Officials Announce the Winners of the ArtFields© 2016 Competition in Lake City, SC

May 1st, 2016

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Editor’s Note: The images provided here are from the ArtFields© website of the entries made. They do not all represent the final presentations in Lake City. I have some photos of final works on display, but to show them would not be fair to all the artists.

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ArtFields© 2016 (Apr. 22-30, 2016) in Lake City, SC, has announced most of its winners from their forth competition including Charles Clary of Conway, SC, who was given the top $50,000 award for his work “Be Kind Rewind”. This award was selected by the jury panel from the top 50 works that received the most votes from those folks who came to Lake City to view the art, registered to vote and actually voted for the works they liked the most.

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Brent Pafford of Clemson, SC, was given the Jury Prize, of $25,000 for “Remember This As A Time Of Day”. This award was selected by the jury panel with no consideration of votes received.

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Aron Belka of New Orleans, LA, was given the 2-D People’s Choice award of $12,500 for “Contact Tracing”. This award was determined by receiving the most votes from those registered to vote.

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Jocelyn Chateauvert of Charleston, SC, was given the 3-D People’s Choice award of $12,500 for “Invasive Species”. Also determined by receiving the most votes by those registered to vote.

All of these works will join the ArtFields© collection, which can usually be seen at The Crossroads Inn, located on Main Street in Lake City.

The Citizens Bank of Lake City also provide ArtFields© with $10,000 for 10 Merit Awards which are selected by the jury panel without consideration of votes received.

The winners of the ArtFields© 2016 Merit Awards include:

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Susie Ganch of Richmond, VA, for “Drag (Diptych)”.

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Heather Mae Erickson of Sylvia, NC, for “American Values/Handmade in America”.

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Brad Williams of Myrtle Beach, SC, for “Of the Earth”.

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Colin Quashie of Charleston, SC, for “French Toile, Negro Toil”.

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Michael Logan Woodle of Conway, SC, for “Clabber Ladle”.

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Wanbli Hamilton Gamache of Fayetteville, AR, for “Excavations”.

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Logan Tanner of Huntsville, AL, for “Hog”.

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Ken Hamilton of Goose Creek, SC, for “E-Z Rest Motel”.

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Tyrone Geter of Elgin, SC, for “Mother Nature’s Last In-House Domestic Worker”.

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Stacy Rexrode of Chapel Hill, NC, for “Quasi-Delft Bequest”.

These awards were non-purchase awards and the artists got to keep their works.

I’ve also included an image with info about the jury panel.

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There are a few more awards to be announced and we’ll report on those ASAP.

For more info visit (www.artfieldssc.org).

Once More I Ventured Into the Pee Dee Area of South Carolina to Get My Fine Art Fix

April 10th, 2016

For at least five years, the Pee Dee area of South Carolina has been a source of frustration and hope in looking at the future of SC’s overall visual art community. Mostly concentrating on Florence and Lake City, SC, Florence represents the frustration and Lake City the hope. I’ve given both cities an unusual amount of my time and exposure in Carolina Arts and our social media network. And I feel at times that I’m holding the short end of the stick. And, besides all that exposure I find that I’m still having to fight to get info from this area about exhibitions being offered there. If this was school I’d have to give them an “F” in communications and promotions – with few exceptions.

In wondering why this is the situation, I bounce back and forth from my theory that they just don’t care, due to decades of a lack of respect for the area by the rest of South Carolina, or that they just don’t get it due to a lack of knowledge about promotion.

So, when I came across a notice that Jennifer Appleton Ervin or Jen Ervin was going to have an exhibit at the Waters Gallery of the Florence County Museum in April I knew we had our cover for our April issue. Since first seeing her work I’ve loved her imagery. And being an old black & white film processor I love black & white photography and I love the images Ervin makes of her daughters who take their images very seriously. Some might call them “posers”. Most people are afraid of having a camera pointed in their direction, I think they have learned to enjoy it or at least make the best of it. And one day they might even be famous due to one of these images.

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The exhibit is Along the River: The Polaroid Work of Jen Ervin, which will be on view through June 10, 2016, at the Waters Gallery which is located at 135 South Dargan Street, a separate building from the main facility of the Florence County Museum. This exhibition is presented by the Florence Regional Arts Alliance in conjunction with the Museum. A reception will be held on May 10, 2016, beginning at 6pm, during the Florence Regional Arts Alliance’s Arts Awards Presentations. On May 11, Ervin will give a gallery talk at 11am.

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Some examples of items found inside Ark Lodge.

The exhibit traces the stories, heritage and landscape of a southern family’s experiences within the Pee Dee, but I think the girls steal the show. The location where the images were made is called Ark Lodge, a cabin built in the 1940s by Ervin’s husband’s grandparents along the Little Pee Dee River.

Ervin states, “I was led to use Polaroid as medium because each image immediately becomes an object of experience that lends well to intimacy and family history.”

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One group of images in the exhibit.

Polaroid images in their original form have limitations, one is size and two a limited tonal range, but for a camera that was designed to take family images that you could see – almost instantly, the detail is very good. But like in all things, talented photographers can make exceptional images with the simplest of cameras. But, the good thing is small images make the viewer focus intensely.

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The three daughters together. Excuse the glare and reflections – this work was under glass.

Although the environment is a family cabin and people’s reactions to nature, the images presented are not family snapshots. I’m not saying the images were staged, the situations may have been planned and then the natural flow of things took place, but it would have been nice to see these young girls giggling in at least one image. At least I hope their days spent at the cabin are not that stoic. I’m sure they are not – girls will be girls.

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The camera and film used.

A short black & white film is offered in the gallery space on an Apple computer. The short film fills in the feel of the environment that still images just can’t capture. It was just enough to complete a picture of this remote area of South Carolina and how Ervin’s daughters enjoy and explore it.

Go see this exhibit and enjoy the richness of black & white photography, feel the flow of the river, and step back into a slower time.

If you go, you might also want to check out the exhibit, Arriving South, at the main Museum. It features a selection of paintings, prints, and drawings from the Florence County Museum’s existing permanent collection and the museum’s Wright Collection of Southern Art, on view through Feb. 26, 2017. The exhibition features the work of Thomas Hart Benton, William H. Johnson, Gilbert Gaul, Anna Heyward Taylor and Alfred Hutty.

The folks at the Museum haven’t sent us a press release about this exhibit yet, but I’m hoping this mention will have one coming soon or not. I’ve never been able to figure out how they expect to get people to come see their exhibits when they don’t promote them.

Admission to the Florence County Museum is free. Hours are: Tue.-Sat., 10am-5pm & Sun. 2-5pm, but only Tue.-Sat. at the Waters Gallery. For further information call the Museum at 843/676-1200 or visit (www.flocomuseum.org). Of course you might get more info by contacting the Florence Regional Arts Alliance by calling 843/407-3062 or by visiting (www.florenceartsalliance.org).

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The second half of my trip on this day was to get a sneak peak at the upcoming ArtFields© 2016 exhibit taking place in Lake City, SC, from Apr. 22 – 30, 2016 – so I could share that peek with you.

As I said in the past, I usually take two days to see ArtFields© and it doesn’t seem to be enough, but because of the dates of the event I can’t give it much more as we have a publication to turn out and our May issue is always a big one. So why not get an early look? I e-mailed Hannah Davis, the new director of ArtFields© but someone who has been there from the start, to see if this would be possible and she told me yes and that Friday and Saturday artists would be delivering work, but a lot of it was in place already. Friday would be the best day for me.

I went through Lake City in the morning on my way to Florence on that familiar path of Hwy. 52 north that I had taken many times before, but never stopping to see what was in Lake City beyond what I saw on Hwy. 52 until four years ago when they wanted me to come check out this new event called ArtFields©. I can honestly say that if it wasn’t for ArtFields© I would have never traveled down Main Street, a place I now know quite well.

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“Summer Wind 2″ by Bob Doster of Lancaster, SC.

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“Caryatid” by Gregory Johnson of Cummins, GA.

My first look at ArtFields© 2016 confirmed my prediction that this year’s jurors would fill the ranks with a lot of university and college professors. If you put them on the jury panels don’t be surprised when they select a lot of their friends, contacts and works that looks like the kind of work they make. This is not so bad as it does guarantee a lot of interesting work, but these jury panels need to be more diverse, including commercial gallery owners who might select more work that the public is not only used to seeing in galleries but might actually purchase to show in their homes. After all, the visual art community is very diverse and it would be nice to see more fine art crafts at ArtFields©. Also, at least nine out of ten artists I have talked to at ArtFields© would like to see these jurors come from outside the 12 states included in the competition. They don’t like the thought of artists picking their friends for this competition.

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“Woman With Cuts” by Jim Boden of Hartsville, SC.

The other impression I’ve gotten is that artists entering this competition are falling into what I call the “Juried Show Syndrome” where they enter works they think the jurors will like. A lot of past winners at ArtFields© have been portraits or images of people, so this year we have a lot of entries by artists who may be known for doing other types of work but have entered works featuring people. I might be off base on this and I prefer to think that artists are using ArtFields© to present new works, but I’m seeing a lot of entries with names on them that I would have never expected to have produced them. We’ll see if others pick up on this pattern.

Over the years I’ve also been surprised at the work some artists enter – what I would call – not their best work. I would hope that artists will start to think of ArtFields© as an opportunity to put their best foot forward. It’s clear that some artists are already in the mode of planning their entries for the next ArtFields© the minute one ends. And those seem to be the most interesting entries.

Well, as things go with my visits to ArtFields©, I had a few great conversations with Hannah Davis about what it’s like to be in charge, with Patrick Parise a Columbia, SC, artist delivering his entry, and a few merchants on Main Street. People are excited to have ArtFields© start.

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An interesting image by itself, but only a detail of a larger work.

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‘Rising in Falling” by Kara Gunter of Lexington, SC.

I took a few photos of things that caught my eye, but since everything is not installed or even delivered yet I wouldn’t make any judgements on what I’m offering as being my favorites yet. Some I took because I knew who created them. Others I took because I didn’t have time to walk too far around town.

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Just part of an outdoor installation entitled “Sculpture Cakes” by Mark Grote of Covington, LA, on the grounds of the Lake City Public Library.

There were a couple of installations that were in the process of being created which I would return to ArtFields© alone just to see how they turned out. Some artists are going all out.

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Jocelyn Chateauvert of Charleston, SC, works on her installation, “Invasive Species” at the Jones-Carter Gallery.

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This image shows that Chateauvert has a long way to go before she is finished.

Under the category of new things learned, exhibition catalogs will now be available for the public to purchase. This is the second year ArtFields© has produced an exhibition catalog which was previously only available to artists who visited Lake City. Did you know that? If you’re an artist competing in ArtFields© but don’t come to Lake City by mailing your entry there and having in mailed back, you are missing out on a packet of goodies given to the artists who check in. This year they are printing enough to be able to sell them to the public along with other merchandise like T-Shirts and hats.

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“Perfect Afternoon” by Murray Sease of Bluffton, SC.

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Sease’s work is on display at one of the locations on Main Street in Lake City.

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This is what it’s all about – getting people in the businesses of Lake City.

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“Wisp” by Loren Schwerd of New Oreleans, LA.

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The same work in its merchant setting.

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I’m always surprised by the personal tours you are given inside some stores of their ArtFields© entries.

Food Trucks! There will be food trucks at ArtFields© this year. I think that is new. Thar creates more choices for folks who want to keep going on their quest to see all the art being offered.

Finally – go to Lake City, SC, between Apr. 22 – 30, 2016, register to vote, go look at art, eat something while you are there, do some shopping while looking at art in these downtown shops and stores, see more art and then vote – either while looking at art, after you’re finished looking at art, or at least when you get home before the deadline.

See you there.

For more information about ArtFields© 2016 visit (www.artfieldssc.org).

The April 2016 Issue of “Carolina Arts” is Now Ready to Download

April 1st, 2016

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The April 2016 issue of Carolina Arts is up on our website at (www.carolinaarts.com) – all 77 pages of it. In my commentary I talk about ArtFields© 2016, scheduled to take place in Lake City, SC, Apr. 22 – 30, 2016. We’re making that event a special focus this month in an attempt to get more folks to go see this major visual art event hosted by this small Southern town.

For single page format use this link (http://www.carolinaarts.com/416/416carolinaarts-sp.pdf).

For side by side page format use this link (http://www.carolinaarts.com/416/416carolinaarts-dp.pdf).

So download that PDF and dig in – it makes for good reading and shows that you have lots of opportunities to enjoy the visual arts in the Carolinas in this new year. And, don’t forget to find a way to thank our advertisers – they make the paper possible.

And help us spread the paper around by sending these links to your friends.

If you want to get something in the May 2016 issue – send it now or as soon as you can. Don’t wait till the April 24 deadline. But, you do know that you don’t have to wait until the deadline comes up to send us stuff – you can be early. Some folks are already several months ahead of the deadline when their press release would be due.

Thanks – Tom and Linda Starland
Carolina Arts
843/693-1306 (a new number)
info@carolinaarts.com

A Trip to Charleston, SC, to See an Exhibit by an Old Photography Friend – Mar. 4, 2016

March 6th, 2016

Back in our photography days, back when Linda and I ran a custom black & white photo processing business, a photography gallery, and a photography guild – we were in touch with the Charleston art photography community. It was a very talented and vibrant community. It was old school. Then came the digital age. Now we hardly know anyone calling themselves an art photographer today. We’re way out of the loop, except to what comes across our radar in doing Carolina Arts.

Like a lot of our old photography friends, we thought this would be the end of good photography, and soon we gave up the photo processing business for the desk top publishing business. Many of those photographers fought tooth and nail to hold on to the old ways of doing photography. Years later we find ourselves smack dab in the middle of the digital age wondering why we resisted so long and trying to keep up with the constant changes and innovation.

Change is always hard, but change is good and in this case – change has been great.

So, when I got the notice that John Moore, one of those old photography friends was having an exhibit at Corrigan Gallery, located at 62 Queen Street in downtown Charleston, SC, I marked the date for the reception, Mar. 4, down on my calendar. That was also the day of the new Charleston Gallery Association’s Art Walk. My hopes were that I would be able to attend.

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Work by John Moore

As things turned out something always happens which becomes a conflict with my plans, Linda had to work and that afternoon we had to have contact with our health insurance folks – never a good thing. The timing was not good as it would put me in Charleston after 5pm when the reception starts and because it was also Art Walk night – finding parking was going to be a challenge, which is an everyday challenge in Charleston. But I’m an old pro at finding space in Charleston to park and I had my lucky spots.

As I’m heading to Charleston I notice I’m almost out of gas and I determined that I would need to stop for gas before I got to Charleston or I would risk being able to get out of Charleston – another delay. So picture pulling into a gas station on Friday afternoon when most people got paid and would fill up their tanks for the weekend. The picture is of more delays.

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Work by John Moore

When I finally got onto I-26, the traffic coming out of Charleston was a solid mass, from Charleston to Goose Creek and probably all the way to Summerville. I was glad I was heading into Charleston not out and it should be all cleared away by the time I was returning home. Traffic in downtown Charleston was busy with the Art Walk already going on and the search for parking was in full mode, but my first choice on an old reliable spot was empty.

When I die, I’m leaving a guide on how to find parking in Charleston to the highest bidder. The proceeds will go to the Carolina Arts Foundation, which will mean one of the grandsons had taken over the publication or it will go to the owner of any art photography gallery in Charleston.

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Work by John Moore

I had come to Charleston to just see John Moore’s show, but anywhere you park in downtown Charleston you are going to pass several galleries getting to another – they’re everywhere. So I would stick my head in any I passed. The first I came across was Anglin-Smith Fine Art. It was packed – I mean wall to wall, so I moved toward Corrigan Gallery thinking things will clear out later on my way back to the car. I passed a new pottery gallery that was also packed. The streets were packed with people going and coming from galleries. I know this as that’s what they were talking about. That’s one of the interesting things about the Art Walks is listening to what people are talking about as you’re walking about from one gallery to the next.

When I got to Corrigan Gallery, which is not a big space, it was really packed and it took about 15 minutes once I got in to actually talk with John Moore. It was a little hard to see the work up close on the walls, but like hockey, you just have to be patient in muscling your way into position – eventually you get to the net. It was a little hard to take photos though.

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That John Moore in the blue shirt.

It was a good thing that Moore’s show was my main objective for the evening as I could hardly turn around without bumping into an old friend from the old photography community, old and new art community friends, or the old Sierra Club group. It was good catching up with these folks as to what we’re all doing these days and how many grandchildren we all have. And, there’s nothing more I like than looking at art, but talking about art.

As far a photographers go, I just missed TR Richardson, but did talk with John Moore, Tom Blagden, Luke Platt, and Alan Jackson, who is doing more drawing these days than photography. In the non-photographer art group (oh yeah, these photographers are artists too) there was Linda Fantuzzo, Jenny Summerall (who is moving back to Charleston), Keller Lee, and Kris Westerson. Representing the old Sierra Club was Virginia Beach and Hayes Patterson.

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The exhibit, John Moore: 24 photographs, will be on view through Mar. 31, 2016. This display of abstract images is presented both individually and as a portfolio set in book form.

Some folks were saying that this exhibit was the best Moore has had and I guess I would agree with that, except for the fact that it’s been so long since his last one and way long after early exhibits, that it would be hard to judge, but the fact was – this was a great exhibit of new works and good to see his work being exhibited again in Charleston. I’ve always liked Moore’s art making.

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Moore is known as a nature photographer. I think of him as Mr. Tree and Mr. Rust. He seems to focus on trees in his landscapes, and the photographs of rust are also nature images – showing what nature does to metal. This show could be taken for a group of abstract paintings, which in the overall art world is the best thing that could happen for a photographer. The public and some in the art community have a bias against photography thinking it’s too easy and something that can be reproduced again and again. The cameras in phones didn’t help this thinking as everyone is a photographer now (as I’m taking my photos with my phone). So any photograph that doesn’t look like a photograph is good – unfortunately.

The funny thing is that some of the images of rusting metal are actually presented on metal, which is a not so new thing in the photography world. And, for Moore this exhibit gets away from one of an artist’s biggest hurdles in exhibiting their works – framing. The works on metal look great and are lighter than being in wooden frames. Having works offered in book form also avoids framing. Sorry framers – you are an added cost for artists presenting their works and most people buying art would prefer to have more control over how the artworks they buy will be framed.

Go see this show and see how photography and nature can compete with the best abstract painters. By all the red dots that were showing up on Moore’s works – others were in agreement with me.

Several times while I was at Corrigan Gallery I went outside to get a breath of fresh air and watch the crowd coming and going. I noticed across the street over at Atrium Art Gallery that an abstract painting was hanging in the window, so when I finally left Corrigan Gallery I strolled across the street to check out the painting in the window which lead me inside. They were featuring the paintings of Jim Pittman that could have gone along side Moore’s photographs.

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Work by Jim Pittman

A card I picked up stated that Pittman was a landscape painter based out of Colorado and coastal Virginia. I really liked his works. Not all abstracts cut the muster with me, but I could tell these were being made by a seasoned painter. As they say in The Fiddler – “if I was a rich man” – I would have loved to take a few of his paintings home with me. They wouldn’t fit into my collection of Carolina artists, but they would have fit in great with my abstract works.

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While you’re going to see John Moore’s exhibit, don’t forget to go see Pittman’s works just across the street. I don’t know how long his works will be featured so don’t wait too long.

On the way back to the car as I got close to Anglin-Smith Fine Arts again it was still packed, but I squeezed in this time. The Smith clan of painters always presents an excellent display of works by Betty Anglin Smith and her triplets, Jennifer, Shannon, and Trip. I fully expect to see a third generation of painters from this clan.

I have many times admitted that I’m most often drawn to works by Shannon Smith Hughes, but this night it was Jennifer Smith Rogers who won the prize for gaining my attention. Her painting, Birds Eye View showed signs of a little loosening of her painting style toward abstraction. It was a slight change but enough to catch my eye. It’s not a competition and I don’t mean to cause any friction, but that painting was my favorite of this night.

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“Birds Eye View” by Jennifer Smith Rogers, oil on linen, 30″ x 60″

I talked with Betty a bit and she confirmed that they had been packed all night and with 10 minutes of official time left on the Art Walk there was no sign of the crowd letting up. She thought it was one of the best in the last few years.

I wouldn’t know about that as my best Art Walk days are long behind me. Over the years I’ve been on so many, but now it’s not my main interest. Back in the day when we had a printed publication that I had to deliver, I would deliver a stack of papers to every gallery during the day and then go to the Art Walk that evening and hit as least a dozen galleries. I was a much younger man back then.

I don’t know how the crowd was at all ends of the greater Charleston Gallery Association community, as it is a much larger area to cover from South of Broad to North of Calhoun Street, but in the old French Quarter core – it was packed.

But just remember folks, these galleries are open all week long and you’ll probably get a better look at the art when you’re not having to elbow your way into position. After all, hockey is a sport – not an art.

The March 2016 Issue of “Carolina Arts” is Now Ready to Download

March 1st, 2016

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The March 2016 issue of Carolina Arts is up on our website at (www.carolinaarts.com) – all 67 pages of it. In my commentary I talk about our super cover with “Superman” on it by Curt Butler of Charlotte, NC. Of course the only Superman of the Carolinas is Cam Newton, quarterback of the Carolina Panthers. And, I talk about how important it is for an artist to be able to market themselves or their work.

For single page format use this link (http://www.carolinaarts.com/316/316carolinaarts-sp.pdf).

For side by side page format use this link (http://www.carolinaarts.com/316/316carolinaarts-dp.pdf).

So download that PDF and dig in – it makes for good reading and shows that you have lots of opportunities to enjoy the visual arts in the Carolinas in this new year. And, don’t forget to find a way to thank our advertisers – they make the paper possible.

And help us spread the paper around by sending these links to your friends.

If you want to get something in the March 2016 issue – send it now or as soon as you can. Don’t wait till the March 24 deadline. But, you do know that you don’t have to wait until the deadline comes up to send us stuff – you can be early. Some folks are already several months ahead of the deadline when their press release would be due.

Thanks – Tom and Linda Starland
Carolina Arts
843/693-1306 (a new number)
info@carolinaarts.com

The February 2016 Issue of “Carolina Arts” is Now Ready to Download

February 1st, 2016

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The February 2016 issue of Carolina Arts is up on our website at (www.carolinaarts.com) – all 68 pages of it. In my commentary I asked readers to give some love to our supporters – advertisers. They make this publication possible and they deserve to hear a few thanks for their support. I know I appreciate that support.

For single page format use this link (http://www.carolinaarts.com/216/216carolinaarts-sp.pdf).

For side by side page format use this link (http://www.carolinaarts.com/216/216carolinaarts-dp.pdf).

So download that PDF and dig in – it makes for good reading and shows that you have lots of opportunities to enjoy the visual arts in the Carolinas in this new year. And, don’t forget to find a way to thank our advertisers – they make the paper possible.
And help us spread the paper around by sending these links to your friends.

If you want to get something in the March 2016 issue – send it now or as soon as you can. Don’t wait till the February 24 deadline. But, you do know that you don’t have to wait until the deadline comes up to send us stuff – you can be early. Some folks are already several months ahead of the deadline when their press release would be due.

Thanks – Tom and Linda Starland
Carolina Arts
843/693-1306 (a new number)
info@carolinaarts.com

The Results of ArtFields© 2016, the Art Exhibition and Competition that Takes Place in Lake City, SC, Jury Process

January 18th, 2016

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I wrote a blog post about my dislike of ArtFields© selecting locally connected people to jury in artists from the 12 Southeastern states eligible for entry into ArtFields©. You can find it at (http://carolinaarts.com/wordpress/2015/12/28/some-info-and-opinions-about-artfields-in-lake-city-sc/).

Two of the three members of the jury panel were:

Bradford R. Collins, PhD, Professor Art History, School of Visual and Design University of South Carolina in Columbia, SC.

David Houston, Director, Bo Bartlett Center, College of the Arts, Columbus State University, Columbus, GA,

Both have heavy connections to SC’s visual artists. What they left out of Houston’s description was that he was the former Visual Art Coordinator at the SC Arts Commission for many years.

The third juror was: Stephanie Mayer Heydt, PhD, Margaret and Terry Stent, Curator of American Art, High Museum of Art, Atlanta, GA.

And as I predicted, out of the 775 entries made, including having an extended deadline, 248 are from SC out of the 382 selected to show at ArtFields© 2016. This might be a good reason why so few artists are submitting entries from the other 11 states. But you can only select artists from the pool that enters and more artists from SC enter than any other state – by a long shot.

The full list of accepted artists can be viewed at (http://www.artfieldssc.org/artists/list-of-artfields-2016-accepted-artists/).

The breakdown of the states is as follows:
AL – 14
AR – 2
FL – 6
GA – 20
KY – 0
LA – 8
MS – 3
NC – 57
SC – 248
TN – 16
VA – 7
WV – 1

A total of 382

The number of entries from 2015 was 1,061, which also had an extended deadline. The entries for 2016 were 775 – 27% less than 2015 – that’s 286 less artists who entered last year.

The press release that announced the artists selected to participate in ArtFields© 2016 didn’t mention the fact that the entries – even with another extended deadline was 27% down from 2015. So I requested that info and received it promptly.

It’s not ArtFields©’ job or the agency they hired to help them with marketing to point out bad news and since they offered it as soon as I asked, they were not trying to hide it either. But this is a sign of several bad trends that ArtFields© will need to correct.

As I have mentioned before, an art competition organized by Elder Gallery in Charlotte, NC, called Carolina’s Got Art! seems to attract a large number of artists from just North and South Carolina – just under 1,000 for its 2015 event – with much less money being offered. The reasons for this are many, but I’m not going into this right now. But someone at ArtFields© could do themselves a big favor by inviting Larry Elder to Lake City as a consultant.

I’m still amazed at how few artists from NC are making it into the final selection of artists who will be on display. I don’t have a breakdown telling how many artists entered from each state, but I would assume that it’s close in relationship to how many got in the final cut. I did do a breakdown of those who got in and where they are from.

North Carolina is more developed as far as the visual arts go compared to South Carolina – more populated too, with more big cities and the number of artists who made the cut from these cities is shocking. Here they are from most to least:

Charlotte – 11
Asheville – 5
Wilmington – 5
Chapel Hill – 2
Raleigh – 1
Greensboro – 0
Durham – 0
Winston-Salem – 0

All of these cities have very large visual art communities and it’s hard for me to think that a $50,000 top cash award is not worth their effort to enter ArtFields©. There is a total of $110,000 in cash awards.

Winston-Salem calls themselves the “City of Arts and Innovation” – someone needs to tell them about ArtFields©.

So, what’s the problem – lack of marketing, entry process too hard, too many SC artists in the competition, regional jealousy, fact that top prize is also connected to a popular vote (a heavy advantage to SC artists), too far to deliver work or visit, Lake City just too small, lazy artists, etc.?

Think about it folks – Carolina’s Got Art! with a top award of $5,000 attracted just under 1,000 entries from 2 states and ArtFields© with a $50,000 top award attracts 775 entries from 12 states.

I don’t have hours and hours to go over this problem, much less the days and weeks it might take to really discover what the problem is – I have a publication to put out, but I like ArtFields© and I admire a small town in SC trying to revitalize their city by using the visual arts. I don’t have a clue as to how much work is going into this effort during the whole year or if this is just over their heads. The visual art community is not easy to understand or figure out. I’ve been trying to do that for almost 30 years and on a daily basis I have to scratch my head and wonder.

But I can figure out that something is wrong when a competition that involves artists from 12 states has only 2 artists from Arkansas and 8 from Louisiana – which both had top winners in previous events, and 0 from Kentucky.

Was there no news in Arkansas or Louisiana that they had an artist who won $50,000 at an art competition in South Carolina? That’s news here in SC – at least at Carolina Arts.

Now for the nit-picking part.

I’ve got a problem with the way people throw around numbers in the arts. Like when the Spoleto Festival USA in Charleston used to say and got the media to keep repeating for years that it attracted over 100,000 people to Charleston, but usually only sells 60,000 tickets. It’s amazing how they do that. That’s a lot of free tickets given away or just make believe numbers that the media is to lazy to check out. That statement isn’t used much after I pointed out the ticket sales one year.

In the press release I received from Chernoff Newman, the marketing firm in Columbia, SC, ArtFields© hired, late in the season, to help them out, there were a few funny statements, The first was: “… the accepted artists will exhibit nearly 400 works of art,…” and a little later in the release it offers a statement from ArtFields© that says, “… the 2016 event will offer more than 400 pieces of world-class, southern art,…”. Doesn’t anyone edit these press releases. It’s got to be more or less – it can’t be both. And in 2015 and 2016 the actual number of artists on display was 383 and 382 more or less. So where does the 400 number come from?

On the list of artists selected from ArtFields© 2016 it had a statement in red which said, “Special Note: This list is subject to change”, which could make you wonder, but I know some artists don’t show up for some reason or another – really screwing other artists who were next on the cut-off list. Someone might show up with work that doesn’t represent what they submitted as an entry and be disqualified – again screwing other artists. And, I know I saw at least one artist who was listed as living in NC, but I think still lives in SC – it could be that kind of change. But for the 393 artists who didn’t make the cut – did this statement give them hope? I wonder. I don’t know if they call an artists in at the last minute, but even if they do they won’t be included in the promotional catalog.

Another little tidbit. I did check out the new list with the 2015 list of artists accepted. And, in checking just a little more than 10% of last years list (42 artists) 11, about 26%, got back in the competition. I’m not going to leap to the conclusion that 74% of last year’s artists didn’t make it in because that number could change drastically and some may not have re-entered. I kept hearing a lot of artists say they were one and done for various reasons. One being the fact that they were tired of seeing the deadline extended and others didn’t like the fact that local jurors were making the selections of who would be in and who would win cash awards. Turnover is OK – we don’t want to see the same people in the exhibit every year, but you would prefer that any turnover is due to having different jurors and the artists keep entering year after year because they think ArtFields© is a great opportunity. Some artists will always make the cut – they’re that good at what they do, but when good artists stop entering – that’s not good.

But, here’s the good news. From what I saw of the list and my knowledge of NC and SC artists who made the cut – it’s going to be another interesting show worth seeing. And, I can’t wait until March when we get to see the work these artists will be bringing to Lake City on ArtFields©’s online gallery.

To those artists who made the cut – congratulations. You will be seen and have the opportunity to win some money or an exhibit and untold intangible rewards. Someone might buy your work.

So what’s the purpose of this blog entry – history, observation, information and concern. I’m still a supporter of ArtFields© and I want it to succeed – regardless if they ever do another paid ad with us or not. It’s not that much money one way or another, but SC’s visual artists need something like this – even if too many from our state are included out of the 12 state field. I want ArtFields© to continue and improve.

ArtFields© 2016 takes place Apr. 22-30, 2016, in Lake City, SC. Make plans now to attend. For further info about all the activities that will take place, besides all the exhibited art, visit (www.artfieldssc.org).

The January 2016 Issue of “Carolina Arts” is Now Ready to Download

January 2nd, 2016

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The January 2015 issue of Carolina Arts is up on our website at (www.carolinaarts.com) – all 51 pages of it. With this issue we enter into our 20th year of covering the visual art in the Carolinas and our 30th year of producing an arts publication in Charleston and South Carolina. It has been and continues to be a heck of a journey. Thank you all for your support.

For single page format use this link (http://www.carolinaarts.com/116/116carolinaarts-sp.pdf).

For side by side page format use this link (http://www.carolinaarts.com/116/116carolinaarts-dp.pdf).

So download that PDF and dig in – it makes for good reading and shows that you have lots of opportunities to enjoy the visual arts in the Carolinas in this new year. And, don’t forget to find a way to thank our advertisers – they make the paper possible.

And help us spread the paper around by sending these links to your friends.

If you want to get something in the February 2016 issue – send it now or as soon as you can. Don’t wait till the January 24 deadline. But, you do know that you don’t have to wait until the deadline comes up to send us stuff – you can be early. Some folks are already several months ahead of the deadline when their press release would be due.

Thanks – Tom and Linda Starland
Carolina Arts
843/693-1306 (a new number)
info@carolinaarts.com

Some Info and Opinions About ArtFields© in Lake City, SC

December 28th, 2015

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I’m a supporter of ArtFields©, the art exhibition and competition that takes place in Lake City, SC, a small town in the Pee Dee area of South Carolina. As far as the media goes, I’m one of their biggest supporter, but that doesn’t keep me from throwing in my 2 cents about what I think they’re doing wrong or could do better.

Right about the time they extended their deadline for its call for entries – a bad habit I wish they would get over – ArtFields© released info about the people who will be helping them select entries and then select the winners of the $110,000 in cash prizes. I support their call for entries, but will not let our readers of Carolina Arts and its related social media, know when they have extended their deadline for entries. It’s an insult for all those who made the original deadline. Letting in a few slackers in after the deadline is wrong.

It’s time that the people running ArtFields© understand that they need to work all year long to make their event successful and stop taking such long breaks after the event ends each year. They need to keep their foot on the gas peddle – marketing the event and encouraging artists to enter the event by deadline. If there is a problem with the entry process they need to fix it and ask artists what the problem is.

I also don’t agree with their selection of people who will be selecting entries and then selecting the winners – as most of them are from the states eligible for entries. These people know the work – by sight – of many of the people who enter and some of them probably called some of their artist friends and told them they should enter. This is another sign that the folks running ArtFields© don’t know much about the visual art community in general. No panelists or juror should be from any of the 12 states artists can enter from or have any connections to those states and the artists who live and work there.

Bradford R. Collins and David Houston are two very good examples of people who should not be in a position to select artists or determine awards. Their ties to artists in SC alone should have disqualified them from these positions. The results will be shown once the 400 are announced.

These important positions should be filled with arts professionals from the North West, Mid-West and North East of the US – folks as far away as possible from the Southeastern states.

The people ArtFields© selected smell too much like the SC Arts Commission – a group in my opinion ArtFields© should stay far away from if they want their event to grow and prosper. ArtFields© already suffers from a poor retention rate of people who entered one year but do not enter again. That’s a bad pattern making it hard to attract new entries each year – resulting in extended deadlines.

Also – this list of people making entry selections and award selections should be identified before entry time lines begin, not as selections are closing. Another bad habit of the SC Arts Commission, who once told me they do it that way so artists don’t threaten jurors to pick them or else. Or else what? Is that really a problem when it comes to juried shows? And, if it is – it’s just another good reason for selecting people outside – far outside the area of artists who can enter.

So here’s the 2016 list of Panelists and Jury Members

ArtFields© 2016

Panelists:

Bradford R. Collins, PhD, Professor Art History, School of Visual and Design University of South Carolina in Columbia, SC

Stephanie Mayer Heydt, PhD, Margaret and Terry Stent Curator of American Art, High Museum of Art, Atlanta, GA

David Houston, Director, Bo Bartlett Center, College of the Arts, Columbus State University, Columbus, GA

Jury Members:

Graham Boettcher, chief curator and The William Cary Hulsey Curator of American Art at the Birmingham Museum of Art, Birmingham, AL. Boettcher was previously a curatorial fellow at the Yale University Art Gallery, and has held research fellowships at the Amon Carter Museum of American Art, and the Terra Foundation Summer Residency in Giverny, France.

Stephanie Cash, editor of BURNAWAY – The Voice of Art in the South magazine in Atlanta, GA. Cash contributes to such publications as Art in America, Photograph, and Modern Painters, and has also worked as a free-lance writer and editor for ArtsATL.com, Rizzoli, and Prestel publishers.

Kimberly Light, co-founder and partner of Connelly & Light Art Advising Firm, a full service art advisory, curatorial, collections management company based in LA and NYC.

Emily Smith, executive director of 1708 Gallery; a non-profit gallery committed to providing opportunities for artistic innovation for emerging and established artists and to expanding the understanding and appreciation of new art for the public. Smith, of Richmond, VA, was the Curatorial Fellow in Modern and Contemporary Art at the Virginia Museum of Fine Arts.

Leslie Umberger, a curator and art historian of American art, specializing in the work of folk, self-taught, and vernacular artists. In 2012 Umberger was appointed as inaugural Curator of Folk and Self-taught Art at the Smithsonian American Art Museum. She is currently organizing a major retrospective for the Alabama artist Bill Traylor (1843-1949), which will open in the spring of 2018 in Washington, DC.

The Annual Trip to One Eared Cow Glass in Columbia, SC, for Holiday Shopping

December 11th, 2015

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Linda and I made a quick trip to One Eared Cow Glass in Columbia, SC, to pick out some Christmas gifts and a few others that have backed up – house warming and birthday gifts included. Of course it felt more like being transported for Linda. She drove home after a 12 hour shift at 911 and I jumped in the car and drove us to Columbia. She seems to be on the wrong side of our traveling anywhere, She can sleep some in the car, but it’s not the best place to catch a few winks after 12 hours of emergency calls. I-26 is not the best place to chill after the nightly battle.

It’s a short two hours for me – compared to my past driving experience, but there’s not much in between except public radio or Christmas music. And these days only one SC Rest Stop due to construction in the Columbia area.

This was our first trip back to Columbia since the big flood. We didn’t see any signs of flood damage on the route we usually take, but the rivers were higher than normal. The thing to remember when you hear about a disaster somewhere – media reports show you the worse of things, big cities recover very quickly and businesses need customers to keep a disaster from becoming a real disaster. Don’t not go to Columbia as you think you’ll have a hard time getting around. Most major roads are all open. And businesses not damaged really need your business.

One Eared Cow Glass was full of great gifts for family and friends and yourself – if you’ve been good. Prices seem to start at $30 and go everywhere in between $5,000 or $6,000 for a big glass bug that was in a display at the SC State Fair a few years ago. But I saw a lot of $50-$70 pieces that would make a great one-of-a-kind gift – from Christmas balls, jewelry, small jars, drinking glasses, wine bottle stoppers, etc.

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I went and talked shop with the Cowboys, Tom Lockart and Mark Woodham, while they worked. That saved me from having to give opinions about things that Linda was checking out. I was in the work studio part of One Eared Cow Glass for about 45 minutes to an hour. We talked about a number of things, but one of the interesting subjects was funding of demos of the process of creating glass, something these two guys have been doing for several decades. In fact on most days you can go there and sit down and watch them work. It’s something I’ve done hundreds of times. They have chairs there just for that purpose.

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Recently another glass studio in SC received a couple of grants from the SC Arts Commission for putting on demos and something called “theatre”. This was funding for a commercial business – something the Arts Commission has said can’t be done for commercial businesses in the arts. I’ve never figured why it can’t be done – at least any logical reason, but that’s what they always have said, but here they were doing it. My experience is that for every rule the Arts Commission has for not doing something to help some people always finds an exception for people they want to help. There’s a longer story behind this discrepancy, but I’m not going into that now, but the point of mentioning it is that all kinds of people have been doing free art demos for years and now some folks are getting paid to do it – even folks who have regularly been doing it for free, but have now found a way to get paid. What’s their incentive to do them for free again?

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So I eventually went into the gallery and it took me five minutes to select several gifts including one for myself. It doesn’t take me long to make selections – I know what I like and I usually pick what I like for others.

I took about 150 photos while there, but I selected just 16 to give you a good idea of what you’ll find there. If you want to see more visit (www.oneearedcow.com).

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If you’re looking for an unusual gift – think art glass, but if you go to Columbia, there are a lot of other art galleries there – just check out our Commercial Gallery listings in the latest issue of Carolina Arts at (www.carolinaarts.com). And if you live in Columbia – these folks will be happy to see you come through their doors too. A gift of art is always the best gift for any occasion.