The Arts
South Carolina has many venues for visual and performing arts. The Gibbes Museum of Art in Charleston, the Greenville County Museum of Art, the Columbia Museum of Art, Spartanburg Art Museum, and the South Carolina State Museum in Columbia among others provide access to visual arts to the state. There are also numerous historic sites and museums scattered throughout the state paying homage to many events and periods in the state’s history from Native American inhabitation to the present day.
South Carolina also has performing art venues including the Peace Center in Greenville, the Koger Center for the Arts in Columbia, the North Charleston Coliseum, and the Newberry Opera House, among others to bring local, national, and international talent to the stages of South Carolina.
There are also countless local festivals throughout the state highlighting many cultural traditions, historical events, and folklore.
According to the South Carolina Arts Commission, creative industries generate $9.2 billion annually and support over 78,000 jobs in the state. A 2009 statewide poll by the University of South Carolina Institute for Public Service and Policy Research found that 67% of residents had participated in the arts in some form during the past year and on average citizens had participated in the arts 14 times in the previous year.
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Famous quotes containing the word arts:
“These modern ingenious sciences and arts do not affect me as those more venerable arts of hunting and fishing, and even of husbandry in its primitive and simple form; as ancient and honorable trades as the sun and moon and winds pursue, coeval with the faculties of man, and invented when these were invented. We do not know their John Gutenberg, or Richard Arkwright, though the poets would fain make them to have been gradually learned and taught.”
—Henry David Thoreau (1817–1862)
“I haven’t seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company’s behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)