September 2015, Nashville Arts Magazine

Page 1


Word of Mouth New Works by

ELIZABETH WINNEL September 5–30, 2015 The Rymer Gallery / 233 Fifth Avenue / Nashville 37219 615.752.6030 /

5 T H AV E N U E O F T H E A R T S DOWNTOWN NASHVILLE First Saturday Art Crawl Downtown 9th Anniversary


PUBLISHED BY THE ST. CLAIRE MEDIA GROUP Charles N. Martin, Jr., Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Directors


EDITORIAL & ADVERTISING OFFICES 644 West Iris Drive, Nashville, TN 37204 615-383-0278 ADVERTISING DEPARTMENT Cindy Acuff, Keith Wright 615-383-0278 DISTRIBUTION Wouter Feldbusch, Peyton Lester


BUSINESS OFFICE Pam Ferrell, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 EDITORIAL PAUL POLYCARPOU Editor and CEO

SARA LEE BURD Executive Editor and Online Editor REBECCA PIERCE Education Editor and Staff Writer



JENNIFER HARTSELL Harding University KEELEY HARPER Belmont University DESIGN



COLUMNS EMME NELSON BAXTER Paint the Town MARSHALL CHAPMAN Beyond Words JENNIFER COLE State of the Arts LINDA DYER Appraise It RACHAEL McCAMPBELL And So It Goes JOE NOLAN Critical i ANNE POPE Tennessee Roundup JIM REYLAND Theatre Correspondent MARK W. SCALA As I See It JUSTIN STOKES Film Review TONY YOUNGBLOOD Art in Formation

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 $5.05 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts. com; 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.

Fall Art Season 2015

Opening September 5, 6-9 pm, during First Saturday Art Crawl Downtown

October 3

©Mandy Rogers Horton

September 5

October 3

November 7

December 5

©Edward Belbusti

©Jodi Hays

©Christine Patterson

©Brother Mel

Fresh. Original. Contemporary. 215 5th Ave of the Arts N. • 615.254.2040 •


S2O15 eptember

on the cover:

Guy Gilchrist, Original drawing for Nashville Arts Magazine Article on page 28



12 Spotlights 18 Crawl Guide 20 Brunk Auctions

COLUMNS 42 5th Avenue Under the Lights 67 As I See It by Mark W. Scala

28 Guy Gilchrist

71 And So It Goes by Rachael McCampbell

34 Donna Rizzo Customs House Museum

78 Symphony in D epth

36 Kelly Corcoran Q&A

86 Public Art by Van Gill Maravalli


88 Critical i by Joe Nolan

43 Susan DeMay and Edward Belbusti The Arts Company


46 Jim House

90 Art & the Business of Art Arts & Business

54 Abstract Nashville by David Morel


58 Soo Sunny Park Cheekwood Courtyard Gallery

92 Art in Formation

60 Thomas Dodd and Gwil Owen Corvidae Collective

93 Film Review by Justin Stokes

64 Patrick Brien Cumberland Gallery

68 Baldwin Lee Tennessee Arts Commission Gallery

by Tony Youngblood

94 Theatre 96 The Bookmark

Hot Books and Cool Reads

97 Backstage with Studio Tenn

74 Josephine Sculpture Park Frankfort, Kentucky 80 Light Meander 82 Williamson Medical Center

98 Art Smart by Rebecca Pierce 104

Art See



113 114

46 8 | September 2015

Council of Greater N ashville



Beyond Words

by Marshall Chapman

My Favorite Painting




5 t h Av e n u e o f t h e A r t s Downtown nAshville


Judy Shreve


Art Creates a City


love to travel. And there is nowhere that I enjoy more than Italy. I love the food, the art, the architecture, the museums, the clothes, the cars, and on and on. Last year I found myself in a little Tuscan village called Vagliagli, not far from Vinci where centuries ago their favorite son, Leonardo, was busy changing the world’s understanding of art and science. I was staying in a fifteenth-century farmhouse with views that could easily have provided the backdrop for the Mona Lisa. Each morning, along with the best cup of coffee in existence, I watched a laborer across the way building a stone wall around his property. He would pick up each stone, brush it off, examine it, put it in place, remove it, pick up another, and try the same process over and over until he found the perfect stone. He would then cement it in place, stand back, and admire his handiwork from every conceivable angle. I watched him for two weeks, and I can tell you that progress was hardly noticeable. I wondered how they could possibly afford to do this. I started figuring out the cost based on an hourly wage and concluded that at this rate the wall would cost millions.

He is the Only One Who Could Make Her Feel the Magic, 12" x 12"

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The view across Vagliagli, Italy

Back in the States, I was having dinner with an Italian friend, and I told him all about this incredible old farm house where I stayed and the beautiful, panoramic views over the Tuscan hills. And then I told him about this laborer building this wall and my fascination with the mathematics surrounding its completion. How on earth, I asked, could they afford to work like this, and was that work ethic common throughout the country. He told me that in Italian they have a saying, I progressi sono la rovina dell’uminatà, that roughly translates to progress is death. I told him that’s ridiculous and that progress is vital to every civilization. He paused for a minute and asked me to tell him again about the farmhouse where I had stayed. I repeated that it was incredible and that it had been built in the fifteenth century. And then he just stared at me and waited for the penny to drop. Paul Polycarpou Publisher

Virginia Fisher

Daniela Ovtcharov

Charles Pinckney

The Fall Tennessee Craft Fair

Fifty & Fabulous Centennial Park • September 25–27

by Sally Schloss


Artist award that year. “What’s not to like?” he said. “The show is just the right size, has a great vibe, attracts a lot of people who are educated in the craft arts, and it’s beautifully organized. The way they have it set up, the way it runs, and how it’s administered is phenomenal. It’s a pleasure for both exhibitors and attendees.”

ennessee Craft (formerly known as TACA) has been an artist-driven, non-profit organization nurturing the craft traditions since 1965. With more than 600 members throughout the state, its mission has always been to support Tennessee’s craft makers and connect them with their audience through fairs, exhibitions, and educational programs.

Teri Alea, the Executive Director of Tennessee Craft, is committed to making the fairs relevant to upcoming generations o f e x h i b i t i n g a r t i s t s . “ M o re yo u n g craftspeople are exhibiting this year,” said Alea. “We have a Master/Artist Apprentice Program in partnership with the Tennessee Arts Commission that encourages emerging makers to learn traditional and contemporary skills f rom master-level crafters. Passing on this knowledge will ensure that new talent will be a continuing part of our community.”

Forty-five to fifty thousand discerning craft lovers from around the U.S. attend Nashville’s Spring and Fall Craft Fairs each year.

“The Tennessee Craft Fair represents an ongoing romance with the hand made,” said Virginia Fisher, a first-year exhibitor whose work combines metalsmithing with fiber techniques. “It has a great reputation for placing emphasis on the art, unlike other shows where you’re competing with babies performing tap routines on stage.” Married potters Dale and Brin Baucum met at the Tennessee Craft Fair forty-three years ago. “We have repeat customers three generations deep,” Dale said. “Exhibiting at the fair is like getting together with family and friends.” Woodturner Richard Dwyer, who began exhibiting in 2010, won the Best Emerging

Dale and Brin Baucum

September 25 to 27, two hundred juried exhibitors will have their works on display at the Fall Tennessee Craft Fair. Come celebrate Tennessee’s fifty-year love affair with finely wrought objects, ardently made by hand. For more information, please visit

Richard Dwyer

Chris McCarthy

Jack Charney

12 | September 2015

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Observations, Integrations, Pareidolia, and Polysemy New Work by James Perrin Tinney Contemporary • September 5 to 26

Meet James Perrin and see his latest work during an opening reception at Tinney Contemporary on September 5 from 6 until 9 p.m. According to the artist, the paintings in this exhibit shows his unique perspective blending “images and ideas derived from shopping mall interiors, Caribbean beaches, women’s dresses, Walmart interiors, renderings from paintings by Giotto, Masaccio, Enguerrand Quarton, Fra Angelico, and segments from my previous work.” Polysemic Colossus (detail), 2015, Oil on linen with acrylic resin, plant resin, black pearls, 86” X 96”

Integrating these pictorial elements and employing a combination of several methods of painting, this dynamic new body of work speaks to our state of being, environments, and experiences.

For more, visit and

Sam Dunson’s Meet the Fergusons

Vanderbilt Divinity School Gallery • September 17 to November 12 Sam Dunson’s exhibition title Meet the Fergusons refers to the events that transpired in Ferguson, Missouri, last year. Dunson describes the show as his response to “the unfortunate deteriorating relationship between police and black communities.” He maintains that he is not trying to create solutions to the problems.

“In the end I would like the viewers of the works to understand that it will take work from both sides of the relationship to solve the problem. This is a given, but it’s necessary to show that this complex problem, which has been with us Sam Dunson, The Search for Domestic Integrity: since the beginning, will only be Momma, 2015, Mixed media on canvas, 27” x 44” solved by each individual checking the mirror to expose their biases. In this show I am looking in the mirror.” The gallery in the Divinity School at Vanderbilt University functions as part of the school’s Religion in the Arts and Contemporary Culture program, which explores the relationship between the arts and religion.

Meet the Fergusons opens with a reception on September 17 from 3 until 7 p.m. For more, visit

Jim McGuire’s Nashville Portraits

Willow Plunge Art in the Factory at Franklin September 23 to October 24

For his show The Nashville Portraits, venerable photographer Jim McGuire hand selected approximately twenty pieces from his extensive body of work. Half of them are well-known, favorite black-and-white images, such as his iconic shot of the Ryman Auditorium. The other images on view have never been shown or published before now and include two very rare color images of Waylon Jennings and Earl Scruggs. McGuire will be on hand during an opening reception on September 23 from 6 until 9 p.m.

Jim McGuire, Earl Scruggs—1924-2012, 2007, Studio portrait

To see more of McGuire’s work, visit For more information, visit Willow Plunge Art on Facebook.

16 | September 2015

Recent Paintings: Bill Killebrew and Warren Greene Cumberland Gallery September 19 to October 17

Bill Killebrew, Then she swept up and had a nap, 2015, Oil on linen, 30” x 54”

Bill Killebrew’s first solo exhibition at Cumberland Gallery and Warren Greene’s second opens with an artists’ reception on Saturday, September 19, from 6 until 8 p.m. While their styles are decidedly different, the pairing of their subject matter is quite complementary. Citing Édouard Vuillard and Giorgio Morandi as important influences, Killebrew says his choice of subject is guided by a particular element of Warren Greene, Carpet, light or a distinguishing 2015, Oil on panel, 36” x 36” spatial feature springing from the beauty of daily life seen in his figures, interiors, landscapes, and still lifes.

Warren Greene’s paintings can be described as abstracted landscape. He uses a technique in which paint is laid on wood panels, then selectively removed or manipulated. As Greene describes it, “The layered and scraped surfaces form a kind of corpus, composed of sometimes translucent and other times opaque skins that sometimes hide and other times reveal.” For more, visit – PAI Medical Group –

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SEPTEMBER CRAWL GUIDE Ideas for Monuments, an exhibition of new work by Lipscomb University Associate Professor of Art Rocky Horton.

Joanna Marie Photographie – Heylee B

The Franklin Art Scene

Friday, September 4, from 6 until 9 p.m.

Gallery 202 is featuring realistic oil painter Melvin Toledo. Jack Yacoubian Fine Jewelry and Art Gallery is hosting concept photographer Penny Felts who will be showing works from a dream-based series of Polaroids shot over the last year. Hope Church Franklin is showing work by plein-air painter Jo Ellen Thatcher. Heylee B is exhibiting images by Joanna Marie Photographie. Historic Franklin Presbyterian Penny Felts – Jack Yacoubian Fine Jewelry and Art Gallery Church is presenting works by students of the award-winning watercolorist Shelly Snow. Williamson County Visitors Center is hosting artist John Turner as he unveils new original paintings and drawings. The Registry is showcasing work by painter Ashlyn Joy Anderson.

First Saturday Art Crawl Downtown Saturday, September 5, from 6 until 9 p.m.

Linda Lopez – COOP Gallery

The Arts Company is presenting Constructing Sculptural Forms in Clay by Susan DeMay and Edward Belbusti (see page 43). The Rymer Gallery is exhibiting Word of Mouth, new works by Elizabeth Winnel. Tinney Contemporar y is unveiling Obse r vat io ns, Integ rations, Pareidolia, and Polysemy, New Work by James Perrin (see page 16). The Browsing Room Gallery at Downtown Presbyterian Church is showing

In the historic Arcade, Corvidae Collective Gallery is featuring The Painterly Photo – the Art of Thomas Dodd, and Trust, a debut exhibition of Gwil Owen’s collage work (see page 60). WAG is exhibiting Always Never Now, collage paintings by Watkins Fine Art alumnus Matt Christy. Watkins College of Art, Design & Film’s new president, J. Kline, Ph.D., will be in attendance. Hannah Lane Gallery is showing new mixed-media works Hannah Lane – Hannah Lane Gallery using cows as the subject. COOP Gallery is opening Linda Lopez: Tooth, Bark, and the Laws of Contact, an exhibition of the artist’s investigation into ways of considering the lives, histories, and emotions of the mundane objects we encounter daily. Blend Studio is unveiling The Dream Stage: Work by Sarah Kaufman. Visit Hatch Show Print’s Haley Gallery to view historic restrikes of original posters from the Hatch collection, as well as Master Printer Jim Sherraden’s monoprints, contemporary interpretations and celebrations of the classic wood blocks of Hatch Show Print.

Arts & Music @ Wedgewood/Houston

Saturday, September 5, from 6 until 9 p.m.

Zeitgeist unveils Vesna Pavlović’s Lost Art, an exploration o f a rc h i v e s a s re p o s i t o r i e s f o r p e r s o n a l , s o c i a l , a n d institutional memor y. Julia Martin Galler y is featuring Lisa Weiss’s hap.pen.stance, which is about meditation t h ro u g h m a r k m a k i n g and the balance between working with expressive forms while maintaining simplicity. CG2 Gallery is showing Unsolvable Rubik’s Cube by Hydeon, and Recent Works by Peter Adamyan. Ground Floor Gallery is hosting Bricolage, a presentation of gallery artists, including Bobby Becker, Amanda Joy Brown, Zach Gray, Morgan HigbyF lowers, Desiré Hough, Shana Kohnstamm, Jovanni Luna, and Anna Merrill. K. Randall Wilcox – Refinery Nashville 444 Humphreys Pop Up is presenting woodwork, metal work, and photography by James Green. Seed Space is exhibiting Voyager One by David Bowen and Kristina Estell in which the artists use custom software and LED lights to create a physical and sensory link between this incredibly remote object in space and the human experience.

18 | September 2015

(see page 88). Refinery Nashville is showcasing Journeys – Photography by K. Randall Wilcox. See paintings by Megan Cosby in an exhibit hosted by Red Arrow Gallery at Atelier Upton Salon. Infinity Cat Recordings is featuring dr a wi ngs by Mikie Poland. Fort Houston Tad Lauritzen Wright – David Lusk Gallery is exhibiting surrealistic mixed-media work by Leah Sawyer. David Lusk Gallery is unveiling Instructions Included by Tad Lauritzen Wright, new paintings, sculptures, and drawings taking inspiration from environmental causes with a bit of humor added. Channel to Channel is showing Channels to Figuration, oil paintings by Michael Poindexter exploring the relationship of live figure painting to the progression of style. Sherrick & Paul is presenting G ra y s t h e M o u n ta i n S e n d s , Michael Poindexter – Channel to Channel photography by Bryan Schutmaat (opening September 10). The Packing Plant is opening a show of work by Scott Zieher and Mike Womack (Saturday, September 12).

Daaayy 55:: DDay ith it ith with wit wi am w jjam ja wnn w roow ro bbrown bro rraaannnkk br frank ffr



Vesna Pavlovic – Zeitgeist

East Side Art Stumble

Saturday, September 12, from 6 until 9 p.m.

At DADU Pop Up, COOP Gallery members are presenting a painting fundraiser to support of a series of exhibits for next year. Gallery Lupercal (formerly KT Wolf Gallery) is showcasing An Exercise in Patience by Jon Buko. Main Street Gallery is exhibiting Between Two Cities, work by Macon St. Hilaire. Red Arrow Gallery is hosting a closing reception for Alic Daniel’s Scribble. Sawtooth Print Shop, Main House, and Idea Hatchery are also Jon Buko – Gallery Lupercal participating.


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events ranging from opera & high art, to songwriter music jams and Big Green Egg® BBQ. there’s something for everyone. What will you do?

September 2015 | 19


Childe Hassam, Dockside Gloucester, Massachusetts, Oil on canvas

William Edmondson, Carved Birdbath

Brunk Auctions Brings the Hammer Down in Nashville

by Linda Leaming


runk Auctions, the Asheville, North Carolina-based, family-owned auction house has been conducting sales in the fast-paced, high-end art and antique auction market for over thirty years. Sarah Sperling, who grew up in Nashville, has been named to run the newly established Nashville operation. Auctions are currently held live in Brunk’s salesroom but are attended, via phone and Internet, by bidders from around the world. Brunk’s intention is to begin holding live auctions in Nashville in the near future. Brunk Auctions has represented numerous individuals, museums, and galleries at auction and with private sales, including deaccessioned items from museum collections. Brunk has handled property of a number of prominent American families including the Dukes and

Rockefellers as well as Nashville locals Dr. and Mrs. Benjamin Caldwell and Dr. and Mrs. Laurence Grossman. As the Director of Nashville Operations, Sperling assists individuals, estate executors, and museums in consigning their items (art, antiques, etc.) to Brunk Auctions. One of the things she enjoys most about her job is walking clients and potential clients through the process. She also helps collectors, buyers, and potential buyers navigate purchasing at auction. With a degree in art history and a master’s in decorative arts history from Parsons School of Design, Sperling became drawn to the fast pace of the arts and antiques auction world. She worked at both Sotheby’s and Christie’s during her twelve years in New York.

20 | September 2015

Over the years, she stayed in touch with her former Christie’s colleagues Andrew and Lauren Brunk. When she moved back to Nashville, their mutual visions to bring Brunk Auctions to Nashville, something they first discussed nearly ten years ago, became a reality.

our clients and would never disclose the name of a buyer or consignor without consent,” she says.

She admits the greatest excitement comes when a piece is found to be far more special and valuable than the owner anticipated. It is what Ms. Sperling calls “the thrill of discovering that lost treasure.”

What is one of the most memorable items sold at auction? Sperling says Brunk sold a beautiful Chinese jade table screen last November for $1.2 million to an Internet bidder. Although the salesroom was filled with bidders, and the auction house was inundated with phone bids, the winning bid came from the Internet. “To bid over $1 million online shows the buyer’s great confidence in Brunk Auctions,” Sperling says. “It was very exciting. There was an incredible energy in the room.”

Sperling enjoys being back home in Nashville. “The city has really come of age since I left over twenty years ago,” she says. “I am enjoying old and new friends, as well as being involved with organizations like The Community Foundation, University School, and the Adventure Science Center.

“Working in the auction world can be a lot of fun,” she says. “I love the relationships I develop with clients. It can be very personal and emotional to sell and buy items at auction. Each piece has a story. I strive for each item to be successful at auction and to find a new home where it will be appreciated.”

Brunk Auctions’ September 11–12 sale will consist of over six hundred lots in two sessions. American and European paintings highlights include works by Childe Hassam, Félix Ziem, Renato Guttuso, and Clyde Aspevig.

Sperling says that confidentiality is a big part of her job. Some buyers and sellers are public. Others prefer to remain anonymous. “We respect the privacy wishes of

For an online catalogue and full auction calendar, please visit Brunk Auctions at

(top) G.W. Stewart, Lexington, KY (working 1843-1852), Rare Coin Silver Ewer Horse Trophy (above) Platinum and Diamond Double Flower Motif Brooch COURTESY OF BRUNK AUCTIONS, N.C.

A Group of Tiffany Items

Sarah Sperling

In the manner of John E. Ferneley, Sr. painting

September 2015 | 21








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Americana Music Festival


Amos Lee (center stage)

Downtown Nashville • September 15–20

by Adam Wolnski


he 16th annual Americana Music Festival and Conference is around the corner, and there’s plenty to get excited about. With approximately 165 performances scheduled over a five-day period, there are countless legends to see in action and even more new talent to discover.

Joe Pug, Jim Lauderdale, and Lera Lynn are just a few of the names to look out for at Nashville’s best venues: Mercy Lounge, The Basement, City Winery, The Listening Room, and more. But handpicked, undiscovered talent is the true hero of the festival, so be sure to check out as many shows as you can. You won’t regret it. The event used to be exclusive for members, featuring fewer performances with the focus on the conference, but when Jed Hilly came on as the executive director, he opened the event to the public and made it into a festival. “What our fall event does is create a home and a community that didn’t exist before . . . and I guarantee you that any of the clubs playing music will have something that will knock your socks off,” Hilly said.

Jim Lauderdale is one of the musicians who found the home early. He’s a veteran musician that had been putting out records decades before the Americana genre was even named, and he performed at the second-ever Americana Music Association (AMA) event. “When this started getting kicked off years ago, I was very pleased that there was a name and a home for these diverse artists to come

Buddy Miller and Jim Lauderdale; Band Leader and Host on stage at the Ryman Auditorium during the Americana Honors & Awards

together and be recognized,” Lauderdale said. “I view this gathering and coming together of different people as a community that in the short and long run can potentially offer possibilities of positive advancements in artists’ careers.”

What makes the festival special is the original intention of the gathering: the conference that goes on during the day. The conference is open to the public, with a discount to members, and is an invaluable way to network within the vast music industry. Hilly pointed out that AMA is here to galvanize the record labels and music industry and isn’t meant to replace it in any way. “We’re an advocacy group. I think we’re important because we can share a voice, and their voice,” Hilly said. If you want to hear five nights of incredible music, even by Nashville’s standards, then this festival is great. But if you are trying to get on your feet in the music industry, it’s even better.

“I think the Nashville Arts Magazine readership appreciates the fine art of music, and I think Americana Fest week holds more music to their taste in that one week than the rest of the year,” Hilly said. The Americana Music Festival and Conference is September 15–20 in downtown Nashville and surrounding venues. For more information and to buy tickets, visit

Sarah Jarosz

24 | September 2015

Sara Watkins and Jacob Dylan, presenting during the Americana Honors & Awards

thank you! Dear Friends, It has been my pleasure to serve Middle Tennessee for the last 25 years while managing Lexus of Nashville. As of March 31, 2015, I am no longer associated with the Lexus brand in Tennessee. I wish to take this opportunity to sincerely thank so many friends I’ve made over these 25 precious years. Thank you for trusting me and being loyal to my efforts both by purchasing cars from me and by supporting the arts and other organizations that I was fortunate to be a part of. As I contemplated what new chapter in my life I wanted to write, I decided to return to the first sales experience I had as a young sales professional - real estate. I am proud to announce to all my friends and former customers, I’m now associated with The Lipman Group Sotheby’s International Realty. In addition, I’m thrilled to join “The Roper Group” along with my wife, Joy, and son, Jameson. It is my sincere intention to offer the same kind of care, integrity, and dedication to my real estate clients that many of you have witnessed from me over the past 25 years. I truly look forward to hearing from all of my friends at or by phone, 615.347.5711. Sincerely,

J.R. Roper J.R. Roper

Each Office is Independently Owned and Operated.

Frist Center for the Visual Arts

Unveils 2016 Exhibition Lineup


rom masterpieces by Francisco de Goya, Peter Paul Rubens, and Fra Angelico, to early Soviet photography and sexy Italian cars, the Frist Center for the Visual Arts’ 2016 lineup of exhibitions offers a rich variety of artistic expression from antiquity to the twentieth century.

The year begins with Treasures from the House of Alba: 500 Years of Art and Collecting. Drawn from one of the oldest private collections in Europe the exhibition brings together Francisco de Goya y Lucientes, The more than 130 works of art and Duchess of Alba in White, 1795 features selections by Dürer, Goya, Murillo, Ribera, and Rubens. This is the first major exhibition outside Spain from the collection of the House of Alba, a prominent noble family with ties to the Spanish monarchy since the fifteenth century.

Varvara Stepanova, cover of Sovetskoe kino, no. 1, 1927, published in Moscow

The Power of Pictures: Early Soviet Photography and Film explores how photography, film, and poster art were employed to disseminate Communist ideology and looks at how artists acted as engines of social change. Covering the period from the 1917 Bolshevik Revolution through the 1930s, the exhibit also demonstrates how Soviet photographers played a pivotal role in the history of modern photography.

In late spring, Bellissima! The Italian Automotive Renaissance, 1945–1975 showcases beautifully designed highperformance Italian coach-built cars, concept cars, and motorcycles. Automotive authority and guest curator Ken Gross, curator of the Frist’s 2013 exhibition Sensuous Steel: Art Deco Automobiles, has chosen 18 vehicles and 3 motorcycles by Alfa Romeo, Bizzarrini, Ducati, Ferrari, Lamborghini, Lancia, and Maserati.

Women, Art, and Social Change: The Newcomb Pottery Enterprise features Esther Huger Elliot, glazed ceramics, jewelry, metalwork, decorator; Joseph Meyer, potter, Lamp, ca. 1902 and textiles crafted by women artists at Newcomb College, Tulane University’s former women’s college, between 1890 and 1940. What began as an educational experiment flourished into a quasi-commercial venture that offered an opportunity for Southern women to support themselves.

Samurai: The Way of the Warrior celebrates the exemplary artistry and craftsmanship of medieval and early modern Japanese artisans, and includes nine full suits of armor, twelve helmets (kabuto), numerous decorated swords (katana), along with beautiful standing screens and lacquer wares.

Inka Essenhigh, Green Goddess II, 2009

Rounding out the 2016 offerings are a hypnotic and playful video installation, The Visitors, by Icelandic video and performance artist Ragnar Kjartansson, absurdist films by Dutch artist Guido van der Wer ve, and paintings by New York artist Inka Essenhigh.

For more information about the 2016 season at the Frist Center for the Visual Arts, visit 1955 Chrysler Ghia Gilda, Collection of Scott Grundfor and Kathleen Redmond, Photograph © 2015 Michael Furman

September 2015 | 27

Guy Gilchrist Weaving Lessons into the Art of Funny Pages by Skip Anderson | Photography by Rory White


middle-aged man with long dark hair pulled back in a ponytail sits alone at the near end of the sofa in his South Nashville home, figuring out how to make the world a better place. When asked, he says he is a writer by trade. But that’s not the entirety of the truth.

“I’m a writer who hired the cheapest illustrator he could find,” says Guy Gilchrist, who is perhaps best known as the cartoonist entrusted to write and illustrate the venerable comic strip “Nancy.” Nancy, the orphaned 8-year-old title character, has been making mischief with her best pal, Sluggo, for 77 years now. And little has changed in her world since her creator, Ernie Bushmiller, introduced the precocious butterball in 1938.

“I’ve knocked a year or two off Aunt Fritzi,” Gilchrist says of how he draws Nancy’s curvaceous caretaker. “But not much else has changed.” This September marks the 20th anniversary of when Gilchrist and his brother Brad Gilchrist became the strip’s caretakers in 1995. Eventually, Guy took over full responsibility for writing and drawing the syndicated comic strip. Since then, Gilchrist has written and illustrated more than 7,500 “Nancy” comic strips, which he says reach 57 million readers in 80 countries each day.

Then Henson did something that surprised Gilchrist. He raised his hand up and wiggled his fingertips toward the cartoonist’s face and spoke to him as Kermit the Frog.

Gilchrist, who is also a singer/songwriter and a motivational speaker, got his start as a cartoonist in the 1970s for Weekly Reader, a private learning resource made available to schoolchildren. In the early 1980s, Gilchrist caught a career-changing break. He had heard from a friend and mentor, cartoonist Mort Walker, creator of “Beetle Bailey” and “Hi and Lois,” that Jim Henson was having difficulty finding an illustrator for a syndicated comic strip he planned to launch. As part of the evaluation process, Henson’s team for The Muppet Show asked the Gilchrist brothers to submit cartoon strips featuring the various characters from the half-hour variety show, such as the ringmaster Kermit the Frog, the vaudevillian Fozzie Bear, and, of course, the incomparable Miss Piggy.

September 2015 | 29

“I went home and drew twenty-five cartoons with jokes in one night and sent them via courier to Manhattan—it cost me an arm and a leg,” he says. “They liked the idea that I wrote.” But the hiring process proved to be slow. “I kept sending stuff in for a year,” Gilchrist says. “I figured until somebody tells me they filled the position, I’d just keep sending stuff in. When they finally called me, I had had the job for a month and nobody had told me!” There was one caveat: Gilchrist still had to interview with the man himself—Jim Henson. “They brought me to Manhattan, and I stayed at the Waldorf [Astoria Hotel] for a week,” he says. “Jim wasn’t there yet, but I got to see all the Muppets. They gave me a Betamax in 1981—nobody had those back then. And they gave me every Muppet Show on tape, and I could finally freeze-frame all those characters.” At the end of the week, Henson flew in from London where he was filming The Great Muppet Caper to meet Gilchrist. “Your drawings were wonderful, and they were really good. But they weren’t great,” Gilchrist says, doing a spot-on Henson impersonation. “And I want them to be great, and you want them to be great.”

Then Henson did something that surprised Gilchrist. He raised his hand up and wiggled his fingertips toward the cartoonist’s face and spoke to him as Kermit the Frog. “I talked with Kermit for a while, then Jim took out a piece of paper and drew his hand. Then he drew Kermit over the drawing of his hand, and suddenly, I got it—we weren’t drawing black-and-white lines on a piece of paper; we were drawing personalities and we had to embody all the life and silliness and color and movement that was The Muppets.” One of the many lessons Gilchrist learned from Henson, whom he calls “an amazing CEO,” is to bring love and balance to your work. “Jim was a light to the entire world,” Gilchrist says. “Everything I’ve ever worked on has been with the goal of making people smile. And there’s never been any hatred in any of the characters I’ve ever worked on—even Statler and Waldorf love Fozzie Bear, even though they heckle him. Every character I’ve ever done, in their own real way, they’re making the world a better place the way God told us to.” For more infor mation about Guy Gilchrist, please visit

30 | September 2015









Wizard World Comic Con Nashville by Cass Teague

Music City Center • September 25 to 27


his month’s third annual Wizard World Comic Con Nashville brings dozens of amazing artists who animate superheroes and fantasy characters in graphic novels. They inspire a multi-billion-dollar entertainment genre of films, video games, television shows, toys, etc. Wizard’s everexpanding stable of exceptional artists includes Tommy Castillo, Greg Horn, and Ethan Van Sciver, profiled here last year. Horn returns, along with other top-notch writers, illustrators, inkers, and animators, to talk with fans, sell and sign their works, and do personalized sketches. T h i s y e a r ’s l i n e u p f e a t u r e s i n k e r extraordinaire Jonathan Glapion, who began his comics career in 1998 at Image Comics, where he inked Curse of the Spawn, Sam and Twitch and Universe. At Marvel, he inked Elektra: The Hand, Gravity, and Ultimate X-Men, before moving to DC in 2007, where he has worked on a wide

variety of titles, including Teen Titans, Green Lantern, Legion of Super-Heroes, Final Crisis: Revelations, Batman and Robin, The New 52 Batman, Birds of Prey, Batgirl, Robin Rises: Alpha and Omega, Batman and Superman, and Green Arrow. His awards include the Inkwell Awards, the Props Award, and the Most-Adaptable Inker Award. Currently, Jonathan is working on Wonder Woman with penciller David Finch. “One of the best things about what I do is every page brings a new challenge, a new problem to solve,” says Jonathan, who now resides in Nashville. “Wizard World Nashville is special to me because I get to see fellow artists that are from this area and also get to bring my family. My kids love Wizard World Nashville.”

Wonder Woman by inker Jonathan Glapion and penciller David Finch

Wi za rd Wo r l d Co m ic C o n Na s hville returns to the Music City Center Friday through Sunday, September 25 through 27. Visit for more information.

Donna Rizzo: Rhythm in Clay Customs House Museum • September 1–30 by Rebecca Pierce


eramic artist Donna Rizzo continues the series of exhibits curated by Nashville Arts Magazine for Planter’s Bank Peg Harvill Gallery at the Customs House Museum. In her first career, she was a professional dancer, choreographer, and dance teacher, and while she has completed that chapter, she is still dancing through life and making moves as an accomplished ceramic artist.

“I used to teach dance and choreograph, but now I am dancing with clay, choreographing with clay. The Customs House is calling my show Donna Rizzo: Rhythm in Clay. I guess because I love for my pieces to move, have musical themes maybe, and reflect my background in dance.”

When she wasn’t traveling or teaching for the Tennessee Dance Theatre, Donna took pottery classes with Lena Lucas at Centennial Art Center because she wanted to make dishes and bowls for her home. “So I did that for a while, and then all of a sudden I thought, I want to create in clay and squeeze and pinch and pull and make things I enjoy more than just making dishes. I still throw, but I always alter it. If I’m making a goddess I might just throw her skirt, and then I’ll add pieces to that,” she explained.

Alice Goes Round and Round and Round, 2012, Raku clay, 14” x 10” x 10”

In 2002, when the dance theatre folded, Donna started working with clay full time, and she feels that being able to focus completely on clay has enabled her to improve her craft. She uses both electric and raku kilns and lets each piece dictate how it will be fired and glazed. She likes to play around with surface textures and often adds embellishments such as ribbons, pieces of fabric, and twigs. Most of her pieces move or suggest movement, from rocking-horse teapots to children swinging, dolls hanging, and dresses evoking rhythms, to Southern churches illuminated by candlelight and carousels that she constructs on top of Lazy Susans.

There’s no doubt, Donna is enjoying her second career. She wakes up every day and lets her creativity take the lead. “I just put all this energy and excitement when I’m doing it, and hopefully my creations reflect the love, joy, and playfulness I find in making them.”

My Guitar Gently Weeps, 2012, Raku clay, 14” x 7” x 5”

Miss Hopscotch, 2014, Clay and ribbons, 16” x 6”

Donna Rizzo: Rhythm in Clay is on view at the Customs House Museum in Clarksville September 1–30. For more information, visit See more of Donna’s work at

34 | September 2015

Hunter Museum of American Art • Through September 20 by Keeley Harper


f you haven’t already seen Monet and American Impressionism, time is of the essence. Monet’s role as a key figure in the Impressionist movement transformed French painting in the second half of the nineteenth century and inspired American painters to dutifully pick up their own paintbrushes and create a distinct, American form of Impressionism. At the Hunter Museum of American Art, the works of the prolific Monet and the American Impressionists who followed in his footsteps join together in one harmonious exhibit.

A collaboration between the Harn Museum of Art in Gainesville, the Telfair Museums in Savannah, and the Hunter Museum of American Art in Chattanooga, the exhibit will display roughly fifty paintings and twenty prints, dated between 1880 and 1920, by many of the noted figures in American Impressionism, such as Mary Cassatt, William Merritt Chase, Childe Hassam, Willard Metcalf, Theodore Robinson, John Henry Twachtman, and J. Alden Weir. Nandini Makrandi, Chief Curator at the Hunter Museum, remarks, “This exhibition will give visitors the once-in-a-lifetime opportunity to explore Monet’s work alongside that of many of the most notable American artists of all time. We will explore the influences of French Impressionism and see how it was translated from a uniquely American perspective.”

Monet and American Impressionism will be on display at the Hunter Museum of American Art through September 20. For more information about the exhibit and Hunter Museum, visit

Richard Emil Miller, La Toilette, c. 1914, Oil on canvas, 40” x 33”


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36 | September 2015

KELLY CORCORAN A Q& Director, Nashville Symphony Chorus Artistic Director & Conductor, Intersection

When Kelly Corcoran walked into our offices we all had a collective flashback: Emma Peel in the hit TV series The Avengers. So we asked her if we could recreate Peel’s iconic photograph from the show and to our surprise this musical dynamo agreed. Corcoran, who conducts the Nashville Symphony Chorus, has recently embarked on a new creative endeavor as the Artistic Director and Conductor for Intersection, a contemporary music ensemble.

Emma Peel

Interview by Paul Polycarpou Photography by Juan Pont Lezica When and where are you happiest?

I really love putting the programs together for Intersection. Finding new composers and repertoire. Which living person do you most admire?

Oprah! I love her. She said, “Stay somewhere as long as you’re continuing to grow.” I admire that sentiment. She created the life she wanted.

are in that linear trajectory of life. The progress is exciting, but you have to remember and honor what got you here. What’s the best part of your work?

Trying to understand the layers of music that go beyond the printed page. It’s like an investigative process. Every time you approach that music it’s different. Who are the really great singers right now?

Do you have a favorite song?

Yes, “Somewhere over the Rainbow.”

In the classical world, I always love Renée Fleming. I appreciate her technique, and she’s not afraid to try new things.

What talent would you really like to have?

My dad was a cop; my mom was a strong business woman. I’m not sure how music entered my life but they taught me that if I work hard I can do anything I want. Except maybe figure skating. It might be a bit late for that.

What’s it like when you raise the baton and the music starts?

I recently conducted the Indianapolis Chamber Orchestra, and I really felt like every little thing I did, every gesture, influenced the music in one way or another. That’s pretty magical.

What characteristic about yourself do you like?

What has been the highlight in your career so far?

I see the potential in things, the opportunity. I don’t get hung up on obstacles. What was the last good book you read?

The life-changing magic of tidying up by Marie Kondo. It speaks about being surrounded by items that make you joyful.

What’s your motto?

I choose happiness. Life will always be hard, so you can either give in or choose to be happy.

Are you a neat freak?

Chocolate. Dark chocolate.

Swimming. I can’t swim.

Who has most inspired you along the way?

Leonard Slatkin. He was my main conducting teacher, a mentor, an advisor. He had a way of getting to the core of the music. What’s a treasured possession?

My journal. I have kept a journal since I was fourteen. It would be hard for me to let that go. Why Nashville?

My husband is a writer/musician, and I first came to be with him. Now, I cherish the many roots I have created here. There is a great sense of possibility here. A sense that anything could happen at any moment. I try to live in the moment, not in the past or the future, but you have to inform that moment with the perspective of where you

What’s your greatest extravagance?

What are you really bad at?

No, my house is a series of piles, but I know what’s in each pile.

How do you feel about the growth going on in the city?

Conducting the Cleveland Orchestra. Absolutely. And the two debut Intersection programs have definitely been a new chapter in my life.

Are you a night owl or a morning person?

Definitely mornings. I thrive in the mornings. What irritates you the most?

People who live in negativity. “No” and “not going to happen” are not a part of my vocabulary. What other profession would you consider?

For the longest time I wanted to be a forensic scientist. What’s it like being you these days?

Between the Nashville Symphony Chorus, Intersection, The Legend of Zelda, a touring show I’m working with, and my five-year-old daughter, my days are pretty full. For more infor mation about Kelly Corcoran, please visit and

September 2015 | 37

Rapture, Blister, Burn Nashville Repertory Theatre


Tennessee Performing Arts Center • September 3–19

T h e N e w Yo r k T i m e s s a i d : “ M s . Gionfriddo’s play does not really present Gwen and Catherine’s lives as two sides of the same tarnished, useless coin. What’s exciting about her writing here is the multiplicity of the ideas it engages. Heady with sharp-witted dialogue about the particularities of women’s experience (there’s a joke about pornography and Google maps—believe it or not—that’s worth the ticket price alone), ‘Rapture’ more largely illuminates how hard it can be to forge both a satisfying career and a fulfilling personal life in an era that seems to demand superhuman achievement from everyone.” Nashville Rep’s Artistic Director, René Copeland, writes, “This play reminds me a little of Clybourne Park, not in content, but in its combination of bringing the funny while being intensely smart and thoroughly thought provoking. It has five roles, and four of them are really kick-ass female roles that we can cast brilliantly out of our talent pool.” Nashville Rep’s cast for Rapture, Blister, Burn includes Shannon Hoppe (Catherine), Cheryl White (Gwen), Amanda Card (Avery), Ruth Cordell (Alice), and David Ian Lee (Don). Rapture, Blister, Burn will be performed i n T PAC ’ s A n d r e w J o h n s o n T h e a t e r September 3 through 19. For scheduling and tickets, visit


ashville Reper tor y T heatre opens its 2015–16 season with the Pulitzer Prize-nominated contemporar y play Rapture, Blister, Burn. Written by Gina Gionfriddo and guest directed by Lauren Shouse, the plot centers around the fiery reunion of old friends Catherine and Gwen. Catherine has had a very successful career as a professor and high-profile author while Gwen stayed behind to raise a family after marrying the man Catherine gave up to pursue her ambitions. As they catch up, the friends start to covet each other’s life and question their own.

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Cheryl White as Gwen, Amanda Card as Avery, Shannon Hoppe as Catherine


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2015–16 Season

Franklin Theatre • Beginning September 21


fter seven years of performing in different locations around Nashville and Midd le Tennessee, the Gateway Chamber Orchestra (GCO) opens their 2015–16 season in its new home, Franklin Theatre.

Conductor Gregory Wolynec and the orchestra are enthusiastic about the stunning new venue. “We’re delighted to be on this stage! The acoustics are terrific; the stage is the perfect size for our chamber orchestra, and it provides such a polished box-office experience and concert-going experience for the audience,” Wolynec states. The orchestra’s season begins on September 21 with Opening Night with Schubert and Haydn. It is an evening of music inspired by dance during which Nashville-based composer Cristina Spinei premieres her new chamber orchestra arrangement of Strut. Also on the program are Schubert’s graceful Symphony No. 3, and Haydn’s cheerful Symphony No. 88. Tues. - Fri. 5 pm - 10 pm • Sat. - Sun. 10 am - 10 pm Brunch (Sat. - Sun.) 10 am - 5 pm • Tuesdays 1/2 Off Import Wines

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Considered one of the leading new American ensembles, GCO specializes in presenting traditional masterworks, overlooked treasures, and contemporary American compositions. Audiences are drawn to the open and lively way the orchestra interacts with them and the way there is an obvious thread connecting the pieces performed in the program.

About the 2015–2016 season, Wolynec enthuses, “One of the big things about this year is that we’re showcasing some really terrific Middle Tennessee talent—obviously in the form of our musicians, but also in terms of composers, most living, and then 3:42 PM one Middle Tennessee native named Clarence Cameron White, an African American violinist and composer born at the end of the 19th century. His music has been played by the Boston Symphony and has won national awards, but it has never been played in Tennessee. So we’re looking forward to featuring a really overlooked treasure, Elegy, by White. Gateway Chamber Orchestra concert tickets and season subscriptions are available at For more on GCO, visit Music Director and Conductor Gregory Wolynec

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FilmMasters The Modern School of Film Comes to OZ Arts Nashville

by Justin Stokes



ome of the best cinematic gems are often left on the cutting room floor. That is the unfortunate reality of film production where budgets are slashed quicker than most directors can call “action.” Most cinema-goers never get to hear the gory details and the constant wrangling for creative control. That is until now. OZ Arts Nashville is providing a forum starting September 10 for just that.


Director and film professor Robert Milazzo, founder of The Modern School of Film and its Film:Masters Series, is presenting a three-night showcase (September 10-12) of films coupled with A-list guests who will share their perspectives with curious film enthusiasts. September 10 will feature actress, comedienne, and “noble bard” Sandra Bernhard for her commentary on Prince’s vanity project Purple Rain. September 11 has absurdist comedy duo Tim Heidecker and Eric Wareheim (of Adult Swim’s Tim and Eric Awesome Show, Great Job!) examining Christopher Guest’s “mockumentary” Waiting for Guffman. September 12 will close the showcase with The Black Keys’ drummer Patrick Carney discussing the comedy classic Caddyshack. OZ Arts Artistic Director Lauren Snelling spoke enthusiastically of the upcoming event stating, “Essentially, Rob started it with the understanding that a thoughtful discussion of film had disappeared, and he was interested in engaging a much more thoughtful conversation about film. He found that his students had wonderful questions if they were able to go to the source. He gets to witness this with students every day, but when he talks with guests and gets them to provide their firsthand experience—and go to the source—he says is really where you find out so much more.”

Though the concept of a post-screening discussion is nothing new to Nashville, this event works on putting classic films in an updated light. Those devoted to movies will remember what feelings initiated their pledge in the first place. Film:Masters – The Modern School of Film will run September 10–12 at OZ Arts Nashville, with doors opening at 6 p.m. and t h e e v e n t starting at 7 p.m. For tickets and full information

Actress and comedienne Sandra Bernhard Patrick Carney (left) and Dan Auerbach (right) of The Black Keys


Comedy duo Tim & Eric

regarding the event, visit For information about Robert Milazzo’s film efforts, please visit


Milazzo’s urge for a traveling roadshow/master class that encourages those hungry for answers has yielded Film:Masters – The Modern School of Film. “These are in-depth conversations that look at not just the craft, but how we react to film and what our collective experience is when we see films together,” says Snelling.

Counterclockwise from top:

Justin Stokes is the founder of the MTSU Film Guild, a student organization which functions as a production company for student filmmakers. He is a filmmaker, screenwriter, and social media manager. September 2015 | 41


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5th Avenue Under the Lights

A Critical Mass of Visual Art Now Part of Music City Downtown by Anne Brown, The Arts Company


he First Saturday Art Crawl Downtown has turned out to be a good gauge of Nashville’s visual arts identity. In fact, art has become more visible through the increasing cooperation of arts partners and businesses downtown. The increase in activity has been typically judged by how many galleries are open in the one block between Church and Union, along what has become known as 5th Avenue of the Arts. Now, though, the creative collaboration is showcased on a broader landscape, with 5th Avenue North and South coming together during the Art Crawl with participants such as the Country Music Hall of Fame & Hatch Show Print, the Music City Center, and Art at the Music City Marketplace at the Arena, among others—collectively offering three new art stops to the event. With this added excitement, Gray Line has recently become a partner, offering the free Art Crawl Downtown Trolley. Currently, the exponential interest and growth in the downtown marketplace for art has triggered yet more changes. With art businesses, art venues, and institutions working together, the presence of visual art downtown has taken even more new turns. One of the most impressive forward movements has been the Music City Center and its participation in the Art Crawl. This $600-million venue offers previews of their $2 million permanent collection of mostly Tennessee contemporary art with a video documenting their “Unconventional Gallery” and invites guests to sign up for docent tours of the collection scheduled throughout the month.

The Hill Center, Green Hills 4017 Hillsboro Pk, Ste. 305 Across From Whole Foods Nashville (615) 385-1212 •

Whoever thought there would be such a critical mass of visual art activity in Downtown Nashville? Think again. In addition to the Frist Center and the Tennessee State Museum, there are now art venues and enterprises everywhere—on First Saturdays and every day. Take advantage of it for yourself, your friends, and your guests. Check the Nashville Downtown Par tner ship website, for a map showing parking and how to navigate the Art Crawl every month.

Susan DeMay, Open Castle, 8” x 9” x 9”

Constructing Sculptural Forms

Susan DeMay and Edward Belbusti • The Arts Company • September 5–30


usan DeMay and Edward Belbusti will be showing their works in Nashville, Tennessee, at The Arts Company gallery, located in the Fifth Avenue of the Arts district of downtown. The fall exhibit (September 5 through September 30) will feature individual abstract ceramic sculptures by the two artists and some collaborative works. A sampling of metal works will also be included.

Susan DeMay has an extensive artistic Susan DeMay, Desk Accessory 2, 7” x 14” x 16” and teaching career in ceramics. Her first studio in Smithville was established in the early 1980s, and she had been teaching at Vanderbilt University those early years as well. Edward Belbusti has come to sculpture after a long career in architecture. He works out of a studio that he built at his residence. He works not only in clay, steel, and wood on a relatively small scale, but he is also engaged in large, monumentally scaled, outdoor steel sculpture. The exhibition will display abstract constructions that are primarily made from slabs whose cut-out sections are meticulously joined. Various surface treatments enhance these forms, such as burnishing, etching, carving, hammering, and impressing. Additionally, staining, underglazing, and different kinds of glazing are used. The forms are influenced not only by architectural elements, but also natural and organic inspirations can be found in the works. While the two artists have much in common in their sculptures, they also have distinct approaches to the coloration of their works. DeMay uses a wide selection of glazes, which are often impacted by stains, while Belbusti prefers contrasting black-and-white designs. He also likes to use stains on textures on the raw clay. In DeMay’s large oval form (16.5” x 12” x 5”) a matte-gold Edward Belbusti, Water Source, Steel, 10’ x 6’ x 8’

glaze covers a raked and stained texture. Appendages, appliquéd details, and other elements are glazed with bright greens, blues, purple, and deep browns. The largely primary color palette is tempered by proportioned areas of earth tones and is a favorite color scheme for this artist. Belbusti’s abstract pieces, while referencing vessels, have a primarily sculptural intent. In the work entitled Tuxedo, smooth and hammered surfaces are enhanced by contrasting black-and-white glazes.

Desk Accessory is a complex construction from a variety of sized slabs, joined to create sculptural form which has a function as a desktop holder. A variety of compartments not only provides places for keys, phone, pens, and pencils, but also creates an interesting composition of textures, colors, and positive and negative spaces. What Goes Where? is an ensemble of boxes, canister, and a vase form, similar in concept but more ambiguous in function.

Collaborative works usually involve Belbusti’s form and DeMay’s surface. Unanchored Geometry has a boat- or canoe-shaped earthenware structure that has been painted and burnished with a lighter terra sigillata by Belbusti in contrast to the earthenware color. Multiple levels of sandblasting by DeMay reveal the layers of color and present asymmetrical triangle motifs that embellish the hard-edged yet curvilinear object. Edward Belbusti, Unanchored Geometry, Red clay, slab-constructed, sand-blasted. 7” x 22” x 9”

Both artists like the exploration of forms created by clay slabs. While Belbusti uses paper models to explore ideas, DeMay will often use large clay scraps to develop new ideas. DeMay has also borrowed paper templates from Belbusti and has brought to these her own interpretations of Belbusti’s designs. Constructing Sculptural Forms in Clay featuring the work of Susan DeMay and Edward Belbusti is on exhibit at The Arts Company September 5 through 30. For more information please visit

September 2015 | 43

Handmade & Bound I

Watkins College of Art, Design & Film • October 3



t ’s an annual celebration of all things paper. Bringing together paper artisans from the Nashville community for its sixth year, the annual festival Handmade & Bound offers Nashville a marketplace with all the items you would expect and hope to see at a festival of its kind: books, journals, magazines, a printing press. However, this unique gathering doesn’t just meet our expectations; it exceeds them by offering an eclectic range of commodities that may leave you wondering, why didn’t I think of that? With handmade creations like book jewelry, postcards, and book art, the festival’s unique and plucky wares fill the halls of Watkins College of Art, Design & Film, an art community of vendors and patrons alike.

until October 12. The H&B Marketplace will open on October 3 from 11 a.m. to 4 p.m., and workshops will take place

throughout the festival. To learn more about Handmade & Bound, please visit

In addition to the Handmade & Bound Marketplace, the festival also hosts many other events, such as hands-on workshops and paper art exhibits. This year’s exhibits include Zine-O-Rama and Bound Together. Zine-O-Rama is an exhibition featuring handmade zines, magazine covers created using a copy machine, often delivering a spunky social message. Bound Together is a gallery of community-produced works whose subject matters explore the bonds and the meaning of family in all of its many forms.

There are a variety of ways to get involved with this unique and blossoming paper commun it y. S ubmit your works f or Zine-O-Rama or Bound Together until September 21. Shop the H&B Marketplace and attend hands-on workshops during the festival, and if you feel those creative juices flowing, become a Handmade & Bound vendor joining names like Thistle Farms and Hardwear Designs. Handmade & Bound will kick off Artober on October 2 at 5 p.m. with the opening of the Bound Together exhibit, on view







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44 | September 2015

Dog Art for Old Friends nd

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LIVE BENEFIT AUCTION | FRIDAY, OCT, 16 | THE OMNI NASHVILLE Nashville artists and celebrities have volunteered to design dog statues that will be auctioned off to benefit Old Friends Senior Dog Sanctuary. The LIVE AUCTION will be held at the Omni Nashville on October 16. Tickets may be purchased at Online bidding will available through October 10. Artists include: Sheryl Crow, Mike Wolfe, Mel Ziegler, John Cannon, Susan Truex, James A. Willis, Elizabeth Brandon, The Nashville Predators and many more

All proceeds will benefit Old Friends Senior Dog Sanctuary in Mount Juliet, TN. The sanctuary is an all-volunteer run, 501(c)(3), non-profit organization dedicated to rescuing and caring for senior dogs in the Middle Tennessee area.

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September 2015 | 45

Jim House

Following the Cowboy’s Trail

by Karen Parr-Moody


he cowboy is a uniquely American hero, a sort of cultural shorthand for our core values. Tough, independent, and hardworking, he reflects our vision of our best selves back at us, and we bask in the nostalgia. Frederic Remington (1861–1909) and Charles M. Russell (1864–1926), were the two finest artists to chronicle Western frontier life depicting the cowboy lifestyle at home on the range. And in the tradition of Remington and Russell, Tennessean Jim House’s paintings, often illuminated by the glow of the moon

Down Wind, Watercolor, 19” x 25”

or campfire, are informed by first-hand experience of the cowboy life. Like so many before him, he was lured to the West as a youth, landing first in Red Feather Lakes, Colorado, in his twenties.

“I wanted some adventure in life,” House says. “I didn’t just want to go work in a cubicle.” Wiry and soft-spoken, House delivers his life’s history with a honeyed Southern accent. For six years he worked as logger, steelworker, ranch hand, and carpenter. At one point he labored at a Nevada gold mine, a place he describes as “seventy-two miles from the nearest Coke machine or pay phone and so cold that after

Two Feathers, Watercolor, 10” x 14”

twelve- or fourteen-hour days we’d have to thaw out the water lines so someone could have a shower.”

While House would go on to capture the lean and agile form of the cowboy in oils and watercolor, this would come much later. There was no money or energy to spare for painting after performing manual labor all day.

The artist grew up in 1950s Tullahoma, Tennessee, home to the Arnold Engineering Development Center. Instead of ranch life, he was surrounded by engineers testing jet engines. As he played cowboy games and rode ponies, the images of the Old West ignited his imagination. The 1950s were the age of the cowboy, bookending the silent era of Western films, which began in 1903 with The Great Train Robbery, with films such as 1952’s High Noon. As he watched Westerns in his local theater, he nurtured a childlike faith in the Old West’s heroes of the saddle and was transported to a magical landscape of mountains and desert. “There was something intriguing to me about it, the genre,” he says. “I think it’s out of our normal life. It’s a connection to the past.” After graduating from high school, House studied at the Art Institute of Fort Lauderdale. There, the curriculum was focused on commercial art, while he wanted to study portrait painting. So he switched to the University of Tennessee and, in another quirk of timing, discovered that the focus there was on abstract art.

This was the 1960s and 70s, and House was culturally out of step. He says, “You were somewhat ostracized if you wanted to paint realistically in college. You were looked at as slow or behind the curve.”

Wyoming Cowboy (detail), Watercolor, 15” x 20”

Then fate intervened: a fire destroyed his art portfolio. He’d hit a wall. And that is when he headed west, where there were no walls, but only vast expanses of space. There House began working with people who transported horses and handled mules.

48 | September 2015

Ray and His Paint Horse, Watercolor, 17” x 12”

September 2015 | 49


He explains: “They were just these tough people. A mule dragged this friend of mine around the whole paddock in the Rockies. And he was just torn up. I said, ‘I don’t know why you didn’t let go.’ And he said, ‘If I had let go, that mule would have never learned.’” This first-hand observation gave House an understanding of that strong, silent type so often portrayed in Western films. “There’s a cowboy code,” he says. “They don’t put up with a lot of bull or people bragging.”

During his years on ranches and at a gold mine, House may have been working alongside cowboys and laborers—at one point standing high on steel girders in rain and snow—but he held on to his dream of becoming an artist. “I couldn’t let it go,” he says. “I’d be watching things and thinking, God, I wish I could draw that.” He ultimately followed his internal artist, first moving back to Tennessee and working as a commercial illustrator. But today, after taking many workshops through Cowboy Artists of America, he has shifted to painting exclusively, the Old West’s nostalgia, which seeps out of his brush.

House uses watercolors to alternately imbue his paintings with clear light and mysterious haze, and works such as The Cottonwood’s Top Hand take on the nuances of Andrew Wyeth’s paintings of laborers. When he works in oil, House is able to render the lonely, dark hours of ranch life. For his oil painting entitled Cold, Dark Morning at the Cottonwood he won the 2014 John Steven Jones Purchase Award. Beyond capturing the nuances of Western light, House captures gesture, explaining: “Fifty or one hundred years ago, with Remington and Russell, there was more gesture in their work. We rely more on

Artist Jim House

the camera now, and we don’t get the way a cowboy stands or the way a construction guy stands.”

Rather than calling his work ‘romantic’, a word used to describe the art of Remington and Russell, House considers it ‘gritty’. He even goes so far as to compare the experience of painting to riding a mule. “You’ve got to hang on,” he says.

Jim House is represented by Damico Frame and Art Gallery. Visit and for more information.

Break Time, Watercolor, 7” x 11” 50 | September 2015

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hen asked to shoot for the series “Abstract Nashville,” the first thing I wanted to do was to review my images that I would call “abstract photography.” What makes photography abstract? Well, there are more variations of abstract photography than ways tourists pronounce Demonbreun. Generally, it is photography that does not represent the subject in a literal way, relying on form and tones to communicate with the viewer.



Words and photography by David Morel


Nashville City Hall, 100 Metro Courthouse

Bank of America, 414 Union Street

September 2015 | 55

Adventure Science Center, 800 Fort Negley Boulevard

In recent years, abstracts have become a larger percentage of the images I shoot. Some are classical abstractions, capturing a smaller part of the whole, while others were more manufactured via technique, both in camera and in post processing. Most of the images have a remnant of reality—enough to hint of their origins. The strongest ones had the power to whisper a different reality in a language known only to the viewer. I am definitely drawn to strong lines and patterns in my abstracts. They attract my eye and ask to be captured. This series, images from around our city, was no different. Sometimes the image would come easily, but often I had to work to find the right light, angle, or composition that fulfilled my vision.

For more information about David Morel, please visit St. Thomas Midtown – Parking Deck, 2000 Church Street

William R. Snodgrass Tennessee Tower, 312 Rosa L. Parks Avenue 56 | September 2015

AT&T Building, 333 Commerce Street

Country Delight Farms, 1401 Church Street

September 2015 | 57

Soo Sunny Park The Unpredictable Synergy of

Silver Linings

Cheekwood’s Courtyard Gallery in the Frist Learning Center • Through October 25

Silver Linings, 2015, Stainless steel wire mesh, tar paper, and Mylar, Dimensions vary


by Catherine Randall | Photography by Dean Dixon epetition, multiplicity, and the unexpected synergy of light are ongoing themes in Soo Sunny Park’s installation art. Park uses the ethereal qualities of light pitted against industrial materials to create her deeply visceral interactive encounters.

“Light is really the surprise element for me in how it changes in the space,” Park says. Park spent the month of July as the 2015 Martin Shallenberger Artist-in-Residence at Cheekwood Botanical Gardens & Museum of Art building this striking installation. Silver Linings consists of over one hundred fifteen panels of two-inch blocks of wire mesh measuring four feet by five feet.

Upon entering the gallery, the viewer is met with a basket-woven configuration of brims and swells of tar paper-black and blinding-silver Mylar formations, undulating up and over in an almost tornadic swirl. Bursts of light push through cracks, and puddles of bright-white illumination create shadows that dance on the gray walls. Even this element of the work is deliberately calculated: “Shadows are the completion of my work. I want the light and air to be recognized as being complete elements,” Park explains.

The result, as with all installation art, is that visitors respond to the work and feel as if they are walking among the clouds or submerged in deep, muddy waters depending on the point of entry and where one lingers to conjoin with the art. Visitors must duck to pass under the low-hanging curvatures, while strips of Mylar, like birthday crepe paper, flutter with the breeze created by the passing body or by the wind from the air-conditioning vent. The pungent smell of the tarpaper fills the long, tunnel-like space.

“This is where the conceptional ideal meets the physical,” Park says

It is these in-between spaces of reflection and absorption that push the boundaries of what is conceived as art. They are as much a material for sculpture, Park says, as the tangible material. It can be a bit disorienting to try to determine whether you are above or below—flying or drowning. “I don’t know what the work is going to be until I am installing it,” Park says. All of these elements: the space, the materials present and absent, including the visitor, become part of this unforgettable and poignant installation piece. Silver Linings will be on exhibit at Cheekwood’s Courtyard Gallery in the Frist Learning Center through October 25. For more information, visit or

September 2015 | 59

Thomas Dodd, Force of Nature, 2012, Digital print on metallic paper, 16” x 20”

Thomas Dodd & Gwil Owen Two Exhibits, Two Artists, One Giant Leap into the Surreal Corvidae Collective • September 5 through October 1


by Annie Stoppelbein

wo striking artists, Thomas Dodd and Gwil Owen, will be exhibiting their work at Corvidae Collective in the downtown Arcade from September 5 to October 1. The show is curated by the exceptional Nikki Gray, who has an eye for the uniquely surreal, and these two artists are especially worth the visit. Thomas Dodd has lived in Atlanta for thirty years and exhibited his work internationally. He is a photographer but uses his camera like a paintbrush, creating what he calls a “painterly photo montage.” After shooting for a few hours, he uses editing software

to craft elaborately layered pieces that fuse multiple images. This yields an organic and textured, yet entirely photographic, piece of art. He prints the finished product, mounts it on a wooden panel, and covers it with a layer of gel medium. Photographing almost exclusively women, Dodd is undoubtedly a feminist. His series All Bodies Are Beautiful is a celebration of the varied female form. He is consciously trying to depict different shapes and sizes in such a way that they are all Madonnas. “For whoever sits in front of my camera, my job is twofold—to get some sort of essence of that person, to get past their canned smile, and then to find their beauty and enhance it.”

60 | September 2015

Thomas Dodd, Head in the Clouds (detail), 2012, Photographic print on metallic paper, 20” x 16”

Thomas Dodd



Thomas Dodd, Spellbound, 2014, Encaustic on wood panel, 20” x 30”

Gwil Owen

Dodd’s work is comprised of mostly personal projects. He employs a wide array of models. Generally, he asks them to come with natural hair and make-up, and he prefers an archaic look in clothing. Dodd does not consider himself a fantasy artist, although viewing his work may induce the sensation of time travel. Each piece is assembled with a wink to the Old Masters and Pre-Raphaelites in their style and content. He lauds the original leading ladies, depicting figures from early Christianity and from Norse and classical Greek and Roman mythology. Thomas dabbled with photography in high school, but was swept away by the world of music after identifying with the blunt expression of punk rock. He eventually went in a different direction, deciding to explore his Irish ancestry and learn the Celtic harp. His group, Trio Nocturna, had a solid fan base and toured the world. He notes that the career trajectory of a musician is the same as an artist, and he continues to think like a musician. He is a self-proclaimed “improvisational conceptualist,” meaning much of what he does is instinctual. As an artist he can afford to reflect on each step of the process. He can have moments of doubt but has learned to trust intuition. Because art can often become so purely technical, Dodd believes there will always be a place for the raw and the passionate. Gwil Owen wears many hats, and recently decided to get fitted for the figurative artist’s beret. Just two years ago, he began experimenting with collage. For much of his life he has identified as a singer-songwriter. Despite his humility on the matter, Gwil is also a bona fide artist. In his spare time he is tiptoeing his way onto the scene and making art unlike anything else. Gwil

Gwil Owen, South Bend 54, 2015, Collage, 34” x 26”

September 2015 | 61

Gwil Owen, Lightning Does the Work, 2015, Collage, 23” x 34”

is an anomaly as a collage artist. Collage is simply French for “to glue,” but Gwil’s creations sit many rungs higher than the often-sticky mess. His painstaking precision elevates these assemblages to something called art. Gwil is always out buying books. He is the former owner of Howlin’ Books and remains in the business as an independent used-book seller. He also repurposes his finds as collage material. He begins by covering a piece of chipboard with pages torn from his vast collection. The older the better, as he likes the look of the browning or “foxing” of aged paper. He assembles the pages so that a border remains, and then covers them with a dark, lustrous color. From there he is ready to arrange the meticulously cut images. He is drawn to machinery, particularly old engravings of tools, gears, and chains from ragged industrial catalogs. Mostly his work develops without any conscious direction. There are several thematic recurrences, though he prefers not to validate any one interpretation. Recurring are juxtapositions of old and new, industrial growth and natural decay. “Even in the wreckage, a flower grows,” says Gwil. Though he paints over the text, a new narrative always emerges. They become otherworldly illustrations from a book that hasn’t been written. Gwil Owen’s Trust and Thomas Dodd’s The Painterly Photo will be on exhibit at Corvidae Collective from September 5 to October 1. For more information about the exhibits and the artists, please visit,, and

Gwil Owen, Hercules Battles the TVA, 2015, Collage, 27” x 22”

62 | September 2015

Airfield_Black Mirror, 2015, Oil, acrylic, and spray paint on linen, 60” x 91”

Dynamic Perceptions in a Digital Age Patrick Brien at Cumberland Gallery • Through September 28 by Gracie Pratt


old and cataclysmic, vibrant patches of opposing colors and patterns move across the canvas, triggering questions along the way. Nashville artist Patrick Brien’s new works are as smart as they are engaging, as thought-provoking as they are visually appealing.

Patrick Brien


Brien’s premise for his art is simple, as he puts it, “to be an observer and recorder of the world around me.” And what Brien sees, he admits, is both mesmerizing and disturbing. Take the selfie phenomenon Brien offers as an example: “I wonder how our impulse to document an experience, such as going to an art museum, will dilute the experience itself.” Brien brings light and color to an inescapable effect. Social media, the Internet, Google, GPS—pervasive changes created by technological advance as a whole—are changing the human experience. “I am enthralled with the way I see visuality changing and wonder how this might affect how we all look at and experience works of art.”

64 | September 2015

aerial, and satellite. Some images are real and some are illustrated depictions, and toggling between them occurs almost instantly and indistinguishably. Brien calls these developments in technology “exhilarating” in the way they are “growing, stretching, and mutating our visual ability.” His paintings are expressions of his own curiosity about the way technology works and “supplements our everyday life and experiences.”

Brien’s work is created using a variety of mediums, and his goal in the crafting process is to place as few limitations on his technique and materials as possible, especially during the earlier stages. As the piece develops, Brien explains that the process can be very physical as he aims to “get to know” the piece and familiarize himself with what it is becoming. He defines this initial stage as having an “athletic” quality, recalling a time that he used a squeegee to spread paint on a canvas, an action that took the full movement of his body to accomplish.

Instruction Loop, 2015, Oil, acrylic, and spray paint on panel, 40” x 38”

Brien’s art is an enlightening voice in this conversation. His piece Airfield_Black Mirror explores changing perceptions of location, made especially evident by the widespread use of Google Earth to create realistic depictions on command. “The patch of grass in the foreground is blurred in a way that recalls the gridded armature of Google Earth when in street view.” Another panel reflects the blurred image that often occurs initially when a user desires to zoom in. What does it take to get closer? To see more clearly? Is there any loss of clarity? Of focus?

Instruction Loop plays off of a similar navigational theme, showing three perspectives. The panels display, in crisp stagnant pieces, three different views of the same physical location: landscape,

Green Screen, 2014, Digital print and resin on paper mounted to panel, 28” x 20”

These early stages are a conversation or dialogue between the artist and his work. “Even when I have a strong conceptual idea of how I envision the painting, I try to leave the conversation open for as long as possible in hopes of making a new discovery or being surprised in some way,” Brien explains. The end of the process is much more analytical, fine-tuning the details and evaluating what the interaction will be between the viewer and the piece itself. Patrick Brien’s visual representations of the experience of day-to-day twenty-first-century living invite viewers to the realm of different perspectives or, perhaps more important, of consciousness.

Cloud Tracking, 2014, Oil and acrylic on panel, 50” x 50”

Patrick Brien’s art is on display at Cumberland Gallery as part of their exhibit Summer Selections through September 28. For more information about the exhibit and the gallery, please visit

September 2015 | 65



Camellias with Pear

Artist Reception • September 4, 6-9 pm 202 2nd Ave. South, Franklin, TN 37064 • • 615-472-1134

As I See It

UN WE AV ING R ACE Sonya Clark and Progressive Disassembly

by Mark W. Scala


ichmond, Virginia-based artist Sonya Clark creates immaculately crafted woven constructions that use the tactile associations of fibers and optical effects of colors to reflect on socio-cultural constructions of identity, particularly in relation to race. Whether evoking the codes of African hair braiding or linking Modernist rationalism (as seen in Josef Albers’s formal color theories) and pseudo-scientific racial theories arising from color categorization, her works’ power lies in their suggestion of ritual or anthropological artifacts—purposeful, beautiful, and suggestive of some secret talismanic function.

Unraveling and Unraveled, 2015, Installation view at Mixed Greens gallery, New York

While the deconstruction of this flag would seem to most people to be a positive negation that symbolizes the need to dismantle racial inequities that are deeply woven into American life, defenders of the stars and bars may feel that it is a desecration. They have argued that the flag is a sacred symbol of Southern history, of a general sense of rebelliousness against authority, and of the defense of states’ rights. Yet images of Charleston mass-murderer Dylann Roof draped with the same flag make it impossible to pretend that it is not also a galvanizing and virulent symbol of racism. The slowness of the dismantling mirrors the larger challenge of breaking apart the legacy of racism. The process encourages meditation on the time it takes to methodically change the ingrown habits of society. The work’s poetic power derives in part from its finitude; the flag will someday be completely dismantled. When

Unraveling in process, Mixed Greens gallery, New York

it is, the question of what meaning the viewer will draw from the consummation of the act is partly answered by an earlier work titled Unraveled, in which the flag has been completely taken apart and divided into balls of red, white, and blue thread. Perhaps this companion work conveys optimism regarding an evolution toward an America unified under these colors. But there is a subtle irony as well: the separation of the threads is a form of disintegration; that is, the opposite of integration. It is a reminder that the constituent colors of the Confederate flag connect it to the U.S. flag—dismembering the emblem of the Confederacy does not automatically lead to a dismantling of the de-facto segregation that still mars American civic life.

In pitting the transformative potential of this deconstructive performance—which took place this past summer in New York’s Mixed Greens gallery with a participatory audience (fifty people working together undid less than one inch of the flag)—against the virulent endurance of a symbolic object that is widespread and may be replicated ten thousand times over, one might ask if this is simply a pebble in the wrong shoe (the question often asked of activist art that reaches sympathetic audiences in galleries or museums but may remain unseen by the people the artist most hopes to affect). Yet the online image of Unraveling, on Facebook and, to start, could extend virally and infinitely as the work progresses toward its happy demise. With this widening exposure, the image can become firmly planted in the mind’s eyes of a huge number of people, maybe even some apologists for the Lost Cause. After seeing it, who could look at the stars and bars without imagining its companion, this shredded ghost that Clark has so carefully unmade? PHOTOGRAPH BY JERRY ATNIP

Clark reverses her usual labor-intensive constructive techniques in Unraveling, a work in which she methodically unweaves the Confederate battle flag. This is a metaphor for the need to pull apart the tightly interlocking social structures that continue to perpetuate patterns of racism throughout the U.S., in the de-facto segregation of many urban school systems, in the tragic deaths of African Americans at the hands of police officers in Ferguson, Baltimore, New York, and elsewhere, and in the invisibility to many whites of the poverty, unemployment, and crime that constitute inescapable cycles in many black communities.

Mark W. Scala Chief Curator Frist Center for the Visual Arts

September 2015 | 67

Barbershop, Vicksburg, MS, 1983

Woman with Hat, Lula, MS, 1984

Baldwin Lee

Bayou Beagles


Alan Interior, Vicksburg, MS, 1984

Tennessee Arts Commission Gallery • Through September 18

by Daniel Tidwell

n much the same way that Walker Evans and “In the 1980s, as an Asian American male in my thirties Dorothea Lang brought to light the human carrying a large tripod-mounted camera on my shoulder, stories of the Great Depression, Baldwin Lee’s I was an uncommon sight in the communities in which Photographs of Black Americans in the South I chose to photograph,” says Lee. Although he may have provides a revelatory glimpse into the lives been an out-of-the-ordinary presence in these small of African Americans in the rural South during the towns, he had no trouble establishing a rapport with his early 1980s. This hauntingly beautiful body of work, subjects. “I would estimate that out of twenty people who encompassing portraits, landscapes, and interiors, is Baldwin Lee were asked for their permission to participate in being a deeply empathetic portrait of an unseen world and a photographed, nineteen would accede.” poignant meditation on the dignity and resilience that is at the heart Lee’s approach to the project and photography in general of the human condition. acknowledges the major role that chance and serendipity can play The project had its genesis during a road trip that took Lee—who in capturing a great image. “I would approach people who I thought had studied with both Walker Evans and Minor White—from embodied some aspect of physical grace in their posture, gesture, Knoxville to New Orleans, documenting what he saw along the way. or expression and ask for permission to photograph,” says Lee.

68 | September 2015

White Dresses, Tunica, MS, 1984

2 Groups of Children (Dusk), Columbia, LA, 1984

Big TV, Macon, GA, 1985

Man’s Back, Shreveport, LA, 1984

Legendary Tennessee Photographer Captures Iconic Images of Black Americans in the South “Of course, as soon as my introduction was made, the attributes . . . would vanish. I would therefore . . . ask that what constituted the physical grace be re-enacted” with “no way to predict the outcome.

“The great American photographer Diane Arbus said that she never took a photograph she intended; they turned out either better or worse. She was right, and there was nothing more satisfying and surprising when in the rare instance it turned out better. The photographs that are included in this exhibition were surprises to me that exceeded my expectations and intentions.” In retrospect, Lee considers Photographs of Black Americans in the South to be the finest work of his career. “The ambition to produce good work cannot be fulfilled through conscious intention. Only through the passage of time can it be determined if something done has merit. In reflecting on the trajectory of my career, it makes sense

to me that the work I did prior to my project in the South was . . . laying the necessary groundwork.”

Lee’s approach to photography throughout his career has continued to insist upon the impossibility of preconceived outcomes in the creation of images. “To make a photograph that meets already established criteria for success is to demonstrate the path to boredom. If success can be defined . . . the possibility of a significant aesthetic experience is denied. It is essential that a work succeed in new ways so as to redefine an already known content,” says Lee. “A successful work enlarges the breadth of experience of its maker and audience.”

Photographer Baldwin Lee’s exhibit at the Tennessee Arts Commission Gallery, Photographs of Black Americans in the South, will be on view through September 18. For more information, visit

September 2015 | 69



2015 Martin Shallenberger Artist-in-Residence

Through October 25 Be a part of the most recent installation by our 2015 Martin Shallenberger Artist-inResidence, Soo Sunny Park, on display now in Cheekwood’s Courtyard Gallery in the Frist Learning Center. Titled Silver Linings, this dramatic installation invites you to walk among silver and black suspended “clouds,” finding new paths and weaving your way through the transformed space. Don’t miss this unique opportunity to see and experience this exciting exhibition!

Silver Linings, 2015 70 | September 2015

And So It Goes...

How to Buy Art? Follow Your Heart by Rachael McCampbell


But how do you determine the value of art? There is no Kelley Blue Book to give you a clear idea of the value of an 18 x 24-inch oil landscape on Belgian linen. And let’s face it—the art world can be overwhelming. There are so many different types of art, artists, and price points. I remember walking into a gallery in Los Angeles where the paintings, priced at $150,000, were by an artist who had only just graduated from art school. And in the next gallery, a mid-career artist, who had been teaching and exhibiting for over twenty-five years, was fetching $10,000 for the same-sized work. How could that be? Was it the imagery? The style? Some of that has to do with the gallery itself. If an art dealer is highly respected and carries a stable of desirable, museum-quality artists, then the dealer and artist can put any price on the work that they deem fit. Whether it’s truly worth the cost is anyone’s guess. And a dealer or artist who tells you to buy art as an investment should be strongly questioned. There are never any guarantees. If the art you purchase goes up in value over time, consider it a bonus. I think art is like anything in this world—the value of a painting is what someone will pay for it.


uying art can be intimidating. Having worked in art galleries in both New York and Los Angeles, I remember clearly the tentative, almost fearful, faces of clients who had never purchased fine art. Seasoned art buyers were bold and asked tough questions. They wanted to know about the artist’s personal life, and they asked for studio visits and discounts. Some didn’t know anything about the artists or what the art was about—they simply bought art to impress their friends and colleagues. But I particularly enjoyed working with new clients because they seemed to buy art for what I thought was the best reason—because they loved it and couldn’t imagine their lives without it.

Dorothy and Herbert Vogel in 1975

experienced art consultants and designers who are knowledgeable about purchasing art especially in the community where they work. They can point out who they think are strong, legitimate artists on a healthy career path and dealers they enjoy working with, but you may not like their taste in art. It’s subjective. Attend monthly art openings, read art magazines, and research artists online.

I suggest you keep a folder of any images you respond to—maybe it’s the color, the subject matter, the conceptual statement, the mood, the medium or texture. Whatever it is that attracts you, tear it out of a magazine or keep a digital file. Discover what YOU love. Then, if you respond to a particular artist’s work, ask to visit their studio or find out where their next show is so you can meet them. Maybe you can buy a sketch or small piece to begin with and build from there. Artists are usually happy to talk to new collectors and want to find a way to help them buy their work. Some artists sell from their studios but charge close to their gallery’s retail price so there’s no conflict with the dealer. If you love a piece but cannot pay for it all at once, ask for a payment plan. Some galleries and artists are open to that. I am still haunted to this day by a painting I fell in love with twenty years ago but was too afraid to ask for a creative purchasing plan. If a piece of art truly moves you, act on that. And remember, you don’t have to be wealthy to collect art. Two of the most celebrated collectors in the world were Herb and Dorothy Vogel from New York City. He was a postal clerk, and she was a librarian. They used her salary to live on and used his to buy art. They filled their rent-controlled, one-bedroom apartment with thousands of small works of art by what are now renowned minimalists, amassing the most important post-1960s art collection in the United States—over 4,782 works.

When Dorothy was interviewed after the release of Megumi Sasaki’s second documentary film about the Vogels (see Herb and Dorothy), she summed up the essence of collecting with this: “I think people need to follow the heart. Don’t listen to a lot of people; if you do, you won’t be happy. Listen to yourself.”

So, how does the average person who wants to start buying art navigate the maze of choices from art fairs, artists’ studios, galleries, online stores, eBay, auctions, and more? Educate yourself. There are

For more about the legacy of the Vogels’ collection, please visit PHOTOGRAPH BY RON MANVILLE

Charles Clough, Untitled, 2008, Enamel on paper painting. Courtesy of the Birmingham Museum of Art. (Formerly part of the Vogel Collection)

Rachael McCampbell is an artist, teacher, curator, and writer who resides in the small hamlet of Leiper’s Fork, Tennessee. For more about her, please visit September 2015 | 71



Summer is ushering in new trends. Here are a few favorites & new arrivals, sure will end up in some of HOTTEST HOMES!

styles and of Keith's which I'm Nashville's

Antique Copper Kettle

Circa 1850 Galesburg, IL $680

1941 G re yh ou n d Bu s Tail Ligh ts

$ 4 2 5 Pair

Antique Iron Balcony Console 1 9 t h C e n t u r y, A r g e n t i n a $3,900

19th Century Urn 39 1/2" h x 18 1/2" sq $1,375

. N A S H V I L L E 6 1 5 . 3 5 0 . 6 6 5 5 W W W . G A R D E N P A R K . C O M

YORK & Friends fine art Nashville • Memphis


Lavender Morning, Oil on canvas, 36” x 48”


Realms of Glory, Mixed media on canvas, 36” x 48”

107 Harding Place • Tues-Sat 10-5 • 615.352.3316 • • Follow us on at York & Friends Fine Art

J o s e p h i n e A



















(left) Emma McClellan, Suspended in Water or Air, 2008, Fabricated steel, 20’ x 8’ x 8’

Large-Scale Sculptures Transform this Frankfort, Kentucky, Landscape into a Unique Art Experience by F. Douglass Schatz


Kari Reardon, Barnacle, 2006, Steel and cement, 5’ x 4’ x 3’


Scott Ross, Bower, 2010, Pressure treated pine, 17’ x 11’ x 11’


VanHouten, who left a professorship of sculpture at the University of Minnesota to start the park, describes its mission to “provide community arts education and creative experiences while preserving the beauty of Kentucky’s native rural landscape.” The setting of the park is twenty-six acres of former farmland just outside of Frankfort that is used to display thirty-five artworks, including large-scale sculptures, murals, and other projects. Visitors are invited to walk through mowed paths or find their way through the fields to facilities such as the amphitheater or the artist-in-residence barn. The park offers a free venue for performing arts, arts education, art appreciation, and cultural enhancement.


ust a short drive from Nashville into central Kentucky lies Josephine Sculpture Park, a community-centric art park that encompasses sculpture, theatre, music, and other arts. Melanie VanHouten, likely the first person you will meet when visiting the park, is one of those people that instantly give off an air of contagious energy and friendly excitement. She is the park’s founder and artistic director since the park opened in 2009 and has used her impressive energy to make the park the successful art hub that it is.

Stacey Chinn, String Theory, 2013, Biodegradable flagging tape and tree

September 2015 | 75


Sculptures in the park are generally on loan (as opposed to a permanent collection) in order to achieve maximum exposure of the arts in the community. In addition to more traditional outdoor sculptures that adorn the landscape, artists are often invited to make site-specific or non-permanent artworks for the park. One example was a performance/installation by David Lobdell from New Mexico that burned binary code into the grass. Projects such as this make for a more experiential endeavor rather than a typical outdoor museum experience.

Josephine Sculpture Park is the vision of co-founders Melanie VanHouten and BJ Duvall

the park hosts a theatre production called Shakespeare SummerStage, where actors use a commissioned sculpture as the set for a play. Also each year, the park hosts a Fall Arts Festival (September 13 this year) where the community is invited to participate in many artistic events, including a hot-metal pour, live music, community sculpture building, and other activities. This hands-on experience for the public is very unusual in art parks, but after talking to the director, it is clear that this type of experience is exactly what Josephine Sculpture Park was built for. In all, it is a vibrant place that is well worth the trip. Just keep in mind that although the park is a destination, it is also about the journey.


Josephine Sculpture Park is located approximately three hours from Nashville in Frankfort, Kentucky. The museum is open daily 7 a.m. to 9 p.m. Plan your trip to the September 13 Fall Arts Festival. For more information, visit

Andrew Marsh is welding on his sculpture during a residency in the JSP barn studio building

What is striking about the park is its lack of a corporate ‘feel’. There is really a grass-roots-type feeling at Josephine that is unique in this age of public arts venues that are proliferating around the country. It is definitely a place where one can go to see sculpture but, more important, a place where one could go to be with sculpture or even participate in the practice of art. This important difference makes the park stand out clearly among its contemporaries across the country.

The heart of the park is with the community that inhabits the region. It is not unusual to see civic groups, at-risk youth, conservationists, and cultural groups using the park at any one time. During the summer,


Preserving the Kentucky heritage is important at Josephine as evidenced by the natural paths and landscaping that keep the look and feel of the former farmland. VanHouten’s grandparents grew up on the farm (the park is named after her grandmother), and it keeps the beautiful rolling fields of central Kentucky intact. Of the park’s mission, VanHouten says, “It is important for the artwork and the land to fully co-exist aesthetically and naturally.”

Louisville artist Robert Cheever assists participants in blowing their own glass ornaments during the annual Fall Arts Festival

76 | September 2015



2 · 0 · 1 · 5 PHOTO


photography competition




Nashville Arts Magazine announces our sixth annual photography competition. Last year, we saw a stunning array of talent from




local and international photographers both amateur and professional.












We can’t wait to see what 2015 brings!

First Place: $500 cash Second Place: $300 Chromatics gift card Third Place: $200 Chromatics gift card Top entries will be featured in the November issue of Nashville Arts Magazine and entrants may be given the opportunity to shoot an assignment

Submissions due by: September 30, 2015 · Winners announced: November 2015 $5 per submission: a maximum of 3 high resolution photographs. Send to

See for details.

Symphony In Depth

Music Education: A Vital Role of the Nashville Symphony

by Dave Felipe

With eighty-three world-class orchestra musicians and a 197,000-square-foot concert hall built to serve the entire community, the Symphony is uniquely positioned to provide music education services to the children of Middle Tennessee. Last school year, the Symphony’s education programs reached tens of thousands of K–12 students in public, private, and home schools. “The Nashville Symphony has an international reputation for artistic excellence,” says Director of Education and Community Engagement Walter Bitner. “But here at home, we’ve also built an important reputation as educators. It’s a role we take very seriously, and that’s evident in the programs we offer and the enthusiasm with which those programs are executed.” The Symphony’s education offerings include a wide range of programs, from concerts at the Schermerhorn to school and community events, all presented in partnership with local school systems and fellow nonprofit organizations:

Free Concerts & Rehearsals: Attended

by more than 20,000 students each year, daytime Young People’s Concerts (YPC) are geared toward specific grade levels, accompanied by downloadable teaching curriculum. Curb Open Dress Rehearsals give K–12 and college students the opportunity to sit in on a Nashville Symphony rehearsal and see firsthand what goes into preparing for a concert. New for 2015/16,

One on a Part offers free chamber music performances, with programs designed to teach students about core musical and thematic concepts.

Instrument Petting Zoos: Giving younger children the chance to play an array of brass, woodwind, percussion, and more, Instrument Petting Zoos are a staple of the family-friendly activities that precede all Saturday-morning Pied Piper Children’s concerts and can also be found at many community events throughout the year. After-School Programs: Working with the Nashville After Zone Alliance, the Symphony visits multiple sites each year to provide hands-on music experiences to middle-school students in the Metro Nashville Public Schools system.

Teacher Resources: is home to a variety of resources, including lesson plans and curricula, the educational “Let’s Go to the Symphony” video, and online tools from partner orchestras and music education groups.

The Symphony’s education programming also includes a concerto competition for high-school musicians, musician-led sectional rehearsals and ensemble performances in local schools, and discounted tickets to classical concerts for students of all ages. And with Nashville’s population steadily growing, Bitner sees opportunities to expand the Symphony’s role even further.

78 | September 2015



nother school year is underway throughout Middle Tennessee, and for the Nashville Symphony, that means a new season of music education programs designed to engage, enrich, and inspire youth throughout the region.

“Everything we do here is designed to foster the foundation for a lifelong appreciation and love of music, regardless of age or background,” he says. “With so many local partners committed to that very same vision, the sky is truly the limit for music education in Music City.” Learn more and watch an informational video at


Reaches to the Sky at the Riverside by Caroline Vincent, Director of Public Art | Photography by Stacey Irvin


rtist team Haddad | Drugan, made up of Laura Haddad and Tom Drugan of Seattle, Washington, bring the Cumberland River center stage with the newest addition to the public art collection, Light Meander. Standing 45 feet tall, the inspiration and shape of the sculpture is drawn from its significant location sitting atop a former tributary to the Cumberland. Artist Tom Drugan says about the sculpture, “The river once was the lifeblood of the city, but over time that connection diminished. With the sculpture, we hope to help reconnect the river to the Nashville community and the many downtown visitors.” The form of the sculpture is based on the meandering curves of the Cumberland River as it passes through Davidson County. Light Meander, like the river itself, invites interaction. The river-facing side has a highly polished steel surface, which reflects the park and visitors in unique and playful ways. The city-facing side of the sculpture features a curvilinear ipe-wood bench, a pattern of mirror stainless steel tubes, and color-changing LED strip lights that create a textured ribbon of electric light at night. The lighting draws from the changing colors and qualities of light bouncing across the river’s surface. Specially programmed lighting shows will change over time with the river and the city. On the underside of the bench and at the top of the river side are thousands of stainless steel guitar picks that subtly evoke the musical legacy of Nashville. The hanging picks create sound when activated by wind or hand, and the top picks cast reflections similar to the scintillating sun on the river. In town for a talk on August 13, the artists spoke about their work and how they got started in public art. Tom Drugan started out by saying, “I think you’re born an artist and then you find your path.” Haddad and Drugan, both formally trained in landscape architecture and architecture, are currently working on several large-scale projects around the country.

They presented some of their earliest public art projects, which included a $6,000 temporary project in the median of Santa Monica Boulevard. They purchased a 1959 Pontiac Starchief and filled it with soil and plants, which grew out of the car over six months. The project addressed the car culture of that city and how it changes the landscape and our connection to nature. Laura mentioned, “The only real difference between a $6,000 project and a $6,000,000 project is scale.” Aspiring public artists in the audience at their talk asked, “What’s the best piece of advice you can give me for getting into the field? Networking?” Laura and Tom both said they didn’t think it was really about networking, but more about persistence, tenacity, and finding projects that speak to you and your work. “If you’re a mural painter, don’t apply for sculpture projects or vice versa. Your work needs to fit the scope of the project.” Tom added, “I think we applied for a hundred projects before we got our first one. Then once you have your first one, it’s much easier to get your second. . . . Thinking back to some of our earliest public art application slides, a lot of the work we showed was work we would go and create ourselves.” He advised artists, “Show work that’s not necessarily commissioned work, but just the range of work you’ve done on your own, and then go after temporary projects. There’s a lot more venues for that now. It’s kind of an exciting way to get into the public art world.” Yo u c a n f i n d t h e s c u l p t u r e a t t h e intersection of Demonbreun and 1st Avenue in Riverfront Park. For more information on this and other public art projects, p l e a s e v i s i t o n yo u r m o b i l e d ev i c e or, from your desktop, If you’re an artist and are interested in future public art workshops and trainings, please let us know at Laura Haddad and Tom Drugan, Light Meander, 2015, Stainless steel plate and tube, hardwood, color-changing LED strip lights, and acrylic rod, 45’ x 3’ x 1’

80 | September 2015





Horse mural in the third floor patient unit

Local Artists Bring a Sense of Well-being to Williamson Medical Center by Stephanie Stewart Howard


illiamson Medical Center’s new children’s wing not only has the advantage of being shiny and new, but while abundantly kid friendly, the soothing choices made for the wing’s artwork make it welcoming to all ages. Instead of the plethora of generic Mickeys, Elmos, and commercialized cartoons, WMC chose to fill its halls and walls with artwork by local artists, representing the county’s recognizable landscape. The result is an environment that feels safe and magical to young children, but which does not alienate older kids and jar adults. Walking into the second floor entrance, you’re greeted by a gorgeous life-sized bronze by Clay Enoch of three children: two older boys examine a single butterfly that has landed, while a tiny girl points to the sky, where a series of bright-yellow butterflies flutter off along the ceiling. Go to the right and a glorious painting of Tennessee birds—owl, hummingbird, cardinal, and more—by David Arms rests next to the reception desk.

“The concept started with the architect creating a river feature with the flooring material of the courtyard,” she says. “To support this concept, we thought river creatures, those local and familiar to all of us. My years of hiking, biking, canoeing and fishing allowed me to give a selection to the committee of those creatures local to


Just outside, to the right, is a fenced, outdoor space for play and relaxation featuring a spongy blue “carpet” decorated with a life-like bronze heron, plus a huge tortoise and an otter, ready for kids to climb and play, by Lin Swensson and Andrea Lugar.

Butler Steltemeier’s Natchez Trace Bridge in the children’s ER waiting room

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Painting on a footwall

Art was part of our design vision from the beginning. We hope when either kids or parents look at a piece, it can take them elsewhere for a second. PHOTOGRAPH BY NATE KARLIN

Clay Enoch’s sculpture located in the atrium

Williamson County. All the tiles were hand made from clay and the glazes specifically formulated to resemble the natural color of the animals in the wild. The entire creation was hand sculpted from steel, concrete, and handmade clay tiles.”

Swensson, along with Chief Operating Officer Julie Miller and Communications Manager Melonee Hurt, worked with a multi-disciplinary committee of eight to bring together a total vision. “It’s a labor of love. We truly all put our hearts into it,” says Miller.


“The art is woven into the bones of this place,” says Hurt, as she shows off the second floor atrium, featuring a huge mural of hot air balloons over a lush Williamson landscape by Roger Dale Brown.

Roger Dale Brown’s Hot Air Balloons in the second floor atrium

Elements of outdoors are everywhere. The ward rooms are decorated as downtown Franklin spaces—the trolley, the toy store, Grays on Main. A long wall ahead of them is a stone-fenced pasture with grazing horses. A favorite piece in the ER by Butler Steltemeier showing the Natchez Trace Bridge, Gentry’s Farm, and other outdoor spaces gleefully inhabited by woodland creatures is also copied as wallpaper in the third-floor playroom space. There’s even a superhero collage done by country super-star and donor Brad Paisley.

“Our goal was to incorporate the county and maintain a nurturing, healing feel. Art was part of our design vision from the beginning,” says Miller. “We hope when either kids or parents look at a piece, it can take them elsewhere for a second.”

For more information, visit

September 2015 | 83


Leaping Carp gaLLery


physician and artist

Weʼre Different

Just ask around www.LeapingCarpgaLLery.Com Order 18th & 19th century Japanese ukiyo-e print replicas for display & inspiration

Seaspeak, Tara Thompson

Boy and Dog, Rebecca Ruegger


Rebecca Ruegger & Tara Thompson EXHIBITION: SEPTEMBER 8 – OCTOBER 23, 2015 • GALLERY OPEN MONDAY – FRIDAY 8:00 AM to 4:30 PM The Harpeth Hall School • 3801 Hobbs Road, Nashville • Gallery located in McMurry Center accessible at Esteswood Road entrance • 84 | September 2015

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DOWNTOW N NASHVI LLE 919 BROADWAY | FRI STCENTER.O RG Moriz Jung (1885–1915). Viennese Café: The Man of Letters (detail), 1911. Wiener Werkstätte Postcard 532. Chromolithograph. Leonard A. Lauder Collection. Neue Galerie New York

Public Art

Our Town Nashville: Together Heroic by Van Gill Maravalli, Public Art Project Coordinator, Metro Nashville Arts Commission


ashville-based printmaker Bryce McCloud has spent the last two years actively engaging Nashville in a conversation about community—a conversation he hopes to continue this fall. The first phase of McCloud’s Our Town project visited fifty locations across town—homeless shelters, concert halls, police stations, coffee shops, and everywhere in between—inviting Nashvillians to join in a community-wide self-portrait-making activity. As McCloud prepares for the second phase of the project he explains, “We will take what we’ve learned from these experiences, images, and creative viewpoints and distill them into a unified visual conclusion that is a celebration of Nashville—a creative collaboration on a grand scale.”


Phase two of the project, which McCloud has titled Our Town Nashville: Together Heroic, will consist of two interdependent elements. The stamp portraits of phase one will be reimagined on a larger scale, and the bike cart will be replaced by a retrofitted bread truck serving as an interactive gallery space. The Our Town team will emulate the behaviors, techniques, and processes they observed during phase one while recreating the portrait-making project on a larger-than-life scale at a number of different locations this fall. At each location, viewers will be invited to step inside the bread truck turned interactive art gallery to see memorabilia from phase one, make their own self-portrait, or listen to audio recordings collected during phase one of the public art project.

In many ways, Our Town is Bryce McCloud’s love letter to Nashville and those who call Music City home. McCloud explains, “We hope to honor all of the talented and generous people we have encountered these past few years. We want to remind people that together we can be heroic. Together we can make our city’s future brighter.” Our Town Nashville: Together Heroic can be experienced at the following locations this fall: Cumberland Park, September 18 and 19; Main Branch Public Library, October 16 and 17; and OZ Arts Nashville, December 7 through 10. For additional information, visit or

Tammy Gentuso





K Judy

e l b a T R A

l a u n n 4th a

Facebook “f ” Logo

5:30 – 9 pm Saturday, October 10 The Clay Lady’s Campus

1416 Lebanon Pike, Nashville TN 37210

ARTable is an annual event that brings together extraordinary artists and art enthusiasts for an evening of conversation about the process of creating art. Food will be provided by local restaurants. There will also be a cash bar serving wine and seasonal fall brews. itt nie Pru a h p e t S

Purchase Tickets at

Alice E. Shepherd

CMYK / .eps

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Critical i


Kristina Estell and David Bowen, Voyager One, Custom software, computer monitor and LED lights

At Seed Space Voyager One Puts Viewers in Their Place by Joe Nolan


rtists Kristina Estell and David Bowen have assigned red, blue, and green color values to the angles between the earth, the sun, and the Voyager 1, the space probe launched by NASA in 1977. More than thirty-seven years later the craft continues its study of the outer solar system, communicating with the Deep Space Network, receiving commands, and returning data. The probe’s mission officially came to an end in 1980 after Voyager 1 provided detailed images of Jupiter and Saturn and their moons. In 2012, Voyager 1 was the first probe to enter interstellar space. As the probe continues its interstellar journey and the earth orbits the sun, these angles constantly change and so do their color values in the artists’ model which can be seen on their website, on display in the gallery. The little light at Seed Space is gradually shifting between various shades of purple. Although it’s imperceptible, the exhibition is in a state of constant transformation as our planet and the probe do their daily dance.


One of the best recent shows at Seed Space was Rocky Horton’s All the Lights in My House. That installation featured a display of the lamps and chandeliers from the artist’s home, leaving the gallery haunted by the second half of that exhibition—Horton and his family living without electric light for the run of the show. Seed Space’s new exhibition, Voyager One, has a lot in common with that installation: in place of a collection of lamps it features one tiny light in a gallery made nearly completely dark by blackout curtains. While Horton’s lights reminded viewers of his darkened house, this little beacon creates the felt presence of an object that’s literally no longer in our solar system.

Art often puts us in touch with ourselves—our feelings, our bodies, our thoughts. It seldom offers us a palpable sense of that gargantuan “everything else” that makes up nearly all of this vast place we inhabit. Voyager One is a tiny display with big implications, and just like Horton’s show it reminds us that we—and everything else—are mostly just bumping around in the dark. Voyager One is on exhibit at Seed Space through September 14. For more information, visit

The 148th Annual

InternatIonal exhIbItIon of the amerIcan Watercolor SocIety

Tullahoma Fine Arts Center through

Mike Kowalski, Read All About It (detail)

September 20


Linda Baker, His Keys

The AWS Exhibition is one of the premier watercolor exhibits in the world. 40 paintings were selected from 1,200 artists in 27 foreign countries and the United States. For Exhibit Hours and More Information Call (931) 455-1234 or Visit:


Tullahoma_0915.indd 1

8/19/15 2:37 PM


15-20 2015



presented by

nashville, tenn.




“Someday, everything is gonna be different When I paint my masterpiece” — Bob Dylan


Antique Appraisal Show presented by Goodlettsville Antique Mall

One appraisal: $15 Two appraisals: $20 Three appraisals: $30 100% of appraisal fees go to charity

100 for 100 Art Show & Sale

presented by Artists on Main Painting Society

25% of all sales go to charity

Goodlettsville Food Court

presented by Goodlettsville Area Chamber of Commerce


hen Mr. Dylan wrote those lyrics we can presume he wasn’t concerned with the insurance he might need when the masterpiece was complete, but, as with any small-business owner, securing appropriate coverage is an important consideration for artists. Many people engage in artistic activities to nurture their creative side, but if an artist utilizes their talents to generate income, they are also in business. These artists need coverage to protect not only their property, but also to protect against the liability exposure if someone is injured or has property damaged while at the artist’s studio or showcase.


September 12, 2015 10am to 4pm

by Chan Dillon

Artists working out of their homes may not realize that a typical homeowner’s policy does not cover losses associated with business-related activities. This means the art-related property and (where applicable) the home studio itself may not be covered. Artists should discuss with their insurance agent whether coverage for their business activity and property is available and whether it is necessary. If appropriate coverage cannot be granted by the homeowner’s existing policy, if the artist has established an LLC, or if the creative space is in a commercial building, then a business owner policy is appropriate and can usually be acquired for a reasonable price. The artistic property and the liability exposure are both covered by business owner policies.

The business property coverage on either a properly written homeowner’s policy or on a business owner policy is limited if that property is in transit, at another location, or is owned by someone else and in the artist’s care and custody. Accordingly, the policy needs to account for each scenario. The takeaway? Insurance is available to protect that masterpiece, or Bob Dylan’s famous Sunburst Stratocaster guitar, but artists must ensure that the policy covers all of the scenarios they encounter in their business. For additional information and resources, please visit

Chan Dillon is president of WC Dillon Company, an independent insurance agency that serves the insurance needs of more than two hundred small- and medium-sized businesses predominantly in Middle Tennessee and serves on the Arts & Business Council’s Board of Directors.


Non Credit Studio Art Classes begin September 14, 2015

Drawing, Clay, Metal, Jewelry, Fused Glass, Photography and more!


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Ben Caldwell

7/15/15 11:17 AM

Susanna and the Elders, 2013, Wool, cotton and silk thread on tulle fabric, 48 in x 46 in

Enameled Wall Sculpture

Portrait Paintings & Works on Tulle Tennessee State Flag, Enamel on Copper, 20” x 24” 4304 Charlotte Ave • Nashville, TN 615-298-4611 •

Portrait of an Artist, 2013, Oil on canvas, 16 in x 12 in

Visit or call (901) 246-4250 for portrait commissions or other inquiries. September 2015 | 91

Art in Formation

10:30. “This show is very smoky and goes pretty late, so it’s usually strange but fun.”

Wednesdays: (First and Third Wednesday) Dive Laughing open

Stirrings from the Nashville Underground

mic at The Springwater. Sign up at 9, show at 9:30. “I host this, and it’s usually OK.”

by Tony Youngblood


(Second Wednesday) Kamikaze Kitten Comedy Show at Dino’s, 8:30.

ean Par rott knows the exact moment he decided to get serious about comedy. Eight years ago while telling jokes on stage at the Boro Bar and Grill in Murfreesboro, he heard a loud, “Boo!” But he couldn’t figure out where it came from. Then he noticed the club’s open windows and realized he was being booed from outside. “It’s tough to be heckled by someone standing on grass,” he says. “Since then, I’ve worked on improving my jokes. Mostly, I never perform while windows are open.”

Thursdays: Throwback Thursdays at Throwbacks, 8:30.


Fridays: (Third Friday) Luxury Prestige the Third scripted comedy show at The East Room, 7.

(Third Friday) Perfect Timing comedy game show at the East Room, 9.

Saturdays: (First Saturday) “Unscripted” improv show at Bongo After Hours Theatre, 9.

(First Saturday) Jokers Abbey at Smokers Abbey, 7:30.

Sundays: Spiffy Squirrel at The East Room, 6:30. “Chad Riden hosts. Recently they’ve had some really great people on it like Ryan Singer, Myq Kaplan, and Dave Stone.”

Sean is a ten-year veteran of the Nashville comedy scene and has performed on nearly every stage in the city. We asked him to provide a breakdown of the weekly comedy happenings with selected commentary: Tuesdays: Ultimate Comedy open mic at The East Room. Sign up

at 8, show at 8:30. “This is my favorite mic in town. My friend Brad Edwards hosts it, and there’s usually a great, supportive crowd.”

Red Eye open mic at Wilburn Street Tavern. Sign up at 10, show at


Mondays: Open Mic at Bobby’s Idle Hour. Sign up at 6:30, show at 7.

Check out for upcoming shows and for Sean’s stand-up and music videos. Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s ( and runs the experimental improv music blog and podcast

Hand pulled prints by Julie Sola 1108 Woodland St. • East Nashville Hours 12-5 Friday - Sunday or by appointment w w w. z e i t g e i s t - a r t . c o m

proto pulp book show september 26 10 am to 6 pm

Julie Sola


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8/10/15 2:12 PM

Subscribe to Nashville Arts Magazine for only $45 per year.





Call 615.383.0278 or visit 92 | September 2015

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Film Review

Tony Santiago and soldiers

O n T wo F ronts : L ati nos & Vietnam by Justin Stokes


hen I was a little Mexican, running around the deserts of Arizona, there was always this mystique about tall, white men with gray hair running industry . . . running the military . . . running academies and colleges. And they deserved your respect. And in the military, that idea fell apart. People are screaming in my face, telling me what to do. And telling me things that I just don’t believe.” From On Two Fronts: Latinos & Vietnam, the quote is the prime chunk of the documentary’s theme.

Through the glossed-over history of Chicanos struck by the Vietnam War, NPT viewers are shown that the deadliest war machine is war itself. Cherry-picked for armed service, the lower-income and under-educated populace were the preferred wearers of dog tags on the front line, and their immense patriotism made them proud at first. But as the body tolls rose, and the sanctuary of college deferments was offered only to white counterparts, the stories of the Morenci 9, POW Everett Alvarez Jr. and political activist Rozalio Munoz—whose draft date is Mexican Independence Day—helped launch an impeccably-timed protest against a war that could not be won.

Mylène Moreno does a great job at keeping the film from being too depressing. Ignoring its own description, the story doesn’t actually have a human anchor, but keeps a stable of subjects to hold your interest. The mellowed music of Chicano Batman looks for the silver lining to history’s gray clouds. The camera work has shots worthy of a postcard, with locations ranging from Morenci, Arizona, to the foggy blankets over the Gulf of Tonkin. After hearing about the violent past, it is the absence of violence that really hits the viewer. A documentary about the civic pride of Hispanics during Hispanic Heritage month: What could be a better fit?


On Two Fronts: Latinos & Vietnam will premiere September 22 at 9 p.m. on NPT. The documentary is being presented as part of both PBS Stories of Service programs and NPT’s Hispanic Heritage Month. For more information, visit Justin Stokes is the founder of the MTSU Film Guild, a student organization which functions as a production company for student filmmakers. He is a filmmaker, screenwriter, and social media manager.

Shakespeare Broadsheet, 31” x 19 ”

Hatch Show Print


#HSPHaleyGallery @HatchShowPrint

Downtown Nashville


Visit for more information.


take a seat and take a

S TA N D Jim Reyland’s Poignant Play STAND Focuses on One Nashvillian’s Journey Through the Cycle of Poverty, Addiction, and Homelessness September 25 & 26 • TPAC’s Johnson Theater by Martin Brady


im Reyland’s play STAND is a true story about the late John Robert (“JJ”) Ellis, a Nashville street person who battled addi ct i on f o r years, and the Good Samaritan/Everyman who tried to help him. The author—a Music Row audio producer turned playwright as well as Nashville Arts Magazine’s monthly Theatre Correspondent—has developed some wide-ranging scripts in his career, but STAND holds special meaning, since it offers reflection on Reyland’s more than twenty-five years working as a volunteer assisting the homeless.

Louis, Kansas City, Las Vegas, Los Angeles, and San Jose.

“Our goal is to raise money to fight homelessness and addiction, not only in Nashville, but across the country,” says Reyland. “Room in the Inn, the Nashville Rescue Mission, and the Salvation Army will receive 100% of the proceeds from tickets sold in Nashville. The same thing will happen in the other cities we are visiting.”

The original 2012 run of STAND, as well as the new production and national tour, were made possible through the support of HCA TriStar Health. STAND was initially also John Robert (“JJ”) Ellis and playwright Jim Reyland The subject of a lot of local a part of HCA’s Cultural Inclusion press in 2012, STAND touched Series, an internal program designed I worked with Johnny Ellis thousands, mainly through Reyland’s for corporate employees, offering collaboration with Music for ten years on the streets of innovative educational interaction City’s theatre community, which with artistic presentations. According Nashville. After he died I wrote supported the project through a to Sherri Neal, HCA Vice President, sharing initiative that allowed this play because I wanted Cultural Development and Inclusion, the play to complete thirty-six “The series was designed to articulate people to understand his plight performances at fourteen venues the value that inclusion brings to our across Middle Tennessee, assisted by and his real-life challenges. company, with goals and objectives of the marketing efforts of twenty-six personal development and growth.” – Jim Reyland participating arts and social services The award-winning series, founded in organizations. 2007, provides training and learning Praised by critics for its stark eloquence and extraordinary experiences, with focus on diversity education and multicultural compassion, STAND was a remarkable chapter in local theatre. perspectives. Previous working partners have included the Now the play will touch thousands more, as Reyland’s affecting National Museum for African American Music, Global Education drama returns with a September 25–26 engagement (three Center, Magdalene/Thistle Farms, and Nashville Public Television. shows) at TPAC’S Andrew Johnson Theater. Even more exciting, The remounted version of the play remains under the direction the small STAND cast and crew will afterward hit the road on of David Compton, a fine local actor in his own right. Recreating a month-long cross-country tour that includes stops in St.

94 | September 2015



the role of JJ is Barry Scott, one of Nashville’s leading actors for many years, as well as a writer, producer, director, motivational speaker, and in-demand voiceover artist. Returning in the role of Mark, the successful businessman who engages with JJ, befriends him, and invests his time and treasure in his well-being, is Chip Arnold, yet another one of Nashville’s finest thespians, noted most recently for his portrayal of Willy Loman in Nashville Repertory Theatre’s acclaimed production of Death of a Salesman.


Chip Arnold and Barry Scott as Mark and JJ in STAND

The Nashville performances of STAND are Friday, September 25, 7:30 p.m., and Saturday, September 26, 2:00 and 7:30 p.m. at TPAC’s Johnson Theater. There will also be four student shows as part of TPAC Education’s 2015 HOT season (Humanities Outreach Tennessee). All general admission tickets are $24 and available at the TPAC box office or visit


For information on the national tour’s dates and venues, please visit


“I worked with Johnny Ellis for ten years on the streets of Nashville,” says Reyland. “After he died I wrote this play because I wanted people to understand his plight and his real-life challenges. Now, this tribute to his struggle will travel the country so that many more people will come to know him—and also consider the world of the homeless and addicted.”

September 2015 | 95

The Bookmark

Nashville Children’s Theatre presents

A Monthly Look at Hot Books and Cool Reads

For more information about these books, visit


Book and lyrics by Karen Zacarias Music by Deborah Wicks La Puma

Jonathan Franzen returns with a highly anticipated new novel that promises to be a bit of a departure from his previous bestsellers, The Corrections and Freedom. At the center of the story is a young woman called Pip (real name Purity) who’s dealing with all the usual troubles of her generation (a hefty student loan bill, for example) as well as some unusual ones (no clue who her father is or why her mother seems to be hiding something). Enter a colorful cast of characters from directions as diverse as California and East Germany, and throw in Internet intrigue, curious journalists, and murder. Meet Franzen on September 23, when he appears in Nashville as part of the Salon@615 author series.

A mind-blowing, hilarious musical comedy tour de force for the whole family!

September 17 - October 4 Tickets: 615-252-4675

Sweet Caress: The Many Lives of Amory Clay WILLIAM BOYD

In this novel written like a memoir, William Boyd follows the 20th century’s biggest events through the camera lens of adventurous world-traveler Amory Clay. Born in England in 1908, she receives her first little camera when she is a child, and she stops at nothing in her goal to document the world around her and the people, places, and events others might not otherwise see. From her early days as a society photographer (a job that ends in scandal—oops) to her work documenting wartime, Amory’s personal life becomes as richly shaded and tangled as the history that unfolds around her.

Fates and Furies LAUREN GROFF

We’ve been talking about Fates and Furies (because it’s awesome), and it turns out everyone else is talking about it, too. From the starred review in Publisher’s Weekly: “In a swirling miasma of language, plot, and Greek mythology, Groff weaves a fierce and gripping tale of true love gone asunder.” Kirkus gave it a starred review as well: “An intricate plot, perfect title, and a harrowing look at the tie that binds.” Meg Wolitzer, author of The Interestings, called it, “A book to submit to, and be knocked out by, as I certainly was.” Jess Walter, author of Beautiful Ruins, said: “At once intimate and sweeping, this is the story of a marriage as parallel myths—flaring with passion and betrayal, with redemption and retribution, with the sort of heart-breaking, head-slapping secrets that make you want to seek out someone else who’s read it.” See? So read it, and then come talk to author Lauren Groff about it on October 9, when she visits for the Southern Festival of Books.

Additional support for this program provided by:

Furiously Happy: A Funny Book about Horrible Things JENNY LAWSON

If you follow Jenny Lawson (aka “The Bloggess”) online, you don’t even need this announcement. You already know her next book is due out soon, and you’re planning to come to Lawson’s book-signing event on September 30 as part of Salon@615. You probably also know what’s in the book: a mix of greatest-hits blog posts and new writing, all in Lawson’s signature style and mostly centered around her struggles with mental illness. You know you’ll laugh out loud at her candor, her imagination, and her deliciously bizarre run-on sentences. You know you’ll hold the book out to whomever’s sitting next to you to make them read your favorite passages. You know all this because you did the same things with Lawson’s first book, the #1 New York Times bestselling Let’s Pretend This Never Happened. And if you don’t know all this, then by golly, let us introduce you.

© Susan W. N. Ruach

From Ornate to Ordinary…Decorate Your Way!



100 Powell Pl Suite 200 & 128 Powell Pl, 37204 Open M-Sat 10-6 & Sun 12-6 : 615-297-2224 / 615-292-2250 :

Backstage With Studio Tenn

Cultivating a Prize Rose Studio Tenn’s Director and Star Actress Prepare for the Mother Role in GYPSY


Now, after six seasons as founding Artistic Director of Studio Tenn Theatre Company, Logan still looks back on that menial task as “one of the most thrilling experiences” of his career—for the Peters-Mendes exchange he witnessed from the wings yielded a performance that the Times declared “the surprise coup of many a Broadway season” and “the most complex and compelling portrait of [Peters’] long career.” This fall, Logan will direct Studio Tenn’s own GYPSY, starring celebrated Nashville actress Nan Gurley as the indomitable Mama Rose. The show opens September 17 in The Factory at Franklin’s Jamison Hall.

Nan Gurley prepares for her role as “Mama Rose”

“Mama Rose” has lured many seasoned actresses, from Ethel Merman in the 1959 Broadway debut to Angela Lansbury, Tyne Daly, and Patti LuPone in revivals.

“When that caliber of talent wants to sink their teeth into [the role], you know it’s a huge opportunity and a huge feat,” Gurley said. Owing to GYPSY’s brilliant but famously difficult music, the lead part is as demanding of its actress as Mama Rose is of her daughters. Even between songs, there’s hardly a moment’s pause. “Rose never stops talking,” Gurley said. “She’s a fast talker, a fast thinker, and she always knows what she wants. She’s a freight train.” “This is an Olympic marathon of a role in terms of the stamina it requires,” said PHOTOGRAPH BY ANTHONY MATULA

Created by Broadway legends Arthur Laurents (book), Jule Styne (music), and Stephen Sondheim (lyrics), GYPSY is based on the memoirs of real-life burlesque star Gypsy Rose Lee, whose brash, narcissistic stage mother, Rose, aims to make her daughters stars on Vaudeville’s Orpheum Circuit.


uring rehearsal for the 2003 revival of GYPSY in Broadway’s Shubert Theatre, Bernadette Peters was practicing the final number, “Rose’s Turn,” with Director Sam Mendes when a choreographed toss of her sweater required someone to stand off stage and catch it. Fate and union rules chose Matt Logan, a newcomer to New York who had just started his first Broadway job.

Logan. “But Nan Gurley has definitely got the chops.”

A pillar of Tennessee’s theatre community, Gurley has performed prolifically with Nashville Rep (formerly Tennessee Rep), the Nashville Shakespeare Festival, and others. Her Studio Tenn appearances span from the inaugural 2009 production of Our Town through 2014’s Fiddler on the Roof and Steel Magnolias.

For GYPSY, Gurley has spent her summer memorizing lines, training vocally, and studying up on the real Rose Hovick to get a deeper understanding of the woman and her time. She’s also gleaning insights from her personal life. As one of her two daughters prepares to leave for college this fall, “I’m in the middle of ‘letting go’ myself,” Gurley said, “so I can tap into that feeling of loss of control”—which Rose takes to a pathological extreme. A thorough command of GYPSY’s script plus life experience and historical research are the raw materials Gurley will bring into Logan’s rehearsal room. Logan’s collaborative directorial approach encourages actors to “take the kinds of risks that lead to discoveries,” Gurley said. “He brings a kindness and patience into the process that makes [actors] feel safe.” A fruitful rehearsal requires mutual trust, respect, and a shared goal: to reach the best possible performance–however circuitous the path may be.

“As a director, it’s a luxury to be able to say, ‘I want you to try everything,’” said Logan. “I can do that with Nan.”

“Matt knows I’ll try whatever he asks,” Gurley said. “He likes to challenge me. And we both always know when we’ve ‘found it.’” For GYPSY, that “aha!” moment could signify a Studio Tenn dream coming full circle: this time with Logan directing, Gurley shining bright in the role of a lifetime, and the rest of us, watching, awestruck—hardly believing our luck.

See Studio Tenn’s production of GYPSY live on stage in Jamison Hall at The Factory at Franklin September 17 through October 4. For tickets and additional information visit

Artistic Director Matt Logan with Nan Gurley

September 2015 | 97




by Jennifer Cole, Executive Director, Metro Nashville Arts Commission



few weeks ago marked the one-year anniversary of Michael Brown’s tragic death in Ferguson, Missouri. The interceding months have followed with more incidents in communities large and small that knit a profound story about the lack of agency people of color experienced in the most basic elements of public life. It would be easy to chalk up #blacklivesmatter and other social justice movements that have emerged focused on race and class injustice as disconnected from the Nashville arts ecosystem.

This would be a mistake. The arts have always reflected the social and political reality of our communities. Nashville, like many Southern cities, is a rapidly changing urban area. By 2040, our community will have no clear racial majority. Our neighborhoods, schools, and cultural rituals are shaped by the deepening diversity of our population. In other words, our city sits at a critical juncture in how we confront institutional race and class inequities in all places in our community, including the arts.

In our strategic plan “Crafting a Creative City,” Metro Arts identified the need to drive “equity, inclusion, and access in the arts” as one of the four strategic imperatives of our work over the next five years.

We believe that cultural organizations must be front and center in the equity discussions in communities and must also address these issues within their own artistic work and organizational structures. Why? Because the community where we create is diverse and beautiful and fundamentally changing—to survive, cultural organizations must adapt and seek to be of the community not just exist within it. Nationally, many arts funders, including the collective Grant Makers in the Arts, have resolved that arts and culture can and should be reflective of race, cultural heritage, and class. (See Other leaders like the Ford and Kresge foundations are shining a light on the need to make sure all people access the arts and all people are equally viewed as creators. Our work over the next few years will support this vision of cultural pluralism and equity through conversations, training, and investments.

Sam Dunson, Like Shooting Dreams in a Bucket, 2014, Mixed media, 8” x 8” Sam Dunson’s Like Shooting Dreams in a Bucket is part of his show Meet the Fergusons opening at Vanderbilt Divinity School this month. The exhibition title refers to the events that transpired in Ferguson, Missouri, last year. (For more on Sam’s show, see page 16.)

Our first step is to understand the reality of our own ecosystem. We have hired graduate researcher Jyoti Gupta, from Vanderbilt, to conduct a study of race and diversity in our largest cultural organizations, and we will release the report later this fall. At the same time, we launched REAL (Race Equity in Arts Leadership), a learning cohort and research partnership with the Vanderbilt Curb Center for Art, Enterprise & Public Policy. REAL will connect twenty arts leaders to a structured space for them to examine research and practice around cultural equity over the next nine months. REAL is a first step, focused on meaningful dialogue that we hope sparks insight and action within the arts community. Equity and pluralism are hard topics to confront and address. We believe artists and creators with their natural innovation should model change. This is hard work, work that starts with conversation and acknowledging our fears and our privilege. We hope it results in a more plural and dynamic arts community and Nashville. We hope you’ll join us. For more information about REAL or to apply, please visit

98 | September 2015





by Anne Henderson, Director of Education and Outreach

All activities in October will focus on the current exhibition, Ink, Silk, and Gold: Islamic Art from the Museum of Fine Arts, Boston. Through illuminated manuscripts, brocaded velvets, gilded glass, luster-painted ceramics, monumental carpets, silver inlaid metalwork, and more, Ink, Silk, and Gold takes the visitor on an enchanting journey through the history of Islamic art from the eighth century to today. The works range geographically from Spain and Morocco in the west to India and Indonesia in the east. The exhibition provides an introduction to the dazzling beauty and diversity of Islamic art and its rich traditions of arabesque forms, calligraphy, and geometric patterns. There is a special focus on the physical aspects of the objects: color, materials, shape, and technique.

Special Ink, Silk, and Gold Family Day studio activities cover the geographical diversity of the Islamic world and offer an exploration of various media. Families may be inspired to create small vessels in modeling clay that reference the ceramic works imprinted with calligraphic and geometric designs. The intricate designs of carpets and textiles from the exhibition will inspire young artists to create their own fabric work of art. Inspired by the calligraphy and decoration of manuscripts, folios, and albums, visitors may decorate their own albums. Music from the Islamic culture will be performed during the day, and there will be the presentation of an Artful Tale story, “The Garden of Roses.” This story is inspired by an enchanting Persian tale about love and sacrifice, where a woman must marry a stranger and live in a place very different from her home. But she then discovers that something wonderful and mysterious happens to her new home at nightfall. In addition, Martin ArtQuest Gallery will highlight connections to the exhibition through some special activities and the incorporation of new materials. Children 18 years of age and younger are always free at the Frist Center, but Family Days are free for the whole family! Come and join us! Family Day is sponsored by Lynn and Ken Melkus, Pinnacle Financial, AmSurg, and Nashville Parent. Free Family Day takes place at the Frist Center for the Visual Arts on Sunday, October 18, from 1–5:30 p.m. For more information, visit



Frist Center Curator Trinita Kennedy shared that this exhibition offers the Frist Center “an exciting opportunity to open doors for visitors unfamiliar with the splendor of Islamic artistic traditions, and I hope that our local Muslim community will take pride in seeing these extraordinary works on display in our galleries.”

Islamic traditions and ideas continue to inspire the creativity of artists today. “It is quite rare to see historical and contemporary Islamic art together in the same exhibition, and the fact that Ink, Silk, and Gold brings the story up to the present day is one of its many strengths,” notes Kennedy.



he upcoming Free Family Day at the Frist Center for the Visual Arts on Sunday, October 18, from 1–5:30 p.m. will highlight the art and culture of the Islamic world. Family Day is a regularly offered program for families and all visitors that explores an exhibition through a variety of interdisciplinary approaches, hands-on art-making, and engaging learning experiences. The program is designed to provide children new ways to see their world through the artworks in the exhibition by offering in-gallery discussions about works of art with docents and participating in hands-on art-making activities in the studios or Martin ArtQuest that are enriched with storytelling and musical performances.

September 2015 | 99


by Cassie Stephens, Art Teacher Johnson Elementary


hen you ask anyone about their favorite memories of summer, I’m willing to bet they will mention some sort of summer camp. A time free of rules, responsibilities, and routines; a chance to make new friends we’d otherwise never meet, the opportunity to learn new skills, a place where the pace is slow enough to allow time for exploration and reflection while fast enough to keep us entertained, educated, and on our flip-flopped toes. I always remember going home from camp completely exhausted but thoroughly inspired by my adventures.

I suppose now is the time in this article when I should lament about how it’s a total bummer that as adults, we no longer have this kind of opportunity. And I would do that if I weren’t privy to the very best summer experience that’s as close to a summer camp (okay, it’s better) as can be: Tennessee Arts Academy (TAA).




In non-summer-camp terms, Tennessee Arts Academy is a weeklong professional development opportunity, held annually in July for educators with a strong focus on the importance of the arts, held on the campus of Belmont University. Back in summe r-c a mp c hat, it ’s day s of friend-making, skill-learning, self-reflecting, and rejuvenation. The best way for me to give you the total picture is to tell you exactly what a typical day entails.


There are a handful of tracks one can take at TAA: fine arts, music, drama, or

arts leadership. After breakfast, the day begins with two hours in your chosen track. In the fine arts, that meant we were learning from the very best art educators in the country: Laura Lohmann, blogger and award-winning art teacher f rom Ohio; Jim McNeill, illustrator of several art education children’s books; Laurie Gatlin, an art teacher with an incredible approach to teaching through journaling; and Debbie Engbring, a ceramic teacher with a unique approach to teaching her craft. The crème de la crème of artists and educators. From our studio time, we experience a performance, which might include a dance troupe from Memphis or a world-renowned marimba player. After lunch we attend a TED Talk-esque chat lead by innovators in the arts. My personal favorite was Mr. Richard Sherman, famed half of the Sherman Brothers, who wrote the score for Mary Poppins along with many other Disney productions. And just when we think we can’t take any more, we return to our studios for more exploration.

Can you think of a better way for an educator to spend a week of their summer? I’ve attended Tennessee Arts Academy every summer for the last ten years of my teaching career and hope to go many, many more years. Established almost thirty years ago, it’s the only professional development opportunity of its kind in our nation. If you are an educator, I can’t encourage you enough to attend. Trust me, it will leave you as excited and exhilarated as any summer camp! For registration details and information about Tennessee Arts Academy 2016, visit

100 | September 2015


From Wiggles and Giggles to A(aaaah)rias

by DeeGee Lester

Photography by Reed Hummell


atching the faces of children in their first experience with opera is, at once, magical and inspiring. Wiggles and giggles turn to wide-eyed wonder and nearly audible gasps upon hearing the pure notes of a lyric soprano; little faces scowl at mirror images of fierce baritone villains. From soaring arias and thundering orchestrations to a delicate note held in perfect pitch or haunting voices arising from the grave, opera, once encountered, embraces the heart. Introducing this magic into the lives of children and sharing what she sees as “this uniquely accessible art form” with audiences of all ages, is the role of Anna Young, Nashville Opera’s new Director of Education and Outreach.

Mozart’s The Magic Flute

A successful singer and teacher, Young appreciates both the impact of Nashville Opera’s educational programming (serving over 600,000 children since 1996) and the crucial role of arts integration to the development of the whole child. “We know that an education rich in the arts helps students achieve higher grade point averages and higher SAT scores than those without an arts education,” she says. “Studies even suggest this kind of well-rounded education ensures that students are twice as likely to graduate from college.” Beginning with the youngest audiences, Nashville Opera will continue the tradition of its beloved touring show for elementary schools. “This year’s show, Goldie B. Locks and the Three Singing Bears teaches kids the importance of honesty and the true meaning of friendship with the beloved music of Mozart,” Young says. In addition, popular outreach programs will continue to bring Opera Out Loud! and Opera 101 to locations throughout the community. Utilizing collaborations throughout the city, including partnerships with organizations such as the Treatment and Research Institute for Autism Spectrum Disorder (TRIAD) at Vanderbilt University, and

The Wizard of Oz

Enjoying the show

Antioch High School’s Academy of Hospitality & Marketing, Nashville Opera also plans to expand opportunities for middle and high school students.

Hydrogen Jukebox by Philip Glass, Mozart’s Così fan tutte, and Strauss’s Die Fledermaus.

Educational ideas range from working with local choral classes and connecting opera to famous works of literature to “explaining the anatomy of the voice and how opera singers are able to possess ‘superhuman’ qualities by singing over an entire orchestra without amplification.” Nashville Opera’s 2015–16 fare includes Puccini’s Turandot, the contemporary opera

“We are fortunate to be in a growing and diverse city and one that loves music and art,” Young says. “The sky is the limit, and we have a vision to relate to as many people in our community as possible, enriching lives by sharing this uniquely accessible art form that we at Nashville Opera love so dearly.” For more information about programming and tickets, visit September 2015 | 101

The Digital Shakeup Dramatically Improves Accessibility

by Karen Kwarciak


was officially introduced to the Scholastic Art Competition in April 2010 when I began working at Cheekwood. On paper, it seemed very similar to other art competitions I had managed over the years. However, as I began preparing for my first ‘Scholastic’, I realized that the moving parts involved in this program were extensive! As the Middle Tennessee affiliate for this national program, Cheekwood expected around 950 pieces to be submitted to the competition. Students and teachers would log in to a very impressive Online Registration System (ORS is designed and managed by the Alliance for Young Artists and Writers in New York Cit y), then enter their information and print their registration forms. In 2010, every single work was matted to a particular dimension and hand delivered to Cheekwood. As you can imagine, the participating art teachers would expend an enormous amount of time, energy, and money to help their students compete. After all the works were delivered, the pieces were numbered 2015 American Vision Nominee Lisa Qu, and sorted by category Brentwood High School, next to her mixed-media headdress Pride to prepare for judging. Adjudication took four days and consisted of works being presented to a panel of jurors for review before pieces were given the Gold or Silver Key awards. In 2011, the Scholastic Competition went digital! Teachers were thrilled because they could upload images into ORS instead of preparing and matting every piece that they wanted to submit. Many of the teachers were already taking images of the students’ work for their portfolios, so it really helped to cut down on the workload.



Fast-forward four years, and I am happy to say that the change to digital adjudication has been a game-changer for this competition. This past year the ORS went through dramatic updates to make the system even more user friendly for students, encouraging them to feel ownership of the entries instead of relying on their art teachers to walk them through the submission process. In addition, we now give a third award, Honorable Mention, which encourages students whose work displays creative potential. All of these changes have allowed for an increase in participation both nationally and regionally, as the submissions at Cheekwood this year were close to 1,400, from 38 participating schools. While I recently stepped away from managing this program, it will always hold a place close to my heart, as I have seen so many deserving students benefit from the recognition and confidence that this competition bestows. Submissions for the 2016 Scholastic Art Competition are due Tuesday, December 15, 2015. For complete guidelines, please visit

Karen Kwarciak is an art teacher at Harding Academy. She was previously the School and Outreach Manager at Cheekwood where she ran the Middle Tennessee Scholastic Art Competition for five years.

Attendees at the 2015 Scholastic Competition Awards

102 | September 2015

NashvilleArts15.qxp_Layout 1 8/14/15 2:31 PM Page 1

g e N T l e m a N

a T H l e T e

S C H o l a r

Montgomery Bell Academy • 17 National merit Semifinalists, 13 aP National Scholars in 2014 • 100 boys per year participate in school-funded international exchanges and programs on six continents

• 22% of students receive more than $2 million in need-based financial aid • 100% of graduates are college-bound • 27 advanced Placement Courses offered

• 15 varsity sports competing at the highest level • 4 national championships in debate, including Novice and middle School Champs in 2015

Admission Preview Day Sunday, November 1 @ 2 p.m.

• Nationally-recognized art, music, and eater programs • 7:1 student-teacher ratio Montgomery Bell Academy does not discriminate on the basis of race, color, religion, national or ethnic origin, disability, sex, or age in its employment practices or in administration of its educational policies, admission policies, scholarship and financial aid programs, athletic programs, or other school-administered programs.

4001 HardiNg road • NaSHville, TN 37205

better prepared for life… like this lawyer. Support music education for all metro students.

Leon Berrios, Lawyer

Syndey Gaspard, Hillwood High School


September 2015 | 103



Anne Brown, LaVon Williams and Linda Hummel at The Arts Company, Collectors Art Night

Mollye Brown with Debra and Nealy Williams at The Arts Company, Collectors Art Night

Lyle Carbajal at CG2




Jerry Atnip and David Farmerie at The Arts Company, Collectors Art Night

Williamson County Medical Center Children’s Wing Grand Opening

Sara and Andrew Burd at Cuban Summer

Kate Wingate, Kimberly Clo, Laura Donhue, Camilla Spadafino Tomato Art Fest

Daniel Berry at The Rymer Gallery

104 | September 2015

Ann Clawson at Julia Martin Gallery


Suzanne Kessler and Robinson Regen at Frist Center Art Deco Affair

Greg and Annie Cicotte, Jonathan Pierce, Tracy Frist, Senator Bill Frist at Cuban Summer

Sharon Stewart at Zeitgeist

RoseMarie at The Rymer Gallery




SEE ART SEE ART SEE Nathan Blond with Oliver, Michelle and Marek “Bohemus” Kacki at The Arts Company

Opera Paint Along event at the Noah Liff Opera Center

James Threalkill, Susan DeMay at The Arts Company

At Tinney Contemporary

Isabel Behr, Ajani Bakari, Safiyah Bakari, Sylvie Stephenson at The Arts Company PHOTOGRAPH BY REED HUMMELL

Christine Olomo, Dr.Gina Walton, Marlon Wright, Marnique and Garrett Strickland at Frist Center Art Deco Affair

EJ Holmes, Amy Richmond at Corvidae Collective

Yenny Walker Zarama, Nancy Miles at Tinney Contemporary

Opera Paint Along event at the Noah Liff Opera Center September 2015 | 105


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September 2015 | 107

Arts Worth Watching


his month we’re highlighting two major forces in 20th-century culture. At 8 p.m. Monday and Tuesday, September 14 and 15, the two-part Walt Disney: American Experience examines the full arc of Disney’s career from animation pioneer to theme park developer, while also discussing the conflicting sides of his personality. Muppet creator Jim Henson was inspired by Disney; learn about his life and work on In Their Own Words: Jim Henson, airing Tuesday, September 15, at 7 p.m.


Art forger Mark Landis lives a largely solitary life in Mississippi, occasionally traveling around the country to deliver philanthropic donations of art to museums and other institutions. Unfortunately for those o r g a n i z a t i o n s , L a n d i s ’s donations are in fact his own clever forgeries made with Mark Landis at home, surprisingly ordinar y art showing off recent works supplies. There’s no menace in his actions, which is partly why it’s easy to root for him as he is pursued—hunted almost—by a disgruntled museum registrar in Art and Craft, airing Friday, September 25, at 9 p.m. on the POV series. It’s a winking look at the art world with a surprising and pleasant turn of events.


Cutie and the Boxer, airing Friday, September 18, at 10 p.m. on POV, is an unflinching portrait of the lives of Ushio and Noriko Shinohara. Theirs is a classic May-December art romance wherein the younger artist’s ambitions get pushed aside in service to the elder artist’s “greater” career. Ushio’s “boxing paintings” (he punches his canvases while wearing boxing gloves wrapped in paint-soaked cloths) were admired by critics but never sold well. Noriko, meanwhile, has begun a series of Ushio and Noriko Shinohara whimsical, sensual black-and-white drawings recounting their difficult forty-year marriage. Tellingly, she calls the series Cutie and Bullie. COURTESY OF RADIUS-TWC


Frank Lloyd Wright’s buildings are full of straight lines (the Guggenheim is one notable exception), quirky angles, repeated patterns, and contrasting textures that move the eye about the spaces. These elements are beautifully captured in the photographs of Pedro Guerrero, the subject of an American Masters documentary premiering Friday, September 18, at 8 p.m. Pedro E. Guerrero: A Photographer’s Journey is not only a biography of the photographer, but also an overview of the towering figures with whom he developed close professional relationships.

of a Grashow composition inspired by baroque sculptor Gian Lorenzo Bernini’s stunning marble fountains.


September on NPT is a bonanza of arts and culture programs showcasing painting, photography, and architecture.

Taliesin West by Pedro E. Guerrero. Taliesin West was architect Frank Lloyd Wright’s home

Told almost exclusively through interviews with Guerrero—with input from architecture historians and critics, photographers and artists—the film includes footage of Wright and sculptors Alexander Calder and Louise Nevelson at work. There are also examples of Guerrero’s magazine assignments (lots of mid-century interiors). Most spectacular, however, are Guerrero’s photographs of Taliesin West, Wright’s complex in the Arizona desert.

Tune in to Building England II on Globe Trekker Saturday, September 5, at 11 p.m. for a cross-country architectural tour of English history with stops in Bath, Bristol, and several sites in London.


Sculptor James Grashow’s materials are what others might use for under-the-surface armatures: chicken wire, cardboard, papier mâché. Several years ago, Grashow came across a deteriorating piece of his early work and decided to embrace its impermanence. The Cardboard Bernini, airing Friday, September 18, at 9 p.m., traces the creation

Timothy Greenfield-Sanders’ latest documentary project is Women’s List, airing Friday, September 25, at 8 p.m. on American Masters. The show features interviews with fifteen women who’ve influenced various aspects of contemporary American culture, among them artist Laurie Anderson, fashion designer Betsey Johnson, and singer-songwriter Alicia Keyes. Other interviewees are drawn from such diverse fields as law, television, business, and aviation.

If you enjoy arts programming on NPT, please show your support by going to our website,, and clicking the donate button. To watch encore presentations of many of our programs, tune in to NPT2, our secondary channel.

108 | September 2015

Weekend Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:30 12:00 12:30 1:00 1:30 2:00 3:00 3:30 4:00 4:30 5:00 6:00 6:30


am Martha Speaks Angelina Ballerina Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Sewing with Nancy Sew It All Garden Smart BBQ with Franklin Simply Ming Cook’s Country noon America’s Test Kitchen pm Joanne Weir Gets Fresh Movable Feast with Fine Cooking Martha Stewart’s Cooking School Fons & Porter’s Love of Quilting Best of Joy of Painting Painting the Town with Eric Dowdle American Woodshop Woodwright’s Shop This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side


September 2015

Nashville Public Television


am Sid the Science Kid Peg + Cat Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads Nature Washington Week with Gwen Ifill noon To the Contrary pm The McLaughlin Group Joseph Rosendo’s Travelscope Family Travel Globe Trekker California’s Gold In the Americas with David Yetman America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week

A remastered, high-definition version of the epic documentary on its 25th anniversary. Monday – Friday, September 7 – 11 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 Odd Squad Wild Kratts Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Super Why! Peg + Cat Sid the Science Kid noon Caillou pm Thomas & Friends Sesame Street Shorts The Cat in the Hat Curious George Curious George Arthur Arthur Wild Kratts Odd Squad Martha Speaks WordGirl pm PBS NewsHour

Nashville Public Television

Walt Disney: American Experience A two-part look at the innovative cartoonist, filmmaker and “imagineer.” Monday & Tuesday September 14 & 15 8:00 pm

Arthur and George on Masterpiece Martin Clunes (Doc Martin) stars as Sir Arthur Conan Doyle. Sundays beginning, September 6 7:00 pm

7:00 Antiques Roadshow Survivors. Items that have endured wars, natural disasters and more. 8:00 Walt Disney: American Experience Part 1. The iconic filmmaker’s signature character and first full-length animated movie. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Undiscovered Haiti with José Andrés Chef Andrés explores the island and meets with Bill Clinton and Chef Mario Batali.


7:00 Arthur & George on Masterpiece Part 2. Sir Arthur and Alfred Wood get a surprise. 8:00 Masterpiece Mystery! Sherlock Series III: The Sign of Three. 9:30 Vicious Stag Do. 10:00 Bluegrass Underground Earls of Leicester. 10:30 Life on the Line Last Chance. 11:00 Tavis Smiley 11:30 Scully/The World Show



7:00 Antiques Roadshow Myrtle Beach, Hour Three. 8:00 Civil War The Cause – 1861. The war’s key figures and central issues. 10:00 BBC World News 10:30 Last of Summer Wine Who’s That Looking Sideways at Nelly? 11:00 Ken Kesey The author of acclaimed novels One Flew Over the Cuckoo’s Nest (1962) and Sometimes a Great Notion (1964).


7:00 Arthur & George on Masterpiece Part 1. Martin Clunes (Doc Martin) as Arthur Conan Doyle. 8:00 Masterpiece Mystery! Sherlock Series III: The Empty Hearse. 9:30 Vicious Ballroom. 10:00 Bluegrass Underground Leftover Salmon. 10:30 Life on the Line Patients fight to survive. 11:00 Tavis Smiley 11:30 Scully/The World Show


Althea: American Masters Friday, September 4 8:00 pm


Primetime Evening Schedule

September 2015 1


7:00 In Their Own Words Jim Henson. Henson’s career from early commercials and TV shows to fantasy films. 8:00 Walt Disney: American Experience Part 2. Disney continues to amaze with Cinderella, Mary Poppins and Disneyland. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Hava Nagila (The Movie) The crossover appeal of the infectious song.


7:00 In Their Own Words Muhammad Ali. Ali’s path from Louisville gym to boxing success, controversy and inspirational re-emergence. 8:00 Civil War A Very Bloody Affair – 1862/Forever Free – 1862. The birth of modern warfare, the Battle of Shiloh and the Emancipation Proclamation. 10:30 Last of Summer Wine Will Randolph Make a Good Impression? 11:00 BBC World News 11:30 ReadyTennessee

7:00 Big Blue Live A live co-production with the BBC includes interviews with scientists and views of marine life. 8:00 In Their Own Words Queen Elizabeth II. 9:00 Frontline Putin’s Way. 10:00 Big Blue Live A live look at migrating marine life continues. 11:00 BBC World News 11:30 Mount Washington Cog Railway: Climbing to the Clouds Creating the railway.



16 7:00 Nature The Sagebrush Sea. An ecosystem stretching across 11 Western states. 8:00 NOVA Dawn of Humanity. A NOVA/National Geographic look at a fossil discovery that changes human origins theories. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Sam Smith/Future Islands.


7:00 Nature Wolverine: Chasing the Phantom. The largest and least-known member of the weasel family. 8:00 Civil War Simply Murder – 1863/ The Universe of Battle – 1863. The battles of Fredericksburg, Vicksburg and Gettysburg. The first black troops; Gettysburg Address. 11:00 BBC World News 11:30 Austin City Limits The Black Keys/J. Roddy Walston & The Business.

7:00 Big Blue Live The final night of live broadcasts from Monterey Bay, Calif. 8:00 NOVA Bigger Than T. rex. A NOVA/National Geographic special about Spinosaurus, a 53-footlong dinosaur. 9:00 Earth A New Wild Oceans. 10:00 Big Blue Live The final live segment. 11:00 BBC World News 11:30 Austin City Limits The Avett Brothers/Nickel Creek.



17 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doctor Blake Mysteries Game of Champions. A quiz show contestant faces a grisly elimination. 9:00 Pioneers of Television Local Kids TV Shows. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 18 Voices Sing Kol Nidre The most sacred prayer in Judaism begins Yom Kippur, the holiest day.


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Civil War Valley of the Shadow of Death – 1864/Most Hallowed Ground – 1864. Grant and Lee; Sherman’s Atlanta campaign. The 1864 presidetial campaign; Arlington National Cemetery. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Shiloh: The Devil’s Own Day An NPT Civil War 150 documentary.

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doctor Blake Mysteries Bedlam. Did a patient murder a nurse in a psychiatric hospital? 9:00 Pioneers of Television Crime Dramas. The stars of Dragnet, Columbo, Police Woman and more. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Frank Kearns: American Correspondent Cold War intrigue.



18 7:00 Nature’s Miracle Babies Tasmanian Devils, koalas. 8:00 American Masters Pedro E. Guerrero: A Photographer’s Journey. The Mexican-American photographer worked with Frank Lloyd Wright and artists. 9:00 The Cardboard Bernini 10:00 POV Cutie and the Boxer. 11:30 Infinity Hall Live Sadie and the Hotheads.

11 7:00 Nature’s Miracle Babies Amur leopards, African elephants and a Barbary lion. 8:00 Civil War War Is All Hell – 1865/ The Better Angels of Our Nature – 1865. Sherman’s March to the Sea; Lee’s surrender. Lincoln’s assassination. 10:30 Last of Summer Wine Happy Camping. 11:00 BBC World News 11:30 Infinity Hall Live America.

7:00 Nature’s Miracle Babies A zoologist meets giant pandas. 8:00 American Masters Althea. Two-time Wimbledon and U.S. Open champion Althea Gibson, the first African American to play in those tournaments. 9:30 ReadyTennessee TEMA’s Emergency Preparedness tips. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Front and Center Warren Haynes.




7:00 Lawrence Welk Show School Days. 8:00 Keeping Appearances 8:30 Great British Baking Show Bread. English muffins and unusual loaves. 9:30 The Forsyte Saga Episode 2. Soames hires an architect with a connection to the Forsytes; Old Jolyon contacts his estranged son. 10:30 Film School Shorts Express Yourself. 11:00 Globe Trekker Globe Trekker Food Hour: Sicily.


7:00 Lawrence Welk Show Occupations. 8:00 Keeping Appearances 8:30 Great British Baking Show Cakes. A baker’s dozen of contestants kick off Season 2. 9:30 The Forsyte Saga Episode 1. Soames Forsyte (Damian Lewis) meets beautiful Irene Heron (Gina McKee). 10:30 Film School Shorts It’s in the Blood. 11:00 Globe Trekker Central Japan.

7:00 Lawrence Welk Show Hawaii. 8:00 Keeping Appearances 8:30 Ed Sullivan’s Rock and Roll Classics Performances from 1963 to 1968, including the Rolling Stones, the Beatles’ American TV debut, Sly and the Family Stone and the Doors. 10:30 Film School Shorts Responsible Parties. 11:00 Globe Trekker Building England II. An architectural tour of English history.


Nashville Public Television


7:00 Home Fires on Masterpiece Episode 1. The women of an English village in WWII. 8:00 Indian Summers on Masterpiece Part 2. Aafrin struggles. 9:00 The Widower Part 1. 10:00 Bluegrass Underground Bela Fleck & Abigail Washburn. 10:30 Life on the Line 11:00 Tavis Smiley 11:30 Scully/The World Show


7:00 Secrets of Westminster 8:00 Indian Summers on Masterpiece Part 1. The British arrive in northern India in 1932 for a season of romance and intrigue. 9:30 Vicious Wedding. An unexpected guest. 10:00 Bluegrass Underground Lee Ann Womack. 10:30 Life on the Line The Match. 11:00 Tavis Smiley 11:30 Scully/The World Show


7:00 Arthur & George on Masterpiece Part 3. Conclusion. 8:00 Masterpiece Mystery! Sherlock Series III: His Last Vow. Master blackmailer Charles Augustus Magnussen. 9:30 Vicious Flatmates. 10:00 Bluegrass Underground Amos Lee. 10:30 Life on the Line The Aftermath. 11:00 Tavis Smiley 11:30 Scully/The World Show


In Their Own Words Muhammad Ali Tuesday, September 8 7:00 pm


7:00 Nature Nature’s Miracle Orphans: Wild Lessons. A sloth, young kangaroo and baby fruit bat. 8:00 E.O. Wilson – of Ants and Men The founder of sociobiology, world authority on insects and Pulitzer Prize-winning writer on human nature. 10:00 BBC World News 10:30 Last of Summer Wine The Black Widow. 11:00 Austin City Limits Vampire Weekend/Grizzly Bear.


7:00 Nature Nature’s Miracle Orphans: Second Chances. Koalas, wallabies and sloths. 8:00 NOVA Arctic Ghost Ship. 9:00 Return to the Wild The Chris McCandless Story. The young hiker whose mysterious death in Alaska was the subject of a book and movie. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Foo Fighters.


Indian Summers Sundays beginning September 27 8:00 pm


7:00 To Be Announced 9:00 POV Ai Weiwei: The Fake Case. The Chinese artist has become a voice for free speech and human rights. 10:00 BBC World News 10:30 Last of Summer Wine Stop that Bath. 11:00 Infinity Hall Live Toad the Wet Sprocket.


7:00 Nature’s Miracle Babies A rare parrot, wallaby and lemur. 8:00 Women’s List: American Masters Fifteen women who define contemporary American culture. 9:00 POV Art and Craft. Art forger Mark Landis donates his expert copies to museums. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Infinity Hall Live Women of Song.

Gorongosa Park Tuesdays beginning September 22 7:00 pm

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doctor Blake Mysteries Someone’s Son, Someone’s Daughter. A hospital’s only female doctor is found hanged. 9:00 Pioneers of Television Primetime Soaps. Favorites Dallas, Dynasty and Peyton Place. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 On Home Ground: Life After Service Veterans of Iraq and Afghanistan.



7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doctor Blake Mysteries All That Glitters. A prospector is found dead after striking gold. 9:00 Pioneers of Television Funny Ladies. Lucille Ball, Carol Burnett and other comedy legends. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Independent Lens Love Free or Die. New Hampshire’s Gene Robinson, the first openly gay bishop.

Visit for complete 24-hour schedules for NPT and NPT2


7:00 Antiques Roadshow Seattle, Hour One. 8:00 Antiques Roadshow Albuquerque, Hour Two. 9:00 I’ll Have What Phil’s Having Italy. A home-cooked meal at Chef Nancy Silverton’s Umbrian home. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Restoration Neon Neon signs from their first usage in 1920s Las Vegas to the present day.

7:00 Gorongosa Park – Rebirth of Paradise New Blood/Hidden Worlds. Reintroducing zebra and eland to the park; a large crocodile population. 9:00 Frontline My Brother’s Bomber, Part 1. A filmmaker looks for the bombers of Pan Am 103. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Media Coverage and Female Athletes Trends and biases in sports reporting.


7:00 Antiques Roadshow Rapid City, Hour Three. 8:00 Antiques Roadshow Albuquerque, Hour One. 9:00 I’ll Have What Phil’s Having Tokyo. Everybody Loves Raymond creator Producer Phil Rosenthal enjoys ramen and sushi. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Great Museums Sound Tracks: The Rock & Roll Hall of Fame & Museum. The I.M. Peidesigned museum.


7:00 Gorongosa Park – Rebirth of Paradise Lion Mystery/Elephant Whisperer. Why the park’s lions aren’t surviving; elephant behavior. 9:00 On Two Fronts: Latinos & Vietnam Two siblings on opposite sides of the Vietnam War: one a POW; the other a protestor. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Raptors! Kings of the Sky The intersection of humans and raptors.


7:00 Antiques Roadshow Rapid City, Hour One. 8:00 Antiques Roadshow Rapid City, Hour Two. 9:00 POV Don’t Tell Anyone. Angy Rivera, the country’s only advice columnist for undocumented youth, shares her story. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Next Door Neighbors: Hablamos Español An NPT original documentary about Nashville’s Hispanic community.

Nashville Public Television


7:00 Lawrence Welk Show Fashions and Hits Through The Years. 8:00 Keeping Appearances 8:30 Great British Baking Show Pies and Tarts. 9:30 The Forsyte Saga Episode 4. Soames attacks Irene; Old Jolyon reunites his family. 10:30 In the Americas with David Yetman Yakima: The Quest for Hops. Craft beer brewing. 11:00 Globe Trekker West Texas.


7:00 Lawrence Welk Show Big City, U.S.A. 8:00 Keeping Appearances 8:30 Great British Baking Show Desserts. A baking burglary. 9:30 The Forsyte Saga Episode 3. Irene falls in love with architect Bosinney; Soames sues over cost overruns. 10:30 In the Americas with David Yetman Reefs, Ruins and Revivals: Belize’s Melting Pot. 11:00 Globe Trekker Eastern Canada.

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Beyond Words

Historic Downtown The night time is the Franklin, TN right time . . . PHOTOGRAPH BY ANTHONY SCARLATI

by Marshall Chapman

& The Factory

Friday, September 4, 6-9 p.m.

You’ve heard the expression “the right tool for the right job,” right? Well, something happened the other night that not only brought that expression to mind but inspired an addendum—the right tool for the right job at the right time.

Here’s what happened. I was standing in my basement ready to change the filter in my home water-purifying system. But I had the wrong filter. So I ventured out into the heat, humidity, and rush-hour traffic in search of the right one. After three stops at three different hardware stores in three different zip codes­—success! Once back home, I was ready to have this little project behind me. First, I had to turn the water off on either side of the filter container, thus rerouting the water so I wouldn’t get hosed when the container got loosened. As a precaution, I placed a bucket on the floor to catch any water that might gurgle out when I engaged the pressure-valve button. (Releasing this button facilitates the loosening of the container.) Next, I grabbed the cylinder-shaped filter container with both hands, but when I tried twisting it open, it wouldn’t budge. No matter how much I leaned into it, grunted, and cursed, there was no movement. So I called my older sister on my cell. “Try wearing yellow rubber gloves,” she suggested. But even that didn’t help. At this point, I’m thinking I need a big wrench, but the biggest wrench I had was a plumber’s wrench, and that wasn’t big enough. Then I thought, I need Danny!

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Danny is the unofficial mayor of my neighborhood. He and his wife, Kathy, have lived across the street from me for over eighteen years. Danny’s basement is like one big toolbox. Actually, it is one big toolbox. It was getting late when I decided to walk across the street to see if, by chance, Danny was still up. As I stepped off the curb into darkness, an amazing thing happened. I literally ran right smack dab into Danny and Kathy who were returning home from a party. When I explained my predicament, Danny didn’t hesitate. “I’ll be right back,” he said. Next thing I know, he’s showing me this thingamagidget I later learned was an automotive multi-purpose strap wrench. “I’ve had this thing for years,” he said. “I knew it’d come in handy one day.” When Danny applied the automotive multi-purpose strap wrench to my water-filter container, the results were immediate and impressive. And in that moment, I came to a great realization: Better than sex . . . better than religion . . . better than drugs and rock & roll . . . is having the right tool for the right job at the right time.

September 2015 | 113

My Favorite Painting

T om C ollins

Ron York, Blue Trees, Acrylic on Masonite, 16” x 20”

Music Publisher/Record Producer



aving collected art for many years, I have found that most paintings I buy are based on colors and their relationship to one another. Being in the recording studio over time, I began to see certain colors in relation to the notes of the music; this is called synesthesia. Although colors are not present every time I hear sounds, they have appeared many times when I was producing a record. Colors have always lifted me and made my world happier. With a song you like what you hear and you feel it, and with a painting it’s like what you see and also feel. Collecting over the years, I have bought many Ron York paintings based primarily on my reaction to the colors.

114 | September 2015

ARTIST BIO: RON YORK As a self-taught artist, York has found success with his colorful, whimsical acrylic works on canvas and board. His art can be found in the collections of Pinnacle Bank, the Nashville City Club, Belmont University, First Baptist Church (Nashville), Avenue Bank, Volunteer Bank, Tom Collins Productions, Le Bonheur Children’s Hospital (Memphis), celebrities Kelly Clarkson, Vince Gill, and Keb’ Mo’ to name a few, plus other private collections here and abroad. Although a fervent painter, York has also owned and directed galleries since 1990. His York & Friends Fine Art currently represents forty-five local and regional artists. The main gallery is in the Belle Meade area of Nashville with an additional art venue at Market Central in Memphis.