Survey of South Carolina's tradition bearers

Tradition bearers practice traditional arts handed down from generation to generation in an informal manner and not in a classroom.This booklet is organized by county and lists tradition bearers who have been identified from across the state. Those listed are the tradition bearers found in the limited time frame of the survey and are likely not the only tradition bearers in the county. The tradition bearer’s art form is in bold, along with their location. Traditions from gospel music to weaving and food traditions are included.

Triennial 92

Triennial 92 is a joint project of two state agencies, the South Carolina Arts Commission and the South Carolina State Museum. The exhibition celebrates the Arts Commission's 25th year of support of the arts in South Carolina and marks the fourth year of a successful series of exhibitions co-sponsored by the Arts Commission and the State Museum.

Triennial 98

Nineteen ninety-eight marks the third anniversary of TRIENNIAL which was started in 1992 as a joint project of the South Carolina Arts Commission and the South Carolina State Museum. This issue highlights artists exhibiting their work in the Triennial exhibition as well as a catalogue of their work.

Abridged catalogue of oil paintings by British artists and foreigners working in Great Britain. Containing only works exhibited in the galleries.

At head of title: Board of education, South Kensington. The National gallery of British art, Victoria and Albert museum.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.