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 (www.NorthCharlestonArtsFest.com).

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 (http://www.carolinaarts.com/512/512carolinaarts.pdf).

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I started off my trip to the 2012 North Charleston Arts Festival with a trip to the 7th Annual National Outdoor Sculpture Competition and Exhibition at the North Charleston River Front Park at the old Navy Base on the Cooper River where I think I gave a pint of blood. No, there wasn’t a Red Cross blood drive going on, but the mosquitoes where taking their fair share of blood from me. I don’t know if it was that I got there so early, about 9am, before the sun made them run for the shadows, but they were out in force, so you might want to take some spray if you go there – just in case. But this show will be up for a year – so no hurry.

I completely missed last year’s event so I wanted to make sure I photographed this year’s event, but I think the exhibit was still being set up so we’ll wait for that posting a little later, but here’s a little tease. I don’t have names and info yet.

I next headed over to the Charleston Area Convention Center for the Festival’s Main Event which is the site of many of the Festival’s exhibitions and competitions. I’ve never arrived at the Main Event when it was opening and I was amazed at the river of people flowing into the Convention Center to get their first look at the Festival’s offerings. This place was wall to wall art offerings – performances of all types and visual arts in every area of the facility, including the exhibits and artists’ booths selling their creations. Music could be heard just outside in the courtyard between the Convention Center and the Coliseum where area graduations were being held. I heard many a folk headed to the graduation say the festival was their next stop.

I started out at the Judged Fine Art & Photography Competitions and Exhibitions to see who the big winners were this year. I was really curious to see if Denise L. Greer was dominating the competition again this year. She’s been all over the place and even has a big solo exhibit at the Sumter County Gallery of Art through July 6, 2012.

The artworks were marked better this year, but for this 60 + guy I wish they would put the ID tags at the top of the works instead of at the bottom. I really had to test my ability to bend over to see who some of the artists were. My apologies to those folks who got a way too close look at my rear during this process. The lighting here is not so good, so in fairness I didn’t take any photos of these works.

Denise L. Greer didn’t do as well this year as she did last year. She won two Honorable Mention ribbons in Mixed Media and Watercolor. But I think she might have been robbed of a higher award in the Oils category due to some bad placement. But, that’s just my opinion. She had a small work in a very dark area of the Center – with almost no light on her work. The work itself was also very dark which didn’t help. From what I could see the work could have been very interesting, but hard to tell and I don’t see how any judge could tell either, but that’s the luck of placement – a factor in any competition. But I have to tell you there is a certain lure to an image you can’t see very well. I spent three hours looking at art that day and I kept going back to see if the lighting got any better, but it was always the same. Pretty soon I was getting the feeling that someone was trying to keep something good from me and that this work might be the best work of art in the world and I was being denied a look at it. That’s kind of crazy, but it’s how I felt.

Bob Graham, another dominating force at this show from year to year had won 1st Place in Drawing and 2nd Place in Watercolor. But Best of Show this year went to Shelia Thompson, an artist I do not know of, but the work was very good – so I’ll keep an eye out for that name in the future.

There were a number of new people with works in the show this year and a lot of the same people. I was glad to see Peter Scala had work in the Oils category. He won 2nd Place in Oils. His style does stand out from a lot of artists and I was glad to see that the judge agreed with my taste in art.

After a couple of turns around this exhibit to make sure I saw everything, I went to look at the Youth Art Competition and Exhibition next, which got a better placement than the Adult works did – lighting wise. This was a massive display of student art in three groupings, 1-5 grades, 6-8 grades, and 9-12 grades, from various schools in North Charleston, which includes the Charleston County School of the Arts.

A lot of people who come to see the art exhibits seem to dismiss the Youth Art, especially if they don’t have a child of their own whose work is on display, but I like looking at it to get a glimpse into the future of our art community and I saw some strong signs that things are doing well there despite cutbacks in school art funding.

My favorite work in the 1-5 group was by Jose DeLa Cruz, a student of Peggy Bennett at Howe Hall AIMS. This photo stood out from all the works I saw – there was nothing else like it.

Work by Jose DeLa Cruz

Another favorite was in the 9-12 group by Allic Alcerno, a student of B. Moore at the School of the Arts for a haunting portrait. (Not sure about the spelling of names here as tags were hand written.)

Work by Allic Alcerno

But I have to say the most impressive thing I saw in the Youth Art show was a group of works by students of J. Carol Gardner at Hanahan High School in the 9-12 group. Works by Eliza Westbrook, Tristen Mincey, Anthony Gabrish, Cody Dawson, Katie Hancock, Alyssa Black, Kaytlin Clack, Frances Fisher, and Ashley Seiderman were outstanding. Other students from that school had good works too. And the types and styles of the works were all over the spectrum of media. It showed that students don’t have to go to a school especially set up for the arts to get good training and guidance. This was the sign of a good art teacher. But that name seemed familiar.

I went back to the Adult competition and found that this teacher practiced what she preached. J. Carol Gardner had won an Honorable Mention in Oils and Mixed Media and a 3rd Place in Mixed Media. And, it was also good to see that the teacher wasn’t turning out clones of the teacher. The student work was very different from what the teacher was presenting. That’s not always the case in the student/teacher relationship.

I hate to say it but some of the works in the Youth Art display were better than some of the works in the Adult Art exhibit. But, again – all this is just my opinion. Others would see things totally different and neither of us would have the final right opinion. After all it’s just an opinion or how you feel at the moment – educated opinion or not – that’s how juried shows are.

I next went into the room the SC Palmetto Hands Fine Craft Competition and Exhibition was in and the first thing I noticed was that it seemed to be much brighter and it was a lot easier taking photos. This may just be another opinion, but I think my photos were better.

This show is always interesting, showing some of the best craft work being done in SC, but I know there are many others out there that don’t enter, but the works presented show viewers a good sample of the quality being done in our state. And, selected works from this show will travel throughout the state for a year.

The good thing here is that I can let photos do most of my talking.

Pearl Fryar’s Glorious Garden, clay by Patz Fowle

High Chair Driver, mixed media by Dennis Vernon

Cleo Car, mixed media by Dennis Vernon

Spool Cradle, mixed media by Susan Lenz

Close up of spools in Spool Cradle, mixed media by Susan Lenz

Mark Leaving Series #2, mixed media by Fran Gardner

Some of My Very Best Friends, clay by Pamela L. Steele

Brown Jug, clay by Pamela L. Steele

Time Signature, mixed media by Susan Lenz – back

Time Signature, mixed media by Susan Lenz – front

Tone: 31, mixed media by Doni Jordan

Container, clay by Tuula Ihamaki-Widdifield

Lidded Jar, clay by John Johnson

Handed Down, mixed media by Susan Lenz – Best of Show

My last art viewing of this day was the Photography Competition and Exhibition which included works by professional and amateur photographers. This year’s offerings included another outstanding group of images. I’m an old photographer myself (in a time – far, far away) and for some reason I feel funny about taking photos of photographs – so I didn’t.

There was a time when I would recognize many of the names of the photographers in this display, but I don’t think I recognized one. But, that’s not unusual in that I’ve been out of the local photography scene for several decades and many of the people I know no longer submit their images to be displayed in a way that anyone could reach out and handle their images – including children with sticky fingers. So, I admire those who had excellent images, yet still participated in this competition. What they get back after a couple of weeks may be very different than the prints they submitted.

About this time that massive art viewing headache was coming on strong. It’s one of the side effects of viewing too much art in a short period of time.

What was my lasting impressions of these shows?

First off, my favorite work might have been that work by Denise L. Greer hidden in the shadows, but today Fran Gardner took the prize. It might be because it’s been so long since I’ve seen her work, but it was such a surprise and joy to see what she was up to these days. And, I liked it. I’d like to see an exhibit of her works in a gallery setting and I think a lot of other folks would enjoy it too.

Mark Leaving Series #3 by Fran Gardner

Second, the works by Hanahan High School students and their teacher left me with a positive impression that an individual art teacher can still make a big impact on children to express themselves through art – despite funding cuts. And, it makes you think what could they do with proper funding?

Except for the Youth Art show, the other shows will be on view through May 12, 2012. Viewing times include May 7-11, 9am-5pm and May 12, 9am-noon, with free admission and parking.

The 2012 North Charleston Arts Festival offers a lot more exhibits throughout North Charleston during the festival. You can find out about them in our May 2012 issue of Carolina Arts. You can download a copy at (http://www.carolinaarts.com/512/512carolinaarts.pdf) or you can check out the info by visiting the festival’s website at (http://northcharlestonartsfest.com/).

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Read more here: (http://www.thestate.com/2012/05/05/2264061/7-graduate-from-american-college.html).

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.

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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 and Renewal, (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 (www.scottsdaleartauction.com). Sale date for 2013 has been set for Saturday, April 6th.

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

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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 Stones exhibit 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 (http://halsey.cofc.edu/exhibitions/aggie-zed-keepers-keep/).

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 (www.halsey.cofc.edu).

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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 (www.wellsgallery.com).

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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 for Olympic 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 (www.charlestonartauction.com).

For further information contact Jack A. Morris, Jr. by calling 843/842-4433 or e-mail to (jack@morris-whiteside.com).

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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 (www.charlestonartauction.com). Arrangements to attend may be made at 843/785-2318 or 843/722-2172 or through the website at (www.charlestonartauction.com). 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 Groves, 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 (www.charlestonartauction.com) the week following the sale.

For further information call 843/785-2318, 843/722-2172 or visit (www.charlestonartauction.com).

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Greenway Studio in Charleston, SC, will present the exhibit, Ramblings, featuring the fantastical surrealism of Peter Scala, on view from Sept. 17 through Oct. 15, 2011. A reception will be held on Sept. 17, from 7-10pm.

Scala was born in Greenwich Village, NY. He was greatly influenced as a child living at a Hudson Street painter’s studio – which was the workplace of his father Victor Scala (Cubist) and Franz Kline (Abstract Expressionist).

Scala has traveled extensively throughout Africa and Asia; which is a firm inspiration in many of his paintings. In this array called, Ramblings, Scala renders his paintings in egg tempera and oil paints, delicately applying multiple layers of color, resulting in a chatoyant and dream-like display.

Greenway Studio is located at 10 Daniel Street, just off Hwy. 17 South, between Gene’s Haufbrau and St. Andrews Shopping Center in Charleston, SC. The gallery is open Wed.-Sat., 10am-6pm or by appt.

For further information call the studio/gallery at 843/766-4330 or visit (www.greenwaystudiollc.com).

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We didn’t receive any info about this exhibit at Carolina Arts, but on July 3, 2011, I went to the Charleston County Public Library’s Main Branch in Charleston, SC, to pick up our goddaughter, Zelda, for a 4th of July visit here at the headquarters of Shoestring Publishing Company on the shores of Lake Moultrie at Bonneau Beach, SC.

The Library was showing the exhibit, Moving Into Stillness, featuring works by Jennifer Ervin. After viewing the exhibit I wrote in her book for comments that, “this was the best photography exhibit I’ve seen this year in Charleston. The works reminded me of Edward Weston’s photographs.” This was high praise in my book.

In a short statement about the exhibit, Ervin mentioned that she does a lot of walking and picks up a lot of objects along the way. Some of these objects end up in simple, straight forward images, presented wrapped in warm, soft light and printed as such. The images and the exhibit overall gave me and I’m sure most viewing it – a warm, nostalgic feeling. It was also a very well presented exhibition. It was almost like stepping into a little side room of a major art museum.

I didn’t have my camera with me, but it would have been near impossible to get any useful images as the works were under glass and there are always lots of reflections in this small room. I took a few notes on a couple of her business cards.

Zelda, who is also interested in old school photography also like this exhibit. More high praise.

Later when I got home, I checked out Ervin’s website and saw an image there I recognized. Turns out that Carolina Arts featured an article about an exhibit Ervin had at Francis Marion University in Florence, SC, in our Feb. 2011 issue. She was also in the the Pee Dee Regional Photography Exhibit 2011 – Photofabulous! at the Art Trail Gallery in Florence, but I must of missed her works somewhere in the 1,000 + images offered. Ervin’s works definitely grabbed my attention in a solo setting.

And, yes, I do not have a photographic memory or the ability to call up all info that passes our way at Carolina Arts. I have a hard enough time putting the right artist in the right gallery in the right city in the right state at times, but I do better than most.

I contacted Ervin by e-mail to see if she could send me some jpegs of works in the exhibit so you could see some of what I saw. She sent a few which we have here. But, the exhibit as a whole is much better to see.

I found a little statement offered on the website about this exhibit, Moving Into Stillness. There was this quote form Frederick Sommer, “Life itself is not the reality. We are the ones who put life into the stones and pebbles.” And, this quote from Ervin, “This collection explores still life with an emphasis on design, carefully selecting details to create a poetic visual language that transforms objects into sensory experiences.”

But, I think one of my favorite images in the exhibit, broke the rules a little bit – which is OK. The work titled, Figs (in the studio), was like most of the other images – a simple image of some figs, but at the bottom of this image – a ways from the depth of field of the lens (a technical photographic term for the area of sharp focus, front to back) you could see the photographer’s feet. It was a little hint that these images are not a record of Mother Nature’s work. They are images of objects from nature created by a skilled photographer – in order for the viewer to see ordinary objects in a way you will stop and look at them.

I read statements by a lot of photographers who say they are capturing images of everyday objects we all pass by or overlook in our fast-paced lives, but it’s not always true. It just sounds good to say. And, too many photographers use that line for the excuse that they can’t find interesting images to capture, but Ervin in the image, Figs (in the studio), reminds us – she is making these ordinary objects interesting to look at – in her environment. Is that not one of the basics of art in general?

I don’t want to see images of the minutia of life. I get enough of real life minutia – 24/7 as is.

I also found a little bio info on the website, telling me that Ervin studied painting and photography at Francis Marion University, and received her MFA in Graphic Design from Boston University in 2002. Her work has been actively exhibited in the Southeast and she will have two solo shows in 2011 – the one at FMU and this one at the Library. Ervin received the Jo-Ann Fender Scarborough Award (2009) for work from her “Becoming” series. She lives in Charleston, with her husband and three daughters.

Three daughters! I’m amazed she can get any work done. But artists seem to manage. It’s funny, but it seems like artists with families get a lot more work done than those that don’t. Maybe it’s because the ones without families and all that comes with them – have more time to talk about doing art and those with – just have time to do.

I wish we had known about this exhibit for our July 2011 issue, but I would strongly advise anyone in the Charleston area to go see this exhibit. It’s worth the effort. I’m glad I saw it by chance.

You can see more of Ervin’s artworks at (www.jenniferervin.com) or for further info e-mail to (jenervin5@gmail.com).

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