Ice Storm by Carson Fox

sep 17 - oct 30

Redux Contemporary Art Center »
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opening: thurs., sep. 17, 6-9

artist lecture: thurs., sep. 17, 5:30

artist website »

American artist Carson Fox was born in Oxford, Mississippi, the small Southern hometown of William Faulkner. Her work is produced from a heritage of American Southern gothic tradition that relies heavily on the imprint that individual experience has on the artist. Working across media, Fox produces prints, installation, and sculpture. She received her masters of fine arts from Mason Gross School of the Arts at Rutgers University and her BFA from University of Pennsylvania and the Pennsylvania Academy of the Fine Arts. Fox has received grants from the New Jersey Council on the Arts, the Barbara Deming Memorial Fund, and the Mid Atlantic Art Foundation, a Willem Emil Cresson Award, and a New Jersey Print and Paper Fellowship at the Rutgers Center for Innovative Print and Paper. Fox currently lives and works in Brooklyn, New York.


Favelas: architecture of survival, Photographs by Pedro Lobo

oct 21 - nov 23

The City Gallery at Waterfront Park »
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opening: thurs., oct. 21, 6-8

artist lecture: sat., oct. 23, 2

artist website »

Pedro Lobo is a Brazilian born photographer that began documenting the long-lived favelas, or shanytowns, around Rio de Janiero. His landscapes hint at organized chaos as homes scale the hills behind tourist, official Rio. More, these photographs capture the hardening of these urban spaces as people put down roots there and community results. These beautiful images do not shy away from the sprawl, nor from the hardships of the favelas; but they are filled with the optimism so necessary for that huge part of humanity that lives in these marginalized urban neighborhoods. Award-winning documentary photographer Pedro Lobo has shown his work in his native Brazil and seven other countries. His architecture of survival series, to be shown at the City Gallery at Waterfront Park in October and November 2010, won 1st prize at TOPS IN International Photo Festival, in Shenyang, China.


Running the Numbers: An American Self-Portrait, Digital Images by Chris Jordan

oct 22 - dec 10

The Halsey Institute of Contemporary Art »
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opening: fri., oct 22, 5-7

artist lecture: fri., oct 22, 4
Recital Hall, Simons Center for the Arts »

artist lecture: sat., oct 23, 4
Burke High School »

artist website »

Chris Jordan is a photographer who creates digital images of jarring statistics related to American consumption. On his website, Jordan states, "Running the Numbers looks at contemporary American culture through the austere lens of statistics. Each image portrays a specific quantity of something: fifteen million sheets of office paper (five minutes of paper use); 106,000 aluminum cans (thirty seconds of can consumption) and so on. My hope is that images representing these quantities might have a different effect than the raw numbers alone, such as we find daily in articles and books. Statistics can feel abstract and anesthetizing, making it difficult to connect with and make meaning of 3.6 million SUV sales in one year, for example, or 2.3 million Americans in prison, or 32,000 breast augmentation surgeries in the U.S. every month. This project visually examines these vast and bizarre measures of our society, in large intricately detailed prints assembled from thousands of smaller photographs. Employing themes such as the near versus the far, and the one versus the many, I hope to raise some questions about the roles and responsibilities we each play as individuals in a collective that is increasingly enormous, incomprehensible, and overwhelming."


Bryant Holsenbeck:
Bottle Cap Mandala

oct 22 - nov 19

The Addlestone Library Rotunda »
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opening: fri., oct. 22, 5-7

artist lecture: sat., oct. 23, 11am

artist website »

Bryant Holsenbeck creates elaborate, three-dimensional, temporary mandalas from collected recyclable materials. Holsenbeck states: "For over a decade now, I have been documenting the 'stuff' of our society that we use once and throw away. Americans create more garbage, per capita, than any other culture, yet we are blind to our waste. I believe this is a function of our wealth, and the vastness of our country. We have the room to hide our waste, and the money to make more. I collect many things, among them, bottle caps, credit cards, pencils, and chop sticks. I use these everyday items to make work, which transforms the objects and surprises us. I am an environmentalist, receiving great joy from the natural world. This makes me aware of how we take what we have for granted. We are used to using 'stuff' once and then throwing it away."

This installation is sponsored by College of Charleston Friends of the Library


The Work of Greg Stewart

nov 18 - jan 8

Redux Contemporary Art Center »
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opening: thurs., nov. 18, 6-9

artist lecture: thurs., nov. 18, 5:30

artist website »

Stewart states: "My work imagines a reality constructed out of a necessity to move from place to place. It also looks at how we might build to accommodate a portable lifestyle. Most recently I have been involved in building small mobile shelters that are often equipped with things that may seem contrary to our notions of being able to move easily. Portions of a library, a cooking station, vegetable gardens, fruit trees growing on roof tops, an outhouse. One particular project has the entirety of one's possessions forming the outside walls of a shelter, causing an actual envelopment by all that is owned. Other projects include ideas that create imaginary species of animals; crossovers, hybrids, or strange attachments with inanimate objects. For example, the project Tools for an Upright Animal imagines a mutation of deer-like species that can grow fruit from its own flesh becoming both herd and migrating orchard at once. The impetus for these projects stems from my interest in geography, more specifically, human geography; the study of how we situate, or arrange ourselves in the world. I'm also interested in aspects of mobility: mobility as a physical operation, metaphorical gesture, and as a spark for things that drive our limitless imaginations. I have always drawn inspiration from the notion that our world does not begin here or end there, but [is] always going on. And for the same reason, environments are never complete but are continually under construction. With this in mind, my work is often left seemingly unfinished. Oftentimes it may still be in the act of construction, or dislodging itself from its current category. Sometimes a system is included that invites further attachments, including my own body."


Butch Anthony: Museum of Wonder

nov 20 - dec 17

Eye Level Art »
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opening: sat., nov. 20, 7-10

artist lecture: sat., nov. 20, 6

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Butch Anthony collects societal cast-offs and trash and uses them as materials for his art. His representing gallery, Southern Visionary Art says, "Alabama folk artist Butch Anthony was born in 1963. This shy, quietly humorous artist lives and works in remote Seale, Alabama. Although he has been drawing since the 70's, his real interest in painting began in the winter of 1994. Whether he uses canvas or found objects such as tin, wire, doors and lids, he expresses in his paintings and sculptures a uniquely humorous take on life, death, money and women. His works are displayed permanently in the Columbus Museum, Columbus, Georgia and were part of the exhibition 'In Our Own Backyard: The Folk Art and Expressions of the Chattahoochee Valley'. Butch is also featured in various publications including "Rare Visions & Roadside Revelations", by Mason, Murphy and Mayberger, 2002."


J. Henry Fair: Industrial Scars

dec 17 - mar 27

Gibbes Museum of Art »
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opening: thurs., dec. 16, 7-9
(Gibbes members only)

artist lecture: fri., dec. 17, 2:30 (free w/ admission)

community day: sat., dec. 18, 2:30 (free from 10am until 1pm)

artist website »

Presented by the Gibbes Museum of Art, the arrestingly beautiful, large-scale aerial photographs by Charleston native, J. Henry Fair are, in actuality, the documentation of environmental degradation caused by industrial processes. Drawn to sites where the land has been drastically changed by the effects of mining or manufacturing, Fair captures brilliantly colored, abstract images. The vibrant colors, rich textures and intriguing patterns that he captures are often reminiscent of the canvases of non-objective, modernist painters. Yet in reality, Fair's images are more journalistic in nature, where content is not sacrificed for the sake of aesthetics. Fair states: "My work is a response to my vision of society. I see our culture as being addicted to petroleum and the unsustainable consumption of other natural resources, which seems to portend a future of scarcity. My vision is of a different possibility, arrived at through careful husbandry of resources and adjustment of our desires and consumption patterns toward a future of health and plenty. To gear our civilization toward sustainability does not necessitate sacrifice today, as many naysayers would argue, but simply adjustment. There are many societies existing at present that have a standard of living at least as high as ours while consuming and polluting a fraction of what is the norm in the United States. As an artist with a message, one asks oneself: how do I translate my message to my medium such that it will effect the change I want? At first, I photographed 'ugly' things; which is, in essence, throwing the issue in people's faces. Over time, I began to photograph all these things with an eye to making them both beautiful and frightening simultaneously, a seemingly irreconcilable mission, but actually quite achievable given the subject matter. These are all photographs of things I have found in my explorations. Other than standard photographic adjustments of contrast, they are unmodified." Paid Admission Required for this exhibition
$9 adults, $7 seniors/students/military, $5 youth (ages 6 – 12), free for Gibbes members and children under 6



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