Tuning Up: Good news, sad news, and artist rebrand
Good morning!
"Tuning Up" is a morning post series where The Hub delivers curated, quick-hit arts stories of interest to readers. Sometimes there will be one story, sometimes there will be several. Get in tune now, and have a masterpiece of a day. And now, in no particular order...
The Good
Halsey Institute for Contemporary Art announced that the College of Charleston-based art gallery/museum is back to normal hours! (Thunderous applause goes here.) "We continue to operate with CDC and College of Charleston protocols in place for our collective safety. Adding to a growing sense of normalcy, the College of Charleston recently announced that face coverings are no longer required for vaccinated visitors to the campus. Our rich program of events will continue to be offered in a virtual format as we all navigate the months ahead." Science, baby! If you're curious, and we know you are, those hours are 11 a.m. to 4 p.m. Mondays-Saturdays and until 7 p.m. on Thursdays. (And we know some of you are wondering, so know that distancing protocols remain and precautions to protect staff will too.)The Sad
As The Hub shared recently, Jennifer Clark Evins of Chapman Cultural Center fame is collecting her winnings and moving on (up?) in her storied career. The center is throwing a farewell celebration Monday, June 7 from 5-7 p.m. Go here for some additional information.And the artist rebrand
Here's an interesting note recently submitted to The Hub: the notion of the artist rebrand. To wit:Lacey Hennessey, a Greenville artist and muralist, recently debuted a new name, @Lacey_Does, with the launch of her new art collection. Previously known as Hennessey in the Home, Lacey’s art journey has evolved over the last five years into a combination of commissions, murals and through word of mouth referrals from customers recommending her to their friends saying "see if Lacey does it.” The rebrand of her business to @Lacey_Does reflects her entrepreneurial spirit and mission of spreading beautiful art throughout the country.
“I am thrilled to debut my new name, @Lacey_Does,” said Lacey Hennessey. “Over the past few years I have really honed in on my passions and my art has truly become a reflection of my outlook on life- bold, bright and colorful. I wanted to be able to combine this lifestyle into one brand name, @Lacey_Does, and have it flow throughout my entire business of art, murals and entrepreneurial advice.”
The Greenville-based self-taught artist, muralist, and entrepreneur has more than 50 murals throughout the Southeast to her credit and recently launched a 15-piece online art collection. To learn more about Lacey and her work, visit www.laceydoes.com or follow @Lacey_Does. Is this something we'll see more and more? Social media allows artists to take more and more control over their brands—and make no mistake, everybody has one now. We'll keep an eye on this.
As the day nears for the 2021 South Carolina Arts Awards, The Hub is focusing on this year's recipients: seven receiving the 
A native of Washington, Flowers was born in 1928. He attended Mount Vernon High School and Furman University on a football scholarship and graduated with a bachelor’s degree in art. He went on to the University of Iowa for his master’s of fine arts. After a short stay in the U.S. Air Force he was drafted in the U.S. Army during the Korean War.
He taught at Furman University for 30 years, from 1959 to 1989 when he joined the emeritus faculty. Tom was chairman of the art department for most of his tenure at Furman. Prior to that he taught at East Carolina University in Greenville, North Carolina and Ottawa University in Ottawa, Kansas.
Flowers exhibited widely as an artist, winning many awards including Springs Mills best-in-show, Art in Architecture Award from the South Carolina American Institutes of Greenville for a carved/painted constructed mural for the Greenville City Hall. He was selected as one of the 100 Artists/100 Years exhibit at the South Carolina State Museum in Columbia. He has had many shows in the Midwest, South, and Southeast. Many of his works are in permanent and private collections including the (South Carolina) State Art Collection, Springs Mills, Greenville County Museum of Art, Asheville Art Museum, Columbia Museum of Art, Florence County Museum, Citizens and Southern Bank, South Carolina National Bank, Federal Reserve Bank of Virginia, and Bank of America (née NationsBank). He was one of 12 artists from South Carolina whose works were presented in the South Carolina National Bank exhibit, The Bicentennial, An Interpretive Approach. His work was also included in the Portrait of the South exhibition in Rome, Italy. He served as president of the Greenville Artist Guild and a board member of the Guild of South Carolina Artists.
He was a former member of the board of trustees of the Greenville County Museum of Art, a state representative of the American Craft Council, a member of the Guild of S.C. Artists advisory board, and a Pickens County arts commissioner.
Thomas Earl Flowers passed away Sunday, Dec. 13, 2020, after his nomination was made in the artist category.
Marjory Wentworth, erstwhile poet laureate of the state of South Carolina, is the New York Times bestselling author of Out of Wonder, Poems Celebrating Poets (with Kwame Alexander and Chris Colderley). She is the co-writer of We Are Charleston, Tragedy and Triumph at Mother Emanuel, with Herb Frazier and Dr. Bernard Powers and Taking a Stand, The Evolution of Human Rights, with Juan E. Mendez. She is co-editor, with Kwame Dawes, of Seeking, Poetry and Prose inspired by the Art of Jonathan Green, and the author of the prizewinning children’s story Shackles. Her books of poetry include Noticing Eden, Despite Gravity, The Endless Repetition of an Ordinary Miracle and New and Selected Poems. Her poems have been nominated for The Pushcart Prize six times.
Wentworth serves on the board of advisors at The Global Social Justice Practice Academy, and she is a 2020 National Coalition Against Censorship Free Speech is for Me Advocate.
She teaches courses in writing, social justice and banned books at the College of Charleston and formerly taught courses at The Citadel and Art Institute of Charleston in addition to instructing courses through Roper Hospital and the Medical University of South Carolina. Her career in education began with teaching creative writing at the Charleston County School of the Arts. Since 2012 she serves as an artist in residence with Engaging Creative Minds.
Robert W. Hill III began making duck decoys in his early 20's, and eventually added other figures and animals to his repertoire. Hill’s work ranged from traditional whittling to refined sculptures. Both of his grandfathers were accomplished blacksmiths, woodcarvers, and gun stockers. While neither of them lived long enough to teach Hill their skills, he grew up an avid outdoorsman with an interest in the skills that supported his passion, which included decoy carving, forging knives, and carving gun stocks. In 1985, his desire to own a handmade muzzle- loading rifle drove him to learn more about the traditional crafts of blacksmithing, tool making, stock carving, inlaying, and engraving.
While attending art shows across the region, Hill had the opportunity to watch and learn from master engraver Jack Spain. Spain would share tips on engraving and teach Hill how to make his own engraving tools. Back at home, Hill practiced engraving on scrap metal, constantly comparing his work to examples of engraving on historic firearms. He attempted to mimic the work of the Gillespie family of gunsmiths from Pickens County and the Vogler family of Salem, North Carolina. These Carolina gunsmithing families had established styles that were recognized as the best representatives of America’s golden age of gunsmithing. Hill also developed a relationship with master gunsmith Frank Burton, who was running a shop out of Pawleys Island. Burton shared his collection of original Carolina rifles with Hill, who was soon producing his first muzzle-loader.
The untimely death of Burton prevented Hill from completing a long-term apprenticeship with the master gunsmith, but he certainly made the most of his time with the artist. Hill attended Dixon’s Gunmaker’s Fair in Kempton, Pennsylvania, a conference of traditional gun makers and after a year of studying and experimenting, Hill completed his first rifle. He took the rifle to the next conference in Kempton and entered it in the competition so he could receive the judges’ critique sheet to learn how to improve. To his surprise, his first rifle won a second- and third- place ribbon in the show.
Hill recognized the need to preserve the craft and continued his training by studying historic firearms from the Carolinas. Hill embraced the chance to work with older makers. Today, he is part of a thriving community of gunsmiths and is recognized by gunsmiths across the region as both an exemplary artist and an advocate.
The success of his first gun spurred him on to continue gun making and share what he knew with others who wanted to learn the craft and, like him, did not have access to formal training.
Hill began demonstrating at Kings Mountain State Park in 1986 and continued to do so until 1999. He has promoted the art of traditional gunsmithing to thousands of people in the Southeast over the past thirty years. He continues to demonstrate gun building techniques, including carving and engraving, at living history events, battlefields, museums, and historic sites. These include Middleton Place, Charlestown Landing, Historic Camden, Horry County Museum, L.W. Paul Living History Farm, House in the Horseshoe, Guilford Courthouse, Colonial Williamsburg, Georgetown County Museum, and the Lake City Museum. He has been the gunsmith at the North Carolina State Fair’s Village of Yesteryear for over twenty years and was instrumental in organizing the South Carolina Muzzleloader Conference at the South Carolina State Museum in 2015, where he volunteered as an event organizer, demonstrator, and lecturer.
In 1994, Hill co-founded the South Carolina Artist Blacksmith Association, later to become the Phillip Simmons Artists Blacksmith Guild of South Carolina. He served as president of the group for ten years and frequently demonstrated forging and engraving techniques. He is also a member of the Contemporary Longrifle Association. In 2014, Hill was documented in the Survey of South Carolina Tradition Bearers a joint project of McKissick Museum and the S.C. Arts Commission.
Through demonstrations and lectures, he has educated people about gun makers from South Carolina to recognize and preserve the contributions of the artists of the State’s past artists. Hill has been instrumental in passing his skills onto others, including his son and grandson, assuring a legacy of continued preservation, study, and celebration of the traditional craft of gunsmithing.
Colonial Life’s mission of finding ways to help America’s workers when they face unexpected events and challenging times has made it the extraordinary company we know today. Founded in 1939, it is considered a market leader in providing financial protection benefits through the workplace, including disability, life, accident, dental, cancer, critical illness, and hospital confinement indemnity insurance.
Colonial Life has demonstrated a strong commitment to the community through corporate giving for more than 80 years. Annually, the company has made significant investments to improve communities through public education, health and well-being, and arts and culture. Their support extends beyond corporate giving. The company leadership encourages employee philanthropy through its matching gift programs and volunteerism.
In 2021, Colonial Life will unveil a refreshed corporate social responsibility strategy that builds on their established strong foundation of helping communities thrive. This strategy comprises four programs within a portfolio of work:
As president and CEO, Jennifer Evins heads South Carolina’s oldest arts agency, formed by Nita Milliken and other visionary leaders in the late 50’s and early 60’s after visiting the Winston-Salem Arts Council in 1958. Evins leads the day-to-day operations and management of Chapman Cultural Center—Spartanburg County’s local arts agency—and Mayfair Art Studios. She supervises a staff of 15 full time employees and oversees a $2.5 million annual operating budget with assets exceeding $36 million. Along with county-wide arts coordination, Evins provides visionary leadership for the arts and engages multiple stakeholders on a regular basis.
Evins has been heavily involved with the arts in Spartanburg for nearly 22 years. Under her leadership, CCC has partnered with cross-sector agencies including the city and county of Spartanburg on multiple successful public art projects involving coordination among multiple stakeholders. Most notably, she spearheaded the capital fundraising campaign that built the Chapman Cultural Center, raising more than $42 million. Her volunteer leadership of this project spanned ten years of service. Evins authored and lead the winning Bloomberg Philanthropies $1 million Public Art Challenge “Seeing Spartanburg in a New Light” and helped the city of Spartanburg earn the South Carolina Cultural District designation for Downtown Spartanburg—the second in the state and the only official S.C. Cultural District in the Upstate. Most recently, Evins led the successful fundraising campaign for the expansion of the Chapman Cultural Center brand through its newest arts incubator, Mayfair Art Studios. Through her visionary leadership, Mayfair open in 2020 and is a space designed to make the arts accessible to all by providing studio spaces for both professional and amateur artists in a range of artistic and creative disciplines.
In volunteer service, Evins is chairwoman of the Spartanburg Academic Movement, serves on the OneSpartanburg Inc. Vision Advisory Committee and is on the Executive Committee of the Board of SC Arts Alliance. She serves on the Noble Tree Foundation Board and the President’s Advisory Board for Wofford College and the USC Upstate Johnson College of Business and Economics. Evins is a retired Trustee and past Chairwoman of the Spartanburg County Foundation.
Jennifer is a Diversity Leadership Fellow of the Riley Institute and a Hull Fellow of the Southeastern Council on Foundations. Evins has received numerous awards including The Mary Mildred Sullivan Award by Wofford College; Neville Holcombe Distinguished Citizenship Award by the Spartanburg Area Chamber of Commerce; South Carolina Woman of Achievement by the South Carolina Business and Professional Woman; Leadership Spartanburg Alumnus of the Year; Duke Energy Service to the Community Award; Distinguished Service Award from the South Carolina Governor’s School of the Arts and Humanities; and the Leadership Honoree of the Mary L .Thomas Award for Civic Leadership & Community Change by Spartanburg County Foundation.
Prior to joining the nonprofit sector, Evins had a 15-year professional career in marketing and public relations. Her last assignment was as public affairs director at WSPA-TV.
Jugnu Verma was born in Bihar, the state in India where the art form Madhubani painting originated. Growing up in Bihar, Verma found herself surrounded by Madhubani artists, whose painting was characterized by distinctive geometric patterns. Madhubani paintings depict people, nature, and scenes featuring Hindu deities. Objects like the sun and moon are also common, along with scenes from the royal court and social events like weddings. Madhubani painting was one of the skills passed down, primarily by women, from generation to generation in the families of the Mithila Region of Bihar. Verma developed an interest in it at an early age. She was fascinated by the variety of tools involved in creating the paintings, including the fingers, twigs, and brushes. Verma took the initiative and learned the art form from her neighbors.
Rangoli, another traditional art form with cultural significance in the Indian community, involves the creation of colorful patterns on the floor using sand, flower petals, rice flour, lentils, and beans. Verma learned rangoli from her neighbor’s grandmother, who taught her the different styles and symbolism within the art. Over the years, Verma improvised and took her work in a variety of creative directions. Typically, rangolis are made at the entrance of homes and temples to bring good luck and as a welcome symbol for visitors. They are an important part of celebratory festivals like Diwali and Onam.
Henna is a plant-based dye that is used to create temporary designs on the body and is an integral part of Indian weddings and festivals. During a traditional Indian wedding, the mehndi (henna) ceremony involves applying henna designs to the bride and to the guests. Verma learned the traditional art from her mother, a seasoned henna artist. Growing up, Verma created henna designs on her sisters, cousins, aunts, and friends. Thirty years later, henna artistry has become an important part of Verma’s creative lifestyle, and she is a prominent henna artist in South Carolina.
Verma is eager and enthusiastic about sharing her artistic traditions through her work as a Diwali (Indian Festival of Lights) party organizer and in workshops, and exhibitions at the Columbia Museum of Art; the rangoli educator at Overdue: Curated for the Creative, Richland County Main Library; and as a lead artist at Artista Vista in Columbia. Verma enjoys working with young people and teaches traditional Indian art forms extensively in the local school districts.
Verma feels it is important for South Carolinians to know about India and its culture and she serves as a cultural ambassador through her work throughout the state. She is passionate about cultural outreach and building bonds with the larger community. According to Verma, “Folk art enhances and enriches celebrations and rituals, and it tells people who others are.”
Tayloe Harding is a composer and music administrator, serves as the dean of the School of Music, and in the 2019/2020 academic year served as interim provost of the University of South Carolina. A passionate advocate for advancing the impact of higher education music study and experience on American communities and national society, Harding is devoted to an array of organizations whose missions are consistent with this advocacy. As president of the College Music Society (CMS) from 2005-2006, he led the creation of the Engagement and Outreach Initiative where the efforts of the music professoriate are articulated with a variety of national constituencies, including other higher education disciplines and populations, music businesses and industries, and general audiences in an effort to meet common musical and civic goals. He also served as national secretary of the National Association for Schools of Music, the accreditation, advocacy, and professional development association for collegiate music schools.
Tayloe Harding’s interest in the power of music and the arts to transform communities’ and individual’s lives by contributing to the health, happiness, safety, fulfillment, and hopefulness has been evident in his work with both local and state arts education and advocacy organizations. In addition to keynote speeches on this subject at each of the international summits he has produced at UofSC, he has participated in and led efforts locally and statewide as diverse as invited membership on the S.C. Arts in Basic Curriculum Steering Committee (2006-2018); consultant for the city of Columbia’s One Columbia initiative/office and the recent Amplify Columbia cultural plan for the city; service on the board and arts granting panels of the Richland/Lexington County Cultural Council (2008-2014); and in his regular engagement with the South Carolin Arts Alliance for Arts Advocacy Week (2007-2015). He teaches a unique course for young musicians, Introduction to Music and Arts Advocacy: Understanding the Power of Your Music and Art, to approximately 100 freshman arts majors at UofSC each year—an outcome of this course has been table tents and broader participation at the Arts Advocacy Week events for state legislators each February.
An active consultant for many organizations regarding music and arts education policy, and advocacy, he is a frequent presenter on issues facing the future of university music units and their leadership, and remains active as a composer earning commissions, performances, and recordings for his works around the world.
Since 2014, ColaJazz has worked tirelessly to establish Columbia as a premier jazz destination. Founder and Executive Director Mark Rapp had a desire to highlight the accomplished jazz artists and educators active in and around the city. Additionally, Rapp wanted to give back to the fans, supporters, and jazz venues. His initial foray in promoting the city of Columbia was recording the ColaJazz Vol. 1 album featuring the city’s top jazz talent and a full-length album by late S.C. Jazz Ambassador Skipp Pearson both of which were featured nationally in AAA Magazine.
In 2018, ColaJazz earned a coveted fiscal sponsorship with one of Columbia’s longest-standing arts nonprofits, the Columbia Music Festival Association. After five years of working with the community, creating proofs of concepts, and establishing an annual season of events, the organization became a designated 501(c)(3) nonprofit jazz organization.
ColaJazz has established successful and vibrant annual jazz programming including a summer jazz camp, jazz festival, countless performances, jam sessions, artist features, community highlights, and often brings international jazz stars including NEA Jazz Masters and Grammy Award winners to Columbia. It produces an annual season including the ColaJazz Summer Camp, ColaJazz Fest, Great Day in Columbia, Live in the Lobby (Koger Center for the Arts), monthly Dinner & Jazz concerts, Jazz Appreciation Month ColaJazz Crawl and International Jazz Day concert, virtual concerts, workshops, after-school curriculum, Jazz for Young People concerts and more bringing people from across the state and beyond to enjoy the capital city.
ColaJazz provides access to world class musicians, supports our own, invests in our future and does everything we can to ensure jazz has a home in Columbia. The ColaJazz community is comprised of musicians, educators, patrons, students, and anyone who desires to support jazz and develop our capital city’s cultural heritage.