Posts Tagged ‘Charleston SC’

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 (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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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: (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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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 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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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 (www.wellsgallery.com).

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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 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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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 (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, Features Works by Peter Scala – Sept. 17 – Oct. 15, 2011

Tuesday, September 13th, 2011

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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Shoestring Publishing Company Has Been Publishing an Arts Newspaper for 24 Years

Friday, July 8th, 2011

In early 1987, I got a real crazy idea. For some reason I thought what Charleston, SC, needed was an arts newspaper to tell its story and inform the good people of Charleston what was going on, from month to month, in its art community. I waited until after the Spoleto Festival was over to launch the paper in July, 1987. Now, 24 years later I’m thinking – What was it thinking?

I mean, why did I wait until after Spoleto, when the largest arts audience was in town? I knew why I started the paper. There wasn’t enough coverage of the arts in Charleston and it’s still a problem today – not just in Charleston but all over the Carolinas.

Somewhere along the line we decided to just focus on the visual arts – mainly exhibitions.

I’m sure there are many more people out there besides me who are wondering – How has that paper survived this long? All I can contribute on my behalf is – just stubborn I guess. I have no excuse for Linda, my better half – she should know better. But, I’ll shift the blame to all those people who over the years provided us with information (by deadline) and took out paid advertising – which is what really kept us alive. And, some credit goes to our printing company, Tri-State Printing – who we’ll still be paying money to for awhile.

I’m not going to take you readers on some long historical journey, I’ll save that for the 25th anniversary – if we make it. I just wanted to mark the occasion and say – Thank You – to all our supporters. Maybe by the 25th I’ll get that fourth interview with myself done. I always enjoy talking to that guy.

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Saul Alexander Foundation Gallery in Charleston, SC, Features Works by Jennifer Ervin – July 1 – 31, 2011

Wednesday, July 6th, 2011

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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A Bike Ride on the South End of the Dike Around Lake Moultrie Near Bonneau, SC

Tuesday, July 5th, 2011

Here’s something to show that I’m not working all the time.

In the last month, as Charleston, SC, artist, Bob Graham would say – I’ve gotten back on my horse. That’s an inside Facebook joke.

Here at Bonneau Beach, SC, the headquarters of Shoestring Publishing Company, we live in what some people might think of as paradise. We live at the edge of Lake Moultrie and the Francis Marion National Forest – both man made in the mid 1930s by a government trying to pull Americans out of a depression.

The lake was built to provide hydroelectricity for rural Berkeley County and the forest was planted to recover land overworked by cotton plantations. Both projects created jobs for men where there were no jobs. Both projects still provide jobs, recreational opportunities, and a good chunk of undeveloped land. There’s a lesson there missed by today’s politicians, but we’re not going into that today.

Here’s a photo of the old hydro dam (Jefferies Generating Station) and the Pinopolis Lock which can move boats from the lake down to the level of the Tail Race Canal, which then runs into the Cooper River going down to Charleston. The area of Lake Moultrie and the Tail Race Canal in Moncks Corner is in the same area of America’s first summit canal, the Santee Canal, which began operating in 1800 moving crops from inland plantations to Charleston.


Here’s a drawing of the old canal

OK that’s your short history lesson of this area.

Over ten years ago I use to ride my single gear bike around my neighborhood on a route that took me ten miles. Eventually I discovered I could ride the length of the dike, holding back part of Lake Moultrie from our neighborhood over to Overton, another community on the lake toward Moncks Corner, SC, giving me a more interesting ten mile ride. The distance from our end of this part of the dike is about five miles to Overton. I was doing this ride almost every day when it wasn’t raining, too windy, too cold or too hot.

For some reason about a month ago I had decided to give our cars their once a year bath. During the process I got a look at my old bike stashed under the carport. The tires were both flat and it was covered in dust and cobwebs. After I finished the cars I got the bike out and pumped up the tires – they still held air – and cleaned it up and oiled the chain and gear. It didn’t look too bad – worn but still respectable.

The next morning I took it for a test drive and made it through a third of my old route. Man, when I got off that bike my legs were rubber and burning. It’s been awhile since I was knocking out those ten mile rides and I wasn’t 60 years old back then either.

It took about two weeks to get up to doing two-thirds of the route, but I was getting into the swing and getting used to the routine. One Saturday morning as I was making my first leg around my route and coming up to the spot where the dike begins – for some reason I went up that entry road to the entrance.

After 911, Santee Cooper, the power utility which manages the lake, got money from Homeland Security to build gates on the dike to prevent terrorists from driving a truck up on the dike and blowing it up or pouring poison into the lake. Oh, I guess I didn’t mention that the dike is wide enough to drive on and Santee Cooper’s security drives it everyday. Eventually they put a pedestrian gate in the fence as people who used to walk the dike for exercise complained and a bike can fit through it.

Funny thing, there are a number of lake access roads in our neighborhood that lead right down to the lake so anyone, any time of the day could ride into the lake and dump a truck load of poison into it. Of course those terrorists would be at great risk – after all this is Berkeley County and almost every household has an arsenal of guns on hand and every stranger has a hundred eyes on them when they enter the area.

So, I’m up on the dike – there’s a little breeze and it’s a wonderful morning. I’ll check it out a bit. I had been thinking about my old days of riding on the dike. By the time I hit one of the turns in the dike I realize I had gotten myself into something I hadn’t planned on and as stubborn as I am – I’m about to do something pretty stupid – I keep going.

By the time I make it to the other end of the dike where Overton begins, my butt is killing me and I’ve got to go all the way back. I’ve already gone over six miles and it’s at least six miles back to the house. The sun is a lot higher in the sky and it’s getting hotter, I don’t have any water, I forgot my sunglasses and had the wrong hat on. I had my cell phone with me, but there is not a lot of coverage in that area. It was all coming back to me how I used to do these bike rides – I was prepared. And, I’m 60 now.

What really hit me smack in the face is the reality and memory of why I didn’t ride the dike when there was a breeze. When the breeze is at your back on the first leg of the trip – it’s in your face all the way back.

Now, don’t think that this experience wasn’t a wonderful event. I was out in nature and seeing all kinds of animals – mostly birds on this ride. There were wild turkeys, egrets, great blue herons, osprey, woodpeckers, Canadian geese, plenty of turkey vultures, cormorants, all kinds of small common birds – a bald eagle and pelicans – yes, pelicans on the lake. Of course there are plenty of turtles, dragon flies, and bull frogs in the ponds behind the dike. I hadn’t seen any gators or snakes yet, but I know they are there.

I still remember the day I was on the dike and came across a dead ten foot gator that a boat must have hit and killed. It had washed up on the rocks of the dike. The head and teeth were huge. I’ve looked at the lake totally different since that day.

Anyway, on the ride back I was up against that great breeze I enjoyed earlier, luckily to my side most of the way but in my face for the last mile and a half. Near the end the dragon flies were flying along side me as were the turkey vultures – they could smell – old man down. At one point two pelicans passed me floating in the air – heading in the same direction. I had this feeling of – look behind you – and when I did, there was a third one just above my head, just a little to my rear and on the left. I hit the brakes and stood there thinking – Hey guys, I’m not that old yet. My story is not over.

When I finally made it home – talk about rubber legs and I couldn’t sit very well the rest of the day. But I recovered.

So this Saturday, a week later, I was more prepared and I took my camera and all necessary items. So here’s a little photo journey of a bike ride on the dike. It was a little earlier, so there was some mist or fog, no wind, and I went directly to the dike to start off.

Because of the mist I had to wait until I was about four and a half miles into the ride before I could take my first photo.


This is a shot of the Overton neighborhood on the other end of this part of the dike.


This was a group of Canadian Geese getting ready for their morning swim. They were coming from the National Forest side of the dike to a little beach at the Overton end.


Here’s a shot of that beach. Santee Cooper has not filled this in with rocks to re-enforce the dike – I guess to give folks on this side a little beach area.


This part of the dike runs behind the neighborhood. I continued to ride the dike behind Overton till the end. The gate for people to pass through was 20 feet down the side of the dike to the left on another access road, so this was the end for me today.


Here’s a shot off in the distance at the smoke stacks of the Jefferies Generating Station. Santee Cooper now burns coal there – the hydro days are over. But, it’s a museum now.


On the way back, here’s a shot at a backyard garden area of one of the residences in Overton.

When I got back to that little beach I could see that the geese were swimming back to the beach so I got off the bike to see if I could sneak a picture.


Here they all are.


Here’s a shot at one of the public access parts of the dike. On Hwy. 52 which runs parallel to the dike for a while there is a picnic area, called the Canal, part of Francis Marion National Forest, where you can park and walk to the dike. And, where the general public has access to mother nature – some elements of that public always has to leave a sign of them being there.


This is also where the Palmetto Trail comes onto the dike.

The Palmetto Trail (not completely finished) runs from Awendaw, SC, on the Atlantic Ocean all the way up to where South Carolina shares a border with Western North Carolina at Oconee State Park – a 425 + mile trail. A small portion of it runs atop the dike on the northern end of Lake Moultrie. This part of the trail is mostly through the Franics Marion National Forest and around Lake Moultrie and Lake Marion.


Here’s a view of the back side of the dike. It should be noted that you can’t hear cars on Hwy. 52 passing by, but you will hear trains passing by on the CSX tracks that run between the lake and Hwy. 52. Those tracks run north to south. We see and hear Florida orange trains, coal trains, freight trains, and Amtrack – going by all day and night. When it’s quiet you can hear the trains blow their horns three miles away, but most of the time I just don’t hear it anymore after years of hearing them.


You can’t see it very well, but there is a bald eagle with something it caught and then came to eat it on top of this utility pole. I’m using a pocket camera which isn’t too bad, but it’s not like a real camera with a real telephoto lens. You have to look close, but it’s there. We see and hear eagles all the time in our neighborhood. The pelicans are the unusual sight around here these days.


Here is the two and a half mile marker. Someone has put half mile markers down for walkers I guess.


Here’s a shot looking back toward the way back home – well before several turns of the dike.


Here’s a shot looking back toward Overton.


Here is a shot at what I call big bird poop – full of seeds.


Here’s a shot at the results of big bird poop. Birds are great pollinators. They eat the fruit off of plants and bushes and the next thing you know, you have plants and bushes growing in the rocks – growing everywhere.


Here’s a shot at the intake of water from the lake for the Rembert C. Dennis Fish Hatchery located between Bonneau and Bonneau Beach. They raise a lot of the fish to restock the lake – which now has two dams on the rivers flowing out of the lake to the ocean. There’s a fish lift on the dam at the Santee River.


Here’s the intake pipe.


Here’s looking down the backside of the dike to the hatchery.


Here’s the last turn of the dike. You can see the Bonneau water tower in the background. Lake Moultrie now provides good drinking water for the region – thanks to Homeland Security – keeping those terrorist out of our lake.


Here’s a couple of view of a little protected cove near the entrance to the dike on our side. At this point I spotted something down in the rocks I want to get a closer look at. So, I get off the bike and jump down off the road level of the dike.


Here’s a view from down in the rocks.


Here’s a sign of a former dike bike rider. I guess they didn’t make it home one day.

I am never surprised at what I find in these rocks along the dike. Anything that can fall out of a boat, be tossed out of a boat, or blow into the water from someone’s backyard – you’ll find washed up on the rocks, not to mention all the junk the fishermen leave there. And, mother nature contributes too.


You’ll find dead fish, dead animals, dead animal parts, animal bones (turkey vultures) and parts of trees. What’s amazing is when you find a huge tree trunk that must weigh tons – washed all the way up to the top of the rocks. That shows how strong the storms are on the lake with such a shallow bottom.


Here’s a closer shot of that little cove – closer to water level.


Here’s the turtle shell I spotted from the top of the dike. A boat must of hit it and cracked its shell in half and then it eventually washed up on the rocks where – as Rudy Mancke, of ETV’s NatureScene says, birds turned turtle into bird. If it had been whole I would have taken it home as a real prize.


This last shot is looking toward the end of my ride on the dike.

It turned out to be a two and a half hour ride. It takes a lot longer when you’re stopping and taking pictures – especially if you’re going to climb down off the top of the dike into the rocks. And, it took a lot longer now that I’m 60 – but, my legs were less rubbery this time, but my butt was still sore. TMI – sorry.

That’s an adventure here in what some people call paradise. We’ll get back to the visual arts – real soon.

P.S. – I received an e-mail from Willard Strong of Santee Cooper Corporate Communications clearing up and correcting a few things I wrote in my blog entry – some based on “myth” I guess. I want to make these folks happy as they provide my electricity and I like my air conditioning.

Here’s what he offered: First, “the hydro days are over” is not accurate. Santee Cooper’s hydroelectric operations (and Pinopolis Lock operations) have been going on continuously since Feb. 17, 1942, when the first unit at the Pinopolis Power Plant (renamed Jefferies Hydroelectric Station in 1944 for Sen. and Gov. Richard M. Jefferies). The five units at Jefferies Hydro (totaling 128 megawatts of generating capability) are still in service. Also, there is not a “museum” at the hydro plant, although there are old pictures on the wall of a room there. Tours are available. (Side note: There is the Berkeley County Museum and Heritage Center inside the gates of the Old Santee Canal Park, formerly the Old Santee Canal State Park, Santee Cooper assumed operation of the park over a decade ago).

Also, the “fish lift” you refer to is on the Rediversion Canal (not the Santee River) at the St. Stephen Powerhouse, constructed and owned by the U.S. Army Corps of Engineers and completed in 1983. As you may know, this is called the “Cooper River Rediversion Project,” although the Cooper River was never really diverted as the Santee River was, the Cooper’s flow was altered by Rediversion, as it was by the original diversion of the Santee River. This 14-mile long canal between Lake Moultrie and the Santee River is technically not part of the original Santee Cooper Hydroelectric and Navigation Project (constructed from April 1939 to December 1942), and is not part of Santee Cooper’s federal license to conduct hydroelectric operations. However, it is now an integral part of this fairly complex lake system. There are three hydro units at the St. Stephen Powerhouse and Santee Cooper receives the 84 megawatts it is capable of producing and Santee Cooper actually controls it remotely (turning it on and off when needed or when there is enough water to run it) from our energy control center at the Moncks Corner headquarters.

You, as a publisher, please indulge me on two style notes: We officially use “Tailrace Canal” (I know the S.C. DOT made signs on the bridge with two words and “Tail Race Plaza”). “Tailrace” is actually a generic word in dictionaries. The other is “Canada geese,” sounds awkward to say, but my trusty AP Stylebook says that’s the way to do it. If you’re interested in more history about us, we have “Powering Generations, History of Santee Cooper 1934-2009,” released last year and published by The R.L. Bryan Co. in Columbia. The book is available for purchase at the Berkeley County Museum. I am the museum’s board chairman. It’s only $25, a bargain by hardbound prices of today. Hope this helps you understand more about us. If you have more questions, I’d be happy to assist you.

Best regards,

Willard Strong
Santee Cooper Corporate Communications
Corporate Headquarters
1 Riverwood Drive
Moncks Corner, South Carolina 29461
843-761-4053

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