Shepard Fairey Paints It Black | Fri. Apr. 18, 2014
On May 22, on the other side of the country, “The Insistent Image: Recurrent Motifs in the Art of Shepard Fairey and Jasper Johns” will open at the Halsey Institute of Contemporary Art in Charleston, South Carolina, Fairey’s hometown. Though born in Georgia, Jasper Johns, who is perhaps our most celebrated living American artist, spent much of his youth in South Carolina, where he developed a longtime friendship with William Halsey, for whom the institute was named. Each artist will occupy separate gallery spaces, as much care has been taken to ensure that direct comparisons are not made or at least influenced by the hand of the show’s curators. That being said, the work in Fairey’s exhibit, a multimedia collection of sculptures, paintings, screen prints, and more, collectively titled “Power & Glory,” analyzes everything that’s good and bad within the American way of life, with emphasis on our perverse fascination with power and the means through which we attain it.
Power & Glory: Shepard Fairey for Halsey Institute of Contemporary Art | Tue. Mar. 11, 2014
Shepard Fairey is currently in his studio preparing for his upcoming exhibition The Insistent Image: Recurrent Motifs in the Art of Shepard Fairey and Jasper Johns opening at the Halsey Institute of Contemporary Art on May 22.
Pop Art and Progress | Shepard Fairey in the Lowcountry | Mon. Mar. 10, 2014
Mount Pleasant Magazine
A progressive art movement is gaining traction here in the Lowcountry, around the country and even hundreds of miles about the Eart aboard the International Space Station. Elizabeth Willingham, a senior Studio Arts major at the College of Charleston and an intern at the school’s Halsey Institute of Contemporary Art, said she has noticed that the appeal of politically and socially charged art “with a message” is on the rise.
Jasper Johns’ Upcoming MoMA Show Incorporates the “Regrets” Stamp He Used to Decline Invites | Mon. Mar. 10, 2014
One of New York’s most reclusive artists, Jasper Johns was something of an enigma back in the day. Turns out, Johns had an efficient way of turning down all the invitations that flooded his mailbox on a daily basis; he would respond to requests using a rubber stamp that reads “Regrets” with his signature below. This very stamp makes a comeback in the Flags painter’s latest series of work to be unveiled at the Museum of Modern Art this Saturday, but that’s not the only recurring motif in his Regrets series.
Bodies at Play, Bodies at Work: Bob Trotman and Jody Zellen | Tue. Mar. 4, 2014
The basic challenge of life is dealing with the fact that we have—or are—bodies. Art meets this challenge in two ways. One is through representation, in which bodies can be freely idealized, abstracted, or fractured. Another is by eliciting bodily changes, such as laughs, winces, gasps, and other responses that go with our emotions. Artworks show us bodies and act through them. The two quite different exhibitions currently on view at the Halsey Institute of Contemporary Art in Charleston are linked by their use of both of these strategies.
Details of the Halsey’s 30th anniversary show emerge | Fri. Feb. 21, 2014
Charleston City Paper
The Halsey is celebrating its 30th anniversary this year, and they’re doing it up big with a summer exhibition of works by American art heavyweights Shepard Fairey and Jasper Johns. When they announced the show last fall, we wondered how director Sloan was going to connect the two artists — Fairey began his career as a street artist and now works in the gray areas between fine, commercial, and street art, while Johns began his career as an abstract expressionist and developed a new style that rests on the idea of representing the familiar in new, unfamiliar ways.
WonderRoot Podcast: Renée Stout, the Conjure Woman | Fri. Feb. 21, 2014
Artist Renée Stout chats with Floyd Hall in this WonderRoot podcast, produced in conjunction with the Spelman College Museum of Fine Art. They discuss her use of alter egos in the creation of her work, the foundations of Hoodoo and conjuring, and how her work connects to and confronts established beliefs in the African American community.
Stout’s exhibition, “Tales of the Conjure Woman,” is on view at the Spelman museum through May 17.
Review: Renée Stout casts a spell, recasts tradition | Wed. Feb. 12, 2014
Conjure: to manipulate supernatural forces, using charms, roots and inanimate and handmade articles.
Upcoming: Shepard Fairey @ Halsey Institute of Contemporary Art | Sat. Feb. 8, 2014
Charleston Music Hall: Groundhog Day Concert | Fri. Feb. 7, 2014
To me, the words “benefit” at a “music hall” implies stiffness, fancy evening wear, and music that everyone expects to hear and has heard before. That’s not the kind of show the Charleston Music Hall puts on, though, and it wasn’t that kind of benefit. The music played at the Groundhog Day Benefit concert was much like the city of Charleston itself—southern, surprising and unlike any other.