Archive for July, 2012

Fine Art Prints by Corrie McCallum Available for Sale

Tuesday, July 31st, 2012

Linda and I are offering some items from our art collection for sale. We’re starting with some prints by Corrie McCallum which we will be offering at prices near what we purchased them, with one exception where one work is framed. Call us at 843/825-4296 if you are interested in purchasing any of these works.

You can learn about this artist with the information provided below.

, linoleum cut, 5/20, 1970, 8″ x 10″ – $150. (The image was wrapped in plastic when photographed.)

, linoleum cut, 8/10, no date, 8 7/8″ x 6 7/8″, – $150.

New York
, etching, A/P#1, no date, 11 3/4″ x 17 5/8″, – $250. (The image was wrapped in plastic when photographed.)

, color linoleum cut (multiple plates) no # proof, no date, 11 5/8″ x 14 3/4″ – $200. (The image was wrapped in plastic when photographed.)

Untitled (Charleston roof tops), etching, no number, no date, 19 7/8″ x 7 3/8″, framed – $400.

Corrie Parker McCallum (1914 – 2009)

Corrie Parker McCallum was born in Sumter, South Carolina, in 1914. As a child, her first acts of creative expression came during early years spent in bed recovering from tuberculosis. She would draw illustrations for stories her uncle would read to her. Sumter didn’t offer much in the way of art education, even though her cousin, Elizabeth White was a well-known artist, who also lived in Sumter. McCallum didn’t receive any art instruction until her family moved to Tampa, FL, where an art teacher traded lessons in exchange for her sitting as a model. After five years, the family returned to Sumter, where there was still no form of art education. McCallum wouldn’t receive formal training again until she set off to attend the University of South Carolina in Columbia, SC. It was at USC where she first met her future husband and fellow artist, William Melton Halsey. McCallum was at USC from 1932-36. The university’s art department at that time didn’t offer much of a challenge, but the experience of being with other like-minded artists was stimulating. McCallum and Halsey became inseparable, feeling that they were the only two students who were a match for each other artistically.

In 1971, she accepted a position at the College of Charleston where she taught for eight years and helped establish the fine art print department.

In 2003, McCallum was awarded a Lifetime Achievement in the Arts – Elizabeth O’Neill Verner Award, South Carolina’s highest award in the arts.

You can read more about McCallum at this link (

SC Arts Commission Saved Again, But Just Barely – the 2012 Version

Monday, July 30th, 2012


I think the first paragraph of the article written by Otis R. Taylor, Jr. in The State newspaper after the big rally says it all.

“The State House was under an umbrella of creativity Monday evening as hundreds of arts supporters met on the grounds to oppose Gov. Nikki Haley’s veto of the South Carolina Arts Commission budget.”

You can read the whole article at this link (

Even Columbia’s Free Times newspaper reported that only “hundreds flocked to the State House for a colorful pro-arts rally”.

A Facebook event page was created, Rally for the Arts – Support the SC Arts Commission, which invited 13,327 Facebook members (people involved with the arts in SC) to join in, yet only 1,688 “claimed” they would show up at the rally, while 578 others said – maybe. Yet only hundreds showed up.

Some will say the weather kept people away, but if I was the Arts Commission I wouldn’t want to count on my fair-weather friends to save me again and again, as this battle over the Arts Commission’s future isn’t over.

The main point here is – the SC Arts Commission was never in real danger of being eliminated – it was all a bunch of political show.

Our Tea-Bagger Governor wants to eliminate the Arts Commission altogether, which is wrong, but the Legislature has other plans. The House lawmakers approved a bill that would have moved the Arts Commission into the Department of Parks, Recreation and Tourism, much like the way North Carolina handles its arts agency, but the Senate did not vote on the bill. Hopefully that will happen this next session and the Arts Commission will be reorganized with a different mission, some different staff members, and hopefully not many of the Commission’s “rubber stamp” board members – if any.

The Governor claims that the Arts Commission’s overhead is too high and I hate to have to agree with her on that point. I couldn’t begin to explain what 20 staff members do on a daily basis at the Arts Commission. And, their expenses do seem to be out of whack for an agency with such a small budget – under $4 million this year. They even had to move the agency into cheaper digs this year to stay under the 30 percent overhead mandated last year by the Legislature. And, the Governor is not happy about the executive director, Ken May’s salary – $91,664 a year. Which does seem high for an agency with such a small budget.

I looked at some other SC State agency’s budgets and pay their executives get and I was a little surprised. Take the Sea Grant Consortium, which was also on the Gov’s chopping block. They have a $6 million budget, but their executive director is only making $83,408. This agency has the same number of employees, a bigger budget, but the top person makes less money.

The head of the Budget and Control Board makes $173,380, but that agency deals with almost $1/2 billion and the head of the Department of Transportation which deals in billions only makes $146,000. Wouldn’t you think an executive’s salary would have some relationship to their budget?

I’d say Ken May’s salary is a big part of the Arts Commission’s overhead – in relation to it’s budget. Is it too much? I know a smaller salary would mean more funding for arts projects.

I’ve heard some talk that the Legislature is thinking about an audit of the Arts Commission which may revel more about where the money is going. That might clear the air some, but I would prefer they get on with the business of re-organizing state government before our Governor comes up with some new ideas about pleasing her Tea Bag supporters. She might start giving the Arts Commission’s board the Darla Moore treatment.

So who showed up at the big rally? Mostly people from Columbia. And, I’m not surprised about that. They are close to the Arts Commission – a centralized agency based in Columbia with no branches in other areas of the state. These were the people who see the Arts Commission staff at their performances, their exhibits, and in the grocery stores and restaurants of Columbia.

Here’s an example of how Columbia oriented the control of the arts are in South Carolina. Take a look at the SC Arts Foundation who the Arts Commission is in “partnership” with – sharing address, staff and phone numbers, but are totally separate – so they say.

The South Carolina Arts Foundation Board of Directors 2011-2012

Michel G. Moore, Columbia, President
Debra Timmerman, Charlotte, Vice President
Childs Cantey Thrasher, Columbia, Vice President
Jeffry C. Caswell, Columbia, Treasurer
Victoria Hollins, Columbia, Secretary
Patrick R. Van Huss, Columbia, Immediate Past President
Miller G. Bannister, Columbia
Gloria M. Bell, Charleston
Maryanne Belser, Columbia
Jerelyn “Jeri” Boysia, Columbia
Eric Brown, Greenville
J. Ashley Cooper, Charleston
Fannie I. “Judy” Cromwell, Greenville
Beryl Dakers, Columbia
James M. Dedman, IV, Greenville
Chandra Foster, Fort Mill
Shani Gilchrist, Columbia
Sarah Lynn Hayes, Rock Hill – Ex Officio
Robert Hoak, Greenville
Pamela L. Jenkins, Columbia
Robin Leverton, Beaufort
Ken May, Columbia – Ex Officio (Non-Voting)
J. Michael McCabe, Columbia
Rhett Outten, Mt. Pleasant
Donna Pullen, West Columbia
Ruth Rast, Columbia
Peggy Reynolds, Beaufort
Elizabeth Sowards, Chapin – Ex Officio
Linda C. Stern, Columbia
Leo F. Twiggs, Orangeburg
Bhavna Vasudeva, Columbia
John Whitehead, Columbia

All but one officer is from Columbia. Out of 32 members, 18 are from Columbia (more than half the board), 4 are from Greenville, 3 from the Charleston area, 2 from the Rock Hill area, 2 from Beaufort, 1 from Orangeburg, 1 from Chapin, and 1 from Charlotte, NC (?). I’d like to hear the story of why one of the members lives in Charlotte, NC.

There are no members from North Charleston (3rd largest city in SC), Spartanburg, Aiken, Florence, Hilton Head, Myrtle Beach, Sumter or any of the smaller communities in the state – other than Chapin, which is just outside of Columbia. Why are so many from Columbia?

Of course many of these same folks jump back and forth from the board of the Arts Commission to the board of the SC Arts Foundation – and back again. I can’t remember when a few of these folks haven’t been on one or the other of the boards.

It’s no wonder there weren’t rallies all over the state to save the Arts Commission or people traveling from far ends of the state to the rally in Columbia. The representation isn’t there for the whole state. And, for many around the state like me – we didn’t notice a thing different when the Arts Commission was shut down and won’t notice a thing now that their doors are open again. The Arts Commission isn’t there for us – they’re only there for non-profits and a few individuals.

South Carolina needs to continue to support the arts with our tax dollars, but we also need to shake things up and re-organize the arts structure in the state and change some of the faces in control. We are way behind our neighbor to the North in making the arts a productive part of our state’s economy (at the bank – not just on paper) – and not just thought of as a burden.

Let’s hope the Legislature does something soon.

The North Carolina Pottery Center in Seagrove, NC, Receives Z. Smith Reynolds Grant

Wednesday, July 18th, 2012


The Board of Directors and Staff, on behalf of our Membership, are pleased to announce that the North Carolina Pottery Center in Seagrove, NC, has been awarded a grant from the Zachary Smith Reynolds Foundation, Inc.  This special grant for $65,000 will be distributed over a two-year period and will serve as the core support for the installation of a new executive director.

The NCPC is very excited about this opportunity to begin a nationwide search for a new museum director. This is a remarkable accomplishment for the NCPC given the present economic climate. By finding the NCPC worthy of this financial award, the Trustees of the Z Smith Reynolds Foundation, Inc., have demonstrated their confidence in the museum to bring stability and economic development to the pottery communities of our state. In keeping with the mission of the NCPC, to promote and preserve our state’s continuing pottery traditions, this grant will bring us the leadership required to move it forward into new partnerships, resource sharing, increased educational offerings, greater exposure, on-going exciting exhibitions, workshops, and off-site events.

The Z. Smith Reynolds Foundation, Inc., was founded in 1936 and named as a memorial for the youngest son of the founder, R. J. Reynolds. In 1951 the foundation was increased by a trust from the uncle, William Neal Reynolds.   The Foundation, now comprised of the income from the ZSR Trust and the W. N. Reynolds Trust, has distributed grants to recipients of all 100 North Carolina counties, totaling more than $493 million. The NCPC is very honored to be one of the latest recipients of this prestigious award. This endorsement will provide the NCPC with valuable standing as it approaches a new future of vigorous partnerships targeted towards the promotion and preservation of our pottery and the arts.


The mission of the North Carolina Pottery Center is to promote public awareness of and appreciation for the history, heritage, and ongoing tradition of pottery making in North Carolina.

The Center is located at 233 East Avenue in Seagrove, NC. Hours of operation are Tue. – Sat., 10am – 4pm.


Also, don’t forget the Pottery Center will be hosting its 13th Annual Auction, “Going, Going, Gone to Pots,” on Thursday, Aug. 23, 2012, at Leland Little Auction & Estate Sales in Hillsborough, NC. This year there will be an unprecedented, star-studded, pre-auction supper, called, “Fill Your Plate,” with food prepared by several of the Triangle’s best chefs, and served on plates made by North Carolina potters. You can read all about it at this link.

For more information, please call 336/873-8430 or go to (

Colorful Prices by Pernille Ægidius Dake, a Guest Commentary

Monday, July 16th, 2012

I go for the Hammershøi’s. I have had a strange, stressful day and so want to be soothed by sparse, intimate interiors painted solely in gray scales. I expect to be held by drab tones so varied and delicate, yet powerful they ought to be colors. And so I enter the National Museum in Denmark, which hosts an ambitious show of that master of any tone ashen.

Through all times, artists have produced heaps of gray scale paintings. Whether to study a composition’s tonalities or out of budget constraints, colorless works were, and still are produced in abundance. Though, far from always well done. By his death in 1911, however, Vilhelm Hammershøi had the middle-toned palette down pat. Something also verified at Sotheby’s on June 11th 2012, where his works made a stir when selling for well over double the estimate. Ida Reading a Letter, oil on canvas, 26 by 23¼in, fetched US$ 2,677,232.

“Ida Reading a Letter,” by Vilhelm Hammershøi

In these economically uncertain times, the auction house set a record for highest paid Hammershøi – and any Danish work. The money talking apparently predicts gray is not only the new black in fashion. Perhaps this grand attention to an artist with profound consideration for simplicity foresees that, even in our disgruntledly greedy world, a more sensitive spirit is emerging. Perhaps.

But I cannot stand among Hammershøi’s luminosity and confirm beauty overrides avarice. My memory has served me wrong. The show of the Danish painter closed the week prior to my visit home. I enter the National Museum’s halls deflated, like I have been stood up. But, in one of the first rooms I meet contemporaries of Hammershøi, Emil Nolde (b1867-d1956) and Jens Søndergaard (b1895-d1957).

Their bright-colored applications are so layered they appear dark, but far, far from dismal, despite the themes: Workers stream wearily down a cobblestoned street at workday’s end from a factory. There they have toiled under conditions we can no longer fathom. Though, work drains us of energy now, too. We also stagger home in search for respite, before we will be at ‘it’ again. However, Nolde’s men still radiate pride over their purposeful employ earning them wages.

by Jens Søndergaard

Søndergaard depicts a family mourning a drowned fisherman. Maybe it is the one then being buried in the next painting over: In front of a hillside landscape, with an orange sun heading for its hideaway, a congregation bids farewell. Those gathered stand solemnly and sad, of course. But also accepting, I decide. Death being part of life, Søndergaard places a white church off to the side, tucked in among trees, as a light in an otherwise dark landscape.

by Jens Søndergaard

An elderly couple, on the bench next to me, unwrap caramels and start chewing while remaining peacefully fixed on the burial scene. They look a sprite couple, despite age bringing on fatigue, as well as the need for a cane and orthotic shoes. Wrinkles run into what is left of their white hair. The scene, however, does not to faze them. They seem to recognize time honestly spent.

I follow their gaze on to the artist’s self-portrait, where Søndergaard truly masters layering, as was it time. He stands next to his seated mother. Like the couple on the bench, the pair on the canvas glow from gratification. They know the past can never be taken away. However, the artist’s mother is aligned in front of a grandfather clock. Its dial matches her whitish hair. She looks as if she is being beamed up; about to be extinguished from her son’s life.

I imagine he has also painted her on her deathbed, using somber tones and grays, but also dabs of brilliant pigments—as what sits on the palette in his hand – filling the canvas with life that was and is, and will remain. Because, as he stands by her side, we feel they have both lived, no matter how sadly or painful or hard.

Life is not all sunshine, not then, not now. Though playing a pun: Charleston gets its share. Bleak as we may consider this era—the tourist dollars roll in only slowly, nor does the real estate market roll on—should we add more color, so to speak? Should we get over the hump by living even more intensely?

Time is what we make it. But since it does not stand still, perhaps, just perhaps we should take care to consider its finer nuances, before they bleach out.

If we surround ourselves with hectic, bold vibrancy – and yes, I race on with a metaphor connecting an overtly, colorful life and one depicted in something hanging in our homes – then do we notice anything, any detail? Sweet toffee in our mouth; a sun just breaking over the horizon; a partner remaining patiently by our side; a job having meaning because we helped someone, not because we got a raise? No. Subtleties drown in the bemoaning over what we have not and pooh-poohing those we think have more.

We look for luster. But trying to ‘live a little’ should be many things. ‘Little’ could be something simple, like a quiet evening with tea and no telly, or a subtle painting. Not the retina-grating, pyrrole or quinacridone red-tainted style popular also with Charleston tourists.

We do not have to buy the likes of Hammershøi. There are living artists, who pursue and seize deep contemplation. Aggie Zed comes to immediate mind, as does Michael Johnson’s photography. He is the current show at Nina Liu and Friends—a preeminent gallery that may have a ‘for sale’ sign on the side door, but it is, fortunately, very much open. Or, Jim Innes, represented by LimeBlue, though not currently up. Some LePrince works fit the bill; not all are eye-poppers. That can also be said for Ann Dettmer and Anna Schalk, at Mary Martin Gallery. When they leave the sharp orange tubes unopened the canvases turn out quite nice. Martin’s stars are Jim Pittman and Santiago Perez. As are Bo Joseph and Leo Twiggs at Rebekah Jacob Gallery, as well as Jessica Dungan and KC Collins at Robert Lange Studios. And real heartbeats are also found at Redux Center for Contemporary Arts and, of course, at the Halsey Institute at the College of Charleston.

Less colorful art takes a moment longer to catch your eye, because the message is not in-your-face. Contrary, it has the potential to reach you, truly and deeply. Not that we have to completely pare down our daily grind into gray nuances in order to appreciate art. But when the stark sun scorches; rush hour stalls, while our mind races to the appointment for which we are late; dates disappoint; markets yo-yo into red; we eventually do need to settle in our couch. Then it would be desirable to stare onto our walls and find respite, not be additionally overwhelmed by the neon of modern life.

Born in Denmark, Pernille Ægidius Dake’s ties to the Carolinas include an exchange student year in Richlands, NC when she was 16. Then in 1989, with a BA in Studio Art and a Masters in Marketing, she moved permanently to the US. From 1996 until 2002, she lived in Charleston, SC where her arts career included the 1997 Piccolo Spoleto Poster, while also completing a Masters in Art Advocacy from Skidmore College, NY. Currently a resident in Upstate New York, she returns to visit Charleston often… when not in Copenhagen, Denmark, or other favorite places like Lisbon, Portugal and Sydney, Australia.

A Senior at a York County, SC, High School Wins an Art School Scholarship and Says – No Thanks

Friday, July 13th, 2012

Shelby Williams, a 17-year old senior at Northwestern High School in York County, SC, isn’t letting awards and scholarship money go to her head.

Williams’ artwork, Going Places, was the top winner of the 2012 Congressional Art Competition (5th Congressional District) in South Carolina. She won a $100 from the York County Art Council and a $3,000 scholarship to attend the Savannah College of Art and Design, SCAD. But Williams has no intention of using that scholarship as she has plans to open a custom auto paint shop in the future.

Williams didn’t even know her work was entered into the competition until after she learned she had won.

Read more here: (

Williams is one smart gal. A full tuition to SCAD is about $20,000 a year. The odds of her ever making a return on that kind of investment in being an artist is slim to none. She’ll have a better chance at success in the auto paint shop business.

The point is – not everyone who likes art or even those who are good at creating art should become artists. And, the way things are today, the art community doesn’t need more artists – it needs more art patrons and supporters. In fact Williams has a better shot at contributing to the art community by being successful in the auto paint shop industry and then buying art and supporting the arts with her profits.

We need lots of people who appreciate the arts, are willing to support the arts, are willing to have their tax dollars go towards supporting the arts, and who are willing to participate in the arts. We have no shortage of artists.

Good lucky Shelby – we’re all counting on you!

Charleston Fine Art Dealers’ Association Presents 7th Palette and Palate Stroll – July 13, 2012

Thursday, July 12th, 2012

I understand there are still some tickets available.


The Charleston Fine Art Dealers’ Association (CFADA) will give you a chance to find out what special ingredients make Charleston, SC, the #1 travel destination in the United States! On Friday, July 13, 2012, from 5:30 to 7:30pm, take pleasure in the historic city’s finest indulgences on the Seventh Annual Palette and Palate Stroll, an evening dedicated to fine art, unique cuisine and wine.

“Connoisseurs will stroll through the historic streets of downtown Charleston, making stops at the city’s most prominent galleries, enjoying an array of breathtaking art, and indulging in fine cuisine prepared by Charleston’s circle of prestigious chefs,” says Helena Fox, president of CFADA.


The 2012 pairings are:

Corrigan Gallery – Barsa Tapas
Dog and Horse Gallery – Circa 1886
Ella W. Richardson Fine Art – BLU
Helena Fox Fine Art – Anson
Horton Hayes Fine Art – Oak
Smith Killian Fine Art – McCrady’s
The Sylvan Gallery – Eli’s Table
Wells Gallery – Social

“The theme for this year’s event is ‘Southern Art Paired with Southern Food,’” says Fox. “Each year, we encourage our participating restaurants to use local, seasonal products to prepare their tastings. In addition, the galleries will feature southern art or artists who will be present at the event.”


The event is presented as part of the Charleston Fine Art Dealers’ Association’s Studio Series, benefiting visual arts programs at the Gibbes Museum of Art, Redux Contemporary Art Center and the College of Charleston School of the Arts. Cost is $45 per person. Tickets can be purchased at (

Founded in 1999, the Charleston Fine Art Dealers’ Association is the source of fine art in the South and consists of the city’s prominent galleries. The association promotes Charleston as a fine art destination for avid collectors and passionate art enthusiasts and supports the artists of the future. Since 2004, CFADA has donated over $250,000 to art programs at local art organizations and public high schools.

For further information check our SC Commercial Gallery listings or visit (

Has Hell Frozen Over or What?

Monday, July 9th, 2012


As I post this entry today, the South Carolina Arts Commission has been shut down. Am I celebrating? I wish. Due to a fluke in the legislative calendar our Governor’s token veto to please her Tea Bagger friends has caused a closing of the Arts Commission – just as long as it takes the SC Legislature time to re-convene and override the token veto.

So for a week or a little longer, the SC Arts Commission will be shut down. Is this the end of the arts in South Carolina? Hardly – most won’t notice a difference. Sure, those folks who receive funding from the Arts Commission or hope to one day will cry and claim that this is the end of all arts in SC.

Am I against public funding for the arts? No! I never have been. I just don’t like the way the folks at the SC Arts Commission operate in what they say is their mission – to foster and support the arts in SC. It they did that, I’d be one of their biggest supporters. But they don’t do that – they never have. What they do is pick and choose who and what they want to support as if they know better and they manipulate others involved in the arts by pulling the strings of support in the form of funding. You do what they want, the way they tell you – or no funding for you.

What I’ve always wanted to see done with the SC Arts Commission is to have it torn down and rebuilt to be an agency that helps all in the arts. An agency that acts as a supporter not a dictator. An agency that doesn’t say we can’t because others don’t. An agency that is a true friend of the arts, not in many cases an enemy.

When I say I don’t care for them – don’t worry – the feeling is mutual. If they are still around the day we come to an end – they will be celebrating.

When people remark to us – thanks for all you do for the arts – I wonder how can that be true, what do they mean by that? How could we be helpful to the arts -we’re not sanctioned by the Arts Commission?

I mean think about it – when the state agency dealing with the arts won’t send us the press releases they send out to other media – because we might not agree with something in it or question something and dare to say so – that should show you we’re not helpful – we’re something to be avoided. Their policy is you’re either with them or against them. That’s a helpful attitude to have as a state agency. An agency created to serve the citizens of SC.

If it sounds like I want a piece of the pie or this is sour grapes as I can’t ever have a piece of the pie, you’re missing the point. We’ve existed for 25 years without their money and will for many more without it. Have there been things we could have accomplished with public funding – yes, and there are hundreds of projects that could also do wonders with public funding, but they won’t ever happen – while many more get funding and accomplish nothing more than supporting – supporters.

If you want an example of what I’m talking about, here’s one. Many years ago artists complained that there weren’t enough critical reviews being done in SC. There still aren’t. We talked with folks at the Arts Commission about setting up a program where they would pay writers directly for doing reviews that we would include in our paper – providing more reviews. They said this would not be possible as this would be a benefit to us – that we might profit from it. That is forbidden. I had to scratch my head in thinking how we would benefit – the paper is free, only the writers would be paid and we would have to cover the cost of the space we would be giving up in the paper that could otherwise be used to sell ads. How was I going to profit from that? We can’t afford to do this on our own – so nothing is accomplished toward solving this problem. Although they did do the same thing giving thousands of dollars to a publication coming out of Chicago to do the same thing – only not many people in SC ever saw that publication. But, that paper was a non-profit so it was OK to throw that money down the drain.

My point all along is that the majority of the successful parts of the greater art community lies in the commercial side of the arts. When you see surveys that talk about how many jobs are created and the economic impact of the arts – the majority of those figures are counted from businesses dealing in the arts – not non-profit arts groups. Non-profits in the arts generate few jobs and fewer profits. If they did, they wouldn’t be so worried about losing their meager public funding, which most of the time has to be matched by funding from other sources. Other sources who would probably give them funding – if they felt the group was serving the community.

No non-profit in SC exists solely on the money they receive from the SC Arts Commission.

But, the SC Arts Commission and the folks who do get funding from them would like you to believe that without the SC Arts Commission and the funding they provide to select groups – all arts in SC would shrivel up and die. That notion is so funny it hurts to think about it. Would we stop? No! Would art galleries close up? No! Would creative people stop creating? No! Would some people be out of a meal ticket? Yes! If the art welfare stopped coming – some folks would have to find something else to do. And, in most of those cases they would have to find something they are better at than what they are doing now to survive.

So, am I celebrating the Governor’s little victory over the SC Arts Commission? No, not at all. Will I lift a finger to help save them when they’re not really in jeopardy? No. Do I wish our state would do something better to help the arts and help our state profit more from a stronger cultural industry? Yes! Yes I do. Am I hopeful? No. In a couple of weeks we’ll all be back to the same old thing.  Yay, SC.

Upstate Heritage Quilt Trail in South Carolina Doesn’t Stop for Summer Heat

Friday, July 6th, 2012


Cynthia Leggett with the Upstate Heritage Quilt Trail brings us more news of additions to the Quilt Trail in South Carolina.


The Depot, home of the Westminster Chamber of Commerce, has joined the Upstate Heritage Quilt Trail. Denise McCormick originally made the Railroad Crossing quilt and is an active member of the Westminster community.

This quilt block is an example of some half-dozen patterns called Railroad Crossing. As railroads expanded during the late-19th and early-20th centuries, rural roads were relocated and realigned, and residents learned to “look both ways” before driving their wagons across the intersections of roads and tracks. A new railroad line altered the landscape, local travel patterns, and attitudes toward technology and commerce.

Westminster’s Depot has a long history. It was opened in 1911 with two waiting rooms and a ticket office. Double tracking was added in 1918 along with a freight area. Albert Zimmerman, the town’s first Mayor, was the first ticket and freight agent at the original depot and James Arthur King was station manager.

The train depot was acquired by the city in the 1970’s after passenger service was discontinued. It has served in many capacities – library, health department, civic center and now home to the Chamber of Commerce. Extensive renovation occurred in 1976 for the bicentennial. The building is listed on the National Register of Historic Places after being lovingly restored according to National Register guidelines in 2009.

If Depot walls could share stories, they would be of Presidents, soldiers and their brides, and ordinary people who passed through town on the rail line just outside the door.  It has been home to many social, political and cultural events over the years, and is available for rent to the public for meetings, weddings, receptions, reunions, and other social events.


The Clemson Montessori School (CMS), located at 204 Pendleton Road in Clemson, has joined the Upstate Heritage Quilt Trail (UHQT). The Trail’s mission is to “honor and preserve quilting traditions while promoting tourism through the public display of quilts and painted quilt blocks.” CMS has a strong tradition of sewing arts, so participating in this project was not only a wonderful learning experience for the students but a chance to share the 36 year history of the school.

In 1978, CMS’s Gail Paul wrote one of the first sewing curriculums for preschool children, incorporating Montessori’s ideas and philosophy into needle arts. Today, sewing has become a part of many Montessori schools across the country. Since the late 70’s, CMS has included sewing as part of its curriculum, culminating in quilt making and embroidery with the elementary students.

Starting in January 2011, the elementary students got involved in the quilt project by touring the UHQT wooden quilts hung on public buildings and homes in Oconee County, listening to stories about quilt history from quilter Verla Warther, and experimenting with the geometry of quilts and pattern development. With the help of Judy Luke, Fran Kaiser, and Ellie Elzerman at CMS, students selected a quilt pattern called Friendship. This is one of many names applied to this pattern. It was a popular choice for signature album quilts from the height of their popularity in the mid-19th century up to the present.  Typically, plain white fabric is used in the center, so that inscriptions are easier to read.

Once the pattern was selected, the students visited Heirlooms and Comforts Quilt Shop in Central to choose their fabric. They then spent many hours making individual squares for the final quilt to be hung in the main elementary building located at 207 Pendleton Road. Cindy Blair, Jane Boling and Verla Warther, all volunteers with the UHQT, helped students transfer the quilt squares from fabric to paint on the wooden quilt. Their kaleidoscope of color will be an opportunity to tell stories about CMS, and honor its buildings, people, and history.

For more information, pictures and a map of the driving trail, go to (

Here’s a Heads Up on the Best Fundraiser Event of the Summer for the NC Pottery Center in Seagrove, NC – Aug. 23, 2012

Thursday, July 5th, 2012

If you’re a regular follower of Carolina Arts, you know we love the NC Pottery Center in Seagrove, NC. It’s a fantastic facility, a real asset to NC’s cultural community, and we wish we had something like it in South Carolina, but we don’t.

But…the big problem is that under this economy and with a push form the right to reduce government spending in exchange for tax breaks – funding for the arts is hard to come by, but the Pottery Center and its supporters don’t mind earning it the old fashion way – with hard work and creative thinking. They could just say – please give us some money, but where’s the fun in that? So they keep coming up with ideas like the Potter’s Palette, where they got potters to paint on canvas and auctioned them off as a unique art treasure and this new idea – Fill Your Plate. But you can read all about that in their press release about this fundraiser.

Give them your support – they deserve it.

Here’s the PR:


North Carolina Pottery Center in Seagrove, NC, Presents 13th Annual Auction, “Going, Going, Gone to Pots”

The North Carolina Pottery Center in Seagrove, NC, has worked some extraordinary culinary magic for their upcoming auction. This year there will be an unprecedented, star-studded, pre-auction supper, called, “Fill Your Plate,” with food prepared by several of the Triangle’s best chefs, and served on plates made by North Carolina potters.

Some of the plates donated for “Fill Your Plate”

The chefs include Ashley Christensen of Beasley’s Chicken + Honey, Chuck’s, and Poole’s Diner in Raleigh, NC; Andrea Reusing of Lantern in Chapel Hill, NC; Amy Tornquist, of Watts Grocery in Durham, NC; Aaron Vandermark of Panciuto in Hillsborough, NC; and Brendan Cox of the recently opened Oakleaf in Pittsboro, NC. Never before has such a caste been assembled, these chefs are truly amazing, several have won or been nominated for the prestigious James Beard Awards, and with such gastronomic wizards on board, it’s bound to be a bountiful banquet!

This will be the Pottery Center’s 13th Annual Auction, “Going, Going, Gone to Pots,” and it will be held on Thursday, Aug. 23, 2012, at Leland Little Auction & Estate Sales in Hillsborough, NC.

Before supper, each participant in “Fill Your Plate” will select a handmade plate which they can take home with them after supper. The pleasure of combining fine pottery and fine dining is something potters have known for a very long time, North Carolina’s ceramic history is filled with pickling jars, buttermilk pitchers, casserole dishes, pie dishes, and this event will remind patrons of the special relationship between food, pots, and potters. It’s going to be a memorable meal. Supper starts at 6pm.

But the evening’s fun only begins with the feasting. There will be a silent auction featuring pots generously donated by over 70 of NC’s finest potters, as well as many enticing non-pottery items, like wonderful holiday stays at the beach, or in the mountains.

Work by Travis Owen to be auctioned

After supper the live auction will take place starting at 7:30pm, highlighting several very special pots, antique and new, made by the best-known potters of NC, and also some unique pottery “Experiences,” like making pots for an afternoon with Ben Owen, decorating plates with Alex Matisse, and helping Daniel Johnston and Mark Hewitt fire and unload their kilns. You’ll also be able to bid on having lunch and a private museum tour with Larry Wheeler, Director of the North Carolina Museum of Art, and a two-hour privately conducted golf-cart tour of the NC Zoo!

The North Carolina Pottery Center promotes awareness of North Carolina’s world-class pottery heritage through exhibitions, education, outreach, and visitor service. Located in Seagrove, just south of Asheboro, NC, it’s a great tourist destination, and serves as the perfect start to a visit of area potteries.

Work by Hutomi Shibata to be auctioned

All in all, this year’s auction sounds unforgettable, so be sure to attend, and pass the word along to your friends. The cost of “Fill Your Plate” will be $75 per person, for which you’ll get the mouthwatering meal and a plate to take home, which is quite a bargain! Alternatively, if you’d like to attend only the auction, admission is $10.

The NC Pottery Center wishes to thank its sponsors for this event: First Bank, Leland Little Auction and Estate Sales, Shelton Vineyards, Katie B. Morris, Progress Energy, Carolina Arts, Gardner Heating and Air, Kimberly Woodard, Community One, Hans Klaussner Foundation and The Courier Tribune.

Auction items will be online for viewing and phone bidding will be available, see details at (, (, and (

Please contact NCPC directly for Tickets and Reservations by calling 336/873-8430. More information about the Auction and Supper is posted on NCPC’s website at (

The July 2012 Issue of Carolina Arts is Now Ready to Download

Sunday, July 1st, 2012


The July 2012 issue of Carolina Arts is up on our website at ( – all 60 pages of it. We had over 110,000 downloads of the June issue. That’s pretty good for a Summer issue and the third month in a row with over 100,000 downloads each month.

We ask that you help us bring the news about the Carolina visual art community to others by spreading the link for the download around to your e-mail lists and posting it on your Facebook page. Once people see all that is going on in the visual art community they will spread it around to their lists and on their Facebook pages.

The link is: (

If you would like to get direct notice that our latest issue is ready to be downloaded you can send us an e-mail to ( to be placed on our mailing list.

So download that PDF and dig in – it makes for good lazy Summer reading. And, don’t forget to find a way to thank our advertisers – they make the paper possible.

By the way – July 2012 marks our 25th year of producing an arts newspaper. Thank you all for making that possible.

Thanks – Tom and Linda Starland
Carolina Arts