Free For All
GALLERY HOURS (during exhibitions)
Thursday & Friday, 11am – 4pm
CELEBRATING CONNECTIONS | A retirement celebration for former director Mark Sloan

The Halsey Institute staff and Advisory Board were proud to produce Celebrating Connections, a Halsey-style send off as we bid adieu to our recently retired director and chief curator Mark Sloan!

After 26+ years at the helm of the good ship Halsey, Mark is moving on to new adventures. What better way to celebrate his immense impact as director and curator of our ICA, than by reminiscing with many of the emerging, mid-career, and often under-represented voices of contemporary art promoted by the Halsey Institute during Mark’s career. Shepard Fairey, Renée Stout, Fahamu Pecou, and Leslie Wayne were just a handful of our community’s favorite past artists that joined us for interviews. We also heard from Kerri Forrest, Kate Nevin, and Harriett Green, some long-time supporters, about how Mark Sloan’s philosophical and artistic focus for the Halsey Institute has impacted our community.

This event took place virtually on Tuesday, February 9 at 7:00 PM EST. 

MAPS, POLITICS, AND GRAPHIC DESIGN | A talk with Scott Reinhard

On February 4, Scott Reinhard joined us to talk about his work producing maps for the graphics desk at the New York Times. In recent years, Reinhard has used maps and graphic design to convey important stories pertaining to the COVID-19 pandemic, American politics, climate change, and more. He discussed his work making these graphics as well as his own ventures into cartography. This event was co-sponsored by the Geography Program at CofC.


On occasion of their exhibition Geolocation, Larson Shindelman participated in an artist talk with Bryan Granger. 

Using publicly-accessible geographic data from tweets, Larson Shindelman track down specific locations where Twitter users were when they posted on social media. Once there, the artists make a photograph from the location, connecting the tweet—stored on a remote server and readable around the globe—and the physical world. This body of work explores the connection between text and images, digital and analog, and private versus public.


The Halsey Institute commissioned a short film on the work of Butch Anthony on the occasion of his exhibition Inside/Out.

The Halsey Institute is pleased to present an exhibition of work by Butch Anthony of Seale, Alabama. The exhibition will consist of new images, assemblages, and installations created specifically for our galleries. As a multi-faceted self-taught artist, Butch Anthony creates works that investigate and appropriate images from the American vernacular. His practice includes painting X-ray like skeletons on top of antique portraits in elaborate, often gilded frames. An avid collector of unique and bizarre objects, he created the Museum of Wonder, a modern-day cabinet of curiosities filled with art, artifacts, and antiques including the world’s largest gallstone and an actual footprint from Sasquatch. Anthony also hosts the Possum Trot Auction, a weekly junk and art auction (featured on television’s American Pickers) on his 80-acre parcel of land that has been in his family for generations. He has also built The Museum of Wonder Drive-Thru, the first drive-through art and antiques gallery, also on his property. In addition to making and selling art, building unique roadside attractions, and collecting found objects to incorporate into his own artwork, Anthony built his own house and several outbuildings which have been featured in the New York Times


The Halsey Institute has commissioned a short film on Coulter Fussell and the exhibition The Raw Materials of Escape.

Coulter Fussell’s early-developed artsview perceives craft and other arts as indistinguishable from one another. Painting, sculpture, and textile work are one solitary entity in her mind. From youth, the combination developed into an unintentional mash-up, resulting in quilts and textile works that defy expectations of the medium. Fussell relies on the no-holds-barred nature of contemporary painting rules to free her compositions from the constraints of pattern. In turn, she simultaneously relies on the strict discipline of traditional craftwork to act as a self-editing tool. 

Fussell learned to sew by watching her mother, Cathy Fussell, who is herself a renowned quiltmaker. She was determined to be an artist, which—in her young mind—meant that she should be a painter. All through her twenties, Fussell’s focus was painting. However, in a series of firsts, this focus shifted when the birth of her first child prompted her to create her first quilt. Fussell found the issues she had attempted to explore through painting were better addressed with fabric. For Fussell, fabric’s limitations in palette and material offered an infinite amount of freedom in their strictures. Fussell’s work, unlike traditional quilts, does not adhere to a predetermined pattern. Instead, her work retains the wholeness of a quilt while utilizing techniques one would expect to find in painting. For instance, foreground and background are established with the purposeful balance of light and dark materials. In this way, Fussell’s work blurs the lines between art and craft, positing that both practices have an element of functionality and non-functionality.


The Halsey Institute commissioned a short film on Colin Quashie and the exhibition Linked.

Colin Quashie creates images that comment on contemporary racial stereotypes. Combining historical relics and artifacts with icons from past and present popular culture, Quashie sharply critiques the way people of color are portrayed in modern visual culture. Using his signature caustic wit, he blends images to allow viewers to more fully explore how images of African Americans and Black culture are constructed today.

In his latest series, called Linked, Quashie juxtaposes images of well-known Black figures with other representations of artifacts to comment on stereotypes as they exist today. In Gabriel, Quashie tweaks an image of Louie Armstrong, updating his signature trumpet with a set of slave shackles. Similarly, in Rose Colored, he creates an image of Harriet Tubman donning a pair of rose-colored glasses, referencing the abolitionist’s view of slaveholders, for whom she still held a level of empathy. With these works, Quashie teases out underlying stereotypes, exposing them for all to see more plainly.

Colin Quashie: Linked is an official visual arts event of the City of Charleston’s MOJA Arts Festival 2019, A Celebration of African-American and Caribbean Arts, September 19-October 6, 2019.

Free For All
GALLERY HOURS (during exhibitions)
Tuesday - Friday, 11am – 4pm
Open until 7pm on Thursdays

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