Indie Artist TiffanyJ Presents a Premiere Night of Music and Film during Suicide Prevention Month

TiffanyJ is thrilled to announce her highly anticipated Album Release & Film Premiere event for "Solbird Sessions Live." This extraordinary evening promises a fusion of live music, cinematic artistry, and a unique ALL DENIM AFFAIR experience, all set to take place at Spotlight Cinemas Capital 8. 

The event will be a celebration of music, creativity, and community, showcasing the culmination of TiffanyJ's musical journey through her third album which was recorded live in concert at South Carolina ETV in May. TiffanyJ, a Columbia native, musical artist, and inspirational personality, has hopes to encourage those, like herself, dealing with mental health challenges through the power of her melodic artist expressions. This project has been successfully crowdfunded. 

Event Highlights:

  • Date: Wednesday, September 13, 2023

  • Time: 7pm

  • Venue: Spotlight Cinemas Capital 8, 201 Columbia Mall Blvd Ste 211, Columbia, SC 29223

  • Dress Code: ALL DENIM AFFAIR

  • Tickets: Starting at $10

  • Featuring:

    • Pink Carpet: Capture the essence of guests arriving in their denim best.

    • Live Music by Rod Foster & Company: Immerse yourself in live soulful, jazzy tunes that will set the perfect tone for the night.

    • Feature Film Presentation: Experience the captivating transformation of a live concert on the big screen, featuring exclusive behind-the-scenes and documentary footage. Witness the concert's power unfold before your eyes.

    • Album Merchandise: Exclusive album merchandise will be available for fans to take home a piece of the experience.

 

The event acknowledges support from the South Carolina Arts Commission and Every Black Girl, Inc. Solbird Entertainment invites music enthusiasts, cinema lovers, and all those seeking an extraordinary night of entertainment to join this exceptional celebration. 

Tickets are available at sslpremiere.eventbrite.com, and with limited seating, early reservation is recommended to ensure participation in this immersive musical and cinematic experience. The “Solbird Sessions Live” album will be released worldwide on all digital media outlets on Friday, September 15, 2023

Want to know more about TiffanyJ? Watch for Kevin Oliver’s feature story on her in the fall 2023 issue of Jasper Magazine!


About TiffanyJ: Indie Soul Artist TiffanyJ has one of the most unique and incomparable musical styles and sounds. Her powerful voice alone engages listeners both young and old. TiffanyJ is a singer and songwriter creating a soulful approach to melodic art that is guaranteed to uplift those who witness her gift.

 

Tickets & Subscriptions for USC Theatre & Dance Now Available

With offerings that range from classics (Raisin in the Sun) to family fun (Sideways Stories from Wayside School) to the kind of play you have to see if it is ever offered in your area (The Visit), and more, USC Theatre and Dance continues to raise the bar in arts entertainment in the Midlands. Add to that Dance performances that offer innovative choreography and the chance to see legendary Complexions Dance Company, and you’ve got a winning ticket — or better yet season ticket subscription!

Individual tickets and ticket subscriptions are now on sale at the University of South Carolina Department of Theatre and Dance website.

Don’t wait to Lock in Your Seat!

Vote for the Arts at USC with your ticket purchase!

And don’t miss

10 Minute Play Festival
Directed by Theatre Performance Faculty

Lab Theatre

Enjoy a fast-paced evening of laughter, heartbreak and everything in between as we present a collection of 10-minute plays, each directed by a different member of our theatre performance faculty.

Lab Theatre

Friday, Nov 3, 2023 at 8:00 PM (ET)

2023 State Fair Fine Art Competition Now Open for Submissions

Showcase your talents in our Fine Art Department for individuals 18+.

Divisions include Professional & Amateur 2-D, 3-D and Photography. 

Exhibitor must be a resident of South Carolina or attending a college or university in South Carolina or a member of the Armed Forces stationed in South Carolina.

New in 2023

All Entries in the Fine Art department will be required to submit a photo of their completed, prepared-to-show, piece during registration.  All entries in Fine Art must be entered through the online registration. No mail-in registrations will be accepted. 

You may register at any time during the registration period and your photograph may be submitted later, as long as it is submitted before the September 1st deadline. 

Fine Art Important 2023 Dates & Times

Open Entry Registration: July 1 – Sept. 1, 2023

Oversized Entry Artist Notification: Wednesday, Sept. 21

Delivery Days: 
(Cantey Building)

  • Sunday, Sept 24 – 1:00 pm. to 6:00 pm

  • Monday, Sept 25 – 9:30 am to 6:00 pm

  • Tuesday, Sept 26 – 9:30 am to 6:00 pm


Release Days: 

  • Monday, Oct. 23 – 9:30 am to 6:00 pm

  • Tuesday, Oct. 24 – 9:30 am to 6:00 pm

  • TWO DAYS ONLY

2023 Registration July 1st – September 1st

2023 Fine Art Guide

2023 General Rules and Regulations

Click Here to Enter Online

New Work from Lee Malerich at Stormwater Studios -- September Dates for Reception, Presentation, and Viewing

A Message from Visual Artist Lee Malerich:

I put down my textile work some time ago. My stories were told; my problems dealt with and tied in a knot.

But that was not the end of the artmaking.  An artist walks through life absorbing, digesting, responding, and commenting. We are trained to do this.

I moved a house from three miles away to its current location. I stripped it down to its bones and started it over. I used new tools, learned new processes, and found new materials. I was hooked.

My question was, could I make art with these new skills having neither criticism nor teacher? Could I make sculpture without knowing its cumulative history from the beginning? Could I even work in three dimensions? The experiment was that basic.

In the end, I found that I could and learned a lesson from my personal history. I will be present during all the following times:

Opening Reception: Thursday, September 14, 2023, 11- 8 PM with the reception, 5-8 PM

Artist Presentation:  Saturday, September 16, 3:00

Viewing Hours: Wednesday, September 13, 2023, 11-3 PM

                            Thursday, September 14, 2023, 11-8 PM

                             Friday, September 15, 2023, 11-3 PM

                             Saturday, September 16, 2023, 11-5 PM

                             Sunday, September 17, 2023, 11-3 PM

I will be showing my most recent work and bringing examples of intermediary work which will show how I got from there to here. It is not really a surprising evolution. 

Rob Shaw Gallery Reception to Feature Eclectic Private Collection and Award-Winning Photographer

 

On Friday, September 1, from 6 to 9 p.m., Rob Shaw Framing and Gallery will host a reception featuring the private art collection of Mary Beth Dawson-Gillis. The reception will also feature award-winning photographer Skip Willits, who will sign copies of his new book Come Walk with Me. Both Willits’s book and all works in the private collection will be for sale at the event. The gallery is at 324 State Street in West Columbia. 

The Dawson-Gillis collection features an eclectic mix of artwork ranging from Folk Gullah paintings to representational landscapes. Featuring more than 20 artists, it includes works by Charles DeSaussure, Kip McCullough, Amiri Farris, Saundra Erickson Wright, Marshall Foster, Michel McNinch and Cami Hutchinson.

Willits is a professional photographer specializing in maritime, nature, and urban scenes, with a special emphasis on lighthouses. His work appears in books and magazines as well as in lighthouse and wildlife posters. Willits has led tours and produced multimedia presentations for the Smithsonian Institution. 

Rob Shaw Framing and Gallery is a full-service frame shop and fine art gallery. Since opening the gallery in April of 2019, Shaw has showcased many talented South Carolina artists with diverse styles. 

The gallery hosts First Friday at Rob Shaw Gallery receptions every month except July and August.

ALBUM REVIEW: Decadence - Book of the Redeemed by Kevin Oliver

Decadence

Book Of The Redeemed

Self-released

 

There comes a time in the shelf life of a heavy rock band when the sum total of its experience and commitment adds up to a career defining moment, whether it’s that hit song that connects with a mass audience, or just an artistic statement that is so clearly above and beyond anything else they’ve done to that point. For Columbia’s Decadence, this new album Book of the Redeemed is the latter–an astounding, bracing listen that reveals more depth and meaning with every page that’s turned. 

The band has been a stalwart presence on the local and regional heavy music scene for a while, and this release was a long time coming–now we know why. Not only is the production and songwriting top notch, singer Scott McGrady’s lyrics are deeply personal. This had to be a difficult set of songs to write and record, not to mention let loose into the world for others to judge if they are worthy or not (They are.). 

Decadence straddles that line between commercial appeal and unapologetic, raw power better than most, and the production on the new songs showcases the intensity of the band’s sound, with stop-start arrangements that drop out completely, then blast back moments later with even more unrestrained fury. Drummer Ben Burris and bassist Ryan Wicker have played together long enough now they move and groove like a single unit, powering the monster riffs that cut through each tune. McGrady has a decent singing voice when the song calls for it, but most of these tracks require his most angst-laden, guttural near-screams. 

The content of the lyrics is as intense as the music, and McGrady has said online that there is an intentional running theme present, related to a friend who dealt with abandonment, pain, and anger, and moving on from that. “Abandonment” relates a story of being placed in foster care, inserting a line out of a childhood prayer to really drive home the innocence lost in the process:

 

Strangers tuck me in my bed

Shuffled through this castoff’s deck so

Now I lay me down to rest

Left alone through your abandonment

 

The most furious track is “Take Your Shot,” which addresses that person with a problem that won’t allow anyone to help, or even admit they need help in the first place. It’s like the band pours that frustration directly into the stacked guitar riffs of Dustin Welch, as McGrady sings: 

 

Tell me how to understand

Why you need to live this way

While I watch you take another shot at what this could have been

 

The somewhat title cut “Redemption” is the slowest, most melodic one of the bunch. McGrady channels Roger Daltrey of the Who, circa “Behind Blue Eyes,” as he sings the chorus in triumph: 

 

And now I see

A new dawn rising

I feel redemption

And I’ll leave

It all behind me

Won’t let it blind me

 

This is the sound of someone, or maybe some band, that’s gone through hell, come out the other side intact, now appreciating but not dwelling on the experience. Sounds a lot like they’ve been redeemed, doesn’t it? 

 

Decadence releases Book of the Redeemed officially this Saturday, with a release show at New Brookland Tavern that will also feature The Baldwin Massacre, Ozmyridis, and Sorrow Of Silence. 

 

Poetry of the People featuring Michal Rubin

My fourth Poet of the People is Michal Rubin. What attracts me to Michal's poetry is the unadorned integrity, honesty, and humanity of her voice.

Michal Rubin moved from Israel to Columbia, SC 32 years ago.  A psychotherapist, a Cantor, and an emerging poet, her work was published in Psychotic Education,  The Art and Science of Psychotherapy, Wrath Bearing Tree journal,  Rise Up Journal, Topical Poetry,  Fall-Lines,  The Last Stanza Poetry Journal, Waxing & Waning: A Literary Journal, and South Carolina Bards Poetry Anthology 2023.

In a secret dark spectacle

after Ada limon

I saw the twirling gust of dust

moving into the distant

world of pain I remember

and I flew there to be

with kin I have not met

come! they said

and I sat in their midst

huddled underneath their wings

they fluttered, the wings,

and the chill of history penetrated

my sheltered space

I breathed it in 

the chill

and the chains weighty

on my wrists

as I was dragged by the power 

of the dead

into the land


~~~~~

In Gaza

tomorrow’s touch

through the settling dust

will remind you of

love

unhidden in the rubble

behind the corner

forbidden moment

fused with desert breeze

salted droplets we carried

home

or what was home

~~~~~

Exploits

I write with no address

or neighborhood

letters that belong to

the smoke of burnt homes

or piles of old shoes

I try to stitch words 

so they become 

an embroidery of unwanted

stories

we live them

the stories

we spit them as hulls  

discarded shells of seeds

we feasted

I, the betrayer of dogmas spread

stained uniforms strewn on the page

I, the jailed soldier

braid sins into the chain of letters

words bathe in shame

each bullet finds a target

smoke of burnt homes fills the nostrils 

I, the one who left,

weave what you call art

with the exploits

remnants of our crimes

 


RIVER POETS Poetry Reading Sunday Afternoon at Stormwater Studios

The public is invited to attend a poetry reading Sunday afternoon featuring Jasper Magazine Poetry Editor Ed Madden at Stormwater Studios, 413 Pendleton Street, behind One Eared Cow Glass.

Organized by Libby Bernardin and Susan Craig, the reading will also feature Nadine Ellsworth-Moran, Ann-Chadwell Humphries, Ruth Nicholson, and (in adsentia) Mary O’Keefe Brady, as well as Bernardin and Craig themselves.

Madden, who is the former poet laureate for the city of Columbia, will be reading from his newest collection, A Pooka in Arkansas.

The event begins at 4 pm and will conclude with a Talk-Back session with the poets.

Mark Your Calendars for Jasper Board Member - Elect Keith Tolen's Aiken Exhibition and Artist Talk

Mark Your Calendars!

Columbia based artist and Jasper Project board of directors member-elect, Keith Tolen, brings a wealth of experience to this upcoming exhibition in which he experiments with using dots as the dominate paint stroke technique in CONVERSATIONS WITH THE DOT.

Along with his professional art career in the areas of illustration, photography and painting, teaching art has always been and continues to be a major part of his life. He has taught art for after school and gifted and talented programs and has been a teaching artist for South Carolina Arts Access, which works to provide arts experiences for the unique and special needs community, for almost 20 years

Join us for an Artist Talk with Keith Tolen Tuesday, October 17 at 6pm in the main gallery at Aiken Center for the Arts

UNBOUND Dance Company Presents UNBEING This Weekend

Unbound Dance Company, under the artistic direction of Caroline Lewis Jones, will present UNBEING its third annual show on Friday, August 25 and Saturday, August 26.at 7 PM. at Dreher High School, 3319 Millwood Avenue, Columbia, SC

 

UNBEING explores the process of stripping away the layers of our past to confront the raw truth of who we are--and furthermore, who we want to be. The show features narration by Columbia theater artist Jocelyn Sanders, and was written by Joanna Lewis Derrick, writer and sister of Caroline Lewis-Jones, who directs Unbound Dance Company along with Morgan Holton.

“On the heels of two successful shows, we’d like to thank our dancers, sponsors and patrons. We could not do this -- what we love -- without the support from our community,” says Lewis-Jones. “As Columbia’s art scene continues to grow, we remain steadfast in our mission to educate and inspire dancers of all ages. We are excited to collaborate with artists, creatives, and individuals of all kinds to continue producing thought-provoking work, and striving to connect within our community.” 

Tickets are $50 for Priority Reserved Seating or $35 General Admission and can be purchased at www.unbounddance.com.

Poetry of the People with Al Black featuring Tony Pichof

Because I’ve planted a seed
That sparked a thought
And made them think

I chose Tony Pichof as my next Poet of the People for his earnestness and gentle unfrilly lyric quality. He represents the everyperson in each of us.

Al Black

Poet, Tony Pichoff (pee-shawf) retired from the Army in 2006 and has been working as a civil servant since.  He has been writing since his junior year in high school when his English teacher, Mrs. Magoo (yes, really!) accused him of plagiarism.  He has been awarded and recognized in several contests over the years and has self-published twelve collections* under the pen name, Tony Garrison (to honor his stepfather).  He is an active adult scouting leader.  He enjoys spending time with his family and working on his hobby farm.

The Best I Can 

Strangers on the street
Often ask me,
“How’re you doing?”
As they are passing,
Out of some unwritten
Rule of courtesy,
Not expecting an answer
When they acknowledge me.
“The best I can”
Is my standard reply.
Then I see them smile
As I walk by
Because I’ve planted a seed
That sparked a thought
And made them think
Just how they ought-
That everything
Will be okay
If we all do our best
Every single day.
And who knows,
I may just start a new trend
As everything, somewhere,
Sometime begins.
I sure hope it catches on
And becomes part of the plan.
But even if it doesn’t…
I’ll just keep on doin’ the best that I can.

~~~

Sick to My Soul 

We’ve all been there
In those moments we’d rather not be
When in the throes of illness
We feel helpless in our vulnerability
As nausea washes over us
And we know what’s coming next
When waves of sick crash into us
And leave us feeling the opposite of blessed.
Now, take that awfulness of being
And multiply it a hundredfold.
For only then will you be believing
How it feels to be sick to my soul,
With the difference being
There is no release to let it go
And it just keeps on festering
Way down deep within.
This smoldering betrayal
Is such a scorching sin
When I can no longer trust
Someone I once called, Friend. 


Jasper Tiny Gallery Artist Benji Hicks Profile: From a Singular Idea to Animals with Stories

Benji Hicks’s whimsical, personality-filled animals have been playing on Jasper’s Tiny Gallery site since the beginning of August. Keep reading to learn more about Hicks and how he makes his art! 

Hicks has considered Columbia his home since birth­—over 50 years now—having resided in West Columbia, specifically, since 1973. He is a completely self-taught artist, woodcarver, and woodblock print maker, though he can recall the act of creating being valuable to him from an extremely young age. 

“For as long as I can remember, I have always been an artist. Drawing with pencils and pens, and later, painting with watercolor” Hicks says. “Growing up, I got to spend many hours in my dad’s woodworking shop, learning to use tools and make things. This is when I found a love for wood carving.” 

Hicks’s professional work as a carpenter compounded with his self-driven exploration of art, ultimately leading to a new relationship with woodblock printmaking—and to handmaking unique frames for each individual print. 

A Japanese woodblock printmaking technique called Mokuhanga is what caught Hicks’s attention: “Mokuhanga can best be described as a multi woodblock printing technique where there is a keyblock (black outline) and a separate color block carved for each color in the print. My prints are made with anywhere from 2 blocks to as many as 21 blocks per print…since every print is handmade and shows subtle differences, each one is considered an original piece of art.”  

Mokuhanga is similar to other printmaking techniques in that the artist carves into solid surface before adding a colored medium and pressing some form of paper onto the surface before pulling it off to reveal a design. Since embarking on this journey, Hicks has also experimented with adjacent forms of printmaking as he becomes more comfortable with his personal style. 

When it comes to what Hicks likes to make, he is “always drawn to funny little characters and…animals doing human things,” he says. “With animals, it doesn’t matter what age they are. They can be young or old and wise, and still get away with being playful and silly or just out to have fun. I tend to let nature take its course and inspire me in my art,” Hicks says. “If you see a character show up in my artwork, then you can believe that I had an encounter with that sort of creature in nature, a dream or maybe even a song brought them to mind. Each idea is a seed. Once planted, it grows into a new series.”  

These series may emerge from a single seed, but it is just that—an idea. Hicks does not have a firm idea of how exactly an idea will emerge into its final physical form; he prefers to let the characters and their stories bloom organically. 

“If it makes me smile or even giggle a little, then I know I’m on to something. As I create one, I see the next,” Hicks says. “They lead one to another until the end of that path. Some paths are longer than others.”  

This Tiny Gallery show is a mix of old and new from Hicks—all coming together to tell a new story. A “woodsy theme” ties this collection together, with “Bear Loves Honey” being one of his favorites. 

“I was trying to make each print bring a smile and also evoke the imagining of the before and after. I try to capture the moment just before or just as the main event happens,” Hicks says. “You can imagine if there were more panels like a comic book, you would see the bear getting ready for a hike and packing his backpack to go look for honey. Afterwards, he would be happy with his found stash of honey. I tried to capture the moment he sees the bee and feels the anticipation of finding honey.”  

Hicks hopes that when people view the pieces, they “will recognize these moments and use their own imagination to fill in the before and after.” 

For more on Mokuhanga and the art of Benji Hicks’s, check out the fall 2023 print issue of Jasper Magazine, releasing October 2023 — details on release party are coming soon. In the mean time, Hicks’ Tiny Gallery show will be up until August 31st at Jasper’s virtual gallery site

After the show, you can see his work on his Facebook, at the Cayce Arts Guild, the South Carolina Artists Group, and the Meeting Street Artisan Market.

 

 

Don’t Call It A Comeback: The Redemption of Shekeese Tha Beast

by Kevin Oliver

 

On Fat Rat Da Czar’s classic 2009 release Cold War 2, “Do Whud I Do” opens with DJ Shekeese The Beast shouting “Can you hear me out there? We back!” before Fat Rat intones, “If you knew what I knew, then you could do what I do.” The partnership between the two Columbia, South Carolina hip-hop artists made them a marquee act and flag-bearers for the genre across the southeast for nearly twenty years, before Shekeese, in his own words, “went dormant” and focused on other business pursuits. Last year, as Fat Rat Da Czar readied a new campaign of hip-hop shows and productions, he re-enlisted his former DJ to appear on stage with him again and just like that, Shekeese Tha Beast was back as hype man extraordinaire and hip-hop ambassador. In a recent conversation with Jasper, Sherard Shekeese Duvall opened up about his entry point into hip-hop, the other pursuits that have occupied his time, and how he has come full circle to reconcile his disparate, multiple pasts into a unified future with a mission to bring South Carolina hip-hop into a new generation. 

Before he was Shekeese Tha Beast, he was just a kid named Sherard, growing up in the neighborhood–but it was the formative experience of his life, he says now in retrospect.

“I grew up in Ridgewood behind Eau Claire High School, so it was a super, super black experience,” Duvall says. “The only time we saw white folks was when we went downtown.” It was a childhood surrounded by family, who shaped his worldview from an early age.

“My family was huge, and there were relatives on both my mom and dad’s sides who were into music, art, sports, politics, it was all there. I had an uncle who was political but also into Stevie Wonder, he gave me Malcolm X books when I was a kid. I had another uncle who played guitar, my grandfather played piano, so art, music, and all this stuff was all around me.”

It was a specific moment that led directly to hip-hop for Duvall, however, a purchase his mother made.

 “She bought me a 45 of LL Cool J’s ‘Candy’ and on the back side was ‘Go Cut Creator Go’ and it blew my mind, I didn’t know how they were making those sounds,” He says. “Prior to that it was seeing the video for Run DMC’s ‘Rock Box’, and I couldn’t figure it out, like was the band the DJ on top of the car? That’s what made me want to be a DJ.”

As an entry point into hip-hop, it turned out to be the right one for Duvall as high school turned into college and beyond. 

“After I got out of Columbia High, I met all the guys in Beat Junction Project, and around that time I also met Fat Rat Da Czar. The Beat Junction Project was doing its thing around Columbia, and he was doing his, and Streetside had put out a record that I was spinning at WUSC-FM.” As a student DJ, Shekeese Tha Beast was born and the show “Non-Stop Hip-Hop” put him on the airwaves weekly, featuring lots of local hip-hop talent in addition to his own DJ skills. His reputation grew, he hosted shows on Hot 103 and the Big DM, and Fat Rat came back around.

 “Fat was coming out with a mixtape, and they were looking for a DJ for it,” Duvall says. “Not sure that one ever came out, but shortly after that he went on to start doing his solo stuff and we ended up collaborating on the mixtape ‘Fat Rat Is Dead,’ which was the beginning of the whole Shekeese Tha Beast and Fat Rat Da Czar thing.”

 It was a perfect collaboration, Shekeese says, which explains the longevity of the relationship that endures to this day.

 “We have a lot in common when it comes to not only how we saw hip-hop but also how we thought about opportunities and hard work, it was just a similar perspective that clicked.”

There were multiple releases that flowed after that, from the “Cold War” series of traditional hip-hop albums with Shekeese as hype man and DJ while Fat Rat dispensed rhymes and wisdom using his instantly recognizable flow. For a time, the pair was synonymous with South Carolina hip-hop, and credit is certainly due to them for all they’ve done to promote and support the genre within the state. Then Shekeese Tha Beast went silent, at least as a performing personality. The reasons behind that dormancy were both personal and professional, he reveals.

 “Unintentionally, the separation with that part of me had to do with its popularity,” He says. “I was all over the radio, people knew me from that, from TV, doing the Love Peace and Hip Hop festival, all of that added to the notoriety and recognition.” What was happening behind the scenes, however, was that he was pursuing a professional career as a filmmaker and videographer, first with Genesis Studios and then with his own, still thriving operation as OTR Media Group. 

 “For the film stuff I felt like it needed to be different, so I was Sherard Duvall, not Shekeese Tha Beast, in that world,” He says. “When OTR came along I was still of the mind to keep things somewhat separate, because I didn’t want to enter rooms as Shekeese, I wanted to be Sherard, to be taken seriously as a business owner and not have it be like ‘Oh, the DJ is here.’”

For Duvall, the link between his hip-hop DJ persona and the work he was doing as a short film specialist and documentary filmmaker wasn’t immediately apparent, but it slowly dawned on him that he wasn’t doing anything all that much different after all.

 “Hip-hop is a storytelling form, and OTR Media Group is built around storytelling in everything we do, from media literacy to media strategy work, nonfiction, short and long form media content,” He says. “Hip-hop is incredibly dense, we’re able to use a lot of words, mesh a lot of styles together, and we’re able to connect with more people in more ways than you can with a lot of other forms of music.”

 In 2023, Sherard Shekeese Duvall, the filmmaker, husband, and father re-emerged as Shekeese Tha Beast on stage with Fat Rat Da Czar for several performances, something that Duvall says he’s enjoyed even more than he thought he would.

 “Stepping back into the Shekeese Tha Beast thing has been one of the most joyous times in my life,” he says. “It was weird when I put it down because there was an article in the paper about me quitting, people didn’t know what to call me anymore, I treated it like ‘that thing I used to do’--but I realized when I was back on stage that I had been neglecting a part of myself; I’m hip-hop through and through and it made me feel whole to be on stage again.”

 It’s the example and the role model, even mentor that he can be for the next generation that’s driving Shekeese Tha Beast now, he says–starting with his own son. 

“Until recently my son had never experienced Shekeese Tha Beast, he was too young to remember me taking him to meet KRS-One or Lauryn Hill,” Duvall says. “He’s eleven now and I took him to the show we did at the Music Farm in Charleston. Him seeing me do that might not register now, but he’s a creative, free spirit kid and it might matter later on when he’s thinking, ‘You know, it’s alright that I’m left of center, that I’m different, because my dad is super different.’” 

For now, Duvall says being “back” just means he’s whole, that his work in film and in the community will go hand-in-hand with his hip-hop persona and all that it entails.  

“I feel like Shekeese Tha Beast is back for all the right reasons,” He says. “Where I find comfort now is in being a hip-hop ambassador for South Carolina. It’s more beneficial to the culture of our state to celebrate the diversity instead of nitpicking what is and isn’t hip-hop. So, all I can tell you is that wherever South Carolina hip-hop is, that’s where you’ll find Shekeese Tha Beast.”

Incidental poetry -- Kryptonite the Color of Money by Al Black

Kryptonite the Color of Money

by Al Black

 

What if Superman was just strong

Not super humble and brainy?

 

What if he became a bully, drunk with power

And believed he was ordained to rule?

 

What if he became a politician, a spy for Putin,

A money launderer for Russian oligarchs?

 

What if he didn’t have a cute black curl on his forehead

And wore a dead orange squirrel for a toupee?

 

What if he date raped Lois Lane

and forced himself on women, again and again and again?

 

What if he didn’t believe Truth

Justice and the American Way applied to him?

 

What if despite all this, folks still bought his comic books

And believed he was ordained to rule?

(Al Black, 08/12/23)



Poetry of the People with Al Black featuring Kelley Lannigan

Where is the map when we get lost inside ourselves? — Kelley Lannigan

I chose poet, Kelley Lannigan, as this week's Poet of the People because of the wonderful narrative flow of her poetry.

Kelley Lannigan grew up in rural Richland County and studied art and journalism at Columbia College. She spent her life curating art (most recently the Georgia O'Keefe Anniversary Exhibition at Columbia College) and as an editor and journalist for magazines and newspapers. She is retired and lives in Winnsboro with her cats writing poetry, painting, and taking on an occasional writing project.

 

Aubade

 The sun raises the red coin of its face.

            Morning, in her gown of light

                        dances among the trees.

 

A Cooper’s Hawk, the one we hear

            but rarely see, screams reveille.

                        Awake! Awake! Awake!

 

It rained so hard last night.

            Nipper Creek, dry for months,

                        runs like a marathon.

 

Trucks haul gravel from the quarry. Gears shift,

            grind, strain up the road’s steep slope.

                        Sometimes a SLAM! A BANG!

 

Soon, blasting will shake the ground.

            Trucks pass, their angry music fades.

                        Silence deepens like a dream.

 

Tops of pines, slow green brooms, sweep the sky.

            Old cat snoozes on the rough steps.

                        She chases something in her sleep.

 

She woke me earlier, pawed my chest in the dark,

reminded me that for now,

                        I am not alone.

 

  

Terra Incognita

(In memory of Steve, lost to dementia) 

 

He was the kind of man we were glad to see.

 

The kind who leaned over the fence to talk about his goats,

his chickens. A farmer, adding his link to the long chain

of Huguenots who husbanded the land. Their sturdy houses

still stand sentinel over the Santee, the Pee Dee, the French Broad.

 

A family man. Husband, lover, father, teacher.

A worldly man. Soldier, navigator, pilot.

A hunter who knew what passed by its scat,

a mark on a tree, tracks in the snow.

 

The kind of man we called at 3 a.m.

about strange noise by the barns.

His bobbing lantern across the dark fields

made us feel safe.

 

Snow melts. Tracks erode. Terrain shifts.

Where is the map when we get lost inside ourselves?

 

He was a man who disappeared before our eyes.

Forgot our faces, his children’s names.

Left the water running. Could not remember

his phone number. How to use the phone.

What a phone was for. Forgot to eat.

Lay in bed until told to get up.

Replied “yes” to every question.

Missed the turn to his farm, piloted his old Chevy

into the next county. Then across the next.

 

Or simply sat for hours behind the wheel going nowhere.



Kelley Lannigan will be our poetry feature this Wednesday, 08/16 - 7 pm for Mind Gravy Poetry at Cool Beans, 1217 College Street, Columbia 

 

 

 

 

701 CCA CALL to ARTISTS Biennial 2023 - Jurors Announced

701 Center for Contemporary Art in Columbia, SC seeks submissions for the 701 CCA South Carolina Biennial 2023, the center’s seventh survey exhibition of work by contemporary South Carolina artists. The exhibition will be held at the center in two parts with openings in November 2023 and January 2024. Artists working in all media and styles are encouraged to apply. Artists must be a current resident of South Carolina.

Exhibition Dates:

Biennial Part I- November 17 – December 30, 2023

Biennial Part II- January 12 – February 25, 2024

Selection Process:

A panel of three jurors representing local, regional, and national perspectives will review submitted materials and select artists for the exhibition. A 701 CCA curatorial team will select works for the exhibition from submitted images and when needed, through studio visits. 

Submission Materials

Submissions for the 701 CCA South Carolina Biennial 2023 should be made via Submittable (link below) and include the following:

  • Ten images of work produced in the last two years that are representative of what will be available for inclusion in the Biennial. 

    • Images should be in a jpeg format with a minimum size of 1024 wide x 768 high ppi (pixels per inch) at 300 dpi resolution. 

    • File names should be numbered 1 through 10 followed by the artist’s last name and title of the work.

      • Example: 2_Smith_Good Morning.jpg

  • List of Images: Create a list of your images with the following information: (PDF, MSWord Accepted)

    • File name, year, medium, and dimensions (H x W for 2-D; H x W x D for 3-D). 

  • Brief Statement: Create a statement, not to exceed 200 words, about your work and how it addresses your intent. (PDF, MSWord Accepted)

    • Example: “I use recycled materials to address my concerns with climate change.”

  • Resume/CV and/or biographical sketch, no more than 300 words, that includes the artist’s birth date, place of birth, and where they grew up. (PDF, MSWord Accepted)

*Artists need to make sure that they have work available for the exhibitions that reflects the art in their submission.

Fees:

The submission fee is $25.00 per artist. Your payment can be made through Submittable or checks can be made payable to 701 CCA.

Submission Deadline:

All materials should be submitted by Wednesday, August 16, 2023, by 11:59 p.m.

Notification:

Artists will be notified of the results of the selection process by Wednesday, August 30, 2023.

Timeline:

  • Submission Deadline: August 16, 2023, 11:59 p.m.

  • Jury Panel Meets: Between August 20–23, 2023

  • Notification of Selections: August 30, 2023

  • Artists’ Notifications to 701 CCA of Unavailable Work: September 3, 2023

  • Notification of artists’ selection for Part I or Part II: September 15, 2021

  • Delivery work for Part I: November 8-10, 2023

  • Part I opens: November 17, 2023

  • Artists’ Reception Part I: TBD

  • Part I Closes: December 30, 2023

  • Pick-up Work Part I: January 3-5, 2024

  • Deliver Work for Part II: January 3-5, 2024

  • Part II opens: January 12, 2024

  • Artists’ Reception Part II: TBD

  • Part II Closes: February 25, 2024

  • Pick-up Work Part II: February 28-March 1, 2024

*Please submit further inquiries to director@701cca.org or call Caitlin Bright, Executive Director at 803.319.9949.


Introducing the Jurors for the Seventh Edition of the SC Biennial, produced and hosted by 701 Center for Contemporary Art

701 CCA is thrilled to announce that the 2023 SC Biennial will be juried by Lauren Jackson Harris, Bob Monk, and Aaron Levi Garvey. The gallery is currently seeking submissions for its seventh survey exhibition of works by contemporary South Carolina Artists. This year, 701 CCA has the honor of presenting submissions for review by some of the nation's leading figures in contemporary art. 


Lauren Jackson Harris is an independent curator, fine art management professional, and project manager from Atlanta, GA. She earned her BFA in Graphic Design and Art History from Howard University and her MA in Creative Leadership from SCAD. In 2019, she co-founded Black Women in Visual Art, an organization that connects, cultivates, and serves Black women arts professionals. With BWVA, Harris builds partnerships and develops programs that create further visibility and opportunity for Black women in art. As an independent arts worker over the last ten years, Harris has curated exhibitions and art experiences with organizations and art spaces such as For Freedoms, Facebook, MINT Gallery, Day & Night Gallery, The Gathering Spot, Stay Home Gallery, Living Walls, Atlanta Contemporary Art Center and more. Harris also serves as the Co-Chair for the Beltline Public Art Advisory Council, as a Board member for Tessera Arts Collective, and is an active fine art advocate consulting with artists on their practice and career-based opportunities.


Bob Monk is the director of Gagosian Gallery NYC + LA. Serving in this position for over 30 years, Mr. Monk has curated countless exhibitions, and has worked closely with Ed Ruscha and Richard Artschwager. He has curated numerous exhibitions, including the 2005 American Pavilion for the Venice Biennale. He worked at Leo Castelli Gallery in New York (1974–84) and then founded Lorence Monk Gallery in 1986 featuring the works of Richard Artschwager, David Hockney, Jasper Johns, Bruce Nauman, and Barnett Newman. He is currently working on ED RUSCHA / NOW THEN, a retrospective of the artist's works on view at Gagosian Gallery September 10th, 2023. 
 

Aaron Levi Garvey is a Jewish-American Curator/Historian working and lecturing in Modern and Contemporary Arts and Culture. Currently, Garvey is the Chief Curator of the Andy Warhol Museum. Recent exhibitions include: The Hudson Eye a 10-day and 14-venue arts focused program in Hudson, New York, Arc of Life/Ark of Bones by Walter Hood and Migratory Roots by Kevin Brisco at the Jule Collins Smith Museum of Fine Art at Auburn University, Flashing the Leather and The Drowned group exhibitions at Alabama Contemporary, Chiharu Shiota’s site-specific installation “Infinity Lines” at the SCAD Museum of Art, Sheida Soleimani “Oppress(er)(ed)” with Long Road Projects, “Ephemera Obscura” at the Contemporary Art Center of New Orleans and Manon Bellet's "MEMO" and Shikeith’s “notes towards becoming a spill” both at Atlanta Contemporary. Additionally Garvey curated "We Are What You Eat" the inaugural art exhibition at the United Nations headquarters in New York City in 2016 and co-curated the Atlanta Biennial (ATLBNL): Recent Correspondence at the Atlanta Contemporary in August 2016.


The application portal is open until August 16th and can be reached by following the link: >>

Submit Here

First Official Exhibit at Gemini II Studios - and you can be involved!

Call for Art

Call for Support

Gemini II Arts announces their first official exhibition — albeit “while renovations continue” at their evolving space near City Roots and the Hunter Gatherer Hangar.

Founder Ron Hagell shares this news with the Jasper Project:

“I'm sure by now you are aware that over the next few months this [Gemini II] will become the largest group of artist studios in Columbia with its own exhibition spaces and tons of parking close to City Roots (F2T) and the Hunter-Gatherer Hanger. In the hottest new spot in town Rosewood/Owens Field!

It's going to be super for the public and artists. Please join us and bring friends.

For artists:  If you have not signed on to participate in this show, you can still join us or bring work to show/sell. Just deliver it to the site on 14 or 15 September but text me first so I know you are coming. Be sure all your info is on your work. 

If you are showing work, please donate $10 to help with costs or you can go to our site and click on the Donate button there where you can do it through PayPal directly or with a credit card.

...or, if you just want to help us out, you can donate at these links as well.”

Eastmont Theatre Company - NEW Grassroots Theatre Company Makes Debut This Weekend with END of the LINE

Eastmont Theater Co.

is incredibly proud to present our first ever production, End of the Line!

Premiering August 12th, we are very excited to share our completely original work with the broader Columbia community.

Synopsis: Four total strangers board a train one evening. After a fight breaks out, they find themselves stuck on a never-ending ride. Now, they have to learn how to truly see each other if they ever hope to escape.

When: August 12th at 8 pm

August 13th at 7:30 pm

Where: Eastmont Theater Backyard

917 Eastmont Dr., Columbia, SC.

Tickets are $12 for an in-person viewing. 

Reserve your ticket today!


https://tinyurl.com/bp7hxfry


A Small Part of the Change – An Interview with Columbia Operatic Laboratory

By Emily Moffitt

Pictured from left to right COLab members, Christopher Lopez-Moore, Jennifer Mitchell, Jerryana Birch-Bibiloni, Joseph Birch, and Bradley Fuller

July welcomed a new Artist in Residence at the Richland Library—or rather, 5 of them! Columbia Operatic Laboratory (COLab) is a 501(c)(3) organization that started in 2015, initially created as a project through Spark, a music leadership initiative at the University of South Carolina’s School of Music. The group will serve as Artist-in-Residence at the Library from July to December; this is the group’s first artist residency. We spoke to board members Joseph Birch, Jerryana Birch-Bibiloni and Jennifer Mitchell about their goals for the rest of the year, what they will offer and life at the library.

The first couple weeks were dedicated to getting acclimated to life at the library, but COLab immediately felt welcome among the staff. The board noted that many of the librarians held an appreciation for opera. “It is encouraging to know that there’s already a love for the art form held here,” Birch-Bibiloni said. “We really want to connect with the other departments here and have a lot of big ideas on how to achieve that.” Their rehearsals make the guests walking around the second level stop in their tracks and tilt their head towards their meeting room, and strangers stop by their office hours to ask questions about their passion for opera. The board has taken this as an extremely good omen, giving them the platform to prove that opera is in fact, the complete opposite of a boring art form.

As part of the expectations for Artists in Residence, the group has created a curriculum of free workshops that caters to all the age groups that the library aims to work with. Mitchell will host a prop making workshop in the children’s area where kids will get to create their own props inspired by The Pirates of Penzance, which they will get to take home with them. For both younger audiences and parents, Mitchell states that she is extremely excited about their group story time event in November. “We’re hosting an aria and story time event where we read stories to young kids and listen to arias that correlate with the content of the story,” Mitchell said. “This provides early exposure to the world of opera for the young audiences while also helping defeat the stigma around the genre for adults, too.” COLab continues to look for more vocalists to support and welcome to their family, and they have an open audition day as part of their library schedule on August 28. “We always want to make sure that we have a safe and welcoming space for all of our performers,” Birch-Bibiloni said. “We hope that this invitation to audition expands our reach to audiences we do not always connect to as well.”

The desire to disperse the stigmas surrounding opera and to foster support for the library motivates COLab to make the absolute most of their residency. Mitchell has made note of the immense number of “statement questions” they have received and takes the opportunity to reiterate that all one needs to get into opera or to learn how to sing, is to simply want to learn. “We get a lot of questions asking about how we got into the field, and people are always surprised to hear just how much work is involved with opera outside of just singing and performing. Singing is not just a skill that someone is born with; if you want to be able to sing, you can absolutely learn how to do it!” The drive that the COLab board harbors to help develop the cultural landscape of Columbia is palpable; Birch made a poignant point about COLab in relation to the greater city limits: “COLab is a very communal project and mission for a misunderstood art form. We’re a small part of the change it always goes through and sharing it through a direct line of communication to the cultural scene of Columbia is meaningful. It is also an opportunity to marry the missions of both us and the Richland Library, which we have always been big supporters of as a system.” There are many moving parts behind an opera and putting one together. COLab has managed this challenge with aplomb as they continue to perform at venues of all kinds around Columbia, from churches to local dive bars, with the same effervescence and care. Their end-of-year performance of The Pirates of Penzance is a big production of theirs that the board decided to bring back, and it also functions as a sing-along for the audience to participate in. The production has always focused on community, but with their library residency in full swing, the board is able to make it even more community oriented from the beginning, incorporating rehearsals and opportunities to learn the lyrics into their outreach curriculum. COLab is filled with hard workers and catalysts for cultural change, and it’s a beautiful thing to witness.

The full schedule of COLab’s educational events can be found on their Facebook page as well as the Richland Library’s calendar of events. Their next event is an informational session where audiences can learn more about COLab’s mission on August 24, from 6-7 p.m. They will also have a percent day at Sweetwater’s Coffee and Tea on Park Street on August 25. There is a plethora of educational resources available on behalf of the Richland Library and COLab about the art of opera for any interested audiences, including a “summer reading list” of books related to the field available for checking out.