Page 1


Regular 5th Avenue gallery hours: 11-5:00 pm, Tuesday-Saturday

July 5 - August 8 Conversation with the artist July 11 Introducing the World of Daryl Thetford ©Daryl Thetford

Continuing through July 26 QUINTESSENTIAL DELTA New Paintings by Betsy Brackin ©Betsy Brackin

June 25 - July 26 William Klein + Daido Moriyama Selections from Tate Modern Guest curated by Susan Sherrick ©William Klein, Courtesy of Howard Greenberg Gallery, New York

6-9 pm

Fifty years ago, during the summer of 1964, Andy Warhol began working on

silkscreen paintings of flowers, a subject that would preoccupy him for the

rest of his life. This exhibition at Cheekwood is a rare occasion when Warhol’s

flower images meet the floral abundance of an actual garden.

presented by:


Artwork: Stephen Shore. Andy Warhol with Flowers, 1965. gelatin silver print. 5 x 8 in. (12.7 x 20.3 cm.) The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Artwork: © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, NY

ANDY WARHOL’S FLOWERS Andy Warhol, Daisy, ca. 1982, Collection of The Andy Warhol Museum, Pittsburgh. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, NY

JUNE 14 – SEPTEMBER 7, 2014

J2O14 uly

on the cover:

Daryl Thetford, Man in Chair, 2014, 54" x 43" Represented by The Arts Company Article on page 69



11 Spotlights

30 Unplugged

26 Alizah Greenberg Silver and Stone


36 Public Art

29 Crawl Guide

by Van Gill

40 Arts and the Business of Art


37 Freya West Here’s Looking at You

by Tony Youngblood

Arts & Business Council


46 Hyperrealism Comes Alive

42 As I See It by Susan Edwards 50 The Bookmark

52 Southern Word Turning Poetry

92 Art See

64 Nashville 6 A.M. Ron Manville

96 Critical i by Joe Nolan

69 Daryl Thetford Introducing the World


97 Poet’s Corner Tiana Clark

74 Mickey Raphael Play True

98 Film Review by Justin Stokes

78 The Art House At Home with

98 The Great Unknowns by Jennifer Anderson

Hope and Howard


104 Theatre by Jim Reyland 106 Art Smart

83 Dawson Colvert Carved in Stone

110 On the Town by Ted Clayton

87 Adrienne Outlaw Never Too Close 94

Hot Books and Cool Reads

54 NPT

Into Paintings




112 Appraise It by Linda Dyer

Art Able Finds a Home

100 Jorge Mendoza Cross Cultural Printmaking


113 Beyond Words by Marshall Chapman 114 My Favorite Painting July 2014 | 7


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


EDITORIAL & ADVERTISING OFFICES 644 West Iris Drive, Nashville, TN 37204 615-383-0278 ADVERTISING DEPARTMENT Cindy Acuff, Beth Knott, Keith Wright 615-383-0278 DISTRIBUTION Wouter Feldbusch, Brad Reagan SUBSCRIPTIONS AND CUSTOMER SERVICE 615-383-0278 BUSINESS OFFICE Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 EDITORIAL




SARA LEE BURD Executive Editor and Online Editor



TED CLAYTON Social Editor JENNIFER COLE State of the Arts LINDA DYER Antique and Fine Art Specialist SUSAN EDWARDS As I See It ANNE POPE Tennessee Roundup JIM REYLAND Theatre Correspondent




TAMARA BEARD Editorial Intern

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 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.

2014 IS $349/MO F SPORT +


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+ Options Shown. *Available on approved credit to very well qualified customers through Lexus Financial Services and Lexus | Nashville on the 2014 IS250. Based on MSRP of $38,295 including delivery, processing, and handling. Not all customers will qualify. Monthly payment may vary depending on final price of vehicle & your qualifications. You pay $0.25 per mile over 10,000 per year. See dealer for vehicle and lease program details. Must take delivery by 07.31.2014





Art Creates a City


or the past five years I have used the above phrase, Art Creates a City, for this Publisher’s Note. I do that not because it’s a catchy thing to say; I do it because I believe it. I cannot think of one great city that does not have a healthy art scene. And we have so much great art here that sometimes it can feel a little overwhelming. A great problem for us to have.

Scott E. Hill Oil on Canvas 40” x 40”

2104 CRESTMOOR ROAD IN GREEN HILLS NASHVILLE, TN 37215 HOURS: MON-FRI 9:30 TO 5:30 SAT 9:30 TO 5:00 PHONE: 615-297-3201

I Saw the Figure Five in Gold would have to rate as one of my favorite paintings. Basing it upon a poem by William Carlos Williams, artist Charles Demuth evocatively captured the motion and urgency of a fire truck “rumbling through the dark city.” It is especially meaningful to me this month, as this issue marks our fifth year as Nashville’s art magazine. Who knows where the time went. What I do know is that we are all as proud of this our sixtieth issue as we were of our first. Along the way we have featured Charles Demuth, I Saw the Figure 5 in Gold, hundreds of a r t ists, 1928, Oil on cardboard, 35” x 30” per for mers, poets, songwriters, sculptors, authors, and just about anyone else that had something interesting to say. In the same vein, Southern Word’s latest venture coupled poets with Nashville artists to create poetry-inspired paintings. The event, held at The Rymer Gallery, was an overwhelming success. You can read about it on page 52. Almost every week someone will approach me with, “Can I have a word with you?” which I automatically translate to “Can I tell you something?” Usually what follows is that person’s opinion on which art we should and should not be featuring in the magazine. Far from being offended, I welcome the advice  and take it as a good sign that one, the magazine is being read and secondly, that people are thinking about art and their relationship to it. This is exactly as it should be.  I hope you enjoy the sixtieth issue of Nashville Arts Magazine. It too is free! Paul Polycarpou Editor in Chief


The Downtown Art Crawl celebrates its eighth year and is seeing record crowds come down to 5th Avenue to enjoy the art, and it’s free! The Wedgewood/Houston area is bringing a new and energized creative buzz to the city. And where else can you drop in to a local bar, in this case the Station Inn, and hear Jack Pearson, quite possibly the finest guitarist on Planet Earth, play a threehour set for ten bucks? And did I mention The Frist, Cheekwood, TPAC and OZ? Even our Lexus dealership is presenting art nights that transform the showroom into an art gallery. Art, in all its forms, creates this city, and I’m glad I live here.

Barry Buxkamper, Medical Center, 2014, Acrylic on canvas, 40” x 58”

MTSU and TTU Faculty Exhibit at Vanderbilt’s Space 204 Space 204 • Through September 12 by Gracie Wise Artist Michael Baggarly believes that art offers a “quiet moment” to an observer, the chance to step back from “the tumultuousness of everyday life” and reflect. This is the goal of Vanderbilt University’s two summer exhibitions: to make that rare moment of observation and reflection accessible. The exhibitions feature the work of five distinguished artists and will run through Friday, September 12. In the show Frill, internationally known artist and TTU faculty member Kimberly Winkle displays seventeen wood furniture pieces that employ both traditional and contemporary structural techniques. Winkle speaks of her furniture as “an expressive device,” a canvas upon which she casts geometric lines and dots. Her rich hues and precise marks capture what she refers to as the “dialogue of characters” that animates her work. The show Intersections features the designs of four MTSU artists: Barry Buxkamper, John Donovan, Sisavanh Houghton, and Michael Baggarly. Though the artistic styles of these artists range from intricately crafted clay figures to architectural structures inspired by landscape photography, the artists achieve cohesion in their ability to transcend traditional techniques with modern influences. The result is a display that offers viewers a glimpse at the complexity and beauty of the human experience. Frill and Intersections are on view through September 12 at Space 204, located in the E. Bronson Ingram Studio Art Center on the Vanderbilt campus. The closing reception will take place on Thursday, September 11, from 4 to 6 p.m. These stunning exhibitions are free and open to the public. Please visit for more information. John Donovan, Jaguar Amarillo y Purpura Luchador, 2014, Clay

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The Role of Graphic Design Tennessee Arts Commission • Through July 25 Through innovative logos, creative advertisements, inviting product packaging, and more we are surrounded by graphic design everywhere. It is the art of communication.

John Wilkinson, Ivory, 2014, Watercolor on Fabriano Artistico paper, 16” x 14”

Simply the Best Tennessee Watercolor Society Best in Show

From an entry pool of nearly 200, John Wilkinson’s watercolor portrait Ivory was one of 50 paintings selected by jurist Pat Dews for the Tennessee Watercolor Society’s 34th Juried Exhibition at O’More College of Design last month. Ivory went on to win Best of Show and a $1,500 purse. Strong design, color, content, and technical skill were among the criteria Dews used in judging. Congratulations, John Wilkinson! Ivory gives us all that and more. For more information, visit

The exhibition Construct/Connect: The Role of Graphic Design, c u r rent ly on v iew at t he Tennessee Arts Commission, examines the elements and process of graphic design through the works of four local professionals: Lindsey Armstrong, Graphic Designer and Art Director at the Redpepper Agency, Stephen Jones, Creative Director and Owner of GoGo Jones, Luke How a rd , Web De ve loper and Graphic Desig ner at Crowd Surf, LLC, and Trent Thibodeaux, lead Graphic Designer at Third Man Records. With the help of Dan Brawner, Chair of the Graphic Design Program at Watkins College of Trent Thibodeaux, Divine Fits Screenprint poster Art, Design & Film, the show takes viewers step by step from the idea phase to the finished product. Construct/Connect: The Role of Graphic Design is on display at the Tennessee Arts Commission. Visit for more information.

FAMILY BUSINESS Coop Gallery • Through July 26 In the exhibit Hyeon Jung Kim, The Family Business of Human Element Removal, the artist draws upon her experience at her family’s dry-cleaning business to turn accumulations of hangers, tags, clothing, and other products into an insightful and appealing video and 3D installation. A first-generation immigrant from Seoul, Korea, Kim was continually exposed to the labor and processes involved in delivering clean, pressed clothing to customers. She writes, “In my art practice, I engage in my own repetitive process with similar intensity towards dirty to clean, removal of waste of objects and materials.” Hyeon Jung Kim, The Family Business of Human Element Removal will remain on view at Coop Gallery, 75 Arcade. For more information, visit www. To see more of Kim’s work, visit Still from Labyrinth video 14 | July 2014

PAUL McLEAN DLG JULY 2014 “Code Duello: Old Hick and a Big Bang”


516 Hagan St . Nashville .

How to Smile in 34 Steps LIVE!

Opens July 21 Old West, Western, sOuthWest & native american

Liz Clayton Scofield at Seed Space • July 5 Ever notice how many politicians smile even when addressing unpleasant topics? Why is it that women are raised to smile in public even if they don’t feel like it? In her latest video and performance installation, How to Smile in 34 Steps LIVE!, Liz Clayton Scofield examines the construction of smiling and challenges viewers to question cultural norms.

• Art • • Jewelry • • Rustic Furniture •

In an endurance-based performance, Scofield spends the first six minutes displaying each of the 34 steps while standing in front of a video loop that mimics her performance. For the next 50 minutes she remains in position, working hard to keep her smile in place despite any discomfort she feels. How to Smile in 34 Steps LIVE! takes place at 8 and 9 p.m. at Seed Space. For more information, visit See more of Scofield’s work at

916 8th ave., sO. nashville (615) 598-2074 WWW .t he r ed F eather G allery . cOm

Polish Theatre Posters and Chinese Sculptures RedFeather_0714.indd 1

by Tamara Beard

6/12/14 10:43 AM

Vanderbilt Fine Arts Gallery • Through August 28

This summer, Vanderbilt Fine Arts is presenting new exhibitions—Curiouser and Curiouser—Avant-garde Polish Theater Posters from the 1970s and From Tomb to Temple: Unearthing Ancient China through the Vanderbilt University Fine Art Collection. Curiouser and Curiouser—Avant-garde Polish Theater Posters from the 1970s is being presented in honor of the late Professor Don Evans, who taught art at Vanderbilt. This exhibit features a variety of Polish posters from the 1960s and 70s. One notable piece is Teatr im. Jana Kochanowskiego w Opolu by Jan Sawka, a theatrical poster that provoked the Polish government to expel him because of his subtle style of anti-authoritarianism. A documentary about the revolutionary history of Polish posters, Freedom on the Fence, will also be screened. Director Joseph Mella encourages everyone to visit this exhibit. He stated, “… it’s a rare window into one of the truly remarkable moments in the history of the medium.”

Curiouser and Curiouser will be on exhibit until August 28. From Tomb to Temple: Unearthing Ancient China through the Vanderbilt University Fine Art Collection is a student-curated e x h ibit feat u r ing ma ny C h inese sculptures dating back to 3300 BC. All these 3D pieces represent the spiritual relationship between temple, tomb, and divine mountains. Tracey Miller, the instructor of the student curators, said her students strived to connect the Western and Eastern cultures through universal ideas that are represented by unfamiliar objects. October 12 will be the last day to view From Tomb to Temple at Vanderbilt Fine Arts Gallery.

Jan Sawka, Teatr im. Jana Kochanowskiego w Opolu, Offset lithograph, 33” x 23”

16 | July 2014

Curiouser and Curiouser and From Tomb to Temple are free and open to the public. For more information, gallery hours, and directions, visit Vanderbilt Fine Arts Gallery’s website at


Ted Burnett

Henry Faulkner

W. Wildner

Aaron Bohrod

Bill Sawyer

H. Frishmuth Werner Wildner

Andy Warhol, signed

Paul Lancaster

Red Grooms litho, signed Wm. Posey Silva

Rauschenberg Serigraph

2 of 4 Dali works, authenticated

1 of 2 Noel Rockmores

George Nakashima Dining Table

Carlo Canevari

Helen LaFrance (Kentucky) Knoll, 1960

William Aiken Walker

F. MacMonnies

Joan Miro Litho

Hayley Lever

Michel Loeb

Lalique 2 of 3 Philip and Kelvin Laverne Mid-Century Tables

Moser Vase, detail

TN Sugar Chest, Mooreland Plantation, c.1825

Rare C. Haun TN Ring Jug

Charles Wysocki

Several lots of sterling inc. Kirk Julep Cups Aiden Lassell Ripley

Albert Pinkham Ryder with documenatation, radiography

J.W. Dodge

Cigar Store Indian Alan Lequire Harry Jackson

Alfred Hutty Drawing


Art Deco 1.65 ct ring

Carl Hantman

Civil War

Hawthorne Bowl, 18th c.

Dia. Bracelet, 8 carats

Qing Robe, deaccessioned by Milligan College George Ennis Tiffany

R.E. Lee by 5.06 carat dia. ring, GIA Cornelius Hankins R. Valentini, Venice Jules Rene Herve, Paris S12 clarity, I color

Asian Art

Pissarro drawing, exhibited

John Francis

LIVE AUCTION SATURDAY, JULY 19, 8 AM CST ď ´ Preview Friday, July 18 11am to 5 pm CST

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American Heroes Overseas Clarksville Customs House Museum • Through August 31 See the awfulness of war juxtaposed to the beauty of nature in the video installation Serving Abroad…Through Their Eyes. Accompanying the video are photographs by Greg Williamson, The Leaf Chronicle journalist who spent three weeks embedded with the 101st Combat Aviation Brigade.

Greg Williamson, Survey

According to Williamson, “The whole experience was phenomenal. Capturing the snow-covered mountains, villages, and landscapes was unforgettable. . . . When my convoy was hit by an IED (improvised explosive device) I witnessed first hand the dangers our military personnel are put in and the quick action they took to secure the area and tend to the wounded.” Serving Abroad…Through Their Eyes began as a juried photography project featuring photographs taken by active military, Foreign Service, and Civil Service personnel while serving overseas. Artist Lincoln Schatz was commissioned by the Office of Art in Embassies to create the video montage.

Greg Williamson, Medic

Serving Abroad…Through Their Eyes will be on view at the Customs House Museum in Clarksville through August 31. Greg Williamson will talk about his time with the troops at the Customs House Art & Lunch on July 16. For more information, please visit

Paul McLean Reexamines Old Hickory in 4D by Cass Teague

David Lusk Gallery • Through July 26

In his first solo exhibition in Nashville in over a decade, Paul McLean’s Code Duello, Old Hick & A Big Bang presents an interlinking series of mixed-media works covering a spectrum of compelling narratives, including the colorful and controversial history of President Jackson (“Old Hickory”), the practice of dueling in America, and the art and science of the universe’s origins as represented in modern technology. McLean’s impetus for weaving the Big Bang into the discourse underpinning the show arose from his doctoral course work at the European Graduate School. His approach, which he calls “4D” or “4th dimensional art,” provides an integrative framework for layered techniques. Most of the images in Code Duello, Old Hick & A Big Bang consist of abstract figures that confront space and time beyond the limits of strict 3D and 2D representation. For this exhibit, McLean partnered with long-time collaborator Shane Kennedy, who prepared lush surfaces for some of the paintings in the Jackson series and provided substantial technical support. Ultimately, Code Duello, Old Hick & A Big Bang is an exposition on questions we have about what it means to be human in contemporary society and how we recreate ourselves and our experiences to fit into the world. Code Duello, Old Hick & A Big Bang will be on view July 1 through July 26 at David Lusk Gallery, with an opening reception on July 5. For more information, visit 20 | July 2014

Untitled, Mixed media on canvas, 14” x 11”

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YORK & Friends fine art Nashville • Memphis

Please join us for the

5th Annual Arts & Flowers July 19th

David Nichols, The Grand Room, Oil on panel, 20” x 20”

AMANDA NORMAN Fresh Cut 20x16 Acrylic on canvas

5th Annual Arts & Flowers W.O. Smith Music School • July 19

Beautiful art, stunning floral arrangements, music by Nashville’s Grammy-nominated chamber ensemble ALIAS, and incredibly delectable food and drink create an ideal evening of pleasure. The 5th Annual Arts & Flowers offers all this as well as the perfect opportunity to indulge for a good cause.

WJ CUNNINGHAM Bobbi 18x14 Acrylic on canvas

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

David Nichols, Lisa McReynolds, W. J. Cunningham, Michael Bush, Tom Turnbull, Jade Reynolds, Jennifer Padgett, Vicki Sawyer, Rhonda Wernick, and Elizabeth Foster are among the artists who will collaborate with Nashville’s top floral designers to create inventive pieces that will compete for Best of Show, Best Artist, and Best Florist. Participating florists include Flower Express, Freeman Flowers, Ilex, Always in Bloom, Rebel Hill, Emma’s Flowers, Garden Delights, and noted floral designers Phillipe Chadwick, Jeff Bradshaw, and Brian Shafer. This year’s event will also include a jewelry trunk show featuring the work of Nola Jane and Hugh Bennett. A new addition will be a pottery trunk show by Christina Cohn. Co-chairs for the 5th Annual Arts & Flowers are Meagan and Whit Rhodes. Returning as honorary chairs are Miss Daisy King and George Clark. Celebrity judges include Brenda Lee, Harry Chapman, and Manuel. This unique arts event is ALIAS’s main funding source, enabling the ensemble to bring its innovative music to a wide range of audiences while giving back to the community. ALIAS gives 100% of concert proceeds to local nonprofits and to date has donated over $40,000. ALIAS’s 5th Annual Arts & Flowers takes place from 6 to 9 p.m. on July 19 at W.O. Smith Music School. Tickets are $50 in advance, $60 at the door. For more information, visit

22 | July 2014

July 19, 2014

6 to 9 p.m.

Benefiting the Grammy Nominated ALIAS Chamber Ensemble


W.O. Smith Music School • 1125 8th Ave. S. • Valet Parking Available

For ticket and additional information:

New Gallery with a West of the Mississippi Flare


Red Feather Gallery • Opens on July 21

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This summer, a new gallery is planting its roots in Nashville! Red Feather Gallery, with Old West, Western, Southwestern, and Native American themes, will feature original art, rustic furniture, silver and turquoise jewelry, pottery, a nd more. R e d Fe at he r Gallery’s goal is to provide the area with art that is made with passion and spirit but is still affordable to most. Timothy Crew Evans, the Linda Manion, It’s a Girl Thing, Pastel, owner of the gallery, stated, 20” x 16” “I always wanted to [open a gallery] with a look that I like, and I’m hoping other people in this area will like it too.” Red Feather Gallery is located at 916 8th Ave. South and will open its doors to the public on July 21. For more information, visit

Visiting Artist Series The Lipman Group Sotheby’s International Realty Photographer Jerry Atnip • Opens July 8 The Lipman Group Sotheby’s International Realty’s new Visiting Artist Series will feature Jerry Atnip’s stunning photography collections Nature and Nashville. The show will open with an artist’s reception on July 8 and is slated to be on view through the end of the year. A portion of the proceeds from art sales will benefit charity. During the opening event, which will feature refreshments and live music by Breaux Gargano, Vincent Peach will display his distinctive organic-styled jewelry. “The Visiting Artist Series adds so much to our office space and has become one of my favorite traditions,” said Larry Lipman, owner and president of The Lipman Group Sotheby’s International Realty. A commercial and fine art photographer for over 36 years, Atnip said, “I am honored to be a part of the Visiting Artist Series. This office space is so well appointed and an ideal place to present and view art.” The opening reception for the Visiting Artist Series will be held Tuesday, July 8, from 5 until 7 p.m., at The Lipman Group Sotheby’s International Realty, 2002 Richard Jones Road, Suite C-104. The reception is free and open to the public.

Jerry Atnip, The Road

To see more of Atnip’s work, visit To see more of Peach’s work, visit For more information, please visit

24 | July 2014

V isiting Artist Series Event


Enjoy a spectacular evening filled with live music, refreshing cocktails, and hors d’oeuvres while viewing Jer r y Atnip’s extr aordinar y ser ies Nature & Nashville and jewelr y collections by Vincent Peach. Tuesday, July 8, 2014 | 5:00 – 7:00 PM 2002 Richard Jones Road, Suite C-104 | Nashville, TN 37215 Please find additional event details and pieces of ar t that will be displayed at: SPONSORED BY:

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Renee Max

Silver and Stone Inspired by Nature

Jewelry by Alizah Greenberg by


Stephanie Stewart-Howard | Photography

love jewelry,” says Alizah Greenberg. “Before I started making my own, I used to buy a lot, and I’d revise and redesign it for myself.” But ultimately, changing up what she had wasn’t enough, and Alizah

Oxidized sterling silver bangle with diamonds

by Jerry


dived into making it herself. While her first pieces were intended for her use, over time she has built a business around her distinctive aesthetic choices, realized in everything from precious metals to wood.

Byzantine coin ring set in white gold with diamonds

26 | July 2014

Roman coin necklace set in 18k gold with diamonds

She continues to thrive on working with precious and semiprecious stones, especially rough gems and minerals, as you can see from the portfolio images on her website. A teacher in Nolensville introduced her to the woodworking techniques necessary, and her drive out to the area allowed her the added benefit of getting to know the “urban wilderness” of Williamson County that intrigues and inspires her. The outdoors challenges and frees up Greenberg’s imagination, giving rise to many of the concepts for her individual pieces. Her Florida background filled her sense of the natural world with beaches, oceans, and sand. Here, she’s developed an affinity for the soothing, tree-laden hiking and biking trails in Warner Park. “It’s just so beautiful,” she says. “Everything I see is an inspiration. There are all these wonderful mushrooms in fall and spring that grow out of fallen trees—I’d love to learn how to cast them and incorporate them directly into my work. And there are other things, like the tiny stems with a faint crust of frost over them in the morning. They influence my choices.” The natural world likewise shines from her recent work, both obviously in material choices and more enigmatically in shapes and textures. Alizah Greenberg’s jewelry is available at The Copper Fox w w w.copper foxgaller and via her webs i te

Black pyrite earrings in 18k gold with diamonds

One of the real advantages to starting at this point in my life was having the budget to do things like work with precious metals and stone.

Greenberg started her jewelry making in her early 40s. The Miami native got her undergrad degree at Boston University in psychology, then a master’s in special education—art never entered her mind in her student days. As a parent with four kids, life up until then remained dominated by her children. With all of them off in school, she focused her creative energies elsewhere.

Blond wood ring with 14k gold and a diamond

One of her inspirations, Nashville’s incomparable Margaret Ellis, whose work Greenberg had purchased, also began her jewelry career at 41. Ellis’s success, along with her obvious talent, manifested at the same time in her life, and it gave Greenberg a sense that trying her hand at jewelry making was the way to go. She began by studying privately with Nancie Roark of Vanderbilt’s Sarratt Studio Arts. Roark in turn not only gave her the skills she needed but helped her to set up a studio, converting a guest house at the Greenberg home to a space for work. The first pieces Greenberg fabricated came from Roark’s lessons. “I’d learned to solder silver wire,” she says. “I was working with one- to two-inch pieces, soldered to jump rings to make a bracelet (I didn’t exactly do it Nancie’s way, but it turned out well), then I wanted to add diamonds to it . . . One of the real advantages to starting at this point in my life was having the budget to do things like work with precious metals and stone, because I’m not a kid in college any longer.”

Sterling silver necklace with wood

July 2014 | 27


Betsy Brackin – The Rymer Gallery

The First Saturday Art Crawl Downtown takes place on Saturday, July 5, from 6 until 9 p.m. The Arts Company will unveil the exhibit Introducing the World of Daryl Thetford (see page 69). Tinney Contemporary will host a reception for William Klein + Daido Moriyama Selections from Tate Modern, curated by Susan Sherrick. The Rymer Gallery will present QUINTESSENTIAL DELTA, new paintings by Betsy Brackin. Tennessee Art League will celebrate their 60th anniversary with an exhibition of works by TAL members. Frothy Monkey will feature Priorities, a collaborative show by Ann Catherine Carter, Daniel Holland, Aaron Martin, Jesse Mat hison, and Casey Pierce. Downtown Presbyterian Church will officially open its new gallery with a group show by Richard Feaster – resident artists  Richard Feaster, Downtown Presbyterian Church Cary Gibson, Anna Marchetti, John Pfaender, Cassie Ponder, Hans Schmitt-Matzen, and Sarah Shearer.

Hannah Lane – Hannah Lane Gallery

Julia Martin Gallery will present Bevy: Round Two, a diverse, salon-style installation including work by Jono Vaughan, Michelle Farro, Miranda Herrick, and Julia Martin. David Lusk Gallery will open Paul McLean’s exhibit Code Duello: Old Hick & a Big Bang (see page 20). Seed Space will present How to Smile in 34 Steps LIVE! by performance and video artist Liz Scofield (see page 16) and will show the film Like Other Girls Do by Chicago-based artist Melissa Potter. Ground Floor Gallery Julia Martin – Julia Martin Gallery + Studios will host their grand reopening at 942 4th Avenue South with a reception for Utopia: Can it Stay Dream? by Culture Laboratory Collective, curated by Brian R. Jobe and Ryder Richards. The Packing Plant (see page 60) will show drawings and sculpture by Nathan Sulfaro. On  Thursday, July 17, at  7 p.m.  UnBound Arts will host Third Thursdays at The Building featuring work by visual artist Dickie Soloperto. A performance including spoken word and three short plays organized by Taylor Chew starts at 8 p.m. In celebration of Independence Day, the Franklin Art Scene will be on hiatus this month.

In the Arcade, Coop Gallery will launch The Family Business of Human Element Removal by Hyeon Jung Kim (see page 14). Hannah Lane Gallery will show new, water-inspired mindscapes. WAG will present My Life Is Outside: Everyday Photographs from Prison, curated by Sharon Stewart. 40AU will exhibit new photographic works by Carissa Ricardi.

Arts & Music @ Wedgewood/Houston happens on Saturday, July 5, beginning at 5:30 p.m. Zeitgeist will host a reception for Cannonball Run III, a group show by artists Karen Barbour, Chris Roberson, Lauren Ruth, Hans Schmitt-Matzen, and Sonnenzimmer Studio. 444 Humphreys Street Pop Up Gallery will exhibit No Fool No Fun, portrait photography by Elise Tyler.

July 2014 | 29



Stirrings from the Nashville Underground by Tony Youngblood According to Greg Bryant, Nashville has all the hallmarks of a vital jazz scene. All but one. He explains: “More players are moving into the area, and patrons of the music have increased, but in order to be healthier, we still need an establishment to embrace a full-time (five to seven days a week) policy where jazz and improvisational music is the focus.”

Greg Bryant, Mason Embry, and Dara Tucker performing at the Jazz Cave

As a Nashville native and working musician, Bryant would know. He plays electric bass in Concurrence (with Paul Horton), Greg Bryant Expansion, and jazz ensembles all over town. He produces (most recently Dara Tucker’s upcoming album The Sun Season), composes, organizes shows for national artists like Dr. Lonnie Smith and Nasheet Waits, and hosts the JazzWatch podcast.


In the absence of a dedicated jazz venue, Bryant says, “We’re seeing musicians taking the lead to create their own playing opportunities at restaurants, educational spaces, and clubs like Dalts American Grill, Springwater, Tokyo Grill, Soulshine Pizza, The Five Spot, and the Schermerhorn. The Nashville Jazz Workshop continues to showcase several of our city’s finest improvisers as well as internationally recognized players. Curators like Chris Davis, Cliff Richmond, Rahsaan Barber, and Evan Cobb host events that highlight different sides of the music.”

Even though Nashville is teeming with world-class improvisers, it can still be a struggle to be heard over the din of steel guitars and fuzz pedals. We need greater media exposure, more community support, and perhaps even a change in how we perceive improvisational music. “Even in its rawest, most challenging state, I’m learning that it shouldn’t be sold as ‘underground’ or ‘fringe music’. It is people music. It can be cerebral and visceral. It involves community and must be willing to reach beyond its borders to attract new listeners.” Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s ( and runs the experimental improv music blog and podcast

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Joe Sorci, reincarnation, Copper, 36” x 120”

Bruce Matthews, As It Was, Oil on latex and panel, 86” x 48”

Maggie Rose, Charolais, Oil on linen, 36” x 48”

Not the Same Old Boring Office Art

rom Alan LeQuire’s iconic Musica outside the front door, to Gary Haynes’ art gallery in the lobby, to the giant copper panel by Joe Sorci hung between two floors, the law offices of Bradley Arant Boult Cummings are surrounded by art. But no one in the firm noticed.       



Law Firm Bradley Arant Boult Cummings Heads Off in a New Direction Legal secretaries, whose desks faced bare walls, were invited to wander around the firm and select their favorites—anything they liked—and hang them on the walls across from their desks.       

“One person who loves horses picked a painting of a barn. “I would ask a lawyer to turn his Another, whose boss works at back and describe the painting that the legislature, picked a photo had hung outside his door since we of the state capitol. People moved into the building. I asked loved the idea that they had a associates to describe paintings Henry Walker, art collector and BABC Partner choice, that someone was asking in conference rooms where they sat for hours. I asked people at random to describe any of the one them what they wanted to look at all day,” Walker said, “and hundred or so paintings in the firm,” said BABC member Henry surprisingly no two people picked the same piece.”        Walker. “Except for one or two pieces that everyone hated, no one Given a modest art budget to decorate a newly opened BABC could tell me much of anything. floor, Walker and Holt decided to commission pieces from local “We decided to change that.” artists instead of buying more art from galleries. Joe Sorci took Walker and another BABC member, Berry Holt, both collectors a large copper tapestry that would no longer fit in the renovated themselves, took an inventory of the BABC collection. It’s an space and turned it into three horizontal panels to pull the impressive modernist collection, most of which Holt had picked viewer down the hall. Bruce Matthews painted  five large out at local galleries during his thirty years at the firm. When the panels that suggest the hills and clouds outside the sixth-floor firm moved from downtown to its current site overlooking Musica, windows, hung the partially finished panels on the walls, and some of the art was hung to complement a particular room or finished them while lawyers and staffers watched him work. lobby, “but most of it appeared to be stuck wherever there was a “It’s been great for morale,” said member Bob Patterson, who blank wall,” Walker said. “We had great pieces in broom closets, manages the Nashville office of BABC. “We’ve always had good delicate prints hung in direct sunlight, and conference room art that was as boring as some of the conferences.”      art, but now people are really seeing it for the first time. More important, everyone feels a part of the process.” Now that’s changed.       

The Downtown Art Crawl Struts Into Its 8th Year! by Sally Schloss


et’s put the achievement of the Art Crawl in perspective. When I moved to Nashville in 1987 from NYC with my singer/songwriter boyfriend, one of the first things I did was open the Yellow Pages (remember those?) and look up museums. The first thing I saw was the Minnie Pearl Museum. Nothing against Minnie Pearl, but it wasn’t what I had in mind. I felt real relief when I discovered Cheekwood.

Shows change every month, offering a fresh opportunity for people to see the diversity and appeal of Nashville’s contemporary art scene, to meet the artists, to drink, converse, and get an education. See and be seen. Show your art hipness. Have fun. Buy.

5th Avenue of the Arts

The Arts Company 32 | July 2014


“Where else,” said Anne Brown of The Arts Company, “can you experience contemporary art in twenty galleries in three hours—much like a museum experience—and it’s free!”


Fast forward to August 2014, celebrating the 8th Annual Art Crawl at 5th Avenue of the Arts—pioneers of collaborative gallery events. Since 2006, the visionary owners on the Avenue have been championing the arts downtown as a destination showcase for established and emerging artists.


The Rymer Gallery

“When the crawl started,” said Susan Tinney, owner of Tinney Contemporary, “it was a vision shared by three galleries. Now we have twenty galleries including the Arcade, and we attract between 1,500 and 2,000 people each month.” There is a spirit of generosity in the Nashville model of the arts. The standard was set by the music industry, with its songwriter/ musician collaborations. All the gallery owners I spoke with mentioned that they saw their missions and spaces as unique but complementary to the shared art enterprise.

You’ve got to crawl before you can walk, and the toddler phase of the art scene is definitely over. The Fifth Avenue galleries continue to brainstorm ways to lure people into becoming art lovers. Go for the surprises at the celebration; stay for the age-old reason—art will change your life.


People look when they come through the crawl, but then they come back to buy, which is what has to happen to make this viable. Acquiring audience and offering value is the job of the galleries. Collectively they contribute to the vision of making Nashville into an internationally recognized contender in the art world. Tinney Contemporary

Fifth Avenue of the Arts has emerged as a dynamic part of our downtown experience. The Art Crawl and the collaborative work of the galleries in the district enhance the life of downtown residents and is an important area for tourists. The Art Crawl is up at the top of my favorite city events.

5th Avenue of the Arts


The Gallery of Andy Anh Ha at the Arcade


— Mayor Karl Dean

July 2014 | 33







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Our Town Public Art Project: A Year in Review by Van Gill, Public Art Project Coordinator

It’s hard to escape artist and printmaker Bryce McCloud these days. Whether you’re sipping a carefully brewed cup of coffee at Barista Parlor or enjoying a round of bowling at Pinewood Social, traces of McCloud’s work seem to be everywhere. From coffee shops and restaurants to record stores, McCloud has put his “letterpress” stamp on Nashville and shows no sign of slowing down anytime soon. For the past year, McCloud and his team have been diligently collecting and distributing print portraits of Nashvillians for the Our Town public art project. With funding support from the Metro Nashville Arts Commission Public Art Fund, the Our Town project has made its way to libraries, community meetings, prisons, record stores, and everywhere in between.

Make your mark on a public mural, record a CD with a band of family or friends, screenprint a T-shirt and take it home with you, weave a tapestry using recycled materials, play digital games on a table-sized iPad and even more!

As the final months of portrait making and collecting wrap up, McCloud reflects on the success of the project thus far. “My goal has always been not to judge the people who participate but to be inclusive and use art to bring people together in a different way. It’s important to me to be able to go places and see people that are hard to access and share those experiences with the larger community and to experience how that sharing can profoundly change people, because it has also changed me.”

You can curb your appetite with one of our local mobile vendors who will be serving lunch and treats all afternoon. See you at Family Day!

While McCloud admits it’s sometimes a challenge to convince people to believe in their innate creative abilities, he goes on to say how he is continuously surprised by the “variety of styles people have gotten out of a limited group of shapes and textures and that everyone no matter what their perceived level of artist ability can accurately capture the essence of their likeness.” McCloud, who never strays away from a challenge or a good joke, says his dream participant would be “the entire comment section on The Tennessean website and everyone that thinks they dislike public art.”

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At the end of the day, Our Town is only as strong as the number of people who participate in the project. For your chance to participate and more information about this project, visit

Here’s Looking at You Freya West’s Delinquent Debutantes Embrace the Real Girl Power of Burlesque by Stephanie Stewart-Howard | Photography by Anthony Scarlati


here are people for whom the word “burlesque” conjures images of the musical Gypsy or black-and-white images of scantily clad, oh-so-naughty, 194 0s pinups, but bu rlesque is e x per ienc ing a contempora r y resurgence. It’s less male-centric peep show than female affirmation of sensuality and sexuality now—not that the sexy bits ain’t happening.

July 2014 | 37

Here in the “Bible Belt,” that makes some uncomfortable, but it brings huge crowds into Marathon Music Works and Exit Inn, and local women rush after work to classes to learn how to bump, grind, and strut under the tutelage of accomplished performers like Freya West. A Chicago native with a diverse dance background ranging from ballet to Highland dance, West got her start in burlesque taking a class with Michelle L’Amour in the Windy City. She was working in a publishing house at the time and bemoaning the lack of physical activity. “This class was hard, rigorous, very different,” says West. “I was drawn to the intention of power behind the movement, its history in fertility dances, the fact that it was unabashedly sexual, not demure, not ‘arty’.”

Nobody here looks like a Victoria’s Secret layout, but when they perform, each has a telling confidence, a moment where she’s in total control of the room.

Moving to Nashville in 2008, West hooked up with Panty Raid and Music City Burlesque, eventually pairing with fellow dancer Bianca 13 (Gabrielle Saliba, now of Saliba Dance) to found a school, Delinquent Debutantes, in 2010. It has flourished. On a recent evening, a group of students in the 101 (beginner) class moved through the choreography each has created for herself. Some are accomplished dancers, others neophytes; each is in touch with the rhythms of her body unlike anything at dancercise or barre workout class. There is nothing submissive. The vibe of the class recalls the vivid energy of frescoes of Minoan or Roman temple dancers. Students ask not to be identified by name. Not that they aren’t proud of what they do, but, unfortunately, there’s still potential 38 | July 2014

for backlash if you’re a woman secure enough to dance onstage in a corset and heels. Embracing female sensuality is too often confused with lewd and licentious practices. West, usually glamorous in “unabashedly sparkly” costume or in vintage-inspired work dress, stands watching in peach-blonde ponytail, leopard-print tights, a purple long-sleeved tee, and a critical eye. Deb grad and fellow dancer Shan de Leers rests under a warm knit beanie.


As the first student finishes her dance, miming garment removal in partial costume, West reviews her progress. “I think anytime you can tear away your panties, you probably should,” she says with a wicked gleam in her eye. The class totally agrees.

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“Tell us what you want us to feel with your expression. You seem to smile most when you’re looking away from the audience; share that delight with them.” The students have chosen a wildly diverse collection of music, but each moves successfully to the beat of her own drum. And that’s what West intends. A veteran of hundreds of shows and pinup shoots, West embraces each student for what she is and what she needs. Not all possess her natural vivaciousness, attitude, or fab cheekbones, but they’re learning, regardless of shape, face, or age, to let the wildness and power inside loose. These classes encourage female expression in a way little else does. Some students use them as therapy—for a bad divorce or breakup, for years of insecurity, to get over a physically debilitating illness. Others just want a chance to break free of their shells and have fun. Regardless, embracing this dance is empowering. It turns out the notion of “girl power” does indeed include reveling in one’s own sensual nature, and Freya West and Delinquent Debutantes can help make that happen. Music City Burlesque will perform at Marathon Music Works July 26. Visit and for more information.

Antiques, Furniture, & Fine Art Just Show Up! by Jaclyn Tidwell


y work at the Arts & Business Council began with a passion for making live theatre, a desire for better arts business practices, and an interest in community planning. These days I curate professional development for artists and organizers, match new board members with arts organizations, and bring hands-on creative projects into business settings with the goal of building Nashville’s burgeoning creative class and engaging business support. By night I continue to work as a theatre artist, community organizer, and writer. It’s a unique privilege to grow up in my career alongside the talented artists and leaders of our buzzing city. These mavericks teach me how to build a sustainable life in the arts and help make Nashville a place where others can do the same. What am I learning these days? The artists that show up to lend their voices and hands most impact the future of the arts in Nashville. When it comes to building a network of support for your creative business or planning new resources for the arts community, it’s critical to be in the room with others who hope to do the same. Don’t get me wrong. I quickly become myopic in the days leading up to a play opening. That’s why I’ve crafted a cheat sheet to use when things get hectic.  

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I begin right outside my front door by participating in neighborhood planning and volunteering to work at street festivals. Next, I commit to arts meet-ups, especially those that are cross-genre, like Creative Mornings and 12th & Broad. Another option is to join the Nashville Arts Coalition or attend a discussion group or panel at the Arts & Business Council to plug into planning for the creative sector. Finally, I try to cultivate my non-arts interests by taking classes, volunteering, or joining civic interest groups. These relationships give me fresh perspective and often lead to unique partnerships. No matter the group, I try my best to show up with creativity as my chief asset, ready to lend my voice. Will you join me? Jaclyn Tidwell serves as Director of Programs & Community Initiatives at the Arts & Business Council of Greater Nashville.




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As I See It

Charles James: Beyond Fashion exhibit at the Metropolitan Museum of Art Costume Institute, New York

a landmark creation. Charles James: Beyond Fashion was a revelation for many; however, the 1982 Brooklyn Museum exhibition The Genius of Charles James was the first major exhibition to place the mid-century couturier in a historical context and celebrate his creations as art. In the intervening years, the Brooklyn Museum department of costumes and textiles, widely considered one of the best in the world, went dormant. In 2008, the Brooklyn Museum arranged to transfer American and European costumes and accessories to the Metropolitan Museum of Art where they would be cared for and exhibited.

hat couture and fashion are seen as art today is unquestionable. This spring when the Metropolitan Museum of Art Costume Institute opened the exhibition Charles James: Beyond Fashion, the event was hailed as a landmark from both sides of the aisle. The glitterati were out in force for the red-carpet premiere, and high-profile players from art and fashion rubbed elbows during a series of subsequent celebratory events. Curator Howard Koda and adjunct curator Jan Glier Reeder worked with the architectural firm Diller Scofidio & Renfro to position couture in a dramatic setting complete with digital interpretation. One of the standouts in the exhibition is James’s iconic Clover Leaf Gown. In 1953, Mrs. William Randolph (Austine) Hearst, Jr., commissioned Charles James to create a gown for her to wear to Eisenhower’s Inaugural Ball. With a keen eye for geometry James combined four layers: an inner taffeta slip, a structured under petticoat, a matching petticoat flare, and an overdress. A digital didactic illustrates a fly-through recreation of how the four lobes are cut and folded to form a circle that resembles a clover leaf. Silk, satin, faille, and velour add texture and dimension to the thirty pattern pieces that compose this garment. The gown was not completed in time for the inauguration. Nevertheless, by James’s own estimation the Clover Leaf Gown was

Austine Hearst in Charles James Clover Leaf Gown in 1953

Clover Leaf Evening Dress, 1953, White silk satin, white silk faille, black silk-rayon velvet

42 | July 2014

There is much credit to be shared for Charles James: Beyond Fashion, with most of it rightfully going to James himself. None of the current celebration would have been possible, however, without the efforts of Elizabeth Ann Coleman, the Brooklyn curator who, with James’s assistant Homer Layne, devoted herself to the designer’s legacy, a reminder that the first definition of curator is “keeper or custodian.” Thirty years ago, one curator set the stage for what’s new at the Met in 2014. We can once again see that remarkable Clover Leaf Gown, hidden too long from sight. PHOTO BY ANTHONY SCARLATI


Everything Old Is New Again

Susan H. Edwards, PhD Executive Director & CEO Frist Center for the Visual Arts

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PHOTOGRAPHY COMPETITION Nashville Arts Magazine announces our fifth annual photography competition. Last year, we saw a stunning array of Nashville’s talent, and we can’t wait to see what 2014 brings! The top 10 winning entries will be featured in the October issue of Nashville Arts Magazine. This is an open competition for all local and international photographers. Submit a maximum of 3 high resolution photographs to DEADLINE FOR SUBMISSIONS IS AUGUST 15, 2014. See for competition details.

First Place: $500 cash Second Place: $250 Chromatics gift card Third Place: $250 Chromatics gift card

Submissions due: August 15, 2014 · Winners announced: October 2014

See for details 44 | July 2014


My Home Town, 2014, Acrylic on canvas, 48” x 72”



I have readjusted my own goals of being an artist to include the dream of reuniting my family together in the United States and rescuing them from a life of poverty, constant terror, war, and hardship. I hope my painting finds a good home, just as I have in Nashville. — James Makuac  See the painting in person at Leu Art Gallery in the Lila D. Bunch Library beginning July 13.

Call Nashville Arts Magazine at (615) 383-0278 with your offer over $1,500. We will close the auction at 5 p.m. on July 25.


y ambition has always been to tell the world, through my art, the story of the lost boys of Sudan and to tell my personal story of the heartbreaks and ravages of war. I was one of the children that survived; tens of thousands did not. My sister, living in the refugee camp at Kokuma in Kenya, was recently killed, leaving four children without a mother or father. I am now the sole supporter of my family in Kenya that numbers six people. Through the selling of this painting I will be able to send my niece and nephews to school.

July 2014 | 45

46 | July 2014



alive Skillful Painting Technique That Fools The Eye


by Catt Dunlop

yperrealism transcends the precision of photography and the materiality of painting by merging both mediums; the result is beyond real. Coinciding with the advancement of digital cameras in the early 2000s, these works amplify the crispness of the captured image to the entirety of the canvas. And much like the ubiquity of digital photography, hyperrealist painters can be found in all corners of the globe. The genre has most recently pervaded the art world, transferring real-life matters to pristine gallery walls. These artists have the unique ability to realistically present a range of photographable subjects—and then some. Working with image-altering software such as Photoshop or Illustrator, any surrealistic scenario can be imagined and reconfigured onto the picture plane. But while impeccable reproductions draw the viewer in, at the heart of these works is the search for life behind the image and its producer. Hyperrealism seeks to replace the so-called “hand of the artist” with exact representation, placing an importance on the invisibility of the brushstroke rather than the use of paint as a personal trademark. This attempt to disguise the medium may at first come off as strangely conservative. Why retrogress into painting at all when photography has already rendered the real so much more accurately and efficiently? The point is that these artists are trying to do more with both art forms. While digital photography can capture a high

Left: Paul Cadden, Focus, Pencil on paper, 28” x 19” Right: Juan Cossio, Source, Acrylic on panel, 67” x 43”

David Finnigan, Telstar, Oil on linen, 47” x 63”

level of detail, the picture exists only as pixels of information—painting seeks to rescue the floating image and transcribe it onto a tangible surface that exists in the here and now. But mastering the technique of faithful replication presents a new set of issues; these highly skilled artists must now differentiate their style from one another with innovative subject matter. As such, artistic personality is relocated in what the artist chooses to create rather than how the artist chooses to create it.

Andrew Tift, Mr. Hamilton’s Chops, Charcoal, carbon, graphite, ink, 41” x 31” 48 | July 2014

Subjects typically fall into three of the most traditional genres in painting: still life, portraiture, and landscape. But these works are anything but conventional. Often working with a large-scale, zoomed-in format, hyperrealist paintings surpass art historical forays into lifelike reproductions by making details of even the most banal subjects incredibly vivid. More important, the hybrid combination of real-life images depicted in paint helps reveal the abstract in the everyday. The work of hyperrealist David Finnigan is a prime example of this application.

In Telstar a grey dock extends from the foreground to the illusive distance of the painting, presenting two painstakingly detailed sailboats at the center. While it feels as if the viewer is standing right in the scene, it is the extraordinary execution of the water that offers a trace of abstract, reminding us of the sheer artistic wonder found in natural elements. Even more interesting is when touches of the artist can be detected amidst the gauze of perfection. In hyperrealism the viewer seeks out these instances in the composition itself. This kind of moment can be found in the supreme drawings of Paul Cadden, whose hand-drawn depictions are less like photographs than three-dimensional portraits. Looking closely at the work the viewer notices the cross-hatching technique that comprises the illusion, an exciting rush that reminds the viewer that the artist is present. But stepping away from the skill and the subject matter, technique and disbelief, it is important to analyze the circulation of these works; namely, the fact that hyperrealist paintings cannot exist outside of collectors’ homes or gallery walls. Once distributed on websites or in publications, the painting collapses back into its embryonic origin of the image. Scale is severely reduced; paint is converted into pixels, and the only hint of its previous life form is a caption labeling the work “oil” or “acrylic.” Hyperrealism is tied to a site specificity that calls for an in-person experience of the

Ben Schonzeit, Aalto Pink Peony, Acrylic on linen, 66” x 42”

work. Only then can the viewer experience the painting both from a distance as an impeccable production and close up to examine the technique and search for the human behind the image. In these real-life encounters it just may be possible to see evidence of the artist, making the work both humanizing and hyperreal. Thanks to Plus One Gallery for the featured artwork. For more information visit Tinney Contemporary will be presenting an exhibit of hyperrealistic art in The New Real 2: Figure Focused, August 2 to September 13,

Simon Hennessey, An Alternative View of Tower Bridge, Acrylic on canvas,  14" x 48"              

Antonio Castelló, Plums, Oil on canvas, 50” x 67”

Cynthia Poole, Kitkat Chunky XI, Acrylic on linen, 47” x 39”

July 2014 | 49

The Bookmark A Monthly Look at Hot Books and Cool Reads

For more information about these books, visit

Midnight in Europe ALAN FURST Alan Furst, whom Vince Flynn has called “the most talented espionage novelist of our generation,” now gives us a taut, suspenseful, romantic, and richly rendered novel of spies and secret operatives on the eve of World War II.  From shady Paris nightclubs to white-shoe New York law firms, from brothels in Istanbul to the dockyards of Poland, a  spy and his allies battle the secret agents of Hitler and Franco. This is a spellbinding portrait of a continent marching into a nightmare—and the heroes and heroines who  fought back against the darkness. Furst’s books are known for being so fast-paced and realistic that they’re almost impossible to put down.

America: Icons and Ingenuity DAN WINTERS Dan Winters has racked up more photography awards than we’d possibly have room to list here. He also has photos in the permanent collection at the Smithsonian. He is an icon; yet his work shows that he doesn’t take himself too seriously. (Just look at the photo of Will Ferrell on the cover of this book.)  America:  Icons and Ingenuity  won the Los Angeles Book Festival Photography/Art Book Award, and it includes not only celebrity portraits but also gorgeous photos of some of Winters’  favorite subjects: science, nature, and technology. The book is a must for photography buffs, but anyone who appreciates art and pop culture will enjoy it.

Self Portrait, 2014 oil on canvas, 24 in x 18 in

Flying Shoes LISA HOWORTH Lisa Howorth’s remarkable Flying Shoes  is a work of fiction, but the murder at the center of the story is based on the still-unsolved case of her own stepbrother, a front-page  story in the  Washington Post. In the novel,  character Mary Byrd Thornton’s life is changed forever when her young stepbrother is murdered.  The killer is never found.  Fast-forward 30 years: Thornton receives a call from a reporter that reels her back from Mississippi to Virginia, where she must confront her family and a tragedy never forgotten. Not exactly a crime novel, this is a story of a particular time and place in the South, with a cast of colorful characters, plenty of humor to balance the darkness, and an acute sense of history.

The Way of Tea and Justice BECCA STEVENS This is a story you need to know. Founded here in Nashville by the Reverend Becca Stevens, Thistle Farms is a thriving business and social enterprise run by residents of Magdalene, a residential program for women who have survived prostitution, trafficking, and addiction. In 2012, Stevens began work to expand the amazing program with the Thistle Stop Café, which has become a popular, welcoming spot to stop in  for delicious food, coffee, and tea. As Stevens  was researching tea and  tea making, she discovered not only the beauty of the tea ritual, but also a dark underbelly of corruption, abuse, and extortion that plagues many laborers in the tea industry. Here, she recounts stories of triumph for impoverished tea pickers and tales of struggle and hope. A local author—and a local cause—all Nashvillians can get behind.

Portrait Paintings & Works on Tulle Visit or call (901) 246-4250 for portrait commissions or other inquiries

HISTORY EMBR ACING A RT 202 2nd Ave. South, Franklin, TN 37064 • 615-472-1134



Sometime’s It’s Not About The Money And All About The Song 72” x 31”

A Bluebird in Nashville 8” x 8”

July 2014 | 51

Southern Word Turning Poetry Into Paintings by Lily C. Hansen | Photography by Sophia Forbes “


am young, black, and educated,” boomed the vocals of Sean Smith. “A weapon of mass destruction.” All eyes are on the balcony of The Rymer Gallery while he recites the poem “It’s 12:01”. Cheerful, broad, and commanding, the poet and hip-hop artist will cut a striking figure at Tennessee State University this fall.

He is one of six wordsmiths including Shamari Suttle, Brandon Lenox, Constance Bynum, Tima Smith, and Malcom Voltaire, who represented nonprofit Southern Word in their collaboration with The Rymer Gallery on June 5. The organization asked eight artists to interpret their respective poems. Work by Susan Maakestad, Emily Louise Leonard, James Threalkill, Herb Williams, Jason Twiggy Lott, Lain York, Sam Dunson, and John Jackson were then auctioned off at the fundraiser’s conclusion. The artists were emailed text, names, and YouTube videos of the poets reading. They had the creative liberty to interpret the poem as they saw fit. Relying solely on his intuition and imagination, painter John Jackson crossed his fingers that he had deciphered

Poet Sean Smith, incoming Tennessee State University student

correctly. “My sense is that he questions life,” Jackson explains of his pairing with Smith, “and wonders, often, if tomorrow is going to come.” Literary eloquence is merely one of Southern Word’s goals. Executive director Benjamin Smith believes in the power of poetry and public speaking. He wants young adults to cultivate their professional skills and make their mark on the community through storytelling. “Public speaking is too often undervalued in our school systems,” Smith says. “We are passionate about young people saying what they have to say and cultivating their identity early on.” Tima Smith, an incoming Middle Tennessee State University biology major, is clad in a tie-dyed, skull T-shirt and winning smile. She approved of the textured, stenciled eye candy Lain York created based upon her poem. Nodding her head in approval, she admits it encapsulates the perils of teenage dating, which often challenge one’s self-respect. “I am a queen and here is my crown,” she read as York’s work sat on an easel beside her. “I’ll have you beheaded before you disrespect me.” By the evening’s end, Smith and his colleagues believed the event had reaffirmed that poetry would always be a way of connecting with the world. It is his vessel for dealing with life in a cathartic way. “My goal is to trust the process, abilities I’ve been given, and know the words will come through as they should.” For more information about Southern Word, please visit See videos of the poets presenting their work at

Alexis Woodard, Lead Academy, Southern Illinois University

Malcolm Voltaire, MTSU

52 | July 2014


John Jackson, It’s 12:01, 2014, Oil on canvas, 14” x 18”

It’s 12:01

It’s 1201 And yesterday just died I decided I was tired of waiting Being so patient  Like superman really exist  my mama  Is the only super hero I know  and she plays heartbreak so well I’m starting to remember every note  so play this in the key of love  remind me through music why I do this  I got people to make proud dancing on top of high expectation  speakin for a fallen generation my sister told me it’s only a matter of time before she sees me breaking like fragile bones  it’s our time  yeah  it’s on  and I heard so now my mind is clear  I been searchin for inspiration for months  ain’t seen my daddy in months  and I ain’t been a child in years  all I know is that I don’t know enough  so I just keep pushin… — Sean Smith

Non Credit Studio Art Classes begin August 25, 2014

Drawing, Clay, Metal, Jewelry, Fused Glass, Photography and more! Online registration opens July 1, 2014 July 2014 | 53

Arts Worth Watching Everyone knows it, and every year many millions make the pilgrimage to the Louvre in Paris to see it. But is the Mona Lisa the world knows so well the original version? Or did Leonardo Da Vinci paint an earlier version of the iconic portrait? Today’s sophisticated scientific analysis may solve the mystery, and Secrets of the Dead, airing on Wednesday, July 9, at 9 p.m. on NPT and PBS stations nationwide, wants to take you along on the journey. The Mona Lisa Mystery follows investigators and art historians as they attempt to answer one of art’s greatest questions. You won’t want to miss it. July brings with it a mini film festival for independent documentary fans. Each Monday night, the venerable series P.O.V. has a new film to challenge, enlighten, and inspire. On July 7, it’s My Way to Olympia, an insightful and funny film by Niko von Glasow. The world’s best-known disabled filmmaker—he was born with severely shortened arms—hates sports and thinks the Paralympic games are “a stupid idea.” Until he is sent to cover them in London. A s he meets a one-handed Norwegian table tennis player, the Rwandan sitting volleyball team, an American archer without arms, and a Greek paraplegic boccia player, his own stereotypes about disability and sports are delightfully punctured.

My Way to Olympia

What happens when America’s most joyous, dysfunctional city rebuilds itself after a disaster? New Orleans is the setting of Getting Back to Abnormal, a film that serves up a provocative mix of race, corruption, and politics to tell the story of the reelection campaign of Stacy Head, a white woman in a city council seat traditionally held by a black representative. Supported by her irrepressible African-American aide Barbara Lacen-Keller, Head polarizes the city as her candidacy threatens to diminish the power and influence of its black citizens. Featuring a cast of characters as colorful as the city itself, the film, airing on Monday, July 14, at 9 p.m., presents a New Orleans that outsiders rarely see.

Dance for Me

On Monday, July 21, at 9 p.m., NPT and P.O.V. bring you Dance for Me, a poetic coming-of-age story with a global twist and thrilling dance moves. Professional ballroom dancing is very big in little Denmark. Since success in this intensely competitive art depends on finding the right partner, aspiring Danish dancers often look beyond their borders to find their matches. In this film, 15-year-old Russian performer Egor leaves home and family to team up with 14-year-old Mie, one of Denmark’s most promising young dancers. Strikingly different, Egor and Mie bond over their passion for Latin dance—and for winning. The month on POV wraps up on Monday, July 28, with Fallen City, an intimate look at a country torn between tradition and modernity. In today’s go-go China, an old city completely destroyed by a devastating earthquake can be rebuilt—boasting new and improved civic amenities—in an astoundingly quick two years. But, as first-time director Qi Zhao reveals, the journey from the ruined old city of Beichuan to the new Beichuan nearby is long and heartbreaking for the survivors. Three families struggle with loss, including loss of children and grandchildren, feelings of loneliness, fear, and dislocation that no amount of propaganda can disguise. Looking ahead to August, join music director Gustavo Dudamel and the Los Angeles Philharmonic on Friday, August 1, at 8 p.m. as they commemorate the 2013 Giuseppe Verdi bicentennial with Great Performances: Dudamel Conducts the Verdi Requiem at the Hollywood Bowl. The concert presentation features soloists Julianna Di Giacomo (soprano), Michelle DeYoung (mezzo-soprano), Vittorio Grigolo (tenor), and Ildebrando D’Arcangelo (bass).

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


am Electric Company Angelina Ballerina Curious George The Cat in the Hat Peg + Cat Dinosaur Train Daniel Tiger’s Neighborhood Super Why! Sewing with Nancy Sew It All Garden Smart P. Allen Smith Simply Ming Cook’s Country noon America’s Test Kitchen Bringing it Home with Laura McIntosh John Besh’s Family Table Martha’s Cooking School Fons & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop The Woodwright’s Shop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side


July 2014

Nashville Public Television


am Sesame Street Curious George The Cat in the Hat Peg + Cat Word World Daniel Tiger’s Neighborhood Super Why! Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads A Word on Words Nature noon To the Contrary The McLaughlin Group Moyers & Company Washington Week with Gwen Ifill Globe Trekker California’s Gold Chef’s Life America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week

Masterpiece Mystery! Poirot David Suchet returns as Hercule Poirot. Sunday, July 27 8:00 PM

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

am Classical Stretch Body Electric Wild Kratts Wild Kratts Curious George Curious George Peg + Cat Dinosaur Train Sesame Street Daniel Tiger’s Neighborhood Super Why! Dinosaur Train Sid the Science Kid Caillou pm Thomas the Tank Engine Peg + Cat The Cat in the Hat Curious George Curious George Arthur Arthur Wild Kratts Wild Kratts Martha Speaks WordGirl pm PBS NewsHour

Nashville Public Television

Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150 Follows the lives of the Washington families, black and white, from the years of slavery to freedom after the Civil War, through artifacts currently on display in the Tennessee State Museum's Wessyngton exhibit.

Friday, July 11 7:00 PM

Aging Matters Caregiving As caregiving becomes more important, relevant and necessary as people live longer and Baby Boomers grow old, what is needed to address and soften the impact on families, long-term care and the healthcare system.

Thursday, July 17 8:00 PM



7:00 Antiques Roadshow Vintage Baltimore. 8:00 Antiques Roadshow Vintage Los Angeles. 9:00 POV Getting Back to Abnormal. What happens when America’s most joyous, dysfunctional city rebuilds itself after a disaster? 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Education of Harvey Gantt


7:00 Last Tango in Halifax 8:00 Masterpiece Mystery! Endeavour, Season 2: Sway. A woman found choked to death is the third strangling victim in a month. 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Antiques Roadshow Vintage Toronto. 8:00 Antiques Roadshow Vintage Secaucus. 9:00 POV My Way to Olympia. Born with severely shortened arms, von Glasgow serves as an endearing guide to London’s Paralympics competition. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Little League: A History


7:00 Last Tango in Halifax 8:00 Masterpiece Mystery! Endeavour, Season 2: Nocturne. Shaun Evans returns for a second season as the young rookie, Constable Endeavour Morse. 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show


Unsung Heroes The Story of America’s Female Patriots Thursdays, July 3 & 10 8:00 PM


Primetime Evening Schedule

July 2014 1


7:00 Time Scanners Petra. Structural engineer Steve Burrows leads his team of laserscanning experts to Jordan to scan the ancient desert city of Petra. 8:00 History Detectives Special Investigations Texas Servant Girl Murders. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 John Glenn: A Life of Service


7:00 Time Scanners St. Paul’s Cathedral. Structural engineer Burrows takes his team of laser-scanning experts to St Paul’s Cathedral in the heart of London. 8:00 History Detectives Special Investigations The Disappearance of Glenn Miller. 9:00 Frontline 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Children’s Health Crisis: Food

7:00 Time Scanners Egyptian Pyramids. Scan the pyramids to learn how the necropolis evolved from simple structures to impressive buildings. 8:00 History Detectives Special Investigations 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Aging Matters: Overview



16 7:00 My Wild Affair The Elephant Who Found A Mom. 8:00 NOVA Australia’s First 4 Billion Years: Awakening. Of all the continents on Earth, none preserves a more spectacular story of its origins than Australia. 9:00 Sex in the Wild 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits


7:00 Nature 8:00 NOVA Mystery of a Masterpiece. NOVA meets a new breed of experts who are approaching “cold case” art mysteries as if they were crime scenes. 9:00 Secrets of the Dead The Mona Lisa Mystery. 10:00 BBC World News 10:30 Last of Summer Wine 11:30 Austin City Limits Queens of the Stone Age.

7:00 Nature Salmon: Running the Gauntlet. The collapsing Pacific salmon populations and how biologists experiment to shore up their numbers. 8:00 NOVA Ghosts of Murdered Kings. 9:00 Secrets of the Dead Bones of the Buddha. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Wilco.



17 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Aging Matters: Caregivers 9:00 Doc Martin Remember Me. P.C. Joe Penhale has an unexpected visitor – his exwife Maggie – who appears to have forgotten that they split up a couple of years ago. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Brazil with Michael Palin


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Unsung Heroes: The Story of America’s Female Patriots Part 2. Freedom is not free and America’s female patriots also pay the price, as they shatter the brass ceiling. 9:00 Doc Martin Mother Knows Best. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Brazil with Michael Palin

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Unsung Heroes: The Story of America’s Female Patriots Part 1. America’s female patriots confront the horrors of war as never before and suffer the effects of combat stress. 9:00 Doc Martin Born With a Shotgun. 10:00 BBC World News 10:00 Last of Summer Wine 11:00 Prayers of the Ancient Ones



18 7:00 Running of the Bulls Thousands participate in one of the most dangerous and adrenalinecharged events in the world – the running of the bulls. 8:00 Ellen Degeneres: The Mark Twain Prize 9:30 PBS Previews: The Roosevelts 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Next Door Neighbors Community.

11 7:00 Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150 7:30 Looking Over Jordan: Tennessee Civil War 150 8:00 Carol Burnett: The Mark Twain Prize 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150

7:00 Capitol Fourth Tom Bergeron hosts our country’s national Independence Day celebration, live from the West Lawn of the U.S. Capitol, with the National Symphony Orchestra and more. 8:30 Capitol Fourth 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 3,2,1 Fireworks



19 7:00 Lawrence Walk Show 8:00 Keeping Appearances The Memoirs of Hyacinth Bucket Hyacinth enjoys a quiet family christening. 8:30 Miranda 9:00 Doc Martin Remember Me. 10:00 Globe Trekker Pacific Islands: Fiji, Vanuatu & Solomon. 11:00 Civil War: The Untold Story With Malice Toward None.

12 7:00 Lawrence Welk Show 8:00 Keeping Appearances The Memoirs of Hyacinth Bucket Hyacinth’s social standing at a church function is jeopardized. 8:30 Miranda 9:00 Doc Martin Mother Knows Best. 10:00 Globe Trekker 11:00 Civil War: The Untold Story Death Knell of the Confederacy.

7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Miranda 9:00 Doc Martin Born With a Shotgun. Sleepless nights are taking their toll on Martin and Louisa. 10:00 Globe Trekker Around the World – Pacific Journeys: Tonga to New Caledonia. 11:00 Civil War: The Untold Story River of Death.


Nashville Public Television





7:00 Last Tango in Halifax 8:00 Masterpiece Mystery! Poirot Season 12, Dead Man’s Folly. Poirot finds himself exercising his “little grey cells” by helping police investigate crimes and murders. 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Last Tango in Halifax 8:00 Masterpiece Mystery! Poirot Season 12, The Big Four. David Suchet returns as Hecule Poirot in “The Big Four” and “Dead Man’s Folly.” 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show


7:00 Mark Twain Part Two. Clemens turns to the lecture circuit and tours extensively, leaving behind his beloved Hartford home. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine


7:00 Mark Twain Part One. A journey through Sam Clemens’ early days along the Mississippi River, as he stumbles from adventure to adventure until he begins to evolve into Mark Twain. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Over Hawai’i


7:00 Al Capone: Icon This program explores Capone’s enduring impact on American culture and why people are still so fascinated by this celebrity gangster. 8:00 History Detectives Special Investigations Who Killed Jimmy Hoffa? 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Aging Matters: Caregivers


History Detectives Special Investigations Tuesday, July 8 8:00 PM

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Ride Along The Lincoln Highway 9:00 Doc Martin Cats and Sharks. Bert Large’s restaurant business is in financial trouble. Eleanor comes to Bert’s rescue with a plan to boost business at the restaurant. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Brazil with Michael Palin


7:00 My Wild Affair The Rhino Who Joined The Family. 8:00 NOVA Australia’s First 4 Billion Years: Monsters. In the dry desert heart, scientists unearth an ancient inland ocean, full of sea monsters. 9:00 Sex in the Wild 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Butch Cassidy & The Sundance Kid: American Experience 9:00 Doc Martin Don’t Let Go. P.C. Joe Penhale is desperate to keep Maggie and show her he’s changed; that he’s the macho husband she wants. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Brazil with Michael Palin


7:00 My Wild Affair The Ape Who Went to College. 8:00 NOVA Australia’s First 4 Billion Years: Life Explodes. This is the untold story of the Land Down Under, the one island continent that has got it all. 9:00 Sex in the Wild 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits


Nashville Public Television

Sex in the Wild Wednesday, July 16 9:00 PM

7:00 Lawrence Welk Show Songs of Perry Como. 8:00 Keeping Appearances The Memoirs of Hyacinth Bucket 8:30 Miranda 9:00 Doc Martin Cats and Sharks. 10:00 Globe Trekker Globe Trekker Special: World War II. European sites that played a role. 11:00 Walking The Great Divide: A Journey Along The Continental Divide Trail

1 7:00 Appalachian Impressions Part 2. Each day these hikers get closer to their goal of walking from Georgia to Maine. After trekking 2,173-miles, their journey is over. 8:00 Great Performances Dudamel Conducts The Verdi Requiem at the Hollywood Bowl. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Thunder on the Farm



7:00 Lawrence Welk Show Down on the Farm. 8:00 Keeping Appearances The Memoirs of Hyacinth Bucket 8:30 Miranda 9:00 Doc Martin Don’t Let Go. 10:00 Globe Trekker Globe Trekker Special: World War I. 11:00 Walking The Great Divide: A Journey Along The Continental Divide Trail


7:00 Appalachian Impressions Part 1. Hikers begin their long journey, deal with the changing weather, learn about shelters and pack weight. 8:00 Tina Fey: The Mark Twain Prize 9:30 Emery Blagdon and His Healing Machine 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Sixteenth Maine at Gettysburg

Visit for complete 24 hour schedules for NPT and NPT2

7:00 Antiques Roadshow Vintage Rochester. 8:00 Antiques Roadshow Vintage Hartford. 9:00 POV 15 to Life: Kenneth’s Story. The United States is the only country in the world that routinely condemns children to die in prison. 10:00 BBC World News 10:30 Last of Summer Wine

7:00 Antiques Roadshow Vintage Des Moines. 8:00 Antiques Roadshow Vintage Louisville. 9:00 POV Fallen City. An old city completely destroyed by a devastating earthquake can be rebuilt in an astoundingly quick two years. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Anne Braden: Southern Patriot


7:00 Antiques Roadshow Vintage Salt Lake City. 8:00 Antiques Roadshow Vintage Milwaukee. 9:00 POV Dance for Me. Professional ballroom dancing is very big in little Denmark. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150


7:00 Last Tango in Halifax Sad news inspires Alan and Celia to have another wedding ceremony attended by all of their family and friends. 8:00 Masterpiece Mystery! Endeavour, Season 2: Neverland. 9:30 Vicious 10:00 Life on the Line 10:30 Closer to Truth 11:00 Tavis Smiley 11:30 Scully/The World Show

Craters and Freighters Moving Nashville’s Priceless Art Around the World

by Erica Ciccarone | Photography by Bill Hobbs How do you safely transport seven highly valued, melted-crayon bunnies from Nashville to Shanghai and back? Give them to Russ Connelly. Connelly is the shepherd of Nashville’s art scene. As the owner of Craters and Freighters, he packs and transports art around the world. He told me, “Once it leaves here, the shipping world is pretty rough and tumble. They’re moving freight. They’re in a hurry. It doesn’t matter if you mark it ‘fragile,’ they just want to move it. We over pack it with that in mind.” Take for example Herb Williams’s rabbit sculptures made out of melted crayons, which are just seven of the seventy items that were shipped to Shanghai in June. A longtime customer, Williams entrusts his wall hangings and often oddly shaped crayon sculptures to Connelly. Connelly custom cuts polyethylene foam to fit the sculptures and then adheres the foam to crates. The crates are carefully crafted with hinged sides and tops so the work can be unpacked and repacked with ease as it moves through galleries in Shanghai. When Williams’s work returns to Nashville, it will be in the same packing and crates that Connelly created.

Russ Connelly of Craters and Freighters

Despite his integral role in the art scene, Connelly remains humble. “[The job] gives you exclusive access to the work. It’s a privilege to be able to handle it. We know how important it is to the artist and particularly the people who have purchased the art to hang in their home, to be a valued part of their possessions, so we try to treat it that way.” For more information about Craters and Freighters, visit 58 | July 2014

Encaustic Beach Scenes by

Judy Klich OpEning rEcEptiOn & BEach party BaSh

Friday July 18 5:30 until... H AY N E S G A L L E R I E S PRESENTS

3900 Hillsboro Pike | Nashville, TN 37215 615-739-6573 |

A SU M M ER REServing T ROAbroad…Through SPE C TIVE Their Eyes On OInFrecognition FAV O RITES of the Office of Art in Embassies (AIE) 50th anniversary, the U.S. Department of State collaborated with the U.S. Department of Defense on a juried photography project, Serving Abroad…Through Their Eyes, which featured photographs taken by active military, Foreign Service, and Civil Service personnel ON THE MUSIC ROW ROUNDABOUT IN NASHVILLE while serving overseas. This landmark project depicts images of friendship, places, faces, loss, and triumph providing us a glimpse into the complex, diverse and courageous work performed by America's heroes throughout the world. As part of Serving Abroad…Through Their Eyes, AIE commissioned renowned artist Lincoln Schatz to create a video montage incorpohrOugh EptEmbEr th rating audio and images selected from photographs of daily life abroad by current and former military and Foreign Service personnel. Schatz’s work debuted at the U.S Department of State in Through September 7th the fall of 2012, and will later be installed as a site-specific installation for the permanent art collection in the U.S. Embassy in Kabul, Afghanistan.

O n E xhibit at thE C ustOms h OusE m usEum t Serving Abroad…Through Their Eyes On


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Exhibit at the Customs House M

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versary, the U.S. Department of State collaborated with the U.S. Through September 7th Department of Defense on a juried photography project, Serving In recognition of the Office of Art in Embassies Abroad…Through Their Eyes, which featured photographs(AIE) taken50th anniversary, the U.S. Department of State by active military, Foreign Service, and Civil Service personnel collaborated withAlso the U.S. on Department Exhibit: of Defense while serving overseas. This landmark project depicts images on of a juried photography project, Serving Abroad... friendship, places, faces, loss, and triumph providing us a Through Their Eyes, which featured photographs Serving Abroad…Through Their Eyes Greg Williamson: glimpse into the complex, diverse and courageous work per-taken by active military, Foreign Service, and Civil Service personnel Through September 7th the Troops With In recognition of the Office formed of Art in by Embassies (AIE)heroes 50th anniAmerica's throughout the world. As part of while serving overseas. versary, the U.S. Department of State Abroad…Through collaborated with the U.S. Through August 31st Serving Their Eyes, AIE commissioned reDepartment of Defense on a juried photography project, Serving nowned artist Lincoln Schatz to create a video montage incorpoThis landmark project depicts images of friendship, places, faces, loss, Abroad…Through Their Eyes, which featured photographs taken audio and Service imagespersonnel selected from photographs of dailyand life triumph providing us a glimpse into the complex, diverse and by active military, Foreignrating Service, and Civil abroad byproject current and images formerofmilitary and Foreign Service perwhile serving overseas. This landmark depicts courageous work performed by America’s heroes throughout the world. friendship, places, faces, loss, and triumph providing a sonnel. Schatz’s workusdebuted at the U.S Department of State As in part of Serving Abroad...Through Their Eyes, AIE commissioned glimpse into the complex, diverse and courageous work perthe fall of 2012, and will later be installed as a site-specific renowned instalartist Lincoln Schatz to create a video montage incorporating formed by America's heroes throughout the world. As part of lationEyes, for AIE the commissioned permanent art in Serving Abroad…Through Their re- collection in the U.S. Embassy audio and images selected from photographs of daily life abroad by Kabul, Afghanistan. nowned artist Lincoln Schatz to create a video montage incorpocurrent and former military and Foreign Service personnel. Schatz’s

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On Exhibit at the Customs House Museum

rating audio and images selected from photographs of daily life abroad by current and former military and Foreign Service personnel. Schatz’s work debuted at the U.S Department of State in the fall of 2012, and will later be installed as a site-specific installation for the permanent art collection in the U.S. Embassy in Kabul, Afghanistan. also on exhibit through

Also on Exhibit:

work debuted at the U.S. Department of State in the fall of 2012, and will later be installed as a site-specific installation for the permanent art collection in the U.S. Embassy in Kabul, Afghanistan.

200 S. 2nd Street

august 31: TN 37040 Greg Williamson: Clarksville, 931-648-5780 Also on Exhibit: With the Troops

greg williamson: with the troops

Through August 31st

Greg Williamson: With the Troops

200 S. 2nd Street Clarksville, TN 37040 931-648-5780

200 S. 2nd Street Clarksville, TN 37040



Through August 31st

200 Clarksvi

July 2014 | 59

Changing Avant-garde by Joe Nolan


ow that Nashville’s First Saturday art events have expanded to i nc lu d e t he A r t s & Mu s ic @ Wedgewood/Houston happenings, it’s tough to keep up with the continuous growth and change taking place in Nashville’s gallery scene. I was caught by surprise when curator Veronica Kavass emailed me a few months ago saying she planned to open her first show at a new Wedgewood/Houston location during the April art crawl. Culturegeist at The Packing Plant debuted with a video installation by Mika Agari, displayed in an unkempt, defunct old packing plant at 507 Hagan. Kavass programmed three exhibitions there before planning to go to grad school in Minneapolis and handing the reins to a young curator who is poised to organize the mission for the space which has yet to be defined. “I saw Veronica at David Lusk at the art crawl one night,” explains Ann Catherine Carter. She said, ‘You know I’m leaving, right? Do you wanna take over that space

The Packing Plant curator Ann Catherine Carter

when I leave?’ ” Carter was shocked, but quickly accepted the offer. Carter graduated from Watkins and curated a student show at Ground Floor. She also curated a group show that exhibited alongside one of New York gallery ZieherSmith’s Nashville pop-ups. The 23-year-old might seem inexperienced, but her vision for The Packing Plant is already coming into view. “It’s a really weird small space with two different rooms,” says Carter. “I want to refine the space to some degree. I don’t want it to be pristine—I like the ruggedness—but the work needs to stand out.” The Packing Plant’s no-frills displays grew out of owner/creator Jon Sewell’s booking


of the

artists and punk bands in another building in the neighborhood. “The space is in a phase of experimentation that sort of lends itself to the exhibitions shown there,” he says. “We don’t have limits in the sense of what we might show.” One thing that does show is Sewell’s confidence in Carter. “I’m the guy in the background providing the space, but Ann Catherine will be hands-on curating,” he says. “She’s passionate and plugged in. She knows what’s cool and what’s not, and she knows the people that are making this scene.” “I’m interested in art that’s relevant to the conversation that’s happening in the art world that includes New York, L.A., and Miami,” says Carter. “Art that’s not involved in that conversation isn’t lesser art, but it’s not what I want to see or talk about or show.”

The Packing Plant in the Wedgewood/Houston area 60 | July 2014


Knowing what you don’t want can be the first step in deciding what you do want, and for many of Nashville’s artists and gallerygoers, venues that eschew commercial concerns in favor of arousing conversation on contemporary art are part of the exciting, novel voices contributing to this city’s art scene. The Packing Plant will feature Nathan Sulfaro’s GMOMG during Arts & Music @ Wedgewood/Houston on Saturday, July 5, from 6 to 9 p.m. For more information about the artist please visit For additional information about The Packing Plant please visit

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July 2014 | 61









Fed er i co C as t el l ó n. The D ar k Fi g ure (d et ai l ), 1938. O i l o n canvas . Whi t n e y M u se u m o f A mer i can A r t , N ew Yo r k; p urchas e 42.3. © Es t at e o f Fed er i co C as t e l lon ; c ou r t e sy o f Mi chael R o s enf el d Gal l er y LLC , N ew Yo r k, N Y

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64 | July 2014

Nashville by Ron Manville

6 a.m.

It is getting close to 6 a.m., and I  am  in my hail-storm-pock-marked CR-V, coffee sloshing in a sippy cup in the holder, heading towards downtown  Nashville. Just a few cars and trucks on the road, with their headlights still on. Roadside lamps along the way seem to flicker off just before I get to them, but I may be imagining that, as the caffeine still hasn’t kicked in. I’m looking for images to convey this time of day, this special place, so I’m hoping the last bit of fog leaves my head and I can be sharp enough to see and react as I search. As usual, I look for those triggers that I tend to be drawn to: graphics, architecture, light quality. Anything Aaron Siskind-ee, as well as compositions that may translate well later to black and white, which is how I started doing what I do years ago.  I stop several times (reacting), gathering a mural here, a worn railroad trestle there. Some of these gain importance for me as the city continues to grow, as they may not be around a whole lot longer. Just a few people to be seen. Most businesses won’t open for several more hours. I can see and feel the rapidly  changing morning light, and I constantly scan my surroundings looking for that elusive moment or that certain something that is coming together the way it should. Looking for the visuals that speak early morning Nashville. The light is very nice. I’m focusing and finding what I need. This time is calm and still and pleasant. That will change quickly, but in the meantime, it’s like I have the whole city to myself, and I’m in a groove. And that makes me happy. 6 A.M. Nashville. F o r m o r e i n f o r m a t i o n a b o u t R o n M a nv i l l e , p l e a s e v i s i t

July 2014 | 65

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Struggle, 2013, 36” x 54”




The Arts Company • July 5 through August 8 by Jesse Mathison

“Everything begins with my photographs—the color, the texture, and the tone of my work,” Thetford says. “That’s the beginning point. I find inspiration in the movement and energy of urban environments, and I’ll sometimes walk for hours and hours, looking at cracks in the sidewalk and other small details, taking pictures wherever I go. I won’t



he images Daryl Thetford creates are woven from countless sources: a street performer in New York City, an astronomy chart, a section of an old wall, now crumbling. His visual pieces are colorful and somewhat playful, yet they possess a psychological undercurrent that adds depth to the work. Thetford, whose background is in the mental health profession, deals with struggle, wonder, and the search for resolution. We talked at length about his process, his influences, and the impulses behind his art.

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Man in a Boat Alone, 2014, Diptych, Inkjet on aluminum, 60” X 81”

Blue, Black and White Cityscape, 2013, 54” x 36”

Man at Crossroads, 2014, 54” x 36”

70 | July 2014

I want it to be about this thing inside that you struggle with throughout this journey, the painful and the attractive at the same time, as our lives are a mixture of the two.

necessarily know what I want to use a particular photograph for, or even if I want to use it, but my work absolutely begins with photography.” The artist puts over forty hours of work into each piece he creates, layering, refining, and crafting a variety of source material into something homogenous and insightful. “I think of places as a psychological space,” he continues, “each with a certain feel. I tend to draw visual ideas of psychological concepts when they occur to me, and then I like to imagine what I could do with that. I work a lot more effectively if I have a notion of what I want to do. Otherwise I ramble around a lot more; I stumble.” There is something tenebrous behind the work of Daryl Thetford, two elements somewhat at odds with the other. “I want my work to have some gravity to it,” he tells me, “but also something lighter, too. I want it to be about this thing inside that you struggle with throughout this journey, the painful and the attractive at the same

Juggling Act, 2014, 54” x 36”

Enduring the Storm, 2014, 36” x 54”

July 2014 | 71

Man with a Cello, 2014, 43” x 54”

time, as our lives are a mixture of the two.” This conceptual chiaroscuro is at the heart of Thetford’s process as well. He usually has a light and a dark series going at the same time. With a solid understanding of his process, I next ask him about the inspiration behind his varied source materials. “I have stacks and stacks and stacks, I mean thousands, of art books,” he tells me. “I like the work of Robert Rauschenberg and Jasper Johns, the color of Rothko, and some of the scratchy grittiness of Basquiat. I admire the writing of Carl Jung and actually used a photograph of him in one of my pieces, where he is hidden as a cello player (Man with a Cello). And my work Woman with a Halo: A Modern Icon is, stylistically, a nod to the Russian constructivists. Finally, we talk more about why the artist creates as he does. “When I was very young I was drawn to painting, but as I grew up it was time to get real, to go to college and do something you were supposed to do, something that would make a living. Nobody I had ever met had made their living as an artist, so I went into mental health and worked in that field for many years. Eventually I got burned out with that, and I decided to quit my job and pursue a career as an artist. So, for me, making art is returning home.”

Branding Day at the Bird Ranch, 2014, 54” x 40”

Dar yl Thetford is repres en t ed by T h e Ar t s Co mpa ny. H i s ex hi bi t Introducing the World of Daryl Thetford will be on display July 5 to August 8 with a conversation with the artist on July 11. For more information visit and

72 | July 2014


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Play True

Legendary harmonica player Mickey Raphael has shared the spotlight with the best—Willie Nelson, Miles Davis, Bob Dylan. Here’s his story blow by blow . . . by Holly Gleason


ickey Raphael wasn’t much more than a kid when he ran away with the circus. Well, not the circus, but something equally off-kilter and unlikely. After a stint playing harmonica with Dallas’s progressive folkie/country songwriter B.W. Stevenson—known for “My Maria”—Raphael got an invitation from University of Texas Longhorns football coach Darrell Royal to a jam session he was hosting after a big game. “I had big hair,” he laughs, “and was listening to the Rolling Stones, the Byrds, Gram Parsons, the Burritos . . . I didn’t know who Haggard or George Jones was. But I figured I’d go.” In that hotel room pickin’ party, the harmonica player found himself jamming with Willie Nelson and Charlie Pride. If he didn’t look the part, something about his tone—honed via the folk-blues of Sonny Terry and Brownie McGhee—caught Nelson’s ear. Raphael was invited to play a Volunteer Fire Department benefit at a local high school. And so it began. In the days before tour buses when everyone drove their own cars to the various gigs, the hippie-looking 20-year-old had to wait for the rest of the band to arrive before heading into the Texas icehouses where they were playing. But it wasn’t long before the rise of Nelson’s legendary 4th of July Picnics in Dripping Springs and the hippie/redneck nexus of Austin’s Armadillo World Headquarters.

“I remember playin’ to junkies and transvestites at Max’s Kansas City. Waylon had been there, so they were ready for us. Sandy Bull was there, Bobby Neuwirth, Jim Carroll . . . rumors of Bob Dylan.” So began a forty-year odyssey that’s seen the dark-haired musician share stages with Miles Davis and Neil Young, recording studios with Emmylou Harris and Mötley Crüe, even musically anchoring a Bob Dylan show noted choreographer Twyla Tharp was staging. Known to many as the young Turk with Nelson’s Family, Raphael is a musical journeyman who’s spent his career searching for opportunities to conjure the emotional tone various artists are seeking. “Miles Davis told me it’s the space between the notes that matters,” Raphael explains. “You want to paint a picture. [Harmonica]’s such a soulful instrument, you wanna create the mood—a lot of times that’s subtle, but what you pull out really colors the track or the moment.”

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July 2014 | 75



Still—as blues chanteuse Sippie Wallace wrote—you got to know how. There’s a laugh from the thoughtful, almost introspective player. “How do I know if I’m gonna play sweet or a little raunchy?” he intones. “I’ve played mostly with writers, and the lyric for them is everything. I really try to pay attention to what’s being said.”

for their squawking recast of Brownsville Station’s “Smokin’ In The Boys Room.”

Distilling essence is harder than it sounds. Yet when Ray Charles died, Nelson brought the harp player for accompaniment to the funeral. “It was a little AME Church in L.A., and we were doing ‘Georgia.’ You look out and there’s Wynton Marsalis, Stevie Wonder; you think, I just wanna play true.”

This day, though, no harmonica’s involved. Instead, Raphael weighs Bob Dylan’s “One Too Many Mornings,” a track he is rebuilding for an upcoming Highwaymen box set. The mid-80s supergroup of Johnny Cash/Waylon Jennings/Kris Kristofferson/ Willie Nelson built around friendship and classic songs has become even more iconic in the ensuing years, so he was tapped to produce ancillary material.

That thoughtfulness elevates Raphael’s musicality from one more cloud of notes to something genuinely evocative. As he listens to playbacks of the Highwaymen, noting, “It’s not a big sound, but it showcases each so well,” it is the grain of truth he’s seeking within each performance.

Mickey Raphael with Willie Nelson, Kris Kristofferson, and Merle Haggard

“I love real melodic shift and tone,” he says. “I wanna play what’s right for the song . . . and something simpler is often better: match the intention, know what the song’s about. Rather than being another hot guitar lead, try to bring something else out of the song.”

Playing true is just what marks Raphael’s work. As a player, an accompanist, a producer: the vérité is all that matters. M ickey Raphael i s current ly on tour with Willie Nelson and Family. For more information please visit

“I know where all the bodies are,” he jokes, referring to his tenure with Nelson, as well as time on the boards with America’s many icons.

That’s why Lionel Richie suggested Raphael “take the guitar solo” on a recent re-recording of his Commodores classic “Easy.” Also why Mötley Crüe enlisted him


Few working musicians have the fastidious detail, vast knowledge, but especially the soul for where this music comes from. Raphael knows how to elicit a performance from Nelson—who recently added vocals to the original Chips Moman-produced Cash/Jennings track—as well as enhance the original recording’s intentions.

Mickey Raphael with Willie Nelson

76 | July 2014

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ASttringer Home H with Hope and oward ome for the ArtHH ouse by Emme Nelson Baxter | Photography by Jerry Atnip


ope and Howard Stringer are the guests you pray to be seated by at a dinner party. This longstanding power couple in Nashville’s corporate and philanthropic circles is animated, gracious, and culturally savvy. Howard Stringer, retired CEO of Colonial Corporation of America and a co-founder of Congregation Micah, is widely lauded for extraordinary business skills that he shares with the private and public sectors.

Likewise, Hope Stringer has indefatigable conviction for the causes she supports. At the moment, she is chief ly engrossed in the Conservancy for the Parthenon and Centennial Park where as board chair she is orchestrating a massive restoration effort. In the couple’s spare time they collect fine art. So cross your fingers that if you ever get the opportunity to be their dinner companion, it is at Washington Hall, the Stringers’ historic home

78 | July 2014

Left: Dining Room: Carole A. Feuerman, Swimmer, Painted resin Above: Office: Dakota Jackson Furniture Sam Jury, photograph on aluminum

off West End Avenue. The neo-Palladian residence is a standalone masterpiece made all the more marvelous by its housing of one of Nashville’s finest private collections of art. The Stringer collection includes paintings, sculpture, art glass, and Southwest American pottery. It features works by  Claes Oldenburg, Andy Warhol, Alex Katz, Franz Kline, Frank Stella, Louise Nevelson, and Robert Kushner along with glass artists Michael Glancy, Dale Chihuly, and Harvey Littleton.

Stringer acquisitions have been loaned to museums including the Whitney Museum of Art in New York, the Walker Art Center in Minneapolis, the San Francisco Museum of Modern Art, and of course the Frist Center here. At the moment, their Warhol portrait of Einstein is being shown in Manhattan. Nashville Arts Magazine (NAM) recently spent time with the Stringers at their home to discuss collecting and living with art.

July 2014 | 79

NAM: Washington Hall is one of Nashville’s architectural gems. Tell us about it. Howard Stringer: Judge John Daniel built the house circa

1913. He modeled it on the Lord Burlington home in Chiswick, London. One of the owners was Luke Lea, who once owned The Tennessean and gave the property for Percy Warner and Edwin Warner Parks in tribute to his father-in-law. The home also features architectural elements from Monticello in Virginia. It was completely restored by Thompson Patterson in the mid 1980s. We fell in love the moment we walked in and saw the library. It’s still one of our favorite rooms.

Howard Stringer: First, buy what you like and can afford. We think it’s important to take some basic courses in art and especially do research on the artist who has piqued your interest. The more you know the more you learn what excites you. We work to keep the collection exciting to both of us. However, from time to time we do sell a painting that has grown significantly in value. NAM: As a couple, do you find that you have similar tastes? Hope Stringer: While our tastes are

not completely the same, we buy only what appeals to both of us.

NAM: Between the architecture and art, do you ever feel like you are living in a museum?

NAM: It’s been said that museums portray an evolution of time with their collections, while individual collectors tend to encapsulate a moment in time . . .

Hope Stringer: We don’t see our

Hope Stringer: We certainly don’t

place ourselves in the museum category, but our tastes have really progressed with the movement of American art in the twentieth century, from the Armory Show movement through pop art.

home as a museum . . . rather, living with things we love. Our home is really livable, open, and inviting. Living in an historic home does make us a little reluctant to change the lighting that might better show the art.  

NAM: In addition to aesthetics, do you collect for investment potential?

NAM: How did this art adventure begin? Hope


We began to collect seriously after we married and could first afford it. We bought some pieces that were sweeter than we would today. For a few years we owned two Martha Walter paintings. They reminded us very much of Mary Cassatt.  

Frank Stella, Playskool Series, Painted bronze and aluminum sculpture

NAM: Sketch for us the common denominator in the work you have collected. Is it based on a certain movement or subject matter?

what we love, but we’ve been fortunate to make some very good choices from an investment point of view and that we were able to start collecting when we did. Many of the works in today’s contemporary art market that appeal to us are really out of reach dollar-wise.  NAM: Eyeballing anything locally? Hope

Stringer: There are local ar tists in Nashv il le like Herb Williams and Jack Spencer whose works we admire and are on our wish list. We own some beautiful pieces by Marilyn Murphy and Sylvia Hyman. Nashville is a treasure trove of good art.

Howard Stringer: The common denominator for us has always been that the piece makes our hearts race. NAM: What are your basic ideas about collecting art?

Howard Stringer: We buy only

Hope and Howard Stringer

FACING PAGE, LEFT TO RIGHT: Living Room: Charles Bell, Pinball, Oil on canvas; John Baeder, Seaport Diner, NY, Oil on canvas

Foyer: Claes Olderberg, Typewriter Eraser, Concrete, stainless steel, and oxidized aluminum

Foyer: Alex Katz, Pat II, Oil on canvas

Kitchen: Design by Rusty Wolfe – constructed by Wolfe Woodworking, Steel sculpture by David Anderson, Telephone painted by Knox Hall

Foyer: Louise Nevelson, Painted black wood sculpture Foyer: Jim Gibson, Boy on Tricycle, Sculpted steel Master Bedroom: Andy Warhol, Ten Jews of the 20th Century, 6 of 10 serigraphs of series

Dining Room: Joseph Levi, Still Life with Van Dongen and Warhol, Acrylic and graphite on canvas, and Dale Chihuly, Glass sculpture Foyer: Theo Stamos, Sun Moon Chalice, Oil on canvas

80 | July 2014

The common denominator for us has always been that the piece makes our hearts race.

– Howard Stringer

July 2014 | 81

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CARVED IN STONE Stonemason Dawson Colvert Keeping a Lost Art Alive


by Joe Pagetta

ou can learn a lot about a man by what he wants on his headstone. Or, in the case of Dawson Colvert, by what he might hand carve on his own headstone with traditional V-cut letters, something not many people in the United States, never mind Nashville, know how to do.

Colvert is a master practitioner of what is increasingly becoming a lost art—stonemasonry. As he lays out the four steps of stone carving, while giving Nashville Arts Magazine a tour of his dusty, West Nashville, warehouse-size studio, he also recalls the first time those four steps really made sense for him. It was less than ten years ago, and he was two hundred fifty feet up on the outside of the Salisbury Cathedral in England doing conservation and restoration work on the thirteenth-century building.


“Chamfer, fillet, hollows, humps,” says the Nashville stonemason. “I want that on my tombstone someday, because that’s what I live and die by with masonry.”

July 2014 | 83


“It was a Saturday, and I was doing scaffolding work,” he remembers. “There was an orchestra from Philadelphia rehearsing for the service the next day, and the building was ringing like a bell from the orchestra. I had my arms out and was hugging the building, just listening, and it all just clicked. Chamfer, fillet, hollows, humps—those are the steps of carving, and that’s what they did here. It is the same now as it was then.” How Colvert, raised in Fort Payne and Tuscaloosa, Alabama, wound up on that scaffolding at Salisbury Cathedral in the mid 2000s and now runs his own architectural stone-carving business in Nashville, where his clients have included Taylor Swift and numerous Belle Meade and Green Hills homeowners, is a story of mentorships and internships but, foremost, of determination and discipline.

Colvert carved the ram’s fine fleece over a five-week period in Cumbria, England, where the statue was eventually unveiled by HRH Prince Charles.

“I got to see my sculpture in the gallery,” he recalls. “I thought, I really want to do this for the rest of my life.” An interest in stone sculpture originally led Colvert to MTSU’s art program, but while there his focus started shifting to functional stonework. He interned at the Carving Studio and Sculpture Center in West Rutland, Vermont, on the grounds of the 84 | July 2014


An interest in sculpture came in his teens while Colvert was at John Overton High School and art teacher Dennis Greenwell gave him a piece of soapstone to carve. Greenwell was so impressed, he submitted the work to a Metro Nashville student art exhibit—unbeknownst to Colvert—and the work won first prize in the three-dimensional-art category. It was exhibited in the Parthenon for three months.

The scholarship was awarded in London where Prince Charles greeted all the winning applicants. When His Royal Highness met Colvert and discovered he was from the United States, he asked why he hadn’t studied at home and what his plans were for after college. “I told him the one school that taught stonemasonry no longer offered the program, and that was why I was there, to work on stonework,” says Colvert. “I told him that I was going back to Nashville, Tennessee, to start a business and bring back what I learned. He wished me good luck.”



town’s historic marble quarries, assisting teachers and students, many of whom were older than Colvert and focused on being artists. A stonemason from England gave him some advice: “All these guys up here are starving artists. If you’re a stonemason, you’ll always work.” He directed him toward Weymouth College in the United Kingdom. Colvert returned to Tennessee and worked at Christie Cut Stone in Memphis for six months, getting more stone-cutting experience under his belt, then applied and got into Weymouth. For two years, he studied not far from the Isle of Portland, home to Portland Stone, and apprenticed at Salisbury. In 2004, while still in school, Colvert received one of his most esteemed assignments when he was awarded a Prince’s Foundation Scholarship in Endangered Crafts to work on the Herdwick ram project, the carving of a ram statue at the district gateway in Cockermouth, West Cumbria, on the northwest coast of the United Kingdom.

A more formal presentation followed where the scholarships were awarded, and this time, Prince Charles leaned in and said, “Good luck with your future business.” Colvert recalls: “I felt like I had gotten permission from the prince to go back and teach what I learned and make something of myself.”



For more information about Dawson Colvert visit

July 2014 | 85

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Never Too Close

a conversation with

by Veronica Kavass



ow many people does it take to change a light bulb? To Adrienne Outlaw, this question is not a joke. Al Gore’s simple suggestion at the end of An Inconvenient Truth has provided her with just as much inspiration as the  Regarding Beauty  (1999) exhibition at the Hirshhorn Museum. Outlaw’s individual art practice and her nonprofit

experimentation lab Seed Space share a common ground in promoting small steps towards becoming a responsible individual in a growing community. As a pillar of the Wedgewood/Houston neighborhood, she is a reliable source on Nashville’s relationship with the visual art community. I visited her in her Chestnut Square studio to get an update on all of her movement.

July 2014 | 87

VK: What did you focus on there?

AO: I focused on finishing work for a show this summer in Atlanta that addresses issues of individual choice within a framework of global consumption. I made paintings, sculptures, and a photograph—all using sugar as a medium—that explore how our desire for sugar shapes our world. VK: You also just got an NEA grant for something you have been putting together with Centennial Park that involves health issues?

AO: Yes! The show is called FLEX IT! My Body My Temple. It’s an exhibition of work about obesity prevention that will be shown both at the Parthenon Museum and Centennial Park. FLEX IT! co-curator Susan Shockley and I have chosen eleven socially engaged artists to participate. I am one of them. The artists are traveling to Nashville to work with the community this summer and fall. The show will run September 1 through January 10. I’m not only interested in showing in galleries and museums; I’m also interested in making and finding thought-provoking art in unexpected places. The show hinged on the Oregon-based artist Harrell Fletcher. I had always known about him, but it wasn’t until I saw him speak at Watkins College that I realized what grace he has. I try to work with artists who have it.

Shelter, Steel, nylon, mirror, people, 7’ x 13’ x 3’

VK: Tell me about the artist residency you just returned from.

AO: The Hambidge Center for Arts and Sciences is situated in 600 acres of woods in Rabun Gap, Georgia—perhaps one of the most beautiful places on earth. Up to ten artists are there at any time. Each one gets a cabin to themselves. We gathered each night for a scrumptious dinner. The place is magical. The Enhancer, Aluminum, 9” x 9” x 1/6”

VK: By “grace” you mean they have a certain comfort in what they are doing and are able to execute it confidently . . .

AO: And a certain humility and thoughtfulness—qualities I realized Harrell has as I listened to his talk at Watkins. I asked him that night if he would consider being part of the show. VK: What’s your specific contribution going to be like?

For My Neighbor, Video Installation

AO: I’m making a large-scale video installation similar to what I just showed at the Nashville Airport. For FLEX IT! I’m making a work called Meetup. I’ll be inviting the community to participate in a variety of events, from bread making to drum circles, to dinners and games. I’ll video portions of the events for the installation.

88 | July 2014

The Fecund Series, Mixed Media including video

Lair, Metal, sugar, mirror, 17” x 15” x 34”

I’m interested in making and finding thought-provoking art in unexpected places.

VK: I see. So now let’s back up a bit to your early days in Nashville’s art community. Your work was not focused on food or health then (or so it seems). Tell me about the transition from what you did and what you are doing now.

AO: I’m probably most known in Nashville from the Fecund Series. That work explored bioethics related to biotechnologies. My new

Trapped, Metal, paint, wood, Bed Springs, 48” x 48” x 53”

The Hunt, Fabric, metal, thread, hair, fur, each piece lifesize

July 2014 | 89

AO: In Nashville, you can be whatever you want to be. As long as you create intelligent, thoughtful ideas, people listen. I love that.

work is, I think, more accessible. That said, my new work looks very different. So a while ago I analyzed my art and found three commonalities throughout—body, community, and religion.

VK: What are we about to become?

VK: Around the time you started working with sugar as a constant material in your work?

AO: Yes. That exercise helped me realize my interest in the ability of the individual to create a sea change, ala Al Gore and his light bulb. Using an example related specifically to my research, in the eighteenth century many women in England stopped buying sugar once they learned about the horrors of the slave trade that made it so widely available. Their decision to stop buying sugar and expose the industry significantly helped the abolitionist movement. I’m interested in the way we can make small changes to promote better living. I think individual action can make for powerful community.

AO: Nashville is growing—fast. We seem to be going in the right direction. I just hope that as property values rise the government and the business communities consider both the creative and the working class so that Nashville remains financially viable to those who make it thrive. I also hope that the people who live here realize the importance of local support, not only by attending openings but also by buying art locally—there are hundreds if not thousands of Nashville-based, nationally exhibited artists here now—seeing a show, and making financial contributions to the nonprofits, making this city great.

How to Mistake your _______ for a _______, wood, animal parts, steel, cloth, electronics, 56” x 50” x 18”

VK: With Seed Space you’ve brought a lot of outsiders into Nashville. How did you make that work?

AO: When I started making art, I made it in isolation. I used my body to model fiber casts and spent a lot of time by myself. Then I started using other people as models. I would gather them together and do several casts at once. They’d all be stuck in one place in a room for hours, and they’d become friends. In a way, art became my excuse to get people together. It’s grown from there.

AO: I started Seed Space as a way to extend the dialogue with a broader community. I ran it from my studio for four years. This year we moved into the Track One building at 4th and Chestnut. We make it work through sheer will, smart interns, energetic volunteers, grants, donations, and partnerships with area b u s i n e s s e s . We w e l c o m e everyone, and I hope people will continue to seek us out!

VK: So then, tell me a bit about who these people are that take part in all your projects.

AO: People come from all backgrounds, which I love. From artists to scientists, from students to the homeless, from homemakers to entrepreneurs, we all learn from each other’s experiences and all contribute something to the work. VK: Let’s talk about Nashville. You have been a mainstay of the Nashville art community for some time now. What do you think about where we are now? Where is it going to go?


VK: Yes, that is a big part of who you are as an artist; you bring a lot of people together.

Adrienne Outlaw’s Sweet Demise exhibit runs June 27–August 2 at Whitespace Gallery in Atlanta. FLEX IT! My Body My Temple runs September 1 to January 10 at the Parthenon Museum and Centennial Park. Seed Space is open Monday through Wednesday from 10 a.m. to 2 p.m. For more information, For more information or to contact her about getting involved, please visit 

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Bagbey House, Franklin

Ira Shivitz, Jeff Adkisson at Gallery 202, Franklin


Holly Carden at WAG

Kristin Clemens, Axle Shedd, Madison Shedd at 225 2nd Avenue South, Franklin

The Arts Company

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Artist Shelley Holmes at Bagbey House, Franklin

Jeanne Schuett, Trisha Schud, Marlee Schud, Franklin

Angela Faye at Outdoor Classic Structures, Franklin

Tinney Contemporary

SEE ART SEE ART SEE Bren Brown of Heirloom, Franklin

Kurt Eger and Bob Bowers at 225 2nd Avenue South, Franklin

Sketch Bourque, Lisa Dean, Larry McGrath at Gallery 202, Franklin

Jerry Fink, Edie Maney, Robin Schlacter, Chuck Schlacter at The Arts Company

Sophie Bugg at The Rymer Gallery

July 2014 | 93

Art Able Finds a Home Tabitha West

Village Green Hills Apartments provides a unique opportunity for artists with disabilities to display and sell their work

by MiChelle Jones | Photographs by Jerry Atnip


n unusual art collection for a new Green Hills residence—that sounds like the start of a story about a wealthy patron’s eclectic holdings, but that’s not the case here. Art Able is a collection of works by disabled artists, and it hangs in the Village Green Hills, a four-story, rental apartment building on Abbott Martin Road. The collection was originally conceived as a permanent collection with a catalog that would be sold to benefit the artists. But along the way the idea evolved so that when a work sells, it will be replaced by another piece. “This isn’t a static collection. I want it to be an ongoing thing,” said Brent Smith, one of Village Green Hills’ developer-owners. At the moment, fifty works by fourteen artists hang throughout the building. Many of the pieces are reproductions, enlargements of original work deemed too small for presentation on the walls. Some of the artists work on computers, some on index cards, and some can draw only with their mouths, so the work tends to be

This community creates amazing art and then does not have outlets to sell it or an audience for it, until now. Tabitha West, Untitled, 30” x 23” 94 | July 2014

Kathy Tupper’s intricate Burlesque and Scramble are filled with color, line, and effective use of white space. Grace Goad’s watercolors are also included in Art Able, among them a suite of ikatlike patterns of red/orange and teal/ green. Goad is Hammett’s daughter, and Hammett played a crucial role in the establishment of the collection, providing helpful links to the community of artists. Since the project moved at a swift pace—first discussed in December 2013—there was no time for a call to artists, but Hammett and Parmentier wanted to take a professional, juried approach.

Kathy Tupper

“A lot of this community creates this amazing art, and then they don’t have outlets to sell it or an audience for it,” Parmentier said. One of the goals of this

Grace Goad

Sarah Vaughn, A Brief Moment in the Forgotten Life of Evin Jackson, 20” x 16” Caption

Kathy Tupper, Burlesque, 52” x 34”

Grace Goad, 0115-08.13 (one panel of triptych)

on a smaller scale, according to Tammy Parmentier, who put the collection together with the help of Leisa Hammett.

project is to change that. Smith echoes that sentiment, saying he wants Art Able to give the artists a boost and exposure.

The works include Jerry Adams’s dramatic Ebony in Ivory Pool, a stormy mix of gray and black tone created in ink and watercolor. Sarah E. Vaughn’s detailed drawings show an appreciation for automotive themes. Vaughn’s A Brief Moment in the Forgotten Life of Evin Jackson depicts two vintage autos, one with a man behind the wheel, parked on the lawn of a large house. This scene is superimposed over a close-up of a steering wheel.

Village Green Hills opened in mid May and includes two- and three-bedroom apartments. Considering the busy Green Hills location the residences offer an air of tranquility. One more thing: Village Green Hills also has an impressive art collection.

Sarah Vaughn

Village Green Hills Apartments is located at 2215 Abbott Martin Road. For more information, please visit July 2014 | 95

Critical i


by Joe Nolan


he etymology of the word “mystic” uncovers Greek, Latin, and Old French roots and words that refer to “an initiated person,” “to close the eyes or lips.” When we speak of the mystical we speak of the special, the sacred, the secret. For some people a mystical revelation might bring knowledge of an otherworldly integrity, but in our culture, the related word “myth” is also a simile for “lie.” When I received an email about Mystic Truths, the Company H exhibition at Watkins, I wondered at the title: Was it just a bit of contradictory wordplay or was this collective of student artists threatening to speak unnameable names? Casey Payne’s series 3 Heads is a trio of paintings of figureless heads—the most recognizable has a green face loosely outlined with pink and gold slashes. Black marks indicate closed eyes and a smile. The colors are great here, and the composition of these elements balances nicely, deconstructing the subject without rendering it unrecognizable. The other two pieces go much further, breaking down the

Luke Weir, Puzzle Piece

visages and leaving only distinct bits of detail behind. For me, Payne’s pieces are about the dissolution of the self in union with the mystical, and as such, the series lies right at the heart of the exhibition. This theme is also explored by Caleb Adcock, who has a pair of images in the exhibition. Both an untitled piece and Transgression feature magazine pages that have been painted over, obscuring the genders, features, and even the humanity of the models on the pages. It seems that even ideals of symmetrical beauty come undone in confrontation with the other. In the mystical state all boundaries dissolve; all measure is rendered measureless.

Casey Payne, 3 Heads

Luke Weir takes this same idea another step further, literally breaking down the image of the self into tiny physical pieces in the form of a 1,000-piece jigsaw puzzle. Puzzle Piece is an installation that includes a table and a chair in the corner of the gallery, the top of the table covered by scattered puzzle pieces. The puzzle’s cardboard box rests against a table leg

96 | July 2014

showing the pieced-together portrait of a young man with glasses. For me the glasses are an interesting touch revealing that in our nearsightedness—read egotism—we often perceive ourselves as different, unconnected parts, but in union with the mystical we might perceive the wholeness that actually describes our relationship to ourselves, each other, and the universe that surrounds us. Mystic Truths will be on exhibit at Watkins College of Art, Design and Film through July 19. For more information visit

Mystic Truths exhibit at Watkins College of Art, Design and Film

Poet’s Corner

My Apology “Everyone is a moon, and has a dark side which he never shows to anybody, if he can help it.” –Mark Twain Cue a glass bowl shattering on impact, slow motion like so many pieces of memory, tectonic shifts that I imbued— it comes in flashes, each shard a portrait: her Down syndrome, her blonde hair wild as nature, her ponytail losing the fight of containment, her pink baby doll dress hung on her shoulders like a hanger having hidden weight on one side Lock her in the closet! The lost boys and girls of a daycare nation followed my orders. The doors closing, pushing my back against her pushing with force so she couldn’t get out. I became the flint and those kids obeyed me like kindling. I was the spark, a fire starter and it burns, seeing her face pleading as I zipped her in darkness. What earthquake was in me at age ten? Latch key kid, no audience at home, no siblings to pick on, no father, mother always working. The grip of power was in my voice, didn’t know any better, but I did, I do now.

Sometimes, the pain of memory is that broken bowl on the floor. If I could, I would shake my cruel, little self into an aerial picture, show the path of my destruction like a tornado scar. I would grab you from that closet, cradle everything that is beautiful inside you. -Tiana Clark Tiana Clark will read a selection of her poetry at the Poet’s Corner on July 24 at 7 p.m at Scarritt-Bennett. The event is free and open to the public. For more information please visit


She would have done anything I told her, I could have chosen to protect her, played a game, imagined worlds where she was not so different from us. She could have been our Tinker Bell, spraying glitter like fairy dust to make us fly. We could have spread our arms, made our playground the island of Neverland, heard belly laughter rise, holy as gospel choir, but there were no saints among us that day.

July 2014 | 97

Film Review

Decoding Annie Parker

 by Justin Stokes

Belcourt Theatre • July 30

Alice Eve (Louise) with Samantha Morton (Annie Parker) in Decoding Annie Parker



Decoding Annie Parker will screen July 30 at the Belcourt Theatre. After the film, a hosted discussion will feature both film director Steve Bernstein and film inspiration Annie Parker. For tickets and information, visit The event will kick off the National Women Survivors Convention.  PHOTOGRAPH BY CHRISTY SIMMONS

ragic events have an isolating effect on those affected, removing personal connections from friends and family. But it doesn’t have to be that way. Presented by the Women Survivors Alliance, Decoding Annie Parker is a true story that explores one woman’s navigation through the troubling waters of loss and love. Coming to grips with the deaths of family members due to cancer, Annie Parker (Samantha Morton, Mr. Lonely) must confront the same disease that has already taken so much from her. But Parker is convinced that the piteous circumstances surrounding her life are more than just coincidence, and her convictions strengthen as she does her own research. Parker’s ideas are echoed in the parallel studies of Dr. Mary-Claire King (Helen Hunt) who is hoping to prove the link between genetic disposition and cancer. This may be one of the year’s most emotionally draining movies for Belcourt audiences. The film goes to exorbitant lengths to frustrate and crush, hopping around in time and tone to highlight the lowest moments of Parker’s seventeen-year-long battle with cancer. Rather than building to a sadness like other survivor stories, audiences struggle through the pain and polarizing side effects of the situation. Like a worried family member, we get a bedside view of the drama. This final result is a narrative that effectively recreates the turmoil of a health crisis, constantly tugging at your heart.

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

The Great Unknowns

Dickie Soloperto by Jennifer Anderson

He now creates his own mosaics that stand on their own as original works of art. He gains inspiration from his love of flames, Bettie Page, and other pinup-era imagery. His technical expertise in the medium allows him to create vivid works with precise details. The beautiful lines that form the curvature of the female forms are created with a handmade tool he uses to place the pieces. The even arrangement and smooth surface come from the high standards he learned as a tile setter. As a bold expression of contemporary tastes, Soloperto’s art breathes new life into an old tradition. Please contact for more information. Left: Sailor Jerry’s Girl, 2009, Ceramic tile, 37” x 20” 98 | July 2014


Dickie Soloperto followed in the footsteps of his father and uncle by joining the family tile-setting business. The brothers had opened their shop after apprenticing with Italian tile setters, and they passed on to their apprentice traditional techniques and a commitment to excellence. Working with tile, Soloperto transformed rooms and felt he was creating art to complement the home’s structure.

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JCorge M endoza C P ross



Inspired by Spanish-colonial codices found in his homeland, Bolivia, painter and printer Mendoza sends his Nashville-made prints to exhibit at the famed paper capital, Fabriano, Italy Complesso San Benedetto • Fabriano, Italy • July 1 to August 31 by Sara Estes


efore I met Jorge Mendoza I had never heard of a quipus or Felipe Guaman Poma de Ayala, and I probably couldn’t have told you where Bolivia is on a map. An hour spent with the Bolivian-born printmaker and painter was all it took to get a surprisingly in-depth introduction to South American history and geography. I met Mendoza at his home studio on a balmy Friday afternoon to discuss his latest paintings and upcoming exhibits. His studio is packed with dozens of brightly colored, abstract paintings in progress. Organic forms rendered in vivid shades of orange, magenta, and ocean blue overwhelm the space. Pinned to the left wall are two posters from the Prado: Hieronymus Bosch’s Garden of Earthly Delights and Goya’s Saturn Devouring His Son. On the studio door is a sign that says “Barco de Trabajo.” Translation: Work Ship—his spin on the traditional artist workshop.

Art is knowledge. Through research and investigation, I discover myself. I discover the story of South America and I make it known to the people.

Mendoza has lived all around the world—Brazil, Madrid, Miami, and now Nashville. His adventurous spirit drew him to a life of travel. As a young man, he visited Puerto Rico, Mexico, and Europe, drinking in the distinct art styles and traditions of each place. It all comes through in his work now.

Left: The Poet and Astronomer, 2014, Lithograph, 12” x 7”

July 2014 | 101

“I’ve always liked museums,” he says. “I like to visit the Prado and look at the Goya, and Velázquez, Picasso, the Northern European schools of art. Everything stays in my memory.” Mendoza began studying architecture in Bolivia but switched to visual art. “I liked colors and brushes much more than mechanical pens,” he says. In the late 1980s, he moved from Brazil to the U.S. to attend the University of Arkansas in Fayetteville, where he received two master’s degrees, one in studio art, another in literature. I ask him who his favorite authors are, and he contemplates the question for a moment. “Gabriel Garcia Márquez and Hemingway,” he says. Mendoza is a researcher and knowledge seeker at heart. His work references many corners of the world but homes in on South America, his homeland. For Mendoza, the process of art making is indelibly linked to research and inquiry. The fabric of art, as he sees it, is woven from the threads of both technical and historical knowledge. On a table in his studio is a portfolio containing a recent series of color lithographs on handmade paper. The prints are part of an exhibit opening this month in Fabriano, Italy, a city famous for its eight-hundred-year legacy in papermaking. The prints are vibrant and remarkably tactile. The soft, handmade paper, each piece a different size and color, begs to be handled and scrutinized. The images tell the story of Felipe Guaman Poma, a sixteenthcentury South American chronicler, and the quipus, an ancient string-and-knot system used to represent numbers and keep early records. The quipus is a major subject in Mendoza’s work and appears often, in various forms. The symbolism of string—a thing that connects, ties together, links one thing to another—is as important as the historical narrative of Guaman Poma and ancient methods of communication. In his paintings, history is explored in a more subtle way. Influenced by natural elements and Pre-Columbian iconography, he allows the ambiguity of the forms to lure the viewer into a psychological space that meditates on the emotional capacity of color.

Depocito del Inga / Inca’s Deposit, 2014, Lithograph, 12” x 7”

Quipus kamayu/Treasures, 2014, Lithograph, 12” x 7”

Manko Kapac, 2014, Lithograph, 12” x 7”

“Art is knowledge,” he says. “Through research and investigation, I discover myself. I discover the story of South America, and I make it known to the people.” For Mendoza, his legacy lies in the continuation of tradition, whether it’s making paper by hand or telling stories of worlds past. “This is my input to you guys,” he says with a laugh. “I enjoy making art, but underneath it all, there’s research. There’s a story.” Jorge Mendoza’s prints are in the group exhibit The Nexus of Craft and Fine Art in Papermaking at the Complesso San Benedetto in Fabriano, Italy, July 1 to August 31. For more information about Mendoza, visit

Regidores deste reino/Rulers of this world, 2014, Lithograph, 12” x 7”

102 | July 2014

Viracocha Inga/ Inga Viracocha, 2014, Lithograph, 12” x 7”

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Whodunit? Mel O’Drama’s production of The Perils of Francois

(Was it the frog?) by Jim Reyland


ortunately, theatre has more ways to “die laughing” than a Mel O’Drama whodunit. After all, a night out at the theatre doesn’t always have to be a ticket to a dark hall and predetermined outcome. If you attend a Mel O’Drama happening, you’ll find a host of regulars, all dressed to the theme and very likely to show up in the cast. So where does all this creative confusion come from? In the case of The Perils of Francois, Mel O’Drama’s latest original piece, Melanie Roady, Artistic Director, happened upon some homegrown inspiration from a local artist, setting in motion a rare combination of the dramatic and visual arts. “I contacted Jann Harrison, the local artist, and told her my idea about developing a murder mystery dinner show around Francois—would she consider allowing me to do that? And in that sweet Southern accent she has, her answer was “why yes.” Next I found the director, Deanne Collins, EdD. Then Scott Cherney of Portland, Oregon, wrote the script, and David Knezz of Chicago created the mask. By looking at the painting, he was able to come up with a sculpture of Francois; a little paint and the [mask became] a true work of art.”

“I stopped in the local gallery York & Friends Fine Art to see what I could see. I spied Francois, by Jann Harrison. I fell in love. My mind raced with ideas—Francois is a man in transition: he is a man’s man; he is a ladies’ man, and he is a man with the face of a frog!” Melanie Roady, Artistic Director, Mel O’Drama Theater Jann Harrison, The Fabulous Francois, Oil on canvas, 40” x 30” 104 | July 2014


The cast and playwright for Death By Drumstick: Sheldon Kahan, Kirby Hade, Craig Jones, Arikah Nash, Doug York

It’s an eerie adventure. The Perils of Francois is set in the French Quarter, in Boudreaux Manor, on a stormy night. The actors sing fun, original music, dance the tango, and even whip up some voodoo! It’s so much fun you’ll want to join the regulars at future shows to solve their many mysteries over and over again.

mystery comedy written and directed by California-based musician and playwright Doug York. It is set in Music City in the 1960s, where wannabe rock musician John Lemon is competing in the Biggest Battle of the Bands on the Planet, where the winner receives a contract with Gunshot Records, a label that promises to take the group to the top. Who will kill and who will be the victim? Sheriff Pinkerton arrives to question one and all to help solve the hilarious whodunit set to music featuring popular classic-rock songs and dances from the 60s, performed live. Audience members are encouraged to wear hippie clothes and enjoy an evening of zany, delicious fun as they interact with the cast in this musical murder mystery dinner theatre comedy. Mel O’Drama Theater productions change every three months and are performed in a variety of locations. For show dates and information, please visit www.melodramatheater. org. The film version of Jim Reyland’s play, STAND, performed across Middle Tennessee in 2012 as part of The Stand Project, is now available to stream at Watch The STAND Film starring Barry Scott and Chip Arnold and directed by David Compton. And please consider a donation to support Room In The Inn.

This fall, Mel O’Drama Theater will add Death by Drumstick to its whodunit repertoire, an original musical murder



2014 Real Life Players cast of their original production Back in the Day.


hat means the seniors that wrote and performed this year’s production weren’t even born when the founding members of the RLP did their first show, We’re All in This Together in 1995. Fun facts: Real Life Players are the only teen owned and operated theater company in the USA. RLP writes and directs an original play each spring and performs it locally. Over the past twenty years, they’ve made stops at University School, Father Ryan, Nashville School of the Arts, John Paul II, Hume Fogg, MBA, Hillsboro, St. Cecilia, Hillwood, MLK Magnet, Christ the King, Franklin High School, Brentwood Middle School, Curry-Ingram, Brentwood High School, and St. Ann’s. They have also raised almost $45,000 to support an impressive

collection of sixteen different charities, including Vanderbilt Children’s Hospital and The Oasis Center for Homeless Youth. “At the core of RLP’s work is the idea that we—young people and adults—have lives that are far more similar than they are different. They believe that all of us, regardless of age, creed, color, gender, or socioeconomic status, are still human.” RLP Congratulations, Real Life Players. Keep up the good work, twenty more and twenty more…! To get involved with Real Life Players, please contact

July 2014 | 105

ART SMART a monthly guide to art education


Revitalized! Common Core Professional Development Day and Edmondson Park

Members of the Metro Arts Teacher Cadre

by C. Van Gill, Public Art Project Coordinator, Metro Nashville Arts Commission


Last fall, the Metro Nashville Arts Commission partnered with the Ayers Institute for Teacher Learning and Innovation at Lipscomb University to create the first-ever Metro Arts Teacher Cadre. The cadre consisted of ten middle- and high-school teachers, working together over several months to create and implement Common Core lesson plan units that highlight the public artwork to be installed in Edmondson Park. Teachers immersed themselves in project details—meeting with architects, art administrators, government agencies, museum curators, and non-profit organizations connected to the park project. The cadre even had the unique opportunity to spend an evening with one of the commissioned artists, Lonnie Holley. As part of a week-long artist residency, Holley led the cadre in an art-making activity and discussed the important role educators


hat does public art have to do with middle school biology or high school geometry? Ten local teachers who have developed interdisciplinary, Common Core-aligned lesson plan units centered on the Edmondson Park Public Art Project would reply, “Quite a lot!”

Artist Lonnie Holley

hold within our society. Praising the teachers for their efforts and encouraging them to continue to work collaboratively Holley said, “You are all tomorrow’s song, but will you sing together as a choir?” On June 3, members of the Metro Arts Teacher Cadre sang as a choir as they shared their classroom-ready lesson plan units with other local educators. The free professional development event Revitalized was held at Lipscomb University and featured presentations by Metro Arts and Ayers Institute staff and was funded in part by a Metro Arts grant from the National Endowment for the Arts. Teachers led peer workshops designed to connect public art and Common Core standards in all content areas. One science teacher used Lonnie Holley’s found-object assemblages to exemplify different types of biological adaptation. A math teacher turned the artist’s budget and fabrication timeline into a lesson on function tables and graphs. Each uniquely designed lesson plan showcased the many ways local teachers are redefining the way we approach classroom learning by connecting it to real-life scenarios. Although the professional development event has passed, the opportunity to implement the Common Core-aligned lesson unit plans designed by the Metro Arts Teacher Cadre has not. Full versions of the lesson plans for the Edmondson Park Project are only a click away.

Cadre workshop with Lonnie Holley

Middle and high school art, ELA, math, and science lessons can be found at For more information about the Edmondson Park project and others, visit

106 | July 2014

TENNESSEE ROUNDUP Tennessee Junior Says “Victory” in National Poetry Competition by James Wells, Arts Education Special Projects Coordinator, Tennessee Arts Commission


Brought to Tennessee through the partnership of the Tennessee Arts Commission, the National Endowment for the Arts (NEA), and the Poetry Foundation, the program encourages students not only to be familiar with and understand classic and modern poetry, but also to possess strong public-speaking skills and self-confidence. Anita Norman, a junior at Arlington High School in Shelby County, won first place in the ninth annual NEA Poetry Out Loud National Championship on April 30, 2014, in Washington, D.C. Norman edged out every other state champion to win the $20,000 grand prize and $500 for her school to purchase poetry books for its library. She will serve as the NEA’s POL ambassador for the coming year. The National Competition began with a finalist from each of the fifty states, the District of Columbia, Puerto Rico, and the U.S. Virgin Islands. After several semi-final rounds, nine finalists were chosen and opened the finals event with the recitation of two poems each. The field was narrowed to three final contestants and then the ultimate national champion.


Norman worked hard to become the nation’s champion. While she has invested a great deal of herself in getting this far, she also knows she hasn’t done it alone. Throughout her years of involvement in POL, Norman was coached by her teacher, Anna Terry, who is in her eleventh year of teaching at Arlington High


o e t r y O u t L o u d ( P OL) i s a re c it at ion competition that starts as a school contest. Nationwide, a student body of 365,000 vied for vocal distinction in their respective states. In Tennessee alone, 8,000 students competed for a spot at the state competition.

Poetry Out Loud National Champion and Tennessee State Champion Anita Norman flanked by Stephen Young, Program Director at The Poetry Foundation and Patrice Walker Powell, NEA Deputy Chairman for Programs and Partnerships.

School. Terry says she enjoys helping her students connect with the universal human experience through poetry. After this year’s statewide victory, Norman received additional training from Irene Crist, director and actor at Memphis-based Playhouse on the Square, in order to prepare for the national competition. E xec ut ive Director of t he Tennessee A r ts Comm ission Anne B. Pope commented, “It has been a privilege to watch Anita grow in her performance these past three years. She has such a remarkable talent, but we have also seen dedication and determination that make her a true champion. We are so proud of her and of all the 8,000 students who competed in the competition across Tennessee.” The Tennessee Arts Commission provides teachers with a POL Teacher’s Guide that includes lesson plans in accordance with both the English Language Arts standards of the National Council of Teachers of English (NCTE) and the Common Core standards for reading and language. Next year’s POL competition will be another great opportunity for students to become involved in the literary and performing arts. The Tennessee Arts Commission looks forward to supporting the event and its contestants. For more information visit

Anita has such a remarkable talent, but we have also seen dedication and determination that make her a true champion.

Poetry Out Loud National Champion Anita Norman

— Anne B. Pope, Executive Director The Tennessee Arts Commission

July 2014 | 107

PENCIL FOUNDATION PROGRAM: ART WITH AN IMPACT! by DeeGee Lester | Photography by Jeorgi Smith


e’ve all grown up thinking that art is supposed to say something to the viewer. We visit museums and stand before some work of art and ask, what is the artist trying to say? Sometimes, the story behind the art is so powerful that even simple lines can impact a life. Children in several Metro schools discovered the impact of story and art this year through a special PENCIL Foundation program. Nossi College of Art students Ash-Shahid Muhammad and Kelly Walker, mentors for PENCIL Foundation through N.A.Z.A (Nashville After Zone Alliance), combined story and art in a unique program that steers kids toward self-worth and making right choices. Their visit to Oliver Middle School, accompanied by photographer Jeorgi Smith, is an example of the impact of art and story on children. “When Nossi asked for volunteers to go to the schools, I thought, man, this is my chance to impact people with what I’m doing,” recalls Shahid. “I thought about how I could tie my artwork with my experience.” With a passion for teaching kids and armed with a personal story that included past drug use and gang activity that resulted in a tragic shooting and homelessness, Shahid can bring a room of noisy children to what Kelly describes as “a quietness . . . like a child tiptoeing softly.” They begin with one name, Robert McCraney, written on the board, and Shahid tells the story of how he and his talented friend who had a bright future including a basketball scholarship to college, allowed curiosity and poor choices to lead their lives into a hail of bullets, resulting in Shahid’s loss of an eye and Robert’s future destroyed by paralysis. The consequences of choices are then used as a link to the art portion of the program.

Ash-Shahid Muhammad talks with students about self-image and art

Oliver Middle School students experience art

Working in tandem with Kelly, Shahid invites the children to draw a square with a circle inside. That circle becomes the basis for a self-portrait—how kids see themselves when they look at their own image in the mirror. “Do you know who YOU are?” Shahid asks the students. “Find yourself first. That person in the mirror is the most important person.” As students work on their mirror image drawings of themselves, the teaching team reminds them that their choices reflect the way they see themselves. The inspiring words and activities impact everyone present. “It’s humbling to realize that I have a voice to speak before kids,” Kelly says. “And listening to Shahid, I think to myself, this is exactly what Shahid was meant to do—to change the lives of school children.” At the conclusion of the afternoon’s activities, children line the hallway, holding the letters of Robert McCraney’s name, and Jeorgi’s photograph is snapped to share with Robert in Memphis as encouragement to him and as evidence of the impact his life still has upon theirs.

Kelly Walker mentors a student

108 | July 2014

CLAY LADY The Clay Lady’s Studios Host Sculptor Nan Jacobsohn by Wendy Wilson


udding clay artists eager to start new projects will have their chance with two events this summer at The Clay Lady’s Studios. This month the studios will host a week-long workshop on skill building and in August will hold its annual birthday bash complete with the Ugly Pot Throw. Clay sculptor Nan Jacobsohn will lead the workshop July 21 through July 25, which promises to push artists out of their comfort zones. Open to artists of all levels of experience, it will be the first time The Clay Lady has hosted a workshop lasting an entire week. Jacobsohn, who lives in Sparta, is known for her Chinese horses. “She’s an amazing teacher,” says studio owner Danielle McDaniel. “Her teaching is as beautiful as her work.” McDaniel says Jacobsohn is gentle with students but also good with giving specific, detailed instructions to push them to excel. “I feel that I am paying forward for the exceptional teachers I have experienced over the course of my career,” Jacobsohn says. There are many aspects of teaching she enjoys, especially “facilitating the act of discovery when students begin to grasp the incredible possibilities that a newly acquired skill opens up for them.” On August 16, the studio’s co-op will be celebrating its fourth year. The co-op provides private studio space and gallery opportunities for local artists. The birthday party will feature refreshments and the Ugly Pot Throw, a chance for artists to smash old, unwanted projects against an outside wall. “It’s very empowering to let go of the old and celebrate the new,” McDaniel says. Last year, more than one hundred people

The Cat Chair

participated in the Ugly Pot Throw. The shards are collected for artists to use in making mosaics. “Mastering Sculpture Hands-on Workshop” by Nan Jacobsohn will be held 9 a.m. to 3 p.m. July 21 through July 25 in Studio B. The birthday bash from 11 a.m. to 4 p.m. on August 16 is free and open to the public. For information, visit

EMERGING WRITERS This summer, twenty-six young writers from across Tennessee will hone their skills at the Appalachian Young Writers’ Workshop in Harrogate or the Tennessee Young Writers’ Workshop in Lebanon, thanks to nearly $13,000 in scholarships awarded by Humanities Tennessee. Throughout the day, students rotate through a series of workshops exploring different writing genres, while also getting time to write and the opportunity to present their own words in a safe and supportive environment. Lacey Cook, Programs Officer for Humanities Tennessee, says, “It is amazing that many of these students have never heard their own words read aloud. This is an opportunity for them to nurture and grow and find their own voice as a writer.”

by DeeGee Lester


riting is considered a lonely pursuit. Young writers can feel particularly alone. Hopeful novelists, poets, and songwriters full of ideas struggle to find time to write, a place without interruptions, and knowledgeable mentors to listen to their words, provide honest and constructive feedback, and guide them in exploring opportunities for publication. These challenges can be even greater for young writers with potential but no resources.

The level of personal investment students have in this program can be measured in many ways—through their personal growth as writers, their mentoring of one another, and by the presence of former participants, such as poet/editor/educator Andrew McFadyen-Ketchum, who return to teach and mentor them on their individual journeys to become writers. For more information, visit

July 2014 | 109

On the Town with Ted Clayton


wan Ball 2014: Chic with a cosmopolitan high style, splendid and handsome, brilliant and elegant with an ageless appearance. I admit I felt as if I had been placed in a time capsule that took me back to the year 1966 at the Plaza Hotel where the great Truman Capote threw his oh so famous Black and White Ball in honor of Katharine Graham. It’s ironic that the 2014 jeweler Verdura fashioned their 2013 collection in remembrance of the 1966 Ball, and, even more ironic, Capote often called his close social lady friends “swans.”  Cocktails were ser ved off the loggia in the white-and-gold mirrored cocktail tent with a black-draped wall including  a tiered, draped entrance enticing patrons into the dinner tent for dining, dancing, and entertainment.  Speaking of entertainment, Steve Martin, along with the  Steep Canyon Rangers featuring Edie Brickell, was a home run for Swan Ball 2014. Many of the patrons had that Martin comedy sort of fun

Allison DeMarcus and Sandra Lipman

Swan Ball 2014 Chairs Peggy Kinnard and Betsy Wilt

Janet and Jim Ayers with Colleen Welch

Dorothea and Andre Churchwell

Julie and George Stadler

Josephine and John Smithwick

Barby and Govan White

Tommy and Trish Frist, Bunny Williams, the recipient of the 2014 Swan Award, and John Rosselli

110 | July 2014

Annette Eskind and Heloise Kuhn

attitude. Aubrey Harwell asked me if I had seen his lovely wife, Carlana, for he had not yet posted a ransom. The most beautiful couple of the evening was Allison DeMarcus and Sandra Lipman— yes, you read this correctly, as their hubbies were out of town. Later in the evening as Allison and I were passing one another I asked her where her date, Sandra, was, and she replied, “Oh she is off plucking more magnolia blossoms for her hair.” Yes, that kind of fun, chic humor! From the Swan Ball black-and-white invitation to the black-and-white décor, about 95 percent of the women wore either black or white or a combo of both.  Do not get me wrong, as I love a gorgeous lady in black, but I did miss the  flowing floral gowns as seen in

Jay and Christi Turner

past years when the ball had more of a garden-party flair. My favorite gown of the evening, hands down, was worn by my friend Julie Stadler: a Randi Rahmdesigned strapless, full-skirted, ivory gown with a fitted bodice, flowing in a summer floral design. Congratulations to the 2014 Swan Ball Chairmen Betsy Wilt and Peggy Kinnard, as they would have been Truman’s true Swans! 

Carl and Connie Haley

The entire evening and year are summed up by the chairmen: “We wanted to have a ball that honored tradition while expanding its horizon toward a modern vision.” Together with Ball Designer Gavin Duke and Mark O’Bryan of The Tulip  Tree, they achieved their dream ball!  Pictures are worth a thousand words, so I am closing the text on Swan Ball 2014. Enjoy the beautiful Swans!

Earl Cox and Shirley Harvey

Aubrey and Carlana Harwell

Dewayne Johnson and Jane Dudley, Bill and Lin Andrews

Dana and Bond Oman

Bill Knestrick and Amanda Burnett

Jay and Sandy Sangervasi July 2014 | 111

Appraise It These exquisitely beaded, four-petal-form clip earrings are marked “DeMario-Hagler.” However, that mark is misleading. The earrings are the creation of Stanley Hagler, who began producing hand-wired costume jewelry in the 1950s. With his use of high-quality materials, his creations were frequently compared to Miriam Haskell. The hallmark found on the ear clips of these beaded beauties was the result of a potential collaboration with Robert DeMario, another highly regarded New York City designer working in the 1960s.  The partnership never happened, but Hagler used some of the leftover findings as needed. Russian gold-plated findings, seed pearls, and filigree backings are a few of the hallmarks of Hagler’s intricate works.  As exquisitely worked as these earrings are, it is hard to imagine that similar pieces can be found on the retail Internet marketplace for only $60 to $70. The pair of floral-form earrings, composed of white glass beads and clear rose montee rhinestones, are the work of Jonne Jewelry. For a short period of time during the 1950s, Jonne Jewelry was a line produced by the New York City-based costume jewelry firm House of Schrager. Jonne Jewelry is often mistaken for the work of their costume jewelry contemporaries Miriam Haskell and Stanley Hagler, who also employed similar styling and fabrication techniques. The 5th Avenue-based parent company closed all its production in 1962. Similar examples can be found on the Internet marketplace for $50 to $75.

Inside the Jewelry Box A Collection




ince ancient times, there have been jewelry boxes, a personal space in which to keep treasured items. The wealthy nobles of Ancient Egypt’s Dynastic Period belied the proverb “you can’t take it with you.” They did. Their tombs were filled with daily-life objects, such as furniture, jewelry, and dishes. Even the common folk had small, well-organized boxes for prized items, such as cosmetics and adornments. I have had the occasion to inspect the contents of many inherited jewelry boxes and am of the opinion that the average person does not collect jewelry—the jewelry simply collects. 

Over the course of a series of Appraise It articles, we will examine the contents of one such inherited box.

(L to R): Hand-wired costume jewelry clip earrings, mid 20th century.  Stanley Hagler, Jonne Jewelry.


The boxes themselves have been as different as the collections they held, from multi-drawer floor models to the modest shoebox. The adornments are often found in the company of odds and ends, such as pocketknives, currency, military medals, class rings, and so forth.  These adornments and disparate objects were once significant to someone, but without documentation or oral history that emotional value is lost, and all that remains is the intrinsic value, collectible value, and conjecture.

112 | July 2014

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 info@nashvillearts. com. Or send photo to Antiques, Nashville Arts Magazine, 644 West Iris Dr., Nashville, TN 37204.

Beyond Words

by Marshall Chapman


Riding with Lady Luck Last week, while flying to Phoenix on Southwest, I found myself with a two-hour layover in Las Vegas. As I stumbled out of the

jetway, my head was feeling a little fuzzy from lack of sleep. But as soon as I set foot inside the terminal, I was jolted into high alert. Oh my God ... Las Vegas! ... Frank Sinatra ... swimming pools ... Ann-Margret ... slot machines! Sinatra is dead, but slot machines are still very much alive in the Las Vegas airport. In fact, there were rows of them lined up like centurions in front of my connecting gate. Each with a different name. I chose WILD RED SEVENS, since I was born on the seventh of January. It’d been a while since I’d been around a slot machine. The last time I played, all you had to do was drop in a quarter and pull a handle. These machines took credit cards (and dollar bills) and then posted your game numbers in a digital display box. Like everything else, slot machines have entered the Computer Age. After inserting a couple of dollars, I played with no luck . . . or confidence since I wasn’t really sure what I was doing. Then I noticed a matronly-looking Hispanic woman standing nearby. “Con permiso,” I said. She smiled. Her eyes were warm.

3-Day Intensive Figure Drawing Workshop with Richard Greathouse

September 18-20, 2014 (Thurs.-Sat.) 9am - 4pm • Warehouse 521 • Nashville, TN


(includes model fee)

Richard is a graduate and current instructor of the Florence Academy of Art in Italy, and is represented by Haynes Galleries, Nashville.

Contact Jeanie Smith to register • 615-337-2570

JeanieSmith_0714E.indd 1

“¿Me puede ayudar?” I continued. She nodded and said, “Si.” After she explained some of the nuances of the game, I inserted another dollar and pulled the handle. Immediately, bells started ringing and whistles began to blow. I had won! But what? I kept playing—and kept winning—with the woman standing by my side. “ La Señora Suerte!” I proclaimed, as we both laughed. Then my flight was called. After cashing out my winnings, which weren’t all that much—just a little more than what I’d started with—I looked around for my new friend, but she had vanished. The boarding number for my Southwest connector flight was A-52. As I walked along the A-31 through 60 line, I stopped where I thought the A-50s might be. “What’s your number?” I asked a woman standing there. “A-51,” she replied. Then she turned around and smiled. I couldn’t believe my eyes. It was La Señora Suerte!

6/19/14 3:56 PM

“Nos encontramos de nuevo,” I said, laughing, all the while thinking, What are the odds? Once in Phoenix, I knew what I had to do. First order of business? Buy a lottery ticket.

July 2014 | 113

My Favorite Painting

J ilah K alil

Deborah Brown, The Herald, 1994, Oil on canvas, 58” x 52”


Executive Director, Green Fork Academy

or my husband and me, collecting art is a way to celebrate life. In the more than twenty-five years we’ve been married, our collection has become a rich reflection of the road we’ve traveled together.

paint has been scraped away with fingers or a knife. The overarching hue is a deep red, with complementary greens to balance, but there are also small, vivid accents of blue that jump out.

I was immediately drawn to the rough and raw emotion Brown conveys through her use of both color and technique. In some areas, the paint is layered on thick. In others, the underlying canvas can almost be felt and seen. Some sections feature smooth, fluid brush strokes; elsewhere, the 114 | July 2014


My favorite painting is a piece by Deborah Brown titled The Herald. We purchased this work twenty years ago while vacationing with family in Miami Beach.

This particular piece was done before the artist entered an MFA program. As with an author’s first novel, where the work may be less refined yet more instinctive and pure, The Herald seems to express the truth found in an artist’s early vocabulary. For twenty years, my favorite painting has always hung where it can be appreciated often. Still, each time I look, I find some new aspect that intrigues my eyes.




Haiku Romant Rose: rosa Green Hydrangea: hydrangea macrophylla Scabiosa Pods: scabiosa caucasia Hackberry: celtis occidentalis Photography by Brett Warren shot in the Ilex studio

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

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2014 July Nashville Arts Magazine  
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