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J U N E 1 4 – S E P TE M B E R 1 5
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The Frist Center for the Visual Arts is supported in part by:
DO WNTO WN NASHVI L L E | 919 BROADWAY | FRIS TCE NTE R.ORG/ARTDE COAUTOS Re cip r o c a l d is c o u n t s a r e o ff e r e d at Nas hv i l l e’s Lane Motor Mus eum www.l anemotormus eum.c o m 1 9 3 6 D e l a h a y e 1 3 5 M F i g o n i & F a l a s c h i C o m p e t i t i o n Coupe. Col l ect i on of Ji m Pat t er s on/ The Pat t er s on Col l ect i on. Phot ogr aph © 2013 Pet er H a r h o l d t
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Spotlight.........................................................................................................................1O Sensuous Steel The Art Deco Automobile at the Frist......................................31 Dean Fisher & Silvius Krecu At Bennett Galleries............................. 36 Field Notes Emma Hack.......................................................................................... 4O Billy Tripp Looking Below the Obvious....................................................................... 42 Zoe Schlacter The Look Is the Hook.................................................................... 45 K.J. Schumacher An Accidental Intention.................................................. 5O NPT Arts Worth Watching.................................................................................................. 54 Teresa Van Hatten-Granath Letters from the Farm...................... 6O Greta Gaines Let the Lighthouse Shine............................................................... 66 Sarah Elizabeth Hooker...............................................................................7O ArtSmart A Monthly Guide to Art Education............................................................74 Nicole Brandt A Home in the Arts.........................................................................76 Opera on the Mountain Stars Opening for the Stars.......................... 79 Nashville Puppet Festival Bigger, Bolder, and with Strings Attached...... 8O Five From Memphis David Lusk Gallery Collaborates with The Arts Co....... 82 The Holt Collection.......................................................................................... 9O Artful Day Trip..................................... 84 Appraise It with Linda Dyer.............. 89 Critical i............................................... 96 Beyond Words.................................... 97 On the Town....................................... 98 My Favorite Painting....................... 1O2 on the cover : Emma Hack, Paint the Town, Photograph mounted on perspex, 39" x 39"
Published by the St. Claire Media Group Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Daniel Hightower, Directors Editorial Paul Polycarpou, Editor and CEO Sara Lee Burd, Executive Editor and Online Editor, firstname.lastname@example.org Rebecca Pierce, Education Editor and Staff Writer, email@example.com Madge Franklin, Copy Editor Ted Clayton, Social Editor Linda Dyer, Antique and Fine Art Specialist Jim Reyland, Theatre Correspondent Contributing Writers Emme Nelson Baxter, Beano, Lizza Connor Bowen, Judy Bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, Beth Hall, Beth Inglish, MiChelle Jones, Demetria Kalodimos, Nicole Keiper, Beth Knott, Linda York Leaming, DeeGee Lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, Robbie Brooks Moore, Currie Powers, Ashleigh Prince, Alyssa Rabun, Sally Schloss, Molly Secours, Daniel Tidwell, Lisa Venegas, Nancy Vienneau, Ron Wynn Design Lindsay Murray, Design Director Photographers Jerry Atnip, Lawrence Boothby, Sophia Forbes, Donnie Hedden, Peyton Hoge, Rob Lindsay, Jennifer Moran, Anthony Scarlati, Bob Schatz, Meghan Aileen Schirmer, Pierre Vreyen Budsliquors9.16.09.indd 1
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Art Creates a City
ust like the rest of the world I was devastated to hear of the passing of George Jones. We lost not only a great voice
but a fearless human being who was not afraid to play the game as honestly as he could, full throttle, flat out. The race was always on. I was fortunate to have played guitar for him back in the eighties when I toured with Tammy Wynette. He called me Little Paul, and I called him the Big Guy. My first session with George and Tammy was the Johnny Carson show, where they sang “Two Story House” and “Golden Ring”. Who knows what strange chemistry the two of them conjured up that night, but I can tell you it was as good as it ever gets. George is a true American Icon, fascinating, interesting, a total original, warts and all, and that is why we will still be talking about him long after the dust has settled. I am humbled and honored that our paths crossed.
New Artist EILEEN CORSE
This month we welcome Betsy Wills to our pages. Betsy, who maintains the very popular art blog www.artstormer.com, will be contributing Field Notes: A Local Look at Global Art. Each month Betsy will bring one of her picks of the most fascinating art from around the world. This month she brings us Emma Hack from Australia, a body illustrator whose images can be found on page 40. Our cover image this month is also by Hack and features an illustrated model in front of a cityscape. Hack paints both the model and the background and then photographs the effect. I make no excuses for my addictions or my obsessions, and one of them has to be my love of cars. I love everything about them, but most of all I love the way they look. The sleek lines, the styling, the chrome, the leather, the horsepower, everything about a beautiful car speaks volumes to me. So I cannot wait to start my conversation with the gems that will be on display at the Frist’s Sensuous Steel exhibit. (See our story beginning on page 31.) Twenty of the world’s finest Art Deco masterpieces will make their appearance June 14–September 15 in what will, no doubt, be a crowd-pleasing showstopper. Buckle up—it's going to be motor mayhem in Music City. Paul Polycarpou Editor in Chief Editorial & advertising Offices 644 West Iris Drive, Nashville, TN 37204 Tel. 615-383-0278 Advertising Department Cindy Acuff, Beth Knott, Keith Wright All sales calls: 615-383-0278
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Distribution: Wouter Feldbusch Subscription and Customer Service: 615-383-0278 Letters: We encourage readers to share their stories and reactions to Nashville Arts Magazine by sending emails to firstname.lastname@example.org or letters to the address above. We reserve the right to edit submissions for length and clarity. Business Office: Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.00 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts.com; to reach contributing writers, email email@example.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.
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2104 CRESTMOOR ROAD NASHVILLE, TN 37215 HOURS: MON-FRI 9:30 TO 5:30 SAT 9:30 TO 5:00 PHONE: 615-297-3201 www.bennettgalleriesnashville.com
Mechanical Paradise Art and the Automobile
When she heard that Sensuous Steel: Art Deco Automobiles would be at the Frist, Lory Lockwood wanted to exhibit in Nashville at the same time. She thought about calling guest curator of the Frist exhibit Ken Gross, but, as fate would have it, she ran into him at the beach in Florida. He was judging the Amelia Island Concours d’Elegance car show, and she was looking for subjects to photograph and paint. He could not arrange a show for her, but The Rymer Gallery liked the idea of showing her paintings while Sensuous Steel is here.
Artist painting a Corvette commission called Dream Cruisin'
S u m m e r i s u s h e r i n g i n n e w s t y l es and trends. Here are a few of Keith's favorites and new ar rivals, which I am sure will end up in some of Nashville's HOTTEST HOMES!
Lockwood paints automobiles and motorcycles in a hyper-photorealistic style that focuses on chrome reflections, bright, saturated colors, and abstract patterns. Her interests range from vintage, exotic, and classic autos like Rolls Royce, Bentley, and Mercedes Benz to bikes such as Harley-Davidson, Gilera, and custom choppers. According to Lockwood, “Mechanical objects have always fascinated me. Knives, silver cups, and ornaments were my favorite subjects in early still life paintings. They had sharp, clean edges, shiny surfaces, and were reflective. I also began to work from photos, Cord Cabriolet, 2013, Acrylic on canvas, 44” x 56” and my style became super-realistic. One day I was photographing the bark of a sycamore tree and turned around to see it reflected in an automobile. The tree morphed into beautiful and strange abstract shapes seen in the paint, the chrome, and the two colors of the window. I was hooked.” Mechanical Paradise: Art and the Automobile by Lory Lockwood opens with the 5th Avenue of the Arts Art Crawl on Saturday, June 1, and will be on display through June 29 at The Rymer Gallery, 233 5th Avenue North. For more information, visit www.therymergallery.com or www.lorylockwood.com.
The Award Is Art Every year, the Tennessee Arts Commission chooses a prominent Tennessee artist to create the award that will be presented to each recipient of the Governor’s Arts Awards.
Antique Collectable Boot Scraper Early 20th Century $725
Italian Style Dining Table Circa 1940's $2,550
Antique Decorative Copper Panel 19th Century $375
Vintage Sign Letters 18-32" Tall - Assorted Letters $55-$85 ea.
. N A S H V I L L E 6 1 5 . 3 5 0 . 6 6 5 5 W W W . G A R D E N P A R K . C O M
The 2013 Award was created by William Ralston of Bell Buckle, a sculptor who has worked in stone, metal, and wood for 45 years. He used 455-million-year-old Bigby-Cannon limestone excavated from the Tennessee Residence to fashion the small vessels, which are based on the artist’s larger birdbaths. The bird perched on the edge was made from pink marble Ralston collected in East Tennessee. He said he hopes the award “induces a spirit of reflection or contemplation in those who see them.” The Tennessee Arts Commission established the Governor’s Arts Awards in 1971 to recognize individuals and organizations that make extraordinary contributions to the arts. To view this year’s winners, visit www.tn.gov/arts/artsawards. For more information on William Ralston, visit www.williamralstonsculpture.com.
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TS-151, acrylic, oil and chalk on canvas, 36”x48” TS-151, acrylic, oil and chalk on canvas, 36”x48”
K.J. Schumacher 5133 Harding STEPike 1A Nashville, TN 37205 615.352.3006 www.galleryonellc.com 5133Pike Harding STE 1A Nashville, TN 37205 615.352.3006 www.galleryonellc.com
Pleasure Island at Octane! In her new show Pleasure Island, Shaunna Peterson explores the many facets of indulgence. From booze-slurping sock monkeys to the House Band from Hell, she tackles familiar vices with a humorous tongue-in-cheek approach. A nationally known artist and illustrator from Southern California, Shaunna is inspired by vintage advertising, humor, toys, and pretty ladies. Call her work lowbrow, outsider, or pop-surrealism, she doesn’t care, because she’s having a blast. You could say she got her start at the Orange County Raceway. Her father took up drag racing a few years before she was born, so she was regularly in tow at the track. To keep her occupied, her parents gave her a sketchbook and pencils, and she became obsessed with rendering what she saw. She also loved watching artists using very small brushes hand letter and pinstripe her dad’s car. Shaunna has been showcased in Step Inside Design magazine, International Tattoo Art, Permission magazine, Art Week, the Sci-Fi Western catalog, PandaMeat, and CMYK. Her work will be on display at Octane! Art Gallery through July 5. Octane! Art Gallery is located in Kustom Thrills Tattoo on 10th and Main Street in East Nashville. Hours are Monday through Saturday from 12 p.m. until 10 p.m. and Sundays from 12 p.m. until 8 p.m. For more information, visit www.kustomthrills.com/events/octanegallery. www.shaunnapeterson.com
Raising Hell, 2013, Acrylic on wood, 20” x 16”
Woodworkers Call for Entries The East Tennessee Woodworker’s Guild and the Arts & Culture Alliance recently announced the call for entries for the 17th Master Woodworkers Show. It is open to all craftspeople and artists working within a 200-mile radius of Knoxville and calls for all types of woodwork, from traditional Sabiha Mujtaba to whimsical, in fine furniture, cabinetry, turning, sculpture, and lutherie. The deadline for entries is Thursday, August 1, 2013. Pieces for the show will be selected by a panel of three Barney Travis jurors with the goal of highlighting the finest woodworking in the region regardless of style or professional status of the maker.
Curtis Buchanan 12 | June 2O13 NashvilleArts.com
The biennial show will be displayed in the Emporium Center at 100 S. Gay Street November 1–3, 2013. For applications and information, visit www.masterwoodworkers.org.
photo: Harry Butler
Associate Conductor Kelly Corcoran leading summer concert at Centennial Park
Nashville Symphony Musical Memories in the Parks
We associate songs or musical scores with the memories and moments of our lives. The familiar first notes break the warm summer air and you're offâ€”to a galaxy far, far away. For other listeners, the snapping of fingers and a quirky rhythm immediately conjure the romance and rumbles of New York's West Side in the 1950s. From syncopation to the haunting sound of a lone oboe, more and more Nashvillians have, in recent years, associated summer memories and summer scenes in our city parks with evenings of music provided by the Nashville Symphony. Again this year, throughout the month of June, visitors to area parks can lounge in lawn chairs or sprawl on blankets with picnic baskets while enjoying free symphony performances under the direction of associate conductor Kelly Corcoran. The 2013 program runs the gamut of musical tastes from Star Wars and West Side Story to Harry Potter and classical selections by Copeland and Prokofiev. Funded by the Metropolitan Government of Nashville and Davidson County, Publix Super Markets Charities, Cracker Barrel Foundation, and the City of Brentwood, the performances will appeal to a variety of musical tastes and extend beyond the boundaries of Nashville to include other communities. Select your date and location: Thursday, June 6 (8 p.m.) at East Park; Friday, June 7 (8 p.m.) at Bicentennial Mall; Sunday, June 9 (7 p.m.) at Crockett Park, Brentwood; Tuesday, June 11 (7:30 p.m.) at Cumberland University, Lebanon; Wednesday, June 12 (7:30 p.m.) at Key Park, Lafayette; Tuesday, June 18 (7:30 p.m.) at Centennial Park; and Saturday, June 29 (7 p.m.) in Glasgow, Kentucky. For more information, visit www.nashvillesymphony.org.
TACA Best of Show Alan Daigre of Readyville, Tennessee, took home Best of Show from this year’s TACA Craft Fair. His handcrafted chairs and rope rockers are known for their natural textures and clean, simple lines. Each one is unique and was made using a mix of indigenous Tennessee hardwoods, often from his own property. Jeffrey M. Adams, Guest Juror and Director of the Center for Craft at Tennessee Tech University, explained that one of the reasons he chose Alan’s work for Best of Show was “his distinct and passionate devotion to the craft of each surface, connection, joint, and finish. The work is constructed in such a manner that it actually molds to your physical profile.” For more information about Alan Daigre and his work, visit www.alandaigre.com.
Nashville Arts Winner Flies Solo Jim Blythe, a winner in Nashville Arts Magazine’s 2011 photo competition, is having a solo show entitled Pictures from the Floating World at the Tennessee Arts Commission Gallery. All the photographs in the show are macro shots of various organic and inorganic materials suspended in bottles of mineral or olive oil. Blythe has been working on this series for many years, but his subjects have gradually changed. “From the beginning, what distinguished my work from that of most other macro photographers is that while they tend to shoot a close-up of a single object for each photograph, I compose each of mine from a variety of objects juxtaposed for a particular aesthetic effect. Over the years my photos have become more and more carefully composed still lifes,” Blythe explains. Using flowers, twigs, fruit and vegetable slices, marbles, stones, fish parts, insects, pieces of fabric and plastic, corn silk, and so forth, Blythe creates both deliberate and accidental compositions in the bottles of oil. Almost all the Vanitas #2 (Windows of the Skull), 2013, photographs are backlit Photograph, 14” x 11” with strong sunlight from his kitchen window. A professor of medieval history at the University of Memphis, Blythe often picks titles for his work from Hindu or Greek mythology, poetry, literature, music, or other people’s art. Pictures from the Floating World will be on display through June 28 at Tennessee Arts Commission Gallery, 401 Charlotte Avenue. The gallery is open Monday through Friday, 8 a.m. to 4 p.m. For more information, visit www.tn.gov/arts.
Faith Ringgold Art by Kate Warner (Age 6)
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Residential • Investment Property Recreational Land Nidhogg, 2013, Photograph, 13” x 19” 14 | June 2O13 NashvilleArts.com
Dr. André Churchwell, Man of Fashion in Rhode Island School of Design Exhibit For over three years my co-curator Laurie Brewer and I have been researching and planning the exhibition titled Artist/Rebel/Dandy: Men of Fashion, which is now currently on view at the RISD Museum, Providence, Rhode Island, through August 18, 2013. From the beginning our aim was to show the multitude of ways that the dandy figure has been depicted, interpreted, and, perhaps most important, employed over the course of more than two centuries by a host of differing personalities, ranging from Beau Brummell to Oscar Wilde, Max Beerbohm, and an array of contemporary stylemakers. In short, the exhibition examines and expands upon the traditional definitions of the dandy and marries a discussion of the art and craft of clothing to the actual figure and personalities of the creative men who wore the garments.
photo: anne rayner
by Kate Irvin, Curator, Costume and Textile Collection, RISD Museum
Dr. André Churchwell, Assoc. Dean for Diversity, Assoc. Prof. of Medicine (Cardiology), Vanderbilt University
In the early fall of 2013, we approached Dr. André Churchwell with the hope that he would participate in our exhibition as a personality by loaning one of his creative and carefully curated ensembles. We had been introduced to Dr. Churchwell’s inimitable style via Rose Callahan’s wonderful photo portraits, and we instantaneously saw a place for him in our show. Dr. Churchwell generously complied and, upon hearing that we were able to include a stunning tartan suit worn by one his icons, the Duke of Windsor, offered an Englishcut suit tailored by Leonard Logsdail in New York. The fabric of this profoundly considered suit is a large-scale check-onLeft: Lounge suit worn by the Duke of Windsor, 1897; Right: Ensemble worn check pattern with red and blue by Dr. André Churchwell, 1993 accents, specifically chosen by Churchwell to support the suit’s 1920s-style silhouette. Called the Prince of Wales check, the pattern was popularized in the 1920s by the Duke of Windsor, having first been designed by the Duke’s grandfather for shooting expeditions in the Scottish countryside. We could not have asked for a better pairing and hope that the audience is just as appreciative as we are of this beautiful dialog between past and present.
Artist/Rebel/Dandy: Men of Fashion at Rhode Island School of Design
Artist/Rebel/Dandy: Men of Fashion will be on exhibit at RISD museum through August 18, 2013. For more information about the exhibit, visit www.risdmuseum.org.
murAT kAboulov & lorI PuTNAm through July 27
Su mmer Su pper Clu bS
June 26 w/lori Putnam • July 18 w/marina kaboulov $45/reservations @ firstname.lastname@example.org 4304 Charlotte Ave • Nashville, TN 615-298-4611 • www.lequiregallery.com June 2O13 | 15
Angel Repose, 2001, Oil on canvas, Courtesy of Grey Carter, Objects of Art
A World of His Own Tennessee native and self-taught artist Paul Lancaster will be showcased at the Parthenon beginning June 14. Over his lengthy career Lancaster has painted hundreds of nature-based fantasies, populated with images of dark-eyed maidens, innocent children, gentle animals, beautifully twisting ivy, and forests bursting with foliage. His paintings are filled with intricate details rendered with simple and firm clarity. Each painting is a glimpse into the delightful and idealistic inner world of Paul Lancaster, untouched by violence, pain, or fear. Of Cherokee descent, Lancaster developed his love of forests and fields playing on the farms of his grandfather and great-grandfather during the 1940s and 50s. While training as an army medic in Colorado, he began painting in earnest. He returned to Tennessee after leaving military service, and for three decades he was the resident artist at Nashville’s Lyzon Gallery, where he produced paintings, collages, and engravings from his studio in the frame shop. Now 83, Lancaster still enjoys drawing in his small home studio. This will be the first exhibition showcasing Paul Lancaster’s work in Nashville. The thirty-five artworks and objects will focus on his lavish paintings but will also include other mediums he has explored. PAUL LANCASTER: A World of His Own opens at the Parthenon with a reception on Friday, June 14, from 6 p.m. to 8 p.m. Lancaster will be present, and the public is welcome. The show continues through October 6, 2013. The Parthenon is open Tuesday–Saturday from 9 a.m. to 4:30 p.m. and Sunday from 12:30 p.m. to 4:30 p.m. For more information, visit www.parthenon.org.
Blue Dog Comes to Nina Kuzina Six Blue Dog paintings and one of only thirty-five Blue Dog vases were recently consigned to Nina Kuzina Gallery. Among them is the only Blue Dog painting in which George Rodrigue included palm trees. Many of the artist’s books and silk screens are also on display. What would become Rodrigue’s most famous series was inspired by the Cajun myth of loup-garou, which, according to local lore, was a creature with the body of a human and the head of a dog or wolf. Searching for a way to portray the werewolf creature, Rodrigue painted his studio dog, Tiffany, which became the genesis of the Blue Dog. Over time he changed the dog’s eyes to yellow, creating a friendlier image, and then gradually the dog became bluer and the paintings more abstract. The titles of the Blue Dogs also grew into one of the most important elements of the work. Rodrigue has used Blue Dog painting titles to provide insight—whether humorous or nostalgic or sad—into the human condition. It is difficult to define the allure of Blue Dog, but the fact that it captures the imagination is undeniable. Through his Blue Dog art, Rodrigue made the acquaintance of three U.S. presidents, and his works are valued by art collectors and art lovers worldwide.
Captain Midnight, Oil on canvas, 41" x 36" Nina Kuzina Gallery is located in Stanford Square, 4231 Harding Pike. Hours are Monday through Friday from 10 a.m. until 6 p.m. and Saturday from 10 a.m. until 5 p.m. www.ninakuzina.com
A Monthly Look at Hot Books and Cool Reads
The Son by philipp meyer
Revolutionary Summer by joseph j. ellis
The acclaimed author of American Rust returns with an epic, multigenerational saga of power, blood, and land that follows the rise of one unforgettable Texas family from the Comanche raids of the 1800s to the border raids of the early 1900s to the oil booms of the 20th century. Meyer will be appearing at Parnassus Books on June 25.
From the award-winning author of Founding Brothers and American Sphinx comes a revelatory portrait of a moment in American history: the summer of 1776, the most dramatic few months in the story of our country's founding. The perfect Father's Day gift for history-loving dads.
For more information about these books, visit www.parnassusbooks.net.
Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville by michael streissguth Outlaw takes a close look at the outlaw country music movement through the stories of the legendary icons of the movement—Willie Nelson, Waylon Jennings, and Kris Kristofferson. With Nashville as the backdrop, the book shows how this movement redefined country music in the late '60s and early '70s.
TransAtlantic by colum mccann McCann demonstrates once again why he is one of the most acclaimed and essential authors of his generation. Emma Donoghue says: "This novel is beautifully hypnotic in its movements, from the grand (between two continents, across three centuries) to the most subtle. Silkily threading together public events and private feelings, TransAtlantic says no to death with every line." June 2O13 | 17
4535 Harding Pike #110 Nashville, TN 37205 (615) 202-7777 w w w.cpcanashville.com 340 Kinnie Road
Christy Reed Blackwell 504-2833
Christy Reed Blackwell 504-2833
2410 Hidden River Lane
1100 Wrights Lane Frosted glass spheres for Field of Light
Lights On! $5,315,000
Christy Reed Blackwell 504-2833
Joan Pinkley 707-2023
3821 West End Avenue #301
701 Millstone Lane
Tom Patterson 351-3477 Kathryn Donelson 397-3573
Betsy Moran 485-4475
108 Havering Chase
132 Cheek Road
Shauna Brooks 347-2550
300 Jackson Boulevard
1220 Taggartwood Drive
Shauna Brooks 347-2550
4130 Brick Church Pike
4009 Stoneybrook Drive
LIGHT: Bruce Munro at Cheekwood will be on display through November 10. Hours are 9:30 a.m. until 4:30 p.m. Tuesday through Saturday. On Wednesdays, Thursdays, and Fridays through November 8, Cheekwood will stay open until 11 p.m. For more information, visit www.cheekwood.org.
Shauna Brooks 347-2550
Seema Prasad 573-2399
Friday evenings will also include a variety of musical acts chosen specially to complement the installations placed throughout the landscape and galleries. First Tennessee Fridays run though November 8.
Christy Reed Blackwell 504-2833
After months of planning and an intensive six and a half weeks of installation involving 160 staff and volunteers, LIGHT: Bruce Munro at Cheekwood is enchanting visitors. Take advantage of the extended hours on Wednesdays, Thursdays, and Fridays to see the night sky and the grounds of Cheekwood light up like nothing you could possibly imagine. Prepare to be mesmerized!
Betsy Moran 485-4475
One-liter recyclable plastic bottles filled with water for Water Towers
Specializing in the sale of original 19th & 20th century American paintings, folk art, period furniture, and fine period jewelry with an emphasis on Art Deco, Art Moderne & Retro examples. 4119 Hillsboro Road • Nashville, TN 37215 (615) 297-2547 • email@example.com www.williamsamericanart.com
Rare architectural vase decorated by Georges Lawrence Schreiber (ca. 1938) by Stonelain Pottery, Associated American Artists of NYC
16 ½ inches (height) x 6 ½ inches (max. diameter). Signed “Schreiber” to the side of the artwork and Stonelain Pottery maker’s mark on bottom.
Special 98₡ (A comical rendering, ca. 1950) by Frank Anderson Trapp (American, 1923-2005)
Oil on canvas, 34 x 28 inches (canvas), 39 x 33 inches (frame), signed and titled lower left.
Canvas, Copper, Paint, and Paper This month Centennial Art Center opens a three-person exhibit showcasing abstract paintings by Eva Sochorova, mixed-media works by Sydney Reichman, and paper sculptures by Kaaren Hirschowitz Engel. The airiness and natural light of this gallery offer the ideal environment for the varying sizes, mediums, and subjects presented. As a matter of fact, it is pretty amazing that this diverse grouping has come together in such a cohesive and lovely way. All three artists are well-established, award-winning practitioners who are not only passionate about their work but positively driven to create. About her intense use of color, Sochorova explains, “Coming from the darkness of my East German childhood, I have always craved color. I paint to give color all the Kaaren Hirschowitz Engel, Time Loops freedom it needs.” After years as a sculptor, Reichman is currently producing paintings on copper that combine the knowledge and skills she gained in working with clay, copper, pigment, and earth and in building her rural home and sculpture garden by herself. Once
a corporate attorney, Kaaren Hirschowitz Engel is inspired by nature and makes paper sculptures, often from panels and paper that she has painted, deconstructed, and woven back together along with branches and detritus found in the forest. The show opens with an artists’ reception on Friday, June 7, 5 p.m. to 7 p.m. and runs through July 24. Centennial Art Center is Sydney Reichman, River of Stars located at 25th Avenue North and Park Plaza. Gallery hours are Monday through Thursday 9 a.m. until 5 p.m. For more information, visit www.nashville.gov/ Parks-and-Recreation/ cultural-arts/visual-arts.aspx. www.sochorova.com www.sydneyreichman.com www.kaarenengel.com
Eva Sochorova, Nostalgie
First Saturday Art Crawl
Picture This on 5th, #44 Downtown Arcade
June 1 • 6PM to 9PM
Play on Words by Wordsmith
A Wordism Game – n. alternate, quirky visualization of a word or phrase pictorialized by a wordsmith
4674 Lebanon Pike, Hermitage • 615-889-5640 • www.picturethis-gallery.com
Murat Kaboulov & Lori Putnam LeQuire Gallery continues their exploration of the many genres of Murat Kaboulov with an in-depth look at his impressionistic works. Through a partnership with the Kaboulov estate, LeQuire has focused on one style of his work each year. For this exhibit, LeQuire has paired Kaboulovâ€™s work with that of nationally acclaimed pleinair artist, instructor, and author Lori Putnam. In addition to seeing a beautifully curated show featuring a lovely array of impressionistic paintings, the exhibit gives visitors Murat Kaboulov, Still Life with Gladioli the opportunity to compare Russian and American modern impressionistic styles. In the case of Kaboulov and Putnam, they display a similar approach to subject matter where it is more about interpretation, the quality and color of the light, and the mood of the piece rather than the subject itself. The two differ in their color palettes. His bold, saturated colors appear to be influenced by his Russian training, whereas hers are more neutral and reserved.
NINA KUZINA GALLERY Presenting
HAROLD K R AUS
S T R AUS ER
BARBAR A COON
LeQuire Gallery is hosting a number of events in conjunction with the exhibit, including: June Supper Club with guest artist Lori Putnam on June 26, a demonstration and lecture with Lori Putnam on June 28, a Condensed Plein-air Workshop on June 29 and 30, and July Supper Club with guest Marina Kaboulov on July 18. For more specific information and to make reservations, visit www.lequiregallery.com. Modern Impressionists: Murat Kaboulov & Lori Putnam will be on display through July 27 at LeQuire Gallery, 4304 Charlotte Avenue. An opening reception will be held June 1, 5 p.m. to 8 p.m. For more information, visit www.lequiregallery.com, www.loriputnam.com, www.muratkaboulov.com.
MARG ARE T ELLIOT T
4231 HARDING PIKE NASHVILLE, TN 37205 Stanford Square, Across From St. Thomas Hospital
615-321-0500 615-483-5995 firstname.lastname@example.org www.ninakuzina.com
Lori Putnam, Into the Sunset
G EORG E RODRIG UE
NeLLie Jo ...is art!
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A Sand Sail • photo by Nellie Jo Rainer
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Handwriting Curriculum and Instructional Books 240 Great Circle Rd. for Hand Lettering Calligraphy Classes 615-770-9902
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Nashville International Puppet Festival Nashville Public Library • June 21-23, 2013 Free Puppet Performances by International Puppet Troupes from Five Countries! Live Music • Food • Workshops • puppet parade • the WannaBeatLes Presenting the World Premier of
Nashville’s Tradition of Music and Puppetry
June 20 • 7 pm
Presented by Country Music Hall of Fame and Museum All donations go to the Nashville Public Library Foundation & The Country Music Hall of Fame and Museum
Tickets for Festival or Special Events Online: www.nashvillepuppetfestival.com Call: (888) 516-5554 • or at the door
Martinis & Marionettes Phillip Huber’s Suspended Animation
June 22 • 7 pm
Presented by Tennessee Performing Arts Center Johnson Theatre
Nas hv Mag ille Arts a z in e
Be s t S ho i n w
Best in Show at TACA Craft Fair by Alyssa Rabun
avid Fox, owner of The Copper Fox Gallery, and Nashville Arts Magazine Editor Paul Polycarpou strapped on their rain boots and puddle-jumped from one talented artist’s stall to the next as they uncovered this year’s Nashville Arts Best in Show at the 42nd Annual TACA Craft Fair. Seeds Flowering Forever, 2013, 30" x 18"
From brilliant sculptors and painters to potters and woodworkers, the competition was fierce. It was glass artist Warner Whitfield, however, who left a lasting impression on our judges in the categories of inventiveness, creativity, and originality. "The competition was tough because many of the artists fit these criteria, but we fell in love with Warner because of his fresh and innovative approach to glass," says Polycarpou. Warner and his partner, Beatriz Kelemen, have been working with borosilicate glass and fire for over twenty-five years. The team creates original sculptural forms that are inspired by nature with the goal of capturing movement, light, and simplicity. “When we begin working on a piece, we start with cold glass, then we melt the glass into a taffy-like texture. We then begin to manipulate the glass into its shape. We’re not using molding or casting techniques. With the aid of heat and gravity, the glass is gathered, stretched, and blown. Everything is free form,” says Warner. Warner does the hot work, and Kelemen does the cold work of coloring and design. Their latest series, featured at the TACA Craft Fair, has a common thread of natural, organic coloring. Kelemen adds a frosted look to each piece that tones down bold colors and creates a warm, calming feel. “By mixing different colors, we are creating designs with more movement. The pieces flow from one tone to another. They are timeless works that are inspired by nature,” says Kelemen. Congratulations, Warner Whitfield, for winning the 2013 Nashville Arts Best in Show.
Perennial Hope, 2012, 31" x 18"
View a sampling of Whitfield’s work at www.whitfielddesigns.com. NashvilleArts.com
June 2O13 | 23
July 12 • Harry Connick Jr. July 13 • Barenaked Ladies with Ben Folds Five & Guster July 19 • The Black Crowes with Tedeschi Trucks Band July 27 • Imagine Dragons August 3 • Old Crow Medicine Show August 18 • OneRepublic …and more to be announced!
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Derek Penix, Antique Market in Nice, France
Nancy Chaboun, Spot of Tea
Lori Putnam, Easy Commute
Janel Maher, Tailwind, bronze sculpture
Dawn Whitelaw, Close Harbor
Abbreviated list. See complete list on our renovated website: www.imagine-gallery.net
The Factory | Upper Mezzanine Level 230 Franklin Road | Franklin, TN 37064 615.794.7997 | www.imagine-gallery.net
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BRUCE MUNRO, FIELD OF LIGHT (INSTALLATION VIEW), CHEEKWOOD, 2013. PHOTO: KYLE DRIER
E X H I B I T I O N P R E S E N T E D B Y: E X H I B I T I O N S P O N S O R E D B Y:
Barbara and Jack Bovender
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Using an inventive array of materials and hundreds of miles of glowing optic fiber, Munro has transformed Cheekwoodâ€™s beautiful gardens into an iridescent landscape. Wednesdays, Thursdays and Fridays until 11pm. May 24 â€“ November 10
Michael Allison, Liquid 615
Liquid 615 and Pier by Caroline Vincent, Public Art Manager
ast month, we introduced you to the Watermarks public art project. This month, we take a closer look at two
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of the projects: Michael Allison’s Liquid 615 located at the Antioch Community Center and Derek Coté’s Pier located at Two Rivers Park. Allison’s Liquid 615 is made up of 240 hand-blown glass drops hanging in two rows from galvanized silver pipes attached to the community center building. They are illuminated at night from within the pipe with LED lighting so that each glass drop is lit. Allison says, “The drops obviously represent the flood waters but also the tears of the individuals in the Antioch community. The drops, especially when lit, look beautiful and encourage the community to find beauty again in this essential, life-giving force. When I was in the community-gathering meeting, I was so struck by the relief coordinator’s stories of the community’s strength and perseverance after the flood in Antioch. These individual drops are all held together by galvanized, strong metal to represent this bond that held the community together in the aftermath of such tragedy.” Derek Coté’s “piers” serve as benches and are intended to provide a place for visitors to stop and reflect on the beauty and physical presence of the Cumberland River. The benches are situated on a slope above the river, raising visitors above the elevation of the path and providing a less-obstructed view of the river and the surrounding area. The artwork’s most prominent feature is a series of four, fifteen-foot windsocks, each custom printed with adjectives that describe Derek Coté, Pier the river and/or the residents of Donelson: Respect, Strength, Spirit, Depth. These adjectives universally illustrate the river and the people of this neighborhood. Coté says, “The aim of this artwork is to celebrate the inherent power and peacefulness of the Cumberland River and the people of Donelson who live with the Cumberland River on a daily basis.” For more information on the Watermarks projects and to download the classroom guide, please visit www.artsnashville.org.
Contact Cathy Bucek, Special Events Director at 615.776.4332 for information and private tour. firstname.lastname@example.org
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The Crawl Guide On Saturday, June 1, head downtown early for 5th Avenue of the Arts summer hours from 4 until 9 p.m. Tinney Contemporary is presenting Shadow and Light, an exhibition guest-curated by Reni Gower featuring an international roster of artists. The Rymer Gallery is opening Lory Lockwood’s exhibit Mechanical Paradise: Art and the Automobile. (Spotlight on page 10.) The Arts Company is introducing Five From Memphis. (Story on page 82.) The Tennessee Art League is hosting the Chestnut Group plein-air painters. At the Arcade, Twist Gallery will present Self vs. Self by Doreen Maloney. UltraViolet Gallery! is celebrating their one-year anniversary with all new photographs, including images of pets and the Nashville Zoo by Amiee Stubbs, official zoo photographer. Zoo animals and a zookeeper will be on hand. On Friday, June 7, head to Franklin for the Franklin Art Scene from 6 until 9 p.m. The Heirloom Shop will feature local artist Annie Tagg. Gallery 202 will exhibit gallery owner Kelly Harwood’s collection entitled Eye Candy. Arbor Antique Mall will host artists Ken Walls and Robert Cortney, with live entertainment by singer-songwriter Leigh Robbins. Bob Parks Realty will feature the work of Shelley McCoy sponsored by the Arts Council of Williamson County. For more information, visit www.franklinartscene.com.
a t ru s t e d n a m e f or ov er 35 y e a r s Where custom framing is an art Kelly Harwood
On Friday, June 7, from 6 until 9 p.m., enjoy FAM at The Factory in Franklin for food, art, music, and dancers around every corner. This month the family-friendly event will feature jazz artists Quad Venti and Jack Grant, as well as a number of visiting visual artists.
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On Saturday, June 8, check out Second Saturday at Five Points in Solomon Behnke East Nashville from 6 until 9:30 p.m. for fine art, antiques, books, and carefully curated gifts and artisan wares. Art & Invention Gallery will feature the work of jewelry artist Anita Schmadtke. Bryant Gallery will host a group show including Solomon Anita Schmadtke Behnke, Kieran Kane, and more. NashvilleArts.com
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Sensuous Steel The Art Deco Automobile at the Frist Center for the Visual Arts by Ken Gross, Guest Curator photography by Peter Harholdt
he Frist Center for the Visual Arts in Nashville, Tennessee, is presenting SensuousÂ Steel: Art Deco Automobiles, from June 14 to September 15, 2013.
Fine cars in a fine art museum date back to the Museum of Modern Art's 8 Automobiles exhibition in 1951. But this is the first exhibit of Art Deco automobiles in recent memory. And what stunning machines they are. Making excellent use of beautifully rounded forms, often intermixing baroque elements like stylized rays of the sun and artfully melding gentle, flowing curves with razorsharp edges, the Art Deco style was prevalent in the world of automobiles, especially in a few select marques and models. Many of those cars are considered classics today. The Art Deco style was simple yet very elegant, and its evolving, streamlined dimension was considered quite efficient at the time. Art Deco styling influenced 1934 Pierce-Arrow Silver Arrow Sedan, Collection of Academy of Art University, San Francisco
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1929 Cord L-29 Cabriolet, Collection of Auburn Cord Duesenberg Automobile Museum
everything from the sleek passenger railroad trains and luxurious ocean liners of the period to residential and commercial architecture, especially skyscrapers, bridges, furniture, electrical appliances, countless decorative elements, all manner of signage, fashionable clothing, and, of course, automobiles of every pricing level and a few motorcycles. Streamlining was equated with modernity as well as with aerodynamics. The automobile, a child of the twentieth century, was rapidly changing and evolving mechanically during that period. It became the perfect metal canvas upon which to express the popular Art Deco style.
1938 Talbot-Lago T-150C-SS Teardrop Coupe, Collection of J. Willard Marriott, Jr.
1936 Stout Scarab, Collection of Larry Smith 32 | June 2O13 NashvilleArts.com
1934 Voisin Type C27 Aérosport Coupe, Collection of Merle and Peter Mullin
Writing in Hemmings Classic Car, Mark McCourt noted that “the vibrant promise of modernity and speed” was reflected not just in luxury goods, but in mass-produced items. “Some brave and revolutionary cars paid tribute to the zeitgeist with their overall design concepts, but most showed their Machine Age influence in small ways, in subtle and glorious details.” Gary Vasilash, Editor in Chief of Automotive Design and Production magazine, agrees, saying, “The Art Deco style can be characterized as the combination of broad gesture and fine detail.”
It’s important to remember these vehicles are indeed rolling sculpture, kinetic art, and capable of dynamic function.
” 1930 Henderson KJ Streamline, Collection of Frank Westfall
1936 Delahaye 135M Figoni & Falaschi Competition Coupe, Collection of Jim Patterson/The Patterson Collection
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The twenty automobiles and motorcycles selected for Sensuous Steel: Art Deco Automobiles were carefully chosen to reflect these periods’ views and design practices. Though it wasn’t specifically labeled at the time, the Art Deco influence was very widespread. Acclaimed architects and industrial designers such as Frank Lloyd Wright, Norman Bel Geddes, Walter Dorwin Teague, Raymond Loewy, and Walter Gropius fell under its spell, as did many noted automotive stylists, racecar innovators, and engineers like Jean Bugatti, Amos Northup, Phillip Wright, Harry Arminius Miller, E.T. “Bob” Gregorie, Harley Earl, Bill Mitchell, Gordon Miller Buehrig, Walter P. Murphy and others. The exhibition includes a Cord L-29 designed by Harold Ames and owned by Frank Lloyd Wright, who said the lines of the Cord " . . . looked becoming to my houses." On hand will be a sleek 1930 Bugatti Type 46 Superprofile coupe by Jean Bugatti that was greatly admired in its day, and many of its styling cues are still recognizable in modern cars. In the early 1930s, when upright, square-rigged autos were prevalent, Phillip O. Wright's sleek Pierce-Arrow Silver Arrow and William Bushnell Stout's beetle-shaped Scarab shocked onlookers. These cars weren't sales successes, but within a few years they were widely emulated. Edsel Bryant Ford, the son of Henry Ford, commissioned a
one-of-a-kind roadster for his personal use. It will be one of the stars of the exhibition, along with a unique Henderson KJ Streamline concept motorcycle that represents a brave peek into the future on two wheels. On loan from the Collier Collection, the exhibition's Delahaye 135MS roadster, with fully skirted fenders, custom bodied by Figoni and Falaschi, has been called “a Paris gown on wheels.” Cars like these will surely take your breath away. Sensuous Steel: Art Deco Automobiles presents the best of the Art Deco era, providing a close look at some of the great cars and motorcycles that define the genre. While these vehicles will be artistically displayed and spotlighted in the galleries of the Frist Center for the Visual Arts, itself an Art Deco building, it’s important to remember they are indeed rolling sculpture, really kinetic art, if you will, and capable of dynamic function. A beautifully illustrated catalog will be available with essays by Art Deco authority Thomas Mellins and Guest Curator Ken Gross. The studio photography is by Peter Harholdt. Art aficionados and auto enthusiasts alike will love this exhibition. This article first appeared in the Spring 2013 issue of the Chicago Art Deco Society magazine. For more information about Sensuous Steel: Art Deco Automobiles at the Frist Center June 14 to September 15, visit www.fristcenter.org.
1937 Delahaye 135MS Roadster, Courtesy of The Revs Institute for Automotive Research @ the Collier Collection
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DIANE MAY STUDIO
Hot Shrimp Boats, 8x10, plein air, oil/linen panel
SUMMEr 2013 Plein Air Richmond: June 9-15 in Richmond, VA Los Gatos Plein Air: June 18-22 in Los Gatos, CA Door County Plein Air Festival: July 22-27 in Fish Creek, WI Nashville Workshops: July 1 & 2; August 26 & 27 For event information and to register please visit www.dianecmay.com
tune in to nashvilleâ€™s burgeoning visual art scene
The Arts Company theartscompany.com
Local Color Gallery localcolornashville.com
The Parthenon parthenon.org
Bennett Galleries bennettgalleriesnashville.com
Midtown Gallery & Framers midtowngallery.com
The Rymer Gallery therymergallery.com
Bryant Gallery bryantgallerynashville.com
Richland Fine Art, Inc richlandfineart.com
Tinney Contemporary tinneycontemporary.org
Cheekwood Botanical Garden and Museum of Art cheekwood.org
Sarratt Gallery at Vanderbilt vanderbilt.edu/sarrattgallery
Two Moon Gallery twomoongallery.com
Cumberland Gallery cumberlandgallery.com
Tennessee Arts Commission Gallery arts.state.tn.us
Frist Center for the Visual Arts fristcenter.org Gallery One galleryone.biz LeQuire Gallery lequiregallery.com Leu Art Gallery belmont.edu
Tennessee Arts League & Galleries tennesseeartleague.org Tennessee State Museum tnmuseum.org Tennessee State University: Hiram Van Gordon Gallery tnstate.edu/gallery
Vanderbilt University Fine Arts Gallery vanderbilt.edu/gallery Williams 19th &20th Century American Art Galleries williamsamericanart.com York and Friends Fine Art yorkandfriends.com Zeitgeist zeitgeist-art.com
Fisher & Krecu Opens at Bennett Galleries Dean Fisher, Bathers, Oil on canvas, 60" x 40"
by MiChelle Jones
ennett Galleries’ pairing of Dean Fisher and Silvius Krecu is a reunion of sorts for the painters. Fisher
and Krecu met as students at the American Academy of Art in Chicago and shared a studio for a couple of years after completing their studies. Then they took off for Spain to study Velasquez’s paintings, spending mornings copying masterpieces in the Prado and afternoons working on their own paintings. A couple of decades and three countries later, both men are back in the States: Krecu in Florida and Fisher in Connecticut. Fisher also lived in Knoxville for seven years and initially showed at Bennett Galleries there before being asked to show at the Nashville gallery. His friend Krecu joined him in both cities. Their paintings complement each other with similarities in their approach to the human figure and use of color. Rather than intense colors, each artist opts for a gentler, muted palette, although Krecu’s latest paintings include more saturated instances of red or sky blue.
Silvius Krecu, Annunciation, Acrylic on canvas, 36" x 26"
Some of Krecu’s earlier paintings are reminiscent of those of Klimt with their placement of figures amid a collage-like assortment of geometric patterns, realistic and more stylized elements. Krecu’s most recent paintings involve simpler, looser compositions with a stronger emphasis on portraiture. In Winter Harvest, for example, a young woman sits or stands behind a counter with two slices of watermelon in front of her. While her face and hair are rendered realistically, the other items in the painting are depicted less so. For The Gray Day, another pairing of portrait and still life, the subject is in the extreme foreground with an assemblage of gourds
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Fisher has a surprising range of subjects, and he constantly shifts between nudes, landscapes, garden paintings (these, like Garden 1, are so verdant one can almost smell the earth), and still lifes. His kitchen cupboards, which he built himself, are the subject of an ongoing series in which he paints the contents almost as cityscapes or other collections of objects rather than mere domestic entities. “The elements I put together are put together for abstract reasons,” he said. “The construction of the image is more abstract than it is concrete.” The paintings are also partly inspired by the cabinet paintings of Spanish painter Antonio López Garcia, an artist Fisher first encountered on the streets of Madrid back in the 1980s. Fisher’s other influences include Vermeer and other seventeenth-century Dutch painters, as well as English painter William Nicholson (1872–1949) and contemporary English painter Diarmuid Kelley. In some paintings Fisher has taken the items out of the cupboards and created arrangements featuring a distinctive triangular oil decanter. “That little oil decanter is a very sensuous object. I just love the way it reflects everything around it,” Fisher said. In this way it helps him achieve his goal of capturing light and texture.
Dean Fisher, Late August, Oil on panel, 48" x 60"
The decanter shows up in several compositions, including March Still Life, a vertical painting Fisher titled on the spot when asked about it. This painting features unusually bright colors for Fisher’s palette: a rich Tuscan red along
Silvius Krecu, Winter Harvest, Oil on linen, 20" x 20"
in the center of the painting. These two works showcase Krecu’s brushwork and skill at creating texture-rich, plaster-like backgrounds. Dean Fisher is also a fan of texture and brushwork, or, as he puts it, letting the viewer see evidence of the painting process. Fisher’s work has also moved toward looser figures, especially in his rendering of nudes. With these he goes for the lyrical—as well as geometric tension. For example, in Figure from Above, he’s painted an overhead view (a perspective he frequently employs) of a woman zigzagged on a bed, her body parallel to some and perpendicular to other lines formed by the bed’s edges or the placement of the linens.
Silvius Krecu, Atlantic Shores, Oil on linen, 43" x 27" June 2O13 | 37
Silvius Krecu, Artist in Studio, Oil on canvas, 35" x 39"
Fisher's and Krecu's paintings complement each other with similarities in their approach to the human figure and use of color. Rather than intense colors, each artist opts for a gentler, muted palette.
Dean Fisher, Figure from Above, Oil on board, 60" x 48"
with the teal he uses often. “I love throwing in strong color every so often,” he said. “It’s very exciting.” He worked out the color scheme by arranging sheets of construction paper on the floor. He left the bottom-left corner of the piece unfinished, and the entire painting is done in a fluid manner that reads more as watercolor than oil. Bennett Galleries’ exhibition of work by Fisher and Krecu shows the evolution of the painters who’ve taken their shared education, influences, and independent study to new directions as their work continues to develop. Yet the paintings still speak to each other like old friends continuing a decades-long conversation. For more information about Fisher and Krecu, visit www.bennettgalleriesnashville.com.
Dean Fisher, Fresco, Oil on linen, 55" x 42"
Silvius Krecu, The Gray Day, Oil on board, 15" x 20"
38 | June 2O13 NashvilleArts.com
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Field Notes A Local Look at Global Art
Emma Hack by Betsy Wills
ack in 1986, I reported to Art History 101 at Vanderbilt University. Professor Fryd flashed up a slide of the Grand
Canyon. She prompted the class by asking, “What do you think of this scene?” Hands flew up and adjectives such as awe-inspiring, beautiful, breathtaking, and spectacular bounced about the room. Next, she challenged us by saying, “What words do you think first came to mind for the early pioneers when they encountered this giant chasm and realized they were going to have to cross it with all of those wagons? I can imagine a few, and they aren’t pretty.” It is hard to be a confident buyer of “new” or “emerging” art because often we are encountering it for the first time. It takes effort to get to know a work, similar to making a friend. The more you are exposed to it, the more comfortable you become in the decision to invite it into your living room for an extended stay above your sofa. The opportunity to learn and become comfortable with an artist’s work has never been greater. Wonderful galleries abound here in Nashville where you can visit and learn. The Internet and magazines like the one you are reading allow you to consider works further Betsy Wills admits that she is blissfully ignorant when it comes to art curation and selection. She is, however, an avid art lover and collector and maintains the popular art blog artstormer.com. Wills is proud of the fact that her art does not match her sofa.
at your leisure. Moreover, we are urged within the social graph to “curate” using sites like Pinterest and Instagram. Whatever your fancy, a community of shared “likers” awaits you.
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In this column, I will present some artists with whom I have become familiar over the past several years. Australian genius Emma Hack jumped right out of the background to become my first feature. Her photographs are really art in two forms. Her female subjects are beautifully body painted to blend seamlessly into the canvas, which she also creates. The resulting effect is inspiration for both a redecorating effort and a diet. Gorgeous! For more about Emma Hack visit www.emmahackartist.com.
Award-winning body illustrator, visual artist, and photographer Emma Hack has built her career over the past twenty years and established her reputation as a highly skilled commercial and conceptual artist. Born and raised in Australia, Hack has painted celebrities and models from around the world onto her signature patterned walls and photographed the installations once complete. Her work bridges art and design and invites voyeurism. The Wallpaper series of 2005, 2007, and 2008 feature Hack’s interpretations of noted designer Florence Broadhurst’s wallpaper drawings. In 2009 she developed the Native Mandala collection, which featured wildlife and nature from Australia. Other series such as Blue and White and Treasured Tiles compare and contrast global design. By focusing on common colors, images, and forms from various cultures around the world, Hack encourages us to consider how connected and defined those cultures are. Hack has created documentaries about her Wallpaper collection, Native Mandala series, and her charity project spurred by her art for the music video for Gotye’s “Somebody That I Used To Know.” See the music video on www.nashvillearts.com.
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Defining Billy Tripp as an artist is difficult. He likes the moniker ‘outsider’. For me, Billy is too erudite for that. Uniquely Rural Middle American Existentialist is possibly a better title. His father, a Methodist minister, moved his family to Brownsville in 1963 when Billy was in third grade. Because of his parents’ education, Billy was introduced to the arts and culture in a way that transcends most schoolrooms. He took early interest in the work of Shakespeare and Tolstoy and still lists them among his favorite authors today. When asked about how his quest into metalwork began, he recounted one day when he was five: His father took the broken handle of the family lawnmower to a welder to be reattached. Upon the lawnmower’s return, Billy saw the shiny, golden-metal brazing of the restoration and was utterly fascinated.
Billy Tripp Looking Below the Obvious Words and pictures by John Guider
hat if . . . What if an artist decided to create his life’s work on one continuous stream of fabric? How long would that be? What if a writer or a musician composed all of his thoughts into one single work or if a sculptor combined all of his efforts into one piece? Would that even be possible? The answer resides in Brownsville, Tennessee, a rural community lodged among the cotton fields of the fertile delta lands about halfway between Nashville and Memphis, not all that far from the birthplace of such notables as Alex Haley and music legend Tina Turner.
Billy Tripp is a quiet man, not because he is an introvert but because he has little time to sit around and chat. He recognizes time as a commodity more precious than money and is determined not to waste a minute of it, although, by his own account, he feels he usually does. Next to time, he values his freedom of expression most, and that is where his art comes into play. He wants his work to be the proxy for his side of the conversation. It will tell you how he feels about all manner of things: life, death, and much that goes on in between. Billy doesn’t do small. His first book, the semi-autobiographical novel The Mindfield Years, is 725 pages long. And that is only Volume 1. His public sculpture, The Mindfield, is already prodigious enough to fill an entire football field, and he is not close to finishing that either. It must be noted that few sculptures in the world are as visible from the satellite photos used in Google Earth as The Mindfield is. 42 | June 2O13 NashvilleArts.com
Academically his grades didn’t reflect his curiosity for learning, and his father, who held degrees from both Vanderbilt and Emory, expressed concern when Billy opted for trade school in welding over college. Billy gave in to his father’s expectations only briefly, taking classes from Jackson State Community College and the University of Memphis. But he stayed long enough to find his joy in the sculpture classes offered at Memphis.
Billy lived by himself in a room fashioned above his shop and began making yard art from the scraps of metal left over from his job sites. Then, in 1989, he was grabbed by the idea of combining his initial work and creating a sculpture that would continue to grow until he was no longer able to work. This notion was prompted by the work of Simon Rodia, who spent thirty years working on the famed Watts Towers sculpture in Los Angeles. Like Rodia, Tripp works solely by himself and is entirely self-financed. Originally Tripp envisioned The Mindfield as a cathedral, creating the tallest structure in homage to his dad. As the work evolved, Billy began to see the superstructure of a giant ship take form. Last year’s addition of the aluminum canoe William Least Heat Moon used during part of the journey chronicled in his book River Horse helps to affirm the notion of a vessel within a vessel. The larger craft will carry him to the other world where the canoe will allow him to land at the chosen destination. The Mindfield sculpture is an intricate blend of structural framework embellished with adornments fashioned by the artist. He uses the decorative elements to honor his parents; his wife, Beth; and other notables in his life, and to promote the ideals that are most important to him. The preponderance of hand and foot silhouettes
interspaced throughout symbolizes the tools and toils of work and the long, slow walk through life. Tripp prides himself on being an environmentalist and a pragmatist, using only preexisting metalwork. Throughout our lives we build our careers, form our relationships. The harder we work, the more we succeed. Billy’s art is a perfect example of what one person’s grit and determination can achieve. Go to Brownsville. Be prepared to be amazed, and while you are there imagine what you could do if only you put your mind to it. The Mindfield is located at 1 Mindfield Alley, Brownsville, TN 38012. For more information visit: www.sites.google.com/site/billytripp.
The Mindfield has put Brownsville on the international map. Billy continues to add and adapt his art, all the while drawing residents and visitors alike to his unique approach to sculpture. – Jo Matherne, Mayor, Brownsville, Tennessee
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HISTORY EMBR ACING A RT
KELLY HARWOOD 202 2nd Ave. South, Franklin, TN 37064 www.gallery202art.com • 615-472-1134
Visit Us During “Franklin Art Scene” June 7, 6-9pm
on the horizon
Zoe Schlacter The Look Is the Hook by Joe Pagetta | photography by Hunter Armistead
n the guest bedroom of her house, Zoe Schlacter recently constructed an installation made almost entirely of textiles she created. She situated herself in the middle of the room wearing a dress
she designed and a hat she created. The canopy of the bed was draped in her fabrics. She took photographs and shot video. “I like the idea of having something where I have made everything that is in it,” the 17-year-old Schlacter says. “I was in this environment entirely created by me.“
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To be in the presence of Schlacter, recently graduated from Brentwood High School and headed to the Rhode Island School of Design, is to be enveloped by her art and the world she is creating. Even if you’re not sitting with her in the home studio she shares with her mother, Robin, surrounded by a plethora of acrylic and oil paintings, or getting a peek inside her bedroom where her sketches, collages, and handmade flower headbands wrap the environs the way Christo and Jeanne-Claude might drape a building, she is a walking work of art radiating boundless—and fearless—creative energy. The idea that we can create the world we inhabit is evident in Schlacter’s daily dress: elaborate creations culled from finds at Goodwill and purchases at big-box retailers that are then manipulated and adorned with flowers, 46 | June 2O13 NashvilleArts.com
rhinestones, or a favorite object, googly eyes. The presentation can be stunning. But what’s happening is deeper than mere style. It is probably best exemplified by the work in her recent AP art class at Brentwood, where she was the president of the art club. The project, conducted under the tutelage of retiring teacher Barbara Bullard, involved revisiting twelve years of yearbook photos, from kindergarten to her senior year. “It’s about how yearbook photos can freeze a moment in time and make permanent the impermanent,” she says. “My growth and change as a person as I’ve grown up is very impermanent, but when you look at my yearbook photo from every year, it’s just a frozen moment in time that defines who I was at the time.”
She scanned all the photos and “started messing with them. Who I was is so much more than that; not just a photo in a yearbook.” While she claims no artistic heroes, she cites as influences Frida Kahlo (a self-portrait, oil-on-canvas work-in-progress in her studio appears to be a respectful nod to the Mexican artist), Cindy Sherman, and the Japanese artist Yayoi Kusama. That Schlacter references Kusama’s collaboration with designer Louis Vuitton hints at just one direction her varied interests may take her.
But what Schlacter will focus on when she gets to Rhode Island isn’t clear yet. She’s interested in fashion design, photography, painting, and pattern design. What is clear is that Brentwood, where she was born and raised, can no longer contain her. “I’ve enjoyed growing up here,” she says. “I went to a good school with a good art program. But I’m ready for new adventures. I’m ready to go away to a new place.” You can follow Zoe Schlacter at www.girlwiththeflower.com.
June 2O13 | 47
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June 2O13 | 49
K.J. Schumacher photo: joshua black-wilkins
An Accidental Intention
by Cat Acree
t seems only natural that Nashville artist K.J. Schumacher was the boy in the museum who stood too close to the paintings. “A lot of people stand back and look at hay bales,” Schumacher says. “I was always the one that wanted to get my nose up to a painting . . . where I could see the drips of the paint, see the bristles that had fallen out of the brush and dried into the paint surface.” Much like standing nose-first to an impressionist work, Schumacher’s paintings, by mirroring the accidental marks of
the studio process, blur out all evidence of an image and focus instead on the artist’s own hand. “Rather than just thinking about brush strokes, I’m thinking about scrapes and spills and wipes and drips,” says Schumacher. In his studio, one full wall is covered in the real deal: blotted placemats and scraps from block printing. Using these authentic studio remnants as inspiration, he attempts to create facsimiles of the marks that occur naturally in the painting process. Quoting
50 | June 2O13 NashvilleArts.com
Taylor Street 166, Collage with mixed media on corrugated board, 13" x 8"
Taylor Street 102, Acrylic, oil, and chalk on canvas, 54" x 44"
Jasper Johns’ journals, Schumacher says, “‘Make a mark—make another mark.’ It sounds repetitive or overly simplified, but it’s essentially what we [painters] do.” Schumacher began as a representational painter inspired by Bay Area figurative artists such as Richard Diebenkorn and Elmer Bischoff, but in the last few years, he has pared painting down to its fundamentals, its primary theories and core gestures. Says Schumacher, “I liked the mark more than I liked the pictures. I basically just started editing out everything that was not important to me, which was all the subject matter, and I was left with just the marks.”
I like the viewer to get engaged and wonder what part of this piece is an accident and what part of it was intentional.
This new abstract style has emerged during the six years Schumacher has been a professor of fine art to seventh-grade and high school students at Montgomery Bell Academy. Says Schumacher, “Teaching gave me the opportunity to incubate, to make this work that was really important, because I didn’t need my art to be my livelihood.” Schumacher goes so far as to value the white or unprimed canvas beneath the marks: “I value the mark so much, I think it’s only really a mark when it exists right on top of a ground. If you completely cover it, then all the marks work together and cover a picture. But if it’s just a mark that exists on the ground, it gives the mark sort of an intrinsic power. It values the mark more.” But it’s not all about the accident and the stray bit of paint. The dynamic tension between the accidental and intentional is the force at play in Schumacher’s work, with pieces incorporating anything from a roller’s swipe that looks surprisingly like the figure of a boy, to Christopher Wool-inspired explicit use of text.
Taylor Street 013, Acrylic, oil, and chalk on canvas, 36" x 28" June 2O13 | 51
Taylor Street 129, Acrylic and chalk on canvas, 20" x 30"
“Using the accident is something that’s been important in painting for a long, long time,” Schumacher says. “[But] I like the viewer to get engaged and wonder what part of this piece is an accident and what part of it was intentional.” Last year, Schumacher showed a collection of monochromatic print remnant paintings in L.A. in what he calls “a big coming-out.” This fall, Schumacher returns to Nashville, now exploding with color and new ideas, with a solo show at Gallery One. When you go, get your nose right up there. K.J. Schumacher is represented by Gallery One. For more information about him, visit www.kjschumacher.com, www.galleryonellc.com.
Cherokee Park 120, Printing ink, India ink, and chalk on paper, 22" x 15"
Taylor Street 151, Oil and chalk on canvas, 36" x 48"
52 | June 2O13 NashvilleArts.com
Kim Thomas experiments with one material: used plastic bags. The former graphic artist based in Charleston, South Carolina, she is pursuing a Masters of Fine Arts degree at Memphis College of Art. â€œMy works are a method of coping with a society that refuses to acknowledge its destructive environmental impact,â€? she explains. Using traditional crochet techniques passed down from her family, she transforms objects of mass consumption into uniquely textured forms of art. To see more visit: www.kimthomas.carbonmade.com. www.southgatebrands.com
June 2O13 | 53
Arts Worth Watching “Everyone knows ANNIE. Even my dog knows ANNIE,” says Tyrah Odom, currently appearing as one of the orphans in the new Broadway revival of the beloved musical. It’s been 35 years since the little orphan Annie first stepped onto a Broadway stage, launching characters and songs that are timeless and classic, and now with ANNIE: It’s the Hard-Knock Life, From Script to Stage, fans nationwide can get an exclusive behind-the-curtain look at just what it takes to put on a major Broadway production.
engages leading historians, biographers, and personal friends, as well as Mitchell’s personal letters and journals, to reveal a complex woman who experienced profound identity shifts during her life and struggled with the two great issues of her day: the changing role of women and the liberation of African Americans. The film also explores Scarlett and Rhett’s place as two of the world’s greatest lovers, the public’s initial reception to the book, and David O. Selznick’s 1939 epic. In Merle Haggard: Learning to Live with Myself, a performance at the Ryman Auditorium is the framework within which filmmaker Gandulf Henning (Gram Parsons: Fallen Angel) tells the story of one of country music’s greatest singers and songwriters. This candid documentary about the country music legend and “the poet of the common man,” encoring Friday, June 21, at 7 p.m., features interviews with comrades and fellow musicians, including Robert Duvall, John Fogerty, Billy Gibbons, Kris Kristofferson, Keith Richards, Tanya Tucker, Don Was, and Dwight Yoakam, among others. The result is an understanding that the hardscrabble people with whom Haggard was raised— his juvenile delinquency and incarcerations—still inform his creativity and perspective.
Airing on Friday, June 28, at 8 p.m. on NPT and PBS stations nationwide, the documentary film follows the development of a single production number in the musical: the tuneful and rhythmic “It’s the Hard-Knock Life,” defiantly belted out by the orphans. From the earliest discussions among the set and costume designers, through the casting process, into choreography and vocal rehearsals, onto the stage, and finally, into performance, the program follows the young cast’s journey to Opening Night. ANNIE: It’s the Hard-Knock Life, From Script to Stage will show audiences that actors are only one part of a complex whole when it comes to a major Broadway production. Gone with the Wind author Margaret Mitchell was a charismatic force until a tragic accident led to her death at age 48. Rebelling against the stifling social restrictions placed on women, she was alternately an unconventional tomboy, a defiant debutante, a brazen flapper, one of Georgia’s first female newspaper reporters, and, later, a philanthropist who risked her life to fund African-American education. Margaret Mitchell: American Rebel, airing Tuesday, June 4, at 7 p.m.,
NPT in June is again home to television’s best documentaries. On Monday, June 17, at 9 p.m., it’s the Independent Lens presentation of The Revolutionary Optimists, Nicole Newnham and Maren Grainger-Monsen’s inspiring tale of Amlan Ganguly, a lawyer turned social entrepreneur who has transformed some of the poorest slums of Kolkata by empowering children to become leaders in improving health and sanitation. On Monday, June 24, at 9 p.m., a new season of P.O.V. kicks off with director Christine Turner’s debut feature documentary Homegoings, a touching portrait of legendary Harlem undertaker Isaiah Owens and his care and respect for African-American funeral traditions and the people in his community.
Weekend Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30
am Bob the Builder Daniel Tiger’s Neighborhood Curious George The Cat in the Hat Super Why! Dinosaur Train Thomas & Friends Angelina Ballerina Sewing with Nancy Martha’s Sewing Room Victory Garden P. Allen Smith Cooking with Nick Stellino Cook’s Country noon America’s Test Kitchen Mind of a Chef Martha Stewart’s Cooking School Martha Bakes Fon’s & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop The Woodwright’s Shop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime Saving the Ocean pm Tennessee’s Wild Side
Nashville Public Television
A tour of the light artist’s second-only show in America, at the Cheekwood Botanical Gardens.
Sunday, June 16 7:00 PM
5:00 am Sesame Street 6:00 Curious George 6:30 The Cat in the Hat 7:00 Super Why! 7:30 Dinosaur Train 8:00 Daniel Tiger’s Neighborhood 8:30 Sid the Science Kid 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 A Word on Words 11:00 Nature 12:00 noon To the Contrary 12:30 The McLaughlin Group 1:00 Moyers & Company 2:00 Journeys in India 2:30 Anywhere, Alaska 3:00 California’s Gold 3:30 Rudy Maxa’s World 4:00 America’s Heartland 4:30 Rick Steves’ Europe 5:00 Antiques Roadshow 6:00 pm Globe Trekker
Daytime Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00
am Classical Stretch Body Electric Arthur Martha Speaks Curious George The Cat in the Hat Super Why! Dinosaur Train Sesame Street Daniel Tiger’s Neighborhood Sid the Science Kid WordWorld Wild Kratts noon Caillou Thomas & Friends Super Why! Dinosaur Train The Cat in the Hat Curious George Clifford the Big Red Dog Martha Speaks Arthur WordGirl Wild Kratts The Electric Company pm PBS NewsHour
Nashville Public Television
Woody Guthrie at 100! Live at the Kennedy Center NPT Reports Children’s Health Crisis Family Health In the latest installment of our Emmy Award-winning NPT Reports: Children’s Health Crisis, explore the role families play in the health of Tennessee’s children.
Friday, June 14 8:00 PM
Celebrate the centennial of Woody Guthrie’s birthday with John Mellencamp, Jackson Browne, Ry Cooder, Ani DiFranco, Rosanne Cash and others.
Wednesday, June 5 7:00 PM
June 2O13 | 55
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7:00 Beautiful Tennessee: Parks & Preservation 8:30 Downton Abbey – Behind the Drama Review the storylines of the first two seasons of Downton Abbey and get insight into the characters from writer Julian Fellowes. 9:30 OMNI Health Revolution with Tana Amen, RN &Dr. Da 11:30 OMNI Health Revolution with Tana Amen, RN &Dr. Da
7:00 American Masters Harper Lee: Hey Boo. A profile of the reclusive author of the classic To Kill a Mockingbird. 9:00 Matthew Morrison: Where it All Began – Live From the Bushnell The Glee star wins over the audience with American standards and dance. 10:00 BBC World News 10:30 Beautiful Tennessee: Parks & Preservation
7:00 Antiques Roadshow Louisville (Hour One). 8:00 70s & 80s Soul Rewind Join Whoopi Goldberg for performances by groups and solo artists of the 70s and 80s. 10:00 BBC World News 10:30 Blenko Behind The Scenes Go into the heat and heart of the Blenko glassworks to see how the beautiful, all handmade, glassware is created.
Matthew Morrison Where It All Began Monday, June 10 9:00 PM
7:00 Blenko Behind the Scenes Go into the heat and heart of the Blenko glassworks to see how the beautiful, all handmade, glassware is created. 8:30 Blenko Behind the Scenes 9:30 70s & 80s Soul Rewind (My Music) Performances by 70s and 80s groups and solo artists. 11:30 Inside Washington
Primetime Evening Schedule
Preview June2013pg2_9x11:Layout 1 5/13/13 9:44 AM Page 1
7:00 Celebrating North America’s Steam Railways Explore the impact the steam engine had on North America by visiting 17 of the continent’s most historic and scenic tourist steam railroads, with trips to Alaska, Arizona, New Hampshire, South Dakota and Canada. 10:00 BBC World News 10:30 60s Pop, Rock &Soul
7:00 American Masters Margaret Mitchell: American Rebel. A profile of the Gone with the Wind author. 8:30 Burt Bacharach’s Best Celebrate songwriter Burt Bucharach as host Robert Wagner introduces archival performances. 10:00 BBC World News 10:30 Great Performances Broadway Musicals: A Jewish Legacy.
12 7:00 Nature Hummingbirds: Magic in the Air. Understand the fascinating world of hummingbirds as never before, via extraordinary video technology. 8:30 Muddy Waters & The Rolling Stones Live Taped in 1981 in Chicago, the Stones join the legendary bluesman. 10:00 BBC World News 10:30 Celebrating North American’s Steam Railways
7:00 Woody Guthrie at 100! Live at the Kennedy Center Celebrate the centennial of Woody Guthrie’s birthday with John Mellencamp, Jackson Browne, Ry Cooder, Ani DiFranco, Rosanne Cash and others. 8:30 Straight No ChaserSongs of the Decades 10:00 BBC World News 10:30 American Masters Margaret Mitchell: American Rebel.
Burt Bacharach’s Best Tuesday, June 4 8:30 PM
13 7:00 NPT Favorites 10:00 BBC World News 10:30 American Masters Harper Lee: Hey Boo. A profile of the reclusive author of the classic To Kill a Mockingbird.
7:00 Tennessee Crossroads 8:00 Country Pop Legends County music legend Roy Clark hosts this emotional trip down three decades of memory lane with performances by Glenn Campbell, Crystal Gayle, Hank Locklin and more mixed with archival gems from the vaults. 10:00 BBC World News 10:30 Woody Guthrie at 100! Live at the Kennedy Center
14 7:00 End Of Life Decisions: An NPT Reports Town Hall 8:00 NPT Reports: Children’s Health Crisis - Family Health 9:00 Washington Week with Gwen Ifill 9:30 Need To Know 10:00 BBC World News 10:30 Rick Steves’ Delicious Europe 11:00 Moyers & Company
7 7:00 60s Pop, Rock & Soul (My Music) Legends of the 1960s unite in this all-new live performance special cohosted by Peter Noone and the late Davy Jones of the Monkees. 9:00 Washington Week with Gwen Ifill 9:30 Need To Know 10:00 BBC World News 10:30 Heart of Perfect Health with Brenda Watson 11:00 Moyers & Company
Mystery! Inspector Lewis Sunday, June 16 8:00 PM
Television worth wa tchin g.
15 7:00 Moments to Remember (My Music) Return to the 50’s and relive the classic moments-to-remember with the greatest vocalists and pop groups from this era in an all new special that mixes archival and new performances. 9:30 Muddy Waters & The Rolling Stones Live The Stones join the legendary bluesman in Chicago in 1981.
8 7:00 Peter, Paul & Mary 25th Anniversary Concert Taped in 1986, this legendary concert features songs that became, for many, the soundtrack of their generation. 9:00 60s Pop, Rock & Soul (My Music) Legends of the 1960s unite in this all-new live performance special cohosted by Peter Noone and the late Davy Jones of the Monkees. 11:00 60s Pop, Rock & Soul
7:00 Great Performances Broadway Musicals: A Jewish Legacy. 9:00 70s & 80s Soul Rewind (My Music) Join host Whoopi Goldberg for performances by groups and solo artists of the 70s and 80s. 11:00 Road To Perfect Health with Brenda Watson Many health ailments can be linked to an imbalance in the digestive system.
Nashville Public Television
7:00 Secrets of Henry VIII’s Palace Enter the ultimate pleaser palace, Hampton Court, for a wealth of art and stories. 8:00 Masterpiece Mystery! The indelible Stain. 9:30 Light: Bruce Munro at Cheekwood 10:00 Bluegrass Underground 10:30 Film School Shorts 11:00 Tavis Smiley 11:30 Inside Washington
7:00 Royal Memories: Prince Charles’ Tribute to the Queen Share the tribute to Queen Elizabeth – as the nation’s monarch and as his mother. 8:00 Masterpiece Mystery! Fearful Symmetry. 9:30 Rivers and Rails: Tennessee Civil War 150 10:00 Blue Grass Underground 10:30 Film School Shorts 11:00 Tavis Smiley 11:30 Inside Washington
4 8:00 Capitol Fourth Tom Bergeron hosts live from the West Lawn of the U.S. Capitol. 9:30 3,2,1 Fireworks Take a high-definition behind-the-scenes tour of the Washington, D.C. July 4th celebration, featuring one of the largest and most colorful fireworks displays in the world. 10:00 NPT Favorites 10:30 Last of Summer Wine 11:00 NPT Favorites
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin 9:00 Reconstruction of Asa Carter 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Shelter Me Let’s Go Home. This episode of this inspiring series celebrating shelter pets is about our hero firefighters who use shelter dogs for search-andrescue.
7:00 Nature Black Mamba. The misunderstood black mamba snake. 8:00 Nova Earth From Space. Witness a groundbreaking special that reveals a spectacular new spacebased vision of Earth. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Raphael Saadiq/Black Joe Lewis & the Huneybears.
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin 9:00 Rivers and Rails: Tennessee Civil War 150 9:30 No Going Back: Women and the War Tennessee Civil War 150 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Reports: Children’s Health Crisis - Family Health
7:00 Nature Invasion of the Giant Pythons. Learn how predatory pythons have thrived in the protected wilderness of Everglades National Park. 8:00 Nova Extreme Cave Diving. 9:00 NPT Reports: Children’s Health Crisis - Family Health 10:00 BBC World News 10:30 Last of the Sumer Wine 11:00 Austin City Limits Spoon.
7:00 Statue Of Liberty 7:00 Nature This 1985 Ken Burns film American Eagle. chronicles the creation 8:00 Nova and history of the Statue Dogs Decoded. of Liberty. The film traces 9:00 Shelter Me the development of the Let’s Go Home. This episode of this inspiring monument—from its series celebrating shelconception, to its compliter pets is about firefightcated and often controers who use shelter dogs versial construction. for search-and-rescue. 8:00 Mount Rushmore: 10:00 NPT Favorites American Experience 10:30 Last of Summer Wine 9:00 NPT Favorites 11:00 Austin City Limits 10:30 Last of Summer Wine The Decemberists/Gil11:00 Secrets of lian Welch. Highclere Castle
7:00 Henry Ford: American Experience A profile of the farm boy who became the 20th century’s most influential American innovator. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Wind Gods The story of the 33rd America’s Cup yacht race, in which an American yacht defeated the Swiss-owned yacht of Italian entrepreneur Ernesto Bertarelli.
7:00 John D. Rockefeller: American Experience Hear the story of the billionaire who changed forever the way America did business. 10:00 BBC World News 10:30 Last of the Sumer Wine 11:00 End of Life Decisions: An NPT Reports Town Hall In partnership with Alice Hospice, NPT hosts an important discussion about advanced care planning.
Visit wnpt.org for complete 24 hour schedules for NPT and NPT2
7:00 Antiques Roadshow Vintage Milwaukee. 8:00 Antiques Roadshow Chattanooga, TN (Hour One.) 9:00 POV Special Flight. A dramatic account of the plight of undocumented foreigners at the Frambois detention center in Geneva, Switzerland, and of the wardens who struggle to reconcile humane values. 10:30 Last of the Sumer Wine
7:00 Antiques Roadshow Vintage Los Angeles. 8:00 Antiques Roadshow Palm Springs (Hour Three). 9:00 POV Homegoings. A touching portrait of a legendary Harlem undertaker and his care and respect for African-American funeral traditions and the people in his community. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Anyone and Everyone
7:00 Antiques Roadshow Palm Springs (Hour Two). 8:00 Antiques Roadshow Louisville (Hour Three). 9:00 Independent Lens The Revolutionary Optimists . Witness the transformation of some of the poorest slums of Kolkata through the empowerment of children. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 I Am A Lesbian filmmaker.
7:00 Light: Bruce Munro at Cheekwood 7:30 Rivers and Rails: Tennessee Civil War 150 Transportation. 8:00 Masterpiece Mystery Inspector Lewis, Series VI: Down Among The Fearful. 9:30 Into The Wild: Edison, Ford & Friends 10:00 Bluegrass Underground 10:30 Film School Shorts 11:00 Tavis Smiley 11:30 Inside Washington
Nashville Public Television
Secrets of Henry VIII’s Palace Sunday, June30 7:00 PM
7:00 Lawrence Welk Show 8:00 Keeping Up Appearances 8:30 Old Guys 9:00 Doc Martin On the Edge Part 2. Having failed to restart his relationship with Louisa Glasson, Martin is forced out of the picture with the arrival of her dad, Terry Glasson. 10:00 NPT Favorites
7:00 Light: Bruce Munro at Cheekwood 7:30 Shelby Park 100 8:00 Annie: It’s the Hard Knock Life, From Script to Stage Behind-the-scenes at the staging of a single production number from the musical ‘Annie’. 9:00 Washington Week with Gwen Ifill 9:30 Need To Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company
7:00 Lawrence Welk Show 8:00 Keeping Up Appearances 8:30 Old Guys 9:00 Doc Martin On the Edge Part 1. Having failed to restart his relationship with Louisa Glasson, Martin is forced out of the picture with the arrival of her dad, Terry Glasson. 10:00 NPT Favorites
7:00 American Masters Merle Haggard: Learning To Live With Myself. The hardscrabble people with whom he was raised still inform the country legend’s creativity and perspective. 8:30 Crisis of Faith Tennessee Civil War 150 9:00 Washington Week with Gwen Ifill 9:30 Need To Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company
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230 FR AN KLIN ROAD
Teresa Van HattenGranath
Letters from the Farm by Daniel Tidwell
eresa Van Hatten-Granath is an artist that refuses to be pinned down. Her wide-
Many of Van Hatten-Granath’s manipulated photographs seem to portray dream worlds inhabited by the female figure along with textual references. These photos appear to draw inspiration from the surrealist work of photographers such as Man Ray or Raoul Ubac. While the artist acknowledges similarities with surrealism, she has been more heavily influenced by the mainstream work of Edward Weston, Imogen Cunningham, and Alfred Stieglitz. She also admires Lorna Simpson, citing an affinity with “how Simpson uses whatever medium she needs to get to an end.” 60 | June 2O13 NashvilleArts.com
photo: john guider
ranging work utilizes family connections, natural objects, manipulated photographs, and repurposed books to address issues of memory and the natural world. While her primary medium is photography, she takes an eclectic approach to her medium. “I’m an artist first and a photographer second—so whatever means it is that I need to get to the end is what I use.”
“I’m influenced by painters too, like Anselm Kiefer and Robert Rauschenberg,” says Van Hatten-Granath. “I love the work where Kiefer takes found objects or where Rauschenberg appropriates images and puts them in his work.” Joseph Cornell also casts a broad shadow over her work, as can be clearly seen in her book sculptures. “I love to go to library book sales and pick up old books and manipulate them in some way,” says the artist. “And I collect old family photographs, whether they are my family or my husband’s family, and use those in my art as well.” Van Hatten-Granath’s artist book, Letters from the Farm, uses text from her grandfather’s old letters paired with family photos. The female form figures prominently in a great deal of Van Hatten-Granath’s work. “I use the figure . . . to reference the human condition. Almost all of my work has to do with memory, whether written, perceived, or familial. It also has to do with the natural world—including anything from bugs to butterflies to natural objects.”
Gold Medal, 2012, Archival digital print
Van Hatten-Granath is a post-feminist in her approach to the female figure. “For me it has a lot to do with beauty and the fact that I’m a female.” She uses the figure as sculptural elements in her artwork, shying away from the overt political issues that the use of the naked female form can evoke. According to Van Hatten-Granath, these figures allow her to integrate her own identity into the artwork. “All of them have to do with femininity or what it means to be a woman . . . giving birth and having the aspect of fertility. Also I think the woman is representative of the earth in my work—because the earth is what gives all of us life.”
White on Rice, 2012, Archival digital print
The artist is also a dedicated educator and has taught at Belmont University for the last fifteen years. Van Hatten-Granath’s approach to art education has been heavily influenced by her background in discipline-based arts education, which stresses criticism, production, history, and aesthetics in equal measure. “I come from a background of teaching students that all four of those aspects are equally important in being an artist.” Her own experience in graduate school at Clemson was a watershed in her development as a photographer, forcing her to rethink her way of working and delve deeply into the technical aspects of photographic production. “I think I teach the way I do because all along I had people teaching me . . . to know all of the Red on Redhead, 2012, Archival digital print
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Black on Back, 2012, Archival digital print
The first house west of me was torn down last week and the family moved into his mothers house across the road which was in much better shape. I can remember being in that house over eighty years ago and they had the first player piano that I ever saw. - Cyril Evans, excerpt from a letter written August 26, 1999, Conde, South Dakota
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technical aspects, to be critical of your own work, to work on aesthetics, and also know art history. In my classroom I teach students that having technically perfect prints is just as important as the concept in the print.” Van Hatten-Granath’s approach to her work is deeply intuitive. “A lot of times I just stumble upon something that really fascinates me, and then I work off of that.” Her latest pieces are a series of photographs that she created strictly for herself, as a way to more fully incorporate some of her collections of natural objects into the work. The resulting works are a series of visual puns: in White on Rice she juxtaposes a group of white objects with a ground of rice—perhaps subtly making reference to Malevich’s White on White. In Red on Redhead she places a group of red objects on a field of red hair, and in Black on Back, black objects rest on a model’s bare back. She is also well known in her role as the “Green Bag Lady,” an environmental art project that began in 2008 as an effort to encourage individuals to use free bags that Van HattenGranath and a team of volunteers make from donated fabric. Since its inception the project has been featured on NBC News, CNN, and in a multitude of other media. All the publicity helped her recruit a dedicated group of volunteers who sew the bags and call themselves “Bagettes.” “My group of ladies make 500 bags a month,” says Van Hatten-Granath. To date we’ve given away almost 24,000 all over the world.” According to the Green Bag Lady blog, the bags are currently being used in 3,042 cities in every U.S. state, plus 1,047 cities in 447 territories, provinces, and countries worldwide. For more information about Teresa Van Hatten-Granath, visit www.vh-granath.com.
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The Art of Living Beautifully
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Let the Lighthouse Shine
by Holly Gleason | photography by Anthony Scarlati
“I figured this is my last full-length album, so I’m gonna architect“I finally stopped giving a shit,” Greta Gaines admits.
it carefully, making it what I want. I kept all the tracks live: live vocals, Eric [Fritsch] played drums . . . and we built out from there, but it was exactly what I wanted, not what the momentum created.”
What the world-champion extreme snowboarder/fly fisherwoman wanted was an album that was—like everything about her world— immediate, evocative, and ultimately not what you’d expect. Lighthouse & the Impossible Love delivers: soundscapes set the stage for Gaines’ voice to drift, drop, and ignite as necessary on tracks where atmospherics dominate. A tumbledown bass and a wash of buzz set her My Favorite Mistakeera, Sheryl Crow-evoking reflection on seeking a beacon title track in a searing juxtaposition of the feminine rising from the cacophony around her. If Whiskey Thoughts, her last album, was a swinging for the Americana/Adult Alternative bleachers project, Lighthouse is more intimate, more personal, and more . . . essential.
“This is me proving something to myself,” says the woman who’s hosted television shows for MTV, Oprah’s OWN Network, and ESPN-2. “Whiskey Thoughts was great, but I was trying to fit into other people’s definitions . . . This time, the songs came, and everything was incredibly fresh, and we’d track in the moment. “It took five years, but I knew this was the last full-length CD I was going to make. I wanted everything, right down to the mix, to be exactly the way I heard it, exactly what the songs should have. “And I figured if I did it right, I’d not need to make another one. I can make singles, put out tracks and compilations . . . but this would be the last full album.” Lighthouse weighs the reality of a girl no longer young, a woman coming into her own and realizing that every choice requires letting go of something else. Not merely a quest to be happy where you are, it is honest and transparent about the conflicts and realms of the human psyche.
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“(I’d Like to Get on Your) Good Side” is a flat sex song, about knowing how good that is even as everything is falling apart, while the Velvet Underground-wafting “Pining Away,” equal parts Aimee Mann and Nico, captures the erotic vortex of desire unrealized. Even “Door to Door” has a buoyancy to its seeking connection, Gaines’ sunniness defining the track. “The lighthouse is a metaphor for ‘Where do you want to be in your life?’” explains the lithe blond. “You can see the kid side, the parent side . . . You’re in the middle but not in your 20s, so it’s up to you! There’s all the stuff you’re not going to get to do, and you know time is finite. “I was 36 when I got married. I was late having my two kids. I’m an activist. So this—for me—is about creating a magical place
where the muses hang out; it’s about a light house . . . And to that, I relaxed my singing style. I kept the ego out of it with the live tracks; it loosened me up.” The woman who’s provided music for Ethan Hawke films, toured with Willie Nelson, and fly-fished around the globe pauses, looking for a real truth to tie her desire up with. “I just want to be original. Music’s been done by so many epic people. This town is overrun by so many egos and people who want to be artists. I spent a lot of years thinking I was better than I was. Now I think I’m not as good as I might be.” Maybe it’s the correction of advanced awareness. Perhaps it’s the reality of more exposure to the poseurs around here. Either way, Greta Gaines knows the difference—and she’s letting her lighthouse shine. For more information about Greta Gaines visit www.gretagaines.com.
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Sarah Elizabeth Hooker by Beth Raebeck Hall
eth Hooker exudes a certain amount of capricious bohemianism, reminiscent of Mexico or parts South of the Border.
Color is interwoven throughout her house. Filling it with beautiful plants, paintings, and other interesting artisan objects, Hooker transformed her simple Nashville ranch into a Spanish-influenced, creative oasis, complete with the sounds of several fountains. Her entire demeanor is crackling with electricity and a healthy sense of mystery. I am reminded of Frida Kahlo—and that’s a good thing. I love Frida’s art, and I have a sense that I will feel the same way about the work Hooker is going to show me. I am drawn to an incredibly beautiful oil canvas of bamboo, resting on an easel. Hues of green explode everywhere. It is powerful and vivid, something straight out of Avatar. “It’s not finished yet, but I’ll tell you all about it. It’s my first commissioned piece,” she says proudly.
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Her career and discography are stellar. Hooker toured and recorded with Elton John, Sting, Billy Joel, Billy Idol, and close friend Don Henley. Roger Waters asked her to sing with him at the Universal Amphitheater. Those are just a few examples of her extensive musical career. Yet this talented singer was anxious to leave the spotlight to return to a new love. “Even though the music was exhilarating, I couldn’t wait to get back home to the quietude and my new love affair—painting,” she said. A divorce and the death of her brother left Hooker facing giant bare walls. “Giant bare walls that needed color,” she said.
Quiet Balance, Oil on canvas, 48" x 30"
Music and art are the essence of Beth Hooker. A Texan, her choreographer mother invented the thin-shafted baton now the standard used by majorettes. As a child, Hooker would use the ball end as a microphone, a foreshadowing of a future impressive singing career. And sing she did.
Baliwood, Oil on canvas, 42" x 42"
It was truly at that moment of needing color that my heart began splashing it, fervently, onto canvas . . . and I fell in love, with the feel of moving colors of oil to sculpt the faces of women balancing life and bearing its fruits and burdens.
Other paintings of multicultural women and faraway places again harken back to Kahlo’s expressive Mexican folk art. One woman supports a pile of intricately designed textiles on her head; another holds the woven reeds of an artisan basket. Each vibrates with life and mysterious interior expressions. The feminine is present in all. Hooker believes memories travel from the mind to the heart and, for her, end up appearing on the canvas. “It’s about remembering who we are as creative souls and allowing our unique ways of expression to flow,” she says with a smile. “With our planet calling out in pain, I am invested in whatever I can do to create something of beauty.” Equanimity, Oil on canvas, 48" x 30"
For more information about Sarah Elizabeth Hooker visit www.bethhookerarts.com. NashvilleArts.com
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The Galleries Antique African Art for the Discriminating Collector
Artworks include statues, masks & ceremonial regalia from all major ethnic groups of Sub-Saharan Africa. By Appointment 615.790.3095 email@example.com
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Gallery 427 Main Street Franklin, TN 37064
Mail P.O. Box 1523 Franklin, TN 37065
Tennessee State Museum
The landmark exhibition from the National Archives, Discovering the Civil War, opened to great fanfare in February. Visitors are still flocking to the museum to see the original 13th amendment signed by President Lincoln which ended slavery forever in the United States. The exhibit combines priceless, original treasures and engaging touch-screen interactives in a physical environment inspired by 21stcentury research rooms. The popular traveling exhibit is free to the public and on view through September 1, 2013. In conjunction with this exhibit, a series of free events will take place during the summer, visit tnmuseum.org for more information.
Presenting. . .
Collage Sculptures by CHARLA STEELE JUNE 1 – JUNE 30
JUNE 14 • 5:30-7:30
3900 Hillsboro Pike, Suite 34 • Nashville, TN 37215 • 615-739-6573 • www.paullequireandcompany
a monthly guide to art education
State of the Arts by Jennifer Cole, Metro Nashville Arts Commission
photo: jerry atnip
t all of 5 foot 1 inch, I didn't grow up shooting hoops. I stuck to the sports more inclined to my stature like field hockey and, well, let’s be honest, being a theatre geek. So a year ago when I received a call from Diane Neighbors and Margaret Behm, the co-chairs of the 2014 NCAA Women’s Final Four Local Organizing Committee, I thought they had the wrong number. Lunch followed, and there unfolded an odd and glorious idea—why not create a local legacy program for the 2014 Women’s Final Four focused on young people and the arts? At first, I was skeptical. I could barely think of any artsy/basketball tie-ins but “Hoop Dreams” and “Basketball Diaries.” But, with the blessing of the Local Organizing Committee, we organized a series of community meetings with arts and youth program leaders. Over several months, we pitched the basic idea—how can we highlight the talent in our city, release the ideas of young people, and show the connection between art and sport as a lead-in to the city’s host role in the Women’s Final Four? I’m thrilled that next April the city will be teeming with basketball lovers, and what will embrace them is a celebration of all things arts. Just a few highlights of this art/basketball mash-up are: the Nashville Public Library “Get in the Game” reading program and author series; the Belcourt Theatre hosting a “Women, Sport & Film” series, including a showing of Saalam Dunk, a 2011 film about an unlikely Iraqi women’s basketball team; an MNPS school mural and poetry contest inspired by the themes of women’s basketball—determination, leadership, service, and empowerment; dozens of local youth and professional musicians and performers integrated into the public programs. That is just the tip of the net, so to speak. In the coming months, the Local Organizing Committee will solidify more plans to highlight the young people and the artists that make our city move. There are 309 days till tip-off, but I can promise you you’ll never have trouble again imagining “art and basketball” in the same thought. To follow developments about the Nashville Local Organizing committee and the local legacy programming, go to www.musiccityplays.net.
Mommy and Me (and Daddy too!) by DeeGee Lester
photo: Tim Broekema
icture a dance studio filled with the giggles and boundless energy of two-year-olds; add in happy music, and you have some idea of the joy and fun available this summer through Nashville Ballet’s popular Mommy and Me (and Daddy too!) program. Tapping into a toddler’s natural love for music and motion, the class provides eager little learners opportunities to develop social and emotional skills including poise, coordination, listening, and the ability to follow simple directions.
There are two sessions of Saturday morning classes at the Martin Center this summer. For details, contact Nashville Ballet at www.nashvilleballet. com/school/children.
The Art of Teaching: Create2013 by DeeGee Lester
n July 9–12, the Tennessee Arts Commission hosts the third annual Creativity in Education Institute, Create2013, at Middle Tennessee State University. With an emphasis on “Art at the Core,” K–12 teachers and administrators will attend workshops and lectures, build networks, design lesson plans, and explore best practices that shatter the notion that each subject area is separate and disconnected. Conference attendees explore the part of arts integration in core curriculum and the infusion of the arts as a critical tipping point in student understanding of many subjects. “There is a growing body of research that demonstrates the connection between the arts and student achievement,” says Anne Pope, executive director of the Tennessee Arts Commission. The research is matched by the repeated statements of corporate leaders in defining the skill sets needed for success in the twenty-first century. These leaders emphasize that the development of technical skills in any field is essential, but that the key that separates the top performers is creativity—the ability to be innovative, to address problems in new ways, and to develop a flexibility of the mind. These educational and workforce realities will be explored by speakers and presenters beginning with the conference keynote address by Lisa Phillips, author and CEO of Canada's Academy of Stage and Studio Arts, whose writings highlight student educational needs. Throughout the four days, participants will experience integration models that can be used in the classroom to close the achievement gap. The integration of puppetry, music, art, dance, and theater with subject areas as diverse as math, social studies, language arts, and science offers visual teaching tools and applicable models for often-difficult concepts. Such unity of art and subject matter creates experience that reinforces the lessons from textbooks. With today's global reality and the increased diversity of the classroom, art also becomes the universal language that unites people across cultures.
For more information, visit www.tn.gov/arts/create2013.html.
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Arts Build Communities Grant by Lauren Baud
hat makes the arts so special? What do they do for our world? They encourage and foster creativity. They empower our youth to think outside the box and develop into active and engaged members of society. They enhance our quality of life. Arts Build Communities. That is the essential principle of the Tennessee Arts Commission’s (TAC) Arts Build Communities (ABC) grant program. ABC has been in place since 1990, with a brief hiatus during fiscal year 2013 (July 1, 2012–June 30, 2013) due to budget restrictions. However, it is coming back this year, and organizations in Nashville will once again have the opportunity to enrich their community through these grants. ABC is a decentralized grant program of the TAC, and Metro Nashville Arts Commission (Metro Arts) serves as the Designated Agency for the Davidson County funds. In the 2012 fiscal year, Metro Arts granted ABC funds to 24 organizations across Davidson County. Some of these organizations used their funds to produce programs that brought a wide range of arts activities to children. While ABC funds may not be used for in-school, curriculum-based projects, they can be used for projects that engage youth. The Street Theatre Company completed a production of The Little Prince that featured more than 20 Nashville area children and teens in strong acting roles. This show tied into the organization’s fall “Stepping Stone” classes, which educate youth ages 5–18 in the many aspects of theatre and acting. Humanities Tennessee used ABC grant funds to partially fund the organization’s Student Reader Day program. This program brought authors from the Southern Festival of Books into schools to discuss their work, and it covered the fee of bussing students to a free, open forum at the festival where featured children's authors spoke to the students. Humanities Tennessee also purchased a book for each participating student. The Dance Theatre of Tennessee produced The Nutcracker, a ballet that toured Nashville and three surrounding cities with a cast of 25 professional ballet dancers for principal and soloist roles and a youth cast of 35 children in each city for the children's roles. The cast of The Nutcracker also performed excerpts of the ballet in at-risk schools, bringing ballet to as many children as possible. ALIAS Chamber Ensemble used ABC grant funds to bring new music from the American composer Kenji Bunch to a wider Nashville audience. Members of the ensemble played commissioned compositions by Bunch for students at local high schools and elementary schools. For more detailed information about the ABC program and how to apply, visit artsnashville.org and tn.gov/arts or contact Lauren Baud at lauren. firstname.lastname@example.org.
Lauren Rolwing, limited edition illustration created for an endangered animals fundraiser
Summer Camp with Lauren Rolwing by Lisa Venegas
n the list of fantastic things about Cheekwood Botanical Gardens and Museum of Art are the opportunities for children and teens to foster their creativity. This year Cheekwood Summer Camp will offer two exceptional classes aimed at 13- to 16-year-olds to be taught by Lauren Rolwing: Studio Art & Illustration, and Interactive Sketchbook. The desire to work with young adults and children is very close to Rolwing’s heart: “I think all children are born with so much creativity that unfortunately can start to fade away if it is not encouraged. I -vwould like to work with the students to recognize the styles that they are drawn to and to guide them into developing an artistic style that is comfortable and fulfilling so, hopefully, they can continue to practice and enjoy art for a long time.” In the Studio Art & Illustration class, the goal is to give students an introductory view of illustration, help them develop an artistic vocabulary, understand compositional elements and basic color theory. “I will present the assignments like real-world illustration jobs,” says Rolwing. “We will create a poster and book design of their choosing, utilizing mixed media to create really unique pieces, and practice hand-written typography to add titles.” “For the sketchbook class, we will learn how to make our own unique sketchbook out of a recycled book. I have prepared different projects to help the students see inspiration all Lauren Rolwing, book illustration of around them, such as the beautiful the Baba Yaga's hut in the woods grounds of Cheekwood, music, that stands on chicken legs memories, and dreams. The goal is to give students new means of artistic inspiration, to experiment with new media, and to work towards developing an artistic style.”
Cheekwood’s staff provide interactive projects, quality materials, and spectacular studios and gardens for campers to explore, learn, and have fun! Cheekwood Summer Camps will be offered in one-week increments from June 3 to August 2. See all camps and register online at www.cheekwood.org/Education/Summer_Camps. For more information on Lauren Rolwing, visit www.laurenrolwing.com.
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A Home in the Arts
Nicole Brandt's Poverty & the Arts program sees creative homeless people simply as artists by Joe Nolan | photography by Tiffani Bing
icole Brandt is a junior at Belmont University and the founder of Poverty & the Arts. She came up with the idea
for her program one day two years ago when she was working at her campus job. As a Campus Coordinator at Belmont's Center of Service Learning, Brandt was responsible for planning three service projects each semester. “I was brainstorming about projects one day, and all of a sudden I got this idea,” she says. “What would happen if homeless people were suddenly able to paint and play music and write in collaboration with other communities?” Brandt gets excited when describing her breakthrough, but it didn't exactly come out of the blue. “I started working with the homeless when I was 18 in high school. But instead of working at a soup kitchen, we'd basically just go and visit homeless people and get to know them by talking with them,” says Brandt. “The thing I love about Poverty & the Arts is that we're creating art together, not just serving them a meal,” she says. “You're not doing something for them, you're doing something with them. It levels the playing field when we all just gather as artists.” 76 | June 2O13 NashvilleArts.com
Poverty & the Arts brings students, volunteers, and Nashville's homeless community together to meet on the common ground of art making. Like other programs in the city, Poverty & the Arts provides homeless people with the space, supplies, and guidance to complete creative projects. Most importantly, the program aims to change the perception of the poor and homeless by creating an environment where all the participants can be seen as creative individuals. P & A's biannual creative events have partnered with Room in the Inn, Belmont University, and Tennessee State University to facilitate environments where Nashville's homeless community meets student artists and volunteers on common, creative ground to interact, collaborate, and share in the creativity of making. This is one way that P & A realizes part of its mission to “break down class lines and restore community.” The events are also meant to use creativity as a gateway to empowerment and the recovering of self-esteem and identity.
You lose the freedom to dream when you don't know where your next meal is coming from. Art has a very therapeutic capacity anyway, but when you create something, you own something . . . In that moment they're able to dream again. They're able to create again. They're not just surviving.
Since 2011, Poverty & the Arts has done only three events, but Brandt is already branching out, taking the program out of the student/university context and attempting to grow the program in a way that will make it more sustainable. “I want it to last,” she says. “If I leave Nashville it can still be here.” Brandt started the wheels rolling on getting P & A approved for non-profit status last fall but has found the experience to be a real challenge. “I started having coffee dates with everybody I could think of. I was picking everybody's brain in the arts community,” says Brandt. Beginning with the basics, she educated herself about the pros and cons of running an arts nonprofit, and she hit a snag when she saw the price tags. “It costs a lot of money. It's like $100 to get incorporated, and then it costs like $900 to file,” she says. Not easily discouraged, Brandt has planned the first-ever Poverty & the Arts Gala. The fund-raising event is set for June 29. The money will help P & A get their paperwork filed and could assist in expanding the twice-a-year creative meet-ups, which already include opportunities to do visual art, music, and creative writing. “I'd love to incorporate drama and improv or dance,” says Brandt. “I know that the performing arts could be a powerful means for these people to express themselves.” Something tells me she'll find a way. The Poverty & the Arts Gala will be held on June 29 from 6 p.m. to 10 p.m. at Main Street Gallery, 625 Main Street in East Nashville. Visit www.povertyandthearts.org for more ticketing information and a full schedule of events.
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ART EXHIBITS Middle Tennessee Art Education Association Regional Conference Saturday, June 15 Collective Creativity Cumberland Valley TACA Exhibit June 1 – August 10 Flora & Fauna: Works by Bailey Earith June 15 – August 24
The Renaissance Center Art Student Exhibit June 8 – August 17
Free Art Reception Sat., July 13, 5-7pm
The Renaissance Center Art Adjunct Exhibit June 8 – August 17
The Gaslight Dinner Theatre
ART WORKSHOPS Alla Prima Still Life with Kay Keyes Farrar Saturday, June 8
Landscape Impressionism with Kay Keyes Farrar Saturday, June 15
Oil Painting Tutorial Nights with Sonja DiMeola June & July
Nature Photography Workshop with Terry Livingstone June 21 & 22 Collaged Art Book with Bailey Earith July 13
www.rcenter.org • (615) 740-5600
We’ve moved on up. To the East Side.
now in East Nashville 224 S. 11th Street (at Fatherland) near Five Points formerly in The Mall at Green Hills 615-329-3959 • www.specsnashville.com • email@example.com
Stars Opening for the Stars by Brad Schmidt | photography by Reed Hummel
We have to be a living, breathing art form.
he Nashville Opera has recruited three nationally known performers to sing popular opera and Broadway songs at Vanderbilt’s Dyer Observatory on June 15. Once the performances are over and the sun has fully
- Artistic Director John Hoomes
set, audience members can go up to the observatory to peer at the stars, both through a telescope and with the naked eye. “We’re opening for the heavenly show,” Nashville Opera executive and artistic director John Hoomes says with a laugh. Opera on the Mountain is one of several events designed to expose opera to new fans. Two other non-traditional “Opera @” events are in the planning stages: Beer and Baritones, coming up later this summer, brings performers to a brew pub in East Nashville. Nashville Opera will lead a sing-along showing of the original movie Grease at Franklin Theatre in July, and patrons will be encouraged to show up in their best ’50s attire. At the Grease event, Nashville Opera staffers also will lead the audience in chants and dancing. “It’s kind of like Rocky Horror Picture Show but more family friendly,” Hoomes says. Goodness! Have Nashville Opera traditionalists cried foul at such pedestrian fare? “Not yet,” Hoomes said, laughing. “I think opera for too long has had the reputation of being this very stuffy art form that’s behind glass, very sacred, and you shouldn’t touch it,” he said. “And I think that’s wrong. We have to be a living, breathing art form. I think it’s important.” Besides, Hoomes adds, “These will never take the place of our main shows.” This is the fourth year for Opera on the Mountain, and as far as company officials can see, it’s working. The event always sells out its two hundred or so tickets, and Hoomes is seeing new faces in the audience. “There are a lot of new people or a lot of regulars who bring new people,” he said.
There is some seating under a covered area, and there are tables for others, but most folks bring a picnic and sit on the grass. “It feels a little like an opera tailgate,” Hoomes says. The individual pieces haven’t been selected yet, but Hoomes plans on choosing well-known opera arias and popular pieces from Rodgers and Hammerstein Broadway musicals. “We’re looking for crowd pleasers, a light, entertaining evening of opera’s greatest hits,” he said. “We want to introduce new audiences to opera in a casual type evening. People know a lot more opera than they think,” he said. “They’ve heard it on commercials or on cartoons. We’re going to do some of these pieces the way they were intended to be heard.” Opera on the Mountain happens at the Dyer Observatory, 1000 Oman Drive, Brentwood, at 8 p.m. on June 15. Gates open at 6 p.m. Tickets are $55 for table seating, $35 for concert seating, or $65 per carload for grass seating. www.dyer.vanderbilt.edu
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Bigger, Bolder, and with Strings Attached
photo: anna jaap
The Nashville Puppet Festival Returns by Stephanie Stewart-Howard
mayor serves as grand marshal, but the rest of it is dominated by puppets, large and small. The legendary Phillip Huber, whose work you recently saw in Oz, The Great and Powerful, drives leisurely by in a convertible, along with his Taffy the Dog puppet. The TSU homecoming float supports the cast of the library’s own Wishing Chair Productions. A giant child manipulates a marionette, though that might be the work of Wishing Chair’s talented Pete Carden on stilts. Cars continue by, representing half a dozen countries and their native puppets—the U.S. as well as Japan, Argentina, France, Germany, and China. At the end, it culminates in a daylong party in Church Street Park, featuring performances by puppeteers and musicians who inspire adults and children alike, from the WannaBeatles to Professor Smarty Pants. It isn’t the opening to a new TV or web-based adventure, but the real plans for this year’s International Puppet Festival at the downtown library. The third such happening, following events in 2008 and 2011, it promises to be the biggest, best, and most exciting, according to the library’s Elaine Wood. The parade and park event on Saturday morning Wood describes as a “crazy, grassroots happening” replete with food trucks and plenty of activities—the sort of thing guaranteed to fill both parents and kids with delight. Across the street in the Nashville Public Library, there are free puppet shows going on all day, both from the library’s own remarkable Wishing Chair Productions and from a host of visiting dignitaries of the puppet world. You can grab (free) tickets at the ticket tent in the park and whisk yourselves into the library for each show.
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photo: anna jaap
magine a parade in downtown Nashville, merrily dashing past the Avenue of the Arts and ultimately leading to the Main Library. The
photo: anna jaap
photo: anna jaap
Wishing Chair Productions director, Brian Hull, and Puss in Boots
When we talk about puppetry in the U.S., don’t think of Shari Lewis and Lambchop or Howdy Doody; the reality is quite different. If you haven’t taken your child to one of Wishing Chair’s amazing productions, then you’ve missed something special. It’s inspired by the work of Tim Tichenor, who created his first show for the library back in 1938 (details at nashvillepubliclibrary.org/wishingchair). He made puppets and produced shows both here and in New York. Some of his extraordinary collection remains with the library; more has been donated or repurchased, and other generous donors have added to it over the years. But many of the puppets used today are new pieces born of the Wishing Chair staff’s creative minds.
will appear, each with distinctive works that reflect their native cultures and the larger puppet tradition worldwide, from exotic shadow puppets to astonishing marionettes. The festival, running from June 21–23, offers events to enchant audiences. Perhaps most special is June 20, when an inexpensive $30 ticket lets you experience the first public showing of an amazing new production, String City: Nashville’s Tradition of Music and Puppetry, created entirely by Wishing Chair. The precedent-setting show at the Country Music Hall of Fame uses a theatre made up of three sections—with a projection screen plus two puppet theatres and a variety of puppet techniques, blended at times with animation—to trace the history of Nashville’s country music scene, with music almost exclusively telling the tale. The story is told as twenty-six pieces of music come together to define the Nashville sound as it has progressed from the days of the Carter Family, Ernest Tubb, and Hank Williams, Sr., through Dolly, Garth, Johnny, Vince, Patsy, and all the way to Taylor. Through the weekend, free tickets (advance just a $2.50 handling fee online) provide access to a series of shows by all the guests and Wishing Chair. On Saturday night, adults will love the TPAC Martinis and Marionettes event at the Johnson Theater starring Phillip Huber (tickets at tpac.org). And, of course, the parade goes by on Saturday at 9 a.m., followed by the all-day park extravaganza. Bring your child or come yourself. The magic begins June 20 with String City: Nashville’s Tradition of Music and Puppetry. For more information visit www.nashvillepubliclibrary.org/puppetfestival. We hope to see you there!
Regular library patrons understand the gifts of Wishing Chair, a company that has blossomed under director Brian Hull and his crew, including Mary Tanner Bailey, Bret Wilson, Pete Carden, and John McSparren. Festivalgoers can see their remarkable, unusual work at the library during the three days of the Puppet Festival and take in performances by the aforementioned Phillip Huber and a host of performers from the U.S. and abroad. Companies representing Japan, Germany, Argentina, France, and China
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Twin (Terry), Armada, Acrylic on canvas, 48" x 60"
Five From Memphis
David Lusk Gallery Collaborates with The Arts Company by Beverly Keel
ore than 200 miles separate Nashville and Memphis, and often the cultural distance feels even greater between Music City and the Mississippi River blues town.
The Arts Company’s Anne Brown is attempting to bridge this gap with a new exhibit that celebrates West Tennessee art and explores the commonality of the Tennessee experience through the talents of captivating, visual Southern storytellers. Five From Memphis, which opens June 1 from 4 to 9 p.m. and continues through July 19, is the inaugural exhibition of The Arts Company’s new series of invitational exhibits called Selected Contemporary Tennessee Artists. Five From Memphis was co-curated by Brown and David Lusk of the David Lusk Gallery in Memphis and features about 25 pieces of art by Maysey Craddock, Hamlett Dobbins, Don Estes, Jared Small, and Twin (Jerry and Terry Lynn). The pieces selected are considered the “quintessential examples” of what each artist is doing right now, according to Lusk.
“They talk a lot about landscape and the river and the black experience and the history of the Delta region,” Brown says of the art. “These are all very accomplished artists who see things where they are and what is important to where they are. That is what Faulkner and Eudora Welty did and why we know about them. These artists are saying something about that particular river or landscape, but they are also things that resonate with all of us. “My goal is to engage people in art by engaging them in things of our own lives and our own places that, in the hands of an artist, become art,” she says. “Our lives become art. The things we care about and revere are the things that endure, the things that artists care about. Artists help them endure in our visual minds.” The impetus for the exhibit was the recent collaborative project between The Arts Company and FirstBank, The Art of Community: Janet and Jim Ayers’ Collection of Tennessee Art. FirstBank chairman Jim Ayers, who is from West Tennessee, and his wife, Janet, who is from East Tennessee, asked Brown to help them build a major
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corporate art collection featuring about 200 works in various mediums from artists across the state. The bank embraces a community-based philosophy, so the Ayers wanted their collection to be a snapshot of the many varied communities across the Volunteer State. “Because we found so many rich things, I thought we should continue to pursue it, which they are happy for me to do,” says Brown, who decided to feature in Five from Memphis the work of five artists who are included in the Ayers collection. Brown hopes to eventually create exchanges with galleries in other Tennessee cities to show Nashvillians work that they likely wouldn’t otherwise see. Unlike books, movies, and music, visual art isn’t accessed easily by the masses. “Very often, you can live here forever and not know there are 140 artists’ studios or more in Nashville where people are very actively working right now,” Brown says. “So something is going on that hasn’t really gone on in Tennessee.””
Maysey Craddock, Heart of Light and Silence, Gouache and thread on found paper, 50" x 67"
Don Estes, Perdido 17, Mixed media on panel, 21" x 28"
Jared Small, Old Yeller, Oil on panel, 48" x 60"
The Memphis experience is as broad as the artists’ capabilities and the materials with which they choose to create, Lusk says. Three of the artists are African American, three are Caucasian, and all have strong roots in Memphis, where they received their arts educations. “Twin, who are Jerry and Terry Lynn, paint narrative pieces,” Lusk says. “They are storytellers whose work is often imbued with a sense of history and a sense of the past, looking back flatteringly on a simpler day and time. Of the five artists, the pendulum swings the furthest to Hamlett Dobbins. His works are purely abstract, although based on recognizable forms—to him, not to anyone else.” Lusk isn’t sure what, if anything, will translate specifically to a Nashville audience. “Good artwork stands alone as good artwork, no matter where it’s from or who it is painted by. Certainly all six of these people are very strong artists and art makers. Each one has been recognized far beyond the Memphis territory. Now is their opportunity to be seen on a wider commercial scale in Nashville.” Hamlett Dobbins, Untitled (Notes on J.W./R.A.R.), Oil on linen on panel, 24" x 20"
Five from Memphis opens June 1, during First Saturday Art Crawl, 4 p.m. to 9 p.m. and continues through July 19. www.theartscompany.com www.davidluskgallery.com NashvilleArts.com
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Artful Day Trip
Memphis by Julie Novarese, Associate Curator, Dixon Gallery and Gardens
ust a quick, three-hour car ride down I-40 from Nashville, Memphis offers more to visitors than just blues and barbecue. In recent years, the Bluff City has moved way beyond its
Bill Bailey, Riverside, Fountain Art Gallery
once-seedy reputation to become one of the South’s major cultural centers, where history, music, cuisine, theater, dance, entertainment, and the visual arts all converge, and in just a short stay, you can easily enjoy a sampling of what the city has to offer. To make it official, in 2011, Memphis was named one of the top ten cities in the world for young artists by Flavorpill, an international culture magazine. Here are artsy things to do and places to go. Heading into town on Poplar, stop by David Lusk Gallery, Memphis’ premier commercial gallery, where you will find works by regional as well as national artists. In June, David Lusk will be featuring an exhibition of work by Memphis artist Pinkney Herbert. While you’re in the area, also stop by East Memphis staples L. Ross Gallery, where long-time gallerist Linda Ross presents everything from local and regional standbys like Anton Weiss to edgy up-and-comers like Ian Lemmonds, and Harrington Brown Gallery, a relatively new gallery with an eclectic mix of regional painters, photographers, and sculptors. Also on Poplar, check out Fountain Art Gallery.
David Lusk Gallery
Keep driving down Poplar and visit the Memphis Brooks Museum of Art. Opening June 8, the Brooks will be presenting The Crossroads of Memory: Carroll Cloar and the American South, a major exhibition celebrating the work of nationally renowned Arkansas artist Carroll
Dixon Gallery and Gardens
Lisa Weiss, Venus, L. Ross Gallery
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N.J. Woods Gallery
Memphis Brooks Museum of Art
Cloar (1913–1993). Be sure also to visit the Brooks’ encyclopedic permanent collection while you’re there, and take time to walk through the adjacent Overton Park. There are also many galleries in the Midtown Memphis area, including Gallery 56 and David Perry Smith Gallery on Central Avenue, and Material and N.J. Woods Gallery in the Broad Avenue arts district.
If you’re staying in historic Downtown Memphis, there are plenty of art experiences to be had when you need a break from basketball and the blues. The Belz Museum of Asian and Judaic Art offers a quiet escape, and the South Main Arts District features a smattering of carefully curated shops, galleries, and artist spaces that are sure to pique your interest. Long-time Memphis gallerist Jay Etkin’s space on Union Avenue also presents works by both local and national artists.
N.J. Woods, She Had a Taste for Apple Pie, N.J. Woods Gallery
The Memphis Botanic Garden boasts 96 acres of specialty gardens, where visitors of all ages can interact with and learn about nature and plant life in the South. The Botanic Garden is a must-see attraction for visitors with children, as their My Big Backyard family garden provides a creative and fun space for children to enjoy the outdoors. Inside their main entrance, the MBG also features exhibitions of works by local artists. After leaving the Botanic Garden, drive or walk across the street to the Dixon Gallery and Gardens, an intimate museum and public garden with a focus on French Impressionism and the decorative arts. Don’t miss the Dixon’s major exhibition on view through July 14, Bijoux parisiens: French Jewelry from the Petit Palais, Paris, a dazzling look at French jewelry from the 1600s through the 1940s. The exhibition marks the second partnership between the Dixon and Paris’ famous Petit Palais. Germantown is another great destination for art just outside of Memphis. Artreach Gallery represents Dawn Whitelaw from Nashville, Scott Harris from Boone, North Carolina, and Anda Styler from Connecticut. Become acquainted with work by local Memphis artists, including Paul Edelstein, Janet Smith, Terri Panitz, Glenda Brown, Sandee Sander, and Sheryl Hibbs. The gallery also offers workshops and openings each month. Sandee Sander, Around the Bend, Artreach Gallery
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Sandee Sander’s work can also be seen at Local Color Gallery in Nashville.
Sheryl Hibbs’ work can also be seen at Midtown Gallery in Nashville.
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June 2O13 | 87
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Home of The National Quilt Museum, Paducah’s creative culture will move you. A national heritage destination richly populated with culinary artists, painters, potters, print and jewelry makers, Paducah’s artistic landscape connects and inspires people around the world.
Feel the movement. Travel to Paducah. Download a Free Visitors Guide at Paducah.travel
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Howard Finster, American (1916 – 2001) Antipilio of 1914 Howard Finster was a man of ardent evangelical faith and ambitious work habits, with an outgoing personality and a life very difficult to winnow down to a few paragraphs, so here are some basics. Born in rural Alabama, Reverend Howard Finster was a man of prophetic visions, a rustic Southern Baptist preacher inspired by the Gospel, visitations from the dead, and visions of extraterrestrial life. As a preacher and a “master of 22 trades” he was an improbable candidate to become one of America’s most widely known and prolific self-taught artists. Finster’s career as a folk artist started late in his life with a divine vision. In 1976 at the age of 60, he saw the face of God in a paint smudge made by his index finger while fixing a bicycle in his workshop. In that vision, the Lord instructed him to make five thousand works of sacred art. Following his self-described vision, Finster began painting. He saw beauty beyond the obvious. His candy-colored painted works and subjects were typically executed on jigsaw-cut flat wooden figures ranging from Elvis, automobiles, and Hank Williams to angels and Coca-Cola bottles and adorned with messages and Bible scriptures, in a manner that pairs religious symbolism and pop-culture iconography. He devised an intricate numbering system and time-stamped many of his works upon completion. Occasionally he signed his paintings "BY HOWARD FINSTER, OF GOD. MAN OF VISIONS.” He reached the ordained quota of 5,000 just before Christmas 1985. By the time Finster passed over in 2001, his catalogue numbered more than 46,000 works of folk art, and, much to his credit, in his lifetime the works made their way into major art institutions and private collections.
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 appraise one of your antiques, please send a clear, detailed image to antiques@nashvillearts. com. Or send photo to Antiques, Nashville Arts Magazine, 644 West Iris Dr., Nashville, TN 37204.
all Photos: Jerry Atnip
In 2010, the owner paid $100 for this demure, Renaissance-inspired rendering identified “27.000.598 works since 1976 by Howard Finster from God Jan 18. 1993 God Bless You” found in a Huntsville antique mall. Similarly worked renderings of Antipilio have in the past few years sold at auction for $300 to $400.
Day Trip: Howard Finster’s Paradise Garden, a folk-art environment located in the Pennville community near Summerville, Georgia. www.paradisegardenfoundation.org Note of Interest The night before my submission deadline, in conversation with a local art enthusiast and close acquaintance of Howard Finster, I discovered that Howard had hanging in his home a print of the well-known fifteenth-century Italian Portrait of a Woman by Antonio Pollaiuolo. The original painting is in the collection of New York City’s Metropolitan Museum of Fine Art. In the case of this painting, Howard was obviously inspired by the work of Pollaiuolo.
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photo: eric adkins
Celeste and Berry Holt
Bob Durham, A Small Package, Oil on board
Greg Gossel, You Can't Control Me, Mixed media on paper
The Holt Collection by Emme Nelson Baxter
erry Holt is the kind of amiable guy who wears a knockabout T-shirt and shabby shorts to run a 10K because he likes to remain low-key. So it
follows that he is not one to call his cache of 100-plus paintings and prints a “collection,” because he doesn’t want anyone to think he takes it too seriously. This partner at the prestigious law firm Bradley Arant Boult Cummings refers to his passion as “my version of golf, but it’s cheaper and less time consuming. It’s been fun over the years.” Holt’s attraction to the art world manifested itself in—of all places—law school. “Back when I was in law school at Vanderbilt, you could take one course in the undergraduate school. I chose art history.” 90 | June 2O13 NashvilleArts.com
Kandinsky, Found Noir
Tim Murphy, Remembrances, Oil on board
Barry Buxkamper, Neighborhood, Mixed media on hardware cloth
Today his taste includes twentieth-century modern, pop, abstraction, and contemporary realism. He is not tied to a single medium, purchasing paintings, lithographs, etchings, serigraphs, sculptures . . . really whatever strikes his fancy. His Forest Hills home is rife with striking, limited-edition prints by artists so acclaimed they can be identified by one name only: Calder, Rauschenberg, Miro, Chagall, Appel, Hockney, and Kandinsky. Plus Motherwell, Francis, Braques, Rosenquist, Johns, Ernst, Rivers, and Stella. A glance around the salon-style interior reveals this collector’s taste for clever art. Bob Durham’s A Small Package presents the viewer with a comical paradox of proportion—the small package cannot contain the gorilla figure with his oversized banana. Bruce Matthews’ painting Secret Ingredient takes a satirical look at gossip.
Irving George Lehman, Abstract, Gouache on paper
Joan Miro, Et L’Emancipation definitive de ca que du chat
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Bruce Matthews, Secret Ingredient, Oil on canvas
Lenore Weiner, Untitled, Oil on canvas
top of the painting suggests hope, but the medium—cracked plaster on an exposed wire frame—suggests that all things pass and that even the artwork is disintegrating as it hangs on the wall. In Remembrances, Tim Murphy offers us a whimsical interpretation of the exhilarating yet mundane journey from adulthood to old age through the eyes of an elderly couple. Holt’s family supports the collection, having no qualms with his frequent rearranging of art within his home. Martin Facey’s enormous painting Eccentric Tablescape with Panama Hat fills an entire living room wall, while a collection of smaller works covers another like a collage. “My style is cluttered because I like to see it all,” he says.
Martin Facey, Eccentric Tablescape with Panama Hat, Oil on canvas
In Neighborhood, Nashville artist Barry Buxkamper approaches the theme of suburban decay. The carefully rendered cluster of homes appears plucked from the earth like a carrot to reveal the neighborhood’s underside of gnarly, dying roots that obscure a pile of books that apparently serve as the foundation for the community. A hummingbird in the
Scott Duce, The Conversation, Acrylic and collage on paper
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Tulip Love, 44x48, mixed media/wood panel
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F R E E T A STIN G S E V E RY F RIDA Y AT 5 A N D S AT U R DA Y AT 3
PHOTO: SOPHIA FORBES
Point and Click
... with your camera, that is! PHOTOGRAPHY COMPETITION Nashville Arts Magazine announces our fourth annual photography competition. Last year, we saw a stunning array of Nashville’s talent, and we can’t wait to see what 2013 brings! We will feature winning entries in our September issue. The competition is open to all amateur photographers, so send us your best shot!
View our complete submission guidelines at www.nashvillearts.com or call 615-383-0278.
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clockwise from left: Inbound, 2008, Charcoal on paper, 50" x 38" Core to Core, 2010, Charcoal on paper, 75" x 38" Umbilicals, 2009, Charcoal on paper, 50" x 38"
Umbilicals feminizes another section of the rope, evoking a beautiful woman’s long braid coming apart as it falls along her back. Inbound is as vaginal as any O'Keefe.
Inbound, 50 inches x 38 inches, charcoal on paper, 2008
by Joe Nolan
hawser is a thick rope or cable used to tow or moor a ship, and it's the imagery of one particular rope that ties together the drawings in Huguette Despault May's The Hawser Series, which was on display at Vanderbilt University's Sarratt Gallery from April 5–May 15. In 2006, May was given a weighty length of a
falling-apart hawser by John E. Ruggles, the last master rope maker in the once-booming whaling town of New Bedford, Massachusetts. May's charcoal drawings detail the rope on large pieces of paper, magnifying the scale of the actual rope, which is also on display. The rope's condition varies foot to foot, and in one section the outer, woven sheath is torn away, revealing the core ropes within it. The effect is like looking at the muscles of the lower leg in an anatomical illustration. This savaged section of the hawser evokes sensations of vulnerability, pain, and violence, and the show's greatest strength is its sensual physicality. In the drawings, the rope is transformed from a utilitarian object into metaphorical symbols and messages. In Core to Core the loop on the end of the hawser points downwards, creating the portrait of a hanged man.
The star of the show is the hawser itself. May displays half of its length standing straight up while the rest of it spills over and around a single pedestal. In addition to the obvious Core to Core, 75 inches x 38 inches, charcoal on paper, 2010 phallic implications, snake metaphors come to mind, and critic Dominique Nahas calls it a “python-sized” object in the show's brochure. Although the rope is much too massive to seem like a real king cobra, the loop at its end put me in mind of the hooded serpents that rise out of baskets, hypnotized by the song of the snake charmer. Seeing May's show, I think I know exactly how they feel. For more information about Huguette Despault May, visit www.huguettemay.com. www.vanderbilt.edu/sarrattgallery
beyond words by Marshall Chapman
Photo: Anthony Scarlati
What's in a Name?
ave you ever thought about changing your
name? I've been thinking about changing mine for quite some time now. And for many reasons, including the recent first-name-only ticketing policy imposed by the airlines. That was the one that finally sprung me into action.
I have been called Marshall Chapman all my life. Marshall is my middle name. My parents have called me Marshall from day one, and I'm glad. Marshall seems to suit me. Despite being occasionally mistaken for a male, usually when on the phone, I have always liked my name. The name I was given at birth—the one on my birth certificate—is Martha Marshall Chapman II. Truth is, I was never all that crazy about the Martha, and the "II" just seemed like so much excess baggage. And the Martha was never an issue until computers began taking over the world. Now whenever I find myself at the doctor's office, or filling out any kind of application, I'm faced with that FIRST NAME—MIDDLE INITIAL dilemma. Oh, I've tried crossing out NAME and INITIAL, reversing the two words, so it reads FIRST INITIAL—MIDDLE NAME, but computers don't like it when I do that. I always thought changing one's name would involve hiring a lawyer and paying thousands of dollars. But then my husband went online and found a Petition for Name Change form from the Seventh Circuit Court of Davidson County (Probate Division), which he promptly filled out. (My husband loves to fill out forms.) All I had to do was sign my name, get it notarized, and pay the $159 cash-only fee. The next morning, bright and early, I stopped by a nearby bank, where an officer witnessed my signature. PHOTO: JERRY ATNIP
"I knew a guy one time who changed his name," he said, cheerfully.
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"Really?" I said. "Yeah, his name was Michael Weaver and he had it changed to Elmo Shade because his favorite TV show was Evening Shade starring Burt Reynolds and Elmo was some jazz musician." This information had me wondering if I wasn't being a little too conservative in this name-changing business. Next stop was the third floor of the Davidson County Courthouse. At the Probate Court Clerk's Office, I handed in my petition and paid the fee. Then I was asked to choose a court date. "You mean I'll have to go before a judge?" I asked. Two weeks later, I'm standing before Probate Court Judge Randy Kennedy, solemnly swearing that I was NOT changing my name to avoid any debts or criminal activity. Then, just like that, I was Marshall Chapman. As I walked away from the courthouse, I felt light as a feather. Like a snake that had just shed some old, dead skin. As for that first-name-only airline policy, I also felt reassured knowing that, should-God-forbid my plane ever go down, the passenger list would NOT say Martha Chapman. It would say Marshall Chapman, and people could damn well mourn their loss. www.tallgirl.com
on the town with Ted Clayton
YI, Nashville Socials are not always decked out in black tie and lovely sequined gowns, for they are gardeners, and oh how they love their gardens—and a great plant auction to boot! This was the scenario at the Howe Wild Celebration held at Cheekwood's Botanic Hall last month, sponsored by the Garden Club of Nashville. Chaired by Jennie McCabe and Julie Stadler, it was an A-Plus, green-thumb event. My cousin Matt Murphree said to me, "This is one of my favorite parties and auctions of the year, as I am an avid gardener!"
The impact of the tulips in full bloom, all 55 thousand of them, was most impressive and beautiful indeed! Joining Garden Club of Nashville President Lisa Campbell were Kate Grayken, Alice Mathews (Alice is a former Garden Club of America President) with Dr. George Holcomb, Laurel and Louie Buntin, Tooty Bradford (I think Tooty planted all the tulips) with John Eddie Cain, Kim and Eddie Demoss, Elizabeth Proctor (Mrs. Proctor was holding court as she always does, being loved by so many), Carol Nelson, Dudley White, and Anne Parsons, Clare Armistead, Paula Wilson, Dorothy Earthman, and Julia Jarman. Red Japanese Maple, Lily of the Valley, Flowering Dogwood . . . oh my. This was a social plant connoisseur's dream come true, and by the way, if you think these socials don't get dirt under their nails, well, only their manicurists know! Annette Eskind, Hunter Armistead, Selena Crowley, Donna and Jeff Eskind, Myles Maillie, Susan and Luke Simmons, Ron York, Jane McLeod, Heloise Kuhn, Party Chairs Barbara Davis and Leslie Freedman, Mona Lisa Warren and John Guider, and Honorary Chair Phyllis Alper were all in attendance at the Collector's Cocktail/Patrons Party prior to the opening of the Temple Arts Festival. This juried art exhibition and sale is one of my favorites— such a great showing of photography, sculpture, jewelry, paintings, glass, and mixed media. First Place winner of show Carol Gentithes, from Seagrove, North Carolina, caught my eye from the get-go with her wonderful and joyful animals of clay fired to perfection, resulting in fine porcelain objects of art. This show has a notable following of collectors from all across the Southeast that collect and respect the works by acclaimed local and national artists. Leaving the Temple Arts Festival on what I call a Triple Crown evening, I headed over to Belle Meade Country Club for the Hillsboro Hounds Hunt Ball.
Annette Eskind, Hunter Armistead, Selena Crowley – Temple Arts Festival
Honorary Chair Phyllis Alper and Heloise Kuhn – Temple Arts Festival
Jeff and Donna Eskind – Temple Arts Festival
John Guider and Mona Lisa Warren – Temple Arts Festival
Gary and Eleanor Parks, Fiona and Jim King – Hunt Ball
Dana and Charlie Burke – Hunt Ball
Arriving at half past six o'clock to the wonderful sound of bagpipes by Jay Dawson, I knew this was to be a most festive evening at “the Club.” Fiona King with hubby, Jim (Fiona told me that she and Jim had their first date nine years ago at this ball), were on hand welcoming men in red and ladies in spring gowns, including Lise and Lindsay Bohannon, Lee Ann and Orrin Ingram, Emily and Hill McAlister, Eleanor and Gary Parks, Kathy and Mark Wright, Shockey and Bruce P'Pool.
Dana Burke, being the creative horsewoman she is, designed the table décor, which consisted of wooden hounds and foxes cutouts hand painted by her gifted committee, Bernadette Bowers, Anne Doolittle, Lee Ann Ingram, Natalie Emily and Hill McAlister – Little, and Lynn Thompson. On the back Hunt Ball page of the table program was a great summary by Henry Hooker, reflecting his first hunt: "Whilst I was courting her in 1955, Alice took me hunting for the first time. Mason Hougland and John Sloan, Sr. made me very welcome. Vernon Sharp lent me a horse. The sky was a luminous blue, the grass was emerald green, the horses full of run, hounds gaily and keen. I viewed a fox which I still see in my fancy. That romance endures. Good hunting and keep a tight seat." A tight seat indeed in my saddle heading to my next event of the evening, the magnificent Tennessee Waltz held at our State Capitol. Governor and Mrs. Bill Haslam hosted the affair chaired by Milah and Steve Lynn. Tennessee native and renowned artist Red Grooms and his lovely wife, Lysiane Luong, were the honored guests
Senator and Mrs. Douglas Henry – Tennessee Waltz
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Jim Hoobler, Marilyn and Kem Hinton – Tennessee Waltz
Nathan and Laura Green – Tennessee Waltz
Chairs Debbye Oliver and Stephanie Connor – The pARTy
Shirley and David Horowitz, Carrie and Howard Gentry – Tennessee Waltz
Governor Bill and Crissy Haslam, Joan and Mike Carter – Tennessee Waltz
of the evening. This is an evening full of such grandeur, from the moment one approaches the steps to the Capitol to the tunes of “The Tennessee Waltz” performed by the Tennessee Army National Guard, to the candlelit seated dinner, to the evening finale, dancing in the grand hall between the House and Senate Chambers.
Former governor Winfield Dunn with his lovely first lady, Betty, and Senator and Mrs. Douglas Henry welcomed proud Tennesseans from across the state, including Sylvia and Al Ganier, Linda and Jere Ervin, Dianne Neal, Laura and Nathan Green, Shirley and David Horowitz, George Barrett, Howard Gentry with his most attractive mother, Carrie Governor Winfield and Betty Dunn, Sylvia and Al Ganier – Gentry, Marianne and Andrew Tennessee Waltz Byrd (always reminds me of Andrew Jackson), Patsy and Bob Weigel, Ladies and Gentlemen’s Committee Chairs Pam and Mike Kobin, auction chair Nancy Russell with Andy Potts and Jim Marvin, Tennessee Museum Director Lois Riggins-Ezzell and Leigh Hendry. I must tell you that my friend Stephen and Milah Lynn, and former first lady Betty Dunn was Ashley Fisher, Josh Lynn – a vision of beauty in an all-white, Tennessee Waltz flowing gown. Betty shared with me that the gown had not been out of the closet in over forty years, not since she wore it at the Governors Conference she and Winfield attended, which was chaired by then-governor Nelson Rockefeller. I must say, after having been a tour guide for two summers in my youth and coming to the Capitol regularly, there is nothing like being there on a wonderful black-tie, candlelit evening. It still gives me chills! What a superb event to end a busy night on the town, and yes, I was dancin' with my darlin' to “The Tennessee Waltz”!
Alida Pinson, Casey Reed, Debra Powell – The pARTy
Agneta and Brownlee Currey – The pARTy
Under the leadership of Chairs Debbye Oliver and Stephanie Conner, once again The pARTy, benefiting Watkins College, was a great, sell-out evening. This event was held at OZ, a great venue for parties, but I must say I did miss the past fundraising events on the thirteen-acre, lakeside campus that is home to the College of Art, Design and Film. A quite eclectic silent auction, consisting of art, wine, jewelry, and clothing, was followed by the live auction of exotic trips under the direction of auctioneer Mac Hardcastle. Checking their auction bids during the evening were Watkins College President Ellen Meyer, Congressman Jim Cooper, Pat and John Shea, Debra Powell and Casey Reed, Amy and George Cate, Clare Armistead and Martin Brown, Agneta and Brownlee Currey, Judge Carol McCoy and Judge Rodger Page (now this is a power couple!), and Board Chair Sam Stumpf. It was a great evening celebrating a great Nashville institution, but I still miss the good ole tent parties.
Pat and John Shea – The pARTy
Another A-Plus-Plus gathering held at Cheekwood last month (under tent off the loggia) was the Society Celebration honoring Cheekwood’s most loyal and generous donors. Julie and George Stadler were the honored couple of this evening, receiving the Jane and Guilford Dudley Award for Excellence in Philanthropy, presented by Tooty Bradford, vice chairman of the Board of Trustees. Julie and George and I are members of the generation that have grown up at Cheekwood because of our parents’ and grandparents’ involvement in what is a precious jewel in our city's crown. Jane MacLeod, President and CEO of Cheekwood, welcomed Cathy and Clay Jackson, Kate Grayken, Linda and Steve Harlan, Jane Dudley with hubby, Dwayne Johnson, who by the way looked fab in his white linen suit, Betty and Jimmy Perkins, Emily and Tee Zerfoss, Gigi and Ted Lazenby, Lisa and John Campbell, Alice Hooker, Betty and Jim Stadler, Quinn and Jim Bond, Patti and Mike Bottomy, Catherine and Pete DeLay, Elaine and Bruce Sullivan, Ann and Walter Morgan, Martha Ingram, Joanne and Mike Hayes. Yes indeed, the A-Plus-Plus Socials were right at home at their home away from home, Cheekwood.
Burk and Caroline Lindsey – Steeplechase
Kristin Miles, Luke Colbert, Brittani Taylor – Steeplechase
Jordan and David Vaughn, Sara and Richard Bovender, Sarah and Michael Kruspe – Steeplechase
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Amy Templeton, Murray Clayton, Marguerite Clayton, Bert Parrish, Tram Clark, Neal Clayton – Steeplechase
After a long week of rain, the sun came out bright and clear for the 72nd running of the Iroquois Steeplechase. For almost three decades this event in association with the Volunteer State Horsemen's Foundation has benefited the Monroe Carell Jr. Children's Hospital at Vanderbilt. From the Iroquois Society party to the Paddock Club party, Dudley Cheadle and the Hunt Club party, box holders’ Mary Barnard – Steeplechase individual parties, and the infield celebrations (and yes, I attended all!), it was a day of thoroughbred horses, jockeys, socials dressed to kill, and the younger generation showing how creative they could be with an outdoor picnic. Members of the Iroquois Society enjoyed lunch on china and silver with linen napkins followed by ice cream served on silver platters. The box holders were seen with a lavish feast of chicken, tenderloin, pasta, shrimp, and of course a race-day punch! Social ladies were adorned in snappy sundresses with matching hats, but in my opinion this is a day when the social gentlemen steal the fashion show! At so many events that I attend, we men are in black or white tie and all look alike, but this certainly is not the case at the Steeplechase. From the silk pocket squares to the fancy socks, these social men know how to dress to impress, notably Richard Patton, Bill Andrews, Tom and Todd Cato, Fleming Wilt, Jere Ervin, Steve Fortunato, Grant Smothers (Grant was a runner-up in the Best Dressed Man contest), David Hitt, and Burk Lindsey. Speaking of the Best Dressed Man award, it was presented to my buddy and client Tom Ozburn in his colorful Clayton Collection attire and a custom-designed fedora by Carol Carr Millinery of Stacey Rhodes Boutique. I was so excited for Tom, I felt as if I had a winning horse in the haberdashery race. OK, I do not feel bad about not mentioning the lovely ladies, because for the upcoming months that is all you will read about and see at the Frist Gala and the Swan Ball, where once again all of us gents will look identical.
Alex Wade and Susan Walker – Steeplechase
Nancy Russell – Steeplechase
Alexander and Alma Franks, Lynn and Richard Byrd, Claudia Haney – Steeplechase
Lori and Tom Ozburn – Steeplechase
Joyce and David Hitt – Steeplechase
I was honored to attend what I have decided is the Patrons Party of this century honoring the Frist Gala. Denice and Milton Johnson hosted this most stunning evening in their home with additional host couples including Brenda Keith Gregg, Lisa and Steve Nix – and Joe Steakley, Trish and Steeplechase Tommy Frist, and Judy and Tom Foster. The current exhibit at the Frist Center for the Visual Arts is Rembrandt and the Dutch Golden Age. Using the exhibit as the theme of the patrons party, the seated dinner under a blue-and-white tent was all done in Delft blue by designers Terry White and Jayne Bubis. I love a party that carries out a theme as well as this one did. Denice Johnson shared with me that she is first-generation American, being that her parents are from Delft, Holland, in the Netherlands. From the centerpieces, which were Delft cachepots filled with white tulips, to the blue crystal to the wooden chandeliers painted to resemble Delft Porcelain, this was a knockout! Talk about details: upon entering the Johnsons’ home, the patrons were directed to the damask-covered dining room to receive miniature, reproduction masterpieces in gold frames with their name inscribed on the front and their table number on the reverse side. Now, friends, this was elegance at its finest. I cannot wait to share with you next month the details of the Frist Gala and the Swan Ball. Goedenavond (Dutch for "Good evening") for now.
So again on the second Saturday in May, as it has been for seventy-two years, this Nashville tradition continued to be a truly unique experience.
Brenda Black and Stephen Heard – Steeplechase
Back: Em, Kristen and George Crook Front: Wills, Anne Claire and David Crook – Steeplechase
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Every First Friday... Friday, June 7, 6-9 p.m. More than 30 galleries and working studios in a 15-block area, featuring artists at work, live music, wine and more! Thereâ€™s no cost to attend, but a $5 wristband provides unlimited transportation on trolleys circulating during the event.
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my favorite painting
Cindi Earl Jewelry Store Owner
met Michael Gray in the early ’90s while he was the chef at the Belle Meade Brasserie.
Michael and his wife, Lisa, owned a home in the 12South neighborhood long before it was the Now neighborhood in town. One afternoon I had the pleasure of going to their home to see a commissioned piece he was working on. We were in the back yard, and the garage door was open where he stored many of his things. I walked in to look at those as well, and on the floor of the garage was my favorite painting. I asked if I could buy it. Michael told me that he was going to throw it away; it wasn't finished. He hadn't been able to finish it before the light changed. I loved it, and convinced him to let me have it. With each passing year I love it more, not only for its beauty as a painting, but for the beauty of life I see each time I look at it. An artist, a town . . . life, captured in the perfection of imperfection. www.cindiearl.com
Artist Bio Nashville artist Michael Gray is known for his plein-air landscapes that feature various natural monuments around Middle Tennessee. The characteristic loose brushstrokes and simple color palette in Gray’s paintings suggest that the artist painted his works quickly and dynamically to capture the splendor of the vistas before him. Gray often works in large scale on 12-foot canvases à la Monet's Waterlilies, of which he is a great fan. His most well known works include Harpeth River in the Fall, Fall Creek Falls, and Poppy Field, which belong to the Waggoner Library collection at Trevecca University. Contact Michael Gray at email@example.com. Michael Gray, Untitled, Oil on canvas, 38" x 28" 102 | June 2O13 NashvilleArts.com
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615-297-0971 ext 5174