2013 November Nashville Arts Magazine

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The Tree Lot at Crate and Barrel Now Open Tumi opening December 2013











SCHERMERHORN SYMPHONY CENTER Nashville Symphony Gilbert Varga, conductor Gabriela Montero, piano

Mendelssohn - Midsummer Night’s Dream Overture Schumann - Piano Concerto Stravinsky - Firebird Suite (1919 Version) Dvorák - Slavonic Dances, Nos. 1, 3, 5 & 8

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November 2O13

Spotlight.................................................................................................................. 10 The Great Unknowns Julie Sola............................................................ 41 Changing Perceptions 30 Americans and Norman Rockwell Meet at the Frist............................................ 43

Bye-Bye Nikon Jimmy Stratton Sets His Camera on Fire and Reignites His Passion......................... 49

NPT Arts Worth Watching.......................................................................................... 54 Christie Nuell Visual Clues Across the Centuries.......................................... 58 The Organic Style of Vincent Peach............................... 65 Unique Visions Critiquing the Human Condition..................................... 69 Martin O'Connor Beyond Beauty............................................................ 72 James Perrin Present Tense................................................................................74 Iron & Wine........................................................................................................... 78 Field Notes Bo Bartlett......................................................................................80 Gaylord Brewer Ghost Writes a Postcard to His Wife........................... 83 Elegance & Rust Jennifer Bowman......................................................... 85 Crowning Glory Keith Merry .................................................................... 88 William Kooienga's Intelligent Design.............................90 ArtSmart A Monthly Guide to Art Education................................................... 93 Theatre...............................................................96 On the Town......................................................99 Beyond Words.................................................105 My Favorite Painting.......................................106 on the cover :

Bo Bartlett, Dreamland, 1998, Oil on linen, 84" x 110" Courtesy of the artist and P.P.O.W. Gallery, New York Article on page 80

PUBLISHED BY THE ST. CLAIRE MEDIA GROUP Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Daniel Hightower, Directors EDITORIAL Paul Polycarpou, Editor and CEO Sara Lee Burd, Executive Editor and Online Editor, sara@nashvillearts.com Rebecca Pierce, Education Editor and Staff Writer, rebecca@nashvillearts.com Madge Franklin, Copy Editor Ted Clayton, Social Editor Linda Dyer, Antique and Fine Art Specialist Jim Reyland, Theatre Correspondent CONTRIBUTING WRITERS Emme Nelson Baxter, Beano, Lizza Connor Bowen, Judy Bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, Beth Hall, Beth Inglish, MiChelle Jones, Demetria Kalodimos, Nicole Keiper, Beth Knott, Linda York Leaming, DeeGee Lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, Robbie Brooks Moore, Currie Powers, Ashleigh Prince, Alyssa Rabun, Sally Schloss, Molly Secours, Daniel Tidwell, Lisa Venegas, Nancy Vienneau, Ron Wynn DESIGN Tracey Starck, Design Director PHOTOGRAPHERS Jerry Atnip, Hollis Bennett, Lawrence Boothby, Sophia Forbes, Donnie Hedden, Peyton Hoge, Stacey Irvin, Rob Lindsay, Jennifer Moran, Anthony Scarlati, Bob Schatz, Meghan Aileen Schirmer, Pierre Vreyen




Mother and Child by Andy Warhol

300 12th Avenue South, Nashville, TN 37203 www.galerieravin.com 615.242.3001

The Highwaymen by Kelley Ryan


Art Creates a City


like poetry, a lot. I like the way it sounds, the way the words mysteriously connect, and I like the way I feel when I read it, sometimes aloud, just so I can hear the beauty of the rhyme.

My favorite poems are “The Love Song of J. Arthur Prufrock” by T.S. Eliot and “The Child Dying” by Edwin Muir. In this issue we are relaunching our poetry section in collaboration with the Scarritt-Bennett Center. Each month the presenting poet at the Scarritt-Bennett Poet’s Corner will share a poem with us. You will find “Ghost Writes a Postcard to His Wife” by Gaylord Brewer on page 83. We were all saddened to hear of the passing of artist Brother Mel. I was fortunate to have been with him on several occasions, and I was always struck by his tenderness, his compassion, and, of course, by his enormous talent. Here was an artist who could see the beauty in a simple object, a spoon, a fork, a coat hanger, and create masterful sculptures using them. His colorful paintings have a childlike quality to them that is both playful and compelling. You simply couldn’t help but smile when you saw them. His life, just like his art, was a celebration. We featured Brother Mel in an article titled “A Life in Color.” You can read it at www.nashvillearts.com. There are a lot of art crawls going on in our town. First Fridays, Second Saturdays, Third Thursdays, Maybe Mondays you get the picture. We try to attend as many as we can, and I encourage you to do the same. There is always something new and thought provoking at each crawl. And is there a better place to peoplewatch? I think not. Check out our expanded Crawl Guide on page 23 for a complete listing of all that’s going on in November. This month also be sure to check out the Murfreesboro Art Studio Tour on November 23–24, an outstanding art event.

Opening ReceptiOn

featuRing new wORk Friday Evening November 15th 5:30PM to 8:30 PM

Wanda Choate “The Jungle Gardener” oil on panel 24”x30”

Scott E. Hill “Platform” oil on wood 24”x48”

Paul Polycarpou Editor in Chief EDITORIAL & ADVERTISING OFFICES 644 West Iris Drive, Nashville, TN 37204 Tel. 615-383-0278 ADVERTISING DEPARTMENT Cindy Acuff, Beth Knott, Keith Wright All sales calls: 615-383-0278

Carylon Killebrew “Pure and Simple” oil on canvas 72”x48”

DISTRIBUTION: Wouter Feldbusch SUBSCRIPTION AND CUSTOMER SERVICE: 615-383-0278 LETTERS: We encourage readers to share their stories and reactions to Nashville Arts Magazine by sending emails to info@nashvillearts.com or letters to the address above. We reserve the right to edit submissions for length and clarity. BUSINESS OFFICE: Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.00 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts.com; to reach contributing writers, email info@nashvillearts.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.

www.facebook.com/NashvilleArts www.twitter.com/NashvilleArts www.youtube.com/NashvilleArtsMag

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 www.bennettgalleriesnashville.com


Murfreesboro Art Studio Tour Saturday and Sunday, November 23–24

By Lisa Venegas


or the past 20 years, the weekend before Thanksgiving has become a destination event for art lovers in Middle Tennessee. With over 12 studios and 50 invited guest artists,

this year’s Art Studio Tour will feature the largest number of participating artists to date inviting guests into working studios where the artists will demonstrate their craft. While some of the studios are open to the public full time, most are open only by reservation, so the tour is a very special opportunity to see the artists in their workspaces along with an expansive array of works. “We try to have a diversity of work at each location,” says Alan Daigre. “There may be a painter, a glass artist, a Ray and Susan Allen woodworker, forged iron, and a fabric artist, for example, at each particular studio to give a variety of good works. We hope to grow up to 15 studios and 75 artists in the next year or two.” Not just any artist can participate in the tour. Daigre says there are essential qualifications. “All of the studio hosts are full-time artists. It’s what they do for their livelihood, which is a pretty important criterion for us. [Our goal is] to support these artists and their sacrifices to be full-time artists.” Erin Elizabeth Brown, Clay Bush, Alan Daigre, Norris Hall, Dawna Magliacano, Anne Rob, and Tracy Yarbrough are just a few of the artists exhibiting.

Joe Brown

Dawna Magliacano

In honor of this significant anniversary, the Art Studio Tour will celebrate its 20 th year with a tour kick-off party on Friday, November 2 2, from 6 to 10 p.m. at Mayday Brewery, M u r f r e e s b o r o ’s new microbrewery. T he t heme of t he pa r t y i s A RT CRAFT BEER, and there will be live music, food trucks, a beer named just for the occasion,

and, of course, art. A representative sample of the work available during the tour will be for sale that night and will allow art lovers a chance to determine the artisans to visit during the tour. In addition, on Saturday and Sunday, guests who visit five or more studios will be entered in drawings for gift certificates for selected artists. Presented by the Stones River Craft Association, the Art Studio Tour takes place in Rutherford County in the Murfreesboro area on Saturday and Sunday, November 23–24, from 8 a.m. to 5 p.m. The kickoff party will take place from 6 to 10 p.m. on Friday, November 22. For more information, a complete listing of a r t i st s, a nd a dow nloadable map, please visit www.artstudiotour.org.

10 | November 2O13 NashvilleArts.com

Alan Daigre

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Frank T. Gee, The Beach, Watercolor, 20" x 40"

martin center benefit


f you haven’t visited the FiftyForward Martin Center, here is an opportunity to indulge your artistic side and enjoy the beauty of this magnificent building. On November 7 through 9, the center will commence its Eighth Annual Martin Masters Presents Zoe’s Gallery of Friends, an art exhibition and sale featuring works from more than 40 local artists. This year’s featured artist is Frank T. Gee. The three-day event opens with a preview party on Thursday, November 7, from 5 until 7:30 p.m., during which attendees will be treated to wine, jazz, and hors d’oeuvres. Tickets to the event are $35 per person. On Friday, November 8, from 10 a.m. until 7 p.m., and Saturday, November 9, from 10 a.m. until 3 p.m., the event will be open to the public for free. Proceeds from the show benefit the FiftyForward Martin Center, a private non-profit organization that helps people 50+ stay active and healthy. Presenting sponsor for the show is Cigna HealthSpring. For more information, visit www.themartincentertn.org.

Linden Waldorf School’s 17th Annual

An Enchanting Festival for the Family Saturday, November 9 • 9am - 4pm Tickets available at the door or at TicketsNashville.com $5 admission (under 5 free) Many crafts and activities $2

Activities for Children and the Young at Heart Angel Room, a special place for children to shop • Artisan Vendors Archery & Climbing Wall • Pockets the Elf and Friends • Natural Crafts Facepainting and Henna • Jump Rope Winding • Waldorf Puppet Shows Global Music, Dance & Storytelling • Tasty Offerings • and much more! Scan to Purchase Tickets:

3201 Hillsboro Pike • 354-0270 • www.ElvesFaire.org


Roman Polanski: A Film Memoir

Nashville Jewish Film Festival


elebrating its thirteenth year, this November's Nashville Jewish Film Festival (NJFF) continues its tradition of providing international films through which Nashville’s Jewish community and its neighbors can better understand what it means to be Jewish in the modern age.

Along with special guests, panels, and opening- and closing-night celebrations, the week promises many opportunities to reflect on the complexities of Jewish culture, religion, social conditions, and history as seen through the lens of drama, humor, and even musicals. This year’s festival opens November 6 with the movie Zaytoun, an Israeli film directed by Eran Riklis and produced by Academy Award-winning producer Gareth Unwin about a downed Israeli pilot (Stephen Dorff) rescued by a 12-year-old Palestinian boy. Also slated for viewing is the documentary When Comedy Went to School, about the Borscht Belt hotels and resorts in upstate New York’s Catskills, which created a legacy of Jewish-American comedians during the 1950s and 1960s. Other notable entries include Rama Burshtein’s acclaimed Israeli drama Fill the Void, Ziad Doueiri’s The Attack, Sophie Lellouche’s Paris Manhattan, Laurent Bouzereau’s Roman Polanski: A Film Memoir, and the lively retrospective The Broadway Musical: A Jewish Legacy. A program of the Gordon Jewish Community Center, the NJFF runs November 6 through 14. All films will be shown at the Belcourt Theatre with the exception of The Broadway Musical: A Jewish Legacy, which will be screened for a Monday box-lunch matinee at the Gordon Jewish Community Center, 801 Percy Warner Boulevard, and Paris-Manhattan, which will be shown closing night at the Franklin Theatre, 419 Main Street, Franklin, Tennessee. For more information on the NJFF, a schedule of screenings, and venue information, please visit www.nashvillejff.net.



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Will Barrow’s State of Grace

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uch like his thirty-year career, Grammy winning pianist, singer-songwriter, and instrumentalist Will Barrow’s new CD State of Grace is an engaging and eclectic mix. The

Barrow is joined by an allstar cast of musicians, including Suzy Bogguss, Pat Bergeson, Kenny Anderson, Giovanni Rodriguez Donny Hathaway, Jerry McPherson, Barry Green, Bryan Owings, Pete Abbott, Steve Mackey, Michael Rhodes, Billy Ramirez and more. Featured on the cover of the CD is Will’s second son, Willie, named after [Willie] Nelson, Dixon, and Colón. Congratulations, father and son. State of Grace can be purchased at CDbaby and iTunes. To learn more about Will Barrow, visit www.willbarrowmusic.com.

Give thanks!

Yes, you’ll find it here.



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title cut “State of Grace” was inspired by Barrow’s younger sister, who was in a horrific car accident but walked away unharmed. Barrow reflected, “We don’t realize we’re living in a state of grace until reality hits us.” Though the message could be sobering, the pianodriven title cut is lyrical and funky.

November 2O13 | 15


Garmezy: James River Cat, 22 x 12 x 9/ below, Rappahannock River Cat, 11 x 30 x 16; both hot-sculpted glass and electroplated copper

GONE FISHIN’ featuring GRANT GARMEZY and HAL PICKEL NOVEMBER 14, 2013, 5:30 to 8:30 Celebrate the American pastime of fishing and more importantly, telling the tale. Two Moon Gallery’s Final Exhibition Gone Fishin’ breathes life into age old fishing tales through paintbrush and sculpted glass. Join us Thursday, Nov. 14. www.twomoongallery.com

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16 | November 2O13 NashvilleArts.com

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Jenny Schut Finds Her Direction by Wendy Wilson


s a girl growing up in Ohio, Jennie Schut made coin purses with scraps from her mom’s old wallpaper books and some buttons, and she tried selling them at a local swimming pool. Her business wasn’t a success, but

her artistic life had begun. Years later, she earned money making Christmas ornaments and sewing curtains and pillows. But it wasn’t until 2006, when she was in her mid 30s, that her life as an artist really began to take off. That’s when she discovered she could draw. She had signed up for an art class at a Williamson County Parks and Recreation center and found her creativity going in a whole new direction. Today she is immersed in oil paintings, encaustic work, and mixedmedia art. Her studio is a room next to the detached garage at her Franklin home, where she lives with her husband and four daughters. She also works in the garage itself, where she has a woodshop to create the frames and panels for her artwork.

Doorway to Maggie, 2012, Oil on wood panel, 48" x 48"

To inspire others, Schut wrote a book called Waking Up Grey: An Exploration of Creative Awakening and leads related workshops and retreats. “She’s very wide-ranged,” says Rinda Smith, another Franklin artist who attended one of Schut’s workshops. “It’s encouraging to see her try different things and find where her own talents lie.” While oil painting is her main focus, Schut also uses mixed media to create nature scenes on large pieces of canvas. For a recent project, Schut first glued paper from old hymnals and storybooks onto the canvas, then liberally covered them with oils before sewing on sheets of copper for a tree trunk. Next, she planned to use bonsai and rebar wire to create the leaves. Schut has also found herself drawn to creating encaustic work, an art form dating back to ancient Egypt and medieval Europe. It involves applying colored, melted wax to a surface along with other materials to make a textured design. “My work is as layered as my life is,” Schut says. “I’m discovering and discovering.” Damico Frame & Art Gallery in Franklin is located at 112 Fowlkes Street. For more information, visit www.damicogallery.com and www.flyforward.org

In her art, she explores nature, fleeting moments of beauty, and the mystery of the divine. “I believe the creative process is very spiritual,” says Schut.

Schut’s work will be featured from November 1 through December 3 at Damico Frame & Art Gallery in Franklin, with November 1 being the date for the monthly Franklin Art Crawl. Her work will also be on display from November 14 through November 16 at ARTLightenment, an annual festival in Nashville.

Jenny Schut

18 | November 2O13 NashvilleArts.com


Reflecting Maggie, 2011, Oil on wood panel, 16" x 20"






Two Moon Gallery Presents



by Alyssa Rabun


wo Moon Gallery owner and self-taught painter Hal Pickel approaches a body of work like a country song. With nothing

The fish motif was solidified when Virginiabased glass artist Grant Garmezy walked through Two Moon’s doors to pitch his latest sculpture series Catfish. Garmezy was inspired by memories of fishing with his father and grandfather to blend hot sculpted glass with elements like electroplated copper, steel, rope, and hook to mold the unexpected, naturalistic beauty of fish.

but a packed duffle in the back of his red pickup and his dog by his side, he travels the dusty back roads of smalltown America in search of a thematic muse. He snaps photos and drafts sketches of classic red barns, talks to callused tobacco farmers, and paints under the blinking fluorescence of motel welcome signs. Pickel’s work connects the authenticity of harvest and hand with deep-layered, mixed-media paintings. In a recent trip to Wildlife Farms in Stuttgart, Arkansas, Pickel captured images of bass, catfish, and sun perch, which became the focus of his most recent paintings. In the exhibition titled Gone Fishin’, which opens on November 14 at Two Moon Gallery, Pickel and glass artist Grant Garmezy depict fish in paint and sculpture as both whimsical, cartoon-like creatures and natural, realistic centerpieces. “The subject matter finds me. I like to be fully immersed in my environment and let that environment drive content,” said Pickel. “I recently set out and landed in Arkansas, on the banks of the White River, in a large hunting lodge. I fished during the day and sat around the fire drinking whiskey at night. After my trip I was inspired to paint fish.”

“Meeting Garmezy was serendipitous,” said Pickel. “I talk with many budding artists who are looking to show their work at Two Moon, but Garmezy walked in at the ideal moment with a captivating body of work that connected perfectly.” There is a poignant duality to the title Gone Fishin’. Pickel is putting Two Moon Gallery on the market this month, and Gone Fishin’ may be their final show. The opening for Gone Fishin’ will be Thursday, November 14, from 5:30 to 8:30 p.m. at Two Moon Gallery, 2905 12th Avenue South #108, Nashville. Works will be on view through November 29. Visit www.twomoongallery.com. (Detail) Grant P. Garmezy, Giant Silent Feeder, 2013, Hot-sculpted glass, electroplated copper, steel, rope, 29” x 16.5” x 10”

20 | November 2O13 NashvilleArts.com

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CRAWL GUIDE On Friday, November 1, enjoy the Franklin Art Scene from 6 to 9 p.m. Gallery 202 will show new work from painter Diane Davich Craig and jewelry artist Paula Barnett. Damico Frame & Art Gallery will feature work by Jennie Schut. (See page 18.) Savory Spice Shop will host acrylic artist Roy Laws and his interpretations of vintage guitars, rock ‘n’ roll icons and outlaw country legends. T. Nesbitt & Co. will exhibit Cynthia Birdsong’s new mixed-media work. Bagbey House Diane Davich Craig will showcase in-house artists, Debbie Smartt, Lisa Hayward, and Jill Harper. Jack Yacoubian Jewelry & Fine A r t w i l l host a g roup show of t heir 2013 a r t ists Susan McGrew, Emily McGrew, Paul Harmon, Grant Garmezy, and Lisa Ernst. Roy Laws

On Saturday, November 2, take a ride downtown for the First Saturday Art Crawl from 6 to 9 p.m. The Arts Company will feat u re C h r i st ie Nuell’s exhibition Visual Clues Across the Centuries (see page 58), and ex hibitions by Debbie Smartt Chip Cooper, Joan Griswold, and Brett Weaver. T i n ne y Contemporary will show With Wings by Jeanie Gooden in the front gallery and work by Lyle Carbajal in the back gallery. The Rymer Gallery will host Changing Light, paintings by Scott Upton. Gallery One will show K.J. Schumacher’s exhibit Remarks. The TAL Galleries will present John Cranshaw and his exhibit IMAGINE “If Guitars Could Sing.”

John Cranshaw

At the Arcade, WAG will present Abstraction’s Imaginative Fictions, an exhibition by Watkins Fine Art majors David Anderson, Michael Hampton, and Alexine Rioux. L Gallery will showcase paintings by Abstract Expressionist Carol Lena Saffell. Picture This will host Gary


Hartsfield’s show One Man’s Perspective. OPEN Gallery will show Secret Gardens by interdisciplinary artist Victoria Martinez. Hatch Show Print® invites visitors to see their new location at the Country Music Hall of Fame from 9 a.m. until 9 p.m. during the First Saturday Art Crawl. Arts&Music/ WedgewoodHouston, will take place Saturday, November 2, from 5:30 to 8:30 p.m. Zeitgeist will open a new show with Victoria Martinez Nashville multimedia artist Patrick DeGuira and New York photog rapher Gieves A nderson. Cheekwood w il l host a reception for More Love. Ground Floor Gallery + Studios will show Conditionally Human, a national juried exhibition by Libby Rowe, profe s s or at the University of Texas, San Antonio. Cleft Jim Sherraden Studios will present multimedia artist Robert Spees and excerpts from Christine Rogers’ project The Switzerland of India. On Saturday, November 9, visit Second Saturday at Five Points in East Nashville from 6 to 9 p.m. for fine art, antiques, and artisan wares. Bryant Gallery Robert Spees will feature Garments by Libby Byler.

Libby Byler


November 2O13 | 23



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Anderson Design Group Studio Store Now Open


ast month Anderson Design Group celebrated the grand opening of their expanded Studio Store, a onestop shop for all of their print and gift collections that also features an appealing array of local artisan products.

Their rich, vintage-style, illustrated print collections cover a variety of classic themes, including the award-winning Spirit of Nashville, Art & Soul of America, a Coastal Collection, the Man Cave Collection, and the popular Southern Delight Collection. Matching accessories include coffee mugs, magnets, and cards. You’ll also find local artisan products by Olive & Sinclair Chocolate, Bang Candy Co., Southern Soy Candles, The Uncommon Thread, BBQ Fight Club Sauces, Garage Coffee, Willa’s Shortbread, Robin’s Heart Designs, Christine Groves Handmade Soap, and TruBee Honey. With the expansion of the Studio Store, Anderson Design Group has transformed both their design studio and store, giving the space a more rustic Southern feel. Joel Anderson explains, “We want to promote Nashville, the creativity, the food, and the unique culture. The store has also given us the opportunity to showcase some of our local clients and their products that are made here.” Anderson Design Group, Inc. is an award-winning graphic design firm based in Nashville. Founder Joel Anderson and a group of talented artists and illustrators have been designing logos, book covers, products, posters and more for local and national clients. Anderson Design Group and the Studio Store are located at 116 29th Avenue North. Store hours are 9 a.m. to 5 p.m. Monday through Friday. Visit www.andersondesign.com.

24 | November 2O13 NashvilleArts.com


Jennie Okon's Wooden Creations by Joe Pagetta


nspiration can sit dormant sometimes for years. For artist and wood-jewelry

designer Jennie Okon, born on the Farm in Summertown and raised outside Nashville, it took a move to New York City after high school for the seeds of that inspiration to be planted and a return to her hometown for them to bloom.

“I was exposed to wood and wood tools when we were building the music studio,” she says of the time she and her husband, the musician, songwriter, and producer Joe Pisapia, converted a building on their property into his Middletree Studios. “I worked at a company that builds furniture for studios and had access to every single woodworking tool you could want. I would stay late to experiment with my own work, and that’s where I started to come up with many of my ideas for the jewelry.”


“I love nature, and New York was kind of a strange place to go,” she says from her home studio in East Nashville. Volunteering at the New York Botanical Gardens gave Okon her first taste of working with and arranging natural materials, in this instance at their source, for aesthetic purposes. A degree in ornamental horticulture at Bronx Community College soon followed, and a designer was born. But it wasn’t until her return to Nashville and exposure to a fringe aspect of the music industry—studio furniture design—that inspiration hit.

Jennie’s jewelry is made from reclaimed wood scraps such as maple, oak, cherry, Brazilian cherry, and walnut and polished with an earthfriendly finish. See more of Jennie’s work at www.squareup.com/market/oak-n.

First Saturday Art Crawl

Picture This on 5th, #44 Downtown Arcade

Saturday, November 2, 2013 • 6pm to 9pm Gary Hartsfield | One Man’s Perspective Contemporary Abstracts for Any Space

4674 Lebanon Pike, Hermitage • 615-889-5640 • www.picturethis-gallery.com

Renee Lowery, Cape San Blas Sunrise, 2010, 18" x 24"

(Detail) Sharon Brown Christopher, Mellow Yellow, 2013, 24" x 18"

As Seen… by Lisa Venegas


emember that song “Car Wheels on a Gravel Road”?

When those four wheels are the literal and philosophical vehicle for adventure, and the car contains four talented photographers, something magical is going to happen. Individually, Sandy Burr, Sue Henry, Sharon Brown Christopher, and Renee Lowery are phenomenally gifted photographers. But together, their different perspectives and points of view on an individual subject raise the bar of fine art photography to another level. For the first time, their collaborations will be shown to the public at Main Street Gallery in the exhibit As Seen…images from four perspectives. Sandy Burr, originally from Connecticut, is a graphic designer and former interior designer whose specialty is macro photography and black and white. Renee Lowery has lived most of her life in Middle Tennessee. She has a special love for landscapes and abandoned buildings and structures. Sharon Brown Christopher is a retired pastor who has traveled the world. She has an interest in the abstract, and her unique style brings movement to her subjects. Sue Henry is a retired music educator and professional musician with a commitment to finding beauty in the colors, shapes, and details that are so often overlooked or missed by others. Alone, they have a singular vision. But as Sharon Brown Christopher will tell you, collectively they become in their artistic expression more than the sum of their parts: a trilogy of Vision, Creativity, and Synergy. “Together we investigate the same subject from the tiniest detail to the grandest view,” says Christopher. “Being a certain age gives us time to traverse uncharted paths and a freedom to create without socially defined boundaries.”

Sandy Burr, Meadow 23, 2012, 20" x 20"

The exhibit As Seen…images from four perspectives will open with a reception on Friday, November 8, 5 to 8 p.m. at Main Street Gallery, 625 Main Street, East Nashville. The gallery will be open by appointment Monday–Wednesday, November 11–13 and will offer workshops on Wednesday, November 13. www.f4-studio.com.

Sue Henry, Fiery Passion, 2010, Printed on metal, 16" x 24" (part of a triptych)

26 | November 2O13 NashvilleArts.com


Closing week: Sunday, November 3rd through Sunday, November 10th Open EVERY Night until 11pm.

NINA KUZINA gAllery Presents


Open Daily 10:00 am - 6 pm • 4231 HarDing pike • naSHVille, Tn 37205 • Stanford Square, across From St. Thomas Hospital 615-321-0500 • 615-483-5995 • ninakuzina@comcast.net • www.ninakuzina.com

Pickel: Big Cat, 30 x 30 / below, Cutthroat and Brook, 24 x 24; Largemouth and Striped, 24 x 24; all paintings: acrylic and gesso on canvas

GONE FISHIN’ featuring HAL PICKEL and GRANT GARMEZY NOVEMBER 14, 2013, 5:30 to 8:30 Celebrate the American pastime of fishing and more importantly, telling the tale. Two Moon Gallery’s Final Exhibition Gone Fishin’ breathes life into age old fishing tales through paintbrush and sculpted glass. Meet the artists in person Thursday, November 14.

Two Moon Gallery 615-942-5352 www.twomoongallery.com

2905 12th ave south nashville, tn 37204


1 1160 Manley Lane $2,690,000 2 Stillhouse Hollow Farms $10,000,000 100 acres (up to 800 acres available)

6 110 Lynnwood $2,500,000 7 308 Deerwood $2,250,000

Rick French 604-2323, Cathie Renken 500-8740

8 917 Overton Lea $2,100,00 9 2179 S Berrys Chapel $1,849,000 10 2900 Tyne Blvd $1,795,000

3 939 Tyne Blvd $4,495,000 4 5004 Hill Place $3,800,000 5 521 Westview $3,450,000












11 434 Grayson $2,950,000

Rick French 604-2323, Tim King 482-5953

12 4112 Baldwin Arbor $999,000 13 6003 Cargile $1,149,000 14 106 Clarendon $1,449,000 15 2006 Fransworth $1,699,000

RICK FRENCH 615-604-2323c







Home is where your heArt is...


As a native of Nashville, I would love the opportunity to share with you my passion, experience & knowledge. Because after all... it’s your home!

The Attack at the Belcourt and Jewish Film Festival by Justin Stokes

Loyal • Committed • Honest • Dependable


r. Amin Jaafari, a prestigious Arab doctor living in conflictriddled Israel, faces the destructive effects of violence and discrimination on a regular basis. After finding out that his wife has been killed in an explosion, Amin’s world crumbles when he discovers that she was actually involved in the planning of the attack. After being stripped of his job and despised by his community, Amin goes on a quest to find those responsible for taking away his life. This movie is a powerful reminder of the influence culture has on art. In the safety of our own borders, many Americans simply cannot grasp what life in such dangerous conditions can be like. Many people claim to understand the capricious design of our daily existence, but Amin’s circumstances deliver one emotional punch in the gut after another as he is denied the answers and closure he so desperately craves, trying to make sense of a senseless situation, all the while maintaining the innocence of his late wife. The appeal of this film is that it gets to the moral roots of our behavior by asking the question, “Why do we do what we do?” Moving past any sort of cultural barriers, we’re instead left with an impressive message from director Ziad Doueiri about loss, listening, and learning to move on. This is an impressive effort that warrants your attention after the film, making you reflect on the lessons learned.

This movie is a powerful reminder of the influence culture has on art.

Part of the Nashville Jewish Film Festival, The Attack will be screened at the Belcourt Theatre Wednesday, November 13, at 7 p.m. The festival runs November 6–14, and information about its lineup can be found at www.nashvillejff.net.

russell Buchi, real Estate professional since 1995 615-300-8469 russell.buchi@gmail.com 6557 Stableford Lane


127 Jefferson Square


Doug Lesky 243.1064

Seema Prasad 573.2399

6025 Sedberry Road

2030 Spring Branch Drive


Betsy Moran 485-4475

4535 Harding Pike #110


Seema Prasad 573.2399

Nashville, TN 37205

(615) 202-7777 • www.cpcanashville.com

Maysey Craddock, Shore of the Bay That I Know, 2013, Gouache and Flashe on found paper, silk thread, 39" x 54½”


David Lusk Gallery Comes to Nashville

avid Lusk opened his first gallery in Memphis in 1995, promoting a roster of artists from the Mid South and beyond. The gallery’s distinctive approach reflects the diversity,

ingenuity, and excitement of Memphis. In early January 2014, Lusk will open his second gallery in Nashville, creating an artistic program tailored to our city and showcasing recognized artists previously unrepresented in Nashville, others well known in the city, and a few without any Nashville recognition. Excited about the new endeavor, Lusk commented, “I joked to an art writer in Memphis that my Nashville endeavor will only require time and a sturdy vehicle. Believe me, I know this new gallery is going to take a lot of time and energy, but I have a great Nashville associate in place—Dane Carder, and my team in Memphis is ready for the challenge ahead. The timing is good for a new DLG project: it’s a great opportunity to expand the program I started in Memphis 18 years ago, and I’m looking forward to making new friends and associates in the booming Nashville arts community. The gallery in Nashville will be located at 516 Hagan Street in the burgeoning Wedgewood/Houston neighborhood. Dane Carder will serve as the gallery’s day-to-day director. Carder says: “It has long been my desire to expand the scope of Nashville’s art community. David Lusk Gallery’s program will bring a welcome component to what is an established and vibrant art scene.”

Ampersand, 2013 Historic Woodblock, ca. 1885

Hatch Show Print


For more information, visit www.davidluskgallery.com.

• •

Follow me to English & Company ENGLISH & COMPANY

118 Powell Place • Nashville, TN 37204 Mon. - Sat. • 10:00 - 5:00 • (615) 315-5589 englishandcompanytn@gmail.com Follow us on Facebook

NOW OPEN JOIN US FOR FIRST SATURDAY ART CRAWL 224 5th Avenue South • Downtown Nashville 615-256-2805 • HatchShowPrint.com Hatch Show Print is another historic property of the Country Music Hall of Fame® and Museum, a section 501(c)(3) non-profit education organization chartered by the state of Tennessee in 1964.


Anton Weiss Returns to Teaching Noted Abstract Expressionist to Share His Talent and Experience


fter being out of the classroom for nearly a decade and after hundreds of requests for his return, Anton Weiss will open his studio for approximately ten lucky painting students. Make no mistake, this is a once-in-a-lifetime opportunity. Initially educated in art at the Villach Institute of Art Museums, Villach, Austria, Weiss moved to New York and studied under Jerry Farnsworth of the Art Students League. From there he studied for years under Hans Hofmann, a trailblazer and master of the Abstract Expressionist style. Having exhibited throughout the world, Weiss and his work have enriched the lives of generations of artists and art lovers. Also a local icon, Weiss taught and served Remnant, 2013, Metal on panel, as director of the art department 48" x 36" at Watkins College of Art, Design and Film and helped found the Tennessee Art League and the Tennessee Watercolor Society. With modesty but excitement in his voice, Weiss said, “I am pretty well known for my teaching process, and every time I show or am out at a gallery, people ask me when I am going to teach again, so I thought I’d take another stab at it.” Weiss will accept beginning and intermediate students for both canvas and watercolor instruction. Group classes will be held at Weiss’s studio just outside of Leiper’s Fork, one day a week for ten weeks. So that students can become completely immersed in the process of making art, classes will begin at 9 a.m. and last until 3 p.m. For more information, contact Weiss at 615-791-8244.

A Holiday Tradition continues...

Crystal Gypsy Designs by Tania Smith Two Day Special Event Thanksgiving Weekend November 29 & 30 Begin your holiday shopping pampered and stress free. Aromatherapy chair massages compliments of Skin MB.

The amulet centerpieces in this exotic jewelry line were collected from a Tibetan family who have been traders in the Himalayas for over 70 years, and left Tibet during the Cultural revolution. To own such a one of a kind necklace is to own a beautiful and rare treasure from the roof of the world. These amulets are extremely rare and range between 70 to 100 years old.

3900 Pike, Suite 34 • 3900 Hillsboro Pike | Nashville, TNHillsboro 37215 | 615-739-6573 Nashville, TN 37215 paullequireandcompany.com


The Power of the Flower


ongratulations are in order. Ilex for Flowers just celebrated their one-year anniversar y under the leadership of Dwayne Johnson. Known for innovative, custom designs using the highestquality flowers, Ilex continues to show Nashvillians the power f lowers h ave to beautify any décor or event.

Celebrating Ilex for Flowers’ anniversary Seated: Jane Dudley and Johnna Watson. Standing: Tony Rose, Shirley Harvey, David White

During the holiday season, Ilex promises to amaze with their creativity and stunning array of seasonal fresh flowers, greenery, and winterberries. They specialize in indoor and outdoor arrangements, including mailbox decorations and spectacular wreaths. From decorating an entire home or office, to enhancing an event, to providing floral arrangement as gifts, Ilex has the expertise and customer service to astonish and delight!

Ilex for Flowers is located in the Gulch at 601 8 th Ave. S. For more information, visit www.ilexforflowers.com.

19th through 21st Century American and European Paintings and Sculpture

Roger Dale Brown at Greenbrier’s Fine Art Week


oger Dale Brown will be one of a select group of painters to participate in Through Their Eyes, a “paint out” at the Greenbrier Resort in White Sulpher Springs, West Virginia, this month. Thirteen professional artists from across the country will spend the week painting on location around the resort. The artists will share their field-proven knowledge in painting with guests through demonstrations, lectures, and artist talks. In the evenings, Glimmering Evening, 2013, Oil finished works will be displayed, on linen, 24” x 30” and participants will have the opportunity to visit with the artists. The week culminates with Friday evening’s First Look party, which will showcase the work created during the week. One lucky First Look party ticket-holder will win a Charles Movalli painting valued at $6,500. Greenbrier’s Fine Art Week Through Their Eyes takes place November 4 through 10 at the Greenbrier Resort. For more information, visit www.greenbrier.com. For reservations to the First Look party call 855-787-8105.

Louis Marie de Schryver French, 1862-1942 La marchande de fleursRue de Rivoli Oil on canvas 28 ¾ x 36 ¼ inches Signed and dated 1892

6608A Highway 100 • Nashville, TN 37205 • 615.352.5050 • info@stanfordfineart.com • www.stanfordfineart.com




601 8th Ave South Nashville, TN 37203 615-736-5200 ilexforflowersnashville@gmail.com www.ilexforflowers.com

Zinnia peruviana Photography by Brett Warren NashvilleArts.com

November 2O13 | 37

The Nature of Wood continues

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

Thru November 30

Walk a Mile in My Shoes, 2013, Mixed media, 19" x 7 ¾" x 19"

Susan DeMay at Vanderbilt Career Highlights: 40 Years in Clay

Behind the Veil woodblock by Alan LeQuire

In the Doorway woodblock by Alan LeQuire

Special Thanksgiving Weekend Holiday Preview Visit our 6000 Sq. Ft Gallery & Studio Friday & Saturday Nov 29 & 30 10-3:00

4304 Charlotte Ave • Nashville, TN 615-298-4611 • www.lequiregallery.com


distinctive career spanning 40 years is something worth celebrating. And that’s just what Vanderbilt University’s Department of Art will do through November 22 with an exhibition commemorating the art of the department’s illustrious senior lecturer in ceramics, Susan DeMay. A professor at Vanderbilt since 1985, DeMay is recognized for her distinctive glazes and glazing techniques. DeMay completed her master’s degree in art at Tennessee Tech’s Appalachian Center for Craft in Smithville, Tennessee, and is the owner of a studio production company, Made by deMay. In addition to conducting workshops and exhibiting extensively throughout the region, she is the Picket (pik'et) 5. To Enclose author and subject of numerous articles for Within a Picket Fence as for Protection, Imprisonment, national and international publications, and etc., 2013, Mixed media, her work is featured in five Lark Book series. 20¼" x 4½" x 14½" On display will be more than 40 of DeMay’s works from public, private, and the artist’s collections, including vessels and wall pieces, sculptural ceramics, and her recent mixed-media work. Also on display will be an unusual and heartfelt piece by DeMay: the burial urns of friend and mentor Sylvia Hyman, who requested DeMay create her burial urns by incorporating the ashes from her cremation into the glazes. Career Highlights: 40 Years in Clay will be on display through Friday, November 22. Space 204 is the second floor gallery of the E. Bronson Ingram Studio Art Center, 1204 25th Ave. S. at Garland on the Vanderbilt campus. Sponsored by the Vanderbilt University Department of Art, all Space 204 exhibitions are free and open to the public. For more information, visit www.vanderbilt.edu/arts.

38 | November 2O13 NashvilleArts.com


Victorians Victorious

Alexander's Behind the Shattered Glass Showcases Societal Transformation

The Bookmark A Monthly Look at Hot Books and Cool Reads

by Stephanie Stewart-Howard

The Death of Santini: The Story of a Father and His Son PAT CONROY


asha Alexander wrote her first two Victorian mysteries featuring intrepid heroine Lady Emily Ashton while sitting in the Franklin Starbucks.

Tasha Alexander

Though she now lives in Chicago, since her marriage to fellow writer Andrew Grant, she remains integrally Nashville, from her regular appearances at the Southern Festival of Books to signings at Parnassus Books in Green Hills. Eight volumes into the still intriguingly page-turning series, we like to claim her as our own.

Likewise, when Alexander releases a new book, it creates waves in the local fiction community. Behind the Shattered Glass emphasizes her growth as an author, building on the foundations erected in her previous novel, Death in the Floating City. Alexander has always been admirable for her commitment to research and historicity; what makes her books increasingly more thoughtful is that her knowledge has reached a point where she can truly plumb the stratified social world in which her characters exist.

The Art of Simple Food II: Recipes, Flavor, and Inspiration from the New Kitchen Garden ALICE WATERS Alice Waters, the owner of Chez Panisse Restaurant and a pioneer of the sustainable food movement, presents 200 new recipes that share her passion for the many delicious varieties of vegetables, fruits, and herbs that you can cultivate in your own kitchen garden or find at your local farmers’ market.

This Is the Story of a Happy Marriage ANN PATCHETT

At the end of the nineteenth century, Lady Emily began her journey as a wealthy young widow, always sheltered and pampered. A veritable “princess,” Emily lacks nothing—except intellectual stimulation, action, and passion—making her the picture of Victorian societal ideals. Widowhood, even before she discovers that her husband may have been murdered, turns her world around, offering Emily the opportunity to explore the world outside balls and society events. The ensuing novels see the character embrace rights for women, suffrage, and dress reform—not via unrealistic, didactic tactics by the author, but with the genuine, slow blossoming of human character. Alexander often points out the unnatural nature of assuming that people in the past must have thought exactly as we do, and she has taken a long, sweet, nuanced time examining her character’s inner growth and motive. More than a decade into the series, the newly remarried Emily has a much more innovative and diverse worldview—and has chosen a husband accordingly. Behind the Shattered Glass was released by Minotaur/ St. Martin’s Press (UK Edition) and is available at Parnassus Books, Barnes & Noble, and online at www.amazon.com. For more information, visit www.tashaalexander.com.

In this powerful and intimate memoir, the beloved bestselling author of The Prince of Tides finds some common ground at long last with his father, who was the inspiration for his book The Great Santini.

We admit we are a little biased with this pick. In this collection of essays, Ann Patchett examines the things she is fully committed to—the art and craft of writing, her marriage, an elderly dog, one spectacular nun, and a bookstore in Nashville. See Ann in person at the Blair School of Music on November 4.

The Valley of Amazement AMY TAN In her new novel, the New York Times bestselling author of The Joy Luck Club gives us a sweeping, evocative epic of two women's intertwined fates and their search for identity—from the lavish parlors of Shanghai courtesans to the fog-shrouded mountains of a remote Chinese village. Meet the author at Salon@615 on November 18.

For more information about these books, visit www.parnassusbooks.net.


November 2O13 | 39


Bryce McCloud and Elizabeth Williams showing off their Our Town uniforms and recently made prints.

OUR TOWN Portraits of Music City by Van Gill, Public Art Project Coordinator, Metro Nashville Arts Commission Photography by Stacey Irvin


rtist, printmaker, entrepreneur, and all-around Nashville enthusiast Bryce McCloud is embarking on a new adventure, and Metro Arts is along for the ride! Literally taking his passion to the streets, the owner of

Isle of Printing and his mobile art cart will explore what it means to live in Music City through the art of printmaking. During the year-long community public art project entitled Our Town, McCloud and his jumpsuit-clad team are transforming Nashvillians from all walks of life into printmakers and art collectors. Using a custommade mobile art cart to travel the city, McCloud and his participants will develop a series of prints “made by Nashvillians for Nashvillians.” Constructed Participant Mark Maddox making his self-portrait during (Park)ing Day 2013. atop a tricycle, the cart has all the necessary equipment to function as a print studio, art gallery, and trading post. When a citizen approaches the cart and participates by creating a self-portrait, they have the opportunity to exchange their portrait for a print of another individual’s portrait. Displaying and exchanging portraits, Our Town feels like a whimsical swap meet. Featured prints from the cart outings will be part of the permanent collection of the Nashville Public Library at the end of the project.

Check out www.ourtownnashville.org for a list of Our Town locations, photos, and great artwork. Our Town will be making and collecting prints through July of 2014. Don’t miss the chance to become part of Nashville’s self-portrait.

The Great Unknowns


Printmaker by Jennifer Anderson


aking things with your hands was a part of growing up for Julie Sola.

Working side by side with her grandmother as a child, she learned to sew her own clothes and toys, draw, and make folk art out of clay. When she was older she began to sell her clothing and art, but as a child it was an everyday thing to create the things you would use. On a trip to Texas in her twenties she discovered printmaking. The process of drawing, carving, and printing spoke to her and connected her to the tactile, three-dimensional art of working with clay but provided a more mobile way to make art for someone who was traveling a lot. She remembered the faces of the people working on a ranch in New Mexico where she studied and began to recreate them in her carving. These timeless, indigenous faces that could have been from the 30s or 40s inspired her to create a moment in time whose narrative doesn’t disclose the past or the future and is left for the viewer to interpret. Her work at Hatch

Girls Collection, 2010, Print mounted on plywood, 10" x 10"

Show Print gave her experience in letterpress and the art of poster making and influenced her use of color and composition. Today she spends her time at her East Nashville shop carving the woodcuts she will then print on her 1964 Vandercook Proofing Press. As each print comes off the press it is a unique and happy surprise that she loves to share. At her shop you will find her art prints as well as prints on fabric, lampshades, CD covers, and children’s books that she writes in addition to illustrating. You can find Julie Sola and her work at her shop, Fat Crow Press, in the IDEA Hatchery at 1108 Woodland Street in East Nashville. For more information email unboundartsnashville@gmail.com.

Tennessee Art League Opening November 2

John Cranshaw “ImagIne”

Opening Reception October 5, 2013 6PM

The new TaL we are now on The 5th avenue of the arts 219 5th Ave N • Nashville, TN • 615-736-5000 • www.tal5.com

Like us on Facebook Facebook.com/tnartleague

THROUGH JANUARY 12 30 Am e r ican s i s o rg a ni zed by t h e Ru be l l Fa m i l y Co l l ecti o n, M i am i




Kehinde Wiley. Triple Portrait of Charles I (detail), 2007. Oil and enamel on canvas, triptych, 82 x 135 in. overall. Rubell Family Collection, Miami

42 | November 2O13 NashvilleArts.com

Mickalene Thomas, Baby I Am Ready Now, 2007. Acrylic, rhinestone and enamel on wooden panel, diptych, 72" x 132" overall

Changing Perceptions 30 Americans and Norman Rockwell Meet at The Frist by Daniel Tidwell


hat does it mean to be an American? Who and what define that idea? Can there be

multiple definitions, and, if so, is one more authentic than the other? Two seemingly disparate exhibitions at the Frist Center for the Visual Arts: 30 Americans and American Chronicles: The Art of Norman Rockwell pose these questions while juxtaposing two very different views of America. 30 Americans presents the work of some of the most important African American artists working today and was organized by the Rubell Family from their own massive collection of contemporary art. Frist Center Curator Katie Delmez says that the show had its genesis a few years ago when the Rubells “noticed a burgeoning of young African American artists. During visits to some of these ascending artists’ studios, they heard the same predecessors being named over and over as inspirational and influential artists like Robert Colescott, Renee Green, Gary Simmons, Jean-Michel Basquiat, Carrie Mae Weems, and David Hammons. They already had many of those artists in their collection and decided the time was right to organize a show with both the old and the new.”

Nina Chanel Abney, Khaaliqua & Jeff, 2007, Acrylic on canvas, 61" x 63 3/4" NashvilleArts.com

November 2O13 | 43

“As the show evolved, we decided to call it ‘30 Americans,’” write Mera and Don Rubell in the exhibition catalogue. “Americans rather than African Americans or Black Americans because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all. And the number 30 because we acknowledge that . . . this show does not include everyone who could be in it.” “Many of the artists in 30 Americans address tough subjects— lynchings, the denigrated position of African Americans in the official history of art, definitions of beauty that do not include people of color, racism in general—in very direct ways that may make some visitors feel uncomfortable,” according to Delmez. Indeed, Mera Rubell acknowledges that much of the art in the show is about very painful moments in history. Works like Duck, Duck Noose by Gary Simmons, a sculpture with eight KKK hoods sitting on stools looking inward at a noose, and Camptown Ladies by Kara Walker address the legacy of slavery in very direct ways, while other pieces, such as Leonardo Drew’s Untitled #25 consisting of a huge grid of cotton bales or Rodney McMillan’s Untitled carpet piece, deal with history and memory by co-opting and subverting the formalism of minimalist sculpture. The godfather of contemporary African American art, the late Robert Colescott, casts a long shadow over this show. A master satirist, Colescott’s overtly political paintings that borrow freely from art history paved the way for many of the younger artists in the show. Like Colescott, Kehinde Wiley appropriates the traditions of classical portrait painting to create monumental images of urban

Jean-Michel Basquiat, Untitled (Self-portrait), 1982–83, Oil on wood, 20" x 20"

"nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all."

Norman Rockwell, The Problem We All Live With, story illustration for Look, January 14, 1964 44 | November 2O13 NashvilleArts.com

Xaviera Simmons, One Day and Back Then (Standing), 2007, Color photograph, Ed. 2/5, 30" x 40"

African American men, recasting them as heroic figures and questioning notions of race and class. Kerry James Marshall also monumentalizes African American life and history through largescale paintings and prints focusing on narratives which make blackness visible as an image of power. In a similar way, Mickalene Thomas borrows from traditional odalisque representations of women to create intricate paintings that explore questions of African American female beauty and sexuality. 30 Americans is one of the most provocative shows that the Frist

Center has undertaken. As Michele Wallace writes in the catalogue to the exhibition: “‘30 Americans’ contains a near-comprehensive repertoire of the tropes of black postmodernism . . . in which the negativities of slavery, Jim Crow, blackface minstrelsy, racism, sexism, and sexual slavery are constantly invoked and interrogated for the rich, dark spaces and designs that their stillwarm undersides may reveal.” Meanwhile, American Chronicles: The Art of Norman Rockwell occupies what would seem to be a diametrically opposed position,

(Detail) Kerry James Marshall, Untitled, 1998–99, Eight-color unique woodcut, Ed. 1/4, twelve panels, 98 1/2" x 608 1/2" overall


November 2O13 | 45

Guggenheim Museum presented a major Rockwell exhibition, and it definitely opened the eyes of a lot of scholars. There is no question he is a major part of American visual culture.” Having 30 Americans and American Chronicles: The Art of Norman Rockwell on exhibit concurrently presents unique opportunities for Frist Center visitors according to director Susan Edwards. “The exhibitions were intentionally paired . . . giving resonance and texture to both of them. Indeed, visitors have the opportunity to engage in the standard art-historical approach of compare and contrast . . . noting stylistic differences and the range of artistic approaches.” Edwards sees unexpected conceptual synergies between the political work in 30 Americans and Rockwell’s illustrations: “Rockwell was well positioned at a sensitive moment to call our attention to issues of social responsibility in a non-threatening way. This is not to claim that he was a subversive, but rather a responsible citizen speaking through the voice of his art. We hope this pairing will launch debate and conversations about patriotism, the role of art in political dialogue, personal identity, and the power of artistic voice.”

Norman Rockwell, Boy in a Dining Car, Cover illustration for The Saturday Evening Post, December 7, 1946

30 Americans will be on exhibit at the Frist Center until January 12. American Chronicles: The Art of Norman Rockwell opens November 1 and will remain on view through February 9. For more information, visit www.fristcenter.org.

both conceptually and art historically, to the work in 30 Americans. Organized by the Norman Rockwell Museum in Stockbridge, Massachusetts, this trip down memory lane depicts an idealized America that, in reality, never existed. The show covers fifty-six years of Rockwell’s career, from his early work for Boy’s Life to his Saturday Evening Post covers and his final illustrations for Look magazine. It’s the first major exhibition of an illustrator at the Frist Center and includes many of Rockwell’s most familiar works, such as No Swimming, Four Freedoms, Triple Self-Portrait, and Christmas Homecoming. “The exhibition allows people to see Rockwell’s original artwork and thus to appreciate his skills as a painter,” says Frist Center Curator Trinita Kennedy. “It also shows a little-known side of Rockwell, and that is his interest in civil rights issues.” In The Problem We All Live With for Look magazine in 1963, Rockwell tackled the issue of school desegregation, depicting six-year-old African American Ruby Bridges, accompanied by four U.S. Marshals en route to her first day at the all-white public school in New Orleans. Despite criticism, Rockwell continued to create harder hitting works, including Murder in Mississippi about the murder of civil rights workers Chaney, Goodman, and Schwerner and New Kids in the Neighborhood dealing with suburban integration. Kennedy says that “The Problem We All Live With is important for all Americans to see. Like Rosa Parks, Ruby Bridges is a great American hero, and, because of her youth, what she did was all the more extraordinary.” While Rockwell’s illustrations remain immensely popular, many might think a retrospective of his widely known work to be unnecessary. Not so, according to Kennedy, who says that many art historians are revising their views on Rockwell. “In 2001 the

Iona Rozeal Brown, Sacrifice #2: it has to last (after Yoshitoshi’s “Drowsy: the appearance of a harlot of the Meiji era”), 2007. Enamel, acrylic, and paper on wooden panel, 52" x 38"

46 | November 2O13 NashvilleArts.com



Visit Us During “Franklin Art Scene” November 1, 6-9pm


202 2nd Ave. South, Franklin, TN 37064 • www.gallery202art.com • 615-472-1134


Leipers Fork • 753 Acres 4009 Carters Creek Pike

Bellle Meade • Pool 4405 Iroquois Avenue

Belle Meade • 2.02 Acres 1311 Chickering Road

Greenbrier • 68.83 Acres 7137 Swift Road

Belle Meade Area • Pool 1039 Lynnwood Blvd

Belle Meade • Pool 1109 Belle Meade Blvd

Belle Meade • 1.22 Acres 4433 Warner Place

Green Hills • Pool 3540 Trimble Road








$3,500,000 • 1.03 Acres

SOLD Leipers Fork Area • 30 Acres 5195 Old Harding Road

Franklin • 59.73 Acres 3755 Perkins Road

Belle Meade • .83 Acres 1216 Canterbury Drive

Belle Meade • Pool 405 Jackson Blvd $2,950,000 • 2.32 Acres

Belle Meade • Pool 4406 Chickering Lane $2,900,000 • 4.22 Acres

Belle Meade • Pool 515 Westview Avenue $2,800,000 • 1.49 Acres

Belle Meade 519 Belle Meade Blvd $2,250,000 • 2.32 Acres

Belle Meade • 1.68 Acres 1022 Chancery Lane

Belle Park • Percy Warner Park 1300 Forrest Park Drive

Golf Club/Hampton Area • Pool 2320 Golf Club Lane

Leipers Fork Area • 125 Acres 7790 Oscar Green Road

Belle Meade • .74 Acres 4307 Glen Eden Drive

Belle Meade • 1.37 Acres 605 Lynnwood Blvd

Belle Meade Area • 4.25 Acres 4370 Chickering Lane

Belle Meade Highlands 216 Heady Drive




Belle Meade • Pool 425 Jackson Blvd










Steve Fridrich

615-321-4420 • Steve@SteveFridrich.com WILLIAMSON CO. 615-263-4800 • www.FridrichandClark.com • NASHVILLE 615-327-4800


Bye-Bye, Nikon Jimmy Stratton Sets His Camera On Fire and Reignites His Passion


by Cat Acree | Photography by Jimmy Stratton

ocal music and entertainment photographer Jimmy Stratton has one rule for photography: Break all the rules. With one spark from a blowtorch, he broke every rule

in the book. On February 5, 2013, five years after Tennessee’s 2008 tornado decimated his property, Stratton set his Nikon on fire, a grand gesture to start anew, the torched camera signaled a turning point, as Stratton left behind a thirty-five-year professional photography career and committed himself to “phonetography,” or cameraphone photography. “It was the camel walking through the eye of the needle,” Stratton says. “It was really about letting go, putting things behind me, and moving forward to greener fields. When everything changes, change everything.” With the increasing quality of camera phones, mobile devices are slowly replacing DSLRs, and content is printed less and viewed more often on screens. Thanks to social media’s gravitational pull, professional photography is as vulnerable as the hardcover

book. For Stratton, embracing mobile technology is the next evolutionary step for the medium. “Artists that sustain have to reinvent themselves,” Stratton says. “The Rolling Stones did disco! They were a bad-boy rock ‘n’ roll band, and they did disco. You embrace the times, and you move forward.” Stratton now employs a veritable arsenal of camera phones— including the year-old Samsung S3 that he used to photograph the burning Nikon—camera phone lenses, and mobile software. All editing is done with apps, and he makes extensive use of filters, often running images through several times in search of an exciting effect. Despite all the gadgets, Stratton insists that tools don’t make the artist, and professional-quality work can be achieved with any camera phone. “Intuition, instinct, and vision make you an artist. Just because you own a guitar, you’re not a songwriter,” Stratton says. “If you put a hundred-dollar guitar in Stevie Ray Vaughan’s hands, he’s going to sound like Stevie Ray Vaughan.” Stratton admits that companies aren’t willing to pay for product photos shot on a camera phone—yet—and fellow photographers


November 2O13 | 49

"Artists that sustain have to reinvent themselves. You embrace the times, and you move forward."

Self-portrait by Jimmy Stratton taken with a Samsung Galaxy S4 Zoom

might argue that the clarity of phonetographs doesn’t match that of an SLR camera. But that’s fine with Stratton, who loves the more-nostalgic phonetographic effects of his images. “They look like paintings, in a way,” Stratton says. “They have an illustrative quality . . . Crisp is good, but music and art are better when they’re warm and fuzzy.”

Phonetography is more play than work anyway. Stratton says, “It’s like when you’re five years old, and the first time you ride a bicycle, you do something you’re not supposed to do: You defy gravity. That’s what this is. I’m defying gravity.” For more information, visit www.musiccityphoto.com.


November 2O13 | 51



November 22-23 10:00 – 4:00



2160 Bandywood Dr | Nashville, TN 37215 615-298-1404 | www.ward-potts.com

W O O D S T O C K V I N TA G E L U M B E R . C O M





Arts Worth Watching W

hen it comes to Americana music, Nashville has emerged as the Rome of the genre—the place where all roots-music roads lead. Home to the Americana Music Association and its annual awards show and festival, it’s the place where a majority of roots-music musicians are living, recording, or touring. This month, on Friday, November 22, Nashville Public Television celebrates the rise of the genre, and Nashville’s role in its ascension, with what may very well be the finest night of music on television anywhere.

Americana night begins at 7 p.m. with Music City Roots: Live from the Loveless Café, with Nashville legend Jason Ringenberg—also known as Farmer Jason to NPT viewers with young children—guest hosting and performing. The show also includes East Nashville's Don Gallardo, Grateful Dead-inspired bluegrass from the Volunteer String Band, Southern roots rock from Drivin' N' Cryin', and traditional blues from Joey Morant. At 8 p.m. comes Nashville 2.0: The Rise of Americana. The one-hour documentary surveys the genre that is essentially an American musical melting pot, incorporating country, rock, folk, bluegrass, R&B, gospel, Latin, and blues, bringing new sounds to these proud traditions. It’s a journey drawing lines from Emmylou Harris to Mumford and Sons, Rosanne Cash to the Avett Brothers, and Dwight Yoakam to the Carolina Chocolate Drops, plus performances by Jason Isbell and Amanda Shires, Elizabeth Cook, The Lone Bellow, and more. Americana Music night concludes at 9 p.m. with the national broadcast premiere of ACL Presents: Americana Music Festival, an abridged version of the Honors and Awards Show that took place in September at the Ryman Auditorium. Performers include Dr. John, Stephen Stills, Rodney Crowell, Harris and more. Legendary composer and lyricist Stephen Sondheim's groundbreaking musical Company premiered in 1970 with a

book by George Furth. Centering on Bobby, a confirmed bachelor celebrating his thirty-fifth birthday with his ten closest friends (who also happen to be five couples), the musical culminates in Bobby's transformation from unattached swinger to tentative monogamist. On Friday, November 8, at 8 p.m., NPT brings you a star-studded Great Performances presentation of the New York Philharmonic’s concert production of the musical. Directed by Sondheim veteran Lonny Price, Neil Patrick Harris stars as Bobby. He’s joined by Patti LuPone, Stephen Colbert, Christina Hendricks, Anika Noni Rose, Jon Cryer, Martha Plimpton and others to perform the show's many Sondheim standards, including "Another Hundred People," "Barcelona," "Side by Side," "The Ladies Who Lunch," and "Being Alive." Celebrating its 70th anniversary in 2013, Rodgers & Hammerstein's landmark musical Oklahoma! returns to Great Performances the following Friday, November 15, at 8 p.m. for a special commemorative encore telecast. This acclaimed production from London's National Theatre, directed by Trevor Nunn and choreographed by Susan Stroman, features a sensational, star-making performance by Hugh Jackman as Curly before his ascent to international movie stardom in the X-Men film franchise. Also featured are original cast members Josefina Gabrielle as Laurey, Maureen Lipman (The Pianist) as Aunt Eller, and 2002 Best Supporting Actor Tony-winner Shuler Hensley as the menacing Jud Fry. The iconic Barbra Streisand was a child the last time she performed in Brooklyn, the borough of her birth in New York City. In her case, you can go home again, especially when there’s a new venue large enough to accommodate your star power. In yet another of Great Performances’ stellar offerings this month, Barbra Streisand: Back to Brooklyn, on Saturday, November 29, at 8 p.m., finds the singer, producer, actor, and director commanding the new Barclays Center arena and performing an extensive selection of songs from throughout her five-decade career, including a touching duet with her son Jason Gould. She’s also joined by special guests—and NPT favorites—Il Volo and Chris Botti.

54 | November 2O13 NashvilleArts.com

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


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


November 2013

Nashville Public Television



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

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

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

Nashville Public Television

JFK: American Experience In this two-part documentary, follow JFK's rise to power from his birth to his election as president in 1960 – the youngest man ever to be elected to the office – through his assassination and the unfulfilled promise of his presidency.

Monday & Tuesday, November 11 & 12 8:00 PM

Carol Burnett The Mark Twain Prize The comedy world convenes in Washington, DC to toast this year's recipient of the Kennedy Center's Mark Twain Prize for American Humor, with Julie Andrews, Lucie Arnaz, Tony Bennett, Tim Conway, Tina Fey and more.

NOVA At the Edge of Space

Sunday, November 24 7:00 PM

Explore the universe between the blue sky above us and the infinite blackness of space.

Wednesday, November 20 7:00 PM





7:00 Secrets of Althorp – The Spencers 8:00 Masterpiece Classic Downton Abbey, Season 2, Episode 5. 9:00 Masterpiece Classic The Paradise, Part 6. 10:00 Bluegrass Underground Leon Russell. 10:30 Closer to Truth Does Hell Reveal God? 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Antiques Roadshow Politically Collect. 8:00 JFK: American Experience Part 1. Follow JFK’s rise to power from his birth to his election as president in 1960 - the youngest man ever to be elected to the office. 10:00 BBC World News 10:30 Last of Summer Wine 11:30 To Be Announced


7:00 Antiques Roadshow Junk in the Trunk 3. 8:00 Antiques Roadshow Dallas, TX – Hour Three. 9:00 Independent Lens The Graduates/Los Graduados. The challenges many Latino high school students are facing. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 American Graduate: Translating the Dream 11:30 American Graduate: Graduation by the Numbers


Jimi Hendrix American Masters Tuesday, November 5 8:00 PM

7:00 Secrets of Selfridges 8:00 Masterpiece Classic Downton Abbey, Season Two, Part Four. 9:00 Masterpiece Classic The Paradise, Part Five. 10:00 Bluegrass Underground Beausoleil Avec Michael Doucet. 10:30 Closer to the Truth What’s in a Resurrection? 11:00 Tavis Smiley 11:30 Inside Washington


Primetime Evening Schedule

November 2013


7:00 African Americans: Many Rivers to Cross Making a Way out of No Way (1897-19). The Jim Crow era. 8:00 JFK: American Experience Part 2. Follow Kennedy into the White House through his assassination and unfulfilled promise. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 End of Life Decisions: An NPT Reports Town Hall


7:00 African Americans: Many Rivers to Cross In the Fire (1861-1896). The most tumultuous and consequential period in African American history. 8:00 Jim Hendrix: American Masters Hendrix’s music and stage presence left an enduring legacy. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Aging Matters: End of Life



7:00 Nature Parrot Confidential. 8:00 NOVA Cold Case JFK. Could modern investigators do better? 9:00 Secrets of the Dead JFK: One P.M. Central Standard Time. A chronicle of the assassination as revealed at CBS. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Emeli Sande/ Michael Kiwanuka.


7:00 Nature Love in the Animal Kingdom. 8:00 NOVA Making Stuff Safer. David Pogue delves into cyber security, where computer experts work to shield us from attacks. 9:00 Raw to Ready Bombadier. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Emmylou Harris and Rodney Crowell.



14 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life 8:30 Mind of a Chef Sean prepares a typical Appalachian dinner, a Korean meal with his mom, and throws down with the chef of Blackberry Farms. 9:00 Doc Martin The Departed. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Secrets of Althorp – The Spencers

15 7:00 Music City Roots: Live from the Loveless Café Langhorne Slim, Paul McDonald and Niki Reed, Bill Mize and Annabelle’s Curse perform. 8:00 Great Performances Rodgers and Hammerstein’s Oklahoma! Celebrate the 70th Anniversary with an encore performance from London’s National Theatre. 11:00 BBC World News 11:30 Moyers & Company


7:00 Music City Roots: Live from the Loveless Café Performances by The Dirt Daubers, The Owsley Brothers, The Memphis Dawls, Gypsy and Humming House. 8:00 Great Performances Moby Dick from San Francisco Opera. Jay Hunter Morris stars as the obsessive Captain Ahab. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Moyers & Company


7:00 Tennessee Crossroads 7:00 Music City Roots: Live 7:30 Volunteer Gardener from the Loveless Café 8:00 Chef’s Life St. Paul and the Broken 8:30 Mind of a Chef Bones, Gwyneth & Sean explores drying, Monko, Erick Baker, salt curing, canning, ferReed Foehl and Billy Burnette with guest guimentation and jamming. tarist Kenny Vaughan 9:00 Doc Martin perform. Driving Mr. McLynn. 8:00 Great Performances 10:00 BBC World News 10:30 Last of Summer Wine Steven Sondheim’s Co11:00 Set for Life mpany with the New Three diverse Baby York Philharmonic. Boomers struggle to re- 10:30 Last of Summer Wine cover from the Great Re- 11:00 BBC World News cession. 11:30 Moyers & Company

Lincoln@Gettysburg Tuesday, November 19 8:00 PM


Nature Love in the Animal Kingdom Wednesday, November 6 7:00 PM



16 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Café Diminishing Returns. 9:00 Miranda The New Me. Stevie has her work cut out trying to stop Miranda spending all day in her pajamas with a packet of biscuits for company. 9:30 Outnumbered 10:00 Globe Trekker Ice Trekking the Alps. 11:00 Doc Martin The Departed.

9 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Café Deal or No Deal. It's Carol's birthday and she's got a very difficult decision to make. 9:00 Miranda Dog. A handsome stranger's lost wallet prompts an infamous competition. 9:30 Outnumbered 10:00 Globe Trekker Paris City Guide. 11:00 Doc Martin Driving Mr. McLynn.

7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Café Fragile – Handle With Care. How did Sarah’s meeting with the literary agent go? 9:00 Miranda Excuse. Penny throws a Pride And Prejudice party. 9:30 Outnumbered 10:00 Globe Trekker Around the World – Pacific Journeys. 11:00 Doc Martin


Nashville Public Television






7:00 Trans-Siberian Orchestra: Ghosts of Christmas Eve A fantasy trip through the magic of Christmas with Jewel, Michael Crawford and the Trans-Siberian Orchestra. 8:00 Return to Downton Abbey A look back with the cast and crew; and a look ahead at Season 4. 9:30 Inside Foyle’s War 11:00 Tavis Smiley


7:00 Carol Burnett: The Mark Twain Prize For the 16th year, the comedy world convenes in Washington, DC to toast this year’s recipient of the Kennedy Center’s Mark Twain Prize for American Humor. 9:00 Masterpiece Classic Downton Abbey, Season 2, Part 7. 11:00 Tavis Smiley 11:30 Inside Washington


7:00 Elvis, Aloha from Hawaii On January 14, 1973, in a concert beamed around the world, Elvis Presley was at the pinnacle of his superstardom and gave one of the most outstanding concert performances of his career. 8:30 Brit Floyd: Live at Red Rocks 10:00 BBC World News 10:30 Celtic Woman: Home for Christmas


7:00 African Americans: Many Rivers to Cross It’s Nation Time (19682013). 8:00 Pride & Joy Men and women who grow, prepare, and serve Southern food and drink. 9:00 Frontline A Death in St. Augustine. Domestic violence allegations within ranks of the police department. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Sunshine by the Stars


7:00 African Americans: Many Rivers to Cross Rise! The long road to civil rights. 8:00 Lincoln@Gettysburg The telegraph gave Lincoln new powers to reshape leadership and wield control across distant battlefields. 9:00 Frontline Who was Lee Harvey Oswald? 11:00 BBC World News 11:30 Rivers and Rails: Tennessee Civil War 150



7:00 Elton John in Concert The legend returns to the stage for a specially staged concert with a hit list spanning 5 decades including “Your Song”, “Rocket Man” and “Candle in the Wind.” 8:30 Joe Bonamassa: Beacon Theatre – Live in New York Paul Rodgers and John Hiatt join the guitarist. 10:00 BBC World News 10:30 Return to Downton Abbey

Pride and Joy Tuesday, November 26 8:00 PM

7:00 Tennessee Crossroads: The Great Getaway Celebrate 25 years of the show and get tips from the crew on great oneday trips. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Xmas Without China A series of Chinese toy recalls forces a Chinese immigrant’s neighbors, the Joneses, to have their son tested for lead poisoning.


7:00 Nature My Life as a Turkey. Joe Hutto spent each day out and about as a “wild turkey” with his family of chicks. 8:00 Nature An Original Duckumentary. A wood duck family. 9:00 Nature The Private Life of Deer. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 ACL Presents: Americana Music Festival


7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life 8:30 Mind of a Chef Sean highlights both the people and food of the low country by preparing an epic outdoor feast on his friend’s farm. 9:00 Doc Martin Midwife Crisis. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Age of Champions Senior Olympians.


7:00 NOVA The Edge of Space. The boundary zone that's home to some of nature's most puzzling and alluring phenomena. 8:00 Asteroid: Doomsday or Payday Asteroids have the potential to be killers. 9:00 Comet Encounter 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Jim James /The Black Angels.

Visit wnpt.org for complete 24 hour schedules for NPT and NPT2

7:00 Celtic Women: Home for Christmas Lisa Lambe, Susan McFadden, Meav Ni Mhaolchatha and Celtic violinist Mairead Nesbitt perform holiday favorites. 8:30 Tommy Emmanuel and Friends: Live from the Balboa Theatre One of the finest acoustic guitar players in the world. 10:00 BBC World News 10:30 Best of the 60s (My Music Archives)

7:00 Antiques Roadshow San Diego – Hour Two. 8:00 Antiques Roadshow San Diego – Hour Three. 9:00 Independent Lens Young Dakota. The Lakota tribal President challenges the South Dakota law criminalizing abortion with a threat to build a clinic. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Reports: Aging Matters End of Life.


7:00 Antiques Roadshow Survivors. 8:00 Antiques Roadshow San Diego - Hour One. 9:00 Independent Lens Indian Relay. What it takes to win one of the most exciting and dangerous forms of horse racing practiced anywhere in the world today. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Reports: Children’s Health Crisis Family Health.


7:00 Secrets of Scotland Yard From Dickens to Sherlock Holmes, Agatha Christie to James Bond – no police institution has caught the public imagination in the same way as Scotland Yard. 8:00 Masterpiece Classic Downton Abbey, Season 2, Part 6. 10:00 Masterpiece Classic The Paradise, Part 7. 11:00 Tavis Smiley 11:30 Inside Washington


Nashville Public Television

Nashville 2.0 Friday, November 22 8:00 PM

7:00 Lawrence Welk Holiday Special 8:00 NPT Favorites 9:30 Best of the 60s (My Music Archives) A special show of selected original hit songs featured in My Generation: The 60s, The British Beat, Motown, 60s Pop, Rock & Soul. 11:30 NPT Favorites

29 7:00 Trans-Siberian Orchestra: Ghosts of Christmas Eve 8:00 Great Performances Barbara Streisand: Back to Brooklyn. Streisand makes a historic homecoming at the new Barclays Center arena, marking the superstar’s first Brooklyn concert since her childhood years. 11:00 BBC World News 11:30 Moyers & Company


7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Café Connection Failure. 9:00 Miranda Before I Die. 9:30 Outnumbered 10:00 Globe Trekker Globe Trekker Food Hour: Southern Cantonese. 11:00 Doc Martin Midwife Crisis.


7:00 Music City Roots: Live from the Loveless Café 8:00 Nashville 2.0 Music from Emmylou Harris to Mumford and Sons, Rosanne Cash to the Avett Brothers, and Dwight Yoakam to the Carolina Chocolate Drops. 9:00 ACL Presents: Americana Music Festival 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company


Visual Clues Across the Centuries Christie Nuell's Printmaking Liberation at The Arts Company

Homing In, Laser engraving, stains, ink on gessoed Masonite, 24" x 47¾"

by Alyssa Rabun


hristie Nuell grew up within walking distance of Vatican City. While other children were learning


to paint by numbers, Nuell was roaming the halls of the Sistine Chapel flirting with the works of Michelangelo, Botticelli, and Perugino. Accustomed to centuries-old marble statues and stained-glass corridors, by the time she moved from Italy to the United Kingdom in her late teens, Nuell had developed an insatiable taste for visual art.

she was bored with the repetition of standard practice. Nuell began searching for ways to spice up her method. Initially, members of the printmaking community turned up their noses at Nuell’s controversial, experimental styles, but she continued to stray from traditional techniques and is now recognized as being methodologically ahead of the curve. Nuell hoped to marry her fervor for the digital sphere with her passion for printmaking and succeeded when she started using a laser engraving technique to incise imagery onto sewed, stained panel surfaces. “When I was a traditional printmaker, I’d plan everything out. I would use tight drawings and follow them very carefully,” said Nuell. “Now, I don’t. It’s very experimental.” The laser engraving technique requires a computer graphics file

She channeled this energy i nto a color f u l c a reer i n t he a r t s — teac h i ng printmaking and design for thirty-one years at Middle Tennessee State University (MTSU) and exhibiting in over one hundred shows internationally. Nuell is now retired and living on the Isle of Man but has returned to Nashville to show art she created here. Nuell’s mixed-media works will be on view at The Arts Company for the month of November in the show titled Visual Clues Across the Centuries. Nuell began her career as a traditional printmaker in the 70s after earning her MFA from the University of Georgia. She worked with age-old techniques like screen printing and lithography, crafting countless striking pieces along the way, but in the early 90s found

Passage (IOM Boat), Laser engraving, stains, ink on gessoed Masonite 34½” x 51½”

(left) Systems of Navigation, Laser engraving, stains, ink on gessoed masonite, 23½" x 17½"


November 2O13 | 59

to convert images into black lines against a plain white background to be engraved on the machine. Nuell then uses a photo-silkscreen process to create silkscreen stencils for shapes to print. After printing, to achieve visual movement, she sprays cleaning products and rubbing alcohol on the panel to break up stains into clusters and reticulated patterns that accent pictorial elements. The end product is a potpourri of non-objective, abstract images. When working, Nuell creates and re-creates, adding and subtracting complex layers of color and texture by combining multiple techniques until she is satisfied with the development of the piece. By incorporating technological innovations, Nuell continues to contribute to the evolution of printmaking orthodoxies. With her appreciation for digital arts, Nuell has also explored sound and animation in her work, drawing from the same collection of forms and themes that she incorporates into her prints.

The Price of Cinnamon, Laser engraving, 15" x 23"

“The way that I can use multiple layers of visual information and make each one visible or invisible gives me the ability to try many different versions of an image before I make my final decision. If I didn’t have this freedom, I wouldn’t be doing art,” said Nuell. Visual Clues Across the Centuries will be on view at The Ar ts Company beginning November 1. For more information visit w w w.thear tscompany.com.

Magellan’s Journey West, Laser engraving, 11.8" x 23¼"

Subdivision, Laser engraving, stains, ink, on gessoed Masonite, 11" x 20½" 60 | November 2O13 NashvilleArts.com






A Rare Book & Document Gallery Located in Historic Leiper’s Fork, TN


Small TreaSureS Brooke Robinson 1912 Broadway 615.321.3141 www.localcolornashville.com

n at o g n i o g t o l There’s ay on November 14th. a 1912 Broadw

Join us for a

Holiday open House at

R ARE BOOKS & DOCUMENTS BOUGHT AND SOLD Wednesday thru Saturday 10-5 | Sunday 1-5 4216 Old Hillsboro Road | Franklin, TN ph: 615.983.6460 | fx: 615.515.9060 www.YeomansInTheFork.com

Gary C. Tisdale 1912 Broadway 615.322.9966 www.midtowngallery.com

The Nature of Wood

Sculpture and Turnings by Olen Bryant, William Kooienga & Brenda Stein with Woodcuts by Alan LeQuire & Jim Sherraden Thru November 30 Thru November 30

new look

The Last Musician by Jim Sherraden 8” x 8” woodcut

4304 Charlotte Ave • Nashville, TN 615-298-4611 • www.lequiregallery.com BlaiR CoNCeRt SeRieS 2013-2014

& Gayle Shay, director


Vanderbilt UniVersity Orchestra Robin Fountain, conductor

same location

STepheN SoNdheiM’S

intO the WOOds …the steampunk edition

Visit Our New Showroom 8:00 p.m. Friday, Nov. 15 and 2:00 p.m. Sunday, Nov. 17

Sponsored by the Mary Cortner Ragland Master Series Fund

All concerts at the Blair School of Music are free and open to the public unless specifically stated otherwise. For complete details about all the upcoming events at Blair, visit our website at blair.vanderbilt.edu

2400 Blakemore Ave. Nashville, TN 37212

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

the organic style of

Vincent Peach

V by Karen Parr-Moody


o be female is to seek adornment. Yet women have arrived at a time

when they no longer simply inherit baroque diamond sets from their mothers or are gifted baguette solitaires by adoring (or guilty) husbands. Women now buy their own baubles, thank you very much. With that modernity arrives the Vincent Peach customer. She has abandoned strict symmetry in favor of the organically inspired designs of this cult favorite. When he designs, Peach combines the rugged and the precious—leather straps with freshwater pearls—so that a natural spirit prevails. Nothing appears forced. And ladies from Sandra Bullock to Miranda Lambert to Taylor Swift are donning these designs because of it. Peach first takes the bare-bones strip of supple, high-grade animal skin, choosing from deerskin, crocodile, stingray, lambskin and goatskin. For some styles, he embellishes that strip with a single pearl—perhaps a black Tahitian—to create a bracelet or necklace. For other styles he may add several pearls and a pavé diamond bead. Then there are pearls that float at random spaces from each other, evading predictability. Such slinky silhouettes have become his trademark. Then there are the pearls that come in the hues of a sunset, from gray to pink to lilac to cream.


November 2O13 | 65

My jewelry line makes fashion sense. it is beautiful jewelry you can live in.


– Vincent Peach

Vincent Peach with a handful of sensational Tahitian pearls 66 | November 2O13 NashvilleArts.com

“No one else is doing anything close to what we’re doing in leather and pearls,” says the designer, who has recently opened a flagship store at 300 12th Avenue South in Nashville’s Gulch.

All art is autobiographical. The pearl is the oyster's autobiography. – Federico Fellini

Peach sometimes adds metals molded to resemble organic shapes such as coral or antlers. Some pieces feature ancient Greek or Roman coins, some dating back to 330 years BC.

“I’ve got the same one on today, seven years later,” he says. And even though he calls it a sentimental piece, its wearability speaks to its quality and versatility. “I wear it in the shower,” he says.

That is the essence of Peach’s jewelry: It can be worn every day and everywhere. “I don’t want people to wear it once in a blue moon when there’s a fancy event and they dress up,” Peach says. “I want people to wear our jewelry every day. I try to make every piece so you can wear it with a T-shirt or an evening gown. It’s jewelry you live with.”

Born in Knoxville, Peach discovered his gift for art early. “I painted watercolors every day of my life for twelve years, from the time I was seven or eight,” he says. “I had artwork in galleries when I was in high school.” Peach says that working in fine jewelry is still an art form, one that amounts to rethinking his manner of expression. “I consider my jewelry to be art jewelry,” he says. “That’s what I label it.”

Vincent Peach is located in the Gulch at 300 12th Ave. S. For more information visit www.vincentpeach.com.

As a youth, Peach apprenticed in the family business, which happened to be pearl wholesaling. “I didn’t know anything but pearls when I was a kid,” Peach says. As he sought his own place in the world, he created thousands of jewelry designs. He finally made a piece that he could wear and feel comfortable: a leather-cord bracelet accented with one pearl.


November 2O13 | 67


THANK YOU! A big THANK-YOU to all the sponsors for this year’s JAZZMANIA Jazz Party & Fundraiser, October 20


Rings Sized While You Wait!

S TAT E O F T H E A R T L A S E R W E L D E R Platinum • 14K & 18K • Antique Restoration • Sterling Silver • Eyeglass Repair Appraisals • Engraving • Prong Rebuilding • Watch Repair & Watch Batteries

Same Day Jewelry Repair!

Belle Meade Plaza 4548 Harding Road (Next to Newk’s)



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Thanks to your support of the Nashville Jazz Workshop, you’re helping enrich people’s lives through jazz education and performance, and keeping jazz alive and healthy in our community!

Upcoming Events Saturday, Nov 2, 7pm Beegie Adair Trio Friday, Nov 8 Snap on 2&4 w/ 3rd Coast Vocals

Friday, Nov 22, 8pm Snap on 2&4 w/ Roland Barber Saturday, Dec 7, 7pm Beegie Adair Trio

Friday, Dec 13, 8pm Snap on 2&4 w/ Lori Mechem & Don Aliquo

For information about classes, performances, and community events, visit nashvillejazz.org or call 615.242.JAZZ (5299) NASHVILLE JAZZ WORKSHOP 1319 Adams Street Nashville, TN 37208

Calligraphy Supplies Fountain Pens & Journals Watercolors & Brushes Quality Art Paper by the Sheet Handwriting Curriculum and Instructional Books 240 Great Circle Rd. for Hand Lettering Calligraphy Classes 615-770-9902

Suite 328 Nashville, TN 37228


Will Smith, Under the Big Top, 2009, Mixed media on paper, 22" x 36"

UNIQUE VISIONS Critiquing the Human Condition

By Lydia E. Denkler


umberland Gallery’s Unique Visions, a multimedia group exhibition, features a fascinating mix of work in an array of mediums. The seven artists from around the country offer a

visual feast of cleverly constructed symbols, metaphors, and dark humor that examine individual childhood memories, the hideous beauty of humanity, and the incongruent relationship between community and self. This exhibition, continuing through November 23, highlights seven artists’ work in varied mediums using distinctive ways to communicate views of the human condition. From humor to sarcasm to horror these artworks will give you something to think about and a rich visual feast to enjoy. Veteran artist Fred Stonehouse explores the aesthetics of the grotesque in two of his featured pieces, One Bad Dog and Both Ways. Like a family heirloom set in an antique frame and executed in a color palette that hints at another era, these works, Stonehouse says, describe alternate worlds, with miraculous and disturbing images. “The characters in my work are drawn from this pool of familial and cultural lore and appear to be descended


Craig Cully, Conviction – A Soft Punch, 2012, Oil on panel, 14" x 12½" November 2O13 | 69

from long ages of inbred hybrids whose former mythic status is lost in history.� Marcus Kenney’s Blood Suckin Vampire is an image of Abraham Lincoln in full vampire gear. This dark piece howls greed and hunger. Is it for power or just from desire for more and more? Artist Craig Cully creates representational, deadpan portraiture with a farcical twist. In Conviction and Birthday Portrait, he depicts a deep inner conflict while balancing conflicting forces in unexpected lush and uncomplicated colors. Chaise, a photograph by new artist Julie Blackmon, is a cinematic

"We live in a culture where we are both child-centered and self-obsessed." Marcus Kenney, Double Vision, 2010, Mixed media, 8" x 13" x 8"

Andrea Heimer, In 1989 There Were Reports Of Mountain Lion Sightings On The Playground Of Our Elementary School. They Think He Swam Over The River To Get Us. I Was The Only One Who Was Scared., 2013, Acrylic on wood, 16" x 20" 70 | November 2O13 NashvilleArts.com

tableau that documents a moment of sanctuary amid the chaotic struggles of modern family life in our overly striving culture. “The stress, the chaos, and the need to simultaneously escape and connect are issues that I investigate in this body of work. We live in a culture where we are both child-centered and self-obsessed. The struggle between living in the moment versus escaping a reality is intense since these two opposites strive to dominate.”

Mark Hosford, Box Head, 2011, Mixed media sculpture, 8" x 13" x 8"

Craig Cully, Birthday Portrait, 2011, Oil on panel, 31" x 31"

The mixed-media work of Andrea Heimer explores the conundrum of suburban life. The Exotics contrasts the underlying blandness of life living shoulder to shoulder with fellow humans with a decided quirkiness and kink. “It’s a bit Stepford Wives, a little bit Close Encounters, a little bit Blue Velvet.”

Fred Stonehouse, One Bad Dog, 2013, Acrylic on panel, 16" x 20"

Mark Hosford, Associate Professor of Art at Vanderbilt, says that as a child his overactive imagination was enlivened by “fantastic, imaginative worlds and lucid dreams.” Animation was a determinative influence. Boxhead is one of the three record players included in the exhibition with a spinning prismatic feature that brings vintage animations to life. Will Smith’s bold cartoonesque work creates a frenzied circus that broods on both personal and political issues of the day as well as the incompatible parts of human nature. This riotous work is both comic and deeply troubling. Carol Stein, the director at Cumberland Gallery, says she feels a responsibility to expose young artists to the Nashville community as potentially a jumping-off place toward national prominence. This show provides an opportunity for the public to get a sense of what’s new in the art world. Unique Visions will be open at Cumberland Gallery through November 23. For more information, visit www.cumberlandgallery.com.

Marcus Kenney, Blood Suckin Vampire, 2010, Mixed media on canvas, 24" x 24"


November 2O13 | 71


M artin O’Connor

be yond be aut y by Beverly Keel


hen Nashville photographer Martin O’Connor spent time in the hospital about four years ago while treating a germ-cell tumor, there wasn’t much he could do but think. “I walked around the floor and

thought, if I make it through all of this, what do I intend to do?” He noticed the oncology floor’s large wall of ribbons, each a different color to symbolize a different form of cancer, such as the famed pink ribbon’s association with breast cancer. “My cancer wasn’t represented,” he says. A photographer in his native Nashville for more than twenty years, O’Connor did traditional photography, such as creating portraits and photographing weddings, throughout his career, but he had become a specialist in photographing dancers and an expert in knowing the body’s moves, shapes, and nuances.

During his second or third hospitalization, he was walking on the oncology floor in a chemo-induced funk when an idea hit him: he should create a new ribbon by using a human body to form its shape. “I don’t know if I saw a visual concept in a magazine or I had been working with dancers, but I thought it was the perfect idea to take my ability to photograph dancers and give this well-known icon a new interpretation or meaning,” he says. “For me, the big thing was taking an icon that everybody sees so much that it has almost become passé,” says O’Connor, now 58 and in remission for five years. “We have given it a more personalized approach. We have humanized it even more. This is something that affects the human body, the human condition. It gave me an artistic outlook, a way to stretch my imagination. “The thing that fascinates me is when you are having the

worst time in your life, inspiration can present itself in a very unique moment. I had never been so scared in all of my life, wondering, are you going to come through this or not?”


In fall 2009, he asked Mollie Sansone, a Nashville Ballet dancer with a broad and brave artistic bent, if she would allow him to photograph her for this new concept to create a poster that would serve as a thank you to his caregivers and friends. She said yes, and the result was an immediate hit. As more people saw the poster, he began getting requests to create additional copies, some of which he has donated to charity auctions, health care providers, cancer survivors, and others.

“Other dancers saw it and said, ‘I think this is great. Could we be a part of it?’” He is on his seventh edition, and, at last count, he’s had sixty-three models. “I have a few people in waiting for the next one to come out. Somehow it touched a chord with a lot of people,” says O’Connor, who hasn’t made any profit on this project. “Artists have to have amazingly huge hearts and giving spirits to dedicate themselves to what they do,” he says. “When I got sick, I couldn’t believe the outpouring from the dance community while I was ill. They kept in close communication with me when they could and took up collections and sent us money, and I will tell you, dancers don’t make a lot of money." By using the human body instead of fabric, he has not only reimagined a cultural icon, but also infused it with more heart and humanity. “Everybody on the poster is different—men and women, all different races and nationalities. You can’t always tell who is a man or woman. It reflects that no two cancers are alike. Cancer takes on many forms, and no two people are alike.” O’Connor’s original idea was to feature one person on one poster to create a unique gift of gratitude for those who had helped him fight cancer. “I had no idea other people would want to participate and become a part of this,” he says, noting that it has not only brought him a renewed energy, but additional work as well. “A small idea grows bigger and bigger and bigger.” And this could be only the beginning for O’Connor’s ribbon. “The poster was the easiest way to reproduce things and mail it out to our people. But we are open to other ideas.” For more information about Martin O’Connor visit www.martinoconnorphoto.com. See the poster at www.nashvillearts.com.

PRESENT TENSE Nashville Painter James Perrin Takes Art History to Walmart by Joe Nolan


ames Perrin isn’t new to Nashville, but if this is the first you’ve heard of the painter, you’re sure to be hearing a whole lot more. Perrin recently showed

an impressive exhibition of his latest work at 40AU. He handpicked the venue for September’s First Saturday opening, and the perfect marriage between the work and the space spoke volumes about how well Perrin understands his canvases. Almost simultaneously, Perrin had his first museum-level show when a handful of his works opened at the Frist Center for the Visual Arts as part of their Abstractometry exhibit, which runs through February 2, 2014.


by Joe Nolan

Perrin may well be Nashville’s art scene’s man of the moment, but his work is anything but trendy. Perrin combines figures, realism, and abstraction with an intense, everything-allat-once sensibility that hides its debts to the history of painting in plain sight. Perrin’s recent success and exposure show that he’s an artist that knows where he’s going, but, more important, he’s also an artist who knows what’s come before. Considering Perrin’s earlier work—and his earlier influences—I keep returning to the painting Expulsion from the Garden. Many of Perrin’s past

Walmart Study 6, 2012, Oil and acrylic resin on panel, 8" x 11½"

and current paintings include glowing white curls of paint issuing tiny whip-like lines. Usually these are used as expressive motifs that often tie the background and foreground of a work together. In Expulsion, looping arcs of the stuff careen across the surface of the painting, practically becoming its subject. Above the lightning-colored swirls, a distorted cow skull pops in and out of view. Perrin often abstracts images using photo software before painting the results into his scenes. I doubt that Perrin has been compared to Georgia O’Keeffe very often, but I get the feeling that—sans the distortion—the bones

would look a lot like one of O’Keeffe’s horse heads. Add to that the desert-like feel of many of Perrin’s background landscapes, and this idea is a compelling one. However, the distorted skull may ultimately owe more to Holbein the Younger’s The Ambassadors than O’Keeffe’s flower-festooned skulls. Beneath the skull, a figure or figures are almost completely obscured by Perrin’s energized lines. Outlines form the figures of a man and what may be a woman. These are the Biblical Adam and Eve being forced from their garden—the swirling white lines are revealed to be the flaming sword of the cherubim that guard the Tree of Life. However, Perrin’s title has as much to do with art as it does the Bible. Turns on the phrase “expulsion from the Garden of Eden” are common titles for paintings of the end of paradise—the famous fresco by Masaccio immediately leaps to mind. Though it may seem an odd comparison, for me Perrin’s take is much more like that of Peter Paul Rubens with his violent, grasping Death and shunning angel. Rubens’ swirling lines emphasize the terror of a scene that’s filled with grinding grimaces and desperate gestures. Perrin’s and Rubens’ images don’t really look alike, but their overall effects are strikingly similar.

M3-9D13, 2013, Oil and acrylic resin on canvas, 60" x 78"

At first glance, Perrin’s newest paintings seem to do away with figures entirely. However, closer inspection reveals that the artist’s recent shows represent a continuing evolution for the painter rather than a complete break. NashvilleArts.com

November 2O13 | 75

Expulsion from the Garden, 2010, Oil on panel, 24" x 31½"

Walmart Study 5, 2012, Oil and acrylic on panel, 9" x 11½"

Perrin’s latest large, abstract canvases are as purposefully busy as ever. In M3-9D13 Perrin lifts an angel from an old-master painting and manipulates it with photo software before painting that image onto his canvas in the midst of a wild cacophony of sparking, electrified colors. The overall effect of these larger pieces is intense to say the least, and gallery-goers at Perrin’s First Saturday opening insisted that the canvases were emitting buzzing and crackling sounds. Perrin’s largest canvas at the Frist show presents a figure abstracted into a star-like design that curator Mark Scala equates with a rethinking of Leonardo da Vinci’s Vitruvian Man, embodying “the energy arising from the interaction between entropy and the gelling of new forms and ideas.”

scraped from his paint palette. The surfaces here are almost impossibly painterly—the gooey gobs of color seem like they could slough off at any second. The noisy, chaotic fields call to mind a bomb exploding but make more sense as the literal representation of the detritus that swirls around our disposable consumer culture on its ecological and financial race to the bottom like the black cyclone that’s formed by filthy water as it runs—ever faster—straight down the drain.

Perrin’s new small canvases begin with scenes painted from photos the artist snapped at Walmart. Perrin’s aisles, shelves, bins, and shiny floors are engulfed in clouds of chromatic debris—literally scraps

Don’t expect Perrin and his intense, rooted paintings to go so easily. James Perrin is represented by Zeitgeist Gallery. His works are currently on view at the Frist Center in the group show Abstractometry until February 2. For more information, visit www.zeitgeist-art.com, www.fristcenter.org, and www.jamesperrin.com.

The noisy, chaotic fields call to mind a bomb exploding but make more sense as the literal representation of the detritus that swirls around our disposable consumer culture. Walmart Study 3, 2012, Oil and acrylic on panel, 8" x 10" 76 | November 2O13 NashvilleArts.com

YORK & Friends fine art Nashville • Memphis

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Iron Wine

by Holly Gleason “Mostly I was using what I had: a banjo, a guitar, and a 4-track [recorder] and making it work,” says Sam Beam, the

man known as Iron & Wine, of his breathtakingly spare initial recordings. Before Americana was a colonized genre, The Creek Drank the Cradle was turning heads and picking up notice for its quiet songscapes, lyrical evocations, and comparisons to Elliott Smith, the organic Neil Young, and even Nick Drake. With a cinematic scope, the Florida State Film School’s MFA graduate channeled his creativity into abstract, minimalist songs. Our Endless Numbered Days expanded his acoustic-based arrangements, and an almost anti-star was forged. These days, Beam lives in Dripping Springs, Texas, with his wife and five children. He’s built a devoted following that allows artistic freedom to the man whose influences range from Townes Van Zandt, Leonard Cohen, Joni Mitchell, “and the R.E.M.s of the world,” as well as filmmakers Stanley Kubrick, Andrei Tarkovsky, Terrence Malick, and artists including David Parks “and all that found outsider art, where you know their minds aren’t quite right, but the work is so exciting.” In many ways, Iron & Wine’s music has that same patchwork vérité. Ghost on Ghost, his latest, merges noir influences with California sunshine, progressive jazz, subdued pop, and classic soul to conjure a song cycle that moves seamlessly between them. “Finally, I learned how to incorporate those things,” he says. “It’s a lot like visual art: contrast is a big deal. In painting, it’s color or textural. Here it’s how it sounds to place the instruments against each other, the way long notes and staccato notes work against each other. Even how space plays in there . . . and it has taken me a long time to learn how to slip in complex chord changes without making it feel overworked or laborious for the listener.” Even the title—taken from a poem by James Wright—evokes various realms of being. Beam confesses, “I steal images here and there, and that one was so good, I don’t even remember the rest of the poem.” Ghost on Ghost finds Beam moving into the depths of relationships without ever bordering on the expected or the obvious. Pausing, he opens his meaning wide, then narrows his focus. “To me, Ghost on Ghost was a fun way to give a nod to the characters’ physical and spiritual selves. I see those people in the car, rubbing spirit onto spirit, literally communing on other planes and truly penetrating each other’s souls. “Any love song has a set of central characters, but it felt that if you squinted your eyes, you almost feel like it’s chapters of a book. I think it’s working things out, looking over the horizon . . .

"I’m drawn to writing from the same sources as I’m drawn to paint." With the horn-basted opener “Caught in the Briars,” Ghost on Ghost moves through the high-hat tapped hipster cool of “Low Light Buddy of Mine,” the breezy, pillowy “Grace for Saints and Ramblers,” the hushed “Winter Prayers,” and the faltering “Lovers’ Revolution” that creeps along on clouds of feminine “ooohs” and extended horn notes, slowly churning into a more free jazz excavation with squawking trumpets and piano chords keeping the bottom. It culminates in “Baby Center Stage,” a John Lennon-esque melody that’s strung like tiny whites lights of longing, Beam singing in his falsetto as the steel guitar gently weeps. This is an intellectual proposition, a dozen songs to sink into, allowing the layers to reveal themselves. For the man who taught film at the University of Miami and Miami International, while constructing “songs” on his 4-track recorder so long ago, this latest work celebrates what can be conjured and suggested. Never a literalist, he admits, “If you keep your eyes and heart open, the world gives you lots to write about. Nothing is sacred; it’s all fodder for the songs. But I don’t do diary entries, just use bits and pieces.” His bits and pieces have turned up in the films Twilight, Garden State, and In Good Company, the TV shows Grey’s Anatomy, The L Word, and House, M.D. as well as commercials for M&Ms and Ask.com. A regular collaborator with Calexico, Beam has sought art on the fringes and always worked to find the highest possibilities in pop music. “There’s things I learned in art school I use every day while recording. Things I don’t even have to think about; it’s just following where the process leads. You can’t get caught up in what the end result is supposed to sound like or look like. You can’t listen and obsess to that end, because any creative medium—sculpture or film or books—will take you places if you let it.” Iron & Wine will perform at the Ryman on Sunday, November 10, at 7:30 p.m. For more information, visit www.ryman.com.

Lifeboat, 1998, Oil on linen, 80" x 100"

Radio Flyer, 2012, Oil on linen, 48" x 66"

Field Notes

A Local Look at Global Art

Bo Bartlett Maine Man by Betsy Wills


everal years ago, my husband took a weeklong sailing trip off the Maine coast on the 140-yearold Stephen Taber schooner. I was happy for him to have this adventure solo as I have bouts with seasickness. The idea of rocking and rolling on a vessel with no modern conveniences (such as electric light) seemed sketchy at best.

A Glory of Painting, 2009, Oil on linen, 60" x 60"

Apparently I really missed an opportunity. He recounted that the boat itself was a work of art, and the food, which was prepared entirely on a woodburning stove, was outstanding. He was most impressed however by the LIGHT. They sailed among the hundreds of outer islands, and one was more beautiful than the next. This month’s featured artist, Bo Bartlett, resides for most of the year in this magical landscape. His paintings are bathed in varying hues and weather patterns, which play a supporting role in his subjects’ narratives. Nostalgic and uniquely American, the works transport the viewer to a mood remembered and a place desired. Perhaps that is what my husband experienced in addition to the blueberry pancakes and “lobsta”?

The Lobster Wars, 2007, Oil on linen, 80" x 112" 80 | November 2O13 NashvilleArts.com

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

The Somnambulists, 2010, Oil on linen, 82" x 82"

ARTIST BIO – BO BARTLETT Realist painter Bo Bartlett is known as a classic American artist who follows in the traditions of Thomas Eakins and Andrew Wyeth. Many of the scenes he paints are from his childhood home in Georgia, his summer home in Maine, his home in Pennsylvania, and his studio in the state of Washington. He celebrates the land and the people of America in a way that signifies the archetypal, universal concept of

home. He studied painting at the Pennsylvania Academy of Fine Arts and also studied anatomy at the Philadelphia College of Osteopathic Medicine. He received a certificate in film from New York University and went on to make a film about Andrew Wyeth. Bartlett is represented by P.P.O.W. Gallery in New York. For more information, visit www.bobartlett.com and www.ppowgallery.com.


November 2O13 | 81



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Ghost Writes a Postcard to His Wife Obverse, a landscape typical of our region, although replace vines with genial hill of yellow colza, full-bloomed, and replace, if you’ll permit, wheat heavy-grained for harvest with its spring nativity, knee-high and verdant. Replace cleared field with ersatz lake from flood, the single sparrow—just there—with raucous score of black-faced gulls who know no difference. Replace, my love, silent tractor with plough hammered to sword on a forge of eternal fire, the chapel with bombed-out hotel for the touristing dead. Substitute old man and baguette with donkey, braying in the violence of its miction, the crimson peony for the flowerless thorn. Then, fair girl, we may share perhaps one scant moment of this country to which I have returned, one presumption of joy or sorrow at my arrival. Indeed, replace card itself with the errands of your day— your sweet, living day—my faded demands for a sorry last attempt at remedy. With no address, no stamp, no kiss, no signature ruined in ink, I will send this to you, dear one, into the lost and urgent sky.

Gaylord Brewer will present his poetry at the Poet’s Corner at Scarritt-Bennet on November 21 at 7 p.m. The event is free and open to the public. For more information on the poet visit www.gaylordbrewer.com and for more about the reading visit www.scarrittbennett.org.


– Gaylord Brewer

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NOVEMBER 10 – DECEMBER 13, 2013 • THE HARPETH HALL SCHOOL • 3801 HOBBS ROAD • NASHVILLE, TENNESSEE 37215 84 | November 2O13 NashvilleArts.com

Elegance and Rust The Journey, 2012, Acrylic, 49" x 63"

The Abstract World of Jennifer Bowman by Currie Powers


he titles of Jennifer Bowman’s paintings give insight into her creative character: Misty Morning, Contentment, Serenity, The Journey, Anticipation. The images have the


ethereal calm of nature at rest, and you find yourself stepping into the paintings to draw your canoe through a still-watered dawn, float through Arctic islands of ice, lie in a field of winter grass staring up at a haloed sun. You interact with them as though they are alive. “I’m more the stage than the one under the light,” Bowman says, a testament of how inseparable her artwork is from the artist. In this age of social media and the ease of self-promotion, many artists, writers, and musicians pitch their persona first, and their work follows behind them. Jennifer Bowman is a rarity. Her work precedes her. She follows it wherever it chooses to lead her. She is fearless.

“I love experimenting,” she says excitedly, her face lighting up as we talk in Bennett Galleries surrounded by her work and other artists she admires. She is tall, womanly slender, with long, waving blond hair. Her eyes sparkle behind stylish brown-rimmed glasses. I watch her glow and pulse as she shares her daily routine in her studio in Kentucky, which begins after she has dropped her daughter off at school.

Reclaiming Joy, 2012, Acrylic, 24" x 36"

"I always love hearing people’s interpretation of my work. I love watching people read the painting like the chapter of a book."

Shower of Wishes, 2012, Acrylic, 24" x 36"

She works in several formats, from large 40” x 60” canvases to medium 20” x 30” down to small Masonite boards—“a little morsel of my work”— that she began doing at the suggestion of another artist to give admirers of her work something economical both in price and for their available wall space. Each painting requires extensive prep work, and she may be working on multiple pieces as the same time, each in different stages of readiness. She checks their progress each morning, doing an inventory of “whatever the day needs,” anticipating the moment an idea will open into full bloom when enough layers have coaxed the final image out of the canvas. “I need it to be ready so I can jump right in.” That requires the layering of molding paste, glazes that are applied and wiped off and reapplied, the surface deepening in crosshatches and curls, subtle elevations that appear natural, like rain washing soil down a façade, an act of fictional gravity that has pulled trees across the border of sky and water to join reflection and reality in a smooth line. She applies washes of acrylic paint, is judicious with primary colors, perhaps a hint of earth-toned blue or red, and will add sprinklings of instant coffee that absorb whatever moisture is on the canvas and bleed into beautiful dots like the mold-like spread of rust.

Rust is a fascination of Bowman’s. While working at Bennett Galleries and taking breaks in the basement to work, she became captivated with a steel support beam that had a hole in it, out of which rust had run in a long vertical trail. Had a nail made the hole? What was in the hole? What was the genesis of the beam’s transformation from new to aging? “I am a nostalgic person,” she says. She values things from the past. “I’m not ultra detail oriented, but certain things I will zero in on.” Bowman once was driving behind a dump truck and when they both stopped, she noticed an amazing section of rust and curling chrome on the bumper, whipped out her phone and took a photo of it. She is drawn to textures, especially those that have naturally occurred, and is curious about what the object was originally, underneath the layers of decay. Anticipation, 2013, Acrylic, 36" x 48"

She still takes breaks from her current work to do realism, small works of owls, faces, trees, and she enjoys the exercise of using a different part of her brain, though ultimately she finds the constraints of rendering exact details removes the freedom she enjoys with her abstract work. “As an artist you have to keep moving,” she says. It’s that quest for experimenting that keeps Bowman moving forward. She is conscious of the trap many successful artists fall into, when their style becomes a brand. “It turns it into a product.” Yet she understands the lure of making money from your work, of finding it hard to say no when your gallery is requesting more of the same. “I’ve always thought artists are the biggest gamblers,” she says, though it is clear after talking to her and seeing her work that Jennifer Bowman is in no danger of repeating herself or allowing herself to become a brand, and that success will come on her own terms. She gambles with joy, rolls the dice with delighted anticipation of what her muse will show her next. Jennifer Bowman is represented by Bennett Galleries and will be having a solo show at the Customs House Museum in Clarksville until January 2014 and will be part of the Fine Art Show and Sale at Brentwood Academy, Brentwood, December 6–8, 2013. For more information about the artist visit www.jenniferbowman.com. Misty Morning, 2013, Acrylic, 48" x 36"

“I always love hearing people’s interpretation of my work. I love watching people read the painting like the chapter of a book.” She adds, hopefully, “I’ve done my job if they feel something.”


Her mission is not simply to capture something old. Rust never sleeps. It crawls forward at a steady pace. That movement is in Bowman’s paintings, the reverse process of growth that returns the man-made to the elements, the browns and grays of the earth.


Crowning Glory Garden Park Antiques’ Keith Merry Assembles a Collection of Remarkable Finial Artifacts by Stephanie Stewart-Howard pick the first object that catches my eye from shelves running along the walls of Keith Merry’s office: a cast-iron mermaid, hair flowing, arms raised. “Good choice,” says Merry.

“That’s actually a boot cleaner.” He proceeds to horrify me by setting the piece on the floor and miming scraping mud off his shoes. “I polished this with a wire wheel when I got it, to show off the detail.” The boot cleaner isn’t typical of the collection, mostly made up of finials, those sculpted ornaments used in architectural and interior design to top off everything from fences to furniture. Keith Merry possesses hundreds, some two centuries old, some fairly modern, all lined up on four rows of narrow, barn-wood shelving that snake along the walls of his office at Garden Park Antiques/Herndon & Merry, off Briley Parkway. Mixed among the actual finials are decorative rosettes, molding, spear points, medallions, and other small ornaments of similar decorative purpose.

about just collecting one thing,” Merry says cheerfully, picking up a beautiful bronze image of the Madonna with a graceful, weathered patina. It’s perhaps a century old and probably once adorned a church gate—one of his favorites. His hand moves on to a fleur-de-lys that once likely embellished a European widow’s walk at the top of a house (the “fleur” motif once was and still remains popular in Europe and America).

“I have fun with these; I’m not specific 88 | November 2O13 NashvilleArts.com



From there, he points out a piece resembling an aged penny, complete with Lincoln’s profile but minus the usual lettering. Like a moment from Cocteau’s La Belle et la Bête, faces look out—a grinning Bacchus, a wicked devil face (possibly used in the nineteenth century to ward off evil spirits from a home someplace like New Orleans where superstitions thrive). There’s a lead hand cut from a garden statue and a darling icecream-cone-shaped finial found in Boston. Some are revealed as door knockers, others spires from wooden dresser tops.

“No one wants to go through the trouble of making all of this anymore,” says Merry, reflecting on contemporary design. “But with these old pieces, when I find something that’s damaged, that others see as scrap, I cut off the old finials and medallions and save them.” The official collection is a rather new thing for Merry. When his family started in the architectural art business a quarter of a century ago, preserving finials was accidental. Many of them were left over from work they did preserving and repurposing old pieces of iron and metalwork. From there, their presence became a necessity. Merry had a ready supply of vintage pieces to match existing ones that came in needing refurbishment or retrofitting—or the vintage pieces could be incorporated into new works. But as some twenty-four years passed, Merry realized he’d developed a growing passion for the bits and bobs he’d allowed to fill up boxes in his shop—and that he’d amassed a remarkable collection over time. Now, there’s the “thrill of the hunt” for new additions. “I realized they weren’t doing any good in boxes, so about two years ago, I decided to put them up on the wall instead.”

The shelves are narrow, a single layer deep, and with each glance, an extraordinary new piece catches the eye. Merry designed the display for unobtrusiveness—even the brackets are painted to blend with the walls. It makes the finials more enticing. It’s a very private collection, and though Merry may occasionally let extras and duplicates go, he keeps most of it for himself, so don’t plan on buying if you visit. “I keep adding levels of shelves as I add to the collection,” he confesses. “Most of these have far more emotional value for me than monetary, although I’m very fortunate I have the resources to pick and choose when I find things out there.” Merry says not many people collect finials as he does. His kids plan to keep the collection “someday when I’m dead and gone.” No doubt its assembled magic will be safely maintained for a good long time. To learn more about Keith Merry's work visit www.gardenpark.com/ portfolio.html or to see his private collection visit the showroom at 7121 Cockrill Bend Blvd. and ask for a sneak peek into his office.


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William Kooienga's Intelligent Design by Nancy Cason


espite our “don’t touch” conditioning in the presence of works of art, William Kooienga’s sculptures are irresistible, drawing both the eye and the hand to glide along their smooth surfaces and trace the sensuous curves and concave planes. Equally seductive are his life-size female figures that recall classical paradigms of beauty and his large abstract sculptures that seem to emanate their own life force. The same could be said of the artist, whom I met recently at LeQuire Gallery. Kooienga is long and lean, with the dark features of his Dutch grandparents, lively eyes behind wire rims, and prominently veined hands that draw attention to the physical demands of his craft. But his demeanor suggests another dimension, an inner stillness that is, well, compelling. Our conversation flowed easily from one topic to another and left me with the impression of an artist whose creative life is grounded in a deep spirituality. (left) Black Walnut, 64" x 28" x 20"

Locust Burl, 14" X 12" X 8"

Kooienga has learned to stay centered “by getting rid of the ego and becoming humble,” an approach that is revealed in the way he talks about his art. He is quick to share credit for the beauty of his work with the natural materials from which they are made, mostly native trees salvaged from the woods that surround his rural home and studio near Center Hill Lake. His preferred woods are walnut, cherry, and Osage orange, although he has worked with exotic species like lignum vitae and even with exceptional selections from junk trees. He describes with obvious delight the colors, textures, and grain patterns that distinguish one wood from another and that give his body of work variety and vitality.

Cherry, 64" x 24" x 24"

Carved from black walnut made lustrous with a finish of Danish oil and paste wax, the voluptuous Venus Amaz celebrates the female form with Amazonian proportions. Shimmering striations in the grain trace the contours of the graceful figure, underscoring the three-dimensionality of the work. This, however, is no accident of nature. “It requires knowing just how the tree grows and how the grain lays in the wood, from the outside to the heart . . . and then cutting at just the right place.” Kooienga’s artistic vision and technical skills have been honed over thirty-five years of working not only in wood, but in limestone, granite, and marble. He characterizes his interaction with materials in almost reverent terms, describing the act of carving as a meditation of sorts. “I’m involved in the process, but I don’t direct it. There’s a creative spirit or muse at work, and if I get out of the way, I can watch the piece come into being. That’s when it’s most rewarding.” Throughout the 80s and 90s, his work received increasing recognition through galleries, juried exhibitions, and private commissions. “Commissions involve the challenge of pleasing the client as well as the muse,” Kooienga notes. But then, he seems to enjoy a challenge. He pointed to a work entitled Thor 59, a five-foot sculpture with the aerodynamic quality of a Boccioni. “It was the trunk of a large wild cherry, with big defects. I had to remove a lot of wood, so I picked up the chain saw and just started cutting notches in the tree. Then I pierced the middle, saying to myself, ‘Now see if you can make something of it!’”

Osage Orange, In Progress


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Osage Orange, 5' 9"

The Glory, Osage orange root, 68" x 48" x 35"

At one point, the direction of his work changed overnight. In 1995, he took a workshop with legendary Nigerian drummer Babatunde Olatunji. “When I saw the shapes and heard the sounds of his African hand drums, I just flipped out. I went home and began making drums, hundreds of them, in every shape and size.” For five years, his artistic output was exclusively one-of-a-kind acoustic sculptures that attracted clients from around the world, including Santana, Mickey Hart of the Grateful Dead, and Paul Simon. But then the muse moved on as “other creative ideas began perking up,” and he turned his attention back to large-scale sculptural projects for which he is best known today. Kooienga’s desire to communicate a reverence for the beauty of nature through art is closely interwoven with lifestyle choices the Kooiengas have made. For thirty-three years they have lived off the grid, adhering to the ideals of “voluntary simplicity” and using as few resources as possible. “I’m painfully aware of the degradation of nature, of how perilously close we are to ruining our experience here.” At 63, he continues to work full time but has also begun to pass on what he has learned, mentoring young sculptors to make art that will “invite one closer, to experience connection, inspiration, and wonder.” William Kooienga’s work is featured through November 30 in the LeQuire Gallery exhibition The Nature of Wood and can be seen at www.beechhollowstudios.com.

Large to small: Osage Orange, 13" x 7" x 5; Lignum Vitae, 11" x 5" x 4"; Maple, 8" x 4" x 3"

a monthly guide to art education

ArtQuest: Art Is All Around You

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

Open Letter to You, the Artist:


You are the woman who lovingly teaches my daughter ukulele on Thursday nights, and you are the opera chorus member who rushes from her “real job” to practice French annunciation just because Dance Theatre of she loves to sing. You are the artist who plans a Tennessee's Ballet in the Park performance mural, no matter what obstacles you encounter. You of Giselle are the dancer waiting for the rain to stop so you can keep the show alive in Centennial Park.


You amaze me; you delight me. No matter what, you just keep drafting, tapping, editing, framing, and singing. You just keep on. You bring texture and awe to my life and thousands of others too hell-bent on doing to slow down to live. You fill my life with gratitude and a deep appreciation for community. Just by being you, you form this crazy quilt of creativity that I call home. Thank you, thank you from the bottom of my heart for daring to be you every single day. I couldn’t be me without you.

A Wrinkle in Time performed by Nashville Children's Theatre. (Background) Kristin McCalley, Daniel Collins, Rosemary Fossee (Foreground) Aleta Myles


You are the genius who designed the light and digital effects for A Wrinkle in Time at the Children’s Theatre. You are the author who punctuated my son’s field trip with your story of ghosts on Murfreesboro Pike. You are the dozen volunteers who donated gallons of sweat to install 2,558 boxes into a mural that told the story of our city.

ArtQuest hosts Joseph Lopez and Dajiah Platt in Sculpture in the Round by Lisa Venegas


he Frist Center for the Visual Arts and Nashville Public Television (NPT) have teamed up to offer a fun and exciting new interactive art education program. Named after the Frist Center’s interactive learning gallery, ArtQuest: Art Is All Around You is a series of 18 short broadcast segments geared toward viewers ages 7 to 9 and airing on NPT between 4 and 6 p.m. The first season of 15 segments with topics such as “Inspiration and Architecture,” “Sculpture as Public Art,” “Inspired by Nature,” and “Rhythm in Art” are available at www.fristkids.org and NPT’s Arts YouTube channel www.youtube.com/nptarts. Visitors to the Frist will find enrichment activities, in-depth lesson plans for teachers, as well as web resources for each segment and topic. The second season is currently in production. Samantha Andrews, Frist Center Educator for Experiential Learning who manages ArtQuest: Art Is All Around You, says, “It’s encouraging feedback to have children and parents visit the Martin ArtQuest at the Frist Center and make the connection between the TV segments and our physical space. We’re also hearing wonderful anecdotes from visitors about how their children have created art projects on their own inspired by the segments.” A kickoff event will be held on Sunday, November 17, from 1 to 5:30 p.m. as part of the Free Family Festival Day at the Frist Center. Guests can meet the star hosts of ArtQuest: Art Is All Around You, Dajiah Platt and Joseph Lopez, enjoy live music ArtQuest hosts Joseph Lopez and Dajiah Platt in and programs, and Sculpture in the Round experience ArtQuest hands on. For more information, visit www.fristcenter.org/learn/martin-artquest.





don’t really know how to thank you. You see, October is my moment of insanity. I have this little project called Artober Nashville that takes a little bit of extra effort and coordination. But on top of that I have two children and a husband that have birthdays, so I have some parties to plan, and there is that Fall Break thing to work around. And then there is the business of living that never stops—trips to the park or scouts or the grocery store. And yet, you are there, constantly shaping my life in a thousand vibrant ways, like cosmic Play-Doh.

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Notes for Notes: Producing Tomorrow's Musicians Irving lays down vocal tracks by Rebecca Pierce | Photography by Anthony Ross Tyler


n 2005, Philip Gilley, a volunteer for Big Brothers and Big Sisters, had a little brother who wanted to learn to play drums. Their only access to a drum kit was the demo model at a local music shop where they would practice until asked to leave. That experience along with Gilley’s conviction that music is the universal language of humankind gave him and a fellow volunteer the inspiration to create Notes for Notes. A non-profit organization established in 2006, Notes for Notes provides free access to musical instruments and instruction in a recording studio environment for young people ages 6 to 18. By partnering with Boys & Girls Clubs of America, Gilley and his team have safe and secure environments where they can build and staff their MusicBox studios. The MusicBoxes are drop-in recording studios equipped with guitars, drums, DJ gear, keys and synths, digital music workstations, and production resources. Notes for Notes team members offer basic instruction and education about music and the industry. Operating under the assumption that every young person who walks

through the doors is a musician, the Notes for Notes team hopes to inspire and encourage collaboration and grow confidence. “It is about empowering youth to create and find something they are passionate about,” says Gilley. The operating model for Notes for Notes is strong and versatile with a business-savvy board of directors and an active advisory board of musicians and industry professionals such as Jack Q checks out guitars Johnson, David Cosby, Alan Parsons, Martin Gore, P-Nut, Seymour Duncan, Peter Noone, and Jeff Bridges. Currently Notes for Notes has two locations in Santa Barbara, two in Nashville, one in Los Angeles, and plans are in the works for additional locations in Detroit, Ventura, and Los Angeles. “All students are bridged to the other students in other locations so they can work together. The young people also learn that they don’t have to be just a performer. They can be tour managers, promoters, engineers, and in this way Nashville has opened a lot of doors,” explains director Natalie Noone. Since Notes for Notes is supported by corporate sponsors, foundations, and individuals, almost any community that wants a Notes for Notes presence can make it happen. For Nashville, Gibson Guitar, Griffin Technology, and the music industry have been key.

Caliyah performs a song

For more information, visit www.notesfornotes.org.

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Laurie Schell and Dr. Nola Jones at the Helm of Arts Education by Rebecca Pierce | Photography by Tiffani Bing


ast year was stellar for the arts in Metro Schools, thanks in large part to Music Makes Us and educators Laurie Schell and Nola Jones. This year the two, operating in expanded leadership roles, are bringing visual and performing arts under one umbrella, ensuring that the arts remain strongly supported and integrated across curricula. Schell and Jones are on the move, building upon Music Makes Us (a publicprivate partnership between Metro Nashville Public Schools, Mayor Karl Dean, and music industry and community leaders) and introducing initiatives to further strengthen the arts in Metro Schools. They have grown the Music Makes Us initiative by almost doubling contemporary pathways, adding mariachi, world percussion, hip hop, rock band, guitar, country, bluegrass, and songwriting. In addition, they have expanded the program into another cluster and deepened it in the schools already served. Schell commented, “The theory of if you build it they will come is beginning to bear fruit. The students are responding, as we knew that they would. We are also fortunate to be able to hire four new chorus teachers, at the middle school level, a real priority for this district in order to have K–12 alignment in our choral/vocal programs.” Jones elaborated, “We are also trying to strengthen our legacy programs of band, choir, and orchestra so that those are world class. That’s what Music City USA deserves.” Also new this year is a groundbreaking new teacher evaluation model developed by teachers. Schell explains, “Our colleagues have worked very hard to find ways to evaluate student learning that is consistent with the discipline of the arts. We are not reading and math. We should not be tested or assessed like reading and math.” As a major affirmation that Music City is on the right path when it comes to arts education, in late October thousands of music educators came to Nashville for the 2013 National In-Service Conference of the National Association for Music Education (NAfME). The keynote address examined the unique Music Makes Us model of public/private partnership to enhance

Schell and Jones visit the new World Percussion class at John Overton High School which was made possible by Music Makes Us.

access to music education in schools. Panelists represented the primary stakeholders of the initiative, including Mayor Karl Dean, John Esposito, President and CEO, Warner Music Nashville; Randy Goodman, Country Music Association Foundation; and MNPS administrator and teachers Jay Steele, Nola Jones, Sonia Stewart, Edwin Imer Santiago, and Laurie Schell. Schell and Jones are also pleased to announce the imminent release of a recent research study. Undertaken to establish benchmarks and better understand the impact of Music Makes Us in Metro Schools, the findings show that increased music participation has significant effects on positive outcomes in student achievement and engagement. These findings are important in that they establish that music education is an investment worth pursuing in Nashville public schools. For more information, visit www.mnps.org.

Jason Walsh leads World Percussion class.


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Thoroughly Modern Millie

Bit by Bit, Putting It Together: Belmont's Big November by Jim Reyland “Piece by piece, only way to make a work of art, every moment makes a contribution; every little detail plays a part.” These wise and wonderful lyrics belong to Stephen Sondheim, from his enduring classic Sunday in the Park with George. If there was ever a master who knew how to create lasting work from the sum of its parts, it was Mr. Sondheim. So it’s appropriate that one of his most intricate pieces, Into the Woods, is one of three major productions during a big November at Belmont. Every November, the Belmont University College of Visual and Performing Arts presents a collaborative theatre production with Actors Bridge Ensemble, a musical theatre performance, and an opera

Help, Help, the Globolinks

performance. Sounds like fun, but the hard work of putting up all these ambitious productions in a single push requires a great deal of “putting it together and coordinated teamwork.” While each Belmont program is responsible for its own production, the programs get done by sharing performance spaces, set builders, and a scene shop. They also share costumes and props, along with an Dialogue of the Carmelites army of student power working across the board as actors, singers, dancers, and crew. The Dean of the College of Visual and Performing Arts, Cynthia R. Curtis, PhD, is one of the many inspired faculty collaborators rallying the charge. “Over the years Belmont has established wonderful working relationships with many of Nashville’s arts organizations, and they have proven to be invaluable for both the university and for the community. Belmont benefits from professional mentoring and shared resources, and community arts organizations find at

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November 16–17, at 2 p.m. This timeless musical explores what happens after “happily ever after” by intertwining the wishful pursuits of Jack and the Beanstalk, Cinderella, Little Red Riding Hood, Rapunzel, Snow White, Sleeping Beauty, and the newly invented Baker and his wife.

Peter Pan

Belmont a rich setting for realizing their own educational missions. Community arts collaborations at Belmont are genuinely win/win experiences in which we all benefit!” November at Belmont starts with: Belmont Opera Theatre: Mozart’s The Marriage Of Figaro in the Troutt Theatre. Thursday, Friday, and Saturday, November 7–9, at 7:30 p.m., and Sunday, November 10, at 2 p.m. Mischievous schemes, masquerades, and mistaken identities take center stage in this folly of aristocratic courtship. The infamous Figaro, his bride-to-be, Susanna, and the Countess conspire to expose the Count’s wandering eye. Actors Bridge Ensemble and the Belmont University Department of Theatre and Dance: The Diary of Anne Frank, directed by Bill Feehely, November 15–23 in the Belmont Black Box Theatre. An impassioned drama about the lives of eight people hiding from the Nazis in a concealed storage attic. Thursday, Friday, and Saturday, November 7–9, at 7:30 p.m., and Sunday, November 10, at 2 p.m.

So whether you like theatre, musical theatre, or opera, you’ll find collaboration at a high level at Belmont University this fall. As Mr. Sondheim correctly suggests, “Having just a vision’s no solution; everything depends on execution: putting it together— that’s what counts!” Congratulations, Belmont and ABE. You’re certainly putting it together. For The Marriage of Figaro and Into the The Diary of Anne Frank Woods, visit www.belmont.edu/cvpa and click on the Box Office link for advance tickets. Tickets are $10 for Adults, $5 for Senior Citizens (65 and over), Faculty, Staff, and non-Belmont Students, and free for Belmont Students. For The Diary of Anne Frank, General Admission $20, Outside Students w/ID $15, Belmont Faculty, Staff, Alumni w/ID, Senior Citizens $15 or at www.actorsbridge2013.eventbrite.com. The film version of Jim Reyland’s new play, STAND, performed across Tennessee in 2012 as The Stand Project, is now available to stream at www.writersstage.com. Watch The STAND Film starring Barry Scott and Chip Arnold and directed by David Compton and consider a donation to support Room In The Inn! jreyland@audioproductions.com

Belmont Musical Theatre: Stephen Sondheim’s Into the Woods in the Massey Concert Hall. Friday and Saturday, November 15–16, at 7:30 p.m., and Saturday and Sunday,

Street Theatre Company Nashville Premiere Spamalot! Based loosely on the 1975 movie Monty Python and the Holy Grail, Spamalot is the creation of Eric Idle, one of the original cast members of the Monty Python series. The musical parodies the beloved English legend, allowing audiences to experience Arthur and Lancelot’s antics in a new light. Spamalot is directed by Martha Wilkinson, with musical direction by Rollie Mains and choreography by Holly Shepherd. The cast includes Brad Oxnam, Nancy Allen, Matt Smith, Brett Myers, Steve Kraski, and more. Spamalot runs November 1–17, Fridays and Saturdays at 8 p.m., Sundays at 5 p.m. Tickets are $18 for Adults and $16 for Students and Seniors. Tickets at www.streettheatrecompany.org or call 615-554-7414.


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F I N E F U R N I T U R E u I N T E R IOR DE S IG N u S I NC E 18 89

ThEaTrE A Christmas Carol: The Musical

We ’r e A l w a y s The Best Seat

December 6th-15th

Lunch and Dinner options also available

in the House.

The Charles Dickens’ classic gets the full Broadway treatment! This spectacular musical extravaganza is filled with beautiful melodies, emotional lyrics, exuberant dances and exciting special effects

Family EVENT Twas The Night Before Christmas

December 14th 11am / $4 The wild adventures of a mouse, an elf and a spunky little girl who just won’t take no for an answer.

Holiday Lunch Buffet 12noon / $7 Children’s Art Workshop 1pm-4pm / $20 Full Day Ticket for $27

Visits from Santa Claus

throughout the day!


N ash v i l l e’s go -to p l ace f o r 1 2 4 y e a r s .

Polymer Clay Ornament House Portraits by Susan Jones with Patricia Hudson Nov 23rd 9-4pm th Nov 9 9-4pm Corks and Canvas Workshop with Elizabeth Jackson Nov 15th 6-9pm

CybErsphErE shows Saturdays in November 2pm, 3pm,7pm,8pm and 9pm Check our website for show titles!

www.rcenter.org • 615-740-5572

BradfordsInteriors.com 4100 Hillsboro Road





he moment I approached t he reg ist rat ion table at the 40th Annual Heritage Ball and heard the kind lady assigning table numbers remark to me, “You are one spicy gentleman,” I knew that this was going to be a grand affair! Seriously, this Williamson County black-tie event is one of my Jan and Andy Marshall – favorite parties of the year. There Chairs Heritage Ball was a crisp, fall feel in the air, which made for a most comfortable tent party. There is no AC at this party, nor is it needed. I cannot put my finger on it, but these folks in Franklin love a good party and are so welcoming and gracious. New friends meeting old friends, all with pleasant smiles and never a thought of wow, look who made the cut this year. A sellout crowd of over 700 patrons filled the cocktail tent before being called to dinner by Jessica and Jay Sheridan – the sounds of bagpipers. Both the Heritage Ball dinner and the cocktail tent were so well thought out, there was ample room for guests and the service staff to move about comfortably . Ball Chairs Jan and Andy Marshall along with the 2013 Queen and King Betty and Dr. Joseph Willoughby Sheila and Nelson Shields with Judy welcomed Angela Calhoun Simmons – Heritage Ball (Angela did a superb job as design chair) with husband, Porter, Joy and J.R. Roper, Jeanie Nelson and Will Martin, Julie and Doug Fisher, Jessica and Jay Sheridan, Sheila and Nelson Shields, Shaun and Gordon Inman, Anne and Byrd Cain, Beth and Sam Harwell, Vickie and Charlie Manning, Jeff and Kristen Mayfield, Donna Bishop and Gar y Connie and Carl Haley – Heritage Ball Granquist, Linda and Steve Harlan, Marty and Ronald Ligon, and Lee and Allen Oakley. The dinner by Chef Danielle Kates was amazing as always. In a bit of a different twist, the feast was “Farm to Table,” all using produce, etc., from local area farms. Okra cakes from Delvin Farms, Dana Perdue and Tim farm greens from Bloomsbury Farm and Pagliara – Heritage Ball

Chris and Susan Holmes, Vince and Wendy Dunavant, Kevin and Sharon Thompson – Heritage Ball

Spring Meadow Farm, goat cheese from Noble Springs Dairy, aged Angus filets from Bear Creek Farm, and cinnamon creme fraiche from the Hatcher Family Dairy. My good friend and table host Tim Pagliara (2012 Patron Award Recipient) presented the 2013 Patron Award to Coach Howard Gentry and Family. The Jimmy Church Band had all patrons dancing till the wee hours of the night. From the lovely table arrangements of red roses to the crystal chandeliers overhead, once again I shall state this is a community affair where volunteers create the evening. Hats off to the Heritage Ball and Foundation. I have yet to figure out the “spicy gentleman” remark, but I am taking it with pride.

Terrell and Byrethia Broady – Heritage Ball

Sixteen years ago John Hiatt committed to helping chemically Marty and Ronald Ligon – dependent adolescents by raising Heritage Ball funds through concerts for Cumberland Heights. As a proud alumnus of Cumberland Heights, I was indeed glad to be included in the pre-concert party held at the Downtown Hilton Hotel a few weeks back. Party Chairs Elizabeth James and Lauren Ross, along with event chairs Devereux and Gordon Pollock were front and center welcoming Jay Perkins, Vaden Lackey, Molly and Tony Fort, Deena and Frank Drummond, Elizabeth and David Dingess, Linda and Frank Gorrell, Bert Parrish, Lake and John Eakin, Frank Wade, Kathleen and Alec Estes, Eleanor Templeton with Mary Ann and Davis Chairs Lauren Ross and Devereux Pollock – Denney, Betty and Cumberland Heights


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Linda and Frank Gorrell – Cumberland Heights

Vaden Lackey, Nancy and John HiattCumberland Heights

Jimmy Perkins, Kim and Eddie Demoss, JoAnn and Dave Thombs with Linda Gilmore. Patrons enjoyed a savory buffet dinner before heading over to the Ryman Auditorium for the annual concert hosted by the great Kenny Rogers. I have heard of dueling pianos, dueling networks, and dueling banjos, but dueling cocktails? Yes indeed, Dueling Cocktails—a benefit for the Belmont Mansion Association. The 2nd Annual Dueling Cocktails contest took place at the lovely estate home of Susan and Damon Byrd. Cocktail or jazz-age attire was the given dress code for the evening, and yes, almost all the patrons turned out in Roaring 20s attire, including Debbye and Hunt Oliver (Debbye looking as if she had just stepped off the set of the recent Gatsby movie), Marianne and Andrew Byrd, Tom Neff, Debra and Casey Debbye and Hunt Oliver – Dueling Reed (congrats to this couple Cocktails for being Nashville’s newest newlyweds!), Deby and Keith Pitts, Deborah Danker, Patsy and Bob Weigel, Mary and Alex Wade, Bob Deal with Jason Bradshaw and Theresa Menefee, and Brenda Batey. So, you ask, how does one participate in a dueling cocktail contest? Well, you create your own version of a cocktail from either the gilded or jazz age, mail in your recipe for a cocktail tasting, and on the night of the event the two finalist cocktails are served and voted upon. The winning cocktail was invented by Beth and Charlie Sell. “The Belmontillado Cotton Gin” combines 1 oz. Corsair Gin, .5 oz. Lustan Dry Amontillado Sherry, 1.5 oz. half-and-half, 1.5 oz. honey simple syrup, and a dash of nutmeg. Shake with ice, strain into a chilled cocktail glass, garnish with floating mini marshmallows and a sprinkle of cinnamon. Should this creation sound like way too much trouble, you may try it at either Sunset Grill or Midtown Café where it will be served as the specialty cocktail through mid November. Call me simple, but my drink is club soda on the Jeanne Gore, Ginger Steele Stephenson, Mae rocks with lemon or Ambrose, Pam Wallace – DAR Luncheon

Eric Rion and Maya Lochan – Anderson Design Studio

lime, which makes me Nashville’s most desirable driver. Anywho, I surmise that Adelicia saw her fair share of cocktail dueling (Adelicia’s tea) during teatime at Belmont. From the jazz age of the Belmont Mansion benefit, we continue with the Roaring 20s at the luncheon meeting of the General James Robertson Chapter of the DAR held at Belle Meade Country Club. LaRawn Scaife Rhea, being the lovely Southern belle she is, was the featured speaker, speaking on “The Influence of Women in the 1920s.” As we know, the lady of the home (or her cook) in the 20s spent much more time in the kitchen than these days. But did you know that, with the miracle of refrigeration, Jell-O became a poplar choice for mealtime, and alcohol found its way to the dining table as sherry that was to be cooked with. Cake mixes had just come on the market, and the favorite of the time was lemon pound cake with lemon curd icing. All of the above were prepared and served for this delightful luncheon by the Belle Meade chef. Celebrating the 90th Anniversary of this Nancy Lee Pitts, Margaret Wallace, Bunny Jamison, Elaine Youngblood – DAR Luncheon Chapter of the Daughters of the American Revolution with the national motto “God, Home and Country,” these ladies were seen and heard and proud to be there! Regent Susan Ramsey welcomed Shockey P’Pool, Sallie Norton, Edna Presley, Elizabeth Earthman, Mary Wade with her mother Lucille Nelson, Nancy Nunnelly, Lallie Wallace, Cathy Shell, Margaret Wallace, Juanita Cate, Sara Hunter Green, and Joanne Horkins. I felt so very patriotic attending this luncheon and left with the Chapter message to “Honor our Heritage, Focus on the Future, Celebrate America.” Right on, girls! Nashville’s hip new place, the Anderson Design Group Studio Store, welcomed loads upon loads of folks to their grand re-opening. This design studio store is a showroom for Nashville’s top locally made creations. Not counting points that evening on Weight Watchers, I so enjoyed sampling treats from Olive & Sinclair Patti and Joel Anderson – Anderson Design Studio Chocolate, Willa’s

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Chairs Jodi Banks, Collins Hooper, Clark Harwell – Blue Moon

Dilvin Tayip and Robert Sharp, Anne Sheppard – Cheekwood Harvest Dinner

Shortbread where the owner and my new friend Eric Rion made a believer out of me that his shortbread is not only the best in the South but also in the world. He is correct! On to the coffee hostess with the mostess Dawn Verner, owner of Eighth and Roast, with her tasty coffee using beans from around the globe, TruBee Honey and others, along with the sounds of The Flea Marketeers. This was a most swanky hipster event to celebrate “The Spirit of Nashville.” By the way, studio owner Joel Anderson has some great items that will Lannie Neal and Mat Tyndall – Blue make any grown man excited for Moon the holidays—meaning grownup man toys like model vintage planes, cruise boats, and so much more. Once in a Blue Moon—only once a year—patrons have the opportunity to warmly support the Land Trust of Tennessee at the Blue Moon fundraising tent Jane Haggard, Martin Brown, party. This year the event was held Peggy Vessels – Blue Moon at a new venue, a large parcel of land off Old Hillsboro Road, with a huge tent and outdoor lighting. Chairs Jodi Banks, Clark Harwell, and Collins Hooper expressed how they wanted all the emphasis on the land with nothing else, and thanks to Phyllis and Steve Fridrich that is exactly what they got, a beautiful pasture. Cocktails were served in an open-air area with magnificent views of freshly bailed hay, and the tunes Cain, Eddie and Leslie Bass, Ron of the Hog Slop String Anne McGinnis – Blue Moon Band. Dinner was ser ved under tent followed by twostepping to the sounds of the Grass Stains featuring fiddler Justin Clark, and clogging by Tommy Jackson’s Rocky Top Revue. Following tradition, there was Steve Fridrich, Paula Kinard, Phyllis Fridrich, an enormous bonfire Bob Kinard, Tracy Rankin – Blue Moon

Mary Evelyn Jones, Don and Jane MacLeod, Dianne Neal – Cheekwood Harvest Dinner

aglow for the guests to gather, listen to music, and enjoy s’mores. Honorary Chairs Clare Armistead, Eddie Bass, Barbara Daane, and Martin Brown were seen greeting Agneta and Brownlee Currey, Jody Mattison and Jordan Asher, Mary Jo and Steve Shankle, Jay Joyner, Lannie Neal, Mat Tyndall, Pat and Tony Johnston, Mary and Alex Wade (they must be tired, for they are everywhere I have been in the last thirty days!), Tooty Bradford with John Eddie Cain, Irene and Ridley Wills. I love the Land Trust and really enjoy this party once a year . . . once in a Blue Moon! To continue dining under the stars, the following evening I so enjoyed the fall Harvest Dinner at Cheekwood. “This is a first,” stated Chair Melanie Baker, and she and the ladies of the Horticultural Josephine Darwin, Sally and Jo Doubleday, Society of Middle Jean Oldfield – Cheekwood Harvest Dinner Tennessee created one fine alfresco dinner. Melanie shared with me that thanks to Julie and George Stadler the grounds of Cheekwood are now lit. What a great gift. The lighting of the grounds made it possible for this sumptuous Harvest Dinner in the Wills Garden to be the first of what I am sure will be many. Prior to the seated dinner, cocktails were served in the Sigourney Cheek Literary Garden, where guests were treated to a Southern bourbon tasting. This evening was one of the most delightful I can remember at Cheekwood. Outdoor dining at its finest! Enjoying the bourbon and the glorious fall weather were Dilvin Tayip with Robert Sharp, Chloe Fort, Mary Ann and Ed Herbert, Josephine and John Darwin, Jo and Ben Doubleday with daughter Sally (whom I had not seen since we were neighborhood Paul and Gloria Sternberg, Melanie and kids), Gloria and Paul David Baker – Cheekwood Harvest Dinner Sternberg, Lindsay and Mark Ison, Lesley and Reed Omary. I do realize that all I have done this past month is go to cocktail and dinner parties, and it is not even Thanksgiving yet. May God bless you and your family for a lovely and festive holiday season!


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Retail store- Mid-South Ceramic Supply

Art galleries • Artist studio spaces


Pottery classes • Workshops • Field trips

Connect. Artist Co-Op • Events • Tours

Give the gift of ART! House Join us for our Holiday Open 12, Thursday, December 5:00-8:00 p.m.

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1416 Lebanon Pike, Nashville, TN, 37210 615.242.0346 Hours: M-F 8:00-4:30, Sat 10:00-2:00 www.theclaylady.com





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






1932–2012 ®

16” x 16” oil on canvas dyptch

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

Contact Gerard Vanderschoot, exclusive Regional Representative of the work of International artist Matt Lamb for the Nashville, Dallas, and Chicago regions (815) 347-9698 • jerryvanderschoot@gmail.com • www.mattlamb.org

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Mama revisited . . . PHOTO: ANTHONY SCARLATI

Downtown Franklin’s First Friday Art Crawl

Friday, November 1, 6-9 p.m. More than 30 galleries and working studios in a 15-block area, featuring artists at work, live music, wine and more! There’s no cost to attend, but a $5 wristband provides unlimited transportation on trolleys circulating during the event.

Jose Santisteban of Franklin Glassblowing Studio

Debbie Smartt (showing at Bagbey House)


y mother recently celebrated her ninety-first birthday.

I wrote about her in this column three years ago, and I’m happy to report she can still ride a bicycle and still drives a car. In fact, she insists on driving regardless of who’s in the car. If A. J. Foyt and Mario Andretti took a road trip with Mama, I guarantee you Mama would drive. Mama has a personal trainer. And, for the past six years, a younger boy fr iend na med C ha rl ie. (He’s o n l y 8 6 .) C h a r l i e i s Jewish, short, and bald. Mother is Presbyterian, opinionated, and ta l l. “Six-feet tall barefooted,” she likes to say. Charlie has a smile that can light up a room. He adores my mother. Mother insists she and Charlie are “just friends.” One time I called her on Mama, age 22 her cell later than usual. At one point I asked, “Where are you?” “Oh, I'm at Charlie's,” she replied. “We're watching a movie.” There was a momentary pause. “I'll be going home right after it’s over.” “Mother,” I said. “I don’t care if you go home or not! In fact, I hope you guys are at least spooning. Life’s too hard. We must find comfort where we can!” I can’t remember what all was said after that, if anything.

Jennie Schut (showing at Damico Frame & Art Gallery)

Diane Davich Craig (showing at Gallery 202)

www.FranklinArtScene.com Facebook.com/FranklinArtScene Sponsored By:

When Mother and Charlie first got together, we were all amazed. It wasn’t so much their religious differences as the fact that he was so much shorter than she was, not to mention his baldness. In the Spartanburg, South Carolina, I grew up in, what you believe is not nearly as important as how you look. Case in point: When Mother married this man from North Carolina a year after my father died in 1983, a man who was good looking enough but only six feet tall, she had all the heels on her high heels cut off. So a few months after Mother and Charlie got together I said, “Mama, I’m curious. Would you have given Charlie the time of day ten years ago?” In a moment of truth, she said, “Probably not. Because back then, I cared too much about what other people think.” This extreme old age might have more going for it than we realize. www.tallgirl.com


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Jane O. MacLeod


President and CEO, Cheekwood Botanical Gardens and Museum of Art


ne of the perks of working in the museum at Cheekwood is being able to select works from the art collection for our offices. I chose Pauline Palmer’s Family Gathering for my

office when I first arrived, and except for a time when it was on exhibition in the galleries, I have had it displayed directly opposite my desk where it is always on view. Its soft yet brilliant colors, as well as the serenity of the summer afternoon scene it depicts, nurture my spirit. For me, it’s an idyllic setting, reminiscent of days gone by when families gathered on the porch in rocking chairs and swings rather than in front of the television with someone in a hurry to be somewhere else. I seem to always be in a hurry, but when I gaze at the painting, it offers a moment of repose and directs my attention to how precious time is and especially time spent with one’s family.

Family Gathering, 1919, Oil on canvas

ARTIST BIO – PAULINE PALMER Painter Pauline Palmer is credited with being a major proponent of the impressionistic style in the United States. She studied painting at the Art Institute of Chicago under artists William Merritt Chase, Frank Duveneck, and Kenneth Hayes Miller. A preservationist, she founded the Association of Chicago Painters in 1923 to provide artists a space to continue the painting traditions of impressionism while many groups were forming to celebrate the new styles of abstraction and modernism. Palmer exhibited her works with the National Association of Women Painters

and Sculptors. In 1899, she exhibited her work at the Art Institute of Chicago and continued showing annually for twenty-seven years. She won numerous awards and medals for her work and was an active participant in the arts in Chicago, including the Municipal Art League, Art Guild, Women’s Salon, and the Drama League. Palmer was the first woman president of the Chicago Society of Artists and served as president of the Chicago Association of Painters and Sculptors. She died in 1938 from pneumonia while on vacation in Norway with her sister.

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©2013 EI L EEN FI S H ER I NC.


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