<br> is a selection of poetry named after the HTML element that produces line breaks. The project is organized by Isabel Prioleau. In response to our current exhibition, Larson Shindelman: Geolocation, <br> explores public-private overlaps, the digitalization of human experience, and the relationship between text and image, commenting on the place of poetry in our digital world.
Readers include by:
Cortney Lamar Charleston
Maryam Monalisa Gharavi (read by Joshua Garcia)
This event took place virtually on Tuesday, March 2 at 7:00 PM EST.
In conjunction with our current exhibition Larson Shindelman: Geolocation, College of Charleston faculty from the Schools of the Arts and Humanities and Social Sciences will discuss ways in which technologies have permeated the everyday from the media to politics to the arts in unprecedented and all-encompassing ways over recent decades.
Karyn Amira, Assistant Professor, Department of Political Science
Marian Mazzone, Associate Professor, Department of Art History
Ryan M. Milner, Associate Professor and Associate Chair, Department of Communication
Douglas Rivet, Assistant Professor, Department of Political Science
Moderated by Mark Long, Professor, Department of Political Science
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.
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.