Nashville Arts Magazine - August 2016

Peter Frampton

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Ludie Amos

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Mayor Megan Barry

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Peggy Snow

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Alan LeQuire

THE RYMER GALLERY Continuing Husk

by L.A. Bachman

Spectrum III, 120” x 45”

August 3 - September 1 also:

New trompe l’oeil paintings

by Florida painter Georgina Love The Rymer Gallery / 233 Fifth Avenue / Nashville 37219 / 615.752.6030 / www.therymergallery.com

5 T H AV E N U E O F T H E A R T S DOWNTOWN NASHVILLE

PUBLISHED BY THE ST. CLAIRE MEDIA GROUP

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Columns MARSHALL CHAPMAN | Beyond Words ERICA CICCARONE | Open Spaces JENNIFER COLE | State of the Arts LINDA DYER | Appraise It RACHAEL MCCAMPBELL | And So It Goes JOSEPH E. MORGAN | Sounding Off ANNE POPE | Tennessee Roundup JIM REYLAND | Theatre Correspondent RAEANNE RUBENSTEIN | The f-Stops Here MARK W. SCALA | As I See It JUSTIN STOKES | Film Review

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, or by mail for $6.40 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 credit card number.

TINNEY CONTEMPORARY

A DECADE IN THE MAKING A TenTh AnniversAry exhibiTion August 6 - September 17, 2016 237 5th Ave N . Nashville 37219 . 615.255.7816 . tinneycontemporary.com

5 t h Av e n u e o f t h e A r t s Downtown nAshville

On the Cover Lorraine Shemesh

Exhale, Oil on canvas, 69" x 80" See page 88.

Alan Stone Collection, Courtesy Alan Stone Projects, New York. Š Lorraine Shemesh

August 2016 20

36

Features

76

18

Nashville Walls

20

Ludie Amos Adds to Magic on Jefferson Street

82 Storytellers

Cumberland Gallery Summer Series

28

Pastorals, Landscapes. and the Arcadian Vision At Vanderbilt Fine Arts Gallery

30

Nostalgic Neon Amanda Hope Cook's Sign Paintings

36

Olen Bryant At Customs House Museum

38

Nashville Insight Mayor Megan Barry Takes a Look at the Creative Soul of Nashville

44

Peter Frampton Comes Alive in Music City

Delia Seigenthaler and Emily Holt At Julia Martin Gallery

Columns 16

Crawl Guide

42

Public Art

66

Abstract Nashville

66

44 54

84

Lorri Kelly Conversations Between Colors

48

Select Works From Alan LeQuire

54

Q&A with Kat Jones

60

From Cells to Sales DreamWeave Handbags Empower Incarcerated Women

69

Peggy Snow Portraits of Buildings

68

The Bookmark Hot Books and Cool Reads

72

Open Spaces

by Erica Ciccarone

80

Symphony in Depth

86

Arts & Business Council

88 Art Around

Lorraine Shemesh: The New York

Artist's Painted Pools Series Makes

A Splash 91

Sounding Off

by Joseph E. Morgan

92 ArtSee 96

Art Smart

by Rebecca Pierce

102 Theatre

by Jim Reyland 104 NPT 109 Beyond Words

by Marshall Chapman 110 My Favorite Painting

69

MAYDAY, MAYDAY Ed Nash Reacts to Brexit “Some people demonstrate, others start petitions, and many of us rant on social media. I like to make socially relevant art,” explains English transplant Ed Nash.

Following the Brexit vote, Nash designed MAYDAY, MAYDAY, MAYDAY and worked on it round the clock for over a week with his studio craftsmen. “I have been making a series of ‘terrain’ paintings for about seven years. They look like lava flows and geological formations from the air.” Nash saw the correlation between the process of the formation of lava and the current political climate within the United Kingdom.

Volcanic lava that is initially destructive and disordered will become new land and can in fact clean the environment and create more fertile soil.

The piece is 4 x 8 feet mounted on white acrylic and back lit with RGB LEDS that can be remotely controlled. The white flashes on and off, looking like an SOS call—hence the title MAYDAY, MAYDAY, MAYDAY. The flag symbolizes the unity of the UK; however, if Scotland does leave the United Kingdom, then the Union Jack, which is an amalgamation of the St Andrew’s Cross, the St Patrick’s Cross, and St George’s Cross, may need to be redesigned.

Ed Nash in front of MAYDAY, MAYDAY, MAYDAY, 2016, Mixed media on acrylic, 48” X 96”

“Right now there is an atmosphere of almost anarchy and total disorder in the UK, yet what has passed cannot be undone, and a new political landscape and cultural terrain will form from that disorder. The issues were very geographical, and I thought the tectonic and physical nature of the material I used would represent that. And the fact that the material of the piece is breaking apart and reforming into something new was, for me, a visual representation of the situation.”

To see more of Nash’s work, visit www.ednashart.com.

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Publisher's Note

A Great City Deserves Great Art The phone rang and a lady named Louise told me that she would like to bring some handbags to the office for me to look at. Well, anyone who has spent more than a passing moment with me knows that my fashion sense usually extends to whatever is clean at the moment.

Still I told her to drop by whenever was convenient. When Louise did show up she brought with her a remarkable collection of woven-paper handbags. I remembered seeing something similar a long time ago, vases created by wartime prisoners usually out of woven cigarette packs. Turns out these handbags were also woven by inmates through an innovative arts program called DreamWeave at the Metro County detention facility here in Nashville. I paid a visit to the facility and watched the ladies folding each piece of paper, wrapping it with cellophane, and then weaving the strips into handbags. I asked if they would like back copies of the Nashville Arts Magazine to use, and the results are extraordinary. See for yourself and read the full account on page 60. More important, the ladies shared with me that the program has brought art into their lives and given them a renewed purpose.

That is the healing power of art.

Mayor Megan Barry is just plain cool and exactly what this city needs at this time. A mayor who understands the importance of the arts in shaping and defining a city's future. She loves art; she buys art, attends art openings and concerts, and she recently signed into law a budget which increased funds for the Arts Commission. Way to go!

You can read about Mayor Barry's vision for our city on page 38.

It's hot out there. The cover cools me down.

Paul Polycarpou | Publisher

JACK YACOUBIAN

FINE JEWELRY & ART GALLERY F E AT U R E D A R T I S T AT T H E A U G U S T F R A N K L I N A R T S C E N E Mike Martino is a master printmaker in both traditional and contemporary printmaking methods. After getting his MFA at Louisiana State University Mike had fallen in love with the South and now resides in the Nashville TN area. Mike has built a printmaking studio called Blue Fig Editions where he prints his own work as well as teaches.

Mike has collaborated with other artists to create and publish limited edition prints. Select galleries across the US represent and show Mike’s prints. He has also had several one person shows among many group shows.

“My prints are a synthesis of my creative vision along with my expertise in printmaking methods. All my work originates from real life however once the pencil hits the paper I stray from reality to focus in on formal issues of composition, mark making, color texture and rhythm.”

Mike Martino • mike@bluefigeditions.com • 615-942-9844 Visit Our Showroom: 300 Public Square, Franklin, TN 37064 (615) 224-3698 • www.jackyacoubianjewelers.com Mon-Sat. 10am-5pm

HISTORIC DOWNTOWN FRANKLIN

BENNET T GALLERIES introducing

MARIANNE KOLB

“A Step Forward” mixed media on board 16” x 16”

2104 Crestmoor Road in Green Hills, Nashville, TN 37215 Hours: Mon-Fri 9:30 to 5:30 • Sat 9:30 to 5:00 Phone: 615-297-3201 • www.bennettgalleriesnashville.com

August Crawl Guide Franklin Art Scene

Friday, August 5, from 6 until 9 p.m.

Gallery 202 is featuring sculptor Emily Allison, who creates Papier-mâché pieces incorporating found objects. Jack Yacoubian Fine Jewelry and Art Gallery is showcasing work by artist and printmaker Mike Martino. View oil paintings by Amy Luker and woodturnings by Jim Ballard at Boutique MMM. Hope Church Franklin is exhibiting work by mixed-media artist Amanda Kiser. Imaginebox Emporium is presenting a selection from Cory Basil’s Experiments in Motion series. See live glassblowing demonstrations by Jose Santisteban and Mike Ingram at Franklin Glassblowing Studio. Historic Franklin Presbyterian Church is displaying paintings

by Carol Moon and drawings by Leah Borse.

Mixed-media artist Lynn Farris, who uses reclaimed wood and canvas as surfaces, is showing at Harlin Meyerhoff. Parks on Main is featuring jewelry made from marbles by Mary Catherine McAnulty and Gerald Witcher. Stop by the new gallery Masters Editions of Franklin to see a range of art from religious to Mediterranean and Americana. Taziki's is hosting Chris Green, Emily Allison, Gallery 202 who will paint live in their window. Oksana Carlo is showing at Williamson County Visitor Center. O’More College of Design is exhibiting work by students in grades 1–12 in the Summer Studio. Throughout downtown Franklin visitors can see origami structures by Evan Genter.

First Saturday Art Crawl Downtown Saturday, August 6, from 6 until 9 p.m.

Tinney Contemporary is presenting A Decade in the Making, a two-part exhibition commemorating the 10th Anniversary of the gallery and featuring works by Tinney Contemporary artists including Andy Harding, Anna Jaap, Béatrice Coron, Carla Ciuffo, Carlos Gamez de Francisco, Dorothy O’Connor, Eduardo Terranova, James Perrin, Jane Braddock, Jason Craighead, Patricia Bellan-Gillen, Peri Schwartz, Sky Kim, Stefany Hemming, and more. The Arts Company is hosting their annual Avant-Garage Sale. The Rymer Gallery is exhibiting Continuing Husk

by L.A. Bachman and new trompe l’oeil paintings by Florida painter Georgina Love. The Browsing Room Gallery at the Downtown Presbyterian Church is having an artist-in-residence group show featuring Hans Schmitt-Matzen, Cary Gibson, William Steven Stone, Richard Feaster, and Sarah Jordan.

In the historic Arcade, WAG is featuring Hans Schmitt-Matzen, The Browsing Room

The Poke Show: Inquiries for the Made-Up Mind, linocut, letterpress, and Risograph prints from digital and traditional means by Watkins alumnus Stephen G. Jones. COOP Gallery is showing The Calendar Series, a solo show featuring recent work

by Courtney Puckett. Blend Studio will be hosting new works

by London Thomas. For those who wish to start crawling early, “O” Gallery is open from noon until 3 p.m. with work on view by artist Olga Alexeeva, silver jewelry by Cynthia Bell, and work by emerging artists.

Visit Hatch Show Print’s Haley Gallery to view historic restrikes of original posters from the Hatch collection, as well as Master Printer Jim Sherraden’s Paper Quilts.

Arts & Music @ Wedgewood/Houston Saturday, August 6, from 6 until 9 p.m.

Channel to Channel is opening The Denisovans

by Knoxville-based artist Eleanor Aldrich.

David Lusk Gallery is conducting their annual show Price Is Right where all art is under $1,000, featuring work by Anne Siems, Ben Hancock, Beth Edwards, Bruce Brainard, Carlyle Wolfe, Catherine Erb, Don Estes, Elizabeth Williams, Greely Myatt, Gregory Allen Smith, Jared Small, KJ Schumacher, Eleanor Aldrich, Channel to Channel Mark Bradley-Shoup, Tyler Hildebrand, Veda Reed, and more. Julia Martin Gallery is unveiling Oil & Mud by Emily Holt and Delia Seigenthaler (see page 84). For the final show of their summer series House Guests, COOP Gallery is exhibiting the work of Guy Church, curated by Tops Gallery from Memphis. Refinery Nashville is showcasing photographic art, surrealism, illustration, and paintings by Viki Mammina. CG2 GALLERY is showing its final installment of Summer Selections, a one-night exhibition featuring work by Sean Norvet, Fred Stonehouse, Christian Clayton, and many other gallery artists. Seed Space is showing RUNNERS, a multi-media performance and sculptural installation by Brent Stewart and Willie Stewart, and concurrently Zeitgeist is presenting FREEBIRD, a one-night live performance and video installation by the two artists.

Boro Art Crawl

Friday, August 12, from 6 until 9 p.m.

More than 30 businesses and galleries in and around downtown Murfreesboro are participating in this rendition of the Boro Art Crawl. Moxie Art Supply is featuring the work of husband-andwife team Alicia and Travis Maynard. The Boutique at Studio C Photography is hosting emerging artist Noelle Tillman. Newly opened Quinn’s Mercantile is showcasing a number of local artists. See art by Caroline Riley at Oaklands Mansion. Other

participating locations include The Green Dragon, Cultivate Coworking, Liquid Smoke, Smoke and Mirrors, Wall Street, L & L Contractors, Funtiques, Let’s Make Wine, Dreaming in Color, Sugaree’s, The Write Impression, The Alley on Main, Trendy Pieces, Bella’s Noelle Tillman, The Boutique at Studio C Boutique, Murfreesboro Art Photography League at Cannonsburg Village, Center for the Arts, Top of the Block, Two-Tone Gallery, Daffodilly Design, MTSU Galleries, Studio 903, Murfreesboro City Hall Rotunda, and more.

East Side Art Stumble Saturday, August 13, from 6 until 9 p.m.

See a wide variety of tomato-inspired art at Art & Invention.

The Red Arrow Gallery is opening Scrawl Structured, a solo exhibition of sculpture made from metal, wood, enamel, Plexiglas®, and neon by Alic Daniel. Gallery Luperca is hosting a closing reception for their exhibition Trumped Up. Sawtooth Print Shop, The Warren, Southern Grist Brewery, Nashville Community Darkroom, Atomic Books, Modern East Gallery, and Main Street Gallery are also participating.

Alic Daniel, The Red Arrow Gallery

Jefferson Street Art Crawl Saturday, August 27, from 6 until 9 p.m.

Hosted by a collective of businesses, the Jefferson Street Art Crawl highlights the visual, performing, and non-traditional artistic practices of the area.

Among the businesses participating are The Garden Brunch Café, Woodcuts Gallery and Framing, The Art History Class Lifestyle Lounge and Gallery, and One Drop Ink Tattoo Parlour and Gallery. Shuttles and bike rentals by Green Fleet Bike Shop will be available.

Michael McBride, The Garden Brunch Café

Nashville Walls Project Words by Éva Boros Photography by Colin M Day

T

Artist Curiot

his June ushered in a balmy summer with a second wave of murals for the Nashville Walls Project. Street artists Curiot, Mike Shine, Mars-1, and Tavar Zawacki (aka Above) have expanded Nashville Walls by taking the project to new places.

if they are peeling from the wall pay tribute to the recent unveiling of Zawacki’s real identity—peeling away his previous moniker Above, reinventing his style, and evolving as an artist.

Reaching beyond downtown’s 5th Avenue of the Arts, Mike Shine painted Chuck Berry and Hank Williams onto Carnival Music. The pioneers of rock ‘n’ roll and country now sit across from the historic RCA studio, welcoming the tourists of Music Square. In Germantown, an unexpected collaboration between Mars-1 and Curiot transformed a wall inside the First Tennessee Park into an eye-catching, lucid dream. Both Curiot and Mars-1 have long been fans of each other’s work and were thrilled to share their first-ever collaborative mural with Nashville.

Curiot also created a vibrant masterpiece between Rone’s Jane Doe and Herakut’s “best friend.” Dan Maddox, owner of the Cornerstone building, saluted Curiot’s impressive style when he said that “we made an eyesore into something iconic.” Nashville Walls Project is a challenging and inspiring collaboration between diverse industry backgrounds such as sports, property development, music, and art. With its mission of energizing the urban art scene in Nashville, NWP will carry the momentum forward by focusing next on a series of murals by local artists.

Downtown also got more paint with the addition of Tavar Zawacki’s geometric precision. Located just yards away from the calligraffic Johnny Cash lyrics, large arrows painted as

Stay tuned! na For more information, visit www.nashvillewallsproject.com.

Artist Mike Shine, 24 Music Square West

Artist Tavar Zawacki (aka Above)

Cornerstone Building on Church Street Artists Curiot and Mars-1

First Tennessee Park - Sounds Baseball Stadium

Curiot on Cornerstone Building

Parking garage on 5th Avenue between Commerce and Church Streets

YORK & Friends fine art Nashville • Memphis

VICKI DENABURG

The Other Side, Mixed media on canvas, 40” x 40”

107 Harding Place • Tues-Sat 10-5 • 615.352.3316 • yorkandfriends@att.net www.yorkandfriends.com • Follow us on

at York & Friends Fine Art

“

Photograph by Jerry Atnip

First and foremost, we were poor, but we didn’t know it … my mother taught us to dream beyond the front porch.

ludieAMOS

by Erica Ciccarone

Adds to Magic on Jefferson Street

J

une saw the first Jefferson Street Art Crawl, a monthly event organized by North Nashville artists and community members that celebrates historic Jefferson Street and features its artists and businesses. Crawlers who took to social media used the hashtag #MagicOnJeffersonStreet as they posted photos of Afrocentric artwork and videos of spoken-word performances.

The night did indeed feel magical, thanks in part to Ludie Amos, a Clarksville artist whose powerful work resounded with themes of the evening: pride, community, and love.

Standing in Line (Physical Food vs. Spiritual Food), 2011, Fabric, acrylic paint, and beads, 39” x 39” 20 nashvillearts.com

Nate Harris, owner of Woodcuts Gallery & Framing—a mainstay on Jefferson Street for the past 26 years—helped Amos coordinate a retrospective. Glimpses by Ludie showcases the octogenarian’s hand-crafted quilted wall hangings, dolls, and sculptures. These are not just a record of Amos’s life and times. They communicate something much deeper: the values, mysteries, and joys of a life well lived.

Born in 1935 in rural Georgia, Amos was one of ten children.

One of her chores was to push the needle back up through the quilt as her mother hand sewed for the family. Many of her quilted paintings depict idyllic, pastoral scenes of rural life. A grandfather with a fluffy white beard reads the newspaper to a child in his lap. A mother and two little girls wash laundry in basins on a sunny day, as overalls, quilts, and dresses dry on clotheslines above them. Amos uses machine and hand stitching to applique layers of fabric, often employing trapunto—a quilting technique that adds puffy, raised areas to create dimension and texture.

“First and foremost, we were poor, but we didn’t know it,” Amos says of her Georgia childhood. “We were blessed with a house full of children, and I was grounded in how I could survive.” This sentiment is conveyed in Through the Door, a quilted wall piece that shows a family seated on the front porch from the point of view of someone within the house. “I was told you can do anything you’re capable of . . . but you’ve gotta learn,” she says. “My mother taught us to dream beyond the front porch.” In one installation, Amos created a one-room schoolhouse. An animated teacher stands at the front of the classroom, and three rows of youngsters sit attentively, some raising their hands high. The props are incredibly detailed, right down to the individual handwriting of each student, the day’s lessons outlined on the chalkboard, and the heated rock in the corner.

“No detail is too small or overlooked,” says Amos’s oldest granddaughter, Adrienne. “It is indicative of the care she takes with each piece. It’s the little things in life that matter most.” It

Our Home (Front Porch Wall Hanging), 2010, Fabric and acrylic paint, 36” x 53” 21 nashvillearts.com

is this aspect of Amos’s body of work that stands out the most.

Each character has a story to tell. “I want people to see the dignity and importance of that person,” Amos says. “Don’t look at the conditions. Look at the person. You can extract joy and peace out of almost everything.”

Amos’s life changed drastically at nine years old. Her mother passed away, and her father gave her two options. She could stay on with the family or move to Cleveland to live with her aunt. Young Ludie chose to go beyond the front porch and moved to Cleveland. There, she lived in an integrated neighborhood where people of many ethnicities and races had known each other for years. Her aunt took her to art museums and cultural events. She attended an integrated school. Her aunt had a radio, and Amos would listen closely, imagining the stories in vivid detail. Here, she became interested in fashion, and she sewed doll clothes of her own design.

Amos’s aunt and guardian provided boundless encouragement.

“My aunt was a pusher. I say that with pride,” Amos says.

“Don’t tell her what you want to do and expect her to sit on the sidelines. She would turn over everything possible to make sure you got what you wanted. She was a joyous person willing to teach and learn.” But Amos was now an only child. Gone was the house full of children and relatives. “In the quiet times, I was entertaining myself. I found making and drawing things was my solace to get through the days.”

Amos’s life in Cleveland in the care of her aunt shines through in lively quilted paintings and dolls. Dancing women wear bright-red dresses, white hats, and gloves. A jazz band performs in houndstooth and polka-dot jackets. A trio of women in traditional African wraparound dresses and head wraps huddle together gossiping. In her standalone sculptures, African warriors and chieftains are regal in traditional dress.

The Clothesline, Fabric and acrylic, 27” x 57”

In 1951, when Amos was 16, her father and aunt passed, five months apart. The one unifying aspect of all of Amos’s work, and the topic about which she is most fond of talking, is family. At 81 years old, Ludie and two of her siblings remain of the original ten. She is mother to three children,

Women in White, 2011, Fabric and paint, 28” x 38”

“

Each character has a story to tell. I want people to see the dignity and importance of that person. Don’t look at the conditions. Look at the person.

Wash Day, 2007, Fabric and acrylic, 24” x 32”

grandmother to 11, and great-grandmother to almost as many.

As the family historian, images of her ancestors and their stories make their way into her work. Amos cites a deep connection with God as her inspiration, and her art-making is part of her spirituality.

She says, “It’s hard to say, to explain to someone, when you’re having a prayer time and moment and you feel at peace and joy with yourself in what you’re doing.”

Her resilience is analogous to her artistic process. “Enjoy the moment, and you can go on. That’s basically how I’ve tried to live my life. I say to everyone, my hands are my gift.

“While I’m working and asking questions, I come to, How can I do this? For lack of a better phrase, you’re almost in a trance, but you come to a stopping point. I don’t say I quit, I give up. I detest those terms. I think, How can I do that? Then I go back and try it again, and then I’ll go on to the next thing.” na Glimpses by Ludie will be exhibited in Woodcuts Gallery & Framing at 1613 Jefferson Street through August. For more information, visit www.woodcutsfineartgallery.com.

The Front Porch, 2000, Mixed media, 34” x 42” x 24”

Women at Sunrise, 2006, Fabric, 48” x 40”

Located just minutes from Historic Germantown, Woodcuts Gallery & Framing has provided 28 years of top notch fine art and custom picture framing to the Greater Nashville community.

Come visit and let us show you why Woodcuts is “A Cut Above the Rest!”

1613 Jefferson Street • Nashville, TN 37208 Mon-Fri 10 to 6 • Sat 10 to 3 (615) 321-5357 • www.woodcutsfineartgallery.com

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73 White Bridge Rd • 615-352-6085 • Mon-Sat 10–6 • Sun 1-5 • 2danes.com

Pastorals, Landscapes, and the Arcadian Vision

by Cat Acree

Ut Pictura Poesis … As Is Poetry, So Is Painting Vanderbilt Fine Arts Gallery through September 9

of noble shepherds and their flocks, influenced poets and artists for centuries to come.

Generations of city-dwelling, urban populace continued to romanticize rural life, leading to an artistic conversation between painters and poets.

This summer, the Vanderbilt Fine Arts Gallery explores this tradition of the mythical Arcadia and its idyllic, tranquil landscape with Pastorals, Landscapes, and the Arcadian Vision. Featuring more than 50 paintings from the 17th to 20th centuries, the show honors Horace’s Ut Pictura Poesis, “as is poetry, so is painting.” “[Poetry] influenced the way landscape, throughout the centuries, was created as more perfect than nature itself,” explains gallery director Joseph Mella. “It became a visual construction as well as a poetic instruction. . . . There might be elements that are based on reality, but it’s a construction to please the eye as much as anything else and also to please the imagination.”

Jasper Cropsey, American, 1823–1900, The Old Homestead, Wyoming Valley, 1865, Oil on canvas, 13” x 18”

W

e all know of Arcadia, though perhaps not by that name. Arcadia is in our yearning for peace and quiet, for afternoons spent sprawled in the grass with a gentle hum of insects filling the air. We know it in our memories and in our daydreams.

These fantasies of perfect bliss, surrounded by the natural world, are an artistic preoccupation that can be traced to the many frustrations that come with urbanization and bustling city life. Surprisingly, it’s a tradition that begins as far back as 2,000 years ago.

The timeline begins in the 17th century, with Dutch Italianate painters and printmakers such as Jan Both, whose painting Landscape with Shepherds is large enough to be a window to a perfect world, and Nicolaes Berchem, whose etching The Cow Drinking depicts harmonic farm animals and humans that share similar expressions of serenity.

Arcadia is a real place, a region of Greece located in the central finger of the Peloponnesian peninsula, but in the first century BCE, the Roman poet Virgil transformed that quaint corner of the world into an idyllic pastoral setting with his Eclogues and Georgics. Virgil’s construction of Arcadia, with imagery

Small etchings from 17th-century Dutch artist Adriaen van Ostade and 18th-century French artist Jean-Georges Wille form a diptych of tiny, pleasant scenery, which requires close peering to spot the little shepherds and fishermen who live such blissful lives.

28 nashvillearts.com

Nicolaes Berchem, Dutch, 1620–1683, The Cow Drinking, 1680, Etching, 11” x 14”

Landscapes continued to hold the artistic imagination through the 19th century, which brought a printmaking revival, represented here with etchings from British artists Sir Francis Seymour Hayden and Samuel Palmer. There are moody river scenes that Mella believes were painted by 19th-century British painter Arthur Turner, with fishermen so small they could be missed, or even smudged out. To finish the show, a 20th-century chiaroscuro wood engraving by Thomas Nason, Connecticut Pastoral, offers a nod to Robert Frost. ”It’s a longing for a type of simplicity,” says Mella. “I think it’s human nature to have that feeling . . . [of desiring a] close connection to nature and the natural world. Here it’s carried forward in art, giving the viewer the opportunity to enter into that mind state and enjoy a little afternoon walking through the woods without actually being there.”

To further underscore the play between poetry, writing, and the imagination, quotes from poets such as Virgil and William Wordsworth are printed in bright blue lettering on the wall above the paintings. Poetry collections from Whitman and other great American poets have been placed on the benches in the gallery, so as viewers are surrounded by these visual examples of the pastoral tradition, they may be compelled to sit down, be still, and be at peace. na Pastorals, Landscapes, and the Arcadian Vision will remain on view at the Vanderbilt Fine Arts Gallery through September 9.

For more information, please visit www.vanderbilt.edu/gallery.

John Crome (Old Crome), English, 1768–1821, View near Thorpe; Moonlight scene, 1807, Oil on canvas, 26” x 19” 29 nashvillearts.com

Nostalgic Neon:

by Margaret F. M. Walker

Photograph by Anthony Scarlati

Amanda Hope Cook’s Sign Paintings

Amanda Hope Cook

“

The signs Cook paints are usually established landmarks that have been signifying buildings and shops for decades and are works of art in and of themselves.

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P

ainting and signage have deep currents in Amanda Cook’s life. This native Nashvillian is the daughter of artist Marion B. Cook, from whom she learned her work ethic and the grit to persevere as a career artist. While her father is known for his landscape paintings, he actually started out as a sign painter. Amanda Cook says that his background has always led her to notice signage and typography, in particular, but it wasn’t until 2008–2009 that she began to focus on this theme in her own artwork.

American neon signs, many now actually vintage items in need of preservation, offer many points of interest for Cook’s artistic eye. Foremost is the issue of light and the juxtaposition of natural with artificial. She catches nuances of sun and shadow as they reflect off of paint and neon tubing. In The National Underground, a sign located on Broadway near the river, the radiating neon tubes reflect in the nearby window and off the building’s brick façade, too. This adds layers of nuance, demonstrating Cook’s skill and making for a truly interesting painting. Hanging next to it in Haynes Galleries, where she is represented locally, is Mountaineer Inn Star, which features a star illuminated by red bulbs. It’s a great piece to spend some time with. Each of the bulbs looks different because of how the light and shadow interact from her (and our) viewing angle.

Alabama Theater, Birmingham, Alabama, 2014, Oil on panel, 20” x 16”

My favorite of Cook’s paintings at Haynes Galleries is Jack’s Bar-B-Que. In part, I’ll admit, it’s for the whimsy of a flying pig! Beyond that, though, this work—like many of Cook’s—is attentive to every detail, especially imperfections. The signs Cook paints are usually established landmarks that have been signifying buildings and shops for decades and are works of art in and of themselves. The wear and tear, in this case seen in peeling pink paint, reminds me that I’m looking at a sign that I have passed many a time and that has been exposed to the vagaries of weather over the years. It adds a dose of character and unpredictability to her realist style.

Cook is well versed in the history of art and said that she is currently tackling a project she has wanted to do for a while, namely to take a cue from Claude Monet and paint one sign (in Lancaster, Ohio) at different times of day. She reflected that this process has been very different from painting discrete signs. Through it, she has noticed how much this tension between natural and artificial light in a Jack’s Bar-B-Que, Nashville, Tennessee, 2014, Oil on panel, 12” x 12” 31 nashvillearts.com

White’s Wheel Aligning, Cleveland, Ohio, 2014, Oil on panel, 20”x 16”

Hot Dogs, Cleveland, Ohio, 2015, Oil on panel, 12” x 16”

Pierce Cleaners, Columbus, Ohio, 2014, Oil on panel, 14 ”x 11”

sign can create a variety of moods. From her description, the period right at dusk is the most interesting, if the least vibrant, because of the low levels of natural light enveloping the notyet-lit sign.

Most of Cook’s paintings show these neon signs shining brightly, and I received a great education in how she can make them look as though they are glowing. It all has to do with utilizing colors that contrast strongly with one another; by painting opposite hues within the same value (level of brightness), she makes us feel as if we, too, are walking down the street viewing these vibrant signs. When I expressed my delight in learning something new, she told me that was the reason she loves painting—it is a humbling career that keeps her learning constantly.

It is always interesting to know how an artist picks their subjects and how, if at all, their motivation relates to that of buyers and fans. Cook chooses a sign because she finds it interesting—in typography, flaws, situation—more so than because of what or where it is. Yet, of course, this tends to be what most draws others to her work. It sparks nostalgia for a favorite place or a new way of viewing one’s hometown. She enjoys seeing how this excites others and especially the stories that they tell her.

I certainly found that of her Nashville signs—wondering myself where they were and how many times I had failed to notice them.

Loveless Cafe, Nashville, Tennessee, 2015, Oil on panel , 12” x 12”

An exciting new project for Cook is with Disney/Pixar. She has begun painting the vintage signs from the Cars movies. While these are fictional animated films, they are set along historic Route 66, where she traveled to research the atmosphere for this series of works. Original paintings and reproductions are available at Off the Page Gallery in Disneyland.

When asked about other areas of art that interest her, Cook shared a tidbit that adds insight into her practice. When she needs a break from work, she carves wooden things lying around her shop in a trompe l’oeil manner. It’s purely for fun, but in a simple paint key or crumpled tube of paint, one can see how shifting from two dimensions to three keeps her on her toes and, in fact, informs her approach to artistic realism. na Amanda Cook is represented by Haynes Galleries, www.haynesgalleries.com, and www.amandahopecook.com.

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Ketchup with the Tomato Art Fest |

August 12–13

Photography by Solar Cabin Studios | Jason Lee Denton & Steve Voss

Five Points

by Catherine Randall

T

he tomato, botanically speaking, is a fruit. However, a bowl of tomatoes has never been the traditional still-life subject matter. Why, then, is the tomato the inspiration for an art festival?

Meg and Bret MacFadyen, owners of East Nashville’s Art & Invention Gallery, founded the Tomato Art Fest 13 years ago.

The motivation for such an atypical art exhibit was pragmatic.

“I knew I needed to do an art show in August. Tomatoes love the heat. So in a tongue-in-cheek way we decided to host the Tomato Art Fest,” Meg MacFadyen says.

“I love how the artists adapt, and how they are inspired by the tomato theme,” MacFadyen says. Wan Marsh’s abstract painting titled The Tomato Fight is a perfect example of how theme gives rise to originality.

This year the Fest will be held on Friday, August 12, and Saturday, August 13, in historic East Nashville’s Five Points.

Its popularity and roster continue to grow, comprising over two dozen events and activities. “Last year the festival drew upward of 55,000 visitors. This year we are expecting another 5,000,” Media Coordinator Kristyn Corder says.

Marsh was unsure about the invite to participate. By her own assessment, she is not a realistic painter but decided to give it a try. “I started playing with the color red,” added other colors, “the oranges and blues, and bang it was there!” The play on the canvas of the swirls of umber and stretches of greens is interrupted by splats of red, which explode like the juice from an overripe tomato. This image captures the energy of the festival and the unspoken narrative of controlled chaos.

Ideas for the Fest are community driven. The traditional parade began as a show of support. In August 2005 the city became home to Katrina survivors. To honor the new neighbors, organizers simulated the “Second Line” New Orleans-style parade, complete with brass band lead.

At the heart of the festival, of course, is the art. Artists range from the established to the novice, and the only requirement for entry is to stick with the tomato theme. Artists work within their own form to create a stylization like no other.

“Tomato Fest is a ‘kick up your heels and have a good time’ kind of event,” Corder says. na For more information and event schedule, please visit www.tomatoartfest.com.

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HISTORY EMBR ACING A RT

Papier-mâché Sculpture with Found Objects

Featured Artist

E MI LY

A L L ISON

Artist Reception • August 5, 6-9pm 202 2nd Ave. South, Franklin, TN 37064

•

www.gallery202art.com

•

615-472-1134

The Deceptive Simplicity Olen Bryant Opens at Customs House August 11

T

he basic geometry and sparse detailing of Olen Bryant’s sculpture evoke natural simplicity. Achieved through a mastery of material and the delicate balance of form and allusion, these pieces can seem misleadingly effortless. Bryant himself is a testament to the illusions of simple things and what they hold beneath the surface.

Despite national praise and effusive support from regional admirers, Bryant and his career have largely resisted the spotlight, perhaps by design. In recent years, he had elected to work in a home studio on a farm in Cottontown, a place with fewer than 400 people about 45 minutes’ drive from Nashville. Now 89 and in poor health, he is cared for by family members in his hometown of Cookeville.

“He’s had quite a successful career; he’s had lots of accolades and awards but in a very soft fashion,” explained Terri Jordan, curator of exhibits for Clarksville’s Customs House Museum and Cultural Center. “He’s a quiet guy, and I think the same can be said of his career. It’s been a very successful but quiet career.”

Born in 1927 to a tenant farmer, Bryant began his art education at Murray State University, went on to Michigan’s Cranbrook Academy of Art for his MFA, and then to brief studies at institutions around the country. His first exhibition was held in Syracuse, New York, in 1951, and his work has since been featured around the world. A sweeping list of awards includes the Governor’s Distinguished Artist Award in 2007.

Untitled, Wood (walnut) on cherry base, 30” x 28”

In a career that took art and artist far from home, Bryant’s most enduring position was a professorship at Clarksville’s Austin Peay State University from 1964 to 1991.

“A lot of the artists that come out of this region were students of his,” said Jordan. “I think you can really see his influence in their work.”

Bryant’s work will be showcased in an exhibition opening in August at the Customs House Museum, which has long been a home for his art. Following a retrospective of his work there, he donated 19 pieces to the museum, and these, along with others borrowed from private collectors, will make up the show.

“He’s really a local favorite,” said Jordan. “He’s always been a great supporter of the museum and a great supporter of the arts in this area.”

Works in the collection cover the breadth of his career, from 1954 to 2007. In the 1990 piece Standing Mask, visitors will see a wooden face so subtly carved it appears to be natural. In Trio from 1968, three ceramic forms emerge gradually from the elements of their making.

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Two, Ceramic, 17”H

Photograph by Jerry Atnip

Olen Bryant

It takes a life-long appreciation for nature and a masterful hand to treat these materials so delicately.

The results may look simple, but the effect isn’t.

“His pieces are spiritual without being overtly so,” said Ned Crouch, a former student of Bryant’s and the former executive director of the Customs House Museum, who has donated works for the exhibition.

“They hold a lot within their little bodies.”

Bryant’s work will be on display at the Customs House Museum and Cultural Center, 200 S. 2nd Street, Clarksville, between August 11 and October 17. An opening ceremony will be held on August 11 from 5 to 7 p.m. For more information, please visit www.customshousemuseum.org.

Trio, 1968, Ceramic, 15”H

NINA KUZINA GALLERY new wor k s by

DEBBIE WINGO

Floating Fruit, 30 x 40

4231 HARDING PIKE • NASHVILLE, TN 37205 • STANFORD SQUARE, ACROSS FROM ST. THOMAS HOSPITAL 615-321-0500 • 615-483-5995 • NINAKUZINA@COMCAST.NET • WWW.NINAKUZINA.COM • OPEN DAILY 10 AM - 6 PM

Nashville Insight Photograph by Aerial Innovations of TN, Inc.

Mayor Megan Barry Takes a Look at the Creative Soul of Nashville

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by Sara Lee Burd

is a serene open space of whites, greys, glass, and art. Historical artifacts curated alongside works of contemporary art fill the rooms and communicate her transparent approach to the city—respecting the old and embracing the new. To that end, she points to a reflective orange road sign reading “Men at Work” resting in the corner of her office and notes that they are being replaced—times have changed and these gendered signs no longer make sense. Sitting on her clean contoured couch on a rainy afternoon, we chatted about Nashville’s culture and creative economy and what she’s doing to support them. From listening to live music, going to galleries, and commissioning bespoke clothing, this mayor delights in the creative soul of this city and hopes you do too.

Mayor Megan Barry

Sara Lee Burd (SLB): You’ve built your life here in Nashville.

You’ve raised a family and dedicated yourself to civic development: certainly you’ve seen Nashville grow and change over the years. What about Nashville’s culture makes you most feel at home?

Mayor Megan Barry (MMB): There are so many parts of Nashville that make it feel like home. It’s everything from the food scene to the art scene to the fact that I live in a historic neighborhood, but that I live in a new home in a historic neighborhood. It’s the juxtapositions of all of these pieces that makes Nashville special.

Arts Company. There’s an Ed Clark directly behind my desk that I chose specifically because it captures a moment that shows diversity, which is part of the history of Nashville music. It was taken behind the Ryman and shows someone playing the guitar with a group of listeners, all of different ages and races.

SLB: What do you like to do in the arts when you go out in Nashville?

MMB: I love live music. In fact, I’ve made it a point since I got elected to go out and listen to as much live music as possible. It’s not just the music, though. Today I had a little gap between lunch so I hit three art galleries. I was near Vanderbilt so I stopped into Midtown Gallery & Framers, Local Color, and then when I was out in Belle Meade later, I went to York & Friends Fine Art Gallery.

SLB: I’m sure they liked seeing you.

MMB: Yes, they always love to see me because I usually buy something.

In the lobby there is a triptych by Chris Coleman, which I bought at The Rymer Gallery. He made that one specifically for me—the little figure is doing something different in each panel, riding a horse, playing the guitar, and always wears the same big-brimmed hat.

That’s like me. I do a variety of things, but I’m always wearing the mayor’s hat. And I like it.

SLB: When you are at a gallery, what draws you to a work of art? When do you know you want to buy it?

MMB: This photograph over here is by Tipper Gore that’s part of a series she did of people and places around Tennessee. When I saw that I thought, I’ve got to have that. The man with his facial expression, his chiseled hand smoking a cigarette, standing in this old general store. I liked the whole work, and it’s about what strikes you at a particular time.

SLB: So, does this mean you collect art?

MMB: Yes! I love art. I have a lot of it here and at home. In fact, I’ve taken the last six months to fill my office with art. The photographs around my desk came from The

Art isn’t just about decorating with pictures. It’s about place-making and buildings. When we were renovating this office, I specifically asked them to leave and frame the clay tile that this whole WPA building was constructed of. It’s a great reminder that art is also behind our walls, not just in front of it.

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Photograph by Jerry Atnip

Mayor Megan Barry’s remodeled office

SLB: What do you enjoy about the visual and performing arts communities in Nashville?

about transportation, affordable housing, gentrification, and consider what are the ways we can use art to turn each issue on its head. And I don’t just mean design or to visualize what a new corridor might look like. There are more engaging ways to think about all that. I’m very tactile and was really happy to do the ribbon cutting for the Band Box at the Sounds Stadium. It has nine holes of miniature golf that each feature a work of local art. How cool that as a kid, that you get to go out and

Photograph by Michael Nott

Marlos E’vans, Three The Hard Way, 2016, Oil paint, latex paint, metallic paint on canvas, 48” x 50”

MMB: For years I was on the board of the Nashville Repertory Theatre, so I love plays and seeing people perform. I also love film and was on the Belcourt Theatre board. I can’t wait for the Belcourt to open again on July 22! It’s been a real hole in my life for the past several months to not have a local theater to go to.

SLB: Congratulations are in order regarding the recent budget increase passed by Metro Council. This means more money will flow into our granting programs and public art projects. What impact do you think this raise will make for local artists?

MMB: It’s really great. I think what you see when you have the ability to give additional smaller grants, you really can inspire local artists. It doesn’t always have to be a big installation piece like Stix or Ghost Ballet, it can be these beautiful murals you are seeing. It could also be something like the table here in my office by Kidd Epps.

He’s a local furniture maker whose work I had enjoyed, and then I was able to commission him to make a table for my new office. It’s so many pieces that you can attribute now to these smaller grants that can fuel the local artists.

SLB: MNAC (Metro Nashville Arts Commission) is planning to incorporate more social practice and civic engagement arts projects. These can be problem-solving, educational, and celebratory projects, and are based on the idea that the arts can provide a new vision and approach to community.

Example projects have focused on city recycling, transit, existing public art. . . . What types of issues would you like to see artists approach in Nashville?

MMB: Jen Cole does a great job at the Arts Commission, and her board over there is amazing. Thinking about the local impact of artists through social lenses. The messages of art can be transcending. We have to think

actually touch art! Those are the kinds of things that could be a real opportunity with this type of public art program.

SLB: Would you be interested in seeing how the arts could approach political topics such as gun violence?

Do you think this is something that Nashville could take on with the arts?

MMB: Absolutely, I like seeing this type of art in Nashville. I was recently at an art opening in North Nashville for Marlos E’van’s exhibit Dyin’ by Tha Gun. There you’ve got an example of someone who is specifically drawing from his experiences and observations [about gun violence] and saying, ok how do I put this message out there with art. (Read more about E’van’s show on page 72.)

SLB: Lists differ but general statistics suggest 80 to 100 people move to Nashville each day. Why do you think we are so popular? How do you think this growth could impact the arts?

MMB: We are popular because people just want to be in Nashville; it’s a great place to be. Our unemployment rate is 2.9%, so we have jobs. When you have a strong economy, I think it helps the arts. Often the first thing to go when you have a down economy is the arts. We have an opportunity to continue to invest in our city and the arts.

SLB: The arts—non-profit organizations/institutions, for-profit businesses, and artists—need economic support to grow and sustain themselves. Despite

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Mayor Barry’s office

Photograph by Michael Nott

We are popular because people just want to be in Nashville; it's a great place to be. Our unemployment rate is 2.9%, so we have jobs. When you have a strong economy, I think it helps the arts.

Artist Chris Coleman with the triptych created for the mayor's office

the city’s vibrant economy, many of our arts organizations and artists struggle for money. What is the mayor’s office doing to bridge the gap between the wealth in Nashville and the arts economy?

MMB: You can look at it through the lens of “how can we make maker spaces.” One of the things I did when I came into office was expand our Economic and Community Development office to include creatives, entrepreneurs, and small businesses. The driving idea is how can we capture that component of our economy, not just through a granting process like those from the arts commission, but how can we add more jobs to our creative economy? For example, if you are going to renovate a historic building, how can we give grant money to do that? There are some ways we can spur creative spaces, but honestly it always comes down to money.

SLB: Many artists are concerned about housing and other living costs in Nashville. What are some of the solutions you posit to make sure that there are places for local artists to have living and work spaces within the city?

MMB: As part of the office of Economic and Community Development we are looking to make more artist housing, more opportunities at a price point where you can actually work, live, and play in the same place.

When I was on the city council we worked on zoning to make more creative spaces by making it possible to live and work in the same place within the light-industrial areas.

SLB: How could we spur the markets more in terms of appreciation, education, awareness, and purchasing?

MMB: There is definitely education out there. The fashion industry is a large growing part of our artist community,

and there are various alliances to support the industry.

Since I’ve come into office, I’ve purchased “bespoke” clothing—a word I didn’t know before. Local designer Eric Adler has made a couple of jackets for me. When he came in for the last fitting he said that they normally make men’s wear, and he wasn’t sure what to do with a woman’s body. They took on the challenge and created new patterns to make it work for me. It’s a piece of art that I will be able to enjoy and wear this fall.

I think spaces where wonderfully creative artists can come together to showcase their wares is helpful.

Porter Flea held at OZ last year is a great example of having a lot of creative work concentrated in one area, where I can go as a consumer, and it is easy. I can see what’s there, and I would like more opportunities like that in Nashville.

SLB: As a way to bring together local, national, and international artists, would you be interested in having art fairs in Nashville?

MMB: When I go out to other places, if there is an art fair, I always stop by, check it out, and participate. It sounds like a great idea for Nashville.

SLB: What would you say the average citizen could do to help artists and the arts in Nashville?

MMB: You can actively participate in the economy by going out to listen to live music, going to the theatre, buying a piece of art, but also just appreciating it. When I go across the Seigenthaler bridge and look down to see Ghost Ballet, I’m reminded of what a cool work of art that is. When I drive around the Korean Veterans Boulevard traffic circle, I look at Stix and am reminded that we have really different artwork and a variety of creative minds in Nashville. na

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PUBLICART

BY ANNE-LESLIE OWENS PUBLIC ART PROJECT COORDINATOR, METRO NASHVILLE ARTS COMMISSION

WITNESS WALLS

EDMONDSON PARK

Thornton Dial’s Road to the Mountaintop and Lonnie Holley’s Supported by the Ancestors were installed in 2014 in Edmondson Park. Dial, who died earlier this year, and Holley both honor the tradition of self-taught Nashville artist William Edmondson.

Lesson plans were created through the Ayers Institute with funding provided by an Art Works grant from the National Endowment for the Arts. Lessons are customizable for middle and high school students and cover English/Language Arts, Mathematics, Science, Social Studies, and Visual Arts subject areas.

Photograph by Stacey Irvin

Lonnie Holley, Supported by the Ancestors, Stainless steel and granite, 14’ x 13’ x 14’ x 10’

Metro Arts commissioned artist Walter Hood to create a public artwork inspired by Nashville’s Civil Rights history.

Witness Walls will be installed later this year in Public Square Park.

Lesson plans for the upcoming artwork were created through Artist’s model of Witness Walls Lipscomb University’s Ayers Institute for Teacher Learning and Innovation with funding provided by the Tennessee Arts Commission. Lesson plans are customizable for middle and high school students and cover English/Language Arts, Physics, Social Studies, U.S. History, and Visual Arts subject areas.

AILERON

WATERMARKS

Emergence by Buddy Jackson, part of the Watermarks series at Hartman Park

Watermarks is a series of six public artworks located in Nashville neighborhoods affected by the 2010 flood. Six artists were chosen to create artworks honoring the experiences of those neighborhoods. The series includes artworks at the Antioch Community Center (Antioch/Blue Hole Road), Harpeth Knoll Park (Bellevue), Hartman Park (West Hamilton/Whites Creek), Shelby Bottoms Park (East Nashville), Two Rivers Park (Pennington Bend/Opryland), and West Park (West Nashville/ Delray). Lesson plans are customizable for grades K–4.

GHOST BALLET FOR THE EAST BANK MACHINEWORKS Installed in 2007, Ghost Ballet for the East Bank Machineworks is located on the east bank of the Cumberland River. The artwork references the site’s industrial past and visually echoes current surroundings.

The classroom guide was created by the TPAC Education Ghost Ballet for the East Bank staff of the Tennessee Machineworks by Alice Aycock at Cumberland Park Performing Arts Center with funding provided by Regions Bank. Lesson plans are customizable for grades K–4.

Please visit our website at publicart.nashville.gov for these free downloadable resources. After you have tried them, we’d love to hear from you. Send us an email to anne-leslie.owens@nashville.gov.

In the spring of 2011, Aileron was installed in McCabe Park, the former McConnell airfield site, in the railroad-bordered 42 nashvillearts.com

Photograph by Gary Layda

Metro Arts’ public art collection now includes 43 artworks, and 11 of these artworks have free downloadable classroom guides, curriculum guides, and lesson plans. The public art education curriculum includes:

neighborhood Sylvan Park. Artist Michael Dillon referenced the aviation and railroad history of the area in the design and fabrication of his sculpture. Lesson plans are provided by Aileron by Michael Dillon at McCabe Park Metro Arts and the Ayers Institute. Lessons are customizable for middle school students in English/Language Arts, Mathematics, Science, and Social Studies.

Photograph by Stacey Irvin

Did you know that public art can be an outstanding teaching tool in the classroom? Public art is a great starting point for discussions of math, science, art, and countless other subjects.

And because most public artworks reference local history and local identity, they provide creative ways to explore your community’s history.

Photograph by Gary Layda

Public Art as a Teaching Tool

H AY N E S G A L L E R I E S C E L E B R AT E S

ARTNASHVILLE AUGUST 12 TO OCTOBER 1, 2016

We invite you to explore ArtNashville s diverse and exciting showcase of talent from right here in Music City̶ home to a vibrant and dynamic visual arts scene. We are pleased to present some the finest talent in traditional and contemporary art who call Nashville home.

Red Grooms Anton Weiss John Baeder Alan LeQuire John Guider Jody Thompson Wanda Choate Chuck McHan Roger Dale Brown Jerry Atnip Michael Shane Neal Dawn Whitelaw David Wright And more̶ Go to haynesgalleries.com for a complete list of artists Join us Friday, August 12, 5:30 to 7:30 for a special evening to celebrate Nashville s own.

H AY N E S GALLERIES RED GROOMS, TIMES SQUARE, 1995, THREE-DIMENSIONAL LITHOGRAPH INQUIRIES: GARYHAYNES@HAYNESGALLERIES.COM OR PHONE 615.430.8147 OR 615.312.7000. HAYNESGALLERIES.COM. GALLERIES: ON THE MUSIC ROW ROUNDABOUT IN NASHVILLE, TENNESSEE AND SEASONALLY IN THOMAS TON , MAINE.

nashvillearts.com

Photograph by Jerry Atnip

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by John Pitcher

Frampton Comes Alive in Music City

I

t’s been a frenetic few months for rock legend—and longtime Nashville resident— Peter Frampton. He spent the summer touring America with his band while making frequent appearances with fellow rock icons Gregg Allman and Lynyrd Skynyrd.

Not one to slow down, even 40 years after the multi-platinum Frampton Comes Alive! catapulted him to global fame, Frampton also kept busy performing acoustic arrangements of his greatest hits in intimate theaters on his Raw: An Acoustic Tour.

Those arrangements, released earlier in the year on the songwriter’s terrific new album Acoustic Classics, came in handy in April. Grammy Award Winner Frampton was invited to perform at Mayor Megan Barry’s inaugural State of Metro address, and the immediacy of his acoustic arrangements captivated the crowd. Indeed, as Frampton and his longtime collaborator Gordon Kennedy performed the familiar hit “Baby, I Love Your Way,” one could see Nashville’s new mayor sitting in the background, smiling broadly, and singing all the words she knew by heart.

“Nashville has definitely been good to me,” says Frampton, who spoke by phone after that performance. “Where else does a guy like me get to open for the mayor?”

Barry invited him to perform for ostensibly sentimental reasons: Frampton Comes Alive! was the first album she ever bought. But on a deeper level, Frampton’s presence at this official event seemed symbolic of the new Nashville. Long the capital of country music, Nashville has in recent years become an international center of music writing, publishing, and recording of every kind, eclipsing even New York and Los Angeles. The place is now home to great jazz and blues musicians, a Grammy Award-winning classical orchestra, and to an international assortment of rock stars, from Detroit native Jack White to the British-born Frampton.

“What attracts me most to Nashville is the atmosphere,” says Frampton. “I’ve lived in other places where you might run into a musician backstage and say, hey, we should get together sometime and write something, but it never happens. In Nashville, though, it always seems to happen. There’s a real sense of community here, and it’s a very inspiring place to live.”

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One of the first musicians Frampton met in Music City was Kennedy, a fixture of Nashville’s songwriting community who’s best known for co-writing the hit “Change the World” for Eric Clapton. Frampton and Kennedy began collaborating in 1999, writing songs and contributing to such films as Cameron Crowe’s Almost Famous.

They’ve been at it ever since, with the two of them touring to promote Frampton’s new Acoustic Classics album. (Their touring culminates with an acoustic performance at Nashville’s Schermerhorn Symphony Center on March 26, 2017.)

“I’ve been a fan of Peter’s since I was a sophomore in high school, when the live album came out, so sitting next to him and performing has been like a dream come true for me,” says Kennedy. “And I think the thing that really sets Peter apart from everyone else is his guitar playing. Unlike a lot of great rock guitarists, who were trying to sound like Delta blues players, Peter grew up listening to [jazz great] Django Reinhardt. That obviously had a huge influence on his style.”

Photograph by John Lill Photography

Frampton’s inimitable style comes to the fore in Acoustic Classics, the 11-track album he recorded in his Nashville studio. The album includes one new number, “All Down to Me,” which Frampton jokingly refers to as a “new classic.” The rest of the recording surveys many of Frampton’s best-known hits, including such favorites as “Show Me the Way,” “Baby, I Love Your Way” and “I’m In You.” Amazingly, there’s even an acoustic version of Frampton’s epic stadium rocker “Do You Feel Like I Do.” Frampton initially thought he’d have little trouble turning his iconic rock songs into more intimate numbers.

Surely, it would just be a matter of performing the songs on an acoustic guitar without the band. Turns out it wasn’t so easy.

“I recorded a couple of songs, but when I went back to listen I really didn’t like them at all,” says Frampton. “The songs just didn’t sound right without the band, and that’s when I realized this was going to be hard. Basically, I had to reverse engineer each one of these songs, approaching them as if I were playing them for a friend for the first time.”

Frampton showcases both his vocal and multi-instrumental skills on the new album, playing acoustic guitar and bass, accompanying himself on piano during the song “I’m In You.” He employs sound effects sparingly. His beloved Talk Box, for instance, is used on just one song, “Show Me the Way.” The rest of the sounds are produced by dazzling finger work alone.

The album’s biggest revelation is “Do You Feel Like I Do.” This tour de force of rock-

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“

Photograph by Jerry Atnip

I've lived in other places where you might run into a musician backstage and say, hey, we should get together sometime and write something, but it never happens. In Nashville, though, it always seems to happen.

band improvisation lasts a full 14 minutes on Frampton Comes Alive! On Acoustics Classics, the tune is compressed into a tightly focused, six-minute bluesy number, a transformation that seems to increase exponentially the song’s tension and emotion.

Certainly, the performance underscores Frampton’s instrumental virtuosity and imagination.

“I can tell you that performing next to this guy is intimidating,” says Kennedy. “Music is such a natural language to him that he never plays anything twice the same way.”

And yet his songs remain eternally familiar.

During Frampton’s appearance at the State of Metro address, Mayor Barry was clearly overcome by a sense of joyful nostalgia. “I had to keep telling my teenage self that it was real,” writes Barry in a recent email. “Nashville is lucky to have Peter and so many talented artists from different industries and genres who make up the creative fabric of Music City.”

Frampton, for his part, shares that sentiment. “Nashville is a big city with a truly friendly small-city feel,” Frampton says. “There’s no better place for an artist to live.” na Frampton will be performing his acoustic show in Nashville at the Schermerhorn Symphony Center on March 26, 2017. His latest recording, Acoustic Classics, is available on iTunes, Amazon, music stores and at www.Frampton.com.

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Photograph by Dean Dixon

Alan LeQuire Select Works

LeQuire Gallery

The artist working in clay on Musica at full scale

|

August 6–27

by F. Douglass Schatz

“ Alan LeQuire in his studio

Photograph by Dean Dixon

I was not a natural sculptor; I’ve had to work at it. I’ve grown as an artist in my skill level. The goal is fluency, like learning a language.

T

here is a quiet confidence that comes through when meeting with Nashville artist Alan LeQuire. Like him, his sculptures are stoic, but subtly expressive. They have a steadiness about them that gives a timeless and structured quality, both in material and technique. Though crowded with figures and other sculptural artifacts, his Charlotte Avenue studio is surprisingly meticulous for someone that works with clay as much as he does. Like many sculptors’ studios, the laws of stratigraphy still seem to hold—newer work is out in the middle, while older work lines the walls and rafters. It is a large and open space, and it is impressive to see much of his work all at once. Whenever I go to an artist’s studio I can’t help thinking of Brancusi and how his studio was an extension of both his art and his personality; the artist’s studio is where one can get some insight into an artist’s personality. If this holds true, then Mr. LeQuire appears to be organized, careful, and steeped in a sense of history—yet not stuck in antiquity (on a shelf near his office, there is a small in-progress clay portrait of Taylor Swift).

Inside LeQuire Studio

LeQuire’s early training in sculpture was facilitated by Nashville artists and family friends such as Jim Leeson, Olen Bryant, and Puryear Mims. These early influences helped him start his lifelong passion for sculpture. During high school, Jim Gibson (then a professor of sculpture at MTSU) taught him how to weld. “At that time it was a wonderful way to be distracted and develop some skill as an artist.” In college, LeQuire was a pre-med student at Vanderbilt University until he had the opportunity to study art and art history in France. “Basically that was me making the decision not to be a doctor. I could never stop sculpting—I was sculpting in my dorm room.”

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Alan LeQuire with Athena Parthenos

Photograph by Dean Dixon

Suffrage maquette

Head of Athena under construction

Photograph by Dean Dixon

Alan LeQuire’s portrait of Anne Dallas Dudley in bronze, still at the foundry. She is one of five figures in the Tennessee Woman Suffrage Monument.

The artist working on Athena, 1983

Photograph by Linda Jones

Known for his monumental works such as the Athena at the Parthenon and Musica near Music Row, LeQuire has also been prolific in his portraiture and figurative sculpture.

He works mostly in clay, letting his hands work the material and help guide his instincts and skills. Many of his works are also cast in bronze as a finished product. Musica, at the top of Demonbreun Street, is one of the largest cast-bronze figurative sculptures in the country.

LeQuire’s latest large-scale bronze, a monument to suffragists, will be unveiled this summer at Centennial Park.

This monumental bronze work will consist of heroic-scale portraits of five women from across the state and country who were leading suffragists in the early 20th century. Anne Dallas Dudley, Abby Crawford Milton, J. Frankie Pierce, Sue Shelton White, and national suffrage figure Carrie Chapman Catt are honored as larger-than-life bronze figures while nearby, contemporary leaders Jane Eskind, Lois DeBerry, and Beth Harwell will be honored on relief plaques. The sculpture was commissioned by Tennessee Woman Suffrage Monument, Inc., and is set to be unveiled on August 26, which is Women’s Equality day—the day the 19th Amendment was ratified.

LeQuire states, “According to the Smithsonian, less than 8 percent of the portrait statues in the U.S. are of women. I am

Vietnam Veterans Memorial life-size bronze, War Memorial Plaza, Nashville

very pleased that here in Nashville we will be bridging that gap with portraits in bronze honoring eight women.”

This summer also marks the first time LeQuire will have a solo exhibition at his own LeQuire Gallery. In August, he will show drawings, prints, and portrait sculpture, as well as small works in bronze and terra cotta at the gallery. In addition, the exhibit will also have pieces from the suffragist monument on display, including maquettes and early models of the sculpture.

“I was always inspired by classical sculpture,” says LeQuire.

This is clearly evident as one walks within his working space.

The figures he has made over the years give a nod to classical style in both form and figuration. Though many of the figures he makes are portraits, LeQuire says, “I’m not that interested in realism; I like to work from my imagination. On the other

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Photograph by Dean Dixon

Small figure in terra cotta

hand, I work from models all the time because of my teaching. It’s like practicing your guitar; it hones your skills with form and texture.”

His work depicting drapery and cloth in clay is notable in its accomplished technique. The folds and forms appear natural while offering movement and flow for the viewer’s eye. A device of both design and necessity, his drapery work reads well and is clearly a technique he enjoys.

Texture is important in the work, whether it is a tool mark or a more deliberate textural element, such as the coil-like texture on Musica. In reference to texture, LeQuire says, “Smoothing diminishes the outward swelling of the form, so the pieces that have more texture are more interesting to me. It is important that the technique looks authentic.” This visible hand of the artist often provides a window for the viewer to see the process of how the form is envisioned and constructed. It can be an important tool to carry movement and energy around the sculpture, both of which LeQuire accomplishes in his work.

When asked how he has grown as an artist, LeQuire’s answer is both thoughtful and modest. “I was not a natural sculptor; I’ve had to work at it. I’ve grown as an artist in my skill level. The goal is fluency, like learning a language.” Alan LeQuire is at first glance a serious man, but he is also full of humor and engaging conversation. After talking with him and exploring his work, it is clear that he has achieved this sculptural fluency and speaks well in the fundamentals of visual language. na Select Works by Alan LeQuire will be on exhibit at LeQuire Gallery August 6 through 27. A conversation with LeQuire led by Nashville Arts Magazine Publisher Paul Polycarpou is scheduled for August 17 at 6 p.m.

For more information, visit www.lequiregallery.com.

Woody Guthrie, Painted plaster, 34” x 24” x 20”

THE BLAIR SCHOOL OF MUSIC FALL 2016 CONCERT SERIES HIGHLIGHTS INCLUDE: • Three-night residency from violinist Isabelle Faust and pianist Alexander Melnikov performing Beethoven’s complete sonatas for violin and piano, Nov. 15-17 • Blair Opera Theatre’s production of Mark Adamo’s Little Women, Nov. 11 and 13 • And many more performances from our signature ensembles, faculty artists, student performers and special guests

2400 Blakemore Ave. Nashville, TN 37212

For the complete concert calendar, please visit blair.vanderbilt.edu

What would most surprise us to know about you?

That I have been ordained by the Church of The Latter-Day Dude, a church dedicated to the memory of The Big Lebowski.

I am a Dudeist priest.

katJONES

Interview by Paul Polycarpou Photography by Hunter Armistead

Singer-Songwriter with the band Kat Jones & the Prophets, Director of Community Development in Experimental Music at abrasiveMedia What characteristic do you like least?

When we’re in production mode I can be very, very bossy, so I try to calm myself down, look at things from the outside, let go of my vision, and let the process of collaboration take over.

Why Nashville?

I moved here originally for a boyfriend, then, six years after moving here, I moved to Portland, Oregon, as a result of PTSD that I acquired while in Nashville. Then I moved back here to work with abrasiveMedia and reunite with my band and friends.

What do you like best about the city?

It’s an incredibly collaborative community. I love the storytelling that exists in all of the art forms here.

What do you like the least about Nashville?

I wish there were more control over the development. I would like there to be a bit more architectural control so we could really define the character of the city.

What was the last great book you read?

I read a lot. I’m in the middle of Anna Karenina, which is wonderful, and I’m reading Bird by Bird by Anne Lamott.

If you could be somebody else for a day who would that be?

Queen Elizabeth.

The First or Second?

The First!

Where else would you live if not Nashville?

Either Edinburgh, Scotland, or Berlin.

What movies have you seen recently?

The Babadook, a horror movie with a nice ending.

Who would you like to have a long conversation with?

Lou Reed, Ed O’Brien from Radiohead, and Yma Sumac, a Peruvian soprano with a nearly five-octave vocal range.

Who are your favorite poets?

Philip Levine, he’s close to my DNA; Kenneth Rexroth and Weldon Kees.

What’s it like being you these days?

I eat, sleep, and breathe the next production. Right now I’m working on Dear Apocalypse, August 5th and 6th. I spend a lot of time reaching out to the PTSD community. It’s a lot of coffee and conversations about collaborations.

Who’s been a big influence on your life?

Nick Cave, the percussive quality of his style of living, is really interesting to me.

What characteristic do you most like about yourself?

How much I like community development and helping the city become the version of itself that it is becoming.

Are you always the best person for the job?

No, absolutely not. I am definitely a follower who can be a leader if there is no one else to lead.

What other career would you have liked?

I would probably be writing poetry or working on writing fiction.

What talent would you most like to have?

I wish I could dance with choreography, but I can’t. It’s embarrassing.

What would you tell the 15-year-old Kat? Chill out! Don’t try to control everything. It won’t work, so relax.

When or where are you happiest?

I’m happy most of the time. I love being on the road.

What’s a treasured possession?

I have a classical guitar that my mum gave my dad when they got engaged.

What’s your mantra?

I want to always be better at loving people.

Who are you listening to these days?

Brian Wilson, My Brightest Diamond, The Beta Band, The Birthday Party, Stevie Wonder, and Damien Jurado.

If you could take one album with you . . .

OK Computer by Radiohead. That’s it. I could listen to it over and over for the rest of my life.

What’s your greatest fear?

My greatest fear is of hurting people.

Which artists make you weak at the knees?

David Landry, who created the world’s largest graphic novel; it’s stunning. I adore John Martin. Whenever I am in St. Louis I go head to the art museum so that I can take in Sadak in Search of the Waters of Oblivion. It’s my absolute favorite painting of all time. Roy Lichtenstein is also an all-time favorite.

What changes have you made recently?

I’m letting my hair grow out. Haven’t cut it in over a year. I think it’s a way of reclaiming my younger years when my hair was long but terribly managed and therefore embarrassing.

What must you have when leaving the house?

A great pair of shoes, and I’m compulsive about my eye makeup being symmetrical.

See Kat Jones & The Prophets in Dear Apocalypse during the Sideshow Fringe Festival on August 5 and 6 at Belmont’s Troutt Theater. For more information, visit www.katjonesmusic.com and www.abrasivemedia.org.

A L L

T H E

B E S T

I N

F I N E

J E W E L RY

5101 Harding Road  Nashville, Tennessee 37205  615.353.1823

Contemporary Voices Speak for Displaced People Pryor Art Gallery Through August 25

Andrew Jackson’s Indian Removal Act of 1830 called for the mass relocation of Native American tribes from their homes in the Southeastern United States to established territories in Oklahoma, a perilous march of thousands of miles that has become known as the Trail of Tears.

The trail lives today as a mark of how the Creeks, Choctaws, Chickasaws, Cherokees, and Seminoles were forced from their ancestral lands to the fringes of our society and consciousness with undeniable topography, including a route through Tennessee.

Norma Howard (Choctaw/Chickasaw), Choctaw Burial, Watercolor on paper, 12” x 18”

While researching her own Cherokee heritage, curator of Columbia State Community College’s Pryor Art Gallery, Michele Wilkinson, found that the Trail of Tears passed directly through the land where the school now sits, and she wanted to give students and the community a chance to engage with its legacy. She reached out to Bobby Martin, who, along with co-curator Tony A. Tiger, was retracing the trail with the work of 32 contemporary Southeastern Native American artists in an exhibition called Return From Exile.

“They pulled these artists together with this lineage to go back to the homeland and show the world that these are the feelings we felt and this is what we have done as a people and a culture that lives on,” said Wilkinson.

“There’s a big nod and homage to the past,” said Wilkinson. “But as a collection of work, it doesn’t dwell in the pain. It evolves into a celebration of who Native Americans are today and what they have to offer as a culture. It’s beautiful; it’s aspirational and joyful in many many ways, and the spiritual comes through each and every piece.”

Return From Exile has been brought to the Pryor Art Gallery with partial sponsorship from the Tennessee Arts Commission and Arts in Action. It will run until August 25, when the neighboring Cherry Theater will host a closing ceremony featuring a traditional powwow with flautists and dancers, as well as a closing lecture by Troy Wayne Poteete, a justice of the Supreme Court of the Cherokee Nation.

Return From Exile is on display at Columbia State Community College’s Pryor Art Gallery in the Waymon L. Hickman building, 1665 Hampshire Pike, through August 25. The closing ceremony will be held at 5 p.m. on August 25. For more information, visit www.columbiastate.edu/PryorGallery.

Starr Hardridge (Muscogee Creek), Cultural Baggage, Venetian plaster and oil enamel on canvas, 48” x 72”

Margaret Roach Wheeler (Chickasaw/Choctaw), Chikasha Issoba, Handwoven cotton, glass beads, brass bells, 37” x 25” x 25”

Exhibited works include paintings, sculpture, jewelry, and clothing. A plaster and oil painting by Starr Hardridge, who is of Muscogee Creek descent, draws inspiration from traditional bead work. Margaret Roach Wheeler, of Chickasaw and Choctaw descent, created a handwoven costume for the piece Chikasha Issoba (Chickasaw Horse).

Purse made from Nashville Arts magazines

From Cells to Sales: DreamWeave Handbags Empower Incarcerated Women

Words by Karen Parr-Moody Photography by Eric Brown

W

hen a petite blonde named Velda delivered a handbag she made from magazine pages to a nonprofit called DreamWeave, it was a moment that didn’t reveal its underpinnings. Each one-of-a-kind bag can take 25 to 60 hours to make through a painstaking process Velda learned while incarcerated in a Davidson County jail. But at a glance, the bag doesn’t convey that.

Each origami-like square that comprises the surface is about the size of a Scrabble tile and is produced by an elaborate folding process. Each bag is comprised of hundreds of strips of paper—from Bibles, magazines, newspapers, music lyric sheets, state maps—that are then covered in cellophane and woven into other strips. The handbag’s corners are the hardest part to form due to their three-dimensional shape.

“I go through tons and tons of magazines,” Velda says of her process.

“With this one, I tried to look for color.”

Velda always incorporates stars into her magazine purses; the symbol honors her beloved daughter, Amber Star, who died young by suicide. In fact, it was her daughter’s death that launched a precipitous decline for Velda, whose tailspin culminated in a jail stint from which she emerged in April.

“My daughter’s suicide caused me to make some not-so-good choices, not knowing how to deal with my grief,” Velda says. “I didn’t know how to live without her. So I had pushed everyone away, out of my life, because I was tired of crying—and I knew they were tired of me crying.”

By the time she was behind bars, Velda had lost hope that anyone believed in her. “Then this bright light came into the jail and blew my socks off,” she says. “It made me remember that people really care.”

That “bright light” to whom Velda refers is Louise Grant, a prison management executive who left the field in 2015 and, shortly thereafter, co-created DreamWeave with the help of counselor Malinda DavenportCrisp and Rev. Sherry Cothran.

Grant first witnessed the prison hobby of purse-making in 2012, when she saw women creating small handbags from snack bags. She then began donating supplies for a crafts program that ultimately became the nonprofit social enterprise called DreamWeave by which artisans receive a 60 percent share of the price of each handbag (sold at www.dreamweavebags.com). DreamWeave also provides an array of support programs to women after they regain their freedom.

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The phenomenon known as “prison art” dates back to the mid 20th century, when it became common among prisoners to render purses and wallets from the materials at hand.

Examples still exist of handbags made from cigarette wrappers from the 1950s and 1960s, such as Camels, Pall Malls and Lucky Strikes.

This artisan ritual of incarcerated life offers a figurative escape from prison—from one’s thoughts, from monotony, from reality. After all, in prison one has nothing but time on one’s hands. Using that time to exercise the basic human right of expression has created an intergenerational Cinderella story: given some empty cigarette packs, a prisoner can make a thing of beauty.

But within the DreamWeave program, this artisan ritual has become richer still; it is therapeutic, educational, and entrepreneurial. The women of DreamWeave learn business and life skills through the process of creating handbags in jail. And, as Grant explains, many incarcerated women are indigent, so the profits they receive from the sale of each handbag can go toward victim restitution, child support, court fees, and basic jail purchases, such as hygiene products.

Upon release from incarceration, each woman may continue being a DreamWeaver with the team, as Velda has chosen to do.

During her incarceration, Velda noticed that some women in another room were surrounded by colorful paper. When she discovered they were making handbags, she said, “I want to do that.”

After Velda got in the program, she looked forward to seeing Grant every Tuesday, Wednesday, and Thursday during class.

“She makes you feel good about yourself,” Velda says. “She doesn’t judge, and you can tell she really believes in you. So that’s why I wanted to continue when I got out.”

Velda needed the emotional support, because she felt like “a number” during her incarceration. She also thirsted for color.

“That was the only color we got, as everything was drab and dark,” Velda says. “And she came in with this wrapping paper and this color and just the light around her. It meant everything. It made a huge difference.”

Velda hit the ground running.

“It’s a way to escape when you’re locked in your cell,” she says of crafting bags. “For that short time that you’re folding and weaving, you’re not really in jail. You’re doing your own thing.

It probably helped me keep my sanity in there.”

A clever and therapeutic aspect of the process is when each artisan weaves a “life dream” into the handbag—like tossing a penny into a wishing well.

Velda says, “Mine was to be released and live a happy, productive, law-abiding life, and to reconcile with my family, which I’ve done, and to receive help.”

Velda took pride in generating some income while in jail.

“I wasn’t going to call my family and ask them to send me money so I could buy shampoo and different things,” she says. “And, unfortunately, once you’re incarcerated you find out you really didn’t have any friends.”

After she signed her first check from the sale of her handbags, Velda bought shampoo and deodorant.

“Some of the most joyful days are when the woman gives me this beautiful purse,” says Grant, her enthusiasm for DreamWeave palpable. “By the time they’ve finished, there’s love in that purse.”

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One of the DreamWeave partners, Malinda Davenport-Crisp, is the executive director of Family Reconciliation Center, a Nashville non-profit that counsels spouses and children of the incarcerated and provides counseling to incarcerated women and men. She says that making these handbags increases more than a woman’s savings account.

“We have a lot of women [in the program] who haven’t finished high school,” she says. “They haven’t been able to stay with a job very long. They struggle with addiction. So to be able to say I did this creates an incredible amount of self-worth.”

Grant adds, “The vast majority of the women have drug problems.

Generally, their addiction is at the heart of all of this. And when you go back and you start reading their stories, trauma began at a young age in their lives.”

Davidson County Sheriff Daron Hall, who allows DreamWeave to operate inside the jail, is a devotee of the cause. His mission has long been to lead offenders into a life of productive

citizenry. Teaching them skills they can use outside of jail is critical to this mission.

“Making license plates doesn’t really make you very marketable once you get out,” Hall says. “I think the purses are very marketable, and I think the skills and the pride in one’s work is the real value here.”

Hall says, “Clearly an individual who is incarcerated doesn’t have the opportunity to work and make a living. This allows them to start getting back on their feet. If they weave a purse and the nonprofit sells it for them, that revenue that is generated can be put into a woman’s account, and she can put that toward savings for when she gets out.”

This is important, Hall says, because the temptation to jump back into a life of crime is real.

“We’re extremely supportive of what they’re doing,” he says, noting that he hopes the DreamWeave program will grow. “I don’t see why men can’t learn to weave purses, too.” na For more information, visit www.dreamweavebags.com.

Stretching the Boundaries Centennial Art Center Through September 23 Metro Parks’ Centennial Art Center is presenting Stretching the Boundaries through September 23. In this annual juried exhibition, Tennessee Craft’s Midstate Chapter asked artists to extend beyond their standard approach to making art to further explore their creative process.

The idea behind Stretching the Boundaries is to highlight the craft tradition in Tennessee, one that dates back to indigenous peoples who crafted striking pottery, through today, and to showcase the abundance, creativity, and variety within the arts community as arts and crafts in Tennessee continue to be an integral and vibrant part of our lives.

Jurors Jim Hoobler, Curator of Tennessee State Museum, and Terri Jordan, Curator of Customs House Museum in Clarksville, selected artists Audry Deal-McEver, Neva Fiumara, Catherine McMurray, Roy Overcast, Donna Rizzo, Anne Rob, Alice E. Shepherd, and Nazan Tem due to, according to Hoobler, “not only their great skill, but a consistency in style that makes their work stand out as their own.” Artists’ work runs the gamut from ceramic sculpture and functional stoneware to fused glass, marbled paper, and jewelry.

For more than 50 years, Tennessee Craft has encouraged, nurtured, and promoted local artisans. Collaborating with Centennial Art Center in Nashville for much of that time, together the two organizations work to connect artists, provide resources and opportunities for both artisans and the public, and to emphasize and promote creativity in the community.

Audry Deal-McEver, Ceramic pitcher Stretching the Boundaries is free and open to the public Monday through Thursday, 9 a.m. to 5 p.m. through September 23. In addition, Centennial Art Center will host a closing reception on the 23rd to conclude the first day of the annual Fall Tennessee Craft Fair. For more information, visit nashville.gov/cac.

Photography Competition

7th annual photography competition Local and international photographers Amateur and professional

+ First Place $500 cash

+ Second Place

$300 Chromatics gift card

+ Third Place

$200 Chromatics gift card

Top entries will be featured in the December issue of Nashville Arts Magazine and entrants may be given the opportunity to shoot an assignment for the magazine.

Submissions due: October 20, 2016

Winners announced: December 2016

You may enter as many photographs as you wish for $5 per photograph.

65 See www.nashvillearts.com for details. nashvillearts.com

abstractNASHVILLE

Photography and Words by Tina Gionis

I

t’s been interesting for a recent transplant like me to move to a city that is reinventing itself. The first year or so in a new location is supposed to be spent getting familiar with new surroundings, finding a foothold. It’s been tough for me to do this because I constantly hear how much Nashville is growing and, for better or for worse, how different it is from just a few years ago. I have nothing to refer this change to, so trying to get settled in has been an interesting process.

Inspired by this process of trying to assimilate in a city that is in flux, I walk the streets and photograph this transition; the tearing down of houses, the construction of buildings, lines of cranes and architecture meeting in angles in the sky. I then layer these images with old photographs of Nashville that I’ve found in the Tennessee State Library Archives. I’m attempting to show that, even though all this growth and transition is happening, the past still lingers on in the city. Perhaps it’s from the desire of some who want Nashville to stay the same.

These images are from City, a body of work that investigates issues that are happening in whatever city I happen to be living in at a particular time. City-Nashville explores the phenomenon of a city that is experiencing rapid growth while trying to maintain its familiar character. This is a work in progress, much like Nashville. na For more information, please visit www.tinagionis.com/imaging.

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THEBOOKMARK

A MONTHLY LOOK AT HOT BOOKS AND COOL READS

Heroes of the Frontier Dave Eggers Have you ever dreamed of running away and starting over? That’s exactly what Josie, a divorced mother of two who has just lost her dental practice, does in Heroes of the Frontier. Sick and tired of life as she knows it, she sets off for Alaska with the kids in an RV. Along the way, the family encounters adventure and danger. Smart, funny, and touching, this latest novel from Eggers—the author of ten books and the founder of McSweeney’s, an independent publishing company based in San Francisco—will please a wide range of readers.

American Heiress: The Wild Saga of the Kidnapping, Crimes and Trial of Patty Hearst Jeffrey Toobin We will simply never stop being fascinated by the Patty Hearst kidnapping and the bizarre trial of her captors. The events surrounding Hearst’s abduction in 1974 come alive in the hands of Toobin, the bestselling author of several books, including The Nine, for which he won the J. Anthony Lukas Book Prize, and The Run of His Life, which was made into the television series The People v. O. J. Simpson: American Crime Story.

Making enthralling use of more than a hundred interviews and recently released documents, Toobin sheds new light on one of the most famous cases of Stockholm Syndrome in history.

Bright, Precious Days

Another Brooklyn

Jay McInerney

Jacqueline Woodson

You can read Bright, Precious Days on its own, or you can enjoy it as a followup to the two novels McInerney wrote about the same characters, Brightness Falls and The Good Life. In this novel set about a decade ago, the country is on the brink of economic collapse, and many of the luxuries of New York City life are becoming harder to afford for Corrine and Russell Calloway and their two children. Now turning 50, the Calloways are hanging in there in the city that drew them when they were younger—the city that has drawn McInerney’s attention ever since his first novel, Bright Lights, Big City—but the pressures of his job in publishing and her past affair test their marriage and stability.

Ann Patchett says, “Another Brooklyn is a sort of fever dream, containing both the hard truths of life and the gentle beauty of memory. The story of a young girl trying to find herself in the midst of so many conflicting influences and desires swallowed me whole. Jacqueline Woodson has such an original vision, such a singular voice. I loved this book.” Woodson is the author of more than two dozen books, including the New York Times bestselling memoir for young readers Brown Girl Dreaming, which won the 2014 National Book Award.This is her first novel for adults in two decades, and she’ll read from and sign it in Nashville on September 7.

Fine Art & Gifts

by Olga Alexeeva & Local Artists

www.OGalleryArt.com

Olga Alexeeva, artist and owner, is available for commissioned works for home and business Art classes

by Olga are conducted weekly

Olga Alexeeva, Andante con Motto, acrylic, 36” x 48”

FEATURED ARTIST Pete Lobo Nemec

Pete Lobo Nemec is a self-proclaimed renaissance man, wood carver, musician, and cartoonist. Originally from Chicago, where he received a grant from the Fine Arts Council, he recently recently moved to the Nashville area.

He is displaying his carving art at “O” Gallery and is accepting commissions.

Open 7 Days a Week • Monday-Saturday 10-6 • Sunday 11-5 1305 Clinton St. Ste. 120 • Nashville, TN 37203 • 615-416-2537

2225 Bandywood Dr Green Hills 615.982.8514 dishdishgoose.com

Photograph by Jerry Atnip

Peggy Snow in Printers Alley

peggySNOW

by Bob Doerschuk

If you want to know what Nashville looked like before the cranes flew in, look no further

F

or several months, every Sunday afternoon that it doesn’t rain, Peggy Snow has been setting up her easel outside of Ms. Kelli’s Karaoke Bar. Looking across Printers Alley, she paints the old buildings in her line of sight, where the Brass Stables, the Embers, and other venues of dubious repute once thrived.

Occasionally one or two passersby stop to watch her create and ask a few questions.

Some artists may be annoyed by these interruptions. But Snow always takes time to smile, explain what she’s doing, and why she believes it’s important. That, as much as completing her works, is her mission.

“When I’m painting out on the street, I’m doing public art,” she says. “I’m a public servant. I make myself available to all conversations. It goes back to my idea of Socrates: Everybody is talking to everybody. And I like that!”

The Little Block, 2012, Oil on canvas, 24” x 30” 69 nashvillearts.com

It’s hard to resist speaking with Snow. There’s a smile in her voice, suggesting a joy of connecting with friends and strangers alike. She punctuates every few sentences with laughter, even when the topic might turn toward the seriousness of the issues that drive her and the personal challenges she faces as well.

Anyone who follows recent developments in Nashville will recognize the message behind her work, not just the Printers Alley scene in progress but in her older oeuvre—depictions of the Father Ryan High School, the Union Station Train Shed, the Jacksonian Apartments, and other local landmarks now demolished and replaced by drugstores, offices, and other monuments to our more generic times.

When she first set up in the Alley, Snow knew that the days of the iconic building she would memorialize were numbered. So she began with it, painting oil on canvas, concentrating on every detail, down to individual bricks, up until its anticipated destruction began. Then she began capturing the structures around it.

Fall of the Old Father Ryan, 1995, Oil on canvas, 30” x 36”

“They’re going to build a hotel there,” she says, gazing at the rubbled lot across the Alley. “You see that wall—that beautiful old wall with ‘Utopia’ on it? We’re not gonna see that wall anymore.”

For many, these changes mark Music City’s ascension as one of America’s most vital citieson-the-rise. Snow agrees that there’s much to celebrate in this upward movement. But she also insists on reminding old-timers and newcomers of what gets swept aside and forgotten in this trajectory.

Looking back to when she came to Nashville from Memphis State University to earn her B.A. in Art and English from Belmont College, she recalls when “we used to kick around at Windows on the Cumberland and along Second Avenue. It felt like our town, but now I don’t feel like it’s necessarily the same for me.”

Charlotte Church of Christ, 2010, Oil on canvas, 30” x 40”

Snow did leave for a while, spending a year doing graduate study on a fellowship at the University of Montana in Missoula and, inspired by her love for Van Gogh’s “rigorous distortions,” Otto Dix and German Expressionists, in Germany. There, she began feeling drawn toward old homes and rural vistas as subjects.

“I’m doing portraits of buildings,” she says. “I love old ruins because they evoke history: What happened here? Who has been here? I love how they settle into the earth, so they aren’t static. I love to find their organic nature. I love how the

Printer’s Alley, 2016, Oil on canvas, 30” x 40”

Peabody Corner, 2012, Oil on canvas, 30” x 40”

elements and materials in old buildings start to disintegrate, so they become rich in elemental colors. Also, windows can physically look like eyes and create a sense of a face that you can look into to find the stories of the people who looked out from them.”

Snow doesn’t focus only on doomed or vanished places; her gallery at pasrll.net also includes portraits along with images of Nashville’s Tin Angel and other extant parts of our cityscape. But as the pace of demolition accelerates, her commitment to documenting what’s being lost has strengthened.

“These old buildings were beautiful even when they were newly built,” she says. “The materials that we made these places from a hundred years ago were so wonderful—the hand-carved stone and handmade bricks. And the beams were from trees that we don’t grow anymore because it takes too long. The roof under the old Union Station train shed was from massive pine trees, and we don’t have those forests anymore.”

This knowledge, plus the fact that Snow has wrestled for these past two years with a debilitating condition known as Guillain-Barré syndrome (GBS) that has interrupted her activities for up to three weeks at a time, feed her determination to push ahead. “I want to paint, but what really makes me get out and do it is that the clock is ticking,” she acknowledges. “I am moving more slowly than I used to. But I’m glad to be alive—and so glad to be painting.” na To see more of Peggy Snow’s art visit www.pasrll.net/peggysnow.

The Old Bakery, 2015, Oil on canvas, 30” x 24” 71 nashvillearts.com

BY ERICA CICCARONE

Photograph by Tony Youngblood

OPENSPACES

Erica Ciccarone is an independent writer. She holds an M.F.A. from the New School in Creative Writing.

She blogs about art at nycnash.com.

Socially Engaged Art Marlos E’van’s American Gothic When Marlos E’van checked out the long-neglected building at 1808 Buchanan Street, he saw a space to mount his powerful pop-up exhibition Dyin’ By Tha Gun!, a searing presentation of paintings, sculptures, and masks that takes a nosedive into racial injustice and police violence without looking back. The address once hosted Lem’s Country Kitchen, a bakery, and later a ministry where folks temporarily ran a halfway house. But it’s long fallen into disrepair.

Inside, the room is large and airy, with plenty of wall space for hanging paintings and room for visitors to navigate sculptures. But the walls are concrete blocks, painted white here and there, water stained, with wires and insulation blooming like ironic bouquets. The brown tile floor is coated with dust.

In this unlikely gallery, E’van used vices to attach the paintings to electrical conduits that are spaced evenly along the walls.

A recent Watkins graduate and native of the Mississippi Gulf Coast, E’van reflects the ugliness of institutional racism back to us in bright, bold color. His work is figurative, although familiar shapes often yield to bold swaths of color. His subjects are largely black and brown—human, to be sure, but also not. With deft handling of symbols, E’van transfers cultural attitudes and social mores to unsettling portraits of violence, racism, and despair. His aesthetic choice to mount the show in this run-down location shows that his willingness to take risks pays off. The context lends further depth to an already searing study of modern times.

I once asked E’van what drives him to make art about these difficult subjects. “I’m driven to do it because I’m still susceptible to being a victim of this,” he said. “I can be pulled over at any time and get my brains bashed in. I’ve been in those situations. For student artists, we don’t have anything to lose anyway because we’re out here living it. So we’re talking about it. I risk it all to make a damn change. I can’t help it.”

Many of the works portray black men as savages with cartoonish enlarged facial features. Black Myth#2/Wanted shows a wanted poster of a grotesque, barbaric figure with pitted black skin. Its eyes are red rimmed. Its large nose is a

Black Myth #2/Wanted, 2016, Ink, oil paint on canvas stapled to wood panel, 48” x 33”

What If?, 2016, Oil paint, latex paint, spray paint, oil sticks on panel, 36” x 36”

“

Photograph by Courtney Adair Johnson

“I’m driven to do it because I’m still susceptible to being a victim of this, so we’re talking about it. I risk it all to make a damn change.

I can’t help it.

snotty yellow-green. It bears its teeth, its lips red as if with blood. It’s a mug shot of a boogeyman that is reminiscent of the way Darren Wilson described Michael Brown before he shot him: as a demon, big as Hulk Hogan, who “made a grunting . . . aggravated sound.”

In CNN Saw It All, two brown figures--one masked, one faceless— lock guns while a video camera rolls, shining a light on the action.

Here, he dramatizes the nightly news, prompting us to imagine a newscast where black men are portrayed according to the associations of white consciousness: anonymous and without individuality, killing each other in the ghettos. Each work is an assault on the deeply held and often denied racism in Americans.

Similar images abound in E’van’s work: chained prisoners walk in line like slaves; a bug-eyed youth raises his fists to fight; a brown Eraserhead-like baby with a high pony tail the color of fireball gobstoppers holds its pregnant belly and wails. Laced within all of this are some of E’van’s other recurring themes: dollar signs, McDonald’s, Coca-Cola, and cars. Things We Die For is divided into four image quadrants: a lone Air Jordan sneaker, a cheeseburger, a car, and a hilariously Picasso-esque Benjamin Franklin. These hallmarks of consumerism (with a touch of history, just for fun) are part and parcel of racism for E’van because they are linked to poverty. “There’s a McDonald’s in most lower-income areas, similar to liquor stores,” E’van says. “On the other hand, a highly recognized brand like Jordan becomes an almost religious fixation that carries its own crime wave around it, where people are prepared to kill for it. Again, it’s largely seen in impoverished areas.”

Presiding over the whole show is American Gothic, a depiction of a huge American flag, starless and darkened by figures that have been painted over.

As much as the exhibition is an indictment of racial profiling and consumer culture, it’s also a castigation of our complicity as passive “viewers” of racist practices. How many of our observations about racial justice are as passive, as unchallenged, as the experience of walking through an art gallery on a Friday evening? And what will it take to shake us out of our comfort? na See more of Marlos E’van’s art on Instagram @marlosevan.

American Gothic, 2015, Latex paint, spray paint on canvas, 240” x 144”

CNN Saw it all, 2016, Sand, latex paint, oil paint, spray paint on canvas, 72” x 132”

Things We Die For, 2016, Oil paint, latex paint, oil sticks on linen, 60” x 55” 73 nashvillearts.com

Defy Film Festival Studio 615

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August 19–20

On Friday, August 19, and Saturday, August 20, film fans and filmmakers working in all genres have an opportunity to come together to experience films made outside traditional filmmaking guidelines, films bending convention and expectation, and films that defy standards to both entertain and inspire.

Founded by filmmakers Dycee Wildman, of East Nashville’s

outdoor movie series Grassy Knoll Movie Nights, and Nashville independent filmmaker, producer, and writer Billy Senese to celebrate underground cinema, the festival is, says Wildman, “not about comedies, dramas, documentaries; it’s about film—not the genre.” Wildman and Senese have taken time to curate a program, including approximately 60 films, that is interesting, entertaining, educational, and thoughtful.

Film still from The Rainbow Kid

Courtesy of The Rainbow Kid

With three clear objectives at its hub: bring great films to Nashville, pair them with engaged audiences, and foster conversations about pushing traditional filmmaking boundaries, Defy Film Festival presents both full-length features and short films, including drama, comedy, experimental, animation, documentary, horror, sci-fi, music videos, and the rare blend of combining genres. The one rule: defy the medium standard!

Showing on two screens, the inaugural two-day film festival provides a platform for modern, progressive filmmaking, targeting “visionaries who see new places to go in the process” of filmmaking and for the fans who appreciate films that break the mold.

Defy Film Festival is slated for Friday, August 19, from 5 p.m. until midnight and Saturday, August 20, from 10 a.m. until 2 a.m.

Friday wraps with a cocktail party. Saturday wraps with an after party and DJ James Roquemore. For more information, visit defyfilmfestival.com.

2 016 -17

Presented by

SEASON

Presented by

September 9-18, 2016

January 24-29, 2017

February 14-19, 2017 Photo by Joan Marcus

October 18-23, 2016

March 21-26, 2017

April 25-30, 2017

May 23-28, 2017

June 27—July 2, 2017

PLUS 2

BROADWAY SPECIALS:

Presented by

April 21-23, 2017

November 15-20, 2016

8-SHOW SEASON TICKETS START AT ONLY $180.50!

TPAC.ORG/Broadway •

TPAC Box Office • Groups of 10 or more call 615-782-4060

Broadway Series sponsored by

Event, date, time, guest artist, and repertoire are subject to change. Some shows contain mature content. TPAC.org is the official online source for buying tickets to TPAC events.

lorriKELLY

by Jane R. Snyder

Untitled, 2016, Acrylic and pencil, 48� x 48�

Conversations Between Colors

I

f you were to observe hundreds of abstract paintings, you would see many that look half-hearted or offhand in their intention.

Not so the work of Lorri Kelly. Her self-assured panels stand out and reflect the same deliberate energy the artist manifests as she welcomes art lovers into her booth in Centennial Park.

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“

“I’m an introvert, not very talkative—yet I have much to communicate—so I do it with paint and line. People who see my work would assume that I’m quite extroverted. I do talk to virtually every person who enters my display; but I’m totally tapped out when the exhibition is over. I may not utter a word the day after an exhibition.”

I’m an introvert, not very talkative—yet I have much to communicate—so I do it with paint and line.

Lorri’s impressive talent has been recognized by juries all over the country. At the Spring Tennessee Craft Fair, Lorri won the Nashville Arts Magazine Honorable Mention award—not surprising for a woman whose paintings are appreciated from their initial installation and then every day thereafter.

Her paintings await collectors in ordered rows like schoolchildren getting ready to run through swinging doors onto an empty playground. More than two decades ago, after the death of her young daughter, Lorri withdrew from a pre-med program and began to paint full time. Gradually, as her grief slowly transformed into the striking abstracts she is known for, “conversations between colors” began to overflow her imagination. Luckily, those conversations have never stopped.

“My work is primarily about two things: color and emotion. I look for color inspiration in nature, as well as color combos I see in textiles, books, and architecture. What actually inspires me is the paint itself: I dollop some colors onto the paint panel, then watch to see how they interact with one another and let that inform me. I don’t use a brush; I blend the colors with my hands. As for emotion, the things I’m feeling inspire and inform my abstracts, or sometimes I try to express what I think other people are feeling.”

Lorri’s canvases are actually thick wooden panels, often recycled segments, which run from eight-inch squares to massive corporate pieces measuring more than 14 feet across. One piece, six feet high by one foot across, is a perfect example of her ability to shape shift while remaining true to a vigorous technique that combines color and line playfully bleeding around the edges of every composition. The artist realizes that if you walk down a hallway toward a painting you either see frame or art. Using her approach, Lorri is able to extend the experience of her work for each viewer.

“I really have an ongoing relationship with my collectors. I always give a piece of myself in each of my paintings, so I feel very connected to people who want to own my work.”

Her husband, gifted mosaic artist Steve Terlizzese, prepares each panel to make sure they are smooth enough so Lorri won’t get any splinters while painting. He also drills holes in the 8” x 8” works to enable them to be displayed in four directions—a pleasant way for any collector to interact with the paintings. Lorri has one fan who likes to rotate a piece that she owns at least once a day! Larger abstracts all come with wire for easy installation.

Using Liquitex® or Grumbacher® acrylics, she selects a new color palette each day and then applies it to multiple panels simultaneously. Her line work is accomplished by “scraping away

Untitled, 2015, Acrylic and pencil, 26” x 15”

layers of paint using an old gift or credit card or, on lighter colors, black soft-core Prismacolor® pencils.” Whether Lorri paints at home or in her “mobile studio” traveling between 25 to 30 exhibitions every year, music is another valuable tool.

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Untitled, 2015, Acrylic and pencil, 18” x 18”

Untitled, 2015, Acrylic and pencil, 28” x 13”

“One day I’m listening to the blues, the next jazz, the next maybe symphony or piano concertos. The music often has a profound effect on my work; some paintings have noticeable reference to rhythm, movement, and sensuality. My husband can come home at the end of the day, look at a painting, and say, ‘You’ve been listening to jazz, haven’t you?’”

Untitled, 2016, Acrylic and pencil, 48”x 48”

Photograph by Steve Terlizzese

Lorri’s abstracts hang worldwide in private and corporate collections including at Vanderbilt University School of Medicine.

Many of her devotees purchase new paintings each time Lorri exhibits in their region. In her hometown of Chattanooga, she has also participated in public art projects including her playful musical tribute The Piano for Masonry Works in Public Places, a mural for the McCallie Walls Mural Project, and elsewhere.

In Nashville, her paintings can be viewed at Art & Invention Gallery, 106 Woodland Street, and Shimai Gallery of Contemporary Craft, 8400 Highway 100 at the Loveless Cafe. Lorri will return to Nashville for the 45th Annual Fall Tennessee Craft Fair, September 23–25, 2016. Don’t miss an opportunity to meet her and discover a “conversation” to brighten your home or office, and, definitely, your spirit! na Lorri Kelly is represented by Art & Invention Gallery. For more information, please visit www.artandinvention.com or www.lorrikelly.com.

Lorri Kelly

July 29 through November 6 Women, Art, and Social Change: The Newcomb Pottery Enterprise, an exhibition created and organized by Newcomb Art Museum, Tulane University, and the Smithsonian Institution Traveling Exhibition Service (SITES), was made possible in part through the generous support of Henry Luce Foundation and an award from the National Endowment for the Arts, Art Works.

Smithsonian Institution The Frist Center for the Visual Arts is supported in part by

Katherine Kopman, decorator; Joseph Meyer, potter. Vase with daffodil design, 1897. Underglaze painting with glossy glaze. On loan to the Newcomb Art Museum from Ruth Weinstein Lebovitz

919 BROADWAY, DOWNTOWN NASHVILLE

fristcenter.org/newcomb

SYMPHONYINDEPTH AUGUST 2016

Photography by Nashville Symphony/Kurt Heinecke

Symphony’s New Season Celebrates a Pair of Milestones

• Stravinsky’s The Rite of Spring, which will feature the orchestra’s new principal bassoonist, Julia Harguindey (February 23–25)

T

he 2016/17 concert season marks two milestones for the Nashville Symphony: the 10th anniversary of Schermerhorn Symphony Center and the 70th anniversary of the orchestra.

In the spirit of acknowledging these accomplishments, this year’s Aegis Sciences Classical Series will both celebrate the past and look to the future. Concertgoers can expect a wide range of material performed by Maestro Giancarlo Guerrero and the 83 musicians of the orchestra, several of whom will be featured as soloists, including principal flute Erik Gratton and principal horn Leslie Norton. There will be world-renowned guest artists and conductors, well-known favorites, and brandnew works, making for a diverse 14-concert series.

Starting the celebration on September 22–24 will be Mahler’s transcendent Symphony No. 2 Resurrection, two movements of which were performed at the grand opening of the Schermerhorn in 2006. The weekend will be dedicated to Maestro Kenneth Schermerhorn, the hall’s namesake and music director of the Nashville Symphony from 1983 to 2004.

The selection of Mahler is fitting, as Schermerhorn was a devotee of the Austrian composer’s music, and the tribute will be made complete by the inclusion of one of Schermerhorn’s own works, Jubilee: A Tennessee Quilting Party for Orchestra.

From there, Guerrero has planned one of his most dynamic seasons yet, which will have something for everyone, from the first-time symphony attendee to the faithful fan. Notable highlights include: • Holst’s The Planets paired with HD footage from NASA rovers, satellites, and telescopes that will add a stunning visual element (January 12–15)

• Ravel’s always thrilling Boléro, which will be featured alongside another Spanish-themed masterwork by a French composer: Debussy’s Iberia (March 16–18) Fittingly for an orchestra that calls Music City home, the Nashville Symphony has a long history of celebrating American composers. That tradition will continue this season with each Classical Series concert featuring at least once piece by an American composer. These include Gabriella Smith, an up-and-coming talent who was selected through the Nashville Symphony’s ComposerLab program last year; Terry Riley, the celebrated “Father of Minimalism”; Philip Glass, another pioneering minimalist who remains one of this country’s most frequently performed composers; and Edgar Meyer, one of Nashville’s very own, who will double as both composer and soloist in his featured appearance.

In addition to performing the music of American composers, the orchestra will add to its growing discography by initiating or completing five different recording projects throughout the season. These include a disc devoted to showcasing the talents of the orchestra’s principal musicians and a recording of John Harbison’s Requiem, a powerfully moving response to the events of September 11, 2001.

The 2016/17 season will also see the launch of a new Classical Matinee Series, featuring afternoon performances of classical favorites, including Holst’s The Planets, an All-Mozart Matinee and a special appearance by legendary violinist Itzhak Perlman. na More information about the Nashville Symphony’s 2016/17 season is available at www.NashvilleSymphony.org.

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Storytellers

by Jerry C Waters

Cumberland Gallery Summer Series

Caroline Waite, Dreamer, 2016, Fabricated steel, ‘found’ ship painting, hand painted panels, paper collage, and vintage items, 12” x 24” x 3”

August 4–September 3

S

torytellers, which opens on August 4, is the third and final rotation show for the Summer Series of exhibitions at Cumberland Gallery. This exhibition will feature new artworks by Meg Aubrey, Barry Buxkamper, Jeff Danley, Robert Durham, Ray Kleinlein, Jim Phalen, Marilyn Murphy, Ron Porter, and Caroline Waite. The purpose of the series, which began in June, is to present the broad roster of emerging and established artists affiliated with Cumberland Gallery. Through these displays the viewer is able to view contemporary artistic media, subject matter, and style.

For example, the July exhibit focused on the tactile qualities of art and the ways in which artists manipulate materials within the realm of three-dimensional forms, sculpture, as well as through two-dimensional art objects, drawing and painting.

The Storytellers exhibition is a revelatory experience that exposes the diverse range of narratives occurring in a select group of works by Southeastern artists. The narratives associated with paintings by Aubrey, Durham, and Porter contain unusual messages and embrace stylistic qualities associated with the Surrealism cultural movement of the early twentieth century.

Indeed, their artwork contains scenes crafted with photographic precision and includes unexpected juxtapositions of objects and images. For example, Porter’s Recalculating is a panoramic view of landscape, meticulously rendered with oil and acrylic on canvas, and incorporates a secondary nature scene within the center of the composition. The contrast between both images is suggestive of a reality beyond the physical world—i.e., a fantasy land. This dreamlike and mysterious experience continues in Durham’s Great Expectations in that the frozen posture of the human figure in the foreground is similar in manner to the wooden mannequin standing in the background. The static pose of the woman and the precise manner in which she is painted resemble the hard-surface quality of the mannequin, the chair, and the ceramic tea pot as well as the cup and saucer she is holding. Durham has captured an ethereal experience.

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Robert Durham, Great Expectations, 2016, Oil on linen, 54” x 40”

Meg Aubrey, Soccer Mom’s World, Oil on panel, 20” x 30”

Ron Porter, Recalculating, 2016, Oil and acrylic on canvas, 24” x 48”

Soccer Mom’s World by Meg Aubrey is from the artist’s Suburbia series, which illustrates an eerie darkness encroaching on suburbia despite light-filled scenes. Aubrey, who is based in Atlanta, Georgia, says her landscapes contain “desperately controlled and perfectly presented elements of an environment created to hold back the engulfing emptiness of a life full of living up to expectations.” Her canvases are social commentary through which she “investigate[s] neighborhoods full of successful individuals whose expectations are not always found at the end of the cul de sac,” according to the artist. The serene space surrounding the seated figure in Soccer Mom’s World who is peering into a techno-device alludes to a feeling of uneasiness and suggests that which is timeless.

Caroline Waite’s Dreamer from her linear narratives series incorporates a range of vintage items resting on a fabricated steel shelf. From an early age the artist has constantly searched for “stuff” that she incorporates within artistic constructions. The purpose of these constructions, Waite says, is “to make order out of chaos and to also show things to their full potential and to highlight subtle connections and differences.” Through the process of highlighting found objects she elevates inherently humble, discarded, and rusted forms and, according to Waite, reveals “the element of mystery surrounding old objects.” na

Barry Buxkamper, Frame Samples, 2016, Acrylic on unstretched canvas, 30” x 48”

From August 4 through September 3, the Cumberland Gallery staff is pleased to offer a fresh look at some of the most revered storytellers connected with its exhibition program. On August 13 at 11:30 a.m. the public is invited to attend a panel discussion at Cumberland Gallery with Jeff Danley, Bob Durham, Marilyn Murphy, and Ron Porter. For more information, visit www.cumberlandgallery.com.

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Drawing Parallels, Building Distinction in Oil & Mud Julia Martin Gallery

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by Peter Chawaga

August 6–31

S

eemingly disparate pieces of artwork can come together in strange ways, the differences acting as foils that bring each into sharp relief or the similarities finding a harmony that was buried below the surface.

Oil & Mud, an exhibition coming to the Julia Martin Gallery in WEHO, promises to explore this interplay with the substantively divergent work of two friendly artists who share aesthetic values and new approaches to old media.

Delia Seigenthaler and Emily Holt have worked together for over a decade teaching art at University School of Nashville. They have found that they can rely on one another as collaborative partners in the classroom, most recently leading students in a year-long project on the art of puppet making.

They’ve also found success exhibiting their personal work together several times in recent years.

“We work pretty closely together every day during the school year so we’re constantly talking and bouncing ideas off of each other, either projects for the students or our own art ideas,” said Holt. “We both incorporate a lot of that art interest into our teaching, and that influences our work with the students. I would say we have a pretty close aesthetic connection.”

While they may share a creative wavelength, the results can be quite distinct. For Oil & Mud Seigenthaler will present a series of clay heads inspired by her recent work with students on large-scale processional puppets.

“These heads are ceramic objects, material things that are static but still express ideas of the mind and spirit,” reflected Seigenthaler. “For me working on them, they almost control me more than I control them as far as that ability to believe that the spirit emerges during the process of construction. That’s really the fascinating thing about working with the head or the human face: It does stare back at you, and you respond to it.”

Left: Delia Seigenthaler, Poppet, 2016, Clay, underglaze, paint, 9”x 10” x 6” Right: Delia Seigenthaler, Batgirl, 2016, Clay, underglaze, paint, 12” x 13” x 8”

Meanwhile, Holt will exhibit paintings and mixed media consisting of layers of paint, cut paper, and wax.

“I use a lot of tools to scratch into the paint, and I would like people to look closely at them and see things, see the tiny marks,” Holt said. “They’re imaginary landscapes, so viewers can come up with a story in their heads. They’re an illustration to whatever story you see.”

Despite the differences in presentation, there is a common thread that may unify the collections. Both artists are returning to media that they once favored but put aside to explore new avenues. Seigenthaler originally studied ceramics as an art student but had lately shifted her focus to mixed-media pieces.

Holt’s return to painting marks the end of a years-long hiatus.

“I haven’t painted in several years, and I know Delia hasn’t made clay sculptures in several years, so in a way we’re both revisiting these media that we sort of started with,” Holt explained.

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Emily Holt, Bison and Birches, 2016, Oil paint, 10” x 13”

Julia Martin, owner of the gallery, said she has been a fan of the two artists for “most of my adult life” and has presented their work in group exhibitions in the past.

“Delia and Emily each have a style uniquely their own, yet both play in otherworldly subject matter that speaks directly to my heart,” Martin said. “It is not hard to imagine Seigenthaler’s characters strolling through Holt’s vignettes, and their palettes have always played beautifully off of one another.”

This being art, any patterns or exchanges between the collections are only important as they provoke thought and heighten the visual sense. Parallels or distinctions will ultimately be decided by individual perception. As for the artists themselves, similarities and differences alike make for a productive combination.

“Our work is different, but we definitely have similar ideas about making art,” said Seigenthaler. “We work really well together.” na Oil & Mud will open at Julia Martin Gallery, 444 Humphreys Street, with a reception on August 6 and remain on view until August 31.

For more information, visit www.juliamartingallery.com.

Emily Holt, Stump, 2016, Oil paint, 12” x 12” 85 nashvillearts.com

ARTS&BUSINESSCOUNCIL

BY JENNIFER CHALOS

Five Tips for Successful Fundraising For most people “fundraising” sparks feelings of awe, fear, and anxiety. Instead, approach it like you would building friendships for your cause, and fundraising will be enjoyable and rewarding. Not convinced? Here are some tips. (Happy Fundraising!)

1. Get organized.

Write your case statement by answering: What do you propose to do? Why is it needed and unique? What is the potential impact? What are the project’s inspiring stories?

Build the case larger: How will this impact audiences?

Affect larger arts communities? Think big picture and where you fit in.

Identify resources/tools: Project budget. Marketing/ communications materials. Videos or demonstration.

Potential prospects, endorsers/fans, and fundraising ambassadors.

Create engagement experiences. Set up an outreach calendar for prospects to connect and learn more about your work with marketing, media and public relations, tours/events, letters and newsletters, one-on-one meetings, etc.

2. Prioritize – People Give to People.

Prioritize your list of prospects based on level of engagement and shore up support from stakeholders— friends, audiences, volunteers, board members—and then seek referrals among their peers and co-workers.

Regardless of your outreach tactic, your stakeholders compel other supporters.

3. Research.

Knowledge can guide timing, messages, and method, and the amount you might seek. Google demographic information and giving patterns. Ask your stakeholders for information. Record everything.

4. Ask! Making an “ask” can be daunting, but you gotta do it to get it! Practice and role play scenarios with trusted friends to learn and improve. Share the opportunity, impact, connections, and unique attributes. After sharing and observing reactions, ASK! Listen to the answer and confirm understanding.

5. Promptly, thank!

Studies show that thank-yous within 48 hours of receiving a gift or pledge—handwritten, typed, emailed, or spoken— are the next best steps for building a long-term, fruitful relationship. Include the gift’s impact. Check IRS rules for gift acknowledgement.

Jennifer Chalos Lead Consultant with Jennifer Chalos & Associates Throughout her extensive career, Chalos has helped to raise millions of dollars for the 30-plus organizations with whom she has worked, which include large national institutions, established statewide and urban institutions, and smaller local organizations.

JOHN PRINE WYNONNA & THE BIG NOISE C I A R A N L AV E R Y AUBRIE SELLERS GREEN RIVER ORDINANCE JOHN PAUL WHITE A O I F E O ’ D O N O VA N BART CROW S A R A WAT K I N S T H E I N FA M O U S S T R I N G D U S T E R S PARKER MILLSAP AMANDA SHIRES BRUCE HORNSBY SARAH JAROSZ T H E H A N D S O M E FA M I LY B I L LY B R A G G & J O E H E N R Y K A I A K AT E R C.W. STONEKING WA N D A J A C K S O N S H AW N C O LV I N & S T E V E E A R L E JACK INGRAM LORI MCKENNA JOHN MORELAND INDIGO GIRLS MY BUBBA

And 190 More!

COMMUNITY

EDUCATION

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REGISTER NOW Offering classes in book arts, clay, creative writing, film, painting, photography, printmaking, and more!

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ARTAROUND

BY ANNIE STOPPELBEIN

Lorraine Shemesh

Photograph by Jack Bashkow

Lorraine Shemesh The New York Artist’s Painted Pools Series Makes A Splash

Bridge, 2012, Oil on canvas, 48” x 79”

N

ew York City-based artist Lorraine Shemesh works in a variety of media, but is best known for her magical paintings of figures submerged in water. Shemesh is drawn to the patterns created by light reflected through liquid and how they change with its constant movement. Her Painted Pools series began in the early 1990s as an idea for a single painting. After finishing the first one, Shemesh was so riveted by the process she decided to further explore. Each subsequent painting has resulted in the artist’s emotional and physical growth.

The swimmers in Shemesh’s work are realized from the inside out, as an in-depth study of the human anatomy. Their apparent weightlessness contributes to the the work’s arresting quality.

Fascinated by the art of professional dance, Shemesh uses dancers as models. Their toned bodies and tremendous flexibility are perfect for the pool paintings, which require them to strike difficult poses. She draws them in her studio and sometimes takes them to a pool to snap underwater pictures.

Her preliminary drawings in black and white are more sedate than their vivid counterparts in oil, but are also singularly profound.

Around the year 2000, these pool paintings took a new direction.

Shemesh allowed herself to be less controlled and surrendered to her work. “It became clear to me that the closed-off, contained forms I was working with needed to be opened, broken, and exploded.” Inspired by the work of Jackson Pollock, she tried painting upside down, on the floor, and splashing paint. This liberated her. Her work now hinges on the divide between representation and abstraction.

Shemesh has degrees from Boston University and the Tyler School of Art. She spent a year in Rome during her time in graduate school. She has taught at the Rhode Island School of Design and Amherst College. She has received awards for her work and been praised in The New Yorker and The New York Times among many other publications. na For more information on Shemesh’s work visit www.gpgallery.com and www.lorraineshemesh.com.

88 nashvillearts.com

Crescent, 2013, Oil on canvas, 75” x 49”

Lunge, 2013, Oil on canvas, 68” x 54”

Suspension, 2013, Oil on canvas, 70” x 56”

Surrender, 2015, Oil on canvas, 58” x 70” 89 nashvillearts.com

C U S TO M S H O U S E MUSEUM EXHIBIT

Olen Bryant: Tennessee Treasure August 11 – Oct 16

BLU E FIG IMAGES BY MONICA DERISE

EDITIONS

Fine Art Printmaking S C R E E N PR I N T S • L I T H O G R A PH Y E TC H I N G • WO O D C U T S

Sponsored in part by Thurston, mono-print and woodcut, 22” x 18”

• Hand-pulled original prints by master printer Mike Martino • We offer classes and workshops on all printmaking techniques

Customs House Museum 200 S. 2nd Street in Historic Downtown Clarksville, TN 931-648-5780 • www.customshousemuseum.org Hours: Tues – Sat 10 – 5 • Sun 1 - 5

• In-house publishing of fine art limited editions and posters

Blue Fig Editions • Brentwood TN 37027 www.bluefigeditions.com • mike@bluefigeditions.com • 615-942-9844

SOUNDINGOFF

BY JOSEPH E. MORGAN

Photograph by Thiago Prado Neri

Chatterbird and Chess at OZ Arts Fest

On Wednesday, June 22, Chatterbird, Nashville’s alternative classical ensemble, continued its exploration of uniquely orchestrated chamber music with a performance of Halldór Smárason’s composition 1972, Game 13 as part of Tony Youngblood’s Modular Art Pods exhibition at OZ Arts Nashville.

Smárason’s composition is based on the 13th game (of 21) held in the world chess championship between Bobby Fischer and Boris Spassky at the height of the Cold War in Reykjavik, Iceland; an event that was hyped as the “Match of the Century” and recently depicted in the Hollywood Movie Pawn Sacrifice. The 13th game is remembered for the way the lead swung both ways and how, after an overnight pause, Fischer obtained victory by drawing his Soviet counterpart into a number of traps. By winning the match Fischer symbolically brought down the Soviet Union, ending nearly a quarter century of dominance.

Smárason’s piece, written for chamber ensemble with amplified chess board, electronics, and video, seemed to convey both the events that occurred during the match as well as the tension and emotional suspense that must have resulted during the match. The overnight break, during which Fischer designed his win, is depicted in the score when the performers are directed to “stop playing chess” and “casually place rice and coins” on the amplified board.

All of this external noise, perhaps an allegory to the distractions during the game itself, creates an excellent contrasting middle section to the composition. Further, the extended techniques brought off by the clarinet (Emily Tyndall) and flute (Celine Thackston) during the performance were remarkable—the kind of virtuosity we’ve come to expect of Chatterbird.

In all the context made the performance interesting and different.

Chatterbird played 1972 a couple of times, as well as other pieces, while people visiting the Modular Art Pods strolled past or stopped for a minute, as if they were passing through some kind of museum of experience.

For more on Chatterbird, visit www.chatterbird.org.

Joule Schatz and Joe Privett at Fort Houston

Ellen Pryor and Jeff Lane at the Downtown Art Crawl

Jo Williams at Julia Martin Gallery

ARTSEE

Photograph by Madge Franklin

ARTSEE

At 40AU

Nina Covington at Corvidae Collective

ARTSEE

At The Arts Company

Nicole Mason (artist) at Blend Studio Paul Craig and Cassidy Conway at The Arts Company

Margaret Baker, Peter Schmidt, and McKenzie Evans at Tinney Contemporary

5th Avenue

At The Rymer Gallery

Photograph by Madge Franklin

Julia Curran (artist) at 40AU

Photograph by Madge Franklin

Anne Brown and Mickie Cooper at The Arts Company

At Blend Studio

Annie Stoppelbein, Lain York, Chloe Hall, and Amber Van Darys at Zeitgeist

Outside at mild climate

PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON

ARTSEE

Katrina McElrath at The Rymer Gallery

Mark, Miki, and Madison Drury at The Rymer Gallery

ARTSEE

Lyndsey Yarger at The Rymer Gallery

ARTSEE

Stephen Jones (artist) at WAG

At The Rymer Gallery Kristina Treanor at Tinney Contemporary

Olivia Hill and Foster Jones at Zeitgeist

Hunter Armistead at Corvidae Collective

Nina Luskey and Olivia Beeson at The Arts Company

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Antique Leather Trunk

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Antique Terracotta Triptych Display

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N A S H V I L L E 6 1 5 . 3 5 0 . 6 6 5 5 W W W . G A R D E N P A R K . C O M

ARTSMART

A monthly guide to art education

Tennessee Armillary Sphere Sundial Teacher’s Guide Now Available In 2015, the First Lady’s office asked the Tennessee Arts Commission to develop and produce an accompanying teacher’s guide for the armillary sphere that would expand the notion of a teaching garden by including lesson plans and activities for teachers to incorporate art and storytelling into classroom curriculum. Cherri Coleman, a teaching artist from Middle Tennessee, and Brandi Self, principal of Mooreland Heights Elementary in Knox County Schools, co-wrote the Armillary Sphere Sundial Teacher’s Guide.

Cherri Coleman keeps alive local traditions of storytelling, white oak and cane basketry while training the next generation of heritage arts enthusiasts. She serves schools and museums across the state as a teaching artist and curriculum writer.

Self was a classroom teacher with Knox County Schools for 12 years before becoming a principal and Arts360 Coordinator for Knox County Schools’ arts integration model. She has been involved in curriculum planning on the school, district, and state levels.

The Teacher’s Guide is intended for students in grades 3–6, but the content is adaptable to older students through use of the expansions listed at the end of each lesson.

The Armillary Sphere Sundial presents a similar interdisciplinary opportunity to learn about science, art, and identity through its rich artistic and cultural connections to Tennessee. The National Ornamental Metal Museum, located in Memphis, Tennessee, won the commission to design and install the Tennessee Armillary Sphere Sundial.

The unit is made up of six 45-minute arts-integrated lessons that include: • Exploration of shadow plot and sundial • Myth and identity • Science and symbol • Metalworking process • Field trip: the sundial as a realization of content The lesson plan is available to download on the Tennessee Arts Education website: tnartseducation.org/lesson-plans/tennesseearmillary-sphere-sundial-teachers-guide/. To request a free guide in booklet form, contact Ann Brown, Director of Arts Education, 615-532-5939.

Photograph courtesy of State Photography

The Metal Museum is the only institution in the United States devoted exclusively to the advancement of the art and craft of fine metalwork. The Metal Museum’s design of the armillary sphere uses handcrafted bronze, copper, and stainless steel that references the cutting garden by including organic shapes, insects, fruits, animals, leaves, and flowers from Tennessee state symbols.

by Ann Talbott Brown Director of Arts Education, Tennessee Arts Commission

Tennessee Armillary Sphere Sundial designed by Jim Masterson

Photograph by Tennessee State Photography

In 2014, the Governor and First Lady Haslam commissioned an Armillary Sphere Sundial to be located in the Kitchen and Cutting Garden at the Tennessee Residence. The Kitchen and Cutting Garden was built to highlight the unique Tennessee agriculture traditions at the executive residence. The garden grows produce to serve in the home, and thousands of students and guests visit each year to learn about gardening and healthy eating.

ARTSMART

Messages to the Art Teacher As an art teacher closing in on twenty years and a blogger narrowing down on five, I occasionally receive emails from art teachers seeking advice. I find this humorous for a couple of reasons: 1) I’m a hot mess. Taking advice from me is like asking your drunk uncle for sobriety tips. 2) Despite my time spent creating with the littles, I find that I have so much learning and growing to do. Should I really be doling out teaching tips like some sort of expert?

Having said all that, when I do receive emails from newbies, those sweet, wide-eyed and bushy-tailed art teachers, I see a little bit of myself in their quest for tips and tricks, and I am always certain to respond. Mostly because I’ll never forget that isolated feeling I had when I first began my teaching career. I started my days in a portable (read: trailer) that was detached physically and emotionally from the rest of the school. I never truly got to know my fellow teachers, and I know for certain some of them never knew my name. (I learned real fast that “Art Teacher” was as close to my name as some were going to get). That experience sparks empathy when I receive emails from those fresh to the art education scene.

Johnson Elementary student art show featured a 1950s diner theme

Now that a new school year is upon us, I have recently received several emails seeking advice. “How should I set up my art room?”

“What should my classroom rules be?” “What do I need to make sure it is ready?”

to have the most perfect teacher examples, the best looking rules/ consequences poster, or the most sparkly outfit. Just have a smile, give a lot of hugs, and love on those kids In my most recent letter to a new art while you are loving what you teach. teacher, here is what I wrote: That is what they will remember. And I’m a hot mess. Taking advice from that is what they will respond to the “Congrats to you on your upcoming art teaching adventure! How exciting. most. Each start of the school year, I me is like asking your drunk uncle I remember my student teaching days have to remind myself of this as I work in for sobriety tips. like it was yesterday. . . . I did mine in my room and try to make it all perfecto. a high school setting . . . and HATED Here’s the deal: It’s never gonna be. So IT. I vowed to never teach and was on the fast track to becoming just take deep breaths and know that if you are enjoying the process a mail carrier (my dream job at the time). Thankfully, I gave the of teaching, the kids will know it and enjoy the process of learning. elementary set a shot and LOVED teaching them. The thing is, Share your passions. It’s contagious.” you just gotta find that age group that works for you and your Despite my lack of confidence in the advice-giving department, I personality. Turns out, I communicate best with the under-10 set. feel that this message is genuine to anyone meandering down Art My advice is this: Don’t Stress; Have Fun. Seriously. You don’t have Teacherin’ Avenue. I only wish it was said to me some 20 years ago!

97 nashvillearts.com

by Cassie Stephens Art Teacher Johnson Elementary

Photograph by Juan Pont Lezica

“

ARTSMART Aiden Percefull: The Artist as a Young Man – a Really Young Man

Photograph by Denny Adcock

Stained Glass Church, Five years old, Acrylic on canvas, 16” x 20”

Aiden working on About A Bird

Vibrant, colorful paintings cover the walls in Aiden Percefull’s home, and the evidence of artistic development and success is mounting.

Songwriter Sandy Knox bid $150 for Aiden’s painting A Man and A Guitar at the Music Health Alliance Silent Auction. Aiden created artwork for the CD cover for Dawn Oberg’s soon-to-bereleased jazz album Bring. He has received commissions for works ranging from painted lamp shades to an enormous 4’ x 5’ painting. And a large exhibition of his work is scheduled for September 2017 at The Clay Lady’s Studios.

None of this is unusual for a rising artist. But Aiden Percefull is only seven years old.

A third grader at Dan Mills Elementary, Aiden has creative genes that run deep, from his father (a builder/contractor) and mother (whose experiences range from advertising and songwriting to film work), and further back to his grandfather, a retired college art professor in California who ships paints and brushes to his grandson and teaches the youngster skills such as how to stretch a canvas.

Photograph by Drew Cox

The boy, whose interests run the gamut from Lego Mobiles and swimming to Nerf guns and the Star Wars Trilogy, finds focus and a delightful release of creative energy through his art, often dancing around as he paints.

Abstract Butterfly, Five years old, Acrylic on canvas, 16” x 20”

“Aiden didn’t like crayons,” recalls his mother, Laurel Parton.

“By age three, he had started watercolors and markers and then progressed into acrylics and added ceramics [following clay camp with the Clay Lady].”

For the most part, Aiden sits and paints whatever comes into his head, starting with his first mark and then adding without hesitation, Laurel points out. But his eye for color and composition, persistent output (already over 60 works) and rapid improvement from raw to more refined technique, soon attracted attention and commissions. Many commissioned pieces require Google searches with Mom to meet the vision of the person wanting a particular subject.

“For the jazz CD cover, he listened to the songs, picked out some of the nouns and Googled them. For example, what is a martini glass?” says Laurel. “Then, after looking at images, he provides his own interpretation of the object. It’s much cooler, more organic.”

When pressed to name his favorite, Aiden say, “King Tut is the best one. But Butterfly—that one’s not for sale. I want to keep it forever!” As his talents continue to develop, those lucky people with an “early Percefull” will keep it forever. www.facebook.com/aidenpercefullartist/

by DeeGee Lester Director of Education The Parthenon

98 nashvillearts.com

Photograph by Jon Karr

ARTSMART

Exploring the accordion with musician Jeff Jetton at Musicians Corner Kidsville

The playful community comes together each Saturday at the feet of Athena and alongside the gurgling waters of Cockrill Springs in Centennial Park Saturdays through September 3

Kidsville:

A passion for play is the driving force behind Kidsville. Originally started in 2011 as a way to entertain children whose parents attend Centennial Park’s popular Musicians Corner, the program expanded over the past year to include year-round opportunities for learning and play inside the Parthenon, under the Conservancy for the Parthenon and Centennial Park and the creative leadership of Kyla Easterday.

With an educational background in early childhood education and a master’s degree in marriage/family therapy, Easterday began her career combining her interest in therapeutic qualities of fabric in toys with the development of play days and working with refugees.

Water and Ice Play in the Kidsville Sensory Bins at Musicians Corner Kidsville

“I never thought about a park as a place where you could actually learn about play as a community,” Easterday says. Then, in a walk through the park in 2012, she encountered Musicians Corner and discovered Kidsville. “I saw how the simplicity of what they were doing served more people and cultures. I immediately asked to volunteer.”

When the director of Kidsville left to pursue a doctorate over a year ago, Easterday moved into leadership. “The change of doing things with Musicians Corner has been a surprise and full of interesting challenges (such as the expansion of weekly activities at the Parthenon), but we have continued nurturing the vision.

It’s refreshed me.”

Easterday enjoys both a free hand and the challenge of having to create what will be accomplished within the parameters of grants and the goals of the Conservancy. The addition of fresh, weekly

programming in the Parthenon combining elements of music, literacy, arts, and history within a space filled with guests and noise reverberation demands creative thinking when engaging children in new experiences. But what would be a barrier to many, Easterday sees as opportunity.

“The Parthenon is rich in encouraging literacy and provides a unique way and a unique setting for delivering literacy in connection with the arts. Through simple pre- and posttesting and the use of frequency cards, we can actually track development of a child’s knowledge. For example, what it means to be an ensemble.”

On Saturday, August 6, the Parthenon and Kidsville hosts fivetime Grammy-winning ensemble The Blind Boys of Alabama in an educational seminar on Southern Gospel music, before their performance that afternoon at Musicians Corner.

Also in August, and coinciding with the 2016 Summer Olympics in Rio de Janeiro, the Conservancy will host its own Olympic game in which five Greek gods and five Greek goddesses will compete in a “digital” triathlon, consisting of swimming, running, and cycling.

Exploring instruments with the Nashville Symphony at Musicians Corner Kidsville

Photograph by Jon Karr

Starting, Monday, August 8, go online to www.conservancyonline.com and vote for the god and goddess you would like to see win the gold!

Photograph by Jon Karr

The Playful Community

Elizabeth LaPenna

DEEP WATER, 30’’ x 22”, ink on paper

www.lapennafineart.com • 615-832-9290

THEATRE

BY JIM REYLAND

Jim Reyland’s new book, Handmade – Friendships Famous, Infamous, Real and Imagined is available at Amazon.com in paperback and on Kindle. Jim’s new Christmas music comedy, MOTEL NOEL, starring Barry Scott and Jamey Green, opens December 1 at the 4th Story Theatre. jreyland@audioproductions.com

Photograph by Jeff Frazier

The Nashville Shakespeare Festival Returns to Centennial Park for Its 29th Season

Nashville Shakespeare Festival Apprentice Company members Ara Vito as Hecate, Lily Grace Lewis as Witch 2, Regan Holmberg as Witch 1 in the upcoming summer production of Macbeth

About the Nashville Shakespeare Festival Founded in 1988, the Nashville Shakespeare Festival educates and entertains the Mid-South community through high-quality Shakespearean experiences. The company is one of the region’s

“One of the things I find special about the NSF Apprentice Company experience is the growth of the group as a whole. . . . I am excited to see how that plays out this year with Macbeth.”

leading professional theatres, and since its inception, more than 460,000 Tennesseans have experienced the arts through one of their programs, which include Shakespeare in the Park, Winter Shakespeare, Shakespeare in Action, and other educational initiatives.

—Jonah Jackson

Photograph by Jeff Frazier Photograph by Rick Malkin

Performance of A Midsummer Night’s Dream in Centennial Park

The Comedy of Errors gets a uniquely Music City spin with the show set in 1960s Nashville

“We are happy to bring two of Shakespeare’s most popular and contrasting works to the stage for this season of Shakespeare in the Park,” says Denice Hicks, artistic director of the Nashville Shakespeare Festival. “Each performance is unique to Nashville and offers a new artistic interpretation of the well-known shows performed by Nashville artists.”

Macbeth is set in modern times and performed by the Nashville Shakespeare Festival Apprentice Company, featuring young, local actors who’ve received at least four weeks of intensive NSF training. Andrew Johnson has been part of the learning since 2014. “When I apprenticed in 2014 I learned so much about not only theatre but myself. I can’t wait to work this summer on Macbeth under the guidance of so many exceptional artists.” Macbeth is Shakespeare’s bloody tale that takes on new levels of horror as Macbeth and the audience are caught in the spell of three weird sisters and the witchy Queen Hecate. The performance is played in the round, immersing all in the story’s murder and madness (parental guidance is advised). Macbeth will be performed August 11–14, August 18–19, August 25–26, September 1–2, and September 8–9.

The Comedy of Errors gets a uniquely Nashville spin with original music by David Olney, Lari White, Stan Lawrence, and Jack Kingsley. As Shakespeare’s shortest and zaniest play, the show is a Nashville Shakespeare Festival signature work set in 1960s Nashville. This family-friendly performance is directed

by Nashville Shakespeare Festival Executive Artistic Director Denice Hicks and is sure to be a crowd pleaser. The Comedy of Errors will be performed August 20–21, 27–28, September 3–5, 10–11, and 15–18.

Nashvillians enjoy the annual Shakespeare in the Park event at Centennial Park’s band shell

Don’t be late. The best blanket and lawn chair spaces or available band shell seats go to those who arrive early. Food trucks begin serving at 6 p.m., and featured vendors include Jeni’s Ice Cream, Moosehead Kettle Corn, and DegThai. The free Talking Shakespeare series with nightly special guest speakers also begins at 6 p.m. with pre-show entertainment starting at 6:30 p.m. The featured performance will begin at 7:30 p.m.

So let’s all get together at the park this summer. Pass around a few new hugs and catch up with some old friends. General admission is open to the public, with a $10 per person donation suggested. Royal and noble packages are available for those seeking the ultimate VIP experience. The two packages are the festival’s signature fundraiser and include reserved parking, prime seating, a gourmet boxed picnic dinner, and personal welcome from the Shakespeare Festival staff. na The Nashville Shakespeare Festival returns to Centennial Park for its 29th season on August 11. This year is offering something for everyone with not one but two Bard classics in repertory. For more information and to purchase Royal and Noble Packages, visit www.nashvilleshakes.org, email rickeychick@nashvilleshakes. org, or call 615-255-2273.

Photograph by Rick Malkin

One of the great things about Shakespeare in the Park is that you run into the nicest people. Old friends, new friends, and folks you’ve never met, or don’t see any other time but at this wonderful Nashville event. They’re like minds who enjoy the great outdoors and the captivating and transforming words of our greatest scribe. This year, the Nashville Shakespeare Festival begins its 2016 season of Shakespeare in the Park on August 11 at Centennial Park’s band shell. The annual summer program features two of Shakespeare’s most beloved works, Macbeth and The Comedy of Errors.

A view of a Rio beach, from Get Ready to Rio! with Chef Hubert Keller

We’ve added a few Olympic tie-in programs to our schedule in honor of the Rio Games. Get Ready to Rio! with Chef Hubert Keller, a cooking series filmed in the Olympic host city, airs Saturdays at 1 p.m. through August 20, with daytime encores on NPT2 (Wednesdays at 10 a.m., August 10 through 31). Throughout the series, Keller meets with Brazilian chefs and highlights traditional favorites and modern recipes by leaders of the country’s food scene. In A Taste of Africa and the Amazon, airing Saturday, August 6, Keller explores Rio’s farmers’ markets, visits an Amazonian restaurant, and takes viewers to the beautiful hilltop Santa Teresa district. In Hip, Hot & Trendy, Keller visits a Copacabana barbecue place where local chefs meet up after their shifts. This episode airs Saturday, August 20.

MUSIC AND DRAMA DCI Robbie Lewis reunites with James Hathaway, his former sergeant, in the eighth season of Inspector Lewis on Masterpiece. This final season airs Sundays August 7 through 21 at 8 p.m.

Two other Sunday-night dramas conclude this month: 1930s jazz miniseries Dancing on the Edge finishes August 14 at 7 p.m.; while gripping crime show The Tunnel wraps up on August 21 at 9:30 p.m.

I Miss Downtown Abbey airing Sunday, August 28, at 7 p.m. is (yet) another look at the beloved series. Here’s some good news if you also miss Aidan Turner as

The Mamas and the Papas perform at the Hollywood Bowl on August 18, 1967

Captain Ross Poldark: He’s returning next month for a second season! Until then, enjoy Inside Poldark, a behindthe-scenes look at the previous season as well as the upcoming one, on Sunday, August 28, at 8:30 p.m.

We’ve created a playlist of music performance and profile specials for the second half of August. Premiering Tuesday, August 23, at 7 p.m., The Ed Sullivan Show and My Music Present California Dreamin’: The Songs of the Mamas and the Papas celebrates the pop-rock-folk group’s 50th anniversary with interviews and rare footage. Summer, Surf & Beach Music We Love, airing Monday, August 29, at 8 p.m., remembers The Beach Boys, Jan and Dean, and other groups forever associated with sun, sand, and surfboards. na Summer’s coming to an end, but there’s still plenty of time to support NPT! Go to www.wnpt.org and click the donate button to keep the shows and specials you love available on public television. Don’t forget, encore presentations of many of our programs and other favorite shows air on NPT2, our secondary channel.

Captain Ross Poldark (Aidan Turner) and Demelza (Eleanor Tomlinson)

Photograph courtesy © ITV plc (ITV Global Entertainment Ltd)

GO FOR THE GOLD

Meanwhile, back in the U.S.A., Lidia Celebrates America highlights rites of passage across the country, including a Sweet Sixteen party here in Nashville.

Tune in Tuesday, August 30, at 7 p.m.

You’ll find more cooking shows Saturday afternoons on NPT (Wednesday nights on NPT2); travel programs air Sunday afternoons on NPT (Monday evenings on NPT2).

Photograph courtesy Henry Diltz/TJL Productions

This month NPT celebrates summer with new music specials, dramas and American Experience presidential biographies (Monday through Wednesday, August 8 through 17).

Photograph courtesy of Magnolia Pictures

Arts Worth Watching

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

Saturday

am WordWorld Bob the Builder Daniel Tiger’s Neighborhood Clifford the Big Red Dog Curious George Nature Cat Ready Jet Go! Wild Kratts Sewing with Nancy Sew It All Garden Smart Steven Raichlen’s Project Smoke Ellie’s Real Good Food Jaques Pépin: Heart & Soul noon America’s Test Kitchen pm Pati’s Mexican Table Get Ready to Rio! with Chef Hubert Keller Lidia’s Kitchen New Orleans Cooking with Kevin Belton Fons & Porter’s Love of Quilting Best of Joy of Painting American Woodshop A Craftsman’s Legacy This Old House Ask This Old House Woodsmith Shop PBS NewsHour Weekend pm Tennessee’s Wild Side

This MonTh

August 2016

Nashville Public Television

Sunday

am Sid the Science Kid Cyberchase Sesame Street Caillou Curious George Nature Cat Ready Jet Go! Wild Kratts Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads Nature Washington Week with Gwen Ifill noon To the Contrary pm The McLaughlin Group In the Americas with David Yetman Expeditions with Patrick McMillan Globe Trekker California’s Gold In Pursuit of Passion America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week

Inspector Lewis on Masterpiece Lewis and Hathaway reunite for a final season Sundays, Aug 7 – 21 8:00 pm

Weekday 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

am Classical Stretch Body Electric Wild Kratts Ready Jet Go! Nature Cat Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Bob the Builder Dinosaur Train Dinosaur Train Super Why! Thomas & Friends noon Peg + Cat pm The Cat in the Hat Curious George Curious George Arthur Nature Cat Ready Jet Go! ODD Squad Wild Kratts Wild Kratts Martha Speaks WordGirl pm PBS NewsHour

Nashville Public Television

American Experience: The Presidents Encore broadcasts of presidential biographies.

Monday, August 8 – Wednesday, August 17

Joe Bonamassa: Live at the Greek Theatre The guitarist performs a new blues tribute special.

Tuesday, August 30 8:30 pm

wnpt.org

1

15

14

7:00 Dancing on the Edge Episode 8. Conclusion: Flashbacks touch on fame, prejudice, music, etc.

8:00 Inspector Lewis on Masterpiece Magnum Opus. Lewis and Hathaway find an alchemic image at a murder scene.

9:30 The Tunnel Police get within a hair’s breadth of catching the killer.

10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Antiques Roadshow Vintage Miami.

8:00 Nixon: American Experience The complex life and career of Richard Nixon, whose legacy includes both the Watergate scandal and ending America’s involvement in Vietnam.

11:00 BBC World News 11:30 Jimmy Carter: American Experience The 39th president’s political ascent and postpresidential redemption as a humanitarian.

7:00 Antiques Roadshow 7:00 Dancing on the Edge Vintage San Diego.

Episode 7. Masterson’s 8:00 JFK: American dubious reward; Experience Pamela decides to help Part One. JFK’s life until Stanley and the band.

1960, when he became 8:00 Inspector Lewis on the youngest man electMasterpiece ed as U.S. president.

One for Sorrow. Lewis 10:00 BBC World News has a new boss in the 10:30 Last of Summer Wine final season premiere.

The McDonaghs of 9:30 The Tunnel Jamieson Street.

French police catch, 11:00 Women of ’69, then lose the prime Unboxed suspect.

College classmates 10:30 Tennessee Uncharted look back at their lives 11:00 Tavis Smiley and legacies.

11:30 Scully/The World Show

8

7:00 Antiques Roadshow Vintage New Orleans.

8:00 Antiques Roadshow Vintage Atlanta.

9:00 POV Iris. Late documentarian Albert Maysles’ portrait of nonagenarian fashion icon Iris Apfel.

10:30 Last of Summer Wine Watching the Clock.

11:00 BBC World News

Monday

7

I Miss Downton Abbey Sunday, August 28 7:00 pm

Sunday

Primetime Evening Schedule

August 2016 2

16

7:00 Dick Cavett’s Watergate Interviews with politicians and celebrities drawn from Cavett’s iconic talk show.

8:00 Reagan: American Experience Lifeguard. Ronald Reagan’s transformation from actor to politician.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Nixon’s the One: The ’68 Election Richard Nixon’s 1968 presidential victory and the rise of Red StateBlue State America.

9

7:00 JFK & LBJ: A Time for Greatness How LBJ shaped the 1964 Civil Rights Act and the 1965 Voting Rights Act. 8:00 JFK: American Experience Part Two. JFK’s White House years and assassination.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Newton Minow: An American Story The former FCC chairman who fought for civil rights.

7:00 Nazi Games – Berlin 1936 How the Nazis and the IOC turned the Olympics into a global and mass media spectacle.

8:00 Boys of ’36: American Experience The 1936 American Olympic rowing team.

9:00 Independent Lens T-Rex: Her Fight for Gold.

10:30 Last of Summer Wine 11:00 BBC World News 11:30 Arnold Knows Me: The Tommy Kono Story

Tuesday

3

17 7:00 NOVA Cold Case JFK. Applying state-of-the art forensic investigations to JFK’s assassination.

8:00 Reagan: American Experience An American Crusade.

Reagan’s second term, from the Iran-Contra scandal to the fall of communism in Europe.

10:30 Last of Summer Wine 11:00 BBC World News 11:30 Austin City Limits Los Lobos; Thao & The Get Down Stay Down.

10

7:00 LBJ: American Experience Part One. After JFK’s death, LBJ pushed progressive programs through Congress.

9:00 LBJ: American Experience Part Two. LBJ’s visons of a Great Society are overshadowed by the Vietnam War. 11:00 BBC World News 11:30 Austin City Limits Ms. Lauryn Hill.

7:00 Koko – The Gorilla Who Talks A gorilla who knows sign language.

8:00 NOVA Roman Catacomb Mystery.

9:00 Spillover – Zika, Ebola & Beyond How viruses leap from animals to humans and what can be done to prevent epidemics.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Cassandra Wilson.

Wednesday

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18 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Eyes on the Prize Two Societies 19651968. The Kerner Commission finds America is becoming “two societies, one black, one white.”

9:00 Freedom Riders: The Nashville Connection Nashville veterans of the 1961 Freedom Rides recall their role in the landmark event.

10:00 BBC World News 10:30 Last of Summer Wine

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7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Eyes on the Prize The Time Has Come 1964-1966. The call for “Black Power.”

9:00 Independent Lens Let The Fire Burn.

Philadelphia, 1985: A tumultuous clash between government and citizens.

10:30 Last of Summer Wine 11:00 BBC World News 11:30 Hi Gene! Meet the Real Senator McCarthy McCarthy’s 1968 presidential campaign.

19 7:00 Tennessee Ernie Ford: Amazing Grace Biography and performances of the beloved entertainer.

8:30 The Carpenters: Close to You A My Music special about the popular 1970s sibling duo hosted by Richard.

Carpenter.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Infinity Hall Live Ani DiFranco.

12 7:00 Next Door Neighbors: Becoming American 7:30 Next Door Neighbors: New Beginnings 8:00 Great British Baking Show The Final.

9:00 POV Ping Pong. Players from around the world compete in the “Over 80 World Table Tennis Championships” in China.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Infinity Hall Live Great Performances Vol. 1.

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7:00 Lawrence Welk Show The Vacation Show.

8:00 Keeping Appearances 8:30 Downton Abbey Season 2, Part 6. The Spanish flu strikes Downton, with consequences for all.

10:30 Doc Martin The Doctor is Out. Series 7 Conclusion. Martin saves a patient, but his marriage still needs help.

11:30 Globe Trekker Building England II.

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7:00 Lawrence Welk Show Caribbean Cruise.

8:00 Keeping Appearances 8:30 Downton Abbey Season 2, Part 5.

A mysterious wounded officer makes a shocking revelation.

9:30 Doc Martin Facta Non Verba. The new art teacher has some alternative ideas.

10:30 Bare Feet with Mickela Mallozzi Hogmanay in Scotland.

11:00 Globe Trekker Building England I.

7:00 Lawrence Welk Show 7:00 Aging Matters: Living 7:00 Tennessee Crossroads The New York Show. with Alzheimer’s & 7:30 Volunteer Gardener 8:00 Keeping Appearances Dementia 8:00 Independent Lens 8:30 Downton Abbey The Trials of Muhammad 8:00 Great British Baking Season 2, Part 4. MatShow Ali. The boxer’s battle thew and William are in Chocolate. The semito overturn his prison the trenches; Anna and finals. sentence for refusing Bates battle his ex-wife.

9:00 POV My Way to Olympia. military service.

9:30 Doc Martin A disabled filmmaker 9:30 Jesse Owens: Other People’s Children. covers the London Enduring Spirit 10:30 Next Door Neighbors: Paralympics in 2012.

10:00 BBC World News Becoming American 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Globe Trekker 11:00 Munich ’72 and Beyond 10:30 Last of Summer Wine Food Hour: The Story Available for Weddings.

A new documentary of Chocolate.

11:00 Infinity Hall Live about the terrorism at Sister Sparrow & The the 1972 Summer Dirty Birds.

Games.

Thursday

Nashville Public Television

wnpt.org

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Preview_August2016_p2-3_updated.v1.indd 2

7:00 African Americans: Many Rivers to Cross Rise! (1940-1968).

The civil rights era, from World War II to the late-1960s.

8:30 African Americans: Many Rivers to Cross A More Perfect Union (1968-2013). The rise of the black middle class; inner-city isolation; the election of Barack Obama.

9:30 The Highwaymen Live at Nassau Coliseum Dick Cavett’s Watergate Tuesday, August 16 7:00 pm

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7:00 Lidia Celebrates America Life’s Milestones.

Chef Bastianich in a cross-country special.

8:30 Joe Bonamassa: Live at the Greek Theatre The conclusion to Bonamassa’s “Three Kings” tour honoring Albert King, Freddie King and B.B. King.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Summer, Surf & Beach Music We Love

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7:00 The Ed Sullivan Show and My Music Present California Dreamin’: The Songs of The Mamas and The Papas Performance and rare footage of the poprock-folk group.

8:30 Cornerstones of Rock: A Soundstage Special A reunion performance of garage bands from the 1960s and ’70s.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Rhythm and Blues 40: A Soul Spectacular

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7:00 Nitty Gritty Dirt Band: 50 Years and Circlin’ Back The band celebrates with Vince Gill, John Prine, Jackson Browne, Alison Krauss, Rodney Crowell, Sam Bush and others.

8:30 The Highwaymen Live at Nassau Coliseum Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson in a 1990 concert.

10:00 BBC World News 10:30 Last of Summer Wine

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7:00 Alice’s Restaurant 50th Anniversary Concert Arlo Guthrie performs his iconic album in its entirety.

8:30 Loreena McKennitt: Nights from the Alhambra The singer-composer performs under the stars in Spain in a 2006 concert.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Cornerstones of Rock: A Soundstage Special

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Loreena McKennitt: Nights from the Alhambra Wednesday, August 24 8:30 pm

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7:00 NPT Favorites 8:30 I Miss Downton Abbey Treasured moments from the unforgettable series, including new interviews and behindthe-scenes clips.

10:00 NPT Favorites 11:00 Globe Trekker North East England.

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7:00 Burt Bacharach’s Best A My Music special featuring the composer’s hits performed by Dionne Warwick, Dusty Springfield, Tom Jones and other original artists.

8:30 Downton Abbey Season 2, Part 7.

The family gathers for Christmas in the Season 2 conclusion.

10:30 Bee Gees One Night Only A Las Vegas concert from 1997.

7/14/16 6:46 PM

Nashville Public Television

Summer, Surf & beach Music Monday, August 29 8:00 pm

7:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine Will the Nearest Alien Please Come In?

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7:00 The Music of Northern Ireland with Eamonn McCrystal Northern Irish pop tenor McCrystal and guests filmed before a live audience in Belfast’s historic Grand Opera House.

8:30 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine In Which Howard Gets Double-Booked.

SePTeMber

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7:00 Motown 25 Legendary comedian Richard Pryor hosted this celebration starring Smokey Robinson, Diana Ross, The Temptations and The Four Tops.

9:00 Transatlantic Sessions Dobro master Jerry Douglas and fiddle virtuoso Aly Bain perform with an array of musical guests.

10:00 BBC World News 10:30 Last of Summer Wine

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7:00 Magic Moments – The Best of ’50s Pop Mary Lou Metzker, Phyllis McGuire, Pat Boone, Debbie Reynolds and Patti Page host this My Music special.

9:00 Learn to Play Guitar in a Day! 10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Healing Mind with Martin Rossman, M.D. Reducing stress and anxiety.

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

7:00 Antiques Roadshow Vintage Boston, Hour One. 8:00 Antiques Roadshow Vintage Boston, Hour Two. 9:00 POV The Birth of Sake. A small group of manual laborers braves unusual working conditions to preserve a 2000-yearold Japanese tradition.

10:30 Last of Summer Wine 11:00 BBC World News

7:00 Antiques Roadshow Vintage Pittsburgh.

8:00 Summer, Surf & Beach Music We Love A My Music special featuring The Beach Boys, The Ventures, The Drifters, Jan & Dean and other surf rock bands.

9:30 Rick Steves’ Europe: Remote, Sacred, Wild Religious sites and the great outdoors.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Pain Antidote with Dr. Mel Pohl

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7:00 I Miss Downton Abbey Treasured moments from the unforgettable series, including new interviews and behindthe-scenes clips.

8:30 Inside Poldark A look at the first season of Poldark and a preview of the upcoming second season.

10:00 Rhythm and Blues 40: A Soul Spectacular

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7:00 Antiques Roadshow Vintage San Francisco.

8:00 Rhythm and Blues 40: A Soul Spectacular A concert featuring legends Aretha Franklin, James Brown, Ben E. King, Percy Sledge and others.

10:00 BBC World News 10:30 Last of Summer Wine 11:00 Yakov Smirnoff’s Happily Ever Laughter: The Neuroscience of Romantic Relationships The comic offers tools for reviving romance.

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7:00 Transatlantic Sessions Dobro master Jerry Douglas, fiddle virtuoso Aly Bain and guests.

8:00 Inspector Lewis on Masterpiece What Lies Tangled.

Series conclusion: Lewis and Hathaway investigate a bomb attack.

9:30 The Tunnel Conclusion: The final showdown.

10:30 Tennessee Uncharted 11:00 Tavis Smiley 11:30 Scully/The World Show

© Susan W. N. Ruach

NeLLie Jo

The Styles You Like. The Stores You’ll Love!

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Waiting, watercolor by Nellie Jo Rainer

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Late-night Dove Bar experience ...

Recently, while clipping grass in my garden, I cut my left middle finger. As usual, I kept working. But when the bleeding wouldn’t stop, I reluctantly went inside to assess the situation.

As it turned out, the cut was small, but deep. And right on the knuckle. So I cleaned it out then treated it with hydrogen peroxide followed by an antibiotic ointment. Next I applied a butterfly bandage to close the gash. Then I wrapped the entire finger with enough gauze to hopefully keep it from bending.

But later that night, I awakened to find blood seeping from the bandage. Upon further inspection, I noticed the gash had opened. By now it’s two o’clock in the morning and I’m thinking, Hmm ... It probably needs a stitch or two. But who wants to go to the ER at two o’clock in the morning?

Then I was struck with an idea.

A Dove Bar, THAT’s what I need! So I padded downstairs to the refrigerator.

POTTERY JEWELRY PHOTOGRAPHY DRAWING PAINTING FUSED GLASS AND MORE Classes begin the week of September 12 Open to the Nashville community Schedule and Registration online at www.vanderbilt.edu/sarrattart LOCATED IN THE SARRATT STUDENT CENTER AT 2301 VANDERBILT PLACE, NASHVILLE TN 37235

Just for the record, Dove Bars are my absolute favorite dessert. I have served them at dinner parties on my mama’s nice china still in their wrappers. “Presentation is everything,” I say, as I present them to my guests. Anyway, so after savoring this mouth-watering, vanilla-ice-cream-covered-in-chocolate delight, I used the remaining wooden stick to make a splint.

The result was so successful, I took a picture and sent it to a close friend, who happens to be a physician.

When my friend saw the Dove® logo on the splint, he insisted I write their corporate office and include the photo. So I did.

Dear Sirs: While gardening recently, I cut the middle finger on my left hand at the knuckle.

When it wouldn’t stop bleeding, I was struck with an idea.

Thank you for saving me a trip to the ER. Yours ever faithfully, Marshall Chapman A week or so later, I received a letter from Mars Chocolate North America. Along with enough coupons to keep me in Dove Bars for a month. Or longer, if I don’t cut my finger again. na Marshall Chapman is a Nashville-based singer/songwriter, author, and actress. For more information, visit www.tallgirl.com.

BEYONDWORDS

NON-CREDIT ART CLASSES AT VANDERBILT

Photograph by Anthony Scarlati

Sarratt Art Studios

BY MARSHALL CHAPMAN

MYFAVORITEPAINTING

BY SARA LEE BURD ART CONSULTANT, ARTIST REPRESENTATIVE, WRITER

Julia Martin, Have your cake..., 2015, Oil on papered panel, 20"x 15"

ARTIST BIO: Julia Martin Nashville-based painter Julia Martin works primarily in figurative art with an emphasis on color. She studied art at the School of Visual Arts before beginning her own studio practice. Her work has been exhibited around the United States, including La Luz de la Cruz Gallery in Los Angeles, POP Gallery in Santa Fe, Hunter Museum in Chattanooga, and the Customs House Museum in Clarksville. In addition to making art, Martin owns Julia Martin Gallery in Nashville’s Wedgewood/ Houston arts district. She curates monthly exhibitions that feature artists from around the country. For more information about Julia Martin, visit www.juliamartingallery.com.

I

While I knew immediately that I wanted to see this work every day, I didn’t feel like I could afford it. We left the gallery and I couldn’t stop thinking of and talking about it. I began to worry that someone else would buy it, and this unique image would be gone. My husband looked me in the eyes and said don’t get upset, just buy it if it means that much. I realized this artwork was worth whatever fiscal sacrifice I’d make in my daily life. I stepped outside, called the gallery, and with great relief secured my Julia Martin painting. na For more on Sara Lee Burd visit www.artconsultantnashville.com.

110 nashvillearts.com

Sara Lee Burd

Photograph by Buddy Jackson

bought my favorite painting after seeing it for ten minutes. My husband and I were rushing to meet friends but stopped by Julia Martin Gallery for a quick hello and a browse of Julia’s solo exhibition. I saw the painting and stopped my husband to show it to him. My heart rate quickened, and I was beginning to get what I call art sweats. I knew I wanted to live with this painting of a quirky girl wearing a funky fascinator. The color palette, the brushstrokes, the paper it was painted on all entertained my eye and my imagination. Upon closer examination, what seemed like a rather straightforward representational painting was actually quite abstract. Julia’s skilled juxtaposition of colors applied in thick, sometimes blotchy strokes formed a pleasing composition that is a perfect example of how our brains affect our perception by filling in the blanks to create order. When it is done well, I truly love that kind of visual tension.

AUGUST 4 & SEPTEMBER 1

•

5 - 10 PM

•

CHEEKWOOD

Experience the magic of Steve Tobin’s sculptures at night during our First Thursday Nights in the Garden. Tobin’s magnificent sculptures are the backdrop for an evening of music, dance, live performance and great food and drinks. Free with the price of admission or membership.

Steve Tobin: Southern Roots ends September 4

Steve Tobin: Southern Roots PRESENTED BY:

SPONSORED BY

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WITH ADDITIONAL SUPPORT: