Posts Tagged ‘Visiting Charleston SC’

Fine Art Prints by Corrie McCallum Available for Sale

Tuesday, July 31st, 2012

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

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

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

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

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

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

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

Corrie Parker McCallum (1914 – 2009)

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

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

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

You can read more about McCallum at this link (

Colorful Prices by Pernille Ægidius Dake, a Guest Commentary

Monday, July 16th, 2012

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

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

“Ida Reading a Letter,” by Vilhelm Hammershøi

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

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

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

by Jens Søndergaard

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

by Jens Søndergaard

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

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

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

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

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

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

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

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

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

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

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

Thursday, July 12th, 2012

I understand there are still some tickets available.


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

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


The 2012 pairings are:

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

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


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

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

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

A Trip to Charleston, SC, to see Colin Quashie’s Exhibit at Redux and the French Quarter Art Walk

Thursday, May 10th, 2012

Some people say that 60 is the new 40. Maybe, but on this day I was feeling my 60 years in full force. Last week I spent three fast days taking in the arts. I was in Columbia, SC, for a few hours on Thursday doing an emergency gift trip to One Eared Cow Glass. I spent more time in the car than in the gallery, but it was worth it. On Friday, I went to Redux Contemporary Art Center in Charleston, SC, seeing the exhibit that helped set a record for viewers of Carolina Arts and doing a bit of the art walk in Charleston. By Saturday morning I was back in North Charleston, SC, doing the North Charleston Arts Festival I blogged about earlier. On Sunday, I was dead.

I did the blog about some of the North Charleston Arts Festival exhibits first as they will end on May 12, 2012. For info about other exhibits being offered visit (

So, Friday I went to see The Plantation (Plan-ta-shun) featuring works by Colin Quashie as it was going to end in a few days. I didn’t want to miss the exhibit that launched over 112,000 downloads of our paper. It was the first time I’ve been to Redux since their major renovation and the place looked great. Seeing Quashie’s works up close was a testament to the mission of our paper. We exist only to show you what you have an opportunity to go see every month. We don’t want to be your outlet to the visual arts in the Carolinas – we want you to go see art. No matter how good things look in the paper, they will never look as good as they do when you’re standing in front of them.



Quashie’s works were even more powerful seeing them in their true scale – something we can’t duplicate in our paper. These works were much larger than I expected. I know we sometimes give the dimensions of works with some images we present, but they’re just numbers until you’re standing in front of the actual works. It works the same way for smaller works too.


I love the works that poke fun at how “Madison Avenue” might market slavery today. They’re clever statements about the past and present, but I loved Quashie’s portraits more. I can’t write in “art speak” but I hope this exhibit finds other venues in the Carolinas and I hope Quashie continues the series. And, I sure wouldn’t mind featuring more works by him on our cover – someday down the road.



While at Redux I discovered they have another gallery space, called the Conolly Studio Gallery which features current works by some of its studio artists every eight weeks. This was news to me and a slip by the folks at Redux by not informing us about it. It was a good thing I checked it out, as while there, I ran into one of my favorite artists, Karin Olah Knowlton, who left Charleston for a Rocky Mountain high to live in Colorado and got to meet her very new daughter Ali. Karin has some of her new floral works (fabric paintings) on exhibit at Robert Lange Studios in Charleston. That was an unexpected pleasant meeting.


Go see her works at RLS soon – I bet they won’t last long before they are sold and off to new homes.

Next stop – Charleston’s French Quarter and my first stop there was Nina Liu & Friends, on State Street, as Liu was back in town for the Spoleto season. She finally moved to her new home in Mexico this winter, but is still looking to sell her “prime location” home in downtown Charleston. And, Spoleto visitors always bring a new crop of future Charlestonians – they come – they fall in love – they move to Charleston.

The gallery is presenting the wonderful black and white photographs of Michael Johnson through June during Spoleto. You would think that since she moved to Mexico the gallery would be a little sparse, but it was full of art. So all of you Nina Liu & Friends fans – the gallery is open and ready for business, but the building is also for sale.

You hear that greater visual art community out there? A gallery/home in the heart of Charleston’s French Quarter art district is available for anyone interested in opening a gallery or expanding their business to Charleston. Of course I’m not looking forward to the day when Liu is gone to Mexico for good – I’ll miss her and our conversations.

I got to Nina Liu & Friends well before the Art Walk officially opened and she was having some new lighting installed, so I slipped out to go over to Robert Lange Studios, just around the corner on Queen Street, to see those works by Karin Olah Knowlton, and then I walked over to Lowcountry Artists LTD on East Bay Street to see the exhibit,  Painting With Fire: Lowcountry Impressions in Clay, featuring works by Marty Biernbaum, on view through May 31, 2012.

That’s the beauty of the French Quarter – you can’t toss a stone in any direction without hitting an art gallery. If you run and just barely stick your head in each door you might be able to visit them all in one art walk, but you really have to narrow your visits to a few if you want to see some work and if you’re like me – there will be some talking going on too. I don’t get to the art walks that often, but I still know a lot of folks there.


Biernbaum’s works looked great in our paper, but also much better in person. And in person you can get that tactile experience too. I’m not saying you can touch all art works, but it’s usually OK with pottery. Just remember – you drop it – you bought it. And you don’t always have to pick things up to get a little feel.

That exhibit was about 20 minutes from officially opening, yet they say they had already sold a third of the works. Better get down to see this exhibit fast. Of course they have lots of other art there too, so you won’t have to leave empty handed if the pottery is all sold out, but I bet Biernbaum has some backup works on hand.

I checked back in at Nina Liu & Friends, but Liu was busy with another art walk matter and it was just after 5pm so I headed across the street to see the exhibit, First Light by Shannon Smith, on view through May 18, 2012 at Smith-Killian Fine Art, on the corner of State and Queen Streets.


I’ll never admit to having a favorite out of the Smith clan, but Linda claims I’m partial to Shannon’s work. I’ll invoke the 5th in any court, but she had some spectacular works on display, but I also saw a pretty fantastic view of Charleston from Mt. Pleasant by Jennifer that evening and it was just a year ago when Betty’s abstracts knocked my socks off. And, being an old black and white guy myself – Tripp holds his own in that clan of artists. So, how could anyone pick a favorite? That’s what I say and I’m sticking to it.

My next stop was going to be Corrigan Gallery, further down Queen Street, to see the exhibit, Landscape Reconfigured, featuring new works by Linda Fantuzzo on view through May 30, 2012. I don’t know if it was the heat and humidity, the week of work, or the fact that my age was catching up with me, but that walk seemed like a couple of miles instead of a few blocks, and I was feeling it all.


The one disadvantage of the May art walk in Charleston is that at this time of year in Charleston, at 5pm the sun is still bearing down and well after the art walk is over the sun is still up. Because I’m an hour plus away, I can’t show up fashionably late like some when the temps are a little better and I still have to make that hour plus trip back home.

I finally made it there and I’m glad I did. I’ve known Linda Fantuzzo for a long time – way before Linda (my Linda) and I started doing an arts newspaper, and her works just keep getting better and better and they started out good. She was part of the old John Street art colony – back in the day with Manning Williams, Bill Buggle and Bobby Brown. If you know these folks – you’ve been around Charleston for a long time. We (Linda and I) were doing photo processing on John Street, but the City ran us all off when they built the Visitor Center causing high rents to settle in on John Street.

I got in a few words with Fantuzzo and Lese Corrigan, but this gallery was filling up fast and these folks needed to talk to some real customers. While I was checking out some of the other works in the gallery, I was offered some help by a young lady who I guessed was helping Corrigan out, she might have been an intern from the College of Charleston, I’m not sure, but she told me about Mary Walker, Kevin Parent, and John Moore’s work – which I was checking out. I never know what to do is a situation like that. I know these artists’ work well, but she didn’t know that and I didn’t see any reason to say anything – why should I, and what would I say that wouldn’t seem rude? She knew her stuff – much better than some I’ve encountered in a similar situation. I once had a gallery helper try to tell me Corrie McCallum was dead long before she passed and there was nothing I could say to change her mind.

Situations like that make me think of saying – “Look, I know Corrie McCallum, I’m a friend of Corrie McCallum – you don’t know diddily about Corrie McCallum,” and then storm out – but I don’t. What would be the use in that? I’m just an old dude who has forgotten more than some know, but a new generation is in control now. This wasn’t the case – this young lady knew her stuff and she was a real asset to the Corrigan Gallery. And, the next person might not know who these artists are.

I hate to admit it, but after Corrigan Gallery I was finished for the evening. I was going to be lucky to get back to my car and endure that hour plus drive home. Luckily, a good night’s rest made it possible to do the North Charleston Arts Festival’s Main Event the next day.

If people want to sell me on the notion that 60 is the new 40 – I know I felt a lot better when I was 40 and I’m not doing too badly now, but what else do you want to sell me – the Brooklyn Bridge?


You can read more about these exhibits in the May 2012 issue of Carolina Arts. You can download a copy of the paper at this link (

American College of Building Arts Graduates Seven in Charleston, SC

Saturday, May 5th, 2012

Here’s a headline I didn’t find on the Post and Courier website today. I had to see it in The State – 7 graduate from American College of Building Arts.

Read more here: (

I have two questions: How much money did it cost the City of Charleston and the local community to have these seven people graduate? Money that could have gone to other things. And, how many of the seven will end up staying in Charleston – six months to a year from now?

I wish this was a joke, but it’s just another of Mayor Joe Riley’s follies.

Oh – let me throw in a third question: I wonder how many students will graduate from Johnson & Wales University in Charlotte, NC, this year? Another of Mayor Joe Riley’s follies.

Scottsdale Art Auction in Scottsdale, AZ, Leads Western Art Sales With Over $16 Million

Friday, April 13th, 2012

What has this got to do with the Carolina visual art community? – you might ask. Well plenty.  Jack Morris, organizer of the Charleston Art Auction is also organizer and partner of the Scottsdale Art Auction. What happens in Scottsdale could happen in Charleston, SC, one day. So it’s related.


The largest crowd in history pressed auction prices to a new high for collectors of Western American art in the Scottsdale Art Auction sales room during two sessions on Saturday, March 31, 2012, in Scottsdale, AZ. When the hammer fell on the last of 392 lots offered, sales totaled over $16,250,000.00.

Top lot for the auction was a world record setting Howard Terpning oil,Captured Ponies (estimated at $400,000 to $600,000) that was fiercely contested by several bidders before it fetched $1,934,000 to a buyer on the telephone.  A Terpning oil earlier in the sale, Mystic Power of the War Shield, (estimated at $600,000 to $900,000) had broken the previous record when it sold for $1,710,000. By the end of the sale, six Howard Terpning oils and one drawing had achieved a total of $5,018,250.

Howard Terpning oil, Captured Ponies

The morning session was highlighted by Ron Riddick’s oil, The Blessing Dance, (estimated at $30,000 to $40,000) that brought a new record of $109,250 and a small oil, True Love, by Ray Swanson, (estimated at $3,500 to $5,000) that sold for $17,250. With 93% of the first session lots selling to an enthusiastic crowd the stage was set for an afternoon featuring works by the Taos Founders, Cowboy Artists of America and legendary paintings and sculpture by Russell, Remington and Frank Tenney Johnson.

Notable achievements included Frank Tenney Johnson’s oil, When all is Quiet, (estimated at $400,000 to $600,000) that sold for $575,000,Packin’ In, (estimated at $200,000 – $300,000) that brought $316,250 and an exceptional oil by W. Herbert Dunton, Roping a Wolf, (estimated at $250,000 – $350,000) that fetched $402,500.

Other lots of special interest featured Charles M. Russell’s oil, Indian Scout on Horseback, (estimated at $400,000 to $600,000) that reached $690,000, a Russell bronze, A Bronc Twister, (estimated at $125,000 – $175,000) that hammered for $258,750, the iconic Frederic Remington bronze, Bronco Buster, (estimated at $75,000 to $125,000) that brought $87,250 and a dramatic Herman Herzog, oil landscape, In the Yosemite Valley, (estimated at $40,000 to $60,000) that sold for $207,000.

Among contemporary Western masters, Tom Lovell stunned the crowd with Marking the Crossing, an oil (estimated at $125,000 – $200,000) that sold for $402,500, two wildlife oils by Bob Kuhn, Game Watchers, (estimated at $200,000 to $300,000) that brought $230,000 andRenewal, (estimated at $100,000 to $200,000) that sold for $115,000.  An important early oil by Tom Ryan done on the 6666 Ranch, Two More for Chow, (estimated at $40,000 to $60,000) fetched $69,000 and an impressive Western landscape by Clyde Aspevig set a new record for the artist when it hammered down at $99,250.

Tom Lovell’s Marking the Crossing, an oil

With 90% of the 392 lots sold, one hundred twenty-seven lots (32%) exceeded the high estimate and the total sale exceeded the total low estimates by 20%. Over 500 potential bidders in the room and a telephone bank of 10 operators kept auctioneer Troy Black on his toes for over six hours. Scottsdale Art Auction has clearly established  leadership among auction houses for American Western, sporting and wildlife art.

For a complete list of all sales results visit ( Sale date for 2013 has been set for Saturday, April 6th.

For further info contact Jack A. Morris, Jr. by calling 480/945-0225.

Finally a Trip to See Aggie Zed’s Exhibit at The Halsey Institute of Contemporary Art in Charleston, SC

Thursday, March 8th, 2012


One of the cruelest things in life is that we don’t get to do everything we want and sometimes even when we do get to do something – it’s too late.

In this instance, I’m lucky I got a chance to see this exhibit at all, but it was too late to do so and encourage others to do so, as the exhibit ends on Saturday, Mar. 10, 2012. Of course we did feature this exhibit on our Jan. 2012 cover of Carolina Arts. I guess that’s something.


But, if you can, I’d advise anyone who likes what they see here in this posting, to try and go to The Halsey Institute of Contemporary Art at the College of Charleston School of the Arts in Charleston, SC, to see Aggie Zed: Keeper’s Keep, featuring new works by Virginia-based artist Aggie Zed. I’m sorry about the short notice, but I think this exhibit may be coming to a facility in North Carolina, but I have no details at this time.

Aggie Zed was born in Charleston and raised on Sullivan’s Island, SC. So, like Jasper Johns who was once from Edisto Beach, SC, we can claim her as one of ours. But, for anyone who has been a regular visitor to Nina Liu & Friends Gallery in Charleston, Zed’s paintings and sculptures are old familiar friends. Some of her human/animal creatures have been featured in one of the gallery’s windows for 20 years or more. Of course not the same figures – they never lasted that long before someone was taking them home and they would be replaced by others – stranger than the last.

Once a Little Church, 2006

Who Will Keep the Keepers Themselves?, 2009

I hate to admit it but I have never been a real fan of Zed’s paintings. That’s just me, but it’s why I’ve concentrated on the sculptures and installations of the sculptural figures I could photograph – some were under Plexiglas. I know there are tons of folks who love her paintings as much as her figures/creatures. Some probably love them even more than the sculptures. People have different likes. I fell for the creatures – the weirder the better. Again, that’s just me.

Elephants Observer, (installation), 2009

Elephants Observer, (detail)

Elephants Observer, (detail)

I haven’t seen anything like Zed’s installations since the Sticks and Stonesexhibit offered at the Old Slave Mart building during a Piccolo Spoleto Festival – way back when, put on by LOCUS Contemporary Arts Center. If anyone remembers that exhibit, they’ll know what I’m talking about.

Study for Debris Field, 2011

Brainchild, 2009

Feathers or ‘The Early Clone Gets the Contract’, 2005

Red in Fashion, 2009

There’s no time to go on about Zed’s works at this point, so I’ll let the images do the talking. You can see more images and a video about Zed at this link (

The exhibit will be on view Friday, Mar, 9 and Saturday, Mar. 10, from 11am-4pm. There’s plenty of parking by the gallery as the College of Charleston is on Spring break.



For further info call 843/953-4422 or visit (

The Wells Gallery in Charleston, SC, Features Exhibit of Works by John Michiels

Thursday, January 12th, 2012


Editor’s Note: Sorry, we have to correct the dates of this show.

The Wells Gallery in Charleston, SC, will present the exhibit, Quiet Space, featuring over 15 photographs by John Michiels, on view from Jan. 3 – 31, 2012. A reception will be held on Jan. 26, from 5:30-7:30pm.

Michiels’ creative spirit was evident from the beginning, but it took years of study, practice and experimentation before he developed his signature style that some have described as southern gothic. He absorbed and applied the principles of photography as espoused by Adams, Weston, Sexton and other photographers he admired, first emulating their techniques, then incorporating what he learned into his own artistic vision. In his smooth and detailed photographs, you will be able to see why Michiels loves to “play” the gray scale. “I chose monochrome photography because it simplifies and emphasizes my subject matter. I love the mood and feeling it conveys.”


Michiels’ photographs began winning awards in high school, encouraging him to pursue photography as the medium for his creative expression. He continues to gain recognition at the annual Piccolo Spoleto Outdoor Art Exhibit in Charleston, receiving 6 ribbons, including two for first place and a best of show/Mayor’s Purchase Award.

After working in a traditional darkroom for 25 years, Michiels gave it up in 2006 for digital printmaking after studying with John Cone and his staff at Cone Editions in Vermont. “Mr. Cone is widely recognized as a pioneer in digital printing. He’s the go-to printer for some of the most highly regarded artists in the world.”

“While at Cone Editions, I had the opportunity to use their printers and John’s Piezography ink-sets. This was the first time I’d seen digital pigment prints of my work and even though they had a different feel, the quality completely rivaled my darkroom prints,” say Michiels. Piezography inks are a monochrome set of pure carbon pigment inks and are unparalleled for tonal-range, sharpness and stability.

“I’m glad I spent so many years making gelatin-silver prints,” adds Michiels. “That irreplaceable knowledge gained in the darkroom, gave me an solid foundation for digital print making. I’m able to hold my carbon pigment prints to the highest standards.”

Michiels works with medium and large format and digital cameras, He personally completes every step of the printmaking process including framing. His photographs are produced, mounted and framed using archival processes and the finest materials. Current prints are offered in editions of 45 or less.

National and international art lovers, business owners and interior designers collect his South Carolina Lowcountry photographs.

For further information call the gallery at 843/853-3233 or visit (

6th Charleston Art Auction Sets New Sales Record in Charleston, SC

Thursday, November 17th, 2011

The 6th Charleston Art Auction set a new sales record on Saturday, Nov. 5, 2011, in Charleston, SC, when enthusiastic bidders, including recognized collectors from the Lowcountry as well as telephone and absentee buyers throughout the United States pushed the total above $700,000.

Phone lines were filled for several lots of contemporary masterworks including Clark Huling’s The Sugar Cane Vendor (estimated $200,000 – $300,000) that brought $218,000, San Miguel (estimated at $70,000 – $90,000) that fetched $88,550 and The Bread Wagon (estimated at $35,000 – $45,000) that hammered down at $51,750; Stephen Scott Young’s The Blues (estimated at $75,000 – $100,000) sold for $86,250 and a very rare portfolio of eighteen gelatin silver prints by Eudora Welty (estimated at $40,000 – $50,000) achieved $44,850.

Two highly prized bronzes by the noted American sculptor, Glenna Goodacre were eagerly sought through heated competition between the telephones and the audience.  A maquette for Carefree (estimated at $5,000 – $7,000) sold for $14,950 in the sale room and a maquette forOlympic Wannabees (estimated at $7,000 – $9,000) hammered down at $13,800 to a Virginia collector.

Hidden by Mary Whyte

Mary Whyte’s Hidden, a sensitive watercolor that places Whyte in the ranks of Andrew Wyeth and Stephen Scott Young, (estimated at $20, 000 – $30,000) sold on the telephone to a Connecticut bidder for $26,450. Whyte’s work was recently featured on CBS Sunday Morning and an exhibition of her paintings, Working South, is the subject of a recently released book and exhibition touring five museums in Georgia, South Carolina and Virginia.

Other leading artists from the Charleston Fine Art Dealers Association network (CFADA) included, William Berra, James Calk, John Carroll Doyle, Ted Ellis, Kim English, Russell Gordon, John Austin Hanna, Evan Harrington, Betsy Havens, Earl B. Lewis, Susan Lyon, George Pate, Robert Palevitz, Guido Petruzzi, Joan Potter, Jennifer Smith Rogers, Betty Anglin Smith, Shannon Smith, Rhett Thurman and Karen Larson Turner.

Bid caller for the evening event was Gerald Bowie who kept the audience alert with his quick pace and engaging manner as he, with son Mark and grandson John Mark serving as ringmen, represented three generations of auctioneers from the nationally acclaimed Auction Way Company in Georgia.  “Entertaining and exciting” was how spirited bidders described the sale as they exited the DoubleTree Guest Suites Historic Charleston on Saturday evening.

Attendees also noted a more diversified offering this year and solid bidding for premium works throughout the evening suggested that, despite rumors of a soft economy, the art market in Charleston, South Carolina is alive and healthy. Sale date for 2012 has been set for Saturday, October 20, 2012.

For complete results visit (

For further information contact Jack A. Morris, Jr. by calling 843/842-4433 or e-mail to (

6th Charleston Art Auction Takes Place in Charleston, SC – Nov. 5th, 2011

Thursday, October 20th, 2011

The 6th Charleston Art Auction will present over one hundred important paintings, sculpture and vintage prints by living and deceased artists who are generally associated with the South at the Double Tree Guest Suites in Historic Charleston at 181 Church Street in Charleston, SC, on Saturday, Nov. 5, 2011, at 7:15pm.

Jonathan Green, Daughters of the South, lithograph, 24 1/2″ x 23 3/4″

An illustrated catalogue is available for $25.00 and the entire selection of lots can be viewed online at the auction website at ( Arrangements to attend may be made at 843/785-2318 or 843/722-2172 or through the website at ( All works will be available for preview at the hotel from 10am to 7pm, Saturday, Nov. 5, 2011.

Auction principals Jack A. Morris, Jr., J. Ben Whiteside, David G. Leahy, Janie Sylvan and Joe B. Sylvan have over thirty years experience presenting fine art to collectors throughout the Unites States. “Our objective is to offer a showcase for the finest contemporary, representational work being created today” said Whiteside.
Shannon Smith, Shrimping Grounds, oil, 22″ x 28″

Artists presented will include Ken Auster, Bobby Bagley, Gerald Balciar, William Berra, George Botich, Joe Bowler, Scott Burdick, James Calk, Alan Campbell, Elaine Coffee, Guy Coheleach, John Carroll Doyle, Kathleen Dunphy, Ray Ellis, Ted Ellis, Kim English, Glenna Goodacre, Veryl Goodnight, Russell Gordon, Jonathan Green, Walter Greer, Chris G1011chasartauction-shannon-smithroves, Carol Guzmanj, John Austin Hanna, Michael Harrell, Betsy Havens, Evan Harrington, Mandy Johnson, Karin Jurick, Michael B. Karas, Jeff Legg, Earl B. Lewis, Weizhen Liang, Huihan Liu, Susan Lyon, Dan McCaw, Danny McCaw, Dean Mitchell, Joseph Orr, Robert Palevitz, Addison Palmer, Jim Palmer, George Pate, Guido Petruzzi, Joan Potter, Edward Rice, Jennifer Smith Rogers, Marilyn Simandle, Betty Anglin Smith, Shannon Smith, Loran Speck, Linda St. Clair, Rhett Thurman, Michelle Torrez, Karen Larson Turner, Mary Whyte, Scott Yeager, Stephen Scott Young and Alex Zapata.

Mary Whyte, Hidden, watercolor, 20″ x 20″

Morris, who is also a principal partner in Scottsdale Art Auction, which set a new record with $15,300,000 in sales on April 1, 2011, is responsible for the expanded offering of important work by deceased Southern masters.

“There is a renaissance of interest among collectors for fine Southern works,” Morris said, “and our sale offers an opportunity for new and experienced buyers to make significant additions to their collections,” pointing to works by William Halsey, Clark Hulings, Alfred Hutty, George Plante, Gigory Stepanyants, George W. Sully, Elizabeth O’Neill Verner, William Aiken Walker and Eudora Welty, among others.

William Aiken Walker (1838-1921), Wash Day at the Cabin, oil, 6″ x 12″

Collectors who are unable to attend the sale in person should contact Charleston Art Auction to make arrangements for absentee and telephone bidding prior to 5pm on Friday, Nov. 4, 2011. Sale results will be posted at ( the week following the sale.

For further information call 843/785-2318, 843/722-2172 or visit (