June 2015 Nashville Arts Magazine by Nashville Arts Magazine

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Name: Ornamental Cabbage Botanical Name: Brassica Oleracea Photography by Brett Warren, shot in the Ilex studio

601 8th Ave South Nashville, TN 37203 615-736-5200 ilexforflowersnashville@gmail.com www.ilexforflowers.com

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JUNE 6

J u ly 25 2015

237 5th Avenue North Nashville 615.255.7816 • Tuesday through Saturday: 11 am to 5 pm, and by appointment. www.tinneycontemporary.com • www.romancingbanality.com

5TH AVENUE OF THE ARTS DOWNTOWN NASHVILLE

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COLUMNS EMME NELSON BAXTER Paint the Town MARSHALL CHAPMAN Beyond Words JENNIFER COLE State of the Arts RACHAEL McCAMPBELL And So It Goes JOE NOLAN Critical i ANNE POPE Tennessee Roundup JIM REYLAND Theatre Correspondent MARK W. SCALA As I See It JUSTIN STOKES Film Review TONY YOUNGBLOOD Art in Formation

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 $5.05 a copy. Email: All email addresses consist of the employeeâ&#x20AC;&#x2122;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.

THE RYMER GALLERY 233 Fifth Avenue North | 615.752.6030 | www.therymergallery.com

JOHN JACKSON

Girl with a Pearl Cell Phone Case, 16” x 18”, oil on canvas

June 6–30, 2015 Open Reception: First Saturday Art Crawl Downtown/ Saturday, June 6, 6–9 pm

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

J2O15

COURTESY GALLERIE LELONG, NY

une

COLUMNS

FEATURES

on the cover:

Jaume Plensa, Spiegel, 2010, Painted stainless steel, 13’ x 8’ x 8’ each Article on page 24

12 Bob Sherman at Customs House Museum

24 Jaume Plensa Human Landscape at

56 5th Avenue Under the Lights

Cheekwood & the Frist

80 Film Review by Justin Stokes

at David Lusk Gallery

36 Kim Barrick at Centennial Art Center

83 And So It Goes… by Rachael McCampbell

40 Eric Buechel Urban Obsession

84 Art in Formation by Tony Youngblood

44 Joseph Sulkowski Magnum Opus

86 The Bookmark

Chithambo

54 Andrew Saftel at Cumberland Gallery

90 Theatre by Jim Reyland

58 Lyle Carbajal at Tinney Contemporary

92 Backstage with Studio Tenn by Cat Acree

74 Abstract Nashville A Photographic Series 78 Beyond Pluck This Plucking Rocks!

87 Poet’s Corner by Que’Dell De’Chon

50 Italian Style at The Frist

68 John Jackson at The Rymer Gallery

38 Symphony In Depth Summer Movies at the Schermerhorn

34 Mash-Up

18 Crawl Guide

93 Critical I by Joe Nolan 94 Art Smart by Rebecca Pierce 100 Art See 102 Paint the Town by Emme Nelson Baxter 104 NPT 109 Beyond Words by Marshall Chapman 110 My Favorite Painting

34 8 | June 2015

44 NashvilleArts.com

The Arts Company

CHARLES KEIGER—Thinking Theatrically June 6-26

©Charles Keiger, Pudding , oil on panel

#5thAvenueoftheArts #CharlesKeiger #FreshOriginalContemporary #JorgeYances #FirstSaturdayArtCrawlDowntown #TheArtsCompany #MagicalRealism #ArtsNashville

Also showcasing new paintings by

JORGE YANCES—Magical Realism: A Nashville Perspective June 6-26

215 5th Ave of the Arts N. • 615.254.2040 • www.theartscompany.com

5TH AVENUE OF THE ARTS DOWNTOWN NASHVILLE

Bennett Galleries F eaturing

Ruth Franklin

PUBLISHER ' S NOTE

Art Creates a City

eeing great art is a priority for me when I travel. Sometimes I’m envious of art in other cities—huge installations, expansive exhibitions, historic collections—then I remember that I live in a city where just about anything is possible.

One of the most important exhibits in the world is happening right now in Nashville. Jaume Plensa’s Human Landscape is the largest exhibition of this Spanish artist’s work in North America. Thanks to Cheekwood and the Frist, Nashville is one of the leading art destinations this summer and fall. More important for locals, this means you can experience these works often and at different times of the day, as each encounter is unique. (See page 24.) After talking to Joseph Sulkowski for just ten minutes, I knew he was the real deal. We conversed feverishly about the significance of brushstrokes and the power of symbolism in art. Read about his journey toward his magnum opus on page 44.

An artist who’s on the same path is John Jackson, who debuts his Technology series at The Rymer Gallery this month. Current, sexy, and skillfully accomplished, Jackson’s paintings are honest reminders that tech and life have become one. (See page 68.) Man of the world and artist across genres Lyle Carbajal brings his expressions of universal culture to Tinney Contemporary. His art will take you on an international trip while in the comfort of this gallery on 5th Avenue. (See page 58.)

It’s time for vacation; let this issue guide you to adventures in town. Sara Lee Burd Executive Editor

Polka Dot Bikini, Acrylic on canvas, 24” x 24”

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

T h e I llusion The Spirit

by Rebecca Pierce

of P erson a n d P lace : of A sia by B ob S herman

Customs House Museum • June 2 to 30

hotographer and Clinical Psychologist Bob Sherman continues the series of exhibits curated by Nashville Arts Magazine for Planter’s Bank Peg Harvill Gallery at the Customs House Museum. The Illusion of Person and Place: The Spirit of Asia by Bob Sherman consists of 23 photographs from eight different countries. About the work on view, Sherman says, “I am trying to share the beauty of the world, the scenery and the people. I hope others see a glimpse of what I see, both physically and internally.” Though he had been interested in photography as a child, Sherman began shooting in earnest in 1974 when he toured India with a Pentax his parents had given him when he completed graduate school. That trip sparked his love of travel in Asia and his passion for photography. By chance, the timing of the exhibit coincides with the release of his second book, The Wandering Hinjew. “It’s a book about me as a shrink, me as a photographer, and me as a person. One of the questions I had going into the book was, why do I click the shutter when I do? The moment is the same as when I am with a client. I’m waiting for an opening; that is the moment I click.”

Puja Sunrise, Varanasi, India

The moment he releases the shutter is the foundation of his creative process. Sherman shoots full frame and crops the shot when he takes it, not after the fact. “I want everything in the shot when I shoot.” Another striking quality of his work is rich color. That is due in part to the environments he photographs. “In the third-world countries in the east, the poorest of women are wearing the brightest colors, and that’s not my doing. That’s what’s going on. I’m attracted to the quality of light and

Saffron Swirl, Wat Trikuh, Cambodia 12 | June 2015 NashvilleArts.com

the color temperature. I don’t shoot from 9 to 4 because the light is too white. I prefer yellows and oranges.” The Illusion of Person and Place: The Spirit of Asia by Bob Sher man is on view at the Customs House Museum in Clarksville from June 2 to 30. On Saturday, June 13, from 6 until 8 p.m. Nashville Arts Magazine’s publisher, Paul Polycarpou, is leading an artist’s talk with Sherman. For more information, visit www.customshousemuseum.org. To see more of Bob Sherman’s photography, go to www.bobshermanphotography.com.

Indian Mikvah, Varanasi, India

MASH-UP DLG JUN 2015 18 artists do cardboard

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Insight

Nashville International Airport • June 9 to August 30

n her new show Insight, Rita J. Maggart delivers a grand and majestic view of botanicals. Four-foot by three-foot macro photographs adorn the walls of Concourse C as part of the Arts at the Airport Flying Solo exhibition series. “I call them refrigerator size. They totally take on a completely different feel when they are printed in this huge size. Suddenly the presence of these very up-close-and-personal images becomes overwhelming, because you’re so close to the inside of the flower,” Rita explains. She has been a gardener for most of her life and was a floral designer for ten years, so she has a vast knowledge of flowers and their life cycles. Rita always photographs outdoors in the environment where her subjects grow, preferring natural light and backgrounds.

“I like to go out into the garden and to see how close I can get to the flower, and then when I get back in the studio I’m always surprised. There are things I never saw through the camera that I see when I get them up on a bigger screen and see into the flower itself.” The public is invited to attend a reception on June 23 from 4 until 6 p.m. For Transportation Security Administration (TSA) purposes, please RSVP by June 19, with your full legal name and birth date, to arts@nashintl.com.

Insight, part of the Flying Solo exhibition series, is on view in Concourse C in Nashville International Airport June 9 through August 30. To see more of Rita J. Maggart’s work, visit www.ritajmaggart.com.

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Celebrating the 40th Anniversary of Altman’s Nashville

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Belcourt Theatre • June 5 through July 7

prolific periods of the late twentieth century, up to the Oscar-winning Gosford Park and Altman’s final film, A Prairie Home Companion.

he Belcourt Theatre, located in Hillsboro Village, kicks off the summer season with a major series on the work of film director Robert Altman. Altman includes nineteen films and three shorts, as well as post-screening conversations with notable special guests such as Kathryn Reed Altman, Altman’s widow, director Ron Mann, and actress Sally Kellerman. The series marks both the 40th anniversary of the 1975 film Nashville and the 90th anniversary of the Belcourt’s opening in 1925.

“ This is a milestone year for the Belcourt—our beloved neighborhood theatre turned 90 on May 18, 2015. We had to do something special to mark the occasion, and celebrating another milestone, the 40th anniversary of the film Nashville along with a full series of Robert Altman’s work, seemed like the perfect pairing,” said Stephanie Silverman, Executive Director of the Belcourt.

Robert Altman (1925–2006) has often been called the father of independent cinema. The highly prolific filmmaker’s techniques included roving cameras, overlapping dialogue, and the pioneering use of multi-track recording—a style so distinctive that it is now commonly described as “Altmanesque.” The Altman series spans and features, including

J. William Myers created the poster for the film Nashville, and he also creates the storyboards for the television show Nashville. Look for our feature story on Myers in the July issue.

The Altman series runs June 5 through July 7 at the Belcourt Theatre. Full series passes, J. William Myers’ poster art for Altman’s Nashville ticket 5-packs and single tickets are on sale selections from Altman’s early short films now. For a complete schedule of screenings, including screenings with special guests, and tickets, please go to www.belcourt.org. his breakthrough M*A*S*H, through his NashvilleArts.com

June 2015 | 17

JUNE CRAWL GUIDE The Franklin Art Scene

Friday, June 5, from 6 until 9 p.m. Gallery 202 is showcasing new work by Kelly Harwood, including his palette knife works, which range f rom abstracts to floral and impressionistic pieces. Jack Yacoubian Fine Jewelry and Art Gallery is hosting painter Emily McGrew. Hope Church Franklin is featuring folk artist Tonya Crawford. Wendy Fiedor ’s work is on view at Landmark Community Bank. Pedego Franklin is exhibiting paintings by Jamie Lambert. Brooke Griffith of Glen & Effie is presenting her handmade jewelry at The Registr y. Bagby House is showing photography by Debra Kelly Harwood – Gallery 202 Sheridan. Boutique MMM is featuring one-of-a-kind jewelry by Judith-Ann Ward. Parks is hosting Ronnie Criss. Jamba Juice is exhibiting prints by Megan Whittier. The Franklin Visitor Center is showcasing paintings by Robbie Lasky. Savory Spice Shop is presenting jewelry, clothing, and art by Jamie LaBo.

opening Charles Keiger—Thinking Theatrically (see page 57) and Jorge Yances—Magical Realism: A Nashville Perspective. Downtown Presbyterian Church is hosting a group show by their artists in residence in the Browsing Room Gallery.

In the historic Arcade, WAG is presenting Amour fo’ Phallus by Watkins graduates Ross Denton and Emily Sue Laird, which includes an animation of the largest and rarest flower on earth, the Titan Arum (Amorphophallus titanium). Corvidae Collective Gallery is exhibiting Fusion, a solo show by Eric L. Hansen. Hannah Lane Gallery is showcasing all new work by Hannah Lane. COOP Gallery is opening But if the Crime Is Beautiful... ,” a multi-media project by Lauren Kalman. Blend Studio is hosting Dreams: New work by the 12:12 Project.

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

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

The Rymer Gallery is exhibiting John Jackson, new work by the artist (see page 68). Tinney Contemporary is unveiling Romancing Banality: A Mash-up of Anti-Artistry, Folk, and Contemporary Themes, new work by Lyle Carbajal (see page 58). The Arts Company is

Beth Reitemyer – Seed Space

David Lusk Gallery is unveiling Mash-Up: Artists Do Cardboard curated by Kristina Colucci (see page 34). Sherrick & Paul Gallery is showing Double Vanity by Wendy White. Zeitgeist is exhibiting New Personal Best! by John Donovan and Letting Go by Jessica Wohl (see page 93). Seed Space is featuring All the Lights in My House by Rocky Horton and a one-night performance Art Is Illuminating by Beth Reitemyer. Fort Houston is presenting abstract works by Watkins graduate Alexine Rioux. CG2 Gallery is showcasing Recent Works by Fred Stonehouse, a series of works on paper, book covers, and 3D wood cutouts. Julia Martin Gallery is opening The Nashville 9 with work by Buddy Jackson, Sheila Bartlett, Lesley Patterson Marx, Harry Underwood, Delia Seigenthaler, Tim Hooper, Emily Holt, Seth Conley, and Julia Martin. 444 Humphreys Pop Up is exhibiting Not Gone—But Not Here a mixed-media installation by Brit Hessler. Channel to Channel is showing Easy, Girl, a collaborative series of paintings by Sydni Gause and Zach Felts. Ground Floor Gallery is featuring System Politics by Morgan Higby-Flowers. A live performance with a guest appearance by Patrick DeGuira begins at 9:30 p.m. The Packing Plant is presenting Omar Velázquez’s Me & The Devil Blues—sculpture, paintings, and music equipment that explore the relationship between an artist’s practice and rock ‘n’ roll.

Third Thursdays at Riverwood Mansion Thursday, June 18, 7 p.m. Dreams: New work by the 12:12 Project – Blend Studio

Unbound Arts is presenting southern folk art f rom the collection of singer/songwriter Kevin Gordon (see page 19).

18 | June 2015 NashvilleArts.com

K e v in Gor don Folk A rt Collector & Musician Riverwood Mansion • June 18

by Rebecca Pierce

or Kevin Gordon, music and collecting art have been intersecting and overlapping worlds in his career for nearly two decades. His show at Riverwood Mansion offers a rare opportunity to experience both art forms at the same time, to learn about his personal journey into art collecting, how it ties into the music he makes, and why he’s written songs about a couple of the artists whose work he has collected.

As a successful musician, the singer/songwriter is known for his roots music sounds on albums such as Gloryland, O Come Look at the Burning, Down to the Well, and Cadillac Jack’s #1 Son. His songs have been recorded by Keith Richards, Levon Helm, Irma Thomas, and more. His appreciation of contemporary folk art was ignited by an exhibition catalog he stumbled upon at Davis-Kidd Booksellers. “It was for a traveling show, a survey of folk art from the South from 1930 to 1980, and I was fascinated. There were short biographies of all the artists, and I just got eaten up,” Gordon recounted. “It occurred to me that you could actually go visit these people. So I started going to visit Jimmy Lee Sudduth, Joe Light, and Mose Toliver and his daughter Annie, and it was the start of a collecting obsession.” Gordon was meticulous about keeping journals after he visited with an artist, and he plans to present some of that material alongside the work. Selections from Kevin Gordon’s collection will be on view at Riverwood Mansion from June 16 to 18. As part of Unbound Art’s Third Thursdays at Riverwood Mansion, Nashville Arts Magazine publisher Paul Polycarpou will lead a conversation with Gordon about his music and art collection on June 18 at 7 p.m. Gordon will also perform a few numbers.

Leroy Almon, (1938-1997; Tallapoosa, GA), Mr. & Mrs. Satan Fishing, 1991, Polychrome bas-relief wood carving, 23” x 24”

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For more information, visit www.facebook.com/unboundarts. To learn more about Kevin Gordon, visit www.gordongallery.net or kg.kevingordon.net and www.riverwoodmansion.com.

PHOTOGRAPH BY KRISTIN MOORE

O V E R 3 6 Y E A R S O F E X P E R I E N C E & F A M I LY OW N E D F O R T H R E E G E N E R AT I O N S

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June 2015 | 19

OZ Presents

MEMORY RINGS

June 18–20

COURTESY OZ ARTS NASHVILLE

he Phantom Limb Company (PLC) will premiere its latest theatrical collage at OZ Arts Nashville for three nights in June. Memory Rings was developed during a two-week residency where the PLC artists collaborated to create unique choreography, music, and design to tackle the theme of change—in particular over the past 5,000 years. This entertaining show f eatures mar ionettes, dramatic sets, and dancers with full head masks who unfurl a fable set under the world’s oldest living tree. The performance centers on a family’s struggles with technology and environmental change but also the power and humor of the human condition. The NYC-based Phantom Limb Company was founded in 2007 by installation artist, painter, and set-designer Jessica Grindstaff and composer and puppet maker Erik Sanko. See Phantom Limb Company’s Memory Rings at OZ Arts Nashville June 18–20. For more information and tickets, please visit www.ozartsnashville.com.

New Tricks Fresh Views of Local Wildlife in Oils

by Kim Barrick Centennial Arts Center Opening Night Friday, June 5 5-7 pm www.kimbarrickstudio.com | FB Kim Barrick Studio 20 | June 2015 NashvilleArts.com KimBarrick_0615.indd 1

5/6/15 4:05 PM

HISTORY EMBR ACING A RT

KELLY HARWOOD Artist Reception • June 5, 6-9 pm 202 2nd Ave. South, Franklin, TN 37064 • www.gallery202art.com • 615-472-1134

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Sculptor Jaume Plensa Brings Human Landscape to Cheekwood and the Frist Center for the Visual Arts Cheekwood • May 22 through November 1 & Frist Center • June 5 through September 5 24 | June 2015 NashvilleArts.com

Awilda & Irma, 2014, Stainless steel, 13’ x 13’ x 10’

by F. Douglass Schatz

eginning in May, internationally renowned sculptor Jaume Plensa opened his largest U.S. exhibition to date in Nashville with one show presented simultaneously at the Cheekwood Botanical Gardens and Museum of Art and the Frist Center for the Visual Arts. Jaume Plensa: Human Landscape will feature outdoor works on the grounds of Cheekwood in addition to sculptures at the Frist.

PHOTOGRAPH BY JERRY ATNIP

N S A

Jaume Plensa standing in front of Silent Rain

26 | June 2015 NashvilleArts.com

COURTESY GALERIE LELONG, NEW YORK. © PLENSA STUDIO BARCELONA. PHOTO: LAURA MEDINA

COURTESY GALERIE LELONG, NEW YORK. © PLENSA STUDIO BARCELONA PHOTO: LAURA MEDINA

See No Evil, Hear No Evil, Speak No Evil (detail), 2010, Polyester resin, stainless steel, and light, 7’ x 5’ x 4’

See No Evil, Hear No Evil, Speak No Evil (detail)

COURTESY GALERIE LELONG, NEW YORK. © PLENSA STUDIO BARCELONA. PHOTO: LAURA MEDINA

he exhibition was conceived by Jane MacLeod, the president of Cheekwood, who approached the Frist’s Susan Edwards about a collaboration between the two institutions. MacLeod says, “Cheekwood’s unique ability to showcase outdoor contemporary sculpture makes for a great partnership with the Frist and its amazing interior gallery spaces.” Plensa is best known for his large-scale figurative works that have been exhibited in many major city parks and museums. Jochen Wierich, chief curator at Cheekwood, counts Plensa as “one of the leading creators of outdoor sculpture in public spaces across the world.” The Frist’s chief curator, Mark Scala, finds the work of Plensa to be “serious, poetic, and deeply intelligent.” Like his work, Mr. Plensa is thoughtful and poetic, but he is also very personable and accessible. His ruminations on life and the state of being synchronize perfectly with his sculptures in that each is easily engaged, but also more than it seems at first. Plensa’s sculptures have immediate visual impact, but the power of his sculpture comes from the ideas that the forms represent. As beautiful as they are, it is impossible not to engage his sculptures on a visceral and intuitive level. Doug Schatz (DS): What is the significance of the human form in your work? Jaume Plensa (JP): It’s the relationship

between the body and also the soul, this duality that I am using in my work so often. My work with text that I make in the shape of the human body and my work with portraits, it is the main focus of my work.

DS: You mention the text—is there a meaning behind the letters?

Laura II, 2013, Alabaster, 6’ x 2’ x 2’

NashvilleArts.com

JP: In the last few years I have been working

with single letters or characters from different cultures, mixing alphabets f rom different origins. It is a biological approach where you see a single letter A, B, or C that seems like nothing, but together you can compose words. It is a beautiful metaphor about human beings that alone seem like nothing but together can create a community, country, etc. It is a beautiful expression of our human condition.

DS: There is a piece called The Heart of Trees that uses real trees. What is the significance of the tree in this work? JP: I love music, and I never forgot that when I

was a child my father would play the piano. He had an upright piano that I would hide inside, and I would feel the amazing vibration of the instrument and the music and the materials. In The Heart of Trees I wanted to pay homage to my June 2015 | 27

PHOTOGRAPH BY JERRY ATNIP

Laura with Bun, 2014, Cast iron, 23’ x 3’ x 10’

PHOTOGRAPH BY JERRY ATNIP

The Heart of Trees (detail)

The Heart of Trees, 2007, Bronze (7 elements), 3’ x 2’ x 3’

memories in this way. It is seven times my self-portrait, and my body is covered with names of music composers that I love. [Each figure is] embracing one tree that is alive, and my body is cast in bronze and fixed in one size and shape. It is a metaphor about our body that gets fixed in a specific size and shape and our soul, which could be the tree that continues to grow up. I am always asking myself where the soul is going, because there is not enough room in our body for the soul that continues to grow.

DS: You use a lot of different materials in your work. Could you talk about what the materials mean?

DS: Some of the portrait heads seem to be elongated. Could you describe why?

JP: The portraits are always in a dream state, but . . . my figures

JP: To try to touch the spirituality of the face, to transform the face

the main direction of the work. For me, the main material is ideas. Each piece is more or less born specifically with one material. It is interesting to see the same idea in different materials, to see how much it changes with each material.

DS: What is the importance of the poses of your figures?

are crouching in a very meditative attitude because I’m trying to emphasize the importance of the interior path. Inside ourselves we have another landscape that we are hiding from others, and it is important to invite people to think about themselves. When the

PHOTOGRAPH BY JERRY ATNIP

into something more general. To elongate the head so it’s more the portrait of the soul and not the face.

JP: For me, materials are the way to express ideas; it’s not really

Awilda & Irma, 2014, Stainless steel, 13’ x 13’ x 10’

NashvilleArts.com

June 2015 | 29

PHOTOGRAPH BY DEAN DIXON

Silent Music II (detail)

PHOTOGRAPH BY JERRY ATNIP

Silent Music II, 2013, Stainless steel and stone, 10’ x 8’ x 10’

Self-Portrait, 2013, Stainless steel, 11’ x 11’ x 11’ 30 | June 2015 NashvilleArts.com

viewer is in front of my piece I hope the piece becomes a mirror where they could reflect their own image. DS: Tell me about scale in your work. JP: It is so important the way you use scale in the pieces. For

example, it would be a terrific experience to see my pieces installed on the big lawn at Cheekwood, but also similar pieces installed in the interior space at the Frist Museum. I will display two cast-iron heads seven meters tall which are portraits but in so huge a scale that it becomes a completely different feeling, like an icon or a landmark or something that relates to divinity.

DS: Many of your works have an interior space. What is the relationship between the interior and exterior? JP: In many of my outdoor installations I am trying to invite people

to interact with my work. The pieces are open so that people can walk through, and when you are inside you see the world in a completely different way. When people are inside they feel like a part of the piece. In other cases when I am using light, like in my installation of three fiberglass figures fixed to the wall, which I call angels, it’s an inner light. It is a secret space that reminds me of the soul inside our bodies. The interior space is as important as the exterior space.

In The Heart of Trees the interior of the piece is completely filled up with the trunk of the tree. This means that there is incredible energy of something alive trying to expand and reach the sky in that interior space of the bronze figure.

When?, 2005, Mixed media, 5’ x 4’

DS: I find some humor in your work even though the subject matter is serious. Is that deliberate, or is it your personality coming through in the work? JP: I don’t know; that’s the first time somebody has asked me that. For me, it was a terrific experience when I opened the fountain in Chicago. I noticed that everyone that made the decision to go inside the pool started to smile immediately. I’m not sure if I have a sense of humor, but it’s true that my pieces possess a certain kind of lightness or peacefulness, something very emotional but in a peaceful way. I guess people feel relaxed and understand that it is possible to enjoy themselves in an interior way. But, hopefully, my pieces have a sense of humor. I think it is important. DS: How are the big mesh heads constructed? JP: I have a couple of mesh heads that we are installing on the

L’ame Des Mots X, 2009, Mixed media, 7’ x 5’

pond at Cheekwood. The heads come from the 3-D mesh of my portraits. I’ve always been fascinated when I was working with the computer. There is a mesh outline on the screen, and I felt I had to transform that mesh into something physical. Obviously, I am from the Mediterranean, and I need to verify everything with my fingers. It was great for me to see the beautiful mesh on the screen, and I worked really hard to pass that form into reality. For the first head, we spent nine months making it, but it was amazing because finally I could talk about the interior in another way. When you are in front of the piece you are seeing through the piece, and all the landscape becomes part of the work.

NashvilleArts.com

June 2015 | 31

(top right) Mahler, 2008, Mixed media, 1.5’ x 1’ (bottom left) Shadow (study) XLIII, 2011, Mixed media, 5’ x 4’ (bottom right) Thoughts, 2013, Stainless steel and stone, 10’ x 7’ x 9’ (opposite page) The Soul of Words I & II, 2014, Painted stainless steel and marble stones, 10’ x 8’ x 10’

The visual poetry of Plensa’s sculptures can be felt on a spiritual level as well as through the beauty of the forms that he constructs. Whether one is steeped in the lexicon of art history or simply a casual art viewer, his work resonates deeply and captures the imagination without question.

PHOTOGRAPH BY JERRY ATNIP

Jaume Plensa: Human Landscape will be open at Cheekwood May 22 to November 1 and at the Frist Center for the Visual Arts June 5 to September 5. For more information about each exhibit visit www.cheekwood.org and www.fristcenter.org.

32 | June 2015 NashvilleArts.com

”

PHOTOGRAPH BY JERRY ATNIP

“

My pieces possess a certain kind of lightness or peacefulness, something very emotional but in a peaceful way.

Mash-Up Artists Do Cardboard at DLG Adrienne Outlaw, Moving Day (A Collaborative Experience) (detail), 2015, Pigment print on archival paper, 24” x 36”

by Cat Acree

tifle your groans, because the “thinking outside the box” puns are inevitable with the new summer exhibition at David Lusk Gallery, Mash-Up: Artists Do Cardboard. And not just in terms of a selection of artists working with unexpected materials, but also in how art is shown in Nashville. If you stop to notice—which we rarely do—cardboard is everywhere. It’s ubiquitous as concrete, inherently sustainable, and 95 percent of all products in the US are shipped in corrugated boxes. Historically, the Chinese are credited with creating the first cardboard in the 1600s. It’s strong, light, inexpensive, and has inspired open-minded artists beginning in the late twentieth century, as with architect Frank Gehry’s Easy Edges series of tables and chairs.

Curated by the Frist ’s S enior Graphic Designer and artist Kristina Colucci, Mash-Up is a symbiosis of eighteen artists, ranging from painters to makers, some of whom have worked with cardboard and many who have not. They come from various colleges and universities—from Fisk to Watkins, the University of Memphis and TSU—some represented by galleries, including Zeitgeist, David Lusk, Rymer, and Tinney, and others non-represented.

Colucci’s excitement for the show is palpable, not to mention infectious. “I’ve always wanted to do a cardboard show and get away from this gallery-centric or territorial, big-idea kind of stuff and just let artists have fun,” she says. “I think we get a little bogged down in the art world, with exclusivity and representation and so on. This . . . is opening my heart to the possibilities.” The challenge posed to each of these artists was entirely open-ended. David Lusk insisted on an “anything goes” mentality, telling Colucci it could be “completely free. Big or small. We can put things in the middle of the room. We can hang things from the ceiling.” There’s just one rule: Cardboard must be the starting point, but works of art can be one percent cardboard, inspired by the color of cardboard, anything. The result has been a flurry of excitement from every direction, and because the material is so cheap, artists can feel free to try several ideas and toss the failures. Alicia Henry, Untitled, Mixed media, 21” x 12”

Tad Lauritzen Wright, Bloom, Mixed media on cardboard, 71” x 56”

Scott Fife, Young Ed Kienholz, 2008, Archival cardboard, 26” x 18” x 21”

As just a small preview, painter Beth Foley, who is represented by David Lusk Gallery, presents a cutout diorama of the assassination of Abraham Lincoln. Alicia Henry from Zeitgeist and Fisk has created a mask of layered cardboard. TSU’s Brandon Donohue describes his piece as a cityscape that occupies both floor and wall space, and “Lain York said something about Darth Vader and a skateboard.” Colucci, who has worked with cardboard for many years, will juxtapose throwaway cardboard material with beautiful metallic materials like gold leaf.

“ We want to show people that artists can change the value of things that we throw out, that are discarded, that are ignored. Put it in an artist’s hands, and it becomes incredibly valuable.”

Kit Reuther, #1252-3d, Gold leaf on cardboard, 88” x 7” x 5”

Mash-Up: Artists Do Cardboard is open June 2–28. The opening reception is Saturday, June 6, from 6 to 8 p.m. For more information, visit www.davidluskgallery.com.

Frist Senior Graphic Designer, artist, and curator Kristina Colucci

NashvilleArts.com

PHOTOGRAPH BY PHIL EL RASSI

“It ’s ever ywhere. It ’s f ree. It ’s beautiful. It’s recyclable. It’s clean,” says Colucci. But because it’s so present, it’s also easily ignored, so for cardboard to serve as art provides a fresh awareness that could have the power to infiltrate our lives.

June 2015 | 35

The Birds

The Bees Kim Barrick’s New Show at the Centennial Art Center Reveals the Natural World as She Sees It Centennial Art Center • opens June 5 Local Color • through June 13 by Stephanie Stewart-Howard

im Barrick’s art has a lyrical, celebration-of-the-natural-world quality, a sense of light and color that reflects summer Tennessee mornings, quiet Nashville gardens, and vivid journeys through our urban forests. That’s not surprising, since many of her inspirations come from those places, as you can see in two current exhibits, one at Local Color, the second at Centennial Art Center, opening June 5. Barrick began her career as a banker but felt drawn to art and the creative process almost from birth. When she went back to graduate school to earn a master’s in social work, she also finally followed her heart and took art classes. She hasn’t put down her brush since. “I’m drawn to anything natural and organic. I used to pay my kids $5 for every old bird’s nest they brought me. I’m not drawn to painting people, but trees . . . they listen really well,” the artist says.

Rest of the Day, 2015, Oil on linen, 24” x 20”

Her devotion to plein-air and outdoor themes comes from her own bond with nature. You can find her walking most mornings at places like Radnor Lake, and she supports conservation. In 2001, she was the driving force behind the founding of the Chestnut Group, a non-profit collective of artists dedicated to preserving wild spaces. Indeed, she takes many of the photos she uses in her work on her morning walks. “I have a strong, crazy dedication to an intimate experience with whatever I’m painting. I have to feel it, own it, before I know it’s going to be me in my work. I love being out there and part of the natural world.” Barrick says her work is always representative of her experience, “a journey back to nature, back to the earth.” That’s true whether she’s showing the audience the bluebirds nesting in her back window, her 25-year-old, sprawling cottage garden, or the bees, birds, deer, and other animals that make it part of their world as well. She likes to feel, and make viewers of her art feel, they are a part of the miracle of nature. “My art life is a journey, the most exciting I’ve been on,” Barrick says. “These shows, especially the Centennial show, which is shared with two great fellow artists, I’ve painted this for you. If I make you happy, it’s been successful.”

Gold Diggers, 2015, Oil on linen, 24” x 36”

Barrick’s work is on view at Local Color through June 13. The Centennial Art Center show begins June 5, with an opening from 5 to 7 p.m. For more information visit www.kimbarrickstudio.com, www.localcolornashville.com, and www.nashville.gov.

36 | June 2015 NashvilleArts.com

2nd Annual

Make Music Nashville Festival

PHOTOGRAPH BY DARIAL SNEED

Various locations â&#x20AC;˘ June 21st

Mass Appeal Flutes, Make Music New York

n the summer solstice, Sunday, June 21, over five hundred cities worldwide will be celebrating World Music Day. The 2nd Annual Make Music Nashville festival will be a part of this global jubilee.

The festivalâ&#x20AC;&#x2122;s primary goals are to pro vide an equal platform for musicians of all skill levels, interests, and walks of life and to inspire the next generation of musicians through innovative and interactive mass-appeal outreach programming.

PHOTOGRAPH BY BRAD BARKET/GETTY IMAGES

This all-inclusive free event encourages participation by musicians and music-lovers of all ages, genres, and stages of ability. In neighborhoods throughout the area, Make Music Nashville includes organized, DIY, and pop-up musical happenings featuring everything from indie rock to bluegrass to a cappella.

Make Music New York with Red Baraat

The schedule of events is growing daily, but so far events include a Drum Circle in Sevier Park, Sousapalooza in Downtown, a Cymbal Jungle in the Five Points area, a Guitar Jam (with a Martin guitar giveaway!) in Sevier Park, and Poverty & the Arts Music Outreach in Church Street Park. The Nashville Public Library teen center will host free guitar lessons for teens, and there will be a Harmonica Jam for kids only at the Nashville Zoo. Among the many confirmed musicians are Karim, Rutherford, Valentine, Jordan Hull, Rattle, Robert Gay & The Alarms, Charlie Whitten, Smooth Hound Smith, Peter Mercer, Dave Broyles, Kelly Hoppenjans, LG Spaid, Classy Mongrel, and Elizabeth Mossell. The 2nd Annual Make Music Nashville festival takes place on Sunday, June 21, at noon. For the most current schedule of events and to volunteer, please visit www.makemusicday.org/nashville.

PHOTOGRAPHS COURTESY OF NASHVILLE SYMPHONY

Symphony In Depth Summer Movies at the Schermerhorn

by Dave Felipe, Nashville Symphony Orchestra

me to hear the music in my head while I study the score and see exactly how the music corresponds with the action of the movie.”

Launched in 2014, the Nashville Symphony’s summer movie series—which last year included Fantasia, Singin’ in the Rain and The Wizard of Oz—has quickly become a big hit with local crowds. The movies give audiences the chance to experience “Music City’s Biggest Band” in a completely different way, as films are shown in high definition on a 70-foot screen above the stage while the 84-piece orchestra performs the movie score in real time. The result is truly a one-of-a-kind film experience.

“The timing is absolute,” notes principal second violinist Carolyn Wann Bailey. “In passages that are technically difficult to execute, there just may not be any wiggle room for tempo, so I find it helpful to study my part as I watch the movie to hear exactly how it fits into the big picture.

or a few magical afternoons and evenings this June, Schermerhorn Symphony Center’s 1,800-seat Laura Turner Concert Hall will be transformed into Nashville’s largest—and most unusual—movie theater. Audiences will have the opportunity to experience classics old and new, with the score performed live, when the Nashville Symphony presents Bugs Bunny at the Symphony II ( June 12), the 2009 remake of Star Trek ( June 19), and Pixar in Concert ( June 25 and 26).

The key is ensuring perfect synchronization between the film’s action and the music, which can prove to be a challenge even for a seasoned musician with years of experience performing onstage and in the recording studio. Like Parameswaran, orchestra members watch the film and study the score on their own, well before the group ever assembles for a full rehearsal. Vinay Parameswaran

“Hearing the score performed live magnifies everything going on in the movie,” says Bailey, who is especially looking forward to the Bugs Bunny film. “It can make a scary scene scarier or put an exclamation point on a particularly funny moment, and hearing the sound more purely than through a speaker gives you the full effect and color the composer had in mind.”

Before a single frame of film can roll, a lot of work goes into creating such an epic presentation. For Nashville Symphony assistant conductor Vinay Parameswaran, who conducts many of the movies, the preparation begins weeks in advance, when he reviews the film’s score as well as a DVD version of the film with the music stripped out. “All of these shows require hours of study, and that’s the most important tool for me,” he says. “It allows

Carolyn Wann Bailey

38 | June 2015 NashvilleArts.com

For more information on the Nashville Symphony’s summer movies and to purchase tickets, please visit www.nashvillesymphony.org

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A Quiet Afternoon, 2015, Oil on canvas, 16” x 13”

Eric

Buechel’s

Urban Obsession by Brittany Shelton Coleman

fter Eric Buechel’s fifty hours at the easel meticulously melding sixteen layers of oil paint, his self-portrait offers a glimpse into the mastery of his hyperrealistic work. Yet his paintings merely reflect the unbridled passion that pours from the artist in every facet.

to the beat of a corporate drum, he credits his past career as what “made me an artist where I could do anything.” The “anything” he’s referring to is his advanced brush capabilities—something

Buechel believes every artist must strive for if they’re serious about their work. “You’re always a student of art,” he says, and he certainly practices what he preaches. The artist spends sixty hours a week doing so,

The 57-year-old’s spark might be pinpointed as the incredible obstacles he has overcome in adulthood—a near-fatal car accident and non-Hodgkin’s lymphoma. But it seems his life and love of art were prophesied far earlier. His kindergarten teacher predicted that Eric would grow up to be an artist. More than fifty years later, he continues to master the brush. Nestled in his home studio on an idyllic acreage in Sparta, Tennessee, Buechel talks about the necessity of beauty in art. “I want to say something in my picture, but it has to be beautiful . . . the balance has to be perfect,” he says over the phone in a voice revealing the subtle hint of a New Jersey edge. Buechel spent much of his life in the Garden State, working as an illustrator in the ad world of New York—his clients leaders in the medical and aeronautic fields. Although these days he no longer works

(top) Wow, A Self-Portrait, 2015, Oil on canvas, 20” x 20” (bottom) The Task at Hand, 2015, Oil on canvas, 30” x 40”

40 | June 2015 NashvilleArts.com

Printer’s Alley, 2015, Oil on canvas, 26” x 40”

beginning his day at the easel before the sun rises. Eric has calculated that he’s completed roughly 35,000 hours with a brush in hand. Though Buechel has lived and painted in many places, he’s found a serenity in his Tennessee life that radiates through his work. The city of Nashville has come to play a large role in his current work.

“

I don’t know why all of a sudden I’m fixated on Nashville. I’m consumed with it . . . it’s a beautiful city. There’s just so much to paint here. Every corner has a painting. That’s how I see Nashville, every single street has a painting.

”

The local art community in particular has become a sort of family for the painter. Buechel describes it as a place where everybody helps one another. “It’s never, ever going to be about me; it’s about the whole community. I don’t wanna learn from myself because if I do I’ll never change.” He explains that even the greats—Monet, Renoir, etc.—all “hung together for a reason. They fed off each other.”

Though encouraged by the work of his peers, he also gives back, sharing his extensive knowledge of technique and art history by teaching at the Cumberland Artisans of Tennessee Studio. It’s this spirit of community that beckons Eric to continue sharing his art, including an upcoming show that will display his new series highlighting the heroic lives of members of the military. To learn about Eric’s upcoming shows, follow him on Twitter or visit his website www.ericbuechel.net.

The Guitar Man (detail), 2015, Oil on canvas, 29” x 34”

NashvilleArts.com

June 2015 | 41

Thomas Cole

and the Birth of American Landscape Painting

The Birth of an Artist installation

JOHN THORN COLLECTION, THOMAS COLE NATIONAL HISTORIC SITE/CEDAR GROVE (2010)

The Parthenon June 16 through August 11

he Parthenon, in partnership with the National Endowment for the Humanities’ On the Road series, hosts Wild Land: Thomas Cole and the Birth of American Landscape Painting. The exhibit is not a selection of Cole’s paintings. It is an exhibition of ten freestanding, immersive installations, including items organized by the Thomas Cole National Historic Site/Cedar Grove. A partial reproduction of Cole’s old studio, nineteenth-century artists’ tools, natural history specimens, and media components guide visitors through the process of landscape painting and the notion of plein air (painting outdoors) and introduces the nineteenth perspective of the natural world and conservation. “How excited we are to learn more about the Hudson River School and Cole’s process for creating his artwork,” says Parthenon Curator Susan Shockley, pointing out, “The exhibit also enables guests to revisit and to view the Parthenon’s Cowan Collection of Hudson River artists with new eyes, embracing what Cole described as nature’s ‘rich and delightful banquet.’” Le a r n more a bout t he ex hibit a t www.nehontheroad.org/wildland and www.nashville.gov.

NPT’s Appraisal Day

The Factory at Franklin • June 20

ave your treasures appraised and support a good cause at Nashville Public Television’s annual Appraisal Day. Top regional appraisers are giving verbal evaluations on a wide range of valuables and collectables, including fine art, jewelry, folk art, coins and currency, musical instruments, records, Asian items, Civil War items, china, antique firearms, and much more. Attendees may have up to three items appraised for $75 and up to six for $150. All proceeds from Appraisal D a y d i r e c t l y s u p p o r t N P T ’s educational, cultural, and civic programming.

Among the appraisers participating are John Case, Case Antiques; Charlie Clements, Clements Antiques; Mike Cotter, Yeoman’s in the Fork; Berenice Denton, Berenice Denton Estate Sales & Appraisals; Sarah Campbell Drury, Case Antiques; Carrie Gough, Veritas Fine Art Appraisals & Consulting; George Gruhn, Gruhn Guitars; Sam Holden, Pickle Road Appraisers; Mike Mouret, Nashville Coin & Currency; Selma Paul, Selma Paul Appraisal & Liquidation Services; Sara Stessel, Chartreuse Fine Art Consultants; and Mike Walton, Walton’s Antique Jewelry.

Nashville Public Television hosts its annual Antiques & Fine Arts Appraisal Day on Saturday, June 20, from 9 a.m. to 4 p.m. at The Factory at Franklin. The morning session runs from 9 until 11 a.m., and afternoon hours are 1 until 4 p.m. Visit www.wnpt.org/antiques for more information and a complete listing of items that will be appraised.

A AL LL L TTHH EE BB EE SS TT II NN F FI INNE E J EJ W EW E LERLYR Y 5101 Harding Road  Nashville, Tennessee 37205  615.353.1823 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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June 2015 | 43

Apokalupsis (ap • ok • al • oop • sis), n. Gr. an uncovering, a revelation

Joseph Sulkowski’s

MAGNUM

OPUS by Annie Stoppelbein | Photograph by Gina Binkley

s he approaches maturation in his artistic and personal life, Joseph Sulkowski is discovering the spaces where the seams come together. For several years he has felt the pull to create his masterwork. As one of the few remaining truly traditionalist painters, Joseph looks to the great masters to model his career. They all had a “magnum opus” of sorts, something to represent the culmination of their life’s work. His vision and desire to create something to define his art vocation has taken form in Apokalupsis: An Uncovering.

Oil sketch for Apokalupsis: The Bozetta, 16” x 25”

Character study for the Three Graces, Oil on canvas, 30” x 36”

n a world where the average person lives a fast-paced life driven by instant gratification, Joseph Sulkowski is taking it slow. Just like his greatest influences, Michelangelo, Velázquez, and Rembrandt, he still mixes his own materials, builds his own stretchers, and assembles his own canvases. He strongly believes that work created with store-bought materials can never reach the highest quality. The creation of a work by his hand is a process as timeless as the finished result. He lives by the words of his teacher Frank Mason: “Make every commission a masterpiece.” While he does take his time . . . time is not a commodity that Joseph cares to waste. He is aware of his own mortality and feels that as you age you should become more careful of how you invest your energy. When making art he asks himself, what will humanity treasure? What will be valued through the ages?

Hound head studies for expressions, Black chalk on rag paper, 10” x 12”

While so many of his contemporaries are creating art that he terms “purely cerebral,” Sulkowski asks the viewer to go beyond the senses and “cultivate ‘double vision’—seeing through the eye instead of only with it.” By doing so he believes every object may be “informed in a brilliant light of knowledge and understanding.” As a personification of nature, the artist uses paint and light to aid the observer in approaching the sublime. Instead of merely looking at the painting, Joseph’s objective is to leave the viewer in a state of aesthetic arrest.

46 | June 2015 NashvilleArts.com

He shares a studio with his wife, and fellow artist, Elizabeth Brandon. The space is immaculately clean and flooded with natural light that illuminates their work as well as the many treasures they have on display. There is the zebra-skin rug on the floor, a plethora of art on the walls, a library of art books, and a zoo of skeletal models of animals. There is even an authentic human skull. “Always start with the bones,” says Joseph. He learned this and other principles of painting from 1974 to 1979 while studying under Frank Mason, the authority on techniques of the old masters at the Art Students League of New York. Most art mentors teach their personal style, yielding carbon copies of the teacher’s artwork. Mason gave his students the concepts and methods they would need to execute their own artistic personalities with tremendous expertise. What began as a four-month course became a five-year apprenticeship. Mason told Sulkowski he would be finished when he painted the masterpiece in the classroom.

When he left the Art Students League, Joseph began the process of making art his career. For a while he supplemented his monetary needs by ushering at Carnegie Hall. He says, “I was high off of painting all day, and then at night I heard great music.” He went to all the galleries in New York promoting himself, but no one was looking for representational art. He considered getting a teaching degree but decided he did not want to settle for a “fallback” life. He knew from the age of five that he was meant to be an artist. Persistence yielded a meeting with Wally Findlay Galleries. Joseph abandoned a cab and ran through a snowstorm to make it there. The rest is history.

The inkling of an idea to create this masterwork, Apokalupsis, began to grow in Joseph’s mind while he was working in London. The word comes from the Greek for “an uncovering,” the opposite of what it is commonly understood to be—doom, destruction, and the end of all things. This work is an uncovering of our true natures as human beings. “All cells are complete entities. All life is connected.

Master and Hounds,Oil on canvas, 36” x 48”

NashvilleArts.com

June 2015 | 47

The soul knows this, but the mind can’t get there,” Joseph explains. This work will provide a means to this understanding. The impact of the imagery will serve as meditation. “Art is a living thing; that’s why it survives. We can’t do without it.”

He plans to use a pack of foxhounds as a metaphor for human life and the way we interact with each other. This animal is a favorite of Joseph’s and often appears in his work. They are an elite breed. As Joseph says, “You can’t call them dogs. They don’t wag their tails, they flag. They don’t bark, they speak.” They move as a pack. They are influenced by their family, fears, and backgrounds, just as human beings. They are susceptible to distractions and temptations and all things that lead one from the right path. Pictorially they will be grouped and depicted as dynamic representations of the Four Elements, the Five Senses, the Seven Deadly Sins, and the Three Graces. The Four Elements indicate our grounding in the natural world. The Five Senses represent the way we interpret and respond to the physical world. Representing the emotions and instincts that propel us through life are the Seven Deadly Sins. The Three Graces, beauty, love, and joy, are included as symbols of transformation.

“

Into the Woods, Oil on canvas, 22” x 28”

They move as a pack. They are influenced by their family, fears, and backgrounds, just as human beings. They are susceptible to distractions and temptations and all things that lead one from the right path.

Foxhounds in the Water, Oil on canvas, 36” x 42” 48 | June 2015 NashvilleArts.com

”

(top right) Study of Foxhound, Oil on panel, 12” x 16” (bottom right) Crying Out, Oil and chalk on prepared paper, 12” x 16”

The end result will be a large mural with proportions based on the Golden Mean at eight feet by twelve feet. This mural will be supported by fifty-one preliminary paintings and studies. Joseph is considering adding multimedia aspects, in order to further affect the viewer. Apokalupsis will leave the viewer possibly transformed, definitely influenced, and hopefully closer to manifesting their potential. “What I want to uncover with this body of work are the common references of existence and how the four elements, the five senses, the seven deadly sins, and the three graces may also be seen as channels and gateways to transformation and realization in consciousness.” Joseph believes that we have access to unlimited happiness, but it is our approach to life that prevents us from achieving it. He offers a means to become “unattached to a reality that is petrified in a literal mindedness, but inspired by one that is transfigured by the imagination.”

In a drawer by his easel, Joseph keeps an old slide of the famous work by Vermeer Girl with a Red Hat. It reminds him that light is supreme and perhaps the most powerfully elegant tool for the purpose of uncovering. In the painting, a girl wearing a fabulous red hat is showered in light. Joseph says, “It is a light that goes beyond the surface, to the inner light of consciousness itself.” For more information about Joseph Sulkowski, please visit www.josephsulkowski.com. His new book, The Sporting Life, will be published in October.

Joseph Sulkowski in his studio. On the wall: A Difference of Opinion, Charcoal, red, black and white chalk on rag paper, 40” x 50”

NashvilleArts.com

June 2015 | 49

I TA L I A NA 50 | June 2015 NashvilleArts.com

PHOTO © VICTORIA AND ALBERT MUSEUM, LONDON

M O DA

Italian High Style Comes to Town The Frist Center for the Visual Arts • June 5 through September 7 by Karen Parr-Moody

taly is the land of Lamborghinis and linguini, as much revered for design as for gastronomy. Yet while “Made in Italy” is a stamp of international approval for all things sartorially and sensorially pleasing, this was not always so.

Before Italy breathed the thin air of fashion’s heights, it was a broken land, smelling more of World War II’s gunpowder than of sensuous leather and perfume. The war had decimated the economy, leaving leaders with the question of how to reinvigorate it. They did so, in part, with fashion.

Guests can explore these humble roots in a new exhibition at the Frist Center for the Visual Arts entitled Italian Style: Fashion Since 1945. It arrives from the Victoria and Albert Museum in London, where its debut was met with thunderous applause, and runs from June 5 through September 7.

From those heady moments on, Italian designers sang a siren’s song to taste-making women everywhere. Putting some Italian fashion into one’s walk-in closet became de rigueur. Women from Ava Gardner to Lee Radziwill did so, and the exhibition puts their garments on display. The economic engine of Italy was fueled by workshops dotting the country, each one specializing in its own forte, including the luxur ious silk and cashmere for which Italy is now known.

Kennedy says, “A major section of the exhibition is called ‘Made in Italy.’ It looks at the materials and dissects several garments i n t h e s h o w. S o, f o r example, there’s a Versace suit that is analyzed from the point of view of the materials.”

Frist Center curator Trinita Kennedy explains that, while Ferragamo and Gucci were Italian brands known before World War II, they were the exceptions. She says, “ Then Giovanni Battista Giorgini star ted organizing fashion shows in Florence after World War II. He was able to demonstrate to the foreign press and foreign buyers that the Italians could make couture [at lower cost] and with as high a quality, as the French.”

The show also includes a delicious segue of voyeur ism, as guests get to peek into the wardrobe of Margaret Abegg. This American’s clothes were handmade by dressmaker Maria Grimaldi, who worked in Turin in the 1950s.

(above) Dolce & Gabbana, Leather ankle boots with gold, white, and pink embroidery, 2000 (previous page) Gucci, Bamboo-handled pigskin bag, early 1960s

NashvilleArts.com

PHOTO © VICTORIA AND ALBERT MUSEUM, LONDON

The exhibition reveals a Cinderella story. Once upon a time—prior to World War II— Italian fashion was an intricate pastiche of mom-and-pop tailor shops that produced well-crafted, but anonymous, clothing and accessories. Such shops would become chrysalises from which fashion butterflies emerged—leading up to the present day when Italian designers, including Valentino, Prada, Versace, and Armani, are international household names.

The exhibition opens with ball gowns from the early 1950s, when wasp-waisted models sashayed along Giorgini’s catwalk in the opulent Sala Bianca—“white hall”—in Florence’s Palazzo Pitti. Giorgini, a Florentine businessman, used this stage to promote Italian craftsmanship in a grand light, literally—the models were illuminated by magnificent chandeliers. Italian high fashion was born.

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Giorgio Armani Privé, Gown, Spring/Summer 2010

“That part of the exhibition actually feels like walking into a wealthy woman’s closet,” says Kennedy. “And that section of the exhibition really shows that a lot of people in Italy had their clothes hand made before the 1960s, whereas by that point in the United States, more people were wearing ready-to-wear than hand making their clothes, or having someone else hand make them for them.” Other key items in the exhibit include a Bulgari brooch originally owned by actress Elizabeth Taylor, along with an Italian suit made for John F. Kennedy.

What Trinita Kennedy enjoys about the exhibit is its incredible range, right up to the present. She says, “The variety of what Italians are doing is what is so important. You have Roberto Cavalli with his wild animal prints. Then you have Giorgio Armani, who’s very sleek but also very conservative. Then you have Versace, which is such an interesting family story.”

Kennedy says guests will see familiar names, but they’ll learn of little-known designers, too. “Like Roberto Capucci, for example,” Kennedy says. “I don’t think he’s a household name, but the dresses really knock your socks off.” And who doesn’t want their socks knocked off by a dress? Especially if they’re cashmere socks with a “Made in Italy” label.

The Frist Center for the Visual Arts presents Italian Style: Fashion Since 1945 June 5 through September 7. For more information please visit www.fristcenter.org. 52 | June 2015 NashvilleArts.com

5/12/15 3:46 PM

Andrew Saftel Our Days

Cumberland Gallery • Through June 27 by Rebecca Pierce

ur complex relationship with time inspired the title for Andrew Saftel’s exhibit at Cumberland Gallery. “These are our days, going by fast in our culture. The function of art is to get us to slow down, contemplate, think and act differently than we do in the world outside of art. We lose track of everyday miracles. Tiny bones in our ears collect sound vibrations and send those to the brain for processing. Plants come from seeds growing in sun, water, and soil. We are floating in a huge, dark space spinning and circling the sun. Our days are numbered on the calendar. Each year we live is time we never get back,” he explains.

My Fruit (detail), 2014, Hand dyed and woven wool rug, 69” x 52” Made in collaboration with Ricardo Servin in Michoacan, Mexico

By orchestrating an enchanting array of visual fragments, the mixed-media work presented in Our Days mines the depths of experience and perception. Saftel’s panels are saturated with vibrant color in myriad strokes and multiple layers of images, found objects, and bits of script. Representing snippets of time past and present, these materials create rich landscapes of personal experience and universal themes.

Our Days also includes works from Saftel’s tapestry project. Over the past several years he has divided his time and studio work between Pikeville, Tennessee, and Pátzcuaro, Michoacán, Mexico, where he has had an ongoing collaboration with a family of weavers. Some of the works on paper in this exhibition were used as designs for the tapestries. For Saftel this work represents a link between the history and culture of the Mexican agricultural heartland and life in his rural East Tennessee.

Finger Fruit, 2014, Graphite, watercolor, acrylic, collage, 51” x 20”

Our Days by Andrew Saftel is on view through June 27 at Cumberland Gallery. Saftel will talk about the works in the exhibition on Saturday, June 6, from 11 a.m. until 12 p.m. For more information, visit www.cumberlandgallery.com.

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PHOTOGRAPH BY JERRY PARK

5th Avenue Under the Lights

Statesmanship of Art T by Anne Brown, The Arts Company

he Nashville Artistic Odyssey has been a culmination of initiatives by visionary city leaders dating back to the 1960s. The negative aftershocks of that decade’s Urban Renewal destroyed the community experience of Downtown Nashville. Forward thinkers since then, through deliberate efforts, have launched and relaunched venues such as the Ryman, Frist Center, the Schermerhorn Symphony Center, and Broadway, to name just a few, as an integral part of the strategy to revitalize downtown. Today, businesses continue to collaborate to create a distinctive neighborhood downtown anchored by diverse talent and venues.

The decade of the 1980s brought artistic leadership with a directive by Mayor Fulton to ask the city’s new Metro Arts Commission to create a Nashville arts festival on the streets downtown to encourage people to come back downtown again. Called Summer Lights, the annual event invited people to imagine a safe and welcoming revitalized downtown, headlined by the distinctive blend of Nashville’s creative community, both profit and nonprofit. Since then, an impressive variety of exhibition and performance venues have evolved. My own breakthrough experience from all of this was to establish a visible arts business—The Arts Company—in 1996 in the middle of the marketplace downtown to see if such a business could survive. Twenty years later, we are still here and have lots of company. We are now connected with other businesses and activities throughout downtown with an active street life full of events and ongoing businesses and programming that attract people from all over the world to what has become a distinctive Nashville experience in the downtown neighborhood. Things we could not have imagined just a few years ago are now coming to pass in this year, 2015. Thanks to a blend of institutions, businesses, and government agencies, we now have ongoing pedestrian traffic every day, not just on special occasions—from the music venues of Broadway to the visual arts galleries on 5th Avenue of the Arts and beyond. We all have our many visionary mentors and statesmen to thank for pushing us forward.

PHOTOGRAPH BY GARY LAYDA

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Summer Lights, June 1987

Since I came to Nashville in 1968, I have experienced first hand many of these significant changes. Fortunately, in the 1970s, statesmen such as Nelson Andrews, Martha Ingram, Peggy Steine, and Mayor Richard Fulton, among many others, helped realign the city in dynamic ways. In this era, the Tennessee Arts Commission was established, the Tennessee Performing Arts Center opened, and Mayor Fulton formed the Metro Arts Commission. For the first time in the history of Nashville, the arts were being institutionalized as authentic civic entities.

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56 | June 2015 NashvilleArts.com

VIVIAN MAIER Sherrick & Paul June 18 to August 15

pening this month at Sherrick & Paul is an exciting collection of photographs by one of the art world’s most mysterious legends. Vivian Maier lived a humble life working as a nanny in New York City and Chicago for most of her life. It was only after her death that a cache of over 100,000 negatives was uncovered by researcher John Maloof, who had developed an interest in her work after purchasing a box of negatives to use in a book he was writing. It is from his efforts that her work is now available and being appreciated. Vivian Maier’s photographs are on exhibit at Sherrick & Paul June 18 to August 15. For more information visit www.sherrickandpaul.com.

Chicago, IL, 1969

Charles Keiger—Thinking Theatrically

The Arts Company • June 6–26

harles Keiger’s newest series of paintings entertains and engages with a curious cast of characters set in dramatic and dreamy scenarios. Real-world things—people, animals, trees, and buildings—are staged in a meticulously incongruous fashion, prompting us to wonder if there is narrative, or if we create our own story?

“Painting is an illusion, and I like adding layers of illusion to the painting. How many can I add? I keep wondering if I can add another. This is fun to me, and I think it keeps the viewers interested too. If I am engaged and the viewer has patience, they will begin to see things, find pieces of the puzzle, and I like that. I like to keep humor in it. That’s important to me because we’re all just playing on this stage. I want to create a space for the viewer to enjoy being in,” Keiger explains.

While Keiger gives his audience all kinds of rich things to look at and creates unique and fantastical scenarios, he’s not going to tell you what to feel. He leaves the interpretations up to the observer. “He has a boldly theatrical tableaux, very sparse and clean. His work is fun to look at, and it seems a little crazy. It is the kind of work that you want to go back and see again and again, because you are going to discover something else. His work is like life; it is never going to resolve itself,” Anne Brown, owner of The Arts Company, comments.

Beneath the City, Oil on wood, 20” x 22”

Charles Keiger—Thinking Theatrically opens with a reception at The Arts Company on June 6 during the First Saturday Art Crawl Downtown. The exhibition is on view through June 26. For more, visit www.theartscompany.com.

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Lyle Carbajal Tinney Contemporary â&#x20AC;˘ June 6 through July 25 58 | June 2015 NashvilleArts.com

Slightly Out of Focus

by John Seed | Photography by Juan Pont Lezica isitors to Lyle Carbajal’s installation and exhibition at Tinney Contemporary should expect to enter into an environment that feels both foreign and somehow strangely familiar. Without actually leaving Nashville, they will be surrounded by a new hybrid culture that features items and images inspired by American and Latin American advertising, Catholicism, and Mexican boxing. Carbajal creates a “serendipitous” mix of his own art shown along with paintings and artifacts that he has collected during his travels. There is architecture in the form of an 8 x 6 foot carniceria (small butcher shop) and a film projected on one of the structure’s walls.

A Progression of Nows #2, 2015, Mixed medium on wood panel with heavy resin, 32” x 64”

What Carbajal hopes to do with this mix of elements is to raise questions. How do high and low culture relate to each other and to the world? Does the transformation of the pristine gallery setting into an alternative culture challenge one’s ideas of value? When art objects are made more accessible, are they still seen as legitimate works of art? These questions, and many more like them, are at the heart of Lyle Carbajal’s ongoing artistic practice. NashvilleArts.com

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“

I’m able to feel what people were thinking when they did something. I can just feel it. That goes into everything that I am doing.

”

Balloon Face, 2015, Mixed medium on wood panel with heavy resin, 32” x 32”

The wellsprings of Carbajal’s aesthetic—which include folk art, naïve art, tribal art, and the art of the mentally ill—are all characteristically honest in their intent, and visual forthrightness is Carbajal’s favorite mode of connection. Illusionism, the product of European “high” culture, is something that he associates with colonialism. Carbajal’s art, which eschews academic technique, has been deeply affected by his engagement with pre-colonial visual styles and culture. In fact, he should really be thought of as an artist/scholar whose interests include cultural anthropology.

Carbajal’s artistic and social skills have served him well, both in childhood and adulthood, as he has constantly thrived while adapting to new places, cultures, and situations. The son of Latin American immigrants who grew up in both the United States and Mexico, Carbajal has lived “all around” the United States, including stints in the Pacific Northwest, Illinois, Tennessee, Louisiana, and California. He has also spent a significant amount of time in Latin America and Europe, most notably in France, Italy, and Argentina. As Carbajal explains: “I’m peripatetic, largely because of the nature of my recent

60 | June 2015 NashvilleArts.com

installations, which always reflect where I am living and working at any given moment. I find that six months is the length of time it takes to absorb a local culture and let its influence become apparent in my work.”

Although hesitant to be pinned down as identifying with any single culture, Carbajal says his art most often contains cultural references and images of people of color. The artist puts it this way: “I tend to paint brown and black people as I am really interested in the struggles of immigrants and minorities, and I’m also very interested in how colonialism has influenced culture, especially in Latin America after Catholicism stepped in.” Additionally, Carbajal has closely studied the Asafo culture of Ghana, a warrior culture with elaborate visual arts traditions that developed in response to contact with Europeans, including images of silhouettes that resonated with ideas including proverbs, heroism, and warnings.

he breadth of Carbajal’s cultural and aesthetic interests first became fully apparent in 2011 when he published his book Urban + Primitive: The Art of Lyle Carbajal. The book is a kind of compendium, not only of his own art but also of the places, perceptions, and influences that have helped shape him. Along with presenting chapters on some of his major themes and interests—animals, the sacred, regional art, totems, and illustration—the book lays out Carbajal’s all-inclusive relationship with the world, its culture, and its peoples. He writes: “Everywhere I’ve lived, these are all my people.”

Writing the book also allowed Carbajal to clarify, for himself and for his readers, the profound power of pre-colonial art. In a chapter titled “Religion and Magic,” he writes: “By stripping away the written dogma of religion and focusing on the visual components that are imbedded in everyday activities such as working, playing, eating, and dying, one begins to understand how images of fear, devotion and reverence, the aesthetics of art and symbols take on a physical power.”

Kings in Converse #2, 2015, Mixed medium on wood panel, 65” x 48”

Untitled (Churros), 2015, Mixed medium on wood panel, 38” x 70”

NashvilleArts.com

June 2015 | 61

A Progression of Nows, 2015, Mixed medium and toy cars on wood panel with heavy resin, 32” x 44”

Carbajal likes to break down visual images and follow them back to their social and cultural roots: “If we were to take some of the visual culture f rom a border town—like El Paso, for example—and begin breaking down the ideas behind the local images and begin asking the questions, why and how did this imagery emerge and at what point did it begin to take shape, I suppose we would have to back into some of the realities of life in these places. I think these realities would include life in association with thoughts of heroism, labor, religion and distinct forms of worship, identity and family, and perhaps even the idea of authority and class structure.”

“

I want motion, emotion, sound, light, and color to connect visitors to the show with its iconography, culture, and mythos.

As his installation-based exhibitions have evolved, Carbajal has continued to introduce new constructions that literally can be bumped into. He has been including architectural elements to emphasize the idea of an environment and then surrounding them with paintings that suggest cultural themes, a local population, products, and activities. His exhibits tend to look different in every town, since visitors see his work through the prism of their local cultures.

A key architectural element in the exhibit is the model of a carniceria that Carbajal had once seen in Mexico City. A one-half scale model of the carniceria, complete with awnings and hand-painted signage, gives the show a dose of urban decay that disrupts what Carbajal characterizes as the inherent “sterility” of the gallery space. Each of his installations is different, which reflects the “openness to chance” that is vital to his approach.

Romancing Banality, 2013, Installation in Seattle

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”

Untitled, 2015, Mixed medium on wood panel with heavy resin, 32” x 32”

Carbajal is also beginning to work with film, and for this exhibition he collaborated with artists from Juarez, Mexico, to develop a film that deals with some of the exhibition’s themes. Sound is present in the installation, as Carbajal wants to connect with onlookers through as many of their senses as possible. “I want the space to feel alive! I want motion, emotion, sound, light, and color to connect visitors to the show with its iconography, culture, and mythos.” With its urban energy and offhandedness, Carbajal’s work is sometimes compared to that of Jean-Michel Basquiat (1961–88). To a degree, the comparison works, as Basquiat has been an influence,

but there is at least one major respect in which the two artists are remarkably different. Basquiat was an angry artist who was driven to make searing social and political statements. Carbajal, in contrast, is rarely angry or sarcastic. His choices and images reflect his affection for world culture, not his need to reform it. In terms of influences, Carbajal says that he “lost interest” in Basquiat years ago and has been more recently drawn to the works of Julian Schnabel and Georg Baselitz. Ultimately, Carbajal is interested in looking at the products and artifacts of everyday culture with an honest eye, attempting

NashvilleArts.com

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Aylesbury Duck, 2015, Mixed medium on wood panel with heavy resin, 48” x 32” 64 | June 2015 NashvilleArts.com

Self-Portrait as Narcissist, 2014, Mixed medium on wood panel with heavy resin, 37” x 32”

to portray life’s mysteries and events in modest, relatable images. “I have the ability to look at things very objectively,” he philosophizes. “I guess that is my superpower. I’m able to feel what people were thinking when they did something. I can just feel it. That goes into everything that I am doing.” The overarching goal of Carbajal’s work is to share his experience of the small mysteries that he has discovered in his travels and studies through his imagery. By insisting that his art refer to fundamental human experiences and emotions and by creating art without artifice, he has created a compelling body of work that engages its viewers with surprising candor and force. Lyle Carbajal’s Romancing Banality opens at Tinney Contemporary June 6 and will remain on view through July 25. Nashville Arts Magazine’s Paul Polycarpou will inter view Carbajal at the gallery on June 6 at 5 p.m. For more information please visit www.tinneycontemporary.com or www.romancingbanality.com.

NashvilleArts.com

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Contact P

James Andrew Hearn

View More Work At: Facebook.com/JamesAndrewHearnsArt Contact Patrick: (615) 579-0330

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5/7/15 2:57 PM

tupelo.net

66 | June 2015 NashvilleArts.com

YORK & Friends fine art Nashville • Memphis

JA D E R E Y N O LDS SPRING COLLECTION JUNE 2-30 Mon Ami, 24 x 24, Acrylic on canvas

N I G HTFA LL Artist/composer Ron York’s followup CD to his well-received 2014 release, Renderings

CD RELEASE PARTY & ARTIST’S RECEPTION SATURDAY, JUNE 13, 2-4 107 Harding Place • Tues-Sat 10-5 615.352.3316 • yorkandfriends@att.net • www.yorkandfriends.com Follow us on at Ron York Art

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June 2015 | 67

Can You Hear Me Now? John Jackson Redefines Classicism with a Dash of Technology

by Daniel Tidwell

witching freely between subject and style is a well-worn strategy of post-modern painting that has perhaps been used to the greatest effect by Gerhard Richter. Richter’s paintings of eclectic subject matter, which includes paintings from photographs, color charts, and pure abstraction, insist on the unimportance of subject and the primacy of paint. Through this strategy Richter has become one of the “purest” of contemporary painters.

68 | June 2015 NashvilleArts.com

Like Richter, John Jackson moves with ease between figuration and abstraction—creating realist works about the effect of technology on relationships and atmospheric abstract paintings involved with passages of light and dark.

Jackson’s most recent figurative work presents a series of visual one-liners about the alienating effects of technology, painted in a style reminiscent of Eric Fischl’s work from the 80s. In 4th of July, a teenage boy attends a fireworks display, but rather than experiencing the show around him, he watches it on his iPad. Seduction 1 portrays a naked woman in the foreground intently texting and ignoring the nude man sitting behind her who is similarly disengaged—staring off to the side of the picture. These two works echo the disaffection that Fischl so deftly explored through the juxtaposition of the mundane with the transgressive. Others of Jackson’s works are more obvious, such as a reproduction of Vermeer’s Girl with a Pearl Earring with the subject talking on a cell phone, or a landscape painting based on Constable’s The Haywain with a spinning wait cursor superimposed over the image. According to Jackson, “The overall narrative of these paintings is how our culture is being funneled through technology and how it affects the way we relate and communicate with each other . . . being simultaneously connected and disconnected.” These are significant ideas, but the works

PHOTOGRAPH BY BUDDY JACKSON

But where Richter’s refusal to be pinned down by subject results in an expansive embrace of the plasticity of his medium, Jackson’s bifurcation of subject matter leads to a conceptual gap between the two styles—a disconnect where one style critiques and argues with the other.

(above) The Haywain, 2014, Oil on wood panel, 36” x 52” (previous page) Girl with a Pearl Cell Phone Case, 2014, Oil on canvas, 16” x 18”

NashvilleArts.com

June 2015 | 69

Code, 2015, Oil on birch panel, 60” x 48”

navigate through this conceptual territory with easily decoded visual puns and broad surface strokes, leaving the viewer dangling, looking for more complex, multi-layered points of view. Jackson’s current abstract work is the polar opposite of his figurative work, lacking any clear referent to content or the outside world, much like the color field painting of the 1960s championed by critic Clement

Greenberg. In his artist statement, Jackson says that these works “depict what we might see when we close our eyes or first open them in a darkened room. What we imagine our souls and spiritual interior might look like.” The works do impart a brooding retinal quality with pulsing light emanating from the center of the visual field interrupted by transparent, floating organic forms. The strong central focus of

70 | June 2015 NashvilleArts.com

the paintings recalls the formal structure of Kenneth Noland’s light-filled target paintings, while the hovering forms bring to mind Helen Frankenthaler’s lush stains or Jules Olitski’s atmospherics.

Jackson sees his figurative and abstract work as complementary—with realist work addressing external subject matter and the abstr actions engaging with internal concerns. “The figurative work

Light with Magenta and Yellow, 2015, Oil and wax on birch, 54” x 48”

is more about thought and motive and is more confined, whereas the abstracts are more about feeling and intuition and are unconfined,” says Jackson. “It’s a luxury to be able to go back and forth between the two because when I get burned out on one I can switch back to the other and always keep things fresh.”

Light with Bronze, Gold and Turquoise, 2015, Oil and wax on birch, 32” x 28”

inside me and that there are still major breakthroughs coming.” As Jackson’s work continues to develop, perhaps the visual dissonance and conceptual clash between disparate styles will prove to be a key factor as he advances his work.

See John Jackson at The Rymer Gallery June 6 through 30. A reception will be held on June 6 from 4 to 6 p.m. before the First Saturday Downtown Art Crawl. Attendees are encouraged to participate in an interactive installation until 8 p.m. For more information visit www.therymergallery.com.

While Jackson’s practice is clearly in line with that of many post-modern painters who pick and choose and work through a variety of styles, there doesn’t seem to be a strong conceptual underpinning for this method in his work, the result of whic h is a disconnected r andom quality between the genres. In the 80s many painters appropriated the formal aesthetics of modernism to create a social and art historical critique of modernist art. A similar, but unintended, critique seems to result from the dissonance that Jackson’s disparate styles create between each other. Jackson admits that his work is constantly evolving: “Even though my figurative paintings are ‘realist’ I’m not particularly interested in ‘realism’,” says Jackson. “It just so happens to be the way I learned how to paint. In general, I’m not completely happy with where I am right now with my painting and feel there is so much more

Seduction 1, 2013, Oil and acrylic on wood panel, 48” x 56” NashvilleArts.com

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Tennessee State Museum

STEPHAN I E J EAN N E HARDY w w w.stephaniejeanne.com

July 3 - October 4, 2015 Free Admission Open from 10 a.m. to 4 p.m. on July 4th

85 Years of the

Tennessee Highway Patrol

Gypsy 48x48, Featured in American Art Collector Magazine

BEN N ET T GALLERI ES , NAS HVI LLE

Also on View

Places I Remember PHOTOGRAPHS OF NAS HVI LLE BY HANK DEVITO

Located at Fifth Avenue & Deaderick Street Downtown Nashville tnmuseum.org 615 • 741• 2692 Open Daily (Closed Mondays) 72 | June 2015 NashvilleArts.com

The

Pryor Art Gallery

American Watercolor Society C o l u m b i a S tat e C o m m u n i t y C o l l e g e PRESENTS THE

A nnuAl T rAveling e xhibiT

July 1–29 There will be a recepTion on

Friday, July 10 6–8 p.m.

The Pryor Art Gallery is located on the campus of Columbia State Community College, Columbia, Tennessee, in the Waymon L. Hickman building. The gallery is free and open to the public Monday–Thursday, 8 a.m. to 8 p.m. Friday and Saturday, 9 a.m. to 5 p.m.

all are welcome!

Abstract

74 | June 2015 NashvilleArts.com

A PHOTOGRAPHIC SERIES

Junk Pile â&#x20AC;&#x201C; PSC Metals on the east side of the river downtown

Nashville NashvilleArts.com A PHOTOG RAPHIC SERIES

June 2015 | 75

Cornelia Fort Airpark hangar along the river in East Nashville

United Methodist Publishing House, 9th Avenue South at Clark Place 76 | June 2015 NashvilleArts.com

5th Avenue South side of the Omni Hotel

Railroad overpass above Nelson Merry Street, downtown Nashville

by Bill Hobbs

have been a photographer since the age of 10, and like many a kid with a camera, I spent a lot of time trying to unleash my inner Ansel Adams, creating competently executed photographs of beautiful landscapes. I still do that, but increasingly I am drawn to the challenge of making impactful images of things that most people would walk or drive past without a second thought or not notice because they are looking at things the way most people do. As I worked to make these abstract images, I wrestled with the contradiction of abstract photography itself—after all, by its

Country Music Hall of Fame, 5th Avenue South and Demonbreun

very nature, photography captures an image of something real. A painter may paint whatever comes to mind, but a camera captures the reflected light of a bit of reality—though the final image is reality as filtered through the photographer’s many choices affecting exposure, perspective, cropping, focus, and processing. For these images, turning mundane things like an abandoned airplane hangar or a giant pile of metal junk into abstract art, then eliminating the distraction of color and focusing only on black and white, light and shadow, shape and line encompasses the basic elements of photography. As much as the beauty shots of the skyline and the river are, these also are Nashville to me. For more information about Bill Hobbs, please visit www.billhobbs.com.

John Seigenthaler Pedestrian Bridge

NashvilleArts.com

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Bey on d Pl uc k Paula Bressman and Rachel Miller Boldly Go Where No Harp Has Gone Before . . . Fasten Your Seatbelts! 78 | June 2015 NashvilleArts.com

THIS PLUCKING ROCKS! by Erica Ciccarone | Photography by John Scarpati

ive years ago, Paula Bressman and Rachel Miller were up for the same part in the Southwest Michigan Symphony Orchestra. Like most auditions for harpists, the competition was stiff, and the contenders sat in pre-audition tension, barely acknowledging each other. It’s not usually the place to make friends, but Bressman and Miller did. Both harpists earned spots in the orchestra, and when the conductor realized they played well together, he billed them for a harp duo during the orchestra’s summer series. Bressman and Miller found that they complemented each other naturally, and Beyond Pluck was born. Miller, who lives in Cincinnati, started visiting with Bressman, a Nashville native, for a couple of weeks at a time to prepare for the performance. Their time spent together and the friendship that formed is evident in their duets. “It makes you secure on stage when you can read each other so well and be in sync,” Bressman says. “We fell into a friendship because we played together. Our personalities complement each other really well.” Their performances are studied and passionate, and I imagine an invisible line between them that tugs and gives at all the right moments.

“

Although both Bressman and Miller are classically trained and perform in orc hestr as across the country, they are making a name for themselves with rock power ballads. Beyond Pluck seeks to push the limits of the harp by bending genres and seeking out innovative collaborations, as they did in Hart’s “Barracuda” with Nashville drummer Nick Buda. Their cover of The Who’s “Baba O’Riley” is a passionate rock ballad that they hope will make the instrument more accessible to a wider audience. The choice of song is fitting; when Pete Townshend wrote “Baba O’Riley,” he was reaching beyond power chords and call and response into innovative musical possibilities. “Great music is great music,” Miller says, “no matter what genre it is. Many orchestral musicians aren’t on top of current music, while songwriters aren’t up on symphony music. It’s all great

music, and I don’t think it should be compartmentalized.” Bressman was raised on music: Jazz, classic rock, bluegrass, and classical all found a place in her father’s record collection. There must have been something about playing with Miller that guided her toward arranging rock and pop songs. It’s not easy to make a beefy guitar solo suitable for a harpist, but the challenge not only stimulates Bressman intellectually; it confirms her view about the power of a good song to transcend genres. By taking the harp out of its orchestral context, the duo breathes new life into the songs they arrange and perform. Their goal of collaboration is shown best in a study headed by astronomer and filmmaker José Francisco Salgado along with the Feinberg School of Medicine at Northwestern University. The group gathered data about the relationship between music and neural activity. For years, researchers have been looking into how music stimulates the brain and have made links to everything from infant language acquisition to Alzheimer’s treatment. Salgado, Bressman, and Miller created a music video of the process, showing the harpists’ brain activity while they played and listened to music. Later this month, Beyond Pluck will release their third music video. They aren’t revealing the title but say it will be a pop song this time around. Based on the power of their performance, it’s sure to be an anthem. They’ll continue to make their work interdisciplinary and will be collaborating with ballet dancers and visual artists this year. “We’re excited about the unexpected places this is taking us, in the people we meet and the collaborations we share,” Miller says. Bressman adds, “ We’re building a life in which no two days look the same.”

Great music is great music, no matter what genre it is.

”

Look for Beyond Pluck’s latest music video release on June 10 on their YouTube channel and www.nashvillearts.com. For more information and a schedule of upcoming performances please visit www.beyondpluck.com.

NashvilleArts.com

June 2015 | 79

PHOTOGRAPH BY FRANCOIS DUHAMEL

Film Review

Specialized furniture Paul Dano in Love & Mercy

Love & Mercy Provides a Poignant Look at Mental Illness by Justin Stokes

from the forest floor

to your home.

o some, mental instability seems to come out of nowhere. But at what point does the facade of happiness crack to fault lines of guilt, sadness, or tremendous pressure?

Esteemed producer Bill Pohlad (12 Years a Slave) returns to the director’s chair for a film that means as much to him as it should to American music lovers. Called Love & Mercy, Pohlad’s biopic narrows on the more obscure details of Brian Wilson (played by both Paul Dano and John Cusack), the creative force behind the Beach Boys. Viewers see Wilson during both a “career adolescence” that makes him move beyond the hollow surf anthems and later in life when his music took a different direction. The older Wilson strikes a relationship with a car salesman (Elizabeth Banks) who slowly uncovers troubling details about the star and those who surround Wilson to manage his daily affairs.

Dramatic compression of the subject’s life and a potential ignorance may sound like strange bedfellows. But for this film, the lack of knowledge works better. It sets the viewer up for a dissertation on the vulnerability of a musician, how fragile the art and artist can be, and how easily they can be manipulated. This maintains the element of surprise and, thereby, wonder when you understand what his psyche had to endure and how he became the man that he is today.

Ironically, it’s a great fit for those looking for the “anti-summer” movie. But because it moves past the superficial, it’s a tactile story that is bound to soften the hearts of even the harshest of critics for popular music. There’s a solid cast (that features a great performance by Paul Giamatti) and the subtle scoring genius of Atticus Ross.

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Love & Mercy opens at the Belcourt Theatre Friday, June 5. For show times and other information, visit www.belcourt.org. Justin Stokes is the founder of the MTSU Film Guild, a student organization which functions as a production company for student filmmakers. He is a filmmaker, screenwriter, and social media manager.

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And So It Goes...

What Isn’t Art? by Rachael McCampbell

Marcel Duchamp, the grandfather of conceptual art, shocked the world with his “Readymades.” When he attempted to display a urinal in 1917 called Fountain, Duchamp said he wanted to “shift the focus of art from physical craft to intellectual interpretation.” Robert Rauschenberg’s famous Erased de Kooning Drawing, 1953, illustrated the fact that art didn’t need to be an object but an idea. The post-conceptual artist Sherrie Levine, best known for her Appropriation Art and for rephotographing Walker Evans’s quintessential portraits, brought up the questions of ownership of publicly viewed images, which has lead to numerous lawsuits by other Appropriation artists. Currently we have the neo-conceptual artists like Damien Hirst, best known for preserving dissected animal carcasses in formaldehyde and encrusting a skull in diamonds. His conceptual ideas, often controversial, have made him the richest living artist in the world today. I wanted to get a current perspective on conceptual art from an artist fresh out of school, so I spoke with Liz Clayton Scofield, a performance artist who received an undergraduate degree from Vanderbilt and an MFA from Indiana University. “Conceptual artists often make work to participate in conversation with contemporary art and other artists. While I personally strive to make layered conceptual work, I also want to make my work accessible to the public.”

Liz Clayton Scofield, Making Myself, Selling Myself, Playing with Myself, 2015 installation at Indiana University

ears ago, I walked into a Los Angeles gallery and saw a pile of clothes in the middle of the floor. I remember asking myself, is that art? I had to step out of the formulaic art box in my brain labeled “Art = Painting + Sculpture” and step into the world of conceptual (and installation) art. I think the concept was a statement against rampant consumerism in our society—ironic since there was a large price tag attached, which presumably would lead to the artist and dealer buying more stuff. Regardless, my friends and I stopped to discuss the piece’s meaning, which I imagine was what the artist wanted—to create conversation. But is this art? Since this installation evoked both an important idea and feeling, I would say based on Merriam-Webster’s definition of “art,” it was.

(left) Damien Hirst, For the Love of God, 2007, Platinum cast of a human skull covered with 8,601 diamonds (right) Marcel Duchamp, Fountain, 1917, 2’ x 1’ x 1’

Being a working artist who survives on the sale of my art, I had to ask the obvious question, how do you make money being a conceptual artist when it doesn’t involve making objects? “Artists have their ways of surviving. Some get support through honorariums or grants, sales of video art, prints, etcetera, or even objects like my LiZes.” They are toy sculptures of the artist—an aesthetic outcropping of a multi-media project called Making Myself, Selling Myself, Playing with Myself. “The LiZes follow my desire to investigate how I give myself value from my position at the margins of society as a queer trans person, while introducing an element of fun since the LiZes are meant to be played with as any toy.”

Liz Clayton Scofield, LiZes, 2015

PHOTOGRAPH BY RON MANVILLE

So where will conceptual art take us in the future? Will painting and sculpture become irrelevant? Will the power of an idea finally make art nothing more than an artist’s statement written on a piece of paper? I think that art reduced to an idea is only as good as the idea itself. But if making a statement is considered art, then the next obvious question to me is, what ISN’T art?

NashvilleArts.com

Rachael McCampbell is an artist, teacher, curator, and writer who resides in the small hamlet of Leiper’s Fork, Tennessee. For more about her, please visit www.rachaelmccampbell.com. June 2015 | 83

Art in Formation Stirrings from the Nashville Underground

Jason Shawhan at the Candyman screening

by Tony Youngblood

or seventeen-year-old Jason Shawhan 1992 was a formative year. He saw Alien 3 on opening night in Nashville and then Twin Peaks: Fire Walk with Me a month later while vacationing in France. The two films were commercial and critical disappointments, but for Jason they marked the beginning of a beautiful, mad, strange love affair with cinema. “[They] kick-started some weird synapse deep inside my brain,” he commented. Now, Shawhan programs the Graveyard and Spectrum sections at the Nashville Film Festival, occasionally hosts the Midnight Movie series at the Belcourt, and writes about film for the Nashville Scene. When he introduces a film, his passion spills out and infects the audience. “I look for things that keep people in touch with remote mental processes and deeply visceral emotions,” he said. “Things that fill the hippocampus full of images and concepts that still tumble around in sleep and distant corners of waking life.” Among the films he’s brought to Nashville are Irréversible, Esther Kahn, The Heart is Deceitful Above All Things, and Goodbye to Language. Shawhan is particularly excited about two films coming soon to Nashville: Saint Laurent, “which is just exquisite, a hallucinatory biography of fashion, decadence, and identity,” and the rare Out 1: Noli Me Tangere, “Jacques Rivette’s twelve-hour magnum opus,” rereleased in a 2K restoration.

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Exhibit in Murfreesboro’s City Hall Rotunda June 16–July 24

He feels that for a town of Nashville’s size, we have a surprisingly vital cinema landscape. “We have the Belcourt, Sarratt, The Light + Sound Machine, and a few screens at the Green Hills 16plex,” Shawhan said. “It’s not among the big three [NYC, L.A., Chicago], but you get so much more than a simple experience. Atmosphere, hospitality, and personality go a long way. We still dream big here, and it’s a blast to be a part of that.”

Classes Available Murfreesboro Cannonsburg

PHOTOGRAPH BY JOHN SCARPATI

Jason Shawhan blogs about film at www.JasonShawhan.com and hosts the radio show Erase; Rewind with DJ Nomi Fridays at 9 p.m. on www.DanceMixUSA.com. Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s (ModularArtPods.com) and runs the experimental improv music blog and podcast www.TheatreIntangible.com.

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The Bookmark A Monthly Look at Hot Books and Cool Reads

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For more information about these books, visit www.parnassusbooks.net.

Jacksonland: President Andrew Jackson, Chief John Ross, and a Great American Land Grab STEVE INSKEEP You know of United States President Andrew Jackson, of course. But have you heard of Cherokee Chief John Ross? Renowned journalist Steve Inskeep, cohost of NPR’s Morning Edition and author of the critically acclaimed Instant City, tells the story of how these two men led their opposing people through a time of conflict and transition in American history. Historian and author Jon Meacham calls the book “an essential story of geography, greed, and power” and says, “The forces [Inskeep] so clearly delineates are the ones that shape us still.” Meet Inskeep when he speaks as part of the Salon@615 author series on June 4 at the Downtown Public Library.

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Finders Keepers: A Novel STEPHEN KING The latest from Mr. King is both a thriller and an ode to the powerful influence (for both good and evil) of literature. The mystery-solving trio of characters from King’s bestselling Mr. Mercedes are back, and this time they’re on the case of a deranged reader obsessed with a writer and his books. If it sounds a bit like Misery, it is—but only a little. This is a brand-new story and every bit as riveting. Prepare to stay up all night turning pages. King is indeed the master of suspense.

Penguins with People Problems MARY LAURA PHILPOTT An awkward date. A slip-up at work. A bee in your car. These everyday situations aren’t so funny when they happen to you, but they’re hilarious when they happen to penguins. You’ll fall in love with the quirky characters in this illustrated humor book based on the popular Tumblr “The Random Penguins” from author and illustrator Mary Laura Philpott. Parnassus’s own social media director and editor of our online magazine, Musing, Philpott has been called “Sandra Boynton for grownups.” The book tour launches with a party at Parnassus on Monday evening, June 1.

Love May Fail MATTHEW QUICK Quick specializes in offbeat characters who’ve been knocked down but won’t stay down. (Remember The Silver Linings Playbook?) In our June selection for our First Editions Club, Love May Fail, four people alternate as narrator, weaving together a story of how they ultimately save one another. Both irreverent and inspiring, this unique read belongs in every beach bag. Meet the author—”Q” as we call him—at Parnassus on June 16 when he’ll read and sign his delightful new novel.

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Poet’s Corner

FEATURING THE YOUNG POETS OF SOUTHERN WORD

If You Write Poetry

PHOTOGRAPH BY ANTHONY SCARLATI

By Que’Dell De’Chon Chithambo After Ruth Forman

Que’Dell De’Chon Chithambo is the winner of the 2015 Mid South Grand Slam Final. He is a student at Nashville School of the Arts.

Feed it to your town like Jesus fed his people. Let each word be a spoonful of Alphabet soup. Each letter be a cheese biscuit from Red Lobster. Pour it in a tall glass until your cup runneth over and sets rainbow stains on white tablecloths. If you write poetry, it should make you wonder where no one else wonders; like... What’s the speed of darkness? Why doesn’t Tarzan have body hair? Can a Crip really donate blood? And if it costs 89 cents to feed the children on the TV commercials, then why does child support still cost so damn much? If you write poetry, let it flow from your mind like ocean currents. Let waves crash like wrecks and splash Nashville Shores. Make the stage your active therapy. Don’t be afraid to intercept the mic or fumble your words. Take us into the end zone of your imagination. If you write poetry, mix it like a bartender. Let it run like diarrhea. Let it fly like angels. Let it freeze us like Elsa. Let it burn like Usher. Let it fall like raindrops. Let it rain like Prince. Let it twist and spin our minds like tornadoes. Let it shine like this little light of mine. And like everywhere I go. And like all up in my home And like all up in my church. If you write poetry, speak it. If you write poetry, practice it. If you write poetry, buy it. Unzip your lips and unleash these attractive rhythms unto the world. If you write poetry, spit it.

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June 2015 | 89

Theatre

Street Theatre Company Presents the Off-Broadway Hit Musical

Dogfight

by Jim Reyland

ar is hell and so is premiering a new musical Off Broadway. Neither one offers you much chance of coming out alive. But the violence and the desperation of battle, for those who appear through the smoke, have served to inspire many an enduring work of art. Ben Pasek, Justin Paul, and Peter Duchan’s hauntingly beautiful Dogfight is such a work. Set in the 1960s at the start of the Vietnam War, Dogfight begins on the eve of the deployment of three young Marines and ends as a lesson in the power of love and compassion.

Street Theatre Company, who left their Elm Hill Pike home of the last four years in January to partner with Bailey STEM Magnet Middle Prep School in East Nashville, continues to meet its goal to stage Nashville premieres with the Off-Broadway musical Dogfight. The show originally opened in New York in 2012 and, after receiving rave reviews, battled its way to the London stage in 2014. Following its success, regional theatres in both the United States and Europe will be mounting productions of Dogfight. Cathy Street, Artistic Director a n d Fo u n d e r o f S t r e e t Theatre Company, will direct the award-winning musical, which runs June 5–21 at Street Theatre’s new East N a s h v i l l e l o c a t i o n . “A s always, the story and the music are what compelled me to add it to our season,” s a y s S t re e t . “ T h e s h o w deals with so many things: Cast of Dogfight judgments about people based on appearance, cruelty and innocence, the Vietnam War and the soldiers who fought it, and the repercussions when they came home.”

Elvie Williams and Lauren Jones in Passing Strange

Street Theatre is celebrating their tenth anniversary by making 2015 an entirely pay-what-you-can season and presenting two more local premieres: Dogfight and Heathers as well as the return of fan favorite from 2007, Bat Boy. If you love musical theatre then you really love the chase, the unknown, the chance to discover a new and compelling work, and a story or a song that will live with you long after you leave the theater. The creators of this brave new musical have fought the war to bring it to the stage, and Street Theatre’s Nashville premiere will help to make it victorious. Dogfight runs June 5–21 at Street Theatre Company’s new location in East Nashville, Bailey Middle School. Show times are Fridays and Saturdays at 8 p.m. and Sundays at 5 p.m. Tickets are available by visiting www.streettheatrecompany.org, and pr ices are pay-w hat-you-can. The show is rated R for adult language/content.

“

Our aim is to engage our audience with universal stories that speak to the human experience and challenge conversation.

”

— Cathy Street, Founder, Street Theatre Company

Belmont University’s Musical Theatre program also figures in Street’s production of Dogf ight as it continues to provide outstanding artists to Nashville stages. Dogf ight stars Belmont graduate Jens Jacobson as Eddie Birdlace and new Nashvillian Audrey Johnson as Rose. 90 | June 2015 NashvilleArts.com

Jim Reyland’s STAND, starring Barry Scott and Chip Arnold and voted Best New Play by the Scene, returns to TPAC September 24–27, 2015, to kick off its national HCA Cultural Inclusion Tour. www.writersstage.com

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Backstage with Studio Tenn

The Wizard of Oz Schermerhorn Symphony Center • June 13 and 14 scale, with the power and energy for costumes to exist as set pieces.

by Cat Acree Photography by Anthony Matula

Logan’s workroom is clearly over the rainbow, and though it’s a rainbow we recognize, it’s still something new. The Cowardly Lion will have a dreadlocked, afro-style wig, safari pants, and a striped vest over a thermal striped shirt. The effect is pure lion, but constructing a silhouette from clothing of today allows the audience to fill in the gaps. “To me it’s not imaginative to do a fur suit,” says Logan. “It bores me to tears.”

tudio Tenn does many things well, as evidenced throughout their 2014–2015 season, from transforming bolts of fabric into authentic, flawless costumes to trusting their audience to run away with their imaginations. The season wraps with The Wizard of Oz at the Schermerhorn, where the Studio Tenn team once again pays homage to a classic by unleashing their own creativity. The Wizard of Oz is timeless, but it’s more than that. What other story becomes more classic with spin-offs and contemporary adaptations, such as Wicked? L. Frank Baum’s children’s story is part of our culture, having only grown since it debuted on screen in Technicolor in 1939. And the key word here is Technicolor, no longer simply a reference to color cinematography but an adjective that describes what is most vivid and colorful in the wor ld. And this exaggerated, even garish mise en scène is ideal for the requirements of the symphony hall.

Diana DeGarmo as Dorothy

When Artistic Director Matt Logan first began designing the show, “I felt like we were just making a world, instead of using our world,” he said. With so many interpretations of Wizard, Logan recognized it wouldn’t take much for the audience to know exactly where they are, “as long as we remember why people love it.” Backstage at Studio Tenn, Logan takes a break f rom building up Glinda’s big pink poof dress to provide a peek into the architecture of the show. Adjacent to the fluffy monstrosity is Elphaba’s Zac Posen-inspired gown and Dorothy’s blue-gingham dress, though the print is huge and a little more “Daisy Mae.” The colors clash, the textures are wild, and at one point Logan describes an Oz garment as “Diana Ross.” The tin man has a steampunk/biker edge, and the Winkie soldiers look like crazy samurai. Everything is bold, graphic, and large

Therein lies the magic of theatre, when the willing suspension of disbelief is not only required by the production but is embraced by its audience. You can trust your audience if they trust you. For example, Studio Tenn’s Wizard sends Dorothy and co. on a yellow brick road that loops the entire orchestra pit. “It’s always been about coming home,” says Logan. “It’s always been about a circle and a journey.” With a circular story that literally rings the orchestra, the music of Harold Arlen and E.Y Harburg is front and center, but still not in the story. “It glorifies the music, which is really wonderful. It lets people live in it.”

When a story includes a tornado, a giant wizard head, flying monkeys, and a balloon ride, some trickery is necessary. So while the scenery will be minimal, the show will rely heavily on a projector screen. “It’s rare in Tennessee to have the advantage of blending projections with live action,” says Logan. “People are going to be overwhelmed by it—in a good way.”

This epic show will hopefully mark a new chapter for Logan and the entire S t u d i o Te n n t e a m . Fo r s h o w s a t the Schermerhorn, they ’re hoping to volley f rom serious productions like Les Miserables and next year’s West Side Story to the challenges of an epic Disney fantasy.

Laura Matula as Wicked Witch

92 | June 2015 NashvilleArts.com

See Studio Tenn’s production of The Wizard of Oz live on stage at the Schermerhorn Symphony Center June 13 and 14. For tickets and additional information visit www.studiotenn.com.

Critical I

Two Exhibitions Share Space to Create a Unique Experience by Joe Nolan

ay’s First Saturday event was packed with great shows. Downtown and in Wedgewood-Houston gallery-goers shared excited hints and tips about don’t-miss gallery displays. One of the best and most resonant exhibitions I saw was the new two-person show at Zeitgeist. John Donovan’s New Personal Best and Jessica Wohl’s Letting Go get separate billing on the gallery’s wall, but one of the masterstrokes of this display is the way the two bodies of work are interspersed throughout the gallery. The pieces don’t create a conversation so much as they just bring out the best in each other.

Donovan’s New Personal Best seems to be just that: a show of personal new works from one of Zeitgeist’s best artists. This Ridiculous Fight, 2011, was the culmination of Donovan’s exploration of pre-Columbian and Chinese ceramic figures, action figures, and the tensions between play war and actual Jessica Wohl, Pink Pocket, 2014, Mixed media, 12” x 12” conflict. While many of his old tropes remain—Hello Kitty heads, cartoon stylization, anthropological titles—his work has become more strictly formal, dealing in color and form more directly and relieving itself of the burden of cultural commenting. It’s a welcome trend if only because this gorgeous, sensual, and sometimes-silly display wins with its vibrant colors and its thoughtful shapes alone.

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One of the reasons Donovan’s work in Best feels so buoyantly beautiful is the fact that it’s sharing the gallery’s front r o o m s w i t h Wo h l . H e r chromatic, collaged-fabric John Donovan, Smoky Kitty Luchadore, wall sculptures are a great 2015, Earthenware, 7” x 7” x 5” complement to Donovan’s now-much-more-colorful pieces. And Donovan’s animal masks and busts of wrestlers, soldiers, and shamans carry just the right balance of goof and gravitas to emphasize the object-ness of Wohl’s assemblages, which address domesticity and suburban culture. A good curator would never program clashing shows in the same gallery, but Donovan and Wohl and the Zeitgeist creative team of Janice Zeitlin and Lain York have really pulled off something special here. Most Nashville galleries leave their shows up for only one month, but it’s exhibitions like this one that make me very grateful that Zeitgeist leaves their multiple-viewing-worthy shows up for two months at a time.

See Jessica Wohl’s Letting Go and John Donovan’s New Personal Best at Zeitgeist through June 27. For more information visit www.zeitgeist-art.com.

NashvilleArts.com

(615) 646-2422

www.natchezstone.com

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ART

SMART A MONTHLY GUIDE TO ART EDUCATION

STATE OF THE ARTS

by Jennifer Cole, Executive Director, Metro Nashville Arts Commission

PHOTOGRAPH BY IAN MYERS

Nashville has changed dramatically in the intervening years. I can ride the bus; I found my Ethiopian food (even if there is no delivery), and each day I uncover another artist driving our cultural renaissance.

ARTventure Healing: Poverty & the Arts Program at Room in the Inn

fifteen years ago, it is hard to imagine what might be ahead. So that is why, in 2014, Metro Arts initiated a citywide strategic planning process to help guide our work into this unknown future. PHOTOGRAPH BY IAN MYERS

PHOTOGRAPH: JERRY ATNIP

ifteen years ago, I packed up my row house in DC and followed a green-eyed man to Nashville. At first, I was adrift in this sea of meat-and-threes and endless pikes. I missed riding the bus, Ethiopian food, and the beat of a big city. The first moment I felt like this place might just fit was when, on a whim, I bought a ticket to the Nashville Film Festival run of animated shorts. A few months later, the Frist Center opened its doors. Slowly but surely Nashville revealed itself to me—shows at the Exit/In and Starwood, the Rep, and later the Nashville Children’s Theatre.

Art, culture, and creativity reflect a city’s spirit and values. In Nashville, maybe more than any other city, we are surrounded by what cultural Artist Sarah Shearer, Nashville scholar Dr. Elizabeth Currid-Halkett, Community Mural Project calls a “Warhol Economy”—a culture of sharing and collaboration between creative people that generates social capital and community identity.

Since 2010, I’ve had the privilege of leading this dynamic ecosystem through Metro Arts—the city’s arts and cultural commission. When I look back at how different Nashville was

What emerged is exciting, challenging, and difficult. The future is full of roadblocks, opportunities, and even a few moonshots. Our strategic plan engaged hundreds of residents who told us that we must move the sector to be more inclusive of the 20 percent of Nashvillians who live in poverty and reimagine how we are engaging our growing immigrant and refugee populations in galleries, cultural institutions, and neighborhood arts. We must continue to invest in our downtown cultural leaders like the Symphony, TPAC, the Frist, and the Country Music Hall of Fame while simultaneously growing critical neighborhood arts organizations, festivals, and cultural centers so that residents in Bordeaux and Madison feel as much a part of cultural life as residents of the Gulch and Green Hills.

PHOTOGRAPH BY GRIFFIN NORMAN

We must invest in artists and creators through professional development and targeted investments in small businesses. We must pursue policies that make it easy for makers and tinkerers and designers to invent, innovate, and scale work in our city, with our workforce.

Our Town Project Participant Ruben T. at Casa Azafrán

We must ensure funding for music, art, dance, and theatre in all K–12 public and charter schools and support arts integration into STEM and other pedagogical models. Perhaps most daunting, we must lead a discussion about how we will fund our cultural system in the future. We lag behind peer cities in both corporate and public sector investments in the arts, yet art is our main community export. To be dynamic and exciting in 2025, we will need to be bold today. Metro Arts might not hold all of the answers, but we do envision a future where ALL Nashvillians participate in a creative life and where we drive equity and vibrancy through the arts.

We hope you will work with us as we Craft a Creative City for all of us. For more information, visit www.nashville.gov/Arts-Commission.

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A DELICIOUS APPROACH TO ART by Cassie Stephens, Art Teacher, Johnson Elementary

PHOTOGRAPH BY JUAN PONT LEZICA

love taking art classes—which came as a big surprise to my art students when I announced that I’d taken a class at the Frist Center for the Visual Arts one Saturday. “But you are an art teacher! Why would you need a class on art?”

This led to what I had hoped would be a great discussion about how even as an adult, one still has plenty to learn. However, I was wearing a sculptural stack of donuts atop my head, which proved to be more than distracting. So instead of going off on my life-long-learner rant, I told them all about my exciting hat-making class. The class was organized through the Frist in conjunction with their Houghton Hall exhibit. If you had the opportunity to view this exhibit, then you know it was a delightful Downton Abbey-esque treat for the eyes. A hat-making class was arranged as a nod to that era of elegance and style. Rosemary Brunton, associate educator for community engagement at the Frist, organized the class with Mark Sloniker, artist, puppet creator, and hat maker extraordinaire, as our wonderful instructor.

After a stroll through the exhibit where we were allowed to sketch whatever we found inspiring, which for me included the detailed embroidery of the clothing

Kids add “sprinkles” with puffy paint

worn by Sir Robert Walpole, owner of the manor, Mark brought us back to the workroom and showed us his hats. These master pieces of whimsy and delight could warrant an exhibit all their own. By

Cassie’s donut Derby hat NashvilleArts.com

day, Mark works at Animax Designs in Nashville as a workshop supervisor, building puppets for theme parks and some of our favorite childhood television shows. By night, he creates hats of amazing creative delight. I was so inspired by his fun and funky creations that I decided to scrap my original “classy-lady-going-to-the-Derby hat” (because, who am I kidding, I’m never going to a Derby) and decided to sculpt a donut-y delicious number.

Because I love to create and wear clothing that ties in with what my students are learning, I used such dessert-loving artists as Wayne Thiebald and Peter Anton as my inspiration. The following week, while wearing my hat, I introduced my students to the work of these artists and told them that we’d be creating a donut-themed still life of our own. The icing on the cake, er, donut: we dined on a box of donuts once our masterpieces were complete. My students absolutely loved this delicious lesson. And I am thrilled that places like the Frist share such wonderful artists and opportunities with our community.

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ALL IMAGES COURTESY COUNTRY MUSIC HALL OF FAME

THE FUN, JOY, AND BUSINESS OF MUSIC MAKING

Students entering the Dinah and Fred Gretsch Gallery at the Country Music Hall of Fame

by Ted Drozdowski

hree little girls step through a siding glass door in a cloud of giggles and pull it closed behind them. Seconds later, the opening acoustic guitar chords of Taylor Swift’s “We Are Never Ever Getting Back Together” chime in and they start to sing: “I remember when we broke up/the first time./Saying this is it, I’ve had enough/’cause like/We hadn’t seen each other in a month/when you said you/needed space.”

Three minutes later their chirping stops and the trio emerge, moving to a flat screen where, within seconds, they’re mixing their voices, which they’ve just recorded in a not-quite-soundproof booth, with the musical tracks to the Swift hit, using faders that simulate the volume controls of an actual studio soundboard. That’s just one of the fun, hands-on learning experiences for kids and big people in the new Dinah and Fred Gretsch Family Gallery at the Country Music Hall of Fame and Museum in downtown Nashville. The gallery, which opened a little over a year ago in the Museum’s Taylor Swift Education Center, provides a close-up, top-to-bottom look at the process of creating music that’s geared to youthful learners, using artifacts from the Museum’s collection and such learning tools as a giant guitar, touchscreens, and videos. “The museum needed a new and exciting interactive gallery that connects visitors with the creative process—from recording to packaging music,” says the Hall of Fame and Museum’s vice president of museum services, Carolyn Tate. “The Gallery is that space, bringing to life the Gretschs’s long-time commitment to music education for the benefit of our over 900,000 annual visitors.” The Gallery was created through a generous donation by Gretsch Company president Fred Gretsch and his wife, Dinah, who is the historic guitar and drum maker’s chief financial officer, through the Gretsch Foundation, which funds concerts and music education initiatives.

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“

An early start in music making is a fundamental gateway to the lifelong enjoyment that making your own music can provide.

“A core goal for the Gretsch family is to enrich lives through participation in music,” Fred Gretsch explains. “In our 132-year history of supplying musical instruments, only the last 60 have been heavily rock ‘n’ roll centric. For our first 70-plus years it was all about instruments for school bands, marching bands, hobby bands, and educational programs. The Dinah and Fred Gretsch Family Gallery engages visitors of all ages—but most effectively young people—in the fun and joy of music making. An early start in music making is a fundamental gateway to the lifelong enjoyment that making your own music can provide.”

The seed for the Gallery was planted when the Gretsch family became involved in the curation of the Museum’s Chet Atkins: Certif ied Guitar Player exhibit in 2011. But its conception and construction required two years and input from many sources. The process began with six-months of brainstorming via focus groups composed of music teachers, Vanderbilt University education experts, youth ministers, and juvenile counselors. A target age range covering fourth grade through junior high school was established, and it was determined that interactive experiences, contemporary stories, and the ability to make things should be at the core of the Gallery, which covers multiple genres. “An effort was also made to illustrate that there are many ways to be creative within music, beyond being an artist,” Tate notes.

”

The Gallery’s activities and exhibits—which include such notable instruments as the 2010 Gretsch White Falcon used by guitarist Keifer Thompson in the duo Thompson Square’s video for their hit “Glass” and the gown Swift wore to the 2013 Academy of Country Music Awards—are tied together by nine stations with touchscreens. Following prompts, visitors can learn about songwriting, music-business jobs, awards, design, costumes, recording, cross-genre collaborations, and more. At one station, working professionals from all aspects of the music business—recording engineers, graphic artists, roadies, managers, attorneys—explain their roles through videotaped presentations. Completing each station’s activities earns a badge. After collecting all nine badges, visitors are “Certified Country.” That’s a designation more than 58,000 have earned since the exhibit opened. “The Gretsch family believes in partnering with the best, and the Country Music Hall of Fame fits that criteria when it comes to the presentation and curation of music, instruments, and music education,” adds Fred Gretsch, who is celebrating his 50th anniversary in the music business this year. “We are proud of both the concept and the execution of the musical themes presented at the Dinah and Fred Gretsch Family Gallery. They are in perfect pitch for engaging music fans and music makers of all ages.” For more infor mation and group reser vations, please visit www.countrymusichalloffame.org.

NashvilleArts.com

June 2015 | 97

FRIST FASHION CAMPS: MAKING IT WORK! by DeeGee Lester

While the younger campers focus on working with art supplies, recycled materials, and fabric to create wearable fashion, the tweens to teens explore the history and process of design. Teens alternate repeated interaction with the art in the galleries, the creation of their own croquis (preliminary fashion sketches), and the transformation of those sketches into finished projects. The daily access to the exhibit and the history of design is a crucial learning tool, explains Keri Jhaveri, Youth and Family

This summer, the Frist Center for the Visual Arts offers students a taste of the fashion world with their exciting exhibit-specific design camps for Italian Style: Fashion Since 1945. S old-out week-long sessions include Wearable Art (ages 5–7), Fashion Forward (ages 8–10), and Art & Fashion (ages 11–13), but there are still a few open slots for ARTlab: Fashion Reaction (ages 14–18) scheduled for 10 a.m. to 4 p.m. on June 8 through 12.

ans of television’s Project Runway are accustomed to watching the fast-paced efforts of young fashion designers as they apply talent and time management to complete runway-ready designs, urged on by fashion guru Tim Gunn: “Make it work!”

Roberto Capucci, Silk evening dress

Mila Schön, Sequined evening dress and silk coat

Educator at the Frist. “Students explore what it means to look at a period of history, to analyze it, and to be inspired by what they see. They are also encouraged to think about design in the world around us through contemporary designers.”

placement of details to the importance and creation of designer “branding” in the marketplace.

That inspiration is brought into the lab. With a daily design challenge, students reference their mood boards and sketches as they explore everything from working with fabric to pattern making, from the

Led by Frist educators Jhaveri and Quinton Creasy, as well as Carrie Mills and Lauren Rolwing, who have hosted fashion-design camps for several years at the Gordon Jewish Community Center, students get a taste of the exciting world of fashion. P l e a s e v i s i t w w w. f r i s t c e n t e r. o r g f o r m o r e information.

THE HAPPY RACERS

Cheekwood Family Night Out • June 4

Cheekwood’s summer series is designed especially for families. On Thursday evenings in June and July the entire family can come together for fantastic performances and shows, a kids’ dance zone, and magical memories made in the beautiful gardens at Cheekwood. Family Night Out at Cheekwood begins Thursday, June 4. Performances start promptly at 6:30 p.m. and last 45 to 60

PHOTOGRAPH BY JEREMY WILSON

he Happy Racers return to Cheekwood to kick off the popular summer series Family Night Out! The Nashville-based Kindie Rock band, including Nathan Meckel, lead guitar and lead singer, Mark Niemiec, drums and vocals, and Layne Ihde, guitar, trumpet, and vocals, will perform smart, original music from their albums Ready Set Go and Lovabye Dragon. The band has been featured on XM Radio, NPR, and has just scored their first major movie song placement with the song “Dog House Jamboree” set to appear in the feature film The Bandit Hound, in theaters Christmas Day.

The Happy Racers: Mark Niemiec, Nathan Meckel, and Layne Ihde

minutes. For more information on Family Night Out, please visit www.cheekwood.org. To learn more about The Happy Racers, visit www.thehappyracers.com.

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POOH, ZOO & A DINO NAMED SUE Intersection’s Family Concert

Green Door Gourmet • June 7

ntersection’s first family concert at Green Door Gourmet, a working farm in West Nashville, promises fabulous music and entertainment in a lovely setting.

Pooh, Zoo & A Dino Named Sue features three distinct contemporary works along with themed activities such as a dinosaur dig hosted by Molly Miller of Vanderbilt University’s Earth & Environmental Sciences Department, a musical instrument factory, local honey vendors, food trucks, and more. Oliver Knussen’s Hums and Songs of Winnie the Pooh is filled with surprising sounds and visuals that captivate the senses. Berio’s Opus Number Zoo is a playful suite of stories for woodwind quintet. Bruce Adolphe’s Tyrannosaurus Sue: A Cretaceous Concerto was commissioned by the Chicago Chamber Musicians in 2000 for the unveiling of the amazing Tyrannosaurus Sue skeleton at the Field Museum in Chicago. Intersection will perform Pooh, Zoo & A Dino Named Sue at 2 and 3:30 p.m. on Sunday, June 7, at Green Door Gourmet in West Nashville. For tickets and more information, please visit www.intersectionmusic.org.

better prepared for life… like this banker.

Ron Samuels, CEO Avenue Bank

Support music education for all metro students. Yoseph Hailu, Hull Jackson Elementary School

GET INVOLVED! musicmakesus.org

NashvilleArts.com

June 2015 | 99

Philip Solomon and John Petrey at Collectors Art Night, The Arts Company

Nathan Sharratt and “Blood Brother” participant at Seed Space (in conjunction with Seed Space in Track One Building)

WAG

SEE ART SEE ART SEE Sara Lee Burd, Casey Pierce at Collectors Art Night, The Rymer Gallery

Phillip Feaster at The Packing Plant

Jesse Mathison, Stephen Watkins at 40AU

Edie Maney, Brenda Stein, Andee Rudloff at Collectors Art Night, Lexus

Quinn Lake, Evan Hurst at Channel to Channel

40AU

100 | June 2015 NashvilleArts.com

Carrie McGee, David Sprouse at Cumberland Gallery

PHOTOGRAPH BY DANIEL LOPEZ

Nathan Sulfaro at WAG

PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON

Paul Polycarpou, Patricia Lee, Anna Jaap at Collectors Art Night, Tinney Contemporary

Jelissa Mooyin at 40AU

Mati Hays at WAG

Andy Anh Ha Gallery

Mollye Brown and Ron Porter at Cumberland Gallery

PHOTOGRAPH BY DANIEL LOPEZ

Shane Darwent, Elspeth Schulze, and Andrew Saftel at Cumberland Gallery

PHOTOGRAPH BY DANIEL LOPEZ

Seed Space

Summers at Andy Anh Ha Gallery

WAG

Emma Holyfield at 40AU

Jodie Binkley, Sarah Golden at BlendÂ

COOP Gallery

Lydia Denkler, Ian Garner at Cumberland Gallery

Cass Teague at 40AU

Carol Stein, Fred Stonehouse, Jason Lascu at CG2 NashvilleArts.com

PHOTOGRAPH BY DANIEL LOPEZ

SEE ART SEE ART SEE

View of 5th Avenue from Andy Anh Ha Gallery June 2015 | 101

PHOTOGRAPH BY TIFFANI BING

Paint

the

Town

W I TH EM M E Emme is a seventh-generation Nashvillian and president of Nelson Baxter Communications, LLC

by Emme Nelson Baxter | Photography by Tiffani Bing

a tennessee waltz

Key players in the event included co-chairs Carole and John Ferguson, Mary Belle and Tony Grande, who headed the Ladies and Gents committee, and Kendall and Billy Gemmill, who captained the Late Party. Violinist Zach Casebolt performed a compelling John and Carole Ferguson with rendition of “Tennessee Debby and Bill Koch Waltz” that captivated all 300 guests. Later, country great Connie Smith performed her own fabulous version. The Answer Band then got the party bumping with music for dancing.

Tony and Mary Belle Grande

veryone at A Tennessee Waltz was buzzing about the state legislature’s passage of Governor Bill Haslam’s budget, which included $120 million for a new building for the Tennessee State Museum. The annual black-tie event, hosted by Crissy and Bill Haslam, b e n e fi t s t h e mu s e u m’s foundation. Longtime champions for a new f reestanding Bill and Crissy Haslam with Tootie museum—Marianne and Haskins and Charles Williamson Andrew Byrd, Lolly and Douglas Henry, Cathy and Bob Thomas, Joan and Will Cheek, Lois Riggins-Ezzell, and many others—were elated. The new facility will be located on the Bicentennial Mall in downtown Nashville at the corner of Rosa Parks Boulevard and Jefferson Street. The museum is currently located in the lower level at 505 Deaderick Street. The 23 rd annual Waltz began at 7 p.m. at the State Capitol. The National Guard Band set Marianne and Andrew Byrd an elegant yet lively tone as guests enjoyed cocktails and the glorious view from the second-floor gallery. Guests later descended the grand staircase for a Danielle Kates-prepared dinner in the main lobby.

Lolly and Douglas Henry

Linda and Jere Ervin

watkins pARTy

ho else would call their event “the pARTy” but Watkins College of Art, Design & Film? Those clever rascals put on quite a bash at OZ Arts Nashville in late April. Cathy Holland and Kandace Wigington chaired.

Steve Sirls, Trey Lipman and Allen DeCuyper

102 | June 2015 NashvilleArts.com

Enjoying the magic were Anne and Joe Russell, Mary and Charlie Cook, Beth and Sam Harwell, Anne Davis and K arl Dean, Dianne Neal, Beth Fortune and Debbie Turner, Ellen and John Tighe, Betty and Marty Dickens, Nancy Russell, Linda and Jere Ervin.

Chairman Kandace Wigington with Rob Wigington

The event included cocktails, a remarkable charcuterie display, dinner from Chris Rains at The Chef and I, plus a robust auction. Bandleader Teri Reid set just the right mood for the eclectic evening with her jazzy quartet. Prior to the live auction, there was a lovely tribute to retiring Watkins president Ellen Meyer.

Nathaniel and Brenda Harris

Tom and Jennifer Johnston, Dan and Mara Thompson

Tommy Espy, Carri Sanford, Agneta Currey and Clare Armistead

The pARTy benefits the education and outreach programs of the 130-year-old college.

Gania and Larry Barnes

Enjoying the creative vibe were Agneta and Brownlee Currey, Sherry and Dudley West, Beth Scott Clayton Amos, Steve Hyman and Mark Lee Taylor, and Anne and Charles Roos.

Chairman Cathy and Steve Holland with Kim and Gary Hawkins

howe wild! the Howe Wild! party at Botanic Hall. Everyone marveled at the handiwork of the crafty Mary Ellen Lovell and Brooks Mathews, plus others who volunteered to cut, dye, twist, paste, fold, crimp, and fluff art papers into facsimiles of poppies and hibiscus.

Fountain in the entryway

omeone once said that gardening is the slowest of the performing arts. Perhaps it was someone from Cheekwood. Or the Garden Club of Nashville. And maybe they intended to say “visual arts.” Regardless of the quotation or speaker, the GCN tried to match Cheekwood’s spectacular 100,000 blooming tulips with their hundreds of handmade tissue-paper creations decorating

Bob and Ann Coleman with Susie and Gregory Funk

Alice Mathews and Ann Kelly

John Scott and Rob McCabe

Frannie Corzine, Wilson and Allison Robinson and Cayce McAlister

Chaired this year by Elizabeth McAlister and VeeVee Scott, the annual April event supports Cheekwood’s Howe Garden.

Chairmen Elizabeth McAlister and Vee Vee Scott

Patti and Brian Smallwood

Brooksie and Ella Mathews

NashvilleArts.com

Lise and Lindsay Bohannon June 2015 | 103

Arts Worth Watching Three new dramas—Poldark, Foyle’s War, and Last Tango in Halifax—launch on NPT this June. You’ll find an inspiring selection of performing arts programs.

COURTESY OF KEN HOWARD/METROPOLITAN OPERA

How many firsts can you pack into one production? Friday, June 19, at 8 p.m. on Great Performances at the Met, soprano Renée Fleming sings the title role of Franz Lehár’s beloved operetta, The Merry Widow, for the first time at the Met. This new staging—performed in English f rom a Kelli O’Hara as Valencienne and Alek Shrader as new translation—also Camille de Rosillon in Lehár’s The Merry Widow includes Broadway star Kelli O’Hara making her Met debut in the role of Valencienne, wife of Barron Zeta (sung by baritone S ir Thomas Al len). In another first, this Merry Widow also marks the Met debut of Broadway director and choreographer Susan Stroman. Stroman has won Tony awards for The Producers, Contact, Show Boat, and Crazy for You. You may have heard about Dance for PD, a program that brings dance classes to people with Parkinson’s disease, through its activities in Nashville. Capturing Grace, a documentary by Dave Iverson, explores the year-long collaboration between dancers from the renowned Mark Morris Dance Group and people with Parkinson’s disease in Brooklyn, New York. The film airs Thursday, June 25, at 11 p.m.

are classically trained opera singers; the other two have a background in pop and stage music. The Tenors’ set list reflects this with a mix of classical and contemporar y pop, including songs made famous by Q ueen, Eric Clapton, and Bill Withers.

The Tenors (l-r): Remigio Pereira, Victor Micallef, Fraser Walters, and Clifton Murray

COURTESY OF DAN LIM

IN PERFORMANCE

GOSPEL GALAS

You’ll have another chance to enjoy Rock My Soul Thursday, June 4, at 7 p.m. Recorded at Nashville’s Downtown Presbyterian Church last fall, the concert teams The Fairfield Four and The McCrary Sisters with Amos Lee, Van Hunt, Buddy Miller, Lucinda Williams, and Lee Ann Womack. Gospel music is also the focus of a new In Performance at the White House. The Gospel Tradition showcases Shirley Caesar, Aretha Franklin, Rodney Crowell, Emmylou Harris, Darlene Love, Lyle Lovett, the Morgan State University Choir, and Michelle Williams. T Bone Burnett served as executive music director. The program will be broadcast Friday, June 26, at 8 p.m.

LOCAL FILMMAKERS

Former Mark Morris Dance Group member David Leventhal leads a Dance for PD class in Brooklyn, New York

COURTESY OF EDDIE MARRITZ

We’re also proud to present two new documentaries by local filmmakers in June. Chris Wheeler’s (Civil War: The Untold Story) Natchez Trace Parkway: Traces Through Time is a look at the 400-mile route through Tennessee, Alabama, and Mississippi. The 30-minute documentary airs Thursday, June 18, at 9:30 p.m.

TENORS TWOFER

If you love tenors, you’re in luck because we’ve got two tenor specials this month. In The Texas Tenors–You Should Dream, the trio sings country, folk, opera, and Broadway tunes with cowboy charm. The performance, which also features the Phoenix Symphony Orchestra, airs Wednesday, June 3, at 8:30 p.m. For another take on the tenor vocal range, watch The Tenors: Under One Sky, Thursday, June 4, at 8:30 p.m. Two members of this quartet

Deidre Duker’s A Secret Only God Knows, about Middle Tennessee’s pre-1970 GLBT community, grew out of the Brooks Fund History Project of the Community Foundation of Middle Tennessee. The film will be shown Thursday, June 25, at 9:30 p.m.

ART ADVENTURE

This month we’re also adding a new six-part travel series Sundays at 3:30 p.m. Hosted by travel writer and editor Kathy McCabe, each episode of Dream of Italy features beautiful scenery, delicious food, and a rotating cast of charismatic Italians. The new show begins June 21 with a visit to a Tuscan estate filled with modern art and a textile company that produces fine fabrics on 100-year-old looms. The second episode airs June 28 and includes a segment with Alice Pasquini, a street artist whose work is considered a counterpart to ancient frescoes. Please support public television in June. We’ll be offering tickets to see performers featured in several of this month’s on-air pledge specials as thank-you gifts. You can also go to wnpt.org and click on the “donate” button.

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

am Martha Speaks Angelina Ballerina Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Sewing with Nancy Sew It All Garden Smart Mexico: One Plate at a Time Simply Ming Cook’s Country noon America’s Test Kitchen pm Joanne Weir Gets Fresh Mind of a Chef Martha Bakes Fons & Porter’s Love of Quilting Best of Joy of Painting Woodcarving with Rick Butz American Woodshop Woodwright’s Shop This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side

June 2015

THIS MONTH Nashville Public Television

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

am Sid the Science Kid Peg + Cat Curious George Curious George Daniel Tiger’s Neighborhood Word World Sesame Street Dinosaur Train Tennessee’s Wild Side Volunteer Gardener Tennessee Crossroads Nature Washington Week with Gwen Ifill noon To the Contrary pm The McLaughlin Group Music Voyager Family Travel Globe Trekker California’s Gold Dream of Italy America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week

Capt. Ross Poldark (Aidan Turner) finds much has changed when he returns to Cornwall after the American War for Independence in this new version of a Masterpiece classic.

Sundays, Beginning June 21 8:00 pm

#PoldarkPBS

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 Odd Squad Wild Kratts Curious George Curious George Daniel Tiger’s Neighborhood Daniel Tiger’s Neighborhood Sesame Street Dinosaur Train Super Why! Peg + Cat Sid the Science Kid noon Caillou pm Thomas & Friends Sesame Street Shorts The Cat in the Hat Clifford the Big Red Dog Curious George Arthur Arthur Wild Kratts Odd Squad Martha Speaks WordGirl pm PBS NewsHour

Nashville Public Television

Foyle’s War Michael Kitchen returns as Christopher Foyle for the eighth and final season. Thursdays, Beginning June 18 8:00 pm

Last Tango in Halifax Celia (Anne Reid) and Alan (Derek Jacoby) return in the third season. Sundays, Beginning June 28 7:00 pm

wnpt.org

7:00 NPT Favorites 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Antiques Roadshow Vintage St. Louis. 8:00 Antiques Roadshow Vintage Rochester. 9:00 Independent Lens Limited Partnership. A Filipino American and his Australian partner wage a 40-year fight for marriage and immigration equality. 10:00 BBC World News 10:30 Last of Summer Wine Spores. Natchez Trace Parkway Traces Through Time Thursday, June 18 9:30 pm

7:00 Antiques Roadshow Vintage Los Angeles. 8:00 Great Performances: Bryan Adams in Concert Filmed during the Canadian rocker’s current world tour and featuring hits like “Cuts Like a Knife” and “(Everything I Do) I Do It For You.” 10:00 BBC World News 10:30 Last of Summer Wine The Man Who Invented Yorkshire Funny Stuff. 11:00 Brainchange with David Perlmutter, MD.

7:00 Antiques Roadshow Washington, D.C., Hour 3. 8:30 Justin Hayward: Spirits…Live! A solo performance by the Moody Blues vocalist and guitarist filmed at Atlanta’s Buckhead Theater. 10:00 BBC World News 10:30 Last of Summer Wine A Pickup of the Later Ming Dynasty. 11:00 Suze Orman’s Financial Solutions for You

Monday

7:00 Civil War Songs & Stories TN Civil War 150 An NPT production. 8:00 Desperate Days: The Last Hope of the Confederacy TN Civil War 150 An NPT production. 8:30 Reconstruction: A Moment in the Sun TN Civil War 150 An NPT production. 10:00 Echoes of Creations 11:00 Tavis Smiley 11:30 Scully/The World Show

The Roosevelts An Intimate History Tuesdays, June 2, 16 & 23 7:00 pm

Sunday

Primetime Evening Schedule

June 2015 2

7:00 The Roosevelts: An Intimate History The Common Cause (1939-1944). FDR and the country prepare to enter World War II; later, FDR runs for a fourth term despite his latest medical diagnosis. 9:00 Aging Backwards with Miranda Esmonde-White Combating the physical signs of aging. 10:00 BBC World News 10:30 Last of Summer Wine Happy Birthday Robin Hood.

7:00 Australian Pink Floyd Show: Eclipsed by the Moon The Aussie Pink Floyd tribute band’s 2013 German tour. 8:30 Lindsey Stirling Live from London The electronic violinist performs in London. 10:00 BBC World News 10:30 Last of Summer Wine The Second Husband and the Showgirls. 11:00 Bee Gees One Night Only A concert from 1997.

7:00 The Roosevelts: An Intimate History The Rising Road (1933-1939). FDR is in the White House introducing New Deal policies to end the Depression; Eleanor is his liberal conscience. 9:30 Ed Slott’s Retirement Roadmap! 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Aging Backwards with Miranda Esmonde-White Combating the consequences of aging.

Tuesday

17 7:00 Nature The Funkiest Monkeys. The spiky haired crested black macaques of Indonesia are unusual looking and endangered. 8:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine Who’s That with Barry & Glenda? 11:00 Austin City Limits Nine Inch Nails.

7:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine All of a Florrie. 11:00 Motown 25 (My Music Presents) Hosted by legendary comedian Richard Pryor with reunions of Smokey Robinson & The Miracles, The Jackson 5, The Temptations, Four Tops and more.

7:00 Jackie Evancho Awakening – Live in Concert Classical pieces, sacred music, Broadway tunes and pop songs. 8:30 The Texas Tenors: You Should Dream Country, folk, opera and Broadway music delivered with cowboy charm. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Roosevelts: An Intimate History The Rising Road (19331939).

Wednesday

18 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Foyle’s War High Castle. The eighth and final season begins with the murder of a translator for the Nuremberg trials. 9:30 Natchez Trace Parkway Traces Through Time Local filmmaker Chris Wheeler explores the parkway’s history and present. 10:00 BBC World News 10:30 Last of Summer Wine An Apple a Day.

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Foyle’s War Revisited John Mahoney (Frasier) hosts this behindthe-scenes look at the popular series before joining the cast for the final season opener. 10:00 BBC World News 10:30 Last of Summer Wine Jurassic No Parking.

7:00 Rock My Soul Gospel legends The Fairfield Four are joined by The McCrary Sisters, Amos Lee, Lee Ann Womack, Van Hunt and Lucinda Williams. 8:30 The Tenors: Under One Sky The quartet lends its soulful voices to beloved songs and new compositions. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Echoes of Creations Scenes of Alaska and the Pacific Northwest.

Thursday

19 7:00 Reconstruction: A Moment in the Sun TN Civil War 150 8:00 Great Performances at the Met The Merry Widow. Soprano Renee Fleming sings the title role in this new staging of Lehar’s beloved operetta. 10:30 Last of Summer Wine Barry Becomes A Psychopathic Killer But Only Part Time. 11:00 BBC World News 11:30 Front and Center Hunter Hayes.

12 7:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine The General’s Greatest Battle.

7:00 Dailey & Vincent – Alive! Multi-Grammy-nominated Dailey & Vincent backed by their 10-piece band and a full orchestra. 8:30 My Music: Sister Acts A new My Music special with clips of The McGuire Sisters, The Lennon Sisters and others. Hosted by Kathy Lennon and Tina Cole. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Easy Yoga for Arthritis with Peggy Cappy

Friday

7:00 Lawrence Welk Show Those Were the Days. 8:00 Keeping Appearances 8:30 Secrets of Chatsworth Stories and characters from the Cavendish family’s 500-year history at their country estate. 9:30 Secrets of the Tower of London The tourist favorite is a castle, fortress and former prison. 10:30 Film School Shorts Final Ascent. 11:00 Globe Trekker Globe Trekker Food Hour: Deep South USA.

My Music: Sister Acts Friday, June 5 8:30 pm

7:00 NPT Favorites

7:00 Burt Bacharach’s Best Hits by Dionne Warwick, Dusty Springfield, Tom Jones, B.J. Thomas, etc. in this music show. 8:30 Motown 25 (My Music Presents) Hosted by Richard Pryor with reunions of The Jackson 5, The Temptations, Four Tops and more. 10:00 Aging Backwards with Miranda Esmonde-White 11:00 Globe Trekker Isolated Islands: St. Helena.

Saturday

Nashville Public Television

wnpt.org

7:00 Last Tango in Halifax Season 3, Episode 2. Caroline and Kate’s wedding day; Gillian loses her job. 8:00 Poldark on Masterpiece Episode 3. 9:00 Crimson Field Episode 3. 10:00 NPT Favorites 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Last Tango in Halifax Season 3, Episode 1. Alan has a guest; Caroline and Kate plan their wedding. 8:00 Poldark on Masterpiece Episode 2. Poldark seeks backers to reopen his copper mine. 9:00 Crimson Field Episode 2. Staff and patients in a World War I field hospital. 10:00 NPT Favorites 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Tales from the Royal Wardrobe 8:00 Poldark on Masterpiece A new version of the Masterpiece classic. 9:00 Crimson Field A new drama set in a WWI field hospital. 10:00 Our American Family: The Barreras New Mexico miners. 10:30 Our American Family: The Furutas A Japanese-American family. 11:00 Tavis Smiley 11:30 Scully/The World Show

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Foyle’s War Elise. After an assassination attempt on Hilda Pierce’s life, Folye examines her wartime activities. 10:00 BBC World News 10:30 Last of Summer Wine Who’s That Mouse in the Poetry Group? 11:00 Why Not Us? Roadtrip Nation’s documentary about first-generation college students on a cross-country trip.

7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Foyle’s War Trespass. A Jewish student is assaulted amid anti-Semitic tensions. 9:30 A Secret Only God Knows Local producer Deidre Duker’s new documentary about GLBT life in Middle Tennessee. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Capturing Grace The Mark Morris Dance Group performs with people with Parkinson’s.

First Peoples Wednesdays beginning June 24 8:00 pm

7:00 Operation Wild Veterinarian teams try to save animals’ lives around the world. 8:00 First Peoples Asia/Australia. The discovery of a new ancient human, the Denisovans, leads to more questions about our ancestors. 10:00 BBC World News 10:30 Last of Summer Wine Hermione (The Short Course). 11:00 Austin City Limits Tweedy.

JULY

7:00 Nova Inside Animal Minds: Bird Genius. The problem-solving skills of birds. 8:00 First Peoples Americas/Africa. Kennewick Man and the links between the First Americans and Native Americans; the African origins of Homo sapiens. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Los Lobos/Thao & The Get Down Stay Down.

Nashville Public Television

7:00 Capitol Fourth The 35th annual presentation of the national celebration from Washington, D.C. 8:30 Capitol Fourth 10:00 3, 2, 1 Fireworks A behind-the-scenes look at the annual Washington, D.C., celebration. 10:30 Film School Shorts On the Prowl. 11:00 Globe Trekker Tough Trains: Siberia.

7:00 Lawrence Welk Show Music Memories. 8:00 Keeping Appearances 8:30 Secrets of Westminster Britain’s Houses of Parliament and Big Ben. 9:30 Secrets of Underground London The London Tube, Churchill War Rooms and other man-made subterranean wonders. 10:30 Film School Shorts Separation Anxiety. 11:00 Globe Trekker Isolated Islands: St. Helena.

Saturday, June 20 The Factory at Franklin Tickets: wnpt.org

7:00 NPT Favorites 10:00 BBC World News 10:30 Last of Summer Wine Available for Weddings. 11:00 Front and Center Sara Evans and Martina McBride – Ladies Night Out. Also featuring Gretchen Peters, Aimee Mayo and The Warren Brothers. Recorded at the Marathon Music Works.

7:00 Aging Matters: Aging in Place 7:30 Aging Matters: Economic of Aging 8:00 In Performance at the White House The Gospel Tradition. Aretha Franklin, Shirley Caesar, etc. 9:00 In Performance at the White House Country Music. Alison Krauss, Dierks Bentley. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Front and Center Bob DiPiero with Brandy Clark.

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

Crimson Field Sundays beginning June 21 9:00 pm

7:00 Mount Rushmore: American Experience How the giant presidential portraits came to be carved into a South Dakota cliff. 8:00 1913: Seeds of Conflict Arab and Jewish nationalism in the years before World War I. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine Has Anyone Seen A Peruvian Wart?

7:00 Antiques Roadshow Vintage Denver. 8:00 Antiques Roadshow Vintage Hartford. 9:00 POV The Overnighters. Workers drawn by North Dakota’s oil boom create a housing shortage and strife. 11:00 BBC World News 11:30 Window in the Waves: The Flower Garden Banks The corals of this national marine sanctuary thrive.

7:00 The Roosevelts: An Intimate History A Strong and Active Faith (1944-1962). FDR dies; Eleanor continues to be a champion of civil rights. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine Beware of Laughing at Nora’s Hats. 11:00 Beautiful Sin Three Costa Rican couples seek the right to use in vitro fertilization, which is banned in their country.

7:00 Antiques Roadshow Vintage Sacramento. 8:00 Antiques Roadshow Vintage Louisville. 9:00 POV Out in the Night. A group of African-American lesbians are charged with attempted murder after fighting off attackers. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Voices: Untold Stories of Mental Illness A documentary about individuals and families dealing with illness.

Hand pulled prints by Julie Sola 1108 Woodland St. • East Nashville Hours 12-5 Friday - Sunday or by appointment

Printmakers Festival June 20 . 10 to 6

Julie Sola

www.fatcrowpress.etsy.com www.fatcrowpress.com

Merrick offers ultra-sharp stochastic printing, to ensure your images are hitting all the right notes!

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Merrick Makes It Happen. Merrick Printing Company Richard Barnett, Sr. VP – Sales Cell (502) 296-8650 • Office (502) 584-6258 richard.barnett@merrickprinting.com 108 | June 2015 NashvilleArts.com

Chasing storms . . . PHOTOGRAPH BY ANTHONY SCARLATI

& The Factory

Historic Downtown Franklin, TN

Beyond Words

by Marshall Chapman

Friday, June 5, 6-9 p.m.

My mother was a storm chaser. And sometimes the storms chased her.

When I was five years old, Hurricane Hazel hit the South Carolina coast causing major damage. This was in October 1954. As the deadly storm approached landfall, most people headed for higher ground. But not Mother. She grabbed her camera and headed for the coast. When Daddy came home from work later that evening, he couldn’t help but notice his wife missing and no supper on the table. “Where’s your mother?” he said. “Oh, she’s gone to Pawley’s Island to take pictures of the hurricane.” One of my most vivid memories of Mother is of her bursting through the front door exclaiming, “I just drove through the damnedest storm!” This was usually followed by descriptions of gale force winds, golf-ball-sized hail, flash flooding, cars pulled over to the side of the road next to people crouching down in ditches, all of which had us children thinking Armageddon was nigh. These storm attacks generally occurred along I-26 between Columbia and Spartanburg from the late 1960s on into the 80s. That’s when Mother practically commuted between those two cities.

A variety of venues and working studios throughout a 15-block area—join us for original art, live music, refreshments and more! There’s no cost to attend.

Learn where to start your evening and check out the map:

www.FranklinArtScene.com Facebook.com/FranklinArtScene Sponsored By:

Mother was always on the go. She loved politics and was a pioneer in that arena. She was the first woman ever appointed to the State Election Commission by Governor Bob McNair in 1968. (She was later appointed for a second term by Governor Jim Edwards.) In 1979, she was the first woman elected to the South Carolina State Development Board. When Jim Edwards was elected governor in 1974, he asked Mother to chair his inaugural ball. She reluctantly agreed. A few days before the big event, while in Columbia working on some last-minute details, she was approached by three SLED agents. (SLED = South Carolina Law Enforcement Division) “Ah, Mrs. Chapman, we need to discuss something.” “Yes?” Mama said, without looking up. “Ah, ma’am, we need to know if there’s an evacuation policy in place in case we have a bomb threat.” Without blinking an eye (or looking up), Mama replied, “We’re not having a bomb threat.” www.tallgirl.com

NashvilleArts.com

June 2015 | 109

My Favorite Painting

J ane R. S nyder

Writer

till in my twenties, I was working in advertising on “Mad Ave” and living on Manhattan’s Upper West Side. One day, browsing in a neighborhood art gallery, I found myself drawn to a large canvas leaning against the rear wall.

Never very attracted to abstract art before, I spent the next 90 minutes transfixed by the bright hues, energetic brush strokes, and—to my eyes—whimsical spirit the ar tist had lef t behind. Muc h to my complete surprise, I purchased the untitled acrylic, spending more money than I had ever done before except when buying a car. I fell in love with Stabilito’s work that afternoon; I love it still, and it inspires my smile each day. The canvas has even become a barometer for whether new friendships will last. If an individual enters my home for the first time and is captivated by this piece, I know we will stay in touch. I could say this painting is my favorite type of social media, too!

Joseph Stabilito, Untitled, 1989

ARTIST BIO

PHOTOGRAPH BY SHERI ONEAL

Joseph Stabilito Joseph Stabilito’s work is in many public and private collections in New York, the United States, and Europe. As well, his work can be seen in the upcoming Batman movie being released in 2015. Stabilito first displayed his large-scale paintings in the windows of Bonwit Teller, an upscale ladies’ department store in Philadelphia. That was followed by the first solo exhibition of his work at the Sande Webster Gallery in 1982. He moved to New York the following year, as his paintings were being featured in the windows of Bloomingdale’s. That made a particular splash, attracting a fan base of notable designers and collectors to his work. Saks Fifth Avenue and Paul Smith prominently put his colorful paintings in their own windows. Stabilito settled into the burgeoning East Village art scene, while having gallery shows in Italy, Germany, and across the United States. His work was shown at the prestigious Navy Pier Show in Chicago, and the very first Miami Art Fair. Stabilito continues to paint today from a studio on Canal Street in Manhattan and is constantly exploring new directions for his work. His latest paintings are being shown at the New York Design Center. For more about Joseph, visit www.josephstabilitopaintings.com.

110 | June 2015 NashvilleArts.com

PRES EN T I N G S PON S OR

P L ATIN UM SP O N SO R

GO L D SP O N SO RS

SILVE R SP O NSO R

HO SP ITA LITY SP O NSO R

AN N E & J O E R USSELL DOW N TOW N N ASH VI LLE

EX HIB ITION ORGANIZED B Y THE VICTORIA A ND ALB ERT MUSEUM, LOND ON.

T HE F R I S T CENT ER F O R T HE VI S UAL ART S I S S UPPO RT ED I N PART B Y

9 19 B ROA DWAY | F R I ST C EN T ER . O R G Photograph by Gian Paolo Barbieri for Gianfranco Ferré Advertisement, Fall/Winter 1991. Model: Aly Dunne. © GIANPAOLOBARBIERI

H AY N E S G A L L E R I E S PRESENTS

ART NASHVILLE JUNE 12 THROUGH AUGUST 15, 2015

JOHN BAEDER, B.1938. CAFE INTERIOR. (DETAIL) ARCHIVAL INKJET PIGMENT PRINT. 30 X 40 INCHES

INQUIRIES: GARYHAYNES@HAYNESGALLERIES.COM OR PHONE 615.430.8147 OR 615.312.7000. HAYNESGALLERIES.COM GALLERIES: ON THE MUSIC ROW ROUNDABOUT IN NASHVILLE, TENNESSEE AND SEASONALLY IN THOMASTON, MAINE