Free For All
GALLERY HOURS (during exhibitions)
Monday – Saturday, 11am – 4pm
Open until 7pm on Thursdays
PATRON PRINT PROGRAM

Each year we offer a new set of limited edition prints available exclusively to our Members. Artists who have been a part of the Halsey Institute’s programming have specially created these prints for us. Beginning at the POSTMODERNIST level ($350), you may choose from one of the prints we have available. We are delighted to unveil our newest additions to the Patron Print Program featured upon the walls of our Hall of Patron Prints located on the first floor of The Marion and Wayland H. Cato Jr. Center for the Arts. Gradually, you can build your art collection while supporting adventurous contemporary art in Charleston! For more information, Tatjana Beylotte at beylottetf@cofc.edu or 843-953-5652.

HITNES – ROME, ITALY [+]

In late 2015, Italian artist Hitnes embarked on a twenty-city road trip throughout America with the goal of retracing the endeavors of John James Audubon in the 19th century. Audubon’s ambitious goal was to document all of the birds in the country, and these well-known drawings made up his book The Birds in America. Captivated by the enormous scope of Audubon’s goal, Hitnes traveled across the country, aiming to cover in three months what Audubon did in as many decades. Hitnes’s journey on one hand allowed him to explore the state of the birds nearly two centuries after Audubon encountered them. But it also became an all-encompassing performance project in which he gathered materials and made sketches, created public murals, and documented his interactions with a wide range of Americans in video.

Hitnes’s exhibition in Fall of 2018 will document his journey, elaborating on what it is that drives a person to dedicate multiple decades of their life to pursuing an obsession like Audubon did. The exhibition will also be accompanied by the premiere of a feature-length documentary film on Hitnes’s trip, directed by filmmaker Giacomo Agnetti. Hitnes was also an artist in residence during late Summer 2017 at the Halsey Institute, where he further explored the connection between John James Audubon and Charleston.

ABOUT THE WORK [+]

Hitnes
Nido, 2012
13 ½ x 19 ½ inches
Copper etching on Graphia paper

TOM STANLEY – ROCK HILL, SC [+]

Tom Stanley’s abstractions draw on the forms of the world around him, typically including items like boats, ladders, water towers, and houses. In his recent Vessels series, his canvases riff on the motif of a boat, often portraying one of more such vessels amidst a plane of harried lines and sgraffito. Such a series emphasize the duality contained within his paintings: expressive yet measured, formally-engaged yet conceptually-driven, abstract yet connected to reality.

Floating in Louisiana is a limited-edition print he produced for the Halsey Institute’s patron print program.  Tom Stanley will be featured in a solo exhibition at the Halsey Institute of Contemporary Art entitled Scratching the Surface (May 19 – July 8, 2017) including over 60 paintings and drawings from the last decade.

Stanley is an artist and chair of the Department of Fine Arts at Winthrop. He also served as director of Winthrop University Galleries from 1990-2010. Born in Fort Hood, Texas, Stanley grew up in Concord, N.C. He received a B.A. in Art from Sacred Heart College in 1972. After serving two years alternative service in lieu of induction, he worked in Passaic, N.J., and New York City in the design and wall accessory industry. He received an M.A. in applied art history and an M.F.A. in painting from the University of South Carolina in 1980, where he also taught relief printmaking and 2D design at maximum security Central Corrections Institute. Stanley has served on the faculties of Arkansas College (now Lyon College) in Batesville, Ark.; Barry University in Miami, Fla.; and Livingstone College in Salisbury, N.C. He also was director of the Waterworks Visual Arts Center in Salisbury.

In recent years, his artwork has been exhibited at Barbara Archer Gallery in Atlanta, Ga., the Southeastern Center for Contemporary Art in Winston-Salem, N.C., and Gallery twenty-four in Berlin. In 2005, his “Floating” series was exhibited at the South Carolina State Museum’s Triennial Exhibition and in 2004 at the New Orleans Center for Creative Arts. In 2002-03, he exhibited at La Galerie du Marché in Lausanne, Hodges Taylor Gallery in Charlotte, N.C., Musée de la Halle Saint Pierre in Paris, and the Halsey Gallery in Charleston. In 2006, he had a solo exhibition in the Gallery at Carillon with his series entitled “The Neighborhood.”

Recently, Stanley and artist Shaun Cassidy, professor of sculpture at Winthrop, collaborated on public art commissions including “Balancing Act” in Simpsonville, S.C., for Provident Community Bank; “Journey” in Raleigh’s Quorum Center for the North Carolina Local Government Federal Credit Union; and the Winthrop “Monolith” and River’s Journey seating area in the Hardin Family Garden. They have been commissioned to create a public art installation for the Sportsplex in Matthews, N.C. In 2011 they installed five collaborative works for the new University of Nebraska Medical Center in Omaha. In March 2017, Stanley will have a one-person show at If Art Gallery in Columbia titled Tom Stanley Drawing in Paint, 1992- 2017. Stanley’s paintings have been published in New American Painting 28 and New American Panting 46; The Carolinas Yesterday, Today and Tomorrow; Geneviève Roulin; and The Drama. His work is featured in the collections of the Medical University of South Carolina, the S.C. State Museum, Duke University, B.F. Goodrich, Davidson College, North Carolina.

ABOUT THE WORK [+]

Tom Stanley
Floating in Louisiana, 2017
19” x 17”
Silkscreen

MARTHA STRAWN – HIGH SPRINGS, FL [+]

Martha A. Strawn has spent decades documenting the threshold diagrams that have consecrated Hindu space in India for millennia. In the Hindu world-view, threshold is a profoundly important concept that represents a passage between one space and place and another, creating a visual bridge between the secular and the sacred. Accordingly, the literal threshold a person crosses when entering and exiting a home or business symbolizes the threshold one crosses between the physical and spiritual realms of existence. Hindus have long believed it is possible to affect a person’s well-being by using diagrams to sanctify the “threshold space.” The diagrams do so by “trapping” ill will, evil, bad luck, or negative energy within their colorful and elaborate configurations, thereby cleansing those who traverse the space and sending them on their way with renewed spirit, positive energy, and good luck and fortune.

The creation of the threshold diagrams is steeped in Indian history and culture going back thousands of years. Practiced by women, it was long considered a vernacular art. But, as this pioneering book reveals, the diagrams represent highly sophisticated mathematical and cosmological underpinnings that have been handed down from one generation of women to the next. As India has modernized and rapidly become more urban, however, more Indian women have acquired more complicated lives, allowing less time to continue the practice of threshold drawing and relying, increasingly, on homogenized pattern books. And so a longstanding and critically important expression of Indian life, religion, and culture is becoming less common to the point the tradition is threatened.

 Of this print, Rooster and Chicken Strut, Strawn writes, “This picture was made in Madurai, Tamil Nadu, in  January 1986 during the Pongal Festival, which is synonymous with the South Indian New Year.  The hammer and cycle is a sign of the political climate at the time. The diagram are clearly for an auspicious occasion because they are made with white and red color.  The primary method of application is by using a small cloth dipped in chalk mixed with water and dibbled off the fingers to form dots and lines. Inside the door on the floor you can see a dry application which is more delicate in appearance.  That application uses dry rice flour held in the palm of the hand and pushed slowly onto the ground with the thumb and forefinger  as the hand moves to create the diagram. The women who make these diagrams are very skilled in this practice.”

Martha A. Strawn was born in Washington, DC, in 1945, she grew up in Lake Wales, Florida, and now resides along the Santa Fe River near High Springs, Florida and in Tryon, North Carolina, with her husband, Bill Latham. She attended Mary Baldwin College and received her B.A. in art under Evon Streetman from Florida State University, her Basic Certificate from Brooks Institute of Photography in Santa Barbara, California, and her M.F.A. in art from Ohio University. Strawn is Professor Emerita of Art at the University of North Carolina in Charlotte, where she established the Time Arts program in photography, video, and digital imaging. Strawn co-founded The Light Factory Contemporary Museum of Photography and Film in Charlotte, and she has also served on other national arts and land/water conservation boards, including the Society for Photographic Education, Friends of Photography, Davidson Land Conservancy, Our Santa Fe River and Center for the Study of Place. She was a Fulbright Fellow in India and the recipient of a National Endowment for the Arts Fellowship.

Throughout her career, Strawn has been recognized for combining aesthetic and scientific interests in visual expressions of the spaces and places that surround us. She coined the term visual ecology in reference to her approach to the importance of geography and a sense of place in her photographic work. She works in silver, chromogenic, and digital photographic media. Strawn’s photographs have been exhibited and collected internationally in museums of science and art, including Carnegie Museum of Natural History, Halsey Institute of Contemporary Art at the College of Charleston, Harry Ransom Research Center at the University of Texas at Austin, Indira Gandhi International Centre for Art, Museum of Florida Artists, National Geographic Society Museum, Princeton Art Museum, San Diego Museum of Natural History, Science Museum of Minnesota, Smithsonian Institution, and Southeastern Center for Contemporary Art. Her previous books are Alligators, Prehistoric Presence in the American Landscape (The Johns Hopkins University Press, in association with the Center for American Places, 1997) and, with Yi-Fu Tuan, Religion: From Place to Placelessness (Center for American Places at Columbia College Chicago, 2009). Her current work, Nousphere, involves the places around water and the intimate connections to water she has through her family’s history and her present living circumstances.

Artist’s Website: www.marthastrawn.com

ABOUT THE WORK [+]

Rooster and Chicken Strut, 2016
22 x 17 in.

FAHAMU PECOU – ATLANTA, GA [+]

The original photograph was featured in the exhibition DO OR DIE: Affect, Ritual, Resistance at the Halsey Institute in Fall 2016. This piece is part of a series of four photographs of Fahamu Pecou’s Egungun Masquerade, modeled by Pecou himself.

For his body of work in the DO OR DIE exhibition, Pecou created an all-white “New World” Egungun costume, consisting of a hoodie, sweat pants, athletic shoes, a flywhisk, and a beaded cowry-shell mask. Strips of cloth with names including Martin, Trayvon, Emmett, Malcolm, etc., replaced the highly decorated lappets of garments with amulets that appear on a traditional Egungun costume. In so doing, the artist defied the finality of death by invoking the black men and boys and permanently locating them in works of art. DO or DIE: Affect, Ritual, Resistance serves as one artist’s action in opposition to these overwhelming societal forces, seeking instead to elevate and re-contextualize Black life and death. Through performance, painting, drawing and video Pecou reframes our view, incorporating references from Yoruba/ Ifa ritual to cultural retentions of hip-hop to the philosophy of Négritude, and through this shapes a story that seeks to affirm life via an understanding of the balance between life and death.

Fahamu Pecou is an Atlanta-based visual artist and scholar whose works combine observations on hip-hop, fine art and popular culture. As Pecou states: “My work seeks to provide a crucial intervention in contemporary representations of Black masculinity. I began my career experimenting with the branding strategies employed in hip-hop music and entertainment. These experiments ultimately led me to question not only the stereotypes engendered by the commodification of hip-hop culture, but more, to consider how the influence of historic and social configurations of race, class and gender impact and inform these representations.”

Pecou’s work is featured in noted private and public national and international collections including; Smithsonian National Museum of African American Art and Culture, Societe Generale (Paris), Nasher Museum at Duke University, The High Museum of Art, Paul R. Jones Collection, Clark Atlanta University Art Collection and Museum of Contemporary Art Georgia.

ARTIST’S WEBSITE: www.fahamupecouart.com

ABOUT THE WORK [+]

Untitled 2, 2016
Archival pigment print
13 x 14.5″

JIHA MOON – ATLANTA, GA [+]

Much like Jiha Moon’s artistic enterprise, the popular blue willow pattern on china was a heavily romanticized view of China, created by 18th century British artists. It is only appropriate that Moon would commandeer this strategy in reverse.  The artist’s description of the concept behind the print:

“For this print project, I wanted to create a circular image that reminds people of a ceramic blue willow plate. I have adjusted and changed many elements on the blue willow pattern and you will see unexpected images that I added such as a monster peach, peach shaped angry birds and mythical Asian dogs throughout the drawing. The blue willow pattern is a perfect example of exchanging cultures between East and West. I loved using the monochromatic color blue which is an “exotic” color to me as I think of westerners (blue eyes!).  I also added “Yolo” (Internet slang for You Only Live Once) mimicking Korean Hangul that can be easily read in alphabet.”

Born and raised in Daegu, Korea, Jiha Moon lives and works in Atlanta, Georgia. She received her Master of Fine Arts from the University of Iowa in Iowa City, Iowa and her Bachelor of Fine Arts from Korea University in Seoul, Korea. She was featured in the Fall 2015 Halsey Institute exhibition Double Welcome, Most Everyone’s Mad Here. Her work is in the permanent collections of the Asia Society, New York City, New York; the High Museum of Art, Atlanta, Georgia; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Virginia Museum of Fine Arts, Richmond, Virginia; and the Hunter Museum of Art in Chattanooga, Tennessee. In 2011, Moon was the recipient of a prestigious Joan Mitchell Foundation Painters and Sculptors grant. She is represented by Curator’s Office in Washington, D.C., Saltworks Gallery in Atlanta, Georgia, and Ryan Lee Gallery in New York, New York.

ABOUT THE WORK [+]

Blue Willow Yolo, 2015
Three color screen print on paper

DAVID BOATWRIGHT – CHARLESTON, SC [+]

David Boatwright has studied architecture, painting and filmmaking at the graduate and post-graduate levels and currently lives in Charleston, working actively in all three disciplines.  In reflecting on his return to Charleston after time in Los Angeles in the mid 1980s he notes: I was moving to a relatively small city with not much support for the arts or individual artists. Luckily, Charleston was beginning to wake up from a long period of cultural isolation and in recent times has become a vibrant, cultural satellite able to attract a population with a greater interest in the arts. Though I felt well placed to take advantage of this rebirth, patronage remained limited, so supporting a family required some pretty fancy footwork.

The artist spent several years after his return running a small production company that produced documentaries and commercials. Boatwright later developed a business designing modernist houses, while continuing to paint. Designing restaurants spaces led to inside mural paintings and eventually Boatwright began producing outside signs and murals, developing this into a substantial business that allowed time and opportunity to practice his craft. Boatwright has stated: Over time, with the growing confidence of my clients, commercial constraints have given way to a freedom to infuse the sign/mural work with personal expression. At the same time, aspects of sign painting and murals, notably textual imagery, have cross-fertilized my paintings.

ABOUT THE WORK [+]

I Ain’t Know
2015
Silkscreen print
17 ½” x 23 ¼”

JOHN MCWILLIAMS – MCCLELLANVILLE, SC [+]

John McWilliams was born in 1941 and currently resides in McClellanville. He received his the B.F.A. and M.F.A. from Rhode Island School of Design and is Professor/Director Emeritus of Georgia State University School of Art and Design. McWilliams has received numerous awards, including the Guggenheim Foundation Fellowship and the National Endowment for the Arts Fellowship in photography.

In 1988, McWilliams published Land of Deepest Shade: Photographs of the South with the Aperture Foundation and the High Museum. He continues to work as a photographer but primarily his work is in relief printmaking and drawing.

McWilliams has been making woodcuts for about fifteen years. He comments, “I am drawn to them because the cut in wood has the expressive potential of a drawn line. A woodcut can be printed many times, compiled in a book, distributed easily and even left in unsuspected places to be discovered. At its best a woodcut is a distillation of an idea controlling the page that it sits on, an enigma.” He is able to work everyday from idea to idea, letting one lead to the next. When a theme emerges McWilliams is eager to put a group of prints into a cohesive form. McWilliams says, “My work centers me and puzzles me which sounds like a contradiction. It makes me feel alive.”

ABOUT THE WORK [+]

Watchers
Ossabaw 2012
8.25 x 6.25 inches
Woodcut printed on Awagami paper
edition of 20

KATHLEEN ROBBINS – COLUMBIA, SC [+]

Kathleen Robbins was born in Washington, DC and raised in the Mississippi Delta. Robbins received her MFA from the University of New Mexico in 2001. Her photographs have been exhibited in galleries and museums including The New Orleans Photo Alliance, The Light Factory Museum of Contemporary Photography & Film, The Weatherspoon Museum, John Michael Kohler Art Center, the Ogden Museum of Southern Art, Addison Gallery of American Art, and The Southeast Museum of Photography. Robbins’ work has also been featured by Fraction Magazine, Flak Photo, Conscientious, Humble Arts New York, NPR’s Picture Show, PDN’s Photo of the Day, Oxford American, and Garden and Gun. She is represented by the Rebekah Jacob Gallery in Charleston. In 2012, she was part of the Critical Mass top 50 and she was the recipient of the 2011 PhotoNOLA Review Prize. She currently resides in Columbia, SC with her husband Ben and their son Asher, where she is an associate professor of art, coordinator of the photography program, and affiliate faculty of southern studies at the University of South Carolina.

In the fall of 2001, Robbins relocated from New Mexico to the Mississippi Delta to live on her family’s farm, Belle Chase. Shotgun House is part of her photographic series Into the Flatland, which explores familial obligation and our conflicted relationship with “home.” The photographs in this series were made during regular trips to visit her family’s farm over a period of several years.

ABOUT THE WORK [+]

Shotgun House, 2010
12 x 12 inches
archival digital print
Edition of 20

RUTH MARTEN – NY, NY [+]

Born and living in New York City, Ruth Marten has worn several hats, in spite of the hair. From 1972 to 1980, she was an important figure in the tattoo underground, and as one of the few women practicing the craft, she influenced people’s ideas about body decoration, championing what came to be called Neo-Tribalism. Working during the Disco and Punk eras, she also tattooed in the Musee d’Art Moderne de la Ville de Paris during the 10th Biennale de Paris.

Hired by Jean-Paul Goude for her first illustration for Esquire, she had a 30 year career illustrating for many magazines, music and book cover and is most associated with the Year in Provence books of Peter Mayle, designed for A. A. Knopf by Carol Devine Carson. She also served a brief stint as a fashion illustrator for Bergdorf Goodman, Salvatore Ferragamo, Barney’s, and Vogue Magazine. That love of the printed image informs her current work: changing through overdrawing and collage the configuration and content of the 18th century copper plate engraving prints. Personal work, principally on paper, has been a constant while working in these other fields.

Since 1989, Marten has expressed herself exclusively through drawings, paintings, and sculptures. Exploring the phenomenon of hair for its sexual, cultural, and purely textural content, she exhibited work based on this obsession at Littlejohn Contemporary (NY), Adam Baumgold (NY), in the Pop Surrealism show at the Aldrich Museum (CT), Hair, Untangling a social History at the Tang Museum (NY), and Hair on Fire at the Halsey Institute of Contemporary Art. In 2003, she embarked upon her current interest in reworking the images and historical content of mostly 18th century prints from engravings, a body of work that has been exhibited at Isis Gallery (London, 2008) and Van der Grinten Galerie (Cologne 2013) and have been collected by the De Young Collection (SF), Charles Saatchi, Don Ed Hardy, and others. Marten continues to study the arcane and wonderfully misconstrued “truths” presented in this material and is currently working on pictures depicting esoteric Judaica and Herculaneum interiors. She teaches Watercolor Technique at the School of Visual Arts, New York.

ABOUT THE WORK [+]

The Mimic, 2013
archival digital print
14 in x 9 1/2 in

RENÉE STOUT – WASHINGTON, DC [+]

Renée Stout grew up in Pittsburgh, Pennsylvania and received her BFA from Carnegie Mellon University in 1980. In 1985 she moved to Washington, D.C. and began to explore the roots of her African American heritage. She looks to the belief systems of African peoples and their descendants throughout the African Diaspora, as well as to the world and her immediate environment, for the inspiration to create works that encourage self-examination, self-empowerment, and self-healing. Stout created a commissioned installation in the “old” Halsey Gallery in 1996 entitled Wylie Avenue Juke.  She was recently featured in the exhibition Tales of the Conjure Woman, a traveling exhibition organized by the Halsey Institute.

Stout has an alter ego named Fatima Mayfield who is a conjurer, rootworker, and spiritual advisor. Stout has created a vast fictional milieu which includes many imaginary characters whose lives and situations unfold in a variety of media, including painting, mixed media sculpture, photography, and installation. The recipient of awards from the Joan Mitchell Foundation, The Pollock-Krasner Foundation, and the Louis Comfort Tiffany Foundation, Stout has shown her work in solo and group shows throughout the United States, and in England, Russia and the Netherlands.

ABOUT THE WORK [+]

Marie Laveau, 2013
13 x 13 inches
archival pigment print with hand-drawn additions
Edition of 20

While mystery surrounds her birth, life, and death, Marie Laveau is undoubtedly the Voodoo Queen of New Orleans. She devoted her life to helping others through her gift and practices. Even in death, she has continued to be an icon to the power of the unexplainable. Her tomb in St. Louis Cemetery #1 is covered in X’s, markings of those who have had their desires filled after asking Madame Laveau for help.  Since Laveau lived in the early 19th century, there are no photographs of her.  Stout has conjured her visage from her own imagination.

RIMMA GERLOVINA AND VALERIY GERLOVIN – NEW YORK, NY [+]

Rimma Gerlovina and Valeriy Gerlovin (Americans, b. Russia, 1951 and 1945) were founding members of the underground conceptual movement in Soviet Russia, described in their book Russian Samizdat Art. Since coming to the United States in 1980, they have had many exhibitions in galleries and museums worldwide, including the Venice Biennale; the Guggenheim Museum; the Smithsonian American Art Museum, Washington, DC; Kunsthalle Bonn, Germany; Tokyo Metropolitan Museum of Photography; and The State Tretyakov Gallery, Moscow,  among others. The New Orleans Museum of Art launched an exhibition of their photography, curated by Mark Sloan, which traveled to fifteen venues in North America. Their works have appeared on the covers of The New York Times Magazine, Zoom, The Sciences, and Tricycle: The Buddhist Review. In a special series, The Millennium, The New York Times Magazine gave the Gerlovins a feature length spread.
 
Their works are in the permanent collections of the Art Institute of Chicago; the Guggenheim Museum; the Getty Research Institute, Los Angeles; International Center of Photography, New York; The Museum of Fine Arts, Houston; Cincinnati Art Museum; Denver Art Museum; Nasher Museum at Duke University, NC; the Scottsdale Museum of Contemporary Art, AZ; Ackland Art Museum, NC; National Gallery of Australia, Canberra; the State Tretyakov Gallery, Moscow; and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna among others. Their exhibition Perhappiness was featured in the Halsey Institute galleries in 2004. 

ABOUT THE WORK [+]

Serpent, 1989
15 x 15 inches
Chromogenic print

Based on the play of paradoxes, their art is rich with philosophic and mythological implications, reflected in their writing. In 2012, their book Concepts was published in Russia. In the words of the artists, “Serpent is part of a series Photoglyphs. Associated with its quicksilver tongue, serpentine knowledge is both illuminating and dangerous. Such was envisioned in Serpent (1989), where it takes the form of the tongue, symbolizing among others logos spermatikos, or the fecundating word. It comes unto man as a lightning bolt of thought and speech. To penetrate its symbolism is like viewing the thick layers of a thousand slides pressed together, meanwhile our eye can distinguish only one at a time.  However, one thing seems certain: that before the tongue can speak from a higher level of consciousness it first has to lose the power to wound.”

DON ZANFAGNA – MOUNT PLEASANT, SC [+]

Born in Saunderstown, Rhode Island in 1929 Don ZanFagna has a degree in art, architecture, and design from the University of Michigan and a MFA in painting from the University of Southern California. During the Korean War, he served as a fighter pilot. Following his discharge, he received a Fulbright/Italian Government Grant for study in Italy, in 1956–57. In the late 1960s, after relocating from California to New York, ZanFagna chose to remove himself from the commercial art world. He was more interested in the research and process of his art than its promotion or sale. In the 1970s and ʻ80s, he was the chair of the art department at Rutgers University. The following decade, he was Visiting Eco-Architecture Professor at Pratt Institute. His works have been shown in the Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Whitney Museum of American Art, and in nearly two hundred exhibitions nationally and internationally. ZanFagna died in 2013.

The Pulse Dome Project explicates the futuristic concept of “growing your own house.” Conceived in the 1970s, the artist imagined a home created, constructed, and maintained by all-organic processes and in perfect harmony with nature. ZanFagna researched world indigenous architectures, insect architecture, wombs, and such natural forms as caves, tunnels, and volcanoes, along with other structures, to learn what had been done already and what was still likely to be accomplished by others in relation to sustainable human architecture.

ABOUT THE WORK [+]

Pulse Dome 28, 1977
10.75 x 14 inches
Archival digital print, 2012
Edition of 15

In Pulse Dome 28, the artist used combinations of natural and scientific elements to create a metaphorical dome house. Characteristically present are the stenciled letters, doorways, rainbow and dolmen. Test tube shapes appear to extend arms to the sky to capture wind and sun. The Pulse Dome Project remains as a testament to one manʼs attempt to apprehend a comprehensive solution to one of humanityʼs most vexing problems—sustainable shelter. The Pulse Dome Project: Art & Design by Don ZanFagna was a featured exhibition in fall 2012. This limited edition print was made from an original collage/painting by ZanFagna, and signed by the artist.

JOSEPH BURWELL – BROOKLYN, NY [+]

Born in Iceland in 1970 and raised in southwestern Virginia, Joseph Burwell began to study Architecture at Savannah College of Art and Design, but changed his major to Studio Arts and received his bachelors degree at the College of Charleston in 1993.  He received his MFA in Sculpture from Tulane University in 1999 and moved to New York City in 2000.
 
Burwell has taught at Tulane University, Loyola University, Country Day Creative Arts, New Orleans School of GlassWorks & Printmaking Studio, and Penland School of Crafts. He has participated in residencies at The Cooper Union for the Advancement of Science and Art, PS 122 Gallery’s Project Studio Program, the Lower Manhattan Cultural Council’s Workspace Program, and the Robert Blackburn Printmaking Workshop Studio Immersion Project.
 
Burwell has exhibited in New York, Switzerland, Finland, Norway, Ireland, Egypt, Canada, South Korea, and many venues across the U.S. He is a 2011 New York Foundation for the Arts fellow in Printmaking/Drawing/Artists Books.  He currently lives and works in Brooklyn.

ABOUT THE WORK [+]

The Theory of the Breadmaker, 2012
19.25 x 15 inches
Linocut on Saakaar Banana paper

PINKY BASS – FAIRHOPE, AL [+]

Pinky/MM Bass of Fairhope, AL received her BA from Agnes Scott College in 1958 and her MFA in Photography from Georgia State University in 1988. She has worked as a free-lance artist since that time. Bass lived in Mexico City for many years and organized many collaborative artists’ projects while there. Bass’s awards include an Alabama Artist Fellowship and a Southern Arts Federation/NEA grant. Her work is housed in a number of public collections and museums including the High Museum of Art in Atlanta and the Philadelphia Museum of Art. Among publications in which her work is featured are The Polaroid Book, Book of Alternative Photographic Processes and Pinhole Photography. 

Bass is best known for her black and white pinhole and Polaroid images, capitalizing on the mistakes and peculiarities that occur with each of these processes. The human figure has been her primary focus. Bass began stitching internal organs on the photographic image of her naked body after her cancer-stricken sister moved back to Fairhope. These intimate works were included in the 2008 Halsey group exhibition MEND: love, life & loss. The artist is currently working with music created by the shapes and images of body cells made using the Teneriffe lace process.

ABOUT THE WORK [+]

SANA, 2008
13 1/2 x 12 inches
Archival Pigment Print from a 665 Polaroid Negative

The subject of this image is the artist Sana Musasana. When teaching at Penland School of Crafts, Musasana saw some of Bass’s figurative work and asked if she would make a photograph of her body. Musasana, a highly respected ceramic and mixed media artist living in New York, got together with Bass and Carolyn DeMeritt, photographer from Charlotte, NC and printer of this digital image of Musasana from a scanned Polaroid negative. The three women spent a morning together to create this evocative image.

MOTOI YAMAMOTO – KANAZAWA, JAPAN [+]

Motoi Yamamoto was born in Onomichi, Hiroshima in 1966 and received his BA from Kanazawa College of Art in 1995. He has exhibited his creations around the globe in such cities as Athens, Cologne, Jerusalem, Mexico City, Seoul, Tokyo, and Toulouse. He was awarded the Philip Morris Art Award in 2002, as well as the Pollock-Krasner Foundation Grant in 2003.

Yamamoto is best known for working with salt, often in the form of temporary, intricate, large-scale installations. Salt, a traditional symbol for purification and mourning in Japanese culture is used in funeral rituals and by sumo wrestlers before matches. It is frequently placed in small piles at the entrance to restaurants and other businesses to ward off evil spirits and to attract benevolent ones. Yamamoto forged a connection to the element while mourning the death of his sister, at the age of twenty-four, from brain cancer and began to create art out of salt in an effort to preserve his memories of her.

Yamamoto was a participant in the 2006 group exhibition Force of Nature: Site Installations by Ten Japanese Artists, cocurated by Mark Sloan and Brad Thomas, and staged at various venues throughout North and South Carolina, including the Halsey Institute of Contemporary Art. The artist returned to Charleston in 2012 with the exhibition Return to the Sea: Saltworks by Motoi Yamamoto — a featured presentation of Spoleto Festival USA.

ABOUT THE WORK [+]

Floating Garden, 2012
image size: 6 ½ x 3 ½ inches
paper size: 11 ¾ x 8 ¼ inches
Giclee on Japanese paper

Floating Garden is part of a series of studio works exploring the natural forms of the spiral. The spiral pattern is found extensively in nature. It is encoded into plants, animals, weather systems, and galaxies in the cosmos. Yamamoto is interested in the many associations people bring to this enigmatic form. Using a variety of sharp pencils, he works on a white ground created by applying acrylic gesso on wooden panels. He then photographs the resulting drawings and prints the negative of the images on Japanese paper. The choice to use both positive and negative images further reinforces the artistʼs concepts regarding the duality of life and death.

HAMID RAHMANIAN – BROOKLYN, NY [+]

Hamid Rahmanian is a filmmaker and graphic artist. As a graphic artist for over two decades, he has received numerous awards and his work as been exhibited in international competittions and publications. Over the past five years, he has been commissioned to do work for cultural organizations and commercial companies such as The United Nations, GQ Magazine, Pacifica Radio/Democracy Now and Aramex Shipping Company. In the last decade, his narrative documentary films have premiered at festivals such as Sundance, Toronto, Tribeca, and Venice, and have been televised on international networks, including PBS, Sundance Channel, IFC, Channel 4, BBC, DR2, and Al Jazeera. Rahmanian’s films have gained international recognition for their socially conscious storylines and have been used in the NGO sector to combat negative stereotypes about Iranians, to promote anti-capital punishment laws in the US, and to raise funds and awareness for the plights of disadvantaged women and girls around the world. He is currently illustrating a new edition of the Persian poet Ferdowsi’s Shahnameh, to be published by Quantuck Lane, an imprint of W.W. Norton & Co.

ABOUT THE WORK [+]

Mind Zone, page from the graphic novel,
The Magnificant Book of M, 2009
15 3/4 x 11 3/4
Archival digital print

EAMES DEMETRIOS – LOS ANGELES, CA [+]

Los Angeles artist Eames Demetrios has been steadily producing Kcymaerxthaere, an epic, three-dimensional novel and the world’s largest public art project. As the “Geographer-at-Large”, he has developed an alternative universe that is largely consistent with our linear world, but with different stories, peoples, flora, fauna and physical laws. He utilizes brass plaques, strategically placed around the world, to commemorate this story. So far there are 90 installations in 18 countries.

Eames Demetrios’ Kcymaerxthaere exhibition was featured at the Halsey Institute in the summer of 2011 with artist Paolo Ventura’s Winter Stories. Demetrios was chosen to be the 2011 Quattlebaum Artist-in-residence and Kcymaerxthaere was an official visual arts offering of the Piccolo Spoleto Festival.

ABOUT THE WORK [+]

Penduka Women’s Collective Embroidery, 2010
16 x 12 inches
Embroidered thread on cloth panel

Eames Demetrios has created Kcymaerxthaere, an epic, multi-part, three-dimensional novel told through a global public art project. Kcymaerxthaere is an alternative universe largely consistent with this physical world, but with different stories, creatures, rules, and even laws of physics. One can think of Kcymaerxthaere as an illuminated manuscript, where every page is in a different location, and some of the illumination is provided by the sensation or knowledge of being in that place.

This series of embroidery panels has been made by a women’s collective from Namibia. The Penduka collective was founded in the early 1990’s by Martha Muulyau, just after Namibian independence. These skilled embroiderers, many from the “San” tradition, began rendering fragments of what Eames Demetrios calls “disputed likenesses” of his stories. During the fall of 2010, Demetrios and the embroiderers worked intensively together, focusing on the imagery for three Kcymaerxthaereal legends: Culev Larsze, Eliala Mei-Ning, and Kirguellin. Through physical samples and digital connections, the process continued across the globe, resulting in (literally) otherworldly embroidery panels.

Demetrios continues to work with Penduka to create products inspired by this work as a regular source of income for their community.

GEOFFREY CORMIER – JAMES ISLAND, SC WITH MICHELLE VAN PARYS, CHARLESTON SC [+]

The first example of silhouette art can be found in the form of a hand as a cave painting in Chauvet, France dating to 33,000 BCE. There are mentions of shadow puppet techniques in Plato’s “Allegory of the Cave”. Literally translated as “shadow”, Wayang is the general reference to traditional Indonesian theater dating back to at least 930AD. Wayang Kulit is the art of flat, intricate shadow puppets cut from leather. Wayang Klitik is the art of similar shadow puppets carved from wood. Wayang Suket, or, sometimes called Wayang Rumput is the art of creating shadow puppets from woven grass. This traditional art form is considered more of a folk art of rural Java practiced by boys that would tend buffalo or goats in the fields.

Geoffrey Cormier was commissioned by the Halsey Institute of Contemporary Art to create an evening of shadow puppet theater in 2006 with live music commissioned by the New Music Collective—including a full gamelan orchestra. Michelle Van Parys teaches photography at the College of Charleston. Her most recent book, The Way Out West, was published by The Center for American Places and is distributed by the University of Chicago Press.

ABOUT THE WORK [+]

Division of the Animals, 2011
11 x 17 inches
Shadowgram Archival digital print

Geoffrey Cormier worked for the Jim Henson Company on two Muppet movies. There, he learned the techniques of puppetry and puppet construction. This print is the result of a collaboration between Cormier and Michelle Van Parys, professor of photography at the College of Charleston. Borrowing from the tradition of photograms made famous by Man Ray with his Ray-O-Grams, the two artists worked to create an image that expressed the spirit of Cormier’s puppets made of sweetgrass. During a six-month investigation, they invented the genre of Shadowgram. Although technically not a shadow, and, in fact, the reverse, the Shadowgram manages to capture the dynamic contrasts of shadow puppetry.

LESLIE WAYNE – NEW YORK CITY, NY [+]

Leslie Wayne was born in Germany and grew up in Southern California. She studied painting at the University of California, Santa Barbara from 1970 to 1972 and earned her B.F.A. in sculpture from the Parsons School of Design in 1984. Since 1990, Wayne has been represented by the Jack Shainman Gallery, New York, NY. Wayne has held several solo shows at venues including the Jack Shainman Gallery; LA Louver Gallery, Venice, CA; Haines Gallery, San Francisco, CA; Byron Cohen Gallery, Kansas City, MO; Solomon Projects, Atlanta, GA; and Galerie Bugdahn und Kaimer, Dusseldorf, Germany. Among others, Wayne’s grants and awards include a Pollock-Krasner Foundation grant; Artists Space Exhibition grant; a Yaddo artist fellowship; Hillwood Art Museum/New York State Council on the Arts Projects Residency grant; Adolph and Esther Gottlieb Foundation Grant; and a Buhl Foundation Award. In 2006 she received a New York Foundation for the Arts Fellowship in Painting. Her work is represented in the public collections of the Birmingham Museum of Art, Birmingham, AL; Museo Thyssen Bornemisza, Madrid, Spain; the Corcoran Gallery of Art, Washington, DC; Foundation Cartier pour l’art Contemporain, Paris, France; La Coleccion Jumex, Mexico City, Mexico; The Progressive Corporation; The Neuberger Museum of Art, Purchase, NY; and the Museum of Contemporary Art, Miami, FL, among others.

Leslie Wayne is the featured artist in the Halsey Institute’s first spring 2011 exhibition.

ABOUT THE WORK [+]

After the Quake, 2010 
8.25 x 11 inches Archival digital print

After the Quake is based on a detail of Wayne’s painting entitled Before the Quake, a long horizontal image that brings to mind the impending shifts and flows of our unstable earth. Here what she focuses upon are the results of those tectonic shifts, a massive compression of time and sediment heated to a super saturation of color.

PHYLLIS GALEMBO – NEW YORK CITY, NY [+]

Phyllis Galembo, Professor of Photography at the University of Albany, State University of New York has been traveling the world in search of the roots of masquerade. Her work can be seen in five published books and a multitude of past solo exhibitions. Her twenty-eight year journey has taken her through North, Central and South America, Europe, and now, her most recent forays have been in the West African nations of Benin, Burkina Faso and Nigeria. A comprehensive exhibition of her West African work was mounted in 2006 by the Tang Teaching Museum at Skidmore College in New York and is being toured by the George Eastman House in Rochester, New York.

This image is courtesy of the artist and Steven Kasher Gallery, New York.

Phyllis Galembo was a featured artist in the Halsey Institute’s Call and Response: Africa to America with artist, Nick Cave in the spring of 2010.

ABOUT THE WORK [+]

Masquerade, Gossina Village, Burkina Faso, 2006 
10 x 10 on 11 x 14 inch archival rag paper
Archival digital print

Galembo never learns the identity of any of the masquerade participants, allowing her to focus on the aesthetics of the costume as relayed through the photograph. Her artistic aim is to collaborate with the sitter, creating a portrait of the costume and sometimes the character that the participant performs. Her use of a medium format film camera allows her to capture every nuance and detail of this vibrant and vital tradition.

ERICA HARRIS – BROOKLYN, NY [+]

Erica Harris lives in Brooklyn, New York. The history, debris, languages, and industries of her metropolis are a huge source of materials and inspiration. Harris teaches art to children, both in New York and internationally. In recent years she has facilitated projects in India, Guatemala, Macedonia, Brazil, El Salvador, Southeast Asia, and Brooklyn. Working in collaboration with communities where English is not spoken has also shaped the content of her work, particularly her relationship to language. She prefers using text—the printed word as a pattern, and often refers to how words and images are interchangeable symbols. While traveling, Harris concentrates on collecting collage material. She frequently incorporates what she sees in the streets, neighborhoods and marketplaces into the narratives of her pieces. Something very mundane and ordinary could be a symbol of safety, shelter, or peace, while simultaneously being a relic of war. It is in this context that she is drawn to the use of simple imagery.

In 2006, Erica Harris’ work was shown in the Halsey Institute’s group exhibition, Penumbra featuring collage artists who utilize found images and combine them in ways that often surprise and illuminate.

ABOUT THE WORK [+]

Javelina, 2010 
15 x 11 inches 
Linoleum block print on American Masters paper

Javelina is the first in a series of her A-Z bestiary. As poet Jonathan Williams was fond of saying, “when writing a poem, it is best to start as close to the end as possible.”

NANCY MARSHALL – MCCLELLANVILLE, SC [+]

Nancy Marshall is a native Atlantan now living in McClellanville, South Carolina. She received her M.F.A. in Photography from Georgia State University School of Art and Design in 1996. From 1988-2004, she was Emory University Visual Arts Senior Lecturer in photography. Her work has been widely exhibited and can be found in many private and public collections, including Atlanta’s High Museum of Art, the Museum of Contemporary Art of Georgia, and the Montgomery Museum of Fine Arts. She has been awarded the National Endowment for the Arts/Nexus Grant for Book Arts, the Southern Arts Foundation Fellowship for Photography, and the Emory College Excellence in Teaching Award for the Humanities, and was a fellow of the Ossabaw Island Genesis Project.

Nancy Marshall’s photographs are featured in the Contemporary Carolina Collection at Ashley River Tower, a collection curated by the Halsey Institute’s Mark Sloan. She has also participated in the Halsey Institute’s Palmetto Portraits Project, a multi-year collaboration between MUSC, HICA, and the SC State Museum in Columbia, in which noted and emerging photographers from throughout the state of South Carolina were commissioned to make portraits of South Carolinians.

ABOUT THE WORK [+]

Egret, 2010
4 x 1.5 inches 
Hand-sensitized platinum-palladium contact print on Japanese Gampi Torinoko paper.

Egret was created in the winter of 2010. Each print is unique.

KENDALL MESSICK – NEW YORK [+]

A native of Delaware, multi-media artist Kendall Messick is now based in New York City. He studied photography at both the School of Visual Arts and the International Center of Photography in New York. Messick divides his time between documentary filmmaking and extended still photography projects. In early 2001 Messick completed his first feature length, multi-media documentary project, “Corapeake”. “The Projectionist” is Messick’s second film and exhibition, which was launched in 2007. This project has already garnered critical acclaim and is currently scheduled to travel to several major institutions through 2009. Messick’s works are in numerous public collections including the Smithsonian Institution and the Museum of Modern Art in New York.

artist website

ABOUT THE WORK [+]

The Vaudevillian, 2003 
10 x 10 inches Color-coupler photograph

This photograph of Gordon Brinckle, the subject of The Projectionist, shows the theatre palace creator beaming on the stage of his own Shalimar Theatre as an homage to vaudevillian performers. Brinckle was a projectionist in the US Army during World War II, and later in the Everette Theatre in Middletown, Delaware. He created his own personal rendition of a movie palace in the basement of his modest home over a forty-five year span. The Shalimar Theatre was disassembled from Brinckle’s basement and reassembled on the first floor of the Halsey Institute. Kendall Messick grew up across the street from Brinckle. At age 92, Brinckle is thrilled that his beloved Shalimar Theatre is now traveling around the country with this exhibition.

JOHN MCWILLIAMS – MCCLELLANVILLE, SC [+]

John McWilliams was born in 1941 and currently resides in McClellanville. He received his the B.F.A. and M.F.A. from Rhode Island School of Design and is Professor/Director Emeritus of Georgia State University School of Art and Design. McWilliams has received numerous awards, including the Guggenheim Foundation Fellowship and the National Endowment for the Arts Fellowship in photography.

In 1988, McWilliams published Land of Deepest Shade: Photographs of the South with the Aperture Foundation and the High Museum. He continues to work as a photographer but primarily his work is in relief printmaking and drawing.

He is able to work everyday from idea to idea, letting one lead to the next. When a theme emerges McWilliams is eager to put a group of prints into a cohesive form. McWilliams says, “My work centers me and puzzles me which sounds like a contradiction. It makes me feel alive.”

ABOUT THE WORK [+]

Wolf in the Creek, 2008 
5.5 x 7.5 inches
Woodcut printed on Rives lightweight cream color

As McWilliams watched the tide suck out of the creek near his home, the surface of the water suggested shapes. This predictable daily occurrence became the inspiration for Wolf in the Creek. McWilliams has been making woodcuts for about ten years. He comments, “I am drawn to them because the cut in wood has the expressive potential of a drawn line. A woodcut can be printed many times, compiled in a book, distributed easily and even left in unsuspected places to be discovered. At its best a woodcut is a distillation of an idea controlling the page that it sits on, an enigma.”

HEATHER MCCLINTOCK – BOONE, NC [+]

In 2005, after pursuing photography through a B.A. at New England College and commercial work in NYC, Heather McClintock lived in northern Uganda for just under a year to focus on humanitarian relief work. There she began documenting the struggles of the Acholi and Luo tribes in the north. McClintock’s project was sponsored by Blue Earth Alliance, Seattle, WA.

For more than twenty years, a civil war in Northern Uganda has claimed women and children as its primary victims. It is estimated that the Lord’s Resistance Army (LRA) has abducted as many as 66,000 youths, wrenching them from their families and forcing them to become soldiers, porters and sex slaves. Whilst protecting the population of the north, the Ugandan military has perpetrated its own share of massive human rights abuses. The innocent civilians affected were moved to large, squalid Internally Displaced Persons (IDP) camps.

McClintock’s Ugandan photographs were shown in the Halsey Institute’s exhibition, The Innocents: Casualties of the Civil War in Northern Uganda with Jonathan Torgovnick’s Intended Consequences: Rwandan Children Born of Rape during the spring of 2010.

ABOUT THE WORK [+]

Kinyera Morish, War Child Holland Paicho Child Friendly Space, 2009 
11 x 14 inches 
Archival digital print

This image reminds us that with suffering, there is a period of healing and cultural revival. Twelve-year-old Kinyera Morish holds a traditional wooden cattle herding spear while laying atop a play space especially made for children by an NGO (non-governmental organization) in the Paicho IDP Camp. Morish is now able to attend and enjoy regular schooling and loves to help his Uncle with the cattle herd.

COLIN QUASHIE – CHARLESTON, SC [+]

By exploring the reservoir of possibilities offered by popular cultural imagery, media-based communication and satire, Colin Quashie investigates serious cultural, social and political ideas and issues, with sometimes raucous, sometimes genial, tongue-in-cheek humor. On occasion, his wry, ironic, and irreverent art works disturb and/or offend the audience, the intent; to spark popular debate and discussion by forcing them to consider issues they may prefer to avoid.

artist website

ABOUT THE WORK [+]

Sweet Jesus, 2005
11.5 x 17.5 inches
Archival digital print

About Sweet Jesus, on the “cover” of his faux ‘CQ’ magazine, he states that “it’s simply a witness to a historic collision. Since both sides (religion and gay rights) believe they have the right of way and refuse to yield, they’ll have to sort it out in the courts.” This painting is the first of a planned 10 part series of collisions. In between paintings, Quashie continues to finance his art as a writer.

TANJA SOFTIC´ – RICHMOND, VA [+]

Tanja Softic´ works in drawing, printmaking and book media. She is recipient of the 1996 National Endowment for the Arts/ Southern Arts Federation Visual Artist Fellowship, and a Soros Foundation–Open Society Institute Exhibition Support Grant. Her work is shown internationally and included in numerous collections in the U.S. and abroad, including the New York Public Library and the New South Wales Gallery of Art in Sydney, Australia. Tanja Softic´ is associate professor of art at the University of Richmond in Virginia.

 

ABOUT THE WORK [+]

Notes on Space, 2006
27.5 x 18.25 inches
Lithograph

In Notes on Space, perspective lines of the Last Supper by Leonardo da Vinci are superimposed over the  outline of a lush and leafy landscape.  The inserts are a fragment of the microscopic image of a cross-section of the orchid stem and an image of a satellite dish.  The print represents a compressed view of diverse ways of comprehending the space around us and the space of drawing.

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