5th AVENUE OF THE A RTS D OWNTOWN N ASHVILLE
Regular 5th Avenue gallery hours: 11-5:00 pm, Tuesday-Saturday
October 4 - October 24 Rollick and Roll: More Visual Fiction Paintings and Sculpture by Aggie Zed Architectural Sculpture Clay and mixed media by Edward Belbusti ©Aggie Zed
October 4 - October 25 Picture Element : New Work from Jeff Grady and James Pearson ©Jeff Grady and James Pearson
September 27-October 25 Mapping Out the Matrix New Work by Carol Prusa and Sky Kim ©Carol Prusa
PUBLISHED BY THE ST. CLAIRE MEDIA GROUP Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Directors
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PAUL POLYCARPOU Editor and CEO
JENNIFER ANDERSON The Great Unknowns
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MARSHALL CHAPMAN Beyond Words
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JENNIFER COLE State of the Arts LINDA DYER Antique and Fine Art Specialist SUSAN EDWARDS As I See It ANNE POPE Tennessee Roundup JIM REYLAND Theatre Correspondent JUSTIN STOKES Film Review
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TONY YOUNGBLOOD Unplugged
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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 employeeâ€™s first name followed by @nashvillearts. com; to reach contributing writers, email email@example.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.
on the cover:
Photography contest finalist Julian Dura, Water & Earth Article on page 68
26 The Bookmark
24 Crawl Guide
31 Southern Festival of Books
28 As I See It by Susan Edwards
33 Jack Ryan Safe Deposit Reprise at Zeitgeist
29 Film Review by Justin Stokes
34 Rebecca Berrios Artober Nashville
38 Donna Ferrato Telling the Truth
40 Sanctity Pictured Frist Center for the Visual Arts
95 Backstage with Studio Tenn Steel Magnolias
42 Alan LeQuire Miniature to Monumental 44
After the Flood
Faces in Formation Explorations and Discoveries
72 Michelle Farro The Fading Memory of the Spotless Mind 76 Edward Belbusti Architectural Sculpture
Tennessee State Museum
68 Nashville Arts Magazine Photography Competition
96 Theatre by Jim Reyland
Finer Things Gallery Reopens
64 Composition and Intention Abstract Works at Cumberland Gallery
84 Poet’s Corner Walker Bass
Vanderbilt Fine Arts Gallery
Hot Books and Cool Reads
Art See Local Faces at Local Places
102 Paint the Town by Emme Nelson Baxter 104 Art Smart
109 Unplugged by Tony Youngblood 111 Critical i by Joe Nolan 113 Beyond Words by Marshall Chapman 114 My Favorite Painting
at The Arts Company
81 Nashville 6 A.M. Tamara Reynolds 86 Jack Pearson Guitar Player Extraordinaire 90 Nashville Ballet’s Swan Lake
92 Nashville Opera’s La Bohème
October 2014 | 7
PUBLISHER ' S NOTE
Art Creates a City
ctober has arrived and autumn has tiptoed its way into the spotlight once again. It’s hard to believe that exactly one year ago, I designed my very first issue of Nashville Arts Magazine. I feel incredibly lucky to get to work with such a talented group of people to forge a beautiful publication that showcases the artistic spirit of Nashville. I never cease to be amazed at the creative energy that hums throughout this city. You can’t help but want to join in the song! Art isn’t something that is merely observed and consumed; it’s the voice of the community, and this city certainly has a lot to say. A city that embraces art and encourages originality is destined to thrive, because creative people are naturally drawn to each other, which leads to new ideas and growth. This is what gives Nashville its unique voice, an irresistible siren song that creative people everywhere long to hear.
Art has the power to inspire, transform, join together, reach out, and lift up. Nashville has made tremendous efforts to harness this power and use it to help great causes like Courage Unmasked and Dog Art for Old Friends (page 10) or bring to light issues such as domestic abuse (see Donna Ferrato on page 38). Local art isn’t just about inspiration and beauty. It’s about creating a welcoming place that everyone is proud to call home. Nashville is a powerfully creative community, and I’m forever grateful that I get to be a part of it. Tracey Starck Design Director
I Swear If That Fool Comes Over Here Again Oil on canvas, 16” x 20”
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
Courage Unmasked Tennessee
October 13–November 21, 2014
Dog Art for Old Friends Benefit
Omni Hotel • October 10
f you love art and dogs, then you won’t want to miss Dog Art for Old Friends, a benefit for Old Friends Senior Dog Sanctuary (OFSDS). Over 30 artists and celebrities have given their time and talent to create amazing dog statues, which will go up for auction during a fun-filled evening at the Omni Hotel. One hundred percent of the proceeds will benefit OFSDS.
Charlie Buckley in collaboration with Senator Bill Frist; John Cannon, Polly Cook, Ashley Judd, Judy Klich, Arthur Kirkby, Wayne Kirkpatrick, Simon Levy, Damon MacNaught, Amanda Norman, Steve Wariner, Herb Williams, and Mike Wolfe are just a few of the contributing artists.
The Dog Art for Old Friends benefit reception takes place on Friday, October 10, at 6:30 p.m. at the Omni Hotel. The evening includes live music by Jerry Vandiver, a silent auction, and a live auction hosted by Nashville Arts Magazine. For ticket information, visit www.dogartforoldfriends.org. To view the online auction, visit www.32auctions.com/dogartforoldfriends.
Buddy by John Cannon
PHOTOGRAPH BY RAY DENE BERRY
OFSDS is a volunteer-run, non-profit organization dedicated to rescuing and caring for senior dogs in Middle Tennessee. Due to their shorter life expectancy and unknown veterinary costs, senior dogs face a much greater chance of euthanasia at shelters. The primary goal of OFSDS is to find lifelong placements for senior dogs. To make it easier on foster families, OFSDS pays for vet care and the basic needs of these dogs for life. For more information on OFSDS, visit www.ofsds.org.
Brezinka’s Seigenthaler O’More College of Design • October 3 to November 5
ayne Brezinka’s portrait of John Seigenthaler, American journalist and defender of First Amendment Rights, includes Seigenthaler’s glasses and one of his neckties, provided by his secretary, Ms. Gay Campbell. Among the historically significant items used in the portrait are original Tennessean mastheads from 1973 and 1974, a 1982 USA Today, and a 1961 press photograph of Freedom Rider Susan Wilbur, whom Seigenthaler saved from the riots in Montgomery, Alabama. Seigenthaler was commissioned by Vanderbilt Magazine, the alumni magazine of Vanderbilt University, for an article in its Summer 2014 issue about Seigenthaler and his long association with the university.
Brezinka’s Seigenthaler is part of his new solo exhibition Paper Cuts: Discarded Illusions and Found Realities at O’More College of Design. The exhibit opens with a reception during the Franklin Art Scene on Friday, October 3, from 6 until 9 p.m. and will be on view through November 5. For more information, visit www.brezinkadesign.com and www.omorecollege.edu. Wayne Brezinka, John Seigenthaler, 2014, Cut paper, collage, and mixed media on canvas, 30” x 24” 10 | October 2014 NashvilleArts.com
HISTORY EMBR ACING A RT
Susan Blair Truex Reception October 3, 6-9 p.m.
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mobile: 615-330-3051 • office: 615-250-7880 • Laurabaugh3@gmail.com
Welcome the Autumn Season at Cheekwood Harvest
Weekends through November 1
elebrate the season and explore Cheekwood’s vibrantly colorful landscape amid the fresh fall air during this year’s third annual Cheekwood Harvest. The festival features over 5,000 chrysanthemums in full bloom, a pumpkin patch, scarecrows, trains, and a plethora of activities for the entire family.
On Saturdays, enjoy Live Music in the Mansion by pianist Gunther Knaup and Bluegrass in the Herb Garden with players from Bluegrass Nation. This year’s Drawing Room Concert Series on Sundays is presented in partnership with the National Museum of African American Music and offers a diverse array of genres, including jazz and ragtime. Also slated for October are a Har vest Concer t with Cowboy Dan, Goblins in the Garden, Zoo on the Mo ve, Nashville Ballet ’s Carnival of the Animals, and Aesop’s Fables presented by Nashville Public Library’s Puppet Truck and Wishing Chair. And for hands-on art and nature-themed activities, artists of all ages are invited to stop by Family Studio Drop-In ‘Art’ivities on Saturdays. “Cheekwood Harvest is a great festival that the entire family can enjoy,” said Claire Brick Corby, Cheekwood’s Vice President of Marketing and Sales. “There truly is something for all ages. Our pumpkin patch is filled with many different varieties, and the scarecrows are such a great community tradition. You can spend an entire day at Cheekwood and celebrate all things fall!”
El Dia de los Muertos, Cheekwood’s celebration of this H i s p a n i c h o l i d a y, r o u n d s o u t C h e e k w o o d H a r v e s t o n November 1. Now in its 15 th year, this popular event includes music and dance, art activities, authentic cuisine, beautiful altar displays, and a multi-cultural marketplace. Cheekwood Harvest takes place every weekend through November 1. For a complete list of programs and activities, visit www.cheekwood.org.
PHOTOGRAPH FRANK ZIPPERER
Annie Sellick and the Hot Club of Nashville
Jazzmania 2014 with celebrity emcees Doyle & Debbie
Get your tickets for Jazzmania 2014, the Jazz Party of the Year!
Saturday, October 25, 5-9 pm
Liberty Hall, the Factory at Franklin
SPECIAL MUSICAL GUESTS SPECIAL MUSICAL GUESTS
El Movimiento Annie Sellick & the Hot Club of Nashville CELEBRITY EMCEES – Doyle & Debbie
The Factory • October 25
ombine top-notch jazz, zany humor, fine art, scrumptious food, and custom libations and you have the makings for the jazz party of the year! The 14th annual Jazzmania Fall Jazz Party & Fundraiser features music by two of Nashville’s most popular and dynamic ensembles: Annie Sellick and the Hot Club of Nashville and El Movimiento, the Latin jazz band headed by Rahsaan Barber, Imer Santiago, and Giovanni Rodrigues. Bringing their signature madcap comedy to the festivities are celebrity emcees Doyle and Debbie of The Doyle & Debbie Show. (See our editorial on this comedy duo in our September 2014 issue.) This year’s live and silent auctions offer artwork by some of the area’s best artists, as well as vacation packages, tickets to top events, special dinner packages, and in-home concerts. Jazzmania’s signature auction feature is Small Works, a collection of small paintings produced especially for this event. A few of the participating artists are Carla Ciuffo, John Guider, Tyree McFarland, Millie Jarrett, Andee Rudloff, Henry Rinne, and Gloria Newton. All proceeds benefit the Nashville Jazz Workshop, a nonprofit organization dedicated to providing world-class jazz education and performances. Jazzmania 2014 takes place Saturday, October 25, from 5 to 9 p.m. in Liberty Hall, The Factory at Franklin. For tickets and more information, visit jazzmania.nashvillejazz.org.
1319 Adams Street Nashville, TN 37208
PHOTOGRAPH BY DUNCAN MAY
For Tickets And More Information: Visit jazzmania.nashvillejazz.org or call 615.242.JAZZ (5299)
Kirk Whalum (center, saxophone), Lori Mechem (piano), Roger Spencer (bass), and Marcus Finnie (drums) at last year’s Jazzmania
Mary Addison Hackett 7 oct - 8 nov
DLG DAVID LUSK GALLERY 516 Hagan . Nashville 615.780.9990 davidluskgallery.com
Multicultur al L iving in Nashville Jairo Prado, Fields of the Dreamer, Acrylic on canvas, 20” x 57”
ExpatriatE rchivE thE
Mohsenin Galleries • October 18 to November 21 by Sara Lee Burd
any of you don’t know that I was born in Colombia, South America, to a Colombian mom and a dad from Alabama. My family has always felt like we have two homes, two cultures to celebrate. We moved to Georgia when I was still a baby, but we often visited family in Colombia and explored Central and South American countries. As my appreciation for art developed, I connected emotionally to the Latin American artists’ portrayals
Juan Pont Lezica, Verlon Thompson as The Old Guitarist, Photograph, 45” x 32”
Liliana Velez, Palenquera 2, Gold leaf and oil, 36” x 24”
Opening Reception Saturday, Oct 18 • 6 pm - 9 pm
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(615) 866-9686 Mon.-Fri., 10 am to 5 pm, Sat. by appointment www.mohseningalleries.com firstname.lastname@example.org
of the common man, magical realism, and exotic vistas that were now familiar to me. Strangely, I was never offered a course on Latin American art during my studies of art history at University of Georgia or Vanderbilt, but I chose collecting and exhibiting Latin American art as the topic of my Master’s thesis.
When the opportunity to curate an exhibit at Mohsenin Galleries presented itself, I knew right away that I wanted to show work Yuri Figueroa, Daisy Revolver, Acrylic on canvas, 24” x 18” by local artists who have roots in Latin America. The Expatriate Archive features abstract paintings, naturalistic still-lifes, and photography by some of Nashville’s finest, including Juan Pont Lezica (Argentina), Jorge Yances (Colombia), Jorge Mendoza (Bolivia), Liliana Velez (Colombia), Yuri Figueroa (Mexico), Jairo Prado (Colombia) and Clorinda Bell (Peru). I hope this show leads to a broader conversation about cultural identity and what it is like to have homes in more than one country. The Expatriate Archive will open at Mohsenin Galleries October 18 at 6 p.m. and will remain on exhibit through November 21. For additional information, please visit www.mohseningalleries.com.
Jairo Prado, Totem II, Acrylic on canvas, 30” x 30”
A Voyage in Versatility Gateway Chamber Orchestra Announces 2014–2015 Season
ateway Chamber Orchestra’s (GCO) fifth season, entitled A Voyage in Versatility, promises new adventures with every performance. From the intimacy of Berio’s Folk Songs, featuring the luminous voice of Teresa Buchholz, to the grandeur of Mendelssohn’s majestic Scottish Symphony, listeners will revel in an incredible variety of music performed by some of Middle Tennessee’s finest musicians.
PHOTOGRAPH BY ALLISON CAMPBELL
“Middle Tennessee is among the most musically vibrant communities in the country, and we are proud to add our unique voice. Our diverse programming approach brings together three things: established masterworks like symphonies by Mozart or Beethoven, overlooked treasures, and contemporary American works. GCO is already on the international scene through its release of Wind Serenades and Chamber Symphonies on the Summit label and has received glowing reviews from the American Record Guide, Fanfare, ArkivMusic, and ArtsNash among others,” says Gateway Chamber Orchestra Music Director and Conductor Gregory Wolynec.
Gateway Chamber Orchestra
Formed in 2008 by Wolynec and other Austin Peay faculty who wanted to perform live, GCO grew quickly, attracting musicians and audiences from Middle Tennessee and beyond. GCO is now recognized as one of the leading new American ensembles. In addition to their season concerts, Gateway Chamber Orchestra will perform free concerts and provide educational outreach for nearly 5,000 students in the Middle Tennessee community. This is their second year playing in Nashville as well as Clarksville. The Clarksville Sunday matinees will be performed in the acoustically splendid Austin Peay University Mabry Concert Hall, and the Nashville Monday night concerts will take place in the Downtown Presbyterian Church and the Masonic Grand Lodge of Tennessee. GCO’s next concert, Wind Serenades, is October 26, at 3 p.m. at Austin Peay State University, and October 27, at 7:30 p.m. at Downtown Presbyterian Church. For a complete schedule and ticket information, visit www.gatewaychamberorchestra.com.
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Tel (615) 794-4254
Join the conversation, become a fan and help spread the word: Facebook (@BrezinkaDesign),
Twitter (@WayneBrezinka ), Instagram (@WBrezinka), www.brezinkadesign.com IMAGE RIGHT: Edel Demetrio Gonzalez, 2014 cut paper, collage & mixed media on wood panel, 20 x 16 inches
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Tennessee Repertory Theatre Becomes
Nashville Repertory Theatre PHOTOGRAPH BY BRITANIE KNAPP
n September 17, 2014, Tennessee Repertory Theatre celebrated their 30th Anniversary and announced their new name, Nashville Repertory Theatre.
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“When Tennessee Rep was founded thirty years ago, calling it Tennessee Rep was the smart and right thing to do for that time and political situation and context. But we are now in a very different time, and we have evolved to be a very different company, one whose focus in the last decade has shifted to supporting and fostering local theatre artists and the Nashville theatre ecology.” Rene Copeland, Producing Artistic Director, explained.
For more information and to see their new look, visit www.nashvillerep.org. To see Nashville Arts Magazine’s coverage of the Nashville Rep’s 30th Anniversary season, please visit www.bit.ly/1saRleT.
2200 21st Avenue South, Suite 106 615.292.1212 www.barkerdiamond.com
X Housewife Portraits K
Julia Martin Gallery • October 4 to October 31
it Kite and her two-year creative labor The X Housewife Portraits are set to overtake Julia Martin Gallery and the Wedgewood/Houston art district. Prior to this massive enterprise, Kite has shown various pieces of the series in video and print, but this is the first time the entire project is on view. Inside Julia Martin Gallery, Kit shows ten large-scaled self-portraits in which she is so totally immersed in inanimate domestic tools that she becomes the backdrop and the objects become the subject. These images document the artist’s personal process of displacement within the house, identity and memory within the home, and isolation. In front of the gallery, Kit has constructed a one-room, house-shaped installation where she presents a film entitled Object X. The black-and-white narrative explores themes in The X Housewife Portraits. Continuous running footage of seven thousand self-portraits taken by the artist in a beveled bathroom mirror will be projected on an exterior wall of the gallery in the film The X Reflects. These images document the project and expose the viewer to the tremendous amount of self-reflection Kite experienced during the creation of The X Housewife Portraits. Kite is placing most of the installations she created for staging her photographs throughout the Wedgewood/Houston area to serve as visual clues that lead viewers to the exhibit. According to gallery owner Julia Martin, “Kit Kite will take over Wedgewood/Houston. It will be a total event.”
Containing Preservation, Silver gelatin print, 48” x 32”
The X Housewife Portraits by Kit Kite opens with a reception on Saturday, October 4, at 6 p.m. during Arts & Music @ Wedgewood/Houston at Julia Martin Gallery. For more information, visit www.thekitkite.com and www.juliamartingallery.com. To see Nashville Arts Magazine’s feature article on Kite (June 2014), visit www.bit.ly/Zn9UQk.
20 | October 2014 NashvilleArts.com
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A Field Guide to Happiness Linda Leaming Shares Her Secret by Caroline Stamy
PHOTOGRAPH BY GINA BINKLEY
fter losing her baggage, literally and figuratively, en route to Bhutan, Linda Leaming made space in her life for simpler practices. As a harried American living in the slow-paced South Asian country, she learned how to decelerate and appreciate life’s nuances. “In the West, we have everything we could possibly need or want—except for peace of mind. We go to extravagant lengths to try to be happy,” Leaming writes in her newest book, A Field Guide to Happiness. “Living in Bhutan and then coming back to the U.S. has taught me that we can all learn to create a space within us where we are untouched, at our best, Linda Leaming where we can be open to life, and we can be, even in the darkest hours, calm and relatively happy. That can happen anywhere.”
Leaming contends that many of our perceived “necessities” are in fact not so necessary. Her new lifestyle forced her to discover that she could live without her ample wardrobe, American beauty products, and even luggage. Leaming uses her expansive wisdom to eloquently advocate for a modest, well-balanced life. The memoir is filled with witty, endearing, and even humorous anecdotes from Leaming’s time in Bhutan. These stories inspire, teach us how to attain equilibrium in our lives, and prove that Bhutan’s designation as the happiest country in the world is well deserved. She recounts long hours spent waiting in the Bhutanese bank —an initially vexing process that eventually taught her patience. She discusses the Bhutanese ritual of drinking tea, which brought new friendships and romance. Slowly, Leaming acquired a stockpile of valuable learning experiences that changed her outlook on life.
She brought these practices back with her to Nashville, where she now tries her best to simulate the Bhutanese lifestyle. By living modestly, facing her own mortality, and slowing down to enjoy life’s simple pleasures, Leaming achieved happiness and suggests that everyone can do the same.
A Field Guide to Happiness is available locally at Parnassus Books, Barnes & Noble, BookManBookWoman, East Side Story, and at most retail booksellers.
Robert Love, Van Gogh Portrait, 2014, Aluminum cans and nails on wood, 15” x 15”
Artclectic Celebrates Innovation and Excellence University School of Nashville • October 23 to 25
his month University School of Nashville (USN) presents Artclectic, a premier juried art show and sale featuring works by more than 50 local and national artists. This year’s theme, 100 Years of Innovation and Excellence, salutes the Centennial celebration of the school. Proceeds from Artclectic support USN’s Artclectic Endowment Fund for Innovative Teaching. “There’s no better way to celebrate and support the Endowment Fund for Innovative Teaching than with a showcase of art from across the country,” says Carrington Fox, who chairs the weekend along with Arnita Ozgener and Kelly Linton. “The energy Artclectic brings to the gymnasium-turned-gallery reverberates across campus, as the Endowment fosters creativity in USN’s classrooms all year long.”
The show and sale features paintings, sculpture, textiles, prints, jewelry, and furniture, with prices from $20 to more than $10,000. Twenty artists new to Artclectic will join more than 30 returning favorites. Among the participating artists are Mark Whitley, Debe Dohrer, Grant Garmezy, Alan LeQuire, Barbara Raidl, Amy Crews, Clay Bush, Karl Feng, Lauren Ossolinski, Robert Love, Taylor Thomas, and Tim Schneider.
Now in its 18th year, Artclectic has become a three-day event, which, in addition to the art show, also includes the Patrons Party, the Artclectic Community Party, POPclectic Pop-up Market, and the Scrap Exchange where visitors of all ages can create their own artworks from varied donated materials that might otherwise go to a landfill. Artclectic takes place October 23 through 25 on USN’s campus, 2000 Edgehill Avenue. For a complete schedule and ticketing information, please visit www.artclectic.org.
My Body My Temple The Parthenon • Through January 10 by DeeGee Lester
itting atop the Acropolis in ancient Athens, the Parthenon overlooked the Agora, a gathering space and the center of artistic, athletic, spiritual, and community life. Now, through January 10, the Nashville Parthenon/Centennial Park reawakens the Athenian model and taps into its own 117-year history as the centerpiece of community life with a collaborative and interactive exhibit, FLEX IT! My Body My Temple.
The brainchild of Nashville’s Adrienne Outlaw in partnership with Parthenon curator Susan Shockley, the project attracted the unique skills of artists from across America and as far away as Hong Kong to participate in the largest exhibit of socially engaged artwork presented in the South. Interior gallery space is expanded as the exhibit spills out onto the temple porches and into the park. This “gathering space” engages visitors and invites them to consider healthy lifestyles while interacting with contemplative works, sensory awareness, and physical activity. Outlaw’s MeetUp events and multiple-screen video installation promotes health and harmony, encouraging the flexing of mind and body. Chronicle, by Hong Kong artist Leung Mee-ping, raises awareness of the effects of speed in contemporary life upon the individual and the community. Moira Williams’ Socrates’ Wagon Sings with Demeter’s Torch unites interior/exterior spaces, combining sourdough starter and yeast packets with a Nashville community-built
Park visitors lean on Parthenon columns after encountering Susan O’Malley’s work Your Body Is the Architecture, a series of signs that encourage physical and playful interaction with the Parthenon
oven for baking healthy breads. Nicole Cormaci’s Yoga for Truckers (+Everyone) shows ways to incorporate yoga into modern sedentary life. Around the building’s exterior, Your Body Is the Architecture, by Susan O’Malley, encourages playful and physical interaction between guests and the Parthenon’s amazing architecture. Physical activity joins technology in Pygmalion’s Challenge, by Bryan Leister and Becky Heavner, which rewards participants for skill and athleticism. And three artists—Harrell Fletcher, Molly Sherman, and Nolan Calisch from Public Doors and Windows—unite for two exhibits, The Highlander Spring Project (encouraging the hydration of body and spirit) and The One Mile Loop musical trek around the park. For more information, visit Flex It! My Body My Temple on Facebook or www.nashville.gov/Parks-and-Recreation/Parthenon.aspx.
October 2014 | 23
OCTOBER CRAWL GUIDE art and design f rom Watkins alumni Julian Baker, Andy Gregg, and Shelby Rodeffer. Corvidae C o l l e c t i ve i s o p e n i n g Nomadic Views—Fantastical Views from This World and Beyond. 40AU is hosting Liquid, a solo exhibition featuring new work by Michael Grine. UltraViolet Gallery is exhibiting some Hannah Lane – Hannah Lane Gallery of the Dog Art for Old Friends sculptures (see page 10).
Paul Harmon – Jack Yacoubian Fine Jewelry & Art Gallery
ranklin Art Scene takes place on Friday, October 3, from 6 to 9 p.m., where more than 30 galleries and working studios are participating. O’More College of Design is unveiling Paper Cuts: Discarded Illusions and Found Realities, a solo exhibition of new work by Wayne Brezinka (see page 10). Gallery 202 is showcasing paintings by artist Susan Truex. Jack Yacoubian Fine Jewelry & Art Gallery is exhibiting new work by Paul Harmon. Bob Parks Realty is displaying artwork by children from the Make a Wish Foundation. Boutique MMM is featuring jewelry by Judith-Ann Ward and oil paintings by Dennis Deaton. Shuff ’s Music & Piano Showroom is presenting paintings by Shannon Haas. Franklin Custom Interiors is introducing Brazilian painter Marcelo Halmenschlager and Ukrainian artist Olha Bankston.
rts & Music @ Wedgewood/Houston happens on Saturday, October 4, from 5:30 until 8:30 p.m. Ground Floor Gallery & Studios is presenting A.I.R. ReFreshed curated by Janet Yanez. David Lusk Gallery is hosting a closing reception for Jared Small’s show stately abandonment. Julia Martin Gallery is exhibiting The X Housewife Portraits by Kit Kite (see page 20). Zeitgeist is showing Dark Matter by Seana Reilly and Safe Deposit Reprise (see page 33) by Jack Ryan. Threesquared is unveiling Melissa Wilkinson’s latest body of work La Petite Mort. Fort Houston is opening First Person, an exhibition of video art curated by Mike Calway-Fagan and Devin Balara. The Packing Plant is featuring Abstract Placement, photographs by Michelle Norris, and is also teaming up with COOP Gallery to show work by sculptor and video artist Daniel Luchman.
he First Saturday Art Crawl Downtown takes place on Saturday, O c t o b e r 4 , f r o m 6 until 9 p.m. The Arts Company is unveiling Rollick and Roll: More Visual Fiction Paintings and Sculpture by Aggie Zed and Architectural S c u l p t u r e by E d w a r d B e l b u s t i ( s e e p a ge 7 6 ) . Tinney Contemporary is presenting Mapping Out the Matrix, featuring new work by Carol Prusa and Sky Kim. The Rymer Gallery is opening Picture Element, a joint exhibition of iPod art by Jeff Grady and new painted works from James Pearson. The Gallery at Downtown Presbyterian Aggie Zed – The Arts Company Church is launching Light, an exhibition of work by the church’s children. In the historic Arcade, L Gallery continues its one-year anniversary celebration by hosting Cheekwood’s Pop Up Gallery, with work by Lonnie Holley. Hannah Lane Gallery is showcasing new work from the Crowd Series. WAG is presenting The Terrible Three from Tennessee,
Melissa Wilkinson – Threesquared
nBound Arts presents Third Thursdays at The Building Thursday, October 16, at 7 p.m. This month features work by visual artist Kevin Schlatt and musical performances by Year of October and Sugar Lime Blue.
24 | October 2014 NashvilleArts.com
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October 2014 | 25
The Bookmark A Monthly Look at Hot Books and Cool Reads
For more information about these books, visit www.parnassusbooks.net.
A Sudden Light: A Novel
Garth Stein’s The Art of Racing in the Rain is a staff favorite at Parnassus, so we’re excited that Stein’s new book is almost here. In A Sudden Light, 14-yearold Trevor Riddle is stuck between parents on the brink of divorce. His father takes him to Riddle House, the family estate, to live until the family can sell off the property to solve their money problems. But as Trevor explores the twists and turns of the ancient mansion, he runs into a spirit who lingers in the house and doesn’t want it sold off. Family secrets abound in this beautiful novel. Meet the author at the Downtown Public Library on November 14. See www.Salonat615.org for details.
A Painter’s Progress: A Portrait of Lucian Freud
Lucian Freud may well have been the greatest figurative artist in the second half of the twentieth century. The grandson of Sigmund Freud, he conducted his personal life privately, surrounding himself with carefully chosen friends. In the early 1990s, David Dawson became Freud’s model and assistant. Dawson, a painter himself from the Royal College of Art, took photos in Freud’s studio and on the artist’s travels around the world, working closely with him until Freud’s death in 2011. The comfort and candor of their friendship shows through in these photos, which give a behind-the-scenes look at how Freud’s art came to be. This book is a must for art lovers and art students.
How to Cook Everything Fast: A Better Way to Cook Great Food
This is one cookbook that may get a little stained and tattered over time, because you’ll actually use it—a lot. Mark Bittman, food writer for The New York Times, follows up his hit book How to Cook Everything: The Basics with this new guide, offering quicker ways to make favorite dishes. Whip up homemade wonton soup in half an hour, make a delicious fruit crisp right on the stovetop, throw together some cheddar waffles with bacon maple syrup in half the time it would take to make a fancy brunch. With Bittman’s tips on choosing ingredients, tools, and techniques, your weekly routine will never be the same.
Lila: A Novel
Take this recommendation from Ann Patchett, who says, “This is the third novel Marilynne Robinson has written about a small handful of characters in the fictional town of Gilead, Iowa. I wouldn’t call these books a trilogy. For one thing, it seems completely possible to me that Robinson will mine this vein for the rest of her writing days, and she should. For another thing, the books don’t build on one another. They sort of sit beside each other, quietly informing our understanding of the larger story while still working beautifully on their own. Lila is about John Ames’s young wife and how she got to Gilead.” If you want to read all three, pick up Gilead and Home as well.
As I See It
M o d e r n i t y ’ s T r o ja n H o r s e
by Susan Edwards
DIGITAL IMAGE © THE MUSEUM OF MODERN ART/LICENSED BY SCALA / ARS, NY
f you know of the artist Wifredo Lam (1902–82), then it is likely that you are familiar with his most famous painting, The Jungle, 1943. For many years the painting was installed on the ground floor of the Museum of Modern Art, New York (MoMA) opposite the entrance to the administrative offices and library, on the way to the coatroom. The placement of the large work (7 feet 10¼ inches x 7 feet 6½ inches) in the lobby drew sharp criticism in 1988 from John Yau, who claimed that neither the artist nor his style fit neatly into the canon of Western art history. The work was marginalized and left downstairs like a delivery boy. Wifredo Lam was born in Cuba of Spanish, African, and Chinese ancestry. In his 80 years, he lived in Cuba, Spain, and France and traveled to many other countries, including Haiti and the United States. He studied painting in Madrid before moving to Paris in 1938, where he met Pablo Picasso and André Breton. He absorbed the tenets of Cubism as well as Surrealism. He also associated with authors and poets Federico García Lorca, Alejo Carpentier, Gabriel García Márquez, and Aimé Césaire.
The shift in appreciation for Lam and his art began in earnest in the mid 1980s after MoMA presented Primitivism in 20th Century Art, an exhibition that rallied vocal opposition to entrenched patterns of co-opting the aesthetics of foreign cultures into mainstream formalism. A younger generation of critics and historians, such as John Yau and Lowery S. Sims, author of Wifredo Lam and the International Avant-Garde, 1923–1982, came on the scene, establishing greater sensitivity to diversity
Wifredo Lam, 1943, The Jungle, Gouache on paper mounted on canvas, 94.25” x 90.5”
and the marginalization of artists of color. It is not coincidental that many of these critics and historians walked by The Jungle every time they used the reference library at MoMA.
The Jungle is filled with fantastic creatures with characteristics of humans, animals, and plants painted in blue, greens, yellows, and ochre on paper and mounted on canvas. Oversized feet, hands, buttocks, and breasts are both connected and disconnected from pole-like forms layered over a field of sugarcane, the Cuban crop once worked by African slaves. There are no jungles of dense foliage on the island of Cuba. Lam was referring, instead, to a psychological jungle of the human condition. Lam felt he had an affinity for African art and iconography, but he also embraced the Surrealist objective of incorporating primitive art as a means of subversion. Lam’s goal was to paint the drama of his country by expressing the spirit of the diverse cultures in Cuba. He said he felt he could act as a Trojan Horse who could encapsulate the element of surprise “to disturb the dreams of the exploiters.” His originality and masterful fusion of visual and literary sources are at last enjoying well-deserved appreciation and visibility. PHOTO BY ANTHONY SCARLATI
By the time he returned to Havana in 1941, he had developed a style of painting that incorporated aspects of Surrealism, Magic Realism, Modernism, and Primitivism. Infusing his work with African and Caribbean symbolism, including imagery related to Santeria, a hybrid religion practiced in the Caribbean, Lam was an early advocate for and practitioner of multiculturalism and multi-ethnicity.
Susan H. Edwards, PhD
Executive Director & CEO, Frist Center for the Visual Arts
28 | October 2014 NashvilleArts.com
TYPES OF BUGS: BUGS OF TYPE
Screening at SPESC Photography Conference MTSU • October 3 by Justin Stokes
ew York City’s charm is made by the meager and mighty who walk its streets. Through their motion, the mix of pedestrians forces the unlikely into reality and fills the city streets with moments of strangeness, beauty, and truth.
Following the artists that choose to capture such moments, Cheryl Dunn’s Everybody Street turns the fixture of New York street photography to a mobile installation of top-notch, eye-catching images. For those delving into the process of hunting for the perfect image, the randomness of city life tells its own story while asking important questions about history, business, privacy, ethics, danger, and the place of the picture in the present day. The film is an outstanding replication of the overwhelming energy that powers New York. Depictions of the filthy underbelly of crime and suffering collocate with the compassionate, the quirky, and the humorous. And as a strict representation of street photography, the whole gamut feels covered.
Wholly discarding any semblance of structure or plot, the documentary is a fun, freestyle experience. The film traded its accessibility to educate and inspire would-be image makers, showing us the success attained in the Big Apple. Crafting still images in a city that’s always moving requires artists to embrace the dangers and difficulties of New York. Being imaginative and taking risks are catalytic to talent, and not the other way around. Topical and thorough, Everybody Street is a trend of showing those that played with fire and letting them pass on the torch to viewers. With art, if you can make it in New York, you can make it anywhere.
PHOTOGRAPH BY CHRISTY SIMMONS
Everybody Street will be screened Friday, October 3, as part of the Society for Photographic Education’s South Central (SPESC) 2014 Conference, held at MTSU’s Keathley University Center (KUC) Theater. For tickets and information about the conference, please visit the SPESC website at www.southcentral.spenational.org/conference. Justin Stokes is the founder of the MTSU Film Guild, a student organization which functions as a production company for student filmmakers. He is a filmmaker, screenwriter, and social media manager.
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Southern Festival of Books Annual Celebration of the Literary Arts October 10 to October 12 by Catherine B. Randall | Photographs by Melody Barnes
s the hot summer days give way to the cool autumn air, Nashvillians know that the annual Southern Festival of Books is not far away. This year, the family-favorite event begins on Friday, October 10, at noon and concludes on Sunday, October 12. More than 25,000 visitors are expected to fill Legislative Plaza during the three-day celebration of the literary arts. The Southern Festival of Books is presented by Humanities Tennessee, a non-profit that promotes education throughout the state.
This twent y-sixth annual book extravaganza will not disappoint: Katherine Applegate, Ishmael Beah, Box Brown, Pat Conroy, Jasper Fforde, Lev Grossman, Ellen Hopkins, Varian Johnson, Christina Baker Kline, Nicholas Kristof, Jacqueline Woodson, and Lawrence Wright are just some of the headliners f rom the more than two hundred nationally known authors who will take part in the festival.
For those who love books, dare we say are addicted to books, there is no better sight than the rows of tables piled high with volumes for sale. There will be forty-five exhibitors this year, and, as in years past, Parnassus Books will have a tent on the plaza for attendees to purchase books. Fans will also have the opportunity to get them signed by the author after each session. A portion of the proceeds from book sales benefits the festival.
Not to be left behind the trend, the festival is embracing technology by offering contest connections on Twitter, Instagram, and Facebook to win prizes, including a golden ticket to be first in line for a book signing by an author of their choice.
Panel presentations from critically acclaimed novelists, including James Ellroy (Perfidia), Joshua Ferris (To Rise Again at a Decent Hour), Amy Greene (Long Man), Laird Hunt (Neverhome: A Novel), and Cristina Henriquez (The Book of Unknown Americans), will round out the schedule.
is a proud sponsor of the 26th Annual southern festival of books. Join us at War Memorial Plaza and the downtown Nashville Public Library for a free, three-day celebration of the written word. Enjoy the company of 250 authors and 25,000 booklovers, and experience an abundance of book signings, local food, entertainment and culture.
This year’s festival offers a winter’s stock of good stories. There’s nothing quite as special as that hush that falls over the house as family members go to their favorite cubby to read their new books.
F o r m o re i n fo r m a t i o n a n d eve n t t i m e s , p l e a s e www.humanitiestennessee.org/programs.
October 2014 | 31
In The Cool Of Night the artist:
Evelyn M. Gray Open OctOber 9 thrOugh
nOvember 8, 2014
artistâ€™s receptiOn thursday, OctOber 9 5:00 until 7:00 p.m.
1912 Broadway Tuesday-Saturday | 10 a.m. to 5 p.m. 615 - 3 2 2-9 96 6
32 | October 2014 NashvilleArts.com
9/11/14 2:13 PM
JACK RYAN Safe Deposit Reprise Zeitgeist • Through October 25 by Erica Ciccarone
ust before the economic crisis that plunged the U.S. into its deepest depression since the 20s, there was another crash unique to Nashville. According to artist Jack Ryan, a meteorite entered the Earth’s atmosphere that summer and hit the gold geodesic dome of the Regions Bank on Charlotte Pike. It caused minimal damage to the dome, but the bank left its golden print on the space debris; gold paint embedded itself into its surface. The irony was not lost on Ryan, who will show a multi-media installment, Safe Deposit Reprise, at Zeitgeist this month. Ryan’s work with light and sound often employs loose narratives, uses artificial materials to imitate natural elements, and comments on the tension in human interaction with the environment. The materials for Safe Deposit Reprise include video, sound composition, sculpture, drawing, a bank vault, and the 65-gram meteorite itself.
the strength of our economic system. Of course, this isn’t the first time a meteorite or a geodesic has appeared in Ryan’s work, so the veracity of the story becomes subject to speculation as well. According to Ryan, the project’s direction is driven by the work of the Light and Space artists of the 1960s and influenced by noise music of the Pacific Northwest and trends in sound theory. “Treated as a centerpiece, sound invites input from many disciplines—science, art, philosophy, engineering, architecture, culture studies, and music,” he says. A former Nashvillian, Ryan still works with the arts collective Fugitive Projects, but he calls Eugene, Oregon, his home. Zeitgeist curator Lain York expects the exhibit to complement Seana Reilly’s monochromatic landscapes, which she creates with liquid graphite. Together, the work will comment on the intense forces of nature, asking viewers to consider the mental processes we have—and don’t have—to deal with them.
Regions Bank Meteorite (Recovered Fall), 2008–2014, Iron meteorite, 65 grams (roughly 1” x 1” x 1”)
Ryan says his work “treat[s] projects as tools of speculation,” an interesting choice of words given the unusual event. (In banking, “speculation” refers to the making of risky investments.) He notes that the geodesic dome is “the only man-made structure that becomes proportionally stronger as it increases in size.” Though round, it is composed of triangles that distribute stress equally across the structure. Although the bank’s golden helmet protected it from the force of flaming space debris, we can’t help but question
Weeping Meteor, 2009–2014, Electronics and audio media, wood, mixed media, 24” x 36” x 24”
The New Listeners (detail), 2010–2014, Conchs, steel, incandescent electronics, 24” x 24” x 30”
Jack Ryan’s exhibit Safe Deposit Reprise will be on exhibit through October 25. The opening reception will be held on October 4 from 6 to 9 p.m. in conjunction with Arts & Music @ Wedgewood/Houston. For more information please visit zeigest-art.com.
Marshall Stack/Conchs (detail), 2012–2014, Conchs, Foamular, plaster, cardboard, Rhino software, and laser cut elements, 48” x 30” x 30”
October 2014 | 33
Artober Nashville Making It All Happen with
Rebecca Berrios by Joe Pagetta
PHOTOGRAPH BY JOHN JACKSON / LOCATION : FOND OBJECT
rtober is a month-long celebration of ar ts and culture in Nashville, designed to make the community aware of the plethora of events and activities available in Middle Tennessee during October. Designated by the Americans for the Arts and the National Endowment for the Arts, and held in conjunction with National Arts and Humanities Month, Artober has become a feast for the artistic senses. Rebecca Berrios is the Community Engagement Manager for the Metro Arts Commission. We asked her to fill us in on the highlights and how best to navigate the wealth of options. Nashville Arts Magazine: In 2012, Artober involved close to 250 partners and more than 930 events. By 2013, it became one of the biggest arts and cultural events in the South. Where are we this year just in terms of sheer numbers? Rebecca Berrios, Community Engagement Manager, Metro Nashville Arts Commission
Rebecca Berrios: It truly is remarkable,
PHOTOGRAPH BY REED HUMMELL
isn’t it? We saw a 40 percent increase in partner participation last year from 250 to 350. My sense is that we will continue to boast similar numbers where events and partners are concerned. Over 350,000 people attended last year, and we hope to experience our largest growth in audience participation.
Nashville Opera’s The Pearl Fisher
NAM: What makes Artober more than just an enormous number of events happening in the same month? Is there a tie that binds? RB : A r tober Nashv i l le is about heightening public awareness of all the great options available, and for citizens and visitors to engage in and experience the arts where they live, work, or play. The ultimate goal of the celebration is that
34 | October 2014 NashvilleArts.com
every Nashvillian experience the arts regardless of age, class, and ability. NAM: What’s notable this year? RB: As the celebration enters its fourth year, Artober is becoming a tradition in Nashville and a household name. Artists and organizations are taking ownership of it, and new events are happening every year. This year, Main Street Gallery and Red Arrow Gallery are kicking off Artober Nashville with Arts Over the River, a special event for East Nashville. The Nashville Print Crawl is returning with a few more shops added to the mix. The Frist Center for the Visual Arts will commission a local artist to decorate their ornamental bollards. The Southern Festival of Books will be featuring the Artober Nashville Performing Arts Stage.
Cheekwood is sponsoring a Pop-Up Gallery at L Gallery in The Arcade featuring work created by acclaimed “outsider” artist Lonnie Holley in collaboration with students from Nashville School of the Arts. Holley recently completed an outdoor sculpture commissioned by Metro Arts for Edmondson Park, so this is really exciting.
NAM: How do partner organizations and events benefit from being a part of the celebration? RB:
Artober Nashville is the creative tide that raises all ships. By joining in the celebration and encouraging community participation in all of the arts, individual artists and organizations reap many benefits like opportunities to showcase work and free publicity. This event positions artists as key assets, increases the public’s awareness of the importance of the arts, builds audiences, and serves as a platform for collaboration and sharing best practices.
L.M. Montgomery, Anne of Green Gables
PHOTOGRAPH BY KRYSTAL HARFERT
PHOTOGRAPH BY JAMIE HERNANDEZ
I’m also really excited about some unique events that Metro Arts is hosting and collaborating on. On October 27, we will host audience development expert Matt Lehrman to present his Audiences Everywhere™ workshop to the arts community. We’ve been working with TEDx Nashville to present a special TEDxSalon event named “Creo” that will be an evening of cocktails and speakers around the theme of “art as audience” on October 28 at OZ. We will also launch THRIVE, our new micro-funding program that provides funding for innovative, artist-driven projects that engage people in the arts and demonstrate neighborhood impact.
I’m so glad I live in a world where there are Octobers.
Artober Nashville mural at Live on the Green
Vertical dancers from BANDALOOP perform
NAM: How does the average citizen interested in soaking up some art and culture in Nashville begin to navigate the options? Is there some kind of guide to everything, or a passport of sorts?
we also have a VIP Discount Card that citizens can win through drawings and online giveaways.
RB: With almost 900 events happening in 31 days, it’s impossible to catch all of them, though I try! Artober Nashville is really a self-curated experience, and we offer a couple of tools to make that easy. Through the Artober Nashville calendar (powered by our key partner www.NowPlayingNashville.com) or at w w w.ar tober nashv il le.com, citizens can find all of the officially designated Artober events, including visual and performing arts, music, craft, and film. Following us on Twitter, Facebook, and Instagram is also encouraged. This year
NAM: Artober arrives this year with an enormous amount of attention on Nashville. Does this put some added pressure on it to deliver? RB: We are receiving national attention
and accolades BECAUSE of our creative class. And not just because of the music industry, but also the makers, the culinary artists, visual artists, storytellers—all of it. Over 13,000 jobs comprise our creative industry, and new people are moving here every month. By seizing the opportunity this attention has given us, we can push ourselves to take the next step. Artober is a catalyst for that by galvanizing local interest in the arts, telling compelling stories about the impact of the arts, fostering neighborhood improvement, and increasing the city’s creative brand. NAM: How will YOU spend Artober? Any favorite things or rituals? Do you sleep?
PHOTOGRAPH BY STACEY IRVIN
RB: I eat, sleep, and breathe the arts all
Lonnie Holley at Edmondson Park
month long and attend as many staple events as I can, like the First Saturday Art Crawl, Celebrate Nashville, and Hermitage Fall Fest, but also those that have been inspired by Artober like pop-ups and the special one-off events that I mentioned. On October 6, I will certainly be a spectator when BANDALOOP performs a special pop-up suspended from a Nashville skyscraper. I’ll sleep in November. For more information about Artober, visit www.artobernashville.com. October 2014 | 35
Tennessee State Museum
October 3 - November 30, 2014 Free Admission
J. Khaldi, Saladin, 2006, Mixed media on paper, 29” x 35”
Artists Collecting Art Gallery 121 • Through October 29 by Sara Lee Burd
Photo by Andy Ashby, 1997
also on view
Examining The Farm, Nashoba, Rugby, and Ruskin
Harvesting at “The Farm,” Summertown. Photograph by David Frohman
Located at Fifth Avenue & Deaderick Street Downtown Nashville tnmuseum.org 615 • 741• 2692 Open Daily (Closed Mondays) Evening Sponsor:
elmont sculpture and design professor John Watson had an idea sparked from curiosity about his colleagues in the art department. “We know what type of art we make, but what do my colleagues have in their own collections? What do they live and work with?” With this seed of an idea, Watson decided to curate Artists Collect Art: Artwork from the Collections of Belmont’s Art Faculty, which will be on view this month at Galler y 121 in the Leu Center for Visual Art. Watson collaborated with Belmont artists/professors to select works that best represented the character of their collections. The result is an eclectic mix of objects that range from high art examples to mass-produced objects. Department Chair Judy Bullington’s painting by Palestinian artist J. Khaldi represents her larger collection of Middle Eastern art that grew from her early career teaching and researching in Dubai. Painting professor J im Meaders shows an assortment of album covers. David Ribar’s rhino reveals just one of the extensive group of rhinos he has purchased Danny Yahav-Brown, Untitled, since childhood. While it Photograph, 20” x 24” satisfying for Watson to discover more about his colleagues, he hopes that students will learn from their professors’ motivations to collect and may be encouraged to build their own. Artists Collect Art: Artwork from the Collections of Belmont’s Art Faculty is on view through October 29. A reception will be held Thursday, October 16, from 5 to 7 p.m. with a gallery talk at 5:30 p.m. in Gallery 121 in the Leu Center for Visual Art. For more information, visit www.belmont.edu/art/leu_art_gallery1.html.
36 | October 2014 NashvilleArts.com
YORK & Friends fine art Nashville • Memphis
Nashville’s Newest Leading Source for Tennessee Art
Concrete Urn, 30 x 24, Mixed media on panel
Garden Apartment, 30 x 30, Acrylic on canvas
Sweet Dreams #4, 18 x 18, Mixed media on canvas
Palm Sunday, 16 x 20, Oil on canvas
107 Harding Place • Tues-Sat 10-5 615.352.3316 • firstname.lastname@example.org • www.yorkandfriends.com Follow us on at Ron York Art
October 2014 | 37
Telling the Truth
Diamond, the Boy Who Said No to His Father, for Hitting His Mother, 1987, Archival pigment print, printed later; analog Tri-X film
Donna Ferrato’s New Exhibit Documents Domestic Abuse — Celebrates Empowerment Vanderbilt Fine Arts Gallery • Through December 4
W by Sally Schloss
henever another tragic story about domestic violence makes headlines, there is always someone who asks the naïve question, “Why didn’t she just leave him?” The photographer Donna Ferrato has been shedding light on the answer to that question since the 1980s. While on assignment for Japanese Playboy in 1982 she met a couple at a swingers club. They invited her into their home to document their lifestyle. She thought she would be writing about their love story and was shocked when the husband started beating his wife. She caught this on film in astonishing and disturbing photographs. This experience began her obsession with documenting domestic violence—and her passion for doing something about it. “I found that a camera was my best weapon,” said Ferrato.
Living with the Enemy is a startling black-and-white collection of poignant and horrifying photos of abuse, shot in prisons, emergency rooms, and in battered women’s shelters. Her photographs have been featured in Time magazine, Life, and The New York Times and have been shown in galleries all over the world. Now they are on display at the Vanderbilt Fine Arts Gallery, from September 12 to December 4. One of the most chilling photos from this series serenely displays two open coffins laid head to foot, one containing the mother and the other her daughter. The end suggests the whole. This picture is worth a thousand words.
“What I think is unique about Ferrato,” said Joseph Mella, Director of the Vanderbilt Fine Arts Gallery and curator of the exhibit, “is that she didn’t just document what is going on around her, but became a part of the solution.”
Ferrato’s new work I Am Unbeatable—Documenting and Celebrating Stories of Empowerment stands in contrast to her gritty black-and-white photos of confrontation, framing another perspective on survivors of abuse—a story of hope. “I Am Unbeatable,” said Mella, “looks at women who are trying to rebuild their lives and are dealing with overcoming huge obstacles. Their situations don’t end with their physically leaving.” Ferrato met Sarah, a Tennessee native, three years ago. Sarah epitomizes a woman who has overcome her sense of powerlessness, who has dealt with her fears of being alone and penniless, and with her husband’s ongoing threats. Sarah’s triumphant journey is very much the focus of the exhibition.
I Am Unbeatable looks at women who are trying to rebuild their lives and are dealing with overcoming huge obstacles. Their situations don’t end with their physically leaving.
– Joseph Mella, Exhibit Curator
Garth and Lisa: In the Bathroom, plate 1, 1982, Archival pigment print, printed later; analog Tri-X film
These photos, shot in color, are suffused with an empathy that is at once tender and luminous in spirit. In one photo, Sarah is standing tough, candidly facing the camera, a tattoo of a broken lock visible on her arm: an inspiring woman warrior.
“Why don’t you just leave?” is a question that has no easy answer. Abusers harass, and stalk, and sometimes kill the women and children who escape their control. This powerful exhibit bears witness, educates, and focuses our eyes on these stories through the lens of an artist. I Am Unbeatable—Documenting and Celebrating Stories of Empowerment—Photographs by Donna Ferrato will be on exhibit at the Vanderbilt Fine Arts Gallery through December 4. For gallery hours and more information, visit www.vanderbilt.edu/gallery.
Sarah’s New World, 2013, Archival pigment print, Sony, digital
Ruth, My First Unbeatable Woman, 1983, Archival pigment print, printed later; analog Tri-X film
SANCTITY PICTURED: T he A rt of the D ominican and F r anciscan O r ders in R enaissance Italy Frist Center for the Visual Arts October 31 to January 25 by Sara Lee Burd
talian Renaissance art from collections around the world—including the Vatican—are coming to the Frist. Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy provides a unique opportunity to see art in a range of media including illuminated manuscripts, paintings, and bronze medals from the thirteenth to sixteenth centuries.
At the beginning of what would later be called the Italian Renaissance, the Franciscan (founded 1209) and Dominican (founded 1216) orders of the Catholic Church commissioned art and architecture with the intention of connecting urban populations to the church. It no longer served the community or the church to have its spiritual leaders locked away in monasteries; these new orders allowed them to preach, teach, and organize their communities.
(above) Francesco da Rimini (Master of the Blessed Clare of Rimini), The Adoration of the Magi, ca. 1340, Tempera on wood, 22” x 23” (below) Domenico Beccafumi, St. Catherine of Siena Receiving the Stigmata, ca. 1513–1515, Oil and gold on wood, 11” x 16”
40 | October 2014 NashvilleArts.com
Specialized furniture Giovanni di Paolo, Saint Clare Rescuing a Child Mauled by a Wolf, ca. 1455–60, Tempera and gold leaf on panel, 8” x 11”
While the overall ideals of humility, service, and education were similar, the orders competed for funds and support. Followers of Saint Francis of Assisi made art after his death that compared him to Christ and Adam because he was said to have received Christ’s stigmata and had the ability to communicate with animals. Like the Franciscans, Dominicans also incorporated miracles into their imagery, such as Christ extending a ladder to Saint Dominic to invite his soul to heaven and the Virgin and Saint Clare rescuing a child mauled by a wolf. Aesthetically, artists at that time attempted to connect with people by making scenes appear more lifelike, incorporating the illusion of space, and giving figures character and expressions. Framed in gold and painted with luxurious materials, these opulent works were often made to fill particular areas of the church. Domenico Beccafumi’s Saint Catherine of Siena Receiving the Stigmata provides a great example of the architectural spaces where people would encounter these works. The nun depicted receiving the stigmata points to the everyday belief in miracles and the possibility of spiritual ecstasy through religious devotion.
from the forest floor
Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy is open October 31 to January 25. Visit www.fristcenter.org for more about the exhibit and accompanying workshops, lectures, and tours.
to your home.
901 2nd Ave. S. | Nashville, TN 37210 Giovanni di Paolo, 1460s, Saint Catherine of Siena and the Beggar, Tempera and gold on wood, 11” x 12”
Farrar, Bronze, life-size edition of 12
Miniature to Monumental Alan LeQuire’s Sculptural Portraits LeQuire Gallery • Through October 25
by Karen Parr-Moody
culptor Alan LeQuire’s gifts emerged at a young age, when he saw faces in clouds, rocks, and sticks, an experience he called “frightening, yet also moving.” That nascent instinct motivates him to this day, allowing him to transmute the essence of real people into naturalistic sculptures.
“When I was getting my training in Europe, I looked at countless Greek and Roman and Egyptian sculptures,” he says. “What they inspired in me was a desire to replace those gods and goddesses with people I knew. Real people. How much better would that be if those were actual people and not idealized ones?” That belief has stayed with the artist. Everything he has done—including the forty-two-foot-tall Athena in Nashville’s Parthenon—is a portrait of a real person.
Portraits of Women #1, 1993–1998, Painted plaster, life-size
“Most people don’t realize that Athena is also a portrait,” he says. “It’s based on archaeological research, but it also has a little bit of Elvis Presley, because I used him for the facial features. He had such perfect fifth-century-BC classical features.”
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On a recent day LeQuire sits in his studio against a backdrop of clay, terra cotta, and bronze studies—thousands of pounds of portraits fill a shelf. Some are captured in ballet poses, arms winging toward the ceiling. A few hold spears. One reads languidly, legs crossed. This is LeQuire Gallery, at 4304 Charlotte Avenue, where after eleven years of representing other artists, LeQuire is finally having a solo exhibit. The show brings together two categories: sculptural portraits of everyday people and Cultural Heroes, his ongoing series of colossal portrait heads of key supporters of civil rights. Among the latter are African-American singers Marian Anderson, Bessie Smith, Billie Holiday, Lead Belly, and Paul Robeson.
Upon graduating from Vanderbilt and studying privately under sculptor Puryear Mims, LeQuire spent time in France and Italy. There he studied classical sculpture and assisted New York sculptor Milton Hebald in bronze casting. Hebald opened up his world to a modeler’s approach as opposed to the carver’s approach. It was a game changer. (He later got an MFA from the University of North Carolina at Greensboro—“a big mistake,” he says, convinced he should have stayed in Italy to study under esteemed sculptor Giacomo Manzù.)
Everything he has done—including the forty-two-foot-tall Athena in Nashville’s Parthenon—is a portrait of a real person.
LeQuire’s modeler’s approach allows him to imbue sculptures with an uncanny sense of vitality—even when the subjects are deceased—and he works only from photos. Relatives frequently cry after seeing a LeQuire sculpture of a long-gone loved one. That’s his seal of approval.
Profile of Carrie, 1994, Bronze, life-size
“I think my portraits are different from most contemporary portrait sculpture because they are more lifelike,” he says. “That’s the central mystery of sculpture: animating the inanimate, putting life into the material.”
PHOTOGRAPH BY PEY TON HOGE
The famous sculptor Michelangelo chose marble as a medium for its relative permanence. By capturing a portrait as a sculpture, LeQuire seeks the same.
“I’m working against the forces of time and death,” he says. “I’m not like a photographer, trying to preserve a fleeting instant in time. I’m trying to feel what it is that is permanent about that person, feel that life force in the person, and make that permanent. Hold it forever.”
Alan LeQuire sculpting a portrait of Dr. Virgil LeQuire for Vanderbilt Medical Center
This could be viewed as a trick of the eye or a fundamental miracle. It works with or without a sitter. But with a sitter comes personal electricity. “If you have the person in front of you, the spirit and the life of the person—that spark—moves over into the clay,” LeQuire says. “It’s awesome when that happens.” He laughs. “It’s frightening and awesome. Awesome is supposed to be full of awe. It’s a miraculous moment.”
Bessie Smith, Billie Holiday, Woody Guthrie (part of Alan LeQuire’s Cultural Heroes series), 4 x life-size
Portrait Sculpture by Alan LeQuire, Miniature to Monumental is on exhibit at LeQuire Gallery Tuesday through Saturday 10 to 3 p.m. through October 25, www.lequiregallery.com. For more infor mation on por trait commissions , email email@example.com.
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After T the Flood
he original Finer Things Gallery was completely lost to Nashville’s historic flood of May 2010—along with the vehicles, home, studio, workshop, and sculpture garden. Rusty Wolfe and Kim Brooks were left, uninsured, to face a loss of millions of dollars with only their beloved dogs at their side. Now, with four of the toughest years they have ever known behind them, they will finally reopen Finer Things to the public on October 17. As you enter the space, you will witness their not-so-minor miracle—and you are guaranteed to admire, long to touch, and want to own any number of the exquisite works of art on display.
by Jane R. Snyder Photographs by John Guider
Once the art in that last group is sold, he and Kim will replenish their inventory with Rusty’s own creations, including his one-of-a-kind pieces of studio furniture. In these
Finer Things during the flood of 2010
Finer Things Galler y Reopens October 17
“Seventy-five percent of what we have in the gallery has my hands on it,” Rusty explained. “It’s a painting I’ve done, or a piece of sculpture, or a piece of furniture I’ve created—that means I’ve either redesigned it [or] taken it apart, refinished it, and fixed what was wrong with it. Twenty-five percent of the works in the gallery are things left over from our previous Finer Things.”
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works he joins wood, metal, paint, glass, or marble with repurposed architectural cornices, period hardware, car ved moldings, printer ’s blocks, cast-iron ornaments, and other surprises. One massive shelf unit combines the top of an antique organ with decorative wooden elements and vintage coat hooks, which make it a perfect choice for the entrance of a home, office, or restaurant. A carved walnut box is beautifully restored and outfitted with velvet-lined trays, transformed into a conversation starter as well as an ideal home for a collection of watches, jewelry, or classic fountain pens. Oversized, it is large enough for a couple to share. “We go everywhere in search of things,” Wolfe said. They recently purchased “fourteen truckloads of everything from furniture to paperwork” from the estate of an antique dealer. A selection of lighting s o u rc e s i n c l u d e s f u t u r i s t i c - l o ok i n g floor lamps as well as vintage tabletop silhouettes that seem to reflect every decade since light bulbs were invented. “We have tried very hard to find extremely rare and interesting pieces rather than have just another roomful of antiques.” Not everything echoes or celebrates the past though—a sleek, contemporary dresser made of light ash hardwood features Rusty’s abstract paintings on the front of its chrome-rimmed drawers. There are modern end tables made of steel and glass as well as a rectangular, honey-colored, cherry-wood dining table elegant enough to command respect in any environment.
usty has gone out of his way to make sure every object is ready to install. Looking for an antique saddle to function as a centerpiece in your office conference room? You will find it here already mounted on an elegant base. If stained-glass windows and curved or angular architectural forms draw your attention, they are all either securely framed or fitted with strong wooden brackets to make showing them off an effortless task. Are you intrigued by cast-iron arrows harvested from antique weathervanes? One pair is already arranged on a maple-wood rack as if displayed in a fine museum. That isn’t strange at all, because Rusty Wolfe has been prepping gallery spaces at the Frist Center since the building reopened as a Music City showcase for art and design of all genres. For those of you who never have enough storage, Rusty has an unquenched love of antique trunks. “The more wear, patina, and character the better,” he believes. You will find a variety of shapes, sizes, and details throughout this collection. All are historic pieces ready to house your grandmother’s quilt, warm winter sweaters, or even a child’s favorite toys. If these handsome trunks could only talk, imagine the tales they might tell! Finer Things also includes a “boutique space” that should prove to be a great resource for gift-giving any time of the year. Shelves and
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showcases offer handcrafted jewelry, masks, sculptures, Depression glass candleholders, vintage evening bags, striking vases, antique toys, and “just things I’ve picked up in my travels,” Rusty added. You might want to start your holiday shopping here before the most exceptional pieces have been sold. Gentlemen, take note—you’ll easily find a unique present for your special lady in this setting. The gallery is stunning, but the most important thing Rusty and Kim want to share is their infinite gratitude to the artistic community. Following the flood, fifty or sixty talented Nashville residents came forward to assist them in cleaning up the devastation, to donate their own artworks for sale with proceeds earmarked to help provide Finer Things with a future, and they had countless anonymous benefactors. From across the country, another forty or so also reached out.
Pieces & Parts
by Rusty Wolfe
Pieces of old objects offer us a step back in time. From carvings to drawer pulls, table legs to hinges, items that have been separated from their original purpose are for sale in antique malls and numerous online sites. With names like Deco, Modern, Eastlake, Victorian, Mission: How can we avoid the lure? Their existence suggests important past practices and displays quality and craftsmanship. It is far removed from the mass production and reproduction that is created today. There is a special craze for pieces and parts of anything old. Many of the lesser-valued objects or items that are no longer in mint condition are worth more as parts than in their original form. Take, for example, an antique sewing machine inside its wooden cabinet. For years, one could buy a vintage sewing machine for around $40. Now, if you disassemble it, you can sell it for up to $300. There is a metal base, which can be used for a table base ($40), a cast-iron pedal as wall décor ($30), three to six wooden drawers ($15 per), applied moldings and old wood ($30), and the machine itself ($50). Even the nameplate and hardware have value. I have found this to be true in many aspects of antiques. Artisans around the country are using these parts to create objects for their homes and gardens and in some cases to create fine art.
“How many people get to see that kind of outpouring of love and support in their lifetime?” he asked, fighting back tears. “Maybe at your funeral, but then you’re not there to see it. We did—and ‘thank you’ doesn’t even come close to how we feel.” When you walk through the revived door at Finer Things Gallery, Rusty and Kim will welcome you warmly, but please be prepared. You just might wind up a little teary-eyed, too. Finer Things Gallery will reopen on October 17 at 1898 Nolensville Road. For more information, visit www.thefinerthingsgallery.com.
I have been asked by Nashville Arts Magazine to share my perspective and approach to restoration and construction of furniture. Using both new and old materials, I look forward to offering my approach and philosophy on design and restoration in upcoming issues. Look for Rusty Wolfe’s column in the November issue of Nashville Arts Magazine. PHOTOGRAPH BY LAWRENCE BOOTHBY
One very thoughtful soul established a Sherwin Williams credit account worth thousands of dollars so they could buy paint. Others picked up numerous meal tabs for the couple at local restaurants whose proprietors refused to reveal the source of those kindnesses. Compassion arose from every possible direction, and the couple want those individuals to know they were “truly humbled” by every generous act that helped them get back on their creative feet.
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Rusty Wolfe is a painter, sculptor, furniture designer, and entrepreneur. His works are available at fine art galleries around the country and locally at Finer Things.
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October 2014 | 47
PHOTOGRAPH BY DAVID FROHMAN
Hoeing the Fields at The Farm, mid 70s
V olunteer U topias
Intentional Communities in Tennessee Find New Attention at the Tennessee State Museum October 3 to November 30 by Stephanie Stewart-Howard
hen you read the words “intentional communities” these days, it’s likely you’ll assume they’re in reference to elite havens on the Gulf Coast or gated neighborhoods in tony suburbs. But a new exhibit running October 3 through November 30 at the Tennessee State Museum highlights four planned communities that aimed at creating Utopian societies away from the worst impulses of industrial and economic upheaval. Created between 1825 and 1971, each intended to show the world that something better was possible—some successfully, others less so. Those four communities—Nashoba, Rugby, Ruskin, and The Farm—all left lasting impressions on the Volunteer State.
educated. Perry says that in the 1960s local residents made a concerted effort to preserve relics of the community, including photos and papers which help make up the exhibit.
The Ruskin Colony, meanwhile, took inspiration from John Ruskin and the thinkers who inspired the Pre-Raphaelite artistic movement. Founded in Dickson County by newspaper owner J.A. Wayland, it served as a response to the economic depression of 1893, echoing a rise in populism across the United States. Founding the Ruskin Colony to be a true Utopian Socialist community of the type
Rugby also had its roots with a British ex-pat, Thomas Hughes, who hoped with the colony to address the social decline he saw stemming from the country’s rapid industrial growth. The late-Victorian community thrived on a notion of gracious living without the threat of industrialization; rustic, yet refined and
PHOTOGRAPH BY DAVID FROHMAN
Nashoba, founded near Memphis in 1825 by Scots-born Frances Wright, was intended to emphasize the need for abolition and racial equality. It came about, according to curator Graham Perry, at a time when social reform thrived in the wake of the newly minted Industrial Revolution, and Wright saw hope in the burgeoning U.S. democracy. She had ties to Robert Owens’ New Harmony, Indiana, Utopian movement and hoped to realize similar success here. Wright’s failing health in 1828 brought a premature end to the experiment.
Homer’s Saw Mill at The Farm, early 1970s
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S PECIAL COLLECTION S, PIT TSBURG STATE UNIVERSIT Y
PHOTOGRAPH BY DAVID FROHMAN
Council of Elders at The Farm, late 1970s
promoted by Eugene Debs and his ilk, Wayland and company strove to create a model community. Ultimately, however, infighting among the group’s leaders brought it down.
The geography of Tennessee and its live-and-let-live attitude—a farm in one hollow, a moonshiner in the next, no one minding the other—helped make the state especially appealing to the community founders, says Graham Perry.
Winter Scene at Ruskin, 1894
The State Museum exhibit showcases artifacts, photos, engraved pictures, and more from each community, underlining both success and failure. “I think it’s important for people to come into this exhibit with an open mind,” says Perry. “Open enough to have preconceived notions about idealist Utopias challenged. These people all did some innovative things and used practical means to battle the socio-economic trials of their times.”
Tennessee’s Intentional Communities: Examining The Farm, N a s h o b a , R u g b y, a n d R u s k i n w i l l b e o n v i e w t h r o u g h November 30. For more information, visit www.tnmuseum.org.
My job was to tell, through pictures, the story of our family’s lives and our community’s efforts to an audience throughout the world. Respect, dignity, and the true tale of why we were doing this were the constant themes.
– David Frohman, Photographer, The Farm
PHOTOGRAPH BY DAVID FROHMAN
The Farm, built by Stephen Gaskin and his wife, Ida May, in 1971, has been a paean to innovative agricultural and technological thought for forty years now. “Gaskin’s attitude was that the world is what it is, but we can make it better,” says Perry. “They wanted to build a society where people shared. It wasn’t as much anti industrialist as pro return to the earth. They created some amazing things, like a solar generator from a motorcycle engine. They just didn’t want the technology to be wasteful. They were very forward thinking.”
Taking the Kids Home at The Farm, early to mid 1970s
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Arts Worth Watching With the PBS Arts Fall Festival in full swing this month, there is a wealth of great arts programming coming your way. For six seasons, the Peabody Award-winning series Art 21: Art in the Twenty-First Century has been providing unique access to some of the most compelling artists of our time. The new season, beginning this month on NPT and PBS stations nationwide, features a dozen artists from the United States, Europe, and Latin America. Each episode is organized around a theme that connects the artists. In “Investigation,” premiering on Friday, October 24, at 9 p.m., viewers will be introduced to the installations of Thomas Hirschborn, the photography of Graciela Iturbide, and the sculpture of Leonardo Drew. In “Secrets,” on Friday, October 31, meet painter Elliot Hundley, sculptor Arlene Shechet, and photographer Trevor Paglen, who makes the invisible visible, documenting evidence of the American surveillance state of the twenty-first century.
Porgy and soprano Laquita Mitchell as Bess in the turbulent story of a disabled man, the headstrong woman he loves, and the community that sustains them both. Based on the play by DuBose and Dorothy Heyward, with music by George Gershwin—it includes the jazz standard “Summertime”—the musical is set in an African-American community on Catfish Row in coastal South Carolina. John DeMain conducts the San Francisco Opera Orchestra and Chorus. The show airs on NPT on Friday, October 17, at 8 p.m. Tony Bennett and Lady Gaga may at first seem an unlikely pairing, but they actually have quite a bit in common. They’re both of Italian American descent and have stage names—his real name is Anthony Dominick Benedetto; hers Stefani Joanne Angelina Germanotta. Both are also native New Yorkers. He was born in Astoria, Queens; she in Manhattan. Most important, though, as it concerns their Great Performances special Tony Bennett & Lady Gaga: Cheek to Cheek LIVE! is their affinity for classic jazz and the American songbook. The special, from the Jazz at Lincoln Center’s Rose Theater in New York City, airing on NPT on Friday, October 24, at 8 p.m., includes the duo performing selections from their collaborative classic jazz recording Cheek to Cheek.
NPT will partner with the Frist Center for the Visual Arts to present free screenings of the series episodes on Thursday nights in October. Beginning October 2 and running through October 23, join other fans of the series at 6 p.m. in the museum’s Rechter Room. Douglas Carter Beane’s acclaimed Tony Award-nominated play The Nance, produced by Lincoln Center Theater, stars stage and screen actor Nathan Lane. The play, which comes to NPT via Live from Lincoln Center on Friday, October 10, at 8 p.m., tells the story of Chauncey Miles, a nance (a parody of a gay man) in the twilight of New York’s bur lesque era. Integrating burlesque sketches into his drama, Beane paints the portrait of a homosexual man living and working in the secretive and dangerous gay world of 1930s New York, whose outrageous antics on the burlesque stage stand in marked contrast to his offstage life. The Gershwins’ Porgy and Bess from San Francisco Opera stars bass-baritone Eric Owens as
Early in the month, on Friday, October 3, at 8 p.m., be sure to catch Austin City Limits Celebrates 40 Years, a star-studded special celebrating the trailblazing music series’ 40th anniversary. With guest hosts Jeff Bridges, Matthew McConaughey, and Sheryl Crow, the two-hour broadcast features memorable moments from the show’s remarkable run and new performances. Highlights include legends Willie Nelson, Bonnie Raitt, Foo Fighters, Emmylou Harris, Kris Kristofferson, Gary Clark Jr., Lyle Lovett, Alabama Shakes, Buddy Guy, and more. If you’re reading this after October 3, be sure to check www.video.wnpt.org for online streaming.
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Saturday 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 Martha Speaks Angelina Ballerina Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Sewing with Nancy Sew It All Garden Smart Growing a Greener World Simply Ming Cook’s Country noon America’s Test Kitchen Victory Garden’s Edible Feast Sara’s Weeknight Meals Martha’s Bakes Fons & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop Ammerican Woodshop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side
Sunday 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 12:00 12:30 1:00 1:30 2:00 3:00 3:30 4:00 4:30 5:00 6:00 6:30
am Sid the Science Kid Peg + Cat Curious George Curious George Daniel Tiger’s Neighborhood Word World Sesame Street Dinosaur Train Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads A Word on Words Nature noon To the Contrary The McLaughlin Group Moyers & Company Washington Week with Gwen Ifill Globe Trekker California’s Gold Ecosense For Living America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week
Nashville Public Television
How We Got to Now with Steven Johnson Join the best-selling author to hear extraordinary stories behind remarkable ideas that made modern life possible, the unsung heroes who brought them about and the unexpected and bizarre consequences each of these innovations triggered. Wednesdays beginning October 15 8:00 pm October 22 & 29 9:00 pm
Daytime Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00
am Classical Stretch Body Electric Wild Kratts Wild Kratts Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Super Why! Peg + Cat Sid the Science Kid noon Caillou pm Thomas & Friends Sesame Street Shorts The Cat in the Hat Clifford the Big Red Dog Curious George Arthur Arthur Wild Kratts Wild Kratts Martha Speaks WordGirl pm PBS NewsHour
Nashville Public Television
Great Estates Scotland Take an in-depth look at the workings of some of Scotland’s most magnificent country estates through the eyes of the current owners, gardeners and housekeepers. Fridays, October 10-31 7:00 pm
Chef’s Life In the second season of this Peabody Award-winning series, Vivian Howard, proprietor of Chef and the Farmer restaurant, explores Southern cuisine with a chef’s modern sensibilities. Thursdays beginning October 9 8:00 pm
7:00 Antiques Roadshow Jacksonville, Hour One. 8:00 Antiques Roadshow Raleigh, NC – Hour Three. 9:00 Independent Lens Bully. Highlighting the challenges faced by bullied kids, teachers and parents address aggressive behaviors that defy dismissal with clichés. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 American Graduate: Translating the Dream
7:00 Masterpiece Classic The Paradise, Season 2 – Part 3. 8:00 Masterpiece Mystery! Inspector Lewis, Season 7 – The Lions of Nemea. 9:30 Start Up Lip Service; Eco Lips/ Sarcor. 10:00 Bluegrass Underground David Grisman Trio. 10:30 Craftsman’s Legacy The Stone Carver. 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Antiques Roadshow Knoxville, Hour Three. 8:00 Antiques Roadshow Raleigh, NC – Hour Two. 9:00 POV The Act of Killing. Nominated for an Academy Award, see Indonesian death-squad leaders dramatize their brutal deeds — as themselves and their victims. 11:00 BBC World News 11:30 Katmai: Alaska’s Wild Peninsula
7:00 Finding Your Roots Roots of Freedom. The families of Ben Affleck, Ben Jealous, and Khandi Alexander have long been engaged in the battle for freedom and civil rights. Those principles were passed down through generations. 8:00 Makers Women in Space. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations
7:00 Finding Your Roots Our American Storytellers. Ken Burns, Anderson Cooper and Anna Deavere Smith find out about their own family history. 8:00 Makers Women in Hollywood. Pioneers to present-day power players, as they influence entertainment. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations
NOVA Why Planes Vanish Wednesday, October 8 8:00 pm
7:00 Masterpiece Classic The Paradise, Season 2 – Part 2. 8:00 Masterpiece Mystery! Inspector Lewis, Season 7 – Greater Good. Hathaway teams up with retired Lewis. 10:00 Bluegrass Underground Jason Isbell and the 400 Unit. 10:30 Craftsman’s Legacy The Guitar Maker. 11:00 Tavis Smiley 11:30 Scully/The World Show
Masterpiece Mystery! Inspector Lewis Sunday, October 5 8:00 pm
Primetime Evening Schedule
October 2014 1
15 7:00 Nature Animal Misfits. Bizarre and unlikely creatures that at first glance seem ill equipped for survival. 8:00 How We Got to Now with Stephen Johnson Clean. Innovations have changed our world. 9:00 How We Got to Now with Stephen Johnson Time. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Ed Sheeran/Valerie June.
7:00 Penguins: Spy in the Huddle, A Nature Special Presentation Growing Up. 8:00 NOVA Why Planes Vanish. In an era of smart-phones and GPS, how could a 270-ton passenger jet vanish into thin air? 9:00 Nazi Mega Weapons Atlantic Wall. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Beck.
7:00 Penguins: Spy in the Huddle, A Nature Special Presentation First Steps. Newborn emperor penguins walk on their mothers’ feet and take their first steps. 8:00 NOVA Building Pharaoh’s Chariot. 9:00 Rise of the Black Pharaohs 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Coldplay.
16 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life Blueberries and Boiling Over. After recovering from a restaurant fire, Vivian and Ben open a burger/oyster bar called the Boiler Room. 8:30 Food Forward Go Fish! 9:00 Doc Martin Departure. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Race to Nowhere
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life Sweet Corn & Expensive Tea. Revisit the Southern tradition of “putting up” corn and making smoked corn relish. 8:30 Food Forward Urban Agriculture Across America. 9:00 Doc Martin Listen with Mother. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Living with Parkinson’s
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Eating Alabama In search of a simpler life, a young couple returns home to Alabama where they set out to eat locally and seasonally. 9:00 Doc Martin Hazardous Exposure. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Consider the Conversation 2: Stories About Cure, Relief and Comfort
17 7:00 Great Estates Scotland. Dumfries. 8:00 The Gershwins’ Porgy and Bess from the San Francisco Opera Bass-baritone Eric Owens stars as Porgy and soprano Laquita Mitchell as Bess in the story of a disabled man, the headstrong woman he loves and the community that sustains them both. 11:00 BBC Word News 11:30 Moyers & Company
10 7:00 Live from Lincoln Center The Nance Starring Nathan Lane. Douglas Carter Beane’s play stars Nathan Lane as gay headliner Chauncey Miles, who faces a changing world and his own selfloathing in 1930s New York. 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Vintage The Never-Ending Crush.
7:00 ACL Presents: Americana Music Festival 2013 8:00 Austin City Limits Celebrates 40 Years Hosted by Jeff Bridges, Matthew McConaughey and Sheryl Crow, with memorable performances from the show’s remarkable run. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Vintage DIY at Chimney Rock.
7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Miranda A Brief Encounter. 9:00 Doc Martin Departure. Louisa has shocking news for Martin, Bert and Jennifer’s party goes off with a bang, and Al has a business proposition. 10:00 Globe Trekker Delhi & Rajasthan, India. 11:00 Mr. Civil Rights: Thurgood Marshall and the NAACP
7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Miranda Three Little Words. 9:00 Doc Martin Listen with Mother. Martin reluctantly agrees to help Louisa hand out awards at her school’s sports day. 10:00 Globe Trekker Switzerland. 11:00 Secrets of Her Majesty’s Secret Service
7:00 Lawrence Welk Salute to Nashville. 8:00 Keeping Appearances 8:30 Miranda Je regret Nothing. 9:00 Doc Martin Hazardous Exposure. Martin’s mother returns to Portwenn with some interesting news. 10:00 Globe Trekker Central America: Costa Rica & Nicaragua. 11:00 A Fire in the Forest The Life and Legacy of the Ba’al Shem Tov
Nashville Public Television
7:00 Masterpiece Classic The Paradise, Season 2 – Part 6. 8:00 Masterpiece Mystery! Death Comes to Pemberley - Part 2. 9:30 Start Up A Fisheye View: Fishidy/ Eye-Musement. 10:00 Bluegrass Underground Davina & the Vagabonds. 10:30 Craftsman’s Legacy The Saddle Maker. 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Masterpiece Classic The Paradise, Season 2 – Part 5. 8:00 Masterpiece Mystery! Death Comes to Pemberley - Part 1. 9:30 Start Up Pie in the Sky: Slice Pizza/Graceship. 10:00 Bluegrass Underground The Gibson Brothers. 10:30 The Craftsman’s Legacy The Potter. 11:00 Tavis Smiley 11:30 Scully/The World Show
7:00 Masterpiece Classic The Paradise, Season 2 – Part 4. 8:00 Masterpiece Mystery! Inspector Lewis, Season 7–Beyond Good and Evil. 9:30 Start Up Rotelle Me More: Alley Cats/Zaza’s. 10:00 Bluegrass Underground Lucinda Williams. 10:30 Craftsman’s Legacy The Goldsmith. 11:00 Tavis Smiley 11:30 Scully/The World Show
3 7:00 Finding Your Roots Our People, Our Traditions. 8:00 Makers Women in Politics. From the first woman elected to Congress in 1916 to a young woman running for Detroit City Council in 2013, explore the challenges confronting women in politics. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations
7:00 Nature Ireland’s Wild River. 8:00 NOVA First Air War. 9:00 How We Got to Now with Stephen Johnson Light. See how a French scientist accidentally discovered how to create neon light, leading to a revolution in advertising. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Tweedy.
7:00 Nature A Murder of Crows. Crows are among the most intelligent animals, able to use tools, recognize each other’s voices and 250 distinct calls. 8:00 NOVA Ben Franklin’s Balloons. 9:00 How We Got to Now with Stephen Johnson Glass. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Nine Inch Nails.
Makers Tuesdays 8:00 pm
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life R-E-S-P-E-C-T the Butterbean. 8:30 Food Forward Seeds of Change. Genetic diversity matters. 9:00 Doc Martin 9:00 NPT Reports: Domestic Violence: Living in Fear 10:00 BBC World News 10:30 Last of Summer Wine 11:00 I Remember Better When I Paint
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life Shrimp Sells. 8:30 Food Forward The Meat of the Matter. Ranchers leading the red meat revolution by returning to traditional styles of raising cattle. 9:00 Doc Martin Behind the Scenes. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Dick Cavett’s Watergate
7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Ken Burns’ Prohibition A Nature of Scofflaws. This episode examines the problems of enforcement, as millions of law-abiding Americans become lawbreakers overnight. 10:30 Globe Trekker Special: Art Trails of the French Riviera. 11:00 NPT Reports: Children’s Health Crisis Food.
7:00 Lawrence Welk 8:00 Keeping Appearances 8:30 Ken Burns’ Prohibition A Nature of Drunkards. By 1830, the average American over 15 years old consumed nearly seven gallons of alcohol a year, three times as much as we drink today. 10:30 Globe Trekker Special: Pirates, Galleons and Treasure. 11:00 American Graduate: Graduation by the Numbers
Nashville Public Television
Masterpiece Mystery! Death Comes to Pemberly Sunday, October 26 8:00 pm
7:00 Great Estates Scotland Rosslyn. 8:00 Michael Feinstein at the Rainbow Room Feinstein headlines an all-star evening with Christine Ebersole and many more. 9:00 Art in the Twenty-First Century Secrets. 10:00 BBC Word News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Dropping Back in Second Chances
7:00 Great Estates Scotland. Kincardine. 8:00 Great Performances Tony Bennett & Lady Gaga: Cheek to Cheek Live! 9:00 Art in the Twenty-First Century Investigation. Intellectual discovery through art. 10:00 BBC Word News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Vintage Pressing to the Finish.
Visit wnpt.org for complete 24 hour schedules for NPT and NPT2
7:00 Antiques Roadshow Miami Beach, Hour One. 8:00 Antiques Roadshow Atlantic City, NJ – Hour Three. 9:00 Independent Lens Powerless. Kanpur, city of 3 million people and formerly known as “The Manchester of India,” is slowly crumbling to dust for lack of electricity. 10:00 BBC World News 10:30 Last of Summer Wine
7:00 Finding Your Roots We Come From People. Hip-Hop artist Nas, actress Angela Bassett and presidential advisor Valerie Jarrett trace their roots to slavery. 8:00 Makers Women in Business. Exceptional women who have taken the world of business by storm. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations
7:00 Antiques Roadshow Jacksonville, Hr Three. 8:00 Antiques Roadshow Atlantic City, NJ – Hour Two. 9:00 Independent Lens Brakeless. On April 25, 2005, a West Japan Railway commuter train crashed into an apartment building and killed 107 people. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Growing Cities
7:00 Finding Your Roots The Melting Pot. Chefs Tom Colicchio, Ming Tsai and Aaron Sanchez, who cook the food of their ancestors, discover family members who have shaped their lives and America’s cuisine. 8:00 Makers Women in War. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations
7:00 Antiques Roadshow Jacksonville, Hour Two. 8:00 Antiques Roadshow Atlantic City, NJ – Hour One. 9:00 Independent Lens Twin Sisters. In China in 2003, twin babies were placed in an orphanage, where authorities separated them and concealed their sibling relationship. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Our Time is Now
Elephants ON EXHIBITION AT THIRD COAST CLAY.
show & sale on
FRIDAY, OCT. 17, 2014
Metro Arts Announces Thrive Microfunding Program For Artist-Driven Projects Funding up to $4,000 may be available for innovative, diverse projects with clear neighborhood impact and artistic excellence.
Elephant-inspired original artwork by local artists and area students will be for sale. A portion of theproceeds benefits The
Elephant Sanctuary of Tennessee. “E IS FOR ELEPHANT” BY LESLIE HAINES
THIRD COAST CLAY | THE FACTORY AT FRANKLIN 230 FRANKLIN RD. FRANKLIN, TN 37064 |615.599.2200
Application and resources available at www.artsnashville.org. Help us make the arts and neighborhoods THRIVE in Nashville!
54 | October 2014 NashvilleArts.com
Finitude, Artifact, 2008, High-fired stoneware with metal and brick, 6” x 9” x 17”
Solomon Behnke Faces in Formation
by Erica Ciccarone
rt has always complemented life, defining us and being the mark that we leave behind. Those who made cave paintings must have been asking themselves the same questions we ask: Why am I here? Who am I? What is my purpose? And those questions were answered with the resounding command to create. East Nashville artist and musician Solomon Behnke’s sketches, sculptures, and paintings comment on the way life’s transience is balanced by the world that will be here long after we are gone. NashvilleArts.com
October 2014 | 55
Finitude, Monolith, 2012, Mixed media: rust, paint, pastel, coffee, conte, tea, 67” x 49”
Finitude, Artifact, Face, 2008, High fired stoneware with metal and brick, 14” x 9” x 6”
“There’s a need to create, for everyone. It’s the way that people scream, I’m alive! and I exist! We haven’t moved out of the cave in some ways,” says Behnke. Behnke takes natural elements like stone, wood, plaster, and clay and alters them to resemble the human form. His work is inspired by a family vacation to the Southwest when he was a boy, where he was drawn to the dark, earthy colors of the landscape. “It changed my life more than I thought, driving across the country in a station wagon. There were these big monoliths and rocks, and in all the shapes I started to see faces and bodies.” His sculptures recall the space in between dreaming and waking where reality collides awkwardly with fantasy. In his sketches, grotesque figures plod along desolate landscapes. The pieces are haunting, but they’re not just something out of The Dark Crystal. His work has a strong philosophical base. He’s interested in ontology, in how we understand our own existence, and in how we alter our surroundings to suit our needs. He cites the phenomenon of pareidolia, the ability to see forms and images in random stimuli, which may be why his pieces are so pleasing to examine. Carl Sagan theorized that the brain is hardwired to observe faces in things like clouds, rock formations, and the light patterns, and today, this much is scientifically proven. But his work is anything but random. It is in fact his trained figure drawing that allows a few brush strokes or lines to suggest the human form. Describing his understanding of abstract art, he says, “You have to be very skilled in order to break it down so it’s translated as believable when it’s abstracted. It’s when art starts turning into philosophy.”
Finitude, Suspension, 2012, Mixed media
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Figure with Face, 2014, Plaster on board with paint, 16” x 16”
It’s almost like a Rorschach blot. You put something out there and people want to make sense of it. The brain starts forming faces or body parts or animals. — Solomon Behnke
Finitude, Floating Landscape, 2012, Mixed media: rust, paint, pastel, coffee, conte, tea on paper and board, 67” x 49”
Solomon Behnke NashvilleArts.com
PHOTOGRAPH BY BRET T WARREN
Stone Elephant in Landscape, 2014, Pen and paper, 9” x 11”
October 2014 | 57
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Figure with Face and Balloon, 2014, Plaster on board with paint and tea, 36” x 24”
Even as a self-described process-oriented artist, he’s acutely aware of how his viewers interact with his work. They question what they see, just as we question our own existence. “It’s almost like a Rorschach blot,” Behnke says. “You put something out there and people want to make sense of it. The brain starts forming faces or body parts or animals.” He says of his process, “I’ll start with plaster or ceramic or paper. I lay down tea bags, coffee grounds, paper, whatever will create marks, and then I start looking at it for a while and start pulling things from it, like what colors I’ll use, or if the figure is standing in a landscape or elsewhere. Some of them are more human than others. For me as an artist, I don’t know what other people are going to see.” And still Solomon Behnke creates, propelled by the urge to rub coal against limestone, proclaiming to the world that he exists. For more information about Solomon Behnke, please visit www.solomonbehnkeart.com .
Lindell Sturgis, Bronze, Life-Size, University of Southern Illinois
Portraiture by Alan LeQuire For information on portrait commissions, Miniature to Monumental, contact Elizabeth Cave
4304 Charlotte Ave • Nashville, TN 615-298-4611 • www.lequiregallery.com
FLOW ERS FOR
E V ERY
Wax Flowers Chamelaucium
Photography by Brett Warren shot in the Ilex studio
601 8th Ave South Nashville, TN 37203 615-736-5200 firstname.lastname@example.org www.ilexforflowers.com
Explorations & Discoveries Haynes Galleries • October 10 through November 15
by Jerry C. Waters
oey Frank’s creative mission involves exploring various ways in which to render traditional subjects such as the human figure, interior scenes, and cityscapes through a continuous series of painterly experiments. Her latest exhibition, Zoey Frank: Explorations and Discoveries at Haynes Galleries, is an extension of work she produced at the Laguna College of Art and Design, from which she received a master of fine arts degree in painting in the spring of 2014. These paintings reflect Frank’s interest in modernistic expression and differ from her earlier work. Prior to her new series, Frank produced a cohesive group of paintings based on four years of classical atelier training, in the tradition of nineteenth-century European academic art, which she learned at Gage Academy in Seattle, Washington. According to Frank, “My initial interest in painting came from the work of the high Renaissance and Baroque—now I find myself interested in much earlier and much later work as well. It feels like anything is possible.”
Night Swimmers, 2014, Oil on linen, 46” x 74” 60 | October 2014 NashvilleArts.com
October 2014 | 61
Stylistically, her recent works are characterized by gestural applications of pigment and careful attention to pictorial structure. For Frank, “The paintings Section A and B, Girl in Striped Shirt, and Kirsten all felt like important new steps for me in the development of my working process.”
Kirsten depicts a solitary female figure framed by a flat-blue plane, a burgundy-colored chair, a canary-yellow-colored bookshelf, and an empty painting easel. Its surface is a multilayer of thick and thin paint pigment shimmering with contrasting hues. The painting also reveals the artist’s concern with certain design principles; for instance, arrangement of various shapes, spatial relationships, and textural patterns. Frank’s attention to composition is evident in Kirsten—a large-scale canvas measuring five feet in width—through her concern with a rhythmic flow of hard-edge elements played against softly modeled forms, the woman’s face and the sofa. Indeed, this concern is a benefit from her academic training in the classical tradition. In concert with Frank’s figurative works are small, majestic jewels she created while visiting Israel. Like Henry Ossawa Tanner, who traveled to the Middle East for his Christian-inspired images, and John Singer Sargent, who was stimulated by beautiful Venetian
(above) Kirsten, 2014, Oil on linen, 36” x 46” (below) Conversations, Oil on linen, 70” x 60”
62 | October 2014 NashvilleArts.com
vistas for his fluid watercolors, Frank has captured the unique quality of ancient cityscapes in images that include such historical monuments as the Church of the Holy Sepulcher and the Dome of the Rock.
These pictures illustrate Frank’s vision, which she said is to “articulate the visual world more directly, clearly, and personally.” Gary Haynes, owner of Haynes Galleries, believes that Frank is a discoverer who, through her painting experiments, “has the courage to try many things and to push limits” in an effort to reach new heights on her artistic journey and creative exploration. Zoey Frank: Explorations and Discoveries will be at Haynes Galleries from October 10 through November 15. An opening reception will take place Friday, October 10, from 5 to 7:30 p.m. Both the exhibit and the reception are free and open to the public. For more information visit www.haynesgalleries.com.
(top) Street Crossing, 2013, Oil on linen, 36” x 60” (above) Pink and Grey, Oil on linen, 36” x 30” (left) Man Feeding Cat 3, 2013, Oil on panel, 8” x 10”
October 2014 | 63
Composition and Intention October 11 through November 15 by Megan Kelley
t the heart of Music City lies a studio practice whose precise and sensitive sound translates into the potential for intimate experience. It’s a practice that crosses genres and reflects in an appreciation for these moments in all forms, including the uniquely visual constructs of abstract painting and the personal connection to their reflective power.
Robert Treat, Two Square #3, 2014, Encaustic on panel, 16” x 32”
As celebration of this multisensory experience, Cumberland Gallery’s Abstract Works pulls together new and mature bodies of works by Caio Fonseca, Raphaëlle Goethals, and Robert Treat.
CAIO FONSECA divides his time between New York and Pietrasanta, Italy, and divides his work between his bold, graphic, visual practice and his classical piano training. His deep ties to music are easily evident in the titles of his work, but also establish themselves in the visual structure of his works and their unapologetic rhythms. In Fonseca’s gouache on paper and his etching works, it’s a visual balance whose performance is dynamic, vocal, and charming, sending large curves and fields across the viewing plane in minimalist shapes. Bright punches of color reveal themselves in small lines and strokes, forming counterpoints of visual activity anchored to the compositional structure of his larger worked areas.
Raphaëlle Goethals, Howl, 2013, Encaustic on panel, 44” x 48”
This visual element of small, unexpected moments echoes in the very different atmosphere of RAPHAËLLE GOETHALS, who hails from New Mexico. Goethals layers wax and resin to create a luminous and ambiguous visual density whose openness is gridded with a matrix of colored dots. As if positioning players on the canvas, her inclusion of these small, intentional notations provides subtle, compelling parameters for the viewer and artist to engage the space.
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Abstract Works brings internationally acclaimed artists Fonseca, Goethals, and Treat to Cumberland Gallery
Caio Fonseca, Pietrasanta P10.13, 2010, Gouache on paper, 23â€? x 30â€?
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Caio Fonseca, Seven String, No. 1, 2001, Color spit bite aquatint and softground with chine-collé, 38” x 49”
With their depth of evidence and archaeological investigation—some hold as many as one hundred layers of worked encaustic—Goethals’ paintings excel at creating intimate spaces for revelation, the softness of her palette ripe with complexity. If Fonseca’s lyrical works bring to mind brass-heavy orchestrations and strong piano, Goethals’ work evokes avant-garde string ensembles and the quiet of Philip Glass or Ólafur Arnalds, inviting room for the audience to sit back and breathe in. The final player in this trio of visual instrumentation is ROBERT TREAT, who utilizes in his works the simple construct of architectural shape, the forms creating history and drama through the artist’s engagement of paint. With texture obscuring edges and complicating form, Treat’s work extends a visual dialogue through erosion—as echoes spreading within an acoustical chamber will recall the geometric languages and particulars of a space—and create a well of “sensual potential” for the viewer to tap.
Abstract Works is open October 11 through November 15, crescendoing on Sunday, October 19, at 3 p.m. in a special Artober collaboration with the Nashville Composer Collective engaging in a dialogue with the exhibited works through a series of cultivated compositions and performances. For more information, visit www.cumberlandgallery.com.
Raphaëlle Goethals, Bliss, 2011, Encaustic on birch panel, 44” x 48”
66 | October 2014 NashvilleArts.com
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October 2014 | 67
2 · 0 · 1 · 4
pStephanie Diggs, Varanasi, Nashville, TN ($500 cash courtesy of Chromatics) This is the kind of image you get lost in, floating amid the big black branches and the gray mist. This for me is the most emotional photo of all the submissions. – John Scarpati
68 | October 2014 NashvilleArts.com
PHOTOGRAPH BY RORY WHITE
John Scarpati Scarpati, whose images span four waves of modern music and have become some of the most enduring icons of metal, rock, and punk, was raised in New Jersey, came of age in San Diego, gained notoriety in Los Angeles, and now calls the world his home and Nashville his return address. His work has been cited by the Los Angeles Times, Rolling Stone, and PDN: Photo District News. He wanted to be a painter. He wanted to be a rock star. He ended up being neither—and both. www.scarpati.com
pDerya Erdem, Forbidden, England ($300 Chromatics gift card) So simple, yet so graphic. I have no idea how long this photographer has been at it, but the raw experimentation I usually associate with youth makes this a really special piece. – J. S.
t Katarzyna Derda, Neverdoll, Chicago, IL ($200 Chromatics gift card) This just makes me smile. It’s like she stepped straight off a Tim Burton set. What is she thinking? It’s nice when the story isn’t all laid out for you. The viewer gets to participate in the creativity. – J. S. October 2014 | 69
t Sophia Forbes, Sixth-Month Selfie, Nashville, TN I am a sucker for backlight and drama. The tension of this delicate moment is underscored by the soft light in the window and the model’s bold, unusual form. Great photograph. – J. S.
q Emily Naff, Free Winnifred Beach, Jamaica, Nashville, TN The composition and high contrast lend a Never Never Land quality t o t h i s t ro pi c a l s c e ne. T he composition and story here take me to a childlike fantasy world. – J. S.
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pLeslie Luke, Geisha Couture, Brentwood, TN A beautiful model, bits of Bokeh, and an exquisite color palette: a sure-fire way to make a great image, as demonstrated here. – J. S.
pAndrew Cox, Planned Parenthood, Bellevue, TN This image disturbs me, but I just can’t look away. The combination of frozen action and timed exposure is disorienting, while the pattern on the ceiling seems to draw the action upward and out of frame. – J. S.
p Mike Gannon, Contrasts, Fairview, TN I’ll admit it: I am not the biggest fan of street photography. But sometimes the elements all come together just right, and the resulting image is one that can’t be denied. This is one of those times. – J. S.
t Julian Dura, Water & Earth, Uruguay I love the concept, the composition, and textures of this image. This shows the type of sensibility that often translates to great album covers. – J. S.
pVikka Schweer, Our Impediment, Franklin, TN Youthful experimentation is always refreshing. This photo reminds me of my younger self, working on arty in-camera concepts. Makes me smile. – J. S. October 2014 | 71
The Park, 2012, Oil on canvas, 19” x 24”
Michelle Farro The Fading Memory of the Spotless Mind
T by Cat Acree
he term “diary” comes with some stigma—think lock and key, young love, and siblings—so for a young artist to describe her work as a “visual diary” could be a little dangerous, even diminishing. But Michelle Farro seems to understand something about the vicissitude of memory. Our eyes are devious; our memories are puckish, and objects recorded in time are rarely what they seem.
Ultimately Farro’s visual diary is an account of experiences, visual signposts from a life that her viewer doesn’t get to—doesn’t need to—know the details of. Her representational, observational paintings, falling at varying points along the spectrum between Impressionism and Photorealism, matter more for their aesthetic parallels than anything else.
72 | October 2014 NashvilleArts.com
Seated Nude, 2013, Watercolor/gouache, 6” x 4”
“Sometimes it doesn’t mean anything,” Farro says. “I just wanted to make that object sit in space. It may be as simple as that, and then later it may form more of a sentimental value to me. With representational art especially, [viewers are] going to come to [their] own conclusions. Whatever meaning I try to imbue in an image, it might not necessarily come across. Whatever I’m thinking or whatever my motives are may not be apparent to the viewer at all.” On a Thursday evening Farro sits with one leg curled underneath her in her Germantown home studio. She has just left work at the Rodney Mitchell Salon; her basset hound droops at her feet. A few of her older paintings and woodblock prints are pinned casually to the wall, a suggestion from her brother. “I know in my head [what I’ve created],” Farro says with an easy laugh, “but it makes sense to see it on a regular basis.”
Born in New Jersey, Farro moved when she was 19 to California, where she studied painting at Laguna College of Art and Design (LCAD). She also studied briefly at the Florence Academy of Art, which she describes as being modeled after the French ateliers of the late 1800s, and is affiliated with LCAD. While all of her subjects exist in the real world, they also participate in a type of imagined universe, an altered reality that does not quite fall under the header of Surrealism. Within this space, aesthetic parallels between objects take precedence over narrative. A kangaroo tail (Tail) could exist within the same space as a couple kissing in the park (The Park). A lush, wind-tossed tree ( Tree on Dartmoor) seems somehow connected to a still life of a crumpled piece of paper ( Still Life with Dante).
Sylvia Plath, 2013, Oil on canvas, 8” x 4”
Speaking of still lifes, her images of produce, milk cartons, and bags of flour seem more like portraiture than her actual portraiture. Portraits recreated from old family photos are far from sentimental; if anything, they’re a little creepy. Her subjects often have smeared faces, disassociating any personal connection. These paintings are like memories fading away, like the vanishing faces in Eternal Sunshine of the Spotless Mind. “I recognize the potential that painting has, in terms of being able to make imaginative, unique images that differ from other visual art genres, and sometimes this requires a departure from purely academic, traditional ways of painting,” says Farro. “I look to someone like Giorgio Morandi, who
disassociating any personal connection, These paintings are like memories fading away . . .
Jersey City, 2012, Oil on canvas, 42” x 34”
October 2014 | 73
Patty (detail), 2011, Watercolor and gouache on paper, 6” x 9”
I n Fa r ro’s wo o d b l o c k s we re c o g n i z e a different side to the artist, as her prints typically depict easily recognized iconography. Well-loved imagery like Our Lady of Guadalupe, reliefs inspired by the novel Infinite Jest, and images of home and
childhood (curled-up cats, an old station wagon) make more sense as mass-produced images, but they’re also solidly grounded in our memories. After offering us vague snippets rendered in oil paint, it’s a kindness for Farro to deliver these simple moments of familiarity and clarity.
shown in two group shows at Julia Martin Gallery, where she will also have a solo show next fall.
One thing about Farro’s diary is certain—it’s far from private. Though she’s only been in Nashville since January, Farro has already
and at Julia Martin Gallery in February.
Swimmers (detail), 2013, Oil on canvas, 10” x 8” 74 | October 2014 NashvilleArts.com
Michelle Farro has several upcoming exhibits: at Hot & Cold in Hillsboro Village through October 31, at Eat. Drink. Art. in Germantown beginning November 7, For more information about the artist, visit www.michellefarro.com.
PHOTOGRAPH BY JOSHUA BL ACK WILKINS
literally painted the same set of still life objects his entire life and somehow made each one innovative within the confines of traditional painting.”
424 Ford Rd, apt. C, 2011, Oil on canvas, 36” x 24”
2160 Bandywood dr nashville, Tn 37215 615-298-1404 w w w . wa r d - p o T T s . c o m find us on faceBook
Touch No. 33, Clay, 8” x 15” x 8”
E D W A R D B E L B U ST I A R C H I T E C T U R A L C U R V E S I N C L AY The Arts Company • October 4 to 24
by David Sprouse
culptor and ceramic artist Edward Belbusti creates works that are both cerebral and sensual at the same time. The elegant, curving forms of his Touch series, for example, encourage viewers to go beyond a purely visual appreciation of the pieces’ fluid shapes and rich, clay hues and actually feel the sculptures—to relish the tactile sensation of the smoothly burnished, waxed terracotta.
Belbusti’s vocabulary is the clay slab, punctuated by the occasional use of steel and wood. He manipulates these elements in various ways to explore the balance, tension, and structure of a piece, as well as the interplay between its constituent components. Two such sculptures that successfully integrate wood and clay into their forms are his
Leviathan pieces. Rural Leviathan is reminiscent of a great sandstone monolith with a curving aperture chock-full of fossilized tree limbs, while Urban Leviathan appears to have swallowed up whole the contents of an urban skyline and reconstituted it along the sculpture’s peak. Belbusti sees the pair as harvesters, in a sense, consuming and chewing up both the natural and the built environment. One of the more striking characteristics of Belbusti’s art is its ambiguity of scale, as if the forms could simply rise in height and mass to rival the scale of a monument or even a building. A tabletop-sized piece such as Windowpanes could be readily scaled up to stand as a twenty-foot-tall public sculpture in an urban courtyard, or perhaps a great monolith in a rolling heath.
76 | October 2014 NashvilleArts.com
Harlequin, Clay, 22” x 16” x 11”
Port Folio, Clay, 36” x 16” x 12”
Belbusti’s interest in scalable clay sculpture first coalesced in college, when he began working with clay models as an architecture student. Before the advent of powerful computer-aided design software, students typically created physical, three-dimensional models of their designs. Belbusti attended Virginia Tech, which featured a clay studio reserved for the exclusive use of its architecture department. To encourage three-dimensional thinking, clay models were made of every design first. Only then did the students make drawings.
Striated Vessel No. 6, Clay, 16” x 18” x 9”
He continues to explore the surface texture and color of a piece. For instance, his Striated Vessels series is comprised of a number of works defined by striated textures that draw the eye across the piece along differing planes of observation. Moreover, the color of the series is achieved through the use of a manganese dioxide glaze, which imparts to the sculptures a matte, straw-like tone. In some pieces, the artist’s skillful use of surface texture and color suggests a composition of steel, wood, or even plastic, calling to mind the influence of his architectural background. Before moving to Nashville in 1989, Edward Belbusti worked as an architect in New York and Baltimore. In 2011, after serving for many years as University Architect at Vanderbilt, he retired f rom the field and embarked upon his career as a sculptor and ceramic artist. Since then, he has exhibited regularly throughout the Southeast. Edward Belbusti is represented by The Arts Company and will be showing his work there from October 4 through 24. For more information about him, visit www.theartscompany.com.
PHOTOGRAPH BY JERRY ATNIP
While on a tour of Central America many years later, Belbusti reconnected with ceramics and some of the possibilities of ceramic arts. Nicaragua and Guatemala have an especially strong association with ceramics, and Belbusti found a tantalizing form of inspiration in both the traditional Nicaraguan pottery and in some of the new work being created. Discussing his own artwork, Belbusti describes the shapes of his works as interactions between natural forms and hard, geometric shapes—and his art as reflecting a process of trying to relate the two together in one piece.
Mystery, Clay, 23” x 19” x 11”
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COURTESY OF DOMAINE DE CHANTILLY
Painting Gallery, Condé Museum, France, 2014
Nashvillians Head Conservation Effort in C hantilly , F rance
by Mary Skinner
“Florentine and Sienese painters of the Quattrocento, formally known as the Italian Primitives, make up a significant part of the legacy of the Duke d’Aumale, conserved exclusively at the Domaine de Chantilly since his death,” says Nicole Garnier, head curator of the Condé Museum. Thirty major works from its collections will be on exhibit, including paintings and drawings by Fra Angelico, Lippi, Botticelli, and Leonardo da Vinci.
Piero di Cosimo, Portrait of Simonetta Vespucci as Cleopatra, Tempera painting on canvas
BOTH PAINTINGS COPYRIGHT RMN-GRAND PALAIS (DOMAINE DE CHANTILLY) / RENÉ-GABRIEL OJÉDA
wenty miles north of Paris, the Domaine de Chantilly houses the Condé Museum with a painting collection that makes it second only to the world-famous Louvre Museum for paintings prior to 1850. Along with a significant art collection, the chateau features magnificent gardens, grand stables, and a world-class hippodrome. After major restoration projects on the building and the art in the collection, Condé Museum will host a special exhibition of fourteenth- and fifteenth-century Italian paintings entitled Fra Angelico, Botticelli…Rediscovered Masterpieces through January 4, 2015.
Many prominent members of the American Friends of Chantilly (AFC) are from Nashville, and for the past decade, AFC has been committed to designing and developing promotional, educational, and restoration projects to benefit the Domaine de Chantilly. Over the past year they have played an important role assisting the Condé Museum with the Fra Angelico, Botticelli…Rediscovered Masterpieces exhibition.
The organization is working alongside their French counterpart, Les Amis du Musée Condé (The French Friends of Condé Museum), to provide funding for the restoration of several additional paintings, such as the portrait of Henri II attributed to Francesco Primaticcio, an Italian Mannerist painter, architect, and sculptor who spent most of his career in France. The Italian masterpiece Simonetta de Vespucci, by Renaissance painter Piero di Cosimo, is considered the crown jewel of the Condé Museum’s collection. Painted in the late fifteenth century, the tempura painting was in need of restoration. AFC underwrote the funds needed to send the piece to the Louvre for conservation. The newly restored painting will once again be on view. To learn more about how you can help with conservation projects and to become a member of American Friends of Chantilly, visit www.afchantilly.org or contact Candice Nancel, president of AFC, at AFCeurope@orange.fr.
Portrait of Henri II (French monarch 1519–59) attributed to Francesco Primaticcio, Italian School, 16th Century
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October 2014 | 79
NeLLie Jo PHOTOGRAPH BY JIM MCGUIRE
BLAIR CONCERT SERIES 2014-2015
THE BLAIR STRING QUARTET INTRODUCING STEPHEN MIAHKY, VIOLIN SATURDAY, OCTOBER 4 · 8:00 P.M. · INGRAM HALL
Stephen Miahky and Cornelia Heard, violins; John Kochanowski, viola; Felix Wang, cello The Blair School of Music is pleased to present the Blair String Quartet’s inaugural performance with new First Violinist Stephen Miahky. Their program will include works by Mozart, Mendelssohn and Janáček. Presented with gratitude to Judy and Steve Turner for their generous support of the Blair School Details about the Fall 2014 concert series may be found at blair.vanderbilt.edu 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
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9/9/14 1:07 PM
Words and photographs by Tamara Reynolds
y father claimed that rising before the sun was ingrained in him while he was in the Army. Those mornings I heard him stirring I felt so safe and comfortable, knowing all was in order. Sometimes I’d get up along with him. If it was Saturday or Sunday, we’d go to Krispy Kreme on West End and sit bellied up to the counter eating our plain cakes in silence. We’d watch the glazed doughnuts behind the plate glass move slowly along the conveyor belt. Returning home with our assortment of doughnuts for the rest of the family, who were only now beginning to stir, was a perfect finishing touch to the morning. It is my special memory. And even today I feel the soul of my father in the 6 a.m. hour. For more about Tamara Reynolds, visit www.tamarareynoldsphotography.com.
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WHAT WAITS Sometimes what waits won’t come out. The rabbit in the burrow, the black widow in the hollow under the rock, these words tangled in hope and despair I try to unravel with a pen. I was there, walking in the woods, the day that tree fell. A cracking, groaning crash, its weight crushing noises from all that broke under it, until shocked silence settled over the suddenness of peace torn apart. Sometimes when we walk without thought’s heavy tread, without a will, without envy or want, trees fall within us and where there was darkness under the canopy, there is light.
PHOTOGRAPH BY JOHN JACKSON
Walker Bass will read a selection of his poetry at the Poet’s Corner on October 23 at 7 p.m. at Scarritt-Bennett. The event is free and open to the public. For more information please visit www.scarrittbennett.org.
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If you’ve never heard jack play the guitar, you’ve missed the 8th wonder of the world . . . seriously!
by Ted Drozdowski | Photographs by Kim Sherman
great guitarist’s tone is like a thumbprint—a distinctive, unmistakable pattern of sonic whorls. Murfreesboro native Jack Pearson has a tone as wide as the Cumberland River, winding through a lifetime of recordings and concerts that had its wellspring in 1977, when he hit the road with Renegade, which included country and blues artist Lee Roy Parnell, at 17. “My mama used to say she could recognize my playing when she heard me on a recording,” the soft-spoken six-stringer allows. “I’ve always heard that if your mama can recognize your playing, you’re all right.”
Rest assured that Pearson’s mother isn’t the only person who can identify his sound. And that he’s more than all right. Over the decades Pearson has developed a beatific virtuoso’s fusion of blues, rock, jazz, bluegrass, country, and folk that has made him a player’s player. And he expresses it in shimmering moonbeams of electric guitar, making his Stratocaster speak in a ceaselessly elegant, warm-chocolate voice. That voice is recognizable to fans of the Allman Brothers Band, the high-profile gig he had from 1997 to 1999, and to anyone who’s heard his studio work with a wildly mixed bag of artists over the decades
that includes Parnell, blues legend Bobby Bland, Lynyrd Skynyrd’s Artemis Pyle, country hit-maker Chris LeDoux, former Wet Willie frontman Jimmy Hall, jazz saxist Jim Horn, and some guy from the Gulf Coast named Jimmy Buffett. Pearson’s also made three solo albums and a blues duo disc with harmonica player William Howse. His latest, 2007’s Do What’s Right, is a cool-to-cutting compendium of his musical passions.
Although Pearson’s played all kinds of venues around the planet—f rom festivals to roadhouses to rodeos—in recent years he’s stuck closer to his Nashville home, nurturing his reputation as a world-class guitar teacher through one-on-one lessons, workshops, and online instruction at jackpearsonguitar.com. He’s also been performing his own music regularly around the city and throughout the Mid South, playing electric gigs with his conflagrant guitar, organ, and drums trio or acoustic solo shows. Lately, it’s the solo performances that have gotten nearest the core of his artistry. On those nights Pearson will play resonator guitar, banjo, and mandolin, and perform a diverse selection of the songs he’s written over the past four decades as well as some of the old-time chestnuts he heard as a child growing up in a musical family.
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“Jack is a very deep well. People just sit there and watch him play in amazement. How fluid and natural he is.” – Jimmy Hall Early on it was Pearson’s brother Stanley, the eldest of his six siblings, who helped him on his path. “He gave me a chart of all the note positions on the fingerboard and had me memorize it,” Pearson recalls. “He also gave me a slide, so he set me up real good.”
Pearson is especially eloquent on slide guitar, with few peers. Plugged into an amplifier, his slide work evokes a rainbow of sounds and emotions, speaking with an impressionistic beauty similar to Monet or Degas. And like them, he seeks inspiration outside the world of music.
“I try to live a peaceful life,” he explains. “I love watching the clouds and the way the sunset colors the sky. I like to watch the leaves turn. I enjoy long drives, coffee, books, hanging out with my friends. I like old cars and architecture. I love puzzles. That’s one of the things I enjoy about recording; it’s like putting a puzzle together. I like to play just one note to see how much I can do with it, messing with dynamics and accents.” It’s fair to describe Pearson’s approach to his instrument, and perhaps even his life, as Zen-like. He speaks of the guitar as a spiritual gateway and a consoler as well as a means of communication. There’s never a moment on stage when he appears or sounds less than fully present. And yet the perfect integration of life and artistic expression that this masterful player seeks remains elusive. “I’m my worst critic,” he confides. “I never really play what I want to on stage. Sometimes I get close. I often think, I wish I’d played that note
or used that sound instead tonight. I go home and play my guitar because I have more to say musically that wasn’t played at the show. “I am a night owl,” he continues. “I’m alone at home in the late hours playing my collection of instruments. And I hope God is listening.” For more information please visit www.jackpearson.com or www.jackpearsonguitar.com.
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ABSOLUTE ONLINE AUCTION Antiques, Collectibles and Fine Furniture from a West Nashville Home Closes October 21 Beginning at 2:00 PM CT Nearly 200 lots of art, antique tools and home decor, furniture, and American Indian memorabilia from a single collector will sell to the highest bidders.
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THRO UG H J A N U A RY 4, 2015 Kandinsky: A Retrospective is organized by the Centre Pompidou–Paris and the Milwaukee Art Museum. Platinum Sponsor
A N NE A ND J OE R U SSE L L
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This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
THE FRIST CENTER FOR THE VISUAL ARTS IS SUPPORTED IN PART BY
Wassily K and insky. Yel low-R ed -Blue, 1925. O il on c anvas. C ol lec t ion C entre Pomp id o u , Mu sé e n at i o n al d ’ ar t m o de r n e , Paris, G ift of M rs. Nina K and insky in 1976. Photog rap h © C entre Pomp id ou, M NAM -C C I / Ph i l i ppe Mi ge at / D i st . RMN -G P © 2014 Art ists R ig hts Society (AR S), New York / ADAG P, Paris
Nashville Ballet company dancers Sadie Bo Harris and Jon Upleger in Swan Lake
TPAC’s Jackson Hall • October 17–19
by MiChelle Jones | Photographs by Marianne Leach
wan Lake is one of those fantastic, large-scale works that define classical ballet, with ballerinas in tutus and feathered headpieces dancing to a Tchaikovsky score. In mid October, Nashville Ballet will present this fairy tale with its dashing prince, an evil sorcerer—in classical ballet, princes are always dashing, sorcerers usually evil—and many, many young women trapped in swan form. Chief among the swans are Odette and her doppelgänger Odile, the White and Black Swans, respectively. This production is a slightly edited version of the ballet, trimmed from the original four hours to a more manageable modern length. It’s essentially the same ballet the company presented in the 2007 and 2010 seasons, according to Paul Vasterling, Nashville Ballet’s artistic director. All the high points remain, and the staging will be full-on classical ballet, with lushly painted sets and fabulous costumes. “The lake scene is really lovely, and the third act is quite grand,” said Vasterling. 90 | October 2014 NashvilleArts.com
Nashville Ballet’s Swan Lake will be accompanied by the Nashville Symphony led by guest conductor Emil de Cou, music director of the Pacific Northwest Ballet. One of ballet’s foremost conductors, de Cou was in a New York Times story on the subject this summer. “We’ll get a real good reading of the score, which is so utterly beautiful,” Vasterling said. There will also be plenty of dancers, around fifty in the corps de ballet. “There’s a lot of swans,” Vasterling remarked. The corps is treated almost like a character, particularly in the second and final acts. They fill the stage, showing off diagonals and other patterns formed by Vasterling’s interpretation of the original choreography by Marius Petipa and Lev Ivanov. Performing Odette and Odile is considered to be a milestone in a dancer’s career. Two dancers will alternate the part this season: Sadie Bo Harris for a second time and Kayla Rowser in her debut in the roles. Dancing the part has been a bucket-list item for Rowser.
“You have to add an incredible depth of character on top of the technical and physical demands,” said Rowser.
Her preparations have ranged from watching YouTube videos of other dancers to reading Romantic-era poems. “It’s a very difficult role; it’s very challenging,” Vasterling said. “There’s just a lot to it physically, intellectually, and theatrically. There’s a romantic, in the sense of Romanticism, way of approaching it in that this woman is half bird, half woman.” “This ballet absolutely holds magic for me,” Rowser said. One of the most beloved parts of Swan Lake is a scene in which four young swans dance intricate choreography side by side, arms interlinked, to a well-known musical passage. Rowser remembers aspiring to perform as one of the cygnets. She got her chance in Nashville Ballet’s 2010 Swan Lake. Now she has an even tougher role. “I consider performing to be a thin space, where everything just feels exactly right in the world,” Rowser said. “I always hope my passion for this art shines through in my performances, and I hope to accomplish that with this role.” The Nashville Ballet will perform Swan Lake with the Nashville Symphony October 17–19 at TPAC’s Jackson Hall. For more information and tickets, visit www.nashvilleballet.com.
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PHOTOGRAPH BY REED HUMMELL/NASHVILLE OPERA
nashville opera redesigns a modern masterpiece The Nashville Opera • October 9 and 11 by Brad Schmitt
© PETER HARRISON FOR NASHVILLE OPERA
his is Puccini’s La Bohème as you’ve never seen it before. Literally. The opera has been done thousands of times, and it’s one of the three most-performed opera productions worldwide. Even the Nashville Opera has mounted La Bohème four times prior, the last being seven years ago, general and artistic director John Hoomes says. But this one will be different, as Hoomes and New York set designer Peter Harrison have created new La Bohème sets. “It’ll be the first time this production has ever been seen,” Hoomes enthuses. “It’s always a pleasure to create a new production. We were able to do it ourselves.” Most times, opera companies will rent existing sets for popular pieces like La Bohème to save money. Creating your own is more expensive, but then the company has the set to rent to others. “It costs obviously a little more, but with that, you have the asset,” Hoomes says. In all, Hoomes designed three sets, from 1800s Paris, as Hoomes is combining the four-act play into three acts. Those pieces will
Set design for Act I. A Paris Garret
be a large apartment, a Parisian shopping district (complete with self-illuminating moon), and snowy gates during winter on the outskirts of Paris. Hoomes said he spent most of the summer working with the designer to come up with the look and feel they both wanted, and the sets were built in August and September in a factory in upstate New York.
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© PETER HARRISON FOR NASHVILLE OPERA
Set design for Act II. Square in Latin Quarter outside Momus Café
“It’s the same characters and music and piece and story,” Hoomes said, “but we’re excited the visual will be brand new and something people have never seen.” He is hoping the new sets will add feeling and depth to La Bohème, which he calls “one of my favorite pieces.” Hoomes also calls it the perfect date-night opera, as it a lush romance story—until the end, of course, when “consumption” kills protagonist Mimi. “It starts out romantic comedy, and it ends somewhat tragically. It’s a lot like real life—it’s going along fine and suddenly, someone you love, something tragic happens. It’s very real.”
© PETER HARRISON FOR NASHVILLE OPERA
In all, there are six people in the cast, four males and two females, and Hoomes says audiences get invested in all of them, not just Rodolfo and Mimi, whose romance is at the center of the opera. “It’s more of an ensemble show. All these characters play off each other. You get to know all these people and see them interact. You actually care about them.”
Set design for Act III. Paris City Gates
Having said that, Hoomes is excited about scoring young international opera star Noah Stewart, who grew up in Harlem, went to the prestigious Juilliard School in Manhattan, and launched his international performance career from there. While Stewart chose a career in a classic genre, he presents as a fresh, modern star. “He has a great website, and he’s a movie star-looking kid,” Hoomes said.
Playing opposite Stewart is soprano Danielle Pastin, the consummate Mimi. In fact, Pastin will have played that role—in this year alone—in Phoenix and Tucson, Arizona, Winnipeg, Canada, and at the Royal Albert Hall in London. It will be the first Nashville Opera appearance for both Pastin and Stewart, whose visual appeal matches their aural appeal. “This cast looks more like Friends or another TV show, very handsome and Hollywood looking,” Hoomes said. “If there’s ever a fantastic date-night opera, this is it,” he continued. “It’s very touching, very easy to understand, sung in Italian and supertitled in English. This is the opera a lot of people start with.”
The Nashville Opera presents La Bohème October 9 and 11 in Andrew Jackson Hall at the Tennessee Performing Arts Center. For more information visit www.nashvilleopera.org.
Sue Mulcahy, Windswept Britt Stadig, they are loud
Claire Hampton, Beaman Rococo
Opening Reception: Sunday, November 16, 3-5 pm • Marnie Sheridan Gallery • The Harpeth Hall School
Line of Thought
CLAIRE HAMPTON • SUE MULCAHY • BRITT STADIG
Exhibition: November 16 – December 18, 2014 • Gallery Open Monday – Friday 8:00 am to 4:30 pm • 3801 Hobbs Road, Nashville, TN 37215 • www.harpethhall.org
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Backstage with Studio Tenn
Steel Magnolias Wigging Out!
Jamison Hall at The Factory • October 30 to November 9 by Cat Acree | Photograph by Anthony Matula
he six women at the heart of Steel Magnolias are more salt than they are sugar, but beneath all that bickering lies a wealth of love that can weather any trial. This month, Studio Tenn brings this classic Southern tale of female friendship (and very big hair) to The Factory stage. Although originally an Off-Broadway play, Robert Harling’s cathartic tribute to his sister was almost immediately adapted for film. Unlike the 1989 movie, the play occurs entirely within Truvy’s beauty shop. Here, life comes together through hair. Says Artistic Director and Studio Tenn co-founder Matt Logan, “Their salon is the excuse to bond, share, grieve. . . . It’s where everyone gossips and talks and cries and laughs.” W ith her more than twenty years of experience in the beauty industry, the inimitable wig designer Sondra Nottingham’s full range of talents, from the subtle to the extravagant, will be on display with this production. Each of the six women sports at least two wigs, and while viewers can expect big, fluffy hair, the result is far from comically over-styled. Wig design – Sondra Nottingham M’Lynn’s “blonde football Model – Marguerite Hall helmet” will be part of the joke but won’t be an ongoing punch line. The big fun, of course, will be the hairdos of Southern belle Truvy, whom Logan calls a “walking mannequin.” Ultimately, the wigs must serve the story, never dominate it. “[Nottingham] wants every actor to feel lifted up,” says Logan, “[to feel] more in character, more inspired.” It goes without saying: In Louisiana, the bigger the hair, the bigger the hearts. For more information and tickets, visit www.studiotenn.com.
The Circle Players
by Jim Reyland
ou can’t be a volunteer theatre company for sixty-five years without touching a lot of people along the way. You probably know twenty people who performed in, worked on, administered, or attended a Circle Players production in the last six and a half decades. You work with or go to church with them; they live across the street from you. This writer, who arrived in Nashville a skinny young actor in 1985, was cast as Mr. Snow in a Circle production of Carousel. My company, Audio Productions, donated the sound effects and music used by super volunteer and sound designer Lynn Bowden, with his super director, spouse Maggie Bowden, for over twenty years. In many ways, the Circle Players have been the perfect “Stone Soup.” “I’ve come to learn that there’s always a Circle connection,” says LaTonya Turner, a former Board president who is still an active volunteer. “So many times when I mention my involvement with Circle Players, people will say, Oh, I used to perform in Circle shows, or, I’ve always liked the shows Circle presents.”
at TPAC. That was followed by a production of Dream Girls and, this year, Ragtime, The Musical as part of the sixty-fifth season. “The benefits are countless when two organizations come together like that. Everyone learns from each other,” says Gaiters. “And when there is collaboration, you expand your audience. The broader community senses that this is something special.” The quality of Circle productions, its track record of embracing performers of all abilities, and the accessibility of its shows has attracted support and acknowledgement from big names in theatre. David De Silva, the creator of Fame (the movie and Broadway production) asked Circle Players to present the U.S. premiere of his musical sequel, Fame Forever.
Circle Thrives at 65
Circle Players was created in 1949 by an ambitious group of volunteer actors, directors, producers, designers, and stagehands that founded the company on a stock-ownership basis. The venture was described in Circle’s thirtieth-anniversary booklet by Carrie Silverthorne, Circle’s first bookkeeper: “With money in the bank, the theatre started out on a rather grandiose scale by renting an assembly room at the Hermitage Hotel with adjoining rooms for dressing rooms and a prop room. Needless to say, this was a very high rental fee for beginners. But our optimism was great and our energy seemingly boundless.”
Circle’s first production was Home of the Brave, a hit with critics and audiences, but it did not cover expenses at the Hermitage Hotel, and the fledgling theatre company began looking for more budget-friendly venues. Circle then moved to the YMCA—the first of many moves during its sixty-five years. Other early venues included an old gambling den at Fourth Avenue and Broadway, the basement of what is now the Bluebird Café, and Hillsboro High School. In sixty-five seasons, Circle Players has produced more than 500 musicals, comedies, and dramas and now has more than 600 artist members, including some important collaborations. In 1997, L.B. (Loren) Gaiters, while serving on Circle’s Board and working as a professor at Tennessee State University, connected Circle and the TSU Theatre Program for a highly successful production of Miss Evers’ Boys
“ This is a wonder ful company, and there’s always such a talented mix of artists who live in the community, who work and spend their days in paying jobs often unrelated to theatre, then perform with Circle because of their passion and love for the organization,” says De Silva.
Many Circle supporters believe the organization’s long roots and legacy will take it far into the future. They also hope that the future includes a deeply held desire and goal of the organization’s strategic plan launched in 2009: a permanent home—a venue, rehearsal space, and warehouse in a central location that is owned and maintained by Circle Players for its productions and the benefit of the non-profit arts community. This is a worthy goal and deserves community support. So look around; they’re everywhere—Nashvillians who have touched and been touched by Circle Players, making all of our lives and our town so much richer for it.
The 65th Anniversary Season represents many aspects of Circle’s identity: a regional premiere of a Broadway musical (The Addams Family), a collaboration with a university theatre program (Ragtime, the Musical in partnership with Tennessee State University), a classic non-musical play (Picnic), and a youth musical production (The 25th Annual Putnam County Spelling Bee). Circle Players 65th Season begins with The Addams Family, opening October 17. Visit www.circleplayers.net for tickets.
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The film version of Jim Reyland’s 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, directed by David Compton and consider a donation to support Room in the Inn. email@example.com
Once Upon a Mattress at Looby Theater (Circle Players Season 2008–2009)
Same Time Next Year at TPAC (1981)
This is a wonderful company, and there’s always such a talented mix of artists who live in the community, who work and spend their days in paying jobs often unrelated to theatre, then perform with Circle because of their passion and love for the organization. – David De Silva
Of Mice and Men at TPAC (Circle Players Season 1982)
The Color Purple (Circle Players Season 2012–2013)
Othello (Circle Players Season 1953–54)
Fame Forever finale number (Circle Players Season 2011–2012)
Once Upon a Mattress at Looby Theater (Circle Players Season 2008–2009)
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The Arts Company
SEE ART SEE ART SEE Dupree Young at The Arts Company
Grant Lachman, Elizabeth Griffith at The Packing Plant
Jessica Crowell with Mr. and Mrs. Manuel Cuevas — Collaborate 21 at Bennett Galleries
David Lusk at David Lusk Gallery
Phillip Relford’s 21 Flowers and a Turtle, the work he created with Kit Reuther — Collaborate 21 at Bennett Galleries
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Eric Davis, Matthew Drumright and Matt Moore with I Am... made by John Guider and Drumright — Collaborate 21 at Bennett Galleries
PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON
David Goldberg, Barry Lapidus at Julia Martin Gallery
Fahamu Pecou interview with Paul Polycarpou at The Arts Company
Casey Boyo, Kierston Carnes at The Rymer Gallery
Ground Floor Gallery
SEE ART SEE ART SEE Jo Ayne Karper at Ground Floor Gallery
Lisa Bachman, Jeff Rymer at The Rymer Gallery
Jared Richmond, Angela Richmond, Cynthia Small, Jared Small at David Lusk Gallery
Lain York, Stephanie Morgan at Zeitgeist
Emily Sue Laird at Julia Martin Gallery
Libba Miller, Anna Forkum at Zeitgeist
Chris Doubler, Katie Studley at Julia Martin Gallery NashvilleArts.com
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Two roads diverged and you took the path less traveled. And so did we.
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19th through 21st Century American and European Paintings and Sculpture
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Marie de Bievre Belgian, 1865-1940 A Still Life with Roses and Lilies Oil on canvas; 28 ¾ x 36 ½ inches Signed lower right
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Montgomery Bell Academy • 17 National merit Semifinalists, 13 aP National Scholars in 2014
• 7 to 1 student-teacher ratio
• 100 boys per year participate in school-funded international exchanges and programs on six continents
• 24% of students receive $1.9 million in need-based financial aid
• 15 varsity sports competing at the highest level
• 100% of graduates are college-bound • 24 advanced Placement Courses oﬀered
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OPEN CALL FOR ARTISTS
Submit your art, photography or sculpture to be juried by Nashville Arts Magazine for a 2015 exhibit at Customs House Museum, Clarksville Tennessee arTisTs 18 years and older inTeresTed in exhibiTing aT The museum in 2015 musT send The following To be considered: Five images oF work completed in the past
three years to inFo@nashvillearts.com with accompanying list oF titles, medium and size
artist bio/resume complete the online inFormation Form at www.nashvillearts.com Applications will be kept on file for one year. Application materials will not be returned to artists.
Selected artists will be notified by October 30 and will be given a show at Customs House Museum in Clarksville, TN NASHVILLE ARTS MAGAZINE WILL ONLY ACCEPT SUBMISSIONS FROM AUGUST 15—OCTOBER 15 For entry details visit www.nashvillearts.com or call (615) 383-0278
October 2014 | 101
tpac gala : kinky boots Photographs by Sophia Forbes
WIT H E M M E PHOTOGRAPH BY ALAN POIZNER
Emme Nelson Baxter is a ninth-generation Nashvillian and an owner of Boulevard Communications, LLC.
by Emme Nelson Baxter
ou walk into a party on a sultry Saturday night. It’s late August. The venue entices with cheerful red light and the upbeat lilt of Katrina and the Waves’ pop hit “Walking on Sunshine.” In a sea of about 400 tuxedoed gents and ladies in fabulous footwear, five vivacious drag queens are strutting their stuff. Now for the real non sequitur: The event you’re attending honors a megabank and a football player.
The only event that routinely mixes up such a zany social cocktail is the TPAC Gala. No one pulls off theatrics like this crew.
In addition to raising funds and throwing a great bash, the night was about showing the love for two of TPAC’s leading champions: Bank of America and athlete/actor Eddie George. Each received the organization’s Applause Award. Tennessee president John Stein graciously accepted on behalf of BofA. “ E d d i e , ” T PAC p r e s i d e n t a n d C E O Kathleen O’Brien said, “is an extraordinary role model, a unique individual who’s at the top of his game in whatever he does as an athlete, an actor, an entrepreneur, or humanitarian.” She also presented Bank of America with the award for its steadfast support since TPAC’s inception in 1980.
Christine Bradley, Mike Bradley and Lynn Maddox
Gala Chairs Anita Cash and Marci Houff
Ron Corbin, Brenda Corbin, Lynn Queener and Hugh Queener
This year’s TPAC Gala Chairmen Anita Cash and Marci Houff chose the tantalizing Broadway blockbuster Kinky Boots as the gala’s theme. Kinky Boots raked in Tonys in 2013; the show hits TPAC in February as part of its first national tour. The Kinky Boots theme offered delicious possibilities for perennial TPAC Gala planners Bob Deal, Jason Bradshaw, and Theresa Menefee. Whimsical touches started with the invitation’s attire instructions cuing guests to wear “Black Tie or Red Carpet Kinky.” Another detail came in the form of napkin holders that mimicked racy red-leather spats. Others involved in the planning included Phillipe Chadwick, Melissa Mosteller, and Amy McDaniel. Sargent’s Fine Catering handled the culinary aspects. This year’s gala fetched $340,000 for
Michael Gomez, Trish Gomez, Valerie Levay and Kurt Dittrich
TPAC’s educational and cultural programs that have served 1.6 million children in the past three decades. TPAC president and CEO Kathleen O’Brien shared that TPAC ended its year with record income and ticket sales, producing an estimated $70 million in economic impact from the combined presentations of TPAC and its professional resident companies Nashville Ballet, Nashville Opera, and Tennessee Repertory Theatre.
Aurora Sexton, DeeDee Renner, The Princess and Jaidynn Diore Fierce — all from Play Dance Bar 102 | October 2014 NashvilleArts.com
Scene out: Linda and Jere Ervin, Suzanne and Grant Smothers, Julie and Dale Allen, Lauren and Andrew Tavi, Beth Fortune and Debbie Turner, Barbara and Jack Bovender, Ansel Davis, Kristin and Don Taylor, Legare Vest, and Beth and Richard Courtney.
Helen Herring, Crystal Walker and Sheila Herring
Marilyn Hinton, Kem Hinton, Patti Tuck and Autumn Parrott
Tina Halstead and Tony Rose
an art deco affair at the frist
Photographs by Tiffani Bing
Ellen Sadler and Carol Rose
t’s not always about what’s hanging on the walls at the Frist Center for the Visual Arts. Sometimes, it’s about the walls themselves.
While 919 Broadway is now a repository of fine art, the structure itself—originally the city’s main post office—is one of Nashville’s grand architectural landmarks. Built in the early 1930s when architectural zeitgeist skewed Art Deco and classicism, its visionaries incorporated white marble and pink granite to achieve a look of “starved” classicism for the structure’s facade. And that’s just the exterior.
Appreciative guests got an eyeful of the interior nuances on Saturday, August 16, during An Art Deco Affair. The evening benefitted the care and maintenance of the erstwhile post office that was repurposed and relaunched in 2001 as an ideal setting for visual arts. Priced at an affordable $50 for members, An
Co-Chairs Heidi Rose, Tony Rose Jr. and Taylor Middleton
Mark McDonald, Carey McDonald, Kenneth Adams and Amy Adams
Art Deco Affair attracted not only dedicated Frist supporters, but also a host of Snappy Young Things who dug the chance to dress up in swingy dresses and strands of pearls. All told, about 300 were on hand to appreciate the Jazz Age vibe, cocktails, hors d’oeuvres, live music, and exhibits. Another highlight: the architectural tour, which addressed the grillwork, cast aluminum doors, stonework, and other elements that led the building to be listed on the National Register of Historic Places in 1984.
Seab Tuck, Johnny Frist, Jillian Waters and Susan Edwards NashvilleArts.com
Suzanne Kessler, Mandy Barnett, Beth Curley and Linda Holt
Now there’s a social trifecta: Hobnob, raise money for a good cause, and learn something new all in the same event. Taylor Middleton and Heidi and Tony Rose Jr. chaired the night. Sharon Johnson Catering provided delicious vittles. Flappers and dappers included Ellen Sadler and Carol Rose, appropriately dripping in silver bling; NPT’s Beth Curley, who might be able to save her period attire for the premiere of next season’s Downton Abbey; and Candace and Bill Wade in sweeping cream vestments. Frists at the scene included Trish Frist, Jennifer and Billy Frist, Karyn Frist, Harrison Frist, and Bobby Frist. Also spotted were Colleen Conway Welch, Patti and Seab Tuck, Marilyn and Kem Hinton, Minnette and Clay Jackson, Carey and Mark McDonald, Allie and Edward Coble, Hillary Freeman and Chad Blackburn, Kerri Cavanaugh and Mike Schlosser, and Heather and Curt Thorne. October 2014 | 103
SMART A MONTHLY GUIDE TO ART EDUCATION
STATE OF THE ARTS
by Jennifer Cole, Executive Director, Metro Nashville Arts Commission
PHOTOGRAPH: JERRY ATNIP
an you remember the first time you stumbled on a street performance or a piece of new art in your neighborhood? I can remember the unexpected pride I felt when I went out one morning for my weekend walk and stumbled upon a new fence mural (courtesy of Andee Rudloff ). All of a sudden I didn’t just live on a street; I lived on the street with the amazing mural. Art that meets you where you are and weaves itself in the pattern of your life is fundamental to why we grow to love art, collect art, seek out performances, and be an audience for our larger cultural community. Everywhere in our city, certain art activities are associated with key neighborhoods. Say tomato art and you’ll think East Nashville. When I say polar bears, you think Edgehill. Our cultural celebrations and neighborhood artworks define our sense of identity and connection to others. They are important, and they reinforce how much we value artists as part of our community fabric. As our city grows and changes and new neighborhoods and artists emerge, we must facilitate the creation of new neighborhood art traditions Community Mural and icons. This month, we are launching a new program to help spark more artist-driven neighborhood art.
life and identity of our city. Academics and urban planners call this “Creative Placemaking.” I call it facilitating joy. O ur hope is that a year f rom now more artists will have the opportunity to impact their neighborhoods and more communities will value and encourage the participation of artists. Artists Thrive. Neighborhoods Thrive. Nashville Thrives.
• It could be a Hmong cultural festival.
THRIVE is open to artists, community groups, and small businesses. Professional artists must be involved in project planning, and all projects must demonstrate community Actors Bridge Pop-up transformation. Proposals will be reviewed, and awards of up to $4,000 will be made on a monthly basis starting in November.
• It could be a temporary mural or artwork installation on a decaying corner/fence.
THRIVE application, requirements, and support materials are available at www.artsnashville.org.
THRIVE is a micro funding effort, led by Metro Arts and supported with funds from the city of Nashville and Davidson County. The goal is simple—more projects led by artists that bring neighbors together and provide lasting community impact. What does that mean? • It could be a community choral “sing off ” between church and school choirs. • It could be a neighborhood salsa workshop on National Dance Day.
There is no right answer. What it means is that we are committed to funding innovative ideas and collaborations that expand the cultural
All potential applicants are encouraged to contact staff prior to application for support and coaching.
104 | October 2014 NashvilleArts.com
TENNESSEE ROUNDUP The Tennessee Arts Commission’s Student Ticket Subsidy Program Gives Students Arts Experiences by Anne Pope, Executive Director, Tennessee Arts Commission
h e Te n n e s s e e A r t s C o m m i s s i o n i s currently accepting FY-2015 Student Ticket Subsidy (STS) Program applications and is looking forward to providing another year of arts experiences to public school students across the state. The STS Program gives students, many of whom attend Title I schools, the opportunity to learn f rom the arts, both inside and outside of the classroom. The program funds field trips to shows or exhibits and brings teaching artists into schools. In the past five years, over half a million students have participated.
L a s t y e a r, D u p o n t E l e m e n t a r y School chose to take students on a field trip to the Nashville Children’s Theatre where they saw the play Lyle, Lyle Crocodile. The STS Program Graphic, Tennessee Arts Commission program included pre-show and post-show activities in alignment with Common Core for the teacher to conduct with the class. Students saw the show and eagerly became involved with the characters and the art form itself, declaring the show to be “better than television.”
PHOTOGRAPH BY RICK MALKIN
This year, the Commission is excited to roll out a new aspect of the program. Activities supported by the grant will now include artist residencies that last longer than one day, given that the residencies will also consist of a supplemental activity such as a field trip. The hope is to give students hands-on participation in an art form while also ensuring access to high-quality professional arts and cultural experiences.
Eddie George as Othello and Laura Crockarell as Desdemona
Stratton Elementary took part in the Nashville Opera On Tour program and welcomed the performance of Billy Goats Gruff to the school. Teachers were provided with a guide to prepare students for the opera experience with basic facts and history about opera as well as activities that connected opera to classroom curriculum. Smyrna West Alternative School took students to a matinee of Othello, put on by the Nashville Shakespeare Festival. Teachers were provided with a guidebook that gave additional information on Shakespeare, this play in particular, and lesson plans to prepare students for the performance. “A first for some, the play exposed students to theatre of the highest caliber and demonstrated that with a little preparation students can appreciate, and even enjoy, Shakespeare,” says Smyrna teacher Laura Schlesinger.
Lyle, Lyle Crocodile illustration by Bernard Waber
For more information about the STS Program and application guidelines, please visit www. tnartseducation.org . NashvilleArts.com
October 2014 | 105
ON THE HORIZON GLENCLIFF HIGH SCHOOL by Rebecca Pierce | Photographs by Tamara Reynolds
isiting a high school art class is always inspiring because the energy level is high and the students are so enthusiastic about their creativity. Here we introduce three outstanding AP art students from Glencliff High School.
Visual Art Teacher Jackie Tingle talks about her approach. “I think I have the best job in the world. Teaching visual art encompasses so much more than simply teaching theory, technique, or history. I get to encourage my students to use their voice and tell their story while using the visual arts as their vehicle for communication. I feel like I really get to know a lot of my students on a more personal level because I urge them to pursue personal interests as the subject matter of their artworks. My goal as a teacher is to create an open and inviting environment where students feel comfortable being themselves. As a result they are more open and willing to share themselves through personal expression in their art. I designed the visual art curriculum at our school to teach technical art-making skills in the base-level class, and as students progress they are taught to utilize these skills while working through specific visual problems that coach them in articulating their own ideas. When students reach the advanced level, they start to define their own visual problems. It’s pretty incredible to watch them grow through the entire process and extremely rewarding to see their confidence flourish.”
Jackie Tingle, Visual Art Teacher
icaela has been drawing her entire life and was actually asked to stop drawing when she was in kindergarten, because her teacher thought it was a distraction. When she was just five years old, her mother was dismayed to see that Micaela had glued her self-portraits to their walls, but she and the rest of Micaela’s family realized just how observant and creative she is.
Micaela plans to apply to Watkins College of Art, Design and Film and get a bachelor’s degree in fine art.
M i c a e l a’s p r e f e r r e d medium is colored pencils, which she uses to create very detail-oriented and vivid images. Her AP concentration focuses on the 1960s, and one of her favorite artists is Martin Sharp. She says, “I just really love the sixties, and I love the music and the patterns, and the vibrant colors, and so I really wanted to create art very similar to the sixties to get that sixties vibe. Band posters from the 60s are really influencing my art this year.” When creating more realistic pieces, Micaela tends to choose her colors beforehand, but for Twiggy she picked the colors as she was creating. For this piece she was aiming to create exact mirror imagery in the background. She said, “It’s funny because sometimes I feel like I make mistakes, but I realize that art isn’t always about making everything perfect. Sometimes it’s just like fixing your mistakes in a good way.”
Twiggy, 2014, Colored pencil, 11” x 8.5”
106 | October 2014 NashvilleArts.com
athy Trieu is a sophomore who advanced directly from Art 1 to AP art. She’s been interested in art since she could see color. “My parents told me that when I was little I loved coloring books, even though I couldn’t color inside the lines. It’s like the rule, don’t color outside the lines, is like saying don’t go out of your comfort zone, but I feel like I want to color outside the lines,” Kathy confided.
Kathy loves experimenting with different mediums, but graphite is her favorite standby. “I usually use graphite because it is transportable, and you only need one . . . many other mediums offer a lot, and maybe you can do more with shading, but they are also more expensive. And they are unnecessary if you have the skill.” Kathy enjoys walking in the park, going downtown, and attending festivals because everyday people and events fascinate her. She likes to watch people and their body movements, and she tries to capture on paper what she sees. Kathy doesn’t think she is very good with hands and facial expressions yet, but she is working really hard on them.
Japanese Beauty, 2014, Colored pencil, ink, tracing paper, 11” x 14”
Right now Kathy is working with oil pastel, and the range of color she can achieve enables her to create more dramatic and vivid pieces while still getting the small details and texture. Kathy plans to continue taking art classes and would like to get a bachelor’s in fine art.
alaka Willow describes her style as “crazy and jutting . . . popping out towards people. I just draw random things with crazy colors because it pops out at you. I use different colors and concepts in order to make the person look not just in one direction, but all directions. “My dad is a really good artist, and his paintings and drawings are very realistic. I saw him working and decided to try the realism concept, until I hit twelve. Then I started getting into things like anime.” Now Galaka’s work is highly stylized, using exaggeration and expressionistic techniques in the style of anime and manga artists, but she still incorporates elements of her realistic foundations.
Galaka would like to become a magna artist, a video game designer, or an animator, but she knows that first she needs to go to college. She decided upon AP art because she hopes it will help her get a scholarship. She also likes her art class because of the interaction with other artists and how that helps in developing her own style. Born in Sudan, Galaka lived in Egypt, Manchester, New Hampshire; and Lincoln, Nebraska, before moving to Nashville four years ago. She likes Nashville, especially the diversity of nationalities. In addition to art, Galaka likes to sing while her friend plays guitar. She will rock out, but she is more interested in Asian music.
Masu Chain, 2014, Colored pencil, 11” x 8.5”
October 2014 | 107
PERISCOPE ARTIST ENTREPRENEUR TRAINING
arly this year the Arts & Business Council launched Periscope: Artist Entrepreneur Training, an intensive program that prepares working artists to manage the business aspects of their creative endeavors. Hosted at the Entrepreneur Center (EC), Periscope offers artists access to professional development, entrepreneurial resources, and mentors.
Limited to twenty-five artists, Periscope includes practitioners of all artistic genres from Nashville and its surrounding counties. This month, Nashville Arts Magazine introduces five more members of this year’s Periscope class. For more information on Periscope, visit www.abcnashville.org.
BEN COOPER | MUSIC
Ben Cooper likes to “wake up in the morning and create something that wasn’t there the day before.” Periscope has equipped him with the strategic knowledge he needed to do just that. Eleven years ago he came to Nashville to study audio engineering and entrepreneurship at Belmont University. He envisioned a career progression that would begin with performing, move into songwriting, and culminate with producing. While things did not go exactly as planned, he is now a full-time producer and songwriter and particularly enjoys working with emerging artists. Ben says, “I’ve enjoyed having cuts with artists like Ricky Skaggs and Olivia Newton John, and I’ve loved getting to be a part of the next generation of musicians rising up in Nashville.” To hear samples of his work, visit www.bencooperonline.com.
REBEKAH HAMPTON BARGER | DANCE
Rebekah is the founder and artistic director for FALL, Nashville’s first aerial and contemporary dance company. She has been dancing since she was eight years old and draws inspiration from the space around her, especially the vertical space above her. In addition to collaborating with artists of all genres, Rebekah says, “I am looking forward to a future of creating unique, large scale, site-specific work around the city of Nashville. Finding opportunities to bring performances to the people, instead of the other way around.” On November 1, FALL and the Aerial Fabricators, will perform with the Nashville Symphony as part of the Pied Piper Concert Series. Later in November, FALL will perform with flautist and fellow Periscope artist Celine Thackston at OZ. For more information, visit www.falldance.org.
RYAN WAGNER | VISUAL ART & GRAPHIC DESIGN After working as a graphic designer, art director, and brand manager for a large corporation for several years, Ryan launched his own art and design studio, Foundry 43, in order to devote his career to his passion for art. Because Foundry 43 is still relatively young, he wanted to get into Periscope and focus on the practical aspects of his endeavor. He’s learned a great deal about growing his business and gained valuable business tools. His vision for the future of Foundry 43 is a one-stop, hybrid art studio, gallery, and design firm that not only creates, but also helps connect artists of all different mediums with recipients looking for all types of great, custom, original artwork. For more information, visit www.Foundry43.com.
STEPHANIE PRUITT | POETRY
A poet, an advocate for artists, and a business strategist, Stephanie Pruitt has achieved success with Mind Your Creative Business Consulting, won awards for poetry, and been published in numerous literary magazines and anthologies. Stephanie has actually helped a lot of artists market their careers but found it a real struggle to do it for herself. That’s why she wanted to get into Periscope. Her big takeaway from Periscope has been “getting to know who my audience is. Periscope helped me to define ‘the who’, which I was afraid to do because I didn’t want that to influence my writing . . . but it has actually been very empowering. Defining ‘the who’ helped me to understand the importance of my writing.” To learn more about Stephanie and her work, visit www.StephaniePruitt.com.
JUDY KLICH | VISUAL ART “I knew that being creative was in my soul and had to be part of my future career. That led me to eighteen years as a commercial designer, all the while continuing to paint and enjoy photography. After painting in watercolor, acrylic, and oil I discovered encaustic during a mixed-media class in grad school, and it became the perfect medium to express my love of nature, abstraction, and geometry all combined into one medium,” says Klich. Though she did take some business courses as part of her MFA, being at the entrepreneur center with other working artists gave her new energy and excitement. She is approaching her business in a whole new light, redesigning her marketing approach and her website and developing a video biography. For more information, visit www.judyklichart.com. 108 | October 2014 NashvilleArts.com
Art in Formation Stirrings from the Nashville Underground
Bathroom mural at Queen Ave by Ryan McCauley
Story and Photographs by Tony Youngblood
ink waves of paint line the bottom of the room’s walls; green foil-fringe curtains drape the stage, and a mural of dancing pastel robots adorns the otherwise-unfinished chipboard partitioning the bathroom. A group of friends are converting an unassuming little building at 178 Queen Avenue into Nashville’s most unusual arts and music venue. Queen Ave Art Collective is the brainchild of local artists Tyler Walker and Mike Kluge. Tyler performs in Meth Dad and organizes the bike-crawl music fest Tour de Fun. Mike performs in Body of Light and curates the electronic art event Future Night, which he describes as a “bimonthly art and music showcase highlighting progressive/experimental/alternative music as well as multi-media and electronic art installations.” When Future Night’s venue, Bohéme Collectif, abruptly shuttered a few months ago, the pair resolved to finally open their own space. That means Walker and Kluge finally have the independence to do what they want, which explains the eclectic assortment of murals painted directly on the walls by local artists like Ryan McCauley and Emily Kempf. I get the sense that the decorative strategy is very much “this bare wall needs dancing robots.”
Live at Future Night – Black Cat Sylvester
Walker and Kluge see Queen Ave as a collaborative enterprise, encouraging a DIT (do-it-together) atmosphere. In addition to throwing events and concerts (Future Night premiered there September 9), they provide artists and entrepreneurs studio space. “I hope to see it evolve into a self-sufficient artist community,” Walker says. “A place where art and sound are constantly evolving and changing. A place where people feel welcomed to create.”
PHOTOGRAPH BY JOHN SCARPATI
Your next chance to check out the space will be October 4 for a concert featuring Michael Parallax and Pree. Learn more at www.facebook.com/QueenAveArtCollective. Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s (ModularArtPods.com) and runs the experimental improv music blog and podcast www.TheatreIntangible.com.
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Nashville’s Favorite Weekend of Art, Artists, and Parties l
Thursday, October 23
Patrons Party 6:00–9:00 p.m. Make reservations at artclectic.org $125 per person l
Artclectic 2014 University School of Nashville 2000 Edgehill Avenue www.artclectic.org
Friday, October 24
Community Party 7:00–10:00 p.m. $15 per person at the door Free for USN Alumni l
Saturday, October 25
Free and open to the public 10:00 a.m.– 6:00 p.m. Family Arts Day 10:00 a.m.– 6:00 p.m. POPclectic pop-up market 10:00 a.m.– 4:00 p.m. Akers Theatrical Fabrication Bill Forrester Bartending Services PrintNet USA, Inc. SunTrust Manuel Zeitlin Architects
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110 | October 2014 NashvilleArts.com
Jeremy Jones Arts at the Airport
RED GROOMS E xhibiting O ctObEr 1- 31 st
Through November 30
Homunculus, 2014, Mid-range stoneware, welded steel, paint and modified fish hooks, 10” x 12” x 12”
The Face, enamel & oil on canvas, 1958
by Joe Nolan
utumn has come to Nashville, and the fall season always brings some of the best art shows of the year, Halloween horrors, and the equally terrifying possibility of Thanksgiving travel. Jeremy Jones’s new exhibition Soft Spot at the A/B Meeter-Greeter Lounge at the Nashville International Airport manages to address all of these autumn attributes with an eye-catching exhibition of cute/creepy baby sculptures that’s worth an early arrival when you catch your next plane out of town.
The sculptures of Soft Spot evoke a visceral reaction in their pairing of the adorable with the abominable. Baby Bubble Bouncer remakes Fisher Price’s Corn Popper rolling toy with a sad-faced baby’s head replacing the body of the gadget. The toy’s unmistakable plastic dome is mounted into the top of the infant’s cranium. Baby Bubble Bouncer is intense, but its disturbing aesthetics aren’t simply meant to shock: What Jones’s show does—and does well—is convey that all-at-once rush of joy and terror that comes from becoming a parent for the first time, as Jones and his wife did with the recent birth of their son, Henri.
One reason the show is so complex and compelling is because Jones’s creepfest is shot through with absurdity and humor. Binky Bling Clearcut looks like the scary head and torso of an antique doll wearing a gold necklace decorated with a bouquet of baby pacifiers. Totem Clearcut is a tower of male heads that seem to descend in age and size as the “pole” builds to its top where the crowning head is—inexplicably—that of a smiling dog. Both Growth and Homunculus allude to the creation of a homunculus—a tiny, fully formed man made popular in European folklore and alchemical traditions. Surely such legends also reflected the fear and mystery associated with creating children, and perhaps it’s children themselves who sense these most of all. What did you think all that trick-or-treating was about? Arts at the Airport’s Soft Spot is on exhibit through November 30 ( www.flynashville.com/arts-and-music) . For more information about Jeremy Jones, visit www.jeremyjonessculpture.com.
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Historic Downtown Franklin
Quit while you’re ahead Much has been written about the legendary John Seigenthaler, who died this past July at age eighty-six. John and I first met when I was a guest on his TV show, A Word on Words. John’s easy charm and the fact that he had actually read my book had me—a first-time author—feeling right at home. So much so, that time got away from us. So, John invited me back to complete the interview. Later, he would comment with a chuckle that ours was the only interview to have a “sequel.” From then on, whenever we’d meet, John would call out, “Hey there, Little Rock and Roller!” So yes . . . I loved him. How could I not? Author Lee Smith and I used to debate about which one of us had the biggest crush on John. PHOTO: ANTHONY SCARLATI
& The Factory
by Marshall Chapman
PHOTOGRAPH BY DEBBIE SMARTT
Friday, October 3, 6-9 p.m.
Nearly 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
Two days after John died, a visitation was held at the First Amendment Center, the building that bears his name. By the time I arrived, thousands from all walks of life had gathered, forming a long line that curled throughout the building. After finding my place at the end of the line, I was joined by friends David and Rebecca Climer. As it turned out, we were lucky, because two hours later, we were among the last to enter the room that held John’s family before they were escorted from the building. I had just entered this room when, turning to my right, I found myself looking directly into the face of Ethel Kennedy not two feet away. I was taken a little by surprise, as she was looking right at me like she’d known me my whole life. Not knowing what else to do, I smiled and extended my hand, saying, “Hi, I’m Marshall Chapman. I’m a singer-songwriter.” “Oh, really?” Ethel Kennedy said. “Yes, and we have a mutual friend . . . the late songwriter, John Stewart.” Her face brightened. “Oh, yes, I loved John!” “Yeah, it always tickled him that he and Andy Williams were your two favorite singers.” “They still are!” Ethel Kennedy said. At this point, I could have graciously moved along, but no . . . “One time I was on a flight to Boston that stopped at Washington National, and John Stewart got on and sat next to me. I remember he had been visiting you and your family at Hurricane Mills,” I said. At this, Ethel Kennedy looked a little confused. “You know, that place you had outside of Washington?”
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“Oh,” she said, as her face brightened. “You mean Hickory Hill.” “Yeah, that’s it,” I said laughing. “Hurricane Mills is the name of Loretta Lynn’s ranch outside Nashville. Hickory Hill . . . Hurricane Mills . . . pretty close, huh? Oh well, it’s been nice meeting you.” In that moment, I imagined Seigenthaler inside the stately casket on display in the First Amendment Center foyer, smiling and shaking his head, his blue eyes twinkling behind closed eyelids. www.tallgirl.com
October 2014 | 113
My Favorite Painting
C hambers Urban Visionary • Musician
PHOTOGRAPH BY SHERI ONEAL
uth Bernhard is quoted as saying, “When I am in the studio, I am a sculptor with light.” I love Classic Torso with Hands because it contains so many surfaces, each in its own plane and reflecting its own quality of light. You don’t just look at the image; you’re drawn into it. From the sharply focused hands and foot in the foreground to the softly focused shoulders, it is myriad separate, equally beautiful forms, all woven into one elegant piece. It’s very tranquil and as captivating from twenty feet away as it is from twelve inches. I never tire of looking at it.
Ruth Bernhard, Classic Torso with Hands, 1952
R uth B ernhard PHOTOGRAPH BY LARRY COLWELL
The German-born American photographer Ruth Bernhard (1905–2006) moved from her birthplace in Germany to New York in 1927 after studying at the Academy of the Arts in Berlin. While pursuing a career in photography in New York, she became profoundly influenced by Edward Weston’s photography. His artistic images of objects abstracted to mere lines and forms opened Bernhard’s imagination to
what photography could be. She relocated to California to work with him and then moved on to San Francisco to work with Ansel Adams, Imogen Cunningham, Minor White, and Wynn Bullock. Her work is represented in museum, public, and private collections around the world. Bernhard is best known for her characteristic black-and-white nudes reduced to simplified forms. She remained committed to photography, publishing books and lecturing until the age of ninety-five.
114 | October 2014 NashvilleArts.com
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