You're Invited to the Launch of The Limelight Volume III by Cindi Boiter at the Art Bar, Thursday February 23rd

Please join the Jasper Crew Thursday night, February 23 from 6 to 8 at the Art Bar as we help executive director Cindi Boiter celebrate the launch of her newest collection of essays written by some of Columbia’s most interesting local artists about some of Columbia’s most interesting local artists.

The Limelight volume III: A Compendium of Contemporary Columbia Artists is the third collection in this series Boiter has published from Muddy Ford Press. This volume features essays from Jon Tuttle and his son Josh, Cassie Premo Steele, Clair DeLune, Dale Bailes, Kristine Hartvigsen, David Axe, Claudia Smith Brinson, Jason Stokes, Ed Madden, Tim Conroy, Len Lawson, Chad Henderson, and Boiter herself. The subjects of the essays include Tom Beard, Al Black, Nappy Brown, Anastasia Chernoff, Thorne Compton, Clark Ellefson, William Price Fox, Phillip Gardner, Tyrone Geter, Terrance Henderson, Rob Kennedy, Jillian Owens, Leslie Pierce, Kathleen Robbins, Sharon Strange, and Kay Thigpen.

We’ll be gathering at 6 pm for a cocktail hour during which attendees can order drinks from the bar and visit with friends, purchase and sign books. Following that we will enjoy brief readings from the collection.

Admission is free and we’ll be gathering in the back of the bar. Books, including The Limelight Volume I and The Limelight Volume II will also be available for purchase at reduced rates.

The Art Bar is located at 1211 Park Street in Columbia, SC. Thanks to the Art Bar for hosting this event.

A Midlands Gives Message from Cindi & Wade -- The Jasper Project's State of the Heart

Thank you!

As we approach Midlands Gives next week and you make your decisions on where to invest your gifts, we’d like to report back to you on how the Jasper Project has used the tokens of your kindness since last year.

First and foremost, we have published two 64-page issues of Jasper Magazine and we have another issue in design now that will be in your hands in a matter of weeks.  These issues have reviewed, previewed, examined, explained, memorialized, and celebrated more than 100 of our Midlands-based artists. The issue coming your way will look at the art of Lindsay Radford, Quincy Pugh, Rebecca Horne, Lucy Bailey, Tyrone Geter, Diko Pekdemir-Lewis, Mike Miller, Jane Zenger, Josetra Baxter, Tamara Finkbeiner, Terri McCord, Juan Cruz, Saul Seibert, Rex Darling, Tam the Viibe, Desiree, Katera, Lang Owen, Hillmouse, Space Force, Candy Coffins, Admiral Radio, Carleen Maur, the mission of SCAC ED David Platts, and the international efforts of Columbian-founded dance organization, Artists for Africa.

We have published a dual volume of Fall Lines – a literary convergence, celebrating the prose and poetry of 60 SC writers, awarding the Broad River Prizes for Prose to Randy Spencer and Kasie Whitener and the Saluda River Prizes for Poetry to Angelo Geter and Lisa Hammond, while at the same time celebrating the photography of Crush Rush. And we have issued a call for Fall Lines 2022.

We have conceptualized and implemented a competition for the publication of a chapbook for a SC BIPOC writer in honor of Lizelia Augusta Jenkins Moorer and the winner is being announced and celebrated as we speak. Board member Len Lawson brought us this beautiful idea and will edit the book which will be published this fall. 

We have implemented another issue of the Play Right Series, with new board member Jon Tuttle issuing a call for an original, unpublished one-act script, overseeing the adjudication, and selecting young playwright Colby Quick as the winner. Nine community producers have joined director Chad Henderson and his cast to learn more about the page to stage process for theatre arts, and we will invite you to join us for a staged reading of Moon Swallower in August. 

We have featured one artist per month in our virtual Tiny Gallery under the direction of board member Christina Xan, including artists whose work you know very well and artists whose work we think you’ll be happy to learn about including Gina Langston Brewer, Adam Corbett, Bohumila Augustinova, and more.

Because of the dedication of our amazing web maven and board member Bekah Rice, we have a website that is comprehensive, up-to-date, easy to maneuver, and quite lovely, if we do say so ourselves. Since last spring we have brought the good news of Columbia arts to you via more than 160 Online Jasper (previously blog) posts. And counting.

We threw a fabulous party to celebrate the 10th birthday of Jasper Magazine, and, with board member Laura Garner Hine’s incredible work, we welcomed more than 30 artists to demonstrate and celebrate their talents.

We have shown art for Columbia artists at Jasper Galleries that include Harbison Theatre, Motor Supply, also under the management of Laura Garner Hine, and our sidewalk gallery at the Meridian building conceptualized and realized by board member Bert Easter.

We have included the work of 25 (and counting) brilliant SC writers under the auspices of the Jasper Writes project, implemented in conjunction with Jasper poetry editor, Ed Madden

We have helped a new non-profit spread its wings by serving as the fiscal agent to Columbia (Summer) Repertory Dance Company, which is now its own entity. Bye bye little birdie! 

We have launched several new projects including:

  • A new weekly music column by Kevin Oliver called THE BEAT;

  • First Thursday featured artist exhibitions at Sound Bites Eatery – with artists including Marius Valdes, Ginny Merritt, and Quincy Pugh lined up for the next few months, and Alex Ruskell showing his work in May;

  • The monthly Jasper Poetry Salon hosted by Al Black at the One Columbia Co-Op;

  • Another monthly singer/songwriter happening called Front Porch Swing, also by Al Black, also at the One Columbia Co-Op.

  • Last Thanksgiving, we launched a weekly newsletter called Sundays with Jasper that keeps the community up-to-date on Jasper news and arts happenings in general. You can sign up for Sundays with Jasper here.

Of course, none of this could have been done without the support of our community and your recognition of the vital role grassroots arts organizations play in the landscape of an arts community.

We continue to vow to you that every penny that comes the way of the Jasper Project will go directly back into the greater Midlands area arts community as we keep our overhead close to zero, save for insurance and rent (when we have a brick-and-mortar home.) None of your generous funding goes to payroll, taxes, or nice desks and chairs. We work from our homes and from our hearts.

It's worked this way for 10 ½ years. We’re keeping at it as long as you let us.

Thank you for your continued support.

Cindi Boiter, Wade Sellers, and the entire board of the Jasper Project and staff of Jasper Magazine

 

WILL SOUTH - Sig Abeles Writes a Memoir

Sigmund Abeles (b. 1934), Self-Portrait in a Hat/Drawing, pastel on paper, collection of Nora Lavori.

            Sig Abeles was born in New York but raised in South Carolina’s Myrtle Beach. His mother had a bad, well, a horrible marriage, so she packed up little Siggy and headed for Dixie where relatives lived nearby. It was Mrs. Abeles’ (pronounced “a” as in hay and “beles” as in Belize) idea to start a seaside hotel (only it was cheaper to be off Highway 17, not quite on the water) and it would be there that her son grew up to love the sea, riding horses, and Brookgreen Gardens. From there, he would eventually make his way back to New York with dreams of becoming a great artist. After all, his pal, Jasper Johns, had not done so bad.

            And, in his own way, he did become that great artist and one of the more recognizable printmakers of the late 20th century. Which means he needs a book of some kind to declare that this is the case.

            “Sig, what about that memoir you’ve been threatening to write for the last twenty years?”

            “Oh, I got busy,” he drawls, with a manner of speaking that betrays echoes of a drawl mixed in with vintage New York aggro and a healthy dose of Yiddish inflection.

            “Busy with what?” I bug him. Most artists need to be pushed until they get to the edge of the cliff, then they’ll happily jump by themselves.

            “Well, there’s my lady, and I’m her man. We need time together.”

            After having been divorced three times, Sig got a girlfriend at the age of sixty-seven, and they are still together after twenty years. Their first date was a walk in the park, literally Central Park. For Sig, ever the romantic, it had been love at first sight.

            “I hope you found a nice Jewish girl, as your mom wished for you to do.”

            “"No, oddly, I didn't. Not even back when I lived with mom.” And he chuckles, ever the gleam in his sharp, highly trained eyes. “Not that I didn’t spend a lot of time looking.”

           “I’m happy for you, Sig. Really. That said, happiness schmappiness. You need to get your life story down in print. You are a first-class bullshitter, and your story would be a good read—the boy from down yonder who made good in the big city. It’s the great American story, isn’t it? Fate would have had you working in your uncle’s grocery story over in Florence, but you defied fate, or something like it, and followed your heart.”

            “Ah, yes. That I did. It really all started in Brookgreen Gardens.”

            “Tell me about that. Maybe later you can write it down and get this show on the road.”

            “Sure. I’ll tell you about it. That spot was where my living education took place at a time when the rural deep South lacked museums of history, nature, and art. I was given either a box of Ritz crackers or a box of Del-Monte raisins as a standard snack and would go sit on my perch and learn with my eyes. On any short list of why I became so damned lucky as a dreamer, human being, and artist, Brookgreen Gardens, a mere seventeen miles south of my Myrtle Beach home, comes in as a close contender for the top. It was where I cut my “art-teeth,” and I would doubtfully have become a professional artist without that magical collection of American figurative sculptures set in formal gardens. Throw in the zoo of local animals, which I also soaked in repeatedly until I was full, and I was able to learn what no one school or teachers could have possibly provided me.

            My lady friend, Nora, likes to tell folks about my “eagle-eye.” In a museum or at an antique show my eye leads me to the absolute best thing there almost instantly. That visual acuteness was developed at Brookgreen. The mystery of how in the world a sculptor could observe a model and somehow translate and transform clay into a convincing, living form for eternity still bowls me over, even though I now understand and practice those processes. The two huge subjects of my personal passion, the human, especially female, body and the grace and power of the horse remains fulfilling, thanks to that rich and exciting collection. From my vantage point on our rooming house’s steps overlooking US 17, I sometimes would spot a huge flatbed truck with a sculpture, sometimes wrapped in tarps with just a huge thigh or shoulder exposed on the way to that ever-evolving Brookgreen. I would run into the kitchen shouting, “Ma, a new sculpture is going to Brookgreen, please, when can we go down to see it, say really soon! OK? Please?”

            Because of Brookgreen Gardens, I knew the name and the sculpture of Anna Hyatt Huntington long before I had heard of Auguste Rodin. The same is true for the names of Gertrude Whitney and Malvina Hoffman before even knowing about Michelangelo, or the way-out, biting wit and satire of Henry Clews before Francisco Goya became a greater favorite and influence. It still seems like an odd happenstance of counter-intuition that it was the lady modelers who were the early heroes for me, not the men. In fact, the first time I “touched” art (and maybe it touched me) is evidenced in a snapshot of me as maybe a four-year-old on a family picnic where I was pulling the tail of a bronze lion by Ms. Huntington.”

            “And, from there to where, my friend? Tell me a little about your time at USC.”

            “My time at USC would prove to be a mixed bag, maybe even a mixed-up bag. In the 1950s, one could argue, correctly, that Columbia was at the epicenter of conservative American mores focused on truth and righteousness and was a national leader in the suppression of civil rights. No irony there, right? It was thus an unlikely place to be if one’s goal were to learn about mysterious creative strategies that might unlock the door to an artistic life. On the other hand, it might be a good place to learn business strategies involving tobacco and the manufacture of cigarettes and how to deny their danger to the health of the world. I knew instinctively things were going to be bumpy when I discovered the art department offered not one course in sculpture. Not. One. A place like Brookgreen Gardens never came up in conversation, however much I loved that place so dearly. It was my launching pad.

            The greatest professor there for me was Bob Ochs who taught American history and was a Lincoln scholar. God, how I loved hearing him dress down those students falsely proud of the Old South. He would happily tell them that their family were not plantation or slave owners, but rather were white trash who desperately needed to distinguish themselves one bare notch above Black Americans. Bob later became a friend, bought some work, had a house in Majorca, was awfully close to Jasper Johns, and was uniquely special—it was a privilege to have known him.

            I was supposed to be a pre-med student. Mom wanted me to be Chief Surgeon to the Free World. But I struggled with math, chemistry, and biology classes. I wanted art like no other desire; it was obsessional. USC's art faculty was comprised of interesting individuals. My favorite art professor was Augusta "Bucky" Wikowski, the adorable, eccentric art historian. She was widowed by the time I met her. Bucky was a great traveler and storyteller. She truly brought slides alive with her insights. Her pronunciation of profile as "pro-feel" delighted me as did her recounting to me over drinks on her Devine Street hillside home of the personae she assumed during her full summer travels to Europe and Mexico. Once she passed herself off as white Russian aristocracy, another time as a famous madam. Long after I left Columbia, the Columbia Museum of Art had arranged a show of her paintings, which were done either while traveling or from sketches made during those trips.

            However, Bucky was extremely modest about her canvases, very self-effacing. When it was time to deliver her exhibition, she stacked all her framed works against the back bumper of her station wagon and then proceeded to back over them all, busting frames and stretchers, doing grave damage to the best of her years of labors of love and remembrance.

            Often, I ranked myself in USC's art department as the fair-haired freshman (or fair-haired sophomore by the time I noticed my post pre-med mistake) while Jasper Johns was the fair-haired senior. The Jasper Johns event of memory was the farewell Mr. Graduate party for Jap after which he roared off in his snappy red sports car to fulfill his dream of going to New York to study at the Art Students League of New York with Yasuo Kuniyoshi. At the time, Jap's works were small watercolors leaning toward Paul Klee and rose period Picasso, sensitive and poetic. Jap's parting words to me were that when I made my way back to New York to look him up and he would help me find a place to live and work, which I did but neither a studio and apartment nor the job worked out for me. I do remember one day when Jap and I were at MOMA and he just said, “the New York Art World is run by four hundred male homosexuals.”

            In 1955, soon after the Supreme Court decision in favor of desegregation, I was called into the president of the University of South Carolina’s office. I had passed out leaflets around campus in support of civil rights, and taped fliers to walls. This work was modest in relation to what was to come in the 1960s, but it was enough to get you into plenty of trouble in South Carolina in the ‘50s. Certain of my views seem to have been influenced by northern proponents of freedom for all (radicals, that is), and the president, had this to say to me: "If you owe them so much (these radicals), why don't you move north to live with them?"

            I responded that I was at USC to get a degree and it was my intention to finish it. My records were on his desk, and he looked them over and proceeded to tell me that with the summer schools I had attended, I had enough credits to graduate. (I had put in five semesters of undergraduate work.) "If you agree to leave USC after this semester, we will send you a bachelor’s degree in June." In essence, he gave me a bachelor’s degree as a way to kick me out of school, similar in spirit to how Southerners will say, “Well, bless your heart!” when they mean “Screw you!” So, I finished that semester and moved to New York, took a small apartment in Greenwich Village on Charles Street and started making art.”

            You must have hundreds of stories.”

            “I do. But I wouldn’t know how to end it.”

            “That, Sig, is a good thing. Now, write the rest of it.”

 

Note: Sigmund Abeles has completed a first draft of his memoir, and, with a good deal of luck, should be out and readable in a year or two.

Will South is an independent artist, curator and writer based in Columbia.


Writer Carla Damron is More Than a Writer and a Social Worker - She Uses Her Art to Shine a Light on Some of Our Greatest Social Woes Including Homelessness and Human Trafficking

“I didn’t realize” were words I often heard in my work. They applied to me, too, back when everything I knew about human trafficking came from episodes of Law and Order. My first awakening occurred when asked to be a guest lecturer at a local college. I mentioned the beginnings of our anti-human trafficking advocacy when a student raised her hand and said, “You mean, like that girl they found in the trailer a few miles from here?”

Carla Damron, author of The Stone Necklace and the upcoming The Orchid Tattoo

I first met Carla Damron when I was working with the Richland Library and One Columbia to grow the One Book/One Community program in Columbia, SC. My personal goal for that project was to always choose a South Carolina writer for our community to read and I had lots of reasons why.

First, I believe it’s important for communities to recognize and support the truly talented among us in any way we can. But second, it’s incredibly important for us to see our friends and neighbors who accomplish major goals and be encouraged by them. Ride their mojo and use it to your own advantage!

The book we chose for our community to read, in conjunction with The State news which published the manuscript in part, was Carla’s 2016 novel, The Stone Necklace, set in Columbia, SC and published by the University of South Carolina Press’s Story River series, curated by the late Pat Conroy.

(I’m not sure what happened to the One Book/One community project since I’m not involved anymore, and neither is the Jasper Project. But, as an aside, I’d love to see it come back to Columbia and I’d love to see it adhere to the loose protocol developed by the Washington Center for the Book at the Seattle Public Library when the project was initiated in 1998. Hit me up if you’d like to work on getting this beautiful community project back up and running and are willing to work on it yourself. It’s a relatively easy project if you have a few volunteer hours in your pocket that you are willing to share.)

I’ve written about Carla Damron a number of times since we first met, and we’ve worked on projects together. She is quite a specimen of humanity in her goals and priorities, and I’m fortunate to call her my friend, writing sister, and fellow Columbian.

Today I want to direct you to two (more) outstanding contributions to our culture that Carla has so generously shared with us.

The first example is a recent essay Carla wrote on the issue of human trafficking and posted on her website. The title is “I Didn’t Realize — The Story Behind the Orchid Tattoo.” You should know that the Orchid Tattoo is the title of Carla’s upcoming novel, releasing on September 6th, 2022 from Koehler Books. This essay is linked above.

But secondly, Carla shared a piece of prose writing that I was delighted to share in the most recent issue of Fall Lines - a literary convergence. For your reading pleasure we present, “Breaking the Surface.”

Breaking the Surface

by Carla Damron

The olive green 1967 Mercury Marquis station wagon bulged with suitcases, bedding, groceries, floats, and our family. My father drove, my mother beside him, a Virginia Slim squeezed between two pink-nailed fingers. Crammed in the back seat: my teenage sister Susan, engrossed in a Nancy Drew novel, me, age nine, in the middle, and my eight-year-old satanic younger brother Freddy to my right. It felt like the drive to Surfside Beach took centuries, though really it took less than three hours. I smiled as we passed the bright blue billboard with the cartoon dolphins leaping into the air. It advertised the best store on earth, known for its pet fiddler crabs and mammoth shark’s teeth that could be purchased for less than my allowance. Every vacation to Surfside included a day at the Myrtle Beach pavilion and a visit to the beloved “Gay Dolphin.”  

            Freddy squirmed like the worm that he was, a bony elbow catching me in the ribs. “Quit elbowing me. Mom, Freddy’s elbowing me again,” I complained, for all the good it did me. I had a permanent concave space under the right side of my ribs.

            “She’s hogging up too much space with her fat butt,” Satan said.

            “Y’all behave. We’re almost there.” Mom let out a loud sigh as she flicked on the radio.

            “You said that a half hour ago.” Susan peeked up from her book, eyebrows arched in criticism.

            Mom tipped the ashes of her cigarette out the partly opened window. Smoke circled the inside of the car and found its way into my nose. I coughed.  

            “Here comes a VW,” Dad said.

I struck first, a quick-knuckled punch on my brother’s arm. “Punch buggy! No take-backs!”

“MOM!” he bellowed, as if I’d hacked him with a machete.  

“Arnold, seriously?” Mom tsked Dad. “Why do you encourage them?”

I spotted Dad’s sly smile in the rearview mirror.

“I’m going swimming as soon as we get there,” I said.

“Not until we get everything unloaded. And that means all of you helping.” Mom flicked the cigarette out the car, a pale torpedo barely missing the back window.

            I settled back in my seat, gaze fixed out the window, and counted speed limit signs. How many until Surfside? Twenty? A hundred?  I had reached number seventeen when another smell filtered through the windows: the unmistakable odor that meant Georgetown.  

            “I smell an egg fart! It’s probably her!” Freddy elbowed me again.

            “I wish they’d do something about the paper mills,” Mom said, like she did every time we came.  I didn’t care about the stink. Because if I closed my eyes, the Sulphur odor faded, and the distinct fragrance of salt, tanning lotion, and sea air filled my mind. I almost tasted my ocean.

***

            Finally, blessedly, we pulled up to the yellow wooden beach house perched on stilts. The checkerboard linoleum-floored kitchen had the basics: single sink, stove, refrigerator, and oven. Susan helped Mom unload the groceries, while Dad did the heavy lifting and Freddy and I fought over bedrooms—simple rooms, with no air conditioning, and generic paintings of seashells over white-washed dressers. 

            Mom tasked me with putting linens on the beds while my brother stocked the bathroom with soap, toilet paper, and towels. We both moved with lightning speed so we could scurry into our swimsuits and flip-flops and head down to the beach. Dad halted us at the screened porch.

            “Nobody swims until your mom or I are ready. So plant your fannies in those chairs and wait.”

            Wait. The hardest word for a kid, and one we heard many times a day. I pushed back and forth in the squeaky rocker as I stared out at sea-oats rippling above sand dunes. The quiet pounding of waves and squawk of seagulls called to me, but I had to WAIT.

            Inside, voices swelled in an argument about missing extra towels. “Really, Arnold. I ask you do to ONE thing,” Mom said.

            “One thing? Who loaded the wagon? Who gassed it up? Who DROVE us here?” Dad didn’t yell, but sort of laughed it out, like Mom was being ridiculous, a tone that might infuriate her and further delay hitting the beach.

            Freddy and I both stopped rocking. No response from her. Good.

Finally, the rest of my family emerged, Susan in her new bikini, Mom in a black one-piece and floppy hat, and Dad in trunks and an unbuttoned shirt, with an embarrassing stripe of white stuff over his nose which was prone to sunburn.  We jumped from our chairs and banged through the screen door, all a-bundle with towels, chairs, rafts, suntan lotion, playing cards, plastic buckets, and a thermos of Kool-Aid. Another container peeked out of Dad’s pocket: silver, small, and shiny, something he rarely went without.

The narrow board walk carried us over the last sand dune and I saw it: a blue-green expanse, white froth in stuttered lines across it. The sky a bold blue that stretched forever. Freddy and I dumped our belongings, kicked off our flip-flops, and dashed to the water. Susan remained with our parents, stretching herself on the blanket and slicking on suntan oil.

Waves crashed over me, surprisingly cold. At our salty feet, the undertow signaled a waning tide. It didn’t matter. Satan splashed me, and I splashed back, and we laughed and dove into a cresting wave. 

When we emerged, sputtering, soaked, and sandy, Dad met us ankle-deep in water. He handed us an inflated raft. “Take turns with this one until the other one’s ready,” he said.

Take turns, he said, like sharing was remotely possible. Freddy grabbed the raft, held it over his head, and trudged out to where the waves were breaking. When a big one surged, he hurled himself on top of the canvas float and rode it to shore like a cowboy on a bucking stallion. “YEEESSSS!” he yelled, as he climbed off.

“My turn,” I said.

“In a minute!” He sneered at me and hurried back to where the waves were cresting, no easy feat with the smaller waves slapping against him.

Another spectacular ride, and my jealousy erupted. When would I get a turn? When Dad finished blowing up the other raft? I glanced at the beach to find him engrossed in a card game with Susan, as though my uninflated float had no importance AT ALL.

“MY TURN!” I bellowed.

Freddy wagged the float at me, and I would have jumped on his head and dunked him if he’d been close enough.

            His third ride was a letdown, a smallish wave that fizzled a few feet from where he started. He stood up and shook sand from his swim trunks.
            “Ha!” I laughed at him.

He tossed the raft at me. “See if you can do better.”

I would do better. I tugged the raft out beyond the foamy sea caps, determined to find the biggest, most powerful wave which I’d ride like a rodeo champion. As the first few rolled under me, I looked further out, and saw it. A giant, magnificent wave rolling in.

I hopped aboard the raft and paddled as hard as I could, hoping to be just ahead of where it broke.  I timed it perfectly. It peaked, white froth exploding against the backs of my legs.

The raft took off like a Thoroughbred. I held on with all my might, holding my breath against the salty water splashing my face. Maybe my family watched this courageous ride, but I all I saw was the roiling foam.

My mount betrayed me. The raft swiveled, the back end pushing forward so that I was lying parallel to the wave. I stroked against the current, desperate to straighten, but it flipped over.

The force of the water pulled me under. I had no air in my lungs. My feet felt for the bottom, but instead felt the unmistakable tug of undertow pulling me out to sea.

I sank as low as I could, touched sand, and pushed, my hands pointed above me. For just a second, my face felt air and I sucked in a deep, frantic breath before another wave pounded me down.

Underwater again, I did my best to swim in what I hoped was the direction of shore. The undertow was a hungry force. My arms and legs ached against its power, but I kept on. When I bobbed up for another gulp of air, another wave knocked me under. And once again, I swam.

When I surfaced again, I saw the shore. Almost there, but not quite, and I felt so tired. A hand gripped my arm. I almost fought it, but I had no fight left in me, and the hand pulled and guided me until I stood on sand, safe, chest-deep in water.

“The float came in without you,” Freddy said, releasing my arm.

I nodded, unable to speak, as my air-deprived lungs sucked in breath.  

On the blanket on the beach, my mom thumbed through a magazine. My sister dealt cards to Dad, who sipped from his little container. 

“Maybe we should go up?” Freddy asked.

I shook my head. I trudged through the water to the shallowest part and dropped, my heels sinking into the wet sand. My brother sat beside me. The abandoned raft rested on the beach behind us. Three pelicans flew by, skimming the surface of the water.

“Hey, look!” Freddy said.

I tried to see what he was pointing to in the endless green water. It was less friendly than before. “What?”
            “Wait just a second. There!” He grabbed my hand and aimed it towards the descending sun. 

            Two gray lumps emerged, breaching the surface and arcing high above the water before submerging again. Two dolphin.

            “Whoa,” I whispered, not wanting to my voice to scare them away.  They erupted twice more, magic silver beings in a synchronized water ballet, before vanishing into the horizon.

            “Have you ever seen anything more beautiful?” I asked.

            Freddy didn’t answer.

Voices cut through the sea air from behind us: an argument between Mom and Dad about dinner arrangements. I let the pounding of the waves drown them out. For the next six days, I had the sand, my ocean, and one of two inflated rafts.

I would keep steady vigil, in case the dolphins came back.   

~~~~~

 Carla Damron is a social worker, advocate, and author of the novel The Stone Necklace, the recipient of the 2017 WFWA Star Award for Best Novel. Damron also authored the Caleb Knowles mysteries as well as numerous essays, and short stories. Damron’s careers of social worker and writer are hopelessly intertwined; all of her novels explore social justice. Currently Damron volunteers with Mutual Aid Midlands, League of Women Voters, and is the president of a local Sisters-in-Crime chapter. She works for Communities in Schools and Rutgers University. 

http://carladamron.com/

The Beat: Sports and Music Don't Mix--Or Do They? Tales of Sports Related Gigs Gone Wild By Kevin Oliver

Sports and popular music have a long, intertwined history, from Super Bowl halftime shows to the Beatles playing Shea Stadium, longtime home of the New York Mets and the New York Jets. (And who can forget the “Jock Jams” phenomenon?”) On a local level, the relationship tends to be one of competing for audience attention, as the screens in the bars got bigger and the stages got smaller. Being in a college town like Columbia makes it especially challenging for bands booking gigs on game days. On one hand, the venues are full of customers, drinking, eating, and a captive audience for the lucky band on the calendar. On the other hand, that audience is there for the game, not the music, usually, and that can present challenges that make it a less than great experience for the musicians just trying to do their job.

Kevin Pettit, currently of the band 48 Fables, has been around the local scene for years and originally gained some notoriety as a member of Celtic rockers Loch Ness Johnny, where he had his own memorable sports vs. music moment.

“We were playing at the Flying Saucer in Columbia on a college bowl game weekend, and it was packed–I think it was Florida playing someone I can’t recall,” He says. “The big screen television in the bar was facing us on the other side of the room from the stage, and somehow we were able to time several song endings to coincide with a touchdown being scored in the game. So, when the crowd went crazy because someone scored, we took a bow and thanked ‘the great audience.’ It was good, silly fun.”

Not much has changed, according to Chris Reed, who plays both cover gigs and original music with his band The Bad Kids. “I played during the last Clemson-Carolina football game,” He says. “There was definitely a lot of oddly timed applause, which is awkward as hell but in the end it’s all just part of the job.”

It isn’t just football fans who can initiate some great sports-related gig stories, though. Bassist and guitarist Darren Woodlief, who has played around town with numerous acts, remembers an early gig with his rock band Pocket Buddha as an especially memorable evening.

“The band was me, Dave Britt, and Zack Jones, and this was our first sort of out of town gig over in Camden for the Carolina Cup steeplechase race day,” he says. “We were at a bar downtown that was a welcome respite for many very drunk folks who'd been out in the sun all day, a good number of whom may not have actually seen a horse. We played all the cover songs we knew and at the end of our 3 hours a small group of equine enthusiasts were not ready for the party to be over. After some negotiation, we agreed to play another 30 minutes for $50 bucks each. Rejuvenated by the bonus and the chance to again play the songs we knew best, we did our thing and left feeling exhausted but grateful.”

Just like not every game can end in a win for your team, not every gig on a game day turns out great. Josh Roberts, who has toured with his band The Hinges for years throughout the southeast and beyond, can attest to how bad timing can ruin a gig.

“The Hinges were playing Tasty World in Athens, Georgia on the night of the Carolina/Georgia game, maybe 2008 or 2009. It was a solid lineup, all the other bands were from Athens, and everyone was having a good time, hanging around the venue all evening, excited about the show.  Then, what wasn’t supposed to happen did, and the Gamecocks beat Georgia in an ugly game. We watched it at the venue, and at the end you could feel all the air let out of the town. It felt bad everywhere. The show was totally deflated. Hardly anyone came, and that strange feeling in the air just stuck around.” 

The Hinges’ bad luck followed them home in 2010, he adds.

“During the 2010 SEC championship with Auburn and Cam Newton vs. the Gamecocks, the same thing happened in Columbia. We were playing The Five Points Pub, which we had been reliably packing full of folks. We sound checked early because of the game, went elsewhere to watch it, and when it was over we could just feel it then, too. City deflation. Very small turnout and a strange feeling over everything.”

It wasn’t all bad for the band in either case, however, as non-football fans who are fans of a band don’t really care who won or lost, they just want to see their favorite band play, Roberts notes. “I will say that in both those cases a bunch of serious music fans came late and had a good time. I got the feeling a lot of those folks were anti-sports in general, and were pointedly not going to let something like that mess with their show.”

And then there are the experiences that have nothing to do with the game outcome or the distracting televisions. Sometimes it’s just professional musicians trying to get things done, and they wind up improvising.

Fiddler Jim Graddick remembers a 2013 incident where he was invited to play the Carolina/Clemson halftime show at Williams-Brice Stadium with banjo legend Randy Lucas.

“It was Dick Goodwin’s idea to have a bluegrass band play ‘Dueling Banjos’ with the Carolina band,” Graddick says. “They let us in without tickets since we were with the marching band, and when I went out to use the restroom about halfway through the second quarter, security wouldn’t let me back in since I had no ticket. I explained that I was playing the halftime show, to which the guard flatly responded, ‘Yeah, sure–me too.’” 

Of course, there are many musicians who are also big sports fans–who can forget the famous line in Hootie & the Blowfish’s hit song “Only Wanna Be With You” where Darius Rucker namechecks his favorite NFL team with the line “You wonder why I’m such a baby, ‘cause the Dolphins make me cry.” 

Patrick Davis is a well-known Gamecock supporter, writing and releasing several classic song tributes to USC sports teams. His sound and production crew lead of choice, local audio engineer Wayne Munn, remembers how they would sometimes have to make allowances for those gigs that clashed with USC game times. “We did a show at (NASCAR driver) Michael Waltrip’s house the day of a Carolina/Clemson football game with Patrick and the band,” Munn says. “We set up iPads behind the edge of the two front walls of the stage, so the band could watch the game as they were performing.”

So, wherever you choose to watch the Super Bowl this week, or any other major sporting event, if there is a local band playing there at the same time you should at least try to applaud at the right time–and drop in an extra tip, as the musicians are working a little harder than usual to have a good gig.

ESSAY: Thinking and Acting Radically About Climate and the Art World by Will South

“This is a real problem, with real consequences. The art world, as it turns out, is far from green.”

2017 Venice Biennale sculpture - SUPPORT - by Lorenzo Quinn reminds participants of rising sea levels that threaten Venice and all coastal cities around the world. The installation, first unveiled by Quinn at the Venice Biennale in 2017 and commissioned by Halcyon Art International, shows two gigantic hands of a child emerging from the Grand Canal in Venice to protect and support the historical building of the Ca’ Sagredo Hotel. "Venice, the floating city of art and culture that has inspired humanity for centuries, is threatened by climate change and time decay and is in need of the support of our generation and future ones”, said Quinn. “Let's join 'hands' and make a lasting change”. (United Nations Climate Change webpage)

Thinking and Acting Radically about Climate Change and the Art World

The positive effects of art on civilization would be difficult to list. Art and civilization are intimately entwined, each giving birth to the other in a continuous spiral of creative regeneration: that is, Leonardo produced the Renaissance at the moment it was producing him.

People all over this planet better understand now how tradition and innovation coexist, that tradition underscores identity and yet artistic innovations allow for inevitable changes. Art identifies what we value, and gives sound, narrative, movement, color, and shape to these values. As both process and product, we cannot remove art from the complexities of the human experience. It is fundamental to how we understand the world: To see a glorious sunset is one experience; to read exactly the right words to relive that experience is a minor miracle.

Readers of the present magazine will find no fault whatsoever with these two introductory paragraphs. This is a journal devoted to the support of art and artists in our community. Which may make the following statement a bit of a shocker:  The art world is a significant and unapologetic contributor to global warming.

No! you say, how can this be? Artists are the sensitive ones, the ones most open to change and action and to spreading the word (through art) that we all must act to create a sustainable, healthful world.

Relax. Of course, you, the artist/collector/reader of this journal are a proponent of mitigating the horrific symptoms of a heating planet—floods, fires, droughts, and virtually every other form of molecular mayhem.

Still, this holds: The art world is a bad actor when it comes to climate change. And here is why:            The art world is comprised of hundreds of thousands of galleries, museums, studios, art fairs, and private art collections worldwide. All of these entities ship art. Art is heavy, often, and needs to crating and boxing before it travels. To ship one two-hundred-pound crate by air from New York to London puts a thousand pounds of carbon into the air.

That is one shipment, one-way, a thousand pounds of carbon emitted.

One hundred such objects would result in fifty tons of carbon released into the air. The typical American car puts out about 4.5 tons of carbon, in a year. If those one hundred crates of art come back to New York (which they will, if they were on loan), then the emissions add up to a whopping one hundred tons of carbon requiring a mere eleven total hours of flight time to be released.

The art world thrives on shipping. Museums crate exhibitions and ship them not just to one venue, but to three or four before those crates return home. Now the math gets fuzzy, because there are so many museums, galleries, collectors, and art fairs shipping stuff and no one keeps track of it all vis-a-vis the climate. Someone should be, or a group of someones, as in a consortium of registrars.

There are 55,000 museums in the world. Not all are shipping monsters, but all of the big ones are—the Louvre, the Met, the Tate, etc. Let’s say, for sake of argument, that a mere .5 percent of all museums are “big.” That would be 225 museums. Further, let’s assume that each of the big museums hosts half a dozen traveling shows per year. That’s 1,350 shows, each with round trip shipping, let’s say, based on the New York to London numbers above—one hundred tons. That adds up to 135,000 tons of carbon in a single year. And let me assure you this: The actual art world number would be much higher—our example doesn’t include galleries, or projects from the other over 50,000 museums that are shipping more than a few things here and there all the time.

This is a real problem, with real consequences. The art world, as it turns out, is far from green. Like every other business, they are interested in green, a bit more it seems than the natural kind. Museums (and galleries, and art fairs) need cold, hard cash (or, warm, either way) to survive. The effects of non-visitation are instant and lethal. In 2020, worldwide museum attendance dropped a breathtaking 77%, from 230 million in 2019 to 54 million in 2020. Museums reduced hours, cancelled traveling shows, and laid off staff. Yes, many museums closed. Not any of our lovely little museums here in Columbia, but the pandemic isn’t over yet.

To get back to the vital, bustling businesses they were two years ago, museums will work to ramp up their schedules. Museums need money. It’s the fuel that drives their engines. But driving is the problem that is making the art world a carbon criminal. Getting all that art, all the time, from one place to another.

Is there a solution?

As with most enormous crises: Maybe.

For starters, museums can organize smaller, more lightweight exhibitions, which consume less energy to ship. Not all exhibitions need to be the theatrical behemoths they have become and to which museumgoers have become habituated. Most museum goers, however well intentioned, suffer fatigue after looking at 60 or 70 works and reading the labels and sharing comments with friends. Trying to experience 150 works of art is a job, not a treat. Museums, in their efforts to out-museum each other, have made shows ever bigger and ever more ponderous and, in many cases, a whole lot less fun. Get smaller. That’s the first and most obvious thing to do.

Build crates out of lighter material. Make use of crush-proof masterpacks when possible, as opposed to wood and steel. If an object requires tons of packaging, how about don’t send it anywhere. A tough choice, sure. But we’re in a crisis, and crises require sacrifices. Serious sacrifices.

Host fewer traveling shows. Yes, that will hurt any museum’s bottom line. On the other hand, it might inspire in-house innovation. What kinds of projects are possible with the permanent collection that are not boring collection surveys?

Some museums sponsor “close looking,” where a painting is set up to be looked at for over half an hour, up to an hour. Imagine what you could see, if you stared at an object that long, looking for every subtlety and nuance you could find. An hour won’t reveal them all. Close looking is just one idea. Be creative—that’s what the art world is good for.

Get people in the community to physically recreate their favorite paintings during a festival dedicated to just that—the tableau vivant, the living painting. Tableau vivants are fun to do, awards may be given out, and of course no art event is complete without booze, and that can be purchased locally.

And now, for the really radical idea: The big museums have way more art than they will ever be able to show. In America, the Met, MoMA the Art Institute of Chicago, all have collections numbering in the hundreds of thousands to the millions. If the largest collections gave away (not loaned, gave) a few thousand pictures each (which they wouldn’t even miss) they could greatly enrich the many small-to-midsized museums in the U.S. Point being, if the museums in South Carolina, Georgia, New Mexico, Utah, North Dakota, etc. etc. all had better art, they might increase visitation while reducing the number of traveling shows they, too, feel compelled to do.

That would be real change. The ridiculously enormous art collections are already teetering on unsustainability and would do themselves a spectacular favor by spreading their riches around.

Wait—what? This sounds like socialism. Well, yes, I suspect this idea does have a whiff of fairness, practicality, and sustainability about it. Mostly, though, it is a radical idea, submitted here in the spirit of let’s all be thinking radically.

Would such a proposal really “work”? Truthfully, I don’t know. But for an idea to be explored, it has to first be on the table. Sure, such an idea would be problematic. But the problems would be nothing compared to the devastating problem we are now facing.

At a distant point, and let’s hope there is one, future art lovers will be able to look back and say that early 21st-century art activists got radical in response to climate change, and the result was not just smart strategies to help cool the planet, but its radicality led to spreading art and its magic more equally throughout the world.

Not a bad legacy, however socialistic.

— Will South

Will South is an independent artist, curator and writer based in Columbia.