we had the support of the Junior League of Charleston. Both the Junior League and Roper have helped us not only financially, but as importantly, by supplying wonderful volunteers to help me staff these days. For example, the volunteers act as ambassadors for the museum by meeting and greeting visitors and managing the hands-on art activities.

A choir from Blessed Sacrament School sings carols in the Rotunda gallery.

I strive to have music or dance performances at each event. In the past we have had groups such as local church and school choirs, a Charleston Academy of Music student, a local ballet troupe, and even an up-and-coming teen rock band! Roper physician Dr. Johnny Weeks will perform at this Saturday’s event. Yes, doctors are multi-talented and enjoy the arts, too!

The 3 Dudes perform on the front steps of the museum.

I like to think that Community Day visitors will return for more artistic inspiration down the road. Maybe they will become members, bring a friend the next time, or just reflect on an artwork that brings back good memories. We are Charleston’s only visual art museum. We belong to this community and it is my job to make our galleries accessible to everyone… at least four times a year!

A family explores the galleries together.

I hope you will join us for an upcoming Community Day on December 10, February 25, or April 21, from 10am – 1pm.

—Rebecca Sailor, Associate Curator of Education, Gibbes Museum of Art

contributerebecca    Dec.08.2011    Community Day, Education, Events, Programs    No Comments »

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

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

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

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

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

—Pam Wall, curator of exhibitions, Gibbes Museum of Art

contributepam    Dec.02.2011    Artist Spotlight, Exhibitions, Permanent Collection    No Comments »

We have made great progress on plans for the Gibbes renovations since my earlier post in October. The first phase of the gallery designs and plans were approved and the drawings completed. This trip, curatorial staff members Angela Mack, Sara Arnold, Pam Wall, and I had a great time creating the look and feel of the newly expanded second floor galleries. As we worked together, I realized that we had captured an additional 10,000 square feet of gallery space as a result of the transformation of the Main Gallery, the extension of the third floor at the back of the building, and the conversion of the current store rooms and office space located in the 1970s addition that surrounds the original Beaux Arts building.

During my November visit, we started to delve into the museum’s incredible collection of miniature paintings in order to tell the story of this medium in the South. I was not really surprised when Angela told me that the collection is the third largest in America—of course that would be the case with all the romance and charm of Charleston! The Miniatures and Cabinettes Gallery will showcase a grand history of Charleston’s residents through the development of American miniature portrait painting. The works on view will highlight the premiere artists of the period and the evolution of the genre. The gallery will include other major prints, drawings, and images created by many of the artists who worked in Charleston and helped it flourish as an American center of portrait miniatures. Visitors will move from the cases displaying hand-painted likenesses into galleries exhibiting the development of the Daguerreotype and early photographs in the museum’s extensive photograph collection. The scale of these tiny works of art will not translate well in an architectural drawing, so I think this space will be the first 3-D model we will build.

At my suggestion, the museum invited lighting designer Anita Jorgensen—who worked with me at the Metropolitan Museum of Art in New York and is now consulting all over the country—to participate in the project. She reviewed the lighting proposals for the galleries, the museum’s exterior, and the entire first floor including the new café, the shop, and the new lecture and events spaces. We plan to install all new track and energy-efficient light fixtures throughout the building and create some very dramatic displays.

Greg Jenkins and Anita Jorgensen examine the dome structure from above the Rotunda Gallery.

On the second floor, we will reopen the original skylights above the Main Gallery with state of the art light-diffusing glass and a new illumination system. The Tiffany-style dome in the Rotunda Gallery is in extremely good condition and it will get a serious cleaning. Anita and I followed operations manager Greg Jenkins up to the skylights and the stained-glass dome “installation room” above the Rotunda. We reviewed the dome’s existing lighting system and concluded that the best treatment will be to simply bounce dimmable fluorescent lighting down toward the dome to provide an even wash of light. We will also work on a new approach to illuminating the oculus, or center, of the dome and its decorative grillwork.

The museum’s dome is the only Beaux Arts example in Charleston, so highlighting the exterior of the building is key as well. Anita and I mustered the courage to go up on the roof again to review the potential exterior lighting options. We have a lot of work to do in order to achieve our plan. This truly makes me appreciate the monumental effort that Greg makes on a daily basis to keep the building in great shape.

On a beautiful fall day, lighting designer Anita Jorgensen enjoyed the wonderful warm breeze and the view of the Ravenel Bridge over the Cooper River as she examined the roof of the Gibbes Museum.

As I mentioned in my previous post, we are rehabbing the space from top to bottom, so imagine our delight when we saw the amount of original tile flooring that has survived under the 1970s carpeting. It appears that the first floor tiling still remains under the central hallway carpeting so it will be cleaned and restored. But the area that really surprised everyone is the spectacularly patterned tile flooring in the second floor Rotunda Gallery. I snapped several photos to show the floor in it current condition—it looks very tired now but we are hopeful that it can be restored to its original grandeur. It appears that the center area of the floor has a very large pattern that may be a floral design. It is large enough that its diameter will most likely match the Tiffany-style dome above.

A detail of the tile design in the flooring original to the Beaux Arts building.

I am excited for the final results when the Rotunda floor is uncovered, the walnut architectural woodwork is stripped of years of paint and refinished, and the dome is cleaned and glows with new lighting elements. The space will be brought back to life again and it will unquestionably become a Charleston destination place. I cannot wait!

—Jeff Daly, museum designer and guest blogger

adminlasley    Nov.23.2011    Behind the scenes, Permanent Collection, Renovation Plans    No Comments »

Past presidents of the Women's Council at the 60th Anniversary celebration.

In March of 1950, five women—Mrs. E. E. Wehman, Mrs. Ashby Farrow, Mrs. H. Evans Townsend, Mrs. James Wilson, and Mrs. C. Smith Toms—gathered in the museum to discuss the formation of a new group called the Gibbes Art Gallery Auxiliary. The auxiliary group’s main activities would include running receptions for exhibition openings and supporting children’s art classes operated in the Gallery. This meeting initiated what is now known as the Women’s Council of the Gibbes Museum of Art, and began a long career of giving back to Charleston’s art museum.

Members at the Annual Valentine's Day Card Party, 1961.

For the next three years, the Gibbes Art Gallery Auxiliary raised money for the children’s art program through card parties, silver teas, and raffles. The group defined their purpose “to foster an interest in art in the city, especially among children,” and in 1955, they contributed $300 to the Junior Gallery. They also worked to maintain the grounds of the museum. Joining forces with The Garden Club of Charleston, volunteers improved the museum’s courtyard landscape and the restoration of the historic Charleston Gateway Walk.

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

By 1960, the auxiliary group had grown to 87 members, and in 1961 the group initiated a docent program at the museum. Twenty-four women were part of the inaugural program that assisted with education in the galleries. During the 1960s, the Council supported the public school art programs in Charleston County. Under the direction of artist Corrie McCallum, the first art appreciation program began in the schools, and reached an estimated 20,000 children a year.

In the late ‘60s the group changed their name to the Women’s Council, and defined their mission as volunteerism. Under the direction of a member named Lenora Kessler, thirty women staffed the reception desks at the Gibbes five days a week. In addition to the visitor services the group provided, they organized garden parties, house tours, and gala fundraising events.

A garden tea hosted by the Women's Council in 1965.

In 1970, the Women’s Council added a museum shop to their roster of duties, and dubbed it “The Turtle” based on an Anna Heyward Taylor print in the museum’s collection. The women organized a gala event to raise money to purchase the inventory and staff the operation. The Women’s Council had become an integral part of the museum, and their volunteerism and fundraising efforts were an important resource for the day-to-day operations of the institution.

Sea Turtle from the series This Our Land, 1948
Anna Heyward Taylor (American, 1879–1956).
Linoleum print on paper
Gibbes Museum of Art, Gift of the Artist (1949.002.0003.002)

In the 1980s, members of the group continued their educational focus by providing curriculum objectives, instructional assistance, and classroom visits to five elementary schools serving the underprivileged community. They continued to host the exhibition opening events, and to produce fundraising events to support the Gibbes. In the late eighties, they gave a gift of $15,000 towards a permanent gallery for the Charleston Renaissance collection, now called the “Alice Smith Gallery” on the first floor.

The Council established an Annual Holiday Tour of Homes in 1990, which continued until 2007. Historic homes were decked in holiday décor and tickets were sold for admission on the tour. During this time, their ranks grew to 248 members and they contributed research to a museum publication titled, Alice Ravenel Huger Smith, An Artist, a Place and a Time; aided the implementation of a collections department and museum archive; and funded, in-part, a new museum store, just to name a few accomplishments. In 1993, the South Carolina Federation of Museums recognized the Women’s Council for “their contributions of services, manpower, money, and ideas to support the goals, ideals, and programs” of the Gibbes.

Janice Waring and Kathy Nistad present a check to the museum for $24,000.

Rhett Ramsay Outten and Dolly Lipman at the Fine Art and Flowers opening night party, March 2011.

The Women’s Council remains an auxiliary eager to support the Gibbes Museum through participation and fundraising. Their fundraising efforts have evolved over time, and now are focused on a spring luncheon and lecture, called the Art of Design. This year, the group is proud to present renowned designer, Carolyne Roehm, as the speaker.

Joanne Harth, Beatty Martin, and Debbie Fisher at Fine Art and Flowers, March 2011.

Today, the membership includes women of all ages from across the Tri-County area, and is actively reaching out to potential new members. Four meetings are scheduled each year, exploring a variety of topics relating to the arts. The Women’s Council continues their legacy of sponsoring exhibition openings, and supporting community outreach efforts at the museum. Its goal is to impact the community in a favorable way by bringing educationally and socially stimulating opportunities through the arts to Charleston’s vibrant constituency.

—Contributed by Joanne Harth, Women’s Council President, and Ginny Brush, Women’s Council Past President

Learn more about the Women’s Council and opportunities to participate.

Save the Date: The Women’s Council presents the Art of Design Luncheon and Lecture with Carolyne Roehm, designed by Tara Guérard Soirée, on Friday, March 30, at noon.

Photocredits: All images courtesy of the Gibbes Museum of Art.
Corrie McCallum with works from the Gibbes Picture Lending Gallery, ca. 1965: photo by Gene Evans.
Fine Art & Flowers event images, March 2011: photos by Jason Baxley

adminlasley    Nov.11.2011    Behind the scenes, Museum Store, Programs    1 Comment »

Today, the Gibbes opened a new exhibition called Breaking Down Barriers: 300 Years of Women in Art. The exhibition takes a hard look at the history of art, exploring why there were so few early female artists, and how the tide has changed over the past century. The subject matter is compelling, and every object in the show is from the Gibbes collection. The fact that the Gibbes can tell the story of 300 years of women in art is noteworthy. Our collection is vast and includes many treasures of American art, including the largest public collection of portraits by Henrietta Johnston, the first female professional artist in America. The Johnston portraits are a real point of pride for the Gibbes, and five of her beautiful pastels will be included in this exhibition—a rare treat for our museum visitors! But this exhibition offers so much more. From miniature portraits to photography, sculpture, and abstract paintings, the exhibition highlights a wide variety of work, culminating with the stellar contributions of female artists working in Charleston today.

Want to hear more about these groundbreaking women? Join me on November 3 or December 1 at 2:30pm for an exhibition tour, free with museum admission.

—Pam Wall, curator of exhibitions, Gibbes Museum of Art

Check the Gibbes calendar for related events.

Read more about the exhibition in Pam Wall’s article in the Autumn/Winter 2011 issue of Antiques & Fine Art Magazine.

Join in the fun with Women in Art Wednesdays on the Gibbes’ Facebook page. Test your knowledge of women in art with our weekly trivia questions. Hint: you might find some answers in this post and related article.

contributepam    Oct.28.2011    Exhibitions    No Comments »

Since Margaret Bourke-White’s iconic images will be featured in both of the Gibbes’ upcoming exhibitions—Breaking Down Barriers: 300 Years of Women in Art and Camera Works: Masters in Photography—we thought her groundbreaking career worthy of the spotlight!

Margaret Bourke-White studied photography at Columbia University under renowned photographer Clarence H. White. She opened her own studio in Cleveland in the 1920s and found early artistic success creating images in factories and other industrial environments. She was conscious of modernist compositional techniques, and had a unique ability to find beauty in the raw materials associated with machinery—as is exemplified in her 1927 image, Piston Rods. However, from the outset of her career, Bourke-White was interested in using photography to examine social issues and she quickly broke into the male-dominated field of photojournalism.

She was a woman of many firsts. In 1929, Bourke-White was hired as the first staff photographer for Fortune magazine. She was also one of the first of four photojournalist hired by Life magazine and one of her photographs appeared on the magazine’s first cover in 1936. Bourke-White traveled throughout the world and was the first-ever Western photographer allowed in the Soviet Union. She photographed some of the twentieth century’s most notable moments, including the liberation of German concentration camps in 1945, and the release of Mahatma Gandhi from prison in 1946.

Bourke-White traveled through the American south in the 1930s. Like many of the famed photographers of the era—such as Walker Evans, Dorothea Lange, and Peter Sekaer—she worked to capture the devastating effects of the Great Depression. Many of her images from this experience were included in the publication, You Have Seen Their Faces, a collaborative project with her future husband, author Erskine Caldwell.

—Sara Arnold, curator of collections, Gibbes Museum of Art

Breaking Down Barrier: 300 Years of Women in Art and Camera Works: Masters in Photography both open on October 28, 2011

contributesara    Oct.21.2011    Artist Spotlight, Exhibitions, Permanent Collection    4 Comments »

Instructor Mary Lou Bloise (center) shares information with students.

I saw an announcement in the Post and Courier about a watercolor class at the studio of Mary Lou Bloise offered by the Gibbes Museum of Art. The notice intrigued me. I hadn’t had much experience with watercolor except for a brief six-week period on a cruise ship, offered as an enrichment program while at sea. I enjoyed the experience and upon my return to Charleston, I rushed to purchase art paper, watercolors, brushes, and books. I even bought a DVD with watercolor instructions, but as time passed, I never opened my supplies. My enthusiasm for this art medium had been replaced with day-to-day busyness and my art supplies sat on a shelf. I decided to sign up for the classes offered by the Gibbes. I was excited to reunite with my old friend watercolor! The day before the first class I drove to the location to be certain I knew exactly where it was and how long it would take me to get there. I took my art supplies off the shelf, placed them in a canvas bag, and I was ready to start.

When I arrived for the first class, I was greeted by the warm, smiling, friendly face of the instructor Mary Lou Bloise. Her inviting demeanor made me feel at home. The space was set up as an artist’s studio and her love of art infused the room. There were five students in the group and Mary Lou gently guided us. My earlier watercolor experience came back to me, although it was very elementary, and I was open and willing to learn more.

The first lesson was about brush strokes. We were instructed only to use the primary colors. As I began to fill my page with red, yellow, and blue streaks and various sized lines, Mary Lou offered suggestions on how to hold the brush, the amount of water to use, and how to control the color pigment. As I examined my finished page of rainbow colored stripes, lines, and streaks, I felt reconnected with my long lost friend – water coloring! That rainbow effect was my promise of future creations, which lay within my mind and hand.

An apple study in watercolor.

Arriving for the second class, I saw apples in the center of the worktable. It was at this point I realized we were going to actually paint an object! I was thrilled! But before I could take brush to paper, our instructor gave a brief explanation of how to look for various colors and shadows on the apples. I carefully examined my chosen apple discovering amazing different shades of red, yellow, and a hint of green now and then. Mary Lou also pointed out how the light affected the objects. I will never view a fruit or vegetable in the same manner after discovering just how many colors are present in a “red” apple.

It took me three attempts to achieve the correct shape of my apple. The first try looked more like a red pumpkin but on the third attempt, I was pleased with the shape and coloring of my creation. At break time the group examined and chatted about each other’s work. It was interesting to see how others used different color intensity. I must admit, their apple stems were superior to mine!

Jeannette's painting of a papaya with an orange flower.

To prepare for our next class, the group was asked to bring in a vegetable or fruit to use as a subject to paint. I chose to bring a papaya cut in half. The instructor placed complementary colored flowers beside my papaya. The lesson focused on composition and painting colors in relation to each other. I enjoyed manipulating the shape of the papaya as I painted. I discovered that if I made a mistake, I could correct it or go in a different direction. I call this a happy accident because I actually ended up with a better product than I had originally conceived.

Sadly, the last lesson day arrived quickly. Our instructor told the class to take out our T-squares and use a pencil to place lines at the edge of our paper to accommodate for the overhang of a mat if it was framed. Mary Lou had arranged a cobalt blue vase holding a purple flower, placed on a slab of marble. I felt totally comfortable as I began painting strokes to create the vase. It came together well, as did the stem and purple flower. I completed my painting by adding the gray and pink veined marble on which the vase rested.

Jeannette's painting of the still life with blue vase and purple flower.

I enjoyed the classes very much, and I have a newfound appreciation for the accomplished artist. It takes a lot of practice to refine brush strokes and time to achieve the desired color by using the right amount of water for the desired hue. I look at things differently now, noticing the varied colors and shading. I think my watercolor work shall achieve satisfaction and not perfection—it is simpler and more enjoyable that way.

—Jeannette Sink, watercolor student and guest blogger

A second session of Basic Watercolor with Artist Mary Lou Bloise begins next Tuesday, October 18. Contact Rebecca Sailor at rsailor@gibbesmuseum.org if you would like to register.

adminlasley    Oct.13.2011    Classes, Education    No Comments »

Architectural rendering of James Gibbes Art Gallery, by Frank P. Milburn, ca. 1903

After 28 years as a designer at the Metropolitan Museum in New York, I decided to start my own museum design business. My first client was the Annual Winter Antiques Show in New York. Last year we had the very successful exhibit, Grandeur Preserved, organized by the Historic Charleston Foundation. The exhibit borrowed from most of the major Charleston museums and collections but especially from the Gibbes Museum of Art. Following the success of that event, I was contacted by museum executive director Angela Mack to discuss the renovation of the Gibbes. I was thrilled to be asked and couldn’t wait to find out more.

When I arrived in Charleston in July, Angela said that she wanted me to be the consultant for the entire museum project, not just the gallery installation designs. This was exactly the project I wanted to be involved with after years of helping renovate and re-think the Met. I fly down every month from New York for a week of meetings with the entire museum staff as well the engineers, architects, and project managers for the renovation. I have now fallen in love with the city of Charleston and its art museum.

Current first floor layout for the Gibbes Museum.

As many people know, the Gibbes is currently laid out with the earliest works of art from the collection displayed in the low ceilinged, first floor galleries. The Modern and Contemporary art is located at the back (west end) of the museum and continues on the second and third floor back galleries as well. The Main and the Rotunda Galleries on the second floor are both for temporary special exhibitions. All of that is changing now.

Current second floor layout for the Gibbes Museum.

We are taking inspiration from the past to design the new galleries, while looking to the future to redefine the focus for all of the museum spaces. The Museum Store will stay in the front of the building but will move across the hall on the museum’s first floor, and the new Gibbes café will be situated where the shop used to be. All of the first and second floor windows will be reopened connecting the interior spaces of the museum with the energy of Meeting Street. Dedicated classroom spaces, artist studios, and a lecture hall will become a hub of activity for the creative community. The Gibbes is going to be alive, day and night, with views into the building that will make everyone stop to contemplate their next visit. My favorite part of all of this planning is that the entire first floor will be devoted to the public – free of charge. Visitors will be able to walk through the building from the front entrance down the classroom corridor to the atrium rear-entryway and new garden courtyard.

Architectural rendering of a longitudinal cross section of the newly designed museum.

This first floor change allows a transformation of the upper floors of the building. All of the artwork is moving upstairs to the second and third floors where approximately 2000 additional square feet of gallery space will permit more of the permanent collection to be shown. I am currently working on the layouts for the entire second floor with curators Sara Arnold and Pam Wall, and with Angela Mack, of course. We have determined that the Main Gallery will house the early works in the Gibbes collection featuring all of the beauties and famous characters that have been the story of Charleston for hundreds of years. The installation will flow into the north group of galleries (currently office space) and around to the back galleries, with a view to the newly designed sculpture garden and courtyard at the west end. The second floor installation will culminate with a new special gallery on the south side to display one of the largest and finest miniature paintings collections in the country. Finally, two new galleries on the third floor will be dedicated to special exhibitions; and a new collection storage room with a viewing area will allow visitors to see the staff at work.

We are still working on my favorite part of museum design as we continue to discuss the art installations. I get to go through the collection storage with Zinnia Willits, director of collections administration, and talk about the art. How can that not be fun?! I love discovering the surprises that have not been on view due to space limitations but can now be incorporated into the new displays. The other great adventure has been working with Greg Jenkins, operations director, on all the other behind-the-scenes spaces of the museum. On my last trip, Greg was brave enough to take me up above the skylights in the attic over the Rotunda and the Main Galleries. All of the original skylights above the second and third floor will be reopened and updated to illuminate the Main and the Rotunda galleries with filtered, safe daylight. No more dark rainy days at the Gibbes! After that, we went up onto the roof so I could see the exterior of the Rotunda dome to consider how to light it. Our goal is for all of Charleston to see the museum’s location and to be able to view the landmark structure at night from the air.

All of this description is basically to say that the museum is being reborn. The first floor will become a dynamic part of downtown Charleston and one of the liveliest places in the city. The art classrooms will come back to life again the way they were in the 1920’s and 30’s. The creative spirit of the original 1905 Gibbes Museum and the Carolina Art Association will become the lifeblood of the street level while the upstairs will return to the grand spaces that James Shoolbred Gibbes intended when he funded the construction of the building in 1905. Even the front entrance of the museum will be getting a facelift with a cleaning and new lighting to show off the proud façade. Stay tuned for updates as we continue to define the plans for this exciting museum renovation!

—Jeff Daly, museum designer and guest blogger

adminlasley    Oct.05.2011    Behind the scenes, Permanent Collection, Renovation Plans    3 Comments »