New Work from Michaela Pilar Brown by Alivia Seely

michaela cut Michaela Pilar Brown brings her installment piece titled “Where They Cut Her I Bleed” to the Tapp’s Art Center, with an opening reception on Thursday, January 7.

This installment is a part of a three part body of work titled “Mother Wound.” Each installment explores Brown’s residential research project of generational trauma and violence against black women. “I take the exploration of violence and the empathy, or lack thereof, of the greater population and study the current movements in social justice, including black lives matter,” says Brown.

The exhibition will be presented in two dimensional, three dimensional and performance art. The piece will feature many materials like paper, fabric, cast plaster, sound objects and much more.


With a degree in sculpture and art history from Howard University, Brown is able to take her studies and her passion of narratives and fuse the past and present of “age, race, gender, sexuality and history. ... All of my work over the last ten years has had to do with issues of black women. I take frames of the vision of the black female body in the current culture,” says Brown.

Brown has always immersed herself in arts culture and objects, having “cut [her] teeth in the halls of the museum where [her] mother worked.” Her exhibitions have been shown in Washington D.C. and throughout the state of South Carolina. Brown has also done non-profit work and work in arts education. Now she resides in Columbia, South Carolina.

Brown is also an Artist in Residence at Tapp’s Art Center. “Tapp’s has provided me to work in an area outside my own house. It provides me a bit of isolation and to think without the pressure of producing a final object, and it gives me the opportunity to explore and experiment,” says Brown.

Following this exhibition opening, Brown will also perform Mother Wound live January 21 at McMaster Gallery. The live performance will feature sounds, video projection and body markings. It may also contain nudity and provocative subject matter.

Brown encourages her audience to consider their personal experiences in order to fully immerse themselves in the piece and to have conversations with one another.

The reception starts at 6 p.m. at Tapp’s Art Center. For more information about Brown or to see pictures of her previous work, visit her website

Thomas Crouch presents the Final Act of his Month-Long Arts Project Tonight at 6

Crouch 1

Jasper had the pleasure of chatting with Columbia-based artist Thomas Crouch about his new project at Tapp's Arts Center this month and the Final Act of the project which is opening tonight.

Crouch 2

Jasper:  Thomas, you installed a large exhibit in the Tapp’s Arts Center at the beginning of the month. What can you tell us about the show?

Thomas:  Yes it is called Foundation, Formulation, Failure. It is a working project exploring the physical and conceptual interpretations of a blueprint by a community. I have lined two 46' walls in the central corridor of Tapps with blueprint paper and have been working on the imagery throughout the month of November. Within this corridor I am building a two dimensional imaginary city. There are also 18 pieces of new and old work in the surrounding alcoves.

Jasper:  There are three parts to the exhibit, is that right? Can you explain what each part entails?

 Thomas:  This exhibit progresses in three Acts.

Act I, Foundation, saw the blueprints represented in their literal sense; the basic 2-D designs from which our civilization is built. The opening on November 5 symbolized the population of this city. The public was invited to ask questions, learn about the project and become part of this community.

Act II, Formulation, is the current act [in place until tonight]. This is where the city evolves over time. On one wall the imagery depicts the structures built to tap the natural resources needed to support a city e.g. dams, power plants, farm land. On the other wall the imagery depicts the municipal structures the community needs to access these resources e.g. grocery stores, retail space, government buildings. Communication with the public as I work on these walls will be, and has been, reflected in this imagery.

Act III, Failure, is the final act. In this act, the blueprint fails. The personification of this failure will be realized by a public deconstruction of the work. On Saturday, November 21 at 6:00, the public is invited to pay $20 and cut out any piece of their "city" they want and take it home. Human sensibilities of personal need and the needs of the community will come into play here. As an individual decides how much and which part of the artwork to take home as their own, they will ultimately be effecting another individual's interests.

Jasper:  Why did you go in that direction?

Thomas:  I wanted to utilize this long corridor in a way that would place the public in a new interactive environment. My previous blueprint based exhibit at Tapp's, Wolves Vs. Baboons, was successful in this manner. After discussion and brainstorming with Tapp's as to what we could and could not do with the space, we came up with this idea. Also, we have all been affected as a community recently in an unprecedented way. So, that is fresh on our collective conscience I suppose.

Jasper:  When will the show be completed and what should arts patrons expect from the finished work?

Thomas:  The final act is November 21 and will see the FFF experiment come down. The remaining paintings will remain up until the end of November. I consider this project my most potent and effective to date in regards to the human condition, which is an inherent theme in my work. In my view, these images on blueprint paper that the public chooses to take home will, in a sense, become artifacts of Foundation, Formulation, Failure in its totality.

Crouch 3

Just say no to Facebook

no This week started out great. Lots of exciting stuff on the calendar, interesting meetings, tasks that I absolutely love to do. Looking ahead and all the way through Saturday morning's game, I was psyched for what the third week of September held in store. My Facebook calendar was full and I was happy!

Monday was a bit of a chore, though. For the fifth day in a row I was still working on a 2nd Act Film Festival project that should have taken less than two days to finish.

Tuesday was a little tougher. It was the last day for Jasper Artist of the Year nominations which means the beginning of a lot of sorting and stuff and I was continuing to work on last week's merciless mess of a project. I ended up forgetting about one meeting and rescheduling another.  I did make it to the Nick to see Grandma that evening and didn't feel too guilty about that since I reviewed it for the blog.

Wednesday meant day seven of the same old project, day two of the JAYs, and only two meetings, both about very exciting stuff.  By the end of the day one meeting got pushed back 30 minutes and the other two full hours, but that was OK because that night was the first night of ARTS101, our much anticipated series of arts history and appreciation presentations from esteemed members of our arts community. I remember when we first announced this series -- so many people were happy about it! And the Facebook event racked up 19 yeses and 19 maybes almost immediately. With a possible 38 people (no, I never expected the maybes to show up but I don't believe in being unprepared) coming out, the mag staff and I, along with two eager interns, were ready to greet our crowd with carefully prepared and reproduced copies of the ARTS101 calendar, a primer on John Constable, who was the subject of Mary Gilkerson's fascinating presentation, a slideshow loving prepared by our buddy Shige at Tapp's, a bar set up by Daniel, and a plate of assorted cookies. Three different kinds.

I'll just cut to the chase. No. One. Showed. Up. No, the maybes didn't show up, of course, but neither did the yeses. None of them. We did have a gentleman come in from off the street but I don't know if he knew he was coming in for a presentation or not. We were glad he was there. And we were glad we were there. It was a casual and informative presentation enjoyed over cold Coronas and cookies and I am thrilled with the knowledge I now have about landscape artist John Constable. (Primer below for your enjoyment and edification.)

Now, we're at Thursday and by the end of the day my buddy and Jasper film editor Wade has ably taken the cursed week-old project off my crippled hands.  I'm still working on the JAYS but the end is in sight, and I've turned my attention back to the next issue of the mag as well as the bones of the non-profit that's at a steady boil on the back burner of my life, waiting patiently to be moved up front and served. I wanted to go to the closing reception for Figure Out at Tapp's, one of my all-time favorite shows in town. In fact, I wanted to blog about the reception and appeal to the powers that be--in this case gallery owners and operators in the city-- that we must not relegate figurative and nude shows to one event a year held behind warning signs on closed doors. We must make the human body, clothed or unclothed, a part of our everyday art experience. As an arts community we can no longer be afraid of breasts and penises! But, of course, I didn't have time to go to the show or write the blog and only sneaked out to the Trustus fundraiser at The Whig (63 yeses and 24 maybes -- I don't think so) because I love Trustus and I love The Whig and I knew my kids would be there. I came home and went back to work.

So here it is on Friday afternoon. I'm tired, it's been raining for the past two days, the temperature is fall-ish, and new episodes of good TV started this week and are waiting on my DVR.

But wait, according to Facebook I have six events to go to tonight. Six different exciting events. Six events that would enlighten me, make me a better person, and allow me to enjoy the company of all the other yeses who want to go to these events and see each other.

You all know how this is going to turn out. I've already taken off my bra, smudged my makeup by rubbing my eyes, and poured myself a glass of wine. I ain't going nowhere.

But on Wednesday night of this past exciting and life-affirming week, in addition to learning about John Constable I learned something else. I learned about the power of the yes and I learned about the power of the no. (Maybes never really count.) So before I poured that vino and unsnapped that brassiere I visited the pages of all the fun events I will not be going to tonight and I changed my status. Yes, I could have done it earlier, had I been more honest with both Facebook and myself. But I'll take credit for doing it at all and I challenge myself to be better about it next time.

And I challenge you. Just say no to Facebook unless you really are planning to attend an event. But if your enthusiasm gets the best of you and you really believe you can make it to all those openings and receptions and concerts and presentations that you want to go to, do what I'm going to try to start doing. (I admit to being the worst about this in my life prior to this evening.) See where Facebook expects you to be and, if you're not going to be there, don't pretend. Change your yes to no and, if you must, leave a little message. You're tired, you're drained, you have a date with Olivia Pope. Doesn't everyone's head hurt a little? Just be honest with Facebook. Change it to no.




And here's that John Constable primer I promised you:

arts101 mary


John Constable

  • Born June 1776 – died March 1837
  • English Romantic Painter
  • Landscape artist known for his paintings of Dedham Vale in the Essex-Suffolk area of England, now known as “Constable Country”
  • Most famous works – ‘Dedham Vale’ (1802), ‘The Hay Wain’ (1821), and ‘Wivenhoe Park’ (1816)
  • Inspirations include Thomas Gainsborough, Peter Paul Rubens, Jacob Van Ruisdael, and Annibale Carracci
  • Known for the sense of realism and vitality that he imbued in his art
  • Known for taking landscape painting in a new direction
  • Believed his paintings should come as directly as possible from nature
  • Made hundreds of outdoor oil sketches, capturing the changing skies and effects of light.
  • Happiest painting locations he knew well, particularly in his native Suffolk. He also frequently painted in Salisbury, Brighton and Hampstead, making numerous studies of the clouds over the Heath.
  • Received little recognition in Britain in his lifetime, but was much better known in France.
  • In 1824, ‘The Hay Wain’ won a gold medal at the Salon in Paris and Constable had a profound influence on French Romantic artists.


The Jasper Project presents ARTS101 - A 6-Part Arts Appreciation Lecture Series

arts101 mary Ever wanted to take that art history class you neglected in college or revisit some of the stories of arts greats you may have snoozed through way back when? The Jasper Project is making it easy to brush up on your cultural literacy and we’re doing it in intimate settings with folks you already know and admire.

The Jasper Project presents ARTS101, a series of presentations by Columbia artists of stature about the great artists who have gone before us and influenced the world of art. All events are informal, free and open to the public and all start at 7 pm at Tapp’s Arts Center.

Please join us.


September 23, 2015 Mary Bentz Gilkerson talks about John Constable

October 28, 2015 Stephen Chesley talks about Edward hopper

November 18, 2015 Tish Lowe talks about Antony Van Dyck

January 27, 2016 Kirkland Smith talks about John Singer Sargent

February 24, 2016 Mike Dwyer talks about Richard Diebenkorn

March 23, 2015 Cedric Umoja talks about Dondi White

Art from the Ashes Final Event - Readings by the Literary Artists Tuesday Night

art from the ashes jpeg Tuesday night, join us for part three of Jasper's Art from the Ashes project -- a reading of the works in the monograph by the writers themselves.

7 pm at Tapp's

Readers include:

Betsy Breen - winner of the Best in Book Award, sponsored by Historic Columbia

Al Black

Jonathan Butler

Debra Daniel

Rachel Hainey

Ed Madden

Don McCallister

Tom Poland

Susan Levi Wallach

Cindi Boiter

17th Annual Native American Indian Film Festival among highlights of National Native American Indian Heritage Month in November

native2 November is  National Native American Indian Heritage Month, with plenty of events and educational opportunities available locally throughout the month to honor and celebrate native culture and history.

National American Indian Heritage Month is celebrated every year in November to honor and recognize the original people of this land.   Established nationally in 1990, this commemorative month aims to provide a platform for native people in the United States of America to share their culture, traditions, music, crafts, dance, and ways and concepts of life. This gives native people the opportunity to express to their community, both city, county and state officials their concerns and solutions for building bridges of understanding and friendship in their local area. Local, municipal, federal and state agencies are encouraged to provide educational programs for their employees regarding Native American history, rights, culture and contemporary issues, to better assist them in their jobs and for overall awareness. National American Indian and Alaska Native Heritage Month takes place each November and is a great way to celebrate the traditions and cultures of the first Americans. Today, American Indians comprise 2.3 percent of the U.S. population. Their buying power in 2014 is 156 percent greater than in 2000, and is expected to grow to $148 billion by 2017.For more information, visit

South Carolina is home to the Catawba Indian Nation, the only federally recognized nation, and twelve recognized tribes & groups, representing over 43,000 people of Native descent according the 2010 US Census. These tribal communities are all "body politic," and preserve their distinctive culture, heritage and history in South Carolina.

native1The Eastern Cherokee, Southern Iroquois & United Tribes of South Carolina, Inc. have been sponsoring and leading the statewide observance of National Native American Indian Heritage Month since 1994.  In 2013, the SC state legislature officially designated November 18 as Native American Awareness Day in South Carolina.


native3State government officials and Native American Indian leaders will  gather at the State House on November 18 from 12 -1 PM  to celebrate the 2nd Native American Awareness Day in South Carolina, in conjunction with the local and national observance of National Native American Indian and Alaskan Native Heritage Month. There will be drumming, Native songs, a traditional flag ceremony,  the reading of the Proclamations and H-Bill 3746 proclaiming this day, plus leaders from tribes and groups will speak and introduce their tribal communities' history to the general public.  For more information, visit

Eastern Cherokee, Southern Iroquois, and United Tribes of South Carolina, Inc.  is an organization that works to promote  self-determination, civil rights, religious freedoms, education, history, culture, and the arts of Native people. ECSIUT is a nonprofit that serves federally recognized American Indian and Alaska Natives and “state status” Native American Indian people, and is also a tribally based intertribal consortia.


Also beginning on November 18, Columbia once again plays host to  the  17th Annual Native American Indian Film Festival of the Southeast, a community-based event which aims to present the richness and variety of indigenous cinematic expressions. The festival is a time to educate the public  about contemporary Native American talent and issues, Native themed documentaries, and to discuss film and the power it has to tell Native stories by Native people (and to entertain.)


A screening of The Cherokee Word for Water, last year's festival winner, will take place at 7 PM at USC's McKissick Museum, followed at 8:30 PM by a reception and talkback session with the film's director, Charlie Soap.  This year's films will be shown at Tapp's Art Center starting at 6 PM on November 20 and 21, and at Conundrum Music Hall on November 23 beginning at noon. There will also be programming at Main Street's Nickelodeon on November 24.


Films include:

The Mayan Connection: Lost Legacy of Southeast,  directed by  Antara Brandner, who will be attending the Festival for talkback sessions

Between Hell and a Hard Place, directed by Jaysen P. Buterin   (also attending)

Indian Relay ( 2013)

LaDonna Indian 101 (2014)

Indian Like Us (2014)

Spirit in Glass (2014)

Inner Healing : Journey with Native Trees of Knowledge, directed by Adrian Esposito (also attending)


For more information on the film festival, visit .

Additionally, the McKissick Museum is hosting a year-long exhibition,  Traditions, Change & Celebration: Native Artists of the Southeast, which features 150 pieces of Native American Indian handcrafted art, from 75 artists in nine states, representing over 25 distinct Native American Indian tribal nations and cultures,    including the Cherokee, Choctaw, Chickasaw, Creek, and Seminole.  Also featured are  Pamunkey Indian Pottery from Virginia, art from the Poarch Band Creeks, the basketry of John Paul Darden of the Chitimacha Indians of Louisiana, and pottery by Bill Harris of the Catawba Indian Nation.  For more information on this exhibition, visit, and for a list of events taking place locally, visit











In Jasper No. 3, Vol. 3: Artists + Poets Collaborate in Columbia Broadside Project

"'Getting 30 people to work together is a bit of a logistical nightmare,' laughs Darien Cavanaugh, coordinator for the Columbia Broadside Project, an ambitious venture pairing South Carolina writers and artists in collaborative projects. But if all goes as planned, the Columbia Broadside Project show will open at Tapp's Art Center on January 17, with an impressive range of original and collaborative writing and art--a type of collaboration, Cavanaugh says, that we haven't seen before. ..." - Ed Madden For the full article, artwork, and centerfold, view the magazine here:

Jessica Ream, Sean McGuinness, Jenna Sach, Jessica Christine Owen, and James and Michael Dwyer featured at First Thursday on Main Street

Charleston has Spoleto, and Jasper is bringing you day-by-day, event-by-event coverage, but let's not forget about Columbia's own monthly celebration of the arts, First Thursdays on Main.  Festivities officially run 6-9 PM this Thursday, June 6th.  Below are some facts, figures and images taken from assorted press material: You Must Eat (Food Is Medicine) - artwork by Jessica Ream

Jessica Ream is the featured artist at Wine Down on Main (located at 1520 Main Street,  Suite 1B.) She was born in Columbus, Ohio, early in the year 1990, but was raised south of the Mason-Dixon line, in Carolina suburbia. She is a jack-of-all trades artist, and incorporates her knowledge of painting, photography, print and sculpture into her mixed media pieces. She began her studies at Columbia College but transferred to Savannah College of Art and Design where she graduated with honors, with a BFA in Painting. She returned to Columbia shortly after graduation, and currently works for the Columbia Art Museum while continuing her work as an artist.

Expectations Are The Only Option - artwork by Jessica Ream


Skeletons Make Uncomfortable Lovers -m artwork by Jessica Ream

A couple of doors down, at 1520 Main Street, Suite 1e, Frame of Mind is delighted to announce the return of one of Columbia's favorite daughters and artists to the FOM gallery, Jenna Sach, a familiar face and vital fixture among the Main Street community. For this FOM Series, she is sharing images close to her heart and taking us all on "The Journey Home." Sach says:

For this show I wanted to ‘bring it home.’ Though I have always taken photographs on my journeys to Europe, I've never displayed them (unless you count my mom’s walls). With this series I maintain my style, keeping the rich blacks in contrast to the cool whites. All the photos are taken from North Derbyshire, which is located in the East Midlands of England. A large portion of the Peak District National Park is within this county, as well as part of the Pennines. Within this region, there are various stately homes, castle ruins, gardens, caverns, and the beautiful rolling hills, for which it is so well known.

During a recent two week visit home, I traveled around North Derbyshire with my camera, occasionally making my family pull off to the side of the road, just so I could jump out and capture the landscape to share with you! For putting up with my artistic endeavors on this, and many others trips, I dedicate this show to them. Places featured include Buxton, Chatsworth Stately Home, Bolsover Castle, Tideswell, Castleton, Peveril Castle, Hardwick Hall and Haddon Hall.


Born in Southampton, England, Jenna Sach immigrated to South Carolina in 1990. Ever since she was a young girl, she has shown a fondness for art. However, it was not until she was 16 that she began her passion for photography. Jenna’s high school offered a darkroom course; it was her first experience developing film, and she fell in love. Over the years Jenna took pictures of the places she visited, but it was not until she arrived at the University of South Carolina that she began to formulate her style. There, she connected with her mentor and darkroom professor, Toby Morriss. Under his guidance, she perfected her printing and found her style. Morriss taught Jenna how to combine her two passions, photography and psychology. She obtained her B.A. in Experimental Psychology and hopes to pursue a Ph.D. in Clinical Psychology.

Jessica Christine Owen is featured in "A Study of Self and Others"  at S&S Art Supply (located at 1633 Main Street.) Owen is an innovative photographer who uses herself as the subject matter. Through physical alteration as a performative aspect of the final photograph, her works are beautiful and eerie, funny and disturbing, all rolled into one. DJ B will be out front spinnin' some awesome family-friendly tunes as well!

Her artist statement reads:

The term grotesque has the contemporary definition of being something strange, fantastic, ugly or disgusting. The grotesque has formed an attachment to other terms proliferated to describe aspects of experience, among them, the abject. The abject is something that exists between the concept of an object and of the subject. The abject becomes a reaction to the threatened breakdown in meaning caused by the loss of distinction between subject and object or self and other. My intention is to create an emotional bond with the viewer through a combination of unlike things that challenges established realities or constructs new ones. By altering physical form through self-inflicted acts or complete physical alteration, the viewer is meant to see the blurred lines of what we perceive to be self and what is other.

photography by Jessica Christine Owen

Owen received her BFA in Photography and BA in Art History with honors from New Mexico State University in 2010. She currently resides in Columbia, South Carolina where she is pursuing her MFA in Photography at the University of South Carolina.

Anastasia & Friends (located at 1534 Main Street) is presents "Color Movement," an exhibition which features paintings by father and son, James Dwyer and Michael Dwyer, who have spent a combined nine decades creating abstract paintings, rooted in Modernism, with color as a primary focus.

artwork by Michael Dwyer

Michael Dwyer:

I grew up in a home in which both parents were artists and paintings by them and their friends always hung on the walls. Although my mother mostly put aside her professional art career to raise a family, my father was an energetic and accomplished painter all the years I knew him, only giving up his studio work at the age of eighty-seven to care for my mother. My father also taught painting and drawing at Syracuse University for thirty-some years, including while I was there as an undergraduate. I never took a class with him, but I learned a great deal from my Dad, whether it was during dinner conversations or trips to museums. Probably, most of what I learned was just from the long-term exposure of having his paintings around the house.

As a kid, I loved to draw from the time I could pick up a pencil and I received enormous encouragement and support from both parents. Sometimes I’d visit my Dad’s studio and make little drawings while he painted. Once, when I was seven or eight, my father stretched a small canvas for me to work on (my first abstract painting!) while classical music played on the radio and he worked on a large canvas. The scale of his paintings – often seven or eight feet - made an early impression, too.

A few years before my father’s death in 2011, we had a couple of conversations about how we might be able to put together a two-man show, but we were never able to make that happen during his lifetime. Before he died my father shipped me about thirty of the paintings he’d made over the past few years. That shipment has allowed me to finally, and very happily, assemble this exhibition.


A sense of movement has been an important element in my work for a long time. Earlier pieces often conveyed a feeling of forms drifting in space. Then, there was a shift toward using linear composition to create direction. I wanted the viewer’s eye to move along a variety of circuits and have experiences along the way. I also found from my earlier collage work, that I like the crisp, definitive edges that result from cutting shapes with scissors, so I began using masking tape for a similar effect.

Recent works often have a sequential aspect that comes partly from a fascination with similarities between visual art and music. Thinking of musical composition as one note followed by another, and so on, I wondered if this might be a basis for a painting. Ultimately, I’m always after that transcendent moment when abstract elements come together in a way that‘s thrilling and somehow right.

Dwyer also provides this artist's statement from his father James Dwyer:

Since space is the fundamental characteristic of drawing, painting, sculpture, and architecture, I have long understood that eloquence in those forms is to be achieved through the structuring of space. Within the past ten years or so, I have stumbled my way into a style based on low relief as its principal component.

In low relief I have discovered that I can offer variable visual and tactile experience controlled only in part by me. The viewer is invited to share in control through physical viewpoint. Elements within a work change, or are perceived as changing when seen from different angles. This, I believe, can bring about an especially intimate and creative communication.

artwork by James Dwyer

"Color Movement" will open as a part of the First Thursday art crawl on Main on June 6th, from 6 PM to 9 PM and run through June 28th.  Special thanks to Maria Kennedy Mungo for preparing delicious food for this very special opening.

Tapp's Art Center, located at 1644 Main Street, is home to several dozen artists' studios, as well as changing exhibitions inside and in the display windows on Main and Blanding Streets.  Included in those window exhibits is Sean McGuinness, aka That Godzilla Guy:

This will be a big event, marking Godzillafications all up in your grill, so to speak! I will have my largest window display ever, and I will also be in the Tapp's Courtyard selling my artwork. If that isn't enough, my art will also be hanging inside the Tapp's Arts Center as part of a charity event benefiting local police canines. Last year I held my first-ever "Meet Godzilla @ Tapps". The presence you guys helped me create got noticed by all the local merchants, and started me on the path to becoming "That Godzilla Guy" [in retrospect, it was like you helped lodge some shrapnel in my chest, so I could go on to build a wicked suit of armor in a cave with a box of scraps!] Please come visit, and be part of the magic.


And if there is any question as to the meaning of the term, McGuinness has helpfully provided a definition:

Godzillafications [noun] God-zill-a-fi-ca-tions (g d-zɪlə-f -k sh n):   An artwork or consequence growing out of That Godzilla Guy’s [Sean McGuinness] unique vision to interject his Godzilla Collectibles into established works of art, photographs, or concepts. It ranges from serious gravitas to social and political satire, yet always centers around a deep love of the kaiju [giant monster] eras of past, present and future. The purpose is to not only spread the love of Godzilla and his eternal, relevant messages, but to also connect people with art who would not normally appreciate traditional arts or even Godzilla himself.

Godzillafications are crafted through non-traditional means using kaiju collectibles, digital photography, Photoshop, and artwork covered and/or homaged under the Fair Use Act. If available, permission of the original artist is obtained. Godzillafications can also consist of inserting a kaiju into a photo with no digital manipulation at all. The artwork is then printed out on high quality cardstock or matte polypropylene, then sealed to a wood plank or inserted into a recycled frame. Godzillafications are also a movement, inserting themselves into art shows, galleries, window displays, street performances, internet videos and webcomics.

Use in a sentence: Art Appreciation Through Godzillafication.


Also, the cast of the upcoming Trustus Theatre production of Ain't Misbehavin' will be giving a sneak-peek performance at 7 PM in the courtyard, next to Tapp's!

aint misbehavin


Barefoot in the Park, Night of the Living Dead, Das Barbecu running this weekend!

Neil Simon's classic Barefoot in the Park runs another weekend at the Village Square Theatre in Lexington, this Friday, February 1st through Sunday, February 3rd. From press material:  Paul and Corie Bratter appear as different as they can be.  He's a straight-as-an-arrow lawyer, and she's a free spirit always looking for the latest kick. Their new apartment is her most recent find:  too expensive with bad plumbing and in need of a paint job. After a six-day honeymoon, they get a surprise visit from Corie's loopy mother, and decide to play matchmaker during a dinner with their neighbor-in-the-attic Velasco, where everything that can go wrong, does. Paul just doesn't understand Corie, as she sees it. He's too staid, too boring, and she just wants him to be a little more spontaneous, running "barefoot in the park" would be a start.

The show features the talents of Rachel Goerss as Corie Bratter, Michael Hazin as Paul Bratter, Gina Calvert as mother-in-law Ethel Banks, Dennis Kacsur as their eccentric neighbor Victor Valasco.  Harrison Ayer and Steven Nessel complete the cast.   For more information or tickets, contact the box office at (803) 359-1436.






Opening downtown on Main Street in the Tapp's Art Center on Friday, Feb. 1st is Night of the Living Dead, based on the 1968 film by George Romero.  From press material:  High Voltage Theatre, the Southeast’s premiere performance company dedicated to presenting classic and modern horror on stage, brings to Columbia the granddaddy of all zombie stories! The play is adapted and directed by Chris Cook and features Hollywood-level special FX make-up, stage combat,  firearms, and hordes of man-eating zombies! A true classic of American cinema is now the hottest theatrical event in Columbia of 2013! Reviving the edgy, off-beat, Chicago-style theatre that put High Voltage on the Midlands map in 2002.

Night of the Living Dead promises to shock, thrill, chill, and excite audiences currently on a steady diet of The Walking Dead. Yes, "We're coming to get you, Columbia!"


For reservations please call: 803-754-5244

Tickets: $15 per person

8 PM curtain for all the performances at the Fountain Room in the bottom of Tapp's Art Center.

Runs: Friday and Saturday February 1st, 2nd, 8th, 9th, 15th and 16th!



Starring: (In order of appearance)

Mary Miles as "Barbara" Harrison Ayer/ Michael Layer as "Johnny" Marques Moore as "Ben" Chris Cook as "Harry Cooper" Jenna Sach as "Judy" Evelyn Clary as "Helen Cooper" Mazie Cook as "Karen"

Meanwhile, over on campus, Opera at USC presents: Das Barbecu by Jim Luigs and Scott Warrender on Friday, February 1st and Saturday, February 2nd at 7:30 PM, and Sunday February 3rd at 5:30 PM, at Drayton Hall.    "A re-telling of Wagner's Ring Cycle. This time set in Texas.”

Featuring Jared Ice (recently seen as Don Giovanni) Jasper Theatre Artist of the Year Finalist Shelby Sessler, Jordan Harper, Stephanie Beinlich (recently seen as Cendrillion) Stann Gwynn (recently seen as George in "Who's Afraid of Virginia Woolf") and Christa Hiatt.


$5 - Students $15 - Seniors/ USC Faculty & Staff/ Military $20 - Adults

FOR TICKETS CALL (803) 777-5369

Rebecca Phillips, Conductor Ellen Schlaefer, Director Lynn Kompass, Musical Preparation Anna Dragoni, choreographer Teddy Moore, scenic designer Chet Longley, lighting designer