Guest Curator: Mike Grady
Mike Grady’s Pick: “Megaphone” by Brian Coleman
“From the paper coffee cup in your hand, to the soles of your shoe – design is everywhere. So intrinsic to our daily lives, we have begun to forget what is man made and what is not. It is at this intersection, where the lines can become blurred where I connect to the orderly, calming therapeutic quality to Brian Coleman’s latest works. As an artist, Coleman takes control back from a seemingly chaotic collection of lines and shapes. As a stylist or designer would arrange the objects in a home’s collection, he gathers the elements of his paintings. And like an architect or interior designer, he considers one paintings relationship with another – as though imagining the adjacent rooms in a planned home. Megaphone resonates with me as the foundation of the collection. Serving as the beginning of the conversation, rooted in simplicity, and strengthened by Coleman’s bold choice of color, which serves as connective tissue and appears in many of his other pieces. The world is chaotic, but he interprets it in a way that is beautiful and easy, a reminder to all of us that anything can be beautiful when you break it down and take the time to appreciate its moving parts.”
Mike Grady: editor, stylist, and producer
Megaphone by Brian Coleman 60″ x 48″ acrylic on canvas $3500
Mike Grady is a freelance field editor, stylist, and producer working at the intersection of journalism and design. Mike enjoys baking, crafting, and tending to his house plants. He and his partner live in Washington, DC. Follow his adventures on instagram (@mike.grady).
Guest Curator: Megan McFarland
Megan McFarland’s Pick: “Surface and Structure 7” by Brian Coleman
“When designing spaces for my clients, I often times choose art work as the finishing touch for a room. This piece by Brian Coleman-Surface and Structure 7-has been speaking to me ever since I saw it in Anne’s beautiful gallery. The color here is what really caught my eye. This is a color I use very frequently in my designs and I like to call it a variation of “Charleston Blue.” It’s that perfect aqua blue that reminds you of porch ceilings on an old Charleston single. I decided to go the opposite route of my typical design process for this project and designed the room around the art work. My immediate thought was to bring out the wood accents of the Coleman piece with a wood coffee table and contrast the blue in the painting with a soft blush pink found in the velvet chairs. My designs are about symmetry, they are modern, feminine and a little coastal. It’s an aesthetic that meshes well with this Coleman piece.”
Megan McFarland, Interior Designer and Founder of Megan Ann McFarland Style & Design
Brian Coleman “Surface and Structure 7” 36″ x 36″ china marker, and acrylic on birch wood
Megan is a Charlestonian of 11 years-recently founded Megan Ann McFarland Style & Design, a fullservice interior design studio. Her business began unintentionally after she started sharing photos of her designs in her own home. Soon friends, then friends of friends, and eventually strangers were contacting Megan about her design services. Megan believes beautiful home interiors are achievable no matter what your budget. She has worked on residential, commercial and e-design projects and shares her portfolio on her website www.meganannmcfarland.com . Check out her instagram @meganannmcfarland for all things interiors, fashion and fun in Charleston.
Guest Curator: Mary Mac Wilson
Mary Mac’s Pick: “Drift” by Frank Philips
“I strolled into the George Gallery last week and was lucky enough to catch the end of Lori Glavin’s show. Her paintings are colorful and exuberant and filled with energy, but as I moved toward the corner, Frank Phillips’ Drift is what caught my eye. The restrained palette and deliberate lines were immediately soothing – a quiet space, a bit of a respite. While the clean lines and defined structure are admittedly in my wheelhouse, I was drawn in further by the subtle complexity that was apparent on further inspection. Phillips has a sneaky way of layering color, creating rich depth and dimension. The layering in the lower left corner provides a beautiful continuity of motion, following the large swooping gesture from the right and moving the eye back into the canvas – right at the deep orange datum. The architectural quality of the composition is fascinating to me; I experience it predominantly in section, but I also see a plan (or perhaps plans?) beneath the layers. Maybe it is both, which is why this piece is so compelling.”
Mary Mac Wilson, Architect and Graphic Designer
Mary Mac Wilson is a registered architect and graphic designer. A graduate of Auburn University and Parsons The New School for Design, her work has been featured in Dwell, Southern Living, and Charleston Magazine. She most enjoys combining her day jobs (and a love of place) in her line of coloring books and is always up for a collaboration. Her most recent project is a five month old named Harry.
Frank Philips “Drift” 40″ x 60″ Acrylic and Pencil on Canvas $7200
Art on the move
I moved and I lived to tell the tale.
It happens to everyone, some of us a handful of times and for others, it’s a regular occurrence. Two weeks ago, I moved, not very far, not even a mile. But it’s pretty disruptive no matter the distance because you are forced to go through ALL of your stuff, and personally my favorite stuff is my art collection.
Since it’s so fresh in my mind, let me offer some tips regarding moving and hanging your artwork. My first bit of advice is moving your artwork yourself. Leave the heavy furniture for the movers. When you bring all of your artwork to your new home, put it all in one room, I chose the dining room because it gets the least amount of traffic. Then once the movers have come and put all of the furniture in it’s place, it’s now time to look around and see what you are working with.
Hanging artwork is very similar to putting together a puzzle. I made the decision in this new house to make a new puzzle. I wasn’t going to hang work in the same places as I did in my last house. Everything was going to get reshuffled. I also decided it was time to do some editing. It’s difficult for all of us to be objective about our stuff, but it can be even more difficult when an item was expensive, inherited, a souvenir, etc. So I had to be honest with myself and ask: what does this piece mean to me now? I decided that if I was just holding onto it because it was a family heirloom but I didn’t really love it, then I should send it to my cousin who just moved and would probably enjoy it more than me. I’m giving a few pieces that I bought on a trip with an ex to my intern; she adores them because they are beautiful and doesn’t see the baggage that I feel when I look at them. I’m also going to contact a local group that helps homeless folks find housing and get the basics into their places. I know that art isn’t food or water, but it might help that person feel like they are making a real home with something personal.
After I cleared out some space with my edit, I went through and picked my favorite six pieces and decided to give them the places of honor in my home. It was interesting to see that a couple of pieces that had prominent spots in my last home didn’t make the top six. After locating the top spots for my six (which wasn’t that difficult when you are working with a clean slate), I looked at what was left in the dining room and picked the pieces that would have the best relationship with each one of the top six. I basically let the “favorite” in each room dictate what other art hung in that room.
Then there were the leftover stragglers, which happened to be some wonderful pieces of art; they just didn’t have an obvious relationship to other works. They found homes in those spots that you never know what to do with, like the wall by the back door, the large piece you need to cover the electrical panel, the bathroom. These are the pieces that finish up the puzzle.
Now that it’s “done”, I find myself with two empty walls that I cannot wait to fill up with something I find on my next trip, auction I attend, or what one of my artists sends me for their next show. I’m going to make several people happy with the gifting of my edits, which also makes me contented to know that they are going to continue to be loved. But the very best part of this is that I am falling in love with art I’ve owned for years, I’m seeing it all in new light, and I’m appreciating it as much as the day I first saw it. Now when I’m in my new home, I cannot stop smiling.
This photo by Salter Scharstein used to hang in my bedroom, now it’s in my entry.
I’m really thinking this Alan Taylor Jeffries painting would look wonderful in my hallway.
A piece by Lori Glavin would add new energy into my collection.
Guest Curator: Haley Beadle
“As an aspiring writer, I look to other artists work for inspiration in my own. Often times, I’ll stumble upon inspiration while listening to music. Whether it’s the beautiful lyrics that catch my ear or a chord progression that I just can’t get out of my head, I attempt to exemplify the feeling it gave me through a short story, poem, or song. While already taken back by Tom Stanley’s most recent collection, Road to Nowhere, I was so interested in learning the story behind it as it reminded me so much of my own artistic process. He explained The Road to Nowhere was inspired by his state of mind after hearing The Talking Heads tune over and over again in his head. For me to see the same kind of process in a different medium was inspiring in itself. Looking at the triptychs made me feel as though I was deep inside Stanley’s psyche, hearing the song with him. I loved how each piece had it’s own definite shape that I found had something to do with transportation like a boat, a bridge, a spoke, a ladder. However at the same time I enjoyed the mystery each piece brought with it’s random lines and shapes. My favorite piece in the collection is the first in the triptych Road to Nowhere B. This piece has two shapes I can decipher, an ore and a lighthouse, which are placed amongst sharp lines and triangular shapes. This piece really represented the song well, in my eyes. It looks as if someone is out to sea heading towards an abyss, with land and safety calling to them in the far distance.”
Tom Stanley “Road To Nowhere B1″ acrylic on canvas 24″ x 24” $1600
Haley Beadle- Originally from Maryland, Haley moved to Charleston four years ago to study Creative Writing. As graduation approaches she hopes to pursue a career in the Film Industry. Currently interning at The George Gallery she is enjoying learning about the art industry and having the opportunity to meet local artists.
New addition to the gallery!
The George Gallery is honored to announce a new addition to the roster of artists they represent. Frank Phillips, a contemporary painter based in Alexandria VA, will be represented by the gallery, beginning with a show scheduled for November. Phillips has been a professional painter for over 20 years. He received is BA from Hobart College and his MFA from the Maryland Institute College of Art. He teaches painting, photography, drawing, and art history at Episcopal High School in Alexandria VA. In addition to his teaching he is also the director and curator of the Angie Newman Johnson Gallery.
Phillips paints large format mixed media works on both paper and canvas. A non-objective painter, he is influenced by architecture and engineering. The most prominent elements of his work are the surface and line. His paintings are generally preceded by numerous studies to work out color relationships, he then starts applying layers of paint, charcoal, and pencil until the surface is opaque with medium. Using a disciplined color palette his paintings are subtle, thoughtful, and relevant. His work will appeal to collectors and admirers of contemporary art.
Frank Phillips says “my work uses a flat plane to convey the visual ideas of construction, mass, and volume. The formally arranged imagery is all invented, but takes cues from architecture and engineering (materials and the structures themselves), as well as the erosion and the decay of perceived ruin. The display of process is an integral component to the work; it tracks the time, mistakes, revisions, and the experience used to arrive to a resolved composition. The end results are pieces that embrace surface and relate the ideas of: the used, the weathered, the discarded, and the beaten. I aim to create a quiet calm to the work that is still able to convey a stoic presence.”
What should I buy?
As you can probably imagine, I have a decent amount of original art in my home, it’s an occupational hazard for an art dealer. I started collecting right out of college, making a promise to myself that I would buy at least one piece a year. This was a difficult challenge at first, I ate ramen noodles, I paid for pieces over long periods of time, I framed work really cheaply, etc. But now I can look at my walls and smile with pride that I have a collection that I love. I keep up my tradition of adding work to my home, sometimes a few pieces a year find there way in. So how do I decide what takes up the valuable real estate on my own walls? Here’s how…
I only buy what I love. This can be harder than it sounds. Sometimes we are stuck with the dimensions of a space that is screaming for a horizontal but all we seem to fall for are vertical paintings. This is when it’s a good idea to call in a professional. Using an art consultant or interior designer to move pieces around can solve a lot of your space issues. It’s amazing what a pair of fresh eyes can do, especially if those eyes have no emotional attachment to the work. Try it yourself, move your art around! It’s a wonderful feeling when a painting that hung in an unused room makes it into a high traffic living space and you discover all over again why you bought it.
I’m not afraid to ask if I can pay over time. It’s a common practice and the artist and dealer really just want the art to go to a good home, if it takes a few months for it to get there, then so be it. By doing this you can also side step the problem of only having little inexpensive pieces all over your walls instead of that large canvas you really had your eye on.
I don’t wait to pull the trigger. Original art is just that, one of a kind, if you take too long thinking about a piece, it might not be there when you decide that you do need it. I hate when this happens, seeing a disappointed client who is kicking themselves for missing the opportunity is heartbreaking. On the flip side, if you are hesitating, it’s probably because you are not in love, so move along. Just listen to your gut, it will tell you when you have found the art that is meant for you.
I’m not afraid to take a risk. Do not buy something just because your friends collect that artist. Buy something different, something that speaks to you, something that makes you excited. A boring art collection is the worst, it misses the whole point, make your collection a statement about who you are, then you can sit back, look at your walls and smile.
*also don’t forget to replace all those cheap frames you had to use. I recommend Artizom on East Bay St. 843-723-3726.
Personal picks of mine….
Tom Stanley “Road to Nowhere D2″ acrylic on canvas 24″ x 24” $1600
Paul Yanko “Built Lifted Braced” acrylic on canvas 60″ x 48″ $5000
Salter Scharstein “lily and parrots” color photography 20.5″ x 26.25″ framed, edition of 15 $800
My blog for the Gibbes Museum of Art
Many Moving Parts – A Gallerist’s Perspective
[While the Gibbes Museum is closed, we find ourselves aching to interact with real-live art. The pictures online are nice to glance at, but it can’t replace the experience of standing in front of an original work of art and seeing all the nuances of an artist’s hand. On Thursday night, Society 1858 members had the opportunity to visit the studio of artist Tim Hussey as he prepares for a solo exhibition at The George Gallery. Gallery owner Anne Siegfried shares with us what it takes to pull off a successful show.]
Most people would agree that art openings are fun to attend. You can meet with friends, have a glass of wine, and discuss what you like or not like about the art on the walls. If you connect with the art on exhibit you might also have the opportunity to meet the artist. If you are really into the art, you can buy a piece to hang in your home and enjoy forever. But how does the art opening actually happen?
Society 1858 members enjoy a behind-the-scenes peek at Tim Hussey’s studio.
It takes a lot of moving parts coming together.
As a gallery owner I consider many things when planning an exhibit, the most important of these things are my clients, show logistics, promotion, and the quality of the art. I need to be confident that my clients will respond to the artist’s work. Does it match what they are looking for? Is the art work unique? Is the price point reasonable? If I can think of a dozen people off the top of my head that I believe will really appreciate the show then I move on to the next step.
The logistics are the boring part. When does the show best fit into the gallery’s calendar? What else is going on in Charleston when I want to have this show, I want to be sure there are not any obvious conflicts. Is there enough time for the artist to complete a full body of work?
The next consideration is promotion. Do I have an appropriate amount of time to get writers interested in the body of work? I’m hosting the event because I feel passionate that the artist has a story to tell. My job is getting that message out there, sometimes even before one painting has been completed. But through communicating with my artists and visiting their studios I get to understand what is motivating them, why this collection of work is important, and what the message will be once it’s hung on the walls.
The most exciting part of the exhibit for me is when I see the work in person for the first time, which is when the wheels in my head really start turning. I trust in myself and my artist that the quality of the work is up to or exceeds our standards. So far, my artists have never let me down.
When it’s time to hang the show, I finally get to be creative. I have to take into consideration where the best lighting is, which piece need to stand alone, or which is the most subtle and needs extra attention.
An opening reception at The George Gallery.
All of this planning, creating, promoting, etc., gets us to the wine drinking and chatting with friends. The process takes about 6-18 months on average. But it’s so worth it! I get to share the art that I love the most. The artist gets to show off his/her hard work, and hopefully you have also fallen in love, taken a piece home and will enjoy that work for many years to come.
guest blogger, Society 1858 Board Member and owner of The George Gallery
Guest Curator: Lauren Greenberg
Lauren’s pick: Whitney Kreb’s “Charleston View Three Steeples”
“As an avid traveler, the very first thing I do in a new destination is familiarize myself with the lay of the land. Whether that means studying a map, taking a walking tour or hiking to the best vantage point, seeing the ‘big picture’ helps me understand all that a place has to offer. Whitney Kreb’s cityscapes of Charleston remind me of just that. “Charleston View Three Steeples” exemplifies the city’s coastal colors, charming architecture, and overall cheerfulness. Kreb offers a very unique depiction of the traditional cityscape while illustrating many of the characteristics of a place that you can’t quite put into words. I instantly fell in love with the city of Charleston and this painting transports me back.”
Whitney Kreb “Charleston View Three Steeples” Oil on canvas 24″ x 30″ $3000
Lauren Greenberg: traveler, writer and art collector.
The Weekender Travel was born out of countless itinerary recommendations written by founder Lauren Greenberg to her friends, family, friends of friends and so on. Her passion for travel led to the creation of the travel & lifestyle blog where she hopes to share a thoughtfully curated itinerary with the perfect mix of authentic experiences and unique local flavor any destination has to offer. Check it out here.
Guest Curator: MK Quinlan
MK’s pick: Brian Coleman’s “Violins Played So I Played”
“I read somewhere that you should read a painting’s title only after you’ve developed your own understanding of a piece and what it means to you. It’s a nice idea, but, for me, it’s often the titles of things—art, literature, nail polish (Tijuana Dance?)—that push me from “like” into “love.” This painting was holding steady at #2 on my list (The Green at #1) until I heard its title: Violins Played So I Played.
The always fun, beautiful and clever, MK Quinlan
The colors in this painting are more straightforward (royal blues,
“Violins Played So I Played” 60″ x 48″ Mixed Media on Canvas $2100
grass green) than many of the muddied pastels that Coleman uses in his other works. It’s part of what attracted me to the piece, but it also had me struggling to commit. The faint grid and small sliver of curlicues drawn in charcoal remind me of the doodles that I scribbled in the margins of my homework in high school. The streaks of spray paint—a teenager’s act of rebellion. All of this, combined with the use of “play” in the painting’s title really brought me back to childhood, and I thought of the joy of being moved, for the first time, by the sound of the violin.”
MK is a freelance writer and creative consultant that specializes in developing custom editorial for brands in the style and design space. Formerly the style editor at Garden & Gun magazine, she studied interior design at The Corcoran College of Art and Design and has worked for Washington, D.C.-based Andrew Law Interior Design and Kemble Interiors. She received her bachelor’s degree in foreign service from Georgetown University, and counts art, travel, and vintage as hobbies and inspiration for her work. She is currently working with Simply Framed, a Miami-based eCommerce startup whose goal is to simplify the custom framing process. Follow her on Instagram @mkquinlan.
Guest Curator: Amy Coy
Amy’s Pick: Evan Armstrong’s “Gin and Tonic”
“When looking at any artwork, one of the first questions you may ask yourself is “What is this piece about?” You may have to think more creatively when looking at an abstract work. Abstract art can be “about” the paint on the canvas or it can be “about” the process of painting for an artist personally. Viewing abstract art prompts a number of questions. Does the painting convey a mood or atmosphere? What does it prompt you to think about? Are you drawn to a particular color? Everyone will come up with different answers.
For me, abstract art is all about the mood it evokes. I was drawn to this work by Evan Armstong, because I love the blend of colors. It reminds me of walking home on a foggy, rainy evening lit by muted street lights and neon signs. I love the moodiness of this work — perhaps its name, “Gin and Tonic,” has a little something to do with it.”
Evan Armstron “Gin and Tonic” 20″ x 16″ Oil on canvas
Amy Coy, President of Society 1858
Amy Coy – Current President of Society 1858 with the Gibbes Museum of Art and art blogger for Charleston Grit. Amy loves to support art and artists in the Charleston community. Charleston’s art community is so rich, and it is such a pleasure to get to know the exhibitions, galleries, and artists. By day, she is a sales manager with BTG Pharmaceuticals.
Guest Curator: Lindsey Carter
Lindsey’s Pick: Evan Armstrong’s “The Algorithm”
“I was drawn to Evan Armstrong’s work the “The Algorithm” because it was so light and fresh. I could immediately see putting it into a repeat and using it as a textile print on a full midi skirt, or in a gauzy blouse, playing with large and small scales of the pattern. I love how the paint looks like it has been dripped and smudged all the way down the canvas, creating an almost pastel version of the true color. I also love how he drew the black grid with pencil before, and traced it imperfectly with his paintbrush — a true reminder that we all have flaws. He also pencils in a circle around what looks like to be stabs into the canvas, almost highlighting these gashes as if pointing out a wound. Is that why he used red paint I wonder? Last, I start to ask, why did the artist name this painting “The Algorithm”? What set of rules is this painting showing us? What problem is he trying to solve? It’s why I find art to be so incredible sometimes because just like any other creative profession, it’s an outlet for expression.”
Lindsay Carter: Designer of Troubadour
“The Algorythm” by Evan Armstrong
Based out of Charleston, South Carolina, the Troubadour collection is a reflection of founder and designer Lindsey Carter’s southern upbringing and her life adventures and travels thereafter. She cites three major influences in her life – the South, the City and the Sea.
Learn more about Lindsey and check out the Troubadour collection here.
Guest Curator: Lauren Lail
Lauren’s Pick: Brian Coleman’s “These are All Handpicked”
“The color is what first drew me to this particular piece. I absolutely love blue in every shade and this deep cobalt blue is bold, but not overpowering. I liked the piece even more when I saw the name. I always love a story, it’s what originally began my love of collecting vintage…the stories past. This particular one is named “these are all handpicked.” I’m not sure what Brian meant by that, but I see that these are all the same, but different. They are unique in their own way, they are each their own, but a part of something bigger.”
Lauren Lail: Designer of Library by Lauren Lail
Brian Coleman “These are All Handpicked” 18″ x 18″ Mixed Media on Canvas $700
Lauren Lail – designer of Library by Lauren Lail, Lauren helps women find their one-of-a-kind style with her own designs and vintage finds of storied pieces that transcend time and inspire the imagination. Focusing on the romantic and nostalgic, with Library, Lail has set out to scour shops across the country to cultivate a vintage collection unrivaled in the southeast. Check it out here!
Guest Curator: Anna Wunderlich
Anna’s pick: Brian Coleman’s “I Know What It Means To Be Twisted”
“Brian Coleman’s abstract paintings are repeatedly intriguing to me. I think it is the balance I see in the basic Elements and Principles of art and design…straight from Art 101! From color, shape, line, texture, value, and composition, Coleman’s paintings achieve a balance. In particular, I Know What It Means To Be Twisted, has these qualities. Dark earthy brown and black juxtaposed with fresh white and pink. The shapes are small and large, positive and negative, as well as geometric and organic. Again, creating a yin and yang to my eye! I’m also a big fan of scale and a 48×48 can really make a statement.”
Brian Coleman “I Know What It Means to be Twisted” 48″ x 48″ $1700
Anna Wunderlich: Art buyer, art lover
Anna Wunderlich – art consultant who focuses on connecting individuals with artwork that best represent themselves or their company. A lover of all creative pursuits, she is dedicated to turning homes or businesses into places of creative inspiration. Check it out here!
Guest Curator: Liza Cleveland
Liza’s pick: Paul Yanko’s “C.S.F #2”
“Paul Yanko is a notably diverse artist with a breadth of talent that any painter would envy, mastering everything from intricate cut and layered multimedia collages to monotypes. A monotype, of which my chosen piece, “C. S. F. #2” is an example, is a single print taken from a design created in oil or printing ink on a glass or metal surface. Think about that, a single print. The artist makes a perfectly good work of art in order to mar the original and produce one single print. It’s quite a process if you dwell upon it. I am naturally drawn to this printmaking technique, as I myself am a graphic designer and producer of paper goods, with an established background in the visual arts and a natural tendency to gravitate to anything with an artistic or creative framework. Yanko’s series of monotypes immediately attracted me the moment I walked into the beautiful, sunlit George Gallery, and this particular design, which reminds me of the sensuous, beautiful shape of a woman’s back, has an interpretation of the movement and shape of a figure painting that drew me in immediately. The organic nature of the process of a monotype is one that creates an interesting, if somewhat attractively unpredictable result, making the result extraordinarily special in the sense that there is one, and only one, produced. With masters such as William Blake and Edgar Degas experimenting with this technique, you can see why these pieces are prized for their unique textural qualities, and highly individualized nature. Monotyping is somewhat of a lost art, and I am thrilled to see talented artists such as Yanko calling attention to such an uncommon and highly specialized approach.”
Paul Yanko “C.S.F #2″ Framed 21″ x 17” $500
Liza Cleveland owner of Bon Vivant
Liza Cleveland-Graphic designer & owner of Bon Vivant, a boutique design firm specializing in custom stationery, invitations, announcements and identity. Style lover driven by pattern, color, art, design, and fashion. Check it out. and more here
Guest Curator: Angie Hranowsky
Angie’s pick- Whitney Kreb’s “Green Peacock”
“I had the good fortune to work with Whitney on a custom mural for a house that I designed. Although not at all similar it was perfection just like her Green Peacock.
I look at this painting and feel like the peacock is going to walk off the panel and into the room. It is not entirely realistic however. The background is modern and loosely abstract and there is a playfulness in the feathers. The colors are less vibrant, but her palette of blues and greens blend perfectly from a deep cobalt that looks so soft you think you could feel it to a rich green that reminds you of the peacocks natural environment.
I look at this Green Peacock and I am at once intrigued and in awe of it’s beauty.”
Based in Charleston, where design styles tend to slant towards the traditional, Angie’s high-impact rooms manage to be both bold and effortless. She has garnered an impressive roster of both residential and commercial clients for her confident use of color, affinity for modern design and decidedly casual vibe. Named one of the “20 Designers To Watch” by Traditional Home, included in Southern Living’s “Top Five Tastemakers,” and featured in Domino, House Beautiful, Metropolitan Home, and Coastal Living, Angie has garnered praise from the industry’s most prestigious publications. Visit her website here!
Photo by: Julia Lynn
Whitney Kreb, “Green Peacock” 20″ x 30″ Oil on Panel $1600
Guest Curator: Sidney Wagner
Sidney’s pick: Paul Yanko’s ” Modified Expanded Reinforced”
“I’m in love with this beautiful work by Paul Yanko! He is one of my favorite artists at The George Gallery.
I am typically drawn to abstract art initially in a visual and aesthetic sense but secondly because I enjoy that the observer can interpret the work as they feel inspired. Initially, I was drawn to this piece as it reminds me of a kaleidoscope that you would look through as a child, and I thought it was ironic as a kaleidoscope is ever changing as you turn it in a different direction. Upon second glance, this painting reminds me of broken sea glass which embodies all the colors and feelings I love about Coastal towns. When I looked at it the third time, I was reminded of the reclaimed furniture I have sold in my shop made from old boats and/or architectural pieces with old, peeling paint. I SO would enjoy having this piece in my home as I reminisce on childhood memories and feel inspired as I dream about traveling the Coast!”
Sidney Wagner is an interior designer and the owner of Eclectic Design in Mt. Pleasant. Opened in 2013, Eclectic Design is an interior design studio and home decor shop selling furniture, art, accessories, lighting and other goods for the home. With a unique product line of refurbished vintage and Mid-Century furniture, one-of-a-kind custom made/repurposed pieces, and new items carefully curated from various vendors, Eclectic offers a fresh, Modern-meets-Coastal aesthetic.
Paul Yanko, “Modified Expanded Reinforced”
11″ x 8.5″ Acrylic and Collage on Paper, Sold but similar works are available
Visit Sidney in her store located at 875 Coleman Blvd. in Mt. Pleasant SC
Guest Curator: Harper Poe
Brian Coleman, “The Encounter” 45″ x 33″ Fiber Paper Cut Out on Paper, $1650
Harper’s pick: The Encounter by Brian Coleman
“The taupe color and organic shapes of this piece drew me in immediately.
My house is filled with bright textiles so this neutral, but never boring piece would be a perfect balance to my bright woven pieces and geometric textiles from Central America and Africa. Its placement beside the light blue and peach speckled concrete column at the back of the gallery was a match made in heaven…the overall color vibe was reminiscent of the colors of the Southwest which I am forever inspired by.”
Proud Mary is a socially conscious textile design company owned and operated by Harper Poe in Charleston, SC. We work with global textile artisans to create our line of “ethnic-modern” home, personal accessories, and wearables. All of our artisans receive a fair wage for their work and we are committed to creating long-lasting, sustainable relationships with these talented men and women.
Haper on one of her many adventures for Proud Mary
Guest Curator: Cator Sparks
Melinda Mead Scharstein
18 x 27″ Unframed, 24″ x 33″ Framed $1100
Edition of 15, pigment on archival cotton rag paper
“While I rarely buy photography, this image lures me in every time I see it. It is so complex and wonderful.
There is something very Diane Arbus about it.
It has a hint of Southern Gothic- maybe it’s the light, the curtains, the bare feet? Is it a farm boy in the country or
is it a college kid on Spring Street?
Is he writing in his journal? What about?
It is also very cozy. The size of that pillow is so rich and the cool colors of the walls and the crocheted blanket are very calming.
The fact that he is almost hiding in the dark corner keeps my mind guessing.” -Cator Sparks
photo courtesy of Olivia Rae James
More tips for your art collection
Tip: Move it!
I love hanging art, but I realize that it intimidates some people, here are a few things to keep in mind.
With the art you already own: Try your art in different spaces, different rooms, stack one above another, hang in a grouping of different sizes and mediums, etc. Just because a painting wound up in your hallway, doesn’t mean it has to spend the rest of its life there. You can learn to appreciate pieces that you already own by seeing them in a change of environment.
Hanging new work: One of the biggest mistakes I see people make with their art is hanging it too high. My rule of thumb, hang the piece at eye level; that is how the artist saw it when he/she painted it.
While you are moving your work around, take a peek at the framing; make sure everything is still in good shape. Look to make sure that there is not cardboard on the back of your piece of art, the acid in cardboard can be damaging.
And if you still don’t feel comfortable hanging your art, hire a pro. A professional can be particularly helpful when you have moved into a new home and have a lot to consider. What you spend in fees will give you peace of mind that your home, and what is in it, is being seen and utilized to it’s greatest potential.
Closer look at the nursery wall.
This is great example of “gallery hanging”. The lucky babies who call this home have a few original Brian Coleman’s painting mixed in with posters and prints.
Tips for your art collection
Paul Yanko, “Frame Angle Module” 36″ x 36″ Mixed Media on birch panel $4000
Alan Taylor Jeffries Unexpected Idolatry 36″ x 36″ Oil on canvas $1500
Tip 1: Editing and adding
Many people want to have a strong art collection that they love, but often feel stuck and don’t know how to proceed with what they have and are unsure of what to add. My first rule for buying art is to buy what you love; you will find a place for it, I promise. The editing process of your existing collection can help free up space. Also, using a professional to guide your editing can be a great assistance, using an art consultant (me!) or a designer can make the process much smother. A professional can come into your home, assess what you are working with and devise a game plan that fits your personal needs and budget.
It’s important to be honest with yourself during the editing process. You probably have pieces in your home that may have some small sentimental value but not any aesthetic value and that is OK. These are the pieces that you can hang in your mud room, man cave, or guest room, they don’t need to be what you see when you first walk into your home. The pieces that you hang in the rooms you spend the most time in, should bring you the most enjoyment. Your home deserves to be filled with art that you are proud to live with.
Happy Tuesday to you!
IN HOUSE CURATOR: ANNE SIEGFRIED
Tim Hussey “True Story 3”
Welcome to my premier blog entry. I hope to use this space to highlight individual pieces that I think deserve particular attention. Sometimes when you see a collection from an artist in a gallery or on a website, an individual paintings can loose significance grouped among many others; alone it can have a chance to shine brighter.
I also intend to use this blog to introduce you to my guest curators, hand picked professionals in creative fields that I admire. One of the most fun aspects of my job is seeing art through other viewers eyes, this takes special significance when that viewer is trained in aesthetics and has a passion for beautiful things. So keep reading the blog to find out what art pieces are chosen and what special person has taken over the blog for the day.