Posts Tagged ‘City Gallery at Waterfront Park’

A Drive Into Charleston, SC, On a Cold Day to See a New Craft Gallery and the Exhibition by Our Cover Artist for Our Feb. 2015 Issue of “Carolina Arts”, Tyrone Geter

Saturday, February 21st, 2015

I was long overdue for a visit to downtown Charleston, SC, to see the new Surface Craft Gallery, located at 49 John Street, on the same street where Linda and I once operated IF Labs, at 39-A John Street and opened the Photogallery next door (with the help of a few friends), an exclusive fine art photography gallery. But this was in the mid 1980’s, long before the Charleston Visitor Center was built. Once construction started we were moved out fast.

This winter has brought me a new ailment that I have been adjusting to since before Thanksgiving until very recently. One that made it difficult to go out in public without somebody asking – do you need me to call 911. A bad cough that was keeping me from steady sleep – something I was very used to. Linda will tell you that I could set records in how fast I could be asleep by the time my head hit the pillow. Finally a combination of meds and adjusted habits has been found.

I also wanted to see the exhibition at the City Gallery at Waterfront Park before it was over. They are presenting an exhibition of works by Tyrone Geter of Columbia, SC, who we featured on the cover of our Feb. 2015 issue of Carolina Arts. From the few images I saw that were on the cover I really wanted to see this exhibit before it left Charleston.

I had planned to go sometime on the weekend of Feb. 13-15, but then I realized that was SEWE weekend and no one in their right mind would try to go to Charleston that weekend unless you were going to the Southeastern Wildlife Expo. So I finally set my sights on Wed., Feb. 18, 2015. Everything and everyone connected with SEWE would be gone by then or at least not taking up every parking space in the city.

It turned out to be a typical cold day in the Lowcounty. When I left the house I was bundled up for frozen tundra, once in the car the sun coming through the front windshield was baking me to death. It turned out not to be as cold as expected and I think by the afternoon the temps were in the 50’s making it pretty nice in downtown Charleston – as long as you stayed in the sun.

First stop was John Street next to the Visitor Center Complex. I was lucky, very lucky, to find a metered parking space on John Street at the intersection of Meeting Street, a short walk from the gallery.

When I opened the door and walked in I could see that look on Liv Antonecchia’s face that meant I finally made it. She is the artist/gallery owner of Surface Craft Gallery. Not that she expected me, but she knew I had been trying to get there. I’ve been supporting the gallery as much as I can on social media, but this was my first look inside the gallery. And, it looks much better when you’re seeing it as a whole and not just in the background of Facebook photos of specific items she carries in her shop. The one room gallery is laid out very nicely – nicer than some craft shops that have been open a few years. Eventually gallery owners seem to find a way to use every inch of a space to display one more work of art.

I first met Antonecchia during an arts festival art walk in North Charleston, SC, and at other crafts sales in the area. I remember us talking at one of the art sales taking place in the Earth Fare parking lot in the South Windermere Shopping Center in Charleston. We talked some about organizing potters in SC, a pet goal of mine and her desire to open a craft gallery in Charleston. And, last year she opened Surface Craft Gallery.

Just like you might have a hard time finding a gallery in Asheville, NC, that features paintings, a gallery featuring fine crafts in Charleston is a rare item. Charleston is a painter’s town.

Antonecchia was currently offering her first exhibition featuring sculptural works by Christine Kosiba, from Brevard, NC. This exhibit was an extra incentive to get to the gallery. Kosiba builds organically from coils of clay to create ravens, owls and horses to name a few. Some are free standing while others are perched as totems, wall hangings or on her clay built spheres. The exhibit will be on view through Mar. 1, 2015. You can read all about the exhibit on Page 20 of our Feb. 2015 issue of Carolina Arts found at (www.carolinaarts.com).

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Totem by Christine Kosiba

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Another work by Christine Kosiba

I took a few photos to kind of show the space, but you really have to be there a while to discover all that is on display. Items in ceramics, handblown & fused glass, book arts, paper, printmaking, jewelry and wood are offered. There’s more there than you would think at first glance. And, as usual I asked a lot of questions about how things are going, what kind of street traffic she got, what kind of items people were buying – all that shop talk stuff. It’s kind of boring if you’ve never run a gallery, but it’s the stuff gallery owners want to talk about. If you go there she’ll be more interested in telling you about her gifted artists.

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On this cold day after the big SEWE weekend there were not a lot of shoppers on the street coming in while I was there – except for a group of ladies who came in and wondered if the gallery owner might be willing to offers some items for an art auction fundraiser. They had a list of galleries they were going to hit up. Too bad they didn’t spend any time looking to see what the shop offered. This is a subject that would take many blog posts to cover and the right people who would need to read it would never see it. They are deaf, dumb, and blind to the needs of the visual art community.

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Here’s one close up of a couple of works by Luba Sharapan of Darn Pottery in Tennessee

If you are suffering due to the closure of Nina Liu & Friends, you might want to check out this relatively new craft gallery on John Street. The gallery offers some items that haven’t been seen in Charleston before – and that’s always a good thing.

My next goal was finding a parking space not too far from the City Gallery at Waterfront Park, located at 34 Prioleau Street, across from the Pineapple Fountain in Waterfront Park overlooking Charleston Harbor. My luck came in the small parking lot next to the Old Exchange Building & Provost Dungeon at the corner of East Bay and Broad Streets – which also was right next to another building which was the last location we had in downtown Charleston – 132 East Bay Street. The newspaper’s office was there, people could drop off film for processing there and pick it up, and we ran a gallery there too – years ago.

I’ll tell you this, I know Charleston pretty well, but it’s changing fast and parts of it are shocking to me on how it has been over-developed. I first stepped foot in downtown Charleston in 1974 and you wouldn’t believe how the “most preserved city in America” has changed. Back then, locals cried about how much the city had changed and now I kind of feel that way too. Those old locals must be rolling over in their graves turning their backs on the city it is becoming. I wouldn’t be surprised if some have had their graves moved for further development.

It was less than a half a block from my parking space to the City Gallery at Waterfront Park. I walked in and used the facilities right away. You’ll find one of the nicest, cleanest restrooms in the city there. That’s important info to know when visiting Charleston – where the public restrooms are.

Drawing from the Lifeline, featuring mixed media work by Tyrone Geter, is on exhibit here through Mar. 1, 2015. That’s not very long from now so hurry and make plans to see this exhibition. The exhibit assembles a selection of new and recent work by Tyrone Geter curated by Frank McCauley, Chief Curator at the Sumter County Gallery of Art, in Sumter, SC. So, I guess now the City of Charleston’s Office of Cultural Affairs is letting out of town curators organize exhibits for them. Well, that can’t be right – I don’t think anyone really knows how they select exhibits for this gallery space. I know I’ve never seen a public notice calling for proposals.

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I guess this might be the first work of the exhibit. You can read about Geter and the exhibit on the text panels

Geter has forged a unique artistic practice spanning multiple media platforms including drawing, painting, and sculpture. His ongoing series entitled “Purgatory Ain’t Nothin’ but the Blues” is most often executed with the most basic and humble of mediums, charcoal on paper. You can read all about the exhibit and Geter on Page 16 of our Feb. 2015 issue of Carolina Arts found at (www.carolinaarts.com).

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Two larger than life works.

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Many of the works are very large and they fill up a large wall very fast.

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I added this image to show that on either side of the cube wall the lights were not on and I mentioned it to one of the people running the gallery, but nothing was done to turn them on while I was there.

I’ve seen a lot of exhibits at this gallery and I think, in fact I’m sure, this is the best single person exhibition I’ve seen here. There have been some great group shows, but this has to be the best one I’ve seen. Maybe I missed something better – my loss, but I’m glad I got to see this one.

Geter is very skilled at drawing but the title of the exhibit might fool you, a lot of the works have much more to them in making the final piece, but it’s his abilities at drawing that pulls each piece together. Some works are down right 3-Dimentional and a few are almost mini installations. But it’s the strong drawing that will always be the main focus.

And the people who are Geter’s subjects are some of the strongest characters where you know there is a heck of a story behind each one – sometimes suggested by the title – some with stories a lot of us hope we never have to tell, stories of hard work and hardships – stories of going without for the sake of others. And, stories of injustice.

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“So Many Gone” from the series “Living in the Light of Hell’s Shadow”.
Grandmother speak to me of wisdom.
Talk to me of courage and struggle.
Tell me the tales of freedom
and the quest for emancipation.
Tell me the stories of my people.

As a white person, you might begin to feel a little guilty – in fact I hope you do. I know I was and when I came across the only image of a white person or at least not a black person in the exhibit titled, I Saw Nothing, Heard Nothing, and Said Even Less, I was hoping I wasn’t looking at a portrait of me. I didn’t take a photo of it so you could see if it looked like you when you saw it.

In fact, it was nearly impossible to take decent photos of the exhibit as a whole. Most of all the works are behind plexiglass or glass and the way the lights are positioned and the fact and one whole wall of the gallery is all windows and doors – it’s a photographic nightmare. But I did manage a few shots.

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This image shows the terrible glare from the gallery lights and light coming in from the windows.

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Mayor Riley asked for one whole wall of the gallery to be glass so people at receptions could gaze out over Charleston’s Harbor view. Who cares what it does to the art on view in the gallery.

Between the time I saw this exhibit and while I was writing this blog entry, Tyrone Geter posted one of the works in the exhibit on his Facebook page titled, Black Face White Face. It’s a charcoal/pastel on torn paper work he did in 2015 in response to events taking place in Ferguson, MO. It was one of the images that I wondered if he had taken any photos of before the works were put behind glass or plexiglas so I could show them here. There was no way I was going to get a good shot of them in the gallery. And, he did have good photos of the works I requested – as all the images were that he sent us. That’s another reason his works ended up on the cover of our Feb. 2015 issue – because he had good high res images to send – on request. But, I’m getting distracted. I shared the photo he had posted on Facebook and commented that it was nice to see work being done by a SC artist that related to a current topic and made a statement that couldn’t be missed by anyone.

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“Black Face White Face”

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Detail of “Black Face White Face”

Geter makes beautiful, intense images that speak volumes to some people, make others think, and unfortunately leave some at a loss for what it’s all about. I’m not saying I could relate to 10 percent of what some of these images were saying and I’m glad I never had to, but it also makes me wish they didn’t have to either. And, today that gap between the haves and have nots is bigger than ever. And I feel that my family and I are slipping further down that trickle down economic pole. We’re still better off than many who are way down that pole below us.

We’ve shown mostly black and white images, but there was an interesting group of works done in charcoal/pastel (color) on black paper. It was amazing how the color bounced off that black paper – subtle and powerful at the same time.

I did manage to get acceptable photos of two works that seemed like mini installations to me. The drawings were enhanced with torn strips of paper giving a real 3-D effect and the two works were placed in deep enclosures which had drawings on the outside of what I’ll refer to as boxes. At the bottom the boxes where collected items of all sorts and the boxes had what looked like feet to me. One interesting item at the bottom of one of the boxes was an empty plastic bottle with the word “Hungry” on it. I guess there is nothing like being served from a bottle of Hungry, but I wouldn’t know – I’ve never known hunger. How about you – would you know what that tastes like?

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Here are the two boxed works

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A view of the drawings on the sides and some of the items at the bottom.

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Check out the jug or bottle of “Hungry” and the feet holding up the work.

This was a hard exhibit to digest, but I’m oh, so glad I got to see it, and I hope a lot more folks go see it. I hope this exhibition will be shown in other places in South Carolina or North Carolina.

Time is running out on this Charleston exhibition. Unfortunately we didn’t receive details about it until several weeks after it started. Run and don’t stop until you see it.

Oh, before I left Charleston I stopped by the Corrigan Gallery, at 62 Queen Street and chatted a bit with Lese Corrigan about the changing face of Charleston’s visual art community. There was a lot of good works of art to look at there too.

She has an exhibit coming up next month entitled, Female Cuts, on view from Mar. 5 – 30, 2015, featuring a showcase of primarily woodcuts by artists from then and now. A reception will be held on Mar. 6, from 5-8pm. The then will be represented by Charleston Renaissance artists Elizabeth O’Neill Verner, Alice Ravenel Huger Smith, Anna Heyward Taylor and now – Mary Walker, Kristi Ryba, Lese Corrigan with Corrie McCallum whose work is the bridge between the two time periods.

That title comes from a remark a SC State Representative recently said about women – “They are a lesser cut of meat”. I’m sure our Governor liked that statement coming from a member of her own party, or, does she just care about serving her party’s need for diversity?

A Look at a Couple More Spoleto/Piccolo Festival Exhibits

Wednesday, June 16th, 2010

Both the Spoleto and Piccolo Spoleto Festivals are over, but as usual with the art community, while most of the performing arts groups have packed up their seasonal offerings – the visual arts are still here and you can still see both of these exhibits I’ll be talking about.

While the festivals were still going on I found a nice parking space very close to the front door of the Marion and Wayland H. Cato Jr. Center for the Arts at the College of Charleston School of the Arts in downtown Charleston. Lucky me! I wanted to see what Mark Sloan, curator at the Halsey Institute of Contemporary Art was offering festival viewers this year. It’s always something funky and very interesting. I liked what I had already seen of publicity images.

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This year it was the exhibit, Call and Response: African to America/The Art of Nick Cave and Phyllis Galembo, on view through July 16, 2010. Sloan’s exhibitions are so popular that both Spoleto and Piccolo were claiming it as one of their offerings, but I think Spoleto would win that tug of war.

(We just received new info this afternoon. Mark Sloan has told me that they changed the ending date of this exhibit to June 26, 2010. That’s unfortunate for us and a lot of folks who won’t get to see this exhibit. Our July issue of Carolina Arts will still carry the July 16 ending date. We’re sorry to bring you this news. We now have an answer why this exhibit is being closed early – Sloan says the College has decided to tear up the concrete floors of the Cato Center and replace them with blue tile during July.  They had no choice.)

I wasn’t disappointed and I doubt anyone else who saw this exhibit was either. Nick Cave’s “sound suits” were spectacular as were the photographs of Phyllis Galembo of African costumes. Right off, walking in the gallery I was blown away by the lineup of several of Cave’s colorful costumes. That’s what you want in an exhibit – a knock out visual as people enter the gallery space.

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After a quick look around I sat and watched a video of Cave’s “sound suits” in action. The first part was set to music and the repeated phrase, “This is a journey into sound”. The second part was just the sound the suits made on their own as a dancer moved around. I liked the second part better, but sat there in the cool viewing room imagining what an event it would have been to have live dancers in each of Cave’s suits – coming to life – off and on, as viewers jumped when the dancer began to move. Now that would have been a heck of a performance art event, but I wouldn’t want to be the person inside one of those suits – for very long. But, the video gave us enough idea of what we would see – when the suits are in motion.

You would think that photos hanging on the wall wouldn’t stand a chance next to Cave’s “sound suits”, but Phyllis Galembo served up striking images of real African costumes which hold their own next to an “Americanized” version. In fact, I tended to appreciate these costumes more as they were made by people reflecting their natural surroundings and local customs. Actually, I think I felt that way as Cave’s suits reflected America’s culture – which isn’t always the prettiest picture. And, at that moment I felt a little embarrassed of what Africans would be thinking about us if this exhibit was shown there. Which is what I expect Sloan wanted us to see in this exhibit – the contrast of cultures. Maybe not, but then you have to go see this exhibit and come up with your own ideas.

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I ran into Sloan while I was at the exhibit and he said that a few gallery spaces in Japan were interested in this exhibit. That was no surprise to me as the new generations in Japan have developed a pretty funky culture themselves – funkier than ours.

You can read a press release we posted at Carolina Arts about this exhibit at this link.

After viewing this exhibit I looked at the art on display in the Hill Exhibition Gallery just outside the Halsey Institute. I’ve got to find a way to get the folks at the College to inform me of these exhibits – how long they will be up, so I can inform readers about them. Upon viewing what was there, my favorite was a print by Samantha Theall entitled Rachel in nice Lighting.

Next, I went to the City of Charleston’s City Gallery at Waterfront Park to see the exhibit, Contemporary Charleston 2010, on view through July 3, 2010. This show has a shorter life than the Halsey Institute show, so you better go see it – if you’re going.

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This exhibit is a production of the City of Charleston Office of Cultural Affairs, curated by Erin Glaze, (City Gallery at Waterfront Park) coordinator and artist Max Miller.

The premise of this exhibit was to have 10 local visual artists create works specifically for the exhibit that have been inspired by the work of 10 local poets. So ten artists were matched up with ten poets.

My first impression was that this year’s show was not as strong as last year’s offering. (See my entry on the 2009 exhibit at this link. I guess since I hadn’t the time to attend the poetry readings by the poets matched up with the visual artists – I was missing the connections or inspiration that was supposed to have inspired these works. I tend to like my visual art – straight up – stand alone. That’s me, but I wasn’t seeing a lot of connections, but I also don’t have the inclination to work too hard to find connections. It’s like having to read an artist’s statement (several pages long) telling you what a certain work means. If I’m looking at the work and I don’t get the message – I usually don’t see it after reading the statement either. It’s either there or it isn’t. Anyway – I wasn’t feeling the connections. The closest I came is when painter Sarah Haynes painted a portrait of Dennis Ward Stiles, the poet she was matched with, entitledDenny.

I don’t think that’s what the curators had in mind, but the good thing is – I really enjoyed Haynes’ works – whether it had a connection to Stiles poetry or not. To me, her paintings were one of the high points of the exhibit. Of course I would have liked to see the Waterfront space filled with her work over a group show any day.

There were other works I liked there too. I liked the (sort of bleached out looking photos) by Timothy Pakron. Having spent almost 20 years working in a darkroom, I’m still thinking about his process, but I’m not concerned if I ever figure it out completely – I liked the technique. Why get hung up on the process?

I also liked the pop art style works by Juilo Cotto. Perhaps I’m showing my age, but I’m not a conservative when it comes to art. I like works that make other people cringe too.

Maybe I wasn’t falling in love with a lot that I saw, but it’s worth the visit and you’ll probably think I’m nuts or at least find things that speak to you. Frankly, if I see a show that I really don’t like – you probably won’t see anything written about it from me, and there was enough of that to go around this year, but I didn’t see everything. There is never enough time to see everything. So, don’t just assume that all the shows I haven’t mentioned were unmentionable.

Hopefully the powers that be will step out of the formula they are using to select Piccolo Spoleto exhibits next year. The formula is worn out and the results are showing. At least that’s how I felt when looking at the lineup of offerings, but then again – this whole festival thing is nothing new to me – like others.

You can read a press release we posted at Carolina Arts about this exhibit at this link.

Now, lets see what wonders the dog days of summer bring. I mean as far as the visual arts goes – as most of the performing arts community will be taking the summer off.

The Big Piccolo Spoleto Exhibition at the City Gallery at Waterfront Park in Charleston, SC

Tuesday, June 23rd, 2009

What do you do when the weathermen are calling for 100+ degree temps in the Charleston, SC, area? Why you jump in your car and travel to North Charleston, SC, to photograph an outdoor sculpture exhibit and then head to downtown Charleston to check out the big Piccolo Spoleto exhibit,Contemporary Charleston 2009: Revelation of Process, featuring works by Dorothy Netherland, Jonathan Brilliant, Ben Timpson, Karin Olah and Ishmael, on view at the City Gallery at Waterfront Park. Surely, you didn’t think I was going to cut grass or rake leaves.

More about the outdoor sculpture exhibit in another blog.

I purposely put off seeing the exhibition as City Gallery at Waterfront Park as I knew it would get a lot of chatter during the festivals by local and regional media, but after the Spoleto and Piccolo Spoleto Festivals were over – coverage would drop off a cliff. But, the show is still on view through July 26, 2009. People still have a month to go see it, but most of the media will have moved on to today’s news. They have all been there and done that.

I’ve read a lot of those pre-event articles and reviews, but didn’t absorb much. I was waiting to see it for myself. I do agree that this is one of the best exhibits that I have seen at the City Gallery at Waterfront Park. Was it the best Piccolo Spoleto exhibit ever? I wouldn’t go that far, but it would be in the top five – maybe number two or three.

Would I crown Erin Glaze – King of Curators? She did a good job, but I’d have to see a few more shows under her hand before I could come close to saying that. But, it was a heck of a first time. This space has gone through a lot of gallery directors, gallery coordinators – whatever the title is from day to day. There’s no telling who will be in charge next year. Well, I know – Ellen Dressler Moryl is in charge and next year she may decide to feature one of her friends. You just never know. So, I’m not letting this show change my mind about the direction of this gallery space and what the future will bring. I always have hope, but I’m also a realist.

But, I, like others, would like to see Glaze do a few more exhibits – on her own. She added some touches to this exhibit which really helped the viewers get a grip on the process of creating art – in the artist’s own words and actions. Austin Nelson, who created the video clips – shown in a loop at the gallery near each artist’s works  really gave those who took the time to view them an insight into these artists’ world  – the process of creation. Also, there were small stations which also showed more details of how these artists work or where they come from – their influences and backgrounds, or in some cases – the world they were focused on. Beyond an exhibit catalog, these two elements added much to this exhibition.

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So, on to the works.

When I entered the gallery I turned directly to the left – avoiding the  70,000 pound gorilla in the room. These were works by Ben Timpson. The first works were small boxes, mounted on the wall, with a framed round magnifying glass – which you were to look through. What you saw was a small image backlit by white light – like a peep show. These unusual images were made up of parts of other objects – some from plants, bugs – whatever. I found these interesting works of art. But once these same type of images were blown up to a much larger scale – presented like a painting – they lost some appeal. But that’s just me. Others enjoyed these works as much as I did the smaller boxes.

This was the first time I’ve seen any work by this artist, so it would be hard to make much of a judgement on whether I liked it or not overall. I liked the small boxes and the fact that some were placed really low – maybe for better viewing by children or to make adults think the effort of bending down would reveal something naughty. Anytime you make the audience work for their supper it’s a good thing.

I next moved upstairs where I knew I would find Karin Olah’s works. I must declare up front that I’m a big fan of Olah’s work, Linda and I own one of her works, and I even put one of her images on the cover ofCarolina Art’s May 2009 issue – one of our last color covers for awhile. I hope it’s not too long before we get back to color covers. So, I’m already sold on Olah’s work. But, she never fails to amaze me and show me she has places to go that I have not seen.  I  look forward to a long journey following her work.

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And, it was apparent many others wanted to take that journey too. Olah had an entire wall of smaller – very nicely priced works – mostly sold. She by far has sold the most works during this exhibit. Now, that is not the purpose of these lofty exhibitions at non-profit gallery spaces, but most of the time – even at major museums – the works on display by living (contemporary) artists can be purchased, if they are not on loan by a previous buyer. So, although no one is keeping score – I like the fact that many others enjoy my taste in art and Olah’s work. She also sold some of her larger works too and I must say this is another good sign that the economy is getting better – even if at a snail’s pace.

As an added touch for this exhibit, Olah also used some of her same graphic techniques on the walls of the gallery to link some of her works together. I liked the effect, having known the work and knowing this is not usual. Others may not have seen it the same way, but I must say that when this same technique was used to blend Olah’s work together with the other artist sharing the upstairs space (Ishmael), the linkage seemed to be a train wreck to me – especially when that linkage went into one of Olah’s works. Again, just my personal feeling, but they could be feelings over another subject altogether.

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The artist Ishmael’s roots are in street graffiti. I am not a fan of street graffiti at all – especially when it is done on other people’s private property. Olah and I have had discussions about this subject – on opposite ends of the subject, but I hope we respect each other’s points of view. She’s a fan and I’m not, so it’s hard to say if my feelings about the mingling of her art with his doesn’t stem from my views on graffiti. I hope I’m being objective.

Now all that aside, I liked Ishmael’s works in this exhibition. I have no problem with the technique of graffiti or style – as long as it ends up on materials owned by the artists. Hey, I don’t care for billboards either. But, I always have to wonder how this artist would feel if some of his street friends came into the gallery space and did their thing on his works – would he feel honored or violated? My guess is – publicly honored – no big deal – part of the process, but privately a little violated – especially during his big moment – especially if it had happened to one of the works that had sold and the buyers no longer like the “tagged” work.

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So, I’d like to see more of Ishmael’s work – on canvas, board, even gallery walls, but not out on the streets. He’s got too much talent to see it white washed away by citizen groups cleaning up the streets.

Next, I walked downstairs – again avoiding the gorilla, and checked out Dorothy Netherland’s works. I’ve seen her work before in many places and I like what she is doing. Although Netherland was born in the 60′s, I wouldn’t think of her as living in the same time period as I did, born a decade earlier, but her work focuses on that time period when I was growing up. By the time she was 10 years old it was the 70′s and America had changed a lot. So, when I look at her imagery I see my past as a child – I’m one of the little boys with the cowboy hat and silver six-shooters.

These were the golden years, the last days of innocence for America. When I went trick-or-treating, “without” my parents, I didn’t have to worry about people putting razor blades in the apples they gave me or riding my bike several neighborhoods over and staying out late after dark. I wasn’t going to be killed in a drive-by shooting. These were Good Times or Happy Days or were those just TV shows? Of course there was duck and cover drills in school; the Cuban Missile Crisis; the assassination of President John F. Kennedy, Martin Luther King and Bobby Kennedy; and eventually Vietnam. But we could watch reruns of I Love Lucy and Leave it to Beaverand think it was all innocent.

This is not a world or time period you see many artists today focused on which in itself can be shocking. Some of the imagery if looked at under today’s standards of “you better be careful” might suggest another world. Are images of an older man hugging or carrying a young girl innocent or something else? It makes you think of how did we get from there to where we are now in just a short span of time? Does the picture really tell the story?

Damm you artists – stop making us think and question. You’re going to ruin my childhood memories. But then there is always TVLand . A few episodes of I Love Lucy can take you away.

Before I move on to that gorilla, I heard someone say my name and I looked up and saw Mary Gilkerson, who was also viewing this exhibit with her daughter. Gilkerson used to write art reviews for us – way back when – and now writes art reviews for freetimes in Columbia, SC. And, I learned that she will probably be doing a review of this show on her blog,SCARTblog. So, you can look for a much more insightful review of this show on her blog.

So, finally we have the installation piece by Jonathan Brilliant, made of 70,000 wooden coffee stirrers, the same kind used at Starbucks, which takes up the entire middle space of the gallery from downstairs to the upstairs’ railings. None of the sticks are glued together – they are all woven and held in place by tension. One child could get lose from a parent and the whole thing could come crashing down. Now, that’s art on the edge.

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I never did see a title for this work, and other installation works he has done are named after the space they were made in, so I guess this will be known as the City Gallery at Waterfront Park 2009 piece.

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People should come to this exhibition just to see this work alone and the rest of the art will be the gravy. It’s an amazing act of art, patience, and faith. What if he couldn’t finish it in time? What if it fell apart before the show opened? What if some child did run into it at the opening? Then what do you have but a pile of sticks? I’ve seen site-specific works that were just a pile of sticks and it was not so impressive – not hardly.

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I’ve always had a hard time dealing with site-specific art in that it is all just temporary, but a work like this – beyond photographs, the artists walks away with nothing but a pile of sticks. On the bright side – those 70,000 coffee stirrers can maybe live on in the creation of another installation. A painter can’t recover the paint on their canvas to use in another painting. At least I don’t think they can.

I’ve seen a lot of wonderful site-specific art throughout the years, but I always saw them as a loss – as we couldn’t keep them around for others to see – generation after generation – just pictures or written words. It’s not the same as seeing them in place, but then I guess that’s the point of it all.

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I’ve seen other works by Brilliant before in fringe exhibits during Piccolo Spoleto, but this is by far the largest. According to the exhibit catalog it may be his largest work to date. And, I don’t care how many photographs are taken of the work – they will never do justice to seeing the work up close – in 3D (no special glasses needed). So go see this exhibit.

I had another 60′s flashback looking at Brilliant’s piece. My older brother and I used to make exploding projectiles out of popcycle sticks – woven together. We could throw them around the house and not break anything as the minute they touched anything solid they would explode. For a moment, just a moment – an image of a little boy (let’s say a boy in a red cowboy hat and silver six-shooters blazing away) running head first into Brilliant’s work gave me this super special effects movie in my head of the City Gallery at Waterfront Park exploding and coffee stirrers flying hundreds of feet in the air in all directions. I wonder if Brilliant has nightmares about that or secretly thinks of being that child. After all, he made it.

Well, if for some unimaginable reason you should miss seeing this exhibition, the Redux Contemporary Art Center in Charleston, SC, will be presenting the exhibit, Past Presence, featuring works by  Karin Olah, Jonathan Brilliant, Kevin Hoth, Dorothy Netherland, Seth Curcio, Jarod Charzewski and Tim Hussey, from July 24 through Aug. 16, 2009. It seems strange that another institution in Charleston would program such a show featuring three of the five artists in this show so soon, but it may have been a replacement show for some exhibit that had to be cancelled. Or perhaps it’s to remind folks that these artists started out first at Redux. Either way – there’s more good art to see this summer.

The City Gallery at Waterfront Park is also offering a series of lectures in conjunction with the exhibit including: On June 27, 2009, from 2-5pm – Karin Olah Lecture & Demonstration – Using fabric, Olah works in a manner that mimics the flow of paint from a brush. Intricately cut, placed, and pasted textiles are combined with gouache, acrylic, and graphite to create collage paintings that are deep in color and texture. Part 1: Informal Talk & Short Demo. Part 2: Community Collaboration. Olah will provide materials and instructions for a fabric collage painting. Everyone is invited to contribute and paint on this piece. Attendees may bring in their own fabric scraps for the collage painting! Part 3: Donate to Olah’s fabric collection by bringing in solid or striped clean, natural fiber scraps (no patterns, please). Your scrap may be part of a future collage painting! One-of-a-kind “Art-Scrap Cards” will also be sold at this event only! Take home a Karin Olah original for only $12! On July 11, 2009, Time TBA – Lecture by Dorothy Netherland. On July 18, 2009, Time TBA – Lecture by Jonathan Brilliant. These programs are free and open to the public. For further info call the City Gallery at Waterfront Park at 843/958-6484.

And, remember if you are coming from out of town to see either of these exhibits, check out some of the commercial art galleries in Charleston. There’s a lot to see in a wide variety of styles. You can find days and times gallery spaces are open at Carolina Arts Online under our Gallery Listings pages.