Posts Tagged ‘Tyrone Geter’

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 Layman’s View

Thursday, June 12th, 2008

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OK, here we go – my review of the SC State Museum’s 20th Anniversary Juried Art Exhibition, on view in Columbia, SC, through Sept. 7, 2008.

This should not be taken as a “professional” review, done by someone who has a degree in art history, art criticism or was educated in writing art reviews. It should not be taken as a review by someone who has been writing reviews for some time. It’s almost a first for me.

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Right off the bat I can tell you I liked the exhibit and enjoyed viewing it. I think that it is one of the best examples of a cross-section of the kind of art which is being produced in South Carolina by a wide variety of artists in a variety of media and subjects.

As a juried show where artists had to enter to be considered for inclusion, I realize the exhibit’s limits to be all inclusive or have examples of the best work being done in various media, but since 500 artists submitted 1000 works – I’ll accept the two jurors’ judgment as to what they selected to be in the exhibit – as the only work I see. I know who the two jurors were – Brian Rutenberg and Lia Newman – both I feel make good judges for such exhibitions. I don’t always feel that way about some jurors – some are the last people who should be a juror for an exhibition.

I’ll also add that I have never had a problem finding the SC State Museum (the building, the entrance, the restrooms, or the Lipscomb Gallery) since before it’s opening in 1988. We did a special issue just on the Museum’s opening back then. I’ll also thank the Museum for the free parking – right in front of the Museum. I even found a spot in the shade. A real bonus on the 95 + degree day I was there.

I paid my $5 admission and learned that what used to be Free Sundays, on the first Sunday of the month, was now $1 Sundays, but still only on the first Sunday of the month. But with a little planning you can save $4. It’s all a deal. Try finding a parking space in downtown Charleston, SC, Columbia, SC, or Charlotte, NC, and if you do – hope you get back in time before your meter runs out of time. With free parking it’s almost like free admission.

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by Tyrone Geter

This was my second visit to this exhibit, so my eyes were already expecting some works as I walked in the door of the gallery. Tyrone Geter’s work, Is This Who You See, jumps right out at you. That title starts you wondering right away. This mixed media piece is an image of a black man in what I say would be African clothing. The work is done in layers of paper, placed in a box frame with items assembled at the bottom. There are several simple drawings of images in the background suggesting – other personalities. As the title might suggest – if we see a black man in African dress – do we form an instant opinion of who he is or what kind of man he is? The objects assembled at the bottom of the box remind me of items that may have been owned by a black child and items that might have been found in a yard – like artifacts found on a visit to an old homesite after being away for many years. Does our dress make us who we are? Do our possessions make us who we are? Does our past make us who we are? The work definitely had me thinking. And, since the piece was dated 2004 – 2008, I imagine Geter had put a lot of time and thought into the work over time too – wondering.

I’ve always found that the first work that grabs my attention in an exhibition stays with me the longest. But, then again, most of Geter’s works that I have seen are very striking – they demand your attention. When you’re finished seeing this exhibit, go over to the Columbia Metropolitan Convention Center – not far away on Lincoln Street. They have another large work by Geter, as well as many other works worth seeing. And, it’s free.

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But I have to say, out of the corner of my eye a large work way across the room is calling, but I’m trying to proceed in some order.

If you turn right around you’ll see a couple of examples of Doug McAbee’s brightly painted steel sculptures. I’ve seen his work all over the Carolinas in outdoor settings. They’re always amusing and sometimes a puzzle to figure out what they are or are supposed to be.

Next on the attention radar is the piece Where Were You When the Moon was Full, by Aldwyth. This is a large collage on Okarawa paper. I had to look that up when I got home. Okarawa paper is Japanese paper suitable for student work – according to the internet. I’m not sure that particular type of paper added anything special to the work. If it wasn’t in the title I don’t think I would have wondered what kind of paper it was. Well, here was an image which could have hundreds of stories. The collage consists of cutout images of boats, sea creatures, eyes (1,000s of them), planes, birds, balloons, and hands – which all seemed to be surrounded by a circle of stages of the moon. The entire work was bordered by faces in droplet shapes over some sort of measure of time. There’s a lot of imagery to absorb. I know this was a piece which would be popular with children as the guard had to tell several not to touch it while I was in the gallery.

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by Lee Sipe

From there was Vessel No. 60 by Lee Sipe. This was an egg shaped vessel open at the top, made of what looked like copper wires wrapped with thread – which was a crimson color. The wires ran from bottom to top. The vessel was sprinkled with what looked like small copper coin-shaped pieces. I’d like to be able to add that work to my collection, but have you seen the price of copper these days?

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by Lynne Riding

Now I’ve entered what seems like a section of abstract works by a number of artists, with the most dominant work being an oil painting on linen by Lynne Riding entitled, Concerning Hope. This is a 7 ft. by 9ft. abstract work with a large orange shape – which looks like a big glob of the stuff in a lava lamp floating against a milky gray background with some white markings. Before you even enter the gallery you can see this work and it’s saying – look at me! It’s like the 900 lb. gorilla in the room – no matter what you’re looking at – out of the corner of your eye you can see it — demanding your attention.

This is what’s great about the Lipscomb Gallery space. It has big wall space which can take big works of art – look normal – until you get up in front of them. Concerning Hope is not the biggest work in the exhibit, but I’m getting ahead of myself.

At this point I want to revert back to my blog entry on June 6, 2008. This 7′ x 9′ piece is just one of two works Riding had to rent a truck in order to deliver her work to Columbia from Charleston – just for the chance to enter this show. I guess it’s debatable if this work would have had the same impact on the jurors if they saw it as a small jpeg or a slide, but I still think it is unnecessary to ask artists to deliver works to an exhibit space to be juried. We should all know how big a 7′ x 9′ painting would be – the smallest side is way over most of our heads – I mean way over.

In this abstract section was another work which was a surprise. I had to read the label twice but I was looking at a very large mixed media work by Gene Speer, entitled Highway 101 Series. Most of the work I’ve seen by Speer was colorful geometrically designed print works. But, the more I looked at it I could see the abstraction of these works into this painting. I really like it. I’d like to see more of this kind of work. I’ve said it before and I’ll say it again – I’ve got a thing for abstracts. It doesn’t mean I like them all, but I do like them.

Moving on we come to the largest work in the exhibit, About SC, an acrylic on canvas by William Thompson. I’m sure this work came to the Museum rolled up, but it still couldn’t have been easy to deliver – it had to be at least twice the size of Riding’s work – if not bigger. The image is a history lesson of South Carolina by Thompson – as he sees it or knows it. I guess you have to give credit to people who feel driven to create such works, but I just can’t seem to get into “visionary” works of art. In this piece I just don’t think Thompson is skilled enough to pull it off. The images painted on the map are not easy to recognize and there is a lot of writing, which is not all that easy to read. So if there is a message – it is probably lost on viewers who just don’t want to commit the time to figure it all out. There’s a lot of art in the room which is not that hard on the eyes. Other people really get into this kind of work – I just never have. It’s probably my problem and I have no problem with it being included in the exhibit. These artists are part of South Carolina’s visual art community and they should be included in exhibits that are featuring a wide variety of works. Like the WWII movie, A Bridge Too Far, this work may have been too big for Thompson to handle in his normal style.

Man Power, an etched copper and brass half sized figure of a man by Mana Hewitt was a clever reproduction of one of those old time illustration of looking inside something to see how it works. It’s usually a machine, but this man was full of gears and machine parts. His brain was filled with the word “Power” and some other sections, but I was too short to be able to read them. (The work could have been hung a little lower.) His heart was money. Is this an indictment on man? Is it the way employers see their workers or is this a look inside the head of the boss man?

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I’m not mentioning some works in the exhibit because I feel I’m too biased towards these artist’s works – some are in our art collection. Some of the artists I consider friends. This may not be fair to them, but I think most of them know how I feel about their work and I hope they can understand me not gushing about them here. It’s also nice to see that my own taste in art is matched by a couple of good jurors too. Besides I’ll find other ways to express my support for their art.

There are 122 works in this exhibition and I’m not trying to write a catalogue – I want people to go see it themselves. So here are some general thoughts on the exhibit.

To me, the abstract works were the strongest group of works in the exhibit. There was also a strong group of sculptures of all sorts. There is an excellent grouping of portrait paintings and drawings. Also there were some very interesting baskets and pottery pieces, but I felt that overall crafts might have been under-represented. And, I hate to say it but the photography in the exhibit – to me – was the weakest medium in the exhibit. There were some good photographs, but some not so good too.

Some works, I don’t mind admitting – go right over my head. They’re interesting to look at in an exhibit – they add the spice of life. I know they have a message, but I’m not receiving it. That’s OK with me. Like the workFuture Dust by Mike Lavine. It’s a button on the wall – like a campaign button with Future Dust printed on it and below is a child’s chair. That’s the work. Maybe someday I’ll be somewhere and the light bulb will go off and I’ll get it – maybe not.

There were some surprises in the exhibit. They shouldn’t be a surprise, but with the history of the Triennials (see previous blog entries) behind us and track record of other institutional exhibitions I hate to say it, but seeing some works in this exhibit did surprise me. More to the point – it was certain mediums and subject matter. That’s a good thing.

But, my biggest surprise was when I turned a corner and was facing a work rarely seen in our state in the last 38 years. It was Wisteria at Rose Hill State Park, a mixed media work by Bill Buggel. I came to South Carolina in 1974. In a few years I was working in a custom black and white photo processing lab. One of my bosses was Bill Buggel, who also operated a t-shirt printing business next to the lab. I knew Buggel was an artist and at one time worked at what was at the time the Gibbes Art Gallery in Charleston. He once told me he was no longer an artist because he could make more money designing and printing t-shirts. A few years later I got an opportunity to see some of the work he created and learned that in 1970 Buggel was named one of South Carolina’s most promising artists. That promise led to frustration – in playing the game – the art game. The game of it’s not what you create – it’s who you know and kiss up to.

I knew Buggel has been creating works again in the past five or so years, but he was having a hard time breaking back into the art community. So, there was a Bill Buggel on the wall in front of me. He made the cut of 116 out of 500. I bet you Buggel couldn’t get a return call from the SC Arts Commission. They don’t know any artists who may have been in their heyday in the 1970′s.

And, that’s another good thing about this exhibit – it seems the State Museum has thrown out all the old prejudices of the past 20 years dictated by the SC Arts Commission as to what art can be shown and what art will get grants. Let’s just hope we don’t have to wait another 20 years for another exhibit like this.

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by Peter Lenzo

OK, against better judgment I’m going to name (some) of my favorite works in the exhibit not mentioned previously. They include: Red Chair Alter – Jim is Dead by Peter Lenzo; SC Woman No. 2 by Meg Gregory;Three Receptivity Markers by Robert Lyon; Universal Bouquet by Enid Williams; Three by Brittany Bagwell; Weather Worn Boulder by Clay Burnette; Peaches by Wanda Steppe; and American Idle by Anthony Conway.

American Idle is like a portrait of a really nice young woman, but she’s probably a trailer park gal. In the background is a billboard, a water tower, power lines and a trailer. A nice pun on America’s top television show.

That’s it folks – go see this show. And, if you like it, let the SC State Museum know so they’ll be encouraged to do more like it.

Also since you’re going to Columbia, if you don’t already live there, plan for a day and go visit the Columbia Museum of Art and some of Columbia’s commercial galleries too.