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Nashvillian of the Year Award Dr. Ming Wang, Harvard & MIT (MD, magna cum laude); PhD (laser physics) Presented by Kiwanis Club International, Nashville, TN The Kiwanis Club of Nashville is proud to announce Dr. Ming Wang, director of Wang Vision 3D Cataract and LASIK Center, world-renowned laser eye surgeon, author, and philanthropist as the 35th recipient of their coveted Nashvillian of the Year Award for 2015. Dr. Wang receives the award by exemplifying the qualities of Outstanding Nashvillian of the Year and the Kiwanis International Vision. Dr. Wang worked diligently to make the world a better place, when he established the Wang Foundation, helping patients from over 40 states in the U.S. and 55 countries, with sight restoration surgeries performed free-of-charge. “It is difficult to know anyone who works as hard giving back to the community and changing the lives of children as much as Dr. Ming Wang,” said Kenny Markanich, president, Kiwanis Club of Nashville. “He has helped countless children through the charitable outreach of his foundation, giving free surgeries to repair their vision.” Dr. Wang actively contributes to the Nashville community as the founding president of the Tennessee Chinese Chamber of Commerce and as an honorary president of the Tennessee American-Chinese Chamber of Commerce. The mission of these two chambers is to help educate Tennessee businesses about China, helping Tennessee to increase its export to China. He is also a co-founder of Tennessee Immigrant and Minority Business Group, an organization that provides support to the diverse cultural and ethnic businesses in our community. For the past 35 years, the 100-year-old civic club has bestowed the annual ac-
colade upon an individual who has gone beyond the expected scope of their abilities for the betterment and benefit of the Nashville community. The selection committee was spearheaded by George H. Armistead, III, one of the three original architects of the award (along with the late Gillespie Buchannan and the late Ralph Brunson). Past winners of note include Martha Ingram, Roy Acuff, Jack Massey, Phil Bredesen, Vince Gill, Tim Corbin, Mike Curb, Frank Wycheck, Darrell Waltrip and Mayor Karl Dean. A program saluting Dr. Wang was held at the Patron Club, Friday, July 29th at 11:30am. Dr. Wang was presented with
a commemorative plaque along a commissioned caricature.
About Kiwanis: Kiwanis Club of Nashville is a local chapter of Kiwanis International. This global organization of more than 660,000 members is dedicated to serving the children of the world. It annually raises more than US$100 million and dedicates more than 18.5 million volunteer hours to strengthen communities and serve children. Members of every age attend regular meetings, experience fellowship, raise funds for various causes and participate in service projects that help their communities. Dr. Wang can be reached at: firstname.lastname@example.org Wang Vision Cataract & Lasik Center 1801 West End Ave, Ste 1150, Nashville, TN 37203 615-321-8881 www.WangCataractLASIK.com
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Columns HUNTER ARMISTEAD | FYEye MARSHALL CHAPMAN | Beyond Words ERICA CICCARONE | Open Spaces LINDA DYER | Appraise It RACHAEL MCCAMPBELL | And So It Goes JOSEPH E. MORGAN | Sounding Off ANNE POPE | Tennessee Roundup JIM REYLAND | Theatre Correspondent MARK W. SCALA | As I See It JUSTIN STOKES | Film Review
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, or by mail for $6.45 a copy. Email: All email addresses consist of the employeeâ€™s first name followed by @nashvillearts.com; to reach contributing writers, email info@ nashvillearts.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615-383-0278 to order by phone with your credit card number.
THE RYMER GALLERY
PRISMATIC EFFECT by Carly Witmer January 2017
The Rymer Gallery / 233 Fifth Avenue / Nashville 37219 / 615.752.6030 / www.therymergallery.com
5 T H AV E N U E O F T H E A R T S 7 DOWNTOWN NASHVILLE nashvillearts.com
On the Cover Richard Feaster
January 2017 18
Untitled 2015, Mixed media on Mylar, 30” x 25” See page 54.
Esmé Dailey The 10-Year-Old Puts in 12-Hour Days to Prepare for Her Inaugural Art Show
Notes from the Road – Miami Art Week Red Arrow Gallery and David Lusk Gallery at Miami Project 5
Alex Lockwood Awful Things Brings Light to Horror
Galerie Tangerine Anne Daigh Opens New Gallery in the Gulch
Intersection Martin Luther King Commemorated in Music
The Art Event at Lipscomb Academy Featured Artist S.A. Habib Heads Impressive Roster
Cultivated Style At the 2017 Antiques & Garden Show
The Wonderful, Wacky World of Werner Wildner An Important Collection of the Nashville Painter’s Work
Ron York Kept in the Dark
Carol Gove Shared Differences
Ke Francis A Road More Traveled
Frozen in Time Richard Feaster’s Psych Pastorale
Travis Commeau A Glitch in Time
Hamlett Dobbins I Will Have to Tell You Everything
Sex, Lies, and Contemporary Opera Nashville Opera Presents the World Premiere of Three Way at TPAC
The Bookmark Hot Books and Cool Reads
Arts & Business Council
Open Spaces by Erica Ciccarone
Sounding Off by Joseph E. Morgan
And So It Goes by Rachael McCampbell
Art Smart by Rebecca Pierce
94 FYEye by Hunter Armistead 96 NPT 100 Appraise It by Linda Dyer 101 Beyond Words by Marshall Chapman 102 My Favorite Painting
WOMEN OF ABsTRACTION Martica Griffin . Jeanie Gooden . Mary Long . Anna Jaap . Mildred Jarrett
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Notes from the Road – Miami Art Week Red Arrow Gallery and David Lusk Gallery at Miami Project 5
David Lusk Gallery at Miami Project 5
by Sara Lee Burd
Red Arrow Gallery at Miami Project 5
to exposure for his artists, Lusk notes that fairs “help put David Lusk Gallery in a certain conversation, nationally.”
he first week of December each year art lovers and wealthy patrons from around the world travel to Miami for art week. This year’s art week boasted 24 art fairs featuring some of the most collectible art for sale in the world. With the largest fair, Art Basel, featuring 267 galleries and reporting 77,000 visitors over five days in 2015, it’s clear that this is quite an opportunity for galleries to fade or shine in this competitive environment of fine art dealing.
While Nashville artists are drawing attention in these forums, it’s a question as to whether or not Nashville could support a fine art fair for the Southeast. AMP produces six fairs across the country, Art on Paper NY, Art Market San Francisco, Art Market Hamptons, Seattle Art Fair, Texas Contemporary, and Miami Project. A successful venture in Nashville would require establishing a reputation for financial profit and participation in visual art. Shaw relates, “I think Nashville, as a city with a quickly growing infrastructure and population, could support an art fair from the perspective of attendance. However, I think Nashville’s art collector base is in its infancy and will either thrive with a fair that brings multiple galleries from across the country/internationally or crumble and get lost in the already established perspective/narrative: We Are Music City.” Lusk agrees that the collector base in Nashville is not active enough to sustain a fair, but he sees possibility because “people want to come to this city, for many reasons, and adding an art fair could be a big enough incentive for people to commit to the trip here.”
With 2016 marking the fifth year, Art Market Productions (AMP) opened its boutique-style fair Miami Project. Set within an industrial yet intimate space segmented into twenty cubic white booths, Nashville’s David Lusk Gallery and Red Arrow Gallery radiated amongst other exhibitors, including Rebecca Hossack Art Gallery (London), ACA Galleries (New York), Nil Gallery (Paris), Hashimoto Contemporary (San Francisco), Walker Waugh (Brooklyn), and Zevitas Marcus (Los Angeles). The fair offers a trip to visual arts around the world, and AMP curators are charged with vetting galleries to maintain consistent quality. While sales are the primary goal of a fair, galleries also build esteem by showing with other prominent galleries.
Miami Project 5 partnered with arts exhibition and collecting website Artsy to provide online access to artwork from participating galleries. This reach into the digital world still seems like an addition to the fairs, but the shifting collector bases are regularly purchasing outside of brick-and-mortar galleries. With this we can expect to see more galleries hitting the road to build markets for their artists and seeking unique collaborations to tap into online sales. The fair circuit and rise of online sales reconfigure the traditional gallery structure and hierarchy of art based on where it was made. Detractors note that these trends disrupt quality engagement with art, but we should consider that they could be exactly what Nashville needs to continue raising its prominence as an emerging visual art city. na
Katie Shaw, whose Red Arrow Gallery debuted in Miami this year, made her first stop in the fair circuit in Houston with AMP’s Texas Contemporary. Shaw says she mobilizes her gallery because “I need to support my business and my artist roster and cannot yet count on or wait for the collector base in Nashville to get me there.” Highlighting a variety of media and styles, Shaw represented Dana Oldfather, Alic Daniel, Daniel Holland, Shawn Hall, Tara Walters, Olivia Hill, Jodi Hays, McKay Otto, Mary Mooney, and Herb Williams at Miami Project 5. David Lusk Gallery owner David Lusk has participated in fairs in Miami, New York City, Texas, Los Angeles, San Francisco, and Seattle. This year at Miami Project 5, Lusk showed work by Kit Reuther, Rob Matthews, Maysey Craddock, William Eggleston, Greely Myatt, and Tad Lauritzen-Wright. In addition
For more information, visit www.theredarrowgallery.com, www.davidluskgallery.com, and www.miami-project.com. 10
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Join us for our Grand Opening
January 19 • 6 - 9 PM as we celebrate
HENRY RASMUSSEN The Beckomberga Mask Series
A very strange thing happened at our offices this month. Indulge me for a minute and I’ll explain. Everything was going smoothly right up to press day. The articles had been proofed and all the adverts approved. The cover had been picked and we were ready to begin sending digital files to our printer. That’s when the phone rang. One of our contributors called to tell us that printing the cover would be a big mistake. When we pushed further the caller told us that in their opinion the image on the cover bordered on obscenity. How can that be? Here at the office we had all looked at the cover many times and no one had seen anything even remotely questionable. So we hurriedly pulled up the image on our screens and started asking other people in our building if they saw anything objectionable. And wouldn’t you know it, yes they did and very quickly pointed it out to us. All that I and others at the magazine saw was a fabulous abstract painting; still others saw the unimaginable. So erring on the side of caution we changed the cover at the last minute, something we have never done before. It also started a very large conversation about art, censorship, and our role in that equation. The conversation is still going on. The offending image is being printed in the magazine, just not on the cover. I am not going to tell you which image it is or who the artist is. You can make up your own mind and have your own conversation on the matter. For my part I’m just happy that we are talking about art rather than politics. We wish you all a thunderous new year. Paul Polycarpou | Publisher
Segmented Man, 2016, Acrylic, 49 x 31
900 South Street, Suite 104 Nashville, Tennessee 37203 All inquiries may be directed to Annette Griffin (615) 454-4103 x 200
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Black Trees, 48” x 36”
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Alex Lockwood’s Awful Things Brings Light to Horror Zeitgeist
January 7–February 25
t first glance, the figures seem joyous. Their bright colors, bulbous bodies, and simplicity of form make them candidates for a Saturday morning cartoon. Then, a closer look, and the threads of soft pink and purple are traced to their guts, the plastic components of their faces are turned in horror, their makeshift bodies bent in pain. Alex Lockwood’s upcoming show Awful Things, featuring his latest sculptural work at Zeitgeist, toes the line between horror and merriment, and not delicately. “The color and the materials are all really innocent and childlike and approachable, and then what is happening to these pieces is the opposite,” Lockwood explains. “I hope people enjoy that dichotomy, this combination of surface color and joy and then the horror of the situation.” Lockwood typically works with reclaimed materials, often in bright hues, creating organic forms and abstract patterns from uniformly manufactured components. His “shakers,” hosted at OZ Arts in 2015, are plastic bottle caps and lids strung together into color-coordinated nests that come to life when a rope is pulled. For years he has folded losing lottery tickets into jaggedly fluid shells and snakes. In the Batter’s Box, 2016, Mixed media, 77” x 85” x 82”
The figures in Awful Things, each about 12 feet tall, are made from some of the same materials as Lockwood’s recent mini golf installation at First Tennessee Park: trashcans, cups, bowls, and the visibility marker balls used to signal electric lines to aircraft. But these latest creations are not merely an astute use of material. They are a reflection of Lockwood’s experience. “My most accessible work has been more abstract, very labor intensive, using one material repetitively,” he says. “With all the other work that I’ve done, I’ll start with a material and see where that goes and then try to bring myself into it. This just feels like, more than any other show, that I’m starting from a personal, clear experience or notion.” The seemingly senseless death of a partner in 2008 forced Lockwood to struggle with mortality and he turned to horror movies, finding an avenue where he could confront death and a new source of inspiration. That chance to acknowledge the inescapable reality motivated him to create Awful Things, allowing visitors to explore their fates with a brightly colored, if macabre, spin. “While birth and youth are celebrated, death and decay aren’t,” Lockwood says. “Not only are they not celebrated, they’re not even talked about. When I went through what I did with my partner, nobody knew how to talk about it … I think that acknowledging and discussing death is important for the people who are dying and the people who are going to die, and that’s everybody.” na
Under My Skin, 2016, Mixed media, 12” x 8” x 10”
Awful Things will be at Zeitgeist from January 7 to February 25. For more information, please visit www.zeitgeist-art.com. To see more of Lockwood’s art, visit www.alockwood.com.
January Crawl Guide Garden by Carlyle Wolfe and I Will Have to Tell You Everything by Hamlett Dobbins (see page 61).
Jim Jobe, The Arts Company
Jeanie Gooden, Tinney Contemporary
First Saturday Art Crawl Downtown
Saturday, January 7, from 6 until 9 p.m. The Arts Company is unveiling Of Things to Come 2017, work by artists slated to show in the gallery during 2017, including Alex Beard, Edward Belbusti, William Buffett, Jan Chenoweth, Mandy Rogers Horton, Jim Jobe, Laura Nugent, Tiffany Ownbey, John Petrey, Brad Sells, Daryl Thetford, Ke Francis (see page 46) and more. Tinney Contemporary is hosting a reception for Women of Abstraction featuring work by Martica Griffin, Jeanie Gooden, Mary Long, Anna Jaap, and Mildred Jarrett. The Rymer Gallery is showing Prismatic Effect by Carly Witmer. The Browsing Room Gallery is exhibiting Bricks & Faith, photographs taken by four Watkins students and their teacher that document the historic building of the Downtown Presbyterian Church. In the historic arcade, Corvidae Collective Gallery is presenting art teacher and artist Alison Logan’s Meditations in which universal emotions such as loneliness, grief, and contentment are juxtaposed against dream-like alternate realities. At Open Gallery, see The 1978 Frontier Classic, a performance piece from Ryan Gillam and Jake Himovitz that seeks to identify people and their patterns from the Yukon to the gridiron. In the historic arcade, WAG is featuring Counterfeit by Upreyl Mitchell and Sophia Stephenson. For those who wish to start crawling early, “O” Gallery is open from noon until 3 p.m. showcasing art by Emily Newman, Jamie Wheeler, Raymond Gregory, and jewelry by Expressionz. At Hatch Show Print’s Haley Gallery, enjoy the third annual Moonlightin’, a special exhibit featuring works created by the print shop’s designers while off the clock.
Arts & Music @ Wedgewood/Houston
Lakesha Moore, East Side Project Space
Saturday, January 7, from 6 until 9 p.m Channel to Channel is showing Now This by David Wolff, Director of Fluorescent Gallery in Knoxville. CG2 GALLERY is featuring New Works by Mark Mulroney and The Adopted Child by Andrea Heimer. Zeitgeist is opening Psych Pastorale: New Paintings by Richard Feaster (see page 54) and Awful Things by Alex Lockwood (see page 16). Julia Martin Gallery is unveiling Noah Saterstrom’s exhibit SHUBUTA and other stories, which includes works by Samuel Dunson. East Side Project Space is presenting Awakening, a group exhibition including new works from Lakesha Moore, Louisa Glenn, Amy Dean, and more. COOP Gallery is hosting an opening reception for Various Positions, multidisciplinary work by three of COOP’S newest members Michael Dickins, Mary Addison Hackett, and K.J. Schumacher. David Lusk Gallery opening
Noah Saterstrom, Julia Martin Gallery
East Side Art Stumble
Saturday, January 14, from 6 until 10 p.m. Red Arrow Gallery is opening Young Professionals, an exhibition by Daniel Holland that is the culmination of a year-long experiment involving paint, chemical reactions, textures, weathering, and playfulness. Southern Grist Brewery is celebrating their one-year anniversary with a show of work by artist Alicia Maynard, which includes Daniel Holland, Red Arrow Gallery three paintings of the three SGB founders and their wives. On display in the Nashville Community Darkroom Gallery is resident artist Robin Willis’s solo show Evolution. Deadline Today, Nashville’s pop-up film photography scramble, is also slated for January 14.
Jefferson Street Art Crawl
Saturday, January 28, from 6 until 9 p.m. Woodcuts Gallery is exhibiting the work of Greg Ridley, including a number of pieces on loan from collectors of his work. Art History Class will be located in the historic McJempsy Center. Downstairs the “Soul Cinema Room” will loop 45 minutes of footage from Solomon Sir Jones, who documented all AfricanAmerican communities from Tulsa, Mound Bayou, and even Nashville Greg Ridley, Woodcuts in the 1920s. Upstairs will be a “Community Canvas” led by a local artist who will help crawlers contribute to the large canvas or to create a painting of their own. The Garden Brunch Cafe, One Drop Ink, Harambe House, Jefferson Street Sound, Alkebu lan Images and Green Fleet are also participating. Look for updates at Facebook.com/jsactn. Immediately following the crawl, Art History Class will host the second installment of “The Parlour” series, which is dedicated to sharing stories and historical moments in a Harlem Renaissance salon setting.
by Gracie Pratt
Anne Daigh Opens New Gallery in the Gulch
Henry Rasmussen, Wildwood Vulcan (Arsonist), 2010, Acrylic, 73” x 61”
Henry Rasmussen, Twice Stricken Truth Seeker, 2010, Acrylic, 73” x 49”
alerie Tangerine lives up to its name. This brand new Nashville gallery is like that first bite of fruit: juicy, flavorful, slightly surprising. But it is also a little more than expected. Gallery owner Anne Daigh is pushing the envelope with a stunning juxtaposition—a light, airy setting in which to view sensitive, somber art. Daigh moved to Nashville nearly 15 years ago to join the landscape architecture firm Page Duke. In the fall of 2010, she founded her own firm, Anne Daigh Landscape Architect, LLC. The professional and the personal have blurred together beautifully in the creation of a new space in the Gulch that offers room for both work and art.
Henry Rasmussen, Comfort Woman (Soldier’s Consolation), 2010, Acrylic, 55” x 55”
Henry Rasmussen, Scarred Adulteress (Acid Justice, Bangladesh), 2015, Acrylic, 61” x 49”
The connection between landscape architecture and art is seamless in Daigh’s mind. “Art is the basis of what we do. We play with three-dimensional space. We paint on the land.” It’s a connection that she feels deeply and intuitively. For Daigh, art is a personal passion. Raised in a family steeped in appreciation of art, she has always enjoyed the act of curating and collecting. Galerie Tangerine could be thought of as an extension of Daigh’s personal collection of art, as she has handpicked each piece of the first exhibition with great care and mindfulness. The choice is made with a gut instinct, the same strong sense that inspired the collection lacing the walls of her own home. Her resolve to have her favorite works of art in her home led her to Henry Rasmussen, the first artist that will be featured at Galerie Tangerine. Galerie Tangerine is defined by unlikely pairings. The most evident is the fresh gallery space contrasted with the heavy, sensitive work of Rasmussen. Rasmussen’s The Beckomberga Mask Series is deeply conscientious. Inspired by a mask that was developed as a patient restraint in the 1930s, the series focuses on individuals victimized in “a world held hostage by crime and violence.” The series shines a spotlight on characters who suffered during a variety of situations throughout the 20th century. The most striking characteristic of Rasmussen’s portraits is not what is covered by the mask but what is uncovered—the brilliant, luminous eyes and a mouth left speechless. The paintings, as the individuals depicted, are vulnerable and shocking.
The most striking characteristic of Rasmussen’s portraits is not what is covered by the mask but what is uncovered—the brilliant, luminous eyes and a mouth left speechless.
The historical roots of this series make his paintings particularly compelling, yet the awareness of suffering does not diminish the beauty of his work. This was Rasmussen’s hope. “While I always strive to send a message, what I first and foremost attempt to do is to create an homage to the art and act of painting.” With the work of Henry Rasmussen kicking off the gallery’s launch, Galerie Tangerine brings a unique flavor to the Nashville art community. “I hope Galerie Tangerine will push the limits,” Daigh says. “I want to get people talking.”
Galerie Tangerine will host an opening reception on Thursday, January 19, from 6 to 9 p.m. Henry Rasmussen will give an artist talk at the gallery on February 1 at 6 p.m., and his work will be featured from January 19 through April 14. Gallery hours are 9 a.m. to 5 p.m. Galerie Tangerine is located in the Gulch at 900 South Street, Suite 104. For more information, visit www.galerietangerine.com.
Photograph by Leslee Mitchell
Both whimsical and serious, delectable and dangerous, the contemporary gallery promises an astonishing yet delightful experience. na
There Comes a Time When Silence Is a Betrayal by Joseph E. Morgan
2016 MET Summer Academy attendees rehearsing a new piece for their final recital being led by MET artistic staffer Kimberly McLemore
ashville has a long history of recognizing the Martin Luther King holiday. Vanderbilt and Belmont Universities sponsor decades-old commemorative events; there is the famous annual Interdenominational Minister’s March, the Morning Youth Program at Jefferson Street Baptist Church, the Nashville Symphony’s “Let Freedom Sing” concert, and more. New this year, Kelly Corcoran, director of the contemporary ensemble Intersection, is partnering with Fisk University and Margaret Campbelle-Holman, director of the Choral Arts Link, to lead a community celebration titled Upon These Shoulders. The concert, which will be held in the Fisk Memorial Chapel on January 12, with a preconcert lecture in the Carl Van Vechten Art Gallery, will include Intersection, the Met Singers, Fisk students, Fisk Jubilee Singers, Diaspora, and other community performers. The goal of the concert is to “recognize that while Dr. King was indeed the face of a great social protest, many people ‘orchestrated’ strategies, meetings, sought resources, and the like. And that these unsung heroes, worthy of celebration, were indeed the wind beneath Dr. King’s wings.” The program, made up of music, spoken word, and song, includes compositions by John W. Work, III, 12 Moods by Jessie Montgomery, Hip Hop Studies and Etudes by Daniel Bernard Roumain, Zion’s Walls by Dave Ragland, and more. Maestra Corcoran said she chose these pieces because she wants “this concert to celebrate the many leaders of the civil rights movement, honor the deep history of Fisk University and our city, and to build community and equity through music.” Margaret Campbelle-Holman and the MET Singers, a local youth choir, are a Nashville institution. When asked about how the relationship developed, Corcoran had some very
exciting news to share: “I’ve known Margaret [MET Singers] for almost ten years, and we have worked together often in many capacities. We share the core value that music is a powerful tool to bring people together and explore the layers of our world. And, we share a commitment to honoring and celebrating the work of civil rights leaders and to dialogue about how that work is relevant today. Music is our means. We both have developed relationships through the years with faculty and staff at Fisk University. We have made a commitment to a multi-year partnership between Fisk, Choral Arts Link, and Intersection where we have planned multiple concerts over the course of the next two years, ultimately including a commission from Jonathan Bailey Holland for next season. The January event came to be when we realized that, as the city grows, there is ample room to add in a true community celebration in music of the civil rights movement in our city and the rich tradition of places like Fisk.” In our contemporary society, which, according to the pundits, is now as divided along racial lines as it has been in 50 years, it is easy for our cultural institutions to commit the betrayal of silence. However, a new, community-based collaboration and commission is a remarkably appropriate and powerful celebration of Martin Luther King’s life. Further, the concert could become a new tradition, as Corcoran states, “We are receiving a lot of community excitement surrounding this project, and there certainly is fertile artistic ground to cover for years to come. We hope the January concert and this collaboration will be an annual event.” There is hope indeed. na Upon These Shoulders takes place on January 12, 2017, at Fisk Memorial Chapel. For more information, visit intersectionmusic.org or www.choralartslink.org/met-singers. 20
Photograph by Joshua Randle
Photograph by Jiyang Chen
Martin Luther King Commemorated in Music
February 3-5, 2017 Featured Artist S.A. Habib
More Than 60 Artists Featuring Fine Art, Jewelry, Pottery and More. Free Admission · All Proceeds Benefit Lipscomb Academy · www.LipscombArtEvent.com @arteventatlipscomb
Thank you to our Sponsors
The Art Event at Lipscomb Academy
by Catherine Randall
Featured Artist S.A. Habib Heads Impressive Roster February 3–5
S.A. Habib, Table with a View, Oil on canvas, 11” x 14”
ith the damp Nashville winter taking hold, the 13th annual Art Event at Lipscomb Academy is a perfect remedy to shake off that cabin fever. With over 60 participating artists, the largest showcase in the fundraiser’s history, this three-day juried art show and silent auction will have something for every taste and style—from the traditional to the contemporary—including plenty of paintings, pottery, jewelry, and fine art for purchase or perusal. “The committee wants there to be a good balance of art, styles, and mediums,” says artist liaison Melanie Neal. This year’s featured artist is S.A. Habib. His modern impressionist landscape paintings echo the masters’ bold strokes and muted color pallet. Trees are a favorite subject matter: forests stand majestic; a mighty
Jairo Prado, Homage to Orr, Acrylic on canvas, 58” x 61"
oak is featured alone and regal. Habib plays with perspective as well. Up Light offers the viewer the feeling of lying on one’s back gazing at the sun through the canopy of branches and sugar maple stars. “I will also have plenty of my better-known European vignettes on display at Lipscomb,” Habib says. At this Art Event, new artists launching their careers are presented beside the established. Artist Jairo Prado is best known for his mosaic work. “I’m pleased to be included alongside many talented artists. I’m presenting a body of paintings based on the spiritual realm emphasizing color, shape, and movement,” Prado says. Those new to Lipscomb are delighted to have been chosen out of the nearly 100 applicants. “This is my first time to participate in the Lipscomb Academy Art Event, and I am very excited to connect with the school and their art community,” Hannah Lane says. “I will bring a variety of my mixed-media work, including my signature Crowd Series, Artichoke Collection, and new works on paper." The Art Event is not just a school fundraiser; there is a focus on arts education as well. It is this experiential element that inspires the artists to return year after year. Participating artists are asked to donate a piece to the silent auction, and those proceeds go directly to the Fine Arts programs at Lipscomb Academy. Student art is also up for auction. “The kids are proud to see their work among the professionals,” Neal says. In addition to being able to exhibit their work, the show itself provides the students real exposure to professional artists. “In many ways, Lipscomb University has been the training ground for many of the areas best known artists. Michael Shane Neal, one of America’s most respected portrait painters, serves as an unofficial, permanent artist-in-residence at Lipscomb and has enormous influence on the arts community in this area," Habib explains. Neal happens to be married to Melanie Neal, current event chair.
Michael Poindexter, Red Weeds, Oil, 12” x 9”
The week of the event the featured artist holds student workshops. This idea to offer an educational series was the vision of Michael Shane Neal. “It’s the kind of experience my husband wishes he had as a child—to see someone making a living at art could have brought him to the profession sooner,” Neal says. Other notable artists in the show are: contemporary American impressionist Michael Poindexter, Carol Carmichael, Melanie Morris, Seth Tummins, newcomer Omari Booker, and, ever the crowd pleaser, Enrique Pupo-Walker. This unique Art Event is a must-see adventure. na The Art Event at Lipscomb Academy takes place February 3–5 in the Lipscomb Academy gymnasium. For more information about participating artists and event hours, please visit www.lipscombartevent.com.
Hannah Lane, Cotton Field, Acrylic and pastel on canvas, 30” x 40”
Cultivated Style At the 2017 Antiques & Garden Show Music City Center
by Donna Glassford
escaping the clutches of Hades, god of the underworld. Only this year I have money to burn. Oh joy! So with over 150 antiques and horticultural dealers, four magnificent gardens, and a potpourri of vendors with dazzling wares to select from, I needed guidance. I explained to co-chairs Linda Graham and Mary Smith that an eon ago I worked at Cheekwood and became fascinated with Bryant Fleming, the architect and landscape architect of Cheekwood. He was the original guru on “Cultivated Style,” this year’s theme. My mission is to procure some unusual objets d’art to adorn my miniature estate, a little condo with courtyard on a toney Green Hills street, in “Flemingesque” fashion. The co-chairs kindly provided me with the names of the antiques dealers and garden vendors that fit my criteria and divulged some inside dirt on what to expect from the garden designers. They encouraged me to check out the renowned celebrity designer and keynote speaker Nate Berkus’s top fabulous finds from the show floor.
Caroline Faison Antiques
The chairs suggested I pre-shop and look at the A&G vendors’ websites, which are listed at www.antiquesandgardenshow.com. A few fantastic pieces I have identified are a surreal piece of driftwood that looks like a wooden hand—because it’s weird; a blue-andwhite 18th Century French faience wine cooler from Nevers—no home should be without one; a large oval gate table, for when I have underestimated the holiday crowd for dinner, and a turn-ofthe-century French carved-stone fountain—to perpetuate the spirit of Bryant Fleming. Looking for horticultural inspiration to spruce up my urban courtyard, I also plan to experience the show gardens, which never disappoint. This year’s impressive list of garden designers includes: Scott Dismukes collaborating with interior designer Tory Fitzgibbons, Phillipe Chadwick, Cheekwood’s Patrick Larkin and Sarah Lowe, and Troy Rhone collaborating with Lee and Will Greathouse. Troy Rhone Garden
ast December when my husband asked me what I wanted for Christmas, I replied with a simple “Antiques & Garden Show carte blanche.” The Antiques & Garden show is perhaps my favorite Nashville happening. From February 3 to 5 attendees entering the event grounds will be jettisoned from winter into spring. It’s a nonstop flight. Personally, I feel like the goddess Persephone
Since its inception in 1989, the event has become renowned as one of the premier antiques and garden shows in the country. Proceeds raised benefit Cheekwood Botanical Gardens and Museum of Art and the many charities supported by the Economic Club of Nashville (ECON). Tickets go fast to hear the all-star lineup of speakers from the world of home and garden who will share their expertise on Cultivated Style or to attend one of the many parties or special events. See you there! na For more information on events and tickets, visit www.antiquesandgardenshow.com.
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The Wonderful, Wacky World of Werner Wildner An Important Collection of the Nashville Painter’s Work Stanford Fine Art
Dance Macabre, 1976, Oil on board, 39” x 27”
January 6–February 28
by Margaret F.M. Walker
his month, Stanford Fine Art, a gallery focusing mostly on impressionist and historical art, is featuring a pop-up exhibition titled The Wonderful, Wacky World of Werner Wildner. His work, aesthetically, takes a turn in a different direction, but this established Nashville gallery is excited to pay tribute to one of the city’s own and a truly skilled and innovative artist. Werner Wildner was born in 1925 in Germany. He immigrated to the United States with his family as a child, first landing in Detroit and soon after moving to Nashville. Though a naturalized American—he even served in the army in WWII—Wildner’s deep German roots are apparent in his phantasmagorical art, honed with the precision of a Dürer woodcut and imbued with imagery one would expect to find in the depths of the Black Forest or a Brothers Grimm fairy tale. When it comes to the grounding in European masters, though, Wildner is most often—and appropriately—compared to Hieronymus Bosch. He even considered himself a modern-day incarnation of the late artist. An exhibition of Wildner’s work at Cheekwood in 1975 included a piece titled Hieronymus – SelfPortrait, now in the collection of Ben Caldwell. A study for this piece is on view at the Stanford Fine Art exhibition. Hieronymus Bosch was a mannerist painter in the Netherlands in the late 15th and early 16th centuries. His paintings are suffused with a dark whimsy, revealing humankind’s deep-seated desires, vices, and virtues. The Garden of Earthly Delights, in Madrid’s Prado Museum, is Bosch’s best-known masterpiece.
Untitled, Oil on Masonite, 7” x 6”
This is a world of owls and toadstools, dancing gnomes, mischievous elves, and the occasional musical skeleton.
In his early career, Werner Wildner was less interested in the depravity of mankind than Bosch was, and his art is filled with meditations on the fantasy of the forest and its creatures, both real and imaginative. This is a world of owls and toadstools, dancing gnomes, mischievous elves, and the occasional musical skeleton. More often than not, his works are small and detailed portraits of these intriguing creatures; it is quite rare to see them situated in their natural element (whatever form that might in theory take). One of the most iconic, majestic, and mysterious animals of the forest is the owl, and this bird plays a prominent role in the art of Werner Wildner. Many of the artworks in the exhibition are graphite and charcoal drawings, detailed grayscale studies
Death of Humpty Dumpty, 1989, Oil on board, 17” x 13”
Untitled, 1986, Oil on board, 18” x 13”
their same size. In one dynamic and whimsical drawing, a skinny elf, complete with pointy ears and a beak-like nose, dances for a mouse. Though seemingly aged, carrying a cane, the two creatures lock eyes and the elf demonstrates a kick worthy of the Rockettes and so hearty his shoe goes flying. The anatomy and agility are entirely fictional and yet plausible. In a similarly inventive manner, there are at least two works with tree-men befitting a Tolkien novel. Both are scenes of benevolent coexistence and even friendship between the personified giant of the forest and the birds that flutter about from one to the other. In one of these drawings, we see the tree-man’s face in profile and his Pinocchio-like branch nose. What would be a grotesque creature is softened by its wide smile and the four tiny birds perched atop the branch.
Ceremony, 1975, Ink and wash on illustration board, 28” x 16”
highlighted by the faintest white gouache. There are two beautiful, full-color owls in the exhibit, though. In one, the bird is perched on a textured ledge, looking askance contentedly. The pattern of its feathers plays against the irregular surface on which it is perched. Tacked just below in trompe l’oeil fashion is a slip of paper bearing the artist’s signature. Incorporating his name into the picture so fully is a sign of how personal this artwork was for Wildner and the degree to which it is born of his own imagination. Another owl stands, wearing a red nightcap. Its wide yellow eyes stare directly at us, framed by a white collar of feathers and the curve of the red hat. This addition of clothing and the lack of a perch make the owl’s stare, somehow, more human and more piercing.
Werner Wildner is a household name for the old Nashville, if not yet for the new. In the later years of his life, he became a recluse, his work evidenced in increasing preoccupation with the grotesque and eventually trickling off entirely in production. There was a long article on Wildner’s life and work published in The Tennessean in 1995 and an exhibition of his work at the Vanderbilt Fine Arts Gallery in 1999, before his passing in 2004. Stan Mabry, owner of Stanford Fine Art, speaks about how delighted he is to recognize this superb draftsman and artist with an exhibit in 2017. He says that “I still look at his work, and it is very original. Though Werner Wildner is now deceased, his work continues to resonate. He was a part of Nashville’s art scene since 1962 and is truly part of the city’s artistic fabric.” Mabry said that he will also have Wildner’s work in Stanford Fine Art’s booth at the annual Antiques & Garden Show. na
In the intricate, imaginary world of Werner Wildner there are new laws of physics and anatomy. He clearly enjoyed playing with the theoretical physical limitations of gnomes and goblins. Most frequently, they are engaged in smoking or some task while balancing atop a ball. Other times, their lopsided figures play leapfrog or sprint through the forest toting mushrooms
The Wonderful, Wacky World of Werner Wildner is on view at Stanford Fine Art, January 6 to February 28. For more information, visit www.stanfordfineart.net.
BNA EXPRESS PARK PARK SMART. PARK AT THE AIRPORT.
KEPT IN THE DARK a memoir of family secrets, forgiveness and healing by debut author
J. RONALD M. YORK
A NEW WAY TO VALE T.
NEW YEAR. NEW YOU.
NEW BNA PARKING. Visit flynashville.com for a
$2 OFF PER DAY COUPON good through April 30.
Launch Party & Author Talk Tuesday, January 24 6:30 p.m. Parnassus Books Hillsboro Plaza Shopping Center 3900 Hillsboro Pike #14
Background painting of Ron York’s mother by Ken Kinsley
had no idea what lay ahead of him as he started reading through the over 200 letters that his father sent from his prison cell to Ron’s mother back in the mid 50s. For years, the letters laid untouched up in the dusty attic of Ron’s West Meade home, that is until he found the courage to read them and confront the truth they held head on. His new book, Kept in the Dark, explores that journey and reveals all.
Photograph by Rory White
by J. Ronald M. York
eople often use the word “reinvent” when heading into a new direction, especially creatively. I don’t view adding “author” to my resume as a reinvention but more of an extension of where I’ve been headed all along. For more than 25 years I have been known as a gallery owner and artist. Before that, I was thought of as a Christmas store owner and interior designer. Over the last couple of years, musician/composer has been added to the mix, and yet I can see the progression and how one led to another. My parents were loving and supportive, and our life together might have been viewed as the all-American family. For the most part, it was for me. But there was a past that I did not know about, a secret kept from me although my family and many close friends always knew. However, I truly believe that my parents wanted me one day to know and to process this newfound knowledge however I could—realizing there was not a right or wrong way to do so. A box containing over 200 letters exchanged between my parents during a sixmonth period in the mid 1950s was left for me. It had moved with us from Miami to Chattanooga to three homes in Nashville. There were newspaper clippings, photos, and cards of encouragement included that pertained to the horrific event that divided our family and caused us to leave our Florida home. Without the contents of this box, I would have never suspected the turmoil my parents faced. And turning 3 years old during this time, I have no memories of it to haunt me.
Ron York with his mother, Joyce Broadway York
The discovery of this box happened over 16 years ago when I was preparing our family home for an estate sale after both parents had passed. I glanced inside, saw a small portion of evidence, and chose to wait until I could find the strength to go through everything. I actually waited 15 years before a movie caused me to face everything this past January. I know if I had confronted it earlier there might have been a few people left that could have given me insight to the events. And yet, by waiting until now, I realize there is no one left that could be hurt by sharing the story. I lived in a dark place emotionally for a couple of months after reading everything until I was finally able to distance myself and view the story as an outsider looking in. It still was difficult to read these letters and imagine everything my parents endured as well as to read my mother’s writings about me. There were several friends that stood by us and others that chose to distance themselves. But as I read, researched, and struggled to find out as much as possible, I knew this was a story that needed to be told. I also knew something my parents never did: I was connected to the story in ways they would have never imagined. na J. Ronald M. York is the author of Kept in the Dark, a memoir about family secrets, forgiveness, and healing. The book will be released on January 24, 2017. At 6:30 that evening Parnassus Books will host a launch party including a book signing and talk by York.
Ron York with his father, Robert “Bob” York
19th and 20th Century American and European Paintings and Sculpture
The Wonderful Wacky World of Werner Wildner
6608A Highway 100 • Nashville, TN 37205 34• 615.352.5050 • www.stanfordfineart.com nashvillearts.com
HISTORY EMBR ACING A RT
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Photography and Words by John Partipilo
Homelessness, D.B. Todd and Buchanan St.
Art and Light, 2016, Broadway and 9th Ave.
For 35 years, as a photojournalist and storyteller, Iâ€™ve turned my lens on people ranging from Hispanic gangs and homeless children to the war in Iraq and images of Cuba.
With art I always take chances. I aim to tell stories in new ways, always challenging myself and my creativity.
Reflections in Plastic, 9th and Woodland St.
Shelby Park, 2016
What I found was a way to tell stories with line, shape, form, color, and space to create harmony, movement, and balance in my photographs. I also think about photography as if I paint with light. When I see light that resonates with my creative process I get emotional, and those feelings draw me towards making the photograph.
Music, 2016, 10th St. and Main St.
For more about John Partipilo visit johnpartipilo.com
I found an excitement and passion from telling stories with abstraction.
Earth and Sky, 2016, Charlotte Ave. and 34th Ave.
Pedestrian Bridge, 2016
Crushed, 2016, PSC Metals 2nd Ave. N.
My approach to Abstract Nashville was no different. I trust my eye and react to what appears in front of me. I experiment. I break the rules and look for a new way to see the reality around me.
Grown Up, 2016, Mixed media collage on canvas, 40” x 30”
by Sara Lee Burd
Shared Differences Cumberland Gallery
January 21 through March 4
hat reminds me of . . .” is a phrase Carol Gove hopes to hear at her exhibitions. Her art is often inspired by her own reflections, and yet the materials she includes are general enough to serve as reference points for all viewers. She encourages people to consider their own memories associated with objects like handwritten notes, botanical prints, blank sheet music, etc., but Gove layers paint and collage materials to obscure allusions. She leaves room for viewers to fill in the blanks with their own associations. Each viewer’s unique background and relationship with the materials, colors, textures, and lines shapes the significance of each artwork.
I evaluate artwork on three key factors: technical skill, uniqueness of vision, and on a visceral level, honesty. —Carol Stein, Cumberland Gallery
As an abstract expressionist artist, Gove seeks to elicit an immediate response. Her aesthetic follows in the lineage of the post-WWII New York artists such as Lee Krasner, Robert Motherwell, and Willem de Kooning who sought to make a new art that’s both cerebral, emotional, and revealing of the artist’s true identity. The foundational artists were loosely connected, but the general thread that binds these artists is their commitment to gestural application of paint and mastery of formal elements used to create expressive compositions. Gove’s art is striking when viewed from far away, but considering her work up close also provides insight into her motivations and memories. Process is key for abstract expressionist artists who relish time with their canvases as a means to explore their own relationship with the medium. For example, observing texture in her work reveals more than a haphazard decision; it is a sensitive presentation of how and why the art was made. Gove delights in the process of abstract expressionism, but also the meaning derived from assembling found objects into her work. Collage became part of the fine art vocabulary in the West during the early 20th century through Pablo Picasso and Georges Braque. These artists began with the belief that combining painting and cut-out images allowed a new way of looking at both media, while
Carol Gove and her painting muse Osiris
Navigate, 2016, Mixed media collage on canvas, 40â€? x 30â€?
Driven, 2016, Mixed media collage on canvas, 48” x 36”
also connecting with viewers through recognizable references to the everyday world.
daily experiences to find the perfect material to communicate her vision. As Gove explains, “It’s that search with collage that I really love. If you go into my studio you can find boxes and boxes of source materials.”
The incorporation of collage elements allows Gove to create visual and expressive conversations that go beyond what she could make with just paint. She explains, “It’s exciting to me the immediacy collage can give you. You can be painting gesturally on a canvas, and deciding if you like the opacity of the paint or the drips or what your next choice will be, but when you find a piece of collage and adhere it to the painting, it changes it so much and immediately.” Many objects she incorporates into her work are personal items collected from friends, family members, and her own writing, but she also takes time to search at antique stores, online, and during her
Like many aspects of Gove’s art, the titles have multiple levels of meaning. Sometimes the title relates to how the artwork looks, but sometimes it is not apparent; it’s more of a personal caption. In Driven, for example, the painting feels intense. The gestural marks, dramatic colors, and the collage elements all pull the viewer’s attention to one place or another. As Grove notes, “The title relates to the motion your eye takes when moving through the piece or across the specific materials incorporated.”
Full Turn relates to the way the viewer’s eyes pass across the work, but it also provides a clue to this work’s personal significance. Gove presents a whirlwind of energy on the canvas. Curved lines are constructed with layers of cutout designs on paper that are connected with pencil marks, paint, and colors combined to create a spinning motion toward the center of the artwork. The formal elements of the composition suggest forces of nature and emotion that cause a complete revolution. The collaged images of a sideways train and scraps of handwritten notes suggest perpetual change, something Gove knows affects people throughout life. The exhibition title, Carol Gove: Shared Differences, indicates the artist’s way of making art and the way viewers encounter her art. To Grove, “It relates to my use of materials that belonged to other people or other time periods, sharing their stories about their past and incorporating them in a different way, with my own voice and expression.” This will be the first time Gove’s art will be featured in Nashville. A few small collage works were shown during Cumberland Gallery’s yearly Small Packages exhibition, but this is a new opportunity to see her large paintings. Gallery owner Carol Stein invited Gove to have an exhibition of her own at the gallery because as she says “her work is interesting and compelling. I evaluate artwork on three key factors: technical skill, uniqueness of vision, and on a visceral level, honesty.” That Gove’s art meets Stein’s stringent and particular qualifications means we can expect this show to provide a highquality experience with contemporary abstract expressionist art. na Carol Gove: Shared Differences opens with a reception on January 21 from 6 to 8 p.m. The show remains on view through March 4. For more information, please visit www.cumberlandgallery.com. Full Turn, 2016, Mixed media collage on canvas, 40” x 40”
Expedition, 2016, Mixed media collage on canvas, 24” x 24”
Spring, 2016, Mixed media collage on panel, 24” x 24”
Ragnar Kjartansson The Visitors
Through February 12, 2017
A nine-screen immersive musical video experience. “One of the most celebrated performance artists anywhere” – Hilarie M. Sheets
919 BROADWAY, DOWNTOWN NASHVILLE
The New York Times
fristcenter.org | #RagnarAtTheFrist
Organized by the Frist Center for the Visual Arts. On loan from the Gund Gallery at Kenyon College, The Solomon R. Guggenheim Museum, and Institute of Contemporary Art, Boston. Gift of Mr. and Mrs. Graham Gund.
The Frist Center for the Visual Arts is supported in part by
Ragnar Kjartansson. The Visitors, 2012. Nine-channel video projection, 64 minutes. Photos: Elísabet Davids. Courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik
The Arts Company
by Karen Parr-Moody
he paintings and woodcuts of Ke Francis can be simultaneously naïve and haunting, reminding one of the range of Mexican folk artists with their topics teetering from workaday life—Diego Rivera’s hearty peasant women rolling out tortillas—to heartbreak, such as the deep symbolism with which Frida Kahlo depicted her personal tragedies. Then there is the macabre, including the eerie beauty of Juan Soriano’s painting The Dead Girl and the gruesome energy found in Francisco Goitia’s paintings of Mexican Revolution battlefield scenes.
Photograph by Allen Clark
A Road More Traveled
Two Rafts with Monkey, 2016, Acrylic, 44” x 60”
of Art, graduating from the Cleveland Art Institute in 1967 with an MFA, specializing in sculpture.
Altogether, Francis’s work communicates a similar mélange of emotions and dark moods, along with the tradition of storytelling that Mexican folk artists, as well as Southern folk artists, have long possessed. This will be boldly on view at The Arts Company this month.
After university, Francis studied with the esteemed American painter and teacher Henry Hensche, then moved back to his studio in Tupelo. For the next 26 years, he worked successfully as an artist, showing nationally and internationally. His work could then be seen in museum exhibits and found in galleries in San Francisco, New Orleans, Atlanta, Washington, D.C., and Kansas City. (His works are still found in the collections of more than two dozen libraries, museums, and universities.) He also won many prestigious grants.
Francis grew up in Tupelo, Mississippi’s post-WWII culture of the South, which still held in its grasp folk art’s text-based verbal culture. This art informed Francis, who didn’t visit a museum until he was in his late teens. “The sense of the primitive, the folk art, to me these are strongly communicative pieces with narrative intent,” Francis says. “And they are often works in which technique is not as important as content. I certainly come from that side of the equation: narrative, less interested in technical facility, though I think I’m a fine craftsman.” Francis feels, rather, that the takeaway the viewer should have is one of intense and powerful emotion.
One of his beloved pursuits is that of printmaking—he owns so many presses it takes seven trucks to ship them. This love was also why he took a hiatus from fine art from 1996 to 2012 to work at the University of Central Florida—he was brought in as the director of Flying Horse Editions, a collaborative research studio that trains the next generation of printmakers.
Francis began his education as a student of aerospace engineering at Mississippi State, but soon discovered he wanted to draw more than the wings of jets or missiles. He then studied art at Memphis State University and Memphis College
Today, Francis no longer creates large sculptures. (“That’s a young man’s game,” he explains). But he is involved with an array of other artistic disciplines, including writing short stories
Burial of Red Clay Poet III, 2015, Acrylic, 48” x 48”
Either you produce your own obstacles and overcome them by your own mistakes and idiotic behavior, or you survive other people’s obstacles that they put before you. 48 nashvillearts.com
Three-Legged Pig and Buzzard, 2016, Acrylic, 30” x 40”
Medusa Memory, 2014, Watercolor and engraving, 41” x 51”
and poetry and making elaborate books. His printmaking operation in Tupelo, Hoopsnake Press, has become the hub of an art scene that includes a handful of his former students. He names various artistic influences—the German painter Max Beckmann is a key one (like Francis, Beckmann was also a printmaker, sculptor, and writer). And anyone who views Francis’s Hanging Garden Monument II during The Arts Company exhibit will easily see the influence of Paul Gauguin.
Hanging Garden Monument II, 2016, Acrylic, 72” x 45”
And they contain that dark eeriness that seeps out of every one of Francis’s works.
“I’m a well-educated, well-traveled Southerner, so when I pass over someone’s territory during my personal aesthetic search, I usually recognize whose space I’m passing over,” Francis says of the obvious similarities. “And Gauguin is an interesting character in a lot of senses.”
“I believe in survivability and I believe in the power of the human spirit to overcome obstacles,” he says. “But man, we keep putting them out there, the obstacles. And that’s the human condition: Either you produce your own obstacles and overcome them by your own mistakes and idiotic behavior, or you survive other people’s obstacles that they put before you.
Francis also deeply enjoys writing and says that the dark sense of humor found in his work can be attributed to his admiration of Harold Pinter plays. In his painting Two Rafts with Monkey creepy creatures are confined in an oceanic expanse by flimsy wooden rafts. They remind Francis of Pinter’s zany plays that feature a group of people who are isolated in various ways. He likens the rafts to a small stage and the animals to characters involved in a nonverbal narrative situation. The works contain an implied narrative as well as the chance for the viewer to make up his or her own story.
“But I’m basically optimistic that the human condition will remain the same, and humans will survive it and come out smarter on the other end.” na Ke Francis’s work will be featured this month in The Arts Company’s exhibit Of Things to Come. The artist will have a solo show at The Arts Company in October 2017. For more information, visit www.theartscompany.com. To see more of Francis’s work, visit www.hoopsnakepress.com and www.thecarongallery.com.
On The Auction Block Sculptures, Paintings, and More Winter Case Antiques Auction
January 21 in Knoxville
The Watering Detail is one of two original works by Carroll Cloar (1913–1993). (A drawing will also be offered.) Estimate $20,000–$25,000
orn the child of former slaves in 1874, Nashville sculptor William Edmondson never received the recognition he deserved in his lifetime. Sure, he was the first African-American artist to have a solo show at the Museum of Modern Art. But his remarkably expressive limestone sculptures rarely earned him any money. As is often the case, Edmondson’s work found both an appreciative audience and a lucrative market following his death in 1951. Not surprisingly, his limestone sculpture of The Nursing Supervisor is expected to fetch anywhere from $80,000 to $100,000 when it goes to bid at the Winter Case Antiques Auction on January 21. This single-day, nearly 1,000-lot auction will include stone and wood carvings, paintings, and Southern and American furniture. Important paintings will include The Watering Detail by Carroll Cloar, a 20th-century Arkansas-born artist who was known for creating poetic images of childhood in the South. His painting of children watering a garden has an estimated auction value of $20,000 to $25,000.
The Nursing Supervisor, an exhibited sculpture by William Edmondson (1874–1951), heads up the art offerings in the January 21 auction. Estimate $80,000–$100,000
Tennessee-born Joseph Delaney (1904–1991) painted Around Henry Street, a depiction of a New York neighborhood known for its racial diversity, in 1979. Estimate $18,000–$22,000
Early-20th-century artist Morgan Stinemetz’s works rarely come on the market, so his landscape of a rural neighborhood seems like a bargain at an estimated $1,000. Tennessee-born artist Joseph Delaney’s Around Henry Street depicts a culturally diverse New York City neighborhood around 1979. The twin towers of the former World Trade Center stand like ghosts in the background of this piece, which is valued at $18,000 to $22,000. The complete catalog for the auction, with full descriptions, price estimates, and photographs of items, in the order in which they will be sold, can be viewed online at www.caseantiques.com. The auction will take place at Case’s gallery in the Cherokee Mills Building, 2240 Sutherland Avenue in Knoxville, on Saturday, January 21, at 9 a.m. EST. Bidders may participate in person, absentee, online, or by phone, and purchased items may be delivered to the company’s Nashville office. na A preview will take place on Friday, January 20, from noon to 6 p.m. EST or by appointment. For more information or to consign objects for a future auction, call the gallery in Knoxville at 865-558-3033 or the company’s Nashville office at 615-812-6096 or email email@example.com.
THE COLLECTIONS OF DR. AND MRS. BENJAMIN CALDWELL & CHARLES AND ANN WELLS OF NASHVILLE, FOLK ART FROM THE REGIONAL ARTS CENTER OF CANNON COUNTY, TN, AND FINE SOUTHERN ESTATES
Mayme Freeman, exhib. Appalachian Exhibition
Bronze Sculpture Collection, incl. S. Yourievitch
William Edmondson, Caldwell Collection
Beauford Delaney Mixed Media
Carroll Cloar, The Watering Detail
Joseph Delaney, “Henry Street” Hans Hoffman
Andre Julien Prina
S.L. Jones, Finster
Fred Green Carpenter
Helen LaFrance Antique Maps and Books Early TN Pottery
MLK/Tim Lewis Estate Jewelry
Tennessee Federal Furniture, Published and Exhibited
Snuff Bottle Collection
Sterling, inc. Kirk Repousse Pattern Goblets Emerald/Diamond Patek Philippe
LIVE AUCTION SATURDAY, JAN. 21st, 8 AM CST AT OUR KNOXVILLE GALLERY PREVIEW FRIDAY, JAN. 20th, 11AM to 5PM CST.
Bid in person, online or by phone. Full catalog at www.caseantiques.com
Knoxville Gallery: (865) 558-3033 2240 Sutherland Ave., Knoxville 37919 Nashville Office: (615) 812-6096 2021 Richard Jones Rd. #105C Nashville, TN 37215
18% buyers premium for cash, check/certified funds. Credit cards also accepted. Delivery to Nashville available. TNGL #5157
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Frozen in Time
by Megan Kelley
Richard Feaster’s Psych Pastorale Zeitgeist
January 7 through February 25
easter’s largest works breathe heavily against the wall, their subtle shifts and tones creating an airy but demanding intensity. Their quiet shifts of color—often found within the collaged droplets or looming up out of the spray-painted fogs—push forward like an exhale from the otherwise monochromatic silvers, greys, and whites. They form the backbone of Psych Pastorale, a new body of work exploring a long sequence of making and the poetics of mark, where even the smaller, more intimate pieces balance both the visual drama and the quiet, tense accumulation of a glacier. As some of his largest paintings to date, Feaster’s choice to expand his canvas also changed his investigation of the work. The increased scale and his method of applying mists of colors required the artist to move his work outside. “It was a new environment, with new conversations. I’m taking photos of the work, and there are these cast shadows, this new dimensionality.” Though Feaster’s work has always blurred the figure-ground relationship—the shift of layers and flat splashes both deepen the ground and flatten it, challenging the audience’s engagement with pictorial space—the change in scale continues Feaster’s explorations of the process itself and its effects on the painting’s constructed environment. Starting with a blank slate, Feaster pours solvent onto the canvas and immediately begins to engage the surface with spray paint. The wet-on-wet method allows Feaster to draw intention into the work through stencil and shape, but also opens the work into what the material demands. The solvent acts to grab and spread the paints, creating masses, mists, and organic effects. “It’s almost a photographic process,” similar to that of darkroom development, “where these spaces are organically created. It’s a balance, treading a very fine line.” The careful navigation between intuition and accident creates a vast field that then works as framework for adding additional elements to the piece.
Gathering of Promises, 2016, Mixed media on canvas, 42” x 32”
Flowers in the Rain, 2016, Enamel, Mylar and oil on canvas, 40” x 30” 55 nashvillearts.com
The Idle Race, 2016, Spray paint, acrylic and Mylar on canvas, 36” x 30”
If you consider the history of abstract expressionism as a dictionary, then these marks exist as a kind of language.The marks themselves haven’t really changed. Even after all these years, a drip is still a drip, a stroke is still a stroke.
Ice in the Sun, 2016, Enamel and oil on canvas, 40” x 30”
Feaster rarely works directly on the canvas after this point. Most additions are done off site through a series of pouring oil, enamel, and ink onto Mylar, creating a visual lexicon he can then pull from in order to resolve the image. The marks are spontaneously generated and created outside of any context related to a particular canvas, in order to explore them in their purest, most articulate forms. “If you consider the history of abstract expressionism as a dictionary, then these marks exist as a kind of language,” Feaster explains. “The marks themselves haven’t really changed. Even after all these years, a drip is still a drip, a stroke is still a stroke.”
Tools—a digital audio program—to isolate songs into different elements in order to fine tune their manipulated composition. Feaster “samples” these visual notes and recombines their phrases into the image; the elements then continue the drying process, affected by the gravity and material around them. The Mylar acts as both a surface and a sheath for light, and the glinting metallic paint sags into new bodies pulled by weight and tension. The light is caught, pulling the fields of open space and their massed edifices firmly into the realm of the dimensional object, even as the work shimmers and skirts with the environment in which it exists and references. Difficult to experience through mere reproductions, the canvases in life
Feaster instead sees the poetry of painting as happening when the artist explores “recombining these marks in different ways.” On the Mylar, ink dries, enamel contracts into wrinkled spaces, and paint hardens into protective skins that encase the still-wet material inside. Once the new shapes are ready, what began as accident becomes deliberation. Feaster cuts them out and collages them into the prepared canvases, puzzling through their placement without altering their original forms. It’s a process similar to his past in the music industry, using Pro
become dynamic explorations not only of the material itself, but of the labor, time, and physicality of the studio process. The result is a work that not only allows Feaster to direct the viewer’s experience through dominant elements and guiding lines, but to allow the elements to speak for themselves as the accumulation of time evidence, forming a complex and interwoven dialogue. As a last construct, their titles reference song titles that evoke memory of place and natural features, adding a conceptual layering of “association on top of
Silver Circle, 2016, Mixed media on canvas, 40” x 30”
association” in a way that mimics the visual weight of the work. Surveying the landscape of his studio, Feaster speaks again to the archive of photography or the rush of sensation that accompanies hearing a favorite song: “The paintings become moments of captured time, frozen memory; preservation, in ice, in stone, in phrases of nostalgia.” na Experience Psych Pastorale: New Paintings by Richard Feaster, opening January 7 from 6 to 9 p.m. and remaining on view through February 25 at Zeitgeist. For more information, visit www.zeitgeist-art.com and www.richardfeaster.com.
Photograph by Keep3
Lily the Pink, 2016, Mixed media on canvas, 42” x 38”
by Peter Chawaga
Piacular 4, 2016, Archival Digital Print, 28” x 65”
Piacular 3, 2016, Archival Digital Print, 28” x 65”
A Glitch in Time
ow far can a familiar image be pushed until it becomes wholly unrecognizable? When does a neighbor’s face become a stranger’s? When does a distant figure seem to come from another world completely? Questions like those drive the work of Travis Commeau, a photographer and graphic designer living in East Nashville. Particularly his “glitch” portraits, in which the subject seems ripped from the digital world or to be processing into it, distorted, vibrating, and ethereal.
It’s this idea of how we identify people, how much of our idea of people is based on visual data.
Piacular 2, 2016, Archival Digital Print, 28” x 65”
“It’s this idea of how we identify people, how much of our idea of people is based on visual data,” Commeau explains. “How far can I blow up detail and recognizable attributes before it’s not recognizable as a face, or people who might know that person won’t recognize them? You can come to the gallery and the subject might be standing right next to their portrait— would the casual observer even notice?”
Despite his affection for the technical, there is something natural in how Commeau’s work is achieved. “When I’m doing the glitch images, I’ll know 70 or 80 percent of what I want and then the remaining 20 or 30 percent is formed by chance, and it sort of takes on a life of its own,” says Commeau. “The glitching process is where it’s much more organic, which is funny because it’s a digital process. That digital process is very organic.”
Before moving to Nashville a year and a half ago, Commeau spent years doing graphic post-production for Manhattan’s ad agencies. Growing tired of retouching other people’s photography, he decided to focus on his own work. His experience in the corporate world informs his creative pursuits more than one might think.
It seems like an odd notion at first, but spend enough time with the images and it rings true. The portraits are stylized, in worlds possible only on the computer, but they are also firmly based on real, everyday things that might not resist digital transformation for long.
“Coming from the commercial side, I don’t think of it as if I was doing clean work versus dissolving or destructive work now, because as chaotic as they look, these images are really very intentional,” he says. “The wider, full-body images are built to be about five and a half feet wide, so they’re really rich with detail and intention.”
“There’s the question of our reliance on technology and how pervasive the digital is in our lives right now,” Commeau says. “This work describes the divide between organic and digital in a way that I feel is partisan. I’m not trying to say one is better or one is worse.” na To see more of Commeau’s work, please visit www.iamrevolver.com.
The process for creating a glitch image is much more labor intensive than mere computer generation. Commeau takes nearly a hundred pictures of each subject and narrows those down to his favorites. He retouches those underlying images to make them as sharp as possible, then runs them through a photo editing app called Decim8. He might make 200 “glitch” versions of a single portrait before he finds the few that meet his standards, then edits those until they are just right. With a sense of how exactly the benign becomes so precisely broken, it follows that Commeau identifies as a laborer. “I often think of myself as less of an artist and more of a craftsperson or a tradesperson,” he says. “I want to be able to show that I have the capacity to make an image that you know is a composite but still looks incredibly natural. Problem solving is what makes me interested in any of it, really. In another life, I probably would have gone into physics or something.”
Travis Commeau self-portrait
The Work of Greg Ridley OPENING RECEPTION JANUARY 28 • 6-9PM During the Jefferson Street Art Crawl
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Photograph by Jamie Harmon
hamlettDOBBINS I Will Have to Tell You Everything David Lusk Gallery
January 3 through February 4
by Kathleen Boyle
emphis-based artist Hamlett Dobbinsâ€™s latest collection of acrylic paintings epitomizes one of the greatest challenges posed by visual abstraction: the suggestion of specific artistic intent as expressed only by pure color and form. A lack of figuration can frequently source a dichotomy for viewers, a push and pull between the intellectual curiosity enabled by non-representational elements and the desire to uncloak a particular narrative, sentiment, and/or motivation at the core of a work. Perhaps this is why Dobbins has appropriately called his exhibition of untitled abstract paintings I Will Have to Tell You Everything on view at the David Lusk Gallery through the month of January. Upon visiting Dobbinsâ€™s recent collection, it is clear that the painting medium provides the artist with an avenue for expressive release. It is
Untitled (Notes on K.S.P./E.R.S./U.A.), 2016, Acrylic on canvas, 40” x 48”
Untitled (for J.A.H./N.A.C.), 2016, Acrylic on canvas, 46” x 54”
The artist presents to viewers paintings that look to be cognitively taxing yet ultimately gratifying labors of love achieved only after many long, hard hours of focused meditation. Dobbins’s artwork demonstrates accomplishment not only because it is well painted, but also because it is well thought. “There is a vulnerability that goes with making paintings; all of my paintings are about very personal, specific moments with family and friends,” he explains. The featured paintings in Dobbins’s I Will Have to Tell You Everything were completed after the artist returned from a period of working in Rome from 2013–2014. The recipient of the Jules Guerin Rome Prize in Visual Arts offered by the American Academy in Rome, Italy, Dobbins found that the international fellowship enlivened his artistic practice by creating new, and reflecting upon past, significant life experiences.
also obvious that Dobbins’s abilities are highly advanced and technical, a reflection of the graduate degrees he earned from the University of Iowa’s Fine Arts department. Each composition comes across as an exercise that aims to confront established painting practices and prove that visual juxtapositions which shouldn’t please can, in fact, appease the senses. Dobbins tackles elements such as dimensional illusion, applied shape, color relationship, and pigment saturation in a manner that is rebellious yet thoughtful, aggressive yet tender. And while these contradictory outcomes harmonize upon their shared surface as though conflict was never at stake, there is another observable informant to Dobbins’s work that permeates throughout his imagery: order.
This element of personal reflection is further heightened in the studio when Dobbins listens to podcasts while working. One particular podcast that Dobbins revisits is an episode from NPR’s This American Life series titled “Stories of Loss.” Narrated by actress Felicity Jones, the podcast is an excerpt from Genevieve Jurgensen’s book The Disappearance: A Memoir of Loss in which Jurgensen recounts the loss of her two daughters—Elise and Mathilde—at the ages of 4 and 7. “The Disappearance is an episode that I’ve listened to for years, and I will still think of it from time to time,” explains Dobbins. “The stories would bubble to the surface in my studio while working.
Such observation should not be misunderstood as a critique that harbors any form of negative slant. On the contrary, Dobbins’s paintings stand as an amalgamation of deliberate decisions regularly scrutinized, worked, and reworked until they achieved an acceptable, and thus final, effect. There appear to be no mistakes in Dobbins’s work, no accidents that somehow happened to make the final cut. Rather, the artist presents to viewers paintings that look to be cognitively taxing yet ultimately gratifying labors of love achieved only after many long, hard hours of focused meditation.
Untitled (for M.R.M./E.R.S.), 2016, Acrylic on canvas, 33” x 40”
Untitled (for J.A.H./O.S.M.), 2016, Acrylic on canvas, 29” x 35”
may hinder an immediate divulgence of Dobbins’s personal details, these paintings can help us recognize sentiments we already know. na
One of the phrases used early in the book is, ‘I will have to tell you everything’. It’s hard for me to come up with text to describe my process. What I do is find something that works well with what I’m thinking or interested in, and take that to lead into my story.”
I Will Have to Tell You Everything by Hamlett Dobbins is on view at David Lusk Gallery January 3 through February 4. For more information, visit www.davidluskgallery.com. To see more of Hamlett Dobbins’s work, visit www.hamlettdobbins.com.
There is also a multimedia aspect to Dobbins’s artwork; his paintings are recreations of collages that he meticulously composes prior to mixing his pigments. As photographic software became more common for pedestrian use, Dobbins experimented with computer programs that enabled him to upload, arrange, and manipulate images of significance until the final composition took on its own heavily abstracted appearance. Dobbins then prints the image, and creates a painting with as much likeness to its digital doppelgänger as possible. “Painting,” he explained, “is a transformative, quiet, and solitary part of the process.” Dobbins’s use of acrylic paints comes with its own set of obstacles. “Acrylics have a naturally higher chroma, which requires me to be more aware or embrace shifts in color, to be more conscious of color and how it works,” he said of the medium’s difference from oil paint. “Acrylic allows me to do things with color that I never would have thought about before, and because they dry faster than oils, part of my brain needs to be fast as well, to work through ideas quickly, and thus freeing me up to do things in studio that I couldn’t do with oil.” As implied by its title, I Will Have to Tell You Everything is a collection of intimate paintings. And while their abstraction
Untitled (for K.S.P./E.R.S./U.A.), 2016, Acrylic on canvas, 46” x 54”
YORK & Friends fine art
Blair Student Showcase
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Friday, January 27 • 8 p.m. Ingram Hall
Selected works from our 40 artists will be Red y a d ur Tagged for Sat uary 4 r incredible Feb m-5pm savings! 10a and ay d n Su ary 5 ru Feb -4pm m 12p
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at York & Friends Fine Art
The Blair School’s best student performers, from solo artists to string quartets, show off what they can do! Come hear the future of classical music!
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Fine Art & Gifts by Olga Alexeeva & Local Artists
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Olga Alexeeva, Dancing with Stars, Acrylic, 48 x 36
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Standoff at Standing Rock Nashville Photographer David Robert Farmerie Crosses the Line It was just after twelve noon on October 27, 2016, when the North Dakota State Police and the Morton County Sheriff’s Deputies arrived at the Front Line on ND Highway 1806, less than one mile north of the North Camp of Standing Rock, also known as the Winter Camp. It was the North Camp that the U.S. Corps of Army Engineers had given orders to clear of all inhabitants. The police officers, standing shoulder to shoulder, approached from the north, the west, and the east, leaving only the south open for protesters to retreat back to the South Camp, better known as Oceti Sakowin (which translates to Seven Council Fires). Within minutes, flames and thick black smoke billowed into the air, from the burning tires, wooden palettes, and any other debris that would burn, including a car. This fire was set by protesters to block passage of the Front Line.
Photograph by David Robert Farmerie
Around 1:09 p.m. a division occurred between the majority of protesters, whose desire was to remain peaceful, and a smaller faction who felt that passivity would be ineffective. With that, the aggressive faction broke ranks, most of them heading for the west barrier. In this image one of the protesters began confronting police officers holding that line. In his second attempt to provoke a response from police, he stood face to face with this State Police officer for nearly 15 minutes, shouting accusations and insults. To a passing African American trooper, the protester shouted racial slurs. As this confrontation played out, the protester repeatedly flailed his arms in front of the officer’s face, never making contact. Eventually the officer just turned his head to his right in an attempt to further diffuse the young man, which eventually worked. —David Robert Farmerie www.davidfarmerie.com
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Love Burns Like Ring of Fire in Nashville Ballet’s Attitude Program |
Courtesy Karyn Photography
TPAC’s Polk Theater
Dancer Christopher Stuart didn’t know anything about country music when he moved from Connecticut to Nashville 14 years ago. “I may have heard some Garth Brooks and Shania Twain on the radio, but that was the extent of it,” Stuart says. But then he saw Johnny Cash’s heart-rending video “Hurt.” The experience was a revelation. “That particular Johnny Cash performance really drew me in, and I couldn’t get it out of mind,” Stuart recalls. “After that I went out and bought all of Johnny Cash’s albums.” A long-time dancer and choreographer with Nashville Ballet, Stuart eventually turned his passion for Cash’s music into a largescale dance called Under the Lights. The piece was premiered in 2014 and will be reprised February 9–12 as part of Nashville Ballet’s annual Attitude program at TPAC’s Polk Theater. Stuart’s 45-minute dance features many of Cash’s best-known songs, including “Ring of Fire,” “Walk the Line,” and “God’s Gonna Cut You Down.” The songs are performed live by vocalists Trent Dabbs and Amy Stroup of the neo-rockabilly band Sugar and the Hi-Lows. The dances themselves are a seamless blend of classical, modern, and popular styles. “I wasn’t looking to create a dance in any particular style,” says Stuart. “I always let the context of the songs dictate the style.” Nashville Ballet’s Attitude program will include one other work, choreographer Christopher Bruce’s Sergeant Early’s Dream. That piece is a series of vignettes depicting immigration from Europe to America in the 19th century. Set to English, Irish, and American folksongs, this dance offers a glimpse into the origins of modern-day country music. For more information about this year’s Attitude program, please visit www.nashvilleballet.org.
Sex, Lies, and Contemporary Opera Nashville Opera Presents the World Premiere of Three Way at TPAC January 27–29
by John Pitcher
he Client should have known he was in trouble the moment he entered the Dominatrix’s dungeon. An arrogant, willful businessman, the Client had scheduled an appointment to see the Mistress Tosca, but he found the Mistress Salome inside the dungeon instead. People who know their 20th-century opera realize Salome is one dangerous diva. But do they know she’s also a hoot? Nashville Opera artistic director John Hoomes discovered that a few years ago when he attended an opera workshop in Fort Worth, Texas. One of the new works receiving a tryout was a one-act chamber opera called Safe Word, a surprisingly funny, lyrical piece with an improbable BDSM theme. “I ran into John Hoomes right after the performance, and he told me he was interested in staging the opera,” recalls Safe Word composer Robert Paterson. “But he also said he was a little scared about the opera’s erotic angle. At that moment, an old lady walked up to us and said, ‘You know, I really loved that Dominatrix.’ I think John decided to do the opera right then and there.” Safe Word is part of a triptych of one-act operas called Three Way, all of which explore modern sexual relationships in humorous yet poignant ways. Nashville Opera will present the world premiere of the entire triptych January 27–29 at TPAC’s Polk Theater. Then, in June, the production moves to New York City, where it will be staged at the Brooklyn Academy of Music’s
new Fishman Space. That event will be Nashville Opera’s second foray into the Big Apple in as many years. Hoomes’s production of the contemporary Spanish-language opera Florencia en el Amazonas was staged at Lincoln Center last summer. Contemporary opera has become something of a passion for Hoomes in recent years. In 2012, he staged composer David Lang’s contemporary gothic opera The Difficulty of Crossing a Field to rave Eliza Bonet performs as The Domme reviews. Later his daring production in Safe Word and Jillian Debridge in Masquerade of Philip Glass’s Hydrogen Jukebox raised eyebrows with its adult themes while winning critical praise for its stylish presentation.
Matthew Treviño plays The Client in Safe Word, and Bruce Debridge in Masquerade
Three Way boasts adult themes aplenty, but Hoomes was attracted to a different quality. “I loved the humor in this work,” says Hoomes. “For whatever reason, contemporary opera tends to be deadly serious. Three Way stands out because it’s a comedy. I think of it as Sex and the City meets The Twilight Zone.” No doubt, The Twilight Zone’s Rod Serling would have loved The Companion, the first act in the triptych. Set in the near future, The Companion involves a woman’s search for a perfect lover, which she seemingly finds in a biomorphic automaton. But in the end, this high-tech sexual aid turns out to be a paranoid android, leaving the woman and her would-be human lover Dax feeling decidedly unsatisfied. “In The Companion, the pursuit of idealized love ultimately results in an overwhelming sense of loneliness,” says baritone Wes Mason, who sings the role of Dax, the android Joe’s techsupport agent.
Danielle Pastin is Maya in The Companion and Connie in Masquerade
Three Way has at least one other thing in common with the Mozart-Da Ponte tradition, namely a heightened sense of lyricism. Paterson and his librettist, David Cote, had little interest in writing the sort of experimental melodies often heard in contemporary opera. They preferred to compose old-school arias.
Surely the opera’s most overtly funny act is Safe Word, which one might describe as Fifty Shades of Grey meets The Carol Burnett Show. How else would you describe a Dominatrix in thigh-high leather boots who goes to town on a Client dressed in drag, calling himself Polly Puddlepanties? Loneliness is again a subtext, with genuine intimacy replaced by fetish and fantasy.
“Ultimately, we decided to let the content of the story dictate the form of the music,” says Cote. “And in a work like Three Way, we decided it’s OK for the music to often sound funny.” na
The final act, Masquerade, is set at a swingers’ party hosted by an online community called the Pleasure Pilgrims. This piece, which features a large ensemble cast, is filled with the sort of nuance and breezy innuendo that one might find in a MozartDa Ponte opera.
The Nashville Opera will present the world premiere of Three Way at TPAC, January 27 through 29. For more information, please visit www.nashvilleopera.org.
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Comin’ in Hot, 2016, Watercolor and pens, 9” x 11”
by Cat Acree
The 10-Year-Old Puts in 12-Hour Days to Prepare for Her Inaugural Art Show
Dailey’s first show, Feeler, was featured in Julia Martin Gallery’s 444 popup space. Originally from Murfreesboro, the homeschooled Nashvillian has been making art since before she was two, and the pop-up showcased works that go back to age six, which Dailey doesn’t remember making. A number of pieces were made in a three-day period immediately after Martin asked Dailey if she’d like to do the show.
Photograph by Julia Martin
hen you make your gallery debut at the age of ten, the first thing anyone will say is how young you are. Esmé Dailey, sweet-voiced and thoughtful, has one major takeaway: “Next time I’m going to bring a stool, so [people] won’t keep bending down,” she says.
I’m inspired by everything I see every day. I consume it, and then I bring it out in this way. It’s something for me to go into that’s magical. “I was working sometimes 12 hours a day,” says Dailey about preparing for the show. Martin pipes up: “She cranked them out!” Dailey’s artworks, rendered in pen and ink and splashes of watercolor, seem like illustrations for fairy tales of her own imagining. “I’m very bold with my lines,” Dailey says, “so I think about how each line comes together to be something people like and are happy about.” Nearly all her works feature a prominent female figure caught up in the fantastical goings-on, like curling up in a tree with a wolf in Wolf Girl.
Wolf Girl, 2016, Watercolor and pens, 9” x 11”
“I really like connections between fantasy animals and smart little girls, or even ones who are not too smart,” says Dailey, who often finds herself rescuing injured birds. “One time, I was having trouble with math . . . and I ran outside barefoot, and there was a little squirrel on the fence. And I said, ‘I love your tail.’ And it hugged its tail, and I thought it blushed.” As with all lovers of fantasy, there is an element of word building in Dailey’s work. The family members in At Home are individuals with depth and heartache. Their motivations are laid bare, and a tiny poem has been scrawled into a book open on a desk: “You are you and we / I am me I am special.” Quantum Flamingo depicts several pink flamingos standing in varying levels of opacity. Dailey explains, “Quantum flamingo is one flamingo.” She then grabs a picture of an underwater whale At Home, 2016, Watercolor and pens, 9” x 11” and brings it to the bottom of Quantum Flamingo, and they are like two pieces of a puzzle, an unintentional connection she realized only while hanging the show. Does being a young person make Dailey stronger or more vulnerable? “I’m stronger,” she answers, “because I don’t have to think like grown-ups do, when they’re worrying about, ‘Oh, gosh, what am I going to say?’ And they use all these artistic words and they have to think about money. . . . And I have support by that little man over there.” She points to her father, Casey. She also credits support from her Nana and pen pal Perrin, a friend of her father’s and a science illustrator. “I’m inspired by everything I see every day,” Dailey says. “I consume it, and then I bring it out in this way. It’s something for me to go into that’s magical.” na For more information, visit www.juliamartingallery.com.
Tessa’s Ride, 2016, Watercolor and pens, 9” x 11”
If Our Bodies Could Talk: A Guide to Operating and Maintaining a Human Body James Hamblin If your body is a machine, then consider James Hamblin the world’s greatest mechanic. The doctor-turned-journalist has transformed his video series for The Atlantic into an equal parts entertaining and informative guide that will answer all your medical questions from “Do cell phones actually cause cancer?” to “Does caffeine make people live longer?” So stop Googling and start reading James Hamblin’s book.
The Midnight Cool
First it was bad feminist[s], now it’s difficult women—and we couldn’t love Roxane Gay more for that. In this series of short stories, Gay explores the emotional lives of women at all stages of life: a college student makes ends meet, a woman helps her sister negotiate a marriage, an engineer considers a life change. With the same wry humor and haunting realism that gained Gay her loyal following from An Untamed State and Bad Feminist, this one is sure to please both new and old fans.
January 21st - March 4th Tuesday - Saturday, 10am - 5pm
Pause, take a deep breath, and enjoy some poetry. Vanderbilt Professor Mark Jarman’s most recent collection of poetry explores spiritual life and the natural world. Take this collection with you on your next hike, talk to some birds, commune with a stream, embrace a tree or two.
© Susan W. N. Ruach
If you’re in need of a good escape right about now, try Lydia Peelle’s The Midnight Cool. Set in 1918 Tennessee, Peelle’s new novel follows two swindlers, a rebellious heiress, and a tempestuous black mare named the Midnight Cool. Against the backdrop of WWI, Peelle weaves a gripping story of loyalty and love. Make sure to mark your calendar for our event with Lydia Peelle in store on January 6 at 6:30!
A MONTHLY LOOK AT HOT BOOKS AND COOL READS
Brighten Your Home for the New Year!
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Sarratt Art Studios NON-CREDIT ART CLASSES AT VANDERBILT
Art in Transformation This article, the third in a series exploring the fair use doctrine and the visual arts, begins to delve deeper into the fair use factors described previously. In an ideal world, there would be bright-line fair use rules for visual artists to follow prior to incorporating third-party copyrighted material into their own works, so that artists would definitively know whether they were making fair use of that material or crossing the line into infringement. But unfortunately, most fair use determinations are made after the fact—after appropriation and an infringement claim—by judges or juries in the course of a lawsuit, who consider all four fair use factors and decide if the use in question is fair or not. The results in fair use cases can be unpredictable, subjective, and fact specific, so that no clear-cut roadmaps for artists emerge from them. However, one particular overriding concept provides at least some clue into how fair use might be found: transformation.
POTTERY JEWELRY PHOTOGRAPHY DRAWING PAINTING FUSED GLASS AND MORE Classes begin the week of January 23, 2017 Open to the Nashville community
Recent fair use cases have keyed into the concept of transformation, which favors the first fair use factor, the purpose and character of the use. In Campbell v. AcuffRose (1994), the Supreme Court noted that the more “transformative” the use—that is, the more it alters the original by creating a new aesthetic, character, or meaning— the more the use might be deemed fair. Over time, though, courts have found transformative fair use even where the alterations to the original works have perhaps been minimal and where the appropriation artists have not clearly expressed transformative intent. For example, in 2013 an appeals court held Richard Prince’s appropriation of Patrick Cariou’s photographs in Prince’s own paintings and collages to be transformative fair use, although arguably Prince’s changes to some of Cariou’s photographs were minor and Prince himself testified that he did not intend to create new meaning. Next month’s article will look at transformation and the remaining three fair use factors.
Schedule and Registration online at www.vanderbilt.edu/sarrattart LOCATED IN THE SARRATT STUDENT CENTER AT 2301 VANDERBILT PLACE, NASHVILLE TN 37235
Suzanne Kessler Suzanne Kessler is Of Counsel at Bone McAllester Norton PLLC and Adjunct Professor at Vanderbilt Law School, where she teaches courses in intellectual property licensing and entertainment law.
BY SUZANNE KESSLER
Photograph by Tony Youngblood
OPENSPACES BY ERICA CICCARONE
Erica Ciccarone is an independent writer. She holds an M.F.A. from the New School in Creative Writing. She blogs about art at nycnash.com.
Love Thy Neighbor
Jessica Wohl’s exhibition at the University of the South is called Love Thy Neighbor, and it’s about us. All of us. In eight large-scale textile paintings and twenty small drawings, Wohl is both coaxing and shouting, praying and cursing, hopeful and afraid. She began the series after years of reflection on the visible and invisible lines that divide Americans. The quilts all share a commonality: Through pieced fabric or quilted lines, they separate the viewer with fences, trellises, and bars. She scouts material from thrift stores and yard sales all over the country. She says they are “stand-ins for Americans,” people of all stripes who have lived in and loved in clothing, sheets, and drapes—the textiles of everyday life.
We need art more than ever now.”
’ve heard many express this sentiment since Donald Trump won enough electoral votes to become our president. Art generates empathy; it speaks across language and cultural differences. It makes us vulnerable, and in that vulnerability, we are offered access to things unknown about our human condition, our conflicted hearts. So when people say, “We need art more than ever now,” I understand what they mean.
The exhibition contains many voices. While some direct our attention with text, others rely on grids and hints of
My question is this: Who is “we”?
Jessica Wohl, Are We the Hollow Men?, 2016, Found fabric, pants, skirt, bed sheets, shirts and machine quilting, 60” x 60”
Courtesy of the University of the South
Jessica Wohl Beckons from Across the Divide
representational forms. The Wall That Is Already Built resembles a tall gate and references the wall Trump has promised to build between the United States and Mexico. However, the title suggests that wall already exists in our consciousness. The painting puts the viewer on the other side of the wall, peering through at a lovely floral landscape beyond her reach. As Wohl writes in her exhibition statement, she is both optimistic and pessimistic about the direction of our country. While we’ve made important strides in the last four years, the political polarization, increased gun violence, and documented deaths of people of color at the hands of law enforcement have caused an inner conflict that the artist finds difficult to reconcile. As she made the current work, the presidential election peaked, making clear deeper divisions amongst Americans than many thought possible—and many others thought inevitable. The most aggressive work in the show is called White America. She overlaid the words “Shut Up and Listen” on an upside down American flag. It’s the message on her own heart: While she wants to shout to make people understand, she recognizes that as a white person, her voice is privileged. She needs to listen to the voices of people who have to fight to be heard, and she knows it’s a messy, imperfect undertaking.
Jessica Wohl, Stars and Bars, 2016, Found fabric, bed sheets, pillowcases, pants and machine quilting, 60” x 60”
We Shouldn’t Have to Live This Way and It Hurts More Than We Think stand out as particularly strong pieces: Each centers the embroidered cursive of the painting’s title in a field of appliqué flowers. Embroidery has traditionally been practiced by middle- and upper-class women. Unlike quilting, it serves only a decorative function. Wohl again acknowledges her socially conferred advantages by choosing to use a contemporary calligraphy for these conciliatory messages.
University of the South student Alyssa Holley dances, with the quilt White America. Students choreographed a routine based on Jessica Wohl’s exhibition.
The strongest indictment comes in a quilt of dark colors that yield to bars, through which you can see rainbows. Using a free motion quilting foot, Wohl wrote the lines from a poem by T.S. Eliot, “The Hollow Men.” Eliot, always enamored with Dante, describes husk-like figures that lean against one another like scarecrows in a wasteland, unable to enter heaven or hell. They exist in a state of apathy and indifference, awaiting a deliverance they feel incapable of even accepting. The ending is one of the most powerful and oft-quoted stanzas in American poetry, and it’s the one Wohl chose to make a searing statement about the American people.
with colleagues from the University of the South, where she is a professor. The Public Conversations Project fosters dialogue across political lines through focused, nonviolent communication. There’s something profound about all of this. As the election got more divisive, Wohl delved into communicating passionately and effectively across political and social differences. At the same time, she made a baby. Malcolm was born on September 7.
The final line, which she left off the quilt, is the kicker: “Not with a bang but with a whimper.” In the gallery, it’s aptly placed beside White America. But the exclusion of the final line didn’t hit me until later. It suggests that we still have a chance to unite and be heard.
The twenty drawings are delicate portraits of people in repose. It’s not clear if they are asleep or dead, and the uncertainty only makes them more unified. It speaks to a desire for tranquility, for unencumbered rest. Standing amidst the quilted paintings and small drawings, I felt comforted and cared for. Love Thy Neighbor is about boundaries, but it is also about breaking them. Art does not only teach us about our human condition; it helps us to envision a future that honors our differences while making us whole. na
Wohl became pregnant shortly after beginning the series in January. In April, she attended a workshop in Boston
Love Thy Neighbor by Jessica Wohl is on view at the University Gallery in Sewanee, Tennessee. For more information, visit www.gallery.sewanee.edu.
This is the way the world ends. This is the way the world ends. This is the way the world ends.
C U S TO M S H O U S E MUSEUM EXHIBIT
SOUNDINGOFF BY JOSEPH E. MORGAN
Utility & Beauty:
Chatterbird at WELD
The Glass of Emmanuel Studio
January 12 – March 5, 2017
Photograph by Melissa Madison Fuller
Artistic Director and flutist Celine Thackston
An exhibition exploring the art, design, and restoration work of Nashville’s Emmanuel Glass Studio
On December 1, the alternative chamber music ensemble Chatterbird presented Wood/Wire, an eclectic concert of electronic and acoustic music in the converted industrial space WELD.
PHOTO: NINA COVINGTON
The concert opened with Asheville, North Carolina, fingerstyle guitarist Shane Parish performing tracks from his new album Undertaker Please Drive Slow. The title, a quote from “Will the Circle Be Unbroken,” is a befitting reflection of the angst and homage within Parish’s music. More than simple arrangements of traditional tunes, Parish’s works press beneath the surface to reveal an underlying abstract emotional content. The virtuosity is there, including a decent tremolo, but it is thankfully subservient to his bracing compositional voice. This was followed by Thierry De Mey’s percussive and bright Table Music and Kate Soper’s Only the Words Themselves Mean What They Say, which featured soprano Rebekah Alexander and Celine Thackston on flute. Soper’s piece is reminiscent, oddly, of Milton Babbitt’s monodrama Philomel. The writing for voice is terrifyingly virtuosic, and Soper seemed to pull random notes straight from the air around her, couching them in a nuanced timbre matched, coerced, or escorted by Thackston’s extended techniques.
PHOTO: MEL ANIE DAVIS OF MAW STUDIO
Ezell Chapel at David Lipscomb
Intermission was followed by an ambient-influenced pair of electronic pieces, Daniel Wohl’s Kin and Eve Beglarian’s I Will Not Be Sad in This World, and a reprise of Smárason’s 1972, which the group previously performed in June at OZ Art Fest. The evening ended with Bryan Clark’s Incarnations, written for an ensemble featuring Wu Fei on the Chinese guzheng. The formal clarity and paced dialogue of Clark’s piece brought a welcome precision and warmth that created a nice frame with Parish’s opening. At the end of March, Chatterbird will return to WELD to perform Ted Hearne’s Katrina Ballads.
Clarksville First Presbyterian Church, window design by Miranda Herrick
For more information, visit www.chatterbird.org.
200 S. 2nd Street In Historic Downtown Clarksville, TN 931-648-5780 • www.customshousemuseum.org Hours: Tues – Sat 10 – 5 • Sun 1 - 5
Photograph by Ron Manville
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 www.rachaelmccampbell.com.
ANDSOITGOES BY RACHAEL McCAMPBELL
A Way To Look At Abstract Art feel it. This is a good approach to abstract art as well—only later getting more analytical. To practice this skill, I have chosen abstract paintings by two highly accomplished artists—Rebecca Crowell and Anton Weiss. They are both painters who segued from a representational to an abstract style. When I first saw Rebecca’s painting Swedish Red #1, it stopped me in my tracks. Since there was nothing there for my literal mind to connect with, I was forced to rely on my right brain to take in the colors, shapes, etc., to inform my feelings. I responded first to the overall juxtaposition of reds and cream tones—a flesh-and-blood combination that moved me. I felt something wordless, preverbal. The texture harkens to cave paintings, marks made by long-gone human hands.
Rebecca Crowell, Swedish Red #1, 2015, Oil, mixed media on panel, 11” x 14”
As an art teacher, I studied Rebecca’s painting using the vocabulary of the elements and principles of art and design, which helps when observing all types of art. Where is the focal point or emphasis? My eye is drawn to the white scratches in the upper left quadrant, then moves to an arced line that connects the major shapes. The negative, cream-colored spaces help balance the heavier umber color in the upper left side, and the contrast of light to dark values gives the painting its punch. Rebecca’s brushy earth tones result in a unified harmony of shapes that evoke memories of landscapes, two hands touching, a heartbeat. Her intent to “evoke a spiritual and emotional connection through [her] memories and relationship with nature” succeeded. After letting Anton Weiss’s painting Atonement wash over me, I felt energized yet peaceful. The maze of various sized shapes amidst equally toned fields of cool and warm colors are like puzzle pieces within a grid-like pattern. Being that it’s natural to look for identifiable forms within abstract art, at first glance I saw an aerial view of a desolate, desert town. Yet as is common with abstract art, when my gaze softened, I saw so much more. The focal point for me is primarily the red shapes in the upper left quadrant, but it’s Anton’s line and brushwork that give the painting its strength and life. Anton is a process-oriented artist who works intuitively without preplanning. This way of working shows, and, as a viewer, I feel I’m on this uncharted exploration with him, and it’s a satisfying journey!
Anton Weiss, Atonement, 2012, Acrylic on canvas, 36” x 42”
How many times have you walked past an abstract painting
without stopping because you simply didn’t get it? Or, perhaps a judgmental voice crept in—A kindergartener could have painted that! When you pick up your paints and try this yourself, you will understand how difficult this sort of painting actually is. For me, the reduction process of stripping away representational imagery to express thoughts or feelings is a struggle. I equate the difference between representational and abstract art to country versus classical music. With country, you can connect to a story and music, but with classical, it’s only the music. Without words, how do you know what the composer is trying to express? Not withstanding research into the artist’s intentions, you simply take the music in on a visceral level and
What do you feel when you observe these paintings? Remember when viewing abstract art, try to stop—relinquish all preconceived notions, let go, and listen. You might be surprised by what you learn about art and yourself as a result. na
Jim Reyland’s new book, Handmade – Friendships Famous, Infamous, Real and Imagined is available at Amazon.com in paperback and on Kindle. firstname.lastname@example.org
BY JIM REYLAND
Romeo and Juliet
Photograph by Rick Malkin
You’ve heard of them, right?
“We are thrilled to bring Shakespeare’s great tragedy to the intimate Troutt Theater for our 10th annual Winter Shakespeare,” said Denice Hicks, Executive Artistic Director of the Nashville Shakespeare Festival. “Romeo and Juliet has some of Shakespeare’s most beautiful poetry, and the skilled actors we have in this cast are going to bring these familiar characters to life in exciting and powerful ways.” 80 nashvillearts.com
be enthralled. This latest magical production of R&J is directed by Nashville Shakespeare Festival’s lead teaching artist Santiago Sosa and features a live musical score by Natalie Bell. The fastpaced and youthful production explores the themes of young love and rash acts of violence amid entrenched generational conflict. Sosa has previously worked as an actor, director, and a teaching artist at the Oregon Shakespeare Festival, American Players Theatre, and other theatres across the country. The starcrossed lovers will be played by newcomers Mason Conrad and Morgan Davis. The cast also features Nat McIntyre, Jon Royal, Corrie Maxwell, René Millán, Denice Hicks, and many more. The 10th anniversary of Winter Shakespeare is open to the public with plenty of school matinees to enlighten the next generation of Bard Nation. Pre-sale tickets to the show are $15 for students, $27 for adults, and $24 for seniors, with discounts available for groups. For tickets to the school matinees, email email@example.com.
Hundreds of films, plays, and books have been based on Romeo and Juliet’s classic arc of love found and then, at the end of the third act, tragically lost. An impressive canon, devised from a source as murky and undefined as another famous Shakespearean tale, Hamlet, and eventually films such as Brooklyn Babylon, musicals like West Side Story and TV shows including Warm Bodies. There’s also practical material like the fictional A Guide to Family Feuds of the 16th Century and the many other attempts to pluck, pillage, and present Romeo and Juliet in many and varied ways. To fill us with love and intrigue once again, the Nashville Shakespeare Festival begins its 2017 season of Winter Shakespeare on January 5 with this most beloved tragedy. It’s Romeo and Juliet, January 5–29 at Belmont University’s Troutt Theater, and we promise that you will
There are three things you can truly count on: the majesty of Shakespeare’s poetry and prose, the immortal legend of Romeo and Juliet, and the superior quality and stage craft of the Nashville Shakespeare Festival, which is second to none. For more information on dates, times, and tickets, and to purchase Royal and Noble Packages, visit www.nashvilleshakes.org, or email firstname.lastname@example.org or call 615-255-2273. na
Photograph by Rick Malkin
wo star-crossed kids from the old neighborhood? Of course you have; it’s the greatest love story ever told. A story that could be, if you believe those who think they know, not an original Shakespeare creation at all. Some think it’s a variation on a story that made the rounds starting in the 1400s. Still others believe it’s a theme borrowed from poets as far back as ancient Greece. If they’re right, this timeless tale of tragedy and loss, in one form or another, lived a full century before Shakespeare set it into his own classic motion. This by no means makes Shakespeare’s accomplishment any less significant. It’s still a transforming play that lives in our hearts from one production to the next.
For a unique VIP experience, guests are encouraged to purchase the Winter Shakespeare Royal Package. The package is a one-of-a-kind Shakespearean experience and includes tickets to Romeo and Juliet, premium VIP seating in the front rows of the main floor or balcony, reserved curbside parking at the Troutt Theater, a private pre-show reception and discussion hosted by Shakespeare scholars and members of the Nashville Shakespeare Festival team, and a post-show backstage tour and meet-and-greet with the cast. All proceeds directly support the festival’s educational outreach and programming. Royal Packages are $100, 75 percent of which is tax deductible. The VIP experience is a must for every true Shakespeare fan.
2016 Accelerando Scholarship winners with music director Giancarlo Guerrero
Courtesy of the Nashville Symphony
The Nashville Symphony Encourages Students with Dual Programs
The Nashville Symphony is inviting local students to apply for two programs that seek to promote the burgeoning careers of young classical musicians. The Curb Concerto Competition is open to classically trained woodwind, brass, string, piano, and percussion students ages 14 to 18. The winner of the two-round competition will receive $2,500 and two season ticket subscriptions, as well as consideration for performance as a soloist during a May 2017 concert. Accelerando is an education program for rising fourth through ninth graders of diverse ethnic backgrounds who dream of pursuing a professional orchestral career. Those selected for the program will receive instruction, mentorship, and performance experience, as well as help with applying to music schools. “Our wish was to make available, especially to high-caliber students, the opportunity to take advantage of the profound expertise of our musicians on each of their chosen instruments,” says Walter Bitner, the symphony’s director of education and community engagement. In tandem, the programs reflect the symphony’s mission to instill in the younger generation an appreciation for music that will last a lifetime. “Over the last several years, staff and musicians at the Nashville Symphony have had many discussions about how we could best contribute to the music education community in Nashville and beyond on a deep, sustained level,” Bitner says. “Students who sing in choir or play in band or orchestra must simultaneously perform a complex set of operations that call on more aspects of the human being than any other activity they face in school.” Applications for Curb Concerto are due by January 27 and the competition is held in February. Applications for Accelerando are due by February 17 and auditions will be held in March. To learn more about how to apply, please visit www.nashvillesymphony.org.
Are you ready to cultivate a new print attitude in 2017?
Featuring Some of America’s Top Bluegrass Talent
43rd ANNUAL BLUEGRASS AWARDS SHOW & 34th NATIONAL CONVENTION
February 2-5, 2017 Sheraton Music City Hotel 777 McGavock Pike, Nashville, TN 37214
Lots of jamming!!! Schedule coming to www.spbgma.com Reserve seats available • Email email@example.com
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A monthly guide to art education
TENNESSEE ROUNDUP Ring in the New Year with Arts Education Grants is no longer required, a well-thought-out grant proposal submitted on time is still necessary to be considered for funding. Please see the following snapshot of Arts Education Annual Grants available. Perhaps this New Year will bring new opportunity for your work in schools, organizations, or communities with the support of a grant.
Arts360 Let’s begin with Arts360 because this is only the second year this grant has been open and applicants may be less familiar with it. Arts360 is a multi-year arts integration program for PK–12 public schools. The purpose is to improve instruction and increase student outcomes through arts integration. A school is eligible for $55,000 over three years.
Arts Education Community Learning This grant is for projects that demonstrate creative and innovative arts education programming in non-traditional PK–12 settings or for adult learners. Nonprofits and government agencies (excluding public PK–12 schools) are eligible to apply for $500 to $7,000.
Funds for At-Risk Youth The New Year signals a time for new beginnings. Resolutions are firmly in place to eat better, start working out, and spend more time making art, seeing art, reading art. The list goes on. (As many arts administrators and teachers know, time for our own art practice can be difficult to come by.)
After-school or summer-camp arts programs benefit from this grant when programs are designed for at least 51 percent or more elementary and secondary school students who are considered at-risk. Nonprofits, government agencies, and PK–12 public schools are eligible to request $500 to $5,000.
At the Tennessee Arts Commission, January brings another beginning: the unofficial start of grants season. Some of you may already be preparing applications to meet Annual Grant deadlines occurring this month. On the subject of doing better here at the Commission, the grants process is now completely online with a streamlined approach giving you more time to do all the things on your list of New Year’s resolutions, like making more art.
Arts Education Teacher Training For organizations that provide professional development for educators and teaching artists, this grant provides $500 to $10,000 for applicants to hold trainings in curriculum-based arts education and/or integration. All Arts Education Annual Grants are due January 17, 2017. Prior registration in the new Online Grants System is required. Most of these grants pay for professional artist fees, in-state travel and/ or lodging for artists, space rental, marketing, and consumable supplies related to the project.
Photograph courtesy of State Photography
Those of you who have not applied for a grant in the past will not know of the ten-plus copies of paper applications that were collated, stapled, and mailed in large boxes (with prompt postmarking) to our office. While paper submission
by Ann Talbott Brown Director of Arts Education Tennessee Arts Commission
For more information, contact Ann Brown at email@example.com or visit tnartscommission.org/grants-at-a-glance/.
ARTSMART For the First Time Five Young Girls from Baila Dance Their Way Into The Nutcracker
Many low-income Hispanic children grow up thinking such experiences are reserved for the wealthy, that the notion of dance class is outside their realm of possibility. But thanks to the cultural arm of the non-profit (501c3) Hispanic Family Foundation, families have access to dance classes and opportunities for the performance experience.
Folklore Dance Group
Baila (pronounced bay-la) means dance and was created to provide free classes for children and adults, over a range of dance genres—Mexican Folklore, Mexican Aztec, traditional ballet, and contemporary dance (hip-hop), as well as Martial Arts (Kung Fu), each led by a specialized instructor. The studio is located on the former Kroger Shopping Center property at 3967 Nolensville Pike. Baila is adjacent to the new Plaza Mariachi (opening early 2017), which offers shopping, dining, cultural venues, and service providers, housed in an exquisitely detailed mall reminiscent of picturesque Mexican streets, squares, and markets. By embracing the love and knowledge of their own Hispanic culture, children (many of whom were born in the U.S.) develop self-esteem and pride in their heritage. Word is spreading among parents, but there are challenges in bringing more children into the program, says director Diana Perez. “I grew up in a dance studio,” she says. “But it’s rare for families to know kids who have been inside a dance studio. Many of these parents work multiple jobs, and then there’s the sensitive issue
of transportation. Some undocumented workers are afraid to drive and get out on the highways.” The convenient location on Nolensville Pike, the open registration, and no-cost instruction (donations are accepted) alleviate some of the challenges. “When things are free, people may not be committed,” Perez says. “We want parents to be committed and children to learn discipline, so as part of that commitment, we have rules about missing class or being late.” The discipline associated with dance, the exercise, the cultural pride, and the development of individual self-esteem while working as part of an ensemble are all part of the value of this program. “Many of these children are dealing with bullies,” Perez explains. “A girl came to me and said, ‘I don’t want to perform because I’m ugly and don’t deserve to be onstage’. We try to take that from their minds, to offer them the challenge of being free by building discipline and self-confidence.” That confidence level is starting to grow as Baila connects with schools, events such as Celebrate Nashville, and community organizations such as Casa Azafran. “One of the good things that has developed is our relationship with Nashville Ballet,” Perez says. “I took 14 kids to The Nutcracker auditions so that they could see a ballet academy and have the audition experience. Five of them made it into The Nutcracker children’s dance group. I never imagined any of my girls would be dancing at TPAC. It was so rewarding see their excitement and to see the reality among all of our students: “That could be ME!!”
Photograph by Diana Perez
For more information, visit hispanicfamilyfoundation.com/baila/ or email firstname.lastname@example.org.
Photograph by Diana Perez
Whoever you are, walk into a dance studio and everything changes. Walk into a dance studio and see the expansive open space, the mirrored walls, the ballet barres extending horizontally around the room. Feel the music and elevated energy level and suddenly the pulse quickens, the posture elongates, head held high. You’re suddenly taller, more elegant, more spirited. You’re a dancer!
Isrua painted by Jocelyn Buford
Jamal by Masami Agari
Jana painted by Cher Von Tiedemann
Jawd painted by Blakelyn Hare
Kafi painted by Gypsy Perry
Khalid painted by Imani Bradford
Khalii painted by Jade Burghart
Khozama by Aubrey McCabe
Lama painted by Savanna Hudson
ARTSMART Nashville School of the Arts: The Memory Project To have personal possessions—things we accumulate and toss aside, or items that we treasure throughout our lives—seems to be the normal human experience. But many children scattered across the globe have no personal possessions, nothing they can call their own.
The [Memory Project] experience made me step back and deconstruct my own personal ideas about possessions and what makes a gift legitimate. I came to realize that the most valuable thing anyone can give or invest is their time.
In 2004, while volunteering in Guatemala, University of Wisconsin student Ben Schumaker was touched by the lives and stories of orphan children who had no possessions of their own, no tangible memories. He created the Memory Project, a non-profit that invites art teachers and their students to connect with these children and build the joy of ownership for them through the creation of personal portraits based on photographs. Each year, the project focuses on a different country.
—Noah Sjoblom, NSA project participant
Marti Profitt-Streuli’s upper-level art students recently completed creation of portraits for orphans halfway around the world. “I’ve worked with the program for eight years, first at Hillsboro and now with my students at NSA. This year is particularly poignant as my students create portraits for Syrian refugees. It surprises me how invested the kids get. This is not for a grade. They volunteer to participate, and 100% turn in their portraits. They stare into the eyes of a child halfway around the world and connect. Many write notes to attach to the back of the piece.” “Israa, this 12-year-old girl who is an orphan, almost brought me to tears,” says Jocelyn Buford. “I wish to meet her and say stay strong; there are people out there who care for you.” The connection of one life to another is powerful and grows with each brushstroke as the portrait unfolds before them. Each year, the $15 fee for participation in the creative process appears to be no issue for the students.
Artist Cher Von Tiedemann recalls juggling school and college applications and says, “In the middle of it all, I just looked over at that half-done portrait and was reminded of all the things I didn’t have to deal with. I did not have to deal with bombings and tear gas. I didn’t have to see the people I love die or watch the infrastructure of my country toppling all around me.” Aware of the blessings of education and family, Von Tiedemann adds, “She doesn’t have that, and I know that a watercolor portrait is not going to change that. But my hope is when she looks at this portrait she can see the strength I tried to paint in her. I hope she can look back at what I drew and know I saw this great power to survive.” For more information, visit memoryproject.org.
by DeeGee Lester Director of Education The Parthenon
Photograph by Drew Cox
Thai orphan holding her portrait by a 2014 NSA student
Courtesy The Memory Project
“They have a few guidelines but can pick any medium for the portrait,” says Profitt-Streuli. “There’s a lot of freedom of expression. We only ask that each child be able to recognize themselves.” The completion of the pieces is timed to coordinate with Schumaker’s travels back to the region for delivery of the precious works of art. After delivery, the classroom of artists receives pictures and a video of grateful children receiving their treasured portraits.
ARTSMART A Visit to Ms. Camilla’s Neighborhood When you get a really good idea, what do you do with it? Do you think about it endlessly? Does it stay in your daydreams or do you start to plot, plan, and imagine it coming to life? East Nashville artist and art teacher Camilla Spadafino had a really good idea: to create portraits of friends, family, and pets in her neighborhood. But not just pictures that would hang in a gallery but interactive portraits that anyone could add their artistic flair to. It was then that the coloring book Ms. Camilla’s Neighborhood idea came to life. I recently had the chance to sit down with Camilla in her East Nashville home and studio. You see, I’ve been working on creating videos for my students that showcase working artists. I want them to know that art is more than just creating artwork during the short amount of time we spend in the art room each week. My dream is for them to realize that something you love to do, like creating art, can become a career. In my time with Camilla, she shared so much more. First of all, she has a wonderful spirit. She’s warm, loving, and has the sweetest Southern accent around. While explaining her process, she talked about how she puts “magical thoughts” into her mind when creating. She spoke of art being a unifier, not a divider. She mentioned “serving the paint” but not wasting even an ounce. I realized that my students were going to take away so much more than just creating from Camilla. They were going to learn how to be a good steward to their supplies, their community, and all that through their art.
Ms. Camilla and Cassie Stephens
Since coming up with this idea, Camilla has published her coloring book. She’s also painted over 100 portraits of those in her neighborhood. But this isn’t the end of her ideas. Her newest one is to create a series of paint-by-number portrayals of cities across the U.S. You can find her Paint the Town by Numbers of Nashville, as well as her coloring book, on her website at www.camillaspadafinoart.com. Now, what will you do with your idea? I was definitely inspired to stop daydreaming about mine and work toward bringing it to life. I do hope my students receive the same message from Camilla Spadafino. The video of my time spent with Camilla can be found on my YouTube channel at Cassie Stephens.
Marti Profitt-Streuli, Black ink coloring sheet, 10” x 8”
Photograph by Juan Pont Lezica
From the Ms. Camilla’s Neighborhood series
by Cassie Stephens Art Teacher Johnson Elementary
Marti Profitt-Streuli, Acrylic, 10” x 8”
Courtney Seward, Lauren Willoughby, and Georganna Greene at Cumberland Gallery
Jo-Jo Jackson at Julia Martin Gallery
At David Lusk Gallery
Sarah Wilson and Susan Tinney at Tinney Contemporary
Photograph by Sara Lee Burd
PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON
Stephen Zerne at COOP Gallery
Katie Shaw and David Lusk at Art Basel
At The Jeff Goth Arts atCompany The Rymer Gallery
Alex Lockwood, Robert Scobey, Alexandra Sutton and Jonathan Sutton at COOP Gallery
Julia Dyer and Nate Sweitzer at CG2 Gallery
At Fort Houston
Cassidy Conway and Aaron Heide at The Arts Company
Janie Hemmings and Bill Puryear at East Side Project Space
Eden Gerlock, Wynn Smith, C.J. Tucker and Vali Forrister at Julia Martin Gallery
Novella Coppedge, Twila Lambert, Danielle McDaniel, and Mike Clark at The Clay Ladyâ€™s Campus
Photograph by Lyndy Rutledge
Holliday Therrell at CG2 Gallery
Pat Vincent at The Rymer Gallery
Buddy Jackson, Sara Lee Burd and Julia Martin at 33 Contemporary Gallery, Chicago
Photograph by Sergio Gomez
Logan Hunt at Corvidae Collective
At mild climate
Otis James at Julia Martin Gallery
Sara Lederach, Katie Wolfe and Sarah Beth Paul at East Side Project Space
A Celebration of the Legacy of Tennessee State Museum Executive Director Lois Riggins-Ezzell
Trish Nash, TSMF Board member Howard Gentry, State Museum Commissioner Deanie Parker, with TSMF Board member Angel Cropper and her husband Steve
Rep. Charles Sargent, who serves on the State Museum Commission, and his wife, Nancy with fellow Commission member Harbert Alexander Sr. and wife, Nora
Dr. Elizabeth Cato with Lois Riggins-Ezzell and former congressman Bob Clement
PHOTOGRAPHY BY MOMENTS BY MOSER PHOTOGRAPHY
Longtime museum supporters Manuel, Tish, and Gil Veda
Bonny and Alan Shuptrine
Tennessee Speaker of the House Beth Harwell, who serves on the State Museum Commission, with Executive Director Lois Riggins-Ezzell and State Museum Commission Chair Tom Smith
State Museum Commissioner Laura Travis with daughters Rachel and Jessica
Jere Ervin and his wife, Linda, flank Executive Director Lois Riggins-Ezzell
Incoming State Museum Foundation Board Chairman Dr. Paul McCombs with his wife, Carla
Steve Curtis and Mike White
A repertoire of holiday music was performed by singer Justyna Kelley (pictured here) with Eddie Gore on the keyboard
2017 Tennessee Waltz Chair Anne Russell with Debbie & Bill Koch and Emily Reynolds
TEXT & PHOTOGRAPHY BY HUNTER ARMISTEAD
Photograph by Jerry Atnip
w w w. ze i tg e i s t- a r t . c o m
A Frame of Film, A Line of Words, Capture the Creative Culture of Our City
ALE X LO C K WO O D
AW F U L T H I N G S
Merry Anderson Mother, Spanish Interpreter
In Her Own Words In sailing leaves and talking trees, turning phrases like locks of hair, toes parsing the dirt, divining, she lifts her azure eyes to heaven. Born Mary, named for that Mary, descendant of the same myrrh brought in adoration to her Son— (she told me it’s sometimes bitter but sweet when crushed) There, on a bell of a bend in a camper,
P S YC H PA S T O R A L E : N E W PA I N T I N G S B Y
before an altar of wind, stone, and timber Merry and husband send two sons reaching high on a cherry red swing— tied to a twin taken at 18. Now and then she pours tumult into a crucible Smouldering passion becoming embers igniting a fire of love anew, clearing deadwood and hope Once broken. With an ear for His message in Spanish or her mother English tongue She attends that peace that settles within All the while making very merry, her other ear to the ground listening for whispers of truth.
SHOW RUN S
JAN 7– FEB 25
RECEPTION JAN 7, 6-9 PM G A L L E R Y H O U R S : T U E S - S AT, 11- 5
516 HAGAN STREET, SUITE 10 0 NASHVILLE , TN 37203 T 615 256.48 05
Nashville author and bookstore entrepreneur Ann Patchett’s best-selling novel Bel Canto was inspired by a December 1996 hostage situation at the Japanese Embassy in Lima, Peru. The Lyric Opera of Chicago commissioned an adaptation of the book on the advice of soprano and Great Performances host Renée Fleming and held the world premiere in December 2015. Bel Canto the Opera premieres Friday, January 13, at 8 p.m. on NPT. The performance features soprano Danielle de Niese as American opera singer Roxanne Coss who was making a special appearance at the international diplomatic gathering at the invitation of a Japanese industrialist, portrayed by bass-baritone Jeongcheol Cha.
Alicia Keys in a Great Performances Landmarks Live in Concert
Our music programming continues with Great Performances’ Landmarks Live in Concert series Fridays at 8 p.m. The show is hosted by Chad Smith of the Red Hot Chili Peppers and features Alicia Keys (January 20) and Brad Paisley (January 27) performing in places that hold special meaning for them. Keys sings at the Apollo Theatre and other New York sites, while Paisley returns to the Appalachian Mountains for an outdoor concert at West Virginia University.
ART AND HISTORY The rights of museums regarding artifacts removed from various cultures has been a hot topic in recent years and is part of the theme of What Was Ours, airing Monday, January 16, at 9 p.m. on Independent Lens. The documentary chronicles the visit of three Native Americans to Chicago’s Field Museum archives where numerous ancestral objects are held. The trio consists of Shoshone elder and Vietnam veteran Starr
Jeongcheol Cha and Danielle De Niese in Bel Canto from Chicago Lyric Opera
Weed, and a teenage powwow princess and a young journalist who are members of the Arapaho tribe. Dramas about the British monarchy seem to be all the rage this television season and there is certainly a lot of material to mine. Spirited historian Lucy Worsley (Secrets of the Royal Bedchamber, Tales from the Royal Wardrobe) explores the particularly rich marital life of Henry VIII in Secrets of the Six Wives. Airing Sundays, January 22 through February 5 at 9 p.m., the three-part series seeks to uncover the real stories of the wives of the Tudor king. Make a New Year’s resolution to support NPT! Simply go to www. wnpt.org and click the donate button. Remember, encore presentations of many of our shows and program theme nights are broadcast on NPT2, our secondary channel.
Northern Arapaho regalia hand-beaded in the traditional style, from Independent Lens: What Was Ours
Courtesy of Alpheus Media
OF LOCAL INTEREST
On Thursday, January 19, at 8 p.m., NPT will premiere Travis Tritt: A Man and His Guitar, an unplugged solo concert recorded live at the Franklin Theatre in November of last year. Be sure to watch for a special in-studio guest as we record the national PBS pledge special for the new program.
Courtesy of ©Todd Rosenberg Photography 2015
The new year on NPT begins with the premiere of Victoria on Masterpiece (8 p.m. Sundays, January 15 through March 5), a lavish series set at the start of Queen Victoria’s long reign, and new seasons of Sherlock (Sundays, January 1 through 15) and Civil War drama Mercy Street (7 p.m. Sundays, January 22 through March 5). For the latter, Tennessee State Museum curator Rob DeHart will again write a weekly guest blog post at wnpt.org relating each week’s episode to an object from the museum’s collection.
Courtesy of Great Performances
Arts Worth Watching
January 2017 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 Thomas and Friends Bob the Builder Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Splash and Bubbles Curious George Nature Cat Ready Jet Go! Sewing with Nancy Sew It All Garden Smart A Chef’s Life Moveable Feast with Fine Cooking The Mind of a Chef noon America’s Test Kitchen pm Cook’s Country Kitchen Mexico - One Plate at a Time with Rick Bayless Lidia’s Kitchen New Orleans Cooking with Kevin Belton Fons & Porter’s Love of Quilting Best of Joy of Painting Rough Cut – Woodworking with Tommy Mac Woodwright’s Shop This Old House Ask This Old House Woodsmith Shop PBS NewsHour Weekend pm Tennessee’s Wild Side
This Month on Nashville Public Television
Victoria on Masterpiece A lavish new series about a feisty teen queen’s early days on the throne.
Sundays, Jan. 15 – March 5, 8 pm
am Sid the Science Kid Cyberchase Sesame Street Daniel Tiger’s Neighborhood Splash and Bubbles Curious George Nature Cat Ready Jet Go! Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads Nature Washington Week noon To the Contrary pm Music Voyager Joseph Rosendo’s Travelscope Expeditions with Patrick McMillan Globe Trekker California’s Gold Bare Feet with Mickela Mallozzi America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week
Weekday 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
am Classical Stretch Body Electric Wild Kratts Ready Jet Go! Nature Cat Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Splash and Bubbles Sesame Street Dinosaur Train Peg + Cat Super Why! Thomas & Friends noon Bob the Builder pm The Cat in the Hat Splash and Bubbles Curious George Nature Cat Read Jet Go! Odd Squad Odd Squad Wild Kratts Arthur Martha Speaks WordGirl pm PBS NewsHour
Nashville Public Television
Sherlock on Masterpiece Cumberbatch and Freeman return for a fourth season as Holmes and Watson. Sundays, Jan. 1 – 15
Mercy Street The drama shifts beyond the hospital in Season 2 of the Civil War series. Sundays, Jan 22 – March 5, 7:00 pm
7:00 Antiques Roadshow Fort Worth, Hour Two. 8:00 Antiques Roadshow Birmingham, Hour Three. 9:00 Independent Lens Containment/Excerpt from Uranium DriveIn. Attempts to plan for our radioactive future and the startling failure to manage waste in the present. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Raptors! Kings of the Sky
6:00 Sherlock on Masterpiece The Six Thatchers. Sherlock is back and the Watsons are expecting their first child. 8:00 Sherlock on Masterpiece The Lying Detective. 9:30 How Sherlock Changed the World The impact and legacy of history’s most famous detective. 10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Antiques Roadshow Fort Worth, Hour One. 8:00 Antiques Roadshow Birmingham, Hour Two. 9:00 Independent Lens Best and Most Beautiful Things. A young blind woman chases love in a provocative fringe community. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Great Performances: Shakespeare Live! From the RSC A gala on the 400th anniversary of Shakespeare’s death.
6:30 Great Performances From Vienna: The New Year’s Celebration 2017. Julie Andrews hosts; Gustavo Dudamel leads the Vienna Philharmonic. 8:00 Sherlock on Masterpiece The Six Thatchers. Sherlock is back and the Watsons are expecting their first child in the Season 4 opener. 9:30 How Sherlock Changed the World 10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Nazi Mega Weapons The Eagles Nest. Hitler’s mountain power house. 8:00 Command and Control: American Experience The deadly 1980 incident at an Arkansas Titan II missile complex. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Longleaf: The Heart of Pine A cultural and natural history of the South’s ancient primeval forest.
7:00 Sidney Lumet: American Masters The life’s work of the socially conscious director in a never-beforeseen interview. 9:00 Frontline: President Trump An examination of the key moments that shaped the president-elect. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Beyond the Divide A former Vietnam explosives expert and a peace advocate.
Mon, Jan 9, 9:00 pm
Tues, Jan 3, 7:00 pm
Sidney Lumet: American Masters
Nashville Public Television’s Primetime Evening Schedule
January 2017 Thursday
11 7:00 Nature Snowbound: Animals of Winter. How animals survive harsh winters. 8:00 NOVA The Nuclear Option. The lessons of the Fukushima nuclear disaster. 9:00 In My Lifetime Citizens, scientists and political leaders in the U.S., Europe and Japan grapple with nuclear issues. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Ms. Lauryn Hill.
7:00 Nature Meet the Coywolf. 8:00 NOVA Vampire Sky Tombs. Scientists and explorers discover evidence of burial rituals designed to ward off vampires and zombies in caves in the Tibetan Himalayas. 9:00 Secrets of the Dead Vampire Legend. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Eric Church.
Weds, Jan 11, 7:00 pm
12 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Loretta Lynn: American Masters Still a Mountain Girl. The country legend’s hard-fought road to stardom. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Roadtrip Nation: Ready to Rise Three out-of-work youth interview people who overcame adversity to build fulfilling lives and careers.
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Janis Joplin: American Masters Janis: Little Girl Blue. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Roadtrip Nation: Being You The transformative journey of three young people with learning and attention issues.
Snowbound: Animals of Winter Nature
13 7:00 Music City Roots Live from the Factory Scott Miller and Jim Lauderdale in Belfast; Irish songwriters in Nashville. 8:00 Great Performances Bel Canto The Opera. An operatic adaptation of Ann Patchett’s best-selling novel with soprano Danielle de Niese. 11:00 BBC World News 11:30 Soundstage Bad Company.
7:00 Music City Roots Live from the Factory Steelism, Jake Shimabukuro, Andrea Zonn with Keb Mo. 8:00 Mel Brooks: American Masters Make a Noise. 9:30 On Story Carl Reiner: A Conversation with a TV Legend. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 In Jackson Heights A diverse community in Queens, N.Y.
Weds, Jan 18, 11:00 pm
Austin City Limits:
7:00 Lawrence Welk Show Rhythm Is Our Business. 8:00 Keeping Appearances 8:30 Downton Abbey Season 5, Part 2. Sarah tutors Daisy; an art historian arrives. 9:30 Grantchester Season 2, Episode 2. A professor dies in a suspicious fall. 10:30 Bluegrass Underground Dave Rawlings Machine. 11:00 Globe Trekker Vietnam.
7:00 Lawrence Welk Show U.S. Tour. 8:00 Keeping Appearances 8:30 Downton Abbey Season 5, Part 1. A working-class prime minister is elected and old attitudes start to change. Robert is snubbed by the village. 10:00 Grantchester Season 2, Episode 1. Sidney is one of many murder suspects. 11:00 Globe Trekker Central Japan.
Tues, Jan 24, 7:00 pm
7:00 Antiques Roadshow Indianapolis, Hour One. 8:00 Antiques Roadshow Santa Clara, Hour Three. 9:00 POV Seven Songs for a Long Life. Strathcarron, a Scottish hospice center where patients turn to music and comedy. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Seeking the Greatest Good Gifford Pinchot, the first U.S. Forest Service chief.
7:00 Finding Your Roots The Irish Factor. Soledad O’Brien, Bill O’Reilly and Bill Maher. 8:00 Race Underground: American Experience The construction of the Boston subway, America’s first. 9:00 Frontline Iraq After Isis. Reporting from areas formerly under ISIS control. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Secrets of Underground London
7:00 Spy in the Wild, A Nature Miniseries Love. 8:00 NOVA Search for the Super Battery. 9:00 Aurora – Fire in the Sky 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Band of Horses, Parker Millsap.
7:00 Nature A Sloth Named Velcro. 8:00 NOVA Sunken Ship Rescue. 9:00 Alzheimer’s: Every Minute Counts An urgent wake-up call about the national threat posed by Alzheimer’s disease. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Margo Price; Hayes Carll.
7:00 Nature Moose: Life of a Twig Eater. Filmed over 13 months in Canada’s Jasper National Park. 8:00 Frontline Divided States of America, Part 2. The partisanship that charged the 2016 presidential campaign. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Cyndi Lauper.
2 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Sister Rosetta Tharpe: American Masters The Godmother of Rock & Roll. The gospel superstar whose spiritual passion infused the secular world of popular rock ’n’ roll. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Afropop: The Ultimate Cultural Exchange
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Carole King: American Masters Natural Woman. 9:00 Women’s List: American Masters Fifteen women who define contemporary American culture. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Red Dot on the Ocean Matt Rutherford’s 2011 solo sailing journey.
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Travis Tritt: A Man and His Guitar 9:30 Workin’ Man Blues An exploration of the dust bowl roots of country music in California. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Roadtrip Nation: The Next Mission Three recent veterans seek out fellow service members who have successfully transitioned into the workforce.
3 7:00 Music City Roots Live from the Factory Emily West, Mike & Ruthy, Govt. Cheese. 8:00 Live from Lincoln Center 50 Years of Mostly Mozart. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Soundstage Kenny Loggins.
7:00 Music City Roots Live from the Factory Parker Millsap, The Secret Sisters, Blackberry Smoke. 8:00 Brad Paisley – Landmarks Live In Concert 9:00 Great British Baking Show Masterclass 2. Tiramisu, Neapolitan baked Alaska. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Soundstage Blondie.
7:00 Music City Roots Live from the Factory Jon Conlee, Sierra Hull, Jim Lauderdale. 8:00 Alicia Keys – Landmarks Live In Concert A Great Performances event. 9:00 Great British Baking Show Masterclass1. Paul and Mary bake Swiss roll, cherry cake and Florentines. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Soundstage Jon Secada.
Visit wnpt.org for complete 24-hour schedules for NPT and NPT2.
7:00 Mercy Street The House Guest. 8:00 Victoria on Masterpiece The Clockwork Prince. Albert visits against the queen’s wishes. 9:00 Secrets of Six Wives Beheaded, Died. Anne Boleyn; Jane Seymour. 10:00 Start Up Have a Beer Outdoors. 10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Rachel Carson: American Experience The scientist whose groundbreaking writings revolutionized our relationship to the natural world. 9:00 Frontline Trump’s Road to the White House. How Donald Trump defied expectations to win the presidency. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Writer’s Roots: Kurt Vonnegut’s Indianapolis
7:00 Antiques Roadshow The Civil War Years. 8:00 Antiques Roadshow Santa Clara, Hour Two. 9:00 Independent Lens The Witness. Kitty Genovese’s brother re-examines her life and infamous 1964 stabbing death. 10:30 Last of Summer Wine 11:00 Sight: The Story of Vision The science, medicine and technology of vision.
7:00 Mercy Street Balm in Gilead. The Season 2 opener. 8:00 Victoria on Masterpiece Brocket Hall. Victoria faces rioters and suitors. 9:00 Secrets of Six Wives Divorce. The happy marriage of Henry VIII and Catherine of Aragon. 10:00 Start Up Dinner and Apps. 10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Assassination of Abraham Lincoln: American Experience 8:00 Frontline Divided States of America, Part 1. The rise of populist anger on both sides of the political spectrum. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Liberty & Slavery: The Paradox of America’s Founding Fathers The champions of liberty were simultaneously champions of slavery.
7:00 Antiques Roadshow Fort Worth, Hour 3. 8:00 Antiques Roadshow Santa Clara, Hour 1. 9:00 Independent Lens What Was Ours. An Arapaho tribal elder and Vietnam vet examines ancestral objects in Chicago’s Field Museum archives. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Mayor: The Age of Riley The 40-year legacy of Charleston, S.C., Mayor Joseph P. Riley Jr.
6:00 Sherlock on Masterpiece The Final Problem. 8:00 Victoria on Masterpiece Doll 123. In the series premiere, the young queen struggles to take charge amid plots to manipulate her. 10:00 A Craftsman’s Legacy The Metal Shaper. 10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Lawrence Welk Show Transportation. 8:00 Keeping Appearances 8:30 Downton Abbey Season 5, Part 5. Rose makes a handsome new acquaintance; Edith’s link to Marigold draws attention. 9:30 Grantchester Season 2, Episode 5. Are Sidney and Geordie’s crime-fighting days over? 10:30 Bluegrass Underground Hurray for the Riff Raff. 11:00 Globe Trekker Wild West USA.
7:00 Lawrence Welk Show Pleasant Dreams. 8:00 Keeping Appearances 8:30 Downton Abbey Season 5, Part 4. Lord Merton delivers a bombshell to Isobel. 9:30 Grantchester Season 2, Episode 4. Sidney performs an exorcism. 10:30 Bluegrass Underground Frank Solivan & Dirty Kitchen. 11:00 Globe Trekker Delhi & Agra.
7:00 Lawrence Welk Show Southtown, USA. 8:00 Keeping Appearances 8:30 Downton Abbey Season 5, Part 3. Cora makes a new friend and Violet is reunited with an old one. 9:30 Grantchester Season 2, Episode 3. Sidney and Geordie answer a false alarm. 10:30 Bluegrass Underground The Suffers. 11:00 Globe Trekker Food Hour: Southern China.
Photograph by Jerry Atnip
APPRAISEIT BY LINDA DYER
Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an appraiser of Tribal Arts. If you would like Linda to consider appraising one of your antiques, send a clear, detailed image to email@example.com. Or send photo to Antiques, Nashville Arts Magazine, 644 West Iris Dr., Nashville, TN 37204.
and three tubes of paint. In ten days they were in the trash can,” she said. Gambaro then took to sculpting in clay, stone, and bronze at the age of 52. At that time, she shared with her family that something just took over her hands, that it was like a miracle that she could sculpt, and she would ask, through tears, “How am I doing this?” Among Gambaro’s sculptures that I viewed are works from her Attitudes of Prayer series, realistic and amorphous bronze and stone works, each a powerful blend of mass and subtle grace with titles such as Courage: First Prayer, Bronze, ht. 36”, last quarter 20th century Harvest, Bronze, ht. 29”, last quarter 20th century “Facing life, calling forth your strength of mind and body.” Faith: “Without faith, what else is there?” Family: “How great, t an age when most fear that they are becoming how wondrous are the bonds.” Peace: “Sought by so many, irrelevant, Retha Walden Gambaro started on her career as destroyed by so few!” an artist—an artist who wished to share how she internally “I am most influenced by artists whose works processed and experienced the world. Retha Walden Gambaro (1917–2013) a Native American artist of Creek speak of some spiritual experience—works descent, was born in Indian Territory, Oklahoma. Her works, which show the inspiration from which they and those of her Native American contemporaries that come.” filled her studio, visibly represented Gambaro’s passion for heritage and nature as well as her desire to elevate the Native Retha Walden Gambaro’s work has been exhibited in the American artist community. Smithsonian Institution’s National Museum of Natural History, the Gilcrease Museum in Oklahoma, the Heard in Arizona, and Seeing a need for an art space that would provide the Kennedy Center, Washington, D.C. Her work is held in many representation for painting and sculpture of contemporary private and public collections. Native Americans, she and her husband, the noted photographer Stephen A. Gambaro, opened an art gallery, I became acquainted with the work of Gambaro through my Via Gambaro, in Washington, D.C.’s Capitol Hill neighborhood work as a consultant to the Alexandria, Virginia-based auction in 1973. The gallery is now long closed, but its name can be house The Potomack Company, which will be offering her works found in the biographies of the most iconic Native American as well as the diverse contents of her studio, to include her artists of the 20th and 21st centuries. work bench and tools, at auction in late February 2017. Always the activist, Gambaro was an early champion of the True to her words, from a 1976 article in The Washington Post, National Museum of the American Indian and president of the “As long as I live I will be sculpting, if I have the facilities to do Amerindian Circle at the Smithsonian Institution that launched it, if I have brains and eyes and hands. If your hands can pour funding for the museum at the Kennedy Center’s “Night of creation, it’s,” she hesitates, “it’s thrilling. I know I have been the First Americans” gala in 1982 under the patronage of given a gift.” Included in the sale will be a clay sculpture that President and Mrs. Ronald Reagan. she was working on with the aid of her daughter up to the time of her passing at the age of 96. The appraised value range for Never a woman to sit idle, and described by her children as a the sculptures shown here is $600 to $2,800. na “wonderful, attentive mother,” it was after her children were grown that Gambaro’s own creative expression first took form For more information about the sale, please visit in paint and canvas. “I went out and bought canvas, brushes, www.potomackcompany.com.
Sports as salvation ... I admit. I’m a sports fan. A Vanderbilt sports fan at that. Which means I have suffered. I’ve often thought Vanderbilt football fans should be issued hair shirts at the beginning of each season. Yes, I was at Vanderbilt Stadium when we lost to LSU because we couldn’t get the field goal unit on the field. And yes, I was in South Carolina for Thanksgiving watching TV (with all my Chapman relatives) when Vanderbilt lost a squeaker to Tennessee on the last play of the game. I could go on and on. But hey, it’s a new day. Derek Mason seems to be building something over on West End, so . . . stay tuned! It embarrasses me sometimes when I think about how affected I am by sports. I was playing an in-the-round at the Bluebird Café when I heard the news that Vanderbilt’s football team had defeated Tennessee 45–34. I had a bad sore throat that night, but that didn’t stop me from screaming out loud. Since most everybody in the audience was from out of state, I imagine my outburst caused confusion.
Williamson County Culture
I’ve often said, only two things can make us forget we’re going to die—sports and entertainment. And with the line dividing sports and entertainment getting fuzzier every day, I now modify that statement, replacing entertainment with art. But then, sports can often seem like art. Anybody who saw Shane Foster make nine straight three-point baskets in Memorial Gym against Mississippi State on March 5, 2008, can attest that they were witnessing something beyond greatness. Foster was poetry in motion that night. He couldn’t miss. With Mississippi State defenders hanging on him like laundry, he couldn’t miss. Vanderbilt won 86–85. Foster hit an NBA-range three-pointer to send the game into overtime. Then drained a final buzzer-beater to win it. Life is often difficult and unpredictable. People can be irrational and unreasonable. But sports will never let you down. It’s true, some games you win, others you lose, and a few get rained out. But with every spring comes another season of baseball. And every fall brings football, and with March comes March Madness. At the dawn of each new season, we’re all undefeated. And if you love sports, like I do, it’s enough to keep you keeping on. Marshall Chapman is a Nashville-based singer/songwriter, author, and actress. For more information, visit www.tallgirl.com.
Photograph by Anthony Scarlati
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BY MARSHALL CHAPMAN
MYFAVORITEPAINTING HUNTER CLAIRE ROGERS Executive Assistant to SVP Creative, Co-Founder of Fashion Happening Nashville, Street Style Blogger
ill Berry and his work have been woven in and out of my whole life with my earliest memory of him sketching me as a young child. Although he is soft spoken and thoughtful, his work has an intensity that holds your attention immediately and makes an impression you cannot shake. Originally a gift from Will to my parents, this piece was inspired by Will’s lifelong love of textures and textiles which speak to my love of fashion and design, cultivated from a young age. I remember it hanging in my childhood home, changing colors as the sunlight progressed throughout the day. The piece is a monotype, an oil painting created on copper plate, then printed on cotton rag paper in a press. The result is a “mono” or singular print. Will created this specific monotype in New York in the nineties. na
Will Berry, Untitled, 1996, Monotype on paper, 8” x 6”
Will Berry, born in 1954, is a Franklin, Tennessee, native who has spent years in New York City, the Luberon Valley in Provence, and Mexico City where he now lives and works. He received his M.F.A. in painting in 1993 from Boston University and his B.A. in Architecture from the University of Tennessee, Knoxville. His work is found in private, corporate, and public collections including Tennessee State Museum, University of the South, and Huntsville Museum of Art. Berry is represented by Zeitgeist, www.Zeitgeist-art.com. www.willberrystudio.com Hunter Claire Rogers
Photograph by Hunter Armistead
ARTIST BIO: Will Berry
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Sardinia, 36 x36 inches, mixed media on canvas, 2016 Sardinia, 36 x36 inches, mixed media on canvas, 2016
DANIEL DANIELHOLLAND HOLLAND
YOUNG YOUNGPROFESSIONALS PROFESSIONALS RED JARROW a nARROW u a r yGALLERY 1GALLERY 4 – F e b r u Exhibition a r Exhibition y 5 Dates: Dates: RED 1.14.16 - 2.5.16 919 Gallatin Ave #4 37206 919 Gallatin Ave #4 37206
1.14.16 - 2.5.16
www.theredarrowgallery.com www.theredarrowgallery.com @danielrholland / Instagram @danielrholland / Instagram
RED ARROW GALLERY
Exhibition Opening: Exhibition Opening: January 14th 6pm January t h e r14th e d 6pm a r r o w g a l l e r615.236.6575 y. c615.236.6575 om
“Young Professionals is a year “Young Professionals is a year long experiment involving long experiment involving paint, chemical reactions, paint, chemical reactions, textures, weathering, textures, weathering, and playfulness. This and playfulness. This
exhibition is the culmination of exhibition is the culmination of that process.” that process.” -Daniel Holland -Daniel Holland