ESSAY: The Free Times 2024 Power List, A Response by Cindi Boiter

The yearly designation of the Midlands’ most powerful people, provided by our friends at the Post and Courier’s Free Times, always creates ambivalent feelings for me, as well as others, I’ve been told. This year, I was happy to play a small part of the nomination process and see recognition given to many of the folks I nominated. But, as always, I was perplexed by the concept of the project and what its purpose is.

The Free Times Power List 2024, published December 18th, seeks to recognize 30 of the Midlands’ most influential arts, food, and cultural leaders. The criteria for acknowledgement are growth, innovative programming, and bringing national attention to the area, like Lula Drake’s Tim Gardner whose rightful place on the list was established when he won Columbia’s first ever James Beard award and the Kiki and Tyrone Cyrus team at Kiki’s Chicken and Waffles, who also received acclaim in the James Beard competition. Robbie Robinson of City Limits Barbeque was recognized, as well.

Clearly, restaurant owners who frequently put their own financial livelihoods on the line are deserving of praise, especially those like Kristian Niemi who is committed not just to his patrons but also to the local farmers who provide the food for his restaurants. Restaurants are essentially small businesses but they can have a large impact on their communities by providing gathering spaces where we all feed both our appetites and our culture. The team at Transmission Arcade is a great example of a group seeing a city need and addressing it head-on with fun and innovative programming. But missing from this year’s list are the owners of coffee houses, like Greg Slattery and Sandra Moscato of Curiosity Coffee Bar, who provide places where patrons gather to scheme and collaborate on projects that make us better. Slattery and Moscato are absolute warriors for the health and care of their corner of Columbia. Jasper honors them.

Some of the most deserving recipients of this year’s honors were organization leaders like Nate Terracio (Koger Center for the Arts) and Kristin Cobb (Harbison Theatre) who have used their pivoting power to open their stages to local artists and arts organizations and they have done so without slapping their names on the logos of the organizations they represent. Of  late, we’ve seen free concerts and performances on Koger’s new stages and in their lobby. Harbison Theatre has welcomed many local artists and arts groups onto their stage. And both theatres are the homes to Jasper Gallery sites where we are privileged to present the work of exclusively Midlands area artists.

Kudos to Free Times for shining a light on the work and generous spirits of a nice handful of local artists like Ija Monet, Terrance Henderson, Michaela Pilar Brown, Sean Rayford, and the unofficial mayor of the Congaree Vista, Clark Ellefson. The list of powerful artists could have included dozens of names, but I am thankful for what we got and honor those recipients with pride and admiration.

It was also encouraging to read that Dr. Bobby Donaldson was included in this year’s list as perhaps the most deserving recipient of the honor. Donaldson’s accomplishments represent the best example of an individual working for the greater good without asking for anything in return. I’d love to see more folks like Donaldson recognized for their visions for a better Columbia and a better South Carolina.

But how does one separate and compare the work of rectifying history, like Donaldson does,  with that of making menus and making art? Food, arts, and culture, the three areas where Free Times looked for leaders, are overlapping zones in the Venn diagram of community life with food and art being among the most meaningful contributors to culture.

I have other questions.

Does a Power Person have to be well-paid or even paid at all for their work? Where does volunteerism come into play? I ask this because, and I’m only a little tongue-in-cheek here, I personally know an entire board of directors who work the equivalent of part-time jobs and more to support their organizations and the people they serve. I bet you do, too, and I bet you’re not even thinking of the same organization I am. (Yes, I’m unapologetically thinking of the Jasper Project team and how much I love to sing their praises for the tireless efforts they make to nurture the arts.)

Does the Power Person have to do the work themselves or does the work of the minions below them count as their contribution, too? I mean there’s a lot of dollar signs represented by some of this year’s power people. A lot of fur coats, fancy cars, and trips to Mexico, too. Can a Power Person do the exact same job year after year after year and still be recognized? Does it matter if the organization a Power Person represents is a frequent advertiser with the Post and Courier? I hope not, but I’ve heard that rumor, too. And while we’re at it, should a Power Person be recognized for essentially doing the job they are paid to do? How much money do some of these 501c3 Power People make anyway and how much of their salaries comes from the pockets of Soda Citizens?

Finally, what exactly is the point of the Power List? It harkens me back to school days when popularity was weirdly the goal for so many people. I know few people who didn’t suffer at least a little angst about whether they would be accepted or rejected by their peers. I’d like to think most of us have grown out of that by now. Singling out individuals who, if you followed the rules of the popularity pecking order, were even better than their peers via projects like “senior superlatives,” which I see as the seed of projects like the Power List, was an even more stark way of separating the bad from the good and the good from the better. That said, I married a “Most Likely to Succeed” high school senior superlative recipient and, what can I say? He was and is, so what do I know?

To those who deservingly found themselves on this ostensibly elite list of individuals, congratulations and keep it going. We are genuinely proud of and happy for you. To those who found themselves there whether they deserved to be or not, this means we’re watching you and what you do with your power even more. And to those who were completely overlooked, go forward with the knowledge that  your work matters if it matters to you. Arbitrary lists and accolades are less important than the people you affect with your talents, generosity of spirit, and good work.

~~~

Merry Christmas from all of us at the Jasper Project. We love what we do, and we’re trying to grow better without growing bigger so we can stay true to our mission to be public servants of the arts in the greater SC Midlands Community. Thank you for your support and thank you for reading Jasper Magazine and Jasper Online!

HAPPY HOLIDAYS!

(Full Disclosure: Kristin Cobb, executive director of Harbison Theatre at MTC is a board member of the Jasper Project Board of Directors. There is no financial exchange related to the profits made for artists or Jasper between any of Jasper’s Gallery sites and the businesses that host them. Also, this column was offered to Free Times as an installment in this writer’s regular column, Further Consideration, but was pleasantly and respectably passed on)

Jeffrey Miller’s Exploration of Life Through Humor, Audacity, Absurdity and Juxtaposition

I was once told by someone that they did not know if they liked my work because I wasn't doing what everybody else was doing. I have never before been so complimented— Jeffrey Miller

Jeffrey Miller’s work traces a handful of related themes, ideas, and images through a variety of mediums. He is an artist always exploring and keeping options open—and he is Jasper’s featured Tiny Gallery artist for the month of September. 

Miller grew up in small-town Campbellsville, Kentucky, a “typical child except for an oversized imagination and an unrelenting curiosity.” While he did not grow up around art, he often drew in the margins of his mom’s old textbooks—deterred from marking up the walls of his home instead. Of all things, though, it was an encyclopedia that began the blossoming of Miller’s identity as an artist. 

“One day my father drew a polar bear sketch that he copied from those encyclopedias; excited, I asked him to do it again but instead he gave me the pencil and told me to do it myself,” Miller recalls. “That was all the encouragement I needed. I was about 5 years old then, and I got my first real commission at the age of 12—I earned $100 for painting a logo for a truck driver on both doors of his truck.” 

From this moment, Miller went on to commit himself to art, receiving an art scholarship from Campbellsville University and finishing his art degree at Murray State University 

“At University I was introduced to and gained more knowledge about materials and art history; as far as process, though, it seems more I just learned the name to call what I was already doing,” Miller says. “The biggest and most influencing thing was the atmosphere and the presence of so many other people involved in the creative process…that I really miss!”

BLACK CAT BLUES

Since getting his degree, Miller has continued to grow and expand his horizons. One of his greatest fears is being trapped in a box. As he says, there are “too many possibilities to explore.” In his mind, work predicts medium, so the more mediums one is familiar with, the more the subject matter can spread its wings. 

“Being a good painter or good in whatever chosen medium is a technical evaluation—creativity is something more,” he says. “Besides which, good is a relative term so it literally tells you nothing about an art piece.” 

And art is something Miller is always doing. When asked what he does when not creating, he says that he sees everything he partakes in within his everyday life as some form of artmaking. In that vein, Miller does not have a specific theme he chases—in fact, he sees this as one of the limitations people place around artists and their work. 

In his mind, work predicts medium, so the more mediums one is familiar with, the more the subject matter can spread its wings. 

“People ask what I was thinking when I did this piece or that piece. The only answer is my thinking was absorbed in the piece I'm working on at the time. Anything else is an afterthought,” he says. “The work is complete when I've done my job as an artist and I'm on to the next canvas. The important thing is what [the viewer] brings to the piece, what do [they] think. A piece of art is not complete without the viewer, and each viewer will bring thoughts of their own.” 

If he could find a throughline in his piece, he would say it is all, in some way or another, a celebration of life in all its forms, regardless of the themes and emotions within. If art is in his every day, his art also shows the everyday.

VENUS OF THE BAYOU

“There is an ebb and flow, a push and pull, a transitoriness about life that must be reflected in one's art if that art is about life. The imagery, ideas, and concepts are a reflection of day-to-day life which I personally tend to express through humor, audacity, absurdity, and juxtaposition,” Miller says. “I was once told by someone that they did not know if they liked my work because I wasn't doing what everybody else was doing. I have never before been so complimented.” 

In this Tiny Gallery show, Miller shows off these juxtapositions of life in his newest medium: printmaking, of which he has had an introductory class and, so far, is “finding nothing about it that [he doesn’t] like.” Adjacently, he has started exploring digital art, and he has found himself particularly connected to a new digital image he made—the cover photo of this article.  

“[The piece] totally reflects the art that is me—the art just described to you in the above paragraphs. I usually work from a fleeting mental image in response to something I've seen, heard, or read,” he says. “The mental image may or may not come immediately but it always comes in the same way, like a light brush across the cheek or a fast, flashing image like from the old slide projectors. I turn to get a better look and it is gone. There are times when I only see it when the piece is done—I like it that way.”

THE FALCONER

Perhaps it is this mindset that has led to Miller winning a handful of art contests, including an advertising award from Doe Anderson Advertising Co., as well as serving as an educator for the Lexington Library Adult Education Program for four years.

 Today, he displays at various festivals and community sponsored events, and you can see—and purchase—his work 24/7 until the end of September at Jasper’s online gallery space. After the show, interested patrons can follow his journey on Facebook and Instagram @ Jeffrey Miller Artworks.

Storyboarding Workshop with Corey Davis at 701 CCA

Corey "Roc Bottom" Davis Storyboarding Workshop

701 Center for Contemporary Art

Saturday, July 15, 2023

1 pm to - 3 pm

Join multi-talented creative, Corey “Roc Bottom” Davis for a workshop exploring the process of storyboarding. In conjunction with Tyrone Geter’s Artist in Residence at 701 Center for Contemporary Art, Corey will guide the participants through the history of graphic novels while helping them develop their own hero’s storyline.

Corey Davis has vast knowledge and expertise in utilizing ink and pencils to create comics. He will explain how to communicate ideas through visual scenes in a sequence during this workshop. You will learn the step-by-step creative process to create your own storyboard. By the end of the session, you will have a storyboard outlined to take home and use again to develop your own characters and stories and share the new worlds you create with the community.

For more information on Roc Bottom and to view his work please visit https://www.rocbottomstudios.com

For more information about the workshop please visit https://www.701cca.org/.../storyboarding-workshop-with.../

We are located at 701 Whaley Street, Columbia, SC 29201. Please take the elevator to the second floor to the Main Exhibition Gallery.

Rocbottom Studios

New Art by Bonnie Goldberg - An Online Jasper Exclusive

Jasper is delighted when we see treasured artists in the Greater Columbia Arts Community take their talent in different directions, so we were thrilled when figurative artist Bonnie Goldberg agreed to share some of her work with us.

Jasper asked visual artist Bonnie Goldberg to take an assessment of her life as an artist as we all find our ways through what is, hopefully, some of the final months of Covid concerns. This is what Bonnie had to say:

In the beginning of the pandemic, I did stay home and paint a lot. I created a space upstairs in my house and spent a lot of time working on drawings and paintings. Because I had already decided to work in a more abstract manner and use my own paintings and photographs as reference material, I had no need of a model, so it was not a problem not being able to hire someone to model for me. I find that working this way allows me freedom to create new iterations of former work and also work pure abstraction focusing on color and line and shape. Because I had no social life, I was able to throw all of my attention into my work and focus on innovative ideas and new directions. I love the new work that I am doing...I often paint without using a brush...applying the paint with various tools and edges, making marks, and finding new ways to draw and create line without a brush or pencil. There is a lot of layering and "lost and found" color and edges and I find it both challenging and exciting.  

I am back to painting in my studio in the Arcade on Main...I have a small space upstairs and it allows me to paint and allow limited access to the studio from people who visit the building. I am still careful, but fully vaccinated and able to focus on my art in a very intense and personal way. Creating art is always an inner experience for the artist and for me, with music playing and light from the beautiful skylights in the hallway, I am doing my best work ever. I have taken more chances, done more experimenting, and painted more abstractly. And I love it. I do still incorporate the figure into a lot of my work, but sometimes it is only a line or a gesture or a suggestion of a figure, leaving the interpretation to the viewer.  

 

I am still represented by galleries and interior designers, but I retain the right to sell my own work and I show a lot of my work on social media...Facebook and Instagram reach thousands of people and allow me to show images of my work to many people who in turn often reach out and purchase work. This is a boon to artists to be able to show and sell work in this manner. Instagram has allowed me to not only show and sell work but connect and share ideas with artists around the world. The art world has changed, and I sell more work and see more art from other artists than ever before. 

I love the small studio space that allows me to see everything that I need and work on. You can see from the images that I am creating and layering and abstracting in many sizes and shapes and this is inspiring me to do more in this direction. Art and artists are always evolving, and I look forward to seeing where I can take my work next....just open that door, walk through it, and see what happens....