Tyrone Geter: BLACK!

701 Center for Contemporary Art presents BLACK! by Tyrone Geter, July 9 – August 23. The exhibition opens with an artist reception, Thursday, July 9, 2015, 7-9 pm.

Tyrone Geter: BLACK! presents recent works by the artist who, after extensive travel, work and study in Africa, made South Carolina his home. Combining masterful draftsmanship with assemblage and installation elements, Geter has consistently produced a bold body of work that offers powerful perspectives on the black American experience. These come not only after  one hundred and fifty years since the end of the Civil War and the passing of the 13th Amendment to the U.S. constitution but also in a period when we are asked to consider the value of black lives in today’s contentious world. Using a visceral, figurative approach into which mixed media elements have been freely woven, Geter’s art holds us captive to its aggressive power and intriguing formal resolutions.













Frank Poor: Displaced

701 Center for Contemporary Art presents Displaced by artist in residence, Frank Poor, January 8 – February 22. The exhibition opens with an artist reception, Thursday, January 8, 2015, 7-9 pm.

In his exhibition, Displaced, Rhode Island resident and Georgia native Frank Poor (b. 1962) gives vernacular Southern architecture a contemporary twist. His sculptures of vanishing Southern architectural staples look sleek and cool. They are skeletal renditions made from wood and partly covered with photographic images of Southern buildings printed on aluminum or veneer. While both forms and photos are precise, they don’t necessarily fit precisely in each individual work. “The resulting tension,” Poor says, “is a metaphor for the relationship between the experienced world and our memories of it.” What Poor sees in the South three decades after he left might be structurally intact, but his memory of it is not.


701 CCA Prize 2014
October 30-December 22, 2014

701 Center for Contemporary Art in Columbia, S.C., is excited to announce that the finalists for the 701 CCA Prize 2014 are Andrew Blanchard of Spartanburg, Shannon Lindsey of Columbia and Karen Ann Myers of Charleston. The 701 CCA Prize 2014 is a competition and exhibition for South Carolina artists 40 years and younger and will open Thursday, October 30, 2014, with an artists’ reception, 7:00 – 9:00 p.m., and run through December 21.
Join us for the opening reception catered by Linda Phillips and bar tended by Liquid Assets. The winner of the 701 CCA Prize 2014 will be announced during a 701 CCA Prize 2014 Celebration event on Wednesday, December 3, 7:00 – 10:00 p.m. This year’s Prize is the second installment of the biennial event.

“The jury panel selected three outstanding artists,” 701 CCA board chair Wim Roefs said. “They had to choose from a strong field. While we had hoped for more than the 15 applications we received for the contest, the high percentage of really excellent artists who submitted made the process extraordinarily competitive. With Blanchard and Myers, we have two artists who already have made considerable waves in South Carolina and beyond. Lindsey is a relatively new but exciting arrival on the state’s art scene. And it’s a nice coincidence that we have one artist from the Upstate, one from the Midlands and one from the Lowcountry.”

The three finalists were selected by an independent jury consisting of Barry Gaither, director and curator of the Museum of the National Center of Afro-American Artists in Boston, Mass.; Brad Thomas, director of residencies and exhibitions at the McColl Center for Art + Innovation in Charlotte, N.C.; and Hannah Davis, gallery and exhibitions manager at Jones-Carter Gallery in Lake City, S.C.
Attached to this release are images of two works each by Blanchard, Lindsey and Myers. Short bios for each are below.

The Prize’s purpose is to identify and recognize young South Carolina artists whose work is exemplary in its originality, shows awareness of artistic developments and is of high artistic merit. “With the 701 CCA Prize, 701 Center for Contemporary Art has added a crucial component to the eco-system for artists and the visual arts in South Carolina,” Roefs said. “Prior to this 701 CCA initiative, the state did not have a prominent event to highlight the best young talent in South Carolina.”


JAN BANNING: Down and Out in the South

Exhibition Period January 16 – March 2, 2014

Artists’ Reception, Thu., January 16, 7:00 – 9:00 pm.


Gallery Talk & Panel Discussion: Sat., January 18, 1:00 pm:

–      1:00 pm: Jan Banning Gallery Talk

–      2:00 pm: Panel Discussion “Homeless People in Columbia”, moderated by Anne Sinclair

Talk & Panel Admission: Free


Jan Banning’s 24 large photographs in the upcoming 701 CCA exhibition, Jan Banning: Down and Out in the South, portray homeless people in Columbia, Atlanta and Mississippi in a dignified manner, free of clichés, with aesthetic and artistic qualities that have made the Dutch photographer’s work world-renowned. The portraits are a reminder that “the homeless” are individuals. The exhibition adds to current discussions about homeless people in Columbia.

The exhibition will open with a 7 – 9 p.m. reception on Thursday, January 16, and run through March 2, 2014. On Saturday, January 18, Banning will present a gallery talk at 1:00 p.m. The talk will be followed at 2:00 p.m. by a panel discussion about Homeless People in Columbia moderated by 701 CCA board member and former city council member Anne Sinclair. Participants in the panel will be announced later.

Selections from interviews that Banning conducted with homeless people in the exhibition will be available during the exhibition on a computer and through a QR code for smart phones.

Banning’s project began during his 2010 residency at 701 CCA, when he photographed homeless people in Columbia. He expanded the project to include Atlanta, Ga., and the Mississippi Delta, producing a book and exhibition that has generated widespread attention in both Europe and the United States. 701 CCA is the first to present the complete exhibition in the United States.

“I photographed people who are homeless as I would photograph any other member of society,” Banning says. “That implied not seeking out the most picturesque people I could find, with beards and hats, and leaving out the typical paraphernalia, such as shopping carts and sleeping bags. My approach also implied not photographing them in dramatizing black and white — imagery so often associated with portraits of homelessness. Instead of presenting them as The Other, and thus, by default, different from us, I wanted to photograph them in a studio setting, against a neutral backdrop, focusing on their individuality rather than on stereotypes. In essence, I want to show who they are rather than what they are labeled [to be].”

“In Columbia,” Banning adds, “I worked with an outreach worker of a homeless organization. We approached people on the streets, in parks, and in the library, for example. The outreach worker would introduce me and explain what I was doing. If the person consented to the brief interview and to having their photograph made, we would go immediately to my make-shift studio and start right away, without any clean-up or other aesthetic arrangements.”

Banning (b. 1954, The Netherlands) is among Europe’s most prominent photographers. He gained worldwide recognition with one of his previous exhibitions and books, Bureaucratics, which was shown in museums and galleries in some 20 countries on five continents, including in 2010 at 701 CCA. Banning’s work is in the collections of the Rijksmuseum Amsterdam, Atlanta’s High Museum, the Museum of Fine Arts in Houston, the Museum of Photographic Arts in San Diego and many other public collections. Among his many awards is the World Press Photo 2004 for Documentary Portrait Series.

Opening night reading by Jan Banning


The 701 CCA South Carolina Biennial 2013 Part I

Featuring: Jim Boden, Hartsville; Jeanet Dreskin, Greenville; Barbara Duval, Charleston; Jean Grosser, Hartsville; Susan Lenz, Columbia; Peter Lenzo, Columbia; Robert Lyon, Columbia; Katy Mixon, Orangeburg; Mary Robinson, Columbia; Caroline Rust, Rock Hill; Tom Stanley, Rock Hill; Todd Stewart, Liberty; Valerie Zimany, Central.

Exhibition Period Sept. 5 – October 20, 2013

Artists’ Reception, Thu., Sept. 5, 7 – 9 pm.

Reception Admission: members, free; non-members, $5 suggested donation

Part I of the 701 CCA South Carolina Biennial 2013 will open on Thursday, September 5, 2013, at 701 Center for Contemporary Art in Columbia, S.C., with an artists’ reception from 7 – 9 p.m. Part I will present half of the South Carolina artists selected by an independent jury for the 701 CCA S.C. Biennial 2013. The other half will be presented in the exhibition’s Part II, which will run from November 7 – December 22, 2013.

The 25 artists included in the Biennial 2013 were selected from 123 submissions by South Carolina artists. The jury panel making the selections consisted of David Furchgott of Washington, D.C., Cecelia “Ce” Scott of Charlotte, N.C., and Frank McCauley of Sumter, S.C.

The 701 CCA South Carolina Biennial 2013 is a survey exhibition of work by contemporary South Carolina artists. The Biennial is an initiative of 701 CCA and was first held in 2011. The goals of the Biennial exhibition are to provide a venue to showcase recent work reflecting local, regional and national trends and issues influencing contemporary artists living and working in South Carolina and to increase awareness and appreciation of the artistic contributions and accomplishments of the state’s visual artists. The exhibition draws on the breadth of the visual arts community by providing a multi-media juried statewide exhibition opportunity every two years.

Artists working in all media and styles were encouraged to apply in order to reflect the stylistic and cultural diversity of art produced in the state. Artists had to be a current resident of South Carolina.

An exhibition catalogue will be produced to document the exhibition.

Exhibition Dates

S.C. Biennial 2013 – Part I, September 5 – October 20, 2013.

S.C. Biennial 2013 – Part II, November 7 – December 22, 2013.

The artists for Part II will be: Aldwyth, Hilton Head; Michaela Pilar Brown, Columbia; Jim Connell, Rock Hill; Jim Creal, Spartanburg; Diana Farfan, Greenville; Donna Cooper Hurt, Charleston; Nina Kawar, Clemson; Doug McAbee, Laurens; Netherland, Dorothy, Charleston; Peacock, Cliffton, Charleston; Sara Schneckloth, Columbia; David Yaghjian, Columbia.


Interior Spaces


Kent Ambler, Pam Bowers, Dylan Critchfield-Sales, Yvette Dede, Paul Flint, Meg Griffiths, Stephen Hayes, Susan Lenz, Frank McCauley, Glen Miller, Jaime Misenheimer, Frank Poor, Kristi Ryba & Christian Thee

Exhibition Period: July 5 – August 18, 2013

Interior Spaces explores surprising ways in which contemporary artists deal with “interiors,” a theme that has kept its currency throughout art history. The exhibition presents artists from throughout South Carolina and beyond who work in a wide variety of media. Interiors are a major facet of some of the works but merely provide a context for other subject matter in others, including narrative scenes. In some cases, the interiors entail ambiguous spaces, are symbolic or are a somewhat accidental but inevitable part of the art.

The exhibition includes work of two recent 701 CCA artists in residence, Dylan Critchfield-Sales and Stephen Hayes. The exhibition will include some of the work the two former residents created during their residency at 701 CCA. Atlanta artist Hayes’ exhibition earlier this year at 701 CCA was Cash Crop. Pittsburgh, PA, native Critchfield-Sales, who now lives in Columbia, was the 701 CCA resident in the Fall of 2012 as well as the post-graduate fellow at the University of South Carolina Art Department, where he has worked since as an adjunct instructor.

The other artists in the exhibition are Kent Ambler, Paul Flint and Glen Miller of Greenville, SC; Pam Bowers, Meg Griffiths, Susan Lenz, Jaime Misenheimer and Christian Thee of Columbia, S.C.; Yvette Dede and Kristi Ryba of Charleston, S.C.; Frank McCauley of Sumter, S.C.; and Frank Poor of Cranston, RI.

Click the link below to preview the exhibition. Video by INTERIOR SPACES artist Frank McCauley.


Artist’s Reception: Thursday, July 11, 7 – 9 pm


Mullen 2009 – 2013

With Mullen 2009 – 2013, 701 Center for Contemporary Art presents a recent body of work by veteran Columbia artist Philip Mullen. The exhibition will run from May 2 – June 16, 2013, and the opening reception for the exhibition will be Thursday, May 2, 7 – 9 p.m. The artist will present a gallery talk on Sunday, May 26, 2:00 p.m.

The core of Mullen 2009 – 2013 comes from the artist’s current exhibition Mullen 2009 – 2012 at the Burroughs and Chapin Art Museum in Myrtle Beach, S.C., which closes on April 25. The 701 CCA version of the exhibition will include the majority of work of the Burroughs and Chapin show plus several paintings that the artist completed this year.

Philip Mullen (b. 1942) possibly has exhibited more nationally than any artist currently living in South Carolina. The University of South Carolina distinguished professor emeritus’ 200-plus solo exhibitions include 14 at David Findlay Galleries in New York City and nine at Dubins Gallery in Los Angeles. Mullen has had an ongoing solo exhibition since 1994 at his hometown Columbia’s Koger Center for the Arts. In 1995, USC’s McKissick Museum organized a 35-year retrospective. Among Mullen’s group exhibitions are those at New York’s Whitney Museum and Brooklyn Museum, the San Francisco Museum of Art and the Walker Art Center in Minneapolis, Minn.

The Brooklyn Museum and Guggenheim Museum in New York, the Smithsonian Institute in Washington, D.C., the Denver Art Museum and South Korea’s Sonje Museum of Contemporary Art have Mullen’s work in their permanent collections, as do museums throughout the South. His work has been covered by Arts Magazine, The Artist’s Magazine and Art in America.  The work also has appeared on the covers of multiple books, including four hardbacks published by Allyn and Bacon.

Mullen taught at the University of South Carolina from 1969 – 2000. He earned a Ph.D. from Ohio University in 1970. He holds an M.A. from the University of North Dakota and a B.A. from the University of Minnesota.

“Philip Mullen is among the veteran artists in South Carolina that continue to produce relevant work. Mullen does so in abundance after an already stellar career that spans more than four decades,” 701 CCA board chair Wim Roefs said.

The paintings in the exhibition focus on everyday interiors, at times taking a wider perspective while in other cases zooming in on details. They tend to be heavy in texture and layering, though remarkably serene, and allow the viewer to explore the process through which the artist arrived at the end result. While the paintings are of something, showing identifiable objects and scenes, they are heavily abstracted, which adds to their mysterious quality.

“”Mullen believes that the experiences around us can be profound, if we can learn to be quiet, still and mindful,” Columbia artist and critic Mary Bentz Gilkerson wrote in the catalogue for the Burroughs and Chapin exhibition. “It is with this counsel that the viewer is encouraged to experience this exhibition – with tranquility and an open mind.” What may appear simple at first, Gilkerson wrote, “will gradually reveal incredible richness and complexity.”

For further inquiries, contact info@701cca.org or call 701 CCA director Sheldon Paschal at (803) 319-9949.

Exhibition Period: May 2 – June 16, 2013

Artist’s Reception: Thursday, May 2, 7 – 9 pm

Philip Mullen Gallery Talk: Sunday, May 26, 2 pm.


Cash Crop: January 17 – March 31, 2013

At the core of Cash Crop by creator Stephen Hayes are 15 life-size sculptures of shackled people placed in boat- or coffin-like structures, with diagrams of captive, warehoused humans in Trans-Atlantic slave ships carved in wood on the back. The sculptures represent, Hayes says, “the 15 million human beings kidnapped and transported by sea during the Trans-Atlantic slave trade.” Through these works and others in the exhibition, Durham, N.C., native Hayes invites the viewer into an emotional, physical and psychological space to confront past, present and future.

“During a printmaking class, I came across an image of a slave ship diagram,” says Hayes, who in 2010 received an MFA from Savannah College of Art (SCAD) in Atlanta. “The slave ship images resemble a sweat shop. Sweat shops in Third World countries are today’s modern slave ships. The exhibition draws parallels between the slave trade and the Third World sweatshops of today. It’s about supply and demand, supply and demand. The exhibition asks: what is the next cash crop?”

The 15 figure sculptures in exhibition are 4.5 – 8 feet tall. They are made of cement, fabric, steel and fire-treated wood. In addition to the figure sculptures, the exhibition includes hand-made steel chains connecting the sculptures; prints and drawings; a large, wall-mounted sculpture of a ship; and scores of wooden, fire treated boxes, 11 x 21 inches in size, containing cement casts of ship shapes, that will be installed as a wall.

“This is a powerful exhibition,” board chair Roefs said. “It’s physically and emotionally an imposing installation of objects and two-dimensional work. The rawness with which the sculptural pieces are executed adds to the gut-wrenching impact of the exhibition. This work is obviously not meant to relate comfort but suffering and abuse.”

Cash Crop, which originated in Hayes’ MFA thesis exhibition at SCAD, has traveled to the Harvey B. Gantt Center for African-American Art + Culture in Charlotte, N.C., North Carolina Central University in Durham, Guilford College in Greensboro, N.C., and Mason Murer Fine Art Gallery in Atlanta, one of that city’s largest art galleries.

John Acorn: Project Pistols (June 28- August 12, 2012)
With this premier presentation of his latest body of work, South Carolina contemporary art pioneer John Acorn shows that after more than five decades of art production, he still creates striking, ambitious and relevant work. Constructed mostly from wooden, cut out, painted pistols, the retired Clemson University art department chair has built oversized sculptural representations of a charm bracelet, a pizza, lifesavers, a Palmetto tree, a heart, a crown, a wreath, a T-shirt, a person, a skull and other common phenomena. “I do not intend to be a crusader or missionary on issues regarding firearms,” the Verner Award winner says. “I do admit, however, to wondering about the fact that my culture is so enamored with firearms.”

The exhibition is sponsored in part by Columbia, S.C., architectural firms Catalyst Architects, Garvin Design Group, J. Timothy Hance, Architect, P.A., Jumper Carter Sease Architects, Quackenbush Architects + Planners and The LPA Group.

Alternate Universe: The M-Bora Project – 701 CCA Artist in Residence, David Cianni (March 29 – June 3, 2012)

David Cianni, who lives in Aiken, S.C., and was born in Guatemala, has been creating life-size, robotic, cyborg-like sculptures from post-consumer, recycled materials for two decades. The sculptures, which include light features, have never been exhibited and will have their world premier during Cianni’s March ­– May exhibition at 701 CCA. The sculptures also feature in a story written by Cianni that the artist eventually envisions as a comic book. During his January – March residency, Cianni will produce additional sculptures and build an elaborate cave system with light and sound features that together will create a gallery-wide environment for his exhibition. During his residency, Cianni, who owns a metal construction company, will conduct workshops for children about creating sculptures from recycled materials.

Exhibition: Faster Forward

Curator: Frank McCauley

Period: January 19 –  March 4, 2012

Opening Reception: Thursday, January 19, 2012, 7 ­ 9 pm.

This exhibition highlights the work of nine artists from Israel to Canada and from Italy to New York whose new media, experimental film, and video works explore contemporary visual culture mediated through popular technologies.

The development of cinema throughout history has been inextricably linked with developments in a range of film production technologies. The recent transition from mechanical, chemical and analogue processes to those that are electronically and digitally based has provided artists with an extraordinary range of creative opportunities. As digital data, the fundamental elements that constitute the cinematic experience, space, time, light, sound and motion, are now infinitely malleable and endlessly reconfigurable. The artworks in Faster Forward demonstrate the artists’, and their collaborators’, unmitigated command of film, video, and new media technologies. Many of the works also provoke questions about the broader, often disquieting, implications of our ever-accelerating technological evolution.

This diverse group of artists represents a broad spectrum of cultural backgrounds, geographies and perspectives, each of which has taken distinctly different educational and professional paths to arrive where they are today. The works in this exhibition resonate with diversity both aesthetically and technically. They are at once experiential, interactive, dynamic, reflective, and multivalent.

Yoni Goldstein and Meredith Zielke: The Jettisoned

Rendered from footage shot in Chicago, Warsaw, and Mexico City this 3-channel video activates a sensorial experience that sends the viewer into an opulent darkness where history is performed through living bodies, both stilled and silenced. Each of the three projections gives the illusion of a single instant. This illusion fades, however, as the viewer notices the winking of an eye, a woman’s fluttering skirt, or the glistening of water as it streams from an elaborate network of forensic tubes. Many of the symbolic elements found throughout the videos are informed directly by art history—from the tradition of tableau vivant to Northern European still life painting. Curious revelations draw the viewer into a stratified realm where reality and constructed environments are merged into three living portraits of trauma offering a rich cartography of identity at its most nebulous form.

Sean Hovendick: Be A Man / Sugar and Spice

Hovendicks’ interactive computer-art work is a critical assessment of the omnipresence of media and its power to influence our society. In particular, it explores gender-role behaviors learned from mediated reality. He is interested in the way in which mass media is used for entertainment, information and social connectedness, and the unconscious issues that arise with such dependence.

Jillian Mcdonald: Screen Kiss

The crush is a familiar experience. In “Screen Kiss Mcdonald explores the idea of fantasy and misplaced intimacy as a symptom of our heavily mediated culture. Featuring several popular actors including Daniel Day Lewis, Vincent Gallo, Johnny Depp, and one actress, Billy Bob Thornton’s former wife Angelina Jolie. In each case the artist inserts herself into existing film scenes as a stand-in for the actresses or actor kissing these stars. She makes eye contact with the camera, which functions as voyeur and Billy Bob’s, presumably jealous eye.

Sarah Boothroyd: All In Time

The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, this stereophonic work traverses the timeless mystery of time itself. Boothroyd studied visual art and costume design on her way to a bachelor’s degree in philosophy and a master’s degree in broadcast journalism.  This eclectic background informs her diverse approach to audio work, as she combines a plurality of sources, drawing on the devices and techniques of film, music, literary arts, and theatre.

Blake Carrington: Haeinsa Palimpsest

Field recordings made in and around a 1,200-year-old Haeinsa Temple isolated in the mountains of South Korea were used as raw material to merge with and manipulate existing architectural and topographic diagrams of the temple complex. These recordings are processed and tuned to a specific scale, then performed live using custom software. The video image emerges in real-time from the custom software, blending together the oscillating visual waveform of each sound sample with topographic and architectural renderings of the temple grounds.

Brooke White: Slices of Clarity

“Slices of Clarity” investigates the ways that Alzheimer’s disease alters one’s connection to memory and place. By using x-rays of skulls combined with photographs and 8mm archival film footage from the artists’ personal history, these images describe the artists’ personal interpretations of the disease.

Simon Aeppli: Secondhand Daylight

Secondhand Daylight, the first in a series of videos that use the artists’ scrapbooks as a starting point for a moving image work, is an experimental narrative that explores place, memory and obsession. The video itself becomes a type of scrapbook as Aeppli interweaves video footage he has collected over the past ten years with images from books, photographs, photocopied and found images, written fragments, quotes, letters, lists and the artists’ own fictitious notations

Bill Domonkos: Nocturne

Innocence, wonderment, and the allure of the moon. “Nocturne” is a captivating dreamscape inspired by the music of Tchaikovsky and the poetry of Shelley. Michael Hardy of The Boston Globe states: “Spooky. Hypnotic. Lush. Witty. Sublime. The extraordinary films of San Francisco-based artist Bill Domonkos call up a descriptive vocabulary that never seems to capture the fluidity, the aesthetic metamorphoses, of the director’s vision.” His short films have been broadcast and shown internationally in cinemas, film festivals, galleries and museums including the MoMA in NYC. They have won numerous awards including Best Experimental Film – New Orleans International Film Festival (2004), Best Film Short – Victory Media Network (2007) and Best Experimental/Avant Garde Short – Trenton Film Festival (2004).

Pascual Sisto: Push/Pull

Visual cycles of urban and natural systems appear in the video work of Los Angeles-based Pascual Sisto (b. 1975, Ferrol, Spain). Sisto digitally intervenes with otherwise mundane imagery and crafts mesmerizing, impossible realities. Spatial compositions challenging the logic of everyday events such as driving a car or witnessing the passage of birds flying overhead- are activated by the artist’s replication and patterning of form. Sisto’s two-channel installation Push / Pull (my luck is your misfortune) rearranges seemingly endless lanes of evening traffic into opposing kaleidoscopic video planes. Approaching white lights from oncoming traffic pass in a tunnel-like flow, receding as red tail lights. The two squarely framed video spaces take on a cosmic scale, reflecting physical logic of the Doppler effect, in which red shift occurs in sources of light moving away from an observer. The viewers sit in a suspended state, neither coming nor going, in the space in between.

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