Photo by I.F.G. Dunn

I cannot wait until Thursday! Not only will Raleigh’s Visual Art Exchange be celebrating the opening of their new digs at 309 W. Martin St., but the long-lost and forgotten iconic  ’Buddha Wall’ will be made available for public viewing for the first time in more than 20 years.

Photo courtesy VAE

Visual Art Exchange (VAE) has long had an active presence in downtown Raleigh.

Founded in 1980, VAE is a non-profit creativity incubator and gallery that supports and educates emerging, professional and student artists. Each year VAE exhibits the work of more than 800 artists in 60 exhibitions and hosts more than 50 educational programs. VAE also is the force behind SPARKcon, an interdisciplinary art and design festival in Downtown Raleigh.

Since 1996 VAE has occupied cramped quarters in City Market. Now, 15 years later, the gallery is moving to a newly renovated space in the Warehouse District. The former plumbing supply distribution building at 309 W. Martin St., at 4,000+ sq. ft., is more than three times the size of the City Market venue. The Exchange Gallery and main gallery spaces are now doubled in size at the new location. VAE has also added a new exhibition space called ‘The Cube.’ The Cube will allow for a year-round schedule of exhibitions and an expanded opportunity for artists who work in alternative media.

The renovation was designed by Raleigh architectural and design firm, Clearscapes. Their able staff made a significant effort in the development of the necessary construction documents for the project.  Clearscapes’ design was beautifully realized by Emmco Construction, LLC, of Raleigh.

This is how the space appeared shortly after demo had been completed in June.

Work was underway non-stop this summer at 309 W. Martin St.

VAE is ‘the new kid’ on the block, joining  established galleries in the neighborhood such as Flanders, Designbox, 311 Galleries and Studios and the recently opened Contemporary Art Museum. Additionally, architects, artists’ and photographers’  studios, a fashion design studio and an antiques dealer are also located in the area. Clearly, the Warehouse District seems to be emerging as Raleigh’s premier arts destination.

Tomorrow night from 7-10 pm VAE will celebrate the move to their new space with a gala VAE Preview + Celebration. Tickets may be puchased online. A free public reception will be held First Friday on Sept. 2.

But … before it was VAE, 309 W. Martin was the Warehouse District home of The Paper Plant, the central venue for Raleigh’s emerging artists community of the 1980s.

Photo by Raleigh Boy (1973)

I snapped this shot of 309 W. Martin St. in 1973. The Paper Plant moved into this building in 1985.

The independently-owned book store and art gallery promoted local artists, hosted poetry readings and papermaking workshops, and presented more than 30 major exhibitions of local artists during its tenure, 1985-1990. Among these was a collaborative installation show in 1987 by Raleigh artists Ron Ridgeway and Dan Clower.

Ridgeway took on the challenge of creating what has come to be known as “The Buddha Wall.” In the far nether reaches of the Paper Plant is a subterranean and long-abandoned boiler room.  It was here that Ridgeway chose to install his creation.

This is the boiler room where the Buddha Wall was installed. (The boiler itself has been long-since removed.)

The Buddha Wall consists of a patterned series of 225 individual Buddha figures painted onto a brick wall measuring approximately 20′ x 12′. The gridded composition is accentuated by three large ‘cartouches,’ each representing a particular aspect of the Buddha’s life.

The central cartouche represents the Buddha’s Enlightenment.

This cartouche represents a youthful Buddha seated on his lotus throne.

Ridgeway’s inspiration to create the Buddha Wall entered through an unexpected portal  —  an art book documenting the discovery and preservation of a 500 year old wall painting in a remote Tibetan monastery. For the project the artist says “I wanted to do something anti-commercial. It had to be something created for the viewer’s personal joy in the moment” — in other words, an installation.

The repeated, rhythmic pattern of the Buddha figures is meditative — hypnotic, even.

Photo by I.F.G. Dunn

Ridgeway began the work by priming the brick wall with a gesso suface, and then gridded it out in order to guide the creation of the series of figures. The three large cartouches were not a part of the original scheme, but evolved as the ‘series of units,’ as the artist refers to the pattern of figures and arches, came together.

Ridgeway used artist’s acrylic as his medium, and then upon the completion of the work, covered the entire wall with a protective coating of gloss ‘roplex.’ He derived his color palatte from those colors specific to Buddhist philosophy.

Every single one of the 225 Buddha figures is different. Ridgeway would often spend a day or more on painting particular features, such as all the hands one day, and the eyes the next. In that way the artist could develop the individuality of each figure, and not fall into monotonous repetition.

Not only are the Buddhas all different, one from the other, but Ridgeway incorporated facial features of many of his friends into some of them as well. (My portrait is supposedly in there somewhere!)

The Buddha Wall is a fascinating work of art! The brick wall adds a third dimension to otherwise flat paint.

Photo by I.F.G. Dunn

The colors are quite brilliant, even after all this time.

Oh, in case you are wondering, the painting of the Buddha Wall required 500+ hours of work over the course of a full year.

On a personal note: I had not seen the Buddha Wall for more than 20 years until this past June, when I and fellow GNR contributor, Ian F.G. Dunn, were invited by VAE board member Jon Zellweger to photograph it. Minor water damage notwithstanding, I was surprised to find it in such good shape. Sadly, part of the original installation, a construction of additional Buddhas at the end of the room, had disappeared. Nontheless, the overall presence of the Buddha Wall emerging eerily from the darkness as my eyes adjusted to the low light of the old boiler room was overwhelming.

The Raleigh arts community will be forever grateful to VAE and Clearscapes for their active role in preserving this unique and remarkable example of an early avant garde installation by a local artist.

Photographing the Buddha Wall.

I would like to recognize, and offer my sincere thanks and gratitude to Ron Ridgeway, John Dancy-Jones, VAE, Sarah Powers, Jon Zellweger, and Mike Martin for their generous cooperation and assistance in helping to bring Raleigh’s enigmatic Buddha Wall back into the light.

Magic at the Buddha Wall. Kinetic light sculpture by Johnny Dickerson, courtesy VAE.

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This past First Friday marked several interesting developments in the growth of arts and culture in Downtown Raleigh. Notably, the new Contemporary Art Museum had its inaugural First Friday opening, DesignBox revisited the extremely popular PBaRt show, Centerline Studios had a Tornado Fundraising art auction, Flanders Art Gallery had an opening, and it was announced that the Visual Art Exchange would be moving from its current location in City Market to a new location in the Warehouse District. Coupled with the Raleigh Institute of Contemporary Art, 311 Martin Street studios, Raleigh Denim’s recently opened store/production center and a very convenient R-Line stop, the Warehouse district seems fully poised to take over as the central cultural and artistic sector of Downtown Raleigh.

Realistically, this was bound to happen, and while it is nice to have lots of galleries strewn all over downtown (this promotes a wider circulation of people and therefor more exposure to the city as a whole), it is comforting to know that there will always be a central area where there is a large concentration of creativity. And what a hub it is! The new Contemporary Art Museum is a fantastic addition to Downtown Raleigh, with large installation pieces and unique architectural stylings that blend a very New York City warehouse gallery feel with an interesting modern flair. Inside was artwork made from industrial byproducts (coat hangers, large cardboard boxes, stretch film) by Dan Steinhilber (below).

The title image at the top of the article is taken from the outside of the massive inflatable installation, looking in. This piece was very popular, and a long line had formed to go inside of it.

Naoko Ito’s work, unlike the massive Steinhilber pieces, was much more fragile and articulated, making commentary on the interaction of humans and nature (or the obvious lack there of) in urban environments. Her pieces illustrated the tendency and necessity of people to import nature to their cities, where it cannot easily flourish on its own. The fact that the branches she used were cut up and compartmentalized into jars is also an interesting statement about how nature has to be altered, cut, and dismantled just to move it from wild spaces to urban locations, and how its relocation ultimately emphasizes how out of place it actually is.

The Contemporary Art Museum’s inaugural First Friday show was everything I’d hoped it would be. CAM Raleigh was a smashing success and a good sign for the future. More information about CAM’s hours, exhibitions, location and other events can be found at their website.

Right across the street from CAM was the second annual PBaRt show, put on by DesignBox. Inside was PBR inspired artwork (is there any other kind?) and outside was a band, an OnlyBurger food truck, and a deep supply of PBR. With such a great combination of things, how could one not enjoy themselves?

Sadly, there were several shows I attended but did not take sufficient pictures of: String Theory, a  textiles show put on by the NCSU College of Design’s Fish Market, displaying the high quality of work of students from the school. The Fish Market is located at the corner of Fayetteville Street and Hargett Street, right below the Urban Design Center. They would love to see you any Saturday. Stop by sometime and check them out!

Lump also had a show, it was a bit tame by Lump standards, but still interesting with some nice contemporary paintings. If you’ve never been to Lump, or just haven’t been there when the sun is up (kind of like most people’s relationship with the bar formerly known as Jackpot!), they are on Blount Street a block east of the Lincoln Theatre, next to a church.

(Photo By Ian F. G. Dunn)

Lastly, the bikers showed up again, in force, for the monthly Bike First Friday. We easily had over 100 riders, and almost everyone got a free CAM Raleigh T-Shirt. Thanks again to everyone who came out! If you’ve never biked a First Friday, we meet at the Belltower at 7pm and leave soon thereafter for a great ride to lots of cool places. Bring locks, lights, and friends (and bikes, of course!)

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This weekend the Contemporary Art Museum will officially open with a catered street festival and black tie event Friday, and the free admission official ribbon-cutting ceremony on Saturday.

It’s my belief that CAM’s opening in this beautiful building in the Warehouse District is the greatest thing to happen to Downtown Raleigh since the new Convention Center opened almost three years ago.

What Exactly is ‘Contemporary Art’?

In the simplest of terms, contemporary art is regarded as works created in the present time. Currently, it often explores social issues, new technologies, performance, street culture, or the three dimensional space. Contemporary art also frequently exhibits the items in our environment that we interact with daily.

A Brief History of the Contemporary Art Museum

Founded in 1983, CAM was originally located in the space where Tir Na Nog is now. After losing support and funding from a City Council which had less of an appreciation for the arts in the mid 90s, the name was changed from the City Gallery of Contemporary Art to the Contemporary Art Museum (CAM) as part of a plan that included finding a permanent home in Raleigh.

Moore Square in 2008, with Tir Na Nog and the Pour House in the bottom foreground

The following personal account sums up the history of the area around Moore Square where it was once located:

From 1989-1992, I worked in Peden Gallery II as a Gallery Assistant (Raleigh Contemporary Gallery shared the next door space (the two galleries occupied the Caffe Luna space). [...]

The City Gallery of Contemporary Art was around the corner (where Tir Na Nog is now). We used to wake up the sleeping homeless everyday when we arrived at the gallery (they liked to sleep on our doorstep). BANKS Fine Food was across Hargett and they served free meals to the homeless regularly. The fountains in the back were on every day back then. First Friday consisted of four or five galleries and we all served wine to the visitors. The Grove was a great music spot (where Pour House is now) and it also hosted the very first “NCSU Art to Wear” fashion show. [...]

There were some hookers downtown back then and some drug activity in front of the galleries. It was different then but it was great working at a gallery after class at NCSU.

– Nabs K. Lately

East side, before construction

In 1997, CAM purchased the 20,000 sq. ft. brick building in the heart of the Warehouse District for $460,000. Various plans were debated for the space, until eventually the idea of a modern rehab of the historic structure took shape.

North side, before renovations

CAM aimed for a modern museum in a historic building without a permanent inventory.

CAM interior during construction

A New Priority for the City of Raleigh

In 2005, the City of Raleigh committed $1 million to building the Contemporary Art Museum. It has long been a cause Mayor Charles Meeker championed, and was cited by him in the recent State of the City address.

CAM Classroom

Merging with the NC State College of Design

In 2006, CAM merged with the College of Design and moved operations to the college. The programs of CAM have continued from offices there, as well as various spaces throughout the area.

One of the ways CAM will be a part of the community is its ties to Design Camp:

Design Camp is an annual summer design program offered to high school students at NC State University College of Design. Since its inception over 25 years ago, Design Camp has exposed more than 2,500 high school students to the exciting world of design. Design Camp informs students about college study in design and raises awareness of the impact of art and design through a series of weeklong summer programs. In 2007, Design Camp became an outreach program of CAM (Contemporary Art Museum). CAM joined the College of Design in February 2006, becoming the lead component in the college’s Art + Design in the Community Initiative. Design Camp projects challenge students to explore their creativity and critical-thinking skills while pushing them to try a range of techniques and media. The exploration of the design process teaches students to question, make choices, generate alternatives, work collaboratively and ultimately broaden their understanding of the world around them.

Beyond Design Camp, CAM also benefits from the operational structure that exists within the College of Design, and the collaboration opportunities available with the students of the college.

CAM gives the College of Design the distinction of being affiliated with a proper art museum, as well as a direct link to the continuing resurgence of Downtown Raleigh.

Independent Weekly Gallery

Emerging Artists and the Independent Weekly Wing

The Independent has long been a supporter of the Contemporary Art Museum, and an entire gallery bears the name of the Triangle’s local alt-weekly. The lower gallery will focus on emerging artists, the first artist being New York-based Naoko Ito.

CAM canopy before the clouds were added

Adding Geometry and Modernity to a Historic Building

CAM represents movement and progress for the area in countless ways, but one of the ways in which it shines the most is the building itself.

It’s unclear if the designers had intended this, but the striking geometric canopy on the east elevation is a beautiful nod to the area’s architectural history as an innovator in the field of creative shelters. Dorton Arena, the Catalano House (razed), the Milton Small Office Building, and the domes at the fairgrounds are the some of the most prominent examples of this legacy.

CAM exterior during final phase of construction

The project was a result of the collaboration of local firm Clearscapes and LA-based Brooks + Scarpa.  Originally a 1927 grocery supply warehouse, a railroad spur (still visible today) runs from the area around the Amtrak station to the structure where groceries were once unloaded. It later served various industrial functions, one of the most recent being a chrome bumper repair shop.

CAM interior, showing original elevator shaft

Retaining Original Character

In addition to the railroad spur leading up the alley to the loading dock, the original elevator is still extant. Its location represents the transition from the historical to the futuristic: the cloud pattern on the underside of the canopy continues inside the building, and stops at the elevator.

CAM exterior, during golden hour

The Most Beautiful Building of 2011

More than once I’ve made the “most beautiful” remark about new buildings in Raleigh. The first was the new Convention Center and Shimmer Wall. The most recent was the North Carolina Museum of Art.

CAM is not only a beautiful modern building, but it is also repurposed (the greenest kind of building) and most importantly, it represents an increase in creative capital for the Capital City. CAM deserves the honor this year of being this blog’s “most beautiful.”

CAM interior, showing blend between indoors and out

A Cultural Catalyst for Raleigh

Equally as important as being a beautiful building and shining example of historic preservation, CAM represents a significant leap for Downtown Raleigh entertainment options.

CAM interior

Having an art museum downtown represents a significant shift. Now, there is another before-dinner entertainment destination that is easily within walking distance of the restaurants downtown.

CAM shelter with R-Line in motion

The R-Line makes the museum within a few minutes reach of any of the circulator’s stops. Located near Design Box and Flanders Gallery, the once rugged and desolate Warehouse District is rapidly rising from the ashes.

CAM is actively bringing Raleigh into a new era of innovation, art, design, preservation, and cultural awareness. The new permanent home represents its rightful return to where it belongs: downtown.

The Opening Celebration

Although officially opening April 30th, April 29th is the fancy preview of the gallery and street festival, featuring the culinary treats of the area’s finest establishments, including (but not limited to) Poole’s Diner, bu•ku, Jibarra, and Humble Pie. Handcrafted cocktails will be available from Foundation, and desserts from Escazu, Locopops, and Crumb.

CAM interior, before laid gravel on east side

Tickets will not be available at the door. They are on sale until Wednesday, April 27th.

CAM exterior, before laid gravel on east side

General Information

Located at 409 West Martin Street. Museum hours are Monday, Wednesday, Thursday, Friday 11 a.m. – 6:30 p.m., Saturday and Sunday 12 p.m. to 5 p.m., and first and third Fridays of the month open until 9 p.m. The museum is closed on Tuesday.

General admission to the museum is $5. CAM Raleigh members, children 10 and under, members of the military, and NC State students, staff, and faculty are admitted free.

Related Articles:

• Like a Phoenix from the Ashes: Raleigh’s Downtown Warehouse District
• Construction Begins on the Contemporary Art Museum
• North Carolina’s Newest Wonder (the North Carolina Art Museum)
• The Most Beautiful Building Lights Up (Raleigh Convention Center)

Further Reading:

• CAM Raleigh (official site)
• CAM Informational Brochure [PDF]
• New Contemporary Art Museum aims to stir Raleigh’s artistic pulse (News & Observer)

Welcome back to Downtown Raleigh, CAM!

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On Tuesday night, students from the NC State student body came together to celebrate the rising prominence of fashion design at the University. What seems like a perfectly natural evolution, given State’s top caliber design and textile programs, has been most popularly recognized during the annual Art to Wear fashion show.

This year is of special significance as it marks the 10th show the two colleges have held, and the growth over the past decade is phenomenal! The first fashion show, held in the Pit on the campus of the College of Design attracted an unexpected (as it was not largely advertised) 250 spectators, and has since seen two venue changes – first, from the Pit to the Court of North Carolina (my favorite venue), then from the Court of North Carolina to the court at Reynolds Coliseum – where the attendance has skyrocketed to over 3000!

The crowd began filing in well before the start time of 7:00 and there was a large amount of anticipation brewing for the 10th anniversary show. The first half featured work from the freshman of the College of Design, a slideshow of work generated at the Prague Institute, a short documentary of the history and development of the show, and work from several of the designers. Much of the work that came from this half included experimental lighting and it’s decorative use on clothing. Sadly, I didn’t get my hands on a program, and thus cannot remember exactly who was where.

The work varied greatly in terms of theme, intent, functionality and style but what was obvious was that the designers poured a lot of time and effort into tailoring beautiful and well crafted items that expressed subtle elegance, precision craftsmanship, and thoughtful expression. Some designers chose to take advantage of reusing objects or clothing, others avoided the garment in a traditional sense, and still others derived inspiration from nature, evolution and living creatures.

This dress, clearly reflecting the pattern of the wings of a monarch butterfly (or is it the viceroy butterfly?). This piece was probably my favorite piece from the show.

Lastly, I should note that the designers again used a VERY wide range of materials for their work. In the past, objects such as PBR cans, tea bags, bent and welded steel, zombie makeupand pizza boxes have all been explored. However, I feel safe in saying that this years show was the first to have a dress made of roadkill.

The 2011 show marks an important milestone for Art to Wear, and the directors were careful not to understate the the importance of the show. From the first fashion show I attended, in 2004, this program has expanded and flourished and gone far beyond anyone’s imagination at that time. Since the first fashion show that I attended, it has grown wider, larger, more impressive and more important each year. The popularity of Art to Wear has inspired others in Raleigh to hold their own fashion shows, and with the fashion shows at SparkCon and other events, Raleigh’s fashion scene is gaining momentum and I believe it owes quite a bit to the hard working students who put on Art to Wear every year. If you’ve never gone to an Art to Wear show, do yourself a favor and plan on going to the 2012 show. You won’t regret it!

For more information on the show, how to become a sponsor, past photos, as well as links to the designers and their blogs/webpages, PLEASE visit the NCSU Art to Wear web site.

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Starting this First Friday (April Fool’s Day), a new art gallery will be open to the public: the Roundabout Art Collective. Featuring the works of 25 artists, the new project is headed by the First Lady of NC State, Susan Woodson.

Woodson, wife of NC State Chancellor Randy Woodson, is a painter and has a background in graphic design. Her work will be featured along with the other artists from a varied palette of mediums, including: jewelry, sculpture, painting, photography, glass, metal work, among others.

Inside view of the gallery, with the Bell Tower visible in the background

Woodson was a recent arrival to the area when Hillsborough Street was undergoing renovation, and she thought that it was important to cite that development when naming the new collective.

Although the collective now features 25 artists, she hopes to dramatically expand the ranks, as well as real estate for the gallery.

The gallery stays true to its roots and location with a few NCSU-related items

The Roundabout Art Collective is an important development for Hillsborough Street. Although the revitalization has been touted as a success by Mayor Meeker in his most recent State of the City speech, it has also suffered a few setbacks: GoPaks Bazaar, Laziz Biryani Corner, Sylvia’s Pizza, Time-Out, and the Farmhouse all shut their doors for good within the span of a couple of months.

The loss of those businesses appear to be the lower ebb of area change though, as new businesses such as Chipotle and Jet Pizza will soon be setting up shop. Beyond the food service businesses though, the area really needs a casual destination. The Roundabout Art Collective is just that.

Here’s hoping the new gallery serves as a conduit of transformation for this axial artery of Raleigh.

rear area of the gallery

Located just past the western edge of Downtown Raleigh across from the Bell Tower, the new gallery is situated in the same area as Sadlack’s, Buddha’s Belly, and Schoolkids Records. Be sure to give it a visit when going out and about this First Friday.

More Information:

• Roundabout Art Collective on Facebook

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1970 Sidewalk Art Show : From the North Carolina State University Library Archives

The College of Design at North Carolina State University is known for its venerable history. However, few relics are as significant and have played such a catalyzing social role as Roy Gussow’s ellipsoidal sculpture.

Designed in 1961 during Gussow’s stint as a professor at the college, the sculpture has affectionately been called “The Egg” by countless design students for half a century. Nested in the courtyard between Kamphoefner and Brooks Hall, its gleaming mirrored exterior and unique shape are impossible to miss.

The Egg unveiled in 1961: From the North Carolina State University Library Archives

For decades it has served as the epicenter and social gathering place for students, including: Design Council meetings, TGIFs, Design Crawl, Design Collective, BBQs, The infamous Halloween Design Bash, dates/coffee outings and countless other existential interactions etc.

After discussing the array of possibilities during a prolonged Clark “brunch”… aka breakfast, fellow design students and I have already theorized of the eggs impact on future societies. Perhaps distant (human or otherwise) beings will discover this structure and contemplate upon its anthropological significance. Noteworthy are the egg-like forms that proliferate visually/symbolicly in contemporary 20th/21st century culture. Ranging from Alien 1979, Microwave egg illumination, Spinal Tap 1984, to contemporary industrial design such as Thor-Larsen’s “egg chair.”

Lady Gaga 2011 (potentially inspired by COD's "The Egg")

Regardless of its future interpretation however, Roy Gussow’s iconic sculpture remains an undeniable part of the design school landscape as it has for decades and for decades/centuries/eons/millennia/cotillionia to come.

Further Reading

• Roy Gussow, Abstract Sculptor, Dies at 92 (New York Times)
• Sculptor of “The Egg” passes away at 92 (College of Design blog)

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Chavis Park carousel today, photo by John Morris

Having lived in Raleigh for about ten years now, I feel sheepish to admit that my first visit to Chavis Park occurred about a week ago. Originally conceived as part of the Works Progress Administration, the Park opened in 1937 during segregation for Raleigh’s African American citizens. Named after John Chavis, a prominent black preacher and teacher alive in the late 18th and early 19^th centuries, the Park provided a destination spot for black families from all over the state.

Easily accessible from Martin Luther King Blvd., the 37-acre park is equipped with a swimming pool for the summer, tennis courts, baseball diamonds, picnic areas, a playground, expanses of fields for soccer and other sports, and of course, the original Chavis Park Carousel.

Showing Allan Herschell Co., photo by John Morris

Officially referred to as the “No. 2, Special Three Abreast, Allan Herschell Carousel,” the Chavis Park Carousel stands as one of Raleigh’s two Carousels registered with the National Carousel Association. Created by the Allan Herschell Company of North Tonawanda, New York, the Chavis Park Carousel was built sometime between 1916 and 1925 and installed at its current location in Chavis Park on July 2, 1937.

Photo of Chavis Park and the Carousel (before the wooden housing) from the late 1930s, with a view of the bathhouse on the left. Photo used with permission from, and thanks to: SPERNA Preservation and History Education Program and Lemuel Delaney

Photo of the Carousel from 1959, including the wooden housing that was installed in the early 1940s. Photo used with permission from, and thanks to: SPERNA Preservation and History Education Program, Raleigh City Museum, and James Autry

According to the Landmark Designation Report for the carousel, the Herschell Company catalogue describes this model as:

Thirty-six hand-carved horses (outer row studded with jewels) and two beautifully carved double-seat Chariots. Passenger capacity 48 persons. All horses are jumpers. Horse Hanger pipe and platform hanger pipe is encased in polished Brass. The Cornice, Shields and panel Picture Center are highly decorated works of art and are wired for 196 lights. Oil paintings and hand carvings combine with bright colors to produce a beautiful and practical machine. Standard equipment includes: Wurlitzer Military Band Organ with Drums and Cymbals…

Top of the carousel, photo by John Morris

In 1982 the Carousel was carefully restored to the tune of $145,000 at the supervision of a Raleigh-based carousel conservator, Rosa Ragan.

Carousel detail, photo by John Morris

Since the 1970s, Chavis Park has grown to be a point of controversy for Raleigh citizens. The first round of renovations which occurred in the 70s came at the expense of several key elements to the Park. The Olympic-sized swimming pool was downgraded to a smaller pool and the adjoining bathhouse removed entirely.

Photo of the Olympic-sized swimming pool and accompanying bathhouse. Photo used with permission from, and thanks to: SPERNA Preservation and History Education Program and Lemuel Delaney

Photo of the miniature train which was removed in the 1970s renovation. A similar train still resides in Pullen Park. Photo used with permission from, and thanks to: SPERNA Preservation and History Education Program, Raleigh City Museum, and James Autry

Despite the City of Raleigh soliciting a Master Plan in 1994 for the second renovation of Chavis Park (prepared by Edward D. Stone Jr., and Associates from Durham, NC), a lack of funding and prioritization has caused multiple delays, much to the chagrin of the neighboring residents. According to the City of Raleigh website, the funding that is available is currently going toward a scientific study to assess the community’s desires regarding renovation of the park, and the proposed relocation of the Carousel to a more centralized position within the park.

While the City of Raleigh works to understand the desires of the surrounding community, local residents have spoken out time and again regarding the need for upgrades and better facilities, as well as leaving the Carousel in its original location. Currently, there are no restroom facilities or water fountains – seemingly standard amenities for a City park.

In a push to gain recognition for both the history of Raleigh and Chavis Park, while providing “an opportunity for public art to amplify citizens’ voices and increase dialogue,” the Raleigh Arts Commission featured “Cellphone Diaries” as part of the Block2 Street Video Series. Compiled by Assistant Professor Kofi Boone from the NC State College of Design, the digital video installation features 58 videos created by seventeen members of South and East Raleigh using smartphones to record their connection to Chavis Park.

While this installation was slated to end on January 14^th, I did happen to see it still running on the 15^th. Regardless, if you missed the installation, there is a test-map featuring some of the videos, which gives you an idea of the project.

Tickets to ride the Carousel are only $1, and the Carousel is open most of the summer. For specific hours, check the City of Raleigh website.

References and Further Reading:

• National Carousel Association
• NCSU College of Design
• Chavis Park Carousel Landmark Designation Report
• City of Raleigh – Chavis Park Carousel Renovation and Park Improvements
• News and Observer – Chavis Park a ghost of glory past
• City of Raleigh – Chavis Carousel
• Block Gallery – Block2 Previous Exhibitions

More Photos of the Carousel:

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King’s Barcade rejoined Downtown Raleigh a few weeks ago, and with that reopening saw the newest muppets to arrive to Salisbury Street area.

Artist Kristin Matwiczyk putting the final parts together

The muppets are the characters Statler and Waldorf from the Muppet Show, and both occupy a spot above the dance floor. They were created by artist Kristin Matwiczyk.

Jailed muppet at Teddy Wright's Bail Bonds

In Good Company

You may be asking why Statler and Waldorf are the newest muppets of Salisbury Street. Although King’s is technically on Martin Street, it is located only a few hundred feet from Teddy Wright’s Bail Bonds on Salisbury Street. Teddy Wright has perhaps the most creative storefront display in the city – a jailed muppet that is constantly doing something different, behind bars.

Although the pair at King’s Barcade won’t ever be able to visit their muppet friend due to his indefinite incarceration, it’s good to see the proliferation of muppets in public places in downtown Raleigh.

Image courtesy of King's Barcade

Who else is going to be the next to step up and add to the nascent public display of muppets downtown?

Related Articles

• Jailed Muppet Makes a Phone Call
• Jailed Muppet Takes a Nap

Further Reading

• Muppets at King’s Barcade

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The photoSPARK traditional gallery.

This past weekend’s fifth annual SPARKcon was an amazing event showcasing our local arts and creativity. The cool thing about SPARKcon is that it’s ‘for the people by the people’, so it is only possible through donations and volunteer work. This year’s event had a lot of great new additions, thus making it the largest and most successful SPARKcon! One very exciting new addition was the first ever photoSPARK. In the past, photography may have been included in some artSPARK shows, but this year local photographers really got a chance to stand out and shine in their very own show.

Pictured is one of the volunteers and photographers in the show, Ross Davidson.

The photoSPARK journey began through an artSPARK (an already established ‘SPARK’ in SPARKcon) meeting this past spring. A few volunteers  attended an artSPARK meeting last April, and mutually decided that photographers needed their very own SPARK. So, the decision was made to have a location for showcasing a talented group of local photographers through a traditional exhibition as well as a digital display of works.

This was the TV displaying the digital gallery, which was also decorated with a gold frame to give the illusion of a framed photo. The frame was donated by Jerry's Artarama.

Throughout the summer volunteers diligently planned and organized what came to be a really amazing photography show.  The Fish Market Gallery at the corner of Hargett St. and Fayetteville St., was graciously loaned to photoSPARK for the exhibit location. The exhibit was a beautiful collection of photographs that where hung traditionally, a huge flat screen TV displaying the photos digitally, and a small studio/photo booth to take photos of all of those who attended the event. Credit is given to Eric Schneider for being the mastermind and creator of the photoSPARK photo booth. Which was a homemade photography studio  for kids, loved ones, and friends of all ages to pose with props and have fun pictures taken. The photos taken in the photo booth where then printed and pasted to a large board creating a collage of candid photographs.  The photoSPARK exhibit made the entire Fish Market space very attractive, interesting, and fun!

Eric Schneider working in his photo booth. In this photo he is photographing Andy Gloc, who was one of the featured photographers in the show.

In the end, the very first photoSPARK show was a great success! Everyone who participated in this event, from the volunteers, to the photographers, to the visitors,  was impressed and had a great time! Some of the photographers whose work was displayed, had their first opportunity to have their work shown and be recognized. Everyone involved got a chance to make connections with other creative people and talented photographers. It’s these end results that make these events worth while, to help people connect and get more involved in the community.

Pictured is Michelle Greene, Adrienne Taylor, and Mary Kay Kennedy. The three ladies who where photoSPARK organizers. Photo was taken by Andy Gloc.

So, as one of the photoSPARK organizers, I would like to thank all of those who volunteered their time to put on this great event! That would include: Mary Kay Kennedy, Eric Schneider, Rodney Boles, Michelle Greene, Ross Davidson and myself, Adrienne Taylor.  We (the organizers) would like to thank our jurors for taking time out of their schedules to go through all of the entries and chose a beautiful selection of photographs. Also, we thank all of the very talented photographers who entered our show, because without the amazing work we couldn’t make it happen! And finally, I would like to say we were so thankful for all of our sponsors and donations: The Mahler Gallery, JW Photo Labs, Jerry’s Artarama, Extreme Networks, Firebirds, and Optixa.

Hopefully everyone had a chance to attend some of the events in last weekend’s SPARKcon. If not, there’s always next year. The photoSPARK organizers look forward to planning and creating next year’s event, and would love for many more to get involved! If you would like to get involved, just go to SPARKcon web site for more information. If you would like to have a chance to show off your work in next year’s events, keep your eyes peeled for ‘call for artists’ which will begin again next spring!

For a fun look at all the pictures taken in our photo booth, and other event pictures, go to the photoSPARK flickr group.

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Goodnight Raleigh has received  reports about some colorful activity observed on Hillsborough St. last night. “I saw hundreds — make that, thousands — of colors emanating from the D.H. Hill Library book tower. They were moving back and forth, to and fro, mixing and blending — it was quite a sight!” one passerby told us. No, our source was not experiencing an encounter of the third kind, nor an ‘encounter’ of any other kind. What he witnessed was the first testing of the lighting sequencing of the famed Joe Cox Color Wall.

The Hillsborough St. public art landmark underwent an extensive restoration over the summer. The centerpiece of the project was the installation of a Smartswtch digital light sequencing controller. It has been programmed with Cox’s original 1972 design for the Color Wall. On Thursday night the restored system was tested for the first time since its installation. By all accounts the test was a success. Among those in attendance was Raleigh architect and College of Design professor, Frank Harmon, who exclaimed, “This is beautiful — perfect.”  

And it indeed is. In case you missed Thursday night’s brief colorful display, do not despair. You can partake of the Color Wall experience at the official relighting in a couple weeks. The event will be a part of the greater Hillsborough Street Reopening Celebration to be held on Sept. 25.

Two Hillsboro St. passersby enjoy the full Color Wall experience Thursday night.

 Photos by John Morris (except for the last one, which is by Raleigh Boy)

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