Monthly Archives: September 2011

The Mossman Cometh: CJO’s Latin Night is Sold Out!

Michael Mossman will join the CJO for Saturday's Latin Night

Art Mag got the chance to ask trumpeter, composer and educator Michael Phillip Mossman a few questions about his upcoming visit to Charleston to join the Charleston Jazz Orchestra for their sold out, third annual Latin Night.  Check it out!

Is this your first visit to Charleston?

Yes, this is.

Any special plans while you’re here?

I hope to meet and interact with as many jazz musicians and fans as I can and enjoy our community, Charleston style.

What are you hoping to communicate to the Charleston audience through your music?

The music we are focusing on is Afro-Cuban Jazz. My experience with this music started with Mario Bauza, Dizzy Gillespie and Machito. All three of the were clear in that this music is people music, all people, to enjoy whether you are a hip jazz aficionado (so the music is never “dumbed down”) or a newcomer just looking for a good time (or a chance to dance a bit!)

As a performer, what is your favorite moment of a one-night show like the CJO’s Latin Night?

Well, a one-nighter like this is kind of like a wine tasting. Just enough to come away with a impression and, hopefully, good reason to come back and spend more time.

As a composer?

As a composer, those motivations are more a combination of personal taste, desire to give the musicians something fun and challenging to play, and give the audience an enduring experience.

What instruments will you be playing for this weekend’s performance?

Looks like I’ll just be bringing my trusty Yamaha Xeno trumpet! I sometime bring my trombone, but it makes the travel a bit more difficult these days…

What is next on your plate?

I just returned from Bilbao, Spain where I rehearsed their symphony orchestra in a program we will do in December. The program includes a Latin Jazz ballet called “Beneath the Mask” I composed (and my wife Mayte Vicens choreographed) originally for Jon Faddis’ Chicago band. The music is now re-orchestrated for jazz quintet and symphony orchestra. Aside from that, I’ll be doing a week at the Blue Note in NYC celebrating my hero, Jimmy Heath’s 85th birthday!

I hope you enjoy your visit to Charleston!

My pleasure, ma’am!

Best wishes,

The Charleston Jazz Orchestra is Charleston’s resident big band, and they’re always doing some amazing things.  Make sure to sign up for their emails and buy your tickets in advance.  It’s always a stellar show!

The Jazz Artists of Charleston mission is to develop, promote, and support a vibrant and creative jazz culture through concerts, special outreach events, and educational programs.  Support them today!

To Catch a Sparrow or Net a Fox Opens Friday!

Are You Normel??

Thomas and Judy Heath’s sophomore play is opening September 24th, and you do not want to miss it. Perfectly Normel People is “a fish-out-of-water comedy about what happens when a college freshman from Kansas moves in with a dysfunctional Italian-American family from Queens.” Set in the 1980’s, this coming of age tale is, in essence, is a play about family and a play about love. “It demonstrates how people can make a difference in others’ lives without even knowing it,” says co-writer, Thomas Heath.

While the play is sure to have you in tears from laughter, do not expect outlandish situations or caricatures. The play really is a slice of life. As a professional psychotherapist (play write by night!) Judy says, “There is an understanding when you study humans and their brains and how they move in the world to writing characters. I was always asking myself, ‘Would this character really do this?’”

Seeing Perfectly Normel People is not only a great way to spend a Saturday night, but also a cool historic opportunity for someone to come see the show for the first time and say that they were a part of it. “There are some big plans for this,” says Thomas. “The ultimate goal is to turn it back into a screenplay and into a movie.”

So come out to the South of Broadway Theatre Company, 1080 East Montague Avenue, North Charleston, and be a apart of history! The stage reading starts at 7:30pm. Purchase your tickets, $7 for adults $5 for students, at

Getting Green with Art and Olan Quattro at the Charleston Green Fair’s Art Walk

It’s finally back! The Charleston Green Fair starts at 12:00 pm on September 25, and there’s so much to look forward to. We’re especially excited for the art walk and Art Mag‘s featured artist, Olan Quattro.

Quattro works with mixed media and collage- mainly paper. Her latest work that will be on display at the Green Fair contains a series of over 400 collages made up of  the September issue of Vogue– a weighty magazine that usually has more than 800 pages! This series, which Quattro describes as “artistic recycling,” fits perfectly with the Green Fair (and for sale at only $40!) .

Drop by Art Mag’s art walk on the Calhoun side of Marion Square to check out Quattro’s collages and other amazing works by local, eco-friendly artists!

Collage by Olan Quattro

Collage by Olan Quattro

Collage by Olan Quattro

Collage by Olan Quattro

Collage by Olan Quattro

Take Me Italy: Horton Hayes Fine Art Opening “The Light and Life of Tuscany” Tonight!

Tuscan Street Scene by Michael Cyra

Earlier this year, painters Chris Groves and Mark Horton of Horton Hayes Fine Art, led a workshop in Italy, where their students painted with the two accomplished artists the street scenes and landscapes of Tuscany.

Tonight they will open The Light and Life of Tuscany, a show featuring work by the students from the Italy workshop.  Head to their gallery at 30 State Street tonight from 6 – 8 pm to see the work.

I popped in over Labor Day weekend and saw the work awaiting to be hung.  It looks like a great show will be coming together.

Horton Hayes Fine Art, 30 State Street, downtown Charleston,

Roxie Rocks Chicago: One of the Best in a While

Chicago playing at Dock Street Theatre through Sept 18

Charleston Stage opens their season with a well-done production of the award-winning musical Chicago with a solid cast, choreography and vocals.

Vanessa Moyen shined as Roxie Hart, the adulterous dame who is quick on the draw when her lover tries to end their affair.  Gives new meaning to the phrase ‘love her or leave her.’  Josh Harris, playing her adoring, cuckold husband Amos, got lots of love from a sympathetic audience.  He had a big song to sing with Mr. Cellophane, and we all agreed that he did it justice.

The classic opening song All That Jazz, sung by Jillian Kuhl as Velma Kelly, and the company, had audience members dancing along in their seats, which is probably the best thing a cast could hope for.

Velma, Matron Mama Morton, Bill Flynn all played up their characters, although Flynn could have let a little more time pass before delivering some of his cutting punch lines.  The script is good.  Give it time to be heard.

The Six Merry Murderesses were entertaining, and the Cell Block Tango a treat, especially ‘Pop’ who sang about her husband Bernie’s grating bubblegum snapping habit.  She fired two warning shots.  In his head.  Hey, he was warned.

We would have liked to see the costumes a little snazzier.  However, we must admit that we’ll be trying to recreate our own fringed hot pants like the pair that graced Roxie’s bottom half.  What outfit is complete without tassels on your derriere?!

Chicago opens the 34th Season of Charleston Stage at the Dock Street Theatre, 135 Church Street.  Remaining performances: September 8, 9, 10, 15, 16, & 1 7 at 7:30 pm, September 11 & 18 at 3:30 pm.  Visit for tickets.

Atelier Gallery: The New Kid In Town!

As further proof the arts in Charleston are not only thriving but growing, the Atelier Gallery of Asheville, NC, has opened a second location at 153 King Street, in the Lower King/Antique District.  They’re joining other newcomers like Reinert LePrince Fine Art and Bull Street Gourmet, alongside long-standing traditions like Berlins Clothing, The Sylvan Gallery, and more.

ATTENTION ARTISTS: The Atelier Gallery is looking for more artists!  Their website has a working list of who’s going to be exhibiting with them–check that out at  There are some underrated gems and brand-spanking-new names that we’re are excited to get to know.  Shouldn’t your name be on that list?!

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Atelier Gallery Charleston 153 King Street, Charleston SC 29401

Gallery Mission
Atelier Gallery Charleston supports emerging, and established artists, collectors, and public audiences by providing a venue for the access, celebration, and advancement of abstract, traditional and contemporary art.

Curatorial Emphasis
The gallery features a collection of contemporary paintings, sculpture and works on paper with a curatorial emphasis on both abstraction and innovative techniques. Work outside of this niche will be considered on a more limited basis.

All work represented by the gallery is juried for appropriateness based upon: quality, subject matter, critical relevance, price, marketability, professionalism and an artist’s career development with relation to the particular needs of the gallery at a given time.

It is the gallery’s policy not to discriminate on any basis other than the selection criteria described above. Occasionally the gallery will solicit works from specific community groups that are under-represented or marginalized in mainstream culture. We do this in order to offer exhibitions to as diverse a group of artists as possible while supporting the gallery’s curatorial mission.

Submission Instructions
Include images of recent, available work on CD Rom (jpeg 350dpi) or via email.
Include list identifying all images. Indicate: Artist Name, Date, Title, Medium, Size and Price.  Include Artist Statement and Resume.
Complete submission packages should be delivered or mailed to the gallery at 153 King Street Charleston, SC 29401. You may also send via email to

Declined Submissions
Declined submissions will only be returned in the case that a SASE is provided.

Due to scheduling limitations, it is not possible to accept all suitable works submitted. Artists whose works are declined are invited to resubmit after one calendar year. Artists accepted after resubmitting are given scheduling preference over artists who are accepted after applying for the first time.

Visit Atelier Gallery at 153 King Street, Monday – Saturday 10 am to 6 pm.  All are welcome.

Bring Your Canary: Fiorenzo Berardozzi

“Some people would say I’m a potter. I consider myself a sculptor who happens to work with clay.” That’s how Fiorenzo Berardozzi clears up his role at Cone 10 Studios, a loose co-op of twenty-seven artists and four owners, including Berardozzi.

Before he was a sculptor, Berardozzi was simply a kid helping out his father, a bricklayer and stonemason. His parents immigrated to a South Dakota Indian reservation from Italy not long after Berardozzi was born so help was needed as the family found its feet in America.  From age eight to twenty-two he worked with his father and uncle every summer learning about structure, materials and hard work. At eighteen he went to school for mechanical engineering but found his studies restraining. It was on breaks where he would travel to see his sister at a liberal arts college that he discovered he wanted to be artist. After talking to the dean, he began taking some classes in pottery and sculpture. The trouble was back then you were either a sculptor or you were a ceramicist. Trapped between the two, Berardozzi kept pushing his professors, “Why can’t clay be a fine art material?” Consequently he spent his days sneaking back and forth between the sculpture studio and the ceramic studio.

Nowadays the line between potter and sculptor is blurred. The movement began during the Vietnam era as new artists began to use clay like sculpture material, a practice that was unheard of at the time. When teaching pottery began in the nineteen-thirties, universities had always taught students how to make truly refined pots, cups and vessels. To the displeasure of such institutions, artists like Voulkos and Reitz were experimenting by throwing enormous platters on the discs and gouging them out like the abstract expressionists of the ceramic field. Universities disapproved but curious galleries and museums helped launch the new discipline.

Berardozzi shows a piece, pointing out the clay armature that sits inside it. In most sculptures the armature resides in the work only during the building process, but for Berardozzi the armature is part of the sculpture. They’re almost anatomy studies or more precisely like écorché, the process in which the artist draws the bone, then the ligaments and muscles and then finally the skin. However, Berardozzi’s process allows him to do something a painter cannot. When he’s completed the piece, he’ll turn it over to reveal the insides.

“I’ve always enjoyed figures and machines,” he says as he shows me various pieces in stages of completion. “These are ready to be bisqued (fired without a glaze). It’ll be interesting to see what happens when there done.” Unlike most artists, Berardozzi won’t know what his works will look like until they are complete. The same way that those veterans would gash away at their work, the stress from the fire cracks and reshapes the piece randomly. Free radicals will cause the clay to pull apart and distort without pattern. Berardozzi not only acknowledges this lack of control but embraces it.

He shows another piece he’s been working on. Unlike the others which  are flipped to reveal the interior, this piece has had a large section of “skin” cut away and removed. “It’s almost like a grid system in there.  You lay a piece over the top and it takes the shape. You don’t know exactly what’s underneath but you just start cutting blindly.” Rarely does one see an artist so unconcerned with being in complete control and unattached to perfection.

This attitude might all stem from his training. Berardozzi came from a group of brutal professors who would break his pieces in order to break down the idea that one thing could be sacred, because when you think this one thing is sacred and perfect then how do you make another one?  How do you proceed as an artist? Therefore cutting blindly into a piece is okay because it is just clay, it can be remolded, more can be bought, time will be had and perfection is impossible anyway. Achieving something unique and interesting is possible though, but only through experimentation.

There’s a science to pottery. One has to be a geologist, a chemist and an artist all at once. A potter must be willing to put in the brutal hours of calculation and willing to accept the randomness that may proceed.

It might be said that Fiorenzo Berardozzi himself possesses a clay-like structure. First is a nearly measurable balance of dedication and humility in equilibrium like gypsum and feldspar. Next is the unknown constant, the free radical that makes an artist into an individual.

JLINSNIDER Opens Tonight!

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Earlier this week, Art Mag sat down with Jamie Lin Snider, Charleston Fashion Week alum and proud new business owner.  Tonight she will celebrate the grand opening of JLINSNIDER on Upper King Street with her inaugural ‘First Friday’ fete.

First Friday at JLINSNIDER:

Local artisans will sell their handcrafted wares in the courtyard, music will fill the air, bevies and nibbles served, and loads of vintage and avant garde threads to browse (and buy!).  Snider says the inspiration came from similar events in Las Vegas, LA, NYC, and the like, where it was always the biggest night out of the month.  The galleries and shops all participate and the pretty young things come out to play.

While the French Quarter district of Charleston certainly knows all about First Fridays and art walks, hopefully Snider’s endeavors will bring that to the trendy Upper King Street area too!

Look for the Jamie Lin Snider artist profile in the Fall issue of Art Mag, coming out October 1!

539 King Street, 843.751.6075, 6 – 9 pm,

BB&T Charleston Wine + Food Festival tickets ON SALE!

The dine-arounds ALWAYS sell out and the restaurant you want most definitely will.  So don’t delay, buy your tickets now for the events you really want to attend.  I recommend purchasing one ticket a month if you’re on a budget, and prioritize–meaning buy the can’t-live-without’s now, and save the ones-you-won’t-cry-over-if-you-miss-out for later.