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and the Nashville Symphony September 21


615.687.6400 2 | September 2O13

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Spotlight.........................................................................................................................1O Carol Mode Excavation of Color........................................................................... 39 Mel Ziegler An American Conversation................................................................. 46 Olen Bryant Material Magic..................................................................................... 52 More Love at Cheekwood.................................................................... 56 NPT Arts Worth Watching.................................................................................................. 58 Lucchese Cowboy Couture........................................................................................ 63 Rebecca Drolen Daydreams, Longings & Memories.................................. 65 Americana Music Festival Brings It All Home..................................7O Luke Hillestad and Odd Nerdrum In the Footsteps of Apelles......73 ArtSmart A Monthly Guide to Art Education......................................................... 8O Cooper Alan Dialing in the Airwaves................................................................. 86 Take 6 at the Factory..................................................................................... 89 A Room of One's Own Women Painting Women................................. 9O Rarified Atma-sphere .................................................................................. 93 Teri Alea Executive Director, Tennessee Association of Craft Artists ................. 96 Trey Gossett Sculpture in Wood and Clay...................................................... 1OO Write Off the Row A Songwriter's Home Away from Home.................. 1O3 Ballet in the Park............................................................................................. 1O5 Jeff Green The Architectural World of Jeff Green............................................ 11O Jim Oblon Tearing up the Backbeat....................................................................... 113 Field Notes Jason de Graaf..................................................................................... 116 Critical i......................................................................119 Theatre..................................................................... 12O Beyond Words.......................................................... 123 On the Town............................................................. 124 My Favorite Painting............................................... 126 on the cover :

Joyce Tenneson, Bird Woman, 1986, Archival pigment print, 24" x 19.5"

Published by the St. Claire Media Group Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Daniel Hightower, Directors Editorial Paul Polycarpou, Editor and CEO Sara Lee Burd, Executive Editor and Online Editor, Rebecca Pierce, Education Editor and Staff Writer, Madge Franklin, Copy Editor Ted Clayton, Social Editor Linda Dyer, Antique and Fine Art Specialist Jim Reyland, Theatre Correspondent Kayla Ducklo, Intern Contributing Writers Emme Nelson Baxter, Beano, Lizza Connor Bowen, Judy Bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, Beth Hall, Beth Inglish, MiChelle Jones, Demetria Kalodimos, Nicole Keiper, Beth Knott, Linda York Leaming, DeeGee Lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, Robbie Brooks Moore, Currie Powers, Ashleigh Prince, Alyssa Rabun, Sally Schloss, Molly Secours, Daniel Tidwell, Lisa Venegas, Nancy Vienneau, Ron Wynn Design Lindsay Murray, Design Director

Budsliquors9.16.09.indd 1

9/16/09 1:55 PM

Photographers Jerry Atnip, Lawrence Boothby, Sophia Forbes, Donnie Hedden, Peyton Hoge, Rob Lindsay, Jennifer Moran, Anthony Scarlati, Bob Schatz, Meghan Aileen Schirmer, Pierre Vreyen



Lexus of Nashville is opening a 9-acre, state-of-the-art facility in downtown Nashville. With an extensive inventory of exquisite new and pre-owned vehicles, a 42-bay Service Center, and a team of skilled product specialists and certified technicians, we’ll provide the highest level of comprehensive automotive service available. Adjacent to Interstate 65 in Metro Center, the modern facility promises efficiency, convenience, and comfort. A larger, technologically advanced Service Center is destined to raise the bar and lower wait times. The expansive lounge offers comfortable functionality, and the Lexus Cafe caters to our guests’ discerning palettes. It’s just another way we are creating an entirely new Lexus Experience in downtown Nashville.

Inhabiting Wonder


September 27 5:30 - 8:30 pm

Anton Weiss, Sonata 09, Acrylic on canvas, 54” x 60”

Lisa Jennings, Indigo, Carved wood covered with hand pigmented papers, found stone and welded bronze and copper, 78” x 12” x 7”

Lisa Jennings, Touching the Unseen, Mixed media on canvas, 48” x 42”

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 •

publisher's note

Art Creates a City


have always wanted to meet Olen Bryant. His name alone

seems to evoke a sense of wonder. I noticed that whenever other artists talked about him, their voices would get soft, sensitive, and compassionate, as if they were talking about a great humanitarian rather than a fellow artist. So when he finally picked up the phone to talk with me (Olen does not have a computer, email, Facebook, or anything else even remotely digital), I felt I had hit the jackpot. We made a plan to meet at his home and studio in Portland. What I found is that everything I had been told about this gentle genius is absolutely true. Artist, teacher, mentor, Olen is all of that and more. He is also a national treasure as far as I'm concerned. You can meet him on page 52.

The Nature of Wood Sculpture and Turnings by Olen Bryant, William Kooienga, & Brenda Stein with Woodcuts by Alan LeQuire & Jim Sherraden William Kooienga

Another name that always gets the creative juices flowing is Mel Ziegler. This professor of art at Vanderbilt has had a long and sometimes-controversial career as a conceptual artist. His latest project will raise a few quizzical eyebrows along the way, but isn't that what great art has always done? We are thrilled to have him in this issue and look forward to continuing with his American Conversation (page 46) in the months ahead. Nashville is moving, literally. Our resident master of couture, Manuel, has moved to new premises at 800 Broadway. Gallery One has moved to 213 3rd Avenue North, and Zeitgeist Gallery is in their new space at 516 Hagan Street, Suite 100. We wish them all continued success in their new locations. And lastly, a huge thanks to Mayor Dean, who chose his favorite painting and told us why on page 126. Look for an in-depth interview with the mayor, conducted by Bill Ivey, in the October issue. Till then, it's all art . . . whether you like it or not. Paul Polycarpou Editor in Chief

Editorial & advertising Offices 644 West Iris Drive, Nashville, TN 37204 Tel. 615-383-0278

Distribution: Wouter Feldbusch Subscription and Customer Service: 615-383-0278 Letters: We encourage readers to share their stories and reactions to Nashville Arts Magazine by sending emails to or letters to the address above. We reserve the right to edit submissions for length and clarity. Business Office: Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 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; to reach contributing writers, email 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.

© susan walker photography

Advertising Department Cindy Acuff, Beth Knott, Keith Wright All sales calls: 615-383-0278

Brenda Stein

Opening Reception

Saturday, October 12, 6-8pm 4304 Charlotte Ave • Nashville, TN 615-298-4611 •

spotlight "The sports art exhibit at the 2013 African Street Festival represents another facet of African American history that is not widely known among the general public,” says James Threalkill. “Major Taylor was a cycling champion who battled not only his competitors on the track, but the hostile conditions that existed in society for a black man attempting to succeed in a sport dominated by white athletes for so many years. His signature racing style . . . revolutionized bicycle racing. I also painted modern-day African American cyclists who continue to benefit from the legacy established by Major Taylor. I am excited about the educational component of the exhibit and the insight and awareness it will generate among the community and especially our youth." Michael J. McBride’s current body of work titled Too Black Too Fast is a traveling exhibition of art about African American jockeys and trainers. “In my latest series I take the viewer on a journey back in time with paintings from two of my passions, which are cars and racing,” says Joseph Love. “These series of paintings are to enlighten and inform that blacks have been involved in open wheel racing from the beginning but were not allowed to race at the Indy 500 or any other venue with white drivers. Sit back and enjoy the ride.” The 31st Annual African Street Festival takes place at Hadley Park on September 20–22. For more information and a schedule of events visit

Michael McBride, Isaac Murphy, 2007, Oil on canvas, 22" x 16"

African Street Festival Offers Unique Art Show by Cass Teague


or over three decades the African American Cultural Alliance (AACA) has provided a powerful festival experience for the community to immerse itself in African and African American culture. The festival, September 20–22, unites three of Nashville’s finest

Joseph Love, Race Day, 2012, Oil on canvas grisaille painting, 24" x 30"

visual artists displaying their works about black men in motion. Organizer Kwame Leo Lillard says the AACA “will host a very unique art exhibit this year at the 31st annual African Street Festival at the Hadley Park Community Center . . . Michael McBride, James Threalkill, and Joseph Love.” Touring their studio, Atelier 427, Lillard observed that “on one wall was the painting of the Mercedes grand prix race cars driven by Herman Lang [1930s] and the black English driver Lewis Hamilton [current]. On another wall were black jockeys winning the Kentucky Derby, and on the other wall was a brilliant, head-on painting of a black Olympic bicyclist. “An art exhibit featuring black jockeys, black bicyclists, and black grand prix drivers,” it occurred to Lillard, “this ethnic exhibit utters destruction of stereotypes limiting African Americans’ successful progress to only basketball, football, or baseball.”

James Threalkill, We Are Men, 2012, Acrylic on canvas, 36" x 60"

10 | September 2O13

New Artists at our New Location

AlizAH GreenberG

Tomoo KiTAmurA

Toni SwArTHouT

Treasure–works by maggie Hasbrouck September 7–october 5, 2013

The Numbers, photo-encaustic on panel, 12”x12”

The Numbers (variation #48), photo-encaustic on panel, 12”x12”

The Numbers (variation #74), photo-encaustic on panel, 12”x12”

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mobile: 615-330-3051 • office: 615-250-7880 • 12 | September 2O13


Appalachian Center for Craft by Jeffrey Adams The Appalachian Center for Craft at Tennessee Tech University offers artists—both student and professional—firstclass facilities in a unique, residential environment where they can concentrate and improve on their talents in five fine-craft areas: wood, metals, ceramics, glass, and fibers. Students have won top awards in the craft world, including NICHE’s glass student functional award this spring. Graduates have gone on to have their work featured in galleries and museums around the country, including the Smithsonian American Art Museum. Craft center programs focus on promoting excellence in American craft by teaching tradition and innovation in technique, concept, and design. The undergraduate student experience culminates in a bachelor’s degree in fine arts and a professional solo show in one of the center’s three exhibition galleries. During the year, the exhibition spaces host 25 shows with artists from around the world. In addition to attention from faculty who are leaders in their fields, students live and work with six professional artists through the craft center’s residency program, and artists from around Tennessee are featured and sell their work in the center’s retail gallery. During the summer, the center offers 50 workshops for people of all ages and abilities to learn or hone a new skill. Located on more than 500 wooded acres overlooking Center Hill Lake in Middle Tennessee, the craft center’s 87,000 square feet of studios, apartments, a café, and other spaces offer a quiet retreat for artists to be inspired. For more information, visit



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Migratory Animals, Predators, and Scavengers From the Masai Mara to the Serengeti by Susan Goshgarian McGrew will debut at Picture This in Nashville and Hermitage in September. Retired from her medical practice, McGrew now paints full time and has been exploring new directions by incorporating mixed media and collage into some of her paintings. In From the Masai Mara to the Serengeti, she visually demonstrates the balance between predators, prey, and the vast, undeveloped lands that support them.

NINA KUZINA gAllery Animal Collection by Harold Kraus

McGrew says of this body of work: “In these paintings I aim to capture the essence of the wild lands of the Kenyan Masai Mara and Tanzanian On the Prowl, 2011, Mixed media on board, Serengeti. Moreover, I aim 18" x 24" to depict the integration of all life forms into a dynamic whole—the migratory animals following the botanic life cycle, the predators following the grazing animals, and the scavengers following both. Each animal form brings its own gifts, such as speed, instinct, intelligence, size, and strength, which I translate to my canvas. In the painting medium I give attention to the tension and fluidity of these forms.” McGrew is represented by Picture This in Hermitage, Jack Yacoubian Jewelers and Art Gallery in Franklin, and the Renaissance Center in Dickson.

Cleo 4231 HArdINg PIKe • NASHVILLE, TN 37205 Stanford Square, Across From St. Thomas Hospital 615-321-0500 • 615-483-5995 •

She will be the featured artist at Picture This on 5th at the First Saturday Art Crawl downtown on September 7 from 6 to 9 p.m. There will also be an artist’s reception at Picture This in Hermitage on Thursday, September 19, from 6 to 8 p.m. For more information visit, or

14 | September 2O13

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It’s an eye-catching, sleep-inducing marvel of modern engineering. No bars, no springs, no sagging. Just well-rested house guests. The Comfort Sleeper featuring the Tiffany 24/7 Sleep System is in a category by itself. The solid platform provides even support throughout the high-density foam mattress. Add in a patented mechanism that allows for almost effortless opening and closing. No other sleeper compares, because no other sleeper is as comfortable. Several mattress options available. Made in Dallas, TX—in your home in about 30 days, just in time for the house guests.

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September 2O13 | 15

Jalan-Jalan Indonesian Antiques • Ancient Modern Design

Living with Textile Art Opening September 7


Tennessee Art League We are now on The 5th Avenue of the Arts

Our Gallery is New and Innovative with the Best Gift Shop in Nashville!

The New TAL

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photo: kathryn parson


Instruments of Change A profound mission drives Nashville in Harmony: to use music to build community and create social change. Tennessee’s only mixed chorus of LGBT persons and their allies, they stand side by side, hoping to show our community what inclusiveness, acceptance, and diversity look like. Their music and mission have attracted members and fans. The inaugural concert in December 2004 featured 19 members compared to the 140 voices that kicked off the tenth anniversary concert series, TENsational! TENsational is a year-long celebration of Nashville in Harmony’s accomplishments and a tribute to the arts in Middle Tennessee. In addition to public-service projects and pop-up performances, TENsational includes four major concerts events. On September 28, 2013, Nashville in Harmony will perform an all Broadway Revue in TPAC’s Polk Theater. Hear some of the most iconic and loved showstoppers of all time. Special guest artists include Blake Whyte, fresh from the Broadway stage, and Nashville’s Martha Wilkinson. On December 5, 2013, at the Historic Ryman Auditorium, NiH will present their greatest holiday hits featuring J. Karen Thomas from the hit ABC drama Nashville.

On March 4, 2014, NiH returns to the Ryman joined by a diverse selection of Nashville choruses. This special collaboration features guest conductor Greg Gilpin, renowned choral composer who wrote Nashville in Harmony's signature song "Why We Sing." TENsational’s grand finale event will be on June 1, 2014, at the Schermerhorn Symphony Center. The highlight of this elegant dinner concert will be the premiere of a commissioned work by award-winning composer Jason Shelton. For more information, visit

First Saturday Art Crawl

Picture This on 5th, #44 Downtown Arcade

September 7 • 6PM to 9PM


From the Masai Mara to the Serengeti Artist Reception at Picture This in Hermitage Thursday, Sept. 19 6PM-8PM 4674 Lebanon Pike, Hermitage • 615-889-5640 •

18 | September 2O13

photo: jamie wright

12South Sign, Mixed media, 36" x 18"

12South Community Art Exhibition

Artist Beth Inglish at The Frothy Monkey on 12th

by Beth Inglish

The 12South District & Neighborhood has a unique history that has changed significantly over the past 100 years. Just in the last decade, I have witnessed firsthand the positive changes happening in the community, and I wanted to create a visual story about its past, present, and future. For months I interviewed neighbors and business owners, listening to stories of how the neighborhood has transitioned. Some residents who have lived there all their lives were able to provide valuable insight for my project. Using my own photography and historical images, I created a new series of mixed-media work on canvas with acrylic paint and crayon. The artwork features bold, graphic images that are iconic to the neighborhood and its history. Many of the images feature the present day but also allude to the past. When 12South grows, it typically doesn’t tear down and rebuild; it seamlessly integrates the old and new together, and that is why the residents love and protect this community with passion. Many of the new businesses that are thriving are located in filling stations, pharmacies, and grocery stores of the past.

Vintage Bicycle, Mixed media, 36" x 48"

The heartbeat of the neighborhood has to be its residents. The walkable neighborhood brings men, women, fathers, mothers, children, and pets to the sidewalks and park every day. I created this artwork especially for them, so I could connect with my demographic on a more intimate level. I wanted to create a series for the community, about the community and make my art in 12South a household name. The artwork is exhibited at The Frothy Monkey in 12South and will be displayed through the end of September. For more information visit

Deep Roots, Mixed media, 20" x 60"

September 2O13 | 19


Michael Griffin and Tracie Grace Riesgo at Two Moon Gallery by Sara Estes


his September, a popular vote brings together two emerging Nashville-based artists for a joint exhibition in the 12South area’s Two Moon Gallery. Painters Michael Griffin and Tracie Grace Riesgo were the

winners of an exhibition contest held in April entitled Ten and Two. The one-night exhibition showcased works by ten artists—including photographers, painters, and sculptors—while the gallery-goers submitted ballots for their two favorites. The prize is the upcoming two-person exhibition at Two Moon. It’s no surprise that the large-scale paintings of Nashvillian Michael Griffin won the attention of the audience. Griffin’s work harks back to the traditional masters of plein-air painting. His paintings are sketched out and composed on site then completed in the studio. Influenced by contemporary landscape painters like Clyde Aspevig and Scott Christensen, Griffin’s realist paintings capture in exquisite detail bucolic farmlands, maritime scenes, and historical architecture. For Griffin, art has always played a major role in his life. “I had a paintbrush in my hand when I was four years old,” he said. At the early age of twelve, he began painting with oils. His geographically diverse childhood still inspires his art today. As a kid, he lived in the Lowcountry, and then his family moved out West. These areas and their vistas have remained source material for his work. “Nostalgia plays a big part in my work,” says Griffin. Other regions like coastal South Carolina and Wyoming, his previous home state, inform his subject matter. Many of Griffin’s new paintings, which are to be featured in the Two Moon Gallery exhibition, focus on his current surroundings: pastoral Southern and Southeastern landscapes.

Tracie Grace Riesgo, Fall Break, 2012, Watercolor, pen and ink, 21.75" x 15.25"

Tracie Grace Riesgo’s watercolor paintings also stole the affections of Two Moon’s patrons. Her whimsical artwork leans more towards storybook illustration than traditional painting. However, they aren’t that simple. The layers of narrative that can be found in each painstakingly detailed work keep the viewer coming back for more. In the three years Riesgo has resided in Nashville, her work has been seen at Village of Flowers in Hillsboro Village, the Renaissance Center, and the Donelson Art Crawl. Originally from Mississippi, the 26-year-old illustrator began her art career during her second year of college at Mississippi State University when she decided to focus on drawing. “I loved everything about it—the stories, the details, the colors, the movement. “I was an outdoorsy kid who grew up loving Norman Rockwell,” said Riesgo. Even at just a quick glance, there’s no denying the Rockwellian characters and scenes in many of her illustrations. She enthusiastically cites Brambly Hedge, Jill Barklem’s series of illustrated children’s books, as another childhood influence. When asked about her future goals in the art world she replied, “I’d love to illustrate a children’s book one day.” Though the two artists work in different media and styles, there are thematic parallels to be found in their work. With their subject matter and vibrant use of color, both artists fully embrace the visual elements of nature and turn toward the outside world for inspiration.

Michael Griffin, Docked for the Evening, 2012, Oil on linen, 26.5" x 36" 20 | September 2O13

The exhibition at Two Moon Gallery, titled Michael Griffin/Tracie Grace Riesgo, opens September 5 and will run through September 23. Works by some of the gallery’s regular stable of artists will also be on display throughout the space. For more information visit

Ferris, Randi Solin, 21 x 13 x 4 / below, Foglio 9754, David Patchen, 18 x 12 x 4

glass sale, 25% off all glass sculptures-sept. 3rd-24th Randi Solin of Vermont and David Patchen of California both stand out in their field due to their unique techniques and precision. Randi’s work has been acquired by the permanent collections of The White House and United States Embassies. Both have been acquired by museums.

2905 12th ave south nashville, tn 37204

September 2O13 | 21

photo: McFlash Photography

Loser Buys the Eggrolls! Here’s a recipe for fun: 22 people in a 46-foot-long Hong Kong-style dragon boat, a drummer, bright costumes, and lots of yelling. For more than 2,300 years dragon boat racing has offered exciting and friendly competition. For Nashville, it also provides a unique, family-friendly cultural experience and helps support the work of the Cumberland River Compact. The festival takes place at Riverfront Park on Saturday, September 7, from 8 a.m. to 3 p.m. Along with the three racing heats, can’t-miss performances include the 8:15 a.m. Dotting the Eye of the Dragon Dance and Lion Dance by the Chinese Arts Alliance of Nashville; 10:50 a.m. Drummer Parade; 11:15 a.m. cultural performances by the Nashville Chinese Cultural Club and Little Eagle Dance Academy; the Awards Ceremony at 3 p.m., and a post-race party at the Wildhorse Saloon Beer Garden. For more information and a detailed schedule, visit

Manuel on the Move After 25 years in his 1922 Broadway location, renowned fashion designer and Hollywood costumer Manuel Cuevas has opened a new retail space at 800 Broadway in downtown Nashville. The recently renovated space houses the iconic designs Manuel is known for, as well as the studio for designing and manufacturing the New Vision collection: handmade, one-of-a-kind leather apparel and accessories for men and women that appeal to the “Everyday American” with a price point of $50 to $600. "We are excited about this move and all that it represents for the brand and the launch of the New Vision collection," said Manuel. "Many fond memories have been shared at the boutique. I am positive just as many will be made in the new location as we open up our new home to friends and visitors who love Nashville as much as I do."

photo: anThony Scarlati

For more information about Manuel American Designs please visit


300 lots of Fine Art, Antiques & Jewelry Online/Absentee Auction ends Fri. Sept 27

Vulcan and Venus, attrib. Louis LaGrenee (French, 1725-1805)

Ed Clark (TN 1912-2000)

Marilyn Wendling, American Backroads, Oil on canvas, 12" x 12"

Christ the King Art Show

Thalia Kahl, A Night Out, Acrylic on canvas, 24" x 24"

This year’s Christ the King Art Show promises to be one of the best ever. Featured artist Ron York headlines the two-day event and will have two booths showcasing his whimsical and well-loved work. Additionally Ron will have a gallery booth featuring artists from York & Friends Fine Art. The show will also include favorite artists from past shows, as well as new and emerging artists.

Henri Schaeffer (French, 1900-1975)

Lilli Palmer David Burliuk (German, 1914-1986) (Russian,1882-1967)

Asian Antiques

Fully illustrated Catalog online at

Also new to the show this year is the addition of food trucks by Wrappers Delight and Crêpe A Diem. And, as it turns out, the Saturday of the show is also the day of the Hillsboro-Belmont Home Tour.

Now in its fifth year, the art show supports Christ the King’s fine arts budget and funds two student scholarships. Christ the King Art Show will take place Saturday, October 5, from 11 a.m. to 8 p.m. and Sunday October 6, from 9 a.m. to 2 p.m. For more information visit

Alexander Kremer (Russian, b. 1958)

Fine Jewelry, Watches, and Sterling

In all there will be over 40 local and regional artists displaying a variety of media, including painting, jewelry, pottery, hand-painted furniture and more. A few of the artists participating are Marilyn Wendling, Jade Reynolds, Tom Turnbull, Shannon Haas, Lisa McReynolds, Ginger Oglesby, Thalia Kahl, Jann Harrison, and Kellie Montana.

“It is both an honor and a pleasure to be involved with this show. Not only does it benefit arts education, it is one of those events that keeps getting better every year because of the enthusiasm of the community and school and the generosity of the artists,” exclaimed Ron York.

Frederick Schafer, El Capitan

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See Website for Preview Party info or Preview by Appointment


September 2O13 | 23

NA: What artists will you represent?

BLOOM: We’ll have Warhol prints. There are about fifteen available now: two Mick Jaggers, a complete set of Maos, Campbell Soup Cans, and some other surprises. NA: Will you have other artists? Maybe some local artists?

BLOOM: We won’t have local artists. We’re leaving the local art to the local galleries. We’re going to be a Warhol-centric gallery. In the Southeast there’s one in Miami and one in Boca, but there aren’t any other galleries specializing in Warhols. NA: So you’ll sell Warhols exclusively?

BLOOM: Our inventory will be eighty percent Warhols. We’ll also represent a mixed-media artist from Paris, Kelley Ryan, and we’ll have some of the flower series of Alex Katz. NA: Is there an advantage to buying local? Can you be competitive with New York and Miami and the auction houses?

BLOOM: We’ll be more competitive pricewise. We have very low overhead. To give you an idea, we have the tattooed woman print by Warhol that we sell for around twenty-one thousand. It would sell in other markets for around twenty-six.

Galerie Ravin

Opens in the Gulch Warhol! Warhol! Warhol! by Linda Leaming


ere’s some excitement: Nashville’s newest über upmarket art gallery opened in August, at 300 12th Avenue South in The Gulch.

NA: It seems like Nashville would be a good market for some of the entertainers that Warhol made images of: Michael Jackson, Dolly Parton, Elvis. It’s such an entertainment town.

BLOOM: We’ll try to get anything we feel like would be interesting to local people, including music icons. I have a funny story about Dylan and an Elvis canvas that Andy Warhol gave to him. Dylan was on his way to play Woodstock and went to see Warhol at his factory, and Warhol gave him an image of Elvis. Dylan strapped it to the hood of his car and drove up to Woodstock. He hated the piece, and the story goes he met a friend, and he swapped the Warhol for a couch. Later that Elvis sold for over fifty million dollars. Galerie Ravin is located in the Gulch, 300 12th Avenue South. For more information about the gallery visit

Galerie Ravin will specialize in prints by Andy Warhol among other pricey, collectible, fabulous fine art. Owner Mark Bloom and his daughter, Brooke, who will manage the gallery, sat down to talk about art, luxury, and how Bob Dylan traded a Warhol for a used couch. NA: First: the name. Where did it come from?

BLOOM: We definitely wanted to have it ‘Gulchcentric,’ so I asked my daughter, Brooke, how to say “gulch” in French. She said it’s ravin. So, Galerie Ravin.

BLOOM: It’s a thin market now. The super luxury market is in its infancy in Nashville. This will be a great addition to high-end investment art in Nashville, so people will have the opportunity to buy locally. NA: So these are investment art pieces?

BLOOM: Correct. People want to buy art they love that can possibly appreciate, and these certainly have that potential.

Mark and Brooke Bloom

24 | September 2O13

photo: anthony scarlati

NA: Nice. Are Nashvillians ready to buy expensive art?

Mother and Child by Andy Warhol

300 12th Avenue South, Nashville, TN 37203 615.242.3001

The Highwaymen by Kelley Ryan

September 2O13 | 25


Fall Fest at The Hermitage and the Stacked Box Community Mural Project The Congregation, 2013, Oil on panel, 24" x 34"

Alex Hall Flies Solo

Andrew Jackson’s home, The Hermitage, will host Fall Fest at The Hermitage, a variety of entertainment, art, and food experiences featuring local musical talent, food vendors, and 100-plus local and regional artists and crafters displaying photography, basketry, ceramics, paintings, jewelry, and woodwork.

Relativity opens on Saturday, September 7, during the First Saturday Art Crawl downtown and will remain on view through September 28. For more information visit and

Fall Fest at The Hermitage takes place October 5–6 from 10 a.m. to 5 p.m. Tickets are $5 for adults and free for children under age 11. To purchase tickets, visit

Things have been moving pretty fast for Alex Hall since he was featured on the cover of Nashville Arts Magazine in April. He has just quit his day job to focus on his art full time, and this month he opens a solo show at The Rymer Gallery.

photo: courtesy metropolitan nashville airport authority

He credits the cover story with giving him the exposure he needed and says, “It’s time to take the plunge, risk it and see what happens.” With this show, Relativity, Hall will complete the series of work featured in the April issue, and then he plans to take his art in a “new and different direction.”

This year’s festival is also the culmination of the Stacked Box Community Mural Project created by artist Myles Maillie in collaboration with The Hermitage, Picture This Gallery, area nonprofits, and Metro Schools art departments. Maillie will use 18-inch boxes, painted before and during the event, to construct a mural on the grounds of The Hermitage.

The Bookmark

A Monthly Look at Hot Books and Cool Reads

Night Film by marisha pessi Brilliant, haunting, breathtakingly suspenseful, Night Film is a superb literary thriller by the New York Times bestselling author of the blockbuster debut Special Topics in Calamity Physics.

Ottolenghi: The Cookbook by YOTAM OTTOLENGHI AND SAMI TAMIMI Yotam Ottolenghi's four restaurants are among London's most popular culinary destinations. Tamimi and Ottolenghi's gorgeous cookbooks Plenty and Jerusalem have both been bestsellers for us. Cauliflower and Cumin Fritters with Lime Yogurt, anyone?

MaddAddam by margaret atwood

Claire of the Sea Light by edwidge danticat

We have been waiting impatiently for this last book in Atwood's dystopian trilogy that started with the publication ten years ago of Oryx and Crake and was followed by The Year of the Flood. This book of speculative fiction is at once dazzlingly inventive and grounded in a recognizable world.

We love this book so much it is our September Signed First Edition Club choice. Ann Patchett says: "As an ardent admirer of Edwidge Danticat's writing, I opened Claire of the Sea Light as if it were a gift. My high expectations were met and then surpassed. The story she has given us is at every turn surprising, shimmering, deft. It is a jewel—a remarkable book, as luminous as its title."

For more information about these books, visit 26 | September 2O13

This soft, contemporary, all-brick home was exclusively built by Sharon Lester to reflect earth tones in harmony with nature. Elevated on 2.86 partially wooded acres in premier Forest Hills, it boasts spectacular vistas with the ambiance of a quiet, private in-town retreat. Walk outdoors on every level to enjoy serene nature by day, star-filled skies at dusk, or entertain from the soaring decks. Use the grassy outdoor acreage as a natural wildlife refuge or build it out for tennis, a pool, children’s play area or an outdoor studio. Indoors, this gorgeous, light-filled home has high-end finishes and custom features, including granite, hardwoods, crown molding, security system and more. This unique home features a gourmet kitchen to satisfy the most discriminating culinary needs, a master suite to completely refresh you overnight, and 3 fireplaces to cozy up to with your favorite book. 6227 square feet - 10 rooms - 5 bedrooms - 5 baths with elevator, large wine room, artist studio, 3 car garage and more.

Complete video tour and more photographs at:

September 2O13 | 27

photo: Jason Mazzo


Arts, Antiques, Music & Food Enjoy tasty treats at Goodlettsville Flavorfest, highlighting offerings from local restaurants and caterers, while enjoying live music, an antique car display, and an array of shopping opportunities. Presented by Imagine Goodlettsville, the Goodlettsville Area Chamber of Commerce, and the City of Goodlettsville, the festival benefits the Goodlettsville Help Center and the Second Harvest Food Bank. Goodlettsville’s Arts & Antiques Festival will take place on Saturday, September 14, from 10 a.m. to 5 p.m. on Main Street. For more information, visit










Goodlettsville Church of Christ



New in 2013 to kick off the festivities: JOE VICKERS FANTASTIC FALL 5K





presented by Goodlettsville Antique Mall

presented by Artists On Main Painting Society

Michael ClenDening Multimedia Industrial Art

by Jennifer Anderson | photography by Tiffani Bing

Mark your calendar for Goodlettsville’s 3rd Annual Arts & Antiques Festival on September 14. A cornerstone of the festival, the Artists on Main Painting Society will again present the “100 for 100 Art Show & Sale” featuring over 100 works of art for $100 or less. The Goodlettsville Antique Dealers will host an Antique Appraisal Show where you can have antiques appraised for a very modest fee.

SEPT 14TH 2013 10AM TO 5PM

The Great Unknowns



-live music


-trolley car

-food trucks

-local vendors -AND MORE!



presented by Goodlettsville Chamber of Commerce

FOR MORE INFO: David Gillihan 500-5272

Metro Nashville art teacher Michael ClenDening has always known he was an artist. From the time he was four and received markers and Scotch tape in his Christmas stocking and drew on printer paper from his dad's office, he was compelled to create. The youngest of six children, he would sit in the light of the front door amidst the chaos of a large family and draw. When he went on to study art as an adult, what began as a very tight, controlled, hyper-realistic technique was eventually broken down by his instructor to a place where he could actually feel the process and begin to let go. This started his development as an artist and the beginning of art as a viable life path. Through his own artwork and as a teacher committed to bringing his vision of an art-filled life to his students, he has made that possible. Conceptually his work is about contrast, from the materials to design structure, and the message is about the balance between opposites. He uses text, rusted metal, and layers to tell his story about teaching at a behavioral school in downtown Nashville. The piece titled Murrell includes obituaries from students lost to violence and rust dripping down the front to indicate the despair of lives and talent lost too soon. The work is literally constructed—out of wood, metal, and plexi—and includes graphics, text, and painting, which tell the story of his experience in literal and subjective detail. This construction design is carried to the pieces he calls "puzzles," which have pieces that can be changed to suit whatever design you prefer. Michael ClenDening – Industrial Art opens Saturday, September 14, from 6 to 9 p.m. at UnBound Arts, 729 Porter Road in East Nashville. The work will be on display through the month of September.







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September 2O13 | 31

NASHVILLE JAZZ WORKSHOP Upcoming Events Wednesday, September 11 7:00 pm Duffy Jackson Big Band Friday, September 13 8:00 pm Snap on 2&4 w/ Matt White Saturday, September 14 7:00 pm The Beegie Adair Trio

Saturday, September 21 8:00 pm Contemporary Jazz Series w/ El Movimiento Saturday, September 28 4:00-5:00 pm Jazz By The Book at Parnassus Books

New class session starting Monday, September 16 CLASSES INCLUDE: Blues Improvisation w/ Roland Barber Vocal Transcription & Vocalese w/ Liz Johnson Advanced Improvisation w/ Don Aliquo Blue Note Ensemble w/ Don Aliquo The Voice Lab w/ Margaret Rose Introduction to Vocal Literature w/ Christina Watson and many more . . .

Mark your calendars for Jazzmania 2013, the Jazz Party of the Year!

Sunday, October 20, 4-8 pm

Jamison Hall, the Factory at Franklin For Tickets And Complete Schedule, Visit or call 615.242.JAZZ (5299)

NASHVILLE JAZZ WORKSHOP 1319 Adams Street Nashville, TN 37208


Looking Forward Gary Tisdale, founder and proprietor of Midtown Gallery & Framers, will celebrate 25 years in business with a special show entitled New Beginnings. The featured artists, Evelyn M. Gray, Jann Harrison, and Erin Johnson, have been with Gary since the early years, and like him they are transitioning into the next 25 years. Contemplating this auspicious occasion, Gary commented, “I feel a sense of accomplishment after 25 years, especially since I’ve made it through two recessions, one right after I opened and the most recent one. The loyalty of my customers has been wonderful, and now some of my clients are second generation.” New Beginnings opens with a reception on September 19 from 5 to 7 p.m. Midtown Gallery & Framers is located at 1912 Broadway. For more information visit

Striking a Balance Brad Reagan started drawing in preschool, often rendering toys he wanted but that his parents couldn’t afford. These days he still loves drawing, painting, and portraiture, but it is his sculpture that is garnering attention. Though his work is made from industrial materials such as steel, wood, wire, enamel, and plastic, it is nature and contemporary culture that influence his subjects and color treatments. “It is only when I strike a balance between the materials and the figurative subject that the pieces become interesting,” he says. With an MFA from UNC, Chapel Hill, Reagan teaches foundation art courses at Octopus, 2008, Steel, metal, foam, acrylic, celluclay, Austin Peay State University. expanding googley eyes To help support his creative passions, he paints murals and store signage and delivers for Nashville Arts Magazine. Recently, he has exhibited in Clarksville and Nashville, and more shows are planned. For more information, visit

Ope n i ng R e c e p t iOn

Sculptor Roy Overcast Thursday, October 3 • 5:30-7:30

new look

In the Visitor Center Gift Shop

5025 Harding Pike Nashville, TN 37205 • 615-356-0501 wine tasting sponsored by

same location

Love and Haiti Pradip Malde’s The Third Heaven, Photographs from Haiti, 2006–2012 is on view September 3 through October 18, 2013, at the University Art Gallery in Sewanee.

Manuelita Perrin, Banana Trees, Saut Mathurin, Haiti, 2007, 24" x 24"

Malde’s color photographs are applied directly to the gallery walls and grouped in long strips, immersing the viewer in an empathetic experience. Rather than dwelling on the trauma associated with Haiti, Malde instead “point[s] to kindness, resilience, tenacity, and resourcefulness” in the face of the country’s difficulties by seeking the “quieter attitudes” of trees, sleepers, abandoned buildings, and rain. The University Art Gallery is located on the campus of the University of the South in Sewanee, Tennessee, and is free and open to the public. There will be an artist’s talk and reception on Friday, September 13, at 4:30 p.m., and on Saturday, September 21, a Gallery Walk and Haitianinspired food tasting from 4:30 to 7:30 p.m. For more information visit

Visit Our New Showroom

2106 21st Ave S. • Nashville, TN 37212 (615) 298-2670 •

photo: courtesy of nashville symphony


recent works by

Tom Judd and Jim Phalen Sept. 7 - Oct. 12

New from the Symphony

Jim Phalen, Red Wall, 2012, oil on panel, 38 x 23 inches

opening reception Saturday, Sept. 7 6pm - 8pm

Tom Judd, Candelabra, 2013, oil and collage on panel, 36 x 32 inches

4107 hillsboro circle, nashville, tn 37215 615.297.0296

In response to requests from patrons, the Nashville Symphony is introducing a stimulating new way to enjoy Friday mornings. Coffee & Classics is a three-concert series featuring unforgettable classics by Mozart, Strauss, Haydn, Copland and more in the acoustical splendor of Schermerhorn Symphony Center's Laura Turner Concert Hall. The concerts begin at 10:30 a.m., but you’ll want to arrive early to enjoy free coffee and pastries! The series debuts on October 4 with Copland’s Billy the Kid conducted by Giancarlo Guerrero with Nathan Laube on organ. On February 28, 2014, enjoy Haydn & Strauss with Carlos Kalmar conducting and Arnaldo Cohen on piano. Mozart Masterpieces, with Bernard Labadie conducting and Benedetto Lupo on piano, will take place on April 25, 2014. For more information, visit

Gallery One Celebrates

Get to Know the GCO! Season Tickets on sale now at

On Saturday, September 7, Maggie Hasbrouck’s painting Joy Spills Over will be awarded to the individual who has solved the mystery and can unlock the compartment on the painting’s frame. At the same time, Hasbrouck will launch her show Treasure featuring new, interactive work that allows the owner to change the look of the work any time they choose. “I love the idea that I don’t have the last word on the piece . . . giving that up to the viewer feels like it is breaking the rules in a very satisfying and exciting way,” Hasbrouck explains.

2013-14 Nashville Concerts Mondays @ 7:30pm Sept. 16 • Oct. 28 • Feb. 10 • Mar. 31

The Horse (variation 258), 2013, Mixed media with reclaimed wood and rare earth magnets, 13" x 13" 34 | September 2O13

And on top of it all, Gallery One will be celebrating its new location in the historic Jack Norman Sr. building at 213 3rd Avenue North. All this happens in conjunction with the First Saturday Art Crawl on Saturday, September 7, from 6 to 9 p.m.

Jack Yacoubian

J e welrY & fi n e arT GallerY

hundreds Of desiGns


The Crawl Guide On Friday, September 6, over 30 locations will continue the 2nd Anniversary celebration of the Franklin Art Scene from 6 until 9 p.m. Jack Yacoubian Jewelers will feature a joint exhibition of Grant Garmezy’s glass sculptures and Emily McGrew’s oil paintings. The Heirloom Shop will showcase the work of printmaker Mike Martino. Gallery 202 artists will mingle with visitors, and the Harpeth River mural by Dennas Davis will be on display in the courtyard. Regions Bank will exhibit the work of Dr. Marian Haynes, Susan Rowland, Jamie Moon, and Dana Reynolds in a show entitled Art Soup. Stop by Rare Prints to see a 1700s work by Albertus Seba.

Emily McGrew

Albertus Seba

Over 32 Ye ars Of experience & fa milY Owned fOr Three Gener aTiOns

fe aT u r e d a r T i s T s

Emily McGrew, Hana, 12x16 inches, oil on board

Grant Garmezy, James River Catfish, glass sculpture

Jason Stoddart

On Saturday, September 7, head downtown to 5th Avenue of the Arts from 6 until 9 p.m. for the First Saturday Art Crawl. The Arts Company will open exhibitions by Tennessee artists Trey Gossett (see page 100), Edward Belbusti, and Jason Stoddart. Tinney Contemporary will host receptions for Stefany Hemming and Mary Addison Hackett. The Rymer Gallery will present Alex Hall’s exhibit Relativity (see page 26) and recent work by Luke Hillestad (see page 73) and Jeff Green (see page 110). Gallery One will open its new exhibit Treasure (see page 34). At the Arcade check out two new galleries, The L Gallery and WAG. The UltraViolet Gallery will feature multi-media artist Arthur Kirkby and new animal photography by Amiee Stubbs. Picture This will exhibit works by Mary Addison Hackett Susan Goshgarian McGrew (see page 14). The new Wedgewood/Houston Art Crawl takes place on Saturday, September 7, from 5:30 to 8:30 p.m. Participants include Cleft Studios, Fort Houston, Ground Floor Gallery, Ovvio Arte, Snap, Track One, and Zeitgeist. Don’t miss E(labor)ATED SURFACES at Ground Floor Gallery and Sounds for a Third Ear by Jack Ryan at Seed Space.

visiT Our shOwrOOm

114 Third Ave. South • Franklin, TN 37064 (615) 224-3698 •

Historic Downtown Franklin

Ndume Olatushani

On Saturday, September 14, visit Second Saturday at Five Points in East Nashville from 6 until 9:00 p.m. for fine art, antiques, and artisan wares. Bryant Gallery will open Ndume Olatushani’s exhibit Art Is Freedom.

Tony Novak, Lyrical Rider, located at Coleman Park Community Center on Thompson Lane

Photo: Stacey Irvin

public art

New Public Art Bike Racks Are Here! by Caroline Vincent, Public Art Manager, Metro Nashville Arts Commission


e on the lookout—seven new artist-designed bike racks are in a neighborhood near you! These bike racks, while

functional, are also the most innovative racks you’ll see anywhere. In 2010, Metro Arts installed the first series of public art bike racks around downtown Nashville. Since then, biking has become an even more popular way to get exercise, commute to work, or just see the city at a slower pace. We love this initiative because it promotes healthy living, promotes work by local and regional artists, and puts amazing, one-of-a-kind sculptures throughout Nashville’s neighborhoods. In order to celebrate this most exciting occasion we’re holding a contest! What kind of contest you ask? Well, it’s an Instagram contest, and anyone can participate. First, you must have an Instagram account, and you’re going to want to like Metro Arts on Facebook to find out more. So go ahead, we’ll wait while you go do that . . . Now here are the rules: 1) Snap a picture of yourself and your favorite public art bike rack 2) Tag us with #artracksnashville 3) Post your picture to Instagram 4) Make sure to like us on Facebook. Winners will receive fabulous prizes and will be randomly selected at the end of the month and announced on the Metro Arts Facebook Page. (Contest ends October 1.)

Got it? Easy! We want to see your pics. For a map, a list of the new rack locations, and a spectacular FREE public art tour you can take on your bike or B-cycle, visit Go! Do it. Ride a bike. But wear a helmet! Photo: Stacey Irvin

Need help figuring out how to navigate Nashville on a bike? Check out or

Duncan McDaniel, Soundboard Sliders, located on 12th Avenue South 36 | September 2O13

The Art of Living Beautifully

The Magnificent Mediterranean Tile Roof Villa on the Governors Club Boulevard of Dreams Awaits A New Owner

37 Governors Way includes separate guest quarters as well as a beautiful pool and outdoor entertainment areas. Its expansive setting provides an exceptional view of the 16th fairway. $4,500,000 615-263-4800 • 615-263-4815

September 2O13 | 37

Fall for a New Language h Spanis





e ues tug Por se ine Ch

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Classes begin September 16 615-741-7579

Single Stone collection




6027 highway 100 nashville . tn 615-352-9696

artist profile

Carol Mode Excavation of Color by Cat Acree | photography by Rob Lindsay


ou don't look at a Carol Mode painting; you look through it. Layer upon layer of paint,

stripped away and then layered again, suggest the possibility of a horizon far off in the distance— but never allowing the eye to focus on it. “The patterns begin to build up, and it’s really like looking at not true landscapes but patterns in landscapes,” says Mode, who is seated at the center of her home studio, surrounded by paintings in varying stages of completion. It’s a welcoming, lofty room that seems sunlit despite the fact that it’s pouring outside.

“I’m always building my paintings,” Mode says. “They start with marks and big lines and drawing elements, but then they become closed in and tight, and then I start moving back out.” Allowing these pieces to dictate their own form gives them a volatile, electric quality, and without Mode’s fascination with structured forms, they could feel adrift. “Before the body of work that you’re looking at now, my work was primarily structured—squares, ellipses, rectangles, circles, forms that had hard edges. I‘d produce a dramatic undercoat and movement and form, and it’s really got power to it, and then I’ll just put a big square on it. And I love that! It stabilizes it, and there’s this inside-outside feeling that you get.” For her Blue series that showed in the Cheekwood contemporary space, Mode produced seventy-two small paintings to create “a pool of blue.” Each piece was original and patterned, and each was anchored

Though Mode’s paintings do contain some apparent imagery—particularly elements of the natural world, like cells bisecting or the feeling that you’re staring down to the bottom of the ocean—the process is key in Mode’s work.

It’s almost like an excavation. I add and subtract. I shuffle and reshuffle images on the canvas and remove things with sanders and then scrape away and build up again and rethink it.

Mode, who originally wanted to be an architect, approaches her process of creation, destruction, and rebuilding as the engine through which a painting can reveal itself. She begins each piece without a concept, and often halfway through—as with the painting commissioned by the Music City Center—the whole thing can change in an instant.

40 | September 2O13

clockwise from top left: Inlet, 2012, Acrylic on canvas, 36" x 36" Intervention, 2012, Acrylic on wood panel, 30" x 30" Stretching the Limits, 2012, Acrylic on canvas, 5' x 15'

E-mergence, 2006, Acrylic on canvas, 65" x 72"

with floating dots. Ideally, the dots would be incorporated into the viewer’s own line of sight rather than a mark on the painting itself. “I guess I would’ve liked it to be three-dimensional,” Mode says. “I would’ve liked to see [the dot] floating in front of it.” It comes as no surprise to learn that Mode was affected by a progressive retinal condition that caused floaters in her vision. By incorporating these spots into her work, Mode transformed a symptom—a reminder of mortality—into a comforting, recurring theme. Her first show at Sandler Hudson Gallery in Atlanta, Georgia, was even called Floaters. With the same forward momentum that has kept abstract art relevant and vital, Mode’s thirty years of painting have produced a continually evolving body of work. About five years ago, Mode deserted all former structured images save for the ellipse, which repeats “like a rhythm” throughout her work. Major points of evolution have occurred when she’s been far from home, particularly when participating in artist residencies around the world. A “true epiphany” occurred during her first residency in Basel, Switzerland. After six months of

Force, 2012, Acrylic on wood panel, 36" x 36" September 2O13 | 41

touring museums all over Switzerland and Germany, “my work became more textured, became more patterned. I was more interested in process than I was before,” particularly the bold processes of German artists like Gerhard Richter and Georg Baselitz. Mode considers her evolutionary time frame to be about every three years. She is currently becoming more minimalist, a transformation that requires subtlety and boldness in equal parts. For Mode, this transition is “a relief,” which is surprising considering the restraint and the confidence required to pare down a previously complex process. “I’m trying to remove myself from constricted spaces and move myself into a bigger point of view,” she says. She has begun working with bigger canvases and broader strokes—literally, in the case of a three-foot-long squeegee. “I don’t know where it’s going, but I always find out as I go what’s going to happen. “In a way, and I hadn’t thought of this until this moment, I feel as though I’m in a theatre,” Mode says. “The acting out and the drama of putting my work together is what keeps me really interested.” Carol Mode is represented by Sandler Hudson Gallery in Atlanta. For more information about Mode visit and

Out of the Blue, 2011, Acrylic on canvas, 50" x 50"

Araby, 2007, Acrylic on canvas, 60" x 72" 42 | September 2O13

Jack Spencer. Niñas, Día de los Muertos (detail), 2000. Archival pigment print. Courtesy of the artist. © Jack Spencer

Through October 13 DOWNTOWN NASHVILLE | 615.244.3340 | FRISTCENTER.ORG Members/Youth 18 and younger FREE Presenting Sponsor:

The Atticus Trust The Frist Center for the Visual Arts is supported in part by:


September 2O13 | 43

Ken Gaidos, Spalted Poplar, reclaimed from George Jones’ farm

...Into the Woods Spend an autumn evening with five accomplished wood artisans

October 5, 2013 • 6PM-8PM Meet the artists and learn their stories


Wood Turning Demonstration Live Music • Refreshments 3900 Hillsboro Pike, Suite 34 • Nashville, TN 37215 • 615-739-6573 • 44 | September 2O13

DIANE MAY STUDIO Celebrating the American Landscape

Chance of Showers, 10x12, plein air, oil/linen

Chestnut “Paint Your Heart Out” Workshop Gray is a Color: Saturday, September 21 More information at For more information about other shows, fall schedule, and coaching opportunities, please visit

tune in to nashville’s burgeoning visual art scene

The Arts Company

Local Color Gallery

The Parthenon

Bennett Galleries

Midtown Gallery & Framers

The Rymer Gallery

Bryant Gallery

Richland Fine Art, Inc

Tinney Contemporary

Cheekwood Botanical Garden and Museum of Art

Sarratt Gallery at Vanderbilt

Two Moon Gallery

Cumberland Gallery

Tennessee Arts Commission Gallery

Frist Center for the Visual Arts Gallery One LeQuire Gallery Leu Art Gallery

Tennessee Arts League & Galleries Tennessee State Museum Tennessee State University: Hiram Van Gordon Gallery

Vanderbilt University Fine Arts Gallery Williams 19th &20th Century American Art Galleries York and Friends Fine Art Zeitgeist

September 2O13 | 45

Mel Ziegler

An American Conversation by Daniel Tidwell

All lighting events were in cooperation and in conversation with farmers from various small communities across the Midwest.


el Ziegler may be one of the most important artists working in the United States today, yet he doesn’t mind operating under the radar of the mainstream art world.

He is part historian, conceptual artist, sociologist, and aspiring farmer—creating work that occupies a unique place in the art world, bridging political, historical, and social concerns—mining the buried histories and narratives of the American landscape.

quite literally, as in the case of a project from 1989 called Loaded Text in Durham, North Carolina, where Ziegler and Ericson used magic markers to hand write the sixty-five-page Downtown Durham Revitalization Plan on a section of broken sidewalk. The artists then demolished the sidewalk, displayed the rubble in front of the Durham Arts Council, then had a contractor install a new sidewalk and used the rubble to stabilize a local stream bank.

From 1978 to 1995 Ziegler collaborated with his partner, Kate Ericson, to create a rich and highly influential body of work that moved the insular conceptualism of the ’70s out into the real world with projects that engaged ordinary citizens. Their work took highbrow, theoretical art practice to the streets—sometimes

The project is one of Ziegler’s favorites: “Every part of it, everything came back around to itself, everything had its place,” he says. “This project was what Kate and I had been trying to do most of our career—infiltrate these systems . . . of the urban or suburban fabric and make art out of what’s already there.”

Green Corn, Knoxville, Iowa

September 2O13 | 47

Wheat, Culver, Kansas

Ericson and Ziegler’s collaboration ended tragically in 1995 with Ericson’s untimely death from cancer. After her death Ziegler had to reinvent himself: “My world as an artist became unstable. No one knew who I was as an individual artist. A few years after her death I found myself living in Austin, Texas. It wasn’t New York . . . and at first I struggled with being in what I considered to be a small town with a limited visual-art world. Because my work responds to local communities and regions, I became fascinated with the local mythology and the Texas landscape . . . death and heroism seemed to be critical to the Texas lore . . . so I began to respond and make work about it.”

Ziegler’s recent work expands on his interest in the enormity of the Midwestern landscape through “lighting events” that he stages throughout the heartland and documents in photographs.

Rice, Grayridge, Missouri

The striking photographs have a surreal, cinematic feel that brings to mind a scene from a sci-fi movie. “I do not do this for the sake of making a photograph,” he says. “I consider these to be documentations of lighting events. It’s OK to think of them as otherworldly. This quality is what gives its uniqueness to the landscape and makes it operate in the realm of something out of the ordinary. By doing so I hope we take a deeper and more profound look at our agricultural landscape and food production.” “Rarely do we monumentalize the everyday,” says Ziegler. “That is what I do here. I am temporarily and falsely monumentalizing the commonality and the ubiquitousness of the fields. I am asking

Sandhills, Seneca, Nebraska

48 | September 2O13

for them . . . to reenter our consciousness and not just be taken for granted.” Completed in 2013, the project had its genesis two years ago when Ziegler began traveling through the region during a period of record drought, meeting with farmers. For him, a one-on-one dialogue with the farmers is a key element. “It’s about having conversations,” he says. “I am entering their world briefly and asking to do something absurd, so gaining trust is critical. I have met some amazing and interesting farmers. The conversations begin to define the work for me, and there are some great stories that go with each image.

photo: Tamara Reynolds

Cotton, Sikeston, Missouri

“Whether I am teaching, being a father, a husband, a farmer and baling hay on my small farm, it's part of being an artist. It all informs me and my work.”

“I find that if I return to an area time after time, I begin to broaden my involvement with a particular community—like the Sandhills region in Nebraska. I have been going there for the last two years, and because the towns are small they begin to notice an outsider returning over time. My studio becomes the local bar or diner. It’s a place of engagement. I have met lots of people that way and find possibilities through that interaction.” Ziegler’s interest in farming and food production was born during his childhood on a farm in rural Pennsylvania. “I can remember as a child handhoeing the corn fields when my dad went organic. It remains some of the hardest work I have ever experienced.” Today Ziegler maintains a farm of his own and refers to himself as a part-time farmer. “Farming is full of dichotomies and contradictions,” he says. “We think of it as peaceful and serene, but it is also extremely violent. We kill animals, have equipment that violently cuts, crimps, tears, rips, and tills. What is serene about that? Farming has constant “ups and downs [with] no getting ahead [and] no end in sight. Few people realize that unless they have lived it.”

– Mel Ziegler

Agriculture’s role in shaping the landscape and the American way of life is also of interest to Ziegler, who has been influenced by the writings of landscape philosopher J.B. Jackson, who believed that the complexion of landscape is constructed by the presence of man. Ziegler’s project echoes this idea— finding meaning in heavily manipulated landscapes. “Driving around the Midwest to do my lighting events has been so informative. It is overwhelming to see cornfield after cornfield or miles and miles of soybeans or rice. It is simply mind-blowing. Drive it and experience it, and you will then realize how complicated food production and agriculture are.” Ziegler is anxious to further explore the area, its residents, and their relationship to the eco-system. “I love the layers of possibilities that

Growing, Ashley, Illinois

September 2O13 | 49

Drought, Mt. Pleasant, Tennessee

arise from the agricultural uses in the region. I know of nothing like it in terms of landscape and ecology. And the people are extremely friendly and open. That makes it easy to begin these conversations.” Ziegler’s work as an educator and chair of Vanderbilt’s Fine Arts Department helps inform his work as an artist. “It keeps me thinking and constantly challenges me to stay informed with the art world and its expanding conversations.” These sentiments extend to the totality of his life. As he puts it,

“Whether I am teaching, being a father, a husband, a farmer and baling hay on my small farm, it's part of being an artist. It all informs me and my work.” Mel Ziegler will be exhibiting his agricultural images and other works at the Bemis Center for Contemporary Art, Omaha, Nebraska, from September 19, 2013, to March 1, 2014. He is also currently woking on a project for Austin Peay State University, Department of Art, Trahern Gallery. Ziegler will capture a thousand laughs from around the Clarksville community in jars. For more information on his work visit his website at, and you might also purchase America Starts Here, cataloguing the work with his late partner, Kate Ericson (MIT Press) from our local Parnassus Books.

Sandhills, Seneca, Nebraska

50 | September 2O13




September 2O13 | 51

photo: jerry atnip

Olen Bryant's Material Magic by Karen Parr-Moody

Olen's genius is his sensitivity to the regular flow of the grain and textures in the natural materials he uses. – Alan LeQuire


o this day, sculptor Olen Littleton Bryant resides in a place that resists discovery. His home studio is tucked away in the bucolic

And yet his current location only hints at how removed from society Bryant was when he was born, in 1927, the son of a Cookeville, Tennessee, tenant farmer. Certainly there was the natural beauty God grants those living in the country. But there were no marble-floored museums housing man’s interpretations of the divine. And while there were relatives who whittled in wood—a foreshadowing of Bryant’s future success in that medium—a career as a sculptor was simply unheard of. “With my timeframe and background, art was not a reality,” Bryant says today. “It didn’t exist. I don’t think people know how much this art mess has changed in the last forty years.”

photo: monica derise

farmland of Cottontown, Tennessee, an unlikely outpost among the errant goats that occasionally spill across a country lane.

What did exist within Bryant was an innate curiosity, a yearning for something he couldn’t pinpoint as he watched men labor in the “tobacco patches” under the sun’s inhumane glare. He couldn’t know then that, one day, he would become a beloved professor and an award-winning sculptor. “When my father died, he still thought I’d made a terrible mistake not becoming a tobacco farmer,” Bryant says. “That’s what you were supposed to do. I decided to go into teaching, for heaven’s sakes, because I didn’t have to work in the tobacco patch!” As he says this, the 86-year-old Bryant sits in the 5 Chefs café of Portland, Tennessee, a few miles from his studio. The waitress checks in frequently to make sure that the compact, wiry man with a white ponytail is content. He is—and not only with the eggplant Parmigiana. He is content with his life lived as a sculptor.

Bryant’s work, which is instantly recognizable, was influenced by Constantin Brancusi (1876–1957), the Romanian sculptor known for such sparely elegant works as The Kiss and Bird in Space. Like those of Brancusi, Bryant’s sculptures are gracefully abbreviated. Emotions such as blissful contentment are rendered with minimal changes to the material used, whether it be stone, wood, bronze, or clay.

photo: monica derise

“I think it worked out fine for me,” Bryant says. “This white-trash nobody did pretty well.”

photo: monica derise

A hallmark of Bryant’s figures is their embodiment of a Zen-like tranquility as seen through faintly articulated features of soft smiles and heavy eyelids. Another constant, likely traced back to the whittlers of his youth, is his sculptures’ sensibility that is so easily understood by the young and old, the educated and uneducated. Bryant came to this aesthetic through a series of fateful steps. If a Lebanon High School librarian—a Miss Helen who liked students she called “odd wads”—had not seen his promise, one wonders if Bryant would have escaped the tobacco patches to become an artist. For it was Miss Helen who urged him to pursue college— something that was not in his cultural scope of reference. “She encouraged this kind of personality,” Bryant says. “I guess that’s how it started.”

Far East and Middle East. While Bryant is influenced by Eastern art, it was a specific show that impressed him. In it, Africans had created sculptures in the vein of Brancusi from cow dung, the only materials available in their geography. It was a watershed moment. Bryant says, “I thought, it seems to me that if you have something to say and you want to say it, you’ll use whatever material is available. And that kind of weaned me away from the idea that you had to have bronze and marble.” Bryant was further informed by two trips to Europe where he discovered “wretched nobodies were walking around Michelangelos. I thought, good heavens, they don’t have to question whether there’s such a thing as art. There it is!”

Bryant pursued undergraduate degrees in both art and theatre from Murray State College (now Murray State University) in Murray, Kentucky. He then earned his Master of Fine Arts degree through the G.I. Bill at the prestigious Cranbrook Academy of Art in Bloomfield Hills, Michigan.

Fate intervened again when the professors at Cranbrook introduced Bryant to the post-World War II craft movement, championing the belief that an artist’s chosen material should speak to the artist and shape the artwork. This idea of the inherent truth in materials would inform Bryant’s work throughout his life. Another fateful move was a visit to the Freer Museum in Washington, D.C., in the 1950s, where Neolithic art intermingled with Buddhist sculptures and all manner of artisan works from the 54 | September 2O13

photo: monica derise

“I don’t know how I got into that school,” says Bryant.

I thought, it seems to me that if you have something to say and you want to say it, you’ll use whatever material is available.

Bryant took all that he had learned through his formal education and his autodidactic art studies and spent the bulk of his teaching career at Austin Peay State University, from 1964 to 1991, informing future sculptors.

photo: monica derise

“I think the beauty of Olen's work is how it touches all that view it,” says Scott Wise, one former student who is now a successful sculptor. “The simplicity of form flows freely from the material. The subject matter always touches the viewer with elegance and grace.” Another student, Ned Crouch, followed Bryant to APSU then attended Cranbrook at his suggestion. Crouch went on to become the executive director of the Customs House Museum and Cultural Center in Clarksville, Tennessee, where, in 2007, he organized a Bryant retrospective. In the show’s catalog Crouch called Bryant “one of the most unassuming, self-effacing, yet influential and creative spirits to ever call Tennessee home.” Today Crouch says, “His work is so enigmatic and mystical, and you can read a lot into it. Zen comes into mind.”

Today, LeQuire says, “What’s remarkable to me is the consistency over his whole career of the type of work that he’s done. The aesthetic and the ability to find these beautiful figures in the clay and the stone and the wood. From his earliest pieces to his most recent, they’re just Olen. You can see he’s right in there. It hasn’t changed that much since he started. It’s beautiful, and he’s always had it.” Olen Bryant is represented by Lequire Gallery. His work will be part of the Nature of Wood exhibit at LeQuire Gallery, which includes sculpture and turnings by Olen Bryant, William Kooienga, and Brenda Stein with woodcuts by Alan LeQuire and Jim Sherraden. Opening Reception Saturday, October 12, 6 to 8 p.m. For more information visit

photo: monica derise

photo: jerry atnip

photo: monica derise

Sculptor Alan LeQuire, a friend of the artist, summarized the soul of Bryant’s work in his Letter of Recommendation for the 2007 Governor's Distinguished Artist Award, which Bryant received. "Olen's genius is his sensitivity to the regular flow of the grain and textures in the natural materials he uses. He follows them, listens to them, and lets them guide him instead of trying to reform them. All the figurative spirits or beings Olen's work is known for are never imposed into the material, but revealed by the material. This is the legacy of Olen Bryant.”

September 2O13 | 55


Tracey Emin

More Love: Art, Politics and Sharing Since the 199Os Opens at Cheekwood September 2O by Sara Lee Burd


ove is not a new theme for art. But what is love? Is love the feeling of love? Is it the connection we feel with someone else? Is it romanticism?

More Love: Art, Politics and Sharing Since the 1990s by guest curator Claire Schneider will explore the complexity and transformative power of love through a collection of 45 artworks by 30 artists working in various media, including Jennifer Allora and Guillermo Calzadilla, Janine Antoni, Louis Bourgeois, and Yoko Ono. The common thread is love, and each artist presents a unique approach to the theme.

Felix Gonzalez-Torres

Moving beyond the idea of romantic love, the exhibit encourages viewers to face the reality of love in contemporary society. The red neon lights and sultry script of Tracey Emin’s More Love exposes love and commerce in a way that reminds us that sex sells and is sometimes for sale. Felix Gonzalez-Torres addresses the loss of love in his work Untitled (Perfect Lovers.) The work consists of two clocks set to the same time that will eventually fall out of sync. The artist began exploring this concept during the AIDS crisis of the ’90s. He was personally touched by the epidemic as both he and his lover had the virus. The work touches upon the idea that as death takes our loved ones from us we slowly fall out of sync with the love we had. Despite the pain and personal sentiments surrounding death and separation, the artist reminds us that time is constant and continues to pass. Gillian Wearing’s Signs that say what you want them to say and not Signs that say what someone else wants you to say I’M DESPERATE reveals that love can be truth. The truth behind love can sometimes be less than romantic ideals. The man in the photograph appears confident and successful, but what is revealed through the sign he holds is that he desires human connection. Cheekwood curator Jochen Wierich says, “We’re excited to present this incredible exhibition, particularly a contemporary show of this scale. We’re committed to promoting and hosting art that surprises and challenges our audience in unexpected and groundbreaking ways. This exhibition does just that.” More Love: Art, Politics and Sharing Since the 1990s will be on display at Cheekwood September 20 through January 5. For more information visit 56 | September 2O13

Gillian Wearing

Pam Jolly Haile, BFA, 2013

Watkins College of Art, Design & Film has long been a leader in visual arts education—one month after opening its doors in 1885, Watkins held Nashville’s first comprehensive art exhibition. Today, Watkins is a nonprofit, fully accredited, four-year baccalaureate college offering studio-based curriculum for degrees in fine art, film, graphic design, interior design and photography. If you need to create, visit

September 2O13 | 57

Arts Worth Watching If there is any debate as to NPT and PBS’s dedication to arts programming, one need only look at this month’s schedule to settle it. Where else will you find over ten hours of primetime programming over four weeks dedicated to the works of Shakespeare? Beginning Friday, September 20, at 8 p.m. that’s exactly what you’ll get with the premiere of The Hollow Crown, an ambitious, four-part miniseries that assembles four of Shakespeare’s history plays—Richard II, Henry IV, Parts I & II, and Henry V—into a single chronological narrative.

Directed by Rupert Goold (Richard II), Richard Eyre (Henry IV, Parts I and II), and Thea Sharrock (Henry V), The Hollow Crown features some of the most preeminent Shakespearean actors of our time, including Ben Whishaw, Jeremy Irons, and Tom Hiddleston as the kings, supported by a phenomenal cast including Rory Kinnear, Patrick Stewart, David Suchet, David Morrissey in Richard II, Simon Russell Beale, Michelle Dockery, Julie Walters, and Maxine Peake in Henry IV, and John Hurt, Anton Lesser, and Paterson Joseph in Henry V. The series runs on Fridays at 9 p.m. September 20–October 11. For years, music- and public-television-loving Middle Tennesseans have asked why Nashville didn’t have an Austin City Limits-type show originating from the Music City. The inaugural televised series Music City Roots: Live from The Loveless Café, premiering on its hometown station on September 13 at 7 p.m., is the answer to their prayers. Launched just a few years ago and run as a live radio show with a focus on artistry and community, Music City Roots celebrates the diversity and dynamism of the new Nashville and the national revival of folk and roots music.

Among the performances in the thirteen-episode season on NPT are legends Bobby Bare and Leon Russell playing Hank Williams classics and interpreting the American songbook, Buddy Miller and Jim Lauderdale premiering songs from an acclaimed duo album, iconic songwriting couple Robin & Linda Williams bringing their experience and elegance to the stage, and bluegrass standard-bearers IIIrd Tyme Out proving why their traditional sound has made a comeback. From American Roots Music to arena rock, NPT this month brings you one of the most inspiring music documentaries in recent years. Arnel Pineda was an aspiring singer in the Philippines when Neal Schon, guitarist for the iconic rock band Journey, saw a YouTube video of the singer and flew him to San Francisco to audition for the band, then without its legendary frontman Steve Perry. The rest is history. But Pineda’s personal journey had just begun. As Don’t Stop Believin’, coming to NPT via Independent Lens on Monday, September 30, at 9 p.m., illustrates, he wasn’t prepared for the grueling physical and emotional strains that come with fronting a rock band on a whirlwind world tour. Can a man who has overcome many obstacles—orphaned at 12, living on the streets, no music training—deal with the demands of his newfound fame?

One inspiring documentary is never enough, of course, so be sure to tune in to POV on Monday, September 23, at 9 p.m. for Hugh Anson Hartford’s Ping Pong. Follow eight players with 703 years among them as they compete in the Over 80 World Table Tennis Championships in China’s Inner Mongolia. It’s an unusual story of hope, regret, friendship, ambition, love—and sheer human tenacity in the face of aging and mortality.


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


am Bob the Builder Daniel Tiger’s Neighborhood Curious George The Cat in the Hat Super Why! Dinosaur Train Thomas & Friends Angelina Ballerina Sewing with Nancy Martha’s Sewing Room Victory Garden P. Allen Smith Cooking with Nick Stellino Cook’s Country noon America’s Test Kitchen Mexico – One Plate at a Time with Rick Bayless Martha Stewart’s Cooking School Martha Bakes 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 Saving the Ocean pm Tennessee’s Wild Side

September 2013

Nashville Public Television

Solving the Mysteries of Family Histories.


5:00 am Sesame Street 6:00 Curious George 6:30 The Cat in the Hat 7:00 Super Why! 7:30 Dinosaur Train 8:00 Daniel Tiger’s Neighborhood 8:30 Sid the Science Kid 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 A Word on Words 11:00 Nature 12:00 noon To the Contrary 12:30 The McLaughlin Group 1:00 Moyers & Company 2:00 Washington Week with Gwen Ifill 2:30 Expeditiions with Patrick McMillan 3:00 California’s Gold 3:30 Joseph Rosendo’s Travelscope 4:00 America’s Heartland 4:30 Rick Steves’ Europe 5:00 Antiques Roadshow 6:00 pm Globe Trekker

It’s all relatives. In this new show, which premieres with a visit to Nashville, uncover fascinating stories and mysteries about local citizens and their enigmatic kin.

Mondays beginning September 23 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 Arthur Martha Speaks Curious George The Cat in the Hat Super Why! Dinosaur Train Sesame Street Daniel Tiger’s Neighborhood Sid the Science Kid WordWorld Wild Kratts noon Caillou Thomas & Friends Super Why! Dinosaur Train The Cat in the Hat Curious George Clifford the Big Red Dog Martha Speaks Arthur WordGirl Wild Kratts The Electric Company pm PBS NewsHour

NPT Reports End of Life

Earthflight, a Nature Special Presentation

The first episode in our new multi-year series on issues affecting an aging population focuses on end of life care and decisions.

Take a breathtaking voyage with the world’s birds, soaring across six continents, witnessing spectacular animal migrations and great natural wonders, swooping down to interact with life-and-death dramas on land and at sea.

Thursday, September 12 8:00 PM

Nashville Public Television

Wednesdays beginning September 4 7:00 PM

September 2O13 | 59





7:00 Antiques Roadshow Grand Rapids, MI - Hour One. 8:00 Antiques Roadshow Grand Rapids, MI - Hour Two. 9:00 POV The World Before Her. A portrait of the world's largest democracy at a transitional moment. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 End Of Life: NPT Reports: Aging Matters

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7:00 Last Tango In Halifax 8:00 Masterpiece Mystery! Foyle’s War, Series VII: The Eternity Ring. 9:30 NPT Reports: Children’s Health Crisis Family Health. 10:00 Bluegrass Underground Andrew Bird. 10:30 Closer To Truth Pantheism: is the world God? 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Last Tango In Halifax Childhood sweethearts reunited after 60 years are stranded when a car is stolen. 8:00 Masterpiece Mystery! Silk. 10:00 Bluegrass Underground Old Crow Medicine Show. 10:30 Closer To Truth Alternative Concepts Of God. 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Antiques Roadshow Wichita, KS - Hour Two. 8:00 Antiques Roadshow Wichita, KS - Hour Three. 9:00 POV Ping Pong. Eight players with 703 years among them compete in the Over 80 World Table Tennis Championships in China's Inner Mongolia. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Reports: Living In Fear: Domestic Violence


7:00 Antiques Roadshow Tasty Treasures. 8:00 National Parks: America’s Best Idea The Scripture of Nature (1851-1890). The astonishing beauty of Yosemite Valley and Yellowstone give birth to the idea of creating national parks for everyone. 10:00 BBC World 10:30 Last of Summer Wine 11:00 End Of Life Decisions An NPT Reports Special



7:00 Churchill The Last Prize. 8:00 Masterpiece Mystery! Silk. As Martha defends a vulnerable teenager, the pupils are given their first opportunity to stand up in court. 10:00 Bluegrass Underground Jim Lauderdale. 10:30 Closer To Truth Why Believe In God? 11:00 Tavis Smiley 11:30 Inside Washington


Primetime Evening Schedule

September 2013

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7:00 Latino Americans Foreigners in Their Own Land/Empire of Dreams. Starting in the 1500s Spanish enter North America. In the 1940s Cubans, Mexicans and Puerto Ricans arrive. 9:00 Frontline Egypt In Crisis. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Next Door Neighbors Hablamos Espanol. 11:30 Next Door Neighbors Egyptians.


7:00 American Masters Billie Jean King. A look back at the tennis icon and pioneer who played tennis on public courts, observed disparity and unfairness. 8:30 Frontline The Suicide Plan . You have an incurable illness, you want to die, and you want help dying -- what can you do? 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Adventists 2

7:00 Mount Rushmore: American Experience 8:00 National Parks: America’s Best Idea The Last Refuge (18901915). President Roosevelt becomes one of the national parks' greatest champions. John Muir fights the battle of his life. 10:30 Last of Summer Wine 11:00 BBC World 11:30 NPT Reports: Children’s Health Crisis Mental Health


18 7:00 Earthflight, A Nature Special Presentation Europe. 8:00 NOVA Why Ships Sink. 9:00 Brains On Trial With Alan Alda Deciding Punishment. How neuroscience is influencing the sentencing of defendants. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Sonic Youth/The Black Keys.


7:00 Earthflight, A Nature Special Presentation Africa. 8:00 NOVA Ground Zero Supertower. A story of engineering, innovation, and the perseverance. 9:00 Brains On Trial with Alan Alda Determining Guilt. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Esperanza Spalding.


7:00 Earthflight, A Nature Special Presentation North America. 8:00 National Parks: America’s Best Idea The Empire Of Grandeur (1915-1919). In Arizona, a fight breaks out over the fate of the grandest canyon on earth. 10:00 BBC World 10:30 Last of Summer Wine 11:00 Austin City Limits Mumford And Sons/ Flogging Molly.





7:00 Tennessee Crossroads 7:00 Music City Roots: 7:30 Volunteer Gardener Live From the 8:00 Doc Martin Loveless Cafe Nowt So Queer. 8:00 Great Performances 9:00 Pioneers Of Television The Hollow Crown: RichFunny Ladies. Phyllis ard II. Supported by Diller, Joan Rivers, Luhis allies, Northumbercille Ball, Mary Tyler land (David Morrissey) Moore, Betty White and and the Duke of York Marla Gibbs. (David Suchet), Boling10:00 BBC World News broke takes Richard pris10:30 Last of Summer Wine oner and lays claim to 11:00 Valles Caldera: the throne. The Science 11:00 BBC World News 11:30 Moyers & Company



7:00 Beautiful Tennessee: Parks & Preservation 8:00 National Parks: America’s Best Idea Great Nature (19331945). In the midst of an economic catastrophe and then a world war, the national parks provide a source of much-needed jobs and much-needed peace. 10:00 BBC World 10:30 Last of Summer Wine 11:00 Moyers & Company


7:00 Music City Roots: 7:00 Tennessee Crossroads Live from the 7:30 Volunteer Gardener Loveless Café 8:00 NPT Reports: Aging Matters American roots music is End of Life. The first alive and well in episode in new NPT seNashville in this new ries on issues affecting a music series. booming aging popula8:00 Great Plains: America’s tion. Lingering Wild 9:00 End of Life Decisions: A Long Hard Struggle. An NPT Reports 9:00 Great Plains: America’s Town Hall Lingering Wild 10:00 BBC World News We Live With The Land. 10:30 Last of Summer Wine 10:00 BBC World News 11:00 Beautiful Tennessee: 10:30 Last of Summer Wine Parks & Preservation 11:00 Moyers & Company


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 National Parks: America’s Best Idea Going Home (19201933). A Nebraska housewife searches for peace and inspiration while a honeymoon couple seeks fame and adventure in the Grand Canyon. 10:00 BBC World 10:30 Last of Summer Wine 11:00 Is School Enough?


Television worth wa tchin g.


21 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Secrets Of Chatsworth Chatsworth Estate has been passed down through 16 generations of the Cavendish family and is presently the home of the current 12th Duke of Devonshire and his family. 10:00 Great Plains: America’s Lingering Wild We Live With the Land. 11:00 Globe Trekker

14 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Secrets Of Althorp The Spencers Althorp, the childhood home to Diana, Princess of Wales, whose life is celebrated in an exhibition featuring some of her famous outfits. 10:00 Great Plains: America’s Lingering Wild A Long Hard Struggle. 11:00 Globe Trekker

7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys The Old Flame. 9:00 Secrets Of Highclere Castle Highclere Castle might be famous for being the backdrop to Downton Abbey, but behind the doors of this fairy tale castle still lives a real Lord and Lady. 10:00 Mount Rushmore: American Experience 11:00 Globe Trekker


Nashville Public Television



Last Tango in Halifax Sundays, starting September 8 7:00 PM

7:00 Last Tango In Halifax 8:00 Masterpiece Mystery! Foyle's War, Series VII: Sunflower 9:30 NPT Reports: Children’s Health Crisis Mental Health. 10:00 Bluegrass Underground Johnnyswim. 10:30 Closer To Truth What would an infinite cosmos mean? 11:00 Tavis Smiley 11:30 Inside Washington


American Masters Billie Jean King Tuesday, September 10 7:00 PM


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Pioneers Of Television Superheroes. In-depth interviews with Adam West, Burt Ward, Julie Newmar, Lynda Carter, Lou Ferrigno, William Katt and others. 9:00 Pioneers Of Television Miniseries. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Theodore Roosevelt: A Cowboy’s Ride to the White House


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Happily Ever After. 9:00 Pioneers Of Television Primetime Soaps. Dallas, Dynasty, Knots Landing and the sometimes forgotten genre's antecedent: 1964's Peyton Place. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Promise To My Father

Brains on Trial with Alan Alda Wednesday, September 11 9:00 PM

7:00 Earthflight, A Nature Special Presentation Asia and Australia. 8:00 NOVA Inside the Megastorm. After a 1900 storm blew a boatload of sponge divers off course. they discovered a 2,000 yearold Greek shipwreck. 9:00 Quest for the Lost Maya 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Jack White.


7:00 Latino Americans Pride and Prejudice/Peril and Promise. Prejudice and Pride. The creation of the proud "Chicano" identity and an examination the past 30 years, as a second wave of Latinos flee to the U.S. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Legend of Pancho Barnes and the Happy Bottom Riding Club


7:00 Earthflight, A Nature Special Presentation South America. 8:00 NOVA Secrets Of The Viking Sword. 9:00 Skeletons Of The Sahara A prehistoric human burial ground in a most forbidding desert. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Gary Clark Jr./Alabama Shakes.


7:00 Latino Americans War and Peace /The New Latinos. During WWII, as Latino Americans serve their new country by the hundreds of thousands - yet still face discrimination and a fight for civil rights in the United States. 9:00 Frontline Life And Death In Assisted Living. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Wings For Maggie Ray

Visit for complete 24 hour schedules for NPT and NPT2

7:00 Antiques Roadshow Hartford, Ct - Hour One. 8:00 Genealogy Roadshow Nashville, TN 9:00 Independent Lens Don't Stop Believin': Everyman's Journey. The real life rock 'n' roll fairy tale of Filipino Arnel Pineda, who was plucked from YouTube to become the front man for Journey 10:30 Last of Summer Wine 11:00 Journey Of The Broad-Winged Hawk


7:00 Antiques Roadshow Grand Rapids, Mi - Hour Three. 8:00 Genealogy Roadshow Austin, TX. 9:00 POV Best Kept Secret. Once they graduate and leave the security of the nurturing JFK High School, a public school in Newark, New Jersey, students find options for living independently will be few. 10:30 Last of Summer Wine 11:00 Real Mccoy


7:00 Last Tango In Halifax Celia and Alan decide on a civil marriage ceremony to be held at an eerie medieval hall. A storm is brewing, the lights go out. 8:00 Masterpiece Mystery! Foyle’s War, Series VII: The Cage. 9:30 NPT Reports: Children’s Health Crisis Sexuality. 10:00 Bluegrass Underground Infamous Stringdusters.


Nashville Public Television

Great Plains America’s Lingering Wild Friday, September 13 8:00 PM

7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Globe Trekker Around The World Panamericana: Incas & Inquisitions. Brianna Barnes journeys to Peru, home of the legendary Incas, where she begins her trek in Cajamarca, where thousands of Incan soldiers were slaughtered by Pizarro's conquistadors. 10:00 NPT Favorites


7:00 Music City Roots: Live From the Loveless Cafe 8:00 Great Performances The Hollow Crown: Henry IV, Part Part 2. In the aftermath of the Battle of Shrewsbury, Northumberland learns of the death of his son. The Lord Chief Justice attempts to separate Falstaff from Prince Hal. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Moyers & Company


7:00 Lawrence Welk Show: Salute To Nashville 8:00 Keeping Appearances 8:30 Old Guys 9:00 Secrets Of Henry VIII’s Palace A true palace of pleasure and now a thriving tourist location. Beneath the brick and stone is an abundance of art and stories that bring Hampton Court alive. 10:00 Skeletons Of The Sahara 11:00 Globe Trekker


7:00 Music City Roots: Live From the Loveless Cafe 8:00 Great Performances The Hollow Crown: Henry IV, Part 1. The heir to the throne, Prince Hal, defies his father, King Henry (Jeremy Irons), by spending his time at Mistress Quickly's tavern in the company of Falstaff and his companions. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Moyers & Company











FREEMAN WEBB CO. r e a l t o r s




Representing Real Estate Buyers and Sellers Since 1971




Cowboy Couture by Emme Nelson Baxter


owboy boots are a country music uniform of sorts. They are an expression of individuality, attitude, and the Western ideals of the open range. And no one stitches together the performing art of country music with the fine art of boot making better than venerable Lucchese, which has a design center in Nashville’s Gulch.

There are some 100 steps involved in creating a Lucchese boot. On any given day at the El Paso, Texas, production center, a single boot may be touched by some 250 different hands. The 130-year-old company was borne by Italians but bred in Texas. Sam Lucchese Sr. was a businessman who came to America and capitalized on what he knew . . . making shoes. When he settled in San Antonio he learned that the bestselling footwear at the time was riding boots, since nearly all officers in the U.S. Cavalry served some time in San Antonio.

The shift to producing luxury cowboy boots began when Cosimo Lucchese took over the company in 1929. The Great Depression hit hard, and the U.S. Cavalry was phased out of the military. He sold most of the machinery that Sam had bought and continued his business making cowboy boots. The workshop went from making 45 pairs per day to eight to ten. With fewer orders coming in and limited machinery, Cosimo focused the company on creating high-quality, handcrafted boots. Today, while offering a classic product, the boot company continues to evolve the look using different leathers. Exotic skins include American gator, Nile crocodile, Cayman croc, ostrich, python, elephant, hippo, and giraffe, which Lucchese Retail Director Jay Hamby maintains are sourced through the most reputable vendors. In addition to the different skins, customers at the Nashville design center may choose from more than 100 stitch patterns. They can add their company logo, put initials on pull straps, and envision their own toes and heels. The boots are then fabricated in El Paso by factory workers whom Hamby views as artisans. Of the Nashville employees, Hamby jokes that they have earned “PhDs in boot fitting.” The Nashville customer differs from a San Antonio patron who enjoys a rich heritage centered on the ranch, according to Hamby. “Nashville is younger, more up and coming and more rock-and-roll and country,” he says. “You can push the envelope more with boot designs and toe styles.” Over the years, notables clad in Lucchese boots have included Lyndon B. Johnson, Jimmy Stewart, Zsa Zsa Gabor, Johnny Cash, and Miranda Lambert. Lucchese is located in the Gulch, 503 12th Avenue South. For more information visit

Cosimo with James Stewart

ent! om am s s i m Don’t

1 932–2012 ®

2013-14 SEASON

Presented by

Presented by

October 29 – November 3, 2013

November 12-17, 2013

Mixed Media on canvas, 48” x 24”

Visit our Nashville area location by appointment - (815) 347-9698

Contact Gerard Vanderschoot, exclusive Regional Representative of the work of International artist Matt Lamb for the Nashville, Dallas, and Chicago regions (815) 347-9698 • •

Presented by

February 25 – March 2, 2014

March 11-16, 2014

Antique African Art for the Discriminating Collector Presented by

May 6-11, 2014

June 3-8, 2014

The six-show season starts at only $100! PLUS ask about special shows including Wicked

TPAC.ORG/ Broadway


TPAC Box Office Downtown Groups call 615-782-4060 is the official online source for buying tickets to TPAC events. Some shows contain mature content.

Artworks include statues, masks & ceremonial regalia from all major ethnic groups of Sub-Saharan Africa. By Appointment 615.790.3095 Gallery 427 Main Street Franklin, TN 37064

Mail P.O. Box 1523 Franklin, TN 37065


Rebecca Drolen Daydreams, Longings & Memories by Lydia E. Denkler


pening in September, the work of photographer Rebecca Drolen will be on view at Belmont University’s Leu Gallery.

Two series of work, Particular Histories and Hair Pieces, will be included in this exhibition along with several related objects and pieces of jewelry. Drolen constructs her own idiosyncratic versions of reality while playing with the notion that photography is the documentation of existence. Each of these black-and-white photographs depicts the artist as a solitary figure facing life’s dilemmas in eccentric ways, balancing both dark and deadpan humor. “I am constructing daydreams, longings, memories, and fears as they pertain to aging and the transition from childhood to the acceptance of adult roles. I am interested in the complications of this shift and the discomfort of the liminal space between childish thought and adult anxieties.” The photographs in Particular Histories join elements of performance with off-kilter daydreams to capture wildly unique story lines. Each work conveys a flummoxing dilemma and an absurd resolution. They create for the viewer a world off balance that gives just a touch of vertigo. About Hair Pieces, the artist says, “I am interested in exploring the fickle relationship most have with their body hair. We consider some hair very desirable and grow and groom it with care, while we treat other hair as shameful and cover or remove it. Once hair has become disconnected from our bodies, we treat it with disgust, yet it has an archival, lasting presence that outlives the body and defies death and decay.” The photographs walk a fine line between the beautiful and the grotesque. Some of this work, Drolen says, was influenced by Lorna Simpson’s depictions of African American coiffure. Asked if the hair had been augmented by Photoshop, the artist reacts, “Photoshop? No, just a ton of hair!”

Rebecca Drolen's photography will be featured in Hair Pieces at Gallery 121 in the Leu Center for Visual Arts on the Belmont campus. The exhibit runs from October 1 to November 1, and the reception is October 17 from 5 to 7 p.m. For more information about the artist and the exhibit visit and

photo: self-portrait

After teaching photography at the university level for six years, Rebecca Drolen has recently moved to Nashville to join the faculty at Belmont University. Her work has been exhibited around the country since 2004.

Particular Histories represents some of my earlier work. In this series I am looking at the process of aging, specifically moving from childhood to adulthood and the awkwardness of the shift. As children, we imagine that many more things are possible and have abundant hope in the unlikely. The photographs look at what may happen if we bring this childish belief to adult anxieties and responsibilities. The photographs open the range of possibility and find visual answers for the question "What if?"

In Two Inches a Day we see an Alice-like figure who has uncomfortably done all of her growing at once and is crammed into a small space. The title, of course, suggests that the growth is uncontrollable and keeps multiplying daily.

In Left Inside, we of course wonder what secret rests within the ordinariness of a domestic space, but we also marvel at the desperation and determination to use ordinary kitchen utensils to do the digging.

In all of these photographs, I am interested in suggesting a fairly ambiguous narrative and asking the viewer to complete their own story. Nobody Saw It Coming deals with some unnamed event that we can imagine as being life altering, but the subject is contained and seemingly taken by surprise. She is left to only react. 66 | September 2O13

Swept Under the Rug references the buildup of ignoring problems until they truly can no longer be ignored. People are always curious about what is actually under the rug in this photograph, but I am afraid the answer is not as satisfying as letting them wonder!

Hair Cut very simply depicts a situation where hair has caused an entrapment, and the protagonist is cutting herself free. The tension lies in our knowledge that it would have taken years to grow this much hair, and it can be gone in a second. As backstory, the inspiration for this triptych came from the story of Sampson and how he was coaxed into cutting his hair, despite it being the source of his strength and power. I am intrigued by myths and folklore about hair, as well as certain bizarre historic ideas of hair.

Ear Hair suggests that one symbol of beauty, a woman's tresses, was abandoned in order to create ornamentation in the form of jewelry. The title suggests an unfavorable sort of body hair, ear hair. But the final portrait seems to be one that finds a glorification of the subject.

Hair Tie speaks very specifically to gender roles and hair. What happens if a sign of female sexuality is chopped off and transformed into a sign of male power and influence. I have found that others read this image as having an uneasy, even crazed feeling to it.

right: Hairbrush on a surface level serves as a sort of visual pun where the brush itself has hair that is growing at length. It also confronts the viewer with the frightening thought of having lost a large amount of hair while brushing. It has a very simple design, where the hand seems to be modeling and showing off the phenomenon to glorify something that may otherwise be considered grotesque.

The images on this page are from my most recent project, Hair Pieces, and will be the work that is showing at Belmont's Gallery 121 in October. I find that hair can be a representation of beauty and sexuality but also something that we find disgusting and shameful in other contexts. In this work I am constructing images that question the line between hair on our bodies that we groom and admire versus hair that we find grotesque and remove or hide.

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Jude Frances Event  September 12 and 13







5 1 0 1 H a r d i n g R o a d  N a s h v i l l e , Te n n e s s e e 3 7 2 0 5  6 1 5 . 3 5 3 . 1 8 2 3

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YORK & Frie fine art RON YORK

Nashville • Memphis 2013 Featured Artist



Solace, Acrylic w/Oil Glazes on Canvas, 48” x 48”

The Challe



Over 40 Artists Including Jewelry & Pottery

Saturday, October 5 11am-8pm Reception 5pm-8pm


Sunday, October 6 9am-2pm Christ the King 3105 Belmont Blvd. For additional info visit

Confetti Grand, acrylic/wood panel, 24x18

represented by

YORK & Friends fine art

It Takes A Village, Oil on Canvas, 16” x 16”

Nashville • Memphis

Trees with Ora

107 Harding Place • Tues-Sat 10-5 • 615.352.3316 Harding Place • Tues-Fri 10-5, Sat 10-3 • 615.352.3316 • Follow us on

at Ron York Art • www.york

Photo: Erika Goldring


Amos Lee, center stage

Americana Music Festival Photo: Jerome Brunet

Brings It All Home September 18-22 by Holly Gleason


lvis's daughter. Hank Williams’ granddaughter. Brit folk/punk activist. Album premieres—six months early. Gospel brunch. Smart conversation. Awards! Practical panels. Roots music in resplendence. Kaleidoscope tiles fall together as the fourteenth annual Americana Conference & Music Festival kicks off September 18.

“It’s a conference for the business people but a festival for music lovers,” says Americana Music Association Executive Director Jed Hilley of his little festival that could. “We’re up to seven venues, four and a half days of music, panels, events . . . and we’ve grown from being a niche event for tastemakers to something that seems to be reaching people who just like good, real music.” That good, real music would include Americana stalwarts Lisa Marie Presley, Holly Williams, Billy Bragg, Rosanne Cash, the McCrary Sisters, the North Mississippi Allstars, the Dirty Dozen Brass Band, Richard Thompson, Justin Townes Earle. But just as importantly, in the wake of the Mumford & Sons/Old Crow Medicine Show/Lumineers acoustic pop revolution, there is a wave of young acts to watch rising: the Lone Bellow, Caitlin Rose, Hooray for the Riff Raff, Chelsea Crowell, Shovels & Rope, Rayland Baxter, and Grammy-nominee John Fullbright. Dr. John, recipient of Lifetime Achievement Award

“There’s an awesome new generation of artists coming up, and we’ve got a lot of them playing around town. Americana isn’t just the names people expect, like

70 | September 2O13

Photo: scarlet page

Emmylou Harris, Rodney Crowell, and Levon Helm. It’s the Milk Carton Kids and JD McPherson.” Kicking off with the Americana Awards on September 18, the musical event at the Ryman is hosted by Jim Lauderdale with a house band led by Buddy Miller featuring producers Don Was (Bonnie Raitt, the Rolling Stones) on bass and Larry Campbell (Bob Dylan, Levon Helm) on guitar. Tickets can be purchased separately or as part of Conference Registration. Four major interviews will cornerstone the panels: Cash, Bragg, Dr. John, who receives a Lifetime Achievement Award, and Delbert McClinton with Gene Clark. Beyond straight how-to business panels, Robert Santelli’s “The 1st Music City” explores the historical importance of New Orleans; several authors will read, and various issues facing the music will be addressed.

Rodney Crowell, Kris Kristofferson, T-Bone Burnett, Patty Griffin, Mavis Staples, Mike Mills . . . and pretty much anyone who’s made roots music that’s touched people. But more than a temple to what was, the Americana Music Conference and Festival is quickly becoming a place to see a rapidly emerging genre that is finally starting to connect. “You’ve got Emmylou who thinks the world of Charlie Louvin on one end; you have the Lone Bellow listening to Patsy Cline and getting inspired. “If you look at the way this has built, Emmylou and Levon fed Gillian [Welch] and David [Rawlings] and Old Crowe, who inspired the Avett Brothers and Mumford & Sons, who paved the way for the Civil Wars and the Lumineers . . . and you’re seeing scenes now in places like Los Angeles, San Francisco, D.C., Williamsburg, Austin, Athens, Asheville, Memphis/Muscle Shoals. “That inspiration is feeding songwriters, musicians. This [festival] is where they all get together. That’s what makes this event and these awards so incredible.” The Americana Conference and Music Festival is September 18–22. For more information visit Photo: Erika Goldring

Buddy Miller

photo: New West Record

The Lumineers

In the end, though, it’s about the music. The Basement, Cannery Ballroom, High Watt, Mercy Lounge, The Rutledge, Station Inn, and 3rd and Lindsley are the anchor venues, with the Downtown Presbyterian Church, Loveless Café, and Musicians Corner in Centennial Park serving as ancillary venues. “That’s the big transition: there are a lot more people coming to the event because they love music. They’re not in the business; they’re not looking to make deals or expose their acts. They want to enjoy all these great acts—which is cool!” Last year’s conference attendance increased by 15 percent, selling out both Registrations and Wrist Bands. This year, the mélange of folk, blues, bluegrass, gospel, alt-country, and singer/ songwriters is already ahead of previous years’ registration. Over the years, the Americana Music Association has played host to Bonnie Raitt, Lyle Lovett, Levon Helm’s Ramble, John Hiatt, John Prine, Emmylou Harris, Guy Clark,

The Howlin' Brothers

September 2O13 | 71




C E L E B R AT E !

2 Year Anniversary of “Franklin Art Scene”



September 6, 6-9pm

202 2nd Ave. South, Franklin, TN 37064 • • 615-472-1134


In the Footsteps of Apelles Artists Luke Hillestad and Odd Nerdrum trace their artistic lineage to an ancient source by Nancy Cason


n a contemporary art market trending toward abstraction, Luke Hillestad’s paintings seem to belong to another age entirely. Since 2006, the

thirty-one-year-old Minneapolis native has been working outside the contemporary mainstream, creating realistic figurative narratives in oil that argue persuasively for the enduring relevance of Renaissance and Baroque masters. He is building on icons of art—Caravaggio and Rembrandt certainly—in works that reveal a skillful mastery of the medium, use of intense chiaroscuro, and figures infused with psychological depth. But in developing an aesthetic philosophy, he turns to a relatively unknown painter in the pantheon of great artists. Hillestad is among a group of young painters mentored by the legendary Norwegian artist Odd Nerdrum who trace their artistic lineage to an ancient source: Apelles, the fourth-century-BCE Greek who was court painter to Alexander the Great and hailed by the Roman historian Pliny the Elder as the greatest painter

Luke Hillestad, The Letter, 2010, Oil on linen, 40" x 30"

September 2O13 | 73

of antiquity, “praised constantly for the amazing realism of his works.” It is known that Apelles was an innovator: he experimented with lighting in his paintings and used subtle gradations of color to increase the realism of his figures. He also developed a limited, four-color palette of black, white, red, and yellow to enhance the harmony of his compositions—a practice adopted by many of the Old Masters and by Nerdrum’s students today. Although none of his works survived, the detailed descriptions of Apelles’ paintings that filled nineteen chapters of Pliny’s Naturalis Historia were eagerly studied by Renaissance artists. Botticelli and Titian were among those artists who sought to emulate Apelles in their own paintings. Apelles set the standards by which later artists and their works were judged. Dürer, for instance, was called in his own time “the German Apelles.” Many of Hillestad’s works have a timeless emotional resonance. In Constant, for example, there is an undeniable pathos. Figures are pushed up against the picture plane, creating a sense of immediacy. Glowing flesh punctuates the darkness, pulling the viewer into the painting to experience the emotion portrayed. Stark contrasts of light and dark create rhythmic visual harmonies that lead the eye around the central figure, then down to the child who stares warily back at the viewer. This mysterious narrative, although shrouded in allusions to the past, is given a contemporary context with figures that look distinctively modern.

© Odd Nerdrum, courtesy of Forum Gallery, New York, NY

Luke Hillestad, Prudence, 2012, Oil on linen, 36" x 26"

A surprising array of themes has emerged in the oeuvre of this artist whose career spans only seven years. Often expressed are ideas gleaned from his continuous study of art history but interpreted through the lens of his own experience. Skulls that appear in a number of his works recall the vanitas paintings of the seventeenthcentury Dutch masters. As symbolic reminders of death’s inevitability, they resonate with the artist who survived two heart surgeries as a child and “learned early on that life is fragile.” Mutation is a theme of relevance for many contemporary artists, but Hillestad’s particular interest is in the dynamics of change experienced by humans under duress. “In biology,” he explains, “mutation happens when an organism experiences stress or is subject to some cataclysmic event; although the resulting change is often bad, it sometimes allows the organism to survive and adapt.” Linking this idea to his own circumstances, Hillestad explores in two paintings the psychological transformation necessary to survive personal tragedy. In Prudence, a manacled figure crouches precariously on a mossy nest suspended over a cliff-top limb. His bare flesh, standing out against a gray haze, is bathed in pale moonlight from behind, reflected firelight from below.

Odd Nerdrum, Egg Snatchers, Oil on canvas, 70 1/2" x 79 1/2" 74 | September 2O13

Š Odd Nerdrum, courtesy of Forum Gallery, New York, NY

Odd Nerdrum, Self Portrait with Child's Skull, Oil on canvas, 34 1/2" x 30"

In these beautifully executed but enigmatic paintings, there seems to be a tremendous sense of vulnerability, longing, and, ultimately, hope. With one hand seeking a fingerhold for balance and the other holding an owl aloft, the man turns to look down, locking eyes with the viewer. Discharge, too, presents a moonlit prisoner, seated on a barren valley floor. Muscles straining, he prepares to hoist an axe against the chains that bind his feet, oblivious even to the stag watching in the distance. In these beautifully executed but enigmatic paintings, there seems to be a tremendous sense of vulnerability, longing, and, ultimately, hope. Hillestad has been pursuing painting since 2006 and was selected for a highly competitive apprenticeship with Odd Nerdrum in Norway, a study that continued in Paris last year. Hillestad speaks highly of this centuriesold way of learning from a master artist. Apprentices are expected to absorb technical lessons by observation and practice, while group critiques

Luke Hillestad, Dead Is Dead, 2010, Oil on linen, 36" x 48"

September 2O13 | 75

provide opportunities for more direct input and problem solving. Most of the studio conversation is focused on philosophy or the work of other painters. In Paris, there were day trips to the Louvre where Nerdrum led discussions on paintings selected for in-depth study. Although the paintings made by Nerdrum and his apprentices are out of sync with much of the work produced today, Hillestad explains that they envision a renaissance of the artistic values rooted in the Greco-Roman tradition and embraced by artists of the Renaissance and the Baroque period—values exemplified in figurative, nonironic, and emotively powerful narrative painting. According to Herb Williams, curator at The Rymer Gallery, Hillestad’s work is collected by serious art buyers who are drawn to his undeniable talent and skill. “It’s exciting to get in on the cusp of a young, emerging artist’s career, one who has been trained by arguably one of the best figurative painters alive . . . and who is involved with this greater dialogue that spans centuries. Luke has incredible dedication. He really understands where art has been, and he wants to be part of the conversation of where art is going.” Luke Hillestad will be at The Rymer Gallery on Saturday, September 7, during the opening of an exhibition of recent paintings.

For a closer look at Odd Nerdrum’s paintings, go to

Luke Hillestad, The Constant, 2010, Oil on linen, 32" x 27"

Luke Hillestad, Flight, 2012, Oil on linen, 50" x 61" 76 | September 2O13

flow erS for

e v ery


601 8th Ave South Nashville, TN 37203 615-736-5200

September 2O13 | 77

The city of Portland is proud of its public libr ary and the arts and culture it brings to our community.

Olen Bryant 78 | September 2O13

“If you have a garden and a library, you have everything you need.” —Cicero

Portland Public Library of Sumner County 301 Portland Blvd. • Portland, TN 37148 Phone: (615) 325-2279 • Fax: (615) 325-7061

Alan LeQuire

Max Hochstetler

September 2O13 | 79

photo: chelle green

a monthly guide to art education

State of the Arts by Jennifer Cole, Metro Nashville Arts Commission


photo: jerry atnip

can vividly remember my first speaking role in the theater. Well, theater is a bit much—it was my third grade class play. I was Cowslip, a 13-year-old slave girl, in a play adapted from the children’s book of the same name by Betsy Haynes. In an astonishing twist of color-blind casting, my teacher let me have this part full of anguish and soliloquy. I can still remember my sweaty hands, the nights spent memorizing lines at home (with my trusty pink highlighter), and the weekends spent sewing my costume with Mom. The moment I first heard applause, I was hooked. Something about the entire process of characterization, blocking, rehearsing, and, of course, audience response was deeply addictive. And so began my life shuffling from audition to audition, constantly seeking the unequaled thrill of the stage. In East Nashville, actress-entrepreneur Cori Anne Laemmel is nurturing this same electric and supportive world for kids through her program The Theater Bug. Laemmel grew up auditioning and performing just like me. She found herself a few years ago post-college in a non-theatrical job longing for that sense of community and support you find with other theater kids and families. She transitioned back to acting, landing roles with the Rep and NCT but still missing the ping of working directly with students. Enter stage left: The Bug.

Trolls in The Barefoot Children in the City of Ward

“When I found theater, it was like my heart disappeared forever, and a new one grew back in its place that had something even more special.” – Theater Bug Student

me, “The Theater Bug is pretty much the happiest place on earth—sorry Disney.” No doubt, the Bug is peppered with students seeking a career on stage who will likely head for NYU or Julliard. But at its core, The Theater Bug is about recreating and nurturing that experience I loved as a kid—memorization, group process, constructive criticism, and public performance. The Theater Bug is about building community, not child stars. Perhaps student Gus O’Brien (surely the next Timberlake/Bill Murray) says it best: “I love that you can go there and find new friends. There are always nice, talented people, and Ms. Cori will make your day!”

Opening night of Showmance

photo: chelle green

So go, check out the program——buy a ticket to the next performance, or simply volunteer. Anyone want to sew some costumes? This program is a village, building phenomenal kids one scene at a time.

The program is based on a performance-versus-class model. Ms. Cori (often with collaborators like board member Eric Fritch) pens at least two original works of musical theater each year. Open auditions are held for these mainstage productions for kids ages 6–16. All kids who audition are given a part (usually around 50 students). The play is double cast with about 25 speaking/ singing roles, and the students rehearse and stage the production for backto-back public runs. The non-profit program is managed by Laemmel and her core set of professional teaching artists like local favorites Marin Miller, Jennifer Landes-Vann, and Kelsie Craig. Seasoned student actor/interns 16– 21 help out coaching and staging the productions. The Theater Bug rounds out its program offerings with spring- and fall-break camps focused on acting, improv, and playwriting—all capped in a student-driven production. Kids are drawn to the trifecta of loving support, personal development, and pure fun. The result is a cult-like following for the Bug. One student told

National Gallery of Art Features Local Artist Jammie Williams


he National Gallery of Art recently accepted local sculptor and painter Jammie Williams’ sculpting video as part of an online lesson plan through their department of education. The video features a high-speed demonstration of a figurative relief being sculpted to help in the understanding of the sculpting process. Williams, a Nashville artist, has provided commissioned works for Tarra Reading, 12” x 12” the Country Music Hall of Fame and Museum, OZ, and the Nashville Public Library. He is also an art instructor and has taught private lessons and workshops for students such as wood turner Brenda Stein and Cano Ozgener, founder of OZ. This fall, he is slated to teach sculpting and drawing classes at the Renaissance Center and Watkins College Community Education Program. Watch Williams' video at,, and

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Tennessee Roundup Anne B. Pope, Executive Director, Tennessee Arts Commission


he Tennessee Arts Commission is all about arts education. For example, last year over 100,000 school-age children across Tennessee had arts experiences through our Student Ticket Subsidy Program. TAC also funds after-school arts opportunities for at-risk youth and helps adults and seniors continue lifelong learning through the arts. We provide the resources necessary for teachers to carry out projects in schools and communities throughout the state. Why do we invest so heavily in arts education? Because it gets results. Arts education and specifically arts integration, in which the arts are taught in tandem with other subjects such as math and language arts, have been shown to increase student achievement, develop twenty-first-century work skills, and foster civic engagement.

photo: Mary Claire Crow

These were highlighted at the CREATE conference that was held at MTSU in July. Over 300 teachers came to Murfreesboro to share and learn best practices. And best practices there were! Ann Brown, TAC’s arts education director, said that the level of understanding of arts integration deepens each year. Participant in a session titled “We had a great group of teachers “Authentic Marbling: A World committed to the arts who shared of Color with Standards” by teaching artist Olive Durant. what works. National presenters remarked at how engaged our teachers were and that it is clear there has been significant work in arts integration in Tennessee.” Chris Hellerqvist, visual arts teacher from Rosebank Elementary in Nashville, has seen that when the arts are incorporated into other parts of the curriculum, student performance improves. “I incorporate social studies with landscape design [and] the science of weight, mass, and volume with clay projects. It's one more component to help them better apply their knowledge in all content areas.” It is not just student test scores that increase. Students also develop the skills necessary for life after graduation. Arts education expands communication and critical thinking skills, capacities essential in the twenty-first-century workforce. As Tennessee teachers transition to the Common Core Standards with the goal of preparing students for success in college and careers, research shows that the arts help this mission. Heidi Swaney is a math coach at Green Magnet in Knoxville who is also an arts integration specialist. “I see many natural connections between the arts and Common Core. The arts are a great avenue to teach math in a way that the standards demand.” In addition to school and work, arts education encourages students to connect meaningfully in life by promoting civic engagement. Bill Reece is the director of the Smith County After School Theatre Company. He not only provides the largest community-wide, Broadway-style productions in the county, but the proceeds from the productions support the Backpack Program, providing food to children in need. We know that arts education makes a difference. Educators like these make a difference too by making this possible. For more information, visit

Handmade and Bound Book Festival by Lisa Venegas | photography by Samantha Angel


andmade & Bound Nashville, Vol. 3 is a celebration of artists’ books, zines, mini comics, and other independent publications and an educational opportunity for all ages. Part book convention, literary event, and art show, the free, familyfriendly event also features bookmaking, hands-on activities, bookthemed jewelry, handmade paper, and crafts. The festival raises awareness for Watkins’ community education and college curriculum classes in printmaking and book arts and provides a space for artists to meet and sell their wares. Lisa Williams, Director of the Watkins Library, says, “People are very excited about making books. We’ll have binding tools, a mobile printing press, and demonstrations. The Nashville Origami Club will come and teach origami all day during the festival, and we have book artists who are going to teach how to make your own sketchbooks. We have many new and repeat vendors, lots of books you won’t find anywhere else, and affordable art.” Rose Pink, a returning vendor, represents The Owl Farm, a DIY shop and venue. “I love the festival because it covers laborintensive one-off artists' books to made-in-a-single day zines. Making zines in class or as a project can help voice aspects of your life you don't normally get to talk about and be a mode of external communication for introverts.”

New this year is The Sketchbook Collective gallery exhibition to run October 4–14 in the Brownlee O. Currey, Jr. Gallery at Watkins, featuring sketchbooks created during a series of workshops between Watkins Community Education and local community organizations. Artist’s sketchbooks have long been used to ignite creativity, store ideas, and document daily experiences. The festival is seeking submissions of original sketchbooks for the exhibition. The entry deadline is September 23. Watkins College of Art, Design & Film is located at 2298 Rosa L. Parks Boulevard. The opening reception of The Sketchbook Collective is on Friday, October 4, from 5 to 7 p.m. The festival is on Saturday, October 5, 11 a.m. to 4 p.m. For information on vendor table registration and exhibition submissions or to volunteer, visit

September 2O13 | 81

photo: Jérémie Battaglia

Mary Tanner Bailey as Pinocchio

Pinocchio at TPAC by Martin Brady


Sherri Leathers, director of program services for TPAC Education, is a driving force when it comes to advancing stage productions for children. “Sherri has earned a reputation for her high standards and her ability to recognize performances that are well suited for arts education,” says Roberta Ciuffo West, TPAC’s executive vice president for education and outreach. “She’s a visionary in that respect.” So back in the fall of 2011, when TPAC Education presented a production of Alice in Wonderland by Quebec’s imaginative mask-and-puppetry theater Théâtre Tout à Trac, Leathers recognized kindred spirits in artistic director Hugo Bélanger and production manager Michel Tremblay. “We built a great relationship with the company,” she says. “We recognized our common values and goals.”

photo: Jérémie Battaglia

or all the blockbuster shows it has presented in the last thirty years, the Tennessee Performing Arts Center has another identity that maintains a somewhat lower, yet vital, profile. Fact is, there are thousands of Tennessee children who are vastly enriched yearly due to the efforts of TPAC’s Education Department, which operates five separate programs that foster linkage among the arts, the classroom, and the community.

Claude Tremblay as Cricket

Now the seeds planted two years ago have germinated into an unusually ambitious project, as TPAC joins forces with Tout à Trac to assist them in launching a new English-language version of Pinocchio, scheduled for presentation at TPAC November 4–8, in advance of a 45-performance American tour to major performing arts venues. “We’re creating a model for collaboration,” Leathers continues, “by expanding TPAC’s reach to not only engage students and teachers but also our local actors.” The versatile Nashville actors involved—Mary Tanner Bailey, David Compton, Keri Pisapia, and Patrick Waller—won’t be performing in the Pinocchio production, it turns out. Instead, during a recent week in July, they lent their abilities to Bélanger as test performers, enacting his script under his direction, striving to clarify

82 82| |September September 2O13 2O13

photo: Mimosa Arts

photo: Jérémie Battaglia

Tout à Trac: Michel Tremblay, General Manager (standing far left), Hugo Bélanger (standing third from right)

the text of translator Bobby Theodore and to vet it for any infelicities for American audiences. (Tout à Trac has already successfully mounted its French-language version of the show, and that cast will learn the English version before bringing it into Nashville later this year.) Assembling and supervising the Nashville cast prior to Bélanger’s arrival was veteran Music City writer/director Carolyn German. “My job was to get some great actors and find a starting point so Hugo could hear what he has on the page where the American voices are concerned,” she says. “We are in service to the translation. Is it too streetwise? Too modern? It was up to us to pose those sorts of textual questions, in order to improve the script.” Besides rehearsals with the cast, Bélanger and Tremblay’s July visit included an initial press conference, master classes for the cast on mask work and Bélanger’s brand of physical theater, plus a presentation to a small work group comprising artists, educators, and TPAC staff, who provided feedback. “Everything Hugo does comes from a specific place,” says Leathers. “The name of his company, the way he works and trains his actors, the style of his productions—the aesthetic is beautiful and big. After watching his master class, I feel that it’s particular to his directorial style. “One reason this collaboration has worked so well is that the way we choose to work at TPAC and the way Hugo works with his audience in Canada are very similar. Language aside, it’s a good pairing.” The energetic Bélanger, who has guided Tout à Trac since 1998, offers an interesting study as one whose English remains something of a challenge while he speaks the universal language of theater with fluency. 

His Pinocchio adaptation is based on Carlo Collodi’s original novel, published in Italy in 1883, but Bélanger has incorporated some elements of the popular 1940 Disney film. “Pinocchio, “ says Bélanger, “makes wrong choices, and he has to learn to become good. So we kept whatever best makes it a fable about learning and growing and choosing the right path.” In general, Bélanger expresses satisfaction with his play's unique development process. “I think we’re doing well,” he says. “But the main thing is the songs—because we know that translating songs is difficult. You have to keep the same music but the meaning has to be translated from the French, to find a way to say the same thing in English.” Patrice d’Aragon is the show’s composer. Bélanger’s work here is aimed at presenting what he calls “our dream version” of Pinocchio. “For me it’s about the most human character that exists. Pinocchio represents childhood with all its best and difficult parts.” Asked how his Pinocchio’s nose will grow when he tells a fib, Bélanger responds quickly—and mischievously: “Ahhh . . . it’s magical!”

photo: Jérémie Battaglia

Bottom line, the main achievements of this rare multinational endeavor are support for a new English stage translation of a favorite children’s tale, plus artistic and cultural exchange—and community—with Canadian artists. “Moving beyond the transactional nature of buying and selling art,” Leathers says, “the goal here is to make the best work possible and to engage our young audiences— and to build relationships.”

Pinocchio at Toyland: Patrick Waller as the Fox, Mary Tanner Bailey as Pinocchio, and Keri Pisapia as The Cat

David Compton as Gepetto

Pinocchio will be performed at the Tennessee Performing Arts Center November 4–8. For more information visit September September August 2O13 2O13 | | 8383

Nashville Symphony

“Reduce, Reuse, Recycle” . . . Music? by DeeGee Lester


oday's kids are champions of recycling for our environment. As part of Nashville Symphony’s 2013–2014 Young People’s Concert Series, middle school students will explore how great composers reuse and recycle musical themes. Selections for the September 25 and 26 concerts include Stokowski’s arrangement of Bach’s Little Fugue in G Minor, Stravinsky’s Royal March from L’Histoire du Soldat, and Ives’ Variations on America.

by DeeGee Lester


ust as giant trees grow from little acorns, successful dance careers begin as little dreams. Angelina Ballerina®, the “little star with big dreams” who has delighted children through her popular book series and PBS KIDS and Sprout® animated television series, now shares her dream with Nashville's youngest dancers. The Academy at Dance Theatre of Tennessee is part of a national network of 110 dance studios as an official and exclusive Angelina Ballerina® Dance Academy. Mimicking the mouseling's spins and leaps, children ages 2½ to 6 follow the voice of Angelina and a special musical score by composer Scott Killian. The 34-week program is based on a curriculum developed by dance education specialist Beverly Krull, author of the popular Leap and Learn program. DTT artistic director Christopher Mohnani heard about this international dance program from a colleague in New York. In order to be considered for participation, DTT had to request a license and undergo a rigorous application process. Only schools that are able to uphold the curriculum and high standards are selected. Students learn proper ballet technique specially geared for their developing motor skills and coordination, with an added emphasis on proper nutrition and reading skills. “We read an Angelina Ballerina® book before class and build the theme for the week around the story,” Mohnani explains. “The challenge is how to get little kids interested in ballet and to want to continue.” A strong advocate for the arts, Mohnani recently received the Nashville Emerging Leader Award for Arts, Entertainment, and Music Business. “I've never understood why the arts are always the first thing on the chopping block for budget cuts,” he says. “Arts are the fabric of our culture, and arts education has repeatedly been proven to improve overall student performance while building useful skill sets and productive citizens.”

The symphony’s popular, interactive, and engaging Young People’s Concerts are free for all school groups with advance reservations, and each offers a full orchestra experience featuring eighty musicians. Last year’s series served over 17,000 students from ten counties.

photo courtesy of Nashville Symphony

Dancing with Angelina Ballerina®

Each of the four YPCs targets a specific grade level and includes educational guides with Core Curriculum connections, enabling teachers to advocate for bringing students to the symphony. In addition to the September middle school concerts, other gradespecific concerts include: • January 22–23 introduces 3rd and 4th graders to Stravinsky’s Firebird. • February 11–12 Brass Bash introduces K–2 students to an entire instrument family. • March 14 introduces high school students to a composition with the premiere of an original piano concerto by Nashville-based Ben Folds. “We have also partnered with Naxos to create an easy way for teachers to access and stream free music and videos for their students,” Bodine says. “Naxos has been instrumental in creating a playlist for each of the YPC concerts, providing easy and quick entry to a music repertoire that will enrich the concert experience and inspire young minds.”

Mohnani is pleased with Nashville's aggressive attitude toward the arts and gives much of the credit to Metro Arts Commission's Jennifer Cole as a leader who “really gets it and really wants it.” From the tiniest tot dancing along with Angelina Ballerina® to the senior citizen listening to the Nashville Symphony, Mohnani believes that “arts make the soul come alive and should continuously be enlarged for the city and for families.” Like Angelina, dream big. 84 84| |September September 2O13 2O13

photo courtesy of Nashville Symphony

Dance Theatre of Tennessee

“This first concert is full of wonderful ideas and concepts for students in the fifth through the eighth grades,” says Blair Bodine, the symphony’s Director of Education and Community Engagement. Through the core curriculum activities we’ve created for this concert, students will challenge themselves to answer questions like ‘How do we define music?’ and ‘How is music recycled throughout the ages?’ Students will also learn about Paraguay’s Recycled Orchestra, a children’s orchestra that plays instruments made entirely from up-cycled trash.”

Homegrown Leadership. C A L L



Submit your nomination for the Public Schools Hall of Fame H A L L







Honoring today’s community leaders to benefit tomorrow’s Over its 9 year history, the Public Schools Hall of Fame Event has become the principle way in which Nashville honors and thanks those individuals who remind us just how great our community can be when we commit to investing in our future. Whether its the Hall of Fame Inductees or the Nelson C. Andrews Distinguished Service Award Recipient, these individuals represent the best of the best: not only do they excel in business, political or civic life; they consistently prioritize giving back. They are, without a doubt, pillars of their community, and through the Public Schools Hall of Fame, we add them to Nashville’s legacy of achievement and commitment to community. The Nelson C. Andrews Distinguished Service Award is given to an individual in the Nashville community who has gone above and beyond to support the cause of public education in Metropolitan Nashville. Hall of Fame inductees are exemplary community leaders who graduated from a Metropolitan Nashville public school. As steward of the Public Schools Hall of Fame Event, the Nashville Public Education Foundation is currently accepting nominations for 2014. We invite the entire community to take an active role in celebrating public education by honoring past graduates of Nashville public schools. If you know someone who exemplifies both the opportunity and achievement made possible by public education, and the community ideal of giving back to the institution that made their success possible, please consider nominating them to the Public Schools Hall of Fame.

To nominate a worthy candidate, visit the Hall of Fame event page of our website at and download the Nominations form. The submission deadline is September 30th, 2013 at 5:00 pm. If you have questions, please contact Katie Welsh at


2400 Fairfax Avenue; Nashville, Tennessee 37212


(615) 783-2810 ONLINE



(615) 783-2811 September 2O13 | 85

artist profile

Cooper Alan Dialing in the Airwaves by Daniel Tidwell

Miscommunicated affection, 2013, Digital composite, acrylic and oil on Masonite, 30" x 30"


hadowy figures in a bleak landscape trying to communicate through DIY broadcast equipment populate the recent work of artist Cooper Alan. The machines look

like they were cobbled together from a hodgepodge of thrift-store parts or dumpster finds and have a decidedly sinister feel to them—like they may take on a life of their own and turn on the protagonists in these images. Scratches and lines on the surface of the images mimic the hundreds of cords that emanate from the machines and evoke the patina of early-twentieth-century photography in a manner that resembles the heavily manipulated images of Jack Spencer. These images are about “striving for connection, for relationship, and for meaning,” says Alan. One could think of these tableaux as snapshots from an internal, Sisyphean struggle as they represent “a man’s journey of discovering himself in the midst of discovering that what he is chasing, on a relational and spiritual level, is unattainable.” Alan employs very literal methods to frame his central metaphors. As he puts it, “The pieces are set in a barren land to visually express desperation and isolation.” For Alan the machines in the images are

Moment of clarity, 2013, Digital composite, acrylic and oil on Masonite, 30" x 30"

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“All of the work is very personal and is an abstract representation of the relationship with God, the battle against one’s disposition, and coming full circle into acceptance of one’s self,” says Alan. The actual execution of these images begins with Alan constructing the machines, “getting every wire in the right place . . . so that they . . . could turn on and blink.” Alan then creates digital prints that are mounted on Masonite, painted, distressed, and sealed. Sound landscapes with an eerie, early-techno feel accompany each image. “The sound design accompanying the pieces sets the tone for the communication that is taking place: between the man and himself and a greater being,” according to Alan.

Alan cites a wide range of unconventional influences that include Richard Avedon, The Twilight Zone, David Fincher, Ian Francis, and Trent Reznor. On a local basis he looks to the illustrators of ArcadeDeath, illustrator Luke Howard, and painter Alex Hall for inspiration. As a young artist at the beginning of his career, Alan is unsure about the path his work will take. “As far as pursuing a career in art, I am just rolling with it at this point. If people receive my work well and the pieces sell, I will continue down this particular path,” says Alan. His educational background is in photography, but film is also a primary interest. “Up to this point all of the film work that I have done is very abstract,” says Alan. “However, I would like to pursue a more traditional narrative direction in the future. I absolutely love psychological thrillers and cerebral films, so in a way it will be the same direction as my current work.” For more information about Cooper Alan visit

The pieces are set in a barren land to visually express desperation and isolation.

photo: hunter armistead

the catalysts that allow his protagonist to “unravel the meaning of his existence and communicate to his creator. In a sense, the machines serve as a form of self-evaluation and reflection.

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Take 6 at the Factory by Holly Gleason


hen Quincy Jones says “the baddest vocal cats on the planet!” and Stevie Wonder has their “Spread Love” on his answering machine, it’s safe to assume the a cappella Take 6 makes some serious music. With 10

Grammys, 10 Dove Awards, 2 NAACP Image Awards, and a Soul Train Award, they also have the hardware to back it up. The ethereal vocalists, who spin harmonies into complex webs of music and sing songs that affirm the beauty of being alive, are celebrating their 25th anniversary with a homecoming of sorts. Signed by Warner Bros. Nashville chairman Jim Ed Norman, vocalists Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, and Khristian Dentley perform September 27 in Liberty Hall at the Factory in Franklin.

Warren Beatty “Dick Tracy.” Stevie Wonder had them buoy his “Love’s in Need of Love Today” on the Tribute to Heroes telethon. Their 25th Anniversary Tour, starting with a residency at Manhattan’s celebrated Blue Note, takes the sextet to Japan, Germany, England, Switzerland, Sweden, Norway, France, Eastern Europe, South America, and Australia. But for one special night, Take 6 comes home to Franklin with their ethereal vocals, thick harmonies, and blurred genres. The Franklin performance will take place on Friday, September 27, at 8 p.m. in Liberty Hall at the Factory in Franklin. For more information on Take 6, go to Tickets can be purchased online at

McKnight says, “I am personally excited about performing in Nashville, not only to celebrate our 25th anniversary and world tour, but because it will be my first time performing in Nashville since moving after living there for 25 years.” A strong sense of rhythm and their ability to blur funk, jazz, soul, pop, and gospel turned the friends who were the Gentleman’s Estate Quartet at Oakwood College into a platinum-selling vocal group. Fans and collaborators include the Beach Boys’ musical architect Brian Wilson, Ella Fitzgerald, Don Henley, Queen Latifah, Whitney Houston, and McKnight’s R&B sensation brother Brian McKnight. Spike Lee enlisted their jazz/gospel amalgam for “Do the Right Thing,” John Singleton for “Boyz n the Hood,” plus the Madonna/

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Lea Colie Wight, In the Gallery, 2010, Oil on linen, 20" x 26"

A Room of One's Own

Women Painting Women

by Catt Dunlop


n her landmark essay A Room of One’s Own, Virginia Woolf envisions a future where men and women will not live in relation to each other’s gender, but by their engagement with a shared reality. The first step, she argues, is for a woman to have her own space and

time to develop her thoughts. Through the month of September, Haynes Galleries’ traveling exhibition Women Painting Women: A Room of One’s Own not only features women artists who have taken that first step, but also gives them the much-deserved gallery space of their own. With over twenty artists in the show, Women Painting Women is devoted exclusively to women artists depicting the female form through fine art figuration and portraiture. The result is a breadth of artistic sensibilities that begin to cultivate a collective experience by working through the question of gender. Many of the works in the show offer haunting portraits of women consumed by thought in a solitary world. This sentiment is perhaps best conveyed by Katie O’Hagan’s self-portrait Dirty Laundry. The work depicts a woman with dark, tousled hair standing in the middle of a barren street. Head turned in profile, she clutches a pile of crumpled clothes as if they are her identity—frozen in the decision to drop the heap or soldier on. Her second work, Almost Home features a woman in pearls and a black dress walking barefoot with her high heels in hand. She looks behind her with an uneasy distrust of her surroundings. Most women will immediately relate to her anxious expression and late-night fear; not wanting to attract the wrong kind of attention, she is ready to run if necessary. 90 | September 2O13

Katie O'Hagan, Dirty Laundry, Oil on canvas, 48" x 38"

Alia El-Bermani, Becoming, Oil on panel, 24" x 24"

Women Painting Women suggests that a room of one’s own is not limited to the walls of a studio or gallery; the canvas, too, is a space to dwell and let creativity flow. Woolf maintained that great women artists would emerge if society supported them. This exhibition is both a confirmation and commencement of that belief. A Room of One's Own: Women Painting Women is on view at Haynes Galleries through October 5.

Ruth Bernhard, Golden Light, 1960, Chromogenic print, 10" x 7.85"

Ellen Cooper, Two Worlds, Oil on linen, 24" x 34"

Other works in the show, such as Ellen Cooper’s Vortex, explore similar scenarios that place women in the position of being watched. While Cooper’s low-angle composition makes it difficult to know exactly where the viewer is positioned in relation to the subject, it also casts awareness on the viewer as a voyeur. Ruth Bernhard’s chromogenic print Golden Light softens this dynamic by capturing a shy moment from a classical female nude (a subject historically dominated by male artists). With a slight knowing smile, the woman stretches into a contrapposto position and shields her eyes with her arms, effortlessly emitting natural warmth. The piece, like so many in the exhibition, is not just a woman artist’s depiction of the female subject, but also a female subject expressing herself as she wants to be depicted.

Ellen Cooper, Vortex, Oil on linen, 48" x 32"

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Rarified Atma-sphere

A New West End Business Redefines “Rooms for Rent” by Stephanie Stewart-Howard | photography by Alissa Saylor


et right on West End Avenue as it flows into Vandy, Heather Riney’s charming Atmalogy is something different. I know

it, even before the paradigm shift that comes with taking a few steps beyond Jimmy John’s toward the striking, former family residence, where a group of trendy folks are casually sprawled on deep cushions and soft rugs in the heart of the huge, plate-glass window. “I made up [the name Atmalogy] by combining the Hindu word atma, meaning ‘one’s true self’ and [the Greek] ology meaning ‘the study of,’ so essentially it’s ‘the study of one’s true self,’” says Riney, owner and creatrix. “My intent is that whatever is going on there is in pursuit of that, whatever that means for that person.” While it may appear as a very inventive coffee bar to the uninitiated, it’s quickly revealed as much more. Within the vividly painted building, the foyer opens onto an appealing, rough-wood snack and drink bar, offering clever beverages (there’s also a wine license, no fears) and exquisite, simple foods. The house is divided by rooms, from a true coffee bar to meeting areas and business spaces—all with hints of Heather Riney’s travels across South and Southeast Asia and Central America. It looks as though the best aspects of the best vintage stores, shops like Anthropologie, and true artists’ havens have been blended and judiciously edited to create a sense of place. Works by local artists hang on the walls, for sale, and a small artisan shop just beyond the coffee bar offers more artisan wares.

Each room has a name—“Create,” “Inspire,” “Connect”—and can be privately rented, as can the whole building. Two primary floors plus a basement delicious with potential mean that any number of groups and individuals can make use of it at the same time. Small spaces target artists, counselors, life coaches, and skill trainers (a potential lifesaver in the era of home offices), while larger ones may be utilized for a full-scale business retreat—or a bridal shower. The vast basement is tailor-made to host art and fashion events. Creative usage potential is high. A diverse breakfast and lunch menu means you don’t have to order out, and pricing for room usage is moderate, at about $65 an hour for a space easily accommodating twenty and as little as $35 for the coziest. It’s a splendid alternative to commercial meeting rooms and the like. So from a massive exam cram session to a smart office lunch and brainstorming meeting—or anything else you can imagine—Atmalogy has plenty of space, abundant warmth, and myriad amenities to help you make it happen. Or just stop by and drink a cuppa in the coffee bar—like me, you’ll be rather loath to leave. If you want atmosphere rather than sterile space, the right alternative has arrived. Atmalogy is located at 2320 West End Avenue.

September 2O13 | 93


The Studios


The Artist Co-op

3433 Murphy Road, West End at I-440 615.627.3900 F R E E T A STIN G S E V E RY F RIDA Y AT 5 A N D S AT U R DA Y AT 3

The Galleries

Bl air concert serie s 2013-2014

Signature Series Events

Amici Musicale John Johns, guitar with Christian Teal, violin, and Kathryn Plummer, viola Johns presents an evening of mostly Mediterranean music for guitar, both solo and accompanied by his colleagues.

& Supplies

Presented with gratitude to Judy and Steve Turner, and to the Jenny and Jerry Howell Fund for Guitar for their generous support of the Blair School

September 19 • 8pm Ingram Hall

In Three-Quarter Time Blair Voices: Amy Jarman, soprano Gayle Shay, mezzo-soprano Tucker Biddlecombe, tenor Jonathan Retzlaff, baritone with Ben Harris and Jennifer McGuire, pianos

September 22 • 3pm Steve & Judy Turner Recital Hall

A delightful afternoon of music for vocal quartet and two pianos, four hands.

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

1416 Lebanon Pike, Nashville TN 37210 615-242-0346

Blair school of Music

2400 Blakemore ave. nashville, tn 37212

photo: Anthony Scarlati


Teri Alea

TACA craft fair will be held at Centennial Park on September 27–29. For more information visit

Executive Director, Tennessee Association of Craft Artists

by Linda Leaming


eri Alea is a human tornado right about now. She’s the executive

director of the TACA (Tennessee Association of Craft Artists) Craft Fair and is preparing for the Fall Fair September 27–29 in Centennial Park. The Fair has an enthusiastic, some might say passionate, following. We asked her to tell us why.

NA: The Spring TACA Craft Fair is forty-two years old; the Fall TACA Fair is thirty-four. How do you account for the longevity? What makes Tennessee Craft special?

ALEA: All the art is made by artists we know, here in our own backyard. The craftspeople are exceptional and accessible, and their art is sought after, one of a kind, and affordable. Many have national profiles—which may surprise fairgoers. Others exhibit with only a few festivals, and we’re lucky to showcase them here. You can get to know the artists, see how they work, learn about their materials. It’s a unique experience. NA: I went to the TACA Craft Fair when I was really young, and I even remember buying Christmas presents. Talk about great gifts. I still have a teapot and a cloisonné dish I treasure.

ALEA: Exactly. NA: How have designs changed? Do crafts people keep the traditions? How do they compete with Target?

Eric Eugene Smith

ALEA: Times change and so does what we see at the Fairs, but some designs are classic and will always be around. Competing with manufactured goods is hard. But we all love beautiful, one-of-a-kind things made by artists. They enrich our lives. Living with and using beautiful, handmade objects makes

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Justin Brady

life more meaningful, especially when we can meet the maker and share the process and hear stories. And the Fair is a lot of fun. NA: What about you? What’s your passion?

ALEA: Being constantly creative. I bore easily. I like helping artists build their own wealth and unveiling beauty. Life is energy moving—if we aren’t loving and learning we’re riding the downward side of that spiral. I like to stay on the upside of things.

Jack Charney

NA: What prepared you for this job?

ALEA: My ability to combine business and the creative side of things. NA: What kinds of crafts do you like?

ALEA: I love them all, but I’m partial to jewelry and textiles. NA: TACA’s been around since 1965, long before the “buy local and handmade” trend began. Is the Craft Fair here to stay?

ALEA: It is if people come and love it. If they find something they love, they have to take it home. We have to inspire the next generation of artists. What is supported endures. NA: Anything else?

ALEA: I’d like to leak that TACA will adopt a “DBA” in the new year and begin doing business as Tennessee Craft. You heard it here first!

Whit Gilbert

Jack Charney

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at the Best Patio in Town happy hour 5-7 daily

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1112 woodland st. east nashville | 615.262.5346 |

Pastoral Tennessee

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The merchants, galleries and restaurants of the Factory invite you to join us for family fun! First Fridays of June thru September, 6-9PM Food trucks, artists, musicians and dancers around every corner.

Come play.

Info at Facebook and


September 28 • 4pm-10pm LIBERTY HALL @ THE FACTORY

Purchase tickets at the school, at or at the door the day of the event. $10 advance purchase • $12 at door

Abide Studio • Act Too Players • Advantage Model & Talent • Always In Bloom • Amish Excellence • Annette Charles Fashion Boutique • Antiques at the Factory • Art Row at The Factory Artisan Guitars • Boiler Room Theater • Constant Craving Caterers • Dave’s Barber Shop • Essy’s Rug Gallery • Fancy Vents • Franklin Brentwood Arts Academy • Franklin Farmers’ Market The Glass Touch • Gro-Nails • Gulf Pride Seafood • Happy Tales Humane • ISI Defensive Driving • J. Chastain Photo • Jeremy Cowart Photography • Journey Church • Little Cottage Toys Little Cottage Children’s Shop • Mark Casserly Architectural Woodworking • Music City Dog House • Nature’s Art • O’More College • Saffire • Second Impressions Clothing • South Branch Nursery Southgate Studio & Fine Art • Springtree Media Group • Stoveworks • Stonebridge Gallery • The Sweet Shoppe • Tala Jewelry • Third Coast Clay • Timberwolf Designs • Times Past & Present Tuscan Iron Entries • Wedding 101 |



615.791.1777 September 2O13 | 99

Finding 62, Laminated plywood, gold leaf, enamel, 10" x 10" x 60"

Trey Gossett Sculpture in Wood and Clay by Beverly Keel


s an artist and trained artisan, Trey Gossett brings the best of both worlds to his contemporary, three-dimensional sculptures. “I consider myself a fine artist, making fine artwork, but I also

photo: John Guider

have a fairly strong crafts background, so finding a need to create wellcrafted objects that hold their own as a piece of fine art is important to me,” says the 33-year-old East Nashville artist. “I don’t know really a cut-anddried way to explain what you would call my work. I put it in the realm of fine art, but I am also educated and understand the difference between just making a shiny object and making something that has meaning behind it.”

below: Finding 201, Laminated plywood, enamel, 10" x 10" x 60"

By combining two worlds, he creates sophisticated art that exists in a category all of its own. Some of his pieces can simultaneously appear old, as if found in an archaeological dig, and abstract, if not futuristic. Paying equal amounts of attention to the work’s interior and exterior, he begins with an idea and works with the materials until his idea is realized, as opposed to beginning with a piece of wood and following wherever inspiration may lead. The result of this rare and wonderful technique can be seen in the exhibit called Sculpture in Wood and Clay, which will be held September 7 through October 19 at The Arts Company. “His work is very masterfully done and very well presented,” says The Arts Company owner Anne Brown. “It is

right: Infection 24, Laminated plywood, enamel, 48" x 12" x 12"

sculpture that you can live with. It feels contemporary and accomplished. I haven’t seen anything quite like it.” While a few of the twelve to fifteen pieces are made out of solid walnut and mixed media, most of the sculptures are laminated plywood—thin pieces of material that are glued together around the form. “When the glue dries, it holds that shape,” he says. “Then through different mathematical formulas, I find the angles that I need in order to cut them and fit them together.” Beginning in 2008, Gossett worked as the artist in residence at the Appalachian Center for the Arts in Smithville, Tennessee. “I learned all of those techniques that they teach there, like hand-cut joinery, traditional wood techniques,” he says. “My craftsmanship is definitely a lot tighter than it was, and my knowledge and understanding of the material is a lot greater than it was, as well as techniques needed to make virtually whatever comes to my mind possible—at least out of wood.” While this exhibit is his first show at a Nashville art gallery, he has two pieces on display at the new Music City Center, including a five-foot-by-fivefoot wood panel called In Between Spaces. “I am excited,” he says of The Arts Company show. “I have shown my work all over the country and in Korea, so I am excited to have a big show where I’m living. That rarely happens.” See Trey Gossett’s work in the exhibition Sculpture in Wood and Clay at The Arts Company September 7 through October 19. For more information visit

Finding 201 (detail), Laminated plywood, enamel, 10" x 10" x 60"

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Write Off the Row A Songwriter’s Home Away from Home by Alyssa Rabun | photography by Tiffani Bing


church feel to it. We fondly call it the church of songwriting,” says Downing. Other rooms like “Lyric” and “The Hook Hall” are smaller, more intimate spaces that offer a variety of instruments from guitars to keyboards. The rooms vary in color scheme and layout but share curated acoustics and soundproofing that make every note sound syrupy sweet. Patts comments on the acoustic design saying, “The wall installations and padded wall coverings affect how sound travels in the rooms so that scratch demos recorded in a session sound amazing.”

iz Downing and Patricia Patts sought a tranquil space where they could meet weekly to write songs. Veterans of the entertainment industry and well

entrenched in Nashville’s music business community, these local songwriters expected to stumble upon an abundance of rooms, both on and off Music Row, where they could spend hours unhinging chords and transforming lyrics. Instead, they uncovered fewer than a dozen rooms in town, with decent acoustics, available for rent to the general public. Recognizing a void worth filling, these entrepreneurs co-founded Write Off the Row, a renovated house turned studio where songwriters rent distraction-free, soundproof rooms to write. “When writing at home there are too many distractions— kids, spouses, pets, laundry, neighbors. Having a creative space where you can get away from all of that is important for songwriters,” says Downing. The studio houses five rooms varying in style and capacity that are available for rent by the hour. With two skylights and a vaulted ceiling, the largest room, “Melody,” is open and bright. Melody boasts mid-century chairs and sleek couches that are positioned strategically to seat up to ten people and a wooden installation resembling organ pipes that hangs above a 1926 Gulbransen upright piano. “Melody has a

Although a main function of Write Off the Row is to provide a quiet sanctuary, songwriters may also engage in networking and educational opportunities. Weekly seminars and workshops covering topics from co-writing to legal issues for songwriters, and master classes led by hit songwriter and Belmont songwriting professor Steve Leslie “help songwriters get to the next level in songwriting—whatever that level may be,” says Patts. There are two writing sessions per day: 10 a.m. to 1 p.m. and 1 to 4 p.m. On Thursdays, a special session is open from 7 to 10 p.m. Rooms are available evenings and weekends by appointment. Visit for more information on reservations and workshop opportunities.

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giselle p r e mi e r e d i n P aris in 1841, t h en t o ured Euro pe all t h e wa y t o St. Pe te r s b urg. I n 1910, it w as perfo rmed by t he l e g e nda r y D i a ghi le v B a l l et s Russes in Euro pe, st arring Vaslav N ij ins k y a s the ma l e le a d . The t it le ro le w as also perfo rmed by t h e inim it a b l e Ru ssi a n d a nce r A nna P avlo va in 1903 and h as been a so u g h t - a f t e r ro le by reno wned dancers befo re and s inc e .

The tale is as full of angst as any: A charming duke tricks a beautiful peasant, Giselle, into falling in love with him, and she dances herself, literally, to death. In th e second act the story follows Giselle into the hereafter, underscoring the theme of love beyond the grave. A key element of Giselle is that it embodies what people expect of ballet. After all, there is a reason that the silhouette of the classical prima ballerina—with her flowing tulle skirt, pointe shoes, and bun hairstyle—is found everywhere, from little girls’ jewelry boxes to T-shirts. It is the unofficial universal logo for this art form. And ballet, while beloved, has an image problem that needs a universal logo. “It doesn’t matter if you’re in a Third World country or in the U.S.,” says Mohnani. “Ballet is not as accessible as it could be. My goal is to change that, or hopefully correct that, and make this art form, which is so universal and so easily relatable, not be as inaccessible as it is.”

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This is the second year in which Mohnani has made ballet more accessible to the public by featuring professional production nights of ballet at the Centennial Park Bandshell. Last year it lasted one weekend, but this year it has been expanded to two. “Ballet really is one of those art forms that has a perceived stigma that only those who are rich or have money can appreciate it,” he says. This type of public performance has deep roots for Mohnani: As a young boy in the Philippines he saw a performance of Don Quixote in the park, which ultimately inspired him to pursue dance professionally. “I thought, this could possibly be something I could do, and it could be fun.” And when the sinuous dancers of Giselle leap through eerie smoke in their long, white tutus, it will certainly be a picture of inspiration for the next generation of dancers.

See Dance Theatre of Tennessee’s Giselle at the Bandshell at Centennial Park at 7:30 p.m. September 20, 21, 22, 27, 28, 29 and 30. Pre-show entertainment begins at 6:30. For more information about Ballet in the Park visit Buddy Jackson can be found at

108 | September 2O13


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photo: Hollis Bennett

The Architectural World of Jeff Green by Sally Schloss


tanding before a wall of his canvases Jeff Green spoke about his artistic vision. “In a life, there are

these layers of experience that build and change you, just like if you were to see a cross section of land, you would see rocks and soil patterns that have built up over time. My work is a graphic representation of this layering of history, using the structure of the painting to juxtapose what I see as common to nature, the city, and human beings. When I asked Jeff about certain visual motifs—like the grid lines, the x’s, and crosses—he explained that these graphics had personal resonance for him. “The grids are borrowed from my life as an architecture student, which was my first professional career choice until I discovered drawing and painting. I use them to imply order in an environment that can seem chaotic at first. The x’s, crosses, dots, and numerals are symbols from architectural drawings that designate different spaces and the importance of place being secured.” right: Confirmation no. 10, Mixed media on board, 7.625" x 4.75"

Reclamation no. 9, Mixed media on board, 5" x 4.75"

I commented on a painting where the top part of the canvas had an image that reminded me of dendrites (the slender projections of a nerve cell) or a group of people emerging from water. It looked liquid, and the color was a wash of rich orange. Like a Rorschach test, where you see a blot of ink and you impose your own perceptions on the images, the shapes oozing into the color swath read like yet another correlation between nature and the manmade. When I mentioned this effect, Jeff explained, “My work is done in a three-stage process. I get the textures developed. Then I hide parts of the painting and slowly strip away until the color starts to pop out. You don’t really have a lot of control as to what will come through. The resulting patina and shapes that emerge imply a kind of history or narrative. It evokes a sense of age, which is the characteristic I’m going for. One of the things about certain architecture that I find so beautiful is seeing how things look twenty years after they’re done.” There is an intellectual quiet to Jeff’s work, contemplative rather than emotionally loud, a sense of order, where layers are seated on top of things that have come before. There is beauty as well, which is, of course, in the eye of the beholder, and images that are not in the artist’s control but open instead to the viewer’s imagination, inspired by the world view of Jeff Green. Jeff Green will be exhibiting at The Rymer Gallery through September 30.

Untitled, 2013, Mixed media on arches paper, 30.5" x 22.5"

In other words, they are locations that suggest a future filled in with buildings, aspirations, and dreams. They also create graphic counterpoints to the more solid geometric shapes of the composition, balancing the whole. The sketch of the pyramid and eye from the back of the dollar bill caught my attention. “And why did you include that?” I asked. “Because I think money has too much influence on creativity. One of the reasons I left architecture was because I wanted to experience creative immediacy. If you design a park, for instance, you might have to wait for years to get the financing and logistics handled before you see your vision implemented and possibly compromised. With painting, the creative gratification is instant.” I assumed from this that Jeff was a fast worker, one of those painters that had passages of intensity where production was like a sprint.

It’s almost like this manic thing where I work at this insane pace, and I can turn out a massive amount of work in a short time. Because my work is layered and I have to wait for things to dry and emerge, I have several pieces going at the same time. The scary part is the down time when I’m not sure what’s coming next. Sometimes months or weeks go by. Something has to trigger me. An image, or color, something I see in someone else’s work that fires me up.

right: Confirmation no. 13, Mixed media on board, 7.75" x 4.75"

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Jim Oblon

photo: anthony scarlati

Tearing up the Backbeat

by Holly Gleason photography by Anthony Scarlati


moky bars where the grey cloud hangs like dank curtains, neon glares and buzzes, and the young man onstage makes the guitar bleed, beg, and exhort.

But unlike so many hot players onstage every Tuesday night in East Nashville, Jim Oblon understands restraint is as much the realm of passion as stinging notes that fall like shrapnel. A classicist, Oblon played bass, drums, and guitar on Paul Simon’s critically acclaimed So Beautiful or So What. Extending that reality, the New England-raised son of a musical family takes his musical ecumenism even farther. Oblon follows his EP “Live at the FooBar” with the evocative Sunset, a variety of ballads, vintage rock, and standards, recorded with master organist Larry Goldings and legendary drummer Jim Keltner. A thoughtful and thought-provoking conversationalist, Oblon sat down with me at a burger joint on 12th and talked about roots, existing outside the mainframe, and bringing timelessness back to modern music.   NA: Listening to your new album Sunset, it sounds like your musical roots go deep. 

JO: Yes, absolutely. My father was a musician, had a band. They started out playing what a lounge band would play, what was popular back then. NA: A cocktail jazz guy?

JO: He was more a ’50s hipster with the thick-rimmed glasses and the whiskey sours. My aunt would babysit me. She'd come over and bring her vinyl and play it for me. I didn’t have a sense of what time that music was from, so I’d go to school and be like, there’s this cool band: Les Paul & Mary Ford, and no one would have a clue what I was talking about. It was a really rich environment to grow up in. NA: Did you ever catch up with what was going on musically at the time?

JO: Later on I did, but at the time I didn’t go with the current bands. If you heard Duke Ellington’s drummer or Bill Doggett’s guitar player, why would you? It comes down to discernment. If you know the difference, you’re not going to accept less. And the players know: Keith Richards can tell you the difference between Bix Beiderbecke and Louis Armstrong. The Stones have the same rhythmic patterns. NA: Surely you were listening to contemporary players.

JO: Later on I got into Chet Atkins, the whole finger-picking thing. I got into Albert Collins, Albert King, Roy Buchanan, and the great blues player Sidney Bechet. And of course Danny Gatton, the Telecaster Master.

were originally recorded, so he would be fluid within the covers. He was there, and he understands all of it. Keltner encapsulates the American beat. NA: And then there’s the same notion of the suspension of time in “Desert Sun,” which you wrote.

JO: That’s one of the really beautiful ones. People ask me who did the original, or they tell me they looked for it on YouTube. I take it as a compliment. NA: You’re a very big believer in the larger musical picture, aren’t you?

JO: There’s a timelessness that’s fascinating. My intention or goal is simple: there is a message in American music that over time can get eroded. Today, there’s a "blues scene” with Brylcreem and bowling shirts, all the gear, but it doesn’t have the essence of the music. I wanted to honor the people who came before me. Maybe I can add a few of my own things, but I want to not lose what was.

NA: You started playing gigs at a very young age, right?

JO: I grew up in Connecticut, and I played with a couple of old black guys. As a teenager, it really messed with my mind: playing places with bars on the windows, bullet holes in the glass—and the next day, we’d be in a coat and tie, playing at some country club. Teachers would put my name in the drug box, with all the kids they thought were on drugs. But really it was just playing five gigs on a weekend, going home, putting on my suit, getting my guitar, and heading back out. NA: Were you always in Connecticut?

JO: I went to New York for a while, but I came back to Connecticut, where I found this artist housing . . . $240 a month that included heat and electricity. The people in the area figured, if we bring in artists, we still get the federal funding, but we won’t get the Section 8 stuff. There were a lot of older black musicians, a World War Two vet who’d flown seventeen missions in a B17 bomber. I just jammed with them. One of them would sing a song, and then I'd have to sing one, so I'd do "Lonesome Road" or "There'll Be Some Changes Made.” This is where I dug deep and really got into guitar playing and music.

You look at Hendrix: people try and dress like him, play like him, get the same guitar rig—but they’re really just mimicking him. Hendrix wasn’t dependent on any form or player; he was just playing. NA: The blurring of classics and your original work, that is pretty inspirational where you're going.

JO: If you want to talk about music as nourishment, it can go beyond that to healing. It’s why it’s called the divine art. Painting is not; architecture is not; it’s music. Intention is important. That might sound hippie dippie or contrary to rock & roll, but even that first Elvis record, “That’s Alright”— they were just having fun with their buddies. And the world of standards offers something. Original songs are great, a lot of the music in the ’60s, ’70s and ’80s . . . But I want to abandon sub genres, get back to a world where Jim Reeves can be done as Bo Didley! Go back to once upon a time, when musicians would show up and use the same stuff; the jazz bass player would use the same bass rig as an r&b player or a country guy. Sunset can be found at iTunes. See Jim Oblon at the FooBar every Tuesday night. For more about Jim visit

NA: Your affinity for songs like “Before I Get Too Old” and “When I Was A Cowboy” on the new album seems so natural.

JO: “When I Was A Cowboy” is my version of what America sounds like. It had the most modern treatment, but it’s also the oldest song. It seems old-timey: cowboys, steam engines, trains . . . When people look at the past, they see it in sepia tones, but back then it wasn’t the case. That’s what I wanted—and even with the loop, which I didn’t think Jim Keltner would play to, we just played along with it live. NA: Jim Keltner must be one of the most recorded drummers in history.

JO: Yeah, it's not the easiest thing to get Jim Keltner to play on your record, but I knew he would bring an agility to the playing that wouldn't be in a time capsule. He was there when a lot of the songs

September 2O13 | 115

Tandem, 2011, Acrylic on canvas, 30" x 40"

Field Notes A Local Look at Global Art

Jason de Graaf Hyper-realistic painting by Betsy Wills


am a fan of technical skill and precision. Photorealism

and its OCD cousin hyperrealism are the “floor routine” of painting, inclusive of the splits, aerial cartwheels, and a series of round-off back handsprings. Very showy. As with photography, realism of any kind relies heavily on composition. It is one thing to replicate an image. It is another to keep the viewer interested. Artist Jason de Graaf’s completely focused paintings certainly make my shutter stop. He uses every trick in the book: shiny objects, gooey paint globs, reflections, you name it. If you are like me, you are irresistibly drawn into his close-up world.

Bedlam, 2009, Acrylic on canvas, 24" x 30"

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Betsy Wills admits that she is blissfully ignorant when it comes to art curation and selection. She is, however, an avid art lover and collector and maintains the popular art blog Wills is proud of the fact that her art does not match her sofa.

Reflections of Modern Art, 2008, Acrylic on canvas, 24" x 36"

Viridis, 2013, Acrylic on panel, 24" x 24"

artist statement My paintings are about staging an alternate reality, the illusion of verisimilitude on the painted surface, filtered so that it expresses my unique vision. Though my paintings may appear photorealistic my goal is not to reproduce or document faithfully what I see one hundred percent, but also to create the illusion of depth and sense of presence not found in photographs. I try to use objects as a vehicle to express myself, to tell a story, or hint at something beyond what is actually painted. Therefore I try to choose subjects that have meaning to me or are artifacts from my life. I choose colors and composition intuitively with the intent of imbuing my paintings with emotion, mood, and mystery. Throughout, I try to remain open to new ideas as the painting unfolds. Jason de Graaf is represented by Galerie de Bellefeuille in Quebec and Plus One Gallery in London.

Theory of Probability, 2012, Acrylic on canvas, 36" x 36"

Jason de Graaf

That Morning, 2011, Acrylic on canvas, 18" x 24"

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photo: anthony scarlati

Critical i

Lars Strandh, Untitled (Orange), 2008, Acrylic on canvas, 63" x 63"

are handwoven fabric, and all of the marks and writing are embroidered by the artist. Technically deft and subversively silly, Miss Trombly plays the Fool in the Medium tarot deck.

by Joe Nolan


he Medium's Session at Zeitgeist is organized by gallery artist Patrick DeGuira. A sharp, smart collection

of work, the exhibition includes offerings from familiar locals as well as artists from Chattanooga, Los Angeles, Miami, New York, and Oslo. The title of the show conjures images of turn-of-thetwentieth-century spiritualism with its seances and otherworldly spirits, and some of the works in the exhibit play with their own versions of magical misdirection. Kevin Cooley and Phillip Andrew Lewis' We Can Break Through is a video featuring two box fans in a room, hanging from the ceiling by invisible wires. The video fades in to a shot of both fans whirring, their cords connected to a power strip below them. The fans twist and spin—sometimes in a tandem dance, sometimes on a collision course. Viewers eventually accept that the fans are actually levitating, and their mutual movements begin to imply a conversational cadence. It's a simple idea with elegant results, and this piece offers the most spoton interpretation of the exhibition's overall themes.

Lars Strandh's paintings are technical and tactile like Trombly's work, but they also play with perception in the same way that Break Through makes you believe that fans can fly. From fifteen feet away Strandh's Untitled (Orange) looks like a large, orange, acrylic painting on linen. Up close, the surface is covered with an intense succession of horizontal stripes of multiple colors that the eye merely interprets as orange. The title claims one thing, but the surface claims another. Like a great magic trick or a hopeful divination, this painting—and this exhibition— encourage the best kind of disbelief.

Frances Trombly's Box (Broward Paper and Packaging) and Box (Paper Mart) look like collapsed cardboard boxes—complete with mailing labels, postage marks, and Sharpie scrawl. They're displayed lying directly on the gallery floor. At the show's opening, my artist friend walked right on top of the pieces only to realize the boxes

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Frances Trombly, Box (Broward Paper and Packaging), Handwoven fabric, embroidery, packing tape, 47" x 25"

SATURDAY, NOVEMBER 2, 2013 SATURDAY, JANUARY 25, 2014 Grades PreK3 – 12

September 2O13 | 119


The oldest professional children's theatre company in America shakes it up for the 2O13-14 season

photo: Dan Brewer

Nashville Children's Theatre Misty Lewis in Lilly’s Purple Plastic Purse

by Jim Reyland


t's the perfect place to explore your personality— misfits, adventurers, thinkers, and rebels can all find a home at NCT. In September the magic

begins with A Wrinkle in Time, September 12–October 6, 2013. Madeleine L'Engle's brilliant science fiction/ fantasy adventure is brought to the stage with multimedia theatrical wizardry. The fun continues with Schoolhouse Rock Live! October 24–December 1, 2013. For forty years kids, teachers, and parents have had fun learning with the songs of ABC's Schoolhouse Rock.

Since 1931, Nashville Children’s Theatre has been a shining star on the Music City performance landscape, using its special brand of drama as a tool to focus on the healthy development of children. They provide a nurturing family experience along with their many educational objectives.

photo: Colin Peterson

Lilly’s Purple Plastic Purse, January 16–February 2, 2014, features Lilly, a mouse who knows what she likes. She doesn't like her snooty Cousin Garland, and she's not so crazy about her new baby brother, but she loves, loves, LOVES her new Purple Plastic Purse.

David Compton in Sherlock Holmes: The Final Adventure

120 | September 2O13

photo: Colin Peterson

photo: Colin Peterson

left to right: David Chattam, Aleta Myles, Jessica Kuende in Don't Tell Me I Can't Fly

With professional productions, classes, and camps for children, we do our best to have the highest caliber of programming that serves our mission six days a week for eleven months of the year. – Scot Copeland, NCT Artistic Director

Top to Bottom: Daniel Collins, Aleta Myles, Aaron Muñoz in Go, Dog. Go!

When 2014 rolls in, NCT will offer a number of great shows and special programs. In Number the Stars, February 20–March 9, 2014, we join ten-year-old Annemarie Johansen as the Danish Resistance smuggles seven thousand people across the sea to Sweden and safety. Lyle the Crocodile, April 10–May 11, 2014, focuses on the Primm family as they move into their New York City apartment to find a crocodile living in the bathtub. Big Kid Night—because kids shouldn’t have all the fun—NCT is planning two evenings when the theatre is for the 21-and-up crowd. Friday, September 20, 2013: A Wrinkle in Time and Friday, November 8, 2013: Schoolhouse Rock Live! Guests will enjoy a Happy Hour with some cold brew and light food prior to seeing the play. Grand Day, Sunday, April 13, 2014, begins with a 2 p.m. performance of Lyle the Crocodile and is followed by a carnival of games, rides, food, and fun for the whole family! As you can see, Nashville Children’s Theatre is gearing up for great shows and extra fun. If you haven’t been to an NCT production, treat the entire family to a wonderful theatrical experience during the impressive 2013–2014 season.

For a Nashville playwright to take his play from the blank page to a full production on the rep level is a rare and wonderful thing, worthy of our applause and support. In the world premiere of Nate Eppler sitting in the "pillow fort" Larries, born in Tennessee Rep’s Ingram New Works Festival, Wanda sends her husband, Larry, an ultimatum by email; she wants to have another baby or she wants a divorce. Larry doesn’t respond to the email, and when Wanda gets home to find out why, she discovers more than one Larry. Which Larry is her Larry? And if she finds him, does she still want him? Previews: Sept. 5 (6:30 p.m.) and 6 (7:30 p.m.)—$25. Run of Show: Sept. 7–21, Tues./Wed./Thurs. 6:30 p.m., Fri./Sat. 7:30 p.m., Sat. matinees Sept. 14 and 21, 2:30 p.m.—starting at $45. Tickets available at

Subscriptions are currently on sale online at or by phone at 615-252-4675. Consider a FlexPass, or make a tax-deductible donation to Nashville Children’s Theatre.

photo: Shane Burkeen

Nate Eppler's Larries Breaks New Ground

The film version of Jim Reyland’s new play, STAND, performed across Middle Tennessee in 2012 as part of The Stand Project, is now available to stream at Watch The STAND Film starring Barry Scott and Chip Arnold and directed by David Compton. And please consider a donation to support Room In The Inn.

September 2O13 | 121



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beyond words by Marshall Chapman

Photo: Anthony Scarlati

A Luddite's paradise . . .


f you're looking for an unusual getaway, may I suggest the Balsam Mountain Inn in Balsam,

North Carolina? Built in 1908, before the advent of

the automobile, this historic landmark sits on the side of a mountain above the site of the highest elevated train station in the East. Early patrons would arrive by train, then walk or ride in a horse-pulled buggy up to the Inn. It's a miracle the Balsam Mountain Inn still exists. Most of the grand hotels built around the turn of the last century have either burned down or been demolished, as people began flocking to more economical motels springing up along mountain roads in the 1950s. Credit current owner Merrily Teasley with the Inn's present existence. Teasley happened upon it while hiking the Balsam Mountains in 1988. "At the time, it was boarded up and condemned," Teasley said. "But I was drawn to the architecture. I couldn't believe something like that still existed." Two years later, Teasley purchased the Balsam Mountain Springs Hotel, as it was originally known, and has pretty much kept it going ever since. In the mid 1990s, Teasley was in Florida with songwriter Paul Craft, Thom Bresh, Aleene Jackson, and Cowboy Jack Clement. Clement, Craft, and Bresh were there for a songwriters gig. While sitting around drinking after the show, Craft said to Teasley, "Why don't you host a songwriters night at the Balsam Mountain Inn?" The idea stuck, and a couple of weeks later, Clement, Craft, and Bresh played the inaugural show.

Polly Cook

I have played this series five or six times over the years, most recently with David Olney and Malcolm Holcombe. For us songwriters, it's a sweet deal. The Inn houses and feeds you for two nights, then hands you a check before sending you along your merry way. But even if you're not a songwriter, the Balsam Mountain Inn has much to offer. There's really nothing like it anywhere in the world. Each of the fifty guest rooms has a private bath—some with shower, others with an old-fashioned claw-foot tub. One room is purportedly haunted. All have tongue-and-groove walls and ceilings. Water throughout is pumped from a spring-fed well. There's no airconditioning anywhere. And no TVs, clock radios, or phones in the rooms. The main floor houses a comfortable library with plenty of books and board games. Two porches—one on the first floor and one on the second—span the front of the Inn, providing spectacular views of nearby majestic mountains. At the end of our conversation, I asked the energetic Teasley what keeps her going. "I love interesting people and beautiful architecture," Teasley said. "And old buildings attract interesting people."

September 2O13 | 123

on the town with Ted Clayton


s the incredible social editor I aspire to be I want to make sure I inform you of all the social goings on here in Nashville

I am 100 percent sure of an event I went to not long ago that not another one of my readers have ever had the pleasure of attending: the Demolition Derby at the Macon County Fair. I spent this most memorable evening under the stars with my friends Ginger and Miles Gibson, who, by the way, own and operate Gibson's Cafe on the Lafayette, Tennessee, town square. Ginger informed me that she is a former demolition derby driver. In fact, she went on to tell me, she is a secondgeneration race and derby driver from Lebanon Valley, New York. The cash purse for this derby was $2,000, and yes, I did think about entering, but my black-tie attire had already overwhelmed the crowd, LOL. There were two heats, and the winner was Corey Kemp, in his . . . well, what was left of his derby car. The cars were locally sponsored, and one sponsor that caught my eye was Twisted Sisters Hair and Nails. Now I realize, after reading this, that the folks at Elan, Trumps, and Illusions will jump at the chance to sponsor a car in next year’s derby! and areas close around.

Gibson, Megan The evening at the Macon County Fair Miles Norfleet, and Ginger Gibson – brought back fond memories of when Demolition Derby three lady friends and I would meet one afternoon each year in September at Ensworth School to load up our kids for an afternoon/evening at the Tennessee State Fair. Enjoying funnel cakes and everything fried was Theresa Godchaux Payne, Julia Jarman, Lucianne Wilt, and myself, with the kids Charles, Rebecca, Nelson, Julian, Franklin, Anderson, Drake, Lissa, Clay, Jeffery, Houston, and Grace. Yes, what fun indeed. I can smell those crispy onions rings right now!

In keeping with the fair festivities, I attended a few weeks back the Preview Party for Tomato Fest in East Nashville. To-may-to or to-mah-to, never mind; no one cares how one pronounces it at the 10th Annual Tomato Art Fest. Art & Invention Gallery was the happening place for this preview party, and this was the gallery that started the tomatocentric Art Fest, says owner Meg MacFadyen, adorned in red fairy wings. The hot, humid, semi-rainy evening in East Nashville was blooming with patrons in costumes from simple headgear to full "tomato Rick Gorrell, Diane Gregory, superheroes" including Karri John Gregory – Tomato Fest and Jay McNairn. Then there was Jules Charlemagne in a pink tuxedo shirt with black bow tie and cummerbund and a floor-length skirt of green silk embroidered in gold. Jules is one of the favorites of the arts in East Nashville. This wacky, most inviting gallery has one-of-a-kind inventory, from jewelry, pottery, wall art (yes, I purchased), tomato Christmas ornaments . . . well, if one was looking for a truly unique gift Bill Brimm and Meg MacFadyen – or accessory it was at Art & Tomato Fest Invention Gallery.

Deb Sandow, June Winston, and Candy Masser – Tomato Fest

Jay and Karri McNairn – Tomato Fest

Rich Alexander, Jules Charlemagne, Polly Alexander – Tomato Fest

Leaving the gallery I noticed this grand open-air market next door, designed and created by Bret MacFadyen, which reminds me of the fabulous open-air beachside shops of Seaside, Florida. What a great find. As I ventured through the tomato crowd I found a unique shop of men’s vintage wear, Hello Boys, owned by Gavin O'Neill and his partner Jeremy Ryan. To-mayto, to-mah-to, what an exciting and brilliant evening in East Nashville.

Roberta Winnett Harrison and Kathleen Sparkman – Arts & Flowers

After a week of consuming the world’s finest wines, l’Eté du Vin concluded at Lowes Vanderbilt Plaza for Pour de France. Established in 1980, the Nashville Wine Auction is the oldest charity wine auction in the country and has raised over $17 million for the fight against cancer. The guests of honor came from across the world and the country—Pierre-Emmanuel Taittinger of Champagne Taittinger, Martine Saunier of Martine's Wines, and Nicolas Glumineau of Chateau Pichon Longueville Comtese de LaLande. (Lordy, if I were there and had a Ken and Lisa Spradley – bit too much fun and wine, I would never be Arts & Flowers able to say where I was.)

Lene and Jan Rasmussen – Arts & Flowers

124 | September 2O13

Christy Shuff, Daisy King, and George Clark – Arts & Flowers

Wendell and Michael Pendleton – Lexus Party

Ron York, Judith Hodges, Jim Robert – Arts & Flowers

Ilsa and Charles Krivcher – Lexus Party

with musical flutes. Did Ted go home with a new addition to his collection? Yes indeed, a wonderful acrylic painting titled Company's Coming (how fitting for the social editor) by Maribeth Wright. This piece is a great addition to my contemporary collection housed at my farmhouse.

Cyndi and Bill Sites with Marty Golemann – Nashville Wine Auction

The auction is incredible, with different wine lots from different cellars. One in particular that I thought interesting was lot #126, Louis Vuitton and Dom Perignon, the Andy Warhol Special Commemorative Bottle. "Perfumed jasmine that dominates the bouquet. Apricots, passion fruit, and peach emerge from this flashy and opulent Dom Perignon" as it was described in the auction brochure. Oh, and the highest bidder got a Kusama purse from Louis Vuitton.

Monique Flores and Jeff Gann – Nashville Wine Auction

Joyce and Steve Wood with Nancy Hearn – Nashville Wine Auction

Co-chairs Jim Fitzsimmons and Doug McMillan welcomed Joyce and Steve Wood (Steve looking quite Gatsby in his three-piece, white-linen suit), Nancy and Billy Ray Hearn, Cyndi and Bill Sites, Monique Flores and Jeff Gann, Lisa and Jack Slinger. Now just think, an event where Daisy King is chairman: not to be missed! This was the case for the sellout 4th Annual Arts & Flowers benefiting the Grammy-nominated ALIAS Chamber Ensemble. The evening pairs nineteen artists with local floral designers, and together they create a scenario around the artist’s painting. Of course I picked my favorite artist and floral designer, Kathleen Sparkman, for her painting Overton Oils and Roberta Winnett Harrison for her floral design of apricot roses worked in

Tara Silvestri, Kim Williams, Lisa Fitzsimmons, Brad Williams, Joyce Johnson, Coryn Currie – Nashville Wine Auction

Joining Daisy was her co-chair, the man behind the red glasses George Gordon Inman and Tim Pagliara – Lexus Party Clark. Together they were oh so busy welcoming Jim Robert, Zeneba Bowers, Lorie and Chris Farris, Lisa and Ken Spradley, Lene and Jan Rasmussen, and Jo and Dan Church. The highlight of the evening was the presentation of the Judith Hodges Spirit of the Arts Award to Ron York. Well deserved, my friend! If and when I grow up, I aspire to be J.R. Roper, Nashville's party animal! Not only are J.R. and his lovely wife, Joy, at all the right social events, but they know how to throw one heck of a party. Based on the launch of the new Lexus each year J.R. hosts a great event—folks are even waiting for next year’s invite! This year’s event showcasing the new 2014 Lexus IS was held at the historic Bridge Building, and what a great party Vicki and Jerry Atnip with Joy Roper – venue it is. I want to live Lexus Party on the fourth floor when I grow up. Enjoying great food, music, and cocktails were Lucius Carroll (asked where wife, Lucie, was, Lucius stated that Lucie does not do car parties), Tim Pagliara and Gordon Inman, Holly Johnson, Lucius Carroll, Betty and John Witherspoon – Lexus Party Danielle Vernier, Jillian and Sean Savacool, Betty and John Witherspoon, Ilsa and Charles Krivcher, Vicki and Jerry Atnip, and Kelly and John Baldwin. Of course Roper Jr., Jameson, was there as an eye candy treat for all the ladies— yes, you buy a Lexus and get Jameson, LOL. Holly Johnson, Danielle Vernier, Jillian and Sean Savacool – Lexus Party

Happy Labor Day! September 2O13 | 125

photo: jerry atnip

my favorite painting

Karl Dean Mayor of the Metropolitan Government of Nashville


like portraits. In my office I have four: Holbein’s Sir Thomas

More, a blue Abraham Lincoln, a photo of baseball’s Carl Yastrzemski, and an arrangement of photos of Neil Young. They are all people I greatly admire for a variety of reasons. The monkey painting is at my home library next to my favorite reading spot. My enjoyment of art is largely a result of my interest in literature and history. I am certainly not an art authority. The monkey has always been regarded as human-like, with the image of a monkey as having an appreciation of human nature or as mocking the pretension of human knowledge and wisdom. There are several instances of this in art—think of “see no evil, hear no evil, speak no evil” and the sculptures and paintings of apes contemplating the bust of Homer or reading a philosophical or scientific book, such as On the Origin of Species. This painting appealed to me as a perfect fit for my reading area. It is fair to say that I am the only member of my family that is enthusiastic about the painting. But, since appreciation of an individual piece of art is very personal, I am fine with that. I tell doubters that, while some folks are inspired by paintings of crashing waves on a seashore or horses running before a storm, I receive inspiration from a portrait of a skeptical and questioning monkey. He is a great companion. I recently finished one of the best new novels that I have read in some time, We Are All Completely Beside Ourselves by Karen Joy Fowler. I highly recommend it. It contains humor, great characters, and a stunning plot twist, but, ultimately, the book is a powerful portrayal of how we treat other people and living creatures. I read the book under the monkey’s gaze, and, when I was finished, all I could say to him was, I am sorry.

Michael Brown, Unreal, Nonreal, Disreal, 2010, Acrylic on canvas, 24" x 18"

Artist Statement This painting was originally inspired by art historical paintings referring to Plato pointing at the sky. If we were to replace our self with our closest cousin the monkey, recognition of a higher power or the divine or the ideal seems relatively silly. It is just a painting that raises the question of why do we believe what we believe?

Artist Bio Michael Brown is a nationally recognized and internationally exhibited artist. He is also currently the head of painting for Savannah College of Art & Design in Atlanta, Georgia. He is represented by numerous galleries in California, New York, and the Northwest and is represented locally by The Rymer Gallery.

126 | September 2O13

128 | September 2O13

Profile for Nashville Arts Magazine

2013 September Nashville Arts Magazine  

2013 September Nashville Arts Magazine