2013 January Nashville Arts Magazine by Nashville Arts Magazine

VISUAL ARTS

January 2013

I PHOTOGRAPHY I MUSIC I THEATRE I EDUCATION I NPT GUIDE

MAGAZINE

Michael Crouser Zoey Frank Roger Dale Brown Bob Newhart Buddy Miller Gary and Eva Oglander Patrick Brown

HISTORY EMBR ACING A RT

Michael Hooper

Visit Us During “Franklin Art Scene” January 4, 6-9pm

Acrylic on board, 29.5” x 79” 2 | January 2O13

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

MICHAEL MADZO

Like Sleeping Flowers Gathered in Time

21x28

LEIPER's CREEK GALLERY in Historic Leiper's Fork www.leiperscreekgallery.com

NashvilleArts.com

January 2O13 | 3

More to cotne in the New Year

Nashville Goes Visual in 201 3 ©Wayne Brezinka

215 5th Avenue of the Arts, North • 11AM-5PM Tuesday-Saturday • 615-25.4-20.40

www.theartscompany 4 | January 2O13

NashvilleArts.com

January 2O13 | 5

January 2O13

Spotlight.........................................................................................................................1O Zoey Frank Mystery and Emotion............................................................................ 23 Roger Dale Brown Beautiful Vistas............................................................... 28 Kismet at Gallery One Tammy Parmentier Fuels Her Passion........... 35 Michael Crouser Riding the Wind................................................................... 36 Hunt Slonem Collection Arrives at Customs House......................................... 4O NPT Arts Worth Watching.................................................................................................. 44 Taylor Jorjorian In His Own Words...................................................................... 48 Thom Chacon An Innocent Man........................................................................... 51 Brian Nash Positively Driven..................................................................................... 52 ArtSmart A Monthly Guide to Art Education........................................................... 54 Buddy Miller Closer to the Note............................................................................. 6O Bob Newhart Hold the Line!.................................................................................. 64 Patrick Brown Visual AIDS..................................................................................... 68 Mark di Suvero Affinities........................................................................................ 71 2O13 Antiques and Garden Show.................................................72 Gary and Eva Oglander Canvas & Clay.................................................75 Theatre........................................................ 78 Beyond Words........................................... 8O Critical i....................................................... 81 On the Town............................................... 82 My Favorite Painting.................................. 86 on the cover :

Michael Crouser, Snow â&#x20AC;&#x201C; Burns, Colorado www.michaelcrouser.com

Published by the St. Claire Media Group Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Daniel Hightower, Directors Editorial Paul Polycarpou, Editor and CEO Sara Lee Burd, Production Manager, sara@nashvillearts.com Madge Franklin, Copy Editor Ted Clayton, Social Editor Linda Dyer, Antique and Fine Art Specialist Jim Reyland, Theatre Correspondent Contributing Writers Emme Nelson Baxter, Beano, Lizza Connor Bowen, Judy Bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, Beth Hall, Beth Inglish, MiChelle Jones, Demetria Kalodimos, Nicole Keiper, Beth Knott, Linda York Leaming, DeeGee Lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, Robbie Brooks Moore, Rebecca Pierce, Currie Powers, Ashleigh Prince, Alyssa Rabun, Sally Schloss, Molly Secours, Daniel Tidwell, Lisa Venegas, Nancy Vienneau, Ron Wynn Design Lindsay Murray, Design Director Photographers Jerry Atnip, Lawrence Boothby, Sophia Forbes, Donnie Hedden, Peyton Hoge, Rob Lindsay, Jennifer Moran, Anthony Scarlati, Bob Schatz, Meghan Aileen Schirmer, Pierre Vreyen Budsliquors9.16.09.indd 1

9/16/09 1:55 PM

Imagine the

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publisher's note

Art Creates a City

he December Collectors Art Night was a tremendous success and again highlighted the incredible diversity of the arts presented along 5th Avenue. Herb Williams discussed his

new series Call of the Wild at the Rymer Gallery to great acclaim. It's hard not to be enthralled by Herb and his work. At Tinney Contemporary, abstract artist Hyunmee Lee kept everyone captivated with her deeply personal interpretations of her work. Listening to Hyunmee gave the audience a brand new perspective on the exhibit, which is exactly what the collectors nights are intended for.

New Work by

WANDA CHOATE

Later in the evening we all descended upon the Arts Company for Jerry Park's WorkSpaces: Artists’ Studios curated by Anne Brown and Lain York. None of us were quite prepared for the crowd that followed, and I do not think one more person could've been shoehorned into the exhibit room. In attendance for this historic occasion was a Who's Who of Nashville artists, including Barry Buxkamper, Edie Maney, Brenda Stein, Señor McGuire, Jack Spencer, Bob Schatz, Emily Leonard, Harry Underwood, Jane Braddock, Carol Moda, Andy Saftel, Megan Lightell, Jerry Atnip, John Baeder, Dane Carder, John Jackson, Miles Maillie, Michael McBride, and the list goes on and on. Anne shared with us that she and Lain intend for this gathering to be an annual event. Artist Carrie McGee enthused that this was one of the best art events she had ever attended in Nashville. Kudos to all who made this unforgettable evening a part of our new art reality in Nashville. Where would we be without Anne and Lain? We all thank you. A great big artful Happy New Year to you all. I look forward to seeing you out there at the many art events that light up our city, including the Collectors Art Nights. Paul Polycarpou Editor in Chief

Editorial & advertising Offices 644 West Iris Drive, Nashville, TN 37204 Tel. 615-383-0278 Advertising Department Cindy Acuff, Beth Knott, Keith Wright All sales calls: 615-383-0278

Early Snow, oil on board, 30 x 36

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

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2104 CRESTMOOR ROAD NASHVILLE, TN 37215 HOURS: MON-FRI 9:30 TO 5:30 SAT 9:30 TO 5:00 PHONE: 615-297-3201 www.bennettgalleriesnashville.com

spotlight workshop, his circle, and his followers. In this exhibition, we get to see how scholars are presently interpreting Rembrandt’s body of work.” After the opening gallery, the remaining works will be organized thematically, with galleries dedicated to Portraiture: Faces of the Dutch Golden Age; Biblical Histories: The Impact of Calvinism on Religious Art in the Dutch Republic; Dutch Peasant Scenes and the Perils of Debauchery; Domestic Interiors: Inner Worlds of the Dutch Republic; Still-Life Painting: The World in Objects; Dutch Architectural Painting: Cityscapes and Church Interiors; Marine Painting and the Global Dutch Economy; and Dutch Landscapes: Local Scenery and Pride of Place. Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts will be on display at the Frist Center for the Visual Arts February 1 through May 19. A number of related public programs, curator’s tours, and educational opportunities will happen in conjunction with the exhibit. www.fristcenter.org

Frans Hals, Portrait of Hendrik Swalmius, 1639, Oil on oak panel, 11" x 8 1/4"

Rembrandt

Jacob Isaacksz. van Ruisdael, The Jewish Cemetery, ca. 1654–55, Oil on canvas, 56" x 74 1/2"

and the Dutch Golden Age Rembrandt and the Dutch Golden Age will set the work of the great Dutch masters within the larger social, religious, and political context of the Dutch Golden Age. Including works by Frans Hals, Rembrandt van Rijn, Jacob van Ruisdael, and Jan Steen, these works will offer a stunning survey of the art produced in the seventeenth century in the newly independent and prosperous Dutch Republic. The exhibition will open with a gallery focusing on Rembrandt, the most innovative, versatile, and influential Dutch artist of the seventeenth century. “Rembrandt did not specialize in any one kind of painting, which distinguishes him from his contemporaries,” explains Frist Center Curator Trinita Kennedy. “His vast production of paintings ranges across virtually every thematic category: genre, history painting, landscape, portraiture, and still life. He was highly inventive, and his work has never lost its extraordinary appeal.” The first gallery will also present works by Rembrandt’s teacher, Amsterdam painter Pieter Lastman, and Rembrandt’s students and followers. Rembrandt was famous in his own day and ran an important workshop. “Rembrandt’s students copied and collaborated on his paintings, and it can be difficult to distinguish their work from his own,” Kennedy observes. “Since the early nineteenth century, each generation of art historians has sought to define what was painted by Rembrandt, his pupils, his

Rembrandt Harmensz.van Rijn, The Visitation, 1640, Oil on cedar panel, 22 1/4" x 18 7/8"

10 | January 2O13 NashvilleArts.com

Gallery One, LLC LLC Gallery One,

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STE STE 1A 1A

Nashville, TN 37205

(o) 615.352.3006 (o) 615.352.3006

Tues-Sat 10A-5P (c) 865.250.1358

David Douglass, Portrait of Scout Dreaming, mixed media on panel, 48” x 70”

www.galleryonellc.com

David Douglass January 26 6-8P Solo Show Opening

NashvilleArts.com

January 2O13 | 11

spotlight

Magic Garden, 33" x 45”

Sue Mulcahy Mysteries in Black and White

Open to the Night, 53” x 39”

by Alyssa Rabun “So . . . it’s the Queen of England, holding a wishbone and swimming in a bowl of alphabet soup?” I ask visual artist Susan Mulcahy, offering a faux interpretation of her charcoal piece Magic Garden. Although we joke about far-reaching analyses of abstract art, Mulcahy’s Color of Black series on view at LeQuire & Company is far from trivial. In the scope of thirty drawings, Mulcahy boasts elegant charcoal works that encourage the audience to engage with each piece through their own exploration rather than under the umbrella of a dictated theme. A practicing artist and arts professor who has shown in venues including Cheekwood, the Parthenon Museum, and the Tennessee State Museum, Mulcahy has an established technique and process. Although she began working twenty-five years ago with a focus on printmaking, she transitioned into drawing with charcoal in the early stages of her career and has been working in black-and-white ever since. “I like charcoal because it’s so immediate,” says Mulcahy. “Charcoal seems delicate, fragile, and simple, but out of this fragility there is endless texture, structure, and movement.” Mulcahy begins each piece with relation to her mood or surrounding environment rather than with a predetermined final image in mind. She adds velvety strokes and mottled shapes, then erases marks with a smudge of her wrist, run of the vacuum, or splash from the garden hose. Her process of creation and subtraction produces full-bodied, complex works whose abstract themes are left to the viewer’s interpretation. “I am having a conversation with the artwork,” says Mulcahy, “I cannot tell you what the end result will be. When people look at my finished work they respond to it in ways I haven’t even thought about. My pieces are ambiguous enough for the viewer to find what they will see.” Visit Mulcahy’s Color of Black, on view at LeQuire & Company from January 9 to February 9. The artist’s reception will be held on Friday, January 11, from 5:30 to 8:30 p.m. This event is free and open to the public. www.suemul.com

www.lequireandcompany.com

12 | January 2O13 NashvilleArts.com

Velvet Secrets, 54" x 34"

spotlight

Art Makes the Music City Center This month we continue our preview of the art slated to adorn the Music City Center by introducing the work of Phillip Smith from Indio, California, and Beth Galston of Boston. Artist and architect Phillip K. Smith III is creating two threestory pieces, which will be mounted at the east end in the meeting room corridors. Shown here, Chladni is based on the sound vibration patterns discovered by German physicist and musician Ernst Chladni. By layering transparent shapes, Smith creates Phillip K. Smith III, Chladni rhythm and resonance designed to align with the architect’s vision for the center. Spectrum II recalls the roof of the Music City Center with a shifting and moving topography. According to art consultant Rich Boyd, “Phillip has created two innovative and dynamic pieces of art that build on the unique architectural identity of the building and at the same time capture the unmistakable energy that has become synonymous with Nashville.”

Beth Galston’s piece, Sound Wave, is an interactive sculpture made of undulating metal forms and LED lights, taking its inspiration from the shape of a sound wave and a musical staff of five bars with notes. It will be mounted in the 6th Avenue concourse and lobby. “As a public artist Beth challenges herself to create artwork that engages people to react to light and color, shadow and form, as they move through a specific environment. She has succeeded once again, and Sound Wave will have a resounding presence in the Music City Center.” www.nashvillemusiccitycenter.com www.bethgalston.com www.pks3.com

Beth Galston, Sound Wave

Imagine Gallery of

Fine Art

Happy New Year to all our gallery family and patrons... and the friends we have yet to meet! We are grateful to you for making it a wonderful ﬁrst year.

spotlight

Tony Henson: Immersion Immersion is the result of a unique creative collaboration between abstract painter Tony Henson, photographer Ariel Perez, and model Rachel Cables. Their concept was to create a sense of immersion not only with the three art forms, but to create a visual immersion for the viewer. “Rachel, the model, appears to be drowning into the painting itself, and the use of space, not knowing what is 2-D or 3-D, achieves a greater sense of immersion for the audience,” explained Henson. Tony cut several sections out of the 6’ x 4’ canvas so Tony Henson, Ariel Perez, Rachel Rachel could come out of the Cables, Immersion, Mixed media, 6' x 4' painting. Then he painted directly onto the model to blend the abstract work into the figure. Ariel was high above, shooting different angles directly down on the painting, using a vertical format to enhance the perspective relating to the concept for the project. www.tonyhensonart.com

science whiz

A school that’s about all the possibilities. Every day your children are discovering new things to learn and love. Franklin Road Academy shows them how to turn choices into a life of fulfillment and success. We teach students to explore all of life’s possibilities, and then we equip them to excel.

philanthropist

Your Vow, Your Holy Place

Rachael McCampbell

Imagine what the future holds. The Factory | Upper Mezzanine Level 230 Franklin Road | Suite 11-HH-A Franklin, TN 37064 | 615.794.7997 www.imagine-gallery.net

master thespian

––– OPEN HOUSE EVENT ––– JANUARY 26, 2013 Grades PreK3 – 12 For reservations or a personal tour of the campus, please call (615) 369-4488. NEW in 2013 – PreK3 Half Day and Full Day Options

www.discoverfra.com hockey star

spotlight

art of the

american hand

"Nashville Beautiful" Mayor Karl Dean recognized seventy Metro Nashville Public School elementary art students as finalists and winners in the “Nashville Beautiful” art contest. Two students tied for first place: Kelly Castlen, a third-grade student from Ruby Major Elementary, and Marvin Guardado, a thirdgrader from Una Elementary. Edie McClure, a fourth-grader from Dan Mills Elementary, won third place, and the Red River Award of Distinction went to Emilia Toth, a fourth-grade student from Shayne Elementary. Sixty-six other students from thirty-five Metro Nashville Public Schools placed as finalists. Artwork will be displayed on Red River household waste collection trucks as part of a citywide campaign to promote recycling. The art departments of the four grand-prize winners were awarded $1,500, $500, and $250 in prize money from Red River Service Corporation. The contest, now in its seventh year, is sponsored by Red River Service Corporation, Metro Public Works, Metro Beautification & Environment Commission, Metro Nashville Public Schools, Metropolitan Arts Commission, and Nashville Arts Coalition. www.redriverservice.com www.nashville.gov/pw/ www.mnps.org www.artsnashville.org

BRING IT HOME.

A FINE-ARTISAN GALLERY LOCATED IN THE HISTORIC VILLAGE OF LEIPER’S FORK, TN 4136 OLD HILLSBORO RD • 37064 WWW.THECOPPERFOXGALLERY.COM

photo: hank davis

spotlight

Bruce Munro

Light Artist

Late last month we learned that internationally acclaimed British artist Bruce Munro’s Light, an exhibition of breathtaking, large-scale, outdoor lighting installations and indoor sculptures will open at Cheekwood in May. Using an inventive array of materials and hundreds of miles of glowing optical fiber, Munro will transform Cheekwood’s magnificent gardens and rolling hills into an enchanting, iridescent landscape that emerges organically at nightfall.

Munro’s site-specific exhibit will mark only the second time he has showcased his solo work in the United States. In 2012, Munro debuted Light at Longwood Gardens in Kennett Square, Pennsylvania, drawing hundreds of thousands of visitors and critical acclaim.

largest museum of decorative arts and design—and at the thirteenthcentury gothic Salisbury Cathedral, where it garnered international praise. Munro’s work has also been shown at the Holburne Museum in Bath, Kensington Palace in London, and the Guggenheim Museum in New York City. www.cheekwood.org

photo: mark pickthall

Wiltshire-based Munro works with light in all of its forms. His work has been exhibited at London’s Victoria and Albert Museum—the world's

photo: mark pickthall

“During my first visit to Cheekwood earlier in the year, I had a visceral reaction to the scale and positioning of the estate’s buildings. They are at one with the landscape, breeding a sense of understated balance and harmony that truly inspired me and undoubtedly permeates the visitor experience,” said Munro. “This is the most perfect place to exhibit because it provides a variety of opportunities to respond to—each space varies in both scale and topographical character. In addition, Cheekwood’s worldclass exhibition galleries are a veritable jewel in its crown. I feel lucky and privileged to install my work at this prestigious and beautiful estate.”

16 | January 2O13 NashvilleArts.com

spotlight

Regional Student Art Exhibit at the Renaissance Center

Winter Art & Antiques Auction Saturday, January 26

The Tennessee Art Education Association (TAEA) and the Renaissance Center once again partnered to present the 5th Annual Middle Tennessee Regional Student Art Exhibition, featuring exceptional artwork created by middle and high school students from Middle Tennessee. The exhibit includes works from eighty students in twenty-two schools and home schools across Middle Tennessee. Awards were given in Ceramics, Drawing, Mixed Media, Painting, Computer Graphics, Sculpture, Photography, Printmaking, and Video/DVD Production. The Best of Show, Soldier Boy by Corbitt Dicker, featured in our December issue, will become part of the Renaissance Center’s Permanent Collection.

Sam Bellet, Best Printmaking

Edouard Cortes O/C, deaccessioned by The “Souper Dress” The Knoxville Museum of Art (for acquisition fund) Warhol

The Middle Tennessee Regional Student Art Exhibition will be on display at the Renaissance Center until January 11, 2013. Exhibit hours are 10 a.m. to 7 p.m. Monday through Saturday. www.rcenter.org www.artedtn.org

Monica Ramey CD Release

Joseph Delaney O/C Self-Portrait

Silver

Circle of C. Hawthorne, Being sold by Cheekwood

Pure Jazz Chemistry

4.9 Carats

photo: jeff coffin

James Wiley Wallace (TN, 1852-1921)

Combine the musical chemistry of one of the world’s most successful jazz trios with singer Monica Ramey’s elegantly lush, lyrical interpretations and you have the enchanting musical conversation Monica Ramey and the Beegie Adair Trio. Produced by Beegie Adair and Roger Spencer, the album also features jazz masters George Tidwell and Denis Solee on several tracks. The result is a collection of some of jazz’s most venerated songs, as well as the introduction of an original tune co-written by Adair and pianist Lori Mechem. “The album is special because I learned these songs listening to the trio, live, over the years.” says Ramey. “I adore the trio’s signature interpretations of standards, as well as many tunes that are more obscure to even the truest jazz fan. It’s a pleasure to share them with the audience and to be in such incomparable company.” www.monicaramey.com

Zia Olla

17” x 38” Cast Iron Whippet, possibly Fiske

Fully illustrated Catalog online at

www.caseantiques.com

Bid in person, by phone, online or absentee. 17% Buyer’s Premium (cash/check/certified funds). Credit Cards also accepted. Auction to take place at our gallery: 2240 Sutherland Avenue, Knoxville, TN 37919 865.558.3033 Nashville Office: 615.812.6096 TNGL #5157 CONSIGNMENTS OF ITEMS/ESTATES ACCEPTED

See our Auction Dates on the Nashville Arts Calendar

www.beegieadair.com NashvilleArts.com

January 2O13 | 17

spotlight

Master of Suspense Showing at the Belcourt Theatre, Alfred Hitchcock: Master of Suspense film series is a retrospective survey of Hitchcock’s mammoth post-silent era. Featuring twenty-four of the iconic director’s much-loved films, the series includes Rear Window, Strangers on a Train, To Catch a Thief, The Birds, Psycho, and more. In addition to illustrating Hitchcock’s mastery at interlacing character and suspense, the series charts Hitchcock’s keen use of starlet muses including Ingrid Bergman, Tippi Hedren, Grace Kelly, and more. “With the British Film Institute’s major restoration of Hitchcock’s silent films soon to tour the U.S. and the current biopic starring Anthony Hopkins, 2013 may well be considered the year of the Hitch,” says Toby Leonard, programming director at the Belcourt Theatre, who organized the series. Master of Suspense runs through January 17. Tickets and information are available at www.belcourt.org.

Christ Church Cathedral SACRED SPACE for the CITY

Macbeth Haunts Belmont

ARTS SERIES

2012.13

Icon Writing Workshop

Michael Samis cellist MAR 3 $15, $5 student

BACHanalia MAR 22 FREE

celebrating the creative spirit

christcathedral.org/sacredspace

Matthew Lewis organ APR 19 FREE

photo: jeff frazier

FEB 18 - 22 $495 includes lunch and all materials

For a really old take on political tragedy, check out Nashville Shakespeare Festival’s Macbeth at Belmont University's Troutt Theater. Directed by Matt Chiorini, a teacher at Le Moyne College, and assisted by Denice Hicks, executive artistic director for the Nashville Shakespeare Festival, the production will feature several Nashville Shakes alumni and debut a number of newcomers. For the first time, the Nashville Ballet will contribute choreography with dancers portraying Macbeth’s three witches.

“Macbeth is a timeless and timely tragedy about a man whose ambition outweighs his judgment,” Hicks said. “The talent involved with this production is a potent combination that will create a fresh, moving, and haunting show.” Opening night is Thursday, January 10, and the show runs Thursday, Friday, and Saturday evenings and Sunday afternoons through January 27. Evening performances start at 7:30 p.m. Sunday matinees begin at 2 p.m. Tickets are available through www.TicketsNashville.com or by calling 615-852-6732. Discount group rates are available. www. nashvilleshakes.org

18 | January 2O13 NashvilleArts.com

public art

Public Art Brought to You by Mass Transit by Caroline Carlisle-Vincent, Public Art Project Coordinator

Photo: Kevin Berry

id you know? The average household in the Nashville region spends nearly 25 percent of its income—far more than the national average—on transportation, and the average person in our region loses about 35 hours and wastes 10 gallons of fuel per year sitting in traffic.*

Lucky for citizens and visitors to Nashville, the newly built 28th/31st Avenue Connector features four transit shelters created by artist Kevin Berry and an additional two by artist David Dahlquist (featured in the December 2012 Nashville Arts Magazine). Berry’s work is inspired by nearby icons such as the performance pavilion at Hadley Park and the columns of the Parthenon at Centennial Park. The cast-concrete benches feature magnolias that are abundant in our area. This, we hope, is the first of many transit-inspired public artworks. Our goal in integrating public art into mass transit is to improve the quality of the transit experience, increase the likelihood that citizens will take advantage of mass transit, and promote unique experiences and places within our community. Standard bus shelters are seen throughout the city. They are perfectly functional—and what better way to spend your time utilizing mass transit than with a distinctive work of art?

Magnolia Shelters

To support more public art integration into future mass transit projects, perhaps the East-West Connector that is on the horizon, and to find out more about transit in Nashville, please visit www.eastwestconnector. org or www.nashvillemta.org. More on public art: www.artsnashville.org, Public Art. *www.eastwestconnector.org, FAQs

a chair design inspired by Pharaoh’s treasures from Ancient Egypt

New at 2danes: Vérité Masters Collection

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

Join LOCAL COLOR GALLERY & MIDTOWN GALLERY

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Saturday, February 2 10am to 5pm

Antique African Art for the Discriminating Collector Artworks include statues, masks & ceremonial regalia from all major ethnic groups of Sub-Saharan Africa.

By Appointment 615.790.3095 williamdarrellmoseley@yahoo.com Gallery Mail 427 Main Street P.O. Box 1523 Franklin, TN 37064 Franklin, TN 37065

Sunday, February 3 1pm to 4pm

ALL PAINTINGS

in the galleries are 10% to 50% off (and more!) All sales are ďŹ nal.

We look forward to seeing you here for the fun! Handcrafted Originals that will Bowl You Over! Gary C. Tisdale 1912 Broadway 615.322.9966

Brooke Robinson 1912 Broadway 615.321.3141

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spotlight

TOP PICKS

2013

A new year is ushering in new styles and trends. Here are a few of Keith's favorites and new ar rivals, which I am sure will end up in some of Nashville's HOTTEST HOMES! Antique Store Counter

Circa 1910 $1,825

Industrial Factor y Work Stool Buffalo, New York $280

19th Centur y Ter ra Cotta Car touses $750 ea.

Antique Weather Vane Flag 19th Century, American $750

. 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

The Crawl Guide The first crawl of the New Year will take place at the Franklin Art Scene on Friday, January 4, where a $5 ticket gives you unlimited access to the trolleys that circulate from Columbia Avenue over to Main Street and down to the antique district, 6 to 9 p.m. New to the Franklin Art Scene is Jack Yacoubian Jewelers. In addition to owner Jack Yacoubian’s handcrafted, fine Michael Hooper jewelry pieces, the store will feature Nashville native and Houston-based artist Emily McGrew. Gallery 202 will be highlighting Michael Hooper, a Dickson-based folk artist who crafts pieces from discarded wood, found objects, and recycled materials. Franklin Glassblowing Studio will open its working studio and gallery where owner Jose Santisteban is often on site to offer participants an inside look at the intricate process of the art form. Stites & Harbison law Emily McGrew firm will host local artist Joseph Dzuback Bibb. Bibb’s work includes paintings and mixed media influenced by both his Irish and Tennessee heritage and the landscape of his ancestors. Ken Walls is the artist-in-residence at Arbor Antique Mall. The self-taught painter works with acrylics and oils and often paints pieces during Ken Walls the art crawl. On Saturday, January 5, head to downtown Nashville for the First Saturday Art Crawl from 6 to 9 p.m. The Arts Company will continue their New Year's tradition Of Things to Come, a preview of fresh art for a new year, showcasing new art and new artists, including Aggie Zedd. Jerry Park’s WorkSpaces: Artists' Studios remains on display upstairs. The Rymer Gallery will showcase Herb Aggie Zedd Williams’ show Call of the Wild. Tinney Contemporary will be continuing its exhibit Silent Gestures by Korean-born artist Hyunmee Lee. Edgehill Village Art & Music Crawl takes place Thursday, January 17, from 5 to 9 p.m. and will feature live music by Music City Pickers.

NashvilleArts.com

January 2O13 | 21

H AY N E S G A L L E R I E S JANUARY EXHIBITIONS

REVISITING MASTERS

EXTENDED TO FEBRUARY 2, 2013

JANUARY 12, 2013 TO FEBRUARY 2, 2013

This extraordinary selection selection of of small small works, works, more This extraordinary than by 51 by artists—proves good more160 thanpaintings 160 paintings 51 artists — that proves that things reallyreally do come in small packages. Presented good things do come in small packages. salon style,salon Small Things is being jewel Presented style, Small Thingsextended—a is being extended box with diminutive gems from gems such — aoverflowing jewel box overflowing with diminutive from such artists renowned artists asRockwell, Norman Rockwell, renowned as Norman Andrew Wyeth, Yousuf Karsh and contemporary masters Andrew Wyeth, Yousuf Karsh and contemporary Stephen Scott Young, E. Jesús Villarreal, Grace masters Stephen Scott Jesús Young, E. Villarreal, Grace DeVito, Giarrano, Michael DeVito, VincentVincent Giarrano, Michael Theise,Theise, Guillermo Munoz Guillermo Munoz Vera Vera and and Linden Linden Frederick. Frederick.

1860 1860 TO TO 2009: 2009: The The works works of of John John Singer Singer Sargent, Sargent, Winslow Winslow Homer, Homer, N.C. N.C. Wyeth, Wyeth, Andrew Andrew Wyeth, Wyeth, Norman Norman Rockwell, Rockwell, Yousuf Yousuf Karsh, Karsh, Frank Frank Duveneck Duveneck and and Ruth Ruth Bernhard Bernhard among among others otherswill willbe bepresented presented in in aa retrospective retrospective that that highlights highlights the the meticulous meticulous skills skills and and perspective perspective that that defines defines each each of of these these legendary legendary Masters. Masters. From From photography photography and and portraiture portraiture to to works works on on paper. paper, Revisiting Revisiting the the Masters provides a unique lens into art of Masters provides a unique lens into art ofthe the19th 19th and nd tthe he b eginning of of the the 21st. 21st. and 20th 20th centuries centuriesaand beginning

THE

SMALL THINGS

ON THE MUSIC ROW ROUNDABOUT. 1600 DIVISION STREET. SUITE 140. NASHVILLE,TN 37203. VISIT HAYNESGALLERIES.COM AND FACEBOOK.COM/HAYNESGALLERIES GARYHAYNES@HAYNESGALLERIES.COM. TELEPHONE: 615.312.7000 OR 615.430.8147. GALLERY HOURS: TUESDAY - SATURDAY 11 A.M. TO 4 P.M. AND BY APPOINTMENT. FREE GARAGE PARKING.

22 | January 2O13 NashvilleArts.com

Zoey Frank

Mystery and Emotion Z

oey Frank is a Renaissance woman. At age 25, she

finds herself comfortable in the sixteenth, nineteenth, and twenty-first centuries. As a child, she entertained herself at home by copying Old Masters paintings in her makeshift studio in the basement. As a young adult, she trained four years in the nineteenth-century-conceived “atelier” system. And today, she is a professional, award-winning artist whose recent sketches have been published in Lessons in Classical Drawing by Juliette Aristides. A native of Boulder, Colorado, Frank’s artistic proclivity was fostered via years of schooling in the Waldorf system. The

photo: julio labra

artist profile

by Emme Nelson Baxter

Waldorf philosophy involves educating the mind, body, and spirit of a child through an emphasis on arts. “Art was an important part of my life growing up,” she explains. “That was the way I played. I made little sculpture installations and watercolors and masters copies.” She became increasingly interested in Renaissance art as a young teenager and fantasized about being an apprentice in Raphael’s studio. After high school, she spent a few semesters at the liberal arts Earlham College in Richmond, Idaho, before deciding to pursue art studies more intensively. She subsequently moved to Seattle

NashvilleArts.com

January 2O13 | 23

Camellia, 2010, Oil on linen, 14" x 30"

and enrolled at Gage Academy of Art, a non-degree-granting institution that offers figurative drawing, painting, and sculpture. The academy has several ateliers. Frank was granted admittance to the classical atelier, the contemporary equivalent of the Old Masters’ studio, with about eighteen students. She spent four years drawing and painting in the atelier system under the mentorship of Aristides. Mornings in the atelier were devoted to working from live models. Afternoon training focused on master copies, cast drawings, and still-life projects.

Solitude, 2011, Oil on linen, 27" x 23"

She spent her first year drawing exclusively. The second year involved painting in grisaille to gain understanding of value relationships. During her third year, Frank transitioned from a warm/cool palette— ultramarine blue, burnt sienna, and white—to full color. Finally, with a deep understanding of her craft, she spent her fourth year in the atelier exploring her own ideas as she prepared for her thesis exhibition. Today, in addition to developing her professional career, Frank is pursuing her Masters in Fine Arts at Laguna College of Art and Design in Laguna Beach, California. The advanced degree will not

Bernie's Vase, 2011, Oil on linen, 16" x 13"

24 | January 2O13 NashvilleArts.com

only provide her with credentials to teach at the university level but is also helping her to develop her own voice within her work. “Atelier training is completely skills based,” she notes. “You have one teacher for four years. You can get stuck in the Classical Realism world.“ She is now incorporating a few handy tools of the twentieth century into her practice. She has started using photo references and photocopier to enlarge her drawings for transfer rather than working with a traditional grid. In her thoughtful manner, she states that she is in transition. “I want the figures to be more than just beautifully painted figures. I want them to have something beyond that, to have more of a narrative element,” she adds. It is vital to Frank that her work couples the formal concerns in painting with subject matter. She explores personal experiences and emotions through imagery and metaphor. “These paintings represent specific states of mind for me,” she says, “but I use images that bring up the same feeling that I had at moments in my life rather than illustrating the moments themselves.” Her favorite medium is oil. She is inspired by artists such as Raphael, Rembrandt, Andrew Wyeth, and Antonio Lopez Garcia and finds herself “intrigued” by American Realist Bo Bartlett’s work. Frank’s work is attracting attention. In addition to having drawings published in the Aristides book, Frank won grand prize at The Artist’s Magazine’s All Media Art Competition this year. In addition to Nashville, her paintings have been exhibited in Laguna, California; Jackson, New Hampshire; Seattle, Washington; Oklahoma City, Oklahoma, and Boulder, Colorado. Zoey Frank is represented by Haynes Galleries. For more information, visit www.haynesgalleries.com and www.zoeyfrank.com.

Yma From Behind, 2011, Oil on linen, 18" x 15" Frank’s intention in Continuity is to obscure key features of a face in shadow in order to create an air of mystery. The figures represent the same person in different stages of life. The younger is calling upon this older part of herself for guidance, as if with an oracle. The setting was inspired by time the artist spent in the Canadian Arctic, a place where she "gathered strength from and connected to" herself in the same way that the young woman is connecting to this part of herself in the painting.

Continuity, 2011, Oil on linen, 26" x 42"

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A L L

T H E

B E S T

I N

F I N E

J E W E L RY

5 1 0 1 H a r d i n g R o a d  N a s h v i l l e , Te n n e s s e e 3 7 2 0 5  6 1 5 . 3 5 3 . 1 8 2 3

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Gaslamp Too! Visit our TWO locations featuring more than an acre of: Unique Gifts, Fine Antiques, Vintage, Mid-Century, Century, Art, Industrial, Home Accessories & More Come to our “Tea @ Too”@ 2pm / Jan 11th How to Display & Hang Art Call to sign up! 615-297-2224 or 615-292-2250 : GasLampAntiques.com 100 Powell Pl, Ste 200 & 128 Powell Pl, 37204: M-Sat 10-6, Sun 12-6

GERMANEXPRESSIONISM from the Detroit Institute of Arts

Through February 10, 2013 DOWNTOWN NASHVILLE | 615-244-3340 | FRISTCENTER.ORG Members/Youth 18 and younger FREE THIS EXHIBITION WAS ORGANIZED BY THE DETROIT INSTITUTE OF ARTS.

The Frist Center for the Visual Arts gratefully acknowledges our Picasso Circle members as exhibition patrons in recognition of their generous support. Ernst Ludwig Kirchner. Winter Landscape in Moonlight, 1919. Oil on canvas, 47 1/2 x 47 1/2 in. Gift of Curt Valentin in memory of the artist on the occasion of Dr. William R. Valentinerâ&#x20AC;&#x2122;s 60th birthday, Detroit Institute of Arts, 40.58

artist profile

Roger Dale Brown’s

by Karen Parr-Moody

photo: anthony scarlati

Beautiful Vistas

erebral French films are full of them: The “what if” moments of life. “What if you had not worn that blue dress that day?”

such a film might ask in all seriousness. Such films are made because these moments happen.

Franklin, Tennessee, painter Roger Dale Brown—who says, “It never entered my mind to be an artist for twelve years after high school”— was faced with just such a moment years ago. He had been assisting a muralist, a job that provided him with a weak toehold onto the outermost edge of the art world. He had yet to paint his own mural. But that didn’t matter when one day he attended a meeting with some designers who wanted a mural painted and the main muralist didn’t show up.

28 | January 2O13 NashvilleArts.com

Morning Sunrise, Oil on linen, 48" x 60"

“

By taking it down to its basic forms, I can have a more soulful approach to my painting. I am not worried about the detail. I’m more concerned with capturing the essence of the thing.

”

“I raised my hand and said I could do it; I’ve done it,” Brown now says. He added with a laugh, “I was lying. But I had to do it. I needed the money.” Brown then asked the group what they liked. “They said, ‘We like Monet.’” It was a turning moment for Brown. Today he is not only one of the most notable artists in the genre of plein-air paintings, he encourages others to step onto his vapor trail. He has become the goto teacher in this region for the genre; any starryeyed dreamer who hopes to become a painter in the Impressionist vein has taken classes with him. By going into the backcountry to hike, by traveling all over the country in his camper, it seems Brown has captured every rugged mountain, golden field, calm harbor, and snowy forest—and he has captured them in the ever-changing sunlight with loose, energetic strokes.

Country Side Fall, Oil on linen, 18" x 24" NashvilleArts.com

January 2O13 | 29

“Painting on location is where you really learn a lot,” he says of painting in the style of the original Impressionists, who abandoned the security of their studios and sallied forth into the French countryside. “I knew that would help me to see better,” he said. “As an artist, that’s what you’re trying to do: teach yourself to see better, to see the contrast between light and dark, to see color patterns.” After the Storm, Oil on linen, 20" x 30"

During a recent interview at Leiper’s Creek Gallery, which represents him, Brown spoke in a low, soft, slightly faltering Southern accent. Originally from Birmingham, Alabama, this untrained artist decided to study plein-air painting after his stint in commercial mural painting. He first studied with renowned Nashville art teacher Hazel King. By 2002, the accomplished plein-air painter Dawn Whitelaw had become Brown’s mentor, and he had taken a workshop in Wyoming from Scott Christensen, another notable in the world of plein-air painting. “That’s when I really got going,” Brown says, noting that setting goals became the motivator for him. One goal, after taking the workshop with Christensen, was to paint one painting on location each day for 365 days. He completed 350.

Today Brown is inspired by turn-of-the-century painters Edgar Payne and John F. Carlson. Andrew Wyeth is another influence. Richard Schmid and Quong Ho are among his favorite modern painters. Beyond studying the greats of his genre, what Brown does is get out there and paint—and not just next to gardens and ponds, but in the wilds where he comes across wolves and grizzly bears. This past summer he spent three months on the road with his fiancée, Beverly Ford Evans, who is also a painter. They took their two dogs, a West Highland terrier and a Cairn terrier, and traveled all over Pennsylvania and New England. “I grew more in those three months than I probably did in the last three years,” Brown says. “My work changed

Frozen, Oil on linen, 24" x 36" 30 | January 2O13 NashvilleArts.com

Glimmering, Oil on linen, 18" x 24"

dramatically for the better.” He came away from that trip with a quality of smudged edges and a greater abstraction to his shapes. He says his trick is to “un-describe” an object—for example, the barn captured in the painting After the Storm. “I don’t look at it as a barn anymore: It’s just shapes, color, light, an abstract,” he says. “By taking it down to its basic forms, I can have a more soulful approach to my painting. I am not worried about the detail. I’m more concerned with capturing the essence of the thing.”

said, as he now explains, “I can’t do it; I’m sorry.” That moment was something of a miracle, Brown believes. “I’m fairly spiritual, religious,” he says. “And I honestly believe that that had to come from God, because I wasn’t going anywhere. So that door opened, and I was just lucky enough, at that time—you know, you’ve just got to have the guts to do it. And the journey has been so wonderful.” Roger Dale Brown is represented by Leiper’s Creek Gallery. www.leiperscreekgallery.com www.rogerdalebrown.com

For his glorious painting Morning Sunrise, captured in Boone, North Carolina, there is an inhuman grandness to the mountains while the valley’s rustic homes vibrate with human intimacy. Brown wanted to capture the grandness of the mountain, so, as he often does, he manipulated objects’ sizes, staying away from literal representation. The smaller the trees, he explains, the grander a mountain appears. “God can do all of that out there, but we can’t,” he explained of nature’s vistas. “We’re just magicians creating an illusion on a canvas to capture the essence.” Brown wants to continue his journey with a “more visceral approach,” he says, imbuing his canvases with the history and geography of his favorite places, such as Maine. “I want more of that inward soulfulness to my painting,” he says. But no matter how far he roams, he won’t forget about that one moment that changed his life—the moment when he could have

Flow Blue and Apples, Oil on linen, 14" x 18"

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1 5205 Stillhouse Hollow Farms, 800 Acres $19,900,000 2 939 Tyne $4,999,900 3 21 Northumberland $4,999,000 4 5840 Hillsboro Road, 21 Acres $4,500,000 5 1037 Vaughn Crest $3,750,000 6 434 Grayson $2,950,000

Rick French 604-2323, Tim King 482-5953

7 917 Overton Lea $2,750,000 RICK FRENCH | BROKER

c. (615) 604-2323 | o. (615) 292-2622 FrenchKing.com

32 | January 2O13 NashvilleArts.com

12 8 110 Lynnwood $2,750,000 9 907 Overton Lea $2,700,000 10 308 Deerwood $2,250,000

Rick French 604-2323, Cathie Renken 500-8740

11 914 Overton Lea $2,495,000 12 5910 Hillsboro Rd $1,750,000 13 2900 Tyne Blvd $1,795,000 14 2006 Fransworth $1,785,000 15 106 Clarendon $1,650,000 RICK FRENCH | BROKER

c. (615) 604-2323 | o. (615) 292-2622 FrenchKing.com

NashvilleArts.com

January 2O13 | 33

1 932–2012

48 in x 36 in

mixed media on canvas

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

Come join us and see what happens when artists create together!

The Studio ~

Tom Turnbull ‘a little bit of everything’ Workshop, Jan 12th

The Co-op ~

Caroline Cercone ‘C/10 Glazing and Gas Firing’ Workshop, Feb 2nd

The Galleries ~

Our annual ‘Cups of Co-opportunity’ event, Feb 9th Pick a cup, fill it up and benefit VSA TN! Come by or visit www.theclaylady.com for further info or to register! The Clay Lady’s Artist Co-op & Galleries ~ The Educational Facility at Mid-South Ceramic Supply ~

1416 Lebanon Pike • Nashville, TN 37210 • 615-242-0346

Kismet

at Gallery One Tammy Parmentier Fuels Her Passion by Beth Raebeck Hall

ammy Parmentier, an entrepreneur by nature, and Gallery One founder Shelley McBurney were recently brought together by a large slice of serendipity and a healthy dose of kismet when Parmentier, a Knoxville resident, found herself in Nashville visiting a close friend.

photo: jerry atnip

“Because I love art, my friend suggested we visit one of her favorite places, Gallery One,” Parmentier said. While purchasing a piece of art, she struck up a conversation with McBurney, who mentioned she was planning to retire and sell the business. A sophisticated and savvy businesswoman with a background in sales and marketing, Parmentier was immediately taken with the gallery and the art displayed. “Walking in, I thought this is fabulous space! Seeing the array of stellar art was mesmerizing.” At that moment, Parmentier fell in love with the gallery and with Nashville. Shortly after, the two women began a dialog about their passion for art that eventually led to a conversation about Parmentier buying the gallery business. Gallery One is known for the high caliber of its diverse roster of artists that includes Jeff Faust, Suzy Scarborough, Steven Seinberg, Maggie Hasbrouck, and Chad Awalt. Parmentier does not plan to change very much. “I’m working on a new website, marketing, and some new ideas like pop-up galleries. We have an amazing group of artists, and I’m sure we’ll add others in time.” McBurney couldn’t be more thrilled with the new owner and her vision for the gallery. “I know Tammy will do an extraordinary job. Sometimes you just know when things are right,” she said. Chalk it up to kismet.

photo: jerry atnip

For more information, visit www.galleryonellc.com.

Gallery One is located at 5133 Harding Pike, Suite 1A, Nashville, TN 37205

Lendon Noe, Azalea, 2012, Ink and graphite on paper with antique hardware 28" x 30"

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ART AROUND

Michael Crouser

Riding the Wind

A Young Rancher in the Snow – Burns, Colorado I believe that the faces of these hardworking people are as much a part of the fabric of this series as are the landscapes, clothes, and animals.

Branding – Hotchkiss, Colorado I am fascinated by this rough, disappearing culture. And as the industry of cattle ranching in mountains is disappearing, so are these traditional working methods.

by Holly Gleason

“I

want it to be emotional,” says Michael Crouser, a man whose stunning black-and-white photographs of toreadors, intense dog play, and real cowboy life ripple with the taut moments spent waiting and action being applied.

“Not necessarily a cold treatment, but a combination of things: what you leave in, what you leave out, the composition, the earth, and the animals. It’s all very alive.” Mountain Ranch, a work in progress, began in 2006. Creatively dry, the Minneapolis-born photographer who is drawn to heroic realities, visited Colorado to shoot a friend’s ranch as a favor. “I wanted to clear my head; I felt like I woke up again.” The series— three-quarters realized—captures stark vistas, close portraits of men grizzled by their work, animals aligned with the cowboys, resisting and at rest, and the totemic punctuations of the Colorado region that renewed him. “Very often photographs are a reflection of the person making them,” offers Crouser, whose Los Toros was named Fine Art Book of the Year at the 2008 International Photography Awards. I tend to focus on lone figures working on a difficult task. The unifying element is the disappearing world and the timelessness of these cultures. If you apply that to a spare amount of visual elements for the viewer to consider, much emerges. opposite: Ryder Mounting Up – Burns, Colorado

Rearing No matter what the subject, my photographs are usually largely about composition. In both shooting and printing, I try to expel any extraneous visual elements. I want the viewer to have very little to consider. Simple shapes, strong images.

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January 2O13 | 37

Ryder Roping I wasn't very enthusiastic about shooting in the brutal sun on this day . . . but challenged myself to see what I could do with the shadows, with what I was given.

Ramp Jump – Burns, Colorado I am fascinated by seeing the work of this world from unique perspectives . . . finding unexpected compositions. Often a picture will present itself that I could not have planned or imagined.

When Crouser was a suburban kid curious about the world, his lens drew him beyond the confines of sports and girls, revealing the valor inherent in lives braving nature’s force. For the matadors, it was the bulls; for the cowboys, the earth and the animals. Using mechanical cameras and actual film, immersing himself when possible, Crouser conjures tableaux that concentrate on emotion, solitary or consuming. “Pastoral is part of it,” he explains. “But it’s very urgent and intense, very much a muscular, earthbound thing that’s rough, tough.

Hammer Cloud – Burns, Colorado People often assume that my pictures are arranged, or set up . . . but for the most part I am just quietly along, respectfully observing these ranchers at their work. This rancher had gone over the hill with his dog to find his son, and I waited in the truck. This is what I saw when he came back.

“Their life is a struggle; it’s constant. They don’t see it like that; it’s just doing their work . . . That’s what these images capture.” More information at www.michaelcrouser.com.

38 | January 2O13 NashvilleArts.com

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January 2O13 | 39

collection

Hunt Slonem

photo: courtesy of artist

Collection Arrives at Customs House, Clarksville, Tennessee by Karen Parr-Moody

ew York City is, for Hunt Slonem, a city where he is not only a painter but a bon vivant in the mold of Andy Warhol and James McNeill Whistler. His elbows are the

sort that society types would love to rub. “I’m hardly the first,” he says of his status. “I enjoy it enormously.” Slonem, however, has yet to rub elbows in his cocktail attire in Clarksville, Tennessee. But that hasn’t stopped the renowned artist from gifting his paintings to the city. His depiction of birds, called Picul, is currently on view at the Customs House Museum and Cultural Center there, a mere forty-five minutes from Nashville. And he has now given the museum three more paintings—Hutch, October 14th, Callas, and Blue Hairstreak—to go on display this month. Slonem has Tennessee connections: A grandmother is from Chattanooga, and he studied at Vanderbilt University. His work has also been on exhibit at the Tennessee State Museum and in private collections throughout the state. At the Customs House Museum, Slonem’s work meets the eyes of a broad spectrum of society, as it is the second largest general museum in Tennessee. The bold rabbits of Hutch, the vivid blooms of October 14th, Callas, and the hazy butterflies of Blue Hairstreak will, in particular, be viewed by the many children who frequent the space. This is wholly appropriate, as Slonem’s work is charmingly childlike, depicting the natural world with a sense of the naïve and mystical. October 14th, Callas, 2003, Oil on canvas 40" x 30" 40 | January 2O13 NashvilleArts.com

His famous birds, with their crosshatched brushstrokes to indicate wire cages, are in the vein of Joseph Cornell’s shadow boxes containing cockatoos. Tying back into childhood, Cornell himself was inspired by children’s penny arcades of the Victorian era. “My work is a positive, uplifting spiritual message,” Slonem says. “And children are not, hopefully, jaded by the world.” Slonem, who traveled throughout his childhood due to his father’s career as a Navy officer, was affected by visiting museums. “It’s wonderful to have children exposed to everything, to have that venue for them,” he says.

Slonem is an inveterate collector—he is known for having scads of top hats, Neo-Gothic chairs, and exotic birds. Blue Hairstreak, 1998, Oil on canvas 72" x 84"

His childhood collections included the rabbits, butterflies, and orchids that now translate into his paintings. Blue Hairstreak is a butterfly with a name that “always stuck in my head,” he says of the painting. Slonem has even collected homes—two plantations in Louisiana and a historic mansion overlooking New York’s Hudson Valley. “I was always inspired by Picasso, who just bought chateau after chateau and then shut them up and locked the door,” he said. “Basically we don’t change,” Slonem said of his lifelong love of collection. “We just get more things.” And now, like Slonem, the Customs House is assembling a collection of the collector’s collections—on canvas.

Hutch, 2011, Oil on canvas 93" x 133"

For more information visit www.huntslonem.com and www.customshousemuseum.org.

NashvilleArts.com

January 2O13 | 41

M E t ro

a rt s

Ga l l E ry

Don’t Tell Me I Can’t Fly

an Exhibition of Work by collage artist Della Wells

January 15th. Come see what we’ve been up to. Della Wells, Mambo Café, 2009

In collaboration with Nashville Children’s Theatre’s regional premiere of the original play by Y York Exhibit DatEs: January 20, 2013 through March 2, 2013 artist rEcEption: February 1, 2pm-4pm

Gallery Location: 800 2nd Ave S., Nashville, TN 37210 Phone: 615.862.6720 • Email: arts@nashville.gov www.artsnashville.org

The Nashville Jazz Workshop presents Jazz on the Move: THE LIFE AND MUSIC OF JIMMY VAN HEUSEN Jan. 20, 2013, 3pm, Lipscomb University, Collins Auditorium 4100 Hillsboro Road Monday - Friday 9:00 - 5:30

297-3541

SUPPORT FROM:

VAN HEUSEN MUSIC

Saturday 10:00 - 5:30

bradfordsinteriors.com

ADMISSION FREE

Information at nashvillejazz.org

PHOTO BY AUBREY SWANDER

A native of Atlanta, Shannon Connelly is currently pursuing a Fine Arts degree with an emphasis on sequential art at the prestigious Savannah College of Art and Design. This young artist has already spent years in the studio creating works that utilize mixed media and are influenced by comic art styles originating in Japan and Korea. Shannon speaks Japanese, Latin and some Korean, and has traveled to Seoul, Kyoto, Paris and Rome. Samples of her work can be seen at shinav.deviantart.com

Arts Worth Watching The new year on Nashville Public Television begins with a variety of documentaries and specials representing all of the ways art impacts our lives, be it through live theatre, the written word, the visual arts, or music. There is, of course, the return of Downton Abbey with Season 3 on January 6, but you already know that. What you also know is that there wouldn’t be a Downton Abbey at all if it weren’t for Shakespeare, who is credited with creating every devilish and delicious plot line the show, or any show for that matter, can dream up. But who was Shakespeare really? And without stage direction, how do actors and directors get to the heart of some of his most iconic characters and plays? Shakespeare Uncovered, a six-part series spanning three consecutive Saturdays beginning January 26 at 9 p.m., combines history, biography, iconic performances, new analysis, and the personal passion of its celebrated hosts—Ethan Hawke, Jeremy Irons, Derek Jacobi, Trevor Nunn, Joely Richardson, and David Tennant—to tell the story behind the stories of Shakespeare’s greatest works. Each episode combines interviews with actors, directors, and scholars, along with visits to key locations, clips from some of the most celebrated film and television adaptations, and illustrative excerpts from the plays specially staged for the series at Shakespeare's Globe in London. Hawke kicks it off with Macbeth, and an exploration of Shakespeare’s murderous Thane of Cawdor, by uncovering the true story that served as its inspiration. Hawke then immerses himself in some of the most memorable and innovative productions and discovers Shakespeare’s extraordinary insights into the criminal mind. Joely Richardson follows by investigating (with her mother, Vanessa Redgrave) the legacy of Shakespeare’s two brilliant cross-dressing comedies and the great comic and romantic heroines in two perennially popular plays.

Artist Wayne White was a sensation when he provided the keynote address during Nashville’s first “Nash-Up” creativity event at the Frist Center for the Visual Arts in October of last year. Beauty is Embarrassing, coming to NPT via Independent Lens on Monday, January 21, at 9 p.m., is the funny, irreverent, joyful, and inspiring documentary exploring White’s life. Raised in the mountains of Tennessee, he started his career as a cartoonist in New York City and then as a set designer and puppeteer on the NPT (then WDCN) show Mrs. Cabobble’s Caboose before finding success as one of the creative forces behind Pee-wee’s Playhouse. Most recently, his word paintings, which feature pithy and often sarcastic text statements crafted onto vintage landscape paintings, have made him a darling of the fine art world. Beauty is Embarrassing picked up the audience award for best documentary at the Nashville Film Festival last year. Close behind was director Joe Berlinger’s outstanding film, and winner of the festival’s Impact of Music Award, Under African Skies, which comes to NPT via Great Performances as Paul Simon’s Graceland Journey on Saturday, January 5, at 9 p.m. On the occasion of the 25th Anniversary of Paul Simon’s landmark album Graceland, Berlinger follows Simon back to Africa to celebrate but discovers that much of the controversy that surrounded the recording of the album and the political climate in which it was created still clouds its brilliance.

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

Saturday

am Bob the Builder Daniel Tiger’s Neighborhood Curious George The Cat in the Hat Super Why! Dinosaur Train Thomas & Friends Angelina Ballerina Sewing with Nancy Martha’s Sewing Room Victory Garden Tracks Ahead Lidia’s Italy in America Cook’s Country noon America’s Test Kitchen Mind of a Chef Martha Stewart’s Cooking School Growing a Greener World Fon’s & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop The Woodwright’s Shop For Your Home This Old House Ask This Old House Hometime This American Land pm Tennessee’s Wild Side

ThisMonth

January 2 013

Nashville Public Television

This season, they have everything to lose.

Sunday

5:00 am Sesame Street 6:00 Curious George 6:30 The Cat in the Hat 7:00 Super Why! 7:30 Dinosaur Train 8:00 Sid the Science Kid 8:30 Daniel Tiger’s Neighborhood 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 A Word on Words 11:00 Nature 12:00 noon To the Contrary 12:30 The McLaughlin Group 1:00 Moyers & Company 2:00 The Desert Speaks 2:30 In The Americas with David Yetman 3:00 California’s Gold 3:30 Travelscope 4:00 Southern Accents 4:30 Rick Steves’ Europe 5:00 Antiques Roadshow 6:00 pm Globe Trekker

DOWNTON ABBEY Return to Downton Abbey for Season Three as wrenching social changes, romantic intrigues and personal crises grip the estate. Sunday, January 6

8:00 PM

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

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

The Abolitionists American Experience The epic stories of Frederick Douglass, William Lloyd Garrison, Angelina Grimké, Harriet Beecher Stowe and John Brown are intertwined.

Mondays, January 8-22 8:00 PM

In honor of Sir David Attenborough’s 60th anniversary on television, Nature looks back on his remarkable career.

Wednesdays January 23 – February 6 7:00 PM

wnpt.org

Nashville Public Television

Nature Attenborough’s Life Stories

NashvilleArts.com

January 2O13 | 45

Monday

Preview Jan2012pg2_9x11:Layout 1 12/10/12 2:09 PM Page 2

7:00 Antiques Roadshow Corpus Christi (Hour 2). 8:00 Market Warriors Antiquing in Chicago. 9:00 Independent Lens Soul Food Junkies. Filmmaker Byron Hurt sets out to learn more about soul food and its relevance to black cultural identity. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 41st Annual Smithville Fiddler’s Jamboree Part 1.

6:00 Masterpiece Classic Downton Abbey, Season 3 - Part 1. 8:00 Masterpiece Classic Downton Abbey, Season 3 - Part 2. 9:00 The Abolitionists: American Experience Part One: 1820s-1838. 10:00 Bluegrass Underground Doyle Lawson & Quicksilver. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Antiques Roadshow Corpus Christi (Hour One). 8:00 Market Warriors Antiquing in Walnut, IA. 9:00 POV Reportero. A reporter and his colleagues at a Tijuana-based newspaper ply their trade in one of the deadliest places for news reporters. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Schools That Change Communities

7:00 Secrets of Highclere Castle 8:00 Masterpiece Classic Downton Abbey, Season 3 - Part 1. Wedding guests descend on Downton, where disasters threaten. One is Cora’s freewheeling American mother. 10:00 Bluegrass Underground David Mayfield Parade. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington

Doc Martin Series III Thursdays, Beginning January 3 8:00 PM

Sunday

Primetime Evening Schedule

January 2013

7:00 Pioneers of Television Funny Ladies. 8:00 The Abolitionists: American Experience Part Two: 1838-1854. Uncle Tom’s Cabin changes the hearts and minds of millions. 9:00 Frontline Inside Obama’s Presidency. His first term. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 41st Annual Smithville Fiddler’s Jamboree Part 2.

7:00 Crisis of Faith: Tennessee Civil War 150 7:30 No Going Back: Women and the War 8:00 The Abolitionists: American Experience Part One: 1820s-1838. The abolitionist movement is in disarray. 9:00 Frontline The Education of Michelle Rhee. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 America’s Wildest Refuge

7:00 Great Performances From Vienna: The New Year’s Celebration 2013. Ring in the New Year with special host Julie Andrews and the Vienna Philharmonic at the opulent Musikverein. 8:30 Great Performances Broadway Musicals: A Jewish Legacy. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Lost and Found: The Legacy of the USS Lagarto

Tuesday

16 7:00 Nature Cracking the Koala Code. 8:00 NOVA Ice Age Death Trap. Visit a unique site packed with preserved bones of mammoths, mastodons and other giant extinct beasts. 9:00 Life on Fire The Surprise Salmon. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Rodrigo Y Gabriela.

7:00 Nature Cuba: The Accidental Eden. 8:00 NOVA Decoding Neanderthals. Find out what happened when the first modern humans encountered Neanderthals 60,000 years ago. 9:00 Life on Fire Volcano Doctors. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Jack White.

7:00 Nature Broken Tail: A Tiger’s Last Journey. 8:00 NOVA Doomsday Volcanoes. Dangerous volcanoes simmer in Iceland. 9:00 Life on Fire Icelandic Volcanoes: Who Is Next? 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Sonic Youth/The Black Keys.

Wednesday

17 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin The Apple Doesn’t Fall. Portwenn’s new police officer appears to have an odd affliction which causes him to fall asleep suddenly. 9:00 The Reagan Presidency Part 3. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Uncommon Vision: The Life and Times of John Howard Griffin

18 7:00 Death and the Civil War: American Experience With the Civil War and the casualties it ushered in, death entered the experience of Americans as it never had before -permanently altering the character of the republic, and the psyche of the American people. 9:00 Washington Week 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company

7:00 Into Deep Space: The Birth of the Alma Observatory The engineering, construction and scientific discoveries of the most powerful observatory on Earth -- the ALMA telescope in the Chilean Andes. 8:00 Moyers & Company 9:00 Washington Week 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company

Friday

7:00 Tennessee Crossroads 7:00 Custer’s Last Stand: 7:30 Volunteer Gardener American Experience 8:00 Doc Martin The supremely ambitious On the Edge, Part 2. son of a blacksmith, Martin finds himself held Custer was one of the hostage, along with most charismatic and Louisa, by a paranoid contradictory American Jonathan. leaders of the 19th cen9:00 The Reagan Presidency tury until his untimely demise on the windswept Part 2. plains of the West. 10:00 BBC World News 9:00 Washington Week 10:30 Last of Summer Wine 9:30 Need to Know 11:00 Norway Passage: The Most Beautiful Voyage 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin On the Edge, Part 1. 9:00 The Reagan Presidency Part 1. This three-part series focuses on the critical domestic and foreign policy decisions Reagan made during his two terms in office. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Mother Nature’s Child: Growing Outdoors in the Media Age

Thursday

Television worth wa tchin g.

19 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Outnumbered 9:00 Great Performances at the Met L’Elisir d’Amore. Anna Netrebko and Matthew Polenzani, as the fickle Adina and her besotted Nemorino, star in this new production of Donizetti’s comic opera. 11:30 Globe Trekker Caribbean Islands: St. Lucia, Martinique & Montserrat.

Great Performances At the Met Saturday, January 19 9:00 PM

12 7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Outnumbered 9:00 To Be Announced 11:00 Globe Trekker West Texas.

7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Outnumbered 9:00 Great Performances Paul Simon’s Graceland Journey. A filmmaker follows Simon on his return to South Africa to reunite and perform with several of the musicians involved in the recording of his 1986 album, Graceland. 11:00 Globe Trekker London City Guide 1.

Saturday

Nashville Public Television

wnpt.org

7:00 Antiques Roadshow Boston (Hour Two). 8:00 Market Warriors Antiquing in Long Beach, CA. 9:00 Independent Lens As Goes Janesville. From the day the GM factory closes, this film traces the impact of the economic crisis on the people of Janesville, Wisconsin. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 To Be Announced

7:00 Pioneers of Television Miniseries. Among the highlights are “Roots” and “The Thorn Birds.” 8:00 Andrew Carnegie: American Experience Carnegie’s life embodied the American dream: the immigrant who went from rags to riches, the self-made man who became a captain of industry, the king of steel. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 To Be Announced

7:00 Pioneers of Television Superheroes. “Superman” in the 1950s, “Batman” in the ’60s, “Wonder Woman” and “The Incredible Hulk.” 8:00 Henry Ford: American Experience Ford’s Model T automobile and his five-dollar-aday wage ushered in the modern world. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Oregon Wine: Grapes of Place

7:00 Pioneers of Television Primetime Soaps. The nighttime soaps of the late 1970s. 8:00 The Abolitionists: American Experience Part Three: 1854-Emancipation and Victory. The battle between pro-slavery and free-soil rises. 9:00 Frontline The Untouchables. TheWall Street titans. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 NCRM Freedom Award

Nashville Public Television

Pioneers of Television Tuesday, January 15 7:00 PM

American Graduate: Solutions Thursday, January 24 9:00 PM

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin City Slickers. A family of city slickers set out to disrupt the tranquility of Portwenn. 9:00 Space Shuttle Columbia: Mission of Hope An Israeli astronaut carried a Torah scroll that survived the Holocaust. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Thick Dark Fog

7:00 Nature Attenborough’s Life Stories: Understanding the Natural World. Sir David Attenborough shares his memories. 8:00 NOVA Who Killed Lindbergh’s Baby. The original crime of the century. 9:00 Life on Fire Ash Runners. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Bob Mould/Delta Spirit.

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Doc Martin Movement. In a lifechanging decision, Bert Large abandons his plumbing business to open his own restaurant. 9:00 American Graduate: Solutions 9:30 American Graduate: Translating the Dream 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Saving the Hansen House

7:00 Nature Attenborough’s Life Stories: Life on Camera. Three-part series focuses on filmmaking, science and the environment. 8:00 NOVA Rise of the Drones. 9:00 Life on Fire Phoenix Temple. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Norah Jones/Kat Edmonson.

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

7:00 Masterpiece Classic Downton Abbey, Season 3 - Part 4. 8:00 Masterpiece Classic Downton Abbey, Season 3 - Part 5. 9:00 Masterpiece Classic Downton Abbey, Season 3 - Part 5. 10:00 Bluegrass Underground The Vespers. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Masterpiece Classic Downton Abbey, Season 3 - Part 3. 8:00 Masterpiece Classic Downton Abbey, Season 3 - Part 4. 9:00 The Abolitionists: American Experience Part Three: 1854-Emancipation and Victory. 10:00 Bluegrass Underground The Time Jumpers. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington

7:00 Antiques Roadshow Boston (Hour One). 8:00 Market Warriors Antiquing in Burlington, KY. 9:00 Independent Lens The Revisionaries. Learn why, when it comes to textbooks, what happens in Texas affects the whole nation. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Intelligence Squared Are Elected Islamists Better Than Dictators?

7:00 Antiques Roadshow Corpus Christi (Hour Three). 8:00 Market Warriors Antiquing in New Milford, CT. 9:00 Independent Lens Beauty Is Embarrassing. Art-world darling Wayne White’s style and sense of humor offer a peek into his imagination. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Vanilla: The Sacred Orchid

7:00 Masterpiece Classic Downton Abbey, Season 3 - Part 2. 8:00 Masterpiece Classic Downton Abbey, Season 3 - Part 3. 9:00 The Abolitionists: American Experience Part Two: 1838-1854. 10:00 Bluegrass Underground Scott Miller & The Commonwealth. 10:30 Creative License 11:00 Tavis Smiley 11:30 Inside Washington

Henry Ford American Experience Tuesday, January 29 8:00 PM

Shakespeare Uncovered Saturday, January 26 9:00 PM

7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Outnumbered 9:00 Shakespeare Uncovered Richard II with Derek Jacobi. Explore some of the political parallels that still resonate today as dictators are deposed. 10:00 Shakespeare Uncovered Henry IV & Henry V with Jeremy Irons. 11:00 Globe Trekker Turkey.

FEBRUARY 1

7:00 To Be Announced 9:00 Washington Week 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company

7:00 Lawrence Welk Show 8:00 Keeping Appearances 8:30 Outnumbered 9:00 Shakespeare Uncovered Macbeth with Ethan Hawke. 10:00 Shakespeare Uncovered The Comedies with Joely Richardson. Two comedies, Twelfth Night and As You Like It. 11:00 Globe Trekker World War II in the Pacific.

7:00 Billy the Kid: American Experience 8:00 Rick Steves Special: Symphonic Journey Steves teams up with the Cascade Symphony Orchestra for a musical journey that begins in the U.S. and touches down in seven different European countries. 9:00 Washington Week 9:30 Need to Know 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company

photography

Taylor

Jorjorian photo: Tracey Jorjorian

In His Own Words

Memoir No. 8, 2011

he first reaction I usually get when someone sees one of my prints is oh, that’s a picture of a painting.

I reply with something like no, it is a photo, and it has nothing to do with painting. The next question is well . . . how did you do that? While I don’t wish to sound secretive, the truth is, well, I am. All of the imagery is created without the use of computer or digital manipulation of any kind. They are actual photographs created with a camera, using purely photographic techniques. This is important, as I believe it gives my work a more organic feel while maintaining a sense of honesty and integrity. When you view one of my photographs, you know that you are seeing something that is real and was in front of the camera for a moment in time. Being the son of a fine-art nature photographer, Byron Jorjorian, I was introduced to the craft almost at birth. I still remember the fascination I had as a child with my father's camera and its seemingly magical powers. I started out as a freelance commercial photographer, taking pictures for restaurants, food, that sort of thing. I enjoyed the work but felt very unfulfilled with what I was doing. I wanted to do something more personal, with more meaning. I felt my true calling was in the fine-art world. Instead of using the camera to merely document the world around me, I wanted to have control over what the camera would capture. I wanted to express a subject with the same level of freedom that a painter or sculptor has. To do this I was forced to rethink the way in which I viewed photography and explore different ways to use the camera as a tool for self-expression. This has ultimately resulted in the development of a new philosophical approach and technique for making photographs, which I call my “Liberum Method.” Liberum is a Latin word meaning free and unrestricted. I think that simple definition fully embodies what my work is all about, having the freedom to imagine a subject and then manifest that vision into something the camera can capture.

For more information, visit www.taylorjphoto.com.

48 | January 2O13 NashvilleArts.com

La La La Figuring It Out, 2012

Before the Change, 2012

Trapature Face, 2012

Lesson in Sculpture, 2012 NashvilleArts.com

January 2O13 | 49

tune in to nashvilleâ&#x20AC;&#x2122;s burgeoning visual art scene

The Arts Company theartscompany.com

Local Color Gallery localcolornashville.com

The Parthenon parthenon.org

Bennett Galleries bennettgalleriesnashville.com

Midtown Gallery & Framers midtowngallery.com

The Rymer Gallery therymergallery.com

Bryant Gallery bryantgallerynashville.com

Richland Fine Art, Inc richlandfineart.com

Tinney Contemporary tinneycontemporary.org

Cheekwood Botanical Garden and Museum of Art cheekwood.org

Sarratt Gallery at Vanderbilt vanderbilt.edu/sarrattgallery

Two Moon Gallery twomoongallery.com

Cumberland Gallery cumberlandgallery.com

Tennessee Arts Commission Gallery arts.state.tn.us

Frist Center for the Visual Arts fristcenter.org Gallery One galleryone.biz LeQuire Gallery lequiregallery.com Leu Art Gallery belmont.edu

Tennessee Arts League & Galleries tennesseeartleague.org Tennessee State Museum tnmuseum.org Tennessee State University: Hiram Van Gordon Gallery tnstate.edu/gallery

Vanderbilt University Fine Arts Gallery vanderbilt.edu/gallery Williams 19th &20th Century American Art Galleries williamsamericanart.com York and Friends Fine Art yorkandfriends.com Zeitgeist zeitgeist-art.com

photo: John Peden

“It’s the story of a man named Anthony Graves, who was wrongly convicted of butchering a family in Texas,” says Chacon. “He did eighteen years in the penitentiary there and was on death row before he was released. I’m proud of that one and think it’s an important story.” Following “Innocent Man” come a number of songs inspired by both what Chacon sees and what he absorbs from the news around him. “Juarez, Mexico” may have been sparked by a car trip on Interstate 10 from Los Angeles to Austin ten years earlier when he spied a young couple across the border, but it was also informed by the contemporary immigration debate raging across the Southwest when Chacon wrote it. “American Dream” may owe its maturity to the songwriter’s experience as a Generation Xer and child of a rollercoaster quad of decades when things were bad and then they were good only to get bad again, but when the narrator declares that he’s “worth more dead than maybe I owe,” it’s clear that while Chacon may sound like a troubadour of old, he’s singing very contemporary songs.

Thom Chacon An Innocent Man by Joe Pagetta

hom Chacon may not be a Nashvillian, but his respect for the story and the song, and his almost reverential approach to its delivery in performance and on record, would make him right at home among Music City’s musical artisans and craftsmen. Born and raised in Sacramento,

“Before I play 'American Dream' I usually ask the crowd not ‘who in here is in debt’ but ‘who in here is NOT in debt,” jokes Chacon. “You usually get one guy in the back clapping.” Chacon will hit the road in 2013 to promote his latest album and play songs from his previous releases, among them 2010’s Featherweight Fighter. Though the itinerary is not set, tentative plans include a Nashville date. For more information, visit www.thomchacon.com.

It’s a heady mix for a late-30-year-old who spent years as a horse-riding instructor in the Hollywood Hills and now spends his days as a trout-fishing guide in Durango. But such is the dichotomy of Chacon, whose pedigree includes a grandfather that rode after Billy the Kid and a cousin, two-time boxing champion Bobby Chacon, who’s in the International Boxing Hall of Fame. And that the guy who grew up half Lebanese and half Mexican listening to Glen Campbell and Jim Croce on his parents’ phonograph would eventually cut a record at Folsom Prison—2009’s Live at Folsom Prison (Pie)—just twenty miles from where he grew up. It’s no surprise that the opening track on Thom Chacon, the album, is “Innocent Man,” a song that arrived with providence for Chacon while listening to public radio.

NashvilleArts.com

photo: gayle miller

California, and now residing in Durango, Colorado, Chacon most identifiably calls to mind the singing and writing approaches of John Prine and Steve Earle—two artists indelibly linked to Nashville—mixed with grittier Devils and Dust and Ghost of Tom Joad era Springsteen. On his latest release, self-titled, produced by Perry Margouleff and due out in early 2013 on Pie Records, Chacon is joined by bass player Tony Garnier (Bob Dylan, Tom Waits, Lucinda Williams, et al.) and drummer George Receli (Dylan, Levon Helm, Merle Haggard) for a dozen spare songs exploring debt, wrongful imprisonment, alcoholism, and, ultimately, redemption.

January 2O13 | 51

photo: john guider

artist profile

Brian Nash | Positively Driven by Alyssa Rabun

ith his resume boasting an MBA from Dartmouth, Account Executive at a top-dollar Chicago Ad Agency, and Director of Retail Marketing for New Yorkbased Polo Ralph Lauren, I expected a suit. This heavy-

hitter was bound to be a high-powered city slicker with platinum cufflinks and a palate for fine liqueur. In reality, Nashville-based visual artist Brian Nash did not come with the pretentious air that I cast upon him, but is instead a good-humored, down-to-earth, and wildly talented painter who blends business know-how from his past with the creative ventures of his present. “With a name like Nash, you were destined for Nashville, right?” I asked and snickered to myself. He’d heard that one before, but there was an element of truth to my repartee. In New York City, Nash had the capacity to lead a double life. By day he was an effective businessman, crunching numbers and closing deals for the iconic American fashion retailer Polo Ralph Lauren. After

hours, Nash strummed his vintage Martin and, as he put it, “The call of music kept getting louder.” After working in advertising in the Northeast for over thirteen years, Nash quit his day job and travelled south to pursue a career in songwriting. Nash describes this drastic lifestyle change saying, “I didn't want to live in New York City any longer and wanted to leave the fashion industry (The Devil Wears Prada isn't fiction!) but didn't really know what I wanted to do. I was a huge Nancy Griffith fan at the time. She wove wonderful stories through her songs, most of them about songwriters. She made it sound like songwriting was the most wonderful thing one could do, and it put the bug in my ear.” Arriving in Nashville in 1995, he quickly became entrenched in the “biz”, recording dozens of songs, writing for labels such as DreamWorks, Blue Water, and The Bicycle Music Company, and collaborating with the fat cats in the country music scene.

52 | January 2O13 NashvilleArts.com

trust your car to the man who wears the star, 2012, Acrylic and oil stick, 24" x 24"

pink cadillac, 2012, Acrylic and oil stick, 24" x 24"

After over a decade, however, 2010 marked another transitional year in Nash’s life and career. He began to resent the very business he had moved to Nashville to pursue. “I stopped enjoying it,” he says, “I thought that writing would be it for me; I couldn’t imagine loving anything more. That’s when I took up painting.” A year and a half ago Nash picked up the paintbrush “out of the blue and started loving it.” What began as a hobby turned quickly into his third major career shift. “I’ve traded my guitar for my paintbrush and couldn’t be happier,” says Nash. “And now I paint all day every day.” Nash paints whimsical, patterned pieces under the umbrella of “art for the child at heart.” Thematic narratives include topics such as animals, clothes, cars and trucks, and pet portraits, blending bold colors and shapes into graphic images with an intentionally childlike innocence. Nash draws a love of narrative from his experience working in advertising. “In advertising, each project has an inherent narrative,” says Nash, “Ralph Lauren, for example, has a strong idea of what they are and what they’re not in terms of image and brand. Understanding a product and its story is instilled in how I produce a series.”

vacationland, 2012, Acrylic and oil stick, 30" x 30"

van and flowers, 2012, Acrylic and oil stick, 36" x 36"

His corporate background is also reflected in his successes with marketing and showing work. Nash’s paintings decorate spaces from galleries to children’s books to high-end restaurants and boutiques. Recently, his pieces have been on view at local venues including Bennett Galleries, Belcourt Theatre, Fido, University School of Nashville’s Artclectic, and the Monroe Carell Jr. Children’s Hospital at Vanderbilt. Nash also holds licensing agreements with McGaw Graphics for reproducing prints and posters as well as Art Licensing for commercial use of images for products such as wallpaper, T-shirts, and bags. “Even though I’m not wearing a suit and tie, I have to think like a businessman—including what to do with the paintings after I create them,” says Nash. Although Nash’s successes are many and far-reaching, he approaches his paintings with a refreshing lightheartedness saying, “My paintings are fun. They make me happy. Hopefully they will make someone else happy too.” Brian Nash is represented by Bennett Galleries, located at 2104 Crestmoor Road in Green Hills. www.briannash.net www.bennettgalleriesnashville.com

woody wagon and boards, 2012, Acrylic, 24" x 24" NashvilleArts.com

January 2O13 | 53

a monthly guide to art education

State of the Arts

Art Institute Call for Entries

by Jennifer Cole, Executive Director at Metro Nashville Arts Commission

by Rebecca Pierce

Can Create Tomorrow” is the theme for the Art Institute "Y ou of Tennessee’s tenth annual Poster Design Competition.

photo: jerry atnip

o, you've pitched the broken holiday ornaments. You’re finishing off your blackeyed peas, and an idea begins to bubble. That burgeoning of a resolution—the burning desire to recast yourself in the crisp light of January. Hold on! Before you jump in and re-arrange your closet or do something pedestrian like sign up for Weight Watchers (I’m a lifetime member), consider making your resolution just a bit more crafty/edgy/artsy this year. In fact, go one step further. Unleash your inner Matisse/Child/Merwin/Cline and learn a new skill while learning more about this fantastic, changing place we live. Watkins has a new “On Location” series in its Community Education offerings that pairs entrepreneurs with artists to explore place. On Location: Food Photography at SILO pairs food sylist Kyle Dreier with chefs Clay Greenberg and Paul Cercone for an unrivaled day of art foodtasm. What’s not to love? www.watkins.edu The Nashville Civic Design Center offers regular Urban Design Forums sponsored by Yazoo. Yes, Yazoo! Join area architects, designers, and other civic geeks to talk about issues from healthy neighborhoods, sustainability, and redevelopment of key areas like the riverfront. Discussion and brewski for just $10. A list of upcoming forums is at www.civicdesigncenter.org.

This year’s competition challenges high school seniors and high school graduates from the U.S., Canada, and Puerto Rico to design a poster that best expresses the competition’s theme. Contestants will compete in two categories: high school senior or high school graduate/adult. Local winners in the high school senior category will earn up to a $3,000 tuition scholarship, and local winners in the high school graduate/adult category will earn a $1,000 scholarship. The first-place winner in each category will progress to the national competition. Winners of the national competition in the high school senior category will earn up to a full tuition scholarship, and the winner in the graduate/adult category will earn a $10,000 tuition scholarship to study at one of the more than fifty Art Institute schools. “We are so impressed by the kind of talent and enthusiasm exhibited by these young artists who we are confident will create a unique and better tomorrow,” said Carol Menck, president of the Art Institute of Tennessee–Nashville.

Entries for the 2013 Poster Design Competition will be accepted through January 31, 2013. To see the full entry requirements visit www.AiCompetitions.com/poster.

Rachel and Ben Lehman, local masters of the universe (oh, I meant coffee) offer a series of classes at Crema designed for the bean enthusiast. Are you dying to unleash your inner barista? Then learn to tamp and pour like the best of them! For a complete list of workshops and classes go to www.crema-coffee.com. Dust off the sewing machine and head to STITCH, the mod craft and sewing brainchild of Alexia Marcelle Abegg, the visionary behind Green Bee Pattern. In Hillsboro-Belmont, she and partners Rob Bancroft and Michelle Abegg make gorgeous patterns and have managed to make embroidery cool again. Go to www.greenbeepatterns.com to find a complete list of courses. Nashville Farmers’ Market is offering monthly supper clubs that feature local food writers like the fantastic Chris Chamberlain who drop in for eats, recipe exchange, and fun. www.nashvillefarmersmarket.org We are sitting in the epicenter of Americana fashion, food, and craft. Nashville’s renaissance is being fueled by dozens of artists who are remaking “handmade,” and a precious few are willing to teach the rest of us a thing or two about beauty on the way. So, by all means, take in a bowl game or two, but then get up and get online and learn from one of these local treasures. Welcome 2013!

ArtSmart is sponsored by the Ayers Foundation and FirstBank. www.firstbankonline.com www.theayersfoundation.org

Joshua Allred, 2012 winner

54 | January 2O13 NashvilleArts.com

photo: sophia forbes

The Golden Ratio in the Arts by DeeGee Lester

epresented by the Greek letter Phi, the Golden Ratio is an irrational number approximately equal to 1.618 whose digits continue endlessly. This complex mathematical concept appears throughout nature, the arts, and architecture, including the Parthenon. People familiar with the terms Golden Ratio, Golden Proportion, or Golden Mean rarely grasp their true meaning or practical application. But in the capable hands of high school senior Christian Kissinger (a senior at Merrol Hyde Magnet School) and a talented group of VSA Tennessee student musicians, dancers, poets, and artists, the beauty of the Golden Ratio was expressed during an evening of performance at the Parthenon on December 5.

On Stage with the Nashville Symphony by Rebecca Pierce

magine being part of an intimate group sitting on stage listening to classical music while enjoying a good glass of wine. That’s exactly what the Nashville Symphony’s U.S. Trust OnStage series offers.

As the final piece to his senior capstone project that included creation of a curriculum guide and student tour of the Parthenon, Kissinger brought in VSA Tennessee teaching artists who worked with students with various disabilities, including vision and hearing impairment, Down syndrome, and autism, to create the audio and visual teaching tools that brought the Golden Ration to life. Participants in the evening performances included Overton High School, Movement Connection Dance Company, Tennessee School for the Blind, Sign Club Co., and students from VSA Hellas in Athens, Greece. www.nashville.gov/parthenon

This free evening of music, wine, hors d’oeuvres, and good conversation is a wonderful way to get to know your Nashville Symphony musicians, meet other music lovers, and explore the history and artistry behind some of the greatest pieces of music ever written.

photo: Gary Layda

With a straight-on view of the musicians you can see the intricacies of the instruments and the techniques the artists use. In many instances you can see musicians and instruments usually hidden from view by other symphony players.

photo: Gary Layda

U.S. Trust OnStage is designed for adult audiences to interact with Nashville Symphony musicians in a relaxed, informal setting right on the stage of Laura Turner Concert Hall, which accommodates only about eighty people.

photo: Gary Layda

Events take place monthly and require reservations, which can be made only online during the reservation window, two weeks before each event. Seating is limited, and reservations will be taken on a first-come firstserved basis. If an event is full and you would like to be added to the waiting list, please contact the Education Department at 615-687-6483. The next two OnStage events are: Tuesday, January 8, 2013: Hari Bernstein, viola. Registration opens January 2, 2013. Tuesday, February 12, 2013: Dan Reinker, viola. Registration opens January 28, 2013. www.nashvillesymphony.org

photo: Gary Layda

photo: sophia forbes

Members of a band from Overton High School demonstrate the Golden Ratio through music

A demonstration of the Golden Ratio through dance NashvilleArts.com

January 2O13 | 55

Sculptor Ashley Jackson: Stories of Life

Many of Ashley’s sculptures and pieces of pottery have been on exhibit in the Nashville area. For example, the Sumner County Chamber of Commerce, in connection with VSA, the international organization on arts and disability, held an exhibition of her work in May of 2011. Art exhibits by Ashley and other TSB students are currently slated for exhibit at TPAC during February and March 2013. Most of Ashley’s work is currently on display in the TSB main lobby, and Ashley intends to let fellow students enjoy many of her pieces after graduation.

Like other high school seniors, Ashley is anticipating graduation, prepping for ACTs, and making plans for college. After the ACT, she will undergo an evaluation to determine her capabilities and make her college choice.

by Dee Gee Lester | photography by Stacie Huckeba

n the hands of Ashley Jackson, clay becomes conversant, articulate, with a poet’s sense of tenderness. If the typical artist draws from those things that are seen and heard throughout life, Ashley draws instead from a deeper reservoir of feeling. A senior at the Tennessee School for the Blind (TSB), Ashley entered the world both blind and deaf. With the lack of development in critical sensory responses during infancy, Ashley’s language skills and ability to communicate with the world were delayed. She was seven years old before she entered kindergarten, and one imagines an interaction with the world around her similar to that of Helen Keller.

“I do a lot of public speaking,” she says. “I have spoken to classes at McGavock High School and at Ruby Major Elementary, and each year I speak to the second grade classes at Hunter’s Bend Elementary in Franklin after they study Helen Keller, so I would like to continue to work with schools. But I also would like to pursue my art as a hobby or a career. “I’d like to have my own studio and sell my art. I don’t know how hard it is to have your own studio or if there are art co-op opportunities for studio space.” Although Ashley has worked with sign language interpreter Rhonda Andrews since the age of nine, her possibilities for a future of improved hearing

Ashley Jackson has emerged from the darkness and silence as a confident, creative, funny, and engaging woman and an awardwinning artist. Over the years, visual arts replaced language arts as her favorite school subject, but reminiscent of oral tradition, her sculptures tell the stories of her life. Mother and Child reflects upon parental longing, while Sand Angels shows the joyful embrace of sand and sea during her first visit to the ocean. The Braille reading device in Self-Portrait gives the viewer a glimpse of her student life at TSB and captured second place in competition from the American Printing House for the Blind in Louisville, Kentucky. 56 | January 2O13 NashvilleArts.com

Theatre as a Critical Thinking Tool by Dee Gee Lester

increased this year when Ashley was fitted with bilateral implants in both ears. The technology, called Cochlear, can take up to a year to retrain the brain to translate sound, but in recent months, Ashley heard for the first time sounds like the crunch of dry leaves and the opening of a candy wrapper. As Ashley moves toward a bright future, she is grateful for the people who have encouraged and helped her. “If I had never come to TSB, I don’t know what my world would be like. The school helped me in so many ways, and everyone, from my teachers to my interpreter, Mrs. Andrews, has been very patient with me. My art teacher, Monica Leicester, really encouraged my art. When I graduate from TSB, it will be harder than for most people. I will be leaving family.” www.tnschoolfortheblind.org

photo: David K. Kennedy

heatre can be a powerful tool for the development of sensory literacy—the ability to use critical thinking skills to analyze what we see and hear and to make decisions/judgments based on sound analysis. This winter, TPAC's Season for Young People offers middle and high school students opportunities to explore critical thinking through performance and curriculum-based activities for two productions.

On February 7 and 8, the First Amendment Center hosts Freedom Sings®, a multimedia performance for grades 9–12 at TPAC's Polk Theater. Expanding the traditional discussion of First Amendment rights to include individual expression through music, the program taps into this area of youthful passion, exploring the banning and censorship of songs calling for social change throughout the past century. From songs urging union solidarity and strikes to Vietnam-era protest songs, students hear and analyze music as a tool of inspiration and provocation on the world stage. Middle school students have an opportunity to consider equally powerful issues with the Monkey Baa Theatre production of Hitler's Daughter based on the novel by Jackie French (Polk Theater, February 25–March 1). While waiting for a school bus, students in the play hear the story of a girl in 1940s Nazi Germany. The story sparks in one listener, Mark, the desire to examine moral issues of prejudice, fear, and hate. Grade-appropriate follow-up educational materials give students a chance to interpret scenes, characters, and the responses to Mark's penetrating questions about right and wrong.

photo: Heidrun Lohr

www.tpac.org

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January 2O13 | 57

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music

Buddy Miller

Closer to the Note by Holly Gleason

“I

figured I could talk my way into a house,” says Buddy Miller, now the golden god of Americana’s roots music amalgam. “I was at

the grocery store, looking at those little magazines, and couldn’t believe the price of houses . . . ” It was the early ’90s. Miller had been straddling the indie record scene with a deal on HighTone, known for its breakout modern blues guitarist Robert Cray, and a job as country hipster Jim Lauderdale’s guitarist. Selling gears ’n’ guitars every month to make rent, something had to give. Without looking back, Miller and wife, songwriter/ Christian artist Julie, packed up and moved to Tennessee. Lauderdale, career stalled but his songwriting attracting interest from George Strait and Patty Loveless, rented a room upstairs, making the little house in the Belmont area a post-Bakersfield beachhead for West Coast progressives. “There was no other plan,” says the man who has anchored the Emmylou Harris/Shawn Colvin/Patty Griffin 3 Girls & Their Buddy roadshow, been central to Robert Plant and Alison Krauss’ Raising Sand collaboration, produced recent projects for Richard Thompson, Shawn Colvin, and the Carolina Chocolate Drops, and is a member in full of Plant and Griffin’s Band of Joy. “What else could I do?” Humble to a fault, Miller has become the definition of a stylistic meltdown. So genre integrated, Solomon Burke made a country-tinged project, Griffin went full-tilt gospel, and Harris reclaimed her repertoire with a more rock lean with him. 60 | January 2O13 NashvilleArts.com

It’s more a joke than anything, because no one’s records receive more critical praise. Uncompromising on their soul factor, Miller elicits a looseness from his players that gives listeners the sense of being in the room, not to mention melting labels in a single song. Or maybe it’s refusing to even acknowledge them.

photo: anthony scarlati

“A good song can take a steel guitar, no matter where it comes from,” explains the slightly grizzly Ohio-born musico. “I think about songs this way: I’d love to sing that song, whatever band is playing it. Great songs transcend.” For a guy who scammed his way into a record deal by telling the label he could make an album for $10,000 and yes, he had songs, the Americana Artist of the Year and T-Bone Burnett’s clandestine musical clearinghouse for ABC’s primetime soap drama Nashville has defied a lot of rules. But along the way, he’s created music that stands the test of time. On Buddy and Jim, his collaboration with Lauderdale, his Patty Loveless-covered “Looking For A Heartache Like You” shares space with the achingly beautiful ballad “That’s Not Even Why I Love You,” both rippling like timeless refugees from a ’50s jukebox. Written

in Chalk, his all-star collaboration with wife, Julie, won the 2009 Americana Album of the Year, while The Majestic Silver Strings, a guitar-centric confab with Bill Frisell, Greg Leisz, and Marc Ribot, attracted a bevy of beautiful female vocalists including Griffin, Harris, Colvin, Lee Ann Womack, Ann McCrary, and his wife.

photo: anthony scarlati

“When you hear Buddy or watch him play,” says Lauderdale, who cohosts a weekly Sirius/XM Radio show with Miller, “there’s a magnetic quality that draws you to his music. He’s absorbed all these different kinds of music since he was a kid, and it just comes out of him. Through his vocals, his guitar playing, even his producing, all these styles come together until you can’t really identify any of them.”

“

I’ve been really lucky. I don’t know why . . . I keep my expectations low.

”

A lot comes down to groove over genre. Having cut his teeth as a kid recording concerts from a closet at the Fillmore East, the dusty-voiced songwriter came of age when musicians followed their muse, not marketing. “I was making tapes of the Dead in ’71, ’72, when the time between the songs was as long as the songs. I’d be trying to turn up the sound so I could hear what they were talking about. I wanted to know.” That quest for knowledge led to the soft-spoken guitarist testing gear for various tech companies. Julie’s gospel deal netted the pair a 24-track recorder for their home—“the label figured it was cheaper than putting her in the studio”—and the prototype of ProTools shortly after he’d arrived in Nashville. “They wanted me to tell them about it, and no one really knew what it even was. I’d rent it out when I’d go on the road.” Now that Pro Tools has changed the face of the music business, taking the onus off talent, performance, and interpretation, Miller has swung all the way back. Cutting live, in a studio nestled in his domestic sprawl, he embraces the power of the moment and the creative combustion of musicians playing. “The way things happen is the way they’re meant to,” he explains. “Sometimes that snapshot approach has all the energy— and the magic.” www.buddymiller.com

NashvilleArts.com

www.facebook.com/BuddyandJim January 2O13 | 61

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Friday, January 4, 6-9 p.m. More than 30 galleries and working studios in a 15-block area, featuring artists at work, live music, wine and more! There’s no cost to attend, but a $5 wristband provides unlimited transportation on trolleys circulating during the event.

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January 2O13 | 63

performance

Hold the Line! Bob Newhart Takes a Call at the Schermerhorn by Carol Caldwell

here was something deliciously complicit about interviewing Bob Newhart via telephone. To be on the other end of those straight-

up and dry replies, punctuated with his signature hesitations, that characteristic stammer as he searches for the pluperfect aperçu. The phone has always played reliable sideman throughout this great comedian’s memorable stand-up career. Like this, a lift from one of his early works: he’s imagining how a fast-talking New York press agent advises his client Abraham Lincoln . . . “Now, what’s this about Grant? . . . You’re getting a lot of complaints about Grant’s drinking? Abe, to be perfectly honest with you, I don’t see the problem. You knew he was a lush when you appointed him . . . Abe, hold on . . . your gag writers . . . You want to come back with something funny? They’ve come up with a thing on Grant . . . they got a beautiful squelch on Grant. You tell them you’re going to find out what brand he drinks and then send bottles to all his generals . . . ” Me: Seems to me you were way ahead of the curve with that Lincoln routine. They say he actually had a great sense of humor. Bob: Send a case to all his generals . . . Lincoln actually said that! He thought Grant was doing a great job. Me: You call it being "over served." That’s what we

say in the South! Bob: That was Dick Martin’s favorite way to put it

when he wasn’t feeling well. Me: I loved what one of the guys who helped you

create The Bob Newhart Show said about the secret to your comedy. He said, “You listen funny.”

photo: howie grapek

Bob: I realize now how good Dave Davis and Lorenzo Music were in highlighting that’s what I do best. We were sitting around kind of spit-balling a profession for me on the show. They talked about a psychiatrist, but they deal with seriously disturbed people. I thought we better go with a psychologist and your everyday neurotics.

64 | January 2O13 NashvilleArts.com

Me: Somebody asked you how you pulled off those

one-way phone bits and made them seem so real. You said, “I’m leaving room for the answer in my head.” Bob: It was George C. Scott. He wanted to know how

I did those listening responses. He said, “I find that

photo: dan steinberg

amazing.” It seemed very logical to me. I would actually hear the unheard portion in my head. The thing about phone conversations, in Marshall McLuhan’s term, they’re “very hot.” It’s not passive in that the audience is involved. They’re supplying the other end in their heads. So, in the end, they’re actually applauding how clever they’ve been. And I had to say, “No, George, playing Patton is what is amazing.” Me: So we might as well blame you for all these people

running around with cell phones clapped up to the side of their heads. Bob: It’s difficult to identify schizophrenics on the streets now, isn’t it? Since everybody’s talking to themselves. Me: Did you enjoy being a psychologist? Bob: In a way, comedians actually are psychologists

because you keep observing people; you can’t help it. We watch people. We’re never off. There’s no vacation from your mind—so yes, I enjoyed playing a psychologist. I’ve been a comedian for fifty-eight years and come to realize that all comedians really do is watch you people . . . and then you pay to see us “do you.” Me: I read that the job of any great artist is to make

us see the everyday again from an angle we hadn’t thought of. Bob: There’s a book called The Shock of Recognition, and

that’s what it is. The shock of what we see every day but never have quite looked at it that way. Comedy can get us through some tough times. I’ve noticed that people with a sense of humor tend to be less egocentric and

“

People recognize me but they don’t know why. Men think they were in the service with me, and women think I was their first husband.

”

more realistic in their view of the world. They also tend to be more humble in success and less defeated in times of travail. Me: I saw Ellen DeGeneres recently doing her Bob Newhart phone routine from the early part of her stand-up career—she was getting the Mark Twain Prize for American Humor. And by the way, congratulations to you on your own Mark Twain Prize. Bob: Richard Pryor was the very first honoree, and I always thought that was

perfect because, just as Twain explained life on the Mississippi at the turn of the century, Richard explained life in the inner city. He was a genius. It’s a great thing for them to highlight comedy. The contribution comedy makes to people’s lives really isn’t recognized enough. Me: You hosted Saturday Night Live—I was there that night. Bob: A couple of times. There was a knock on my dressing room door and

it was John Belushi. He said, “Do you remember, you and your wife were in Chicago and went to a Cub’s game and a bunch of kids ran up between innings and wanted your autograph?” I said I did. He said, “I was one of those kids.” If I influence someone, I’m very happy because I’ve had my influences. That’s the way it works. photo: dan steinberg

Me: Buck Henry said you look like the guy at the Thanksgiving table nobody

can remember the name of. Bob: People recognize me but they don’t know why. Men think they were in

the service with me, and women think I was their first husband. Bob Newhart will play Nashville’s Schermerhorn Symphony Center one night only, January 31, 2013. www.nashvillesymphony.org NashvilleArts.com

January 2O13 | 65

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Blair School of Music Artists in Residence The Berlin Philharmonic Wind Quintet

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January 2O13 | 67

artist profile

Patrick Brown

Visual AIDS by Daniel Tidwell

he layered, light-filled canvases of Mark Rothko are among Patrick Brown’s favorite works of art, and one can sense a conceptual affiliation with Rothko’s hovering clouds of color in Brown’s heartfelt biomorphic abstractions. Like Rothko’s, Brown’s work is

purely abstract but imbued with a deeply felt humanism—a sense of the sublime—derived from his own struggles living with HIV/AIDS. Almost two years ago Brown was admitted to the hospital with PCP pneumonia and given 48 hours to live. It was at that point, on his deathbed, that he was diagnosed with AIDS. Brown’s T-cell count was 9—almost non-existent. Brown’s experience mirrors that of many men and women who live for years unaware that they are infected with the HIV virus. While the perceptions of HIV/AIDS have changed from a death sentence to a manageable chronic condition, Brown stresses the importance of testing, prevention, and education to stop the further spread of the disease.

“It’s a shame because people seem to think that there’s an end to this epidemic, and last year there were 2.5 million people newly infected with HIV. With recent talk of fiscal cliffrelated funding cuts in research and care, there could be major consequences if funding stops.” 68 | January 2O13 NashvilleArts.com

photo: anthony scarlati

“Prevention education is so important because every 6.5 seconds someone becomes infected with HIV globally, and every 10 seconds someone in the world dies of AIDS-related illnesses. Today more than 34 million people globally are living with HIV,” says Brown.

Sea Journal, 2012, Oil on canvas, 30" x 40"

Wind, 2012, Oil on canvas, 30" x 30"

For years prior to his diagnosis, Brown worked as a commercial art director, with his fine-art ambitions relegated to a weekend hobby. Painting became more important than ever to Brown after his diagnosis and in fact played a critical role in his recovery. As soon as he got out of the hospital and had enough strength, he began painting full time, channeling all of his creativity into the development of a body of paintings that are reflective of Mid-century Modernist painting.

Brown uses a varied color palette in these paintings, including earth tones, grays, blues, and vibrant primary colors—giving volume to abstract forms while asserting the two dimensionality of these pictures in a manner similar to the Cubists. In other works one can see the influence of Klee’s intricate, gem-like paintings, which Brown cites as a major influence.

Pages from journals Brown kept while gravely ill were the inspiration for some of the artist’s most evocative work. In a manner reminiscent of Cy Twombly’s and Brice Marden’s calligraphic abstractions, these canvases are filled with gestures that resemble writing but ultimately fill the picture plane with an overall abstraction. While these works remain unreadable as anything other than an abstract image, Brown says that they are “full of the emotions and effects of my disease and the loss of friends and family that can't cope with the unfair stereotypes associated with HIV or AIDS.”

“I'm always aware of color and composition, but I do allow a certain amount of freedom when my eye catches a pleasing organic shape,” says Brown. “My process always evolves over a period of months. It's not unusual for me to produce a series of paintings in the same style that may last six months. Then it's usually a natural progression to move on to the next series. I think it takes a number of paintings before I understand my limits or the goals I'm trying to achieve. My mind is always taking me to the next painting, using what works and eliminating things that don't.”

For several years Brown has been involved with Visual AIDS, a New York-based organization that promotes HIV prevention and AIDS awareness through visual art projects. The organization also assists artists living with AIDS and preserves their work. In January, Brown will participate in one of the organization’s biggest fundraisers, Postcards from the Edge at Sikkema Jenkins & Co. gallery in New York, featuring over 1,500 anonymously displayed, postcard-size artworks for sale. “Some are famous—like Jeff Koons or Yoko Ono. You don’t know whose postcards they are. People line up and rush in and try to snap them up,” says Brown. “They’ve become real collector’s items.” Brown lives and breathes painting—working every day in his home studio in East Nashville. He has a genuine excitement for the painting process and says that often he can’t wait to get out of bed in the morning to begin painting. His diligence has begun to pay off. Recently Brown sold five of left: Tribal Rhythm, 2012, Oil on canvas, 24" x 24"

NashvilleArts.com

January 2O13 | 69

photo: anthony scarlati

his paintings to the ABC series Nashville where they were used to decorate the interior of Juliette Barnes’ (Hayden Panettiere) house.

PHOTO: JERRY ATNIP

While Brown’s work does not directly address the AIDS crisis or his own health, the subtext is always present, as it is in the work of Ross Bleckner, whose dark paintings with floating images evoke memory and loss, functioning as memento mori to those lost in the AIDS epidemic. Like Bleckner, Brown creates paintings that invite contemplation rather than confrontation—a kind of visual slow release, drawing the viewer close and revealing their formal complexity over time. To learn more, visit www.patricknbrown.com. Read more about Visual AIDS at www.visualaids.org.

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Circus, 2012, Oil on canvas, 30" x 30"

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exhibit

Mark di Suvero

Affinities

Mark di Suvero—Affinities will be presented in celebration of Vanderbilt University’s recent acquisition of Tumbleweed, di Suvero’s monumental sculpture now installed on the grounds of the university’s E. Bronson Ingram Studio Arts Center. While including several drawings by the artist, this exhibition is an effort to explore not so much di Suvero’s influences, but rather works of art found within the gallery’s collection that share an affinity with the artist’s practice. Joseph Mella, director of the Fine Arts Gallery, explained that “particular care was taken not to limit our choices to well-recognized artists one might expect in an exhibition of this kind in order to be more inclusive and less linear.” By taking this approach, Mella continued, “we hope to suggest how disparate works of art can help define an artist’s sensibility.” This non-traditional methodology has resulted in an exhibition that includes works by Picasso, Braque, and Calder, alongside African masks, Chinese calligraphy, and Indian Tantra drawings. Affinities will also feature work by several other twentieth- and twentyfirst-century American sculptors, including prints by Alexander Calder, Eduardo Chillida, Seymour Lipton, and Martin Puryear. One highlight will be John Chamberlain’s sculpture Maz, 1960. Most recently featured in the Solomon R. Guggenheim Museum’s retrospective, John Chamberlain: Choices, Maz is an important early example of Chamberlain’s extension of sculpture beyond the predominantly monochromatic work of the vast majority of sculptors in the late 1950s and early 1960s.

Mark di Suvero, American, b. 1933, Untitled, 2010, Silver pen, pen, and ink on paper, 30” x 22” © Mark Di Suvero, Courtesy Paula Cooper Gallery, New York

photo: anthony scarlati

A 1985 film showing di Suvero at work will be shown as a part of this exhibition. In the film, we see the artist drawing arabesques and curveshaped forms on massive sheets of steel that become central elements of a large sculpture not unlike Vanderbilt’s Tumbleweed.

Mark di Suvero, Tumbleweed

George Braque, French, 1882–1963, Illustration from Le Solitaire by André Verdet, 1959, Lithograph, 6 3/8” x 8 3/8” The Peabody Collection, Vanderbilt, University Fine Arts Gallery

A reception will be held in celebration of this exhibition on January 17, 2013, from 5 to 7 p.m. Mark di Suvero—Affinities will remain on view through February 28 at the Vanderbilt University Fine Arts Gallery. Gallery hours are Monday through Friday 12 to 4 p.m., Thursdays until 8 p.m., and Saturday and Sunday 1 to 5 p.m. www.vanderbilt.edu/gallery

NashvilleArts.com

January 2O13 | 71

photo: peyton hoge

2O13 Antiques & Garden Show by Emme Nelson Baxter

his interior-designer’s name rings out with the fortitude of a James Bond utterance: Hadley. Albert Hadley.

The Nashville native, who was inducted into the Interior Design Hall of Fame in 1986, played a key role in lending national credibility to our city’s most cherished February event: the Antiques and Garden Show of Nashville. The three-day extravaganza unites antique and horticultural dealers and world-class lecturers among magnificent gardens. For its twenty-third iteration, the chairmen will pay tribute to the late Hadley, who captained the prestigious Parish-Hadley Associates firm of New York. The designer passed away this spring at age 92. Hadley was involved with the Antiques and Garden Show from its onset. His sophistication and national reputation set the tone early on, attracting top U.S. designers and lecturers, allowing the show to continue recruiting talented and insightful speakers.

photo: peyton hoge

“He put us on the map with those in the antiques, garden, and design worlds, and so it is with great respect that we pay tribute to Albert Hadley this year,” says Show Co-Chairman Birgitta Williamson. CoChairman Dana Miller adds: “Like Albert, our goal for this year's show is to ‘give ’em what they never knew they wanted.’ We hope everyone will come discover what that might be!” Hadley’s design philosophy was to create “a quality of life [and] a beauty that nourishes the soul.” His legendary portfolio included celebrated all photos from 2012 Antiques and Garden Show

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clients such as Jacqueline Kennedy Onassis, Brooke Astor, Oscar de la Renta, and Happy Rockefeller. Hadley homages will be clear to attendees through the February 8–10 run of the show at the Nashville Convention Center. Here’s a sneak peek.

• The entry will feature a room inspired by Hadley

photo: peyton hoge

and designed by Nashville’s own Jonathan Savage of Savage Design Interiors. Jonathan considers himself an indirect disciple of Hadley as he worked in New York at David Kleinberg Design Associates. Kleinberg was trained by Hadley and shares the same “school” of thought.

• Six teams will create six gardens inspired by Hadley wallpaper design. Plants themselves, patterns, and palettes will reflect Hadley’s aesthetic sensibilities.

• Garden designer Stephen Well and Savage will

collaborate on the entry garden area based on a Hadley sketch of an “outdoor garden room.”

• The show’s honorary chairman and featured speaker is

acclaimed designer Bunny Williams, who spent more than two decades at Parish-Hadley. Her aesthetic has a modern vision with a respect for history.

This year’s daily lineup of events includes:

• A Benefactors’ Reception and a Preview Party hosted

photo: tanzy wallace

by Bunny Williams on Thursday evening, before the show opens to the public.

• On Friday, the show opens to the public and includes

two lectures and the Collectors’ Party. Lecturers include Bunny Williams and floral designer and founder of FlowerSchool New York Eileen W. Johnson, with floral designer Emily Thompson, who was guest designer for Christmas at the White House, where her designs included living gardens in the East Room.

• The Saturday Workshop features FlowerSchool New

• Sunday features a lecture by Robert Balentine, founder of Southern Highlands Reserve, a natural woodland garden in Western North Carolina dedicated to sustaining the natural ecosystems of the Blue Ridge Mountains. The show closes at 5 p.m.

The inaugural Antiques and Garden Show in 1991 was chaired by the late Connie Cigarran and Sigourney Cheek and designed by noted Nashville-based landscape architect

photo: peyton hoge

York floral designers Eileen W. Johnson and Emily Thompson. Award-winning architect Gil Schafer, who recently published The Great American House, will appear for the Ask an Expert session. Schafer is consistently recognized as one of the leading practitioners of contemporary classical architecture. Saturday evening will feature “Entertaining with Cornelia,” a lecture and book signing with Cornelia Guest, whose first book, Simple Pleasures, includes original vegan recipes, entertaining tips, and more.

Ben Page. The event benefits ECON and Cheekwood Botanical Gardens and Museum of Art. ECON is a non-profit dedicated to fundraising with a focus on children. Since its inception, the show has raised more than $5 million for charities. Last year’s show attracted approximately 7,000 visitors. Tickets to the February 8–10 event at the Nashville Convention Center at 601 Commerce Street are $15 in advance and $20 at the door. Group and other discounts may apply. Parties, lectures, and workshops require additional tickets. For more information about the Antiques and Garden Show of Nashville, go to www.antiquesandgardenshow.com. NashvilleArts.com

January 2O13 | 73

Joe Croker, Mark

Marla Faith, Holy Spirit

Rosie Paschall, Selekana and the River God

The Marnie Sheridan Gallery presents

The Harpeth Hall Art Faculty Exhibit

the harpeth hall faculty

Gallery open

exhibit

Monday – Friday, 8:00 am – 4:30 pm Accessible from Esteswood entrance The Harpeth Hall School 3801 Hobbs Road, Nashville, TN 37215 615.297.9543 www.harpethhall.org

Joan Curry, Study

Ann Blackburn, Bluechat" #2 (violet)

Exhibition • January 8 – February 15, 2013

Peter Goodwin, Glow

Opening Reception • Sunday, January 13, 2013 • 3:00 pm to 5:00 pm

Tennessee State Museum

The museum will be the only venue in the Southeast to host this popular traveling exhibition from the National Archives. In conjunction with the exhibit, the original Emancipation Proclamation will be on view from Tuesday, Feb. 12 through Monday, Feb. 18, 2013. The exhibition is free, but timed reservations are recommended during the limited hours the original Emancipation Proclamation is on view. For more information about the exhibition and to secure a reservation, go to tnmuseum.org.

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artist profile

The Oglanders Canvas & Clay by Currie Alexander Powers

ollaboration is the essence of peace, love, and understanding. In art it has traditionally

gone against the grain, fractures the image of the artist as a heroic solitary figure. But society is changing, fueled by a need to connect globally. We see it in music, Rihanna collaborating with Jay-Z, their pairing more than an artist “guesting” on another artist’s album—it is a true melding of talents and ideas to create a single piece of work.

photo: bob schatz

When painter Gary Oglander and potter Evamarie Pappas-Oglander decided to move from Florida to Nashville in 1982, it was Tennessee’s natural beauty that drew them. Nashville’s art scene was steady but small back then, and given Eva and Gary’s desire for clan and collaboration, they created their own arts community. Both sons, Daniel and Eric, were taught by their parents and are now artists in their own right, Daniel living in New York, and Eric recently back in Nashville after living in California. The family has exhibited together, most recently with an installation at the Nashville airport as part of the Arts at the Airport series, and Eva and Gary together at the Janet Levine March Gallery this past November. Eva and Gary are embarking on a collaboration of her pottery painted with his signature wash of pale earth tones and geometric dashes. And they are enthused by the evolution of Nashville’s artist community. “Nashvillians’ taste has become more sophisticated,” Gary says of the richness of galleries and art lovers the city now boasts.

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January 2O13 | 75

Raku, 9.5" x 21"

Raku, 7" x 22"

Viewing Gary’s and Eva’s art individually it’s remarkable how connected they are, given the different mediums. Daniel’s and Eric’s work share a similar genetic style. As Eva says, “The family uses the same color palette.” They favor soft blues and organic browns, grays, and whites. “Our work complements each other,” Eva says.

There is an interlinked personality shared by Gary and Eva. They finish each other’s sentences, talk about each other’s work as though discussing their own. They critique each other, tell the other when it’s time to stop working on a piece, share their thoughts honestly, with peace and understanding, and a whole lot of love. Gary came to painting through Eva. He studied film and theatre at Goddard College in Vermont, went to Florida to help his father with his business, and met Eva. She studied painting and drawing at Ringling School of Art in Sarasota but was drawn to the potter’s wheel the senior students were using, craving freedom from the meticulous nature that hampered her finishing her paintings. She does graphic design and sculpture but says, “Clay is my preference. It becomes addictive.” She uses the raku method of firing her pieces, drawing them from the kiln while they are still red hot. Exposed to the cooler air, the clay cracks, forming its own lines and crevices in natural patterns. The hot clay is then placed in a reduction chamber with pine needles or sawdust that turn to carbon which the clay absorbs, blackening the surface. The result is a multi-textured surface of smooth glazing and rougher burnt areas. Eva’s goal is to have the pieces look like an ancient piece of pottery that’s just been unearthed, like the Minoan pottery she loves. As she talks about her process, you see the fearless and confident artist in her, the willingness to take chances and be surprised. “It’s quite an adrenaline rush,” she says, “with amazing and often unexpected results.”

Linear A, Raku, 23" x 20"

Gary’s paintings have the same free-form sense of risk. They are washes of organic color with a milky succulence, accented with his binary dashes of black to achieve a perfect balance and composition. He will sometimes add many layers only to wash the surface off to begin again, leaving behind a topography of paint that gives depth and texture to the paintings. “Sometimes a piece falls out of me,” he says. “Sometimes I go over and over it.” He was drawn to abstract painting from the beginning and consciously avoids shapes that resemble objects or letters. “I want to take your eye to the edge of knowing,” he says. He has been painting now for thirty years, and his work is part of the permanent collection at the Tennessee State Museum as well as gracing the walls

Raku box, 8" x 5"

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San Miguel, 2008, Acrylic on canvas, 48" x 60"

Kind of Blue, 2010, Acrylic on panel, 24" x 24"

of the Presidential Suite at the Opryland Hotel. Gary also teaches art in his home studio, his students ranging from beginners to accomplished painters. He teaches some technique, though his main goal is to get them to “create a gesture. It’s not about the final product. It’s about the process.” He urges his students to stand back and be loose with the first stroke of their brush, to unleash the mood before worrying about the nose-to-canvas details. In their home, a live/work space nestled in the woods of West Meade, Gary and Eva are surrounded by the natural landscape that inspires their work, the randomness of weaving wisteria, the dusky and pastel colors of earth and sky. Eva’s new work has taken on the form of seedpods and ocean-worn stones as she has moved from the potter’s wheel to hand-formed vessels bent and molded in elemental curves. Gary has been experimenting with clay as well, though he is still working on the fearlessness that is second nature to Eva. A recent experiment with a clay candelabra ended with a bang. After hours working the clay, a bubble of air hidden inside caused the candelabra to explode in the kiln. Gary was devastated when Eva came up from her downstairs studio to tell him the bad news. But he also gained a new respect for what his wife does. “Eva is really the mentor for all the guys in the family,” Gary says. You can see how her calm puissance radiates out towards her husband and their sons, forming an inspired coterie that allows collaboration, strengthens the individual to become part of the whole that is the Oglander community. To view the Oglander’s works, email goglander@gmail.com.

photo: bob schatz

Pink Purse, 2006, Acrylic on canvas, 48" x 36"

NashvilleArts.com

Blue Green, 2011, Acrylic on canvas, 48" x 60" January 2O13 | 77

theatre

TPAC’S Broadway Series 2013

Photo: catherine ashmore

Let’s Dance! Flashdance

by Jim Reyland

f you've ever spent a few days in New York, hanging by the hotdog cart, trying to take in as many Broadway shows as possible, you’ll appreciate the fact that TPAC brings the same high-quality musical theatre right to our town, year after year, and all we have to do is drive downtown.

First up for 2013 is the movie adaptation of Catch Me If You Can (January 22–27, 2013) a high-flying, splashy new Broadway musical that tells the story of Frank W. Abagnale Jr., a teenager who runs away from home in search of the glamorous life. With nothing more than his boyish charm, a big imagination, and millions of dollars in forged checks, Frank successfully poses as a pilot, a doctor, and a

“

We are always on the lookout for all types of great entertainment, so we book throughout the year. Fortunately our venues can be very flexible to accommodate most any technical needs, thus allowing us to offer a variety of programming to satisfy the tastes of many.

”

– Kathleen O’Brien, Executive Director, TPAC

lawyer—living the high life and winning the girl of his dreams. But when Frank’s lies catch the attention of FBI agent Carl Hanratty, Carl chases Frank to the end . . . and finds something he never expected.

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Photo: joan marcus

Photo: KATE EGAN

Rock of Ages

The Lion King

Catch Me If You Can

Photo: courtesy of tpac

Another movie first, Broadway dance extravaganza Flashdance (March 19–24, 2013), tells the inspiring and unforgettable story of Alex Owens, a working-class girl from Pittsburgh with a dream of becoming a professional dancer. She works by day as a steel mill welder and as a bar dancer at night while aspiring to be accepted at a prestigious ballet academy. When Alex catches the eye of her boss, Nick Hurley, their romance shows her the meaning of love and drives her ambition to pursue her dream.

Photo: Carol Rosegg

Next up is Traces (February 19-24, 2013) combining awe-inspiring acrobatics with infectious urban energy. Fusing the traditions of the circus with the energy of street performance, the artists of Traces employ every trick in the book—from music, dance, and illustration to skateboarding, basketball, and high-risk acrobatics—to make a lasting impression. Traces is the ultimate affirmation of life and a celebration of the particular talents of endearing young artists so eager to please that they literally jump through hoops for you.

Finally, the triumphant return of Disney’s The Lion King (May 7– June 2, 2013), visually stunning, technically astounding, and with a musical score like none other you’ve ever heard. Giraffes strut, birds swoop, and gazelles leap. The entire savannah comes to life, and as the music soars, Pride Rock slowly emerges from the mist. In addition to a pretty darn good main season, there are three shows set up for you to check, check, check right off your must-see list. TPAC’S special offerings begin with more flying than dance as Cathy Rigby Is Peter Pan (March 1–13, 2013). The press release says, “Tony Award nominee Cathy Rigby takes flight in an all new production of Peter Pan! Discover the magic all over again of this two-time Emmy award-winning and two-time Tony awardnominated production. Peter Pan is filled with timeless magical moments and a captivating Hook. The legend you thought you knew is now the adventure you never dreamed possible.” American Idiot (March 5–7, 2013) tells the story of three lifelong friends forced to choose between their dreams and the safety of suburbia. Based on Green Day’s GRAMMY® Award-winning multiplatinum album, American Idiot boldly takes the American musical where it’s never gone before. Jim Reyland is the owner of Audio Productions, a production facility in Nashville, and artistic director of Writer’s Stage Theatre. His new play, Used Cows for Sale, and a new musical, I’ll Take the Crowd, are currently in development. jreyland@audioproductions.com

Traces

Rock of Ages (April 19–20, 2013) features a mix of 28 rockin’ ’80s tunes. A five-time 2009 Tony® nominee, Rock of Ages is an arenarock love story told through the mind-blowing, face-melting hits of Journey, Night Ranger, Styx, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Asia, Whitesnake, and many more. Sadly, TPAC does not sell hotdogs, but the 2013 portion of its Broadway Series is a high-flying mix of rock and pirouettes. For more information on the HCA/TriStar Broadway Series, visit www.tpac. org/broadway, where season tickets can be purchased now, or call TPAC Subscriber Services at 615-782-6560 or 800-410-4216 if you live outside the Nashville area. You may also visit the TPAC Box Office at 505 Deaderick Street in downtown Nashville. For information on group tickets, call the TPAC Group Sales Office at 615-782-4060.

NashvilleArts.com

January 2O13 | 79

beyond words by Marshall Chapman

Photo: Anthony Scarlati

Sexagenarian? T

oday I learned a new word. According to my Merriam-Webster's dictionary, sexagenarian means "a person whose age is in the sixties." I am sixty-three, so it pleased me to know what I am.

I knew septuagenarian meant a person in their seventies and octogenarian, a person in their eighties. I figured there must be a word for someone in their sixties. So I went on a search. I first looked up "sesquigenarian." That sounded like something. But it wasn't a word. Plus, I had the wrong prefix. "Sesqui" means "one and a half times" (duh!) as in sesquicentennial (150th anniversary). Finally, after more searching, I found it—sexagenarian, and I admit my first thought was oh, wow it's got "sex" in it! Like, "Last call" or something. Cool!

THEATRE

Unlike Nancy Reagan types, I feel no need to lie about my age. In fact, the older I get the gladder I am to have made it this far. God knows, I gave dying young my best shot. But dying young just wasn't in the cards for me.

Visit our website for the 2013 Theatrical Season schedule for:

I often hear people say, "Oh, I wish I could go back to being in my twenties, knowing what I know now." Well, I have no desire to go back.

The Gaslight Dinner Theatre

Like others my age, I occasionally climb the stairs in my house only to find myself wondering, why did I come up here? Sometimes I can recall; other times I can't. It really doesn't matter. Why? Because there's an advantage to short-term memory loss. It's Nature's way of keeping us in the moment. My mother is ninety years old and still drives. She was recently visiting my Aunt Liz, and when she got in her car to leave, something didn't look right. At first she thought someone had broken into her car and stolen the radio. It wasn't until she began wondering why she wasn't making any progress toward home that reality set in. Oh my God! she thought. I'm in the back seat! Cellulite, turkey neck, liver spots, memory loss? Bring it on, I say.

The Renaissance Players The M.E.T.– Mind Enriching Theatre

ART EXHIBITION February 2 – May 31

Alan LeQuire’s Cultural Heroes

Better than being a dumbass 24/7. www.tallgirl.com

TELEVISION A special series about the arts, artists and arts education across Tennessee.

www.creativelicensetv.com

A new season of Creative License airs on NPT and PBS stations across Tennessee! WNPT: Sundays at 10:30pm • WCTE (Cookeville): Thursdays at 7pm East Tennessee PBS: Sundays at 4pm • WKNO (Memphis): Thursdays at 9pm WLJT (Martin/Jackson): Thursdays at 9:30pm

www.rcenter.org • (615) 740-5600

photo: Alfred Wertheimer

Critical i by Joe Nolan

atti Smith was just a kid when the events in her art/rock memoir Just Kids took place. Consequently, the little volume glows with the

yearning, innocence, and ambition of youth. The photography in the Tennessee State Museum's Elvis at 21 exhibit similarly simmers through images of Elvis Presley during his 21st year by the then-26-year-old Alfred Wertheimer. Referencing Henri Cartier-Bresson's perfectly timed snapshots, Wertheimer explains that he “. . . was more interested in the moments just before or just after the decisive moment,” and the show's candid pics of Elvis ordering dinner, waving to a train or—in Wertheimer's most-famous image—tongue-kissing a girl backstage, refuse to solidify into the iconic despite their famous subject. From pics of a shirtless Elvis standing next to his mother to shots of him glaring at the camera, practicing his famous sneer, this display of excited youth is far too wild for mere worship.

photo: Alfed Wertheimer

The Noisy Green Room, 1956

New Yorker Alexis Gideon visited Nashville in November, bringing his latest stop-motion opera Video Musics III: Floating Oceans—a surreal songfest inspired by the writings of Irish author Lord Dunsany and the dream experiments of Irish physicist John William Dunne. A Gideon screening pairs his imaginative visuals with a live score featuring the artist's guitar, keyboards, percussion, singing, and—best of all—rapping. Gideon's screening of Video Musics II behind Local Honey was a highlight of the 2011 calendar. It was based on a Chinese fable and full of outrageous settings and creatures, and while I preferred its subject to that of this latest installment, Gideon managed to fill his screen with more tangible realism than you'd think crude puppets could muster, and by the time a flock of blue, ear-flapping elephants filled the sky, I knew there was nowhere else to be in Nashville. Elvis at 21 will be on view at the State Museum through January 8, 2013. www.tnmuseum.org To learn more about Alexis Gideon visit www.alexisgideon.com.

photo: Alfred Wertheimer

Elvis and Barbara Hearn, 1956

Elvis Reading Fan Mail, 1956

Alexis Gideon, Video Musics II Sun Wu-Kong, 2010, production still of multimedia video opera based on the 16th-century Chinese novel The Journey to the West

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January 2O13 | 81

on the town with Ted Clayton

hat would the holiday season be without Christmas at

I can remember back in the days when we would take school field trips to Cheekwood to see the wonderful trees and decor. Back in those days each tree was decorated with a theme and done by different ladies and their garden clubs. Today these amazing works of art are designed by Nashville's top designers, Amos Goss, ReCreations, OSHI Flowers, Knestrick Design, and Jim Marvin, to mention a few. Cheekwood?

The Annual Angel Gala was held last month at the Cheekwood Mansion where the dining room table was set as if the Cheek family were to have a Christmas feast: cutwork lace tablecloth (I'm sure Mrs. Cheek purchased this cloth at the former Linen Store, as the Cheeks were great customers with my grandfather), Royal Worchester china (belonging to the Cheek family), silverware monogramed with Mabel Cheek’s initials, and a most handsome crystal and silver epergne as the centerpiece. Those joining Mabel at dinner would have been Leslie Jr., Leslie, Mary Tyler, Ann, Walter, and Huldah.

Ted and Keith Urban–Symphony Ball

Ron and Brenda Corbin– Symphony Ball

Seen in their festive holiday attire were Betty and Ed Thaxton, Debbie and Darrell Townsend, Horticultural Society President Lynne Wallman with husband Don Reed, Cheryl and Bill Wire, Martha and Johnny Phipps, Jo and Ben Doubleday, Roberta and John Witherspoon, Pat and Jim Kennedy, Mary Ann and Ed Herbert, and of course the angel on the tree, CEO Jane Offenbach. The following evening down in Botanical Hall was Mistletoes and Martini's, headed by the cute Caylan Cheadle for the younger generation of Cheekwood supporters. I am always asked the question, "Do you ever get to go to private dinner parties?" The answer is yes, I just do not write about them, except for the dinner party hosted by Sheila and

Gary and Rachel Odom, Jennie Smith and James Gooch–Symphony Ball

Frank and Julie Boehm, Nancy and Billy Ray Hearn–Symphony Ball

Nelson Shields, held at Puckett's in downtown Nashville. Sheila and Nelson gathered about thirty of their oh-so-close friends for an evening of really great food and entertainment by Soul Incision. If you do not know about Soul Incision, it is a band made up of MDs and PhDs headed by the drummer and my buddy Dr. C. Wright Pinson. Wright was a hoot on the drums with Santa hat and a pair of sunglasses blinking with Christmas lights. Dancing late into the evening in downtown Nashville were Beth and Steve Franklin with daughter Ruth, Hilda and Jim McGregor, Johnna Watson, Shaun and Gordon Inman, Janet Bentz, Puckett's owners Andy and Jan Marshall, artist Anne Goetze, and Anona Kicklighter. The quote of the evening by a most adorable lady seated next to me was, "Nashville women are all about competitive dressing!" So yes, I do go to dinner parties like this that are a blast! Gary Haynes of Haynes Galleries held an evening of "Small Things" at his gallery last month. It certainly does prove that great works of art really do come in small packages. A full house enjoyed fine food and wine while viewing gems from such renowned artists as Andrew Wyeth, Winslow Homer, Grace DeVito, and Vincent Giarrano. Making the most of this festive evening were Daisy King and George Clark, Dan McCormack and Matthew Gore, Vicki and Jerry Atnip, Tiffany Pack and Chuck Dunn. I must say my favorite of show were the trompe l'oeil paintings by artist Michael Theise (I tried to peel off a one hundred dollar bill from the Monopoly board painting). Small art shown in such a big way—thank you, Joanne and Gary, for a great art-filled evening at your gallery. I guess Santa did not receive my text message that there were quite a few small pieces that would have fit in the toe of my stocking. Next year I shall Facebook him! Nashville's social winter gala, the Symphony Ball, began with a week full of excitement, beauty,

Martha Ingram and Judge Gil Merritt– Symphony Ball

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Janet and Earl Bentz– Symphony Ball

Linda and Jere Ervin–Symphony Ball

Ann and Joe Russell, Agenia Clark, Janet and Jim Ayers–Symphony Ball

Julie Walker, Kate Grayken, Janet Bentz–Symphony Ball

and sophistication. Midweek, Ellen Martin opened her oh so lovely Belle Meade home for the showing of Zonnie Sheik’s jewelry collection. Yes, Zonnie had the jewels, as modeled by Joanne Cato and Luanne Waltemath among many lovely ladies that love to shop! A Patrons Party was given the following evening at the Nashville home of Sylvia Annette Eskind, Joni Werthan, Roberts with additional hosts Heloise Kuhn–Symphony Ball Mr. and Mrs. James Ayers, Mr. and Mrs. Earl Bentz Jr., Mr. and Mrs. Richard Bracken, Mr. and Mrs. Ansel Davis, Mr. and Mrs. Orrin Ingram II, Mrs. Martha Ingram, Mr. and Mrs. Milton Johnson, and Mr. and Mrs. Benjamin Rechter. Now, with this list of social hosts you can imagine how fine a dinner party it was! This 28th Annual Symphony Ball was chaired by Jana Davis and Lee Ann Ingram, and only this pair of gals could have orchestrated this gala affair! The setting, of course, was the Schermerhorn Symphony Center, home of our beloved Nashville Symphony. This year’s Harmony Award was presented to Keith Urban. Keith and I had quite a visit earlier in the evening, resulting in a secret bond between us that I shall share in February. "This is surreal for me to receive this award this evening, Ted. But mate, I must confess I'm a bit jet-lagged from flying in this morning from Belgium, where my wife is filming a Grace Kelly movie." There certainly was no sign of jet lag as he belted out, "I hear you knocking but you can't come in." This sophisticated evening was not like any other of the winter galas. To some it looked as if Ralph Lauren had only just left the building. My take on the decor was the memory of the great film Mrs. Brown, most Highland style. I felt as if I were being entertained by Her Majesty at Balmoral Castle. Tables clad in tartan cloths surrounded by wooden, castle-like chairs, antique silver hunting trophies filled with white peonies, roses, and amaryllis, soft candle lighting . . . Yes, I did feel I was in the 1860s Highlands of Scotland, in the style of the Victorian power elite on the brink of the modern age.

Steve Turner, Brenda and Joe Steakley–Symphony Ball

Jamie and Jennifer Parker, Joy and J.R. Roper–Symphony Ball

Francis Guess and Vicki Yates–Symphony Ball

Lisa and John Campbell, Lyn and Bill Andrews–Symphony Ball

Many patrons dressed accordingly with a touch of their family tartans, but J.T. Thompson outshone all in his complete Scottish kilt attire. (Yes, he was Mr. Brown!) OK, this brings me to a short but funny personal story: Some thirty-five years ago while in Edinburgh I was being fitted for my family tartan, Murray of Atholl. The gentleman that was measuring me looked up in amazement and said, "Mr. Theodore Murray Clayton, may I say you have most thick thighs.” Needless to say, I never did order that kilt! Large cypress and magnolia trees lined the dance floor where, dancing into this Scottish evening, were Nancy and Billy Ray Hearn, Julie and Frank Boehm, Brenda and Joe Steakley, Jessica and Houston Howell, Judy and Steve Turner, Patsy and Bob Weigel, Joyce and David Hitt, Jennie Smith and James Gooch, Rachel and Gary Odom, Martha Ingram and Judge Gil Merritt, Alberta and Bob Doochin, Linda and Jere Ervin, the entire lovely Bracken family, Joni Werthan and Larry Jessen, Suzanne and Grant Smothers (Suzanne and I also now have a secret!), Trish and Tommy Frist, Kristen and Don Taylor, Susan and Chris Holmes, Lisa and John Campbell, Kate Grayken, Laurie and Steve Eskind, Linda and Steve Harlan, Brenda and Ron Corbin, Donna and Jeff Eskind, Joy and J.R. Roper, Anne and Joe Russell, Sue and Earl Swensson, Patricia Mathews and Brad Thacker, Katie and Kevin Crumbo, Kim and Norm Scarborough, Jennifer and Jamie Parker . . . Nashville's A-List Social Crowd!

NashvilleArts.com

Keith Urban and Chair Jana Davis– Symphony Ball

Chair Lee Ann and Orrin Ingram– Symphony Ball January 2O13 | 83

By the way, this incredible gala was designed by Mark O'Bryan (bet he has his kilt) of the Tulip Tree. I must say, being the holiday time of year, there was not one string of lights, tinsel, nor a snowflake—none of which were missed. Thank you, Jana and Lee Ann, for my magical evening at Balmoral in the Highlands! Tennessee's First Lady, Chrissy Haslam, opened the doors of the Governor's Residence last month to honor Amy Grant with the 2012 Cecil Scaife Visionary Award. This award is given annually to an individual whose life and work have made it possible for future generations to realize careers in the music industry. Joining Amy was hubby, Vince Gill, and sisters, Kathy Harrell, Mimi Verner, and Carol Nuismer along with brother-in-law Dan Harrell. Cecil Scaife's beautiful daughter, LaRawn Scaife Rhea, presented Amy with the lovely award, a Saraband vase designed by Gorän Wärff from Kosta Boda.

Kevin and Katie Crumbo, Patricia Mathews and Brad Thacker– Symphony Ball

Joining me at the hot cocoa bar (complete with marshmallows, chocolate chips, whipped cream, and peppermint, oh yes) were Brenda Steakley, Patsy Weigel, Laura Allen, Tony Brown, Julie and Tommy Frist, and Steve Richards. Congratulations, Amy, on this outstanding and most deserved award!

Bob Deal, Susan Andrews and J.T. Thompson, Jason Bradshaw– Symphony Ball

Andrew Potts, Nancy Russell, Charles and Mary Sargent, Beth Harwell– State Museum

Charles John Quarto, John and Kate Richardson–State Museum

If you ever want to be seen at one of Nashville's most eclectic, exciting parties, never miss one at the Tennessee State Museum—such as the one last month for the opening of the exhibit The Guitar: An American Love Story, along with Alfred Wertheimer’s Elvis at 21 photographs. The rarest guitars ever created were on display, ranging from vintage to one belonging to Elvis. Nashville Arts Magazine editor Paul Polycarpou stated, "It would be hard to replicate this sort of exhibition anywhere else in the world. This collaboration is uniquely Nashville.” Some 500 guitar aficionados attended this outstanding event, including John Pinkerton, Ronny and Shauna Proler, Brad and Shira Paul, Eliot and Toni Michaels, Phyllis and George Avant, Thom Chacon, Tuc and Perry Margouleff, Kate and John Richardson, Charles John Quarto, Renee White, Senator Doug and Kay Overbey, and Chuck Welch. Rock 'n' Roll Queen Lois Riggins-Ezzell along with Leigh Hendry and the museum staff never disappoint when hosting great events at the State Museum. There were also the incredible (and somewhat erotic) photos of Elvis at age 21. A lady guest was heard to say, "I just need to stand here and be alone with Elvis." Yes, 2012 was a magnificent social year, as will be 2013. I must leave you with a quote (not sure why I was told this by a social lady at a social white-tie event, but I am crazy about her): "My bra hurts!"

Thom Chacon, Perry and Tuc Margouleff–State Museum

Happy New Year!

84 | January 2O13 NashvilleArts.com

Kay West and son Harry– State Museum

John Pinkerton and Matthew Grant–State Museum

MERRICK

the

Fine Art

PRINTING

MPC

The Merrick Printing Co., Inc. 808 East Liberty Street • Louisville, KY 40204 Contact : Richard Barnett, Sr. VP – Sales Cell: (502) 296-8650 richardb@merrickind.com

Whether your business is in the arts, healthcare, services or manufacturing industry, choose Merrick Printing to craft your printed masterpiece!

NashvilleArts.com

January 2O13 | 85

photo: stacie huckeba

my favorite painting

John Dwyer WKRN-TV News Anchor

hile most of our paintings are from local artists (Julia Martin, Trevor), there's one piece that is actually from thousands of miles away. It's my favorite

because of what it means to my wife, Lynley. We were dating in 2007 when we took a trip to La Jolla, California. During our daily morning ritual of walking down to see the seals and grabbing breakfast at an outdoor café, Lynley darted into a gallery next to the restaurant. After twenty minutes and her coffee getting cold, I stuck my head in the gallery to see what caught her eye. She was crying. Her voice cracking, she said she had never seen such beautiful paintings. The gallery exhibited Australian Aboriginals with many pieces done by Kudditji Kngwarreye. They were clearly out of our price range (you could buy a car for the asking price), including the one with which she fell in love. We ate breakfast, watched the seals, and didn't really discuss the painting again, because what was the point, but I will never forgot how she was moved by it. Tears of joy. Fast forward a few years and we learned (Lynley was on the gallery’s email list, shocking) the place was going out of business and selling off everything. The painting was still there and marked down thousands. Lynley called me, wanting to sell her car or pay installments, anything to buy the painting. An intervention was needed. There was only one thing a husband could do in this dire situation. I called the gallery. Long story short on the negotiating, I worked out a deal with the gallery owner, and the painting was ours! It's displayed prominently in our bedroom, and Lynley comments on it on a regular basis. It still affects her, and, in turn, it affects me because of her passion for it. And she still has her car.

Kudditji Kngwarreye, Emu Dreaming, Oil on canvas, 32" x 48"

artist bio Australian Aboriginal artist Kudditji Kngwarreye was born in the 1920s. He has gone through numerous styles of painting throughout his career but has always drawn on his ancestral roots for inspiration. As part of tradition, artists in his community paint “Dreaming” stories to relate a personal vision of their mythological creation story in which the spirit ancestors traveled across the land creating people, animals, plants, and the landscape. Kngwarreye began his Dreaming series in the 1990s. He created abstract compositions intended to provide the viewer a bird's-eye view of the sacred landscapes. He uses thick impasto paint to create large blocks of soft, complementary colors. These ephemeral yet vibrating compositions are meant to evoke a spiritual experience. In 2007, he was named Australia’s most collectable artist; his works are highly desired across the world. He still lives in his native Aboriginal community in the desert region of Central Australia. www.aaia.com.au/artists/kuddtji.htm

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BUY TICKETS AT: NashvilleSymphony.org 615.687.6400

CLASSICAL SERIES

Mary C. Ragland Foundation

Artwork by Sam Smith, an illustrator and musician living in Nashville, Tennessee. See more of his work at samsmyth.net.

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