VISUAL ARTS I PHOTOGRAPHY I MUSIC I THEATRE I ARTSMART I NPT GUIDE
Apri12013
Bruce Munro Lights Up Cheekwood
Kristin Llamas The Upside of Inside Out
Bob Durham Still Crazy...
Anna Jaap Feels the Rain
Alex Hall As the Crow Flies
Duran Bunch A Model Soldier
42nd Annual TACA Tennessee
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THE FARM
7011 River Road • Nashville • 37209 Jason Parker Counce presents
UNION CRAFT Artisans • Antiques • Food • Music
OF
MARKETPLACE
A collective show of eclectic, old, new, antique, odd & unique.
P REVIEW E VENT
Thursday, April 11 • 5–8p • $50
P UBLIC SHOW
Friday & Saturday, April 12 & 13 • 9–6p • $5 UnionofCraftMarketplace.com • Facebook/Union of Craft Marketplace Sponsored by Gas Lamp Antiques, GasLamp Too, Green Door Gourmet, and DIRT! Home & Garden 4 | April 2O13
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April 2O13 | 5
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April 2O13
Spotlight.........................................................................................................................1O Bruce Munro Let There Be Light!.......................................................................... 26 Anna Jaap Some People Feel the Rain, Others Just Get Wet........................... 32 Bob Durham Still Crazy.......................................................................................... 37 Lipscomb University A Gift Becomes a Legacy............................................ 41 Duran Bunch A Model Soldier............................................................................... 46 Alex Hall As the Crow Flies........................................................................................ 5O NPT Arts Worth Watching.................................................................................................. 54 Historic Restoration and the Digital Age.............................. 59 Kristin Llamas The Upside of INSIDE OUT......................................................... 6O ArtSmart A Monthly Guide to Art Education........................................................... 62 Barbara Coon Repurposing Our Town............................................................... 68 Robert Hendrick Design on Track.......................................................................72 O'More Show House.........................................................................................75 Craig Brabson Cameras and Rust..........................................................................76 TACA Craft Fair Nashville, a Craft Mecca........................................................... 82 Ballet mĂŠcanique A Historic Musical Event Debuts at Blair...................... 88 Ballet.................................................................8O Theatre..............................................................85 Beyond Words..................................................92 Appraise It with Linda Dyer............................93 On the Town.....................................................96 My Favorite Painting........................................98 on the cover:
Alex Hall, Inertia, Oil on panel, 46" x 30"
Published by the St. Claire Media Group Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Daniel Hightower, Directors Editorial Paul Polycarpou, Editor and CEO Sara Lee Burd, Executive Editor and Online Editor, sara@nashvillearts.com Rebecca Pierce, Education Editor and Staff Writer, rebecca@nashvillearts.com Madge Franklin, Copy Editor Ted Clayton, Social Editor Linda Dyer, Antique and Fine Art Specialist Jim Reyland, Theatre Correspondent Contributing Writers Emme Nelson Baxter, Beano, Lizza Connor Bowen, Judy Bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, Beth Hall, Beth Inglish, MiChelle Jones, Demetria Kalodimos, Nicole Keiper, Beth Knott, Linda York Leaming, DeeGee Lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, Robbie Brooks Moore, Currie Powers, Ashleigh Prince, Alyssa Rabun, Sally Schloss, Molly Secours, Daniel Tidwell, Lisa Venegas, Nancy Vienneau, Ron Wynn Design Lindsay Murray, Design Director Photographers Jerry Atnip, Lawrence Boothby, Sophia Forbes, Donnie Hedden, Peyton Hoge, Rob Lindsay, Jennifer Moran, Anthony Scarlati, Bob Schatz, Meghan Aileen Schirmer, Pierre Vreyen Budsliquors9.16.09.indd 1
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publisher's note
Art Creates a City
N
o two days are ever the same here at the magazine.
We have poets come read their poetry to us, artists bring in canvases, songwriters come to play a new song; we've even had a dance troupe show us their moves in our very cramped hallway, if you can even call it a hallway. So when we heard the rumble and thunder of a very large Harley outside the office we thought nothing of it. In steps Duran Bunch, extremely good-looking international runway model, Army reservist, photographer, student . . . and did I already mention extremely good-looking? Duran stopped by to show us the photographs he took during his deployment in Afghanistan. We were speechless. The sensitivity, kindness, and compassion he captured with his camera brought tears to our eyes. You can see for yourself on page 46, and you can see his exhibit at Bryant Gallery. Don't miss it. Another young artist, Alex Hall, reminded us why we love putting this magazine together. Alex wrote to ask if we would kindly look at his work and give him feedback. We gave him more than that—we gave him the cover. His work was the topic of discussion here for several days, and we think he has a tremendous career ahead of him. We are delighted to introduce him and his work to you. (See page 50.) I spent a Sunday afternoon at Father Ryan auditorium watching the Dance Theatre of Tennessee's Muses. What a wonderful, seriously professional performance from Christopher Mohnani and his team. Catch them whenever you can. You'll be glad you did. In this issue you'll find our annual Gallery Guide. A sincere thank-you to the many galleries and studios that have supported this effort. Spring: a perfect time to grab your copy and hit the gallery circuit, just like Alfonso, the character Lauren Rolwing created for the cover.
Dean Fisher, Still Life Reflections, oil on canvas, 24” x 26”
Opening Reception Featuring
DEAN FISHER &
SILVIUS KRECU May 17, 2013 • 6pm - 9pm
Paul Polycarpou Editor in Chief Editorial & advertising Offices 644 West Iris Drive, Nashville, TN 37204 Tel. 615-383-0278 Advertising Department Cindy Acuff, Beth Knott, Keith Wright All sales calls: 615-383-0278 Distribution: Wouter Feldbusch Subscription and Customer Service: 615-383-0278 Letters: We encourage readers to share their stories and reactions to Nashville Arts Magazine by sending emails to info@nashvillearts.com or letters to the address above. We reserve the right to edit submissions for length and clarity.
Silvius Krecu, Artist in Studio, oil on canvas, 35” x 39”
Business Office: Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.00 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts.com; to reach contributing writers, email info@nashvillearts.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.
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2104 CRESTMOOR ROAD NASHVILLE, TN 37215 HOURS: MON-FRI 9:30 TO 5:30 SAT 9:30 TO 5:00 PHONE: 615-297-3201 www.bennettgalleriesnashville.com
spotlight
Linden Frederick
Untold Stories
Mohawk, 2004, Oil on linen, 60" x 60"
by Kathryn C. Swords
H
aynes Galleries welcomes Belfast, Maine, artist Linden Frederick on April 12 from 6 to 8 p.m. for Linden Frederick: Untold Stories. “We became acquainted through my gallery in Maine,” Gary Haynes
explains, “and I found his sense of craft and creativity, attention to detail, and intelligence in storytelling are outstanding. He’s doing a narrative of a piece in time, and we can project ourselves into the smells, atmosphere, even feel the breezes inherent in his paintings.” I caught up with Linden in Florida, when he was heading out to fish in hopes of catching dinner. Asked about the mesmerizing images he creates, he answered, “I use photographs only as a reference, a starting point for ideas, finding information and then reconstructing and reconfiguring it in my mind.” Photographs of rural Maine, and from a 4,280-mile cross-country bike trip, provide seeds of inspiration for his work, which he views as very American, cultural, and narrative.
Dairy Dream, 2008, Oil on panel, 12.25" x 12.25"
“The original photo eventually becomes irrelevant as I build the painting. Mood is a central factor, and place, culture, and narrative evolve from painting places and telling stories through an implied narrative. It’s like creating a set, and I become a set designer, utilizing dusk and night as lighting.” Intentionally leaving figures out of his landscapes, Frederick draws viewers into place and time illustrated, creating a uniquely personal experience in which the viewer completes the story. About his daily creative process: “I started playing violin four years ago, and then cello, which upon waking I tend to play for an hour while studying my paintings, which prepares me for the creative process.” Scale starts small for his paintings, with 8” x 8” considered “studies” in which he solves problems. “Often I’ll work simultaneously on the study and a larger-scale work of the same scene.” When painting, Linden listens to audio books, which helps his mind relax, while he finds music facilitates the more meticulous and mathematical aspects of the drawing process. When not immersed in painting, he works in another one of the three studios he designed, doing carpentry, working on bow repair (called rehairing), and even handcrafting a cello of his own design. Linden Frederick: Untold Stories is on display at Haynes Galleries April 12 to May 18. Frederick will be at Haynes Galleries to talk about his work with Nashville Arts Magazine and the public on Saturday, April 13, from 1 p.m. until 2 p.m. The reception is open to all. For more information, visit www.haynesgalleries.com.
Trio, 2010, Oil on linen, 40" x 40"
10 | April 2O13 NashvilleArts.com
Debra Fritts, Three Women Praying, ceramic/mixed media, 34”x 24”x 24”
5133 Harding Pike STE 1A Nashville, TN 37205 615.352.3006 www.galleryonellc.com
spotlight
Lori Putnam, Crimson and Clover, Oil on canvas, 26" x 46"
Women Painters of the Southeast by Emme Nelson Baxter Women Painters of the Southeast (WPSE) is holding its second annual juried member show and sale at Imagine.gallery+academy in Franklin, April 19–20. The mission of WPSE is to promote women painters whose works are representational and who live in the Southeast United States. The organization encourages its members to participate in [WPSE] events that include juried exhibitions and online exhibitions. The show will include 150 works from 100 artists from Tennessee, Kentucky, Arkansas, Louisiana, Mississippi, Alabama, Georgia, Florida, South Carolina, North Carolina, Virginia, and West Virginia. Familiar artists expected to participate include Dawn Whitelaw, Sherrie Russ Levine, and Kristin Clark. “The caliber of the work is absolutely beautiful,” says Michele Wilkinson, Imagine’s gallerist. Last year’s show and sale was held in Jacksonville, Florida. WPSE officials chose the 4,000-square-foot gallery at The Factory at Franklin because of its size, light, and open floor plan, according to Wilkinson. “Within the space we can have multiple uses for lectures, the convention, the show and the reception,” she says. The charms of Franklin were also a key factor in determining the location for the event. Tennessee artist Lori Putnam is jurying the show. The convention will open April 19 with a preview and people’s choice voting from 11 a.m. to 5 p.m. Putnam will hold a painting demonstration and talk starting at 9 a.m. the following morning. The exhibit’s opening celebration is slated to commence at 6 p.m. Saturday with awards being presented at 7 p.m. Top awards include a $2,200 prize for WPSE Best in Show, $2,100 from American Art Collector magazine, $1,900 from Fine Art Connoisseur magazine, and $1,100 from PleinAir Magazine. The show runs through May 20, 2013. The gallery is located on the upper mezzanine of The Factory at 230 Franklin Road. Admission to the Putnam demo and conversation is $50. There is no charge for the Saturday evening opening. For reservations, please call the gallery at 615-794-7997. For more information, visit www.imaginegallery.net/home.html.
spotlight
Kerry Brock and David Dunlop at the Temple Arts Festival When you attend this year’s Temple Arts Festival, you won’t want to miss the collaborative works by Kerry Brock and David Dunlop. Though their individual works are dramatically different, they have combined her abstract style with his representational approach to create what they consider a third art form. The two have been working together for quite some time and have shown together twice before. Dunlop is an instructor at Silvermine Art Guild in Connecticut and was Brock’s first painting instructor ten years ago. She thinks of him as her early mentor. “I was never interested in copying his style, but spiritually we are similar. We share the same interests like neuroscience, physics, and parallel universes,” Brock explained. “The only rule we have is that the one who starts the piece can’t finish it, so the process is rather organic and a lot of fun.” The Temple Arts Festival begins with a Saturday night party on April 20 from 5 to 10 p.m. The show is also open on Sunday from 10 a.m. until 5 p.m. For more information about the Temple Arts Festival visit www.templeartsfestival.com.
Kerry Brock and David Dunlop, Checkered Past, Oil on canvas, 40" x 30"
Artemis Redux, 2010, Charcoal on plywood, white and copper BB pellets, pen nib, hand built wooden altar, 40" x 38"
Denise Stewart-Sanabria | Altar-Nate by Lisa Venegas
A
ltars have been a part of the world’s religious and mythological cultures for so many millennia, it is hard to think of anything that is more symbolic of one’s beliefs and values. Soon, the medieval altar will take on new meaning, when The
Arts Company hosts Denise Stewart-Sanabria’s new exhibit and turns the iconic symbol on its head. Perhaps it takes an outsider to the city to capture the pure essence of Nashville. Born in Massachusetts and currently residing in Knoxville, Denise considers our city the newest “It” destination and explores its true roots by forging modern connections to medieval concepts of truth and beauty. In her newest series of altars, this mixed-media artist speaks through the bling of gold leaf and the smoke of charcoal to help articulate the influence of Nashville now and into the future. If you look beyond the rhinestones, what would you say inspires this modern, eclectic city? For example, can a search for physical fitness also
coincide with a desire to pit ourselves against nature? It does in Artemis Redux, an altar of charcoal on plywood, decorated with white and copper BB pellets, that creates goddesses who celebrate the Southern tradition of hunting . . . the perfect body. And what about the icons that define Nashville, such as the Ryman and the Parthenon? In each backdrop of neutral-colored altar settings, the muses spring forth to celebrate the legendary buildings and reinvent their meanings. “I’m using Byzantine decoration, Fabergé egg bling, medieval religious altar construction, and twenty-first-century design standards to create secular cultural altars dedicated to who we are and what we value and obsess about. The approach is decidedly quotidian, from the themes to the materials used.” This is Stewart-Sanabria’s third exhibition at The Arts Company, 215 5th Avenue of the Arts. Her installation will run from April 6 through May 17. For more information, call 615-254-2040 or visit www.theartscompany.com.
14 | April 2O13 NashvilleArts.com
spotlight
4OO Years of British Art at Vanderbilt It’s a little-known fact that right here in Nashville is one of the most distinctive collections of British art in the U.S. For over two decades, Vanderbilt University has been quietly amassing nearly 300 objects of art created over the span of 400 years, an immensely varied collection of portraits, prints, etchings, and landscape paintings. Now this fascinating collection is on display. Featured are eighteenth-century portraiture by noted artists George Romney, Benjamin Wilson, and Sir Thomas Lawrence, as well as earlynineteenth-century prints by Joseph Mallord. If you revel in biting satire, pieces by Thomas Rowlandson and engravings by social critic William Hogarth skewer the English upper class. There are many examples of etchings from the late nineteenth to the early twentieth century by William Strang, Samuel Palmer, and Gerald Brockhurst, among others. There are also incredible paintings by the founder of the Norwich school of landscape painting, John Crome; modern works by Patrick Caulfield, David Hockney, et al; and memorable mezzotint prints by the master Richard Earlom. The exhibition will be on view through June 15, 2013. The Fine Arts Gallery is located in Cohen Memorial Hall, 1220 21st Avenue S. on the western edge of the Peabody College campus. For more information, visit www.Vanderbilt.edu/gallery or call 615-322-0605.
Imagine gallery +
academy
HOSTING Women Painters of the South East
2013 Exhibition and Sale April 19 - May 20 Juried Members Exhibit & Sale
Lori Putnam,WPSE judge "Binario Uno", 20 x 24inches Oil on Canvas.
Women Painters of the Southeast
Lori Putnam, WPSE Judge, Binario Uno, 20x24, Oil on canvas
EVENTS
April 19 • 6-8:30pm
Preview Party and Peoples Choice Voting
April 20 • 9am-12pm
Lori Putnam’s Conversation & Demonstration ($50 registration fee in advance)
1:30-4:30pm
Live Costumed Model Painting Session (Free for Lori Putnam Demo attendees. $10 for others. Bring own supplies.)
6-8:30pm
Opening Celebration
William Hogarth, Morning, from The Four Times of Day, 1738
7:30pm
Awards Presentation
The Factory | Upper Mezzanine Level 230 Franklin Road | Franklin, TN 37064 615.794.7997 | www.imagine-gallery.net
spotlight
The Acropolis of Athens The Photography of William James Stillman Few structures are more recognizable than the stately, timeless, and iconic Parthenon. Although it was dedicated to the goddess Athena, it is not technically a religious temple. It is, in fact, a temple to the Arts—in Athens, as well as Nashville. The original Parthenon, started in 447 BC on the Athenian Acropolis in Greece, stirs the heart and mind on many creative levels. It is the most important surviving building of Classical Greece and one of the world's greatest cultural monuments. Is it any surprise that so many wish to see it in person and photograph it for eternity? William James Stillman did just that. While living in Athens with his family in 1868, the American made the unusual decision to focus his camera on the inside as well as the outside of the Parthenon. The result was a fascinating and compelling exploration of the construction of the ancient Acropolis and its terrain. In 1869, Stillman’s book with twenty-six images was released, and suddenly the structure was available to the world from a new perspective. In 2009, the book and its photographs were discovered in Nashville in the Parthenon Museum’s art storage vaults. Six images have been enlarged for the exhibit, and the original book will also be on display for the duration of the show. The display will be available for viewing in the West Gallery until May 27. For more information, visit www.parthenon.org.
TOP PICKS
2013
S p r i n g i s u s h e r i n g i n n e w s t y l es and trends. Here are a few of Keith's favorites and new ar rivals, which I am sure will end up in some of Nashville's HOTTEST HOMES!
Wrought Iron Chandelier 4 Ft. Dia. x 8 Ft. 7 In. Tall $1,950 Ea. - 2 Available
The Bicycle Bus
Vintage Weathered Display Bin $680
Industrial Fr e n c h W i r e d Lamp
$570
1940's Vintage Wooden Folding Chairs
American - Excellent Condition $325 Ea. - 4 Available
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A 1995 Genesis school bus is currently being transformed into a community mural and a mobile bicycle-rental facility that will park each day underneath the Shelby Street Pedestrian Bridge. The Bicycle Bus will be a visual invitation for people to explore Nashville by bike and will make Nashville more bicycle friendly. The bicycle bus is a collaborative art project between local artist Andee Rudloff, Green Fleet Bicycle Tours & Rentals, the Metro Parks Department, and the Arts and Business Council of Greater Nashville. Andee will design the mural and lead volunteers in painting it on Friday, April 5, and Saturday, April 6. For more information or to volunteer, contact Jackie Johnson at the Arts and Business Council of Greater Nashville, 615-460-8274 or www.abcnashville.org.
spotlight
Belle Isle Belle Isle is located in Wilson County, only 40 minutes from Downtown Nashville. Once the site of the historic Belle Isle mansion built by Joseph Kirkpatrick in 1796, this country setting must have seemed to Dan Evins to be ideal for creating memories and a legacy. The 400-acre site now features a total of five homes and cabins. The Main Home is a spacious 4,400-square-foot English country manor, built in 1993 at a cost of $2.3 million. The luxurious home features stone construction, wood trim, slate roof, copper gutters, and environmentally friendly geothermal heating and cooling. The many amenities include three bedrooms, a huge private master suite and an additional guest suite,
a professional kitchen, a veranda with stunning views, and a magnificent walnut-paneled great room to help transport you on inward journeys. Dan’s vision was to keep his family close by in comfort and still allow them to maintain their privacy. Jack’s House is a spacious 2,150 square feet. Speedy’s House is 2,000 square feet, post beam construction; the Care Taker’s House is 2,000 square feet; and the 1015-square-foot cabin is situated on stunning Chandler Pond. The inspiration for it all is the beauty of the natural surroundings, with fields of hay bales, hundreds of trees, and bountiful wildlife. Belle Isle is currently on the market. For more information, please contact Fiona King at www.worthproperties.com.
First Saturday Art Crawl
Picture This on 5th, #44 Downtown Arcade
April 6 • 6PM to 9PM
FEATURED ARTIST: MYLES MAILLIE
4674 Lebanon Pike, Hermitage • 615-889-5640 • www.picturethis-gallery.com
spotlight
You’re not only having fun, you are also helping aspiring artists and our community! On Saturday, April 27, Watkins College of Art, Design & Film will host The pARTy, the school’s annual fundraising event, at the contemporary art and event space OZ in West Nashville. Funds raised will benefit the education and outreach programs of the independent, nonprofit, four-year baccalaureate college, now in its 128th year of service and inspiration to the community. The pARTy, which “celebrates the creative” in Watkins students and Nashville, includes a cocktail reception, dinner, and a silent auction, as well as a live auction segment featuring travel packages to art-scene destinations. Tickets to The pARTy remain at $175 per person. To learn more or request an invitation, visit www.watkins.edu/party or call 615-277-7403.
Following the horrific event of her own mother’s death at the hands of a contract killer, photographer Deborah Luster found catharsis in unlikely places: prisons and crimes scenes.
photo: Courtesy of the artist and Jack Shainman Gallery, New York
Deborah Luster Lectures at Watkins
Using her trademark old-fashioned silver plate technique to emulate timelessness, she captured images of thousands of inmates as they themselves wanted to be seen, and in the process she found emotional release. The results are the powerful documentary series One Big Self: Prisoners of Louisiana (with text from poet C. D. Wright), a collection of portraits from three Louisiana prisons including the infamous State Penitentiary at Angola. The title was inspired by dialogue in Terrence Malick's film The Thin Red Line: "Maybe all men got one big soul where everybody’s a part of—all faces of the same man: one big self." Deborah will speak at Watkins College of Art, Design & Film on Tuesday, April 16, at 6:30 p.m. For more information, visit Watkins.edu/VisitingArtistsSeries.
spotlight
3 x 3 in Leiper’s Fork Combine three shows by three galleries set in historic Leiper’s Fork and you get one enchanting evening complete with bonfires and twinkling lights to illuminate the way. David Arms Gallery, The Copper Fox, and Leiper's Creek Gallery have joined forces to offer this new series called 3 x 3. The first of these events will take place on Saturday, April 27, from 6 until 9 p.m. David Arms Gallery will present The Thin Thread. The title of the show is taken from a quote by one of his favorite fictional characters, Wendell Berry’s Jayber Crow: "Some nights in the midst of this loneliness I swung among the scattered stars at the end of the thin thread of faith alone." David's newest body of work explores the many aspects of hanging by this "thin thread"—the joy, the pain, the struggle, and the reward. He tackles the fact that it doesn't always make sense, and that’s why it's called faith. The Copper Fox will feature Sloane Bibb’s Ascension. With his unique sense of composition, Bibb's work is mixed media at its finest, incorporating metal, found objects, beeswax, and tar. His work was recently on display in an exhibition called Encounters at the Huntsville Museum of Art. The museum’s curator, David Reyes, describes Bibb’s work as “narrative and intuitive.”
Leiper's Creek Gallery will showcase Roger Dale Brown’s My Tennessee Home. Roger, a native Tennessean, is an award-winning artist and a Signature Member of OPA (Oil Painters of America). His new work reflects his skilled observations, conveyed with a love of the local landscape he deeply treasures. For more information visit www.leipersforkart.com.
The Bookmark
A Monthly Look at Hot Books and Cool Reads
I Want to Show You More by Jamie Quatro Sharp-edged and fearless, mixing whitehot yearning with daring humor, Jamie Quatro’s debut collection is a beautiful and disquieting portrait of infidelity, faith, and family. I Want to Show You More unleashes Quatro’s exhilarating talent for exposing the quiet terrors of modern life with stunning and subversive energy. Quatro lives in Lookout Mountain, Tennessee. Meet her at Parnassus Books on April 11.
The Lee Bros. Charleston Kitchen by Matt and Ted Lee
The Forest Unseen: A Year's Watch in Nature by David George Haskell
James Beard Award-winning authors and hometown heroes Matt Lee and Ted Lee will be your culinary ambassadors to Charleston, South Carolina, one of America's most storied and buzzed-about food destinations. Meet them in person at Parnassus Books on April 2.
A biologist and Sewanee professor, David George Haskell reveals the secret world hidden in a single square meter of forest. Written with remarkable grace and empathy, The Forest Unseen is a grand tour of nature in all its profundity. Now in paperback.
Some Assembly Required by Anne and Sam Lamott Lamott enters a new and unexpected chapter in her own life: grandmotherhood. Stunned to learn that her son, Sam, is about to become a father at 19, Lamott begins a journal about the first year of her grandson Jax's life. Now in paperback. Lamott will be appearing in conversation with Ann Patchett at Salon@615 on April 3.
For more information about these books, call Parnassus Books 615-953-2243 or visit www.parnassusbooks.net.
NashvilleArts.com
April 2O13 | 19
spotlight
2O13 Harding Art Show What started out as a modest gathering of artists in 1975 has grown into one of the largest exhibitions of fine art in the southeastern United States. The Harding Art Show can rightfully claim to have launched the careers of several significant Southern artists.
Andy Detwiler, Tobin's Jig
2160 BA N DY WOO D D R I V E | N A SH V I L L E, TN 37215 615.298.140 4 | W W W.WA R D - P OT T S.COM FO LLOW US O N FACEBOO K
Thursday, May 2
Preview Party 6 p.m.-9 p.m. ($10 admission; 21+)
Friday, May 3
10 a.m. – 6 p.m. (free)
Saturday, May 4
10 a.m. – 6 p.m. (free)
Showcased are works from 70 local, regional, and national artists, with more than 2,000 pieces of original art and handmade items. The whimsical, traditional, and contemporary will all be represented. Selections will range from $25 to $5,000. Artists will be on hand during the event to discuss their works.
Sandra Meyer, Bird The Harding Art Show benefits Harding Academy, a coeducational day school serving kindergarten through eighth grade. Show dates are May 2–4, 2013. For more information, visit artshow.hardingacademy.org.
May 2 • 3 • 4 Harding Academy
170 Windsor Dr. • Nashville
(near the intersection of Harding Place & Harding Pike)
for more information, visit
artshow.hardingacademy.org
A Nashville tradition for 38 years!
20 | April 2O13 NashvilleArts.com
Midnight Delight, oil on panel, 18x24 / below, Serious Eats, oil on panel, 24x24
midnight cravings, latest works by scott french April 18, 5:30-8:30
A culinary adventure without the calories, French’s “Midnight Cravings” represent what we all want and rarely indulge in. His tasty figurative and landscape pieces will also be on display. Meet him Thursday, April 18.
www.twomoongallery.com
2905 12th ave south nashville, tn 37204 NashvilleArts.com
April 2O13 | 21
spotlight
4535 Harding Pike #110 Nashville, TN 37205 (615) 202-7777 w w w.cpcanashville.com 1224 Waterstone
$5,890,000
340 Kinnie Road
$5,399,000
Christy Reed Blackwell 504-2833
Christy Reed Blackwell 504-2833
2410 Hidden River Lane
521 Westview Avenue
Clay Bush Salvages $5,315,000
$3,600,000
Christy Reed Blackwell 504-2833
Ellen Christianson 300-7190
1100 Wrights Lane
5319 Leipers Creek Road
$1,999,990
$1,999,000
Joan Pinkley 707-2023
Ellen Christianson 300-7190
3821 West End Avenue #301
701 Millstone Lane
$1,795,000
$1,399,000
Tom Patterson 351-3477 Kathryn Donelson 397-3573
Betsy Moran 485-4475
108 Havering Chase
132 Cheek Road
Click! That’s the sound you usually associate with safety, but now it’s the sound of trendy new fashion accessories and furniture created meticulously and artistically with seat belts and buckles. Clay Bush’s fascination with fiber arts began with the Appalachian Center for Craft and ultimately led to the manipulation of all types of fabrics. Most notably, in 2012 Bush created Salvage: Upholstery and Design and turned his talents toward creating stylish handbags and upholstering all forms of residential and commercial furniture using recycled seat belts from local Nashville junk yards. Bush has shown work nationally, including at the University School of Nashville's Artclectic. Current works can be seen at the artisan co-op Erabellum, 1800 8th Avenue South, 615-601-1568. www.etsy.com/shop/SalvageGoodsTN
Contemporary Fine Art by Olga Alexeeva Meet the Artist
Born and raised in the USSR, Olga Alexeeva came to America in 1991. Her artwork is a combination of realistic and abstract paintings that are inspired by the journey she took to come to America and learn a new skill to provide for her family. Olga found painting to be a way to express her unique voice and make her own way.
Services
$1,390,000
Full service art gallery, presenting works by Olga Alexeeva, who offers commission works, painting classes, private workshops and custom consulting for your residential and commercial locations. The gallery space can be used as a rental venue for private and corporate events, wedding receptions, mixers and musical events.
$1,350,000
Christy Reed Blackwell 504-2833
Shauna Brooks 347-2550
300 Jackson Boulevard
2998 Polo Club Road
v i Si t U S i n BO t H l O c At iOn S
The Arcade: 227 4th Ave North Nashville, TN 37219
Open by appointment & during Art Crawl
$1,065,000
Shauna Brooks 347-2550
$517,000
Christy Reed Blackwell 504-2833
Marathon Village: 1305 Clinton Street, Suite 120 Nashville, TN 37203 Open M-S 10-6 • Sun 11-5
615-416-2537 • www.ogalleryart.com
APRIL 18-20 The Nashville Symphony performs Mozartâ&#x20AC;&#x2122;s first masterpiece, the Ninth Piano Concerto, and takes a trip around the globe with music from Hungary, Mexico and Argentina.
Lawrence S. Levine Memorial Concert
BUY TICKETS AT: NashvilleSymphony.org 615.687.6400
CLASSICAL SERIES
CONCERT SPONSOR
Artwork by Roger Clayton, an artist, designer and illustrator living in Nashville, Tennessee.
public art
Artist-Designed Bike Racks Phase II
Duncan McDaniel, Are We There Yet?, Lentz Public Health Center
by Caroline Vincent, Public Art Manager
A
s part of our city's green and healthy living initiatives, Metro Arts commissioned local and regional artists to design bicycle racks. The
first round of artist-designed bike racks was installed in downtown Nashville and adjacent neighborhoods in the spring of 2010. Ten additional artist-designed bike racks will be installed in various locations throughout the city in 2013. Metro Arts takes this opportunity to align our program priorities with those of the city and its citizens, making Nashville more bicycle friendly while promoting local and regional artists. For artists who have not previously worked in the public art realm, this is an excellent learning and professional development opportunity. Metro Arts pairs each artist with a metal fabricator who then collaborates with the artist on the final product. Concerns such as ADA compliance, safety, and functionality are just some of the issues brought to light during the creation process. Ten new bike rack designs are in fabrication and will be installed later this spring, summer, and into the fall. To see all of the new designs and 2010 series bike racks, please visit www.artsnashville.org.
Jenna Colt, Handlebar Moustache, East Nashville 24 | April 2O13 NashvilleArts.com
Wayne Henderson, Good Eats!, The Gulch
spotlight
Jack Yacoubian
Je welrY & fi n e arT GallerY hundreds Of desiGns
Over 32 Ye ars O f e xperien ce & fa m ilY Ow n ed fO r Th ree Gen er aTi O ns Visit Our Showroom: 114 Third Ave., So. • Franklin, TN 37064 (615) 224-3698 • yacoubian901@yahoo.com
Historic Downtown Franklin
featuring
Kit Reuther and John Fraser
Kit Reuther, Abstract #1155 2012, oil, textiles, and graphite on canvas, 64 x 72 inches
April 13 - May 25 opening reception Saturday, April 13 6pm - 8pm
The Crawl Guide April Art Crawls begin with the Franklin Art Scene and FAM at the Factory on Friday, April 1, from 6 until 9 p.m. Walton’s Antique Jewelry will present the work of watercolorist Leila Platt. Heirloom Shop will host Rhonda Polen Wernick, an oil painting instructor at the Nashville Jewish Community Center. Gallery 202 will showcase Rhonda Polen Wernick works by mixed-media artist Toby Penney and ceramics by Maya Blume-Cantrell. Riverside Antiques will feature Franklin native and watercolorist Shelley Snow. Don’t miss FAM at the Factory where it’s all about food, art, music, and fun. Enjoy art galleries, visiting artists, musicians, and actors. On Saturday, April 6, head downtown for the First Saturday Art Crawl from 6 until 9 p.m. Tinney Contemporary will offer new Toby Penney works by Anna Jaap in the front gallery and new works by Carla Carla Ciuffo Ciuffo in the rear gallery. (See our story on Anna Jaap on page 32.) The work of lyricist and painter Bernie Taupin will be on display at The Rymer Gallery. The Arts Company will showcase Denise Stewart-Sanabria’s new series, Altar-nate. (See our spotlight Leigh Anne Chambers on page 14.) A special collectors’ preview is scheduled for Friday, April 5, at 5:30 p.m. with Nashville Arts Magazine Editor Paul Polycarpou and Stewart-Sanabria scheduled to speak at 7 p.m. The collectors’ preview event is free, but advance registration is required at 5thAvenueoftheArts@gmail.com. Blend Gallery will show work by Leigh Anne Chambers who will be on hand to visit. Duran Bunch
John Fraser, One Way In, One Way Out, 2012, mixed media collage on wood panel construction, 30 x 30 x 2 1/2 inches
4107 hillsboro circle, nashville, tn 37215 615.297.0296 www.cumberlandgallery.com
John Cannon
NashvilleArts.com
Second Saturday at Five Points, on April 13 from 6 until 9:30 p.m., will offer fine art, antiques, and artisan wares. The Bryant Gallery will feature Afghanistan Through the Eyes of a Soldier by Duran Bunch. (See our article on Duran on page 46.) And don’t miss John Cannon’s new work at the Idea Hatchery. April 2O13 | 25
photo: mark pickthall
Field of Light, 2012, Longwood Gardens, Pennsylvania 26 | April 2O13 NashvilleArts.com
exhibit
Let There Be Light! Bruce Munro Lights Up Cheekwood by Emme Nelson Baxter
B
ruce Munro gets nervous when it’s time to turn on the lights. “It’s a little scary for me,” he says.
“It’s always somewhat or even very different than what you thought it would look like, and it’s always a surprise.” Regardless of whatever jitters he may secretly harbor, the inevitable reaction to his light installations is amazement. Munro, 53, is an internationally acclaimed installation artist whose medium is light. His work will be shown May 24– November 10 at Cheekwood Botanical Gardens & Museum of Art. Light will include ten site-specific installations, from large-scale outdoor lighting to indoor sculptures. “As a child, art was an inspiration to me,” the Wiltshire, England-based Munro says. “Creating is like passing a present through time.”
While Munro’s work has been shown at London’s Victoria and Albert Museum, Salisbury Cathedral, and Kensington Palace in England and at the Guggenheim Museum in the U.S., the Cheekwood gig is Munro’s second solo event in America. It follows last summer’s debut of Light at Longwood Gardens in Kennett Square, Pennsylvania. To produce Light, Munro’s team will use miles of glowing optical fiber, plus other materials as mundane as plastic oneliter water bottles, to transform Cheekwood’s undulating hills and its exquisite gardens into an enchanted landscape. Landing the exhibit was quite a coup. Buzz about Munro was strong within the tight-knit botanical gardens community following the landmark success of his Longwood Gardens show. Cheekwood contacted Munro’s American rep, and, in
NashvilleArts.com
April 2O13 | 27
photo: mark pickthall
photo: H. Davis
Blue Moon on a Platter, 2012, Waddesdon Manor photo: mark pickthall
October, the artist made his first visit to the site. He was attracted to the rolling hills, the beautiful positioning of the mansion within the landscape, and myriad opportunities to be surprised by an unexpected vista. He was fascinated at the notion of taking the existing installation concept and planting it into a new, more curvaceous landscape. “We were among several premier botanical gardens nationwide actively courting Munro,” says Jane Offenbach, Cheekwood’s president and CEO. “We are thrilled he selected Cheekwood to mount his mesmerizing exhibit.” The show is expected to draw record crowds, perhaps eclipsing the numbers who visited Cheekwood for the Dale Chihuly exhibit in 2010. In addition to visitors, there will be scores and scores of volunteers helping position the work and working with his studio staff of 13.
Light Shower photo: mark pickthall
One of Munro’s signature works is his dreamy Field of Light. The installation includes 20,000 illuminated glass orbs
Light Shower 28 | April 2O13 NashvilleArts.com
photo: mark pickthall
that rise from the ground on attenuated rods like flowers on delicate stems. The site chosen for this installation is directly in front of the Cheekwood mansion. The inspiration for a light field came in 1992 while Munro was camping near Ayers Rock in Australia. “It’s an incredibly powerful place,” he remembers, “Not to sound like an old hippie, but it’s a landscape where you can feel energy coming through the ground.” He found himself intrigued by the post-rain stream of life that evolves out of the desert, rising out of the red, barren earth and blooming within twenty-four hours. From there, the seeds were planted in his mind for Field of Light. “Viewers don’t have to understand everything you say or think as long as it makes their imaginations come to life,” the artist says. CD Sea, 2010, Wiltshire
photo: mark pickthall
Yet the compelling stories of how he conceived his installations make the work all the more captivating. Many of the pieces were born from a momentary experience that translated to a scribble in the artist’s sketchbook. Consider the backstory of Water-Towers. Is it the product of a lightning storm or a notion born from watching go-go dancers? This particular installation—which will be sited in Cheekwood’s Robertson Ellis Color Garden—includes forty structures built from plastic bottles containing water, wood, and fiber optics connected to an LED projector and sound system. Viewers wander between the towers and experience the interplay of sound and light. Munro says he was inspired to produce Water-Towers while reading Lyall Watson’s Gifts of Unknown Things. Watson was a scientist, zoologist, journalist, and author of New Age books. Gifts focuses on an Indonesian island where everyday life contains inexplicable, magical phenomena leading readers to second guess fixed beliefs about “the real world.”
Water-Towers, 2010, Salisbury Cathedral, Wiltshire
photo: mark pickthall
Munro gravitated to Watson’s account of synesthesia and interpreted it to mean “to hear color.” After reading the book, the artist sought a cost-effective way to produce just that effect. The simple water bottle became the perfect vehicle. The structures are abstractions of people, and there is a sound relationship between each entity. Since the best backdrop for Munro’s work is a night sky, Cheekwood will be open until 11 p.m. on Wednesday, Thursday, and Friday evenings. Munro's installations will span across the Cheekwood estate, from the Japanese garden to Mustard Meadow to the estate's formal reflection pool to within the mansion itself. Moreover, a gallery in the art museum area will be dedicated to the artist's small-scale works and videos. The design team will arrive in Nashville April 2 to commence the six-week installation. Volunteers will be needed. Bruce Munro’s installation, Light, will be at Cheekwood May 24– November 10. For more information about the exhibit, contact Cheekwood at 615-383-6985 or at www.cheekwood.org.
Snowball, 2012, Longwood Gardens, Pennsylvania NashvilleArts.com
April 2O13 | 29
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artist profile
photo: anna jaap
Anna Jaap
Some People Feel the Rain by Ruth Crnkovich
“
Others Just Get Wet
When you start working, everybody is in your studio—the past, your friends, enemies, the art world, and above all, your own ideas—all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave. – John Cage
”
D
own along a gravel road, hidden by tall hedges that create a barrier from the outside world, is a secluded log home that sits near the banks of the South Harpeth River.
There's a profound peacefulness that greets you when you arrive. It's a refuge, a sanctuary, and it's also where you'll find artist Anna Jaap and her husband, Gus Laux. With years spent handling the careers of musicians, he understands more than most her need for space and solitude to maintain the creative process. The artistâ&#x20AC;&#x2122;s studio is simple, pure, and cleanâ&#x20AC;&#x201D; white walls, white floors, and the natural light pouring through the windows throws shadows on the shelves filled with paints, books, and tools. Easels and a drafting table display works in progress. An oversized canvas turned on its side leans against the wall, waiting for Anna. There is no time here; it feels like it could be yesterday or tomorrow.
Cycle/Blue Sargasso Sea (from the Wisdom series), 2012, Acrylic, charcoal, saral transfer, photo collage and pastel on canvas, 36" x 48"
Suspension (from the Wisdom series), 2012, Acrylic, charcoal, pastel and saral transfer on canvas, 36" x 48"
NashvilleArts.com
April 2O13 | 33
English Rose (Kathryn Morely), 2013, Charcoal on United Wallpaper sample, circa 1940, 15" x 15"
Snow and Roses/Spring (from the Wisdom series), 2013, Acrylic, charcoal, marker, pastel and saral transfer on canvas, 36" x 48"
Much like her art, Jaap is honest and serene, yet mysterious and ethereal. For her, it's not just about putting paint on the canvas. It's about using beauty as a way to connect with self, and her latest paintings are by far the most revealing works to date. True to her lyrical and sometimes unconventional style, Anna employs a combination of approaches when making art. While she approaches the canvas intuitively, many of her responses to what happens next have to do with orchestrating order and finding a visual balance with elements, surfaces, patterns, and hues that represent memories of personal experiences as well as the commonality of the shared human experience. On the surface, the paintings appear to have grown effortlessly from nothingness into mature final pieces when, in truth, they are sagacious. Anna pours, paints, scratches, scrapes, draws, adds, subtracts, works and reworks her paintings. She uses liquid and tube paint, chalk, pencil, ink, charcoal, and charcoal dust. The paintings are finished when they reach the point of decided visual balance. Some paintings have more images than others. Some are more active. Some have more movement—they move beyond the confines of the surface. All are sublime. All transcend time and place. Balance is key in Anna’s work. This need for balance defines her earliest visual memories. She has always sought to find sensory relationships in time and space, and she is intrigued by the relationships of color, form, patterns, placement, shadows, and lines within the confines of a particular space. Her memories are like detailed snapshots of larger vignettes. The most consistent element in the paintings is beauty. While the subjectivity of beauty is debatable, it can be argued that it is nothing more and nothing less than truth. Anna embraces the idea of beauty in art, and her celebration of it is evident in this new body of work. Her unabashed homage to all things beautiful and true resonates with her audience. There is great freedom in truth. The paintings in the studio are for her upcoming show opening April 6 at Tinney Contemporary in Nashville. She is preparing six large paintings and a few smaller ones for the show. Also in this exhibit and not to be missed is a group of small 15” x 15” charcoal drawings carefully illustrated on a collection of fragile, antique wallpaper squares. These delicate jewels are so alive with her spirit you can almost feel her breath.” Anna Jaap is represented by Tinney Contemporary. www.annajaap.com www.tinneycontemporary.com 34 | April 2O13 NashvilleArts.com
Heaven and Earth/Descending Snowfall 48, 2012, Acrylic, charcoal, marker and pastel on paper, 27" x 19"
Snowfall on the Moon with Ascending Hearts, 2012, Acrylic, charcoal, marker, pastel and saral transfer on canvas, 48" x 48"
Dorothy O’Connor:
Shelter April 6 – June 30
DOROTHY O'CONNOR , CROCHETING THE OCEAN, 2010. PHOTO COURTESY OF THERaffard ARTIST. Photography: Mathiew
Martin Shallenberger Artist-In-Residence Dorothy O’Connor has created a new installment of her acclaimed series Scenes at Cheekwood this spring in her role as the 2013 Martin Shallenberger Artist-inResidence Program. O’Connor is a photographer whose work features thoughtfully composed scenes,
O p e ning D ay
Saturday, April 6 | 10:00am – 2:00pm Join us for a day of art, activities and live music in honor of the opening of Shelter. The artist will make remarks at 12:00 pm.
combining elements of still-life, portraiture and landscape to produce unique and evocative works of art. Now in its second year, the Martin Shallenberger Artist-in-Residence program brings national and international artists to Nashville to create one-of-a-kind pieces at Cheekwood, interacting with staff, visitors, and the arts community throughout the creative process.
NashvilleArts.com
c h e e k w o o d . o r g | 615 . 3 5 6 . 8 0 0 0 April 2O13 | 35
HISTORY EMBR ACING A RT
TOBY PENNEY
MAYA BLUME-CANTRELL
202 2nd Ave. South, Franklin, TN 37064 www.gallery202art.com • 615-472-1134
Visit Us During “Franklin Art Scene” April 5, 6-9pm
photo: rob lindsay
interview
Still Crazy...
A Conversation with Bob Durham by Linda Leaming
B
ob Durham is a true son of the South, and his life and work reflect an abiding love for literature and the arts.
NA: Your work is representational, but it’s not hyperrealist, is it?
His manner is chivalrous but candid, and his masterly paintings make bold, sometimes disturbing, visual puns about love, politics, and everything in between. Linda Leaming sat down for a tête-àtête with the man himself and has not been the same since.
BD: No. People say it is, but it’s too painterly for that. You can see the paint in my work.
NA: Let’s start at the beginning.
BD: I went to this woman who taught art after elementary school. Anna (my sister) wanted to quit because she says I was better than anybody else in the class. NA: And were you?
BD: I was pretty good.
NA: I like the way it’s controlled but loose at the same time.
BD: Yeah. I’m not copying something, with each square inch painted as it is in a photo. That’s too much work. I like to keep it loose so I can inject a little poetry. It’s more like turkey basting. NA: Art as turkey basting. That’s a new concept. BD: In a photo everything is in focus. That doesn’t happen in real life. Hardly anything is defined. I’m just learning that.
NashvilleArts.com
April 2O13 | 37
An Appointment With Godot, Oil on linen, 50" x 40"
At the Top of the Stairs, Oil on linen, 70" x 50"
NA: So you paint what you feel whether it's commercially viable or not.
BD: It gets sold anyway. I teach full time, so I'm making do. NA: How’s the teaching [at MTSU] going?
BD: I’m always scared they’re going to fire me because I have so much fun. I really enjoy the students. I like all of it. NA: Does teaching influence your art?
BD: Sometimes. It tends to make me more conscious of what I'm doing. That isn't always a good thing.
Meet the Neighbors, Oil on linen, 40" x 30"
Politics As Usual, Oil on linen, 36" x 54"
38 | April 2O13 NashvilleArts.com
This World of Ten Thousand Things, Oil on linen, 36" x 96"
NA: What do people respond to most in your paintings?
BD: The visual bling of my still-life work. The figurative paintings are never as popular. NA: We love your sock monkeys. We know you have a love/hate thing going on with them. Can you talk about it?
BD: Ha ha. I can do a lot more with them than I can with people. NA: Like putting them in a blender?
BD: Yeah. Or have one ride an iron over another one. I named that painting Ironing Out Our Differences. People excuse them and their behavior. NA: Well, they’re cute and naughty.
BD: My friend Jeff Danley says every sock monkey painting I’ve done has been autobiographical. They’re my emotional weather balloons. NA: It’s a very creative way to work out your demons.
BD: They're not so much demons as they are thorns. NA: What do you tell your students about being an artist? Stillwater, Oil on linen, 44" x 44"
BD: I tell them you’d better want to do this to the nth degree. You’d better want to do this all the time. When you choose a career path of art in America, you make do how you can. You have to be fluid. NA: It’s a Zen thing?
BD: Pretty much. You have to live in the moment and operate when it’s there. That’s what the last couple of years have been about for me. When I was young I wanted to be an artist. Now I couldn’t care less. I just want to make art. The wonders of the world get me going. NA: What’s your favorite color?
BD: King’s Blue, a light, rich blue, a cousin to cerulean. NA: Do you think of yourself as an iconoclast?
BD: No, I'm more of an iconoblast.
NA: What do you get from your art?
BD: A sense of purpose and sometimes money. NA: Have you been working out?
BD: Are you kidding?
Of Things and Other Things, Oil on linen, 36" x 30"
Bob Durham is represented by Cumberland Gallery. www.cumberlandgallery.com NashvilleArts.com
April 2O13 | 39
THROUGH MAY 19, 2013 DOWNTOWN NASHVILLE | 615-244-3340 | FRISTCENTER.ORG Members/Youth 18 and younger FREE. This exhibition was organized by the Detroit Institute of Arts.
-------------- Lynn and Ken Melkus, Presenting Sponsors -------------Platinum Sponsor
Gold Sponsor
Hospitality Sponsor
Metropolitan Nashville Arts Commission
Gerard Ter Borch (Dutch, 1617â&#x20AC;&#x201C;1681). Lady at Her Toilette (detail), ca. 1660. Oil on canvas, 30 x 23 1/2 in. Detroit Institute of Arts, Founders Society Purchase, Eleanor Clay Ford Fund, General Membership Fund, Endowment Income Fund and Special Activities Fund, 65.10
collections
Lipscomb University A Gift Becomes a Legacy by Ruth Crnkovich | photography by Jerry Atnip
T
his month, Lipscomb University will unveil selections from the Mary Elbert Taylor Art Collection in the Ezell Center. Painting professor Michael Shane Neal selected ten paintings that
represent a cross section of the collection gifted to the College of Arts and Science in 2012. The cameo exhibit features figurative and landscape paintings that span four decades of art by American, Russian, and Chinese artists. This is the first public viewing of the once-private collection, owned by Nashville-area resident Dr. Dean Taylor, that was donated in memory of his wife last year. Notable American artworks in the collection include Richard Schmid’s Rhododendron oil painting from 2000 and Nancy Guzik’s timeless portraits, Thoughtful, 2008, and Richard with Zorro from 2005. Charles Warren Mundy’s Fall Creek at Capital Avenue is a fantastic example of contemporary American landscape painting as well as a fine example of the artist’s oeuvre. The list of American artists reads like a Who’s Who of contemporary above: Olga Suvorova (Russian, b. 1966), Two Girls in a Garden with a Cat, Oil on canvas, 39" x 43"
Dr. Norma B. Burgess, Founding Dean of the College of Arts and Sciences, Lipscomb University
Arsen Kurbanov (Russian, B. 1969), Thoughtful with Shawl, 2008, Oil on canvas, 27" x 19"
painters and includes Nancy Howe, Kevin Macpherson, Susan Lyon, and Daniel F. Gerhartz. Works by Nashville artists Anna Jaap and Dawn Whitelaw also made that list.
Timur Akhriev (Russian, B. 1983), French Corner, 2007, Oil on canvas, 30" x 40"
The collection is rich in twentieth-century Russian paintings influenced by the culture during the Post-Bolshevik era. On display in the Ezell Center are two examples in the traditional muted palettes associated with the era of Soviet sovereignty. Nikolai N. Galakhov’s tranquil River After A Storm and Andrei Bogachev’s Catch From the Don are painted vignettes of humble scenes from everyday life. As the politics changed, so too did the art. Contemporary Russian master Olga Suvorova’s brightly colored impressionistic painting Two Girls in a Garden with a Cat is the quintessential representational work of a new period in painting. Mary Taylor was both an artist and a collector. She approached collecting art with the same enthusiasm and passion with which she approached painting. She knew many of the artists whose work she owned. She labored over each decision about what to collect and pored over thousands of images and paintings before deciding which ones would make the cut. Each painting she owned was carefully vetted and justified in its acquisition.
Andrei Bogachev (Russian, B. 1951), Catch From The Don, 1999, Oil on canvas, 40" x 35"
The decision to leave the collection in the care of Lipscomb University was an easy one, says Dr. Dean Taylor. He feels sure that Mary would have been delighted to know the collection was going to a learning environment where it could be used to teach
42 | April 2O13 NashvilleArts.com
young people about art history and all the technical aspects of painting. Mary’s views on collecting were heavily influenced by her experiences in college where she majored in art. It seems fitting that the collection would end up in a university setting. Mary approached collecting very deliberately seeking out paintings that met her self-prescribed criteria. Each painting was acquired for a specific reason. Each added something that filled a void in the collection. Her decisions were sometimes influenced by subject (she loved children as well as cats and other animals). However, most of her decisions were weighted heavily on issues of technique, light, texture, composition, historical significance, or perhaps something less obvious to the untrained eye. She had an eye for art—the eye of an artist. Dr. Norma B. Burgess, Founding Dean of the College of Arts and Sciences, was surprised when first approached with the offering. Taylor gave his wife’s collection, en masse, to the university with two simple requests: that the collection be kept together in its entirety and that it be made available to the art students to use for study purposes. With the assistance of Rick Guthrie, Lipscomb alumnus, Dr. Taylor was able to navigate his way through the process necessary to leave this extraordinary legacy. Dr. Burgess says, “The Mary Elbert Taylor Collection provides a significant contribution to our programs and to the university. It allows all students an opportunity to see, appreciate, and learn from the techniques that were used by various artists and by our professors. The exquisite quality, diversity, beauty, and the wealth of knowledge it provides to our students are difficult to capture; its presence will be enduring. We are pleased to be the recipients of such a magnificent gift. It raises the standards very high for our permanent collection.” Dr. Burgess understands the value of having original artwork available to students. Like Mary and Dean Taylor, she too believes that in order to become better artists, students need to be exposed to original art firsthand.
Nancy Guzik (American, B. 1954), Thoughtful, 2008, Oil on canvas, 12" x 8"
The opportunity to have original art on campus for the students to experience up close and in person is priceless. Lipscomb University has conscientiously committed to becoming the steward for the collection. Managing and caring for an acquisition of this magnitude is no easy undertaking. Inventorying, cataloging, curating, and placing were a labor of love for Mary and are now the responsibility of the university. It takes commitment. It is a process that evolves over time. It is the hope that Lipscomb art students will uncover something special about each painting and be inspired. www.lipscomb.edu
Nikolai N. Galakhov (Russian, B. 1929), River After a Storm, 1975, Oil on canvas, 36" x 47" NashvilleArts.com
April 2O13 | 43
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44 | April 2O13 NashvilleArts.com
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Magnificent Diamond & Emerald
Art Deco Bracelet French, ca. 1935
NashvilleArts.com
by chance or appointment 4119 Hillsboro Road Nashville, TN 37215 (615) 297-2547 or (615) 948-2835
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photo: joshua black-wilkins
photography
46 | April 2O13 NashvilleArts.com
A Model Soldier
Nashvillian Duran Bunch left a privileged life as a top runway model to join our forces in Afghanistan. He took his gun and his camera with him. This is his story.
by Joe Pagetta
I
In this photo is my team leader. We had just taken fire from an enemy sniper, and we were crouching down in a wheat field concealment until we could determine the direction of fire and locate the enemy sniper. We engaged the enemy until they ran off.
t is a war photographer’s job to stay calm under pressure. To be hyper aware and ready in
an instant to capture the moments that tell the story of war and document it for history’s sake. Essentially, it is the war photographer’s job to tell the truth. The fashion photographer must stay calm as well but has plenty of time and materials to tell his or her story. The moment sought after isn’t so much captured as crafted. The truth is anathema and fantasy paramount. Duran Bunch gets this. The Nashville native was an international model, shooting with Steven Meisel and Steven Klein and strutting in Europe for Galliano, Valentino, Dolce & Gabanna, Vivienne Westwood and more, when he traded in parties at the Palace de Versailles for basic training at the U.S. Army Reserve Center off White Bridge Road in West Nashville. Pretty soon, the young, lithe, and handsome Bunch, used to walking runways in Paris and Milan, was walking the dusty roads of Kandahar, Afghanistan, as a Specialist in the 325th Psychological Operations Company.
Here a female soldier interacts with the local young girls. They talk about the same things girls talk about anywhere in the world.
“A lot of photos you see, especially in fashion, people praise them, but everything is set up,” says Bunch. “The model is manufactured. The set is manufactured. All the makeup artists and hair stylists—everything is paid for. These photos, what you see is what you get. That’s real life.” The real-life photos Bunch is referring to are the dozens that he took with a Pentax ZX-M 35mm camera and rolls of Kodak Tri-X 400 black-and-white film while deployed
This young Afghan boy is carrying a load of grain through the bazaar using his homemade cart pulled by a donkey. This is a place frozen in time. NashvilleArts.com
April 2O13 | 47
After completing a 16-hour mission, in which we rucked 12 miles with 120 pounds of equipment through canals and over grape rows in the 120-degree sun, we stopped at this local school to rest. The black square on the wall was used as a blackboard.
in Afghanistan in late 2011 and ’12, a selection of which is on display now through May 5 at the Bryant Gallery in East Nashville. The exhibit, Afghanistan Through the Eyes of the Soldier, includes not only 16x24 and 11x16 mounted prints, but hours of looped footage from Bunch’s “helmet cam.” All proceeds support the Wounded Warrior Project. “As far as I know, it’s the first time a soldier has documented with film in Afghanistan,” says Bunch. “I think I’m the first person to do it.”
We detonated a 400-pound IED to clear the road for future operations. Unfortunately, this is an everyday occurrence for our troops.
A centerpiece of the show is a profile photograph of Bunch’s team leader, sitting back in a field surrounded by wheat. Its composure belies its circumstance. “We were on a mission and took fire from an enemy sniper,” relays Bunch. “The guy three people behind me in formation got hit in the back, but a piece of equipment saved him. As soon as we heard the shot, we got down in the wheat for concealment, so the sniper couldn’t exactly see where we were. We were waiting to get a direction on where the shot came from, so we could return fire or keep on moving. I had it (my camera) in my pouch in my side. It reminded me of a picture of Vietnam, of soldiers in the brush.” When Bunch and his company started moving, the snipers opened up with fire and RPGs, and the soldiers returned fire. The incident lasted about ten minutes before the snipers ran off. Bunch’s team leader has told him that “when people see these photos they are not going to realize we had just gotten shot at by enemy fire.” As Bunch sees it, “That’s real life.”
We always try to build rapport and gain the locals’ trust. Here this young girl fist-bumps with an infantryman. She was very happy.
See Duran Bunch’s photography in Afghanistan Through the Eyes of a Soldier through May 5 at Bryant Gallery. www.bryantgallerynashville.com www.woundedwarriorproject.org
48 | April 2O13 NashvilleArts.com
YORK & Friends YORK & Friends fine art fine art Nashville • Memphis Nashville • Memphis
CAT TESLA
GINA COCHRAN
Solace, Acrylic w/Oil Glazes on Canvas, 48” x 48”
The Challenge, Encaustic on Wood, 24” x 24”
DAVID NICHOLS
LOU COPELAND
vicki denAbuRg
White Orchids, 48x36, Mixed Media on canvas
Please check out It Takes A Village, Oil on Canvas, 16” xour 16”
newly expanded space and the Trees gallery with Orange Light, Acrylic on Canvas, 18” x 18” addition of Jann Harrison’s Chandelierious Artful Furnishings
107 Harding Place • Tues-Fri 10-5,10-5 Sat 10-3 • 615.352.3316 • yorkandfriends@att.net 107 Harding Place • Tues-Sat • 615.352.3316 • yorkandfriends@att.net Follow us on
at Ron York Art ••www.yorkandfriends.com www.yorkandfriends.com NashvilleArts.com
April 2O13 | 49
artist profile
Alex Hall | As the Crow Flies A
lex Hall happens to look a lot like a young James Dean.
He has that same hungry look. He’s going places, and he’s anxious to get there—no moss growing here. He’s also a lot smarter than you think and, like Dean, extremely talented. The Libertyville, Illinois, native graduated from MTSU with a degree in advertising, but painting is now the driving force in his life. Although still in his early twenties, Hall finds himself shifting his artistic direction into something more personal: an original series of paintings with mythological undertones, informed by a distinctly surreal vibe.
The series Relativity features individuals in everyday situations that have gone slightly awry—a woman in a vivid red coat, a man in argyle socks, loafers, and button-down, another in a crimson tie and business suit—falling through space, buoyed by unseen winds whose thermals also carry a host of wild birds interacting with the subjects. There are no backgrounds on the gesso-treated Masonite he uses for canvas; the eye is drawn directly to the not-quite-photorealistic figures and fluttering birds. “I’ve always been attracted to birds, always drawn them,” he says, adding that he has tattoos of sparrows as well. Though he’s well versed in mythology, thanks to a history-teacher mother, he doesn’t impose his own interpretations of his work on the viewer. Though most of his birds are black—crows and ravens—he doesn’t view them in a negative manner. The birds, all with powerful mythologies behind them, are there to help (unless you see it differently). “I’ve never been the type to write down pages and pages about my art. It’s open to interpretation,” he says. “Take away from it what it says to you.” above: Proelium, 2013, Oil on panel, 20" x 60" 50 | April 2O13 NashvilleArts.com
photo: anthony scarlati
by Stephanie Stewart-Howard
The Pursuit, 2012, Oil on panel, 30" x 48"
Working in oils, in thin layers and glazes, Hall sands his Masonite smooth. He uses space carefully, sometimes cutting canvases after he’s completed a painting. The technique also makes it possible for him to avoid creating an overabundance of texture, so the image itself remains the thing. My own favorite piece, Static, is the one of the woman in the red coat, surrounded by seven flying crows. I ask Hall if he knows the old rhyme, “ . . . and seven for a secret never told.” Turns out he does, but he’ll let me connect the picture with it for myself, without comment. Remission, 2013, Oil on panel, 46" x 30"
Static (detail), 2012, Oil on panel, 33" x 33"
Hall is currently completing the seventh work in this series. Giclées and poster prints are available at his website, www.alexhallart.com.
BL AIR PERCUSSION VORTE X PRE SENTS
VORTEX and the Bad Boy! Charlie Chaplin image from Ballet mécanique, filmmakers Léger/Murphy, used by courtesy of Anthology Film Archives
Sunday, April 7
1:30-5 p.m. Ballet mécanique mini-symposium CHORAL HALL 6:45 p.m. Robotics, Music, New Media Art INGRAM LOBBY 8 p.m. VORTEX concert INGRAM HALL Witness the Southeastern U.S. premiere of George Antheil's restored 1924 orchestration for Ballet mécanique, including the rarely screened abstract film by French artist Fenand Léger and Dudley Murphy. The daylong event includes a mini-symposium on Ballet mécanique and a robotics display.
Scan code for full concert program and details about all related events.
Major support/sponsorship provided by the Consulate General of France and the French Embassy, Yamaha Corporation of America, Miller Piano Specialists and Hutton Hotel. Ballet mécanique film courtesy of Unseen Cinema: Early American Avant-Garde Film 1894-1941, a collaborative preservation project sponsored by Anthology Film Archives, New York, and Deutsches Filmmuseum, Frankfurt am Main, and underwritten by Cineric, Ind., New York. www.unseen-cinema.com. Ballet mécanique is presented by arrangement with G. Schirmer, Inc., publisher and copyright owner.
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
Blair School of Music
2400 Blakemore Ave. Nashville, TN 37212
Discovering the element of surprise that watercolors bring.
Smithy, 2010, Watercolor, 15x12
Originally from southeast Missouri, Brenda Beck Fisher has called Hannibal, Missouri home for over 20 years. She attended William Jewell College and Southeast Missouri State University where she earned a degree in art. Raising four children took precedence over art until 2001 when she turned her attention to watercolor. Although working with watercolor can be challenging, she loves the transparent characteristic of the medium and enjoys the element of surprise as the pigment spreads with the wetness of the paper. For more of her work visit http://beebee-wc.wix.com/brendabeckfisher. www.southgatebrands.com
Arts Worth Watching This month marks 68 years since Carousel opened on Broadway to critical and public acclaim. Named the best musical of the twentieth century by Time magazine in 1999, it was Richard Rodgers and Oscar Hammerstein’s second musical collaboration, arriving just a couple of years after their first success, Oklahoma. The musical remains beloved to this day, and this month, on April 26 at 8 p.m., NPT is proud to bring it to Middle Tennessee television viewers. Taped in February, Live from Lincoln Center: Rodgers and Hammerstein’s Carousel with the New York Philharmonic features a cast of stars drawn from Broadway and opera stages, including Kelli O’Hara as Julie Jordan and Nathan Gunn as Billy Bigelow. Rob Fisher conducts and John Rando directs. Here’s a little-known fact and a great Nashville connection: It was our own celebrity designer Manuel Cuevas who brought Wonder Woman’s comic outfit to life for Lynda Carter’s role in the late 1970s series. The costume and character have become iconic symbols of powerful women. But were comic book heroines who first arrived in the 1940s less a breakthrough than a reflection of society’s anxieties about women’s liberation? The Independent Lens presentation Wonder Women! The Untold Story of American Superheroes, airing on Monday, April 15, at 9 p.m., traces the fascinating evolution and legacy of Wonder Woman, from her birth in comics to the live-action blockbusters of today, and what role she has played in our pop culture. Also this month on Monday nights at 9 p.m. from Independent Lens, the film festival in your living room, The House We Live In (April 8) explores the human-rights implications of the
country’s least-winnable war, the war on drugs. The Island President (April 22) documents what President Mohamed Nasheed is trying to do to prevent his nation of 1,200 low-lying islands, the Maldives, and its 385,000 inhabitants, from sinking into the Indian Ocean as sea levels rise due to global warming. The Undocumented (April 29) introduces you to the Arizonians trying to identify the bodies of illegal crossers lost in the desert.
If you believe art is power, don’t miss Defiant Requiem on Sunday, April 7, at 9 p.m. A winner at the Big Apple and Palm Springs International Film Festivals, director Doug Shultz’s film tells the little-known story of the Nazi concentration camp Terezin. Led by imprisoned conductor Rafael Schächter, the inmates of Terezin fought back with art and music—through hunger, disease, and slave labor—by staging plays, composing opera, and using paper and ink to record the horrors around them. The creative rebellion reached its peak when Schächter taught 150 inmates one of the world's most difficult and powerful choral works, Verdi's Requiem, re-imagined as a condemnation of the Nazis. The choir would ultimately confront the Nazis face to face and sing to them what they dare not say. Produced by the Renaissance Center in Dickson, the Emmy Award-winning Creative License, airing on Sundays this month at 10:30, is like a Tennessee Crossroads for arts, artists, and art educators across the state. The show promises to “focus greatly on how art changes the lives of people—those who create it and those whom it inspires.” Highlights this month include, on April 7, a visit to the Rockwood, Tennessee, home of fiddle maker Gene Horner, the Nashville studio of portrait painter Michael Shane Neal, and the West Tennessee home of miniaturist sculptor Simon Jackson. On April 14, it’s a visit with the New Ballet Ensemble of Memphis, a look at art-integrated Value Plus pilot program schools, and a conversation with lawyer by day/ jazz portraitist by night Nathan Evans in Chattanooga.
Weekend Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30
Saturday
am Bob the Builder Daniel Tiger’s Neighborhood Curious George The Cat in the Hat Super Why! Dinosaur Train Thomas & Friends Angelina Ballerina Sewing with Nancy Martha’s Sewing Room Victory Garden P. Allen Smith Cooking with Nick Stellino Cook’s Country noon America’s Test Kitchen Mind of a Chef Martha Stewart’s Cooking School Martha Bakes Fon’s & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop The Woodwright’s Shop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime Saving the Ocean pm Tennessee’s Wild Side
ThisMonth
April 2013
Nashville Public Television
Sunday
5:00 am Sesame Street 6:00 Curious George 6:30 The Cat in the Hat 7:00 Super Why! 7:30 Dinosaur Train 8:00 Daniel Tiger’s Neighborhood 8:30 Sid the Science Kid 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 A Word on Words 11:00 Nature 12:00 noon To the Contrary 12:30 The McLaughlin Group 1:00 Moyers & Company 2:00 Journeys in India 2:30 Anywhere, Alaska 3:00 California’s Gold 3:30 Rudy Maxa’s World 4:00 America’s Heartland 4:30 Rick Steves’ Europe 5:00 Antiques Roadshow 6:00 pm Globe Trekker
NOVA Australia’s First 4 Billion Years Epic in scope, intimate in nature, this is the untold story of the Land Down Under, the island continent that has it all. Wednesdays, April 10 – May 1 8:00 PM
Daytime Schedule 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 10:00 10:30 11:00 11:30 12:00 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00
am Classical Stretch Body Electric Arthur Martha Speaks Curious George The Cat in the Hat Super Why! Dinosaur Train Sesame Street Daniel Tiger’s Neighborhood Sid the Science Kid WordWorld Wild Kratts noon Caillou Thomas & Friends Super Why! Dinosaur Train The Cat in the Hat Curious George Clifford the Big Red Dog Martha Speaks Arthur WordGirl Wild Kratts The Electric Company pm PBS NewsHour
The Bletchley Circle Four ordinary women with the extraordinary ability to break codes set out to stop a series of ghastly murders in the UK.
Sundays, April 21 – May 5 9:00 PM
Ken Burns’ new film tells the story of the five teenagers from Harlem who were wrongly convicted of raping a woman in New York City’s Central Park in 1989.
Tuesday, April 16 8:00 PM
wnpt.org
Nashville Public Television
The Central Park Five
NashvilleArts.com
April 2O13 | 55
Monday
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7:00 Antiques Roadshow Cincinnati (Hour Three). 8:00 History Detectives Civil War-era pistols, still in the original case. 9:00 Independent Lens Wonder Women! The Untold Story of American Superheroines. The fascinating evolution and legacy of Wonder Woman. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 End of Life Choices Town Hall Discussion
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7:00 Call the Midwife Season 2, Episode 3. Jenny becomes increasingly uneasy when she finds herself working under an intimidating surgeon. 8:00 Masterpiece Classic Mr. Selfridge, Part 3. ballerina Renowned Anna Pavlova causes a sensation at the store. 9:00 Orchestra of Exiles 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington
7:00 Antiques Roadshow (Cincinnati, Hour Two). 8:00 History Detectives Have investigators found the long-lost electric Fender Stratocaster Bob Dylan plugged in at the ‘65 Newport Folk Festival? 9:00 Independent Lens The House I Live In. Explore the human-rights implications of the war on drugs. 11:00 BBC World News 11:30 In Her Power
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7:00 Call the Midwife Season 2, Episode 2. The death of a newborn affects Cynthia. 8:00 Masterpiece Classic Mr. Selfridge, Part 2. Harry skirts scandal by putting cosmetics at the front of the store. 9:00 Defiant Requiem: Voices of Resistance A performance of Verdi’s Requiem at Terezin. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington
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7:00 Antiques Roadshow Cincinnati, Hour One. 8:00 Kind Hearted Woman Part 1. This series illuminates the epidemic of child sexual abuse on Native American reservations. Presented is the story of a 32-year-old divorced single mother and Oglala Sioux woman living on North Dakota’s Eat, Fast Spirit Lake Reservation. and Live Longer 10:00 BBC World News Wednesday, April 3 10:30 Last of Summer Wine 9:00 PM 11:00 Water Pressures
Sunday
Primetime Evening Schedule
April 2013
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7:00 Memphis Soul: In Performance at the White House 8:00 The Central Park Five This new film from Ken Burns tells the story of the five black and Latino teenagers from Harlem who were wrongly convicted of raping a white woman in New York City’s Central Park in 1989. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Central Park Five
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7:00 American Masters Carol Burnett: A Woman of Character. 8:30 Erma Bombeck: Legacy of Laughter Bombeck’s honest tales of domestic life gave voice to millions of homemakers. 9:00 Frontline Syria Behind the Lines. The bloody uprising against their president. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Play Again
7:00 History Detectives Among the highlights, did a biography of legendary frontiersman Kit Carson once belong to members of his family? 8:00 Kind Hearted Woman Part 2. Robin battles in tribal court with her exhusband for custody of the children, even after he is convicted of sexually molesting his own daughter. 11:00 BBC World News 11:30 Key Ingredients
Tuesday
17 7:00 Nature The Mystery of Eels. 8:00 NOVA Australia’s First 4 Billion Years: Life Explodes. 9:00 Guts with Michael Mosley Enter the strange and mysterious world of the human stomach. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits John Legend & The Roots.
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7:00 Nature Clash: Encounters of Bears and Wolves. 8:00 NOVA Australia’s First 4 Billion Years: Awakening. Meet titanic dinosaurs and giant kangaroos, sea monsters and prehistoric crustaceans. 9:00 Truth About Exercise with Michael Mosley 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Bon Iver.
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7:00 Nature What Plants Talk About. 8:00 NOVA Ancient Computer. A lump of metal found in a ship2,000-year-old wreck turns out to be the world’s first computer. 9:00 Eat, Fast and Live Longer with Michael Mosley 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Bonnie Raitt/Mavis Staples.
Wednesday
18 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Series IV, Part 3. 9:00 Dangerous Edge: A Life of Graham Greene Greene was a British spy, a doubting Catholic, and a manic-depressive who wrote critically-acclaimed, best-selling novels. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Live Lincoln Center Josh Groban: All That Echoes.
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19 7:00 Green Fire: Aldo Leopold and a Land Ethic for Our Time Documentary about the famed father of conservationism, Aldo Leopold. 8:00 The Lost Bird Project Sculptor Todd McGrain seeks to memorialize five extinct birds. 9:00 Washington Week with Gwen Ifill 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company
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7:00 NPT Reports: Children’s Health Crisis Obesity. 8:00 NPT Reports: Children’s Health Crisis Prevention. 8:30 NPT Reports: Children’s Health Crisis Culture of Health. 9:00 Washington Week with Gwen Ifill 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company
Friday
7:00 Tennessee Crossroads 7:00 POV 7:30 Volunteer Gardener Food, Inc. Surprising — 8:00 Doc Martin and often shocking Series IV, Part 2. Martin truths — about what we struggles to deal with the eat, how it’s produced, news of Louisa’s pregwho we have become as nancy. a nation and where we 9:00 End of Life Choices are going from here. Town Hall Discussion 9:00 Washington Week An exploration of issues with Gwen Ifill associated with aging 9:30 Need to Know and quality of life in Mid- 10:00 BBC World News dle Tennessee. 10:30 Last of Summer Wine 10:00 BBC World News 11:00 Moyers & Company 10:30 Last of Summer Wine 11:00 Bitter Seeds
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7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Series IV, Part 1. Life in Portwenn has become infuriating for Dr. Martin since the heart-wrenching decision to call off his marriage. 9:00 Wilderness: The Great Debate 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NPT Reports: Living in Fear - Domestic Violence Epidemic
Thursday
Television worth wa tchin g.
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20 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Doc Martin Series IV, Part 3. Louisa has had a medical scare and wants Martin’s reassurance that everything is fine. 10:00 Michael Feinstein’s American Songbook On the Air. 11:00 Globe Trekker Panamericana: Conquistadors, Aztecs & Revolutions.
13 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Doc Martin Series IV, Part 2. Martin struggles to deal with the news of Louisa’s pregnancy. But Louisa is adamant that she does not want Martin involved. 10:00 Michael Feinstein’s American Songbook Let’s Dance. 11:00 Globe Trekker Across America: Route 66 & Beyond.
7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys Housemates Tom and Roy may be past their prime, but they are not past fancying women, competing and getting into trouble. 9:00 Doc Martin Series IV, Part 1. 10:00 Michael Feinstein’s American Songbook Show Tunes. 11:00 Globe Trekker Eastern Canada.
Saturday
Nashville Public Television
wnpt.org
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7:00 Call the Midwife Season 2, Episode 5. 8:00 Masterpiece Classic Mr. Selfridge, Part 6. 9:00 The Bletchley Circle Episode 3. 10:00 Bluegrass Underground Jim Lauderdale. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington
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7:00 Call the Midwife Season 2, Episode 5. The whole Poplar community pulls together to prepare for the annual Summer Fete. 8:00 Masterpiece Classic Mr. Selfridge, Part 5. 9:00 The Bletchley Circle Episode 2. 10:00 Bluegrass Underground Sarah Jarosz. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington
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MAY 1
Doc Martin Thursdays 8:00 PM
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Nashville Public Television
7:00 Lawrence Welk Show 8:00 Keeping Appearance 8:30 Old Guys 9:00 Doc Martin Series IV, Part 5. Martin is in London to meet with Robert Dashwood, who is leading the selection process for the prestigious surgeon’s job. 10:00 Civil War Songs and Stories: Tennessee Civil War 150 11:00 Globe Trekker Pacific Journeys: Santiago to Pitcairn.
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7:00 To Be Announced 9:00 Washington Week with Gwen Ifill 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company
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7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Old Guys 9:00 Doc Martin Series IV, Part 4. Martin urges Louisa to slow down after she has a dizzy spell, then is shocked to learn that she has applied to be her school’s head teacher again. 10:00 To Be Announced 11:00 Globe Trekker Panamericana: Incas & Inquisitions.
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7:00 Washington Week with Gwen Ifill 7:30 Need to Know 8:00 Live Lincoln Center Rodgers & Hammerstein’s ‘Carousel’ With the New York Philharmonic. One of spring’s cultural highlights is the staging of this American musical beloved by generations.Kelli O’Hara and Nathan Gunn star. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Moyers & Company
Call the Midwife Sundays 7:00 PM
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Series IV, Part 5. Martin is in London to meet with Robert Dashwood, who is leading the selection process for the prestigious surgeon’s job. 9:00 To Be Announced 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Maggie’s War: A True Story of Courage, Leadership and Valor in World War II
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7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Series IV, Part 4. Martin urges Louisa to slow down after a dizzy spell. 9:00 3 Miles an Hour The best way to see and savor life. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Live Lincoln Center We’ll Meet Again: The Songs of Kate Smith Starring Stephanie Blythe.
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7:00 Nature Jungle Eagle. 8:00 NOVA Australia’s First 4 Billion Years: Monsters. 9:00 Nature Kangaroo Mob. Streetsmart kangaroos moving into Australia’s capital city and the ecologists who follow them. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Florence + The Machine/Lykke Li.
7:00 Nature 7:00 The Dust Bowl Legendary White StalReaping the Whirlwind. lions. Families seek new lives 8:00 NOVA in California and governAustralia’s First 4 Billion ment conservation efYears: Strange Creaforts — and a break in tures. the drought — bring 9:00 Secrets of the Dead farms back to life. Bugging Hitler’s Sol9:00 Frontline diers. German POW’s reNever Forget to Lie. A vealed their thoughts Jewish boy’s unlikely esabout the Third Reich. cape during the Holo10:00 BBC World News caust. 10:30 Last of Summer Wine 10:00 BBC World News 11:00 Austin City Limits 10:30 Last of Summer Wine Coldplay. 11:00 In My Lifetime
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7:00 The Dust Bowl The Great Plow Up. Survivors recall the terror of the 1930s dust storms and the desperation of hungry families. 9:00 Frontline The Retirement Gamble. Whether your IRA or 401K will assure a safe retirement is largely a gamble. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Silver King: The Birth of Big Game Fishing
Visit wnpt.org for complete 24 hour schedules for NPT and NPT2
Dangerous Edge: A Life of Graham Greene Thursday, April 18 9:00 PM
7:00 Antiques Roadshow Rapid City (Hour Two). 8:00 History Detectives Gwen Wright connects a swatch of red fabric to a pivotal moment in U.S. Civil War history. 9:00 Independent Lens The Undocumented. Meet the Arizonans who try to identify the bodies of illegal crossers lost in the desert. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Return
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7:00 Antiques Roadshow Rapid City (Hour One). 8:00 History Detectives Host Elyse Luray explores Clint Black’s book of wanted posters. 9:00 Independent Lens The Island President. Maldives President must ensure that his tiny country doesn’t disappear under rising sea levels. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Looking Over Jordan: Tennessee Civil War 150
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7:00 Call the Midwife Season 2, Episode 4. Jenny assists at the birth of a baby born with spina bifida. 8:00 Masterpiece Classic Mr. Selfridge, Part 4. All is not well with Harry, Rose and Ellen. 9:00 The Bletchley Circle Episode 1. 10:00 Bluegrass Underground Jerry Douglas. 10:30 Creative License 11:00 Tavis Smiley
58 | April 2O13 NashvilleArts.com
photo: jerry atnip
Historic Restoration and the Digital Age by Judy Bullington, PhD, Professor of Art History and Chair of the Department of Art, Belmont University
T
he Belmont Mansion, located on the campus of Belmont University, recently opened a new suite of rooms to public tours of this majestic antebellum residence that was once the summer home of Adelicia and Joseph Acklen. This is the largest house museum in Tennessee, and the master
bedroom is the centerpiece of its latest phase of restoration. The modern eye of visitors will be astonished by the abundance of colors and patterns that flow across every surface in this room. Victorian furnishings sit on a twenty-six-color floralprint English carpet woven on traditional Wilton looms, but the ‘paper-hangings’ that envelop the space are the most visually engaging. Scenic wallpaper depicting the classical theme of Telemachus’s passage on the island of Calypso, first printed in 1818 by the famous Dufour factory in Paris, covers the upper portion of the walls. The dado paper, whose design origins are more obscure, on the lower sections portrays another literary subject, the adventures of Don Quixote.
photo: Chris Hollo
The story of rediscovering and reproducing these wallpapers is a tale of modern technology and local expertise that writes a new chapter in the history of this historic home. In 1890, the upstairs area was converted into dormitories, drastically altering its
Recreating the complex Telemachus paper required the most extensive use of digital printing technology of any wallpaper restoration project in the country, according to the mansion’s Executive Director Mark Brown. The first step was to find a local photographer who could professionally document the Telemachus wallpaper at the Hermitage. John Schweikert worked at night in controlled lighting conditions and used a specially devised trolley system to shoot a series of ten photographs for each panel. Over the next nine months, the images were digitally ‘stitched’ to adjust for the curvature of the camera lens as well as the anomalies of the wall angles and openings. The design for the Don Quixote paper was scanned from a nineteenth-century catalog at the Smithsonian Cooper-Hewitt Museum in New York. Nashvillebased artist Michael Summers adjusted the scale and color of this scan using original fragments from the Belmont Mansion to digitally reproduce the overall design for the dado paper. These customized digital maps of the original wall covering were printed under the direction of Craig Wills at Pro Photo Imaging on Cannery Row using archival materials and state-of-the-art equipment. While many aspects of Adelicia’s decision-making regarding the décor of the bedroom must necessarily remain a mystery, modern technology and local talent have made it possible to vividly re-imagine how her private space looked during her lifetime. The Belmont Mansion is located on the Belmont University campus at 1700 Acklen Avenue. You may tour the historic home Monday through Saturday 10 a.m. to 4 p.m. and on Sundays from 1 p.m. to 4 p.m. For more information visit www.belmontmansion.com.
Wendy O'Barr and John Schweikert
original appearance. In 1972, the Belmont Mansion Association was formed to restore the house to its former glory. A thirteen-foot cross-section of wallpaper was revealed when the hired consultant Henry Judd of the National Park Service demolished the connecting wall between the 1890 remodel and the original 1853 bedroom. Although the subjects of the paper fragments were identifiable, replication was not practical. The Telemachus design—based upon a similar paper in the collection of Andrew Jackson’s Hermitage—consisted of multiple vignettes printed on twenty-five panels (rolls) in eighty-five different colors using 2,027 wooden blocks that were destroyed in World War I. Dr. Albert W. Wardin Jr., a former history professor at Belmont University and founding member of the association, discovered additional fragments of the Don Quixote paper in Kassel, Germany, but no complete rolls were ever located. Nearly three decades passed before twentyfirst-century digital technology made accurate historical reproductions of either design feasible.
NashvilleArts.com
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Kristin Llamas
photo: Anthony scarlati
public art
The Upside of Inside Out by MiChelle Jones
K
ristin Llamas was in New York during the unveiling of Christo and Jeanne-Claude’s 2005 Gates project in Central Park and still keeps a piece of the bright orange fabric in her studio.
“There’s something magical about temporary installations because they’re so fleeting, but they do create this big impact,” Llamas said. That’s part of what drew her to INSIDE OUT, an outgrowth of street artist JR’s 2011 TED prize. The project involves plastering black-and-white portrait posters around a given city, sometimes on the sides of buildings or in windows, sometimes pasted flat onto sidewalks.
Kristin Llamas and her husband, Alfonso 60 | April 2O13 NashvilleArts.com
photo: Anthony scarlati
Nashville’s incarnation of INSIDE OUT will be different—and it will light up at night. Llamas and her husband, Alfonso, will construct four-sided lanterns with a black-and-white portrait measuring 56.5 inches on each side. These will stretch from one end of Deaderick Street to the other, a parade of lighted cubes in the center medians. The lanterns will be unveiled Saturday, April 6, during TEDxNashville, and Llamas hopes they will survive two to three weeks, depending on the spring weather.
Llamas and her husband began working on the lantern project last September, after she ordered a portrait of herself as part of the international INSIDE OUT happening. Then she decided she wanted to bring INSIDE OUT to Nashville, in keeping with the couple’s desire to promote the city as a visual art location. (Their motto is “The world hears Nashville, now they see us.”) Llamas’ other passion is community involvement in art, and the lantern project is very much a community event, not only featuring portraits of Nashvillians, but also largely financed by crowdfunding via an Indiegogo campaign. That, as well as the Deaderick Street placement, was suggested by Leigh Hendry, Tennessee State Museum’s director of external affairs. Hendry said she was instantly interested in the project, not only because she was familiar with Llamas’ work (one of her paintings is in the museum’s permanent collection), but also because she liked the freshness of the idea. It presented the museum with a chance to do something “a bit more cutting-edge and inventive and innovative,” Hendry said. Llamas initially approached the museum because she saw its building as a blank canvas and wanted to paste portrait posters on the walls. Hendry had another idea. “I had always dreamed, since they did the streetscape on Deaderick Street, of doing something down the middle of our beautiful street,” Hendry said. She suggested maybe sandwich boards or triangles. During one of many late-night email exchanges, Llamas came up with lanterns. “You know how when you do those little wooden puzzles and that last piece clicks into place and you’re so excited?” Hendry said of her response. Once she learned of the TED tie-in, Hendry knew the unveiling would have to be during TEDxNashville—even if that put a serious time crunch on the project, considering Llamas and Hendry only began trading emails in mid December. In mid January Llamas made an in-person pitch to Hendry and Tennessee State Museum director Lois Riggins-Ezzell, and Hendry took the proposal to mayor Karl Dean, who serves on the museum’s board. Two days later, he sent an endorsement: “I like it.” From there, Metro Public
NashvilleArts.com
Installations on Deaderick Street
photo: Allyn Abraham
photo: Allyn Abraham
“Part of the project is the effects of the weather and vandalism. Most of these [have been] right on the wall, and people can just go around and draw moustaches. Hopefully they won’t on these,” Llamas laughed. She and Alfonso considered making them more durable, but they kept coming back to the temporary aspect. Still, they plan to document the installation, and Llamas said some sort of exhibition featuring sketches, prototypes, and installation views might be in the cards. Images of the installation will also be included in the INSIDE OUT digital archive.
Works, Metro’s Beautification Commission, and the Metro Nashville Arts Commission were brought on board. (Though the museum wasn’t involved directly in fundraising, the project required the blessing of its board, foundation, and commission because it carries the stamp of the museum.) Llamas worked with the public works department to secure permits and test prototypes to make sure the lanterns wouldn’t hinder drivers’ sight lines. But first she and Alfonso shot the initial 56 portraits and had them printed by JR’s team. The pictures are printed on a plotter, so “it’s basically like black-and-white pointillism,” Llamas said. This also makes the photography forgiving, according to Llamas, who is in fact a painter (represented locally by Tinney Contemporary). Subsequent portraits were to be shot by photographer Daniel Perry. “The key factor in all of [my projects] is that I see art as this uniting force, so it’s kind of the silent but universal language,” Llamas said. She saw the INSIDE OUT project along the same lines. “Communicating through these faces all across the globe, everyone can relate to them; whether you’re in China or America, you respond to it kind of equally.” For more information about Kristin Llamas and her work visit www.kllamas.com and www.kllamas.com/2013/paperlanterns-nashville-inside-out-action. View the lanterns on Deaderick Street in downtown Nashville on April 6. April 2O13 | 61
a monthly guide to art education
State of the Arts
Lights, Camera, Action NaFF Young Filmmakers
by Jennifer Cole, Executive Director at Metro Nashville Arts Commission
W
ords matter. From the soft “wake up!” of a husband rousing you from sleep to the “I hate you!” of a beet-faced four-year-old tantrum monster. They heal. They hurt. They transcend. April is National Poetry Month and now, more than ever, we need opportunities for young people to connect to the power of words.
photo: jerry atnip
. . . Silver trucks heavy with oil or paper— bricks or milk, teeming over highways alongside us, on our way to clean tables, read ledgers, or save lives— to teach geometry, or ring up groceries as my mother did for twenty years, so I could write this poem. – Richard Blanco (excerpt from One Today, 2013 Inaugural Poem)
Photo: Vali Forrester
Southern Word is working in dozens of schools, mental health centers, and libraires to offer poet mentor-led workshops that unlock voice. Using writing prompts, peer coaching, and group process, hundreds of students are not only writing but are speaking their truth at slams and open mics around the region. Act Like a Grrrl, a program offered by Actor’s Bridge Ensemble, works with small teams of teen girls to explore, write, and stage their personal stories. They’ve been recognized by the UN Committee on Women and have performed in Costa Rica and throughout the region.
Finally, for the second year, Metro Arts is working with Southern Word and Metro Transit Authority to support the Poetry In Motion® initiative. This month, the Metro Transit Authority will donate 300 advertising spaces to showcase the original work of local adult and youth poets in buses throughout the city.
Act Like a Grrrl Program
Yes, numerous studies indicate that poetry’s ability to tap into multiple intelligences may affect student achievement and classroom success. But written and spoken word isn’t about getting an A. The value of channeling life onto the page is one form of survival for modern students. From classroom testing to cyber bullying to economic uncertainty, life has become increasingly broken for many students. Suicide is the third leading cause of death among kids 12 to 18, and this is the first generation more likely to live a shorter and less financially stable life than their parents.
by DeeGee Lester
O
riginality, self-expression, creativity, self-motivation, and the ability to communicate a vision are prized among the skill sets targeted by educators as goals for students. For over a decade, young filmmakers—those under the age of 18—have been able to exhibit their works and demonstrate these skills alongside those of college students and adults as part of the annual Nashville Film Festival. The 2013 film festival offers several opportunities to view the works of young people from around the world. The festival received 48 student submissions, and the public can view the results at the Young Filmmaker Showcase at the Regal Green Hills Cinema on Saturday, April 20, at 10 a.m. NaFF Artistic Director Brian Owens looks forward to the latest entries in this category, noting that “the quality of high school entries is fairly consistent, but every few years there is a young standout filmmaker.” Two days later, at noon on April 22, the NaFF hosts the Academy of Nashville Video Awards Show, showcasing the results of a district-wide competition among students enrolled in Metro Nashville academies. The theme for 2013 videos focused on what they consider to be great about their academy experience during the 2012-2013 academic year. Students from Middle Tennessee State University will video the showcase, which will be aired on community television. The Nashville Film Festival offers a variety of experiences for students each year, including a three-week internship for students from Harpeth Hall and opportunities for students to volunteer during the festival. The “Livin Reel” program provides urban student filmmakers a handson opportunity to explore the entire filmmaking process alongside professionals as they move step by step through writing, blocking, acting, and directing. The process is filmed, and participating students get the chance to “star” at an NaFF screening, complete with red carpet and media Q&A sessions.
Visit online at www.Nashvillefilmfestival.org for viewing schedules and details about any of these programs and be on hand to see the next young break-out filmmaker.
The simple act of turning anger into beauty not only produces art; it helps germinate control and confidence. Think of the difference between a student throwing a punch in anger or instead writing “heaving words like furniture” (Getting Out by Cleopatra Mathis). Think about the space between a thousand hang-up puppy-love calls and a pen like Neruda’s. So write a haiku, read a sestina. Brush off your Keats or dive into Forché or Giovanni or Clifton. Poems are truth made legible. 62 | April 2O13 NashvilleArts.com
The Clay Lady's "Gift" to Nashville by DeeGee Lester | photography by Stacie Huckeba
I
t is one of the enduring creative moments—clay in the hands of a child. Moms everywhere have some little bowl or animal carefully crafted by tiny hands and placed among family treasures. In the medium of clay, Nashville has its own treasure in the person of “the Clay Lady,” Danielle McDaniel. She, in turn, gives credit to her creative mentor, Lena Lucas, who retired in 2011 after 37 years as an inspirational instructor with Metro Parks’ Centennial Art Center. “It’s probably true that just about all the pottery in this town can be traced back to Lena. I took my first pottery class with Lena at age 18 and just stuck around, offering to help her, and eventually teaching classes to kids and adults,” McDaniel says. “Every time I had an opportunity, I just kept saying yes.” That lovely gifting or passing of the pottery tradition from one generation to the next can be traced to the ancients in all cultures and on all continents, and it is what keeps pottery relevant in a fastpaced world of manufactured products. Each step in the process—from selection of the clay to the steady whir of the potter’s wheel during the building of the piece to the firing and painting or relief carving—is relaxing and contemplative, producing a one-of-a-kind gift to be passed through families or displayed in art galleries. Passing her craft to students for over thirty years through classes and the creation of The Clay Lady Way® teaching modality for art educators, McDaniel fulfilled a dream two years ago, purchasing Mid-South Ceramic Supply Company, located on Nashville’s Lebanon Pike. Encompassing Middle Tennessee’s largest ceramic supplier, The Clay Lady’s Studio, Artist Co-op and Galleries expanded to adjoining buildings, providing artists of all ages a unique opportunity to explore and experience the potter’s craft. The main building on the campus has 10,000 square feet housing twentyfour co-op studio and exhibit spaces and four galleries. Within this community of artists, co-op members develop their craft and receive discounts on monthly studio fees by helping in the facility, participating in co-opportunity efforts—everything from assisting customers in the
showroom or helping with school groups to cleaning the facility or creating exhibits/ special events. In addition to adult classes and workshops, the 3,000-square-foot educational facility offers space for field trips and summer camps for children. Approximately 100 to 200 school children visit the facility each week. Through this vigorous program students tour MidSouth Ceramics to see how raw materials turn to clay and learn how clay and clay paints are manufactured. Hands-on activities give students an opportunity to create and finish their own clay project. A visit to the coop and galleries brings the students full circle from raw materials through creation to exhibition. The national reputation of Clay Lady Studios is reflected in its selection by the Potter’s Council as host site for the September conference of the International Potter’s Guild, featuring four acclaimed women potters and passing along, again, the long tradition of pottery. “I want to foster giving cups of opportunity for people to express themselves. I think that’s what makes this successful,” McDaniel says. “It’s not about building a business, but about how you can give back and pass on a legacy that has a positive impact.” For more information visit www.midsouthceramics.com/TheClayLady.
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You Think It's Only Colors on a Canvas by Ashlie Tyminski, Freshman, Hillwood High School photography by Amber Lane
T
o the observer, it may appear to be colors on a canvas. To a child in the hospital, it’s a way to forget about the pain. For me the paints, crayons, markers, and pencils gave me a sense of normalcy. From age 4 to age 8 the hospital in Burlington, Vermont, was like my second home as I suffered F.S.G.S (focal segmental glomerulosclerosis). Doctors were trying everything from chemo to harsh IV meds. While I was in the hospital, Art from the Heart, the local organization providing art therapy, came two or three times a week to help me and other kids with art projects. On good days I could go to the playroom to participate. On other days they sent a volunteer to my room, allowing me to work on a piece even when I had IVs in both of my arms. On those days my amused therapists watched me paint with my feet! Today I am entering my seventh year in remission, and in the fall I will be attending the Art, Design and Communications Academy at Hillwood. My goal is to become an art therapist so I can pay it forward, giving kids that are in the hospital the same experience that I received. The transformation from lethargic to excited is the same goal that members of the Junior League of Nashville had for young patients in Monroe Carell Jr. Children’s Hospital at Vanderbilt when they presented a gift of $151,429 in the year 2010 to establish an art therapy program at the hospital and expand the music therapy program.
Ashlie Tyminski
Tarri Driver, a board certified registered art therapist at the hospital, says she co-treats with physical therapists, and she points out that art making can help physical therapy feel less like work and more like play. “I approach every situation on an individual basis. Sometimes very fruitful art therapy experiences come from the most surprising situations.” Therapists take into account developmental level, mood, and coping skills and provide activity choices for patients. Art making is often a slow process, but there are occasional “WOW moments.” Driver says the idea is to help young participants find expressive modalities to help with things like processing, relaxing, coping, and communication. She points out that art therapy can at times speed up the therapy process. “There is no censor when art making. It is very easy to censor oneself verbally, but when creating visually it’s very hard to censor and rationalize.” Each patient is special but some are particularly memorable. Driver recalls a teenage cancer patient who finished her treatments by her early twenties. “She, to this day, is one of the most insightful and wise young adults I’ve ever worked with.” The addition of a vibrant art therapy program at Monroe Carell Jr. Children’s Hospital may encourage more young people to consider art therapy as a career choice. Driver points out that teaching art and doing art therapy are two different practices. In addition to art training, the art therapist is required to do clinical postgraduate work. “The most rewarding thing is being able to help and serve people through art; I’m very passionate about both. My job is to plant seeds of creativity, healing, and pride and watch them grow.” Flightless Bird, 2012, Pastel on paper, 20” x 16”
www.hillwoodhs.mnps.org
64 | April 2O13 NashvilleArts.com
MBA Students Celebrate the Arts by Rebecca Pierce | photography by John Schweikert
M
ontgomery Bell Academy's Endada Music and Arts Festival is a celebration of the artistic talent of Nashville high school students and professionals. Aside from a few faculty sponsors like art teacher Catharine Hollifield, the festival is entirely organized by a group of about thirty students under the leadership of senior Lucas Littlejohn, Head of Festival. Endada is for kids, teens, and adults of all ages and will feature a number of art-themed activities and workshops. Some of this year's performers include musicians Lines in the Sky, Evan P. Donohue, No Regrets Coyote, and the Founding Fathers. The Mazel Prov improv group and the Southern Word poets will also perform. Slated to display their work are artists Myles Maillie, Tye Dye Mary, Larry Rogers, Gordon Chenery, and Jack Coyle. Enjoy tasty food treats from the Grilled Cheeserie, Mas Tacos Y'all, and Jim ’N Nick's Bar-B-Q. The festival was started two years ago by four members of MBA's class of 2012. They were the heads of the 2011 and 2012 festivals and then passed the torch to Lucas. “The whole idea is that it is a celebration of the artistic pursuits of Nashville high schoolers, while also bringing in professional artists and adult bands to draw crowds and create the festival atmosphere.” In addition to managing and motivating ten committees in an endeavor that takes the students an entire year to pull off, Littlejohn has devoted a healthy amount of time to working on logistics and making Endada sustainable. He and his team hope to raise enough money to fund the 2013 festival and provide seed money for next year. They are also continuing to document the process and build reference archives for next year’s Endada committee.
Jump, Frog, Jump! by Rebecca Pierce | photography by Sophia Forbes
L
ast month Nashville Ballet hosted more than 1,000 four-year-olds from Metro Head Start centers across Nashville. The children attended a performance of the short children’s ballet Jump, Frog, Jump! based on the popular book by Robert Kalan. Jump, Frog, Jump! tells the story of a clever frog who escapes capture by the predators in and around his pond. It is narrated with help from the audience and retraces the story from the beginning each time a new character is added, allowing children to develop their memory skills. At key moments in the performance the children enthusiastically shout out “jump, frog, jump!” encouraging the frog to flee from danger.
The third annual festival will take place on the campus of Montgomery Bell Academy on April 27, 2013, from 11 a.m. to 4 p.m. Endada is free and open to the community. For more information visit www.montgomerybell.edu.
After the performance the dancers work with the children showing them basic dance moves. Sharyn Mahoney, Director of Artistic Operations and Outreach, explained, “The program is curriculum based so teachers can prepare the children in advance. Through vibrant colors we use for costumes, along with clear characters and narration and interaction with the dancers, we aim to help children develop aural and visual comprehension and gross motor skills.” Started in 2004, the Head Start performances are part of Nashville Ballet’s Outreach & Education efforts to expose community members of all ages to the artistry, beauty, and athleticism of ballet. For more information visit www.nashvilleballet.com.
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DianeMayStudio
From the National Archives
INSIDE OUT Nashville: Paper Portrait Lanterns This April, more than 100 faces of Nashville residents will be turned into 3 x 4.5-foot paper lanterns and temporarily displayed down Deaderick Street. The installation will be unveiled in a domino effect at 12:30 p.m. on April 6th, 2013, during the TEDxNashville conference at TPAC. On that same evening, the lanterns will glow during April’s First Saturday Art Crawl.
Don’t miss this popular exhibition! The Tennessee State Museum is the only stop in the Southeast for this unprecedented tour. The original 13th Amendment, the document that altered the course of U.S. history and dramatically changed the lives of AfricanAmericans by ending slavery in the United States, will be on view through September 1, 2013. The exhibition includes many original treasures and several important documents which will be on public view for the first time.
The Tennessee State Museum has worked with artists Kristin and Alfonso Llamas to bring this global project to Nashville. The Paper Portrait Lantern Installation is an official TEDx INSIDE OUT action. With it, Nashville is participating in the largest street art project ever created here.
Tennessee State Museum 5th Ave. & Deaderick Street Downtown Nashville tnmuseum.org 615 •741•2692
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photo: anthony scarlati
Barbara Coon Repurposing Our Town
by Alyssa Rabun
S
weet tea sippin' and yes-no ma’am-in’ days spent under the sawdust drizzle of her fired up power tools: That’s Barbara Coon, who blends her lifestyle and experience in the American South with an expertise in carpentry and painting to produce pieces that are unique to Nashville style and culture.
Best known for her work as a participating artist in Nashville’s GuitarTown Project—a public arts project that featured tenfoot-tall fiberglass guitars on display around town from 2004 to 2006—Coon is now represented by Nina Kuzina Gallery and Gallery 202 and continues to create pieces that speak to Nashville’s inimitable flavor. Coon blends carved wood with bold-colored paint and relevant props to represent locally themed topics from iconic music venues and restaurants to cowboy boots and red pickup trucks. In subtractive primaries, Coon illustrates Nashville favorites like Legends, Robert’s, and Puckett’s in one series, then zooms in on the intricacies of a cowboy boot’s design or the personality of a classic guitar in another. Coon is “proud of [her] Southern roots,” and this motif saturates both her work and her lifestyle.
Ernest Tubb’s Record Shop, Acrylic on wood, 16 1/2" x 16 1/2" 68 | April 2O13 NashvilleArts.com
Coon crafts concept before creation, finalizing the title before beginning production. With her Leiper’s Fork series, for example,
The Stage, Acrylic on wood, 16 1/2" x 16 1/2"
left to right: No Place Like Home Wine Bottle, You Get the Pork Chop, I Get the Pie Wine Bottle, We Built This, USA Wine Bottle, Mixed media on board, 5 1/2" x 14" x 1" each
“
I was listening to Aretha Franklin and Tony Bennett talk about their duet collaboration. Aretha said the song was written as a love song and they were singing it as a soulful ballad. That got me thinking. Does the way someone sings your song change the meaning? That is what prompted this painting, Did You Get the Point of My Song?
”
Coon reacted to a clever wordplay by blending silver-plated forks with engraved wood and ornate painting detail. After travelling the antique-store and fleamarket circuit to stock up on mismatched forks, Coon pours out the lot on her studio floor and visualizes their use. A three-tined fork may be the perfect fit for the banjo’s shaft with a painted wooden circle as its base, while the fork with an ornamental floral design may scream Jimi Hendrix’s Gibson Flying V. Coon’s passion for and knowledge of guitar brands and builds is evident, and it’s not hard to believe that she “visit[s] guitar stores frequently for inspiration.” Although her elegant poise does not allude to her down-and-dirty working style, Coon’s days are sprinkled with paint-splattered clothing and plastic welder’s hats. “I buy my husband coffee makers, and he buys me power tools,” jokes Coon. Working with a broad range of tools and techniques allows her to create pieces that are characterized by layered depth. “I encourage viewers to touch my work. I may start with the base, applying a map of Nashville to Masonite, then cut out a medium-density fiberboard guitar to attach as the focal point of the piece, then proceed to using car pinstriping tape to craft strings, and finish with a swish-swish of my pallet knife to add bold color.” To fully experience the complexity of Coon’s piece is to run a finger down the finely cut guitar strings and trace the contours of the classic Gibson against the familiar background of Church Street and Broadway. Coon’s work appeals to both the lover of fine art and the nostalgic Nashvillian, and, while this influence is far-reaching, she has a refreshing, lighthearted approach to her craft. “I am serious about the quality of work I put out there,” she says, “but at the same time I never take my work too seriously. I just have fun and create work that I think is worthwhile.” Barbara Coon is represented by Gallery 202 and Nina Kuzina Gallery. www.gallery202art.com www.ninakuzina.com left: Did You Get the Point of My Song?, Acrylic on board, 46" x 22"
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Every First Friday... Friday, April 5, 6-9 p.m. More than 30 galleries and working studios in a 15-block area, featuring artists at work, live music, wine and more! Thereâ&#x20AC;&#x2122;s no cost to attend, but a $5 wristband provides unlimited transportation on trolleys circulating during the event.
Ev NiEwoEhNEr Painter of Music Jose Santisteban
Ken Walls
Franklin Art Scene
Josephine Getz
www.FranklinArtScene.com Sponsored By: Evolution (Saxophone), oil, 48x48
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70 | April 2O13 NashvilleArts.com
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“Tea @ Two @ Too,” April 9h, Forum: Fabulous Mid-Century Modern 615 615-297-2224 297 2224 or 615-292-2250 615 292 2250 or visit GasLampAntiques.com
April 2O13 | 71
photo: Nick McIntyre
Robert Hendrick
Design on Track
by Alyssa Rabun
I
tried to conduct my interview with designer Robert Hendrick using only railroad puns. “So you’ve been working
on the railroad for quite some time now?” I asked Hendrick, founder of Rail Yard Studios, a Nashville-based design firm. “I assume you mustn’t lose your train of thought when creating custom furniture from repurposed railroad material. In fact, I expect you and your design team work all the live long day.” At this point, I think I have really nailed it and look at Hendrick for the thumbs-up and go-ahead for my stand-up career, but his polite laugh and raised eyebrows bring me down to earth where we continue our conversation sans locomotive lingo. (What is he a-freight of?)
72 | April 2O13 NashvilleArts.com
photo: Matt Collins
The Derailment features a rail with a split head defect in it that would have caused a derailment. It also shows the diverse species of hardwoods used in railroad ties including red oak, white oak, hickory, black locust, walnut, and beech timbers.
“I started by saving old ties and steel rail scraps. In 2011, I began to repurpose the railroad scraps to create ecofriendly, sustainable products like desks, coffee and end tables, beds, night stands, coat racks, benches, conference tables, bike racks, and wine racks,” says Hendrick. The steel tracks, spikes, and brackets used in production are authentic. Old spikes are gleaned and arrive at the studio covered in mud, rust, and old creosote—their origin easily tracked by manufacturer engravings. Steel, on the other hand, is very transient and may have begun its journey in the bed of a railcar in any corner of the country or even abroad. Once the materials arrive at Rail Yard Studios, Hendrick and his team use a tumbler to clean them. They are then sanded, cut, stained, and paired with locally purchased hardwood timbers.
the rails wear out, and how to reuse these flawed materials. I see their imperfections as opportunity,” says Hendrick. Hendrick’s latest line of artisan furniture, Reused and Recycled, encourages clients to appreciate the history behind each piece. From a wine rack made of a harvested walnut crosstie and rail from 1916 to a glass-top conference table with golden oak and polyurethane sealer, each piece is accompanied by a certificate describing the rail’s history. Hendrick describes the value of a documentable history saying, “If you’re having a dinner party and a guest asks where your table was made, you can reply ‘funny you ask’ and go into a spiel about steel that originated in Birmingham in January of 1902 and knotted oak that once grew in the forests of East Tennessee,” says Hendrick. The Rail Yard Studios’ team shows work in galleries across the country and is often commissioned to design pieces for venues including private homes and corporate offices. Visit www.railyardstudios.com to view a selection of their Reused and Recycled line and peruse Hendrick’s blog to get a taste for what keeps the company on the tracks.
photo: Nick McIntyre
photo: Nick McIntyre
“I’ve become an expert in recognizing flaws that run through rails, how the rail changes, what happens when
photo: Nick McIntyre
Although his taste in comedy is questionable, Hendrick’s railroad expertise and eye for design are extraordinary. An entrepreneur in fields ranging from healthcare to technology, Hendrick developed an appreciation for the rails in 2001 when he purchased the railroad contracting and maintenance firm Railroad Services LLC. As his crew worked, Hendrick noted considerable waste that plagued the industry. Century-old rails and spikes from companies like Carnegie Steel, Tennessee Coal & Iron, and Pennsylvania Steel, dating back to the 1890s, were being tossed into a garbage heap when they were retired from use. Out of this waste Hendrick conceptualized and built Rail Yard Studios.
NashvilleArts.com
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CELEBRATING
Custom Orders| Gift Certificates | Gift Registry
Harpeth Hall Student Artists
Upper School Art and Photography Show April 11 — May 4 Patton Visual Arts Center Artists’ Reception: April 11 from 5-7 p.m.
Exhibit features drawings, paintings, mixed media, 3D works, media graphics, and photography.
209 10th Avenue South, Suite 309 | 615.255.3255 | MARGARETELLISJEWELRY.COM Appointments Suggested | Validated Parking
Michael Griffin Upper School Advanced Placement Studio Art Exhibit April 19 — May 9 Marnie Sheridan Gallery Artists’ Reception: April 19 from 5-7 p.m.
Exhibit features the work of the advanced senior artists who will display their Advanced Placement
A History of Glaciers
THE HARPETH HALL SCHOOL 3801 Hobbs Road • Nashville, TN 37215 www.harpethhall.org
74 | April 2O13 NashvilleArts.com
Oil on linen
22 1/2” x 30”
615.428.7227 michaelgriffinstudio.com michaelgriffin44@yahoo.com
photo: eric adkins
interior design
O’More Show House by Jay Sheridan
T
here’s often a canyon between great ideas and their execution. After years on the drawing board,
one incredible concept has literally risen from the earth in downtown Franklin. Talk to interior designers around Nashville and you’ll find a common thread: most are graduates of the O’More College of Design. Now, seventeen of them are partnering on the inaugural O’More Designer Show House, April 5–21. When a six-lot development was first conceived for Berry Circle, adjacent to campus, property owner Ashlyn Hines was quick to connect the dots: an all-alumni show house as a fundraiser for the non-profit college would bring a lot of attention—and likely top dollar—to the house and its future neighbors. As a principal in Bristol Development, Hines has worked with O’More students on projects like ICON in the Gulch and knew the potential. Enter JoAnne Haynes, herself an alumna, former board member, and long-time interior designer (disclosure: she happens to be the author’s mother, as well). Haynes knows the drill—she once won seven consecutive Best of Show awards in the Nashville Parade of Homes—and had thought for years about doing an O’More Show House. As project manager, she’s been involved day to day on every aspect, from the architecture to the landscaping. She also convinced all of the busy designers to participate and coordinated their involvement. To those who cross the threshold, the product support means that details emerge at every turn. Even from the street, the notion of a transitional Shingle-style cottage and its curvaceous gable ends in Middle Tennessee inspires delight. Haynes says the savings from in-kind sponsors allowed everything to be upgraded, down to the door hinges. This is not your average spec house.
At the risk of spoiling the surprise, smart space planning is a recurring theme. The laundry room with dedicated areas for potting and recycling. The storage studio in otherwise-unused eave space upstairs, perfect for things like stashing luggage and wrapping presents. Nooks and crannies turned into pantries and linen closets, because a house never seems to have enough. But the coup de grâce has to be the master bath, a stunning homage to 1940s Hollywood glamour in mirrors and white marble. An oversized his-and-hers dressing room, full of built-ins and luxury . . . you just have to see it. The Show House opens to the public on Friday, April 5, and runs Monday through Saturday from 10 a.m. to 4 p.m., and on Sundays from noon until 4 p.m. through April 21. For more information, visit www.omoreshowhouse.com. NashvilleArts.com
April 2O13 | 75
photo: Ken Roberts
Craig Brabson
Cameras and Rust
Hourglass 13M (detail)
C
raig Brabson's photography series Rust Abstracts/ Rusting Earth features images of metal in transitions of decay. He explains, “Rusting metal, roadside signs, doors . . .
everyday sights, each offering an image of beauty all of its own.” Like proponents of the “pure” photography movement that began in the ’30s with artists like Ansel Adams, Brabson’s process is slow. He prefers not to shoot thousands of photographs but rather five or six, believing that “overshooting takes away the intentionality of the media.” When Brabson finds a subject he loves, he determines exactly where and how he wants to shoot it. Unlike photographers who manipulate through darkroom processes or digital means, Brabson believes that what he composes in the camera using natural light will determine the final image. The finished product is stunning, with unique color and geometric abstractions. He strives to make “images that speak to something enduring and timeless, that stir something within.” In Orchestral Brabson abstracts manmade metal into an organic, terrestrial surface. He uses light to alter the colors and creates textures for viewers to contemplate and enjoy. He notes, “A moment of color and clarity may be waiting where I least expect it.” Brabson has exhibited work in galleries and festivals across the U.S., including a solo show at Cheekwood when he was only 24. Since he’s from Nashville, he wanted a space where he could continue an artistic dialogue with his community. The Craig Brabson Fine Art Photography Gallery debuted in the Arcade during the March Downtown Art Crawl. Orbiter 13M
For more information about Craig Brabson visit www.craigbrabson.com.
76 | April 2O13 NashvilleArts.com
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Orchestral
Sickle
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April 2O13 | 77
The Studio
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78 | April 2O13 NashvilleArts.com
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ballet
Dancing with the Bard Shakespeare's Star-Crossed Lovers Ignite the Stage by Jan Puckett Morrison | photography by Marianne Leach
W
hen Nashville Ballet CEO & Artistic Director Paul Vasterling set out in 2004 to create his own ballet version of Shakespeare’s classic story of “star-crossed lovers,” he had one thing in mind: to tell the tale of a love so powerful that nothing could contain it—not feuding families, not youth, not even life itself. But in telling the tale of powerful love, he could not ignore the story of
a powerful conflict that could only be resolved by the sacrifice of two young lovers. To illustrate the passionate animosity between the Montagues and Capulets, he incorporated a new element into his company’s repertoire for this performance—sword fighting and stage combat. “Although it’s set in Shakespeare’s time to Prokofiev’s timeless composition, this version has some modern influences from West Side Story and Franco Zeffirelli’s classic 1968 film,” Vasterling said. “Passionate, theatrical performances from our dancers beautifully illustrate the devotion shared between these two young lovers, while professionally coordinated fight scenes and physical choreography offer an action-packed performance.” To ensure the fight choreography matched the professional level of dance performance, Vasterling enlisted the expertise of London-based fight coordinator Tim Klotz to teach dancers how to safely and expertly incorporate sword fighting and stage combat techniques into their already challenging dance choreography. He relied on their existing concern for each other’s safety, as developed through partnering on stage for jumps, lifts, and catches. “When you’re building a team that creates the illusion of contention, you actually have to have a high level of cooperation amongst the performers so no one gets hurt in creating a great fight scene,” Klotz said. Vasterling, Klotz, and the men of Nashville Ballet agree that Romeo & Juliet is, at its core, a love story. But they also agree that it’s lively, energetic, and fun for the men “fighting” on stage and those watching in the audience. “Every little boy grows up watching fight scenes in movies and on TV, so it’s a lot of fun for the male dancers, especially, to play these characters that are so physical and strong,” said company member Christopher Stuart, who performed in Romeo & Juliet in 2004 and 2008. “It’s also really challenging because we have to keep our dance choreography set to the music, while also adding in the fight choreography and making sure no one gets injured on stage with swords flying.” Romeo & Juliet will be held at TPAC’s Jackson Hall for three performances April 26–28, 2013. Tickets start at $35 and can be purchased in person at the TPAC box office in downtown Nashville, by phone at 615-782-4040, or at www.nashvilleballet.com. 80 | April 2O13 NashvilleArts.com
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“
The opportunities to learn a craft abound in Nashville thanks to the Clay Lady’s Studio, Artist Co-op & Galleries, and The Skillery. Nashville’s cultural amenities have attracted big-city transplants, ready to embrace the city’s growing creative culture.
”
Nashville
A Craft Mecca by Teri Alea, Executive Director, TACA
N Olen Bryant
ashville's secrets are getting out. It is no surprise that
numerous publications and studies show our town to be a top cultural destination. When noting all of the wonderful opportunities Nashville offers artists—from entertainers to painters—it’s important to make sure craft is on the list. Historically, craft has been viewed as a redheaded stepchild of the visual arts. Rooted in function, traditional crafts of clay, glass, metal, paper, straw, textiles, and wood were left off of gallery shelves for decades. Instead, shop walls featured an abundance of two-dimensional paintings and drawings. You know . . . Art. Thanks to visionaries in our area, today craft takes center stage in Nashville. Don’t agree? Head to the Parthenon to see Alan LeQuire’s notable sculpture Athena. Visit Centennial Park to see three events dedicated to showcasing the work of today’s finest makers. Take a class in a variety of media from talented instructors, or stop in a store selling a variety of local, handmade work. In my current role as Executive Director of the Tennessee Association of Craft Artists, I have to tip my hat to those who came before me. The founders of TACA noticed the scarcity of opportunities fine craft artists had to show and sell their work and travelled across the state to fix this. As a result of their hard work and determination, exhibitions began popping up, marking the birth of Tennessee craft fairs. Behind the scenes, nonprofit organizations, like TACA, formed to support and encourage craft professionals in their careers. Craft started to creep out from the shadows.
Akira Blount
Setting the stage were art visionaries like Alice Zimmerman and Nancy Saturn, Vanderbilt University’s Sarratt Gallery led by JoEl Logiudice and Kim Brooks and Rusty Wolfe, and leaders in government positions, who understood that keeping artists in their community and valuing their output had a domino effect. Both the Metro Nashville Arts Commission and the Tennessee Arts Commission are among those recognized nationally as models of
82 | April 2O13 NashvilleArts.com
Dale and Brin Baucum
Curtiss Brock
arts support, with significant budgets and programs that impact economic development, community access to the arts, and the ability of art organizations to stay in business. Today, Nashville’s craft fairs continue throughout the city. In Centennial Park, fairgoers flock to TACA and American Artisan events. Pop-up markets like Porter Flea attract buyers indoors. A variety of organizations, associations, and guilds—the Tennessee Association of Woodturners, the Cumberland Furniture Guild, and Handweavers’ Guild, to name a few—continue to inform and support artists, equipping them with the tools to make a career out of their passions. Jason York
The opportunities to learn a craft abound in Nashville thanks to the Clay Lady’s Studio, Artist Co-op & Galleries, and The Skillery. Nashville’s cultural amenities have attracted big-city transplants, ready to embrace the city’s growing creative culture. Looking to buy? Collectors complete the circle of support. Pop into LeQuire Gallery and LeQuire & Company, Shimai, Art & Invention Gallery and Bryant Gallery in East Nashville, the Tennessee State Museum and the Frist Center’s gift stores, the Clay Lady’s Studio, Artist Co-op & Galleries; The Copper Fox in Leiper’s Fork, the Tennessee Artisan Market at the Renaissance Center in Dickson, and many more locations and studios across the state. Take a look at the TACA website page Buy Local and Handmade for venues big and small. Besides individual collectors, other venues with a long view have committed funds and curatorial staff to building significant craft collections. Our own Tennessee State Museum has an important collection, and HCA, Bridgestone, Cracker Barrel, and most recently the Ayers Foundation have gathered and saved high-quality handmade work, allowing craft and fine artworks to be seen and appreciated by the next generation. All the components of support have grown in our community. It’s no coincidence that our national media have begun recognizing, even in craft, what those who live, work, and play here already know—Nashville deserves the attention we’re getting!
Vince Pitelka
The 42nd Annual TACA Tennessee Craft Fair will be held in Centennial Park May 3–5, 2013. Hours: Friday and Saturday 10 a.m. to 6 p.m., Sunday 10 a.m. to 5 p.m. The event is free and open to the public. www.tennesseecrafts.org NashvilleArts.com
April 2O13 | 83
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Photo: Patrick Johnson
theatre
Geoff Davin and Jennifer Richmond
BRT Goes Underground with Floyd Collins by Jim Reyland
T
Photo: Patrick Johnson
he Boiler Room Theatre is always among the first to introduce us to underground theatrical works that, once produced and promoted, after the patrons are comfortably in their seats and the house is dark, never fail to completely entertain on every level.
Will Sevier, Josh Lowery, Dan Zeigler, Laura Skaug
The Marvelous Wonderettes is a funny, glittery song-and-dance revue featuring a trunk full of pop classics like “Lollipop,” “Stupid Cupid,” “Lipstick on Your Collar,” “Mr. Lee,” “It’s My Party,” “Heat Wave,” “Wedding Bell Blues,” “Leader of the Pack,” “R.E.S.P.E.C.T.,” “Rescue Me,” “Son of a Preacher Man,” and twenty other hits. The Marvelous Wonderettes will be performed at Actors Point on the campus of God Why Church, 100 God Why Court, Hendersonville, Tennessee, April 5, 6, 12 and 13 at 7:30 p.m. and two matinees at 2 p.m. on April 6 and 14. Dinner and Show: Adults $34, Seniors $31, Children $24. Show Only: Adults $18, Seniors $15, Children $12. On sale now at www.actorspointtheatre.com or by calling 615-431-9620.
Some of you may remember the true events surrounding Floyd Collins, America’s first sensational, true-life soap opera as it played out on the airwaves just miles north of Nashville. The rest of us, having not been born yet, will have to experience what New York magazine called “the original and daring musical of our day.” As the story goes, Floyd Collins, a Kentucky farmer and avid explorer, entered Sand Cave in 1925. He carried with him a daring idea: turn a rural Kentucky cave into a tourist attraction. A worthy attempt for the time, but instead of discovering fame and fortune, Floyd became hopelessly trapped inside his own dream. Perilously pinned by a cave-in just 150 feet from the cave entrance with limited contact to the outside world, it was hardly something to sing about. BRT Musical Director Jamey Green disagrees. “When I first heard [the musical Floyd Collins] my jaw dropped! It's very daring in how it does not compromise when marrying music to story. It's loaded with motifs that weave in and out and back again. It's practically operatic in that sense . . . and while a tragic story, it is handled with compassion and does not dwell on the tragedy but rather, at times, concentrates on the elements of family, friends, and the human spirit.” Floyd Collins’ ‘situation’ turned him from Kentucky farmer to national folk hero, fighting for both his life and his sanity while a carnival-like atmosphere exploded on the ground above him as would-be rescuers, reporters, and gawkers from across the country descended on the site. His entrapment and the subsequent efforts to free him became one of the most sensational news events of the twentieth century. Geoff Davin stars as Floyd Collins, along with Nashville favorites Will Sevier, Scott Stewart, Jennifer Richmond, Lisa Gillespie, Josh Lowery, Michael Adcock, Phil Perry, Dan Zeigler, Flynt Foster, Megan Chambers, Daniel Bissell, Bryce Conner, Neely Green and Darci Wantiez.
Jim Reyland owns Audio Productions, a production facility in Nashville, and is the artistic director of Writer’s Stage Theatre. His new play, Used Cows for Sale, and a new musical, I’ll Take the Crowd, are currently in development. jreyland@audioproductions.com
Floyd Collins, a musical of a unique kind, will be at the Boiler Room Theatre April 19 through May 4. Ticket prices are $27 for adults, $25 for seniors (age 60 and up) and students (age 13 through college with valid ID), and $21 for children ages 3 through 12. Matinee prices are $2 less, respectively. All Tuesday shows are two for one. Tickets can be bought at 615-794-7744 or ordered online at www.boilerroomtheatre.com.
NashvilleArts.com
April 2O13 | 85
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music
Ballet mécanique A Historic Musical Event Debuts at Blair Absolutely Not to be Missed by Daniel Tidwell
P
ounding percussive rhythms of robotic pianos, chaotic xylophones, rapid-fire electric bells, wailing sirens, and the din of airplane propellers punctuating an abstracted visual landscape where the natural world gives way to a mechanistic dance between machines and humans. This is the
visual and aural landscape of Ballet mécanique, a landmark collaboration of avant-garde film and music between experimental composer George Antheil, artist Fernand Léger, and filmmaker Dudley Murphy. The centerpiece of Ballet mécanique is Antheil’s score, his most famous piece, and on April 7, 2013, VORTEX, Blair School of Music’s percussion ensemble, will bring this rarely performed piece to life along with the eponymous film at Blair’s Ingram Hall—only the sixth time that the work will have been performed with the film in the U.S. The score from 1924 is a challenge to perform as it was originally written for sixteen player pianos, four bass drums, three xylophones, a tam-tam, seven electric bells, a siren, and three airplane propellers.
“The marriage of film and score was important historically,” says Holland, “and for that reason I chose to go with the film edition. That said, the longer, non-film edition is staggering in scope and in particular with the use of prolonged sections of total silence, a first in Western music.” The performance at Blair will feature eight grand player pianos. “It is one thing to hear the player pianos but to actually see them in performance is breathtaking,” says
VORTEX artistic director, Dr. Michael Holland
88 | April 2O13 NashvilleArts.com
photo: jerry atnip
Michael Holland, artistic director of VORTEX, says that Antheil actually made three versions of Ballet mécanique: “The original—and longest—written in 1924, a second version in 1926 that reduced the multiple player-piano rolls to a single roll, and the more commonly known 1953 revision that removed all the mechanical elements entirely because the technology did not exist to realize the 1924 score.
photo: © 2005 Charles Amirkhanian photo: jerry atnip
Photo courtesy of the estate of George Antheil, The Other Minds Archive and radiom.org
National Gallery in Washington, D.C.
Composer George Antheil
Holland. “These are twenty-first-century player pianos. The speed and rhythmical fireworks of mécanique will leave people in awe . . . these pianos very much fit the definition of mechanical robots.” Holland’s partner in staging this difficult work is Tufts University’s Paul Lehrman, who has been key to the restoration of Ballet mécanique through robotics and MIDI processing. “Paul and I have talked about producing this for the past five years, and it's been a major undertaking for the last two years, in order to bring this to the Ingram stage at Blair,” says Holland. According to Holland, “Fernand Léger and Antheil had a very loose working relationship, meaning that each went about working on their own respective elements without much discussion. The net result was a score that was almost twice as long as the abstract film. Antheil knew that to reconcile this would require some deft editing of the score . . . and Paul Lehrman has done a spectacular job of this.” Lehrman has described Ballet mécanique as “one of the great ‘lost’ pieces of the twentieth century instrumental repertoire.” According to Lehrman, “Antheil’s attempt to use the power of machines to create a new type of music . . . opened the door to a new artistic aesthetic, which was eagerly adopted by succeeding generations of composers, from John Cage to Frank Zappa, to the industrial-noise and techno artists of today.” “Rhythmically, the original score is mind-boggling,” says Holland, “including frequent time signature
changes from 7/8 to 3/16, 11/16, 5/32, and 7/32. Dynamically, this is one of the loudest pieces of music on the planet. Ballet mécanique is to music as cubism is to art. When presented with the Léger/Murphy film, it is also a radical cinematic departure at the height of the silent era.” Antheil’s piece had its concert premiere in Paris in 1926 and was greeted with outrage and a riot in the streets by concert-goers. Holland thinks that the work will have a much more welcome reception here since “Nashville audiences have demonstrated a palpable hunger for daring programming,” as evidenced by “the standing-room-only audience for the critically acclaimed Cage/Cunningham Festival that VORTEX staged last April.” Antheil never lived to see the work fully realized and, in his 1945 autobiography Bad Boy of Music, wrote, “If the public still thinks of me at all, it probably thinks of me as the composer of this damned Ballet mécanique . . . it is frankly my nightmare.” Through this performance, Michael Holland, Paul Lehrman, and VORTEX are embracing Antheil’s dream to meld music and machines and introducing Nashville to the composer’s substantial legacy. The Ballet mécanique will be performed on April 7 at 8 p.m. at the Vanderbilt Blair School of Music. The event is free and open to the public. Come early to enjoy the Robotics and New Media Art Exhibition, which begins at 6:45. www.blair.vanderbilt.edu/events/mecanique.php NashvilleArts.com
April 2O13 | 89
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A funny thing happened
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recently underwent a medical procedure that required anesthesia. Okay, I admit—I
Photo: Anthony Scarlati
had a colonoscopy. My third. My first was fifteen years ago. They used Versed to put me under and all went well. For the second (six years ago), they used Diprivan and I had a rough time. Once bit, twice shy, I say. So this time, I requested they use Versed. My request was met with resistance. "Versed doesn't wear off as quickly," they explained. "And you have to understand, Ms. Chapman . . . Diprivan is a pain killer, whereas Versed is a memory killer." I'm thinking, Well, if I don't remember the pain, does that mean I felt pain? If a tree falls in the forest, and no one is there to hear it, does it make a sound? I stood my ground. Versed was used and the procedure went smoothly (i.e., I don't remember any pain). Then Chris drove me home.
photo by Nellie Jo Rainer
I probably should have slept off the effects of the Versed or gone for a walk or watched TV. Instead, I turned on my computer.
The Factory in Franklin • 230 Franklin Road The Row • Suite 12-S • 615-519-0258 www.nelliejoisart.com
Two days later, I received a mysterious email from Gail Pollock, longtime companion of Scotty Moore. Scotty, as many of you may know, played guitar for Elvis and is generally known as the Father of Rock & Roll Guitar. "Scotty would love to hear your new CD," the email read. "Please send it to [his mailing address]." I'm thinking, What is she talking about? Scotty Moore? The man who stood at the right shoulder of Elvis Presley when the world changed? Scotty Moore wants to hear my CD? Then I scrolled down and saw the email I had written Gail very shortly after arriving home from my colonoscopy. How can this be? I thought. Scotty wasn't even on my list of artists to contact. Scotty Moore? Even I can't think that big! (Unless under the influence of Versed, apparently.) A few days later, I received the following: I have loved Marshall for years, but this [Blaze of Glory] is a real work of art. The band is small, you can hear every note from every instrument (thanks Mr. Mixer), the voice is enough on top to hear every emotion in the words but not overpowering. In addition to the mechanics of the CD, which sounds much more like we did at Sun Studio in 1955 than something from Nashville in 2013, the songs are just as good as I expect from Ms. Chapman. I especially like the Bo Diddley-type opener, but every song sounds good. This is one to put on and listen all the way through, not just put one or two cuts on your iPod. – SCOTTY MOORE Editor's note: Marshall's new CD may be pre-ordered at www.tallgirl.com. 92 | April 2O13 NashvilleArts.com
ANTIQUE OAK FLOORING MOULDING BRACKETS TRIM & CORBELS HEART PINE FLOORING BEAMS FARM TABLES FIREPLACE MANTELS
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6 1 5 - 4 0 1T-ODAY! 7117 1225 4TH AVE S. NASHVILLE, TN WOODSTOCKVINTAGELUMBER.COM
appraise it
Lucile E. Lundquist Blanch, American (1895–1981). Oil on canvas, signed and dated 1966 Lucile Lundquist Blanch was a woman of notable accomplishments. Born in Hawley, Minnesota, she studied painting and lithography at the Minneapolis Art Institute from 1916 to 1918. Her fellow Minnesota-born classmates at the time would go on to be the internationally known lithograph heavyweights Harry Gottlieb, Adolph Dehn, and Arnold Blanch, her husband for eleven years. They all shared the good fortune of being young in the heyday of the Progressive Era, the 1900–1920 period that was the seedbed of new political and artistic ideas. Blanch and her classmates, in rapid succession after finishing their studies in Minnesota, headed for the Art Students League of New York. There Lucile studied under artists like Kenneth Hayes Miller and Frank DuMond.
Note of Interest Guggenheim Fellowships are American grants that have been awarded annually since 1925 by the John Simon Guggenheim Memorial Foundation to those "who have demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts."
In 1922, while in New York, she married Arnold Blanch. The Blanches then moved to Woodstock, New York, where they played a key part in the revitalization of the Woodstock Art Colony. During their early years the Blanches supported themselves by weaving and selling tapestries and running a small cafeteria. All the while their reputations as painters and lithographers grew in the world of art.
Art Term Fresco: A fresco is both a painting done on a wall and the technique used to create such a painting. A fresco is created using pigments mixed with water painted onto a wall while the plaster is still wet. The most well known fresco in the world is, without a doubt, the ceiling of the Sistine Chapel, painted by Michelangelo.
Lucile’s time came in 1933 when she received a Guggenheim Fellowship for “creative work in painting and lithography.” From that point forward her art was collected by and shown in a number of important institutions and galleries. She exhibited at the early Whitney Studio Club and later at the Whitney Museum of American Art, Museum of Modern Art, New York Society of Women Artists, and various art galleries. In addition to the Whitney, the Metropolitan Museum of Art and Museum of Modern Art in New York City collected her work, as did the Corcoran Gallery in Washington, DC.
in the late ’30s at the Ringling School of Art, Sarasota, Florida, in the ’60s at Mercer University, and in the ’70s at Wesleyan College, Macon, Georgia. All the time she maintained her connection to Woodstock, New York. When she died in 1981 she was buried in the Artists Cemetery there.
After her divorce from Arnold Blanch in 1933, Lucile continued to paint while traveling and teaching throughout the United States and Mexico. Her teaching career spanned four decades beginning
all Photos: Jerry Atnip
Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an appraiser of Tribal Arts. If you would like Linda to appraise one of your antiques, please send a clear, detailed image to antiques@nashvillearts. com. Or send photo to Antiques, Nashville Arts Magazine, 644 West Iris Dr., Nashville, TN 37204.
This painting was acquired from the brother of the owner, an artist himself who dabbled in buying and selling art that he liked. The purchase price was not significant, “maybe $400.” Here is a case of two siblings each having a “good eye.” Thirty-six works by Lucile Blanch have been recorded as being offered at auction since 1997. Of those thirty-six, seventy-seven percent have sold. The achieved prices have ranged from $400 to $19,000. It is my opinion, based on achieved prices for similar figurative works from the same time period, that a conservative auction estimate for this painting would be $3,000 to $4,000. NashvilleArts.com
April 2O13 | 93
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Myles Maillie • Painting
on the town with Ted Clayton
T
he envelope please . . . and the Belcourt Oscar goes to . . . Holly Hoffman and Amos Gott for the Oscar Experience at the Belcourt
Theatre. The Dolby Theatre in L.A. had nothing on us here at the Belcourt, walking the red carpet with fans screaming and stars waving—what a night of glamour here in Nashville. Nominated that evening for the Belcourt Academy Awards were Amy Atkinson and Vince Dreffs, Judy and Stephen Price, the radiant Tish with fellow co-stars Stephanie Moore and Jackson Brown, Sally Bowers and Andy Currey, honorary Oscar winners Lee Pratt and Neil Krugman, leading actor Chase Cole, famous author Alice Randall with her leading man David Ewing, and Oscar winners Joan and Will Cheek.
Sally Bowers and Andy Currey – Belcourt
Lee Pratt, David Ewing, Alice Randall – Belcourt
Amos Gott also won Best Set Director for his magnificent "swanky" décor, both in the VIP lounge and the impressive entrance under tent on Belcourt Avenue, where Amos had crystal chandeliers, wooden flooring, and seating in a deco fashion. Most Hollywood! The attire was black-tie or silver-screen splendor, Chanel with Bulgari diamonds. My attire was a three-piece, winter-white cashmere suit—yes, think Great Gatsby and add 50 pounds, lol. Hollywood's biggest night was certainly celebrated here in Nashville at the Belcourt Theatre, where audiences have been entertained since 1925.
The glamour continued for Nashville socials with Dancing for Safe Haven, an evening benefitting Safe Haven Family Shelter, which for 29 years has been providing for and serving homeless families. I was again honored to be a judge this year, and I’m just amazed by the dancing talent shown by John Dwyer, Meredith Libbey, Darrell Freeman, Kate Herman, and the lovely Vicki Yates. Fellow judges Heather Vince Dreffs and Amy Atkinson, Co-chairs Amos Byrd, Jana Davis, and Gott and Holly Hoffman – Belcourt Christopher Wayne had quite the job that evening. Meredith Libbey with Michael Hosale were the judges’ favorites, online fave went to Darrell Freeman with Juanita Simanekova for their rumba performance, Chairs Bob Tuke, Deb Varallo, and John Dwyer was John Steele - Dancing for Safe Haven the audience favorite. These "celebrity" dancers train for weeks with professional dancers, and their dancing attire was most magical, sparkling, and sexy, down to Vicki Yates’ red rose in her hair. Francis Guess was seen lobbying for Vicki during
Kenny Blackburn, Jana and Ansel Davis, Anne Holt – Dancing for Safe Haven
Daniel and Samantha Fisher, Lynley and John Dwyer, Maria Bealer - Dancing for Safe Haven
The Contestants – Dancing for Safe Haven
the cocktail hour, and yes, he did say, "Ted I have cash!" The evening ended with all on the dance floor. Rumba, swing, samba . . . we did it all. Those eyeing the Goo Goo Clusters as dinner favors were Joni Werthan and Larry Jessen, the divine rumba dancer Heloise Kuhn, Laurie and Steve Eskind, Gail and Steven Greil, Amy and Owen Joni Werthan, Rob Bruyn, Angela Joyner, Donna and Jeff Eskind, Evans - Dancing for Safe Haven Dinner Chairs Deb Varallo, John Steele, and Bob Tuke, Sharron and Mike Pigott, Brenda and Joe Steakley, and Denice and Milton Johnson. The 2013 Hero Award was presented to two outstanding individuals, Karen and David Conrad, for their longtime support of Safe Haven. Congratulations to Trey Lipman, leading dance lady for Safe Haven, for creating what in my opinion is Nashville's Most Fun Party! On a busy Saturday evening a few weeks back, Ron York hosted his second anniversary and expansion celebration at York & Friends Fine Art on Harding Place. Guests were welcomed through a large tented area filled with wonderful food delights. Art, art, and more art was displayed in Ron's newly renovated gallery where artists and patrons marveled through what I would call an art wonderland. Jann Harrison and Streater Spencer were among many local artists on hand welcoming Daisy King and George Clark, Frances Anne Varallo, Jo and Dan Church, Chloe Fort, Bo
96 | April 2O13 NashvilleArts.com
Bryan Edwards and Ron York York & Friends Celebration
Daisy King and George Clark, Jann Harrison – York & Friends Celebration
Tommy and Susan Meador, Bo Sebastian, Laverne McCoy – York & Friends Celebration
Margaret and Fred Ellis – HRC Gala
Sebastian with his cute mom, Laverne McCoy, Connie Allen and Lou Diamond. A portion of sales that evening went to benefit Alias Chamber Ensemble. Super party, Ron. I cannot wait till your third anniversary!
From York & Friends my loyal photographer Sophia Forbes and I headed downtown to the Renaissance Hotel for the 14th Annual HRC 2013 Equality Gala. It was a night of fun and laughter with headline entertainer Alec Mapa and the live auction with the hilarious Jugg Sisters. Bridgestone was again the presenting sponsor of the evening with Ginny MarkhamJones, Ian May, and J.R. Simon as dinner co-chairs. The 2013 Equality Award was presented to Margaret Ellis, and Hal Cato received the 2013 Community Leadership Award.
The Human Rights Campaign is a giving organization that encourages gay, lesbian, bisexual, and transgender Americans to live their lives openly, while changing the hearts and minds of Americans Iris Buhl and John Bridges – to the side of equality. Mayor Karl HRC Gala Dean summed up this great evening in his quote: "I salute the Tennessee Human Rights Campaign and encourage you to remain steadfast in your efforts to end discrimination.” Among those celebrating the evening were Iris Buhl and John Bridges, Keith Little and Sam Felker, Allen DeCuyper and Steve Sirls. The awards continued with the T.J. Martell Honors Gala, co-chaired by David Corlew, Kitty Moon Emery, and Steve Hauser. This is always a stellar evening benefiting the T.J. Martell Foundation, which is the music industry's largest foundation that funds innovative medical
Co-chairs Ian May, Ginny Markham-Jones, J.R. Simon - HRC Gala
Mayor Karl Dean, Hal Cato, Amos Gott – HRC Gala
Alex Joyce, Honoree Peggy Joyce, Claire and Douglas Joyce – T.J. Martell Gala
JoAnne and Gary Haynes – T.J. Martell Gala
Tony and Jamie Brown – T.J. Martell Gala
research focused on finding cures for leukemia, cancer, and AIDS. Honorees of the evening were Butch Spyridon, Vince Gill, Peggy Joyce, and T Bone Burnett. Nashville star Charles Esten hosted the program, with star presenters including Tim Nichols, Amy Grant, Jennifer Pietenpol, PhD, and Jeff Bridges. The entertainment was Ted Clayton, Susan and Jeff Bridges – fabulous, by Brett James, Jenny T.J. Martell Gala Gill, Keb’ Mo’, Aaron Barker, Elvis Costello, and John Mellencamp. Wow, what an evening. Only in Nashville will one enjoy such great talent all on one stage in one evening supporting such a great cause! I’ve always wanted to ask a superstar the question “Boxers or briefs?” and I did that evening while visiting with my new best buddy Jeff Bridges. Jeff's response to me was, "Well, Ted, never been asked that before. Neither, to be exact!" OK, we shall go no further, but he did add, "Funny you bring this up, for my daughter, Jessica, is coming out with a new song that will sure be a hit—“Thongs on Wrong,” and he continued to tell me the story about how his most lovely wife, Susan, had that happen to her. Just goes to show how much one may find out by asking an icebreaker question. So now you are wondering what this superstar was wearing . . . well, that is known to only Jeff, Susan, and Ted! By the way, FYI, I’m a boxer man.
NashvilleArts.com
Tooty Bradford and Susan Simons T.J. Martell Gala
Mike and Cathy Kelly, Steve Andre T.J. Martell Gala
April 2O13 | 97
my favorite painting
Dr. Keith Churchwell
Executive Director, Chief Medical Officer, Vanderbilt Heart & Vascular Institute
W
photo: john jackson
hen my wife decided to redo our living room seven years ago we had decided that a large painting should have a prominent place in the room to help in its overall look. I assumed I had final veto
over the choice since I'm the "artist" in the family (my assumption, not hers), so it was a surprise one day to come home and see this Paris street scene over our table. Her taste, it turns out, was impeccable; it matched the roomâ&#x20AC;&#x2122;s decor and is a beautiful piece. My daughter, who was 10 at the time, thought it was a great pictureâ&#x20AC;&#x201D;it seems to her that her father was posing in the left lower corner! So I have identified ever since with the gentleman in the straw summer hat with the relaxed posture, stylish and assured.
Vitali, Parisian Street, Oil on canvas 98 | April 2O13 NashvilleArts.com
H AY N E S G A L L E R I E S PRESENTS
VINCENT GIARRANO: “TRUTH & BEAUTY”
APRIL 12 TO MAY 18, 2013. RECEPTION: APRIL 12, 6 TO 8PM ROUNDABOUT GALLERY WEST. PAINTING BY VINCENT GIARRANO. WAKING. OIL ON LINEN. 24 X 18 INCHES.© COPYRIGHT VINCENT GIARRANO INQUIRIES: GARYHAYNES@HAYNESGALLERIES.COM OR PHONE 615.430.8147 OR 615.312.7000. HAYNESGALLERIES.COM. GALLERIES: ON THE MUSIC ROW ROUNDABOUT IN NASHVILLE, TN. AND SEASONALLY IN THOMASTON, ME. 100 | April 2O13 NashvilleArts.com