January 20 - march 6
Alex Powers: Inquiries
Inquiries presented a selection of works on paper from the past two decades by Myrtle Beach artist Alex Powers, who is among South Carolina’s most prominent contemporary painters. Mainly using gouache, charcoal and pastel, Powers creates superb, lively, expressive paintings, often with a social and political bite. Powers, who is represented by City Art in Columbia, also incorporates text, both as a graphic and content-related element, achieving a beautiful mixture of aesthetics and commentary. Inquiries deals with religion, culture, philosophy, politics, economics, civil rights, history, literature, art itself and more. "These overwhelming issues are difficult to deal with, but they are what interest me," Powers has written. "And, since I believe in the singularity of life and art, these issues are the content of my life and my current work."
April 12 - May 29
SC3D: Three-Dimensional Art from SC
SC3D presented three-dimensional work by 11 artists or groups or artists from South Carolina. The exhibition included ceramic artists Renee Rouillier from Columbia; Jay Owens from Travelers Rest; Rosa and Winton Eugene from Cowpens; and Daniel Bare & Valerie Zimany of Clemson.
Michaela Pilar Brown: I Am Dark But Lovely - A Mixed Media Video Installation
June 16 - July 31
Diana Farfan: The Toy Republic and The Dream Life of Broken Toys
The culmination of Farfán's residency at 701 CCA was a new body of work titled The Toy Republic. This work was shown in conjunction with The Dream Life of Broken Toys, which was presented as her MFA thesis exhibition at McMaster Gallery, University of South Carolina, in 2010. The Toy Republic and The Dream Life of Broken Toys opened June 16th and continued through July 31st, 2011. Diana Farfán is known for her surrealistic ceramic toys, marionettes, puppets and dolls. Her pieces illustrate her observations about our ambivalent human condition – manipulated, fragile, impotent, vulnerable and isolated – countered by the ability to find hope.
August 18 - September 25
With TRIENNIAL Revisited, 701 CCA presented a selection from the five S.C. Triennial exhibitions organized by the S.C. Arts Commission and S.C. State Museum between 1992 and 2004 and shown at the museum. TRIENNIAL Revisited was a juried exhibition that provided a prelude and historical context for the inaugural 701 CCA South Carolina Biennial.
October 1 - December 21
The 701 CCA South Carolina Biennial 2011 Part I & II
701 Center for Contemporary Art in Columbia, S.C., announced the inaugural 701 CCA South Carolina Biennial 2011, which took place in two parts from October – December, 2011. The exhibition presented 24 artists from South Carolina producing some of the most exciting contemporary art in the state. The artists selected presented a wide range of media, from painting, drawing, collage, photo transfer, prints,sculpture and crafts to installation, performance and more.
Micro-Cosmo: A Multidisciplinary Performance by Jon Prichard
The spectacular, elaborate and dramatic performance Micro-Cosmo by Jon Prichard presented a fictitious, celestial society that expresses the human need for active community-centered ceremony and ritual. Chapel Hill, NC, native Prichard, a graduate of Winthrop University in Rock Hill, SC, led a dozen performers depicting an asteroid belt, meteor shower, sun, moon, planets, a comet and gatekeeper. The performance represents a constellation that connects the dots between disciplines and categories, drawing lines between art, dance, theater, poetry and music. Prichard used common, present-day materials like grocery bags, colored duct tape, tin foil, scrap metal and recycled lumber to reference the art of ancient societies.
Hush Arbors/Jason Ajemian: The Two of Us Riding Nowhere Tour
EAST COAST/MIDWEST & CANADA TOUR 2011
Hush Arbors, aka Keith Wood, has gone from “soft and hypnotically picked folk songs” to “belting rock records,” David Morris of Hinterground.com wrote. The London-based guitarist and songwriter is a member of Current 93 and Voice Of The Seven Thunders. Wood played for sold-out crowds at the ATP festival and shared the bill with Sonic. Jason Ajemian, no stranger to Columbia audiences, is among experimental jazz’s most exciting and innovative bass players. He has played with Ken Vandermark, Dave Rempis and other stars of the genre. He has toured solo, including his February 2010 gig at 701 CCA. Ajemian and Wood are old friends. “After 20 years of playing music apart and together,” Wood says, “we’ve decided to take it on the road and roll like we always roll.”
Shane Perlowin & Jacob Wick
Perlowin & Wick performed improvisations that embrace their wide-ranging influences, from Mississippi John Hurt to Christian Marclay to buzzing refrigerators.
Perlowin is an electric guitarist based in Asheville, N.C. Among his many musical enterprises are his avant-noise-rock project Ahleuchatistas, which has released six albums on Perlowin’s own Open Letter Records, John Zorn’s Tzadik Records and Cuneiform Records.Brooklyn-based trumpet player Wick’s sound has been described as anything from “inhuman” (Chicago Reader) to “a Shakespeare soliloquy” (allaboutjazz.com). Aside from his solo trumpet performances, Swarm, Wick plays with Jason Ajemian’s outfit HighLife and others.
May 21 - 22
701 CCA Columbia Open Studios
701 CCA Columbia Open Studios is an annual, self-led, driving tour of artists’ working studios spans the City of Columbia and Richland and Lexington Counties, showcasing the Midlands’ talented visual art community.
ZAHA with the New Music Collective
Avant-jazz septet ZAHA Soundpainted the I-95 Corridor on their Spring Tour of the eastern US on May 23-27, 2011. Composer Evan Mazunik directed ZAHA in performances with New Music Collective to bring their realtime compositions to a wider audience.
David Voros Artist Talk
701 CCA artist in residence David Voros, who teaches painting at the University of South Carolina art department, discussed the creation of his five-panel painting Triumph Of Innocence during a lunchtime talk on Wednesday, November 30, 12:30 p.m. During his residency, Voros created a cage-like structure of steel pipes that allowed him to mount the painting, creating a “room” with four walls and a ceiling in the 701 CCA loft.
September - December
Voros’ painting consisted of four side panels, 7 x 14 feet each, and one ceiling panel, 12 x 14 feet. He called the work “a large-scale cycle of paintings interpreting an autobiographical narrative in the context of mythological events, without it being literally auto-biographical or mythological.” During his residency, Voros created a cage-like structure of steel pipes that allowed him to mount the painting, creating a “room” with four walls and a ceiling in the 701 CCA loft.