Nashville Arts Magazine | February 2010
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Spotlight
The Blakemore Trio Premieres Gates of Silence at Ingram Hall February 19, 8 p.m.
The Blakemore Trio and esteemed New York composer/soprano Susan Botti will premiere Botti’s Gates of Silence at Ingram Hall. The performance is part of a commissioning project, The Blair Commissions: Music for the 21st Century, funded by the James Stephen Turner Charitable Foundation for Vanderbilt University’s Blair School of Music. Members of the Blakemore Trio, violinist Carolyn Huebl, cellist Felix Wang, and pianist Amy Dorfman, met as faculty members at Vanderbilt. They selected and commissioned Botti to write Gates of Silence and have enjoyed a collaborative process with the composer. Following their Nashville performance, the trio will travel to New York for an encore performance March 13, 2010, in Merkin Concert Hall at the Kaufman Center. Pianist Amy Dorfman has relished this experience as a musician: “We are thrilled to be given this opportunity not only to work with Susan Botti on the process, which has been fascinating, but also as a trio, to have our New York debut.” This event is free of charge, but tickets are required. Tickets are available at the Blair main desk. Please call (615) 322-7651 or visit www.vanderbilt.edu/Blair/ calevents for more information.
Centennial Art Gallery Exhibits Paintings and Sculpture
From February 5 through March 26, Centennial Art Gallery will show the work of artists Kaaren Hirschowitz Engel and Sydney Reichman. Engel’s paintings and sculpture are composed of woven elements in a bright palette of colors. Reichman draws inspiration from nature for her willowy bronze sculpture. The public is warmly invited to attend the opening reception on Friday, February 5, from 5–7 p.m. Gallery Talk: March 5, 5–7 p.m. Visit http://www.nashville.gov/parks/cac.asp to find out more about Metro Parks’ Centennial Art Center. left:
Figure Installation by Sydney Reichman Inside the Loop by Kaaren Hirschowitz Engel
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Spotlight
Nashville Opera Education Tour Presents The Three Little Pigs
Photo: Reed hummell
Beginning February 11, Nashville Opera On Tour will present an adaptation of The Three Little Pigs, which is based on the music of Wolfgang Amadeus Mozart. This delightful opera, which was created especially for elementary school students by John Davies, follows the exploits of three maturing piglets who realize they need to consult the local library in order to design their own homes. The villainous wolf, Wolfgang Bigbad, spies on the three and hatches a plot to make them his next meal. When Wolfgang’s efforts to blow down Despina’s house of bricks backfires, she uses her intellect to trap the wolf. A reformed Wolfgang admits that even big bullies can be shrunken down to size and joins Despina, Cherubino, and Giovanni in the moral of the story: “When you fear a thing that’s scary, take your questions to the library.” The self-contained production is designed to travel to schools and public venues and includes a complete set, cast, and musical accompaniment. The opera will be presented in more than 70 different locations across Middle Tennessee throughout February and March. The production is under the direction of Stuart Holt, Nashville Opera’s Education Director. Nashville Opera’s extensive education and outreach touring program reaches over 30,000 students in 18 counties throughout Middle Tennessee. For the full schedule of performances for public viewing, visit www.nashvilleopera.org and click Education & Outreach: In Your Community.
Two Moon Gallery Grand Opening Nashville’s 12South District welcomes a brand new gallery. Two Moon Gallery is a dream come true for owners, husband and wife team Hal and Rachel Pickle. The 1600square-foot gallery bookends the new 12th and Paris building, and the member artists are from every region in the country. Their works, while varying in style and medium, are reflective of the gallery owners’ honed taste and ability to acquire great art.
Adding to the traditional gallery model, Two Moon Gallery is available to non-gallery artists who are searching for a host for their next big show. One, two or three artists can exhibit their work at a fixed rate and reduced commission during select months of the year. A number of walls will be available while others continue to exhibit the gallery’s stable of artists. All events will run for two evenings at a time to keep the atmosphere fresh and filled with variety. From this is derived the name Two Moon Gallery. www.TwoMoonGallery.com. (615) 403-6787 Unit 108, 2905 12th Avenue South, 37204
Photos: Matt Coale
Located on the ground floor of the three-story gallery are: wildlife art by Diana Tremaine from Montana, created on Zen-like backgrounds; several luminous porcelain vessels by Appalachian artist Tom Turner of North Carolina; and leading up to the second floor, the works of Atlanta, Georgia-based Jean Glenn. An emerging contemporary artist, her bright colors and finely engineered designs draw the eye in. Cadmium Light offers the viewer long-lasting enjoyment. Featured upstairs are original wood sculptures by Brad Sells of Cookeville, Tennessee. His works have been shown worldwide, including the Smithsonian, and they tell an international story. The wood he sculpts comes from distant locations, such as South Africa and Hawaii.
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Spotlight
Bethanne Hill Rooted in the South by Kami Rice
As a young girl, Bethanne Hill discovered Australian Aboriginal art and connected deeply with it. “It was like this immediate love,” she says of the art’s bold outlines and patterns and its imagery of mythology and storytelling. Hill appreciated the way Aboriginal art took license with changing perspectives. This freed her to try different approaches in her own art. Hill says she “came to understand painting as making one mark and then responding to it.” The resulting work is a beautiful melding of scenes from the rural South with the active, patterned images of primitive art. Leiper’s Creek Gallery owner Lisa Fox first encountered Hill’s work at the Blue Spiral in Asheville, North Carolina. Fox immediately connected with the paintings, partly due to fond memories of growing up on a farm. “Her imagery made me feel sentimental and at the same time made me laugh,” says Fox. The paintings were just what she’d been searching for to fill a niche at her gallery.
Hydrangea Dogs |
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Crawfish and Coon
“When I paint,” she says, “that’s the closest I can get to writing a book, something I would love to do someday.” Hill takes bits and pieces from many different places and works them into a single painting. “The part I like is making them come together into one piece,” she says, smiling. Nashville Arts Magazine | February 2010
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Photo: Anthony Scarlati
above:
From barns and animals to fence posts and rivers, the scenes in Hill’s paintings are unavoidably narrative. Yet she doesn’t set out to tell a particular story. Instead, she notes that she is a voracious reader, when she can stay awake long enough to read at the end of a busy day of painting and family life. She reads a lot of Southern writers as well as nonfiction and culture books. For a “quick minute” in high school she “thought about being a cultural anthropologist” until she realized anthropology was a science.
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On the Horizon
University School of Nashville
Young Artists Thrive Under Creative Freedom by Lindsey V. Thompson “It’s not an art school or an athletic school,” says Rachael Durnin
of her high school. You get everything.” At the University School of Nashville, there is an entire building dedicated to the arts. Inside are over ten visual arts instructors that lead their students from kindergarten through twelfth grade to create works that speak to them, that mean something. USN seniors Rachael Durnin and Elizabeth Kidwell are only two of the high school’s 359 students who have allowed the visual arts to permeate their lives. From painting to printmaking to book art to ceramics, the University School has created a lively art culture that encourages personal growth and creative development. The visual arts program at University School is not based on a strict curriculum. Rather, the students create their own classes in an Independent Study, a clear advantage for Kidwell. “You get to create more personal pieces” under this curriculum, she says. According to Durnin and Kidwell, the arts are emphasized not only in the art
studios but also in their other academic classes. Many of their classes are discussion driven, which they say fosters “creative thinking.” The school’s website references education reformer John Dewey to describe the fundamentals of their art program. The curriculum is one “where the student is emphasized more than subject matter, where the learning process is as essential as the lesson, and where curiosity and imagination are encouraged.” Rachael Durnin
In Rachael Durnin’s artistic world, written words, musical chords, and the visual arts seem to blend together in a harmonious rhythm to create a sparkling coalition. Durnin’s musical background as the drummer in a two-person band called How Cozy! makes its way into her visual arts. Her own creative writing pieces and lyrics from her band’s songs inspire her visual artwork. Durnin will often share her visual images and lyrics from songs between the different mediums to create a rounded artistic interpretation. “I never make something
below: Wait For Me by Rachael Durnin, Scrap metal, welding, collaged magazine pictures, string, tea, light, plaster hands, 14" x 16" x 20¾", 2009
right: This Is What a Feminist Looks Like by Rachael Durnin, Silkscreen, poster board, thread, plastic hangers, 31" x 36", 2009 bottom center:
Paper Wings by Rachael Durnin, Found birdcage, collage, handmade paper box, handmade bird, string, hole punched words, 8" x 15", 2008
Photo: Anthony Scarlati
bottom right:
Wired Wings, by Rachael Durnin, Book board, book cloth, paper, thread, found objects, creative writing, 5¼" x 1½" x 8½", 2009
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For example, a broken typewriter that was given to Durnin as a gift became an inspiration for a multifaceted expression of her artistic voice. After taking the machine apart, Durnin began rearranging the letters of the keyboard to say different words and phrases. Eventually, she landed on “MY GUTS R BAD FIX ME?” Then Durnin started cutting out words from magazines until she could create a ribbon of poetry spilling out from the typewriter that told the story of its destruction and the possible owners who caused the damage. Many of the phrases from the typewriter creation have been incorporated into songs. Durnin also likes to touch on political and social issues in her art, oftentimes in a “humorous, ironic way.” Among the most frequent issues that she draws from is the idea of gender identity in modern society. “The way people think about gender is an either/or,” she says. “There’s so much sexism in the world that I don’t fit in with.” Durnin thinks about how she dresses every day and what she tells people about herself through her clothes. This issue has made its way into Durnin’s artwork in a series of prints where she depicts hanging dresses and ties that are intended to display below: In the Shadows of Luminosity by a theme of brokenness and Rachael Durnin, Screen-printing, destruction along with the 12¾" x 10½", 2008 idea of being able to put things back together. Repeatedly, Durnin finds she revisits supposedly finished pieces to “fix mistakes I didn’t realize were mistakes” or add new components to the old works. In her art,
above: Self Portrait by Elizabeth Kidwell, Newspaper, mixed media right:
Gesture Drawing by Elizabeth Kidwell, Graphite on newsprint, 12" x 24", 2009
nothing is ever truly done. Rather, the process of reexamining her art drives her old art to take on new beginnings. Durnin hails from a set of decidedly artistic offspring, as her brother works as a furniture designer and her sister is an artist. Durnin says that though her parents were not the driving force in their children’s artistic aspirations, once they each began to realize their love for the arts, their parents enthusiastically jumped on board. Planning to attend an art institution after high school, Durnin has mused on the idea of following a career in film. Filmmaking, she says, would give her the opportunity to have a hand in everything from making and selecting the music to creating the setting and even writing the screenplay. “It just makes sense,” she says. Elizabeth Kidwell
“I layer my art with my thoughts,” says Elizabeth Kidwell, who has always felt the desire to tell the story of her life through art. “It feels so natural,” she says. “It’s the only thing that feels natural.” For Kidwell, the people she sees every day, her friends, her family, have propelled her artwork forward. “Everyone I meet inspires me,” she says. “These people are all characters in the story of my
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Photo: Anthony Scarlati
that I don’t want someone to see all angles of,” Durnin says. “If there’s still something hidden, I’ll put it in a song and perform it.”
life.” Though it sometimes feels “weird to work on something so personal,” she feels compelled, even obligated, to move forward and create works that document her life and the people in it. She uses diverse mediums and symbolic ingredients in her works to represent her subjects in abstract and conceptual ways. Each individual component she describes as “a freckle emanating a certain persona to the viewer.” Kidwell continuously stresses the idea of bringing spontaneity into her work. When she first came to USN, photography was her favorite medium, largely because “photos suspend time” and can forever capture the “feeling of the moment.”
above:
Bicycle Graveyard, by Elizabeth Kidwell, analog photographs, 20" x 15", 2008 below: below right:
My Sister by Elizabeth Kidwell, graphite drawing, 30" x 52", 2009
Driftwood by Elizabeth Kidwell, analog photograph, 4" x 6", 2008
For Kidwell the importance of creating spontaneous art that can transcend time has only increased as she has grown older. Last year, for example, her older sister left Nashville to pursue a higher education. The looming idea of her separation from her sister led her to create artworks as reminders of her sibling. Occasionally, Kidwell will venture to create works of fiction. One piece that Kidwell made at Watkins College of Art and Design unusually tells the story of a person that Kidwell does not personally know. The sculpture, made from pages of phone books, creates a somewhat human figure with an image of a woman amidst the chaos of the miscellaneous names on the phone books’ pages. The sculpture relays the idea that a person can be surrounded by people yet still feel lonely and isolated.
Lindsey Victoria Thompson is a junior at Hume-Fogg Academic Magnet, where she is studying the literary arts with aspirations to pursue a career in writing. She is currently Assistant Editor for the school newspaper, The Knightly News.
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Though Kidwell says that her parents have never had artistic aspirations of their own, they are completely supportive and encouraging of her pursuing a career in the visual arts. Kidwell has plans to attend an art college next year, although she is unsure of exactly where her time in school will take her, as she is still trying to “figure out what to do.” Undoubtedly, though, she will always have a place in the arts. “Nothing can stop me from making everything in the world into art,” Kidwell says, “because after all, everything speaks art to me.”
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Richard Heinsohn
Intuitive Universe by Lizzie Peters | photography by Tim Hiber
in a rapidly changing world. His intuitive style of painting connects him to the universal energy that exists between all matters and has the ability to bring the viewer into the explosive and exciting pieces that are his work. “I think an artist has a responsibility to reflect something about life, to be informed and to be informative, to inspire and be inspiring, most importantly to be relevant,” he recently observed. Richard Heinsohn and his art are spot-on
Stacked canvases and works in progress fill Heinsohn’s studio in Inglewood. In fact, they fill a rabbit warren of rooms behind the studio and spill into his office. Yet another 100 pieces are stored off site with a friend. Done in non-toxic, water-based acrylic gels, his newest creations are in varying stages of completion. The colorful signature “craters” that are a motif of his work seem to sparkle and pulse the longer one stays in the room. below:
Looking Through, Acrylic gel polymer on wood, 10" x 11", 2009
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below:
Thought Spector, Acrylic gel polymer on panel, 16" x 24", 2007
Heinsohn is interested in the macro and micro aspects of human existence. Each piece of his art is undeniably a statement of the cosmic force in nature: implosion and explosion, creation and destruction, the obvious and the unseen. His fascination with the Big Bang was integral in the evolution of his style. After viewing what appeared to be an entire galaxy through an electron microscope, colorful and seemingly infinite, he was hooked. It is this intuitive connection that results in an array of brilliant orbs and bands of color, the very same style that first caught the eye of the late, esteemed New York City gallery owner Allan Stone. Heinsohn’s consideration of existence and his ability to arouse curiosity led to his inclusion in a show of featured works that included renowned artists de Kooning and Kline at Stone’s gallery in 1995. This type of validation is something many artists dream of but never realize in a lifetime.
as a lake. We live on a dangerous and volatile planet. To an artist mystery is key. We have the ability to transform, to take the microscopic to the telescopic.” Upon closer inspection, one finds that Heinsohn’s newest work, for example The Giant Leap, includes not just an incredible array of color and form but also items of whimsy, such as the frog imbedded in the canvas. “It was a gift from the Chattanooga aquarium. I use planks, gloves, paint caps, fabric, and plastic toys like Princess Leia to show how everything in life is immersed in an ongoing process. Life is a vast process,” he concludes. While the larger pieces of Heinsohn’s work sell in the five-figure range, smaller pieces are significantly more affordable. With an art market on the rebound, there is no doubt that his work will find a home in many collections, both big and small. Painting daily, teaching and interacting with other artists are things he intends to continue for the rest of his life. Someday, he hopes to take over an industrial building and create a space for artistic interaction.
Works titled Carnival in Darkspace, Mega Metamorphosis, The Grand Exchange, and Nature’s Chaos are all indicative of this visionary’s talent. Almost professorial, Heinsohn is able to articulate his fascination with the mysteries of life using the language of abstraction. “Good art stimulates us to think about life and our responsibilities. I’m trying to get to the place where “I am a very, very intuitive painter,” he says while people are able to see synapses.” He has built it, and adding color to a work in progress. “We think of they will come. craters as evidence of massive destruction, yet they have often resulted in the creation of ecosystems, such Richardheinsohn.com Nashville Arts Magazine | February 2010
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opposite page:
Shelter From The Storm, Medium, 72” x 48”
Ronell Venter
Painting in Bliss
by Deborah Walden | photography by Jerry Atnip Ronell Venter is a storyteller. With words, music and paint, she creates vivid narratives. Her art, perhaps, imitates her life. Venter’s journey as an artist is as full of adventure as one of her imaginative screenplays or active landscapes.
A petite blonde with a soft voice and a cheerful laugh, Venter smiles constantly. She is serious, ambitious, but just like her paintings, she has a sense of playfulness in her character. Her journey as an artist began as a child. A native of South Africa, she claims her childhood was idyllic. Her mother was an artist and an opera singer, so creativity and imagination filled her early days. Venter’s family owned a farm outside the city that they visited on weekends. There, they churned their own butter, raised animals, and passed long days in an innocent, simple world. When looking at Venter’s paintings, one catches a glimpse of the spirit of her early Arcadian summers in South Africa. “I always wanted to paint bliss,” she says. In her painting White Dress, a little girl dances playfully in front of an old country white church. Her arms outstretched, one toe pointing, she strikes a carefree pose, midtwirl before the viewer. The triangular composition of the canvas with its sturdy tree, lone church, and young figure is harmonious and balanced. Its organization seems to put the onlooker at ease. In White Dress one finds a moment of windswept childhood happiness before longstanding monuments of strength and stability. The painting is blissful at the same time it is mature. One can sense in it Venter’s childhood love of the country and her efforts to capture innocence and beauty in her work. Venter was inspired to paint White Dress when driving through the country in California. A heavy mist hung over the landscape that just obscured an old church from her view. The moment struck her. She captured it in a photograph and, on her return home, transformed it into a simple yet powerful oil painting. This process typifies Venter’s work. She often takes photographs while traveling and later translates them into dynamic canvases.
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Travel has also characterized Venter’s life. Attracted to the television and film industries, she moved to Johannesburg after college and became a news editor with the South African Television Broadcasting Corporation. She left her job in news for another more lucrative position, but her employer soon went bankrupt. Where others might have felt defeated or returned home, Venter saw this turn of events as an opportunity. She sold her car for just enough money to buy a plane ticket to the United States. She had friends in Texas with whom she could stay but had no prospects of a career in the States. At age 23, she landed in the U.S. with $135 in her pocket and the belief that she could paint commissioned artwork for money. She was right. She sold a painting and flew to Florida where she could again stay with friends. Once there, she produced another commissioned work for enough cash for a plane ticket to Los Angeles. Venter had begun to dream of living in California in order to work in the film industry. She hoped to get involved with a major studio, but she again had faith that her artwork could see her through any lean times. In California, she began working as a teacher and used painting to supplement her income. A gregarious, hardworking person, she soon made friends with luminaries of the film and design worlds. She completed numerous commissioned paintings for major design firms in Los Angeles. Venter also began traveling between Baltimore and Los Angeles for a series of murals in the home of one of her patrons. As she realized continued success in her painting career,
she became more active in the film industry. She started working as producer for DreamWorks Studios. With a national portfolio and a career in film, it seemed that she had everything. After completing her murals in Baltimore, Venter took a fateful trip to Italy. The journey, she claims, transformed her. “I stopped doing commissioned work and began painting for myself.” Venter claims that throughout her career as an artist up to this point she had painted only for others. With new clarity about her artistic vision, she took a chance in pursuing themes and subject matter that spoke to her personally. Her new work was an instant hit. Venter’s first painting in her new style was drawn from a photograph of a stranger on her trip to Italy. A young baker standing outside his family shop, he looked in at the store window and seemed to contemplate and question his place in the world and his future. Soon, Venter found herself in a similar mode of introspection. Her project with DreamWorks’ Evolution by Steven Spielberg had not been a success. Rather than give up, Venter began to contemplate life choices that would make her happy. She turned to Nashville. Now a mother with a young son in tow, she finds the pleasant pace of her life in Tennessee conducive to her creative needs and her family’s well-being. Venter opened Ronell & Co. Art in the Arcade downtown where she sells her paintings and maintains a studio. opposite page:
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Daffodils For The Bride, 72” x 48”
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above:
Sunday After Church, 44" x 56" Bliss, 72" x 48" left: The Piano, 72" x 48" below left: Girl On Stairs, 44" x 56" below right: Sleeping Girl, 44" x 56" opposite page: Girl In Fog, 44" x 56" right:
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She recently completed a painting that hangs in her gallery downtown. A study of a familiar Nashville monument, it features her young son kicking his soccer ball down the sunlit colonnade of the Parthenon in Centennial Park. The painting is all rigid geometry, angles, and perspective except for the playful figure of the young boy. “I love a structural setting—the balance that it represents. In a structural painting like the Parthenon, children bring a lot of movement.”
“I stopped doing commissioned work and began painting for myself.”
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Venter shows her instinct for art by the dynamic pairing of the static architecture and the free movement of the young child. The contrast also represents the dual forces at play in her life and work. When presented with walls or roadblocks in her career, her free spirit and innate hopefulness have helped her keep moving. An ambitious dreamer, she is a planner, a networker, and a good businesswoman. She is also warm, fun, and creative in her approach to the world. Speaking of the innocence and mystique of her rural paintings, she may well be describing that special spark that defines her personality: “It’s magic.” www.Ronellventer.com
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Stacey Irvin Humanity in Focus
Stacey Irvin likes to be right in the middle of the action.
Like most professional photographers, Irvin is a keen observer, but she also “wants to be more of a participant.” The Texas native and Vanderbilt graduate has been infatuated with photography since she was just 14 years old. Irvin claims that her eye as a photographer developed long before she ever held a camera in her hand. Her family took yearly road trips to visit national parks. On these long drives Irvin loved “staring out windows at landscapes.” Having discovered the joy of seeing the world, she wanted to capture her vision with fine art photography. Irvin’s parents built her a darkroom in their basement, and her dad taught her the basics of photography. While at Vandy, she majored in philosophy and fatefully applied for and won the prestigious Margaret Stonewall Wooldridge Hamblet Award in Studio Art before graduating. This grant allowed her to travel to China for two months to photograph villagers. Irvin knew that she had found her calling. Since that trip, her work has literally taken her around the world. Staceyirvin.com Stacey’s work is on display in the Sarratt Promenade in Vanderbilt University, February 15 through April 9.
Photo: Anthony Scarlati
“I have a passion for capturing and sharing the simple yet most essential aspects of the human spirit.” opposite page: Threshold, I came across these two little girls while wandering through the heart of the Uighur Old Town in Kashgar. They were both concentrating so hard on nail painting that they barely acknowledged me as I passed by.
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above: Girls in a Row, Sometimes I feel like a pied piper with a camera. This group of Uighur girls found me while I was wandering through the residential lanes of Kashgar's Old Town. They were eager to greet me and, without any prompting, spontaneously lined themselves up for a photograph. right:
Laughing with Vegetables, This woman and her daughter nodded and burst into laughter after I asked permission to photograph them. Four years later, I returned to Kashgar with some prints. When they saw me and the photograph, both women burst into laughter once again!
below: Door to Exile, The view from the rear gate of Jiayuguan Fort at the end of the Great Wall in Gansu Province, China. I had read that exiled poets and travelers would throw a small stone at the back wall as they were leaving. If the stone bounced back, it would be a good omen for a safe trip. I walked around the outer walls of the fort in order to capture this view and throw my stone. My stone bounced back.
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above: Bringing in the Herd, While in Kenya, I visited the Masai Mara National Reserve. I was fortunate to be out wandering around as these two young men were bringing their cattle home for the evening. below: Id Kah Mosque, Two old Uighur men sit at the side entrance to the huge tree-filled courtyard at Id Kah Mosque in Kashgar. Id Kah is China’s largest mosque. The trees keep the interior of the mosque cool and quiet.
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left: Bactrian Camels, In the small town of Upal in northwestern China there is an area next to a creek under the shade of poplar trees where domesticated Bactrian camels are sometimes sold. This rare and endangered species of camel inhabits parts of central and eastern Asia. middle left: Sidewalk Greetings, People often ask me why the girls' hair is so short. In addition to being low-maintenance and practical, a Uighur woman told me, they believe girls’ hair will grow longer and thicker if it is kept short during early childhood. bottom left:
Prayer Lamps, Tibetan prayer lamps light the interior courtyard of Jokhang Temple in Lhasa, one of Tibet's most sacred sites. Thousands of pilgrims travel across Tibet to visit and circumambulate the Jokhang each year.
below: Morning Smile, A Kazak girl pauses with a smile during morning chores on the grasslands in China near the Kazak border. Our eyes met for an instant through this small window. Moments like this fuel my passion for communicating our common humanity. opposite page top:
Emin Mosque, Built in the late 18th century, the style of this Uighur mosque in Turpan, China, is influenced by Persian and Central Asian architecture. I happened upon this amazing and unexpected view in the side galleries only by chance.
opposite page bottom:
Gyantse, The view next to prayer flags above the Pelkor ChĂśde Monastery in Gyantse, Tibet, is worth the steep climb. It definitely felt like I was on the roof of the world.
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Doug Regen The Wood Whisperer by Tony Lance | photography by Larry Boothby “It takes a certain kind of person to fall in love with my work.
It’s not as polished and finished—I’m not saying that it’s not cool and wonderful, it’s just maybe not as perfect—as what you’d find in most retail furniture stores. It is all handcrafted using old techniques. It’s more organic and natural. My work is a bit rustic and unrefined. It’s going to have weirdness to it; it’s going to have interesting knots; and it’s going to have scratches. All the wood I use has imperfections. Many of the people that are buying my work are people who have really contemporary homes, and they want to bring a history and a warmth into that space.” Doug Regen’s transition from advertising agency owner to furniture maker began because of a silverware dilemma. “I remember being in a meeting with some senior-level managers, and we were discussing why all the forks in the kitchen had disappeared,” said Regen. “And I remember sitting there thinking, ‘I am so far away from what I love doing.’ I still refer to that day as my ‘fork in the road’ moment.” That moment marked a turning point, and a short time later Regen left the advertising business after 20 years of working on some of the most recognizable brands including Bridgestone, DuPont, HCA and Singer and soon thereafter found himself constructing furniture. The switch wasn’t as much of a stretch as it might seem. “I come from a family of builders and architects and contractors,” said Regen, who counts William Strickland, the designer of the Tennessee State Capitol, among his ancestors. “I’ve always been building stuff.” With time on his hands Regen didn’t have to look far to find a place to put his skills to use. “My wife and I acquired a farm up in Kentucky about eight years ago that’s adjacent to a family farm, and back behind the main house is this old barn that was built in the late 1800s. It was all chestnut and oak, and it was beyond repair, so we were going to have to tear it down. I’ve always been a big believer in trying to reuse materials and fashion new objects out of them, and I didn’t want all that wood to go to waste,” said Regen.
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“Some people would look at some of the material I’ve got and say, ‘What in the world would you save that for?’” said Regen. “Some people would look at some of the material I’ve got and say, ‘What in the world would you save that for? That’s just a piece of junk wood.’ I mainly use woods that are at least 100 years old when I can find it, and most of the things I use have a story. Once I get it and start sanding and getting into it, something new comes out of it. I try to take it and give it a new chapter. “I basically let the wood talk to me and tell me exactly what needs to happen. It’s a total emotional connection.” After pausing and reflecting for a moment, he says, “I think maybe it’s my job to save this stuff.” Regen says his pieces tend to resonate with a specific niche market. “With my work I feel like I’m taking things that were carefully and lovingly handcrafted before by someone else, and instead of seeing those things thrown away or sent to the landfill or left to rot, I take them and give them a new life alongside the contemporary. It’s really exciting when you have that juxtaposition.” Doug Regen’s work can be seen at www.raintreecollection.blogspot.com.
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left: Billy Renkl, Plenty, Collage of vintage recipe illustrations, 20” x 11”, 2008 below: Andrew Saftel, Beets, Watercolor, pencil on paper, 22” x 28”, 2009
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Theater
Theater in the Street
The Street Theatre Company Is Paving New Directions by Jim Reyland Ask anyone to name the most famous street associated with the
photo: Heavenly Perspective Photography
American theater and they will likely say Broadway. But in East Nashville, there’s a theater Street with which you may not be familiar. The Street Theatre Company is quickly making its name and paving a new direction for the theater arts in Music City. Cathy Street, Artistic Director: “I was always singing growing up…my family was very creative. In seventh grade, I did my first play, and I was hooked. Theatre gave me an escape, a place where I could be somebody else, as I was always very shy. I love being taken away, both when I am on the stage and when I am watching from the audience.” right: Joe Robinson, Cori Laemmel in The Great American Trailer Park Musical below: Laura Matula in Evita
photo: Heavenly Perspective Photography
“When I opened up the script, I couldn’t put it down. It is funny, arresting, and really thought-provoking.” The Street Theatre Company, like most contemporary theater companies, started from, and literally with, nothing. Cathy’s vision was to do newer, sometimes edgier shows, both musical and nonmusical, to pay the artists involved, thereby promoting and honoring the artists and their talents, and to eventually be the resident company of an arts center where there are always art, music, dance, and theatre classes and performances happening. Until then, STC has been very creative, using churches, schools, function halls, and, most recently, a warehouse to produce its shows. Cathy and her company don’t mind being out on the street. “Being homeless obviously can make it difficult for people to know where you are, but on the upside, it keeps things interesting and certainly supports the notion of ‘street’ theater!” Cathy and her company are justifiably proud of what they’ve accomplished and what is to come. “I am really excited by the diversity of this season. We are opening up with 25th Annual Putnam County Spelling Bee, which is a great example of a musical that is not just fluff. There is so much heart and depth to the characters of the
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right:
Elijah Dies and Lindsey Huffaker in One Flew Over the Cuckoo’s Nest below: James Roberts, Patrick James, Jordyn Tucker, James Rudolph, Alexandria Churchwell in Once on This Island bottom right: Kimberly Mont, Bakari King in The Wiz
show, and the music is unique. It is definitely in the modern, pop Broadway bent but is very creative and witty. Alice in Wonderland is being written by a local playwright and features original songs. It will be cast with a combination of young students in STC’s youth summer program as well as some area adult professional actors. The combination is going to make this a very special experience. In October, we bring back Macabaret, a campy musical revue about death and dying. Lyrically it is one of the most brilliantly written pieces I have ever encountered. It has been performed and become a major cult sensation in major cities across the U.S., such as Chicago and New York. Finally, we close out the season with Six Degrees of Separation. When I opened up the script, I couldn’t put it down. It is funny, arresting, and really thought-provoking. It is in a very accessible, theatrical style and completely engaging. With Facebook and other current social media, the idea of six degrees separating us all as human beings has become even more timely!” STC offers workshops on Method Acting, Viewpoint Technique, Vocal Auditions, Linklater Vocal Technique, and much more. STC also offers year-round youth opportunities, including fall and spring Stepping Stone acting classes, with a special daytime option for home school students, a Broadway Song and Dance camp each March, and a summer drama camp. Classes are geared for ages 5-16. When asked who comes to a Street Theatre production, Street responded, “Our audience really runs a wide gamut. I can’t honestly say there is a “type.” We had groups of seniors who came to The Great American Trailer Park Musical as well as a number of people from the Nashville music industry and many people who had never seen a musical before. That is one of the exciting things about the shows STC produces—they appeal to a wide variety of people!” The creation of something new can be one of the greatest challenges of our lives. The Street Theatre Company is an exciting new company making noise both on stage and off. Those with the courage to create deserve our attention and our support.
photos: Heavenly Perspective Photography
www.streettheatrecompany.org
Jim Reyland is artistic director of Writer’s Stage Theatre, www. writersstage.com, and president of Audio Productions, Nashville, www.audioproductions.com. His writing and composing credits include Used Cows For Sale, A Sugar-Coated Pill, Stuff, Further Than We’ve Ever Been, Shelter, A Terrible Lie, Stand, Article 4: and the Nashville Arts Magazine | February | 81Road with Addison Gore and The Grand Band musicals2010 21 Baker Ballroom. jreyland@audioproductions.com
Antiques
Appraise It
by Linda Dyer | photography by Jerry Atnip Clayton Sumner Price (American, 18741950) The Rider, oil on board, signed C. S. Price
Price grew up in a large ranching family in Iowa and Wyoming. An accomplished carpenter, homesteader and horseman, C. S. Price was 31 years old before he sought formal art training at the St. Louis School of Fine Arts. He left the school after one year to accept a job in Portland, Oregon, as a magazine illustrator. Working for Westernthemed magazines, Price created images of rearing horses and stagecoaches that were about to go off cliffs, which were very beautiful drawings but still very illustrational. Then in 1915, at the age of 41, he traveled to San Francisco for a show of contemporary art. The paintings he saw, all early, modernistic European paintings by artists like Cezanne, transformed his artistic vision. He became committed to color as emotional expression. As Price’s paintings changed, details disappeared. His figures became simplified; the bodies became trunk-like. He settled down in Monterey, California, sharing studio space to paint while supporting himself as a frame maker and sardine packer. Returning to Oregon in 1929, C. S. Price became the major regional influence during the pre-war period by bringing the influences and ideas of the Paris school of Cubism and Modernism to Portland. His work rapidly became the ideal for the younger artists of the region. They made pilgrimages to his studio, pursuing Price to give them lessons, but he resolutely declined and was described by these art students as a modest, selfless man. In the final years of his life, Price received critical acclaim as his works headed toward abstraction. The Portland Art Museum gave him a one-man show in 1942 and 1945. In 1946, he was included in major exhibitions at the Museum of Modern Art in New York. I believe this little gem of a painting to be a rare example of his early work and would estimate its auction market value to be $4000 to $6000 dollars.
Ilya Schor (1904 -1961) Pair of Gold Cuff Links, circa 1949
Ilya Schor was born in Zloczow (Galicia), in the Austrian Empire, later Poland, in 1904. Educated in the arts and metal crafts in Poland and Paris, Ilya Schor immigrated to the United States in 1941 from Marseilles, via Lisbon, after fleeing Paris in late May 1940. In New York, Schor moved into a cosmopolitan circle of intellectuals and artists. He himself was a multi-faceted artist who earned his renown as a painter, sculptor, engraver, jeweler, and book illustrator. He was also renowned as an artist of Judaica and a master of the ornamental detail. TERM of The Month JUDAICA: items pertaining to Jewish life and customs, especially of a historical, literary, or artistic nature, such as books or ritual objects.
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“Scrimmage” Punchboard/Gaming Board, Circa 1940-1950
Punchboards are the descendants of handmade lottery gaming boards, which were used in the U.S. as early as the 18th century. The punchboard or salesboard was patented in 1905 by C. A. Brewer and C. G. Scannell of Chicago. Once the boards became cheap to manufacture, they quickly found their audience in gas stations, corner stores, bars, fraternal halls, and at fundraising events. In 1939, at the peak of their popularity, fifty million punchboards were sold. Punchboards were typically played for cash gains, but some manufacturers disguised the gambling nature of the boards by stating that prizes were “for trade only” and not redeemable for cash. Cigar, cigarette, and beer companies used punchboards as an advertising medium, featuring their products as the prizes. Zippo lighters found success with reported sales of more than three hundred thousand lighters between 1934 and 1940 due to the use of punchboard advertising. Lithographed Metal Advertising Tray, Circa 1940
At the turn of the century, before mass media advertising, beer trays were one of many effective point-of-sale advertising pieces. The majority of beer sales were made for consumption within a tavern. These colorful and artistically diverse trays along with branded mugs, glasses, and foam scrapers were the brewery’s best effort for on-premise advertising. Two of the first companies to produce beer trays competed against each other in Coshocton, Ohio. Tuscarora Advertising and Standard Advertising each produced a variety of advertising items. In the mid 1890s these companies perfected the process of applying lithographs to metal surfaces, including trays. Round trays, 12 and 13 inches in diameter, are the most common post-Prohibition form, whereas pre-Prohibition trays were often oval. The trays were decorated in an endless variety of designs, from breweries to beautiful women. Dr. Seuss (Theodor Seuss Geisel, himself the son of a brewmaster) attended Dartmouth College with Rudolf Haffenreffer, a principal figure at the Rhode Island-based
When playing for cash, the player paid the punchboard’s operator a set amount of money for a chance to use a metal stylus (or “punch”) to break the seal on the hole of his choice and punch out a slip of paper. If the number or symbol found on the slip matched one of the pre-determined winning combinations, the player was awarded the corresponding prize. This type of game board is still generating revenue in states where the gaming laws allow their use. As collectibles, these vintage boards have great visual appeal and would be great additions to any collection of advertising, pin-ups, sports or history. The “girlie pin-up” and cigarette boards are the most common subject matters available; thus sports- and advertising-related boards command higher prices. This near-mint-condition “Scrimmage” board with its punch(er) still factory sealed would have a retail value in the range of $100 to $200.
Narragansett Brewing Company. Haffenreffer asked his friend to design a tray for the brewery. “Famous Narragansett Lager & Ale–Gangway For Gansett!–Too Good To Miss” was manufactured in 1940 at American Art Works in Coshocton, Ohio. This tray that depicts Chief Gansett is one of the most popular beer trays ever produced. It is sought by breweriana collectors and Dr. Seuss collectors. With its iconic imagery, the tray regularly fetches almost double what it did prior to Seuss’ death in 1991. A collector should expect to pay $200 to $300 for a period Dr. Seuss tray in good condition. The condition issues of this particular tray would hold its value to about $50. Collecting note: Reproduction trays are typically made with a silk screening process, so on close inspection the imagery will have a cloth-like appearance.
Photo: Anthony Scarlati
Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an appraiser of Tribal Arts. If you would like Linda to appraise one of your antiques, please send a clear, detailed image to antiques@nashvilleartsmagazine.com. Or send photographs to Antiques, Nashville Arts Magazine, 644 West Iris Dr., TN 37204. 86 Nashville, | February 2010 | Nashville Arts Magazine
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Anything Goes
and was writing songs…Waylon and Willie and Kristofferson and those guys…Roger Miller, Jack Clement, Johnny Cash. And I should mention Cindy Walker. After I started playing rock and roll, the Rolling Stones, Lou Reed, and Bob Seger. As for books, just off the top of my head…Truman Capote, Willa Cather, Flannery O’Connor. This past summer, I read Olive Kitteridge by Elizabeth Strout. I love books that widen my parameters of judgment.
Marshall Chapman What characteristic do you most like about yourself?
My honesty. My attraction to things that scare me. You know…like getting up in front of people and doing anything! (laughs) And what do you like least?
My impatience. Sometimes I forget why time exists—so everything doesn’t happen at once!
Who is your favorite artist?
Edward Hopper. The Sleeping Gypsy by Rousseau is my favorite painting. What was the last book you read?
Black Boy by Richard Wright.
What are you most proud of?
Who would you most like to meet?
Pride’s a dangerous word. But the strongest sense of satisfaction I ever felt was finishing the first draft of my first book. I even remember the date. Valentine’s Day, 2001.
I’ve already met enough people. But if the circumstances were right, I wouldn’t mind meeting Leonard Cohen.
Why Nashville?
There’s no place like it!
What are you going to be when you grow up?
Hard to say. I’m a work in progress. Which of your songs are you most proud of?
The one I just finished.
Who has most inspired you?
Musically? Well, early on…Elvis. Then the girl groups like The Shirelles and Martha and the Vandellas. After I got to Nashville
If you could change one thing about yourself, what would it be?
I’d have more faith. Are you happy with where you’re heading?
Yes, I am. In the sense that I enjoy what I do. What’s your mantra?
Love more, worry less. What’s it like being you these days?
I’m pretty laid back. When I’m not out performing, I’m a total homebody.
Photo: Anthony Scarlati
What talent would you most like to have?
I don’t know…fly through the air like Michael Jordan and dunk a basketball? What is your most treasured possession?
My autographed picture of Robert Mitchum. What is your greatest regret?
Marshall Chapman is a multi-award-winning singer/songwriter and longtime resident in Nashville. To date, Chapman has
That I didn’t record a duet album with Tim Krekel last year like we talked about.
released ten critically acclaimed albums, and her songs have been recorded by a variety of well-known artists. Most recently,
Describe your perfect evening.
she published her memoir, Goodbye, Little Rock and Roller,
On a cold winter’s eve—eating pot roast by the fire with Chris, then settling down on the sofa to watch a great movie.
described by Publisher’s Weekly as “hilarious and entertaining.” Her next anticipated memoir, They Came to Nashville, will release in fall 2010. Chapman and her husband, Chris Fletcher, live in the Richland-West End neighborhood, where they occasionally pet-sit Millie, the world’s cutest Jack Russell terrier. Chapman
You have five minutes left to live; what are you going to do?
If it’s a sunny day, hang the laundry out on the line in the back yard.
has a new CD (working title: Big Lonesome). To sign up for her 90 | February 2010 | Nashville Arts Magazine newsletter, go to www.tallgirl.com.
On The Town
It was a cold and frigid night in downtown Nashville the second Saturday of January for the monthly Art Crawl. To my great surprise, 5th Avenue was alive and booming with art enthusiasts swiftly moving from gallery to gallery, being welcomed with hot coffee, drinks, and warm munchies. The first stop on the crawl was Anne Brown’s The Arts Company—with bright eyes and smiling from ear to ear, Anne Brown can warm up the coldest of nights. Anne introduced me to the featured artist of the evening, Rod Daniel, who photographs in a distinctly contemporary black and white style. His current exhibit, Canyon de Chelly is showcasing western landscapes of Arizona. by Ted Clayton Now, having a sweet tooth and the love for chocolate, I was most excited to be introduced to the Olive and Sinclair Chocolate Co. here in Nashville. The
Moving on to The Rymer Gallery—director Tonia Trotter gave me the tour of a colorful and dynamic show that certainly welcomes in 2010! The artists included Charles Clary, Jamey Grimes, Dooby Tomkins, Brandi Milosavich, Kristina Colucci, and Herb Williams. Grimes and Williams were present that evening showcasing their art, which was outstanding. Grimes had a ceiling installation that was imaginative and attention-grabbing, using synthetic materials in large scale. Susan Tinney and John Reed welcomed me to the Tinney Contemporary gallery. As always Susan and John were glad to see me and share the latest artistic creations. Sarah Souther was there with her incredible hand-painted silk scarves, beautiful to wear and to frame. Other artists in the Tinney collection included Alysha Irisari Malo, Donny Smutz, Mary Long-Postal, and Sisavanh Phouthavong. On to the Arcade—if you did not know, this is a great Nashville hidden secret for art. I met the most interesting artist, Olga Alexeeva, originally from Russia. She came to America with a dream in her heart of becoming an inspiring artist. Olga’s work reflects her philosophical meditation about “...the universe encompassed in a drop of water.” Using bold and intensive color reflects her active, playful, and enduring nature, with a positive outlook and hope for tomorrow. Olga’s art may be seen in her gallery, O Gallery. Nashville has become so very international.
Lindsey and Hugh Queener
Deby Samuels and Frank Crowell
chocolate is all made with cacao beans. My new very best friend Casey Dailey graciously let me sample all of the chocolate goodies: sea salt, cinnamon chili, coffee, nibs, and more— incredible chocolate carried at The Arts Company. Sampling the chocolates (when I let them) were Madge Franklin, Lindsey and Hugh Queener (they were on a father-daughter date), Deby Samuels, and Frank Crowell. Bill Powell and Rod Daniel 92 | February 2010 | Nashville Arts Magazine
Casey Dailey
Charlotte Burkin and Beth Foley
My last gallery of the evening was Twist Gallery where I met the young artist Patrick Vagrant. Patrick’s art was a bit weird to me, but who am I to judge? His first piece was a pair of cassette tape players plugged into one another. He asked me to listen through the headphones to the static sounds they produced. (OK, he first told me the cassette players were antique bread toasters, and in truth this 26-year-old did think the players were antiques of the past (Oh Lordy, Lordy). The second of his works was a two-spined Bible: “Is it hyper-religious or hyper-irreligious?” he asked. All in all, Patrick explained that his work itself, comically Spartan in design and presentation, can be
Freddy and artist Marleen De Waele-De Bock
Artists Herb Williams and Jamey Grimes
Wade Jones, Ryan Mason, Carter Witt
Lori Carver and Steven Knapp
seen as nihilistic, if you please, hopefully guiding the patron to consider whether such things as these are superfluous or irreducibly complex. Did I mention this guy is in his second year of law school? As the saying goes, “You have to crawl before you can walk.” Well, I certainly have crawled my way through some of Nashville’s finest art galleries. I am so proud of Nashville—who needs New York when the art is here, and it’s just as cold!
Olga Alexeeva, owner of O Gallery
See you at the 20th Anniversary Antiques and Garden Show, (snow) shovel in hand!
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Nashville Arts Magazine Feb. 2010 Crossword Across 1 Oranjestad locale 6 Cheese and bacon features 11 H. Rider Haggard novel 14 Back tooth 15 Bay window 16 Darjeeling or oolong 17 La Mandragola author 19 Wax collector 20 Sugar suffix 21 Miner’s find 22 Spin, as a baton 24 Laurence Sterne character 29 Ave. crossers 30 Magnificent 31 Gregg grad 34 Fragrant oil 35 “___ pales in Heaven the morning star”: Lowell 38 Very dry, as wine 39 Fop’s footwear 40 Computer picture 41 Ventilate 42 Great balls of fire 43 Grandma’s epithet, “Land ___!” 44 Smuggle into the country? 46 It follows April in Paris 47 Terence Rattigan’s two one-act plays
PuzzleJunction.com
52 Nimble 53 Philip Roth’s ___, the Fanatic 54 Cut off 56 Preceded 57 Alcools poet 62 Compass pt. 63 Pitchfork wielder 64 Give voice to 65 Range units (Abbr.) 66 Ginger cookies 67 Troutlike fish Down 1 Magazine contents, briefly 2 Friars Club event 3 Stomach woe 4 Dickensian epithet 5 Orlando Furioso poet 6 Vagabond 7 Intense anger 8 Zilch 9 Singer Shannon 10 Make like a snake 11 The Red Pony author 12 Got wind of 13 Premature 18 Song and dance, e.g. 23 Card game for two 25 George Harrison’s ___ It a Pity 26 Pierre Louys’ erotic verse 27 Mongrels
Copyright ©2010 PuzzleJunction.com
28 Jacuzzis 31 Fed. biz watchdogs (Abbr.) 32 Prefix with angle 33 The Cyclops author 34 Separately 36 Norma Webster’s middle name 37 Coast Guard rank (Abbr.)
39 Ancient Greek promenade 40 Flying jib, e.g. 42 Circulates; ___ around 43 4th century church historian 45 Bien’s opposite 46 French Sudan, today 47 The Crucible setting
48 49 50 51 55 58 59 60 61
Discharge Recounts Upper echelon The New Yorker cartoonist Edward Saucy Cygnet’s mother Lab eggs Back talk Cash dispenser inits.
Notes:
Solution on next page down : 1. Ammo, 2 Roast, 3 Ulcer, 4 Bah, 5 Ariosto, 6 Rover, 7 Ire, 8 Nil, 9 Del, 10 Slither, 11 Steinbeck, 12 Heard, 13 Early, 18 Arts, 23 War, 25 Isn't, 26 Astarte, 27 Mutts, 28 Spas, 31 Sba, 32 Tri, 33 Euripides, 34 Apart, 36 Rae, 37 Ens, 39 Stoa, 40 Sail, 42 Spreads, 43 Sabinus, 45 Mal, 46 Mali, 47 Salem, 48 Egest, 49 Tells, 50 Elite, 51 Sorel, 55 Pert, 58 Pen, 59 Ova, 60 Lip, 61 Atm. across : 1.Aruba, 6 Rinds, 11 She, 14 Molar, 15 Oriel, 16 Tea, 17 Machiavelli, 19 Ear, 20 Ose, 21 Ore, 22 Twirl, 24 Tristram Shandy, 29 Sts, 30 Superb, 31 Steno, 34 Attar, 35 Ere, 38 Brut, 39 Spats, 40 Scan, 41 Air, 42 Stars, 43 Sakes, 44 Import, 46 Mai, 47 Separate Tables, 52 Agile, 53 Eli, 54 Lop, 56 Led, 57 Apollinaire, 62 Ese, 63 Devil, 64 Utter, 65 Mts, 66 Snaps, 67 Smelt.
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My Favorite Painting
Greg Decker’s Wheelbarrow Man by Tory Fitzgibbon, wife, mother and partner in Fitz Ritter Interiors Ah! Picking my favorite piece of art is
like choosing a favorite child—impossible. But (arguably) the most evocative of our pieces is one of Decker’s older works. With a seemingly limited palette, Decker evokes strength, pride and optimism. On closer examination, however, you can see in the flesh tones muted purples, blue-grays and pinks which breathe life into this proud figure. There is a sense of buoyancy from the sunlight that seems to bounce off the canvas. The composition is simple, and the colors are few, but that only strengthens the power of the piece. It is masculine and monumental, both in content and in scale (5’ x 6’), but we see the Wheelbarrow Man as a gentle giant.
Nashville artist Greg Decker spent his childhood in Africa where he developed a love for bold colors and patterns. His mysterious, luminous paintings are filled with unique iconographies and rich stories. Decker’s oil paintings feature numerous glazes which give his surfaces vibrancy and subtlety in tone. Decker recently returned to Nashville Photo: Anthony Scarlati
after years in New York and Asheville. A diligent student of the arts, Decker holds two master’s degrees in fine arts and has studied at Oxford University. He has taught at the MoMA and The Metropolitan Museum of Art and completed sculpture and set design for composer Judith Sainte Croix at Carnegie Hall. www.Gvvregdeckerstudio.com
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