Posts Tagged ‘Susie Miller Simon’

A Visit to Downtown Charleston, SC’s Art Walks – May 6, 2011

Thursday, May 12th, 2011

Even though I haven’t been to many art walks in Charleston lately, it’s still our backyard as far as art communities go. I don’t know everyone there now and many don’t know me, but for a lot of the folks who have been there more than a few years, it’s hard for Linda and I to just slip into a gallery and not be spotted. Gallery owners and artists seem to gravitate to us – one because we’re friends with a lot of these folks – at least we feel we are, and two, we haven’t seen most of these folks – face to face in a long time. So we’re like a blast for the past.

It would be nice to do an art walk and not be working, but the nature of these events is always social/working. I want to write the trip up for our blog and they hope I’ll write it up – everyone needs publicity. The problem in Charleston is we know and meet so many people we want to talk to that I end up doing more talking than taking photos. So, I have some images to not make this blog all words, but in no way all that I should have. I’m sorry for that. We got some from the galleries or their websites.

I’ll refresh people’s memory of the weather on May 6, 2011, in the Charleston area. A forecast called for scattered showers, but it seem to be raining most of the day up here in Bonneau, the headquarters of Shoestring Publishing Company on the shore of Lake Moultrie. And just as it was about time to leave, the rain came down hard, but the weather wizards said the system would clear out of the area by 6pm. This time I was hoping they were right. It rained pretty hard all the way to Charleston’s borders, but as we crossed that border the rain stopped and the sky opened up.

By the time we found the same parking space I used in visiting the April art walk, the sun was shinning. Thanks to whoever saved it for us. The rain had cleared the air and cooled it down to a very pleasant 75 degrees. We’ve had some great weather as far as temps go lately – although dangerous at times.  At least there weren’t any tornado warnings on May 6.

Our first stop, due to location, was Nina Liu and Friends, at 24 State Street. The gallery is celebrating its 25th Anniversary this year. The exhibit being presented that evening was Defining Moments, featuring works by Susie Miller Simon of Colorado, on view through June 30, 2011. Simon couldn’t be there for this opening, but will come in a few weeks.

Nina Liu’s gallery is spread throughout three levels in her home – which is still up for sale – if anyone is interested in living in the heart of Charleston’s French Quarter district and wants to also have a gallery – or not. She’ll sell – either way. Liu is hopping to retire one day to the home she has waiting in Mexico – someday. But, we’re not in any hurry to see her go.

We noticed something strange going on. People were coming into the gallery, saying hi as they passed by, heading upstairs. Liu noticed the strange look on our faces and explained that they were regulars to her openings and they know the food and drink is upstairs. I rolled my eyes, thinking to myself that they could have at least glanced at the works in the exhibit before – running upstairs, but it doesn’t seem to bother her as another group zoomed by. Her food is very popular.

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Work by Susie Miller Simon

Simon’s works give reference to imagery of the Southwestern United States – a million miles from Lowcountry art, which is refreshing at times and I’m sure a reason why her works are so popular here. I’ve included an image, that I’m sure wasn’t in this exhibit. I got it off the Internet just to give you an idea of what the work is like. But you’ll see some images like this and some very different, but you’ll be able to tell it came from Simon.

It was reassuring to see some of those folks who rushed upstairs eventually filtered down to see the exhibit, one even asking about the price of a work found upstairs. A good time for us to move on.

For the second month in a row, I was focused on going to Smith-Killian Fine Art, at 9 Queen Street, at the corner of Queen & State Streets. Last month it was to see an exhibit by Shannon Smith and this month to see “abstract” works by her mother, Betty Anglin Smith, as well as works by a very strong group of SC’s contemporary artists including: Carl Blair, Eva Carter, Matt Overend, Laura Spong, Leo Twiggs and Scott Upton. The exhibit, Contemporary Carolinas – an Invitational Exhibition, will be on view through June 12, 2011.

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Works by Laura Spong (L) and Leo Twiggs (R)

The week before we had talked with Laura Spong at Vista Studios in Columbia, SC, during Artista Vista (read about it at this link) and knew she would be there. And, I was hoping to see and talk with Carl Blair, whom I haven’t seen in a while. Blair, was the one and only member of the Commission of the SC Arts Commission who listened to my complaints and tried to do something about them. The one and only! A true arts leader in SC – a rare exception. Unfortunately he didn’t make the trip from Greenville, SC.

That’s OK – I’ll take the hugs from Betty, Eva, and Laura any day.

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Work by Eva Carter

In my opinion, the day William Halsey passed on, Eva Carter became Charleston’s top “abstract” artist, if not one of the best in SC. After closing up her gallery a few years ago, this was the first of her work in an exhibit in Charleston. Although she has now opened a studio just around the corner from her old gallery, at 16 Gillon Street, we haven’t been able to catch her there when we were in Charleston – so we were also looking forward to seeing and talking with her and seeing what she was painting these days.

But, the real kicker in this show was to see more “abstract” paintings by Betty Anglin Smith. I mentioned in my write up of the April 2011 art walk in Charleston that we saw an unexpected work – an abstract painting by Betty at Shannon Smith’s show. We loved the work and I wanted to see if it was a one hit wonder or if we have a new abstract artists in town. Folks – we weren’t disappointed.

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Work by Betty Anglin Smith

Of course as Betty put it – she’s not quitting her day job of painting landscapes – just yet. We all know there’s a smaller audience for “abstract” art in the Carolinas. But, every day we see more of it all the time – and that means more people are buying it. I tip my hat to Smith Killian Fine Art for taking the risk to present such a show – during the Spoleto Festival season in Charleston. I hope it pays off for them – so they can do it again. I know I could have spent a good bit of my lottery winnings there that evening. Now all I have to do is win one.

This was a great show of works from some of SC’s best artists, not painting what most people expect to see when they go to Charleston to see or buy art. But, I’ve always said there is a lot of this kind of art being made in Charleston – you just have to work a little to find it.

What a good time to transition over to Corrigan Gallery, located at 62 Queen Street – one of those places you won’t find what some people call “Charleston” art. But, you will find plenty of art made by Charleston artists. The exhibit, Egg Meditations, the continuation of a ten year exploration by Yvette Dede, was being presented. The exhibit will be on view through May 31, 2011. I swear it’s been that long – ten years since I’ve seen work by Dede on view in Charleston. At one time she ran Print Studio South, which eventually turned into the Redux Contemporary Arts Center (which hasn’t sent a press release about its May/June exhibit yet). But, that’s what happens when you become an adjunct college professor. You spend more time teaching than exhibiting.

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Works by Yvette Dede

For regular readers of my views on art – presentation is a big factor with me and this exhibit was a top notch example of how to present a cohesive group of works – in this case based on the egg shape. Dede made special frames for her small works and in the intimate space at Corrigan Gallery they looked fantastic. I’m talking about the presentation of the art. I really don’t care what the wall looks like or the floor – as long as they don’t distract the viewer from the art, and in that case – that’s a bigger problem for the artist. There’s nothing wrong with the wall or floors at Corrigan Gallery – I’m just saying well presented art can look good in someone’s cluttered basement.

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Works by Yvette Dede

After checking out all the variations Dede presented, we checked out some of the other works being displayed at the gallery and I came across a work which really fooled me at first in an alcove between the two main rooms of the gallery.  There was a large abstract work on one wall – blue and red. You know how I like abstracts. When I got close enough to see who the artist was,  I was, well not totally surprised, but embarrassed that it was by a good friend of ours –  John Moore. I’ve seen a lot of Moore’s abstract photographs, but for some reason this image didn’t click, I was seeing it from the side and I had just looked through some of his works in a stack and this just fooled me at first.

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Work by John Moore

The real joke here is that Moore and I have talked a million times about the fact that it’s too bad he presents his work as photographs – more people would buy them if they were presented as paintings. A sad fact but true. And, the real tragedy is that many people think they are Photoshopped, but these are the real deal. He finds these outrageous colors – in man-made materials touched by nature. And, to top it off – Moore is color blind. Figure that one out and you can help me pick lottery numbers.

Moore is a purest, he doesn’t manipulate his images and he doesn’t want to fool people into thinking these are not photos just for the sake of sales. He just has a good eye, takes his time before he clicks the shutter and knows how to get the best out of his equipment and when the light is right. That’s the real art of photography.

After Linda coaxed me off the soapbox, our next stop was Horton Hayes Fine Art, at 30 State Street. We wanted to see what Mark Horton was painting these days. The gallery also shows works by Nancy Hoerter, Shannon Runquist, Bjorn Runquist and Chris Groves – all skilled painters. Now, I guess these works don’t fit the classic description of “Charleston” art in that although they are landscapes of the Lowcountry and still lifes – I just think of them as master works. You just want to be in these places put on canvas. You can feel them – smell them. We didn’t talk to anyone here – it was too crowded.

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Work by Mark Horton

Seeing the works at Horton Hayes made me want to go check out Mickey Williams Studio-Gallery, the next street over at 132 E. Bay Street, at the corner of East Bay and Broad Street. This was our old hangout, once the office for IF Labs, then for Carolina Arts newspaper and Carolina Arts Gallery. I spent many a day and night in that space. It survived Hurricane Hugo as if it was just a thunder storm. This was also Eva Carter’s old gallery space.

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Work by Mickey Williams

Williams paints some incredible Lowcountry landscapes. I wanted to go by and see his works and talk to him about facebook. Sometimes I get on facebook by 7am and most days by then Williams has been on for several hours – talking about the birds in his back yard, his garden or the colors in the morning sky. He’s like the good morning guy in the Charleston facebook family – which is funny – as he, like me, is technology challenged. But, he’s got facebook down to a science. I called him and asked him to send me a photo – he had to check with his wife. Sound familiar? We’re two peas in an iPod. We embrace technology – we just don’t know how to make it work.

Our last stop was at Lowcountry Artists Ltd, at 148 E. Bay Street. Their next exhibit is The Power of Glass, featuring blown glass  by Robbie Clair and etched and fused glass by Steve Hazard which will be on view from May 28 through June 11, 2011. This gallery has almost doubled in size since the last time I was in it. As a co-op gallery it has also seen many changes in the group of artists currently showing on the walls.

Another space where we could slip in and get a good look at the art first. Of course we knew some of the artists by name or work and there were a few surprises – like seeing works by Patsy Tidwell on the wall. Her gallery was one of the mainstays of the Charleston art community, but she sold it a few years ago and now it’s closed. I’m sure she is enjoying life now creating artwork vs. trying to sell other artists’ works. It’s not easy running a gallery as an artist – even when you’re doing it as a co-op of artists.

Another surprise was seeing works by Jason Luck, a Seagrove potter who has moved to Charleston. Those Seagrove potters are everywhere. Well they’re not really – but their work seems to be getting everywhere. But, you really have to go to Seagrove, NC, for Seagrove pottery. The chamber of commerce pays me to say that.

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Work by Jackie Wukela

Because we didn’t have to answer a million questions as to how the paper is doing we finally got to eat some of the goodies being offered during the art walk. But, our anonymity could only last so long as I had questions I wanted to ask so we went up front and introduced ourselves to – who I felt sure was Jackie Wukela (due to facebook). She is typical of most of the folks we “know” through the paper. We’ve talked on the phone and e-mailed back and forth, but never met – face to face.

The minute we did this, Carolyn Epperly, who I’ve talked to many times at Tidwell’s Art Gallery, but not in a while, said “I thought you looked familiar.” Jackie Wukela and Lynda English, who are members of Lowcountry Artists Ltd. are also part of the visual art community in Florence, SC, where they live and have a gallery. So this was a twofer – we got to talk about Charleston and Florence’s art communities.

Before long the end of the art walk was on us and it was time to head back to Bonneau. On the ride home a few things struck me. We’ve been to two art walks in two months in Charleston and the art walks have changed – as have the galleries and artists who fill them with works since the days when we went to every one of them.

Charleston’s visual art community is moving away from what many people have tagged it as being for years, a city of artists who are in love with the city, a bad rap in my opinion. Sure there is lots of “tourist” art here to be had – it’s what most tourists want and Charleston is a tourist town, but the artists have moved on to creating what they want – hoping that the more discriminating visitors will want to take that art home. And, a good number of the artworks are being made by artists who live elsewhere – all over the US. The so called “Charleston” art is no longer a novelty – it’s now moved into the realm of novelties – souvenirs.

And, the art walks as I knew them have also changed. There was a time when an art walk in the French Quarter was a near festival – one big party event. I used to equate them to going to the Mall during Christmas – you’d run into everyone you haven’t seen since the last one there, but not so these days. There is an art walk every month in Charleston and most galleries stay open whether they’re in the group hosting it or not. So, it’s not such a special occasion any more. Still, lots of people go to them and enjoy them, but if it rains a little it’s easy to say – I’ll just go to the next one.

Of course my memories are from the 1990′s – what I call the golden age of the visual arts in the Carolinas. It might not be fair to make comparisons to current times – an age where many people are attacking the arts to gain political points and the economy has suffered one blow after another.

I for one am glad to be able to go to them again, but it might be some time before I go to the next one. We’re a little exhausted at this point and there’s so much going on all over the Carolinas. If you don’t believe me – just check our paper out at (www.carolinaarts.com). See how long it takes you to get through it all – end to end.

A Day of Visual Arts in Charleston, SC, to See Works by Brian Rutenberg, Aldwyth, and More

Wednesday, December 16th, 2009

Well, the wintery weather continued on Saturday Dec. 12, 2009, so Linda and I traveled to downtown Charleston, SC, to see some exhibits that she and I did not have a chance to see when they first started. Our son decided to skip this trip – two days away from the XBox 360 and his computer was just too much.

Dec. 12 – that’s deadline day at Carolina Arts. How could we be away from our computers on that day? Well, unlike some of the people who wait until the last minute to send us their info – we had already processed all the info we had received and the 12th for us is usually a day of waiting for the 5pm deadline to come – checking e-mail every other hour. We decided our day would be better spent going to see some exhibits before it was too late. And, unfortunately, our Jan. 2010 issue was going to be smaller than issues in 2009. It woudn’t take that long to put together.

Our first stop was the Gibbes Museum of Art in downtown Charleston – after a few trips around the neighborhood looking for a parking space. We both were dying to see the exhibit, Brian Rutenberg: Tidesong, on view in the Gibbes’ Main Gallery through Jan. 10, 2010. There was no better day to go than one of the free admission Community Days, sponsored by the Junior League of Charleston. (Read an article about this exhibit at Carolina Arts at this link.)

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Fading #3

The place was packed with lots of children and parents as there were many school groups performing there that day and many art activities were being offered by the Gibbes – so I guess parents could view the exhibits, but I don’t think the children were letting their parents get too far away from viewing them – either performing or making art. Look mom – look dad – I’m making art! And, who knows, maybe one day that child will become an artist who has their work shown on the walls at the Gibbes. Look at Brian Rutenberg – I’m sure his parents made trips to the Gibbes from Myrtle Beach, SC. And, I’m sure he came to the Gibbes when he was a student at the College of Charleston. He may have wondered if his works would ever be shown there and here they are and man, the walls of the Gibbes come alive with his works – a few were thirteen feet wide. Not many artists can do justice to those walls in the Gibbes’ Main Gallery.

This exhibition was organized by the Jerald Melberg Gallery in Charlotte, NC, where they represent Rutenberg in the Carolinas, if not the Southeast. So, if you’re a fan of Rutenberg’s – that’s where you can see more of his work – that’s where you can buy his work. But, I’m sure if you see something in this exhibit you can’t live without and you’ve been a very good person this year and Santa has you on his A-list – the Gibbes can put you in touch with the gallery or you can just contact them. Here’s a link.

A lot of folks don’t know that works on display by most contemporary artists (meaning a living artist) in Museums can be purchased. As long as they are not already on loan by some owner or in a traveling exhibit, and even then, you can probably buy it – you just may have to wait a year or so before you can take it home.

While we were there gazing at one of the thirteen footers, Pavillion, 2008-09, one of the Gibbes staff members or volunteers came up to us and asked if we liked abstract art. A valid question, but in my mind I’m thinking – do I like abstract art – doesn’t she know who I am? Then when my bubble popped and I came back down to earth – I said yes – we like it a lot. And, of course the next logical question offered is do we know Brian Rutenberg’s work or are we familiar with his work? Again, my mind was spinning like crazy with witty replys, but just answered – yes we are. After a few more questions I introduced ourselves – avoided saying something funny.

A lot of folks don’t like or just don’t get abstract art, so these were questions worth asking to visitors – it gives the staff/volunteer an opportunity to educate the viewer or open them up to looking at the work with a new perspective. She was preachin’ to the choir when it came to us and she soon moved on. But these free Community Days attract a lot of folks who may have never paid to come to the Gibbes or don’t come that often – so it is a teaching opportunity. And, most folks wouldn’t expect that regular members of the Museum or the owners of an arts newspaper would come on a free day, but then they might not realize the poor state of newspaper publishing these days.

By now you might be thinking – when is he going to talk about the art? But again, like with the Ansel Adams’ photographs I talked about in my previous blog entry – I just don’t have the words to describe Rutenberg’s works. All I can say is, if you  have not seen his work before and you like abstract work – go see this exhibit. Even if you’re not a big fan of abstract work – here is an exhibit that could change your mind.

One interesting factor about going to see this exhibit on this particular day was getting to overhear some other people’s comments. One was about the dates on a few of the larger paintings which read (2008-09). They were wondering how long it took Rutenberg to do these works. For one thing Rutenberg works in oils – a slow drying medium. Some of these works had several inches of paint stacked up off the face of the canvas. So I’m sure with works that large and with that much paint on them, they had to be done over a period of time (maybe a year) – giving the layers of colors time to dry. He probably works on several of these large canvases at a time – going back and forth from one to the other. Usually at an exhibit’s reception or opening most of what you hear is about the food and drink and people wondering how much a painting cost and how someone who is listed as having a work on loan could afford it. You can hear conversation about just about anything else but art at a reception. I liked the conversations I was hearing bits and pieces of that day better. It was about the artwork and the artist.

Go see this exhibit, ask questions and listen to what other people are saying – there are no stupid questions in art. Well, sure there are, but we all have to be stupid at some point to learn something. I’m stupid all the time, but I’m getting less stupid all the time too.

If you want to learn more about Brian Rutenberg the Gibbes’ Museum Shop will sell you a copy of, Brian Rutenberg: The Sensation of Place, the first ever major monograph on the artist’s paintings and drawings. A copy was also sitting on a bench in the middle of the Main Gallery for visitors to look through.

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The book

OK, our next stop was at Nina Liu and Friends gallery in Charleston’s French Quarter, an area totally made up for marketing an art walk in Charleston. Nina Liu has an exhibit up called, Creatures Large and Small, on view through Jan. 31, 2010. This exhibit features paintings and ceramics by artists from around the country including works by Pat Benard, John Davis, Diane Gilbert, Jeff Kopish, Susie Miller Simon, Cynthia Tollefsrud, and  Aggie Zed.

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A work by Aggie Zed which may not be in the exhibit

We did more talking here than looking to write about, but if you’re into creatures, you couldn’t do better than the pieces by Aggie Zed. And, for fans of Cynthia Tollefsrud, there were a couple of small paintings there that won’t be available for long – that is if you’re looking to buy – her works sells fast. Plus there are lots of other interesting works in the exhibit, besides all the usual items carried there.

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A work by Cynthis Tollefsrud which may not be in the exhibit

Nina Liu was supposed to be long gone from Charleston by now, she was planning to sell her gallery/home and move down to her new home in Merida, Mexico – of course that was before the real estate market fell apart. She was slowly closing down the gallery operation and then had to start it back up again. If someone wanted to open a gallery in Charleston’s gallery district with a home to live in too – this is a great opportunity. For details by interested parties call 843/722-2724.

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A work by Aggie Zed which may not be in the exhibit

So for all the folks who may have heard last year that Nina Liu and Friends was closing – she’s still open and the gallery is full of all the same interesting work you have always come to expect. But, she won’t mind selling tomorrow if a buyer should come forth, but until then – it’s business as usual.

Last stop on our art tour was the new Halsey Institute of Contemporary Art, at The Marion and Wayland H. Cato Jr. Center for the Arts, at the College of Charleston. The first exhibit presented is, Aldwyth: work v. / work n. Collage and Assemblage, 1991-2009, on view through Jan. 9, 2010. This is the first of many events celebrating the School of the Arts’ 20th Anniversary, and it’s the inaugural event in the new building. (You can read an article about this exhibit at this link.

The exhibit curated by Mark Sloan is exactly what we have come to expect from him – an exceptional display of unbelievable art created by someone who is driven to an extreme in their creativity – and on the funky side. And, that is exactly how I would describe the work made by the artist Aldwyth, a woman in her 70′s who lives on St. Helena Island, near Beaufort, SC.

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Casablanca (classic version), 2003—6, collage on Okarawa paper with silk tissue, 78.5″ x 71″*

Carolina Arts first reported on this exhibit when it was at the Ackland Art Museum at UNC – Chapel Hill, in Chapel Hill, NC.

Again, my words would fail to adequately describe this work, but the title says it all – Aldwyth: work v. / work n. Collage and Assemblage. Aldwyth’s creations are – whether large or small – elaborate collages of items assembled – lots of items – eyes, faces, tiny hands, numbers, you name it. The collages tell stories – some are plain to see and others are very deep – too deep for me to figure out.

It is hard to imagine how much time this artist spends searching through books, magazines, manuals – any printed materials looking for images of faces, eyes, objects, phrases – to cut out and assemble into one of her collages. The word work is definitely a verb to this artist.

The large wall collages are massive – filled with information for the eye and brain – almost information overload.

There were a series of cigar boxes which except for the shape of the box, Aldwyth had transformed into little worlds about a certain subject. Every inch of the box is covered with items from other purposes or functions to create another receptacle for a number of related or unrelated objects – it was hard to tell at times. You could spend hours trying to figure out each box.

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Cigar Box Encyclopedia-Letter G, 2000, collage, found objects, various sizes*

One room in the gallery was presented as an installation – a gathering of objects made of numerous other parts and pieces of other objects – all collages and assemblages of more found, cut out, or collected objects. You get the idea that this artist is not satisfied with anything – the way it is.

My overall impression was to just be overwhelmed as to how much time and thought this artist must spend on each of her creations. It’s not hard to believe that this exhibit was being produced over the last 18 years.

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A Walk in the Woods, 1990, things picked up while a visiting artist on Spring Island, SC, 8″ x 7″ x 7″*

I’m not usually a fan of assembly art. I tend to think of it as objects or piles of objects – new or found – as something put together by a person with no other real artistic talents, but in this case you just have to appreciate the artist’s efforts to get her message across – whether you get that message or not. I would consider her a master at her craft. I haven’t seen anything like it in my 20 plus years covering the visual art community in the Carolinas. That’s not saying much on a world scale, over the history of art, but I found it impressive and I’m not easily impressed. In bigger cities and other countries – artists like Aldwyth could be a dime a dozen, but I doubt it – or she wouldn’t have impressed Mark Sloan, who I’m sure has seen much more than I have.

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View of gallery*

No matter what your tastes in art are I would say this is a must see exhibit. In fact, I would say it’s probably a must see – several times exhibit. I hardly feel the time I spent looking at the works shows enough respect to the artist. It’s not as if I feel a responsibility to see all art artists create, but I hope to see this exhibit again. Like a complex movie – the second and third time you see it you pick up so much more information that you missed in the first viewing.

The new gallery space is larger than the old Halsey Gallery, with many new additions, including a reference library, a video viewing room, and all on one level. The reception hall is expansive and I’m sure it will be filled with each new exhibit. But, even on a dreary Saturday afternoon we had to drive around looking for a parking space and ended up a ways from the gallery, but that’s expected in Charleston. There are parking garages not too far down the street from the gallery in several directions.

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View of gallery space*

You can see more images of the gallery space and this exhibit at this link.

The Halsey Institute of Contemporary Art will be closed during the College of Charleston holiday break Dec. 26 – Jan. 2, 2010. If you miss it in Charleston, the exhibit will move on to Jepson Center @ The Telfair Museum of Art in Savannah, GA, on view from Feb. 10 – May 17, 2010.

On Jan. 9, 2010, from 1-4pm, the College of Charleston’s School of the Arts will celebrate the grand opening of its new building the Marion and Wayland H. Cato Jr. Center for the Arts, 161 Calhoun Street (Calhoun at St. Philip Street). The community is invited to explore all five floors of the $27.2 million building while enjoying sweets and mini-presentations of music, theatre, dance and other events. Guests will also enjoy the final day of an exhibition of works by Aldwyth, in the Halsey Institute. This esteemed artist will give a lecture at 2pm in the Recital Hall of the Simons Center for the Arts, adjacent to the new building.

*All photos of Aldwyth’s works were taken by Rick Rhodes and are courtesy of the artist and the Halsey Institute of Contemporary Art.

There was another exhibit up in the reception hall entitled, Illuminating Pages, part of a class project I guess, but it’s one of the problems at the College – they have a habit of not putting too much effort into publicizing internal exhibits – like student work. Just being at the Simons Center every month delivering papers I’ve seen many a student show which I’m sure most of the community was never aware of – offering some good work at times. They should put as much effort into letting people know about these shows as they do the Halsey Institute of Contemporary Art exhibits. Like I said earlier, a former C of C art student, Brian Rutenberg, is now being featured at the Gibbes Museum of Art and all over this country. So, you never know who the next super stars of the art world will be.

Well, it was quite a couple of days of viewing art – quite a variety too, but it’s always enjoyable when that happens, as it doesn’t happen that often. When you do an arts newspaper it’s kind of like being a shoemaker – you don’t get to walk around so much.