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Myrtle Beach Art Museum director receives Medallion of Integrity for community commitment

Medallion one of 25 presented internationally in three years From The Sun News (editorial)

When Pat Goodwin, director of the Myrtle Beach Art Museum, was helping plan the formal presentation of a painting to the museum, little did she know about the prestigious Medallion of Integrity presented to Goodwin on Sunday. The plot was carried out exactly as planned. Chuck and Sandie Merriam of North Myrtle Beach presented a Jonathan Green painting, “River Baptism,” one of Green’s earlier works. Sandie Merriam talked about the painting, owned by the Merriams for seven years and the artist’s connection to museum programs. For a recent one, Green had again loaned a large painting, “Seeking,” and the Merriams loaned “River Baptism,” a smallish canvas. After the Merriams’ presentation to the museum, Jim R. Rogers spoke about Goodwin’s leadership in growing the museum and its programs well beyond what one might in a community the size of Myrtle Beach. Then Merriam presented the Medallion of Integrity, “in recognition of your personal and professional integrity and the courage to act on it.” The recognition is from the Center for Courage & Renewal, founded 19 years ago by author-activist-educator Parker J. Palmer. Initially, the center sought to support and encourage educators and that has broadened to the fields of health care, ministry, business and community leaders. The Medallion of Integrity was established three years ago and has been presented internationally 25 times. Goodwin’s medallion is only the fourth in South Carolina. Facilitators who may present the medallion include Sandie Merriam, a retired special education teacher, and Sally Z. Hare, professor emerita, Coastal Carolina University. Hare and Merriam said the presentation of the Green painting was an excuse to honor Goodwin’s contributions to the Myrtle Beach community, particularly “through programs that reach so many aspects of our community.” A recent program targeted third grade and middle school youngsters, with art by Green and Jim Arendt of Coastal Carolina University. The students were asked what they saw, Merriam said, and “I began to see the brilliance of how the exhibit had been designed to invite the voices of children in response.” One third grade boy said “he felt he was inside the artist, and feeling what he was feeling.” The three recalled a note from their world-traveled friend from Portland, Ore., sent to Goodwin after visiting the Franklin G. Burroughs & Simeon B. Chapin Art Museum: “This is what an art museum is supposed to be.” Goodwin is a native of Philadelphia and loved the University of Pennsylvania’s Museum of Archeology and Anthropology, where she was director for special events and community relations. She moved to Charleston and ran the Center for Women prior to becoming director of the young museum in Myrtle Beach in 2001. “One of her first acts was to [recommend that the board] make the museum [admission] free,” Rogers said. “Pat made it a community museum.” The modest Goodwin would remind us that many others, including the city of Myrtle Beach in the several years of planning before the museum opened in June 1997, have helped make the art museum a cultural jewel. Many people have been surprised at the museum’s quality and enriched by its programs. Goodwin’s 15 years of outstanding leadership are rightly recognized in the in the Medallion of Integrity.

State Art Collection exhibition travels to Myrtle Beach

[gallery ids="22331,22332,22333,22334,22336,22337"] [caption id="attachment_22341" align="alignright" width="269"]Elizabeth Keller, Discerning of Spirits Elizabeth Keller, Discerning of Spirits[/caption]

The Franklin G. Burroughs-Simeon B. Chapin Art Museum in Myrtle Beach will exhibit 37 works from State Art Collection: Contemporary Conversations Part II and one additional work from Contemporary Conversations Part I. The exhibition will be on display in the Art Museum's second floor galleries from Sept. 20 through Dec. 27, 2015. Gallery hours are 10 a.m. - 4 p.m. Tuesday through Saturday, and 1 - 4 p.m. on Sundays. Admission is free.

Curated by Eleanor Heartney, author and contributing editor to Art in America and Artpress, Contemporary Conversations is composed of 118 works by 95 contemporary South Carolina artists. The exhibition is designed to suggest both the quality and diversity of the state's cultural heritage and includes everything from hard-edge geometric abstraction to surrealist-tinged dreamscapes. Works are inspired by social issues, memory, local and national history, imagination, art of the past and aesthetic theory. Together they reflect the many voices and diverse concerns of South Carolina artists. The art in Contemporary Conversations is drawn from the State Art Collection, a comprehensive public collection of works by contemporary South Carolina artists. Established in 1967 as one of the first programs of the South Carolina Arts Commission, the State Art Collection is composed of 493 works in a variety of media and styles produced by 287 artists. Organizations and businesses interested in hosting an exhibition or displaying works from the State Art Collection should contact Harriett Green at (803) 734-8696. In addition to Contemporary Conversations, two other traveling exhibitions are available: The African American Voice and Points of Departure: Vessel Forms from the State Art Collection. Images: State Art Collection: Contemporary Conversations About the State Art Collection The State Art Collection is considered the most comprehensive public collection of works by contemporary South Carolina artists. Established in 1967 as one of the first programs of the South Carolina Arts Commission, the State Art Collection has grown to include 493 works in a variety of media and styles by 287 South Carolina contemporary artists. Small exhibitions featuring work from the collection are organized on a regular basis for rural and isolated areas inside and outside of the state. Works from the State Art Collection are available for loan to art museums, state agencies, and public and private organizations for the purpose of public exhibition or public display. The collection is supported in part by the South Carolina Arts Foundation and First Citizens.

Challenging, complex works featured in “Mullen: 2009-2012”

Philip Mullen's work could be described as a fusion of abstract and figurative styles with a touch of mystery. Created in multiple layers and filled with subtle hints of objects and figures not obvious at first glance, many of his paintings seem to play tricks on the viewers’ eyes, drawing them in for a closer look. The Franklin G. Burroughs-Simeon B. Chapin Art Museum in Myrtle Beach is exhibiting "Mullen: 2009-2012" through April 25. The artist’s early work, from the 1960s and early 1970s, was primarily figurative but later evolved into more abstract styles, as he explored the world of color field painting. By the end of the century, Mullen returned to his roots, incorporating figures into his art once again. This exhibition comprises 45 of these more recent works, all of which are acrylic on canvas except for three works on paper. (The South Carolina Arts Commission's State Art Collection includes five of Mullen's earlier works, including Herin Regal, which recently toured in Contemporary Conversations, Part II.) The following article, written by Kathryn Martin, originally appeared in Villa Voice, the newsletter of the Franklin G. Burroughs-Simeon B. Chapin Art Museum. Reprinted with permission. __________ Dr. Philip Mullen, whose exhibit Mullen: 2009-2012 opened January 13, recognizes that not everyone “gets” his paintings right away. Philip Mullen, Jane's TableIn a recent conversation, he told us, “I’m hoping what people will do when they come to see the exhibit is first think there might be enough here to interest them.  And when they leave be thinking these are the most complex paintings they have ever seen.” Mullen is used to controversy surrounding his art. His 1969 work Cola. Wall (which appeared in the Art Museum’s recent exhibit The Artist’s Eye: A Journey through Modern and Contemporary Art with Sigmund Abeles) won first prize in a Guild of S.C. Artists competition and was subsequently acquired by the Columbia Museum of Art. The response to the large, dramatic painting – which has a nearly life size image of an African American nude was immediate, and unmistakable. “Eighty-four people petitioned the Museum never to show my work again,” he recalls, though adding that in later years audiences have not only warmed to the piece, but express enthusiasm about it. Mullen, who claims not to hail from anywhere in particular went to nine schools before getting out of high school, admits to having no particular artistic calling until college, where he casually enrolled in some art classes. One of his teachers was Peter Busa, a groundbreaking abstract expressionist painter and an associate of Jackson Pollock who is now termed a ‘highly collected’ painter (the artist died in 1983). While joking that Busa once told Mullen he was his “worst student ever,” the professor nevertheless was a profound influence. “He gave me something to grab onto in my life,” Mullen says. “I realized that this could be something profound, and not just a hobby.”  He soon found himself spending far more time on art than on what was then his major. After acquiring a B.A. in Radio and Television Speech, an M.A. in Studio Art and a Ph.D. in Comparative Arts, he accepted what would become an ideal job, from the University of South Carolina at Columbia. As a member of the university’s Studio Art Department, he could devote a sizeable portion of his time to painting, and, during his 31-year tenure, would be allowed some 9 years’ leave time to create art. Philip Mullen, Blue CeramicsDuring one such leave, just after having one of his works accepted to the Biennial of Contemporary Art at the Whitney Museum, Mullen spent a year working in New York. There he reveled in being part of an international art scene, while still knowing that he would be returning to South Carolina at the end of the year. “New York is not someplace I wanted to raise kids,” he admits “and I liked teaching at the University.” Upon his retirement from the university in 2000, he was named Distinguished Professor Emeritus of Art. Mullen describes his teaching years as a period when he was “incredibly driven to do artwork.” And during that period, his painting evolved from primarily figurative work to one that would be perceived as more abstract, but which he describes somewhat differently. “I would still be painting figures, but more and more air space developed between the figures,” he notes. In his painting Louvered Door, for example (which appears in the current exhibit), the air is “making its presence known, pushing itself forward more than the objects.” At one point, he says, he would “leave the figures out and just draw the air.” Over time, however, he started “sneaking objects back in, subtly at first,” he admits. Perhaps reflecting this revisiting of his earlier work, 41 of the 42 canvases in the current exhibit are re-workings of earlier pieces: paintings which had been finished but are now shown in a different form. Among the terms that have been used to describe Mullen is that of an “artist’s artist,” a title that pleases Mullen. “I take that to mean I’m an artist whose work other artists want to look at,” he says. “They’re finding something in there, some subtleties that maybe they can take away. Even though the work might be a little more challenging for the general public.” Mullen: 2009-2012 will be on display at the Art Museum through April 25. For more information, visit Franklin G. Burroughs-Simeon B. Chapin Art Museum. Images: Above, right: Jane's Table, 2011, acrylic on canvas; left: Blue Ceramics, 2011, acrylic on canvas Via: Franklin G. Burroughs-Simeon B. Chapin Art Museum  

Two Verner Award recipients at one event

Here's an opportunity to attend an event that involves two recipients of the 2013 Elizabeth O'Neill Verner Governor's Awards for the Arts. Individual Artist Verner Award recipient Mary Whyte will give an author talk and sign books on March 15 at 11 a.m. at the Franklin G. Burroughs-Simeon B. Chapin Art Museum, the Organization Verner Award recipient. Whyte's books will be for sale as well. Seats are free, but limited. Make your reservation by calling 843.238.2510 or emailing aclark@myrtlebeachartmuseum.org. Find out more about the Elizabeth O'Neill Verner Governor's Awards.  

South Carolina Arts Commission announces Verner Award recipients

The South Carolina Arts Commission Board announces the 2013 Elizabeth O’Neill Verner Governor’s Awards for the Arts, the highest honor the state presents in the arts. Established in 1972, the annual awards recognize outstanding achievement and contributions to the arts in South Carolina. This year’s recipients:

“Again this year we have an outstanding, diverse group of Verner Award winners,” said S.C. Arts Commission Board Chairman Dr. Sarah Lynn Hayes. “These exceptional individuals and organizations illustrate the true depth of the arts community in our state. We are grateful for their passion, their contributions and their commitment to serving as ambassadors and standard-bearers for the arts. They are certainly worthy of this highest honor.” Awards will be presented at a Statehouse ceremony tentatively scheduled for Thursday, May 2. The S.C. Arts Foundation will honor the recipients and the arts community at the South Carolina Arts Gala on Wednesday, May 1. The gala is a fundraiser supporting the programs of the S.C. Arts Commission. For more about the Verner Awards or the S.C. Arts Gala, call (803) 734-8696 or visit www.SouthCarolinaArts.com.