Search Results for 'Art to Go'

Art to Go at Angel Oak Elementary School

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.

Art to Go Lands at Mt. Zion Elementary

The Gibbes Museum provides in-school art education through a program called Art to Go. We send teaching artists into the classroom to work on hands-on art projects inspired by the Gibbes Collection. This week, I took a trip to Mt. Zion Elementary School to visit artist Julie Weinberger and the first and second graders enrolled at the school.

This is the second year the Gibbes has brought Art to Go to Mt. Zion Elementary. Every Tuesday and Thursday, Ms. Weinberger works with the students in order to enrich their art education experience. During my visit, the first graders had a lesson on Leo Twiggs—a contemporary artist who paints using an innovative batik technique—and were busy creating simplified batik projects. The Second graders learned about Romare Bearden—best known for his richly textured collages—and were creating their own collaged artworks using the first letter of their first name.

In addition to viewing images from the collection in their classroom, the Art to Go program at Mt. Zion Elementary will bring the students to the museum to see the works by these artists (and more) in person! It is always a pleasure to observe the students at work in their own environment. Then, when I get to see them at the museum viewing the works they have studied it is even more enjoyable.

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

Learn more about programs for K-12 students at the Gibbes.

Art to Go Exhibition

Today is the opening day of our special Art to Go exhibition, featuring work created by students at Mt. Zion Elementary School. Over the course of the 2009/2010 school year, the Gibbes Art to Go program, led by teaching artist Martha Criscuolo, visited Mt. Zion on Johns Island every Thursday. This special partnership was designed to introduce students in grades 1-5 to both art history and studio art, while using the Gibbes permanent collection and special exhibitions as sources of inspiration for their own artmaking. Culminating their year of study, this special exhibition features works created by the students. Each student chose one artwork that they felt best expressed them for the exhibition. The exhibition will be on view through this weekend—we hope to see you at the Gibbes!

 Want learn more about the Gibbes Art to Go program? Contact Rebecca Sailor at (843) 722-2706, ext. 41.

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Art to Go at Mt. Zion Elementary

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Each Thursday during the school year, Teaching Artist and Museum Educator Martha Criscuolo leads Art to Go at Mt. Zion Elementary School on Johns Island. During the program she instructs students in grades 1-5 on a variety of art projects. These particular photos are from a paper mache project with 4th and 5th grade students. The project was included in a lesson on folk art based on the Ancestry and Innovation exhibition hosted by the Gibbes this past summer. In addition to classroom sessions, students visit the Gibbes as part of the Art to Go experience.

 To find out more about Art to Go, click here or contact Rebecca Williams at (843) 722-2706 x41 or rcwilliams@gibbesmuseum.org. IMG_1971

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Here today, gone tomorrow (or over six months): How we moved out of the Gibbes! (Part II)

phase 3 empty gallery

Empty galleries…finally!

September 2014

The final phase of art packing involved the relocation of the Gibbes nationally-acclaimed collection of over 600 miniature portraits to secure storage at The Charleston Museum. While the miniatures comprise the smallest works in the art collection, planning to transport them just a few short miles up Meeting Street was the most complex of all the art movement. These fragile works on ivory require specialized handling and tightly-controlled climatic conditions at all times; movement had to be smooth and almost completely vibration-free. Once again, our skilled Museum staff and a crew of expert fine art movers accomplished this task. Looking back, it seems we definitely saved the most stressful of the moves for last! If you drop by The Charleston Museum (TMC) this month, several of our miniatures are on display; we can’t thank our colleagues at TMC enough for taking such excellent care of our miniature collection, one of the best in the United States!

miniature drawer

Fragile miniature portraits were the last collection to leave the building

October 2014

When the last piece of art left the building, you might assume collections staff could finally relax, right? Never.  Managing logistics for Insider Art Series exhibitions, preparation for conservation of artwork now five hours away,  attending to a steady stream of loan requests to borrow permanent collection objects packed away, and working with our curators on the many details surrounding reinstallation of the permanent collection now fill our days (and sometimes nights.) No rest for the weary. We also had one final project to manage before our work at 135 Meeting Street could be considered complete: consolidate, pack, move, and store all of the “stuff” that staff wanted to keep for when we re-open. Tables, chairs, exhibition furniture, storage cabinets, art supplies, store inventory, heavy machinery, the kitchen sink…..all head to be dealt with and moved out.  So we did that too; it was hard and tiring and not all that interesting to write about so I’ll skip the details. Once that last piece of our massive move puzzle had fallen into place, we did what Gibbes staff has been talking about for years-celebrated with a roller skating party in our Main Gallery!

 

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GMA staff on wheels (Zinnia, second from right)

 

Stay tuned for updates on our current and future collection/move activities. We may be working in an office for the time being but the artwork and exhibitions are always on our minds. We’ll make sure you, our supporters and friends, remain part of all the activity and our exciting future!

 

Zinnia Willits, Director of Collections Administration

Here today, gone tomorrow (or over six months): How we moved out of the Gibbes! (Part I)

Here today, gone tomorrow (or over six months): How we moved out of the Gibbes!

The Gibbes Museum of Art closed its doors in August in preparation for a major renovation and expansion. Given the nature of the construction project, it was necessary to empty the building of all its contents….people, office equipment, artwork, exhibition furniture, museum store inventory; everything that was not part of the building structure had to go. Museum staff was tasked with moving over 10,000 pieces of artwork and over 100 years of accumulated “stuff” out of the building over a six-month period. Our small, efficient, energetic staff has proven time and again that we can rise to a challenge and accomplish tasks, but this move project gave us all a moment of pause….and then we got over it and went to work! We accomplished our goal and today the Gibbes is an empty shell ready to be restored to its former glory, but how did we do it??? While I have been known to hold audiences captive for a long time talking about this move project, I realize this is a blog, and will try to convey our process in manageable sections (Part I and part II) rather than looking at the whole elephant!

April 2014

Planning for the collection move began several years ago and involved the coordination of art handling crews, fine art transit companies, and multiple storage locations. As the Director of Collections Administration, my first task was to find over 3,000 square feet of museum-quality space to store the entire art collection. Unfortunately, that does not exist in South Carolina. The closest commercial fine art storage with that amount of available, climate-controlled, secure space is in Orlando, Florida, which we decided was too far away. Instead, I pursued partnerships with our friends, The Charleston Museum, The South Carolina State Museum, and the High Museum of Art in Atlanta to store portions of our permanent collection during construction. We are pleased to be working with colleagues and strengthening relationships. Transport Consultants International assisted with the complicated logistics of this move.

print storage room packing

Packing works on paper took place behind-the-scenes in our print storage room

In order to keep the museum open as long as possible, removal of the art collection occurred in four phases. We started the process of packing and moving the collection in April 2014. During the first phase a crew of professional contract art handlers wrapped the museum’s collection of 4000+ works-on-paper and approximately 100 pieces of sculpture. All packing activities took place behind-the-scenes and the museum remained open to the public with little disruption. The images below do very little to convey the volume of material that was wrapped, nor the tight quarters in which the project took place, but you get a general sense of how it was done. The excellent art handling crew that worked with Gibbes staff knocked out this first phase of packing in just ten short (actually really LONG) days. These collections were shipped to The South Carolina State Museum in Columbia in May and are currently enjoying secure, climate-controlled storage under the supervision of the professional staff at the State Museum.

June 2014

Looking back at the whirlwind that was June 2014, it’s hard to believe how much activity took place and that we made it through those 30 days positive and still speaking to one another! The month began with the dreaded office move as museum staff changed operations from 135 Meeting Street to our temporary home in the Franke Building at 171 Church Street. As with any move there was the stress of packing boxes, uprooting comfortable work spaces, considering relocation of files and file cabinets, working out technology issues, planning for the logistics of the actual move, unpacking the boxes, getting used to new offices and work space, and the unsettling feeling of being disconnected from the collection and exhibits. It was a tough few weeks, but we persevered and learned to adjust to the new normal of working in an office building. Well most of us adjusted; I think those of us in collections and curatorial still find it particularly difficult to be away from the art. Meanwhile, back at the museum (which was still open to the public) I was moving forward with phase 2 of packing the collection. Just one week after the office move, the art handling crew returned to pack over 500 paintings and several large sculptures over another two-week period. The Garden and Balcony galleries were closed and set up as packing stations to provide the ample space required. Museum visitors were able to observe the packing process while still enjoying exhibitions in the Main and Rotunda galleries.  I definitely lived a double life in June running (literally) between the new offices at 171 Church Street and the art packing project at 135 Meeting.

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Painting Storage beginning to empty out.

July 2014

With July came a small respite. Packed paintings were shipped to their temporary home at the High Museum of Art Collections Storage Facility in Atlanta, Georgia. Greg Jenkins and I made the trek to Atlanta (the first of many) to assist with movement of our collections off the trucks and into the storage facility. The capable staff at the High was wonderful to work with and our paintings are stored alongside many treasures from the High’s permanent collection. The remainder of July was spent preparing for the next phase of packing and final closure of the Museum. We also received word that the Gibbes was awarded a Sustaining Cultural Heritage Collections Grant  in the amount of $250,000 to improve storage conditions for the museum’s collections. Grant funds will be used to purchase high-quality storage furniture for the renovated collections suite. This exciting news was a great boost for Gibbes staff after a grueling summer of moving.

August 2014

On to August. Time for an end of summer vacation perhaps?? Forget about it! August was crunch time for Gibbes collection staff as the third, and most multifaceted phase of collection packing got under way.  The art handling team (with the addition of a crating specialist) returned once again to pack oversize paintings and all objects on view in The Charleston Story.  This process took place over a three-week period. Crews worked behind-the-scenes to crate oversize paintings in storage until the Museum finally closed to the public.  Once the doors were shut we spread out into the galleries to pack artworks on view for long-term storage. Many of these paintings were large and required sturdy travel crates; the Museum had over 70 high-quality crates constructed by US Art Company to protect our finest works during transit and storage. In the end, four tractor-trailers loaded with all remaining artwork were sent to the High storage facility in early September. Our hallowed halls were finally empty….almost.

Stay tuned for Part II next week!

 

phase 3 crating large painting

Packing a large painting in storage

 

Zinnia Willits, Director of Collections Administration

The Art of Spinning Yarn, a Museum Educator’s Ongoing Education

I started volunteering with the Gibbes almost five years ago after getting a master’s degree in art history. Since then I’ve worked on numerous projects in the curatorial department, helped with art camp one summer, and become a museum educator. While not at the museum, I work at a local stained glass studio, Blue Heron Glass, where I teach and create unique works of glass art.

Davidson Hall

Davidson Hall is the building our classroom was in, as seen from the Herb Garden Path.

I was able to combine my interests in art and education, including my obsessions with knitting and yarn, on my recent vacation to the John C. Campbell Folk School in North Carolina. I took a week-long spinning class (spinning yarn, not bicycles) with a good friend and we stayed at one of the school’s houses. Neither of us had ever spun yarn before, but we were both excited for the challenge. The school is located in the mountains in a small town called Brasstown, NC, very near the Georgia and Tennessee borders. They offer classes all year long and in many different topics like fiber arts (spinning, knitting, weaving, quilting, etc.), blacksmithing, pottery, writing, painting, woodturning, music, and other folk arts.

It was like stepping into a different time and onto a slightly different planet. Upon checking in, we learned that there were no keys to the rooms and while our linens were provided, we had to make our own beds. Meals were included with our board and all the dining was family-style where we served ourselves and bussed our own tables. It was camp for adults (although they welcome young ones to the school).  Much of the food was grown in the school’s gardens and they baked most of the bread there. There were numerous paths and trails on the grounds, and we enjoyed walking through the woods and fields of the school.

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Spinning Class shows our set-up with the wheels and fleece.

Our spinning instructor was from Boulder, CO and there were people from all across the country in our class. We started by discussing how to prepare a fleece directly from the sheep and moved on from there. Over the course of the week we spun yarn from five different breeds of sheep, cotton, silk and commercially available roving. We learned about different types of spinning wheels and even played a little with drop spindles. We played with hand carders, drum carders, long combs and all sorts of other tools that looked like torture devices. The most exciting and crazy thing we tried was spinning cotton thread directly from unprocessed cotton bolls. One afternoon we took an impromptu field trip to a local sheep farm.

Along with the classes they had activities in the evenings like demonstrations from other classes, a contra dance, and a concert on Friday night. Every morning there was “Morning Song,” a 30 minute session of blue grass music and storytelling. There was a fabulous craft shop just under the dining hall that featured goods made by various teachers at the folk school and a book room. Meal times were also a treat because we met interesting people from other classes. Some students were learning totally new skills, like us, while others were taking intermediate or advanced courses.

Overall, it was an amazing experience and I can’t wait to go back. It was such a pleasure to see so many dying arts and crafts alive and well at the folk school and I realized that there are so many other things I want to learn. I just need to figure out what to make with all my hand-spun yarn!

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“Mountain Beard” shows my love of fleece!

Rebecca Heister, Museum Educator and Volunteer

Art of Healing Presents: Flower Power

Our December Art of Healing program presents Flower Power with floral design experts Gretchen Cuddy of Gretchen Cuddy Floral Designs, and Clara Varga-Gonzales of Tiger Lily Florists. Flowers have a powerful impact on the senses and can communicate a variety of sentiments. Gretchen and Clara were kind enough to answer questions about their philosophy of floral design in preparation for this event. Learn more from this talented duo on how horticulture enhances health and healing with moderator Dr. Jeb Hallett on December 10 at 6pm. The Thomas Bennett House will be decorated for the holidays—join us for this festive affair!

Thomas Bennett House

The Thomas Bennett House decorated for the holidays

Tell me about your background with floral design. When did you begin working with flowers and how has your work evolved over the years?

(Gretchen) My floral background started in college when I took a watercolor painting class, I would often create floral still life arrangements for the class to paint. Color combinations and the use of varied greenery and unique vases was a big part of the process. The use of texture and the contrast of natural elements in an arrangement have always interested me; it makes the final creation less expected to the viewer’s eye. Over the years, I have spent quite a bit of time working with florals for churches and sacred spaces. Presently, I create arrangements for numerous events in Charleston and love to use local plant materials to evoke a relationship with the beautiful Lowcountry.

(Clara) I started working with flowers 18 years ago. My husband and I bought Tiger Lily florist in 1996. Weddings are always evolving depending on what the style is at the time. Our goal has always been to have big bright flowers in arrangements. American send much fewer flowers than Europeans do. It’s just not our tradition as much as it is overseas to have flowers on a daily basis. Therefore it’s very important for us to carry flowers that have a long vase life so that the consumer feels like they received a good value.

Flowers by Tiger Lilly

Flowers by Tiger Lilly

What is it about working with flowers that is healing for you?

(Gretchen) I find that when I am working with flowers I can allow myself to be as creative as possible. It is almost like an out of body experience for me at times, and is better than any therapy. I can completely forget my troubles and transport myself into another world where the beauty of an arrangement gives me the greatest joy. It is self-healing in a way that is very personal.

(Clara) I think working with flowers in the flower shop is a different dynamic then working with flowers at home. When I work with flowers at home it’s more relaxing for me because there’s not the stress of getting it right for the client or making sure that the flowers are the correct shade or variety. There also isn’t the pressure of time constraints and delivery complications as far as transportation.

What are your favorite flowers to work with? Are there some types of flowers that are your least favorite?

(Gretchen) My favorite flowers to work with are sunflowers. I love the contrast of the yellow petals against the dark brown center. I almost always have a bouquet of them in my kitchen….they just make me smile. My least favorite flowers that I honestly cannot use are the ones that have been artificially dyed. It is simply a violation of nature and denies the flower its true color and beauty.

(Clara) My favorite flower to work with has always been tulips. I had tulips at my wedding and I enjoy them so much because they don’t need a lot of design and they continue to grow even after they are cut. Peonies remind me of my father, but they are not always available. My least favorite flowers have always been the more common ones such as statice and Alstromeria, although I do like daisies and carnations.

Describe your creative process. Do you begin with a color or type of flower in mind? Or is more about a client’s preference?

(Gretchen) My creative process to begin an arrangement consists of several variables, namely the season, the style of the event, the budget. From there, I select the vase or container to compliment the overall design, and then work to define the line and scale of the arrangement. I love going BIG with arrangements and I always remind myself to try and keep that in check as sometimes a smaller arrangement is really what is needed. In the end, I personally have to be satisfied with the final product before I can part with it.

(Clara) If the choice is up to me I prefer to work with 5 to 7 different types of flowers, each with different texture and shapes. I’ll lay them all out in front of me and then create the arrangement in my mind based on the shapes and sizes that I have to work with.

Gretchen Cuddy flowers

Flowers by Gretchen Cuddy Designs

Why do we give flowers to people for happy and sad occasions? Weddings and funerals?

(Gretchen) The gift of flowers to someone shows that you care. It also shows that you are not afraid to live in the moment, because as we all know, flowers do not last forever, so an arrangement of flowers allows one to stop if only for a moment to appreciate the beauty that flowers bring no matter what the occasion, happy or sad.

(Clara) Studies show that living with flowers strengthens our feelings of compassion and decreases our anxiety and worry. I think that especially for funerals it’s important for families to receive flowers in their home. They spend a lot of time in their homes after a loved one has passed, and it can have a positive impact on their mood. When we do flowers for a wedding it’s almost as if once the flowers have been delivered and the reception and churches are set, that’s when the festivities can begin. My brides have always realized the implication of what’s about to happen once the flowers have arrived. That’s when they start crying. There’s some sort positive energy that comes from flowers and live plants!

Art of Healing: Flower Power

Wednesday, December 10, 6pm

 $20 Members, $30 Non Members

Location: Thomas Bennett House, 69 Barre Street

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

Roper logoSponsored by Roper St. Francis Foundation

Amy Mercer, Marketing and Communications Manager

Art with a Twist presents, Unexpected Treasures

Reinterpreting the past for today’s home and garden. Architectural salvage, antique decor, iron work, garden elements, and much more than we can describe!

2014 Charleston Symphony Orchestra League's Annual Designer Showcase

2014 Charleston Symphony Orchestra League’s Annual Designer Showcase, Master Bedroom

Jeff McKinney and Randy Grussing embrace a ‘fearless use of color’ in their designs. This attribute was on display in the vibrant master bedroom in the 2014 Charleston Symphony Orchestra League’s Annual Designer Showcase. As first time participants in the event, the dynamic duo endeavored to create a spectacular room for guests. The palette of the bedroom was inspired by a lowcountry sunset. “We were driving over the James Island connector one evening and the horizon was saturated with violent streaks of plums and paprika,” Jeff explains. American Gothic Revival Philadelphia gate posts from the 1850’s were transformed into bedside lamps, and a pair of marble topped tables with wrought iron bases were such a hit that they sold the second day of the show. Their design, titled Charleston Indochiene, received the Viewer’s Choice Award. When asked why he thought the room was so successful Jeff explained that the color combinations are unexpected and inviting. It was a room that looked lived in with furniture that was built to last.

These color combinations and customized furniture creations are on display in the showroom Circe on Saint Andrews Boulevard in West Ashley. A visit to the showroom is a sensory delight filled with lush fabrics, one-of-a kind antiques, and 19, 20, and 21 century items for the home. Jeff and Randy also own Architectural Antiques and Design, which is just down the street from Circe and is more of a warehouse where clients can discover hidden treasures.  “People will find ideas at Circe and the raw product at the warehouse,” Jeff explains. Working one on one with clients, they customize pieces that reflect the client’s personal style and offer designer fabrics at affordable prices.

AWAT Unexpected Treasures

Antique lamps ‘repurposed’ by Jeff and Randy

A team of locally sourced, skilled blacksmiths, lamp smiths, and upholsterers repurpose and update the antiques. Randy explains that, “what you live with has to change as you change.” He adds that we just don’t have the quality craftsmanship anymore, which is part of the reason he and Jeff work to educate clients about the value of pieces and the potential for modification. They feel that many people today have a disposable cultural sensibility. This belief in the intrinsic value of products from the past is reflected in the delicate curves of a settee, the smooth texture of a wooden dresser, and the summer blue spot of turquoise on the lamps in the corner. These are unexpected treasures indeed!

Architectural Antiques Vignette

Architectural Antiques Vignette, designed by Jeff and Randy

Join Jeff and Randy at Circe and Architectural Antiques & Design on Thursday, November 13 at 6pm for Unexpected Treasures: Re-designing Artful Artifacts. They will lead guests on a tour through the showroom and warehouse and share their expert tips on reinterpreting the past for today’s home and garden. A reception will follow.

Location: 903-C and 1011-A Saint Andrews Boulevard, next to Hambys. Limited parking is available at both locations so carpooling is suggested.

$20 Members, $30 Non-Members

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

Photos by Holger Obenaus
Amy Mercer, Marketing and Communications Manager

Art of Healing through dance, architecture, and flowers

The Gibbes Museum takes pride in the community partnerships that we’ve established over the years. An example of this is our involvement with Roper St. Francis Healthcare through the Art of Healing program. Established in 2012 by Gibbes Board Member and Roper St. Francis surgeon, Dr. Jeb Hallett, the Art of Healing explores the connections between art, personal well-being, and healing through panel discussions, workshops, and an art lending collection for Roper St. Francis Rehabilitation Hospital patients. “Art can help transport a patient’s attention away from their pain or condition to produce more positive emotions” says Dr. Hallett. Now in its third year, the program continues to expand with more workshops, conversations, and artists. To learn more about the Art of Healing lending program, enjoy this youtube video created by Roper St. Francis staff, Shane Ellis.

The next Art of Healing conversation will take place on November 4 at 6pm at the Circular Congregational Church  at 150 Meeting Street. This panel discussion will focus on how architecture and the spaces we build and inhabit can lead to healing and well-being.  Expert panelists include the Georgia Trust for Historic Preservation Senior Director of Properties, and Hay House Director, Jonathan Poston, and Ray Huff, Director of the Clemson Architecture Center who will join Dr. Hallett for this moderated conversation.

Hard Light in Trumbo Street, 1934

An example of Charleston architecture by artist Prentiss Taylor

 

Dr. Hallett will ask probing questions such as: why have certain elements of architecture remained critically important over time? Why is light important to well-being, and how does certain forms such as Palladian windows and columns persisted over time? (The original term for a Palladian window is a serliana (or a Serlian Motif).  It is an archway or window with three openings, the central one arched and wider than the flanking openings (which were rectangular and enclosed at the top by an architrave). The Italian Renaissance architect/master builder, Andrea Palladio, 1508-1580 popularized this architectural motif.) The panelists will discuss Charlestonian architectural styles such as the Single House to examine the ‘health benefits’ of this design. The Art of Healing discussions include interactive discussions with the audience, which are always engaged and intimate.

This is sure to be an interesting and lively discussion, and a cocktail reception will follow the discussion.

Art of Design 2014

Flowers by Gretchen Cuddy for the 2014 Art of Design luncheon

One December 10 at 6pm, the Art of Healing: Flower Power will be held at the Thomas Bennett House on 69 Barre Street. Dr. Hallett will be joined by floral design expert Gretchen Cuddy as well as Clara Varga-Gonzales of Tiger Lily Florist. Cuddy and Varga-Gonzales will discuss why flowers and horticulture appeal to our senses and discuss why implementing natural elements in the home and other buildings can promote well-being.
Amanda Breen, Membership Coordinator

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