a
rts
introduces
ŠFahamu Pecou
Limited Engagement
August 22 - September 6, 2014 Artist reception, Saturday, August 30, 3:00-6:00 pm Conversation with the artist at 4:00 pm. Fresh. Original. Contemporar y. Unexpected.
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JENNIFER ANDERSON The Great Unknowns
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TONY YOUNGBLOOD Unplugged
Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.00 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts. com; to reach contributing writers, email info@nashvillearts.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.
A2O14 ugust
on the cover:
Fahamu Pecou, Walk Tall, 2014, Acrylic spray paint and oil stick on panel, 24” x 18” Created exclusively for Nashville Arts Magazine Article on page 54
FEATURES
COLUMNS
11 Spotlights
32 Public Art
by Caroline Vincent
28 Crawl Guide 33 As I See It by Susan Edwards
30 Sinema Restaurant and Bar
35 The Great Unknowns by Jennifer Anderson
38
38 In the Gallery Williams Galleries
40 Unplugged
42 The Nashville Sunday Jazz Band
by Tony Youngblood
44 Downtown Presbyterian Church Opens New Gallery and Studio Space
45 The Bookmark
47 John Wilkison Distilling Meaning from Light
59 Beauty Returns Home to Belmont
63 Kathryn Russ Folk Art Femme Fatale
to Tinney Contemporary
104
66
77 Amanda Joy Brown The Art of Going Places
92 Film Review by Justin Stokes 100 Critical i by Joe Nolan
106 Art Smart
88 Street Attack Maximum • Marketing • Mayhem
113 Beyond Words by Marshall Chapman
94 Gloria Newton Life Unfolding One Mark at a Time
92
104 Theatre by Jim Reyland
86 Troy Duff Man With a Spray Can
96 Nashville 6 A.M. Joshua Black Wilkins
Arts & Business Council
101 Art See
83 Camille Engel When Paint Starts to Fly
54
70 Arts and the Business of Art
90 Poet’s Corner Jeff Hardin
66 Ray Stephenson 72 Recreating the Real Five Artists Bring Photorealism
Hot Books and Cool Reads
50 NPT
54 Fahamu Pecou Wassup, Fahamu?
47
32
106 NashvilleArts.com
114 My Favorite Painting August 2014 | 7
PUBLISHER ' S NOTE
Featured Artist
MEREDITH KEITH
Art Creates a City
Y
our whole world, your entire perspective, can change in the span of two months. I know this because a two-month internship experience has done just that. I was transformed from a student who had no interest in art into an art lover who has a burning desire to discover new art daily. This transformation happened because of Nashville Arts Magazine and its entire brilliant staff. I applied for this internship with the intention of gaining professional writing experience through writing online and print articles. However, Nashville Arts Magazine has given me so much more than that; I have gained valuable contacts, event coverage experience, an improved understanding of social media marketing, and many other invaluable skills. This internship has not only made me a more rounded student, but I feel as though my new appreciation of art has made me a cultured individual. Our editor always says that art creates a city, and though I have learned that this is very true, art also creates an individual. Art, whether we are the artist or the admirer, makes us unique individuals and gives us new perspectives on the world around us and within us. Thank you, Nashville Arts Magazine staff, for the amazing experience; and thank you, Nashville art lover, for making the magazine, and in turn my internship, possible. Tamara Beard, Sophomore at the University of Tennessee at Martin
On the Hill at Greer Acrylic on Canvas 60” x 48”
2104 CRESTMOOR ROAD IN GREEN HILLS NASHVILLE, TN 37215 HOURS: MON-FRI 9:30 TO 5:30 SAT 9:30 TO 5:00 PHONE: 615-297-3201 www.bennettgalleriesnashville.com
Portraiture by Alan LeQuire Miniature to Monumental August 16–September 27
Susan Seated, 9 x 9.5 x 5, Bronze, Edition of 12 4304 Charlotte Ave • Nashville, TN 615-298-4611 • www.lequiregallery.com
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The Frist Center for the Visual Arts Announces 2015 Lineup of Exhibitions
T
reasures and art from around the globe, spanning the eighth century to the present, will come to the Frist Center for the Visual Arts in 2015. The robust schedule of
exhibits offers an intimate view of the Old World elite, a comprehensive narrative of Italian style since 1945, an understanding of the social fabric of turn-of-the-century Vienna, an examination of American aesthetic standards that prevailed before the Civil War, and a chronological and regional story of the complex artistic traditions of the Islamic world. An exhibit of Dutch absurdist films, large-scale sculpture by Jaume Plensa, the third in a series of exhibitions about the human body, and drawings from the Casa Buonarroti, Michelangelo’s family home in Florence, round out the year.
PHOTOGRAPH BY GIAN PAOLO
Barbieri for Gianfranco Ferre advertisement VICTORIA AND ALBERT MUSEUM, LONDON
Tina Barney: The Europeans, opening January 19, includes 21 lavish photographs. With the help of friends and curators, American photographer Tina Barney was able to enter the inner circle of the Old World elite in England, Spain, France, Germany, Austria, and Italy. Working quickly with a large-format camera, she captures a variety of intimate scenes and moods.
Jaume Plensa, Hear No Evil Speak No Evil See No Evil, 2010, Polyester resin, stainless steel, and light
will also include one monumental sculpture outside the Frist Center, at the Demonbreun Street entrance. The exhibition will occur concurrently with a large exhibition of Plensa’s works at Cheekwood Botanical Gardens and Museum of Art. Additional exhibits slated for the year include Postcards of the Wiener Werkstätte: Selections from the Leonard A. Lauder Collection; Telling Tales: Stories and Legends in 19th-Century American Art; Ink, Silk, and Gold: Islamic Art from the Museum of Fine Arts, Boston; Guido van der Werve; Phantom Bodies: The Human Aura in Art; and Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti. For more information, please visit www.fristcenter.org.
Thrones in the Tapestry Dressing Room, Houghton Hall, Norfolk, England
PHOTOGRAPH BY NICK MCCANN
Dolce & Gabbana. Leather ankle boots with gold, white, and pink embroidery, 2000
Houghton Hall: Portrait of an English Country House includes furniture by William Kent, Sèvres porcelain, Garrard silver, and family portraits by William Hogarth, Joshua Reynolds, and John Singer Sargent. Built in the early 1700s by England’s first Prime Minister, Sir Robert Walpole, Houghton Hall is one of England’s finest country estates. The exhibit, opening on February 13, features over 200 exquisite objects.
On June 5, the Frist Center will unveil Italian Style: Fashion Since 1945, which chronicles the growth of the Italian fashion industry from the post-World War II recovery years to the present day. This elegant exhibition displays more than 90 garments and accessories by leading Italian fashion houses, including Dolce & Gabbana, Giorgio Armani, Gucci, Missoni, Prada, Pucci, Valentino, and Versace, through to the next generation of talent. Also opening on June 5, Jaume Plensa: Sculptures is comprised of three large-scale pieces. Using materials such as steel, bronze, alabaster, and synthetic resin, Plensa’s figurative sculptures have a luminous quality and a classical sense of harmony. The exhibit NashvilleArts.com
Maria Likarz-Strauss (1893-1971), Fashion, Wiener Werkstätte Postcard 557, Chromolithograph, 1911 August 2014 | 11
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Tomato Art Fest Five Points • August 8 & 9 It is hard to believe that the tremendously popular Tomato Art Fest, now in its 11th year, began as an idea for an art show. “I never intended for this to be a festival,” said gallery owner Meg MacFadyen. “Art & Invention is a giant sheet-metal building that is really hard to cool in the summer. I needed to have a show, so I was trying to come up with an idea that would get people out in the heat. Tomatoes like the heat, so I invited artists to create work that featured the tomato. The artists loved it, and the first year about 1,000 people came to the show, and for some reason people came in costume.” From there it grew organically, drawing larger crowds and more participants. Last year, an estimated 35,000 people came to celebrate this beloved fruit/vegetable and enjoy the festivities. This year there will be three stages with live music during the entire event, numerous contests, storytelling, a 5K run, the Tomato Art Second Line Parade, and the art show. A large number of new artists, as well as artists from out of state who have never shown in Vicki Sawyer, Adornment, 2014, Nashville, have entered the 2014 Acrylic on canvas art show, and MacFadyen estimates there will be 500 to 600 pieces of tomato art on view. Local artists include Denice Hawkins, Hannah Maxwell Rowell, Jerry Grubbs, Marilyn Place, Marcia Goldenstein, Vicki Sawyer, Bret MacFadyen, Duy Huynh, Elizabeth Foster, Andy Detwiler, Marshall Hall, and Amber Wallace. There will be a preview party for the Tomato Art Show on Friday, August 8, at Art & Invention Gallery. The 11th annual Tomato Art Fest takes place Friday, August 8, and Saturday, August 9, at Five Points in East Nashville. For more information and a complete schedule of events, please visit www.tomatoartfest.com.
B iennial of T ennessee C raft –M idstate August 1 – September 26 • Centennial Art Center
The Tomato: A uniter, not a divider bringing together fruits and vegetables
FRIDAY,
AUGUST 8
TOMATO ART FEST CONCERT 11TH AVENUE STAGE BETWEEN WOODLAND & HOLLY . 6 - 11 PM
Doris Wasserman, Philosopher’s Tea Party, 2012, Acrylic, charcoal, graphite on canvas, 40” x 30”
SATURDAY,
AUGUST 9
TOMATO ART FESTIVAL VENDOR MARKETPLACE 9AM - 6PM . MUSIC 10AM - 10PM
As a prelude to Tennessee Craft Fall Fair, the Centennial Art Center is presenting a juried exhibition of work by eight members of the Tennessee Craft–Midstate Chapter. The artisans chosen are Brenda Stein, Donna Rizzo, Doris Wasserman, Karen Pillans, Kelly Kessler, Martha Christian, Roy Overcast, and Maria Miguel. The show features an eclectic and excellent combination of woodwork, sculpture, hand-woven tapestry, painting, and pottery. “This Biennial at Centennial Art Center is special because it encourages local artists to participate who might not otherwise be able to display their artwork outdoors during the seasonal craft fairs due to its fragility or exposure to the elements. This juried exhibit reflects the diverse range of talent present in our members,” explained Exhibition Coordinator Catherine McMurray. Nashville Arts Magazine’s Sara Lee Burd and Paul Polycarpou selected the work of these eight artists from dozens of entries. “Members of Tennessee Craft seem to be constantly raising the bar, creating work that is conceptually engaging and masterfully crafted. Though choosing from such a strong pool of entries was no easy task, we were once again impressed by the quality of work being produced right here in Middle Tennessee,” Burd commented. Biennial of Tennessee Craft–Midstate will open with an artists’ reception on August 1 from 5 until 7 p.m. and will remain on display for eight weeks prior to the Tennessee Craft Fall Fair being held in Centennial Park September 26 through 28. For more information, visit www.nashville.gov/cac.
14 | August 2014 NashvilleArts.com
august 2014 come on down ALL ART UNDER $1000!
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Judy Klich’s Beach Escape Paul LeQuire & Company • Through August 31 Sand between your toes, the call of seagulls, the smell of salt in the air are sensations evoked by Judy Klich’s newest encaustic paintings currently on view at Paul LeQuire & Company. While this new body of work features the artist’s keen sense of color and style, the paintings are much lighter and more whimsical than her past work. “Going to the beach is such a fun getaway from our crazy-busy daily lives. I wanted to convey the relaxed, happy feeling of the ocean, searching for the perfect shell, or just sitting in a beach chair watching the waves and seagulls,” Klich says of the work. Judy Klich’s show will be
Seagulls, Sailboats and Sand dunes 48” x 36” x 2.5” Encaustic on wooden panel
encaustic Beach scenes
Judy Escape toKLich the Beach By
Encaustic Paintings by Judy Klich artist demonstration saturday July 26, 12-3pm
Exhibit continues through exhibit July 19 -aug 19 August 31 -Light refreshments-
3900 Hillsboro Pike | Nashville, TN 37215 615-739-6573 | paullequireandcompany.com
3900 Hillsboro Pike Nashville, TN 37215 615-739-6573 www.paullequireandcompany.com
on
Au g u s t
view 31
through at
Pa u l
It’s All in the Attitude, 2014, Encaustic on panel, 10” x 10”
LeQuire & Company. For more information, please visit www.paullequireandcompany.com and www.judyklichart.com.
SERGIO GOMEZ Searching In The Presence of Light
Agua, 2013, Acrylic on paper, 90” x 64”
Searching In The Presence of Light Mohsenin Galleries • August 9 by Ruth Crnkovich The exhibition Searching In The Presence of Light will feature a selection of paintings by Sergio Gomez from the last five years. The title refers to Gomez’s interest in the use of light as a metaphor for truth. Light, as an experience, touches all aspects of our lives from the moment we are born to the moment we leave this life. Sergio Gomez’s life-size works are often referred to as doors of passage to the other side. They invite the viewer to explore the multifaceted experiences of the human condition. In his most recent paintings, Gomez searches for the presence of light within the human spirit and reinterprets its powerful influence. Sergio Gomez is a Chicago-based visual artist. The human form is the most important element in Sergio’s work, and it exists as an anonymous representation of the self. The figure dominates the work, and it is depicted as a shadow, aura, ghost, or energy light. Sergio is interested in the human and spiritual experience throughout the cycles of life. Mohsenin Galleries is located at 1917 Church Street. The public is invited to meet the artist on Saturday, August 9, at the exhibition opening from 6 to 9 p. m. To contact the gallery, please visit www.mohseninimports.com.
Standing in the Field of Dreams, 2014, Acrylic on Paper, 70” x 42”
Opening Reception Saturday, Aug. 9 • 6 pm - 9 pm
Mohsenin Galleries
6,000 Sq. Ft. Of Beauty 1917 Church Street Nashville, Tennessee 37203
(615) 866-9686 Mon.-Fri., 10 am to 5 pm, Sat. by appointment www.mohseningalleries.com info@mohseningalleries.com
Patricio Clarey, Archaeologists of Shadows – Detail 1, 8” x 17”
Alien Landscapes: A Tribute to H.R. Giger Corvidae Collective • Through September 2 During the First Saturday Downtown Art Crawl, Corvidae Collective Gallery & Boutique will unveil Alien Landscapes: A Tribute to H.R. Giger, Swiss surrealist painter, sculptor, and set designer. Participating artists include Tomasz Strzalkowski of Warsaw, Patricio Clarey of Barcelona, Zac Shiffer of New York, Scott Kirschner of Philadelphia, Heather Rose of New England, Kristof Corvinus of New Orleans, and Tennessee artists Judah Noah, Zach Duensing, Karen Short, and Chris Ousley. Music from Menton3’s band, Saltillo, will set the mood for the show.
After a total renovation, Corvidae Collective opened this spring. Upstairs is a large gallery space, several smaller spaces showcasing work by gallery artists, and a cozy book nook by Rhino Independent Booksellers. The ground level features handmade goods, curated antiques, and local foods. Corvidae Collective is located on the lower level of the Arcade. Hours are Monday through Friday, 10:30 a.m. to 4:30 p.m., and Saturday 12 to 5 p.m. For more information, visit www.corvidaecollective.net.
Hendersonville Camera Club Exhibition Monthaven Mansion • August 16 to September 20 The Hendersonville Arts Council will present an exhibition of fine art photography by members of the Hendersonville Camera Club at the historic Monthaven Mansion beginning on August 16. Approximately 80 entries in six themed categories will be featured. Participating photographers are Michael Gustafson, Dale Tomlinson, Jim Jennings, Roy Shackelford, Paul Riewald, Susan Harrell, Emily Helms, Marie McDonald, Kathy Dvorak, Leslie Wilkes, Denise Gerkey, Sandy Broadrick, Alane Anno, and Rob Phillips. Though the camera club has changed names, it has been in existence since the early 1980s and consists of amateurs, advanced amateurs, and professionals. Current president Emily Helms, who has been a member since 2005, explains, “The club has monthly meetings with speakers that show their work and share some of their techniques. We also schedule photography outings for members, and that is where we learn from each other. There is an abundance of online learning, books, and eBooks to learn the technical and artistic aspects of photography, but learning from a person standing next to you on a location is amazing!”
Paul Riewald, Good Shepherd
The exhibit’s opening reception will take place at Monthaven on Saturday, August 16, from 4 until 6 p.m., and the photographers will be on hand to talk about their images. The event is free, but proceeds from the sale of the work will benefit the Hendersonville Camera Club and Hendersonville Arts Council. The exhibit will continue until September 20. Monthaven Mansion, home to the Hendersonville Arts Council, is located at 1010 Antebellum Circle in Hendersonville. For more information, visit www.hendersonvillearts.org and www.hendersonvillecameraclub.org.
20 | August 2014 NashvilleArts.com
HISTORY EMBR ACING A RT
Vicki Sawyer Oma Dee 18” x 24”
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Eduardo Paolozzi “The Inventor of Pop Art” Cheekwood • Through November 2 Work by famed sculptor, collagist, filmmaker, and writer Eduardo Paolozzi is currently on view at Cheekwood Botanical Gardens & Museum of Art. A major figure in the international art sphere, Paolozzi used imagination and fantasy to explore how mankind fit into the modern world. In the 1940s and 50s his work broke new ground with his unique blend of surrealism, popular culture, and machinery. Though he usually described his work as surrealist art, his 1947 collage I Was a Rich Man’s Plaything, featuring clippings from magazines given to him by American soldiers in Paris, earned him the title “the inventor of pop art.” In 1952, he founded the Independent Group, which is considered the precursor to the British and American Pop Art movements. “Paolozzi’s work is so significant, historically speaking, to global arts culture,” said Brian Downey, Assistant Curator. “Cheekwood is thrilled to host a show by the ‘inventor of pop art’, and it’s no accident that we’re showing this rare exhibit concurrently with Andy Warhol’s Flowers.” Paolozzi’s exhibition will be on view in the Courtyard Gallery at the Sir Eduardo Paolozzi, Real Gold, 1950, Printed papers on card. From the Tom and Judith Newby Collection.
Frist Learning Center at Cheekwood through November 2. For more information, please visit www.cheekwood.org.
24 | August 2014 NashvilleArts.com
W NE
Sit in COMFORT . . . EVEN AFTER THE MEAL
73 White Bridge Rd • 615-352-6085 • Mon-Sat 10–6 • Sun 1-5 • 2danes.com
2Danes_0814HHB.indd 1
Dynamic Narratives
7/15
Tennessee Art League • Through August 26 Dynamic Narratives, an exhibition of clay work by the group Women Ceramic Sculptors, opens August 1 at Tennessee Art League. Formed by Cindy Billingsley, the group includes artists from across the country. They share their knowledge and experience, support one another in their work, and ultimately show together.
issues of our society, using clay to express their point of view,” Billingsley wrote. “Clay is the only medium that uses ever y element—fire, water, air, and earth. It is meant to be touched by the heart, the eyes, and the hands.”
This exhibit features work by eleven members, including Amber Aguirre, Hawaii, Cindy Biles, North Carolina, Cindy Billingsley, Tennessee, Angelique Brickner, North Carolina, Joan Carew, Florida, Natasha Dikareva, San Francisco, Linda Ganstrom, Kansas, Marilee Hall, Tennessee, Nancy Kubale, North Carolina, Katherine Mathisen, Florida, and Nicole Merkens, Georgia. “Women Ceramic Sculptors is a group that addresses the important
Each woman tackles topics of her choosing, and some of those are Alzheimer’s disease, cancer, relationships, endangered species, and the environment. Billingsley believes that art is of ten more accessible to the viewer when it speaks to matters that affect our lives. Dynamic Narratives will be on view at Tennessee Art League August 1 through 26. There will be a reception for the exhibit during
the
First
Saturday
Art
Crawl from 6 until 9 p.m. on August 2. For more information, Natasha Dikareva, Bubble Birth NashvilleArts.com
visit www.tal5.com. August 2014 | 25
REINVENTION: THE MAIL ART SHOW The Green Gallery • August 21 After five months and over 460 entries representing 31 countries, Reinvention: The Mail Art Show is ready for its public debut. A true global community project, this all-inclusive effort was launched and coordinated by Nashvillian Jason Brown. In keeping with the spirit of mail art, there were no fees, no jury, and the work will not be sold. Unlike many other mail art projects, however, this project culminates in an exhibition. “When I got into this I had no idea it would generate such a tremendous response. And when I was researching other mail art projects for ideas on how to exhibit the work, it appears that something of this scale has never been done in the South,” Brown commented. Among the local entries received were pieces f rom Lain York, John Guider, Andee Rudloff, Kaaren Hirschowitz Engel, and Megan Kelley. Prominent mail artists who entered include Clemente Padin, Uruguay, Vittore Baroni, Italy, Keith Bates, England, and Guy Bleus, Belgium. Stephen Farthing, a Member of the Royal Academy of Art, Lawrence Weiner, one of the originators of conceptual art, and Dr. Stephen Bur y, Chief Librarian at the Frick Library, New York, also participated. One noteworthy series of entries came f rom Duncan MacAskill, who mailed in 30 entries f rom 14 countries. The f ront of each piece simply shows the geographic coordinates
Mark Pawson
of the mailing location, and the back includes the coordinates for Nashville. Reinvention: The Mail Art Show opens with a reception on Thursday, August 21, from 6:30 until 9 p.m. at The Green Gallery, 535 4th Avenue, South. Hosted by Turnip Green Creative Reuse (TGCR) and Platetone, the evening includes a talk by British artist Nigel Bents, who teaches at Chelsea College of Art & Design, a Performance Art piece by Matthew Marcum, and some special readings. The exhibit will be on view through September 13. Following the show at The Green Gallery, pieces from the project will be shown at the Nashville Public Library, East Side Story, Nashville Arts Magazine’s office, Mickey’s Tavern, and Howlin’ Books. For more information, please visit www.nashmailart.blogspot.com, www.turnipgreencreativereuse.org and www.Platetone.org.
Be Your Finest Art, Awaken Your Creative Self A Picture Book for Grownups
“Every child is an artist. The problem is how to remain an artist once he grows up.” – Pablo Picasso
TOP PICKS
2014
Summer is ushering in new styles a n d t r e n d s. H e r e ar e a f e w o f Ke it h ' s favorites & new arrivals, which I'm s u r e will end up in some of Nashville's H O T T E S T H O M E S!
Antique Stroller Wheels Hand Car ved, 19th Centur y $265 Pair
In their newly released book Be Your Finest Art, Awaken Your Creative Self, Joanne Miller and Dorsey McHugh explore the restorative and liberating power of tapping into one’s creativity. Full of examples of people who express their creativity in ways beyond holding a paintbrush, singing a song, or creating a poem, the book is an aesthetically beautiful collection of writings, poetry, quotes, exercises, and thoughts on rediscovering creativity and reveling in the sheer joy of leading a creative life.
Antique Circular Wo o d e n W i n d o w 19th Centur y $785 (45" Diameter)
M onu me nt al M ai lb ox S tan d 19th Centur y Cast Iron Post $2,750
Antique Balcony Railing Console 19th Centur y, Argentina $3,800
Be Your Finest Art, Awaken Your Creative Self is full of motivational and inspirational messages that will kick-start your creative muse. A terrific read. For more information or to order, visit www.48Days.com/byfa.
N A S H V I L L E
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6 1 5 . 3 5 0 . 6 6 5 5
W W W . G A R D E N P A R K . C O M
OPENS AUGUST 1
219 5th Ave N Nashville, TN 615-736-5000 www.tal5.com www.Facebook.com/tnartleague
TENNESSEE ART LEAGUE
AUGUST CRAWL GUIDE In the Arcade, Corvidae Collective will open Alien Landscapes: A Tribute to H.R. Giger (see page 20). 40AU and HAUS Rotations will present new works along with a live painting performance by Jeff Bertrand. WAG will unveil A Field Guide to Getting Lost, a video-based exhibition by alumni Jenna Maurice and John Whitten. Hannah Lane Gallery will feature new work from the Magical Marshlands series.
Joe Johnston – Boutique MMM
The Franklin Art Scene happens on Friday, August 1, from 6 until 9 p.m. in historic downtown Franklin. Vicki Sawyer will be the featured artist at Gallery 202. Boutique MMM will exhibit cowboy artwork by Joe Johnston, who uses his experience as a farm hand for inspiration. Bob Parks Realty will host still life and landscape painter, Kay Keys Farrar. T. Nesbitt & Co. will show paintings by self-taught artist Mel Cryar. Regions Bank will present large canvases with intense contrast and color by Lou ‘el Oso’ Carrillo. Jack Yacoubian Jewelers will debut Susan Goshgarian McGrew’s new series From My Studio Window. O’More College of Design will display work by elementary and high school students from their Summer Studio art camp. The First Saturday Art Crawl D o w n t o w n t a k e s p l ac e on Saturday, August 2, from 6 until 9 p.m. The Arts Company will present their 18th Annual Avant-Garage Sale, showcasing a diverse range of gallery furniture, props, and original art. The Rymer Gallery will feature new work by Jeff Green. Tinney Contemporary will unveil The New Real 2: Figure-Focused, a photorealism exhibition curated Randel Chaves – by Sarah Wilson (see page 72). The Arts Company Tennessee Art League will host a reception for Dynamic Narratives, clay work by the group Women Ceramic Sculptors (see page 25). The Gallery at Downtown Presbyterian Church will hold a group show featuring works by artists-in-residence Richard Feaster, Cary Gibson, Anna Marchetti, Cassie Ponder, Hans Schmitt-Matzen, and Sarah Jeff Green – Rymer Gallery Shearer (see page 44).
Hans Schmitt-Matzen – Zeitgeist
Check out Arts & Music at Wedgewood/Houston on Saturday, August 2, from 5:30 to 8:30 p.m. Zeitgeist will host a reception for Cannonball Run III, a group show by Karen Barbour, Chris Roberson, Lauren Ruth, Hans Schmitt-Matzen, and Sonnenzimmer Studio. Fort Houston (see page 40) will display Picnic, a group exhibition featuring new work from Co. H, a collective of cross-disciplinary artists. Julia Martin Gallery will unveil Bevy: Round Three, including work by Wendy Walker Deason, Julia Martin, Pamela Murphy, Lisa Weiss, and Gary Wimmer. The Packing Plant will unveil Bruised Anvil, a group show of painting, sculpture, and video by artists David Anderson, Michael Hampton, Aaron Harper, Casey Payne and Zack Rafuls. Ground Floor Gallery + Studios will exhibit Utopia: Can It Stay Dream? by Culture Laboratory Collective, curated Tyler Hildebrand – David Lusk Gallery by Brian R. Jobe and Ryder Richards. David Lusk Gallery will present Price Is Right, an exhibition of work under $1,000 by nearly 50 artists. On Thursday, August 21, at 7 p.m. UnBound Arts will host Third Thursdays at The Building showcasing work by visual artist Catie Gooch (see page 35), followed by a spoken-word performance by Landry Butler, Chuck Beard, Thandiwe Shiphrah, and more.
28 | August 2014 NashvilleArts.com
Tennessee State Museum Free Admission Changing Exhibits End Aug. 31
Yacoubian JackJack Yacoubian Je welrY & fi n e arT GallerY
Je welrY & fi n e arT GallerY
cusTOm m ade JewelrY
cusTOm m ade JewelrY reO nn eGse! m s T O n e s ! f r O m fYr OO u rm OYwOnu G m sw TO
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Historic Downtown Franklin
For information on free August events visit tnmuseum.org
•
also on view
A C REATIVE L EGACY
Hummingbird-contemplative, 20 x 16, 2014
AFRICAN AMERICAN ARTS IN TENNESSEE
SUSAN GOSHGARIAN MCGREW
will be debuting her “From My Studio Window” series at Jack Yacoubian Jewelers and Fine Art, August 2014
William Edmondson, Lion, ca. 1940, limestone carving. Collection of the Tennessee State Museum
Located at Fifth Avenue & Deaderick Street Downtown Nashville tnmuseum.org 615•741•2692
NashvilleArts.com
August 2014 | 29
Sinema Restaurant and
bar
Now showing at the old melrose theater by MiChelle Jones | Photographs by Anthony Matula
S
inema Restaurant and Bar opened in the former Melrose Theater almost 72 years to the day from the theater’s 1942 debut. Though Sinema’s team was not under a historic overlay or other restrictions, they nevertheless maintained a healthy respect for the past, and many of the 8,000-square-foot building’s original features are still in place. The ticket booth and sign out front, for example, are original, along with the building’s curved marquee that now bears Sinema’s name in lights. “That was a no-brainer that we needed a big neon sign,” Sam Reed said. Reed is a member of a partnership that includes his parents, Brenda and Colin Reed, his brother Ed, and his childhood friend Q-Juan Taylor. Austin Ray, owner of M.L. Rose, is also in the group and in fact found the Sinema location. “We’d always eyed it—like, man, that’s a really cool spot; wonder what it looks like inside,” Reed said. What it looked like after being empty for almost a decade was rough, albeit with good bones. “It was very hard with all that rubble to envisage that you could make it a warm, welcoming place,” Brenda Reed said. Her husband, Colin, has extensive hospitality industry experience, currently serving as CEO of Gaylord’s Opryland complex.
30 | August 2014 NashvilleArts.com
in makeup lights. She considers it an answer to the Hermitage Hotel’s famous men’s room. Anderson also worked from a brief she received from Taylor, Sinema’s manager. It’s a look informed by nostalgia for the golden ages of Hollywood and Las Vegas, Taylor and Sam Reed’s personal cultural associations, and nods to the building’s cinematic past. The dining room suggests a 1940s supper club with tables in the center and several booths in a smaller adjoining area. Exposed brick walls, an open kitchen, and relaxed lighting from retro fixtures add to the ambience. Large black-and-white studio portraits of legendary Hollywood figures hang throughout the downstairs area. For Sinema, Reed reassembled part of a team used to restore Opryland after the May 2010 flood, including architect Nick Dryden, contractor D.F. Chase, and Kathy Anderson of Anderson Design Studio. Dale L. Levitski, a Top Chef finalist and James Beard nominee from Chicago, has created a menu of elegant twists on American classics. The theater’s three original double doors lead to Sinema’s double-height lobby where a staircase hugs a curved wall opposite the bar. Anderson used the staircase and gold-tinted mirrors on the ceiling and bar wall as her design inspiration. Though part of the staircase’s railing was still intact, it no longer met code, so Anderson sketched a new one with Art Deco aesthetics. The new railing augments the staircase like a statement-making bracelet. Another of Sinema’s reinterpreted treasures is the women’s bathroom. The original one couldn’t be saved, but Anderson retained its round shape and filled the space with a large pouf and mirrors, some ringed
Upstairs in the lounge, the vibe—a word that comes up often in the Sinema team’s conversation—is more relaxed but still super stylish. The sound of cocktail shakers filters above the music as groups gather in individual seating areas that give this large space a cozy, intimate feel. The lounge also offers a stellar view of the movie screen over the entrance (clips from classic movies are shown here and on other screens in the lounge). All the furniture, though vintage in style, is new and includes two chrome and red fabric sofas and a custom-built caramel leather sofa that hugs a corner of the room. Photographs of British rock figures by Robert Knight and Maryanne Bilham cover many of the walls, and images of R&B legends hold court in one of the two private dining rooms on this level. “Food, fun, culture. . . . We’re bowing our heads to all the things that shaped us as people,” Taylor said. Sinema is located at 2600 Franklin Pike. For more information visit www.sinemanashville.com
NashvilleArts.com
August 2014 | 31
PHOTO COURTESY OF MNAC
Public Art
C ycling into P ublic A rt
I
by Caroline Vincent, Public Art Manager, MNAC n 2010, Metro Arts launched a bike rack program aimed at highlighting active and healthy options for our citizens while providing an opportunity for studio artists to make the leap into public art. To date we have
installed fifteen artist-designed racks, the latest by Nashville artist Duncan McDaniel. I took a moment to ask him about his experience. CV: What interested you about designing a bike rack? DM: As a cycler and a huge advocate for public art, this project interested me from the beginning. CV: What was the process like, transitioning from the studio into the public art realm? DM: The call for entries was actually perfect timing for me. My
painting practice was in the middle of a dry spell, and I had just finished a technical certificate in 3D design and animation from Nashville State. That knowledge proved to be useful in making photorealistic presentations for my designs. Especially for Are We There Yet? where I actually animated a jogging motion and then froze the animation every ten out of one hundred frames.
CV: Would you design for public art again? What did you enjoy about the process? What didn’t you enjoy? DM: Absolutely! It’s an amazing feeling having one of your designs actualized into the real world as a permanent sculpture made of steel for the city to interact with. However, it was strange being so hands off once I handed over my designs to the fabricators. I am so used to making everything myself. They did an amazing job nonetheless. CV: Do you think it helped advance your work or your ability to seek additional public art or private commissions? DM: These projects are a great introduction into the realm of public
art. They’ve allowed me to start a portfolio, which will increase my chances of winning future calls for entries. Earlier this year I completed a skylight sculpture made out of solo cups inside the Nashville Airport. I could not have done this without the experience I gained from the bike rack projects. In my opinion public art is an important addition to any city, and I am eager to continue with new projects in the future. You can see Duncan’s newest rack at the new Lentz Public Health Center at 2500 Charlotte Pike. He also designed Soundboard Sliders located in the 12South neighborhood. For more information, please visit publicart.nashville.gov.
As I See It
Josef Albers, Homage to the Square: New Planting, 1956, Oil on Masonite panel, 24” x 24”
rom 1949 until his death in 1976, Josef Albers worked on his renowned series Homage to the Square. The over 1,000 works in the series, which
included paintings, drawings, prints, and tapestries, are based on what appear to be overlapping squares. These geometric abstractions explore the subjective effects adjacent colors have on one another and how their juxtaposition creates the illusion of flat planes of color advancing or receding in space. In 1963, Albers published his theories in a slim volume titled Interaction of Color.
Albers was one of the most influential artists of the twentieth century. His art is widely celebrated and collected, but his impact as a teacher is unparalleled. Josef Albers enrolled in the Bauhaus School in Weimar, Germany in 1920. There he studied color theory with Johannes Itten. In 1923, Walter Gropius, founder and director of the Bauhaus, invited Albers to teach the preliminary course. Albers taught with colleagues Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. When the Bauhaus closed in 1933, Albers and his wife, Anni, a textile artist, emigrated to the United States. Architect Philip Johnson was instrumental in securing a position for Albers at a newly formed art school near Asheville, North Carolina, Black Mountain College. Albers could speak little English at the time, but he learned quickly. His students included Ray Johnson, Cy Twombly, Robert Rauschenberg, and Susan Weil. Albers invited Willem de Kooning
there to teach. As an interdisciplinary school Black Mountain attracted some of the most creative minds of a generation—Merce Cunningham, John Cage, Allan Kaprow, and Buckminster Fuller—just to name a few. In 1950, Josef Albers left Black Mountain College to head the department of design at Yale University. He taught there until 1958. Albers often told his students that his goal was to inspire them “to open [their] eyes.” His approach relied upon observation and developing an awareness of what we actually see. The series Homage to the Square, notable for its conformity, was a focused study of optical effects. Saturated hues seem to advance or retreat, even though logic tells us they are static. Intense color can linger in the mind’s eye creating an afterimage. Colors seem to change in relationship to one another. Albers’s ongoing series of nested squares of color in various color combinations, proportions, and placement demonstrates a powerful understanding of the subjectivity of perception, making us even today more aware of our capacity to see.
PHOTO BY ANTHONY SCARLATI
F
NOT JUST FOR SQUARES
NashvilleArts.com
Susan H. Edwards, PhD Executive Director & CEO Frist Center for the Visual Arts August 2014 | 33
34 | August 2014 NashvilleArts.com
PHOTOGRAPH BY TIFFANI BING
The Great Unknowns
VINCENT PEACH
Catie Gooch
THE OPULENT ETERNITY NECKLACE
by Jennifer Anderson
W
hat started as a love of drawing as a child (influenced in part by her grandfather, who was a cartoonist) became an interest in photography when her mother took a photography class when Catie Gooch was in sixth grade. Using her mother’s photography
tAhitiAN peArlS, turquoiSe ANd diAmoNdS
equipment, she started to take photos. After traveling as an adult, which offered ample opportunity to take photos, she struggled with what to do with the images she created. At this time drawing, which she considered art and photography just a form of documentation, began to form a creative integration in her mind. While still struggling with a lack of tangible satisfaction in her work she took a free demo class that demonstrated the use of gel medium, and her love for photo transfer imaging was born.
300 12th Ave. S., NAShville,tN (615) 242-3001 viNceNtpeAch.com
After months of trial and error perfecting the timing and use of the transfer medium, she finally had a unique blend of materials VincentPeach_0714.indd and photo images. Using found materials as the foundation of her transfers, the execution is the crucial component, and there are few expectations for the final result. This leaves a freedom to explore the creative process without getting caught up in details. Finished pieces feel somewhat random and like what she calls a “Christmas Surprise.” Working consistently and showing her work, Gooch hopes to evoke some reaction or emotion in the viewer, as for her there is always a strong feeling of sharing a memory with someone for the first time.
1
6/17/14 9:09 AM
now open
Old West, Western, sOuthWest & native american
UnBound Arts Presents: Third Thursdays at The Building featuring Catie Gooch on August 21 at 7 p.m. For more information, contact unboundartsnashville@gmail.com.
Art • Jewelry • Rustic Furniture
916 8th ave., sO. nashville (615) 598-2074 mOn-Fri • 12:00 tO 5:30 pm • Or by appOintment WWW .t he r ed F eather G allery . cOm Untitled, 2014, Photographic transfer on wooden canvas, 18” x 24”
NashvilleArts.com
August 2014 | 35
Your Nashville Connection to 30A and the Emerald Coast
i
A Distinctive Partnership
i
Chip Peay
Linda Campbell
• Nashville Native
• Attended University of Alabama in Birmingham
• Attended Julia Green, BGA & Vanderbilt University
• Alabama Broker’s Associate License
• Musician, Music Publisher
• Consistently a Top Producer selling $150,000,000 in Real Estate
• Talent Agent at Conway Twitty & Loretta Lynn’s United Talent
• Top Sales Achievement Awards 2002,2003, 2004 and 2005
• Personal Manager to: Alan Jackson, Ricky Skaggs, The Bellamy Brothers, Don Williams, Ronnie Milsap and others.
• Circle of Excellence Award for 2004 • Member of the National Association of Realtors and Emerald Coast Association of Realtors
• Leadership Music Class of 1990 • Former Board Member: Belmont University Music Business School, Loews Vanderbilt Plaza Hotel, Commodore Yacht Club, Seaside Repertory Theater • Member National Association of Realtors and Emerald Coast Association or Realtors • Former VP of Business Development 30A Resorts, Grayton Beach, FL
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A Distinctive Lifestyle
WaterColor 33 Sand Hill Circle
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• Luxurious Grand Custom Design • 100 Year old reclaimed white oak hardwood flooring • Antique ceiling beams • Chef’s kitchen • Custom Italian cabinetry • Secluded Owners retreat with spa bath • Private guest area with separate kitchen & living space • Community pool and park across the street • 6 Bedrooms - 5.2 Baths - 4638 Square Feet - $2,890,000
CALL FOR DETAILS
Chip Peay
615-804-8071 • ChipPeay@gmail.com Take a tour of this fabulous home at ChipPeay.com
June 6—September 1
PL ATIN U M SPO N SOR
HOS PITALITY S PONS OR
ORGANIZED BY THE BARBICAN CENTRE, LONDON
THE FRIST CENTER FOR THE VISUAL ARTS IS SUPPORTED IN PART BY
DOWNTOWN NASHVILLE 919 BROADWAY FRISTCENTER.ORG
M a x F le is che r. Bett y Bo o p ( f ilm s t il l), 19 3 2 –3 9 . 3 5 mm b lack-an d -w h ite film, so u n d , 6 min u te s, 2 8 se co n d s. B F I N atio n al A rch ive Ang Lee. Hulk (film still), 2003. 35mm color film, sound, 138 minutes. Courtesy of Universal City Studios LLC
In the Gallery
Bernece Berkman, Current News, 1937, Oil on canvas, 20” x 40”
Williams Galleries 4119 HILLSBORO ROAD • NASHVILLE, TN 37215
F
by Cat Acree orget art for art’s sake, or even art for aesthetics’ sake. For Jim and Randi Williams, the owners of
Williams American Art and Antiques, the collecting and dealing of fine art, furniture, and jewelry is nothing less than an intellectual adventure, which means that visitors should be prepared to learn a lot.
nineteenth- and twentieth-century paintings, folk art, early Southern furniture, and fine period jewelry from the 1920s through the early 50s. Each piece in the collection has been researched to its fullest extent—the artist, the period, what the piece represents, and the details of the wider scope of history—offering a multidimensional experience to the joys of art collecting.
The Williams’ gallery, which has been tucked in a warm, covert corner of the Green Hills area for the last seventeen years, specializes in
“The more you learn, the more you can enjoy,” says Jim Williams. “I hear people saying, I don’t know anything about art, but I know what
Dorothy Prohask Stafford, Abstraction, 1951, Oil on board, 24” x 30”
Ella Sophonisba Hergesheimer, Hume Fogg High School, 1914, Oil on board, 11” x 13”
38 | August 2014 NashvilleArts.com
William Gilbert Gaul, The New Jack Knife, 1880, Oil on canvas, 24” x 20”
Frank Anderson Trapp, Special 98¢, 1950, Oil on canvas, 34” x 28”
Edmund Marion Ashe, Boat in from Baltimore, 1929, Oil on board, 24” x 26”
I like when I see it. . . . My clients, and this includes myself, are a little bit different. We want to know about what we see and learn about it, and therefore make better choices on what we like and dislike.” Thousands of art books fill the gallery, comprising an exceptionally exhaustive library on American art and history. Those who ring the Williams doorbell can expect a warm welcome, a cup of coffee, and access to more history on American art than they’d ever imagine. “We furnish more comprehensive information on the objects we sell than any other gallery in the United States, and that’s a big statement,” Williams says. “What we deal in, we furnish a lot of information, and—relatively speaking—probably a lot more information than a gallery in New York would furnish on selling a multimillion-dollar painting.” Though Williams takes a highly educational approach to art, his roots reflect a likable balance of highbrow expertise and Southern hospitality. As a boy growing up in the small college town of Berea, Kentucky, Williams was fascinated by American art, in particular its depiction of the common man hard at work. Inspired by artists such as New Deal painter Frank Long, a close personal friend to his grandfather, Williams has transformed a lifelong art collecting habit into an enjoyable career. “Art is a priority and a passion,” Williams says. “It’s a learning endeavor and something that will never be completed, because there’s always something else to learn about.”
Frank Weathers Long, Untitled (Mountain Madonna), 1938, Oil on canvas, 33” x 28”
F o r m o re i n fo r m a t i o n a b o u t Wi l l i a m s G a l l e r i e s , p l e a s e v i s i t www.williamsamericanart.com. NashvilleArts.com
August 2014 | 39
Create Art In Every Room
Unplugged
Art in Formation
PHOTOGRAPH BY JULIA BEE
Stirrings from the Nashville Underground
RUG & ART TENT SALE
by Tony Youngblood
T
he rising Wedgewood/Houston arts district owes much of its buzz to Fort Houston. The creative
facility located at 500 Houston Street houses a printshop, woodshop, photography studio, film lab, motorcycle repair shop, over thirty member work desks, and an art galley. Galley Director Zach Duensing sees Fort Houston as “a bounce board for makers and craftspeople who want to bridge the gap between their hobby and their profession. We’re a Swiss Army knife where people can make, learn to make, or have virtually anything made—equal parts artist studio, fabrication shop, garage, and school.”
PHOTOGRAPH BY JULIA BEE
I spoke with Duensing while he was knocking down walls in the current front office to make way for a larger, more isolated art exhibition space. They hope to have renovations complete for an August 2 opening by Company H, a Watkins-affiliated arts collective. If you’ve been to one of the Arts & Music @ Wedgewood/Houston events, you know why they’re expanding: The turnouts are huge, often spilling over into the work areas.
Cool Springs Galleria
Beyond the floor plan, Duensing sees Fort Houston expanding into “as many different types of creativity as we can. For example, I would love to have proper ceramics, textile, jewelry, and electronics labs, as well as more individual artist studios. Our business model leaves room for us to explore pretty much anything, and I see no reason why we shouldn’t try.”
PHOTOGRAPH BY JOHN SCARPATI
Entire Month of August!
If you’re interested in becoming a Fort Houston member, go to www.FortHouston.com or stop by the facility between 10 a.m. and 6 p.m. The galler y is open during business hours, by appointment, and during the Arts & Music @ Wedgewood/Houston events, which happen on the first Saturday of every month. Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s (ModularArtPods.com) and runs the experimental improv music blog and podcast www.TheatreIntangible.com.
ABSOLUTE ONLINE AUCTION Antiques, Furniture, Fine Art, Crystal, China and Other Furnishings from the Historic Belair Mansion in Donelson, TN Closes August 20 n Beginning at 2:00 PM CT
UPCOMING AUCTIONS 4 Single Family Homes Located in McNairy County, TN Closes August 13 n Beginning at 10:00 AM CT
Agricultural Equipment from a Williamson County Farm Closes August 14 n Beginning at 2:00 PM CT
Built in 1832, the Historic Belair Mansion has been home to many local historic figures and their families throughout its history. The current owners are relocating and are selling most contents from the home in preparation for their move. More than 330 lots of antiques, furniture, fine art, crystal china and other furnishings will sell to the highest bidders absolu online auction. regardless of price via absolute
470 Woodycrest Avenue, Nashville, TN n 615-517-7675 n
Antiques and Art from the Collection of a Nashvillian Closes September 30 n Beginning at 2:00 PM CT
10% Buyer’s Premium
www.mclemoreauction.com
470 Woodycrest Avenue, Nashville, TN n 615-517-7675 n
10% Buyer’s Premium
www.mclemoreauction.com
The Nashville Sunday Jazz Band sundays at dalts
B
by Bob Doerschuk | Photographs by Anthony Scarlati ack in 1992, Gail Lavely heard from a friend whose son owned the Rainbow Key Restaurant at Lion’s Head on White Bridge Road. Turns out that Nashville
trombonist and orchestra leader Louis Brown was putting a group together to play some Dixieland and early swing at the venue, beginning that Sunday. Would she like to drop by and listen? She did. She came back the following week too. The Sunday night jam session quickly became a regular event at the Rainbow Key, and she and her husband almost never missed a night. For them, and for a core of similarly dedicated fans, this became the perfect way to end the week, a place to meet new friends, and a way to get to know some of Nashville’s best musicians as they played Brown’s arrangements, just for fun.
This story has yet to end. Twenty-two years later, the Nashville Sunday Jazz Band still plays every week. Though Brown passed away in 2002, his charts, somewhat tattered, remain on the music stands. The venue has changed many times—they hold court now at Dalts American Grill, coincidentally also on White Bridge. On any given night, you can see jazz faculty from area colleges, country music session aces, an occasional Nashville Symphony member, all in various combinations, swinging through “Dinah,” “Rosetta,” and other golden-era classics. When the group catches an especially hot groove, most of the people in the room wave small white towels in the air, spurring the players on. And if you look around a bit, you’ll see Gail, now 95 years old, joining them. “Gail is my hero!” says saxophonist Denis Solee. “She’s there every week. She and the other regular fans are the real reason we’ve kept going. They want this music to stay alive. And when they start waving those towels, that feeds us. It tells us, hey, we’re doing our job!”
Judy Nebhut photographer
“My husband loved that group more than anything we ever did, I’d say,” adds Gail, who has showed up each Sunday on her own since his demise. “It’s just a happy time. It’s become so meaningful to me. I must be there every Sunday night!” The music begins at 5 p.m. and ends at 8 p.m. every Sunday at Dalts. Check out the Nashville Sunday Jazz Band’s Facebook page or visit http://bit.ly/1r2mrQZ. And say hi to Gail for me.
“Let it Shine”
JudyNebhut.com JNebhut@gmail.com 615-665-2081
Hans Schmitt-Matzen
Downtown Presbyterian Church Opens Intimate Gallery Space and Studios by Gracie Wise | Photographs by Anthony Scarlati
D
ow n t ow n P re s by t e r i a n Church, located at the bustling intersection of 5th Avenue and Church Street, has hosted numerous artists in residence over the past twenty years, allowing creative minds the use of restored studio rooms in the upper levels of the historic church building.
But now, for the first time, the church has created a gallery specifically for exhibition, allowing artists the opportunity to present their work. The gallery offers a sacred space for viewing, affirming Downtown Presbyterian’s commitment to supporting local artists and making art accessible to the community.
Sarah Shearer
Artist in residence Cary Gibson, who is currently working on a series of installations for the gallery, believes that the wide range of experience and styles represented by the artists in their upcoming group show proves that “there is no fixed way to do art.” The show features the current artists in residence: Richard Feaster, Cary Gibson, Anna Marchetti, John Pfaender, Cassie Ponder, Hans Schmitt-Matzen, and Sarah Shearer. These artists, who have been working only a couple of stories above in the upstairs chambers of the church, have brought their explorations of life and suffering and chaos into the newly created gallery to invite the public to interact with their work. As Richard Feaster affirms, the
Richard Feaster
44 | August 2014 NashvilleArts.com
Cary Gibson
desire of the artists is that the gallery space will not only be used to promote the work of the artists in residence but eventually expand to showcase other local artists in solo and group shows. The gallery officially opened at the July First Saturday Art Crawl with a group show from the artists in residence . The gallery will be open Monday through Friday during regular business hours and during the First Saturday Art Crawl from 6 to 9 p.m. Visitors can enter through the church office at 154 5th Avenue North in Downtown Nashville. To schedule a guided tour, contact the church office at www.dpchurch.com.
The Bookmark A Monthly Look at Hot Books and Cool Reads
You’re invited to...
For more information about these books, visit www.parnassusbooks.net. Lucky Us AMY BLOOM Bloom is back with another fantastic work of literary fiction. (You probably remember her critically acclaimed bestseller Away.) This is the funny, moving story of Iris, a star-in-waiting, and Eva, the faithful sidekick. Together, they travel cross-country in the 1940s, encountering a host of colorful characters on their quest to find fame for Iris. Big dreams, beautiful writing, and plot twists abound. A crowd-pleasing novel about friends, family, war, luck, success, and failure.
Colorless Tsukuru Tazaki and His Years of Pilgrimage HARUKI MURAKAMI Another long-awaited new novel by a beloved author, Colorless Tsukuru Tazaki and His Years of Pilgrimage sold more than a million copies the first week it was for sale in Japan. Publishers Weekly gave this book a starred review and called it “a struggle of coming to terms with buried emotions and missed opportunities, in which intentions and pent-up desires can seemingly transcend time and space to bring both solace and desolation.” Readers will feel for the young man at the center of this story.
The Magician’s Land LEV GROSSMAN Lev Grossman fans, rejoice! Here’s the amazing conclusion to The New York Times bestselling Magician trilogy. In this installment of the modern fantasy series, Quentin Coldwater sets out on a journey along with Plum, a brilliant young magician with a dark secret of her own, to face his past and his fears. They travel back to Antarctica and the Netherlands before ultimately returning to Fillory, the magical land of his childhood from which he was exiled—and which is now under siege by barbarians. Anyone who loved the first two will mightily enjoy the third.
Juel Salon’s Nashville Launch Party Featuring our Fall/Winter 2014 “must haves” Fashion Show. This collection not only features hair and makeup trends, but your #perfectmatch for clothing as well as accessories for both men and women. The show is at our Nashville location, 2308 Elliston Place Nashville, TN. We will have si signature cocktails, lite fair and swag bags.
Saturday, August 30th • 6:00-8:00pm (Show starts promptly at 6:30pm) RSVP - lauren@juelsalon.com
In the Kingdom of Ice HAMPTON SIDES The story of the USS Jeannette once captivated the world. In 1879, a crew of 32 men set out into uncharted Arctic waters, keen on exploring the North Pole—an unmapped area of great fascination and curiosity. They voyaged on for two years before the hull of the ship was broken by ice and the ship sank. Marooned a thousand miles north of Siberia, the crew marched across an endless hell of ice, battling polar bears, storms, and starvation. This is an edge-of-your-seat thriller that’s all true. Meet the author at Montgomery Bell Academy for a Salon@615 event on Tuesday, August 12.
www.juelsalon.com
Juel Salon Nashville 2308 Elliston Place Nashville,TN 37203 615.340.3121
#perfectmatch
Music City’s
d n a B t s e Bigg
Your Nashville Symphony | Live at the schermerhorn
BOZ SCAGGS August 12
LYLE LOVETT & HIS LARGE BAND
WEST SIDE STORY
THE FOUR TOPS September 11 - 13
Acclaimed singer songwriter performs his hits like “Lido Shuffle” and “Lowdown.”
August 13
September 5 & 6
The four-time GRAMMY® winning Texan returns for a swingin’ night of fun.
Watch this classic film on a big screen as the orchestra performs the score live.
The Motown legends will have you dancing to “Baby I Need Your Loving” and “I Can’t Help Myself.”
AMERICAN MASTERWORKS
FOREIGNER
EXPERIENCE HENDRIX
September 18 - 20
Smash hits like “Juke Box Hero,” “Feels Like the First Time,” “Urgent,” “Cold as Ice” and “I Want to Know What Love Is.”
JOHNNY MATHIS with the Nashville Symphony
September 14
“Chances Are” you’ll get “Misty” when this crooner performs his hits with the orchestra.
with the Nashville Symphony
Conni Ellisor and Victor Wooten perform a ground-breaking Concerto for Electric Bass & Orchestra.
with the Nashville Symphony
September 21
with the Nashville Symphony
September 26
Featuring Billy Cox, Buddy Guy, Jonny Lang, Kenny Wayne Shepherd and more.
NashvilleSymphony.org | 615.687.6400 46 | August 2014 NashvilleArts.com
The Box, Transparent watercolor on paper, 21” x 28”
D i s t i l l i ng M e a n i ng J oh n Wi lk ison ’s
watercolors a n d th e
f rom
L igh t
S outh er n Visua l N a r r ati v e
by Megan Kelly
I
As I hear him begin to talk about his work and practice, I soon know that John Wilkison is a keenly observant individual, a man whose watercolor practice of over forty years has refined his sense of color and technique. Much of Wilkison’s watercolor work derives from fascination: with found stories, with painterly challenges, with regions and histories. His interests reflect not only an awareness of Southern culture and traditions but also a studied approach to art history. Several of his works reference Greek mythology or build upon painterly Renaissance traditions but take a unique spin on their foundations. With a sense of color heightened by his time in Santa Fe—“There, the clarity of the air really teaches you to see hidden hues, secret violets”—yet
PHOTOGRAPH BY TAMARA REYNOLDS
t’s apparent as soon as I enter this space: surrounded by tidy collections of glass spheres, shells, and art books, here is a home for thoughtfulness and reflection.
NashvilleArts.com
August 2014 | 47
My Son Peter, Transparent watercolor on paper, 15” x 22”
selective and restrained through a Realist’s brush, Wilkison’s work explores palette choices as vehicles for psychological narrative and emotional tonality in color selection as a way of approaching the Southern visual narrative. In Nucleus, Wilkison depicts a proud African American male, his portrait rising from the traditional dark background often used in Rembrandt paintings. In Dutch works, these backgrounds created contrast with the figure as a way of emphasizing the narrative strength within the face. Wilkison instead turns to the subtleties of watercolor in order to pull the figure from the shadows. With
delicate chiaroscuro strokes to slowly build up the darks within the image, Wilkison’s method in approaching the figure not only gives a nod to the Dutch masters but also highlights the challenge of preserving light within the layered watercolor technique, a technically difficult reinterpretation. Unlike with other painting mediums, the watercolorist cannot add white paint back in, but the restraint builds the artist’s strength in creating visual and emotional depth. While there is rarely a single reference image or intended memory behind a work, the pieces draw from a variety of places and fascinations that create moments of extended narrative. Hog
Weeds, Transparent watercolor on paper, 28” x 40” 48 | August 2014 NashvilleArts.com
Blind Man, Transparent watercolor on paper, 23” x 16”
Wilkison is adamant about the strengths and depth inherent in the medium, citing American watercolorists such as Andrew Wyeth, Winslow Homer, and Thomas Eakins, whose works are powerful advocates for the versatility of watercolor. He is quick to point out, however, the fragility of both the medium itself and the process. “Watercolor is the only medium that never polymerizes: it remains sensitive to water and touch throughout its lifespan. Other mediums harden and age, but with a simple sponge, you can always re-engage watercolor.” It is this temptation of engagement that pulls Wilkison into the painting process again and again, bringing a momentum and activity in his brushstrokes that create intimate, dynamic pieces. Ultimately, Wilkison’s attention to detail is apparent not only in the complexity of the works, but in his sensitivity to the medium itself: “Watercolor is suggestion; it is distilling meaning from light.” Hog Kill, Transparent watercolor on paper, 21” x 28”
Kill, one of a series of works pulling from images of traditional Tennessee barbeque processes (many of which are no longer practiced), especially showcases Wilkison’s talent in transcribing disappearing moments specific to the South. Hog Kill depicts two men in a Caillebotte-esque depiction of raw manual labor, gutting pigs before a barbeque. By responding through paint to the visual power inherent in this captured scene, Wilkison’s work gains a sense of complex history and holds the viewer within a moment, unwilling to shy away from the discomforting realities of a tense, burdened figure or the hints of blood on a blade. “I take many reference photos,” says Wilkison, “but I reject the notion of watercolor as a sketching medium, as a stepping stone to the ‘real painting’. I love the challenge of watercolor as a finished medium.” As the first president of the longstanding Southern Watercolor Society,
Nucleus, Transparent watercolor on paper, 28” x 22”
In the Woods, Transparent watercolor on paper, 10” x 14”
Steam Engine, Transparent watercolor on paper, 22” x 19”
Beginning in September, Wilkison’s work can be found online at www.johnwilkisonart.com, and the artist is available for comment through johnwilkisonart@gmail.com. In addition, John Wilkison will be teaching a watercolor workshop October 24, 25, and 26 through Columbia State Community College. NashvilleArts.com
August 2014 | 49
Arts Worth Watching were so inspired by Woody’s songs that they also consider themselves his “children.” In Woody’s Children 45th Anniversary Concert on NPT, Thursday, August 14, at 7 p.m., Woody’s singer-songwriter “children” collaborate in a rousing live concert featuring Noel Paul Stookey, Tom Paxton, Tom Chapin, Holly Near, and others. Songs include “The Last Thing on My Mind,” “Pass the Music On,” “I Am Willing,” “If I Had a Hammer,” and more.
Jimmy Van Heusen: Swingin’ with Frank and Bing
The documentary series POV continues on NPT on Mondays at 9 p.m., starting with A World Not Ours on August 18. This documentary is a passionate, bittersweet account of one family’s multi-generational experience living as permanent refugees. Now a Danish resident, director Mahdi Fleifel grew up in the Ain el-Helweh refugee camp in southern Lebanon, established in 1948 as a temporary refuge for exiled Palestinians. Today, the camp houses 70,000 people and is the hometown of generations. The filmmaker’s childhood memories are surprisingly warm and humorous, a testament to the resilience of the community. Yet his yearly visits reveal the increasing desperation of family and friends who remain trapped in psychological as well as political limbo.
Oscar-winning composer and test pilot Jimmy Van Heusen is known for writing songs like “Swinging on a Star” and “Moonlight Becomes You” for Bing Crosby and “Come Fly with Me” for Frank Sinatra—the biggest names in music at the time. He also wrote “Call Me Irresponsible,” “The Tender Trap,” “All the Way,” “High Hopes,” “Here’s That Rainy Day,” and many more. Jimmy Van Heusen: Swingin’ with Frank and Bing on NPT, Tuesday, August 12, at 7 p.m., includes interviews with Frank Sinatra, Jr., Harry Crosby, Tony Bennett, Woody Allen, Angie Dickinson, Shirley MacLaine, John Pizzarelli, and others that Jimmy Van Heusen wrote for. This program also includes archival film and television clips of his timeless songs. Woody Guthrie had eight biological children, some of whom became singer-songwriters like Woody, but a group of musicians
Woody’s Children 45th Anniversary Concert
A World Not Ours
The following Monday, August 25, POV presents Big Men, which documents five years of the quest for oil in Ghana by Dallas-based Kosmos. The company developed the country’s first commercial oil field, yet its success was quickly compromised by political intrigue and accusations of corruption. As Ghanaians waited to reap the benefits of oil, the filmmakers discovered violent resistance down the coast in the Niger Delta, where poor Nigerians have yet to prosper from decades-old oil fields. Big Men, executive produced by Brad Pitt, provides an unprecedented inside look at the global deal-making and dark underside of energy development—a contest for money and power that is reshaping the world. Take a meditative, cinematic journey through the breathtaking scenery of the American West’s iconic Red Rock Country in Red Rock Serenade on Friday, August 15, at 7 p.m. This program includes Arches, Bryce Canyon, Zion, Canyonlands, Capitol Reef, and Grand Canyon National Parks—all set to music by some of the world’s greatest classical composers, including Bach, Brahms, Chopin, and Beethoven.
50 | August 2014 NashvilleArts.com
Weekend Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30 5:00 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 12:00 12:30 1:00 1:30 2:00 3:00 3:30 4:00 4:30 5:00 6:00 6:30
Saturday
am Electric Company Angelina Ballerina Curious George The Cat in the Hat Peg + Cat Dinosaur Train Daniel Tiger’s Neighborhood Super Why! Sewing with Nancy Sew It All Garden Smart P. Allen Smith Simply Ming Cook’s Country noon America’s Test Kitchen Bringing it Home with Laura McIntosh John Besh’s Family Table Martha’s Cooking School Fons & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop The Woodwright’s Shop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side
THIS MONTH
August 2014
Nashville Public Television
Sunday
am Sesame Street Curious George The Cat in the Hat Peg + Cat Word World Daniel Tiger’s Neighborhood Super Why! Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads A Word on Words Nature noon To the Contrary The McLaughlin Group Moyers & Company Washington Week with Gwen Ifill Globe Trekker California’s Gold Chef’s Life America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week
Masterpiece Mystery! Breathless Jack Davenport (Pirates of the Caribbean, “Smash”) stars as a brilliant London surgeon in 1961, when doctors were treated like gods and acted the part. Sunday, August 24 & 31 8:00 PM
Daytime Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00
am Classical Stretch Body Electric Wild Kratts Wild Kratts Curious George Curious George Peg + Cat Dinosaur Train Sesame Street Daniel Tiger’s Neighborhood Super Why! Dinosaur Train Sid the Science Kid Caillou pm Thomas the Tank Engine Peg + Cat The Cat in the Hat Curious George Curious George Arthur Arthur Wild Kratts Wild Kratts Martha Speaks WordGirl pm PBS NewsHour
Nashville Public Television
40 years on The Farm
Time Team America
Celebrating the first 40 years on The Farm, a sustainable community founded in 1971 in Summertown, Tennessee.
Part adventure, part hard science, part reality show, Time Team America applies the latest technology and the team’s collective expertise to solving the riddles of the past — against a ticking clock.
Thursday, August 28 8:00 PM
Tuesday, August 19 & 26 7:00& 8:00PM
wnpt.org
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7:00 PBS Previews: The Roosevelts This program preview showcases the content of the series and what goes in to making a Ken Burns epic. 8:00 50s & 60s Rock Rewind (My Music) 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Chicken Soup for the Soul: Food & Family
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2:00 Marathon 2:00 - 8:00 Civil War: The Untold Story Through a marathon of five episodes, examine the conflict through the lens of the Western Campaign, which dramatically shaped the outcome of the Civil War. 8:00 Return to Downton Abbey Go behind-the-scenes. 9:30 Dr. Fuhrman’s End Dieting Forever! 11:30 Scully/The World Show
Tuesday
Wednesday
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7:00 Jimmy Van Heusen: Swingin’ with Frank & Bing A celebration of the musical genius that composed songs for many of Hollywood’s classic films, particularly for Frank Sinatra and Bing Crosby. 8:30 Bee Gees One Night Only 10:00 BBC World News 10:30 Last of Summer Wine 11:00 50s & 60s Rock Rewind (My Music)
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13 7:00 Nature Snow Monkeys. In Japan a troop of snow monkeys make their way and raise their families in a complex society. 8:30 Straight No Chaser – Songs of the Decades Straight No Chaser is reinventing the idea of a cappella on the modern pop landscape. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Bee Gees One Night Only
7:00 My Wild Affair The Seal Who Came Home. The true story of a two-day old wild harbor seal who was rescued in Maine. 8:00 NOVA Australia’s First 4 Billion Years: Strange Creatures. 9:00 Sex in the Wild 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Jim James/The Black Angels.
NOVA Why Sharks Attack Wednesday, August 23 8:00 PM
7:00 Mark Twain Part Two. Clemens turns to the lecture circuit and tours extensively, leaving behind his beloved Hartford home. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150 11:30 Children’s Health Crisis: Food
50s & 60s Rock Rewind (My Music) Saturday, August 16 8:30 PM
7:00 Antiques Roadshow Vintage Rochester. 8:00 Antiques Roadshow Vintage Hartford. 9:00 POV 15 to Life: Kenneth’s Story. The United States is the only country in the world that routinely condemns children to die in prison. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Aging Matters: Caregiving
Monday
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7:00 Last Tango In Halifax 8:00 Masterpiece Mystery! Poirot Season 12, Dead Man’s Folly. Poirot finds himself exercising his “little grey cells” by helping police investigate crimes and murders. 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show
Jimmy VanHeusen Swing Tuesday, August 12 7:00 PM
Sunday
Primetime Evening Schedule
August 2014
7
14 7:00 Tennessee Crossroads: The Great Getaway 8:30 Woody’s Children 45th Anniversary Concert Celebrate the legacy of Woody Guthrie’s singersongwriter “children” in a rousing live concert. 9:30 America’s Wild West 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Return to Downton Abbey
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Nashville: The 20th Century in Photographs Vol. 4 9:00 Doc Martin Ever After. Mrs. Tishell’s (Selina Cadell) longstanding crush on Dr. Martin Ellingham takes a dramatic turn. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Nashville: The 20th Century in Photographs Vol. 4
Thursday
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15 7:00 Red Rock Serenade 8:00 Healing ADD with Dr. Daniel Amen, MD and Tana Amen, RN Psychiatrist Daniel Amen and his wife nurse Tana Amen take a completely new look at ADD. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Healing ADD with Dr. Daniel Amen, MD and Tana Amen, RN
8 7:00 Nixon’s The One: The ’68 Election A sobering, wry look at how the Sixties divided us and how Nixon stepped into the breach to claim the biggest prize of all. 8:00 Suze Orman’s Financial Solutions for You 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Children’s Health Crisis: Food
7:00 Appalachian Impressions Part 2. Each day these hikers get closer to their goal of walking from Georgia to Maine. After trekking 2,173-miles, their journey is over. 8:00 Great Performances Dudamel Conducts The Verdi Requiem at the Hollywood Bowl. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Thunder on the Farm
Friday
2
16 7:00 Statler Brothers Farewell Concert 8:30 50s & 60s Rock Rewind (My Music) From the R&B pioneers to the pop teen crooners, the 1950s and early 1960s were an exciting musical time for the youth of America. 10:30 Dr. Wayne Dyer: I Can See Clearly Now
9 7:00 Burt Bacharach’s Best (My Music Presents) For over half-a-century, the immensely popular and immediately identifiable melodies of celebrated composer Burt Bacharach have touched millions of music lovers around the world. 8:30 Miranda 9:00 Doc Martin: Revealed 10:30 Suze Orman’s Financial Solutions for You
7:00 Lawrence Welk Show Songs of Perry Como. 8:00 Keeping Appearances – The Memoirs of Hyacinth Bucket 8:30 Miranda 9:00 Doc Martin Cats and Sharks. 10:00 Globe Trekker Globe Trekker Special: World War II. European sites of World War II. 11:00 Walking The Great Divide: A Journey Along The Continental Divide Trail
Saturday
Nashville Public Television
wnpt.org
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7:00 Secrets of Her Majesty’s Secret Service 8:00 Masterpiece Mystery! Breathless, Part 2. Jack Davenport stars as a brilliant London surgeon in 1961 when doctors were treated like gods and acted the part. 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Secrets of the Tower of London In this episode we go behind the Tower’s ancient walls, opening it up to expose its secrets and stories. 8:00 Masterpiece Mystery! Breathless, Part 1. 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show
SEPTEMBER
2
7:00 Cuban Missile Crisis: Three Men Go to War 9:00 The Fidel Castro Tapes This program uses only news and documentary footage to detail the life and times of one of the most controversial political figures of the 20th century. 10:00 BBC World News 10:30 Last of Summer Wine
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7:00 Time Team America Lost Civil War Prison, A Time Team America Presentation. When Sherman’s forces approached, prisoners and guards fled and left bits and pieces behind. 8:00 Time Team America The Lost Pueblo Village. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 From Billions to None: The Passenger Pigeon’s Flight to Extinction
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7:00 Time Team America The Search for Josiah Henson, The Man Behind The Story of Uncle Tom. An acre of land in a Maryland suburb holds vital clues to life on southern plantations during the height of slavery. 8:00 Time Team America The Bones of Badger Hole. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Being Poirot
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7:00 Nature 8:00 NOVA Building Pharaoh’s Chariot. A team of archaeologists, engineers, woodworkers, and horse trainers join forces to build and test replicas of Egyptian royal chariots. 9:00 Operation Maneater 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Kacey Musgraves/Dale Watson.
4 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 9:00 Doc Martin Guess Who’s Coming to Dinner? With Louisa back at work, Martin’s gruff manor makes it hard for the Ellinghams hire and keep a nanny. 10:00 BBC World News 10:30 Last of Summer Wine
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 40 Years on The Farm Celebrating the first 40 years on The Farm, a sustainable community founded in 1971 in Summertown, Tennessee. 9:00 Doc Martin Sickness and Health. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Cafeteria Man
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7:00 Nature 8:00 NOVA Why Sharks Attack. NOVA teams up with leading shark experts to discover the science behind the great white’s hunting instincts. 9:00 Operation Maneater 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Jason Isbell/Neko Case.
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7:00 Tennessee Crossroads: Ridin’ the Rails 8:00 NPT Favorites 9:00 Doc Martin: Behind The Scenes Go behind the camera and get an inside look at the early episodes of Doc Martin. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Favorites
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7:00 My Wild Affair Extraordinary stories of the bonds between humans and their animal companions, including an orphaned baby elephant, an orangutan raised as a human child, a rhinoceros raised in suburbia and a harbor seal. 8:30 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Woody’s Children 45th Anniversary Concert
Cuban Missile Crisis: Three Men Go to War Tuesday, September 2 7:00 PM
7:00 Aging Matters: Caregiving 8:00 American Masters Dorothea Lange: Grab A Hunk of Lightning. More than six decades of 20th-century America are seen through the prism of Dorothea Lange’s life and lens. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:00 Our American Family: The Smiths
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7:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Doc Martin: Behind The Scenes Get an inside look at the early episodes of Doc Martin.
Visit wnpt.org for complete 24 hour schedules for NPT and NPT2
7:00 Antiques Roadshow Corpus Christi, Hour One. 9:00 Antiques Roadshow Corpus Christi, Hour Two. 9:00 POV After Tiller. A portrait of the four doctors in the United States still openly performing thirdtrimester abortions. 10:30 Last of Summer Wine 11:00 BBC World News
7:00 Antiques Roadshow Junk in the Trunk 2. 8:00 Antiques Roadshow Forever Young. 9:00 POV Big Men. Over five years, director Rachel Boynton and her cinematographer filmed the quest for oil in Ghana by Dallasbased Kosmos. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Katmai: Alaska’s Wild Peninsula
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7:00 Suze Orman’s Financial Solutions for You Suze’s advice is based not just on numbers, but on a critical understanding of ourselves and our emotional needs. 9:00 POV A World Not Ours. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Brainchange with David Perlmutter, MD
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1:30 Marathon 1:30 - 9:00 African Americans: Many Rivers to Cross Survey the full sweep of African-American history from the origins of slavery on the African continent through more than four centuries of remarkable historic events up to the present, with a marathon of all six episodes of this series. 9:00 Being Poirot 11:00 Suze Orman’s Financial Solutions for You
Nashville Public Television
30 7:00 Lawrence Welk Show Tribute to Fred Astaire. 8:00 Keeping Appearances – The Memoirs of Hyacinth Bucket 8:30 Miranda 9:00 Doc Martin Sickness and Health. Portwenn is buzzing with arrangements for Doc and Louisa’s wedding. 10:00 Globe Trekker Great Australian Hikes. 11:00 Into Deep Space: The Birth of the Alma Observatory
Daniel O’Donnell from the Heartland Saturday, August 23 7:00 PM
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7:00 Daniel O’Donnell from the Heartland Beloved Irish crooner, Daniel O’Donnell returns to PBS with his melodic voice performing live in the Hawkeye state. 8:30 NPT Favorites
PHOTOGR APH BY HUNTER ARMISTEAD
Wassup, Fahamu?
Nashville Culture Fest’s featured artist, Fahamu Pecou, brings hip-hop to high art to talk about black masculinity
N by Joe Nolan
owadays, when artists like Jeff Koons are displaying giant balls of Play-Doh at the Whitney, you’d be forgiven for overlooking the dividing line between fine art and popular culture. When an artist like Ryan
Trecartin’s videos seem custom made for YouTube, and a painter like Kehinde Wiley mixes his portraits of contemporary black people in modern dress into the aesthetics of Old Master paintings, it becomes increasingly difficult to discern the differences between mass media
and museum masterpieces. Maybe there is no difference anymore? Maybe that’s why we should be paying attention? Fahamu Pecou is an Atlanta-based artist and scholar whose paintings, videos, and social media experiments ask questions about how our society organizes, categorizes, creates, and consumes media—from hip-hop to highbrow, graffiti to glamour. Pecou is currently a PhD student in Emory University’s Institute of Liberal Arts, and he’s also the featured artist at this month’s Nashville Culture Fest multimedia
54 | August 2014 NashvilleArts.com
happening centered around arts from the African Diaspora. Pecou studies the masks of black masculinity through the lens of media critique, making him both a perfect and provocative choice to represent the inaugural event. “One of the things that I’m really interested in—both as a fine artist and in terms of academia—is the way that certain kinds of information, certain ideas about culture and society, are privileged to certain groups,” says Pecou. “I’m interested in exploding that. One of the things that I found when I started the PhD program was that there is this wealth of knowledge in this world where all this research is being done on these things that people have day-to-day issues with, but if you’re not in these environments where you have access to this information you don’t know about it. I’m trying to figure out a way
to create bridges between the everyday person and the academy or the curator or the fine artists.” The dichotomy of being an academic who criticizes the academy, and the roles of those it canonizes and christens as curators, is a contradiction that amuses Pecou. But he’s genuinely advocating for the discussion between fine art and popular culture to be as engaging as his own early exposures to art education and art history were. “For me art school was a great benefit because it opened me up to different ways of thinking about art that I was unfamiliar with,” says Pecou. “Where I was growing up there were no galleries to speak of, but I had a passion for drawing—that was my thing: people knew me as a kid who could draw. But when I got to art school I got exposed to galleries and museums and art history, and all these things I was
Caged Bird 02, 2013, Acrylic on canvas, 54” x 54”
NashvilleArts.com
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just completely ignorant of. It really helped to transform me into the person I’m still becoming.” As he’s grown as an artist and a thinker, Pecou’s work has crossed the lines between fine art and pop culture at different points through different means, with the 2009 painting Merrill Lynch’d. Pecou responded to the bank bailout fiasco, lampooning the cover of a Berlin art magazine with a self-portrait and a Jean-Michel Basquiat-esque bull. His recent Caged Bird series references the late great Maya Angelou—who collaborated with Basquiat on a children’s book—in a trio of paintings and drawings that questions the values and roles that define contemporary black maleness. “I think part of the blurring of the line between pop culture and fine art is about challenging us to think critically about popular culture,” says Pecou. “You know, we see these things—these images and ideas being communicated—and we try to mimic them. But we never really ask why. Why is this important to me? What does this mean in the grand scheme of things?” Pecou also addresses the barriers that still exist between Af rican-American culture and the world of fine art. “I’m an Af rican-American artist who—before I started doing the kind of work I’m doing—didn’t see a lot of Af rican-American people in spaces for fine art. There is definitely a line there.
Real NEGUS Do Real Things, 2012, Acrylic on canvas, 70” x 54”
Sup with That?, 2013, Graphite and acrylic on paper, 42” x 26”
Merrill Lynch’d, 2009, Acrylic and oil stick on canvas, 70” x 54”
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My work speaks to Af rican-American experience—particularly Af rican-American male experience—but that’s not typically the audience that’s f requenting those spaces. So, what can I do to make those spaces more accessible to that audience?” Pecou himself has had to push aside assumptions and knock down barriers to make room for his category-challenging work, which often adopts the over-the-top bravado of hip-hop culture to speak about the experience of being a black man. “At any given time it seems there will be one important black male artist and everybody else is on the sidelines—like Double Dutch, just waiting on their turn to jump in. There is also a lot of criticism and commentary that occurs—not only in the art world, but also in the academic world—around issues of black men that aren’t coming from black men in the first place. They’re from other people’s perspectives and ideas about what black masculinity should be, be that black women scholars or white male scholars. You know, everybody else is saying what black masculinity is, and black men are often not in the conversation or not even in the same room. So I want to be a part of that discussion.”
“Mindful” After Auguste Rodin’s “The Thinker”, 2011, Acrylic on canvas, 24” x 20”
Return to My Native, 2012, Acrylic on canvas, 60” x 51”
Pecou and his art will be at the center of the Nashville Culture Fest from August 27 to August 31. The ar tist will be showing paintings, works on paper, and video at The Arts Company with a reception on August 30 from 3 to 6 p.m. He will talk with Nashville Arts Magazine at 4 p.m. during the reception. He’ll be lecturing at the gallery as well as at schools in the city throughout the festival. www.fahamupecouart.com
The Treachery of (media) Images: After Rene Magritte’s The Treachery of Images, 1928-1929, 2011, Acrylic and oil stick on canvas, 66” x 54” NashvilleArts.com
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Beauty Returns Home to Belmont by Stephanie Stewart Howard
W
ith all the beauty in Belmont Mansion, guests frequently find themselves astonished that many original pieces dating to Adelicia Acklen’s lifetime are no longer in the collection.
Fortuitously, Belmont recently celebrated the return of 190 fine objects, from furniture to art, original to the house, that had been passed down to her descendants, the Kaiser family of St. Louis, via Adelicia’s daughter Pauline and her husband, James Lockett. Their daughter, Pauline Adelicia, in turn was the mother of Franck Kaiser, latest inheritor of them. He passed away in 2000; his wife, Beverly Hurt Kaiser, has now moved to Nashville and presented this collection back to the mansion.
While it’s impossible to note every piece, some of the art stands out. “There’s quite a bit here,” says Executive Director Mark Brown, “from paintings to toothbrush holders.” They are, needless to say, splendid toothbrush holders, but the art draws special focus.
There are also beautiful portraits by Cooper of a youthful Adelicia in 1840 and her lovely daughter Pauline as a young woman in 1875, both of which offer fresh, enigmatic faces looking out of the canvas with soft, wistful eyes. Asked about his favorite pieces, Brown shows off a bronze sculpture of a “Bacchante” (female follower of Dionysus), recumbent on a double base of black and green marble, by French sculptor Francois Devaulx, dated 1846 —faintly risqué and exquisite in its languid beauty.
Among the portraits returned are several by self-taught Nashville artist Washington Cooper, a go-to for the family, according to Brown. “All but six of the surviving family portraits are by Cooper,” says Jardinière and Matching Underplate (detail), 1865, Pottery Brown. “He also paid for his There is a plethora of other objects to explore, including exquisite oak younger brother, William, who painted the equestrian portrait of dining room chairs that appear almost Art Nouveau in style but date Adelicia, to study art in Philadelphia. They were a talented family.” to about 1860, made by John Henry Belter. There are several pieces Of note in the Kaiser collection are paintings of Adelicia’s parents, of china and crystal dated to perhaps 1850. All of them together help Oliver Bliss Hayes and Sarah Hightower Hayes. The portraits us piece together more elements of the life of the incredible Adelicia show a very attractive middle-aged couple, both stylishly dressed Acklen and her family. The objects are as wonderful for their insight and coiffed. into their owners’ lives as for their distinctive artistic beauty. Brown’s own favorite among the returned portraits is a baby picture of Victoria Franklin, circa 1840, also by Cooper. The child was perhaps six months old at the time and plays with the hem of her white dress. (All young children at the time wore white; it was easy to bleach—counterintuitive today.)
The antiques are currently on display at the Belmont Mansion, which is open for tours Monday through S a t u rd a y f r o m 1 0 a . m . t o 4 p . m . a n d S u n d a y f r o m 1 to 4 p.m. For more information about the mansion, please visit www.belmontmansion.com.
Francois Theodore Devaulx, Bacchante, 1846, Bronze mounted on green marble base, L. 17”
Washington Cooper, Oliver Bliss Hayes, 1840, Oil on canvas with original frame, 47” x 39”
Vases, French Porcelain (Old Paris), Ca. 1850
Washington Cooper, Sarah Hightower Hayes, 1840, Oil on canvas with original frame, 47” x 39”
Parian Minton, Fraternal Embrace, 13” x 13”
Mantel Vase, 1850, Porcelain with bisque figure
Parian Minton, Resignation, 1865, 14” x 11.25”
American Coin Silver, 1844, 4 ”
Sarratt_0814.indd 1
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The Blair School of Music is pleased to announce its 2014-2015 Concert Series, kicking off with Nashville Sinfonietta, which brings together Blair School and Nashville Symphony musicians under the baton of acclaimed conductor and Blair alumnus Dean Whiteside. 8 p.m. August 30 in Ingram Hall. Details about the Fall 2014 concert series may be found at blair.vanderbilt.edu All concerts at the Blair School of Music are free and open to the public unless specifically stated otherwise. For complete details about all the upcoming events at Blair, visit our website at blair.vanderbilt.edu
www.vanderbilt.edu/sarrattart
2400 Blakemore Ave. Nashville, TN 37212
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PHOTOGRAPH BY ANTHONY SCARLATI
Kathryn Russ Folk Art Femme Fatale by Cat Acree
T
hink about that funny little smile you get when you’ve got a new crush, and you’ll start to understand the rosy goodness between Kathryn Russ and painting. This smile is “about
something that I’m really passionate about, which is how you’d feel in a relationship about somebody. It’s something I just love. It’s all my own.” Russ grew up in Massachusetts, where her commercial artist mother painted sweet sailboats and her brother passed along his love of music. She moved to Nashville in 1995 and now produces several TV music shows, including the traditional country music program The Marty Stuart Show. Producing was the only creative outlet she needed—till August 2013, when she started to paint. Now Russ is churning out new pieces almost every night. It’s like quenching a thirst by drinking from a fire hydrant. Her influences jump from Jean-Michel Basquiat’s portraits, full of untethered, chaotic shapes and color, and the rebelliousness of contemporary graffiti. Portraits of pop and music icons burst from between shocks of acrylic color—Marilyn Monroe shudders in a blue shadow, and Louis Armstrong sinks into a yellow haze.
Billie, 2014, House paint and acrylic on canvas, 30” x 31”
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Forked Tongue, 2014, House paint and acrylic on canvas, 37” x 29”
When everything is brand new, revelations and breakthroughs come rapid-fire, and each new piece bears fresh lessons. One of Russ’s favorite paintings, a red portrait of Jack White, revealed the beauty of happy accidents. After a mistake on Jack’s face, the process of trying to correct the error allowed a bit of light through. “It’s like I’m developing a style,” Russ says. When creativity is coming this fast, and from a place you’d never expect, there’s not much time for over thinking things.
Basie, 2014, House paint and acrylic on canvas, 35” x 28”
Satchmo, 2014, House paint and acrylic on canvas, 29” x 30”
There’s also a distinct influence by outsider art and Mexican and Caribbean folk art, to which Russ is drawn for predominately aesthetic reasons. “The world we live in today keeps getting smaller due to the various streams of technology and exposure we have to cultures and lifestyles from all over the world. And so I paint the things that resonate. I grew up in white,
Skull Handler, 2014, House paint and acrylic on canvas, 23” x 32”
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middle-class America, but those [folk art] stories were all around me. I wanted to explore stories and images that I discovered from other places that intrigued me [rather than] what I found in my own backyard. These cultural images seemed freer, richer, bolder and just took hold of my imagination.” This is the art of childlike exploration, of the freedom to experiment without getting mired in an agenda. Russ’s mom recently recommended she take a course in drawing the human figure. The artist’s response: “Why? That would wreck it.” Russ is caught somewhere between aesthete and artist, still in search of her voice as a painter but riding the creative tide for as long as it will have her. “Somehow the window of creative opportunity has opened, and I keep painting like crazy because I don’t think these things stay open indefinitely. It might shut someday. I am simply taking advantage of this moment.” Kathryn Russ’s art will be on exhibit at Eat Drink Art in Germantown August 29 through September 10. She will also have her work on display at the Newport Jazz Fest, Rhode Island August 1 through 3. For more information, please visit www.kathrynxruss.com. Left. Sin on Wheels from PULP FICTION SERIES, 2014, House paint and acrylic on canvas, 25” x 38” Below. Girl-Frame from PULP FICTION SERIES, 2014, House paint and acrylic on canvas, 8” x 25”
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“But if the arrow is straight and the point is slick, it can pierce through dust no matter how thick” — Dylan
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Ray Stephenson by Holly Gleason | Photograph by John Scarpati
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“I
think all the time I’ve spent with Guy [Clark] has really rubbed off on me,” Ray Stephenson, the poet/painter/songwriter, marvels. “He’s taught me more about how to be myself as an artist than anyone. I couldn’t think of a better mentor.”
Clark may be a mentor, but he’s also a compatriot and a fellow multi-dimensional artist. Beyond being one of Texas’s most iconic singer/songwriters, Clark is also an accomplished painter and an instrument maker. “And Guy also taught me how to build guitars!” Together, the pair has written iconic songs, including “Hemingway’s Whiskey,” title track to one of Kenny Chesney’s most acclaimed albums. Three of their collaborations appear on Freedom, his latest album with the Revival. But the Revival is a concept that extends beyond any linear art form. It’s a notion of coming together to give back, enjoy paintings, hear music, and especially to inspire discourse about the arts, what they mean, and how they inspire people in their lives. For Stephenson, a South Georgia iconoclast, it should never ever be singular, but a
Blues Man with Guitar, Oil media on canvas, 36” x 48”
beautiful merging of disciplines and inspiration. To him, it’s about being seamless as much as it is excelling, as much about the sensation evoked as it is the cognitive process that goes into execution.
“That feeling you get when your favorite song comes on the radio,” he explains. “In my case, Percy Sledge’s ‘When a Man Loves a Woman’. That is the same feeling I get from looking at a great painter like Odd Nerdrum or Gustav Klimt. That is the feeling I’m always trying to create in myself by painting or writing songs. When that’s where you start, that is the feeling I hope my paintings and music will give people.” It is such a pure place Stephenson comes from, it’s almost hard to believe for all his success, anyone could be that sincere. His paintings—powerful portraits with strong brushwork that’s as virile as it is emotional— have hung everywhere from the Country Music Hall of Fame to the Nashville Airport. Close portraits of legends are his forte. A tight image of Willie Nelson, looking down and wearing braids, a picture of John Prine that ripples in earth tones. Even old blues men, rendered in dark indigos, evoke deep sentiment for the heart and conviction that exists beyond the iconic visages.
Willie, Oil on canvas, 36” x 36” 68 | August 2014 NashvilleArts.com
Beyond the images, beyond the notion of what people think when they see these artists, Stephenson seeks—as a writer and painter—to draw out the nuance. “I like stuff with soul, like Ray Charles and Willie Nelson, Hendrix and Billie Holiday. That kind of soul exudes confidence and beauty—and originality. And you can tell the love. Their work shows their humanity, yet it also transcends their humanity. I try to capture that vibe in the paintings.”
On record, the guitarist also seeks to transcend. There’s a romantic current that cuts through songs like “She’s Still Working on Me,” “Wild Honey,” “Make Love” and “Learn How To Love You” exude the notion of what love can be, how it smooths our rough edges and makes us more; yet there’s a resonant edge that isn’t quite the knuckle-dragging he-man, yet the virility whether “Bullets,” “Oak Tree,” “Honkytonk Road” and his own version of “Hemingway’s Whiskey.” He doesn’t dwell on which side of the fence his songs fall on, or anything else for that matter. “Inspiration means ‘in-spirit’. It appears and manifests in many forms. But it’s all the same spirit. Get out of your own way, and it just happens. “And all that being said . . . about five years ago, I was given a copy of the Tao Te Ching, a little tiny book of Chinese proverbs that explain a way of being in tune with nature. It is hands down the best thing to ever happen to my creative process. That taught me how to get into the state of ‘flow’ and never come out of it.”
Marley, Acrylic/mixed media on canvas, 48” x 36”
Be here now, Acrylic/mixed media on wood panel, 24” x 18”
Stephenson isn’t so much worried about what happens as how he realizes his ideas. His Revivals, which have even been used to ground charity events, are a notion he’s committed to, and the painting, songwriting, and recording continue at a feverish pace. In his warm drawl, driving back from seeing his family in Georgia, he laughs just a little. He knows. He knows. “I’m always thinking about paintings and songs. It never stops.” He pauses for a moment. Almost as a cherry on top, he offers one word: “Flow.” For more information about Ray Stephenson, please visit www.raystephenson.com.
Voodoo Child, Acrylic/mixed media on canvas, 48” x 36”
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States) respondents believing creativity is taken for granted. What does this have to do with Nashville?
Bridging the Workplace Creativity Gap by Thor Urness
employers want workers with high levels of what David Kelley calls, in his recent book of the same title, “Creative Confidence.” Kelley, the head of Stanford’s d.school and founder of design firm IDEO, defines creative confidence as “the natural human ability to come up with breakthrough ideas and the courage to act on them.” The 2012 “State of Create” study by software maker Adobe identified a workplace creativity gap, where 75 percent of respondents said they are under growing pressure to be productive rather than creative, despite the fact that they are increasingly expected to think creatively at work. The study showed that eight in ten people feel that unlocking creativity is critical to economic growth, yet only one in four respondents believe they are living up to their own creative potential, with respondents across all five of the countries surveyed saying they spend only 25 percent of their time at work creating. More than half surveyed felt that creativity is being stifled
by their education systems, which promote uniformity and standardization. The analysis published with the study noted the existence of a myth of creativity, which is that very few people are really creative. Yet the truth is that everyone has capacity for creativity, but not everyone develops it. Few schools and employers do much to encourage creativity, as the study also noted, with many (70 percent of United
Progressive companies recognize their employees have untapped creative energy that can be leveraged into opportunities for growth. But their toolkits for harnessing this energy may be underde veloped. This is where the Nashville Arts & Business Council’s WorkCREATIVE projects
Examples of WorkCREATIVE programs are a local bank’s collaborative project that yielded employee-made art for its downtown lobby, a joint project by three companies to paint a mobile bicycle rental facility, printmaking and improvisation sessions at a law firm, and a poetry workshop for a hospital company’s management team. People are naturally creative. The best companies and cities harness the creative impulse. Nashville and its businesses are doing this, including through WorkCREATIVE. To learn more about WorkCREATIVE, the ABC, and its other programs, visit www.abcnashville.org. Thor Urness is a partner at Bradley Arant Boult Cummings and Chairman of the Board for the Arts & Business Council of Greater Nashville. www.abcnashville.org
PHOTOGRAPH BY TODD STRINGER
E
mployers want workers with a high degree of what psychologists call self-efficacy, a strong belief in their ability to complete tasks and attain goals. Progressive
Studies on the “creative class” by Richard Florida of the University of Toronto show that where musicians and artists gravitate, technology businesses and other start-up and entrepreneurial activities also gravitate, all of which contributes to economic growth. Nashville has outperformed most of its peer cities due to its strong creative class, as Florida discussed at his Nashville Area Chamber of Commerce presentation last September, in which he attributed Nashville’s economic overachievement to a healthy blend of “talent, technology, and tolerance.”
can help. WorkCREATIVE brings artists into businesses and integrates their employees in hands-on creativity to stimulate communication, build teamwork, and spark innovation to drive business growth.
A team from Bradley Arant Boult Cummings painting a community mural with artist Andee Rudloff
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Brian Tull, XOXO, Oil and acrylic on panel, 60” x 60”
R EC R E AT I N G
THE REAL
Five Artists Bring Photorealism to Tinney Contemporary
August 2 through September 13 by Karen Parr-Moody
T
he reflection on a drop of water, the gloss of a chrome fender, the luster of a teary eye: Such are the subjects that quicken the pulses—and paintbrushes—of photorealist painters. These
artists can fake objects with mere paint to the extent that they seem realer than the real thing.
But if that were the extent of this genre, it would simply be one in which viewers marvel at the painters’ technical skill, much as they do with painters of trompe l’oeil. Rather, these painters earn their status in the pantheon by creating a vignette of reality that fills viewers with questions about reality.
Many art genres create a watershed moment in history, making a splash as a reaction to another movement. Such was the case with photorealism, which arrived in the late 1960s as a visual rebellion against Abstract Expressionism. During its nascent years, it emerged as cityscapes and portraiture. Some modern photorealists tip a cap to the genre’s roots, while others create new ones, as can be seen in the photorealism exhibition The New Real 2: Figure-Focused at Tinney Contemporary. For this show, gallery director Sarah Wilson curated a roster of five artists that she bills as the “innovators in the contemporary realism genre.” These are nationally and internationally known artists unparalleled in their
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technical skill: Yigal Ozeri, Eric Zener, Ali Cavanaugh, Kevin Peterson, and Brian Tull. The common thread of this show, which runs from August 2 to September 13, is that all of the painters used the female figure as their subject. Brian Tull, whose themes run to the nostalgia of the mid-century era, is a Nashville artist who paints much in the vein of Don Eddy, an early photorealist whose better-known subjects are uber-glossy cars. Upon viewing one of Tull’s paintings—say of a femme fatale typing on a 1950s-era typewriter—one notices that the woman’s skin is painted with an ethereal glow and that the reflections in the typewriter’s chrome seem to swirl beyond reality. By painting in oil and acrylic on aluminum, Tull creates an entire world of reflection in minutiae. Indeed, when he paints items made of chrome, for example, he often adds layers that were not even in his original source photo. The result is that one section of a painting looks just real enough and another section looks hyper real. Furthermore, the aluminum “canvas” allows for a minimum of brushstrokes, and Tull coats the final works with automotive clear coat, further blurring the lines of reality. His works are, literally, as smooth as smooth can be. “My goal, when I’m painting, is to hide my technique on the final piece, and then it’s successful,” Tull says. “I try to make it so that people don’t know how I got there. There are some photorealists who boggle my mind, how they do it. I try to study their work and push my work a step further.” Eric Zener, How to Be Happy, Oil on canvas, 60” x 48”
Ali Cavanaugh, who was born in St. Louis, imbues her paintings with a contemporary feeling that likely derives from her being a fan
Yigal Ozeri, Priscilla in Ecstacy, Oil on canvas, 54” x 82”
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Kevin Peterson, Samantha, Oil on panel with expanded metal, 24” x 30”
of Andy Warhol and high-fashion photography. Her technique is unique: She paints on clay panels using mostly Golden’s QoR watercolor. She slowly builds up the color on a wet clay surface using tiny, overlapping brush strokes, in a method similar to painting with egg tempera. Despite her technical prowess that verges on formalism, Cavanaugh still wrests emotion and warmth out of her female figures, much as Andrew Wyeth did with Helga Testorf in his famous egg tempera paintings. “I see a lot of my contemporaries searching for technical refinement and a surety in their craft, and they are achieving an undeniable material sophistication in their work,” Cavanaugh says. “This is a very good thing, but if there is no
Yigal Ozeri, Untitled: Shely, Oil on paper, 42” x 60”
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Eric Zener, Sea Dream, Oil on canvas, 72” x 84”
Kevin Peterson, Lucinda II, Oil on panel with expanded metal, 26” x 14”
content fueling a person’s art, then what is the purpose? Just good life studies or regurgitation of photographs? There has to be a bigger concept behind one’s art to build a legitimate art career.” New York City-based artist Yigal Ozeri is the natural heir to such romantic female portraiture as Lady of Shallot by John William Waterhouse and Ophelia by Sir John Everett Millais. From these he takes the ornate tapestry of nature and sets within it hyper-realistic young women painted in oil, their eyes dreamy and their skin dewy. Theirs is the innocence of youth suspended in a natural world that is as forbidding as it is inviting.
lacking feeling or emotion. Sometimes the work can feel cold. I work hard to infuse an element of humanity into mine.” The New Real 2: Figure-Focused opens at Tinney Contemporary on August 2 and remains on view through September 13. Opening reception August 2, 6–9 p.m. Closing reception on September 6, 6–9 p.m. For more information visit www.tinneycontemporary.com.
Eric Zener’s women, painted mostly in oil, are suspended in water, their breath exhaled in a flurry of shiny bubbles. Inviting the viewer to dive in, his paintings capture the essence of what it is to be bathed in water—that primal feeling of envelopment. “All of the works take a departure from what I saw or photographed for an idea or reference,” Zener says. “The lighting, color, and environment are all created to make the image work in concert with my metaphors I explore, namely escape, transformation, and reprise. My goal, largely, is to take the viewer to a place that they wish they were or away from a place they wish they weren’t.” Houston-based artist Kevin Peterson’s paintings nod to the gritty realism of photorealism’s early urban landscapes. In them he contrasts young girls against the city backdrops of naked brick walls adorned with graffiti, a juxtaposing of innocence against imperfection. “A lot of photorealism focuses on what I would call ‘eye candy,’” Peterson says. “It’s visually interesting content, but it is often
Ali Cavanaugh, Hope. . . With Silence, Neo fresco secco, 24” x 24”
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Opening Reception: Sunday, August 24, 3-5 pmNellieJo_0814Q.indd • Marnie Sheridan Gallery • The Harpeth Hall School 1 7/11/14 11:08 AM
Water
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GARY OGLANDER & EVAMARIE PAPPAS-OGLANDER Exhibition: August 24 – October 21, 2014 • Gallery Open Monday – Friday 8:00 am to 4:30 pm • 3801 Hobbs Road, Nashville, TN 37215 • www.harpethhall.org
PHOTOGRAPH BY BRETT WARREN
Amanda T Joy
by Jesse Mathison
Brown
The Art of Going Places
he paintings of Amanda Joy Brown are conceptually intriguing. They are at once chaotic and ordered, sometimes appearing rather neat and concise, at other times possessing an almost haphazard appeal. The images she creates often deal with the human figure, but the works aren’t particularly warm or cold in their treatment of the subject matter. After viewing over twenty works by the artist, it becomes apparent that there is much consistency behind the work, thematically and technically; the medium is the same (acrylic on canvas), as is the subject matter. With this in mind, it is impressive that the artist has created such a varied aesthetic portfolio and continues to push her boundaries and create work that demonstrates a surfeit of ability and imagination. The pieces I viewed were primarily part of two very different series: Monochrome/Pattern and Markets. As a quick comparison, one series is more colorful while the other is often sparse. One is concerned
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Dog at the Flea, 2013, Acrylic on canvas, 62” x 52”
with a detailed underlying structure while the second is more organic in its approach. But while the two bodies of work are divergent in some respects, there is also a great degree of consistency in terms of technique and subject matter, which is represented in the artist’s body of work as a whole. In our conversation, we discussed technique and some of the workings behind the process. “It took me a while to mentally be okay with not painting realistically,” began Amanda Joy Brown.
“I started on the Markets series about the same time I was taking a Chinese painting course, so I was ver y interested in linear work.
I go through these periods where my spaces are super messy, and one day I sat down and was kinda overwhelmed at how crazy/messy my room was. I took a pencil and paper and started drawing a contour piece, and it was a cool challenge, which created a really interesting
Dog at the Flea (detail)
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Sienna Beach I, 2013, Acrylic on canvas, 40” x 44”
Static RGB, 2013, Acrylic on canvas, 47” x 50”
rhythm, especially with the objects around the room. Eventually I got to thinking about chaotic situations, and I was always really attracted to the human figure—I love drawing the human figure—so I felt like the natural choice for exploration was faces. Of course it’s not one continuous line, in this instance, but it’s a similar process [to contour drawing], and because it’s so loose and you have to go through it
quickly, little caricatures come out. No one is necessarily pretty or ugly, but they all have a certain sense of character.” Line shape and a certain sense of ambiguity are at the heart of both series. While the overall structure and processes of each series are different, the line shape used to depict the figures of humans is quite
Marina Market 1 & 2, 2013, Acrylic on canvas, each panel 46” x 48”
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Late Afternoon Beach, 2014, Acrylic on canvas, 27” x 29”
consistent. The technique involves mixing acrylic paint with tar gel, which results in a consistency akin to that of honey. The final product drips onto the canvas, offering a unique result. “I tend to work in the moment,” says Brown, “and it’s always interesting to hear people’s viewpoints when it comes to art, as everyone sees something different. Some people see isolation; I’ve had people say they see angry chaos or cool characters while others may see joy. It’s like a Rorschach test. The human face is something everyone can connect with or project themselves onto, so of course it has a wide range of appeal. The Monochrome/Pattern series began with the idea of analog static, which can appear random but possesses an underlying wave structure that corresponds to the frequency of the signal. “I like the idea of putting something like a crowd over such a different framework, and the crowd itself has a structure as well, so they’re like two interlocking wavelengths, with the circumstances underneath, and the people over top of that. The interlocking
patterns and all-over composition tend to evoke a more visceral response: there’s a rhythm but also a sense of confusion that I try to achieve simultaneously. ”
In these pieces the artist uses gradient, line shape, and tone in the foreground to overlay a background built around a distinctly separate but harmonious balance. It is a curious mix, one that can elicit a wide range of responses. The works can be at once frenetic and calm, depending on the audience. Perhaps the strongest trait of the artist is her ability to pull such a range of emotional responses from her audience, while at the same time bettering her skill set and exploring new techniques. With such ability and a willingness to take chances, expect more intriguing work in the near future. Amanda Joy Brown currently exhibits work with Parker Gallery (St. Simons Island, Georgia) and Galerie Ortus in Bonnieux, France. www.amandajoybrown.com.
80 | August 2014 NashvilleArts.com
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Camille Engel (bird realism, oil), and Edie Maney (background abstract, acrylic), Leaning Against the Sun, Oil and acrylic on wood panel
Camille Engel When Paint Starts To Fly by Karen Parr-Moody
B
y etching into the cool, limestone walls of a cave in Vallon-Pont-d’Arc, France, a prehistoric artist recreated the silhouette of an owl, its head turned to the viewer at a 180-degree angle over its feathered wings. It is man’s earliest known
depiction of a bird, this artwork dating back 36,000 years.
NashvilleArts.com
August 2014 | 83
On Top of the World, Oil on wood panel, 18” x 48”
More recently, ornithologist John James Audubon elicited wonderment with his nineteenth-century depictions of birds. His talent was immortalized in his Birds of America illustrated book, which remains one of the most collectible books of its kind. Like so many of her predecessors, Camille Engel—who didn’t seek out painting until she was in her forties—has become thoroughly enchanted by birds as subjects for her artwork. But it took some coaxing before she even picked up a brush. On a typical sunny day Engel sits in her studio, where a nearby stack of books includes Masters of Dutch Paintings, hinting at her study and use of luminous light. Momentarily distracted by squirrels, who climb onto the bird feeders outside the studio’s French doors, Engel gets up to shoo them away. “They’re teenagers, and they’ve
just gotten so brave,” she says. The squirrels twitch their tails and scatter. Then Engel sits back down to recount the watershed moment that urged her to paint. “I was at church and our pastor said, ‘If you have a dream burning inside of you, and you have had it burning for a while, it could be a dream God put inside of you,’ ” she says. “I had always wanted to be an artist. And when I heard that, I decided I would take up painting. So I called Cheekwood and said, I’m old. I don’t have time to mess around. Who’s your best teacher?” It was the year 2000. Engel began her painting studies at Cheekwood by depicting tableaux of flowers and fruit. By the time she had completed her eighth painting, a collection of roses, she had gathered a confidence that was ultimately validated: Art Calendar magazine put the rendering on its
A Song Worth Volumes, Oil on wood panel, 11” x 14”
cover. “Very, very quickly I realized that this was a gift I had never used before,” Engel says. By her eleventh painting, her progress—almost as if by miracle—far surpassed what could have been expected of her brief time with the brush. This eleventh piece, which depicted d’Anjou pears, was possessed of a halo of light, like that of Johannes Vermeer and the other Dutch masters. This light illuminated, rather than washed out, the dotted texture of each green pear’s flesh. But it wasn’t flowers or fruit that captured Engel’s heart and canvas. It was the various birds that flitted through the thick canopy of trees surrounding her studio, including cardinals, titmice, house wrens, chickadees, and hummingbirds. She began depicting them in oil in 2006 in a style she calls contemporary realism.
Strike A Pose, Oil on wood panel, 16” x 20”
84 | August 2014 NashvilleArts.com
“I love birds,” Engel says. “I love their freedom.” What makes her feathered subjects so fascinating is that she renders them realistically but still imbues them with individual personality. “I can paint impressionistically, but I’m drawn to painting the painstaking detail of realism,” she says. Engel isn’t wholly without an artistic background. She was a graphic designer by the age of 16, and at 23 she opened a design studio in Nashville. She also once operated a shop in Opry Mills Mall that catered to bird watchers. There she sold bird feeders, bird houses, and cameras on motion detectors that would take photos of birds. She closed it down after, she says, “I was fortunate enough to realize it was a distraction from my painting.” Her bird depictions are what have put her on the artistic map—particularly her most popular paintings, which are included in her Trespasser series. Drawing on the cleverness of graphic design and the detail-oriented nature of bird watching, Engel created these paintings in a trompe l’oeil style in which birds seem to have burst through the canvases. Around each bird’s curious face, there are the unfurled edges of canvas through which the creatures have “trespassed.”
couldn’t resist opening the French doors to her studio, birds—titmice, hummingbirds, and cardinals—have flown indoors. Some have even landed on her easel. “I attract songbirds,” she says. But despite settling in with birds as her favorite subject, it was a simple red apple that captured Engel’s attention in her early days of painting. She was at a low point in life—“distraught,” as she describes it—and decided to reverse this state by finding three things each day for which to be grateful.
“So I picked up an apple one day, and I noticed the detail in the skin, that it wasn’t just a red object; it was so much more,” she says. “Noticing detail really gave me new life and new hope, I guess you can say. Noticing detail was my rainbow, like Noah had his rainbow.” And like those happy little bluebirds that find their way over the rainbow—as the famous song goes—Engel has found the place where the dreams that she dared to dream really have come true.
For more information about Camille Engel visit www.camille-engel.com.
PHOTOGRAPH BY HOLLIS BENNETT
This series was based on real-life events, Engel says. On gorgeous days when she
Online Chat, Oil on canvas, 24” x 38”
Camille Engel
Home Sweet Home, Oil on canvas, 22” x 28”
NashvilleArts.com
August 2014 | 85
MAN WITH A SPRAY CAN
T
by Lily Clayton Hansen roy Duff’s career recently came full circle when the graffiti artist started painting a building in his old 12South stomping grounds. It is
PHOTOGRAPH BY JOSHUA BLACK WILKINS
a collaborative effort between him and restaurateur Miranda Whitcomb Pontes to discourage future defacement and bridge the gap between the past and present. “There is a mutual respect among graffiti artists that you don’t paint over one another’s work,” explains Duff. “Still right from the beginning I thought, graffiti in 12South?”
Graffiti Artist Troy Duff Gives a Piece of Himself to the Community
86 | August 2014 NashvilleArts.com
While Nashville, as a whole, is becoming increasingly urban, spray paint is still overtly shunned by parts of the city. While Duff had laid claim on the Eastside with pieces at Barista Parlor and POP, he feared his work would cause more controversy on the other side of the river.
2007, his sartorial career came to a close when his sister began battling breast cancer. He moved back home, married his high school sweetheart, and used the change of scenery to concentrate on his fine art.
PHOTOGRAPH BY JUSTIN CHESNEY
Graffiti is said to be the ultimate code language, and the artist weaves the genre’s hard angles, geometric shapes, and shadowing into his fine art pieces. It is an abstract fusion of Venice Beach street art murals and 1960s Pop Art. Acrylic, mixed media, and spray paint straddle the line between graffiti and art gallery.
Mural at Josephine's on 12th Avenue South
“I wanted to initiate a conversation of where we were as a community to where we are today,” explains Pontes, founder of The Frothy Monkey, Burger Up, and Josephine. After a vacant building was continuously tagged up across the street from Josephine, she daringly hired Duff to paint a full-scale mural. The mural diplomatically mingles street art with condominiums, boutiques, and cocktail lounges. It is Pontes’s way of paying respect to the neighborhood’s history and current renaissance.
Gesturing towards a canvas he explains, “On this one I took a grease pencil to make some shapes. Other times, I’ll grab some spray paint to create flow and activity.” The artist has most recently acquired visionary status by inviting corporations, city officials, and convention groups to view graffiti in a different light. Sherwin Williams, Dish Network, and even the Cool Springs Mall have hired him to demonstrate how the taboo art form comes to life. Yet Duff truly wants to use his trigger finger to turn mundane objects into public art exhibits. From trashcans in Printer’s Alley to 12South’s mural, he wants passersby to be visually and intellectually stimulated. It is a goal he is determined to meet one wall at a time. “Graffiti is a visual art that makes you step outside of the box,” Duff says. “You may not be able to read it right off the bat, but give it some time and all of the pieces will come together.” For more information about Troy Duff, please visit www.troyduffart.com.
Popularized in cities like Chicago, Los Angeles, and New York, street art caught the public by storm with political artists like Banksy and Pixnit. Duff is working on disassociating graffiti from vandalism, hoping to change the city’s tune. He has battled the polarizing issue since his Belle Meade high school days in which he was first introduced to “tagging.” Duff fictionalized an alter ego and “began spraying on any and everything in sight.”
PHOTOGRAPH BY TROY DUFF
PHOTOGRAPH BY TROY DUFF
The minute Duff finished school he moved back to Los Angeles to pursue a modeling and acting career. In between iPod campaigns—in which he was the dreadlocked, dancing silhouette—and television roles, he founded his own fashion line, Duff Couture. For several years he collaborated with trendy West Coast boutiques and airbrushed clothing for a popular Japanese import line. Yet, in
Mural at POP on Gallatin Road
Stairs at POP NashvilleArts.com
August 2014 | 87
NATHAN BROWN,
BRETT ZACCARDI,
Street Attack maximum • marketing • mayhem
I
PHOTOGRAPH BY JOHN SCARPATI
Director of Disruption
Main Character
by Michael Dukes n case you haven’t noticed, a new breed of creative marketers is turning the ad world on its head. They’re fearless. They’re
hyperconnected. And they’re rewriting the rules of brand engagement faster than you can say “hashtag.” Street Attack, a self-described Creative Disruption Factory, is a prime example. Founder Brett Zaccardi, who relocated from Brooklyn to Music City last year, has spent a decade building excitement around brands, including Keurig, Heineken, Microsoft, and Barneys New York. Nathan Brown, artist, music remixer, and eternal skater kid, followed a parallel path
doing guerilla marketing for record labels, bands, and LiveNation. He was based out of Atlanta and Denver before landing back in Nashville. I caught up with this dynamic duo in their airy third-floor command center overlooking the 12th Avenue border of Sevier Park. NAM: So how did you two meet?
BZ: Nathan and I had actually been working together for years, but it was always long distance. Suddenly we both found ourselves back in Middle Tennessee. If there was one person I could have met to make Street Attack happen in Nashville, it was Nathan. But it took knowing him for ten years.
88 | August 2014 NashvilleArts.com
NB: We finally met up in person at the 12 South Taproom, and it just sort of clicked right away. Within the first week a nice piece of business fell into our laps. We didn’t have an office yet or anything. NAM: What makes Street Attack work? BZ: What I’ve always done is person-to-person interactive marketing. Bring in these big huge brands that are ultra corporate and expose them to an age group that would have never touched them. When you come to a smaller market that hasn’t been exposed to the experiential marketing that we do, some really simple things can get a lot of attention. NB: The first project here was to help launch a moonshine brand called American Born.
BZ: The momentum of the art and cultural
stuff that’s happening.
NB: I think Nashville will accept a lot of what
we do in the art world, in the entertainment world. The potential is incredible. Nashville is accepting a broader range of music now in general, and we see that happening with the arts too. BZ: The sheer [number] of musicians a n d artists. There’s an appetite for experimentation, for art, for creativity. I liken East Nashville to Wicker Park or Brooklyn. Nashville has this cachet now, even in places like Paris and Dubai, and it’s not just hype. NAM: Why 12South? NB: I just absolutely love this neighborhood. People running, walking their dogs, sitting on porches. There’s a lot of great restaurants and unique little bars. It’s inspiring to be over here. BZ: When Phil [Krajeck] and I started
scouting a location for Rolf and Daughters, 12South is the first place we looked. Even
Sea-Doo x Deadmau5 product launch at the Winter Music Conference, Miami
American Born Moonshine launch
TN Mafia Jug Band at American Born Moonshine launch
coming in as an outsider, it was obvious this little area had become one of Nashville’s cultural nodes.
BZ : The cultural piece is still evolving. It ’s all just at the very beginning of what I think it can be. I’ve done a lot, seen a lot, and I’d love to bring more of that here. I think we can actually make an impact.
NAM: Crystal ball time. What does the future hold? NB: We want to bring stuff to Nashville that the city’s never seen before. Really expose people to the international scene. This city’s exploding already.
American Born Moonshine launch at the Neuhoff Factory, Nashville, TN
NashvilleArts.com
For more infor mation about Street Attack and the Creative Disr uption Factor y, please visit www.streetattack.com.
PHOTOGRAPH BY JONATHON KINGSBURY
NAM: Why Nashville?
PHOTOGRAPH BY JONATHON KINGSBURY
bloggers and people were asking, what is this with the snakes everywhere? Word got out.
COURTESY OF HAUTE COUTURE MEDIA
BZ: It was a simple thing, but all these
COURTESY OF STREET AT TACK
So we did this thing we’d already done in New York and L.A., which is a form of temporary billboards. We actually have our own name for them—flyboards. We used the snake f rom the old “Don’t Tread on Me” flag. And they just said “The Nashville Run.” We put them everywhere.
August 2014 | 89
Poet’s Corner
Morning and Night Beyond our town the bottomlands flood each year. Someone’s son goes walking, never comes back. Weeks pass. Town square talk reclaims the days. Tonight I hear the rain remember roots and think of elders gone the long way back to dust. What we know by heart we doubt the most. I have a wish to be at someone’s door, unannounced but welcomed anyway, ushered in to dine and sing and sleep the sleep of kings. But this is a world of slaughtered saints. Random shots are fired, while morning and night our mothers turn their faces toward the sleeping hills. So quickly has the century come and gone. For a while let’s ask each other simple questions and make up answers that can keep us home tonight.
PHOTOGRAPH BY JOHN JACKSON
— Jeff Hardin Jeff Hardin will read a selection of his poetry at the Poet’s Corner on August 28 at 7 p.m at Scarritt-Bennett. The event is free and open to the public. For more information please visit www.scarrittbennett.org.
90 | August 2014 NashvilleArts.com
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Shoe of Nineteenth Century Baseball Player, 2014
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OPEN CALL FOR ARTISTS
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7/9/14 9:50 AM
Submit your art, photography or sculpture to be juried by Nashville Arts Magazine for a 2015 exhibit at Customs House Museum, Clarksville Tennessee
arTisTs
18
years and older inTeresTed in
exhibiTing aT The museum in
2015
musT send The following To be considered:
Five images oF work completed in the past
three years to inFo@nashvillearts.com with accompanying list oF titles, medium and size
artist bio/resume complete the online inFormation Form at www.nashvillearts.com Applications will be kept on file for one year. Application materials will not be returned to artists.
Selected artists will be notified by October 30 and will be given a show at Customs House Museum in Clarksville, TN NASHVILLE ARTS MAGAZINE WILL ONLY ACCEPT SUBMISSIONS FROM AUGUST 15—OCTOBER 15 For entry details visit www.nashvillearts.com or call (615) 383-0278
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7/22/14 1:49 PM
Film Review
Film still from The Upside of Down featuring Jordyn Tucker
Film still from Love Is Alive featuring actors Ashanti Roa and Siane Wilson
ICiT Films
Two locally written and produced films make it to the big screen
classrooms that put young learners in the same rooms as professional filmmakers, instilling values such as teamwork, creative thinking, and time management. This year, the ICiT program produced two short films: The Upside of Down and Love Is Alive. Both films are original, exemplary works that create inspiring content for young movie lovers by young movie lovers. The Upside of Down: Punctuating the vulnerability of youth to their surroundings, The Upside of Down follows Akeema, a high-schooler who is trapped in the awkwardness of young adulthood. Forced to dwell in the negativity of day-to-day life that causes her to tune out abusive classmates and emotionally neglectful parents, Akeema turns to her artistic skills to change the world around her. Both visually and thematically, it’s a promising short that uses creativity as a metaphor for growing up. It’s also an informer of the invisible victims who populate our lives and how friendship and pride can help dispel our woes.
Love Is Alive: Longing for the love and romantic adventure she reads about, shy bookworm Rachel dreams of a cupid to help her school crush blossom into something more. Sent to her as a sort of punishment, a “love pixie” named J has three days to help the mortal Rachel find everlasting love before Rachel’s best friend steals the man of her dreams. It’s a cute, funny, and fresh look at high school romance that audiences young and old can enjoy. The quirkiness of the players and sets gives a sort of cartoonish, fun energy to an age-old dilemma. Both films, as well as information about the ICiT program, can be found at www.icitfilms.com.
Actress Ashanti Roa getting her makeup done
PHOTOGRAPH BY SAMUEL WOMER
A
s previously shared in Nashville Arts Magazine, the Inspiring Creative, Innovative Thinkers (ICiT) program gives Nashville students the wisdom and resources needed to create short films. These film projects create on-set
PHOTOGRAPH BY SAMUEL WOMER
by Justin Stokes
Production set from The Upside of Down
92 | August 2014 NashvilleArts.com
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Stochastic (stō kas' tik)
The pseudo-random or variable arrangement of printing dots to recreate full color images of nearly photographic quality, clarity and detail.
So . . . where can you see stochastic printing?
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MERRICK PRINTING Merrick Makes It Happen.
The Highway Has Always Been Your Lover, Oil and acrylic on panel, 60" x 60" Artist, Brian Tull represented by Tinney Contemporary
The Merrick Printing Co., Inc. Contact: Richard Barnett, Sr. VP – Sales Cell (502) 296-8650 • Office (502) 584-6258 richardb@merrickind.com
In Back of the Moon, Acrylic on wood panel, 24” x 24”
Life Unfolding One Mark at a Time A picture is not thought and settled beforehand. While it is being done it changes as one’s thoughts change. And when it is finished, it still goes on changing according to the state of mind of whoever is looking at it. – Pablo Picasso by Lydia Denkler
M
ethodical artists have notebooks filled with sketches and studies, their path mapped out before the work is begun. Not so for
Gloria Newton, a visual artist who embraces Picasso’s idea of spontaneous process. After more than twenty years at work as a painter and mixed-media artist, she peels back the layers of her creative process. She challenges herself to embrace the unexpected by allowing her subconscious to take the first step and letting her subsequent steps be led by her evolving vision. This process
allows for her fullest and most authentic voice to transpire, and it transfers the undercurrent of her life experiences to her painting. “Black line is typically a big factor in my work. Because the first marks dictate a response, I begin a lot of paintings with my eyes closed. I feel it, then look, and then respond.” Newton developed her technical skills as a painter at Watkins College of Art, Design, & Film. Later, with the help of an important mentor, abstract painter Anton Weiss, Newton learned to embrace
94 | August 2014 NashvilleArts.com
a process of starting in chaos and then organizing it by shape, contrast, interest, and strength. “He taught me not to drift into specifics too soon but to allow the subject to remain elusive, adding only an implication of clarity.” She developed her mastery of acrylic and broadened her artistic language in advanced classes with another prominent abstract painter, Carol Mode, at Belmont University. Newton cherishes the inspiration of her creative Arkansas family. She has also developed her vision by working with and in close proximity to her husband and creative partner, Wood Newton, a successful songwriter as well as an accomplished sculptor.
In her acrylic work on panel In Back of the Moon, Newton finds inspiration from the Santa Fe landscape and the grandeur of the Southwest. Set beneath the backdrop of the monochromatic blue-gray tones of twilight, the work draws attention to the swooping
Golden Girl, Mixed media, 48” x 32”
Moon Land, Acrylic on wood panel, 48” x 40”
First Day of Spring, Mixed media on panel, 48” x 38”
and energetic lines that define the ardent foreground. In this piece, each layer brings on a new meaning starting with basic strokes of a black line then building layers of muted color. Look closely and mysterious petroglyph-like characters emerge.
and rich with residual energy. The use of wire gives her work both a reflective glow and the warmth of sunlight.
“
I begin a lot of paintings with my eyes closed. I feel it, then look and respond.
”
Loose and aggressive lines unravel the picture plane and create the tense form in Golden Girl, an acrylic and brass wire work on panel. The outcome is both enigmatic
Gloria Newton NashvilleArts.com
Newton strives to keep challenging her creative process. She says, “There are many ways to tell a story, and that’s what keeps me motivated.” More recently, the direction of her work reflects a new kind of improvisation. Newton has repurposed fragments of her older watercolors from her early career. “I guess you could say it has taken me twenty years to do these paintings.” Gloria Newton’s work in on exhibit at Harpeth Art Center and Gallery located at 462 Highway 70, Peagram, TN. For more information please visit www.mudpuddlepotter y.com and www.glorianewtonart.com.
PHOTOGRAPH BY ROB LINDSAY
With the natural world as her muse, Newton steps into her studio each day ready to respond to what appears before her. She primarily works with acrylic and watercolor, and at times she enhances her work by embedding wire: brass, copper, and aluminum. Her works allude to recognizable form, but they remain independent of specific interpretation. Because of the many ways she confronts the unexpected, Newton’s work is visually dynamic and has a surprising versatility.
August 2014 | 95
Nashville by Joshua Black Wilkins
Musician, photographer, coffee drinker
6 a.m. F
or the past two years, Barista Parlor has made headlines and gained nationwide attention not only for Nashville but for the craft coffee industry. Living in a city that has
been flooded with tourists, onlookers, trendsetters, TMZ, and building developers, it is easy to become numb to everyone’s “new great ideas.” But Barista Parlor isn’t a new great idea. It’s a business based on presenting excellent cups of coffee—cups of coffee that take time, having been brewed and filled on demand. When it opened on Gallatin Avenue two Mays ago, lines were long. Not only was the coffee delicious, but the clientele were star studded. This was quickly the place to bump into the “Nashville famous,” and it still is. This is what the multiple magazine articles across the country talk about when gloating on Nashville 96 | August 2014 NashvilleArts.com
in general and Barista Parlor specifically. But in two years, its business is still about one thing only: great cups of coffee. And there is still a line. Barista Parlor is one of the most Instagramed businesses in Nashville. With the large sign atop the concrete wall, the lines of motorcycles backlit by the windows of old garage doors, and cups of craft coffee sitting perfectly on reclaimed wood tables, we can’t help but take the same photos, from the same smartphones, while achingly waiting for our coffee to be delivered. But before the people line up against the kickstanded vintage motorcyc les, while “checking in” on Facebook and checking out the
NashvilleArts.com
August 2014 | 97
hipsters in line, all while tugging at their beards and comparing the cuffs of their Imogene + Willie jeans, Barista Parlor is full of energy and loud music—at 6 in the morning. The espresso machines are being calibrated, pastry cases are being filled and organized, and the biscuits are being made. Oh, those biscuits! And the turntable blasts Black Flag, which fills the large, former transmission shop through retrofitted, mid-century, standup radios. It’s as brilliant now as it was two years ago, if not more so.
bloggers, Facebookers, and trendsetters. I wanted to have the only camera in there, for once.
I wanted to see Barista Parlor before the lines arrived. I wanted to photograph the space before the seats and stools were filled with
For more information about Joshua Black Wilkins, please visit www.joshuablackwilkins.com.
Seven a.m. came quickly, and the top-of-the-morning regulars and first-time gawkers showed up in droves. Coffee was decided on, biscuits were ordered, and photos with vintage “filters” were taken and immediately added to the online public-relations department that has certainly inspired so many people in recent years to buy one-way tickets to Nashville, Tennessee.
98 | August 2014 NashvilleArts.com
REGISTER BY SEP 2 Offering classes in book arts, clay, creative writing, film, painting, photography, printmaking, and more!
watkins.edu/community 615.383.4848 community@watkins.edu
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P H OTO G RAPHY COMPETI TI ON Nashville Arts Magazine announces our fifth annual photography competition. Last year, we saw a stunning array of Nashville’s talent, and we can’t wait to see what 2014 brings! The top 10 winning entries will be featured in the October issue of Nashville Arts
Magazine. This is an open competition for all local and international photographers. Submit a maximum of 3 high resolution photographs to info@nashvillearts.com. DEADLINE FOR SUBMISSIONS IS AUGUST 15, 2014. See www.nashvillearts.com for competition details.
First Place: $500 cash Second Place: $300 Chromatics gift card Third Place: $200 Chromatics gift card
Submissions due: August 15, 2014 · Winners announced: October 2014
See www.nashvillearts.com for details
C
by Joe Nolan
Critical i
artoons used to be just for kids, but about forty years ago that all began to change: Generation X watched Looney Tunes reruns on Saturday mornings, went to high school with The Simpsons, attended college with Beavis and Butthead and Aeon Flux, and now queue up for tickets to Japanese anime festivals in their forties—but enough about me.
© KRÁTK Ý FILM PRAHA A .S.
The Frist’s new exhibition Watch Me Move: The Animation Show is an expansive history of animation organized by the Barbican Centre in London. The show is a more-is-more display that takes viewers on an encyclopedic tour from Eadweard Muybridge’s still-magical 1887 images of a galloping horse, to early cartoon “stars” like Max Fleischer’s Betty Boop, to the once-mind-boggling light cycle races created for the movie Tron, and to contemporary digital cartoons like Pixar’s 2004 feature The Incredibles.
JiríTrnka, The Hand (film still), 1965, 35mm color film, sound
As soon as I walked into the darkened gallery space and entered the first roomful of displays, both the show’s courageous breadth and obsessive attention to detail were immediately on display, and one has to refer back to the packed walls of their 2012 Carrie Mae Weems retrospective to recall a Frist exhibition as driven with crazy ambition. The show includes eighty-six films from the US, Spain, France, the Czech Republic, Japan, China, Canada, Germany, Poland, Sweden, and New Zealand. The Frist’s 2012 summer program was the folk-art-focused pairing of Bill Traylor and the Gee’s Bend quilters that gave folks from around the region something to flock to. Last year’s Sensuous Steel: Art Deco Automobiles found the galleries filled with giddy little boys and their giddy fathers gushing over the gorgeous horsepower on display. While this show delivers plenty of whimsy and BANG! POW! excitement for the smaller set, it also includes adults-only displays with more mature content and the abstract experiments of cinematic sorcerers like Stan Brakhage and Harry Smith, which were the highlight for me.
If the show has a downside it’s that its blinking images and cacophony of sounds can prove overwhelming at first. The designers and installation crew at the Frist deserve kudos for keeping the noise to a minimum and creating quiet spaces in the exhibition, but it’s a lot to take in, regardless. My advice to day-trippers and tourists is to come early, stay late, and plan to eat lunch at the Frist’s cafe. For locals, I can’t think of a better example of an exhibition that requires—and will reward—multiple viewings. Watch Me Move: The Animation Show will be on exhibit at the Frist Center for the Visual Arts through September 1. For more information, please visit www.fristcenter.org. 100 | August 2014 NashvilleArts.com
The Long Players perform The Beatles’ Yellow Submarine at Frist Friday
Missy Erlanger and Belinda Moss at 2OH: Next
Nancy Lee Andrews at 2OH: Next
Nathan Sulfaro at The Packing Plant, Wedgewood/Houston
PHOTOGRAPH BY CORTNEY KING
PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON
Ellen Pryor, Ken Roberts, Robin Haney at Jazzmania Kick-off Party
PHOTOGRAPH BY CORTNEY KING
SEE ART SEE ART SEE
The Packing Plant, Wedgewood/Houston
NashvilleArts.com
August 2014 | 101
Courtney Adair Johnson and Cara Young at GJCC
Hannah Taylor at Zeitgeist
Community Dark Room Opening NIght
SEE ART SEE ART SEE Coop Gallery at Downtown Arcade
Valerie and Jason Levkulich at the TPAC Patron Party
Jerry Atnip and Larry Lipman at The Lipman Group Sotheby’s—International Realty Visiting Artist Series event
102 | August 2014 NashvilleArts.com
Frank and Julie Boehm at the TPAC Patron Party
Jackie Karr, Jerry Fink, Edie Maney at The Lipman Group Sotheby’s—International Realty Visiting Artist Series event
COURTESY OF THE ANDREWS AGENCY
Ken Vrana, Lisa Vrana, Elizabeth and Bobby Rouse at Lexus Art Night
Grant and Suzanne Smothers, Linda and Jere Ervin at the TPAC Patron Party
COURTESY OF THE ANDREWS AGENCY
John Hoomes and J.R. Roper at Lexus Art Night
PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON
Curt Allen, Rana Mukherji at Viridian, Downtown
PHOTOGRAPH BY TIFFANI BING
Janet Decker Yanez, Brian Jobe, Ian F. Thomas, Ryder Richards, Carri Jobe at Ground Floor Gallery, Wedgewood/Houston
Dennis Nunuz, Bianca Nunuz, Loraine Segovia-Paz, Yuri Cunza at the 5th Annual Arts & Flowers
SEE ART SEE ART SEE Patrick Duffy, J. Baker at Viridian
Kit Kite, Garrett Mills, Morgan Liverman, Carrie Mills at GJCC PHOTOGRAPH BY TIFFANI BING
PHOTOGRAPH BY TIFFANI BING
Lisa Guenther, Matt Condon at 40AU
Von Derry at David Lusk Gallery
Manuel and Jim Robert at the 5th Annual Arts & Flowers
Chris Spear, Arthur Kirkby, Best in Show winner at the 5th Annual Arts & Flowers NashvilleArts.com
PHOTOGRAPH BY TIFFANI BING
Sharon Stewart at WAG
Co-chairs Whit and Meagan Rhodes, Celebrity Judges Brenda Lee and Harry Chapman at the 5th Annual Arts & Flowers August 2014 | 103
Sh ak espea r e i n t h e Pa r k O ver
and
U nder
the
M oon
Centennial Park • August 14 through September 14
I
by Jim Reyland f you do something long enough, with the same enduring success, it can’t help but become a tradition. It’s how
we know where we are and that summer is about to be fall when the Nashville Shakespeare Festival arrives in Centennial Park. PHOTOGRAPH BY JEFF FRA ZIER
NSF Artistic Director Denice Hicks unpacks the medieval wagons and leads her troupe August 14 through September 14 in the festival’s 27th annual Shakespeare in the Park production of As You Like It, featuring original Americana music by David Olney and the X-Rays (“Wait Here for the Cops”) with musical direction by Stan Lawrence.
Emily Landham (Rosalind), Houston Mahoney (Orlando), Amanda Card (Celia) from As You Like It
PHOTOGRAPH BY JEFF FRA ZIER
“Including the audience in the play is our goal,” said Hicks, who started working with the festival in 1990 and was named artistic director in 2005. “Costumed ushers will invite the audience to join the actors in our version of a ‘tent city’, where even in the toughest times, songs are sung, stories are told, and there’s always time for a little buck dancing.”
Amanda Card (Celia) and Emily Landham (Rosalind) from As You Like It
“
The As You Like It cast is among the finest ever assembled. Emily Landham, who played Juliet in the festival’s 2011 production of Romeo and Juliet, returns to the park this summer in the role of Rosalind. Playing Duke Senior and Duke Frederick will be Nat McIntyre (Oberon in the 2013 Midsummer, and Iago from the 2014 Othello). The romantic interest, Orlando, is Houston Mahoney (Demetrius in the 2013 Midsummer) and the role of the melancholy Jacques, who proclaims that “all the world’s a stage,” will be played by Derek Whittaker (Egeus in the 2013 Midsummer, Brabantio in
Nashville Shakespeare Festival has been chosen by Shakespeare’s Birthplace Trust in Stratford-Upon-Avon as one of ten North American theatre companies to be included in their documentary on Shakespeare in America. We can’t wait to share our production with them in full Nashville style. We are over the moon about this!
”
– Denice Hicks, NSF Artistic Director 104 | August 2014 NashvilleArts.com
PHOTOGRAPH BY RICK MALKIN
Shakespeare in the Park
the 2014 Othello). Other cast members are Amanda Card in the role of Celia, Santiago Sosa as Oliver, Phil Perry as Corin, Jaye Phelps as Touchstone, and veteran festival actor Brian Webb Russell in the roles of Adam, Martext, and Hymen. Thirteen Apprentice Company members from Middle Tennessee will fill the other roles and serve as director’s and stage manager’s apprentices. The As You Like It music marks songwriter David Olney’s Shakespearean debut in the role of Amiens, playing his own songs written for the show. In addition, music director Stan Lawrence,
from the Musical Heritage Center in Pegram, Tennessee, leads an authentic, old-time jam band. The As You Like It set, designed to look like a 1930s camp, will be designed by Morgan Matens. Costume design is by June Kingsbury, and light design is by Anne Willingham. “All the original music on stage will be live,” adds Denice. “The major difference between prerecorded entertainment and live entertainment is that the presence and participation of the audience will change the performance every night. It’ll be an immersive experience, and from the time you step through the banners, pickers will be playing. Children might be called on to create sound effects or join in the company contra dances.”
PHOTOGRAPH BY GREGG ROTH
It’s a theatrical celebration under the moon and stars, in Shakespeare heaven for the legions of Bard fans and classics newcomers who fill the park each summer. Performances begin at 7:30 p.m. August 14 through September 14, Thursday through Sunday evenings, with pre-show entertainment starting at 6:30 p.m. There will also be a special Labor Day performance September 1. The show is free and open to the public with a $10 suggested donation. A limited number of reserved ringside seats and gourmet picnic dinners are available in the Royal Box. Royal Box tickets benefit Nashville Shakespeare Festival education programs and are partially tax deductible. www.nashvilleshakes.org
Songwriter David Olney
NashvilleArts.com
The film version of Jim Reyland’s play STAND, performed across Tennessee in 2012 as The STAND Project, is now available to stream at www.writersstage.com. Watch The STAND Film starring Barry Scott and Chip Arnold, directed by David Compton and consider a donation to support Room in the Inn. jreyland@audioproductions.com
August 2014 | 105
ART
SMART
by Hannah Silverman, Act Like a Grrrl participant
Act Like a Grrrl Turns 10 Years Old
I
still remember my first day of Act Like a Grrrl. I had just finished a miserable year of 7th
grade at a middle school that I wanted nothing to do with, and I thought I was going to be spending the month of June writing a play with a bunch of catty teenaged girls that I wanted nothing to do with. So my very skeptical, very self-conscious, very terrified 13-year-old self hopped out of my dad’s minivan and tentatively approached the door of the Actors Bridge studio.
helped me work through some of the most difficult times in my life, simply by listening to my writing, talking about it, and loving me for all that I am with no judgment whatsoever. Sharing my writing (my personal thoughts, fears, joys, and rants) in the circle was therapeutic, and sharing my writing in front of a group of strangers in our show at the end of the month was liberating for both the audience and myself. It allowed us to let go of what no longer serves us and to make room to love ourselves a little more. PHOTOGRAPH BY JOHN JACKSON
State of the Arts
a monthly guide to art education
I was immediately greeted by the glowing face of a stranger. This was not the camp that I was determined to label as mediocre, and these were not the people that I would dread dealing with on a daily basis. This was a place of intense love and self-discovery, and these were the people who would save me from the doubt, judgment, and hatred in which I had so willingly adorned myself.
I walked in to Act Like a Grrrl on my first day with no confidence, no sense of who I was, and with practically no self-love. Six years later, I walked out of my last show being told I was admired for my confidence, having a strong sense of who I was, and most of all loving that grrrl shamelessly.
Act Like a Grrrl is an autobiographical writing program for teenaged grrrls. We start in the beginning of June, sharing our writing with each other, giving feedback, choreographing dances, and writing a song together. All this is in preparation for an original show that we perform at the end of June, in which we read our writing pieces and perform the dances and song.
In celebration of the 10th Anniversary of Act Like a Grrrl, Jennifer Cole, Executive Director, Metro Nashville Arts Commission, asked participant Hannah Silverman to share her experience. In May Hannah graduated from Hume-Fogg High School, and this fall she will be attending Macalester College in St. Paul, Minnesota, where she plans to study theatre, dance, and music.
I can very safely say that Act Like a Grrrl has changed my life drastically in the best way possible. This circle of sisters has
For more information on Act Like a Grrrl programming, please visit
PHOTOGRAPH BY JOHN JACKSON
www.actlikeagrrrl.org.
Act Like a Grrrl original performance in June 106 | August 2014 NashvilleArts.com
Underground Art Studio at Oasis Center by Wendy Wilson | Photographs by Abby Whisenant
“I’m not creative.” “I can’t do art.” “I can’t draw.”
T
hat’s some of what Abby Whisenant hears when she sets out to teach young people who come to the Underground Art Studio at the Oasis Center for at-risk
youth. The teens she works with are struggling with drug abuse, are in the juvenile justice system, or are homeless or runaways.
“My goal is to get them excited about learning something and keep them in a positive environment,” she says. That’s no easy task, since when they first walk through her door they often don’t know where to begin. But with her patient instruction and the help of supportive volunteers, they find themselves making progress faster Dante Orpilla demonstrates watercolor than they expect. techniques On a recent Wednesday, seven boys from STARS Nashville’s Youth Overcoming Drug Abuse (YODA) program sat around her table. After starting class by saying the Serenity Prayer together, they listened to Whisenant describe the project for the day. They were to make a block print on paper using foam core or corrugated cardboard. Before long, the teens were making designs that included an ocean and sunset, balloons, and a human face. Whisenant helped develop the Underground Art Studio, which launched in February 2013. While the Oasis Center had art programs before that, the studio gives the center the space and tools to be a stronger resource for the community. In addition
A detail of the collaborative piece created by LA-based artist Dante Orpilla and young men in the Metro Public Health Department’s New Life Program
to regular classes, the studio hosts special-event workshops and open-studio time to give school kids the chance to access art supplies and help with their projects. This past spring, the studio hosted a visit by Lonnie Holley, a nationally recognized artist and musician, who led workshops on found-object assemblages. Teens collected discarded materials at a nearby construction site and used them to make sculptures. “He’s quite a character, very eccentric,” Whisenant says. “It was great to see him connect with them. They really responded to him.” The studio’s roster of regular adult volunteers includes local professional artist Jeff Danley. The volunteers at the studio the day teens were working on block printing were Ann Krafft and Derek Gibson. Gibson, who works in telecommunications for Nashville Electric Service and is also a sculptor, comes to the studio every other Wednesday to help the teens. He says he enjoys seeing the creativity they are able to find within themselves. “I like seeing the things that come out in their artwork and listening to them talk about it.”
Oasis Center youth take turns using a corded drill to assemble bike parts and found objects onto their group assemblage with Lonnie Holley
For more information about the Underground Art Studio at the Oasis Center, visit www.oasiscenter.org.
NashvilleArts.com
August 2014 | 107
USN Celebrates 100 years by Wendy Wilson
V
ince Durnan brims with enthusiasm when he starts talking about the history of University School of Nashville. The USN director wants others to know about the school’s
unique past, and he recently tapped the students in the Lower School to help tell the story.
The private K–12 school, which is surrounded by Vanderbilt University but has no formal ties to it, will celebrate its 100-year anniversary this school year. USN traces its beginning to the creation of Peabody Demonstration School in 1915 by the former Peabody College. To prepare to celebrate the centennial, students in kindergarten through fourth grade made a book this past school year. Filled with colorful artwork and simple sentences, it tells the story of the school through the decades.
In the summer of 1964, Knox McCharen wrote to the families and told them that PDS would integrate
newspapers and magazines. Most of the pictures were modeled after archival photos. Peabody Demonstration School became USN in 1975. The college decided to close the demonstration school in 1974, but parents rallied to keep it open, even putting up their homes as collateral to buy it. “These were brave people,” Durnan says. Their efforts were successful, and the school continued under new ownership with a new name. Peabody College became part of Vanderbilt University in 1979.
Every year we have Grandparents’ Day, the Popsicle Party, and the International Fair
“It was really a good way to get kids to work together,” says Oliver Brown, now a fourth grader. “I hope that alumni who read it will think how lucky they were to go to such a nice school.” For the project, the Lower School enlisted the help of Mary Anderson, an assistant teacher with an art degree. She traveled to different classrooms, engaging the students in making pictures with colored pencils and paints. Some are collages made with strips from
Durnan is proud of USN’s history as a demonstration school, where students were taught by teachers practicing creative and holistic approaches to education. “These were education pioneers,” he says.The demonstration school was among the first in Nashville to desegregate in the 1960s. The move to desegregate is covered in the book created by students. A fire that happened earlier, in 1954, is also chronicled. The book also features photos of papier-mâché self-portraits made by last year’s kindergarten students, along with their comments about what they want people to know about USN. Those comments include: “It is a big school and it has so many stairs.” “It’s been alive for 100 years. That makes it special.” “We are nice to people at this school.” USN will also produce a book of essays on the school’s history by current faculty and administrators and also alumni who are professional writers. Durnan wanted both books to be group efforts. “They’re both intended to include a lot of voices,” he says.
Dr. Thomas Alexander, or “Dr. Alex,” was the first leader of Peabody Demonstration School
PHOTOGRAPH BY KIMBERLY MANZ
For more information, visit www.usn.org.
108 | August 2014 NashvilleArts.com
James Threalkill: Muy Excellente!
Mural at the Centro Colombo-Americana Institution in Medellín, Colombia. Images represent individuals involved in the civil rights movement that inspired the world-wide quest for freedom and social justice
by DeeGee Lester | Photographs by Centro Colombo Americano de Medellín
W
e all have opinions and impressions about the countries and cultures of the world. But we never
know until we go and embrace another culture! Nashville artist James Threalkill understands this. The opportunity to embrace another culture was created when the Congressional Black Caucus approved funding for the Centro Colombo-Americana Institution as a vehicle for teaching English to students in the South American nation of Colombia. An extension of that English language program named for Dr. Martin Luther King occurred when program director Michael Cooper, an American teacher who moved to Colombia over thirty years ago, established a program to invite American artists/musicians to Colombia. Threalkill, initially invited for a thirty-day artist-in-residency program, has returned again and again over the past two years, developing strong bonds with the students and the culture he encountered.
and civil rights through images, including Dr. Martin Luther King, Rosa Parks, the March on Washington, and children attending school together. “This is a way of educating people on the impact of Dr. King and helping Colombians acquire the skills to improve the community.” His second assignment was to the town of Quibdo, in the remote area of Choco. This impoverished part of the country with unpaved roads is also home to the Technological College of Choco, which focuses on architecture, law, and science. “It is a fascinating place,” Threalkill says. “You have to fly in because there are no roads, and within the town motorcycles
are racing everywhere. I had to work with a Spanish translator, but we created a mural, and at the end the students all came together to celebrate.” The program has developed and expanded a spirit of community and collaboration between the students in Colombia and students at Tennessee State University. That relationship has spilled over into music, with visits to the TSU campus by talented musical groups such as Explosion Negra. Recently, TSU President Dr. Jewel Wynn and the Office of Diversity and International Relations at TSU have worked with program directors in Colombia to bring the TSU band to Medellín to participate in Feria de los Flores (the annual flower
“My first visit was to Medillín,” Threalkill explains. “Most people here only associate that city with drug cartels, but community and public officials have worked diligently to change the image and the reality. In 2013, Medillín was named ‘the Most Innovative City in the World’ for its culture, transport system, and environmental focus.” That same year, Colombia was recognized as the second most bio-diverse country in the world. Threalkill’s cultural contributions to these changes involved lectures to schools on issues such as social harmony and career development and the creation, with students, of wall murals that explored social justice
Mural painted with Colombian artist Dilma Mosquera and students at Marymount Girls School in Medellín NashvilleArts.com
August 2014 | 109
festival). This colorful festival began in 1957 as an outgrowth of the season when peasants walked down from the mountains and into the city carrying wooden frames loaded with flowers for market. While he has assisted in making these cultural connections, Threalkill’s artistic participation and prestige as a lecturer have brought other opportunities, including a ten-day, six-city lecture tour through Colombia at the invitation of the US Embassy in Bogotá. American artists Jahni Moore, Nancy Testerman, and photographer Zoraida Lopez have all participated in the program, working with the Colombo’s Art Director Juan Alberto Gaviria, an America-educated Colombian. “There has been an incredible exchange of information, resources, and creativity,” Threalkill says, “And you know you’re making an impact and helping to uplift the people of Colombia and help them to develop skills and open opportunities.” Muy Excellente!
James Threalkill with students from St. Ignatius School in Medellín, Colombia
Comic Illustration Camp at Watkins by Tamara Beard
“
T
he kids worked their butts off, had loads of fun, made friends, and learned how to collaborate,” stated instructor Richard Heinsohn when asked to describe the experience of the students who participated in his Comics class. Being part of the Watkins Community Education Program, this class immersed students ages 11–14 in comic illustration. Heinsohn spent the week teaching these campers how to create a hero with defined characteristics, both emotional and physical, as well as a character flaw. Students
learned that comic characters can be absolutely anything and were encouraged to use their imagination to the fullest. Practicing to create thought bubbles and proper letter spacing was the warm-up activity every morning, something the kids looked forward to. Building graphic frames, practicing narrative, and creating a backstory were building blocks the students worked hard to perfect throughout the week. Heinsohn said that, after the camp, it would not surprise him to see some of them grow up to become graphic novelists and comic illustrators. Watkins offers different camps for all ages, from Multi-Arts camps for ages 5–10 to Teen Workshops. The camps for younger children let them experiment with many different art forms, whereas the classes for older children help them delve into one specific medium. Mary Beth Hardin, the Director of Community Education, explains that “ . . . these classes are more about process than product.” She said that the classes focus on learning the techniques and processes of creating art, rather than the finished product. For more information about the Watkins Community Education Program and their camps, please visit www.watkins.edu. The Nashville area has a robust selection of art camps, which Nashville Arts Magazine hopes to feature in our 2015 Camp Guide coming out in early 2015. If you know of any other summer art camps that you would like to get on the radar for Nashville Arts readers and parents, please e-mail rebecca@nashvillearts. com so we can add it to our 2015 Summer Camp Directory.
At the end of the week, all the children’s work was displayed 110 | August 2014 NashvilleArts.com
Arts & Music for the Entire Family Family Day at OZ • August 9
PHOTOGRAPH BY SONDRA NOBLE
T
Hip Hues will teach kids how to silkscreen t-shirts and bandanas
he first annual Family Day at OZ promises to spark the imagination with a host of musical and artistic activities for the entire family. One of the returning highlights is Hip Hues, a mobile silk-screening company, which will teach kids how to silkscreen their own bandanas and t-shirts. In addition, the National Museum of African American Music will bring their cigar-box guitars and teach families how to play them, and the Country Music Hall of Fame will showcase an instrument petting zoo. One of the many local artists that will be at this event is Andee Rudloff, who will paint a 45-foot mural with the help of visitors and OZ’s Artist in Residence Jammie Williams. A musical performance by Dan Zane & Friends, featuring family-friendly music, will be highlighting the day’s events. Bob Kucher, the Community Engagement Director of OZ, encourages all families to come because this event will offer “activities that families can actually do together . . . as a unit.” Family Day takes place on Saturday, August 9, from 12 to 4 p.m. at OZ.
For more information and a complete list of participating artists, please visit www.oznashville.com.
New Degrees at Nossi
Kids Rock
School of Rock Franklin Wins Best in the Nation
I
Video still from Bordeaux Elementary Eating Healthy by Nossi students Kayla Schoen and Steven Wester
T
his fall, Nossi College of Art is adding a Bachelor of Commercial Photography and a Bachelor of Commercial Videography to its degree offerings. Designed to prepare students to work in the creative community immediately upon graduation, these degrees include real-world components to help them succeed: business courses and an “All Access” program through which students create work for organizations such as the Tennessee Performing Arts Center, Nashville Fashion Week, the CMA Fest, and the Nashville Symphony. “We created these two new bachelor-degree programs to keep up with the growing demand for trained creative professionals, both in Nashville and nationwide. Including business courses in the degree curriculum helps assure that students are ready to set up their own freelance practice after graduating. And our ‘All Access’ program assures that they have a solid portfolio of real work,” said Libby Funke Luff, Nossi’s director of student activities and marketing.
n early July, 500 student performers from across the country made their way to Summerfest in Milwaukee, one of the largest music festivals in the world, to compete in GEMBA, the ultimate battle of the bands. Among these hopefuls were thirteen students from School of Rock Franklin, a local music school. These students prepared for three months to perform their hearts out, and in the end it paid off. Performing as Deliberate Mishap, they came home with the honor of being Lily Joyce, Deliberate Mishap drummer crowned the champions of GEMBA and named “the best of the best in the nation” by a panel of celebrity judges and hundreds of attendees. Ranging in age from 11 to 17, the members of Deliberate Mishap are Emily McCreight, Sean McCreight, Callie Richardson, Lily Soto, Lily Joyce, Carter Smith, Cameron Brown, Michael McClellan, Josh Cuevas, Reed Doran, Jack Filipovic, Lauren Haynes, and Lindsay Giammalvo. For more information on School of Rock Franklin, please visit www.franklin.schoolofrock.com.
Nossi previously offered a Bachelor of Photography and Videography. The separation of the two fields into two individual degrees will offer a more focused education, with course requirements designed to help students meet current industry needs. To learn more about Nossi’s degree programs and community partnerships, visit www.nossi.edu.
Emily McCreight, Deliberate Mishap bassist NashvilleArts.com
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112 | August 2014 NashvilleArts.com
Beyond Words
Historic Downtown Franklin
The kindness of strangers . . . PHOTO: ANTHONY SCARLATI
& The Factory
by Marshall Chapman
Friday, August 1, 6-9 p.m.
Seems the older I get, the more I subscribe to Blanche DuBois’s famous line from A Streetcar Named Desire. “I’ve always depended on the kindness of strangers,” she says, while being carted off to the loony bin.
PHOTOGRAPH BY DEBBIE SMARTT
Well, I ain’t ready for the loony bin—at least not yet—but at age sixty-five, I often find myself in equally dire circumstances while traveling the world as a solo performer. Take what happened recently on a late-night flight to Austin.
Nearly 30 galleries and working studios in a 15-block area, featuring artists at work, live music, wine and more! There’s no cost to attend
I was stretched out across the last row of seats, sound asleep, when suddenly I became aware that I was freezing. Or was I dreaming? As the cobwebs cleared my brain, I’m thinking, Damn! They could hang meat back here! “Do you have a blanket?” I asked the flight attendant. “It’s really cold.” “We don’t provide blankets anymore,” she said. Agreeing that it was cold, she suggested I move to the front of the plane where it was “eighteen degrees warmer.” Sounded good to me. Sure enough, it was a bit warmer. And as I stood there waiting to thaw out, another flight attendant told me I had to sit down. “You can’t stand here, “ he said. “You must be seated.” It was then I noticed the empty seat between two beefy-looking guys in bulkhead. They looked warm in their short-sleeved shirts. So, without further ado, I plopped my freezing self down between them, as I grabbed the aisle guy’s arm, embracing it like a lover. With my frozen face pressed into the warm flesh of his arm, I blurted out, “It’s freezing back there . . . I’m singing in Austin tomorrow night, and I can’t get sick. . . . Okay if I hold onto your arm for a while?” “Are you Lucinda Williams?” he asked. “No,” I said, all the while trying to imagine Lucinda pulling a stunt like this. “I’m Marshall Chapman. Who are you?” “Kirk Adkisson,” he said. “It’s nice to meet you,” I said. He then asked where I was playing.
www.FranklinArtScene.com Facebook.com/FranklinArtScene Sponsored By:
“The Rock Room,” I said, as I grabbed the window guy’s arm, pulling it to me. I now had stereo human body warmers. “You guys have no idea how good this feels. I was dying back there!” The next night, Kirk Adkisson showed up at the Rock Room with his wife. A stranger no more. www.tallgirl.com
NashvilleArts.com
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My Favorite Painting
Barry Buxkamper, Office Park: String Trimmers and Executive Chair, 2006, Mixed media on unstretched canvas, 41” x 61”
G eorge C lark
I
Art Lover
started passionately collecting 45 years ago with the tutoring of an art advisor who was a painter, collector, and gallery owner. I learned from
other collectors, studied the national arts magazines, followed who was getting museum shows, and developed my own “eye.” I bought the best works available from a given artist whose work I liked but who also had a chance to make art history and whose work had a chance to go up in value. I sold most of the collection, and my smaller house is still crammed with art that I love. To buy new art, I have to be very impressed.
PHOTOGRAPH BY JOHN JACKSON
Nashville is full of wonderful painters who are not creative or cutting-edge enough to be called artists, in my opinion. Barry Buxkamper is a great local painter—and an artist. I loved his paintings of people and machines rendered as blow-up plastic toys. The painting I bought, Office Park: String Trimmers and Executive Chair (2006), has moved beyond that. It’s from a series about the encroachment of technology and development on nature. He painted it flat on a table, working on it from all sides. It is a stream of consciousness, surrealistic work. It fits my criteria: I really like it; it is a finely painted, imaginative work, and I think it will go up in value as Barry continues his work. 114 | August 2014 NashvilleArts.com
ARTIST BIO — BARRY BUXKAMPER Barry Buxkamper’s mixed-media works reveal a window onto an alternate world where magic is real and convention is teased. He finds inspiration and imagery from objects and events in everyday life and the history of art. He often explores themes of vanitas and man’s waning relationship with nature through humorous juxtapositions. This painter and former Middle Tennessee State University Professor of Art is best known in Nashville for his engaging teaching and artwork frequently on exhibit at Cumberland Gallery. His formal study of art began at the University of Texas where he received his BFA, and then he attended the University of Illinois for his MFA. He has participated in numerous Biennial Exhibitions, including the Mint Museum, Whitney Museum, and Delgado Museum. His work has been featured in solo and group gallery exhibitions around the country and belongs to many corporate and private collections. Buxkamper also built a career in graphic design and was the recipient of the Nashville Advertising Federation’s Diamond Award three times. For more information, visit www.cumberlandgallery.com and visit www.nashvillearts.com to read our story about him from March 2012.
FLOW ERS FOR
E V ERY
OCCASION
Gerbera Daisy Gerbera Jamesonii Photography by Brett Warren shot in the Ilex studio
601 8th Ave South Nashville, TN 37203 615-736-5200 ilexforflowersnashville@gmail.com www.ilexforflowers.com
Fifty years ago, during the summer of 1964, Andy Warhol began working on silkscreen paintings of flowers, a subject that would preoccupy him for the rest of his life. This exhibition at Cheekwood is a rare occasion when Warhol’s flower images meet the floral abundance of an actual garden.
presented by:
OPEN TUESDAY THROUGH SUNDAY 9 AM – 5 PM EXTENDED HOURS! OPEN UNTIL 8:30 PM ON FRIDAY NIGHTS THROUGH AUGUST!
Artwork: Stephen Shore. Andy Warhol with Flowers, 1965. gelatin silver print. 5 x 8 in. (12.7 x 20.3 cm.) The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Artwork: © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, NY
ANDY WARHOL’S FLOWERS Andy Warhol, Daisy, ca. 1982, Collection of The Andy Warhol Museum, Pittsburgh. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, NY
JUNE 14 – SEPTEMBER 7, 2014