EVOLVED
ESSENTIAL
EPIC
APPLE ATHLETA BURBERRY THE CHEESECAKE FACTORY COLE HAAN DAVID YURMAN EILEEN FISHER
FREE PEOPLE JIMMY CHOO KATE SPADE NEW YORK L’OCCITANE LOUIS VUITTON MICHAEL KORS OMEGA
Madewell Now Open
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RESTORATION HARDWARE SEPHORA STUART WEITZMAN TIFFANY & CO. TORY BURCH WILLIAMS-SONOMA Z GALLERIE
Brookstone Now Open
The North Face opening November 7, 2014
NORDSTROM
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MACY’S
O V E R 10 0 S P E C I A LT Y S H O P S & R E S TA U R A N T S HILLSBORO PIKE, I-440 EXIT 3
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NASHVILLE, TN
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SHOPGREENHILLS.COM
FLOW ERS FOR
E V ERY
OCCASION
Ranunculus Ranunculus Acris 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
5th AVENUE OF THE A RTS D OWNTOWN N ASHVILLE
Regular 5th Avenue gallery hours: 11-5:00 pm, Tuesday-Saturday
6-9 pm
www.theartscompany.com
November 1 - November 28 The New Nashville: Paintings by Brett Weaver InstrumentHead: Photography by Michael Weintrob ©Brett Weaver
www.therymergallery.com
Continuing through November 28 Picture Element : New Work from Jeff Grady and James Pearson ©Jeff Grady and James Pearson
www.tinneycontemporary.com
November 1 - November 29 SEACHANGE: Indexing The Conscious Moment New Work by John Folsom ©John Folsom
TM
PUBLISHED BY THE ST. CLAIRE MEDIA GROUP Charles N. Martin, Jr. Chairman Paul Polycarpou, President Ed Cassady, Les Wilkinson, Directors
SOCIAL MEDIA
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EDITORIAL & ADVERTISING OFFICES 644 West Iris Drive, Nashville, TN 37204 615-383-0278 ADVERTISING DEPARTMENT Cindy Acuff, Beth Knott, Keith Wright 615-383-0278 DISTRIBUTION Wouter Feldbusch, Michael McKelvey SUBSCRIPTIONS AND CUSTOMER SERVICE 615-383-0278 BUSINESS OFFICE Theresa Schlaff, Adrienne Thompson 40 Burton Hills Boulevard, Nashville, TN 37215 EDITORIAL
CONTRIBUTORS
PAUL POLYCARPOU Editor and CEO
JENNIFER ANDERSON The Great Unknowns
SARA LEE BURD Executive Editor and Online Editor sara@nashvillearts.com
MARSHALL CHAPMAN Beyond Words
REBECCA PIERCE Education Editor and Staff Writer rebecca@nashvillearts.com MADGE FRANKLIN Copy Editor DESIGN TRACEY STARCK Design Director ADVERTISING CINDY ACUFF cindy@nashvillearts.com
JENNIFER COLE State of the Arts LINDA DYER Antique and Fine Art Specialist SUSAN EDWARDS As I See It ANNE POPE Tennessee Roundup JIM REYLAND Theatre Correspondent JUSTIN STOKES Film Review TONY YOUNGBLOOD Unplugged
BETH KNOTT beth@nashvillearts.com
RUSTY WOLFE Pieces & Parts
KEITH WRIGHT keith@nashvillearts.com
CAROLINE STAMY Editorial Intern
Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.00 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts. com; to reach contributing writers, email info@nashvillearts.com. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.
N2O14 ovember
on the cover:
L.A. Bachman, Lady, 2014, 30" x 20" Mixed media on watercolor paper Article on page 73
FEATURES
COLUMNS
10 Spotlights
30 Film Review by Justin Stokes
76
26 Crawl Guide
32 The Great Unknowns by Jennifer Anderson
40 Sheila B She’s Not Bashful,
33 Public Art by C. Van Gill
She’s from Nashville
42 Bebe Buell Singer • Songwriter •
35 Unplugged
Cult Icon
by Tony Youngblood
36 The Bookmark
46 Mandy Barnett The Soulful Siren
54 Brett Weaver The New Nashville
Hot Books and Cool Reads
38 Pieces & Parts by Rusty Wolfe
57 Cassie Stephens All Dressed Up &
Ready to Paint
60 Christy Lee Rogers Underwater Visions
85
66 Andra Eggleston Wonders in Color
73 L.A. Bachman Her Intimate World 76 Leslie Haines What Letters Look Like 80 P.E. Foster Conservation
& Controversy
80
60
48
As I See It
50
NPT
92
Art See
94
Art Smart
by Susan Edwards
100 Theatre by Jim Reyland
102 Paint the Town by Emme Nelson Baxter 104 Critical i by Joe Nolan 105 Poet’s Corner Tom Lombardo
85 Jodi Hays Echoes of Content
106 Appraise It by Linda Dyer
89 Nashville 6 A.M. Bob Sherman
110 My Favorite Painting
66
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NashvilleArts.com
November 2014 | 7
Tangible, Intangible The Works of
Miranda Herrick and
Scott E. Hill
Miranda Herrick, Reflective II
Opening Reception November 14, 2014 from 5:30 p.m. to 8:30 p.m. Hors d’oeuvres, wine and music
PUBLISHER ' S NOTE
Art Creates a City
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don’t like flying. Used to, but not anymore. Too much hassle. But recently I took to the air in two very unexpected ways. First, I found myself at the Frist wandering through the Kandinsky exhibit. Along with Paul Klee, Kandinsky is definitely on my top-favorite-artists-of-all-time list, although I secretly dislike lists as well. With each canvas I could feel my hands rising and my spirit soaring. This, I thought, is how I like to fly these days, brush strokes swirling, colors flashing. The Frist continues to amaze and excite with each exhibit. What next? I can’t wait. I was also airborne last week when I attended Nashville Opera’s production of Puccini’s La Bohème. It was simply perfect, nothing less. The sets, the pace, the singing, the emotion of it all were overwhelming. I was fortunate to be in Lucca, Italy, Puccini’s home, earlier this year, and I swear he paid TPAC a visit on this night. You could feel him in the air. Congratulations to John Hoomes and his team for continuing to push the artistic envelope and for always sending it first class air express. It’s no secret I love photography. In time it will be treasured and valued like the Old Masters, but we’re not there yet. Still, that shouldn’t stop us from embracing it now for the art form that it is. And for me, no other name gets my f-stop more befuddled than famed American photographer William Eggleston. So you can imagine our collective thrill in the office when a young lady came by and introduced herself as Andra Eggleston. Her new line of fabrics based on her father’s sketches is simply stunning. You can meet her and see the fabrics on page 66. For art with a distinctive Latin flavor, stop by The Expatriate Archive at Mohsenin Galleries on Church Street through November 21. Our very own Sara Lee Burd curated this fine exhibit of Nashville artists with Latin American roots. Over fifty works, ranging from sculpture and prints to painting and photography, are on display. Do not miss this one. Nashville photographer Jerry Atnip took my photo this month. He borrowed the bowler from Michael Shane Neal and went for a Magritte recreation. The Paul Klee book is mine.
Paul Polycarpou Publisher
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
PHOTOGRAPH BY JERRY ATNIP
Scott E. Hill, Shine
OPENS OCTOBER 31 Presenting Sponsors
LYNN & KEN MELKUS Hospitality Sponsor
T h i s exhi bi ti o n i s o rgani zed by the Fri st C enter fo r the V i sual A rts
TH E FR I ST C E N TE R FOR TH E V I SU A L A RTS I S SU PPORTED I N PA RT B Y
The Frist Center for the Visual Arts gratefully acknowledges the Friends of Italian Art. This exhibition has been made possible in part by grants from the National Endowment for the Arts, the Samuel H. Kress Foundation, and the Robert Lehman Foundation.
DOWNTOWN NASHVIL L E 919 BROADWAY
F RIST CENT ER.ORG
Antiphonarium Basilicae Sancti Petri (detail of fol. 78 r), ca. 1270. Parchment with ink, paint, and gold, 13 3/8 x 9 1/4 in. Biblioteca Apostolica Vaticana, MS B. 87. Š 2014 Biblioteca Apostolica Vaticana
PHOTOGRAPH BY JOHN GUIDER
A portion of the proceeds from the auction will benefit Tucker’s House, a non-profit organization developed to partner with families of children with disabilities and their healthcare providers. Tucker’s House facilitates assistance in navigating the complex path from diagnosis to home through specialized retrofitting resources so that their houses can become home.
S
The auction takes place on November 7 and 8 at Julien’s Auctions , Bever ly Hills . Interested bidders can view the catalog of items at www.juliensauctions .com. Bidders can also bid live by registering online at w w w. j u l i e n s l i v e . c o m . For more infor mation on Tucker’s House, please visit www.tuckershouse.org.
Julien’s Auctions November 7 & 8
PHOTOGRAPH BY JOHN GUIDER
uperstar Naomi Judd’s custom-made costumes, stage-worn clothing, personal possessions, and items from her husband, Larry Strickland’s, musical career with Elvis Presley are up for auction at Julien’s. Costumes and clothing slated for auction include a dress worn by Judd in her Love Is Alive video, the gown she was dressed in at the 26th Grammy Awards, a custom-made ensemble worn while accepting the Top Vocal Duet Award at the 1991 Academy of Country Music Awards, and much more. A violin made by George Flagg of the Flagg Family Fiddle Fitters, an Epiphone acoustic guitar signed by TCB Band and other musicians, and a custom Buck Owens American guitar given to the artist are among the musical instruments up for bid. One of the more sentimental i t e m s
10 | November 2014 NashvilleArts.com
PHOTOGRAPH BY JOHN GUIDER
b e i n g o f f e re d i s J u d d ’s wo o d e n T h om a s M o d e l 2 1 7 No r m a n R o c k we l l 1 9 2 0 s - s t y l e r ad i o.
PHOTOGRAPH BY JOHN GUIDER
Naomi’s Personal Collection to Benefit Tucker’s House
H AY N E S G A L L E R I E S P R E S E N T S
A TREASURE TROVE OF REAL ART NOVEM B E R 2 1 TO DE C E M B E R 2 0 , 2 0 1 4
ANN KRAFT WALKER, B.1955. JESSE’S PEARS. OIL ON LINEN. 24 x 18 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
NASHVILLE’S REAL ESTATE SIGN OF DISTINCTION
40 Burton Hills Blvd., Suite 230 • (615) 250-7880 Worthproperties.com
55 GOVERNORS WAY • $6,750,000
6123 HILLSBORO RD. • $6,687,000
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403 BRIERLY CT • $1,179,999
6109 HICKORY VALLEY ROAD • $1,150,000
1060 NATCHEZ VALLEY LN • $1,078,500
NE W
PR IC E
2323 WOODMONT BLVD • $3,499,000
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SO LD
1640 WHISPERING HILLS DRIVE • $2,798,000
“It’s worth a call to Laura Baugh. I’m never too busy for you!” GNAR Award of Excellence Life Member and 8 time Diamond Award Recipient
mobile: 615-330-3051 • office: 615-250-7880 • Laurabaugh3@gmail.com 12 | November 2014 NashvilleArts.com
THE GIFT
Kathryn McDonnell, Rain, 2013, Acrylic on linen, 11” x 14”
30 Years of the Margaret Stonewall Wooldridge
Hamblet Award
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Space 204 through December 5
n honor of the thirtieth anniversary of the Margaret Stonewall Wooldridge Hamblet Award, Vanderbilt’s Department of Art has mounted a special exhibition showcasing works from seven previous Hamblet Award recipients: Eric Erhnschwender 2010, Jean Kang 2011, Xin Lu 2006, Kathryn McDonnell 1984, Nicole Pietrantoni 2003, John Powers 2001, and Hannah Stahl 2012. “It has been such a pleasure to see the continued accomplishments of the Hamblet award winners. So many of these artists have continued to invest their lives in artistic achievement. I was elated to see the ways that this recognition has served as a catalyst for new thinking and further commitment to art. This is a wonderful opportunity for the students at Vanderbilt—a gift that rewards deserving young artists,” remarked the curator of the show Saralyn Reece Hardy, the Marilyn Stokstad Director of the Spencer Museum of Art at the University of Kansas. In 1984, Mr. Clement H. Hamblet presented the Vanderbilt Art Department with a generous gift in memory of his wife, Margaret Stonewall Wooldridge Hamblet. Since then the Hamblet Award has been given annually to an outstanding student who is serious about pursuing art. The award allows a graduate to travel and have time to create a solo exhibition, shown a year and a half after graduation.
The Gift: 30 Years of the Margaret Stonewall Wooldridge Hamblet Award will be on view through December 5 at Space 204 in the E. Bronson Ingram Studio Arts Center at Vanderbilt University. For more information, visit www.vanderbilt.edu/arts.
I n S ight An Evening of Art for Healing Hearts Cumberland Gallery • November 14
J
ack Spencer, Norman Lerner, Sylvia Plachy, Dorothy O’Connor, Jennifer Glass, David Douglas, Jerry Atnip, and Raeanne Rubenstein are among the notable photographers who have donated their work to InSight: an Evening of Art for Healing Hearts. The photographic art show and auction, slated for November 14 at Cumberland Gallery, benefits the Pastoral Counseling Centers of Tennessee (PCCT), which provides affordable mental health services to people throughout Middle Tennessee. The evening includes a live auction of the donated works and a silent auction of two dozen photographic works selected as finalists from over 300 competition entries. This year’s contest theme is “Life As I See It.” Serving as jurors for the competition are collectors Jennifer and Billy Frist and Nashville photographer Jerry Atnip. “Pastoral Counseling Centers of Tennessee has been providing quality, affordable health care services for nearly 30 years,” says Shelley Liles McBurney, a PCCT board member and
Norman Lerner, Golden Sunrise, 22” x 28”
co-chair of InSight. “Because of our generous sponsors and host, Cumberland Gallery, every penny from the event will go directly to services for individuals, couples, and families in the region who cannot otherwise afford quality counseling.” Pastoral Counseling Centers of Tennessee is a 501(c)(3) non-profit that exists to restore lives to wholeness—mentally, emotionally, and spiritually. InSight: an Evening of Art for Healing Hearts takes place Friday, November 14, from 6:30 to 8 p.m. at Cumberland Gallery. For more information, visit www.pcctinc.org and www.cumberlandgallery.com.
presents
FW14 TRUNK SHOW
Featuring the Sticks & Stones Collection
NOVEMBER 14TH & 15TH 10 A.M. - 6 P.M.
OPEN DAILY 10:00 AM - 6 PM • 4231 HARDING PIKE • NASHVILLE, TN 37205 • Stanford Square, Across From St. Thomas Hospital 615-321-0500 • 615-483-5995 • ninakuzina@comcast.net • www.ninakuzina.com
14 | November 2014 NashvilleArts.com
MAYSEY CRADDOCK “strand”
12 nov - 23 dec
516 Hagan . Nashville . 615.780.9990 4540 Poplar . Memphis . 901.767.3800 davidluskgallery.com
DLG
memphis & nashvil e DAVID LUSK GALLERY
The Guitar Inspired by
Sensuous Steel
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ast year, Nashville guitar-maker Mark Lacey was commissioned by collector Don Fisher from Portland, Oregon, to build an archtop guitar from decades-old Brazilian Rosewood he had collected. “We discussed a few ideas for the guitar’s theme, and I suggested that while he was in town he take a look at the Sensuous Steel exhibit at the Frist Center. Don liked the idea of basing the guitar’s design on one of the cars and allowed me to choose which one would work best. I chose the 1937 Delahaye 135MS Roadster.” It took a year to build this masterpiece. The tailpiece is the f ront grille of the Delahaye, and, due to its complexity, Lacey had it partially three-dimensionally metal printed in stainless steel and then added the vertical rods separately afterwards. Made f rom three pieces of aluminum, the car’s unusual door handle is featured in the headstock, and fingerboard inlays are various knobs in the dashboard. The Delahaye’s f ront fender is depicted in the pickguard, and the volume and tone knobs are made to look like engine pistons. The sound holes are a profile of the hood ornament. The overall effect is positively sensuous, and the guitar’s sound is truly amazing! To learn more about Mark Lacey’s Guitars, please visit www.laceyguitars.com.
Midnight in Paris Wins L
C ongratulations , L ori P utnam !
ori Putnam’s Midnight in Paris has been awarded Best Nocturne in the August/September 2014 Plein Air Salon Competition. The painting will now advance to the national competition next April. Lori painted Midnight in Paris while traveling in Europe last summer. “This was done on my very first night in Paris, and I was thinking that it is hard to believe that this is what I do for a living,” Lori said. “And when you are traveling by yourself, you want to share it with someone, and painting is the best way I know to do that.”
To see more of Lori’s work, visit www.loriputnam.com, www.richlandfineart.com Lori Putnam, Midnight in Paris, 2013, Oil on linen, 24” x 30”
and www.lequiregallery.com.
16 | November 2014 NashvilleArts.com
Holiday Open House and CD Release In 2013, York began to play piano again and wrote an instrumental piece, which his dear friend, Jade Reynolds, named Renderings. Jade shared it with her husband, legendary musician Ron “Snake” Reynolds. Together, York and Reynolds arranged and recorded York’s melodies. The result is a lush, emotional, musical landscape entitled Renderings.
York & Friends Fine Art November 16
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his year’s Holiday Open House at York & Friends Fine Art Galler y is a ver y personal homecoming for proprietor Ron York. In addition to the party benefiting Belmont Mansion, York is releasing his first full-length CD of original, instrumental music.
“A labor of love, Renderings was created as a musical backdrop for my gallery visitors. Over an eight-week period, it continued to grow until we had a full-length CD,” York said. “It was such an honor to work with musical great Ron “Snake” Reynolds, who has engineered over 600 Top 40 Billboard Chart records, including 60 number-one hits.”
M o s t p e o p l e k n o w Yo r k a s a n a w a rd - w i n n i n g i n t e r i o r d e s i g n e r, a successful painter and galler y o w n e r, b u t f i r s t h e w a s a mu s i c i a n . He wrote and performed his first original composition in his high school Senior Variety Show. At Belmont University, York continued to write music while studying voice and piano, and working as a music director at church. Though he
York & Friends Holiday Open House benefiting Belmont Mansion is slated for Sunday, November 16, from noon to 5 p.m. Beginning that day Renderings Confetti Grand, 2013, Acrylic on panel, 24” x 18” will be available on Amazon, iTunes, and at York & Friends Fine Art Gallery. Listen to Renderings at artwork would often have a
drifted away f rom music, York’s musical theme incorporating his signature black-and-white piano keys into his paintings.
www.yorkandfriendsmusic.com. For more information, please visit www.yorkandfriends.com.
LASSIE MCDONALD CROWDER
YORK & Friends fine art Nashville • Memphis
107 Harding Place 615.352.3316 www.yorkandfriends.com
Creek, Summer, 36 x 48, Oil on linen
18 | November 2014 NashvilleArts.com
YORK & Friends fine art Nashville • Memphis
H oliday o pen H ouse a rt B enefit
CD RELEASE PARTY for
RENDERINGS a collection of original instrumental songs written & performed by
RON YORK
SUNDAY, NOVEMBER 16 TH , 12:00 – 5:00 P.M. a portion of art & CD sales to benefit Historic BELMONT MANSION 107 Harding Place • Tues-Sat 10-5 615.352.3316 • www.yorkandfriends.com Follow us on at Ron York Art
An Imaginary Life Ashley Mintz Exhibits at the Viridian November 1 through 30
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ennessee State student Ashley Mintz is taking a short break from songwriting to present her new exhibition An Imaginary Life. The show includes paintings and drawings which correlate with one another to create a timeline from childhood to womanhood. Small passages next to each work give the exhibit the feel of a short story. Ashley says that the show is somewhat autobiographical, because the same girl keeps showing up. “I don’t know what I am going to paint or draw before I begin, but by the time I get done, I realize the subject is something I’ve been going through.” An Imaginary Life opens with a reception during the November Art Crawl, on November 1 from 6 until 9 p.m., and will remain on view through the month of November. For more information, please visit Woman, 2013, Acrylic on canvas, 16” x 20” x 3/4”
www.ashleymintz.weebly.com.
New Mural Brightens Belle Meade by Éva Boros
Z io Z iegler ’ s L atest G raffiti C reation
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or the past two years a sleek, contemporary white house on the corner of Harding and Jackson in Belle Meade has been the topic of discussion in Nashville’s art community. Each year the homeowners hire street artists to paint murals on the front of the house. This year, they turned to art consultants Brian Greif and Tova Lobatz to select the artist.
“I never sketch my murals in advance. I like to get a feel for the wall, and then I just begin painting,” added Ziegler. He sized up the Harding-Jackson wall and in a matter of minutes sketched out the elaborate composition of his iconic symbols, human forms and a rooster. Continuing f ree handed, he added bold yellows, reds, and turquoise to the wall.
Cars slowed down to give a thumbs-up, while spectators filled the front lawn of the house. Ziegler began detailing the mural with amazing speed, completing the project in two days. The result is a stunning black-on-yellow mural depicting “human goals, dreams, and the search for the golden egg.”
“We had two goals in mind,” said Greif. “We wanted an artist who would be respectful of the venue, while also bringing something fresh and unique to Nashville.”
“The goal of this project,” added Greif, “is to initiate conversation about art in Nashville. We hope we have achieved that goal, and we hope the city appreciates this gift from Zio.” For more information, visit www.facebook.com/outside734 and www.zioziegler.com.
With those goals in mind, Greif and Lobatz invited San Francisco-based artist Zio Ziegler to paint the Harding-Jackson wall. Ziegler has become one of the most sought-after muralists in the world. With commissions for murals this year in Japan, Italy, and Argentina, Ziegler is continuously establishing himself as a respected painter and artist in the international street-art community. Heavily influenced by graffiti, Ziegler does not preplan his murals. He uses intuition fed peripherally by the elements of his surroundings to spontaneously create. 20 | November 2014 NashvilleArts.com
HISTORY EMBR ACING A RT
The Ochres of Autumn, 25 ½” x 40”
The Art of
Michael Griffin Visit Us During “Franklin Art Scene” November 7, 6-9 pm Gothic Revival, 40” x 48”
202 2nd Ave. South, Franklin, TN 37064 www.gallery202art.com • 615-472-1134
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8 434 Grayson $2,595,000 Rick French 604-2323, Tim King 482-5953
9 110 Lynnwood $2,500,000 10 1160 Manley Lane $1,999,950 11 3619 West End $1,890,000 12 2179 S Berrys Chapel $1,849,000 13 3814 Hobbs $1,495,000 14 1213 Vintage Place $1,495,000
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15 206 Leonard $1,295,000 16100 Bellavista $1,250,000 Rick French 604-2323, Tim King 482-5953
17 3631 West End $1,249,000 18 423 Ellendale $1,150,000
19 4112 Baldwin Arbor $999,000 20 3811 Whitland $949,000 21 3633 Saratoga $624,000 Rick French 604-2323, Tim King 482-5953
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RICK FRENCH 615-604-2323c
22 4415 Charleston Place $499,000
615-292-2622o
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BROKER
FRENCHKING.COM
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Martin Center Benefit Art Show November 6 Through 8
M
artin Masters presents Z oe ’s Galler y of Fr iends 9 th Annual Ar t S how and Sale b e n e f i t i n g t h e F i f t y Fo r w a r d Martin Center. The exhibition will showcase work by over 40 local artists, including featured artist John Cannon, photographer John Guider, Wanda Wright, Sandra Harris, Mark Evan Ivie, Anne G o e t z e , J oh n F i s h e r , G l e n n a Cook, Jill B. Smith, Leslie Lindecker, and Paul Harmon.
The River Inside, his solo canoe journey down the Mississippi. The three-day event opens with a reception and silent auction on Thursday, November 6, f rom 5 to 7:30 p.m. Tickets are $35. The exhibition and sale is f ree, and takes place Friday, November 7, f rom 10 a.m. until 7 p.m. and Saturday, November 8, from 10 a.m. until 3 p.m. Hand-painted photograph by John Guider
On Friday and Saturday John Cannon is painting a portrait of Sassie, the Martin Center therapy dog, and Saturday at 11 a.m. John Guider is giving a presentation on
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FiftyForward Mar tin Center is a nonprofit community center
dedicated to enriching the lives of adults 50 and older. Cigna HealthSpring is the presenting sponsor for the event. For more information, please visit www.themartincentertn.org.
Jack Hastings’ Homage to Calder Looking for a New Home
Homage to Calder is one of the largest and most impressive works of art Jack Hastings designed and constructed. In an article about Hastings’ work in the October 2012 issue of Nashville Arts Magazine, art historian Susan Knowles observed, “Jack’s engineering genius and whimsical imagination are on display in his two sprightly aluminum Dancing on Air mobiles installed at the Nashville International Airport.” Homage to Calder is mammoth compared to these. Arlyn Ende, Jack Hastings’ life partner, wrote about the installation of Homage to Calder. “I remember the magical, jaw-dropping suspense as we saw the air itself take shape around each moving arm and attenuated icon as it glided upward and outward to the ephemeral airspace. There was a
PHOTOGRAPH BY MARK GILLIL AND
hirty years ago, Jack Hastings was commissioned to design a mobile for a five-story atrium within the new Tennessee Valley Authority (TVA) southeast headquarters in Chattanooga, Tennessee. He named the monumental artwork Homage to Calder in honor of the sculptor-engineer, who in 1932 created hanging sculptures of discrete, movable parts powered by the wind.
breathtaking silence when the last fitting was tightened and the crew drew back. I sensed and shared the pride, gratitude, and relief that filled Jack as his Homage to Calder was released, finally on its own.” TVA has announced plans to renovate their building, so Arlyn Ende hopes to donate Homage to Calder to an institution that can accommodate it and will preserve and protect it. The mobile, featuring
24 | November 2014 NashvilleArts.com
colorfully painted aluminum icons, hangs from a 30-foot metal rod and is almost five stories tall. Parties interested in being considered to receive this large and precious gift should direct inquiries to Hastings’ Art Trustee, Susan Tinney, at susan@tinneycontemporary.com. Visit www.nashvillearts.com to read Arlyn Ende’s recollections of the design, construction, and installation of Homage to Calder.
NOVEMBER CRAWL GUIDE
Stacey Irvin – Downtown Presbyterian Church
The First Saturday Art Crawl Downtown takes place on Saturday, November 1, from 6 until 9 p.m. The Arts Company is presenting The New Nashville, paintings by Brett Weaver, and Instrumenthead, photography by Michael Weintrob. The Rymer Gallery is exhibiting Picture Element, new work from Jeff Grady and James Pearson. Tinney Contemporary is featuring SEACHANGE: Indexing the Conscious Moment, new work by John Folsom. The Browsing Room at the Downtown Presbyterian Church is opening Radiant Life, an exhibition of photography and mixed media by Stacey Irvin and Andee Rudloff.
In the historic Arcade, WAG is showing Desire Trap/pings, an installation by Watkins Fine Art junior David Anderson, combining hyper color and invented graphic forms. 40AU is presenting The Philosophy of Risk, a collaborative exhibition by Watkins Assistant Professor Brady Haston and senior Casey Payne. Coop Gallery is exhibiting Six Gestures, works on paper and small sculptures by Jana Harper.
Brady Haston and Casey Payne – 40AU
In the Gulch, the Viridian is hosting an opening reception for An Imaginary Life by Ashley Mintz (see page 20). Arts & Music @ Wedgewood/Houston happens on Saturday, November 1, starting at 5:30 p.m. T h re e s q u a re d i s s h ow i n g Matriarchs, new collages by Sewanee Professor of Art Jessica Wohl. Zeitgeist is presenting noise induced transmissions by Richard Feaster, ramble, repeat by Todd McDaniel, and solar impulse by Alex Blau. Track One is hosting Authors and Artists: The Regenerates, a show highlighting ten Southern authors expressed through the eyes of ten Southern Jessica Wohl – Threesquared artists. Seed Space is exhibiting
The Place You Will Wait for the Rest of Your Life, an exhibition of Greg Pond’s work along with his new documentary project. The Packing Plant is showcasing KVIKA, a video installation by Morgan Higby-Flowers, depicting manipulated landscapes through coding and script. Julia Martin Gallery is hosting OH JOY!, a series of new works by Shelia B (see page 40). The show will flow over into 444 Humphreys Pop Up. David Lusk Gallery is featuring Crazy Eyes by Mar y Addison Hac kett. Impact HUB Nashville in Houston Station is presenting Visual Impact, large-scale paper sculptures by Kaaren Hirschowitz Engel. Ground Floor Gallery is featuring a musical installation curated by Mary Addison Hackett – David Lusk Gallery Evelyn Walker.
The Franklin Art Scene takes place on Friday, November 7, from 6 to 9 p.m. Galler y 202 is featuring artist Michael Griffin. Shuff ’s Music and Piano Showroom is exhibiting painting, sculpture, and jewelry by Rex Ellsworth. Jack Yacoubian F ine Jewelry & Art Gallery is presenting several artists who have shown there in 2014 and live music by saxophonist Chaz W i l l i a m s . B o b Pa r k s Realty is hosting Shelley Snow. Michael Damico is returning to the Art Scene and opening up his personal art studio, Michael Damico – Damico Fine Art Studio Damico Fine Art Studio. B o u t i q u e M M M i s showcasing glass artist a n d j e we l e r L i n d a J. M c L a u g h l i n a n d crafters Tom and Linda Baker. Williamson County Archives is presenting DIVIDED LOYALTIES, an Exhibition Commemorating the 150th Anniversary of the Civil War by the Nashville Artist Guild. UnBound Arts Presents: T h i r d T h u r s d a y s a t Linda J. McLaughlin – Boutique MMM Riverwood Mansion on Thursday, November 20, at 7 p.m., featuring a group photography show by Belmont students Catie Gooch, Mickey Bernal, Robin Dodd, Gina Anderson, Angel Rabus, Kevin Schlatt, and Pulitzer Prize-winner John Partipilo. Musical performances by Richard Dubois and Matt Butcher begin at 8 p.m.
26 | November 2014 NashvilleArts.com
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An Invitation to Consign Cynthia Volk, Assistant Vice President, Senior Specialist of the Chinese Works of Art department, will be receiving appointments for private auction estimates on 7 November at: The Lipman Group Sotheby’s International Realty 2002 Richard Jones Road, Suite C-104 Nashville, TN 37215 SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2014
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Film Review
by Justin Stokes
T
PHOTOGRAPH BY LISA MARIE MA Z ZUCCO
he paradox of an instrument lies in knowing both an expert design and the regard of “simply being a tool.” Why can’t an instrument have a life and history all its own? And does that history enhance the artist’s ability to create?
Haim Hecht’s The Return of the Violin, the opening film for the 2014 Nashville Jewish Film Festival, substantiates such a notion. The eponymous violin is a three-hundred-year-old Stradivarius and is currently owned by Joshua Bell, a Grammy Award-winning violinist whose world tour has brought him to Czestochowa, Poland.
But Czestochowa and the violin have a history involving another virtuoso: Bronislaw Huberman, a proud son of Jewish Poland. And as conveyed through Violinist Joshua Bell Holocaust survivor and philanthropist Sigmund Rolat, the violin saw the rise of both Huberman’s star and Nazi Germany. Reacting to the systematic firing of Jewish musicians and Nazi plans for genocide, Huberman set out to use his celebrity status in other countries to save as many fellow Jews as he can employ. Will Huberman’s ambitions with Israel’s Philharmonic Orchestra pay off? How many people can one man actually save?
of the
Vi o l i n
Hecht’s documentary pays off, but committing to The Return of the Violin is no easy task. The documentary is an imperfect film that takes a long way despite its hour length. Rolat, our emotional anchor of the story, doesn’t properly tie in to the legacy of Huberman, the violin, or offset the dark moments. There are also crucial details that can be missed. But to watch the film is to barter viewership for witnessing the intersection of Judaic influence, the responsibilities of music in history, and the legacy one Polish violinist Bronislaw can leave by supplying courage and Huberman charity in terrible times. It’s art making history making art. . .
The 14th annual Nashville Jewish Film Festival runs November 5 through 15 with screenings at the Belcourt Theatre, the Franklin Theatre, the Gordon Jewish Community Center, and the Noah Liff Opera Center. For tickets, showtimes, and information, please visit www.nashvillejff.net. PHOTOGRAPH BY CHRISTY SIMMONS
T h e R et u r n
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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he art of the dragster was Kevin’s first foray into creative work. As a child he would build the models so they matched the picture on the box exactly, eventually working up to a submarine he built in his back yard. He began to draw the images he saw in magazines, copying every detail perfectly and, in time, realizing he had natural artistic talent. Working his way into industrial arts via shop class, he won several awards and competitions, but it wasn’t until after he left school and began working for a photographer that his love of photography began to take hold.
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When working on portraits, he sees each person he photographs as a movie star, concentrating his intense focus on the eyes of the subject as well as the composition. He waits for the perfect unguarded moment to capture the soul he knows is there. Shooting with all natural light he prefers an open feel to the atmosphere in which he shoots. This leads him to be Kevin Schlatt and Rusty more e x p e r i m e n t a l a n d free to use the environment, wind for movement and nature as backdrop. In all of his photographs there is an intuitive connection, an ability to reach the core essence of whatever he photographs and share it with the viewer. The work of Kevin Schlatt will be featured in a group photography show that opens on November 20 at 7 p.m. as part of UnBound Arts Presents: Third Thursdays at Riverwood Mansion. For more information contact unboundartsnashville@gmail.com. 32 | November 2014 NashvilleArts.com
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Public Art
Supported by the Ancestors For the next three months, Metro Arts will highlight one of three commissioned public artworks installed in the revitalized Edmondson Park, named for Nashville artist William Edmondson. The Park is located on Charlotte Avenue between 16th and 17th Avenue, North. by C. Van Gill, Public Art Project Coordinator, Metro Nashville Arts Commission
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PHOTOGRAPH BY STACEY IRVIN
upported by the Ancestors pays homage to the work and life of William Edmondson while still ringing true to Lonnie Holley’s distinctive and playful aesthetic. The artist explains, “I wanted to honor all the workers, dead and alive, who made buildings that don’t stand up high on the hills, whose buildings may not still be standing. Supported by the Ancestors is about honoring the use of materials and the people who used those materials.” Three stainless-steel rods with slight, sloping bends stand fourteen feet tall and form the basic structure of the sculpture. The rods, placed in a teepee-like arrangement, create the perfect resting place for a large granite boulder at the top of the sculpture. Resting four feet from the ground, a second large boulder is located below the first, reminiscent of a cooking pot above a fire. The hefty rocks, a nod to Edmondson, appear delicately perched on top of the supporting poles. Supported by the Ancestors is a fitting tribute to William Edmondson, an unsung Nashville hero in his own right. Those who assisted in the revitalization of the park and the commissioned public artists hope to shed light on Edmondson’s historic significance as the first African-American artist to have a solo exhibition at the Museum of Modern Art in 1937 and ensure that Edmondson’s legacy lives on for many generations to come. For more information about this and other public art projects, please visit publicart.nashville.gov.
NashvilleArts.com
Lonnie Holley, Supported by the Ancestors, Stainless steel and granite, 14’ x 13’ x 14’ x 10’
November 2014 | 33
IMAGES COURTESY OF THE STONES RIVER CRAFT ASSOCIATION
Clockwise from left: Ray and Susan Allen sorbet bowls, Ramsay Hall bracelet, Lewis Snyder Raku Vase, Logan Hickerson, Eva Berg
21st Annual Art Studio Tour Sets Up Shop in Murfreesboro November 22–23 by Justin Stokes
S
temming from the city’s Bicentennial Celebration, Murfreesboro’s Art Studio Tour was prototyped by a public tour of the home studios of the city’s artmakers to feature their latest creations. Now in its twenty-first year, the quilt work of heritage and hearth is an eclectic gathering of creativity and a triumphant exhibit of some of the finest crafts and talent the area has to offer. Promoting civic pride and economic growth, the Art Studio Tour is the pivotal event of the Stones River Craft Association, a 501(c)(3) established to “develop, encourage, and preserve the fine crafts of the Stones River region.” Tour Coordinator Alex Fontova shares that the SRCA’s objectives are the “enhancement of the community’s visual complexion through fine crafts” as well as “the elevation of the standards for design and craftsmanship, while encouraging individual expression.” Through the help of the Chamber of Commerce and the generosity of local sponsors, the Art Studio Tour has formed an alliance between forces otherwise at odds in Rutherford County: the community and the craftsman, the old-fashioned methods and the contemporary styles, the artist and the business. This alliance has drawn craft admirers from Nashville, Franklin, Chattanooga, and elsewhere to see handmade products from artisans whose work is featured in galleries across the state. Featuring unique pottery, furniture, jewelry, and accessories, the Art Studio Tour is the only large-scale event of its kind in Rutherford County. The 21st Annual Art Studio tour runs November 22 and 23 from 10 a.m. to 5 p.m. The event is for all ages, open to the public, and will include the works of host studio Silver Ridge Pottery. For information, including a map of the studio tour, visit www.artstudiotour.org. 34 | November 2014 NashvilleArts.com
Alan Daigre rocker
Unplugged
Art in Formation Stirrings from the Nashville Underground Words and Photograph by Tony Youngblood
C
hris Davis and Tate Eskew recently joined forces to form FMRL Arts (pronounced “ephemeral”), a non-profit arts group that Davis says was created “to foster sustainable frameworks for presenting experimental music and visual art in Middle Tennessee.”
The pair decided to form FMRL Arts after they both struggled with the dearth of Nashville venues free from cigarette smoke and background chatter. Eskew approached his employer Clint Smith, CEO of Emma E-mail Marketing, about possibly using Emma’s spacious employee lounge and bistro. Eskew says Smith was “more than accommodating and has been a truly great supporter of our endeavor.” After the pair booked two shows at Emma featuring Jason Lescalleet and Jeremy Bible, Davis says, “It was immediately apparent that we had complementary skill sets and worked together well.” In just a few months of existence, FMRL has already hosted artists like Michael Chapman, Sir Richard Bishop, Jessica Pavone, and Lakha Khan. Plans include a limited-edition seven-inch vinyl series
Dane Khan and Lakha Khan performing at Emma Bistro
featuring live recordings from the events and educational outreach like artist-led workshops at local schools and a lecture series to “grow an audience open to sound in all its aspects,” Davis said. “The artists have been ecstatic with the space and the audience that our events attract,” says Eskew. “I really want to make sure that the quality stays extremely high, which means that we will build a wonderful community of art, artists, and patrons.” FMRL Arts will present Paul Metzger and Tim Kaiser at Emma Bistro on November 13 at 8 p.m. Learn more at www.fmrlarts.org. PHOTOGRAPH BY JOHN SCARPATI
This is fantastic news for the Nashville arts scene. Percussionist Chris Davis has curated world-class performances in Nashville for nearly two decades. Guitarist Tate Eskew owns Zero Art Recording Studio and has engineered albums, films, and television shows, including nine years recording for The Simpsons.
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.
Drive the County, Meet the Artists, Tour the Studios.
Wo od en bo xb yL og an Hic ker son
November 22-23, 2014 | Saturday + Sunday | 10 am - 5 pm Stones River Crafts Assocation invites you to recapture your enthusiasm for the extraordinary and shop for local, hand-made art and fine craft in the Rutherford County area. The 21st Annual Art Studio Tour is a FREE Community Event.
Look for the directional signs!
Bracelet by Ramsey Hall
Visit artstudiotour.org for studios locations and more information.
The Bookmark many Gifts
A Monthly Look at Hot Books and Cool Reads
For more information about these books, visit www.parnassusbooks.net.
Blue Horses MARY OLIVER
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Pulitzer Prize-winning poet Mary Oliver is back doing what she does best: finely wrought, restrained poems invoking nature’s majesty, mystery, and beauty. This is a book to be savored by the budding poet, the student of verse, and the outdoor enthusiast. If you’re thinking of giving a volume of poetry as a gift, this is a terrific choice. Something Rich and Strange: Selected Stories RON RASH
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Rash is the New York Times bestselling author of Serena and The Cove, as well as the winner of the Frank O’Connor International Short Story Award, two O. Henry prizes, and a finalist for the PEN/Faulkner Award. In Something Rich and Strange he gives us thirty of his best short stories, all in one book. As the publisher describes it, “No one captures the complexities of Appalachia—a rugged, brutal landscape of exquisite beauty—as evocatively and indelibly.” Mr. Rash will be in town November 4. See www.parnassusbooks.net for event details.
Heritage SEAN BROCK This gorgeous cookbook is the first by James Beard Award-winning Sean Brock, the chef behind culinary destinations Husk and McCrady’s. You’ve got to be ambitious to try some of the recipes—My Sister’s Chocolate Éclair Cake looks both delicious and challenging—but others, like the Cracklin’ Corn Bread, are perfectly simple. With its beautiful cover and fantastic photos, this is a book you’ll want to leave out on display when you’re not using it. Meet the chef on December 3. See www.parnassusbooks.net for event details.
Jerry Lee Lewis: His Own Story RICK BRAGG AND JERRY LEE LEWIS Take it from our own Ann Patchett, who says, “I read Rick Bragg’s new biography, Jerry Lee Lewis: His Own Story, and loved every amphetaminelaced, whiskey-soaked, gun-shot page of it. I think this is going to be a big book for the holidays because, well, wouldn’t you want to give everyone on your list a book about booze and pills and violence that came with a great soundtrack and five wives? This thing moves. It rocks. There has never been a more perfect union of writer and subject. Bragg and Lewis are a match made in heaven.” Meet Rick Bragg at Parnassus on Saturday, November 15, at 2 p.m.
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Rediscover Us The Torsion Balance Co. scale, 13 x 15 x 6”
1898 Nolensville Rd | 615.726.1207 | www.finerthingsgallerynashville.com Thursday - saTurday 10a.m - 5 p.m.
NashvilleArts.com
November 2014 | 37
Rusty Wolfe, Console Pair, Steel, marble, 26” x 86” x 14”
Pieces & Parts
R
THE GREEN STUFF
ecycling of materials, both old and new, has long been a part of my philosophy of art and design. It is amazing how many types of materials are available—glass, wood, steel, ceramic, fiber, etc. I remember building, as a young boy, model planes, boats, and cars from plastic and balsa-wood kits. The parts came in sheet form. As the parts were removed, I was fascinated with the negative space that remained. I believe this experience played a role in my use of laser-cut steel today. Several years ago, I began working with cast-off pieces of steel, the remnants from a laser-cutting machine. The possibilities in that single avenue alone are endless. Pictured here are console tables that cantilever from the wall. Pieces of laser-cut steel, reclaimed from a local fabricator, are welded together in a collage. Those design elements are wrapped in a frame of new steel, welded, and ground to a consistent finish. The console tops are fabricated from solid-surface counter-top material, also remnants from local fabricators. These finished tables are comprised of 80% repurposed material and only 20% new material.
Rusty Wolfe, Shadow Chaser, Wood, 15” x 13” x 2”
As the owner of a cabinet company, I have access to a wide array of materials. I consistently reuse and encourage the reuse of as many materials in our production as possible. I have created a series of small, wall-hung sculptures called Shadow Chasers that are made entirely from cast-off materials from my cabinet shop. These art objects are constructed by laminating together small pieces of plywood, fiberboard, Corian, and solid wood. The cubes that are produced are cut into thin slices. With the use of a custom jig, the slices are sanded to a consistent thickness. Those elements are then assembled into a pattern, fastened together, and mounted to a hanging bracket. The shadow comes into play by virtue of mounting the construction a distance away from the wall. The angle of the lighting determines the shadows.
While I find the incorporation of green materials a source of inspiration, I am also proud to create products that do not act as a drain on our limited natural resources. I have not made it a practice to seek out recycled materials in my work. Instead, I feel as if the material most often finds me. I feel compelled and inspired by many found objects and green materials. As an artist, I often feel that I have no choice in the matter, that it is the material that is guiding me.
Rusty Wolfe, Console Pair, Steel, marble, 26” x 86” x 14”
PHOTOGRAPH BY LAWRENCE BOOTHBY
Finer Things Gallery is located at 1898 Nolensville Road. For more information, visit www.finerthingsgallerynashville.com.
38 | November 2014 NashvilleArts.com
Rusty Wolfe is a painter, sculptor, furniture designer, and entrepreneur. His works are available at fine art galleries around the country and locally at Finer Things.
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Rediscover Us Rusty Wolfe, Awakening, 16” x 24”, mixed media on panel
1898 Nolensville Rd | 615.726.1207 | www.finerthingsgallerynashville.com Thursday - saTurday 10a.m - 5 p.m.
B’s
Oh Joy!, 2013, Mixed media on canvas, 11” x 14”
PHOTOGRAPH BY JOHN GUIDER
a l i e h S
Not Bashful, She’s From Nashville
M
by John Guider usic aficionados are forever proclaiming their views on what the “Nashville Sound” is and which musician best embodies that genre, but has anyone ever spent time musing on whether Nashville has a look? Hatch Show Print could well be it. However, there is another contender in that ring as well. Sheila Bartlett, aka Sheila B, is the consummate outsider who has made her way on the inside of most every creative enterprise Nashville has to offer. She’s a recognized art director, having worked both locally on high-end video and photo shoots as well as on well-known feature films such as October Sky, Get on Up, and The Help. Tom Morales of TomKats catering fame commandeered
Sheila’s talents by hiring her to dress the interiors of three of his flagship restaurants, including the soon-to-be-iconic Acme Seed and Feed on Lower Broad. The list of her accomplishments defies this space. Her look is born of her roots; she was raised on a walking-horse farm in Cookeville. Her growing up was country through and through. Church on Sundays, an education in a rural school taught by many of the same teachers who taught her parents before her, familiarity with the ideology of yellow-dog politics, and work as a farm hand training horses—these are not the usual ingredients in the making of a pedigreed fine artist.
40 | November 2014 NashvilleArts.com
quickly. Her work is collected by the Tennessee State Museum and the Ryman Auditorium, and she has continued her style of roadhouse art with great enthusiasm. Her work is purposeful. Each piece tells a story. Her intent in her own words is “to make work that is often upbeat, fun, and appropriately caustic. Most every surface is a found piece with a history of its own.” Each surface then becomes the genesis of the story Sheila wants to tell. “I apply paint in a way that I know will often rub, scrape, or sand away, leaving a ghost. My color palette tends towards the nostalgic and vintage.” She continues her story After a stint at the famed Ghost Ranch using “words, phrases, random experiences, in New Mexico, where she found time history, stories true and fabricated” to create to study the art of religious icon painting her oeuvre. Leigh Hendry, Director of from a nun at a nearby convent, Sheila External Affairs for the Tennessee State settled into Nashville, where her career in Museum, is a fan. She says Sheila “exudes scenic painting and set styling blossomed. a generosity of spirit that shines through However, even after a twelve-hour, nonthe paint before it channels its way onto the stop workday, she was drawn to the bright surface she’s using to convey her Message of lights and late night activities of Lower the Moment. She is a singular, authentic, Broad. She fed on the vibe and the energy Southern by the grace of God, Music City from the likes of Robert’s and the Ace of Heavenly, 2014, Mixed media on wood, 3’ x 2’ original.” Her work has the energy and the Clubs. She loved the edgy bands that played colorful impact of a Finster, just not quite the and the posters from Hatch that were plastered everywhere she looked. same message. Piety is not her goal. Her website refers to her art as She developed a love for the lowbrow on Lower Broad, and her art “lo-fi illustration,” because: “She’s a storyteller—walking with a bit of grew from the chaotic, primitive energy that nourished it. a swagger. Shelia B’s not bashful. She’s from Nashville.” Her early work idolizing her heroes, such as Johnny Cash and Merle Oh Joy!: New Works by Sheila B opens at Julia Martin Gallery on Haggard, was seen by Jerry Dale McFadden of The Mavericks, who November 1 with a reception from 6 to 9 p.m. For more information about gave Sheila her first one-person show at his gallery, TAG. It sold out Sheila B visit www.sheilabware.com and www.juliamartingallery.com. The fact that “country girl” Sheila chose the arts as a life course is unusual in itself. She found out early she was good at working the horses, but it wasn’t her life. Her passion came in the guise of a paintbrush and a pen. Fortunately her parents knew about passion, so they allowed her to follow her muse. When the public school in Algood couldn’t meet her creative needs, they even sent her to special classes at Tennessee Tech. Later Sheila made her way to MTSU, where she found her bliss under the guidance of Barry Buxkamper and Libby Byler, great artists in their own right.
Gone, 2014, Mixed media on canvas, 10” x 8”
Coming for You, 2014, Mixed media on board, 42” x 28”
NashvilleArts.com
November 2014 | 41
PHOTOGRAPHS BY JERRY ATNIP
Bebe Buell SINGER • SONGWRITER • CULT ICON by Paul Polycarpou • Photography by Jerry Atnip Discovered by the Eileen Ford modeling agency when she was just seventeen, Bebe, famous for her bright blue eyes, roared through the rock-and-roll excesses of the seventies and eighties. Along the way she hung with Iggy Pop, Mick Jagger, David Bowie, Elvis Costello, Jimmy Page, and Steven Tyler, with whom she had a daughter, Liv Tyler. Now living in Nashville and dedicated to her music, Bebe is still rocking with her band, the Nashville Aces. Her new singles Secret Sister and Hello Music City are out now. And no, I didn’t ask her about the Playboy spread. Nashville Arts Magazine: What would you do with a ton of money? Bebe Buell: I would do things with it. I’d be out there saving
dolphins. I don’t like selfish people who have so much but do little to help others.
NAM: Is there a song you can’t live without? BB: Roy Orbison’s “Crying”. NAM: Do you like the way Nashville is growing right now? BB: No! It’s frightening me. The infrastructure has to catch up.
NAM: Who would you most like to meet?
NAM: What is your greatest extravagance?
BB: Oscar Wilde. I love the way he looked, the way he dressed.
BB: What I call my maintenance: my hair, my pedicures, that kind of stuff.
NAM: Who would you most like to have a long conversation with?
NAM: What characteristics do you most like about yourself?
Albert Einstein as well. I had a crush on him.
NAM : Wha t i s you r mos t t rea s u red possession? BB: My Picasso block print that Mick Jagger
gave me for my 21st birthday. It’s the court jester on the horse. NAM: When are you the happiest?
BB: When I am on the lake, by the water.
Animals make me happy. NAM: Why Nashville?
into every situation as I can. I was born happy.
A Q&
BB: Wanda Jackson. I know she lives here, but I
haven’t met her yet.
BB: My optimism. I try to bring as much positive energy
BB: I have a theory about Nashville. I don’t think you
choose Nashville; I think it chooses you. I love the fact that ageism is not part of the arts here. There’s no expiration date on talent. This is where I am meant to be. NAM: What about you would most surprise people? BB: Probably that I’m really not that liberated; I’m a little icy, even
though I’ve had some elegant and delightful suitors in my life, I’m not that easy. NAM: What do you most like about Nashville?
NAM: What do you like least? BB: The part of me that worries about everybody
and everything, the planet, the universe. NAM: What physical would you change?
characteristic
BB: I’m ok with what I’ve been dealt. NAM: What’s it like being you these days?
BB: I don’t get as much sleep as I would like. My life is consumed with my band, the Nashville Aces.
NAM: What talent would you most like to have?
BB: I wish I could spend more time with my painting. NAM: What are you most proud of? BB: That’s easy. My beautiful daughter, Liv. She was a love child. To
this day my best friend is her father (Steven Tyler). I’m proud of my own survival instincts. NAM: What is your greatest regret?
BB: I love that your past doesn’t mean a thing here. It’s all about how
I regret that I did not have more children. But I’m at peace with it now. I wish that I had understood my identity a little better when I was a younger girl.
NAM: If you weren’t living in Nashville where would you live?
NAM: What visual artists do you like?
BB: London. It’s my favorite other city.
BB: I will always be a Picasso fan. I love his childlike quality. I really like New York artist Paul Kostabi, Mark’s younger brother. And I love Beth Hooker.
good the song is or your art. That’s what counts here.
NAM: What music do you listen to? BB: For me it’s the Stones. I like the Flying Burrito Brothers, and I will always be a big fan of Elvis Costello.
For more information about Bebe Buell, visit www.bebebuell.org.
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where art meets the emotion of sound
Meet • Greet • talk
JAD ADAMS from London
nOveMBer 20 5:30 P.M. landMark BOOksellers
JAD ADAMS is an independent historian specializing in the nineteenth and twentieth centuries. He is a Research Fellow at the Institute of English, School of Advanced Study, University of London, and a Fellow of the Institute of Historical Research. His books include major biographies of Tony Benn and of Gandhi, and a composite biography of the Nehru dynasty.
Landmark Booksellers
ret h m m a a r g a l o u d s p e a ke r
by appointment gre en hills
Old, Out-Of-Print, rare & new BOOks
Open 7 days a week 14 East Main Street Historic Downtown w Franklin, TN landmarkbooks@bellsouth.net 615-791-6400 www.landmarkbooksellers.com
www.atelier13-usa.com (615) 881 0427
Always Mandy
The Soulful Siren Takes on the Great American Songbook
M
by Holly Gleason ost people don’t regale you with spirited conversation about their phone calls with Neil Sedaka, but Mandy Barnett—the deep-claret, lush-suede alto—will. Almost thirty years into a career, she’s still one of the great, undiscovered classicists of American pop and country and has never allowed “cool” to calibrate the compass she steers by.
“He’s rare,” she says. “He writes with such a sense of melody, that’s really what moves his songs. Then his plain words and what they contain? Just as a writer, that’s so much. But he also performs . . . not just plays, but brings the songs to life.” Mandy Barnett knows of what she speaks. Signed by Jimmy Bowen (Frank Sinatra, George Strait) at 11, she initially gained prominence through her ironic, iconic portrayal of doomed country noirist Patsy Cline in the musical Always...Patsy when it was originally at the Ryman.
PHOTOGRAPH BY GINA R. BINKLEY
The horror cliché of a young girl in the machine defines Barnett’s formative years. She eventually signed with Asylum Records, making a critically acclaimed progressive country album with producer Kyle Lehning (Randy Travis, Hall of Famer Ronnie Milsap) that didn’t hit. Barnett exists beyond time. Contemporary music’s now has little to do with the timelessness of her voice, equal parts desire, ache, and wry resignation. After all these years, the 30-something recognizes what works for her.
46 | November 2014 NashvilleArts.com
“I’ve always been a melody person. That’s the first thing I notice—because that’s what makes it great to sing. Lyrics are important, too. But if you get too long-haired and clever, you’re gonna lose me. Simple words that say a lot, maybe even a lot more than words themselves.”
It’s not an intellectual process for the woman who’s had songs in Election, A Walk on the Moon, Space Cowboys, and Drop Dead Gorgeous. For her, a song’s impact is visceral. “My body reacts, and I start paying attention. I get stirred . . . I may get chills. And I will start getting emotional—and I can’t help it.”
“I’ve always loved strings. It’s one of the things that drew me to Patsy, not just her voice, but that rich production. The records sounded like those emotions feel, and I loved that . . . and Henry Mancini, Patti Page, Nelson Riddle, Connie Francis, Johnny Mathis, Dean Martin.
She needn’t have to. Seymour Stein, who signed Talking Heads, Madonna, and kd lang, brought Barnett to Sire after her Asylum tenure was done. She was a muse to Owen Bradley, who produced the Crossville, Tennessean, and a siren for Atlantic Records’ founder Ahmet Ertegun, who insisted she participate in a Sun Records project he was doing.
“Listen to Kate Smith’s ‘Her Very Best.’ It had everything, and it evoked. To me, that’s what makes music last and stay with you . . . so simple, yet complicated. Or is it its complexity [that] makes everything become very simple?”
“
music by committee, and all these opinions—and it got to where I couldn’t listen to songs I loved because it was just too sad. The things that mattered had nothing to do with any of it.”
PHOTOGRAPH BY ANTHONY SCARL ATI
Like Linda Ronstadt, Barnett can sing anything. It served her, but also created conflict. “You get caught up in the business, of making
This little bald man with a pencil mustache came running up after I sang at a show honoring Seymour, grabbed me and kissed me on the lips,” she marvels. “He said, ‘You’re the best singer I’ve heard in twenty years!’ I had no idea who he was . . . and then I found out!
”
Barnett laughs at herself. This afternoon, she’s in a small theatre, and soundcheck can’t happen “because the soundman is the judge here, and he couldn’t make it ’cause he had court.” In life’s rich pageant, some of the absurd is worth smiling about. All part of making music in the margins, she believes the best is yet to come. Her voice, always a resonant instrument, has grown richer as she’s grown up—and her nuance has become even more subtle, both assets for the repertoire she embraces.
She smolders for the classic American songbook. She dreamed of working with Bob Crewe, who wrote “My Eyes Adored You” and “Can’t Take My Eyes Off You.” She hopes to capture songs people know by heart in a whole new light.
“Everyone cut the same songs when Dean Martin and Peggy Lee, Kate Smith and Nat King Cole made records. You loved the songs, but you wondered how each would interpret them; what would they bring out in the song? “That’s a great vocalist. How do they color it in? For me, and I’m so under-recorded, it’s hard to even talk about it . . . I’d like to think I can open up some of these songs and introduce new things. Or so I hope.” For information about Mandy Barnett, visit www.mandybarnett.com and on Facebook www.facebook.com/mandybarnettmusic.
NashvilleArts.com
November 2014 | 47
WORCESTER ART MUS EUM (MA)
As I See It
Edward Hicks, The Peaceable Kingdom, c. 1833, Oil on canvas, 18” x 24”
The Peaceable Kingdom, Now More Than Ever
Symbolism within the paintings is largely conjecture, but what is consistent throughout the series is a tension between the subject matter and a tenuous peace. Each depiction conveys a delicate balance between forces that wield power and emblems of pastoral serenity. It has been argued that Hicks’s depictions of the king of beasts may have alluded to Imperial England or the English Quakers, which were at the time both at odds with the American Quakers.
The enduring popularity of Hicks’s art resides neither in his virtuosity nor even accuracy, but rather in his complete lack of pretension. His art combines the spiritual with the material in a direct manner that recalls humble nativity scenes where beasts of burden look adoringly at the Christ child, the embodiment of God’s majesty made man. Among practitioners and devotees of modernism, Hicks’s style is heralded for its simplicity. It is not coincidental that several of the leading collectors of Shaker and Quaker art were also the principal benefactors for major institutions of modern art in America. Abby Aldrich Rockefeller, a collector of modern art, folk art, decorative arts, and Japanese prints, was a driving force in the founding of the Museum of Modern Art, New York, as well as Historic Williamsburg, home of the Abby Aldrich Rockefeller Folk Art Museum, which was named in her honor. She also supported other art museums, women’s causes, Spellman College, the YWCA, and International House of New York. Her eclectic taste embodied Hicks’s hopes for America, that we could all find favor, celebrate our differences, and live in peace. Happy Thanksgiving. PHOTO BY ANTHONY SCARLATI
B
etween 1822 and his death in 1849, Edwards Hicks painted over a hundred variations of his famous Peaceable Kingdom. Hicks, a Quaker preacher and sign painter, found inspiration in chapter 11 of Isaiah: “The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid, and the calf and the young lion and fatling together; and a little child shall lead them.” In early versions of the image, this text is painted in a border. Hicks experimented with different ways of expressing the prophecy and the relevance of the message for nineteenth-century American life. In later versions of the Peaceable Kingdom, including the Worcester painting of 1832–34, Hicks inserted a vignette documenting William Penn’s treaty with the Indians. Penn had introduced Quakerism into the Pennsylvania colony, and Hicks saw Penn as the embodiment of a virtuous life, which included self-discipline, humility, modesty, and harnessing of our animal instincts to live in concord.
48 | November 2014 NashvilleArts.com
Susan H. Edwards, PhD Executive Director & CEO Frist Center for the Visual Arts
where art meets the emotion of sound
Susanna and the Elders, 2013, Wool, cotton and silk thread on tulle fabric, 48 in x 46 in
studio electric type 2 loudspeaker
Portrait Paintings & Works on Tulle
Portrait of an Artist, 2013, Oil on canvas, 16 in x 12 in
Visit meghanvaziri.com or call (901) 246-4250 for portrait commissions or other inquiries.
by appointment gre en hills
www.atelier13-usa.com (615) 881 0427
Arts Worth Watching One of musical theatre’s biggest blockbusters returns to Great Performances, television’s longest-running performing arts anthology. Andrew Lloyd Webber’s Cats reigned over an eighteen-year Broadway run and unending touring productions that continue to travel the globe. Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, this hit-filled stage version, shown Friday, November 21, at 9 p.m., offers such musical highlights as Elaine Paige singing the show-stopping ballad “Memory.”
Profiling the life and works of some of the most compelling artists of our time, Season 7 of Art in the Twenty-first Century continues with features on artistic projects from across the country and around the world. In locations as diverse as a military testing facility in the Nevada desert, a jazz festival in Sweden, and an activist neighborhood in Mexico, the artists reveal intimate and personal insights into their lives and creative processes. Meet three artists who use life experiences and family heritage to explore new aesthetic terrain in Legacy on November 7. Explore the work of three artists who mix genres and merge aesthetic disciplines to create stories in Fiction on November 14. Both begin at 9 p.m. Hitmakers is an up-close look at the music industry’s resilience in the digital age, from the perspective of groundbreaking artists, music label mavericks, and game-changing managers. These crucial players have shaped the music business over the past 100 years, changing pop culture in the process. Today’s artists challenge the paradigm further, taking control of their careers and sometimes shucking the system altogether to record and release music on their own. Record labels large and small also have found they must innovate to thrive. Entertaining and thoughtful, this program boasts an unforgettable soundtrack. The special, airing Friday, November 14, at 8 p.m., features interviews and performances from notable artists such as Melissa Etheridge, The Roots’ Questlove, Sharon Jones, rising DJ/ producer Steve Aoki, and many more.
Enjoy a concert of beloved Broadway songs as Live From Lincoln Center presents Emmy- and Tony Award-winner, acclaimed recording artist, and New York Times best-selling author Kristin Chenoweth, who created the role of the good witch, Glinda, in Wicked in 2004. This specially conceived concert for Lincoln Center’s American Songbook series salutes the great roles for leading ladies and the scene stealers from an array of Broadway shows, creating a performance that promises to be both intimate and outrageous. Hosted by Live From Lincoln Center series host Audra McDonald, Kristin Chenoweth: The Dames of Broadway…All of ’Em!!! airs on NPT on Friday, November 28, at 8 p.m. On Sunday, November 23, at 7 p.m., the Kennedy Center awards the 17th annual Mark Twain Prize for American Humor to Jay Leno, one of America’s foremost humorists, in a star-studded show. There will be appearances by Garth Brooks, Jimmy Fallon, Jerry Seinfeld, Wanda Sykes, and others. Past recipients of the Kennedy Center Mark Twain Prize include Jonathan Winters, Whoopi Goldberg, Bob Newhart, Lily Tomlin, Steve Martin, Bill Cosby, Will Ferrell, Ellen DeGeneres, Carol Burnett, and Richard Pryor.
Speaking of whom, Richard Pryor: Icon delves into the life and legacy of this great comedian—how he grew up in a small Illinois town, became one of the first black men to perform on the Ed Sullivan Show, then was later banned by television networks and embroiled in a pattern of self-destructive behavior that threatened his life. This biopic, airing Sunday, November 23, at 9 p.m., defines his lasting impact on comedy and culture, often in his own words.
50 | November 2014 NashvilleArts.com
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 Growing a Greener World Simply Ming Cook’s Country noon America’s Test Kitchen pm Victory Garden Edible Feast Sara’s Weeknight Meals Martha Bakes Fons & Porter’s Love of Quilting Best of Joy of Painting Woodsmith Shop American Woodshop Rough Cut with Tommy Mac This Old House Ask This Old House Hometime PBS NewsHour Weekend pm Tennessee’s Wild Side
THIS MONTH Nashville Public Television
POIROT
David Suchet returns in his signature role as Agatha Christie’s super sleuth Hercule Poirot. In this five part twelfth season, Poirot exercises his “little grey cells” to help police investigate crimes and murders, whether they want it or not. Thursdays November 6, 13 & 20 9:00 pm
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 11:00 12:00 12:30 1:00 1:30 2:00 3:00 3:30 4:00 4:30 5:00 6:00 6:30
November 2014
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 A Word on Words Nature noon To the Contrary pm The McLaughlin Group Moyers & Company Washington Week with Gwen Ifill Globe Trekker California’s Gold Ecosense For Living America’s Heartland Rick Steves’ Europe Antiques Roadshow PBS NewsHour Weekend pm Charlie Rose: The Week
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 Wild Kratts 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 Wild Kratts Martha Speaks WordGirl pm PBS NewsHour
Nashville Public Television
Next Door Neighbors: New Beginnings Produced by NPT and hosted by Danielle Colburn Allen, the latest episode takes a look at Rwandans, Haitians and Burmese natives who now call Nashville home. Friday, November 7 7:00 pm
Tennessee Civil War 150 Desperate Days: Last Hope of the Confederacy This historical documentary chronicles the infamous battles of Franklin and Nashville in 1864, as they set the stage for the defeat of the once powerful Southern army and the end of the Civil War. Broadcast coincides with the sesquicentennial of these battles. Tuesday, November 25 at 8:00 pm and Sunday, November 30 at 7:30 pm
wnpt.org
7:00 Antiques Roadshow Miami Beach, Hour Two. 8:00 Antiques Roadshow Madison, Hour One. 9:00 Ice Warriors – USA Sled Hockey Join the U.S. sled hockey team as they prepare for and compete in the Paralympic Winter Games in Sochi, Russia. 10:30 Last of Summer Wine 11:00 Secrets of Underground London
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7:00 Masterpiece Classic The Paradise, Season 2, Part 7. 8:00 Masterpiece Contemporary Worricker: Turks & Caicos. A CIA order puts Worricker back to work. 10:00 Bluegrass Underground Keller Williams with the Traveling McCourys. 10:30 Craftsman’s Legacy The Gun Maker. 11:00 Tavis Smiley 11:30 Scully/The World Show
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7:00 Antiques Roadshow Miami Beach, Hour One. 8:00 Antiques Roadshow Atlantic City, Hour Three. 9:00 Independent Lens Powerless. A power struggle exists in Kanpur, India, which suffers from day-long electricity cuts. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 The Rule
Monday
7:00 Masterpiece Classic The Paradise, Season 2, Part 6. 8:00 Masterpiece Mystery! Death Comes to Pemberley, Part 2. 9:30 Start Up A Fisheye View: Fishidy/ Eyemusement. 10:00 Bluegrass Underground Davina & The Vagabonds. 10:30 Craftsman’s Legacy 11:00 Tavis Smiley 11:30 Scully/The World Show
2
NOVA Bigger Than T. Rex Wednesday, November 5 8:00 pm
Sunday
Primetime Evening Schedule
November 2014 Wednesday
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7:00 Finding Your Roots The British Invasion. The British ancestors of Sally Field, Deepak Chopra and Sting. 8:00 Navy Seals – Their Untold Story First-hand accounts of missions by the world’s most admired commandoes. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations Badger #2: The Last Remaining Fish Car.
4
7:00 Finding Your Roots Our People, Our Traditions. Don Kushner, Carole King and Alan Dershowitz are featured. 8:00 Makers Women in Politics. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations The Midmer-Losh: The World’s Largest Pipe Organ.
5
12 7:00 Nature Leave It to Beavers. Can beavers reverse the disastrous effects of world-wide water shortages? 8:00 NOVA Emperor’s Ghost Army. 9:00 How We Got to Now Sound. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Los Lobos/Thao & The Get Down Stay Down.
7:00 Nature A Sloth Named Velcro. The story of friendship between a journalist and a sloth. 8:00 NOVA Bigger Than T. Rex. 9:00 How We Got to Now Cold. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Nick Cave & The Bad Seeds.
Masterpiece: Contemporary Worricker Sunday, November 9 8:00 pm
Tuesday
6
13 7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life Apples. 8:30 Food Forward School Lunch Revival. Are public schools’ free lunches nutritious? 9:00 Masterpiece Mystery! Poirot Season 12, Dead Man’s Folly. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Next Door Neighbors: New Beginnings
7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life Don’t Tom Thumb Your Nose at Me! Part 2. 8:30 Food Forward Modern Milk. 9:00 Masterpiece Mystery! Poirot Season 12, The Big Four. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 NPT Reports – Domestic Violence: Nashville Responds
Independent Lens Happiness Monday, November 17 9:00 pm
Thursday
7
14 7:00 40 Years on the Farm 8:00 Hitmakers An upclose look at the music industry in the digital age. 9:00 Art in the Twenty-First Century Fiction. What makes a compelling story? 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Dropping Back In Working for the Future.
7:00 Next Door Neighbors: New Beginnings 7:30 Next Door Neighbors: Community 8:00 Salute to the Troops: In Performance at the White House 9:00 Art in the Twenty-First Century Legacy. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Dropping Back In Complicated Lives.
Friday
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7:00 Lawrence Welk Show Tribute to Irving Berlin. 8:00 Keeping AppearancesThe Memoirs of Hyacinth Bucket 8:30 Bee Gees One Night Only The group’s legendary 1997 concert at the MGM Grand in Las Vegas. 10:00 Globe Trekker Ireland. 11:00 40 Years on the Farm
8
7:00 Lawrence Welk Show Songs from the Movies. 8:00 Keeping Appearances 8:30 Prohibition A Nation of Hypocrites. As gangster crime rises, support for Prohibition diminishes in the mid1920s. 10:30 Globe Trekker Food Hour: Sicily. 11:30 Family Health – NPT Reports: Children’s Health Crisis
7:00 Lawrence Welk Show Halloween Party. 8:00 Keeping Appearances 8:30 Prohibition A Nation of Scofflaws. The growth of organized crime and the problems of law enforcement. 10:30 Globe Trekker Art Trails of the French Riviera. 11:30 Children’s Health Crisis: Food
Saturday
Nashville Public Television
wnpt.org
16
7:00 Secession: Tennessee Civil War 150 7:30 Desperate Days: Last Hope of the Confederacy 8:00 Downton Abbey Rediscovered Clips, cast interviews and behind-the scenes footage from Seasons 1-4, plus previews of Season 5. 9:30 Downton Abbey Rediscovered 11:00 Tavis Smiley 11:30 Scully/The World Show
30
7:00 Jay Leno: The Mark Twain Prize for American Humor 9:00 Richard Pryor: Icon The impact of one of the greatest American comics of all time. 10:00 Bluegrass Underground Hayes Carll. 10:30 Craftsman’s Legacy The Book Maker. 400year-old printing and binding techniques. 11:00 Tavis Smiley 11:30 Scully/The World Show
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7:00 Masterpiece Classic The Paradise, Season 2 - Part 8. 8:00 Masterpiece Contemporary Worricker: Salting The Battlefield. 10:00 Bluegrass Underground Shovels & Rope. 10:30 Craftsman’s Legacy The Blacksmith. A talented female blacksmith. 11:00 Tavis Smiley 11:30 Scully/The World Show
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DECEMBER 7:00 Bing Crosby Rediscovered: American Masters A look at the most popular multi-media star of the first half of the 20th century. 9:00 Renée Fleming – Christmas in New York The acclaimed soprano sings holiday favorites. 10:30 Last of Summer Wine 10:00 BBC World News 10:30 Last of Summer Wine 11:00 50 Years with Peter, Paul and Mary
3
7:00 Nature: Best of Birds 8:00 NOVA First Man on the Moon. The personal story of Neil Armstrong. 9:30 Victor Borge’s Timeless Comedy! His funniest and most memorable skits. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Antiques Roadshow Junk in the Trunk 4, Part 1.
26
7:00 Nature My Life As a Turkey. 8:00 Nature An Original Duck-umentary. 9:00 Nature The Private Life of Deer. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 ACL Presents: 2014 Americana Music Festival Recorded in Nashville. Performers include Loretta Lynn, Jackson Browne and Taj Mahal.
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7:00 Nature Invasion of the Killer Whales. Orcas and polar bears compete for the same prey. 8:00 NOVA Killer Landslides. 9:00 To Catch a Comet A spacecraft lands on a comet zooming around the sun. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Austin City Limits Eric Church.
4 7:00 Best of 50s Pop (My Music) 9:00 Agatha Christie’s Poirot Labours of Hercules. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Being Poirot Stanley Tucci hosts a celebration of the popular Agatha Christie Poirot series, now in its twelfth season on PBS.
27
7:00 Tennessee Crossroads Three-Hour Marathon. Join host Joe Elmore and crew for the annual Thanksgiving marathon. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ladonna Harris: Indian 101 For more than 35 years, this Commanche activist taught Congress about the role of American Indian tribes.
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7:00 Tennessee Crossroads 7:30 Volunteer Gardener 8:00 Chef’s Life The Fish Episode, Y’all. 8:30 Food Forward The Future of Food. 9:00 Agatha Christie’s Poirot Elephants Can Remember. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Wessyngton Plantation: A Family’s Road to Freedom Tennessee Civil War 150
Downton Abbey Rediscovered Sunday, November 30 8:00 pm & 9:30 pm
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7:00 ACL Presents: 2014 Americana Music Festival 8:00 Kristin Chenoweth – Coming Home The Emmy and Tony Award-winner performs in her hometown of Broken Arrow, Oklahoma. 9:30 Aging Matters: Caregiving 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 Vintage A Vintage for the Ages.
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7:00 Shelter Me New Beginnings. Positive stories celebrating the human-animal bond. 8:00 Great Performances Cats. Andrew Lloyd Webber’s blockbuster was on Broadway for an 18-year run. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Moyers & Company 11:30 American Graduate Graduation by the Numbers.
Visit wnpt.org for complete 24-hour schedules for NPT and NPT2
7:00 Antiques Roadshow Junk in the Trunk 4, Part 1. Never-beforeseen appraisals. 8:30 50 Years with Peter, Paul and Mary This documentary celebrates the impact of the pre-eminent folk music trio. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Downton Abbey Rediscovered
7:00 Finding Your Roots Decoding Our Past. Gov. Deval Patrick and actress Jessica Alba. 8:00 Desperate Days: Last Hope of the Confederacy The last battles of the Civil War in Tennessee. 8:30 Heading Back Home The Battle of Franklin. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations The Schooner Coronet: Racing Into History.
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7:00 Antiques Roadshow Finders Keepers. A spotlight on items whose discovery was a happy accident. 8:00 Antiques Roadshow Madison, Hour Three. 9:00 Independent Lens Beauty Is Embarrassing. The unique art and life of Tennessee native Wayne White. 10:30 Last of Summer Wine 11:00 BBC World News 11:30 Aging Matters: Caregiving
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7:00 Finding Your Roots Ancient Roots. Tina Fey, David Sedaris & George Stephanopoulos. 8:00 Cold War Roadshow: American Experience Soviet Premier Nikita Khrushchev tours the US in 1959. 9:00 Frontline 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Ultimate Restorations The Illions Supreme Carousel: A Rare Masterpiece..
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7:00 Antiques Roadshow Miami Beach, Hour Three. 8:00 Antiques Roadshow Madison, Hour Two. 9:00 Independent Lens Happiness. A nine-yearold Himalayan monk experiences electricity and television for the first time. 10:00 BBC World News 10:30 Last of Summer Wine 11:00 Next Door Neighbors Bhutanese.
Nashville Public Television
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7:00 Best of 50s Pop (My Music) Top 1950s pop hits performed live by Patti Page, The Crew Cuts, The Four Lads and more. 9:00 Suze Orman’s Financial Solutions for You 11:00 Healing ADD with Dr. Daniel Amen and Tana Amen, RN A breakthrough program to heal ADD.
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7:00 Lawrence Welk Show Easy Listening. 8:00 Keeping AppearancesThe Memoirs of Hyacinth Bucket 8:30 Doc Martin: Revealed Behind-the-scenes footage from the newest series (Season 6) shot on location in England. 10:00 Globe Trekker Scandinavia. 11:00 Secrets of the Tower of London
The Core, Oil on canvas, 48” x 48”
The New Nashville Brett Weaver’s Bold New Look at Our City at The Arts Company Through November 28
by David Sprouse
F
or his latest body of work, The New Nashville, artist Brett Weaver set out to capture the palpable yet elusive something that animates and sustains this dynamic city. While Nashville has long been celebrated as a center of creativity and commerce, its latest iteration as the “It” city is no simple subject to translate into an exhibition of fifteen paintings. Yet Weaver’s insightful combination of street scenes and public interiors avoids the traps of nostalgia and cliché by emphasizing a vitality of place over simple recognition.
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5 Points, Oil on canvas, 24” x 36”
Weaver portrays a city in the midst of rapid growth and near perpetual change. He is attentive also to the counterbalance provided by the more ordinary rhythms that ultimately shape a city’s character. Frothy Monkey, for example, casts the warmly lit coffeehouse as an inviting refuge from the morning bustle gathering just outside its plate-glass windows. In contrast, Downtown Man hits the viewer with all the sun-washed brightness of an automobile dominated streetscape—a glaring scene of crosswalks and traffic signals familiar to any Nashvillian as the West End and Broadway split. Whether candlelit or blown out, Weaver’s adept use of the transient quality of light depicts a Nashville seen in its fleeting best, impressionistic yet down to earth.
5th Ave. of the Arts, Oil on canvas, 36” x 36”
shrine, but grounded—a permanent anchor in limestone and brick bounded by the movement of traffic and pedestrians.
To be sure, intersections and cafés are merely the peripheral vision of a city. In deciding what to paint for the series, Weaver explains that “the new Nashville is more about arts and culture and community and essentially not being nostalgic. However, I did want to capture certain intrinsic qualities that describe the heart and soul of Nashville. I felt like the Ryman had to be included in some way.” He counts The Core as one of the most important works in the show. Casting his gaze from Broadway northward along 5th Avenue of the Arts, the historic Ryman Auditorium stands to the right in the painting’s foreground. He paints it not as some exalted
4th Ave., Oil on canvas, 24” x 24”
Weaver worked as a civil engineer before shifting to art full time in his late twenties. Over a decade later, he finds that his formal training as an engineer is never too far from hand: “I use a lot of the design skills I developed as an engineer in designing my paintings and giving strength to the structures and industrial settings. Art should have the right amount of mathematics and creativity, and then, hopefully, the strength of your creativity will hide all of your calculations.” Brett Weaver maintains studios in both Chattanooga and Nashville, and his work is in numerous public and private collections, including the Tennessee State Museum. Frothy Monkey, Oil on canvas, 30” x 30”
The New Nashville: Paintings by Brett Weaver is on exhibit through November 28 at The Arts Company. For more information, please visit www.theartscompany.com or www.brettweaverstudio.com. NashvilleArts.com
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Music City’s
d n a B t s e Bigg
Your Nashville Symphony | Live at the schermerhorn
A NIGHT AT THE COTTON CLUB
with the Nashville Symphony
November 13 to 15
Iconic hits from the ’20s and ’30s by Duke Ellington, Count Basie, Ella Fitzgerald, Louis Armstrong and more.
BRAHMS’ PIANO CONCERTO NO. 2
MICHAEL W. SMITH
November 20 to 22
December 4
Featuring Nashville Symphony Orchestra & Chorus, plus the legendary Joaquin Achúcarro on piano.
Bring the family for this night of holiday music featuring one of Christian music’s biggest superstars.
& Duruflé’s Requiem
The Spirit of Christmas with the Nashville Symphony
HOME ALONE in HD with the Nashville Symphony
December 6
Enjoy this classic movie as the orchestra performs John Williams’ score. Holiday fun for the entire family!
U.S. PREMIERE
JIM BRICKMAN: ON A WINTER’S NIGHT December 9
A night of holiday favorites and hits, including “If You Believe” and “Sending You a Little Christmas.”
with support from
CLASSICAL SERIES
TONY BENNETT
with the Nashville Symphony
December 11 & 12
Put sparkle in your season with an evening of holiday songs and hits like “I Left My Heart in San Francisco.”
POPS SERIES
JAZZ SERIES
HANDEL’S MESSIAH with the Nashville Symphony Orchestra and Chorus
ÇA IRA
December 18 to 20
with Roger Waters and the Nashville Symphony Orchestra & Chorus
Celebrate the holidays at the Schermerhorn with one of the most inspiring works of music ever written.
Rogers Waters, the creative force of Pink Floyd, narrates his epic opera set during the French Revolution.
January 29 & 30
LEGENDS OF MUSIC SERIES
615.687.6400 | NashvilleSymphony.org
56 | November 2014 NashvilleArts.com
Cassie
Stephens
by MiChelle Jones Photography by Juan Pont Lezica
H
official website. Her take on Kandinsky’s Black Grid was tweeted by the Frist Center.
er list of masterpieces would have any collector envious: Van Gogh, Kandinsky, Magritte, Munch. But though Cassie Stephens’ pieces are originals, they hang in her house rather than in galleries. Stephens’ sartorial art includes her sassy riff on Andy Warhol’s Campbell’s soup can, a red-and-white number with wide, silver trim that was posted on the Campbell’s
She has also added Van Gogh’s Sunflowers to a cardigan and reinterpreted his Starry Night on a sleeveless, navy J. Crew A-line. Halston used bugle beads in his version (seen at Cheekwood in 2005); Stephens used twinkling mini lights and dramatic needle-felted swirls. (continued) NashvilleArts.com
November 2014 | 57
All Dressed Up & Ready to Paint
N
eedle-felting was also used to create Munch’s atmospheric Scream. Stephens spent two weekends holed up in her sewing room watching Project Runway nonstop till the dress was completed.
Though she insists she’s a novice, that’s hard to believe when looking around her fantastic sewing studio. She may be a largely self-taught newbie, but she’s obviously all in. Fabric—lots of it—hangs by color
from wire shelving along one wall and in a closet on the adjacent one. Works in progress and clothes waiting for her attention are also in the closet. Two dress forms hold examples of Stephens’ creations, and a black pleather skirt on her sewing table is being fitted with appliqués of Keith Haring-esque figures morphing into art supplies. Stephens generally uses vintage clothing purchased from thrift stores or items found on sale racks for her projects. “If I ruin
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something, it’s not going to break the bank or make me feel terrible,” she said. Her Black Grid began life as a simple white dress on clearance at Target. Stephens sketched out the pattern from Kandinsky’s Black Grid in chalk before painting it (her degree is in painting) on the front and, in this case, also the back of the dress. She plans to wear the final piece when she takes her students to see Kandinsky: A Retrospective at the Frist Center. Stephens introduces her classes at Franklin’s Johnson Elementary to a different artist each week, and though she doesn’t make a dress for each one, she does incorporate her wardrobe into her lesson plans.
“
“The kids just thought it was the coolest thing that I matched the [mural] outside the room, and it got them very excited about learning about Hokusai,” she said. Kids aren’t the only ones she has impressed with her designs. When asked to lead a workshop for teachers based on Cheekwood’s recent Andy Warhol’s Flowers exhibition, Stephens said she worked on her outfit before her session plan and came up with a series of floral jelly prints on a lilac minidress. And should Stephens need something chic to wear to an art reception, she could opt for her second Kandinsky dress; it’s a black sleeveless with a row of colorful, concentric circles running down a pleather panel in the center.
Stop the presses!
I teach little kids, and I’ve always dressed a little funky. I noticed that they really respond to that—and the sillier the better.
We just learned that the Tennessee Art Education Association (TAEA) has named Cassie Stephens the Elementary Art Teacher of the Year for the state of Tennessee. Congratulations, Cassie!
When the classes were studying Asia, for example, she wore a dress appliquéd with a “Wave” motif.
For more information about Cassie www.cassiestephens.blogspot.com.
”
NashvilleArts.com
Stephens, please
visit
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“
Throughout my life I’ve always felt this burning impulse to communicate…something that didn’t completely exist, but in my mind and heart.
”
– Christy Lee Rogers 60 | November 2014 NashvilleArts.com
Ciel de Pluie (Heaven Rain), 2014, Archival pigment print
C hristy L ee R ogers
U nderwater V isions by Daniel Tidwell
C
hristy Lee Rogers creates baroque underwater worlds inhabited by writhing figures grasping at each other and at unknowable forces within these vividly dark images. Her works are evocative of painters such as Caravaggio, Carracci, and Rubens with their ecstatic visions of the flesh rendered through bravura
chiaroscuro, boldly evoking a visual world that is rife with the carnality and sensuality of human existence.
Technically stunning and visually lush, Rogers’s photographs aspire to a post-modern version of the sublime—striving to communicate concepts that aren’t visually readable in the work. “I know at the core
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each of us is good,” says Rogers, “and I want to remind people of this native state, using these images. Maybe they’ll see themselves in the work, like a mirror, reflecting what words could never say. “Throughout my life I’ve always felt this burning impulse to communicate . . . something that didn’t completely exist but in my mind and heart,” says the artist. Eventually, as she worked her way through various mediums, Rogers stumbled upon water as an artistic tool that finally allowed her to “capture these emotions. Water contained power, beauty, life, vulnerability, danger, and more. Each person I photographed in the water had a unique experience within it. Some were like fish and some were terrified of it; some battled it and some mastered it with delicacy. This was fascinating to me, as if I could examine human nature through these experiments and understand more about myself and others.”
Reckless Unbound, 2 012, Archival pigment print
Rogers’s images are born of an intense technical and formal process, informed by overarching concepts that she develops over the course of months. Her drive to push boundaries in new work, experimenting as each shoot progresses, also plays a major role in the work’s development. “The technical process, which I’ve developed over the last eleven years, requires a regular swimming pool, an extraordinary camera, a dark night, magical light, creative and enthusiastic models, and a lot of focus,” says Rogers.
Argentina (detail), 2009, Archival pigment print
“I love to work with ordinary, creative people for models, who have never been photographed underwater, as they bring something real to the images. At first they’re cautious of the water, and they slowly work out of this into an excited state of achievement, as if overcoming the obstacles of existing underwater lifted one’s spirit.”
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“
I give the models an idea of the scene and emotions, as if they were actors, and each time they come up for air, I adjust until I see the magic.
”
These shoots are a physically demanding and intense process for Rogers’s models. “Bodies are clashing against each other without plan; someone’s foot is in another’s chest, and not always by choice. In a way this becomes the exhilaration, this spontaneous creation underwater with the models free yet vulnerable in their movements. I know, because I swam in many of my own tests, and a few of the images are self-portraits.” Trust and improvisation between Rogers and her models have proven to be key elements of this process. “The poses that you see are actually long, progressive movements that have been worked and sculpted,” says Rogers. “I give the models an idea of the scene and emotions, as if they were actors, and each time they come up for air, I adjust until I see the magic. There’s no way to really predict what kind of interactions will occur . . . so every decision happens fast, by instinct. The shoot becomes a beautiful sort of dance with the unknown.” Despite striking similarities, Rogers says that classical painting has not been a major influence on her work. “It’s very odd, as so many have thought that I studied classical painters and was influenced by them, but this isn’t the case,” says Rogers. “There may be a misconception
The Heart Is a Lonely Hunter, 2012, Archival pigment print
If the World Earth Could Speak(detail),2011, Archival pigment print
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Specialized furniture from the forest floor Turchina (detail), 2 009, Archival pigment print
that an artist sets out to go on this path and pre-plans it, but for me it’s quite the contrary. There are ideas, feelings, and things I imagine, and this is what takes me on my path. It’s traveled and not pre-planned.”
to your home.
901 2nd Ave. S. | Nashville, TN 37210
615-878-6216 www.littlebranchfarm.com
Rogers does cite the work of Federico Fellini as a major influence. “Fellini films were my first loves. With his opulent imagery . . . his scenes were wild, sexy, witty, and so brilliant, and such a great inspiration.” A self-professed obsessive reader, Rogers also looks to literature, poetry, and music for ideas that illuminate her work. “I find great inspiration in wild stories from old folklore and Greek mythology, the stunning costumes and sets of Baz Luhrmann, U2 lyrics, the old films of Georges Méliès, and the music of Itzhak Perlman. But through all of this,” says Rogers, “my main influence is still the beauty and craziness of the human race.” Looking for a peaceful place where they could still be surrounded by artists, Rogers and her husband recently relocated to Nashville from Los Angeles. “No plans, no place to live, just up and moved. It was the best decision we ever made.” Rogers’s affinity for her new home is reflected in community work—designating a portion of her sales to cultivate a new generation of artists though grants that fund art supplies and musical instruments for children from lower-income families. Christy Lee Rogers will speak at the Artlightenment Art and Film Festival on November 13 at 5:30 p.m. For tickets and information, please visit www.artlightenment.com. More information about her young artist program and application instructions are available at www.christyrogers.com/youngartist.html.
My Hero My hero never played a sport, You've never seen him on t.v. But every word that he spoke, He spoke to me. He never sought fame or fortune, Never worshiped the golden calf. He saw the road the others were on, And he chose a different path. My hero never carried a gun, He never harmed another man. He never used all of the might, He held in his hand. He never looked up to the rich, Never looked down on the poor. He loved everyone equally, How could I ask for more. My hero never flew in a plane, He never drove a car. But the words he spoke so eloquently, Traveled oh so very far. My hero never played a sport, You've never seen him on t.v. But every word that he spoke, I know, he spoke to me. He gave everything he had, On the world's darkest day. So that I might see the light, So that I might find the way. So that I might see the light, So that I might find the way. J. Schrantz
©2005
Lost in Perspective ©2014 wood, wrought iron and steel 38 1/2” high; 16 3/8”deep; 21 7/8” wide
John Schrantz
standingbear6@netzero.net
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66 | November 2014 NashvilleArts.com
And ra Egg les ton
with a name like Eggleston you’d expect wonders in color
written by karen parr-moody portraits and design by buddy jackson fabric photography by gina r. binkley All textile prints copyright electra eggleston, Inc. 2014, All Rights Reserved. All William Eggleston original artwork courtesy Eggleston Artistic Trust and electra eggleston, Inc.
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Andra Eggleston’s new line of fabrics based on her father’s drawings is a triumph of generational creativity. William Eggleston is legendary for dragging color to the fore of contemporary photography—and that color rubs off, metaphorically, on those who surround him. It simply can’t be contained. His color threw conservative critics off—way off—during his much-publicized Color Photographs debut (some might say rebellion) at the Museum of Modern Art in New York in 1976. At the time, color film was deemed vulgar by a high-toned art circle besotted with black and white. The New York Times chief art critic, Hilton Kramer, called the work—which art historians now regard as seismic—“perfectly banal.” Then his daughter, Andra, was rubbed the wrong way by his colorful, bon vivant persona. It made her feel at odds with the other teens in Memphis, where her father was born in 1939. “He stood out,” Andra says today. “We had a father-daughter dinner dance in high school, and he was the only one who showed up in tails. As a 15-year-old, I remember thinking, “Nooo!”
Andra is a lissome creature with wavy black hair cropped into a short bob with a tiny fringe of bangs. Her hooded eyelids are cast in the same mold as her father’s, as is her nose, with its delicate bump on the bridge. Upon entry into her father’s Memphis apartment, Andra spied a grand piano (which William plays), Persian rugs strewn everywhere, boxes of markers, and pads of paper. She had brought her art materials, as well. She knew her father loved to create art, as did she. “I’ve always been drawn to his drawings,” she says. “They’re all abstract. I thought I’d go down there and inspire him to draw again, and I thought—hoped—he’d inspire me.”
But time has a way of revising how we perceive those more colorful than the rest. When Andra reflects on growing up with a famous—if eccentric—father, she views the picture with nuanced eyes. “He just had a sophistication that was unparalleled for Memphis.”
He did. As father and daughter drew and talked about art, Andra also started “snooping” and ultimately cataloged his abstract pieces. Suddenly there were her father’s drawings—whimsical works done in watercolor, crayons, Sharpie, and oil-pastel crayons—falling out of the pages of old magazines. They had been tucked there decades before, including the one he drew while shooting photos in Havana. In studying the drawings, Andra better grasped the abstraction of her father’s photography. “They inform his photography,” Andra says. “And they’re an entry into the way he sees color.”
Perhaps it was because of his deep roots in Southern gentility (his family possessed a prosperous cotton plantation), but William embraced color Then Andra, who studied film nonchalantly, without William Eggleston, Havana, Watercolor on paper, 6” x 4” textile design in L.A. at FIDM embarrassment, despite the art (Fashion Institute of Design world’s relegation of it to advertising and home photos. Not & Merchandising), got an idea. What if she hired someone only did he leap into color photography, William also drew in to design a bow tie for her father from a textile created from vivid colors. He was a fan and a practitioner of abstract art. one of his drawings? He was a staunch fan of the bow tie, she reasoned, being a dandy of the first order. Such a gift would “He’s always loved to draw, since he was four years old,” complete his trademark attire of tailored suits, button-down Andra says. “It really preceded his love of photography.” shirts, and lace-up oxfords. Andra moved to East Nashville two years ago and “I thought it would be a great little present,” Andra says. reconnected with her father in Memphis. She’d been away “That was a big inspiration for the whole thing.” The “whole for more than a decade, in L.A. and New York City. He’d thing” has turned out to be a fabric and wallpaper line that been busy with his career and—let’s be candid—with life as a Andra has created based on her father’s drawings. The name raconteur fully worth his pint of bourbon. of the line, Electra Eggleston, was born of what her father “We’ve just gotten to know each other in a very specialized originally wanted to name her: Electra. (Andra says her way,” she says. “He’s just such a great inspiration. He’s mother, Rosa, adds to the Electra tale: “Your dad said that, eccentric, hilarious, highly artistic, charming.” and I just sobbed, sobbed, sobbed.”) 68 | November 2014 NashvilleArts.com
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The Electra Eggleston fabrics include a cotton, velvet, Belgian linen, and a heavier cotton/Belgian linen blend. The wallpapers are of different materials, including a type II commercial-grade vinyl with a sparkle finish. Andra has carefully reworked William’s drawings for the Electra Eggleston line, along with tweaking some colorways. Some patterns are replicas of an entire drawing, while others are tiny sections of a drawing that have been enlarged. Designed for commercial and residential interiors, these prints reveal a sexiness in William’s drawings, replete as they are with elegant and languid lines, that is merely hinted at in his photographs. Matched with his more-is-more approach to color, the artworks lend a modernity to fabrics and wallpapers that should set interior designer pulses racing. (One could imagine Kelly Wearstler using them in her next hotel project.) There is also storytelling within the patterns. It is revealed in each one’s name, such as Kentucky, Havana, Bali, Berlin, and Cairo. Andra named the prints based on places where her continent-hopping father has been, along with what each drawing seems to represent. For example, within the pattern called Kentucky, one can tease out nascent roosters; within Berlin, graffiti, and within Cairo, hieroglyphics. “Typically my dad does not title his photographs,” Andra says. “His photos are about the absence of story.” The saturated color of the senior Eggleston’s photos is enriched by an unerring eye that crops a fleeting glimpse of everyday life. Andra has fallen into that same gene pool. For when she walks one through the colorful fabric swatches, she uses that same discernment. She has cropped the perfect line work that lends itself to interiors. And the colors crackle with electricity, including an indigo as dark as night and a pink as deep as a Rajasthan sari. What does her father think? “We’ve always shared a love of textiles, and he was just fascinated.” In the future, Andra hopes to fold her own drawings into Electra Eggleston. But for now, she simply wants to promote her father’s drawings. “This is a way to make his art accessible,” she says. “Maybe it’s an artistic hunch, but I’ve got to see it through.” Meanwhile, we will eagerly await what else will emerge from the daughter of a famous pioneer of color, who shows promise of being her own kind of pioneer.
For more information about Andra Eggleston and Electra Eggleston fabrics, visit www.electraeggleston.com. 70 | November 2014 NashvilleArts.com
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Courage Unmasked Tennessee
October 13– November 21
Courage
unmasked ?
Inner Beauty
unveiled @
Strength
unleashed
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Spectrum 2, Mixed media on watercolor paper, 45” x 120”
T H E I N T I M AT E W O R L D O F
L.A. BACHMAN by Sara Estes | Photography by Hollis Bennett
L
isa Bachman Jones’s paintings create a bridge between the emotional and the tangible. Using bold colors and airy compositions, the nuanced forms of her most recent drawings tap into the immaculate sensory experience of being human. We are prompted to draw connections between the patterns and similarities found within the universe, from stars to microbes. The ambiguity of her abstract, organic forms creates an expressive template that allows space for the viewer’s own emotions to intervene. Her latest series of paintings, New Skin, which was recently exhibited at The Rymer Gallery, showcases Bachman’s ability to translate the most fundamental human elements into a graceful and fluid visual world all her own. Her ethereal aesthetic pulls in elements of the stellar, the psychological, and the scientific. In paintings like Tap, the amoeba-like forms take on a spiritual quality that transcends narrative or reason. With this series, it seems Bachman is channeling emotion in its rawest form, before words, before specification.
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Bree, 2014, Mixed media on watercolor paper, 40” x 32”
Snow, 2014, Mixed media on watercolor paper, 40” x 32”
“
I a sk Bachm a n w h at inspir ed t he t r a nsi t ion v isua lly—wa s i t a specific pa in t ing she saw or book she r e a d? “ It wa s a n onion,” she says w i t h a l augh.
”
“I haven’t always made abstract art,” says Bachman. “In school, I was doing figurative work, mostly female figures with long brown hair. They essentially all looked like me.” After graduating f rom Belmont in 2006, she switched her focus to abstract art. Looking at work by renowned Tennessee artists like Lain York, Adrienne Outlaw, and Hamlett Dobbins helped influence the change. “I didn’t want the work to be so obviously about me anymore.” In her studio, I ask Bachman what inspired the transition visually—was it a specific painting she saw or book she read? “It was an onion,” she says with a laugh. When Bachman began working in the restaurant industry (she currently works as the manager and head baker at Fido, Hillsboro Village’s most beloved coffee shop), she was chopping an onion and became completely captivated by the shape of it—the concentric lines, the series of rings. She showed me works ranging f rom 2008 to 2013, and in all of them, you could see some variation of the onion form. In works like Communication 1.1 and Blush the form is easy to spot. “That was where it began,” she says. “I’ve been very inspired by food shapes and other natural forms, like plants and insects.” Not only is she inspired by the shape of 74 | November 2014 NashvilleArts.com
food, but she also incorporates it directly by using materials like tea, coffee, and wine in her drawings. Bachman’s work attempts to survey the complexities of relationships and provide a visual representation of human emotion. In her ambitious 2013 series Give and Take, double-sided rotating panels address four distinct and notoriously problematic aspects of relationships: communication, support, resources, and touch. Each panel depicts two sides of a coin—the harmonious side and the discordant side. When support is going well, and when it’s not. When a person wants to be touched and when they don’t. She explores the polarities of each aspect using color and shape as a new language. And while the imagery may appear improvised, her process is not. “I almost always work in a series,” she says. “I usually have the entire thing planned out f rom the start.” I asked Bachman the question I like to ask all artists: Why do you make art? It’s a big question that always manages to elicit a surprisingly distilled answer. “I make art because I am an art maker.” Bachman says. “I make it for me, and I make it to share. It is really fantastic that other people like what I make, but I will be making art from now until the end whether my art sells or not. I just won’t get each piece framed.” Lisa Bachman is represented by The Rymer Gallery. For more information about her and her art, visit labachman.com and www.therymergallery.com. See more of Bachman’s work in our online version of this story at www.nashvillearts.com. (right) Unicorn, 2014, Mixed media on watercolor paper, 40” x 32” (below) Tap, 2014, Mixed media on watercolor paper, 24” x 30”
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LESLIE HAINES W hat L etters L ook L ike
by Erica Ciccarone | Photography by Rory White
A
gorilla blows bubble gum while playing a guitar. A robot holding a raspberry sits atop a rhinoceros. Why? Ask the cat, who’s smoking a cigarette and holding a cicada.
So goes Leslie Haines’s Abecedary, a graphic-design collage series that illustrates the alphabet with a Victorian flair for the bizarre. The artist/designer/professor/typography geek has been in the game a long time. She’s chaired two graphic-design departments at universities, run a successful business, earned three degrees, won twelve regional ADDY awards, and designed the Tennessee Arts license plate, but she couldn’t help but feel that her magnum opus lay just over the horizon.
“I spent a lot of time waiting for that big project to sink my teeth into,” she said. When Britt Stadig asked her to do a few animal pieces for a show at Volunteer State last spring, she turned to a heavy tome of Victorian engravings that she’d had for years. “I came across that walrus with the human face,” she said, pointing to W is for Walrus. “He’s so cool and bizarre and wonderful. I love the humor in it.” She made the W piece, then the S is for Slug, and then she couldn’t stop. “They’re so quirky and fun. It humanizes the animals. The Victorians had a bizarre sense of humor.” The original images are 16 by 20 inches, and ten of them showed at Belcourt Gallery in September. “It’s a cool assemblage of both traditional and digital,” she said, referring to her collage method. She scans images from books and papers she’s salvaged over the years. 76 | November 2014 NashvilleArts.com
“It’s marrying my love of letterpress with imagery, humor, and texture. It all came together, but it took a long time to get there.”
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Using both physical letterpress blocks and LetterMpress software, she constructs the work in Photoshop using multiple image layers. The results are playfully ironic and recall Terry Gilliam; for example, the S picture features a saint playing a skeleton’s arm like a cello. Hailing from upstate New York, Haines holds a B.S. in Graphic Design and an M.A. in Advertising Design. She relocated to Nashville in 1993 to take a job at The Tennessean as a marketing design specialist. Before long, she was teaching and acting as department chair at Watkins College of Art, Design and Film. After six years, the college was applying for SACS accreditation and asked her to look into getting a terminal degree. “I had never planned on teaching, let alone making it a career, but at that point I knew it was what I really wanted to do.” She found a low-residency M.F.A. program at Marywood University in Scranton, Pennsylvania, that required study in New York museums, collections, and studios. She found that the degree not only gave her the credentials she needed, it showed her that she could tell a story with typography, giving her work a new direction. She now teaches at MTSU, which allows her time to focus on her personal work while being enriched as a professor. When asked about the next generation of graphic designers, she said, “The ones that will succeed are the ones that are willing to evolve and come up with new solutions to the same problem. They’ll be visually able to tell the story in a different way.” Haines urges her students to embrace creativity as a discipline. In 2012, she did this herself with “The Daily Six,” a blog where she created a design every day of the year. It gave her a chance to explore type, textural work, and techniques before introducing them into the classroom. But the bigger message for her students is about the
artist’s responsibility as a whole: “If you’re going to grow, you have to be willing to fail, and you have to be willing to push yourself.” She might return to a daily blog in the future, but for right now, Haines is busy with Abecedary. MTSU awarded her a grant to frame all twenty-six letters of the series. The full alphabet will be completed by May and ready to exhibit. A book is part of the plan, too, and maybe an iPad app. “It’s marrying my love of letterpress with imagery, humor, and texture. It all came together, but it took a long time to get there.” In the meantime, a slug is stretching out of a can of spinach, gazing at the stars. F o r m o re i n fo r m a t i o n a b o u t L e s l i e H a i n e s , p l e a s e v i s i t www.lesliehaines.com.
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1932–2012 ®
Big Woman, 40” x 78”, 2014
Hatch Show Print
HALEY GALLERY 48” x 36”
mixed media
Visit our Nashville area location by appointment - (815) 347-9698
Contact Gerard Vanderschoot, exclusive Regional Representative of the work of International artist Matt Lamb for the Nashville, Dallas, and Chicago regions (815) 347-9698 • jerryvanderschoot@gmail.com • www.mattlamb.org
@hatchshowprint
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Downtown Nashville • 615.577.7711
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v a r e t s i o n o n
Petrosaurus, 2013, Basswood, hardwood, metal, 25” x 34”
C
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Controversy
P.E. Foster Blends Pointed Commentary into His Whimsical Creations by Skip Anderson
W
hen Franklin-based artist P.E. Foster begins work on a piece, it’s largely a subtractive process—a loud, messy subtractive process. Sawdust accumulates on his shoes at an impressive rate, and the smell of scorched wood permeates his studio, a detached two-car garage that hasn’t housed a vehicle in years. A year-old, yellow, short-haired pup named Macy knows not to get too close when Foster dons goggles
and brandishes any of his handheld grinders with spinning blades that effortlessly gouge trenches into hardwoods. Foster, 56, is working on his latest work-in-progress, Drum Roll, a wood relief that features a wild-haired caveman treadmilling atop a barrel of oil afloat in an ocean of U.S. currency. It’s roughly a 30” x 30” x 4” block of boards glued together into which Foster
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Petro Man, 2011, Basswood, oak, vine, corn, 20” x 43”
is grinding away the parts that resemble neither a Neanderthal, a petroleum container, nor a sea of greenbacks. “Do you want to try it?” Foster asks. Macy’s eyebrows shoot upward. She’s right. It feels ominous to accept the grinder, as if pulling the trigger could unleash a flame-filled hellscape so quickly that gathering dismembered body parts would be all but impossible. “Probably shouldn’t.”
Macy exhales so heavily that something resembling “ohthankgod” bursts from the back of her throat. It should come as little surprise that Foster carves, paints, and fabricates social awareness into most of his pieces. After all, he makes his living as a razor-witted illustrator for national
publications, including The Wall Street Journal, The New York Times, Fortune magazine, Business Week, and The New Republic. Foster says he gained an appreciation for natural resources growing up in Utah and became increasingly aware of the need for conservation while working a summer job with the U.S. Forest Service for nine consecutive years. He earned a bachelor of fine arts in painting from Utah State University in 1982, and three years later a master of fine arts in printmaking from Wichita State University.
Another anti-oil piece, Petrosaurus features a wood-carved, humpbacked dinosaur with a long neck wearing plates of armor with fifteen oil derricks boldly stemming from its spine. “I knew that if I did not include the oil derricks on top, that dinosaur could have
“It’s a piece about progress and regress and whether we’re on the right path. Are we progressing toward that brighter tomorrow, or are we slogging along in the old ways?” been open to interpretation without directly addressing the oil companies. I couldn’t resist getting those in there,” Foster says. “A lot of people don’t like that kind of specificity, and I understand that. I came up through the fine arts, and that type of specificity was a very bad strike against you. I know that whole way of thinking. I’m just being who I am.” Smoked, 2010, Pine, cedar, oil, fire, 36” x 52”
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PHOTOGRAPH BY BILL HOBBS
P.E. Foster at work in his studio
The dinosaur walks along a hefty, bi-directional arrow. The double arrow itself is a metaphor—its left side is worm-riddled, tired, and weak; its counterpart on the right is polished and beautiful, perhaps suggesting a carbon-neutral future full of hope and promise. “Overall it’s a piece about progress and regress and whether we’re on the right path,” Foster says. “Are we progressing toward that brighter tomorrow, or are we slogging along in the old ways?” He answers the question with exclamation points by having the dinosaur mindlessly amble along the well-worn path of habit toward the archaic arrow, consequences be damned.
“The frame itself undergoes a metamorphosis,” Foster said. “I wanted the left side to be lyrical, playful, and organic, and as it moves to the right, I think of words like ‘orthodox’ and ‘habituated’ and ‘conformity’ and ‘traditional.’ ” On the childhood side of the work—the piece is largely carved from a wood block—is a simple line drawing of a rocking horse, while the adulthood side features an elegant representation of a rocking chair. Separating the two, unbound by the limits of the frame, is a bright-red rooster crowing as the sun slips above the horizon behind his perch. At the bottom of the frame, the work’s sobering, in-your-face theme is literally spelled out: “It’s later than you think.” Foster said he was compelled to explore man’s impermanence when his lifelong best f riend succumbed to cancer at the age of 54.
In another of his works, Wake Up C a l l , Fo s t e r t a k e s on mortality. The left of the “Cancer hit him, and he was frame is tastefully imbued with gone within a year,” Foster says. “It came with Fishy, 2010, Poplar, oils, 18” x 31” child-friendly trinkets such as marbles, a fury, and it gave me a slap of sobriety. That’s cars, and wooden blocks, while the frame’s right side is scalloped, what gave birth to that.” golden, intricate, and traditional. The frame’s seamless transition Foster’s work will exhibit for the first time publicly November 22 at between the distinctly different styles speaks to Foster’s impressive Leiper’s Creek Gallery in Leiper’s Fork. For more about the artist and skill with tools as well as his strong vision for each piece. the exhibit, visit www.leiperscreekgallery.com and www.pefoster.com. 82 | November 2014 NashvilleArts.com
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Crystal Gypsy Designs by Tania Smith Three Day Special Event Thanksgiving Weekend November 28, 29 & 30 The amulet centerpieces in this exotic jewelry line were collected from a Tibetan family who have been traders in the Himalayas for over 70 years, and left Tibet during the Cultural revolution. To own such a one of a kind necklace is to own a beautiful and rare treasure from the roof of the world. These amulets are extremely rare and range between 70 to 100 years old.
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H AY S
PHOTOGRAPH BY TINA GIONIS
JODI
Echoes of Content in an Extended Visual Phrase by Megan Kelly
T
hrough many years of following her exhibitions, discovering the latest paintings by Jodi Hays feels both comfortable and embedded, like picking up the thread of thought from a past discussion. Speaking with the artist about her work, too, reflects this sense of a long-running dialogue. Hays is a dedicated studio painter, and the work she produces exists as individual phrases in a longer
span of conversation that she has maintained with her work for over fifteen years. In her paintings, Hays’s surfaces are meticulously worked—scraped paint reveals glimpses into spaces built and structured through areas of color—but it’s her use of palette knives and silkscreening squeegees in addition to brushes that helps give a sense of dynamic
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motion and vibrancy to the careful layers of paint and tape. It’s visual evidence of the artist’s bodily range of physical motion in working on individual pieces, as well as reflecting her habit of actively moving between paintings during her working process. As much of Hays’s work recalls a sense of “echoing,” the feeling of reflected physicality cascades from a single piece to the body of work to the workspace itself—where everything from tables to walls is designed to move on wheels—and creates a pleasing connection to the movement inherent in the artist’s hand. Bold and colorful, the resolved paintings feel like fragments, pieces of memory jumbled together to create new spaces that feel both familiar and new. Hays is a curator of content, constantly discovering new experiences in visual, auditory, and written formats, or anything that catches and provokes thought. “I collect images digitally, tear sheets from newspapers and magazines, keep a box of handwritten titles and a notepad on my iPhone. Some of these have been with me for fifteen years, waiting for a painting,” Hays explains. By allowing them the time and space to exist in physical and digital collections, Hays gives these initial impressions room to breathe, change, and respond to each other, percolating new ways of seeing and viewing for the artist and her audience. Hays describes both the creation and the thought process behind her work as “surfacing,” an apt metaphor for how her painting explorations arise from this collected sea of experience both physical—literal dwelling places such as homes and their objects—and intangible—a social and cultural dwelling place of media, interactions, and transitory earworms—to pursue their own iconography and expression.
(Top) Comment, 2014, Oil on panel, wood, and chipboard, 30” x 24” (Bottom) Tote, 2014, Oil on canvas, 24” x 18” 86 | November 2014 NashvilleArts.com
Though the painted works are combinations of these initial catalysts that rarely resemble their origins, rather than thinking of the work in terms of “abstract” or “representational,” Hays is more interested in painting as an act, as a way of processing and responding to her environment, rather than as an attempt to surrender to perfection of image. “Painting is not in opposition to this (dis)organization; it is in relation to it,” Hays explains. “I don’t see painting as an ‘end’ to a process, but as thinking itself.” Painting is, at its foundation, a medium that relies on representing a concept visually through degrees of abstraction. In contemporary work, this includes how paint engages an object, the painting itself, which exists in our culture as a carrier and transmitter of meaning and intent. As Hays describes it, her work is “an interest in painting discovered, rather than imposed.” Using image, surface, and medium as the vehicle for connecting a larger body of thoughts pulled from her collected sea of experience, Hays strives to access a personal mode of considering the world through the limitations and historical investment of paint. Though Hays’s works exist online, a glimpse into the curatorial process of her mind can be seen in Selvage, an exhibition inspired by quilts and textiles co-curated with Laura Hutson, which runs through November 21 at Tennessee State University. Her works—always a treat to view in person—can also be seen in her solo show Archival Spelunking, at the Tennessee Arts Commission from November 21 through January 11, and in Degrees of Abstraction at the Cannon Gallery of Art at Western Oregon University through December. For more about Jodi Hays visit www.jodihays.com.
(Top) For Samuel Mockbee, 2014, Acrylic, gouache, tape on paper, 30” x 22” (Bottom) Work Force, 2014, Oil on canvas, 80” x 60”
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BLAIR CONCERT SERIES 2014-2015
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DIE FLEDERMAUS by Johann Strauss
featuring the singers and dancing girls of Vanderbilt Opera Theatre And Robin Fountain and his waltzing Vanderbilt University Orchestra
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HOLIDAY OPEN HOUSE : November 22nd : 10-6 : Sales & Gift Card Drawings! Voted by Nashville Scene Readers as Nashville’s BEST Antique Store 2014
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Nashville
6 a.m.
Words and photography by Bob Sherman
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F
or me, photography is a way of celebrating an experience of connection with my environment. Whenever I travel I never experience any pressure to come home with a specified number of great shots . . . until now.
For the most part I am drawn to portrait photography. I can frequently be found at 6 a.m. wandering the streets of Third World Asian countries. I have never felt in any danger in over forty years of such travel. I don’t feel the same sense of ease when I’m shooting in the States. So the initial thought of wandering around somewhere in Nashville at 6 a.m. prompted an internal vision of my pointing my camera at someone and immediately having the experience of becoming one with my lens.
Many of my favorite shots f rom my travels are portraits of children. I got very lucky when I got permission f rom the flower-selling parents of a most adorable young man at the farmers market at Rosa Parks Boulevard to take shots of the family. I was also pleasantly surprised as it was approaching seven when I walked into what I thought was going to be an empty food court. When I took some shots of a homeless man, he remarked that he hoped that his image didn’t break my camera. Visit www.bobshermanphotography.com for more information about Bob Sherman.
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PHOTOGRAPHS BY MOMENTS BY BEV
Foster Grissim at The Viridian
Dog Art for Old Friends Benefit at the Omni Hotel
Julia Martin, Kit Kite, Monica LaPlante at Julia Martin Gallery
From center Elizabeth Brandon, Katie Sulkowski, and Joseph Sulkowski at Dog Art for Old Friends
Lisa Fox at Dog Art for Old Friends
Dan Stubbs, Brenda Morris, Nideya Morris at Ultra Violet Gallery
Observing the work of Michael R. Grine at 40AU Gallery
From right Juan Pont Lezica, Hunter Armistead, MiChelle Jones, Anne Bourland, and Shahin Mohsenin at Mohsenin Galleries
Outside The Rymer Gallery
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PRINCIPAL PHOTOGRAPHY BY JOHN JACKSON
Mike Wolfe at Courage Unmasked
PHOTOGRAPHS BY MOMENTS BY BEV
Jorge Mendoza, Sara Lee Burd, Juan Pont Lezica, Shahin Mohsenin, and Clorinda Bell at Mohsenin Galleries
PHOTOGRAPHS BY MOMENTS BY BEV
PHOTOGRAPH BY TOMMY L AWSON
SEE ART SEE ART SEE
Teresa Murphy, Qusay in front of The Rymer Gallery
PHOTOGRAPH BY TOMMY L AWSON
Dr. Jim Netterville, Dr. Amina Okhakhu, Carmin Bartow, Julie Ann Crosby, Mitzie Netterville at Courage Unmasked
Jared Small at David Lusk Gallery
The L Gallery
SEE ART SEE ART SEE Monica Dion at Tinney Contemporary
Betsey Ochoa, Meagan Hall at Fort Houston Nina Miller, Pam Tillis, Matt Spicher, Susan Holt at Courage Unmasked
PHOTOGRAPH BY TOMMY L AWSON
Lonnie Holley and friends at The L Gallery
Linda and Michael Doochin, Burt Silverman, Zoey Frank, Gary Haynes at Haynes Galleries
Britt Johnson at the Arcade
Anna Maria Grissim, Mitch Grissim, Foster Grissim, Lisa Grissim at The Viridian
At Fort Houston
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ART
SMART A MONTHLY GUIDE TO ART EDUCATION
STATE OF THE ARTS
by Jennifer Cole,
PHOTOGRAPH: JERRY ATNIP
Executive Director, Metro Nashville Arts Commission
E
ach November, most of us sit down to a table full of green bean casserole and pumpkin pie and give thanks. Mostly, we are thankful for health and families. I’m thankful that my life is full of people who drive the brilliance, joy, and beauty in our community. Today, I send this Thanksgiving prayer out to a few:
I’m thankful for René and Scot Copeland. Professional theatre in this town would not be what it is without their leadership.
I’m thankful for Vali Forrister, who made Grrrl a verb, and Meg MacFayden, who did the same for the tomato. I’m thankful for Ben Folds for asking what it takes to keep us Music City.
I’m thankful for Nancy Saturn and Peggy Steine, who built a Nashville that cherishes artists.
I’m thankful for Tommy Frist, Martha Ingram, and Steve Turner, who invest in our cultural future. I’m thankful for Library Pete (Brian Hull) and DancEast and Fanny’s House of Music, who have each unleashed in my children a spirit of independence and exploration. I’m thankful for leaders like Candy Markman and Judy Freudenthal and Lucia Folk and Nancy Shapiro and educators like Nola Jones and Laurie Schell and Ted Murcray and Christie Lewis, who have decided that arts are central to the way kids flourish and that no child should be left behind on the path to creativity.
I’m thankful for Third Man Records and United Record Press for not giving up on vinyl.
PHOTOGRAPH BY STEVE CROSS
I’m thankful for Ceri Hoover whose handbag may be the only item I own that has withstood a year-long barrage of ink pens and juice boxes and still managed to make me look classy nearly every day.
Tomato Art Festival
I’m thankful for Herb Williams for not giving up on burnt sienna.
I’m thankful for Roy Wooten, Tracy Silverman, Lori Mechem, Rod Act Like a Grrrl McGaha, Jonell Mosser, Paul Burch, Kurt Wagner, John Mark Painter, John Hoomes, Will Hoge, Jerry Douglas, and Heath Haynes for the sounds that make us who we are. I’m thankful for jeff obafemi carr and Cano Ozgener for pushing limits we didn’t know we had. I’m thankful for Jane Alvis, who has guided and shaped Metro Arts for nearly a decade and made it possible for me to have the best job in the world. I’m thankful for Anderson Williams and Mel Ziegler, who have driven innovation and insight as we have transformed our public art collection. I’m thankful for Stephanie Pruitt and Benjamin Smith, who use words to shape destinies.
PHOTOGRAPH BY JOHN JACKSON
I’m thankful for Karen Hayes and Ann Patchett for not giving up on books.
I’m thankful for Sam Davidson, Rob Williams, and Stephen Moseley of Batch, who believe that artisans working together shape the common good.
I’m thankful for you, Wedgewood Houston and the Nations and Jefferson Street and Hip Donelson and Pie Town.
I’m thankful for the Skillery and Fort Houston and Bar Camp and Make Nashville and The Porch and Abrasive Media and the Circuit Benders’ Ball for reimagining who creates and what they create.
I’m thankful for Caroline Vincent, Leigh Patton, Rebecca Berrios, Van Maravalli, Judy Miller, Ian Myers, Anne-L eslie O wens, and Kana Gaines, the most intelligent, funny, and risk-taking team in the whole world. I’m thankful to Paul Polycarpou and Sara Lee Burd and Rebecca Pierce for giving me a column and allowing me to stir the pot. But most of all, I’m thankful for you.
You, who pick up and read this magazine. You, who go to the show, the exhibit opening, the indie film, the poetry slam. You, who buy season tickets and tweet and bring your friends. You, who save your money and make a deposit at the gallery each week to bring home something you love. You, who can not just name ten local artists/musicians/makers, but who actually know them as friends. You, who buy local and always tip the band. You are the IT city. Thank you from the bottom of my heart. You make my heart swell and my soul grateful.
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MUSIC MAKES US: REVELING IN THE RHYTHM WORLD PERCUSSION AT OVERTON HIGH SCHOOL by Rebecca Pierce | Photography by Tiffani Bing
T
he World Percussion program, now in its second year at John Overton High School, is growing in population and popularity and has obviously found its groove! The program’s success is due to its director, Jason Walsh, instruments provided by Music Makes Us, and the fact that this student body was ready for it. Jason Walsh is what you might call a quintessential nerd about teaching. “I like the work, the process, figuring it out, how to get a student to do a certain thing. I like the relationships that develop with the students.”
After eleven years as Assistant Band Director and Director of Percussion at Dobyns-Bennett Jason Walsh claps out the beat High School in Kingsport, Tennessee, Walsh joined Overton High School to lead the World Percussion Program. In a nutshell, he left a highly decorated program to start a brand new endeavor for Metro Nashville Public Schools.
Walsh is from Mt. Juliet, so coming back to Middle Tennessee was a bonus, but in making the transition he had to develop a curriculum that would reach Overton’s international student body. He also faced a challenge in harnessing world percussion into a manageable
Katelyn Parker, Michael Carney, and Trey Smith on marimba
lesson plan. Walsh developed a three-pronged approach, which includes African percussion, Latin percussion, and music literacy.
His World Percussion Ensemble classes do include some band students, but many of the participants are young people who are not necessarily interested in marching and performing. There are some who want to try something different, some who want to play music of the world, and some who have never taken music classes. His Newcomer class is comprised entirely of non-English-speaking students.
So how does he teach such a diverse population of students to read music? Since percussion is learned aurally, first they find the beat using their hands, their instruments, or their voices. Then Walsh illustrates the beat on the chalkboard. Through repetition they connect the dots. It is obvious in the faces of his students that they are flourishing under his tutelage and reveling in the rhythm.
CHEEKWOOD’S EYE-POPPING POP UP GALLERY students in this collaborative process of art making,” says Karen Kwarciak, Manager of School and Outreach Programs at the museum. “This project invigorated the students and gave them the opportunity to interact with an artist who energized their creative spirit.”
by DeeGee Lester
I
n every household, there is that one person who keeps everything—ticket stubs, notes from third grade, a “special” Coke can, three or four old cell phones. For internationally known artist Lonnie Holley, putting to use what others discard is a way of life, and he’s passing it on as inspiration for students and delighting audiences.
In August Holley unveiled a sculpture created for the new William Edmondson Marti Profitt-Streuli and Camilla Spadafino Park on Charlotte Pike (see page 33). discovered ways to repurpose everyday objects, including a mirror, chair, and street sign, into works of art. The opportunity for collaboration with a leading artist provided students a rare opportunity to move beyond the classroom and to explore the process of creativity in new and meaningful ways.
In September, Holley and thirteen sculpture students from Nashville School of the Arts collaborated for the creation of works of art for inclusion in Cheekwood’s Pop Up Gallery at L Gallery inNashville’s historic Arcade. Part of the Artober Nashville celebration, the Pop Up Gallery exhibit opening was featured in the October 4th Art Crawl. The project also reflected Cheekwood’s In an era of recycling, thirteen students dedication to showcasing the best of student f r o m t w o N S A c l a s s e s t a u g h t b y art. “Cheekwood is thrilled to engage
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ON THE HORIZON – ENSWORTH’S STARS by Rebecca Pierce
PHOTOGRAPH BY TAMARA REYNOLDS
BRIANA MIDDLETON “My first love has always been singing. It’s the best way I know to communicate to an audience. When I sing there are no boundaries or limits on what I can convey,” says Briana. “For as long as I can remember, I’ve wanted to perform and entertain. It was what brought me the most joy and still is today.” Aside from her incredible voice, one of her greatest strengths is her willingness to be present with her audience and her desire to bring them into the moment.
myself doing anything else, so there were never any other options in my head.” Briana has been thinking about college since 7th grade. Carnegie Mellon University is her top choice because, unlike other schools that tend to separate dance, theatre, and vocal tracks, Carnegie Mellon has a program where all three disciplines are tied into one. She also plans to audition for Juilliard, Tisch School of the Arts at NYU, and the University of Michigan.
Briana chose Ensworth because of the Theatre Department. She explains, “I like to surround myself with people who are better and smarter than me. It’s humbling and productive at the same time. My friends and the people I work with are constant motivations to challenge myself. “I am most definitely going to continue performing beyond high school. That has been the plan for many years. The amount of effort and time I have put into my craft, it wouldn’t make sense for me not to want to make a career out of it. I have never been able to visualize
CAROLINE HUNT
PHOTOGRAPH BY BROOKE MORGAN
Caroline is diligently acquiring the expertise she will need to make her vision a reality. She has worked with a couture designer to perfect her sewing and handwork. Last summer she studied fashion at Central Saint Martins in London, a college she is very interested in.
She explains, “I really want to learn all the aspects of design. I think it is important because I want to start my own business. I took a fashion sketchbook class to learn how to take ideas from your head, put them on paper, and manipulate them to make a collection. I also took a shoemaking class and made a pair of shoes so I could have a full collection. Now I am working on textiles to understand color concepts and how to make them work with garments.” For her capstone project, Caroline is using printmaking methods to make her own textiles. Using a stamp she fashioned and screen printing ink, Caroline is creating images on fabric, embellished with handwork.
PHOTOGRAPH BY TAMARA REYNOLDS
Caroline visualizes herself “as a one-of-a-kind designer who creates stories that will one day be worn and told on the street.” She plans to earn a fashion degree and hopes to head up her own couture house.
Since sophomore year, Caroline has served as the Theatre Department’s Stage Manager with one of her classmates. Naturally, she is focused on costuming. Last fall, she made the costumes for six girls in the school’s production of A Midsummer Night’s Dream, a corset and two skirts for each girl.
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PHOTOGRAPH BY TAMARA REYNOLDS
JACK ALCOTT “I found out at a pretty young age that acting is what I really want to do. It’s just so much fun, and my dream in life is to get paid doing what I love,” Jack Alcott enthuses. Jack started acting in his primary school’s required productions, which eventually gave way to children’s community theatre, middle school and high school plays, and a few professional theatre productions.
Jack is extremely extroverted and feeds off the energy of others. He thinks that is why he likes acting so much. “There’s this connection with your peers when you’re acting. Then there’s this connection with the audience, which is less intimate, obviously, because you haven’t worked with your audience for weeks or months, but it is still a great relationship, assuming you do your job well. Your relationship with the audience is very gratifying and fun, because they are cheering you on. You’ve prepared a gift for them, and they have come to watch you just to accept your gift and to congratulate you and cheer you on. It’s a very concentrated moment of joy and fun.” Jack also plays the saxophone and loves to bowl. He was state runner-up in the TSSAA bowling tournament last year. Ultimately he would love to work in film, but first he’ll audition with some of the country’s best performing arts universities, including Carnegie Mellon University, Juilliard, Tisch School of the Arts at NYU, Boston University, North Carolina School of the Arts, and Florida State University.
SOPHIE SCOTT Sophie Scott doesn’t like to go a day without dancing. She has been dancing for as long as she can remember and has always loved it, but when she entered high school, dance became her passion as opposed to a hobby. PHOTOGRAPH BY TAMARA REYNOLDS
“My preferred genre of dance has changed drastically since high school. I was primarily a ballet dancer for the majority of my lower and middle school years. When I came to high school and became a part of the Dance Company, I was exposed to so many different styles that I have grown to love. Now I would say that anything contemporary, lyrical, or modern would be my favorite.” She also likes to mix in a little tap, jazz, and hip-hop!
PHOTOGRAPH BY DANIEL WHITE
One of her strengths is emotionally connecting with a piece and really capturing the essence of the dance. At Ensworth, Sophie has been able to add musical theatre and acting to her performance repertoire, and she plans to further pursue these avenues.
Sophie has attended summer intensive programs with the Bolshoi Ballet Academy in Connecticut, the Joffrey Ballet in New York City, the American Ballet Theatre in California, the Miami City Ballet in Florida, and the Alvin Ailey School in New York City. She explained: “By going to these summer programs, I have had the experience to see what it is like to dance every day, all day in a professional environment. This has helped me have a glimpse into the life of a professional dancer.”
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PERISCOPE ARTIST ENTREPRENEUR TRAINING The Arts & Business Council’s Periscope: Artist Entrepreneur Training is an intensive program that prepares working artists to manage the business aspects of their creative endeavors. Hosted at the Entrepreneur Center (EC), Periscope offers artists access to professional development, entrepreneurial resources, and mentors. Limited to twenty-five artists, Periscope includes practitioners of all artistic genres from Nashville and its surrounding counties. This month, Nashville Arts Magazine introduces five more members of this year’s Periscope class. For more information on Periscope, visit www.abcnashville.org.
DANNY BROADWAY | VISUAL ART PHOTOGRAPH BY GIA BROADWAY
Danny Broadway uses color, composition, line, and form to tell stories about history, nature, and spirituality. Upon graduating from the University of Memphis, Danny started painting full time and subsequently opened his own gallery, Broadway Studios. In addition to being a place for creating and displaying art, the gallery offers Saturday studios. “I teach young people so they can learn new skills. I have a real passion for making art, and I want to share it with everyone I can,” he explained. Danny has a deep desire to make a larger impact, and Periscope has been beneficial. He says, “The program is geared toward helping you as an entrepreneur, and, as an artist, you are an entrepreneur whether you want to call yourself that or not.” For more information, visit www.dannybroadway.com.
Flutist Celine Thackston is the Artistic Director and founder of chatterbird, a newly formed, Nashville-based ensemble dedicated to exploring uniquely orchestrated chamber music through alternative instrumentation and interdisciplinary collaboration. Celine moved to Nashville a year ago with a desire to create a chamber ensemble, but her idea was not fully refined. “Periscope gave me a chance to talk out my ideas, and it helped me to hear what other people thought. In talking it out, I refined my ideas. The Periscope experience gave me energy and enthusiasm to move forward. It was very validating,” she explained. The ensemble’s premiere concert is scheduled for Thursday, November 20, at 7:30 p.m. at abrasiveMedia. Contemporary aerial dance company FALL will make a guest appearance. For more information, visit www.chatterbird.org or www.celinethackston.com.
PHOTOGRAPH BY TARA SCHWAB
CELINE THACKSTON | MUSIC
PHOTOGRAPH BY KARLA CHAVEZ
GREG GREENE | THEATRE AND FILM Greg Greene is cofounder and Managing Director of Blackbird Theater, the resident theatre company at Lipscomb University. A playwright, screenwriter, and director, Greg is currently working on Blackbird’s fifth season. He intends to complete and produce the magnum opus MYTH, an original musical by Greg and Blackbird Theater’s Artistic Director, Wes Driver, with music by Michael Slayton, Chair of Composition at Blair. Greg applied to Periscope because, he says, “I am good at producing shows and running a non–profit, but I want to move things to a larger scale. I’d like to take MYTH to a regional theatre, and that will take investors.” Periscope has helped him define what investors want to see and shown him how to project financials three to five years out. For more information, visit www.Blackbirdnashville.com.
Merr y Beth Myrick creates custom jewelry using sterling, copper, gold, and brass along with leather and natural stones. Her style combines the unexpected and eclectic, with more emphasis on quality and durability than perfection of lines, wraps, and solder joints. Myrick wants to expand her Hardwear Merry Original Line into art galleries and select boutiques throughout the US, Europe, and Canada. She is also growing her Hardwear Merry: LITE Line through Internet sales, which she hosts on Wednesday nights at 8:30 CST. “Periscope made me step out of my own box and think what would a business person do. I have the customer service, and I have the product. I just needed the tools to build my business plan,” Merry explained. For more information, visit www.facebook.com/HardwearMerry.
PHOTOGRAPH BY MARY ELIZABETH LONG
MERRY BETH MYRICK | JEWELRY
PHOTOGRAPH BY HEATHER LEROY
MEREDITH EDMONDSON | VISUAL ART
Native Nashvillian Meredith Edmondson is one of the few glass blowers in Nashville. She has been blowing glass for almost ten years now and is incredibly devoted to her craft. “I love texture and pattern, and glass provides both of those along with a third element, transparency,” says Meredith. “After participating in the Periscope program, I really got the boost I need to steer my business in a forward-moving direction. My business partner and I are starting a glass design and supply business, REG Design and Supply, which will open soon. We want to work with individuals, designers, and architects to create one-of-a-kind objects for their spaces, from lighting to sculpture to functional pieces.” For more information, visit www.meredithedmondson.com and read Nashville Arts Magazine’s article on Meredith at http://www.bit.ly/1t5zVyY.
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A Regional Premiere Musical Never before seen on Nashville’s stages! Music and Lyrics by Benj Pasek and Justin Paul. Book by Timothy Allen McDonald. Based on the book by Roald Dahl.
Nov 6 - Dec 14
Check online schedule for times.
Tickets: nashvillect.org or 615-252-2675
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The Season of Equine
Celebrating the Horse Through Art & Antiques
On exhibit November 6th through January 4th at the Customs House Museum My Kingdom for a Horse Eric L. Hansen: Blood Rescue The Horse as Muse: Members of the American Academy of Equine Art The Tennessee Walking Horse Anthony Scarlati: Rediscovering the Horse Guy Bozard: Horse of Wood 200 S. 2nd Street Clarksville, TN 37040 (931) 648-5780
www.CustomsHouseMuseum.org
Sponsored in part by:
Giddy-Up: Toy Horses from the Collection Ole Bill’s Tack Shop
Jill Crow
Theatre Trevecca Nazarene University
by Jim Reyland
W
Catches a Big Fish
hen you stand on firm theatrical ground and cast a wide creative net, sometimes you can land a real artistic whopper—for example, the Tennessee premiere of Big Fish, featuring music and lyrics by Tony-nominee Andrew Lippa and a book by esteemed screenwriter John August, running October 30 through November 8 at Trevecca Nazarene University.
Big Fish centers on Edward Bloom, a traveling salesman who lives life to its fullest . . . and then some! Edward’s incredible, larger-than-life stories thrill everyone around him—most of all, his devoted wife, Sandra. But their son, Will, about to have a child of his own, is determined to find the truth behind his father’s epic tales. “The Tennessee premiere of Big Fish is exciting on several levels,” says Trevecca’s Jeff Frame, Professor of Dramatic Arts. “First, the beautiful book and score are fresh from Broadway last year. It seems to me that the musical rendition—adapted from the book and from the Tim Burton film—accomplishes the kinds of things that a strong stage adaptation does best, resisting the temptation to imitate the film version slavishly while, at the same time, poignantly capturing the most important moments in the lives of its characters in a rich, unabashedly robust and theatrical way.”
PHOTOGRAPH BY ELIZ ABETH STREIGHT GREEN
Jeff Frame tells us that nearly all of Trevecca’s theatre students will be involved with the production, onstage and off, as well as some students from other academic disciplines, including Trevecca’s programs in commercial music and music performance. The show has more dance in it than any Trevecca production has seen before and features a giant LED wall as a backdrop to a set that transports the audience through the playful, wildly imaginative mind of the story’s protagonist, Edward Bloom.
Stefani Wienecke and Company in Seussical
“I think the themes in Big Fish are also a terrific mission fit for Trevecca and should appeal to the Nashville community as well, especially local churches,” says Jeff Frame. “Some of those central ideas in the musical include forgiveness, unfailing love and self-emptying on behalf of others, devotion to family, and the importance of community. In the end, I think I see Big Fish as the story of a prodigal father, Edward Bloom, and his son, Will, who must learn to love and accept each other despite their differences in how they engage life around them.” Trevecca Nazarene University long ago figured out the importance of Theatre Arts as part of the wider educational process. They describe their overall philosophy this way: “In the belief that a creative, enterprising spirit and the development of strong, specific skills in theatre equip students for more opportunities in the industry after graduation, one of the chief goals (and strongest outcomes) of the program is the encouragement of students to be creators of original stories and dramatic expression, not merely imitators and interpreters of the performing arts. Students in the program are continually
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“
For more than twenty-five years, Trevecca has earned a distinguished reputation for theatre that not only entertains audiences with works of high caliber, but challenges audiences to think critically and to grow personally as well.
”
PHOTOGRAPH BY JEFFREY FRAME
– Jeff Frame, Professor of Dramatic Arts at Trevecca
Shawna Diehl, Joey Hutton, and Dustin Moon in Barefoot in the Park
challenged in this respect through the exploration of acting, directing, design, and playwriting in innovative, positive ways.”
PHOTOGRAPH BY ELIZ ABETH STREIGHT GREEN
Theatre at Trevecca emerged in the early 1980s and began running full theatre seasons in 1990. Today, Trevecca offers degrees in dramatic arts and theatre education, licensing students to teach theatre nationally, accredited by NCATE, grades 7 through 12. Trevecca also offers minors in dramatic arts, musical theatre, and applied theatre. Theatre education is a big deal at Trevecca, and great effort deserves great community support, beginning with Big Fish, presented in the newly renovated Benson Theatre in the McClurkan Building on the campus of Trevecca Nazarene University. Opening Thursday, October 30, and running through Saturday, November 8. For tickets, visit www.trevecca.edu/theatre.
PHOTOGRAPH BY JEFFREY FRAME
PHOTOGRAPH BY JEFFREY FRAME
Cassie Hamilton and Tyler Jeffrey Adams in The Glass Menagerie
Stefani Wienecke in Songs for a New World
Jim Reyland’s STAND starring Barry Scott and Chip Arnold, voted Best New Play by the Scene in 2013, returns to TPAC September 24–27, 2015, to kick off a national tour sponsored by HCA. www.writersstage.com
Tyler Jeffrey Adams and Merri Duff in Godspell
NashvilleArts.com
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Paint Town
the
antiques & garden show kickoff Attracting this caliber of talent is impressive and comes on the heels of myriad chairmen who’ve elevated the show into the largest of its ilk in the United States, typically drawing more than 10,000 visitors. To date, the show has raised nearly $6 million on behalf of Cheekwood and the many area charities supported by the Economic Club of Nashville.
WIT H E M M E
Emme Nelson Baxter is a ninth-generation Nashvillian and an owner of Boulevard Communications, LLC.
PHOTOGRAPH BY TIFFANI BING
Photographs by Tiffani Bing
T
here’s been a whole lot of namedropping going on in society circles lately. And perhaps the biggest one is “DK.”
With apologies to a certain “DK” at WSMV, know that these days what the “DK” people are buzzing about is beguiling, Oscar-winning actress Diane Keaton. She’s coming to town in January to headline the Antiques & Garden Show of Nashville.
Kathy Rolfe and Betsy Wilt, A&G 2015 Kickoff hosts
Kae Gallagher and Julie Fleming, 2015 Show Chairmen, challenged themselves to trump last year’s homerun event which featured Lady Carnarvon, resident of Highclere Castle where the insanely popular Downton Abbey is filmed. They especially wanted to go big as it’s the event’s silver anniversary. So they turned their attention to American soil in search of an All-American icon who would complement the show’s theme: “Style.”
Julie Fleming and Kae Gallagher, A&G 2015 General Chairmen
keynote lecture at the four-day event at the Music City Center. Let’s drop a few more names from Fleming and Gallagher’s lineup for lectures and panels. Designers Christopher Spitzmiller, Alexa Hampton, and Markham Roberts will be flying in from the Big Apple. Representing the South will be Blackberry Farm’s Kreis Beall, Atlanta interior designer Suzanne Kasler, plus Rebecca Wesson Darwin and Haskell Harris of Charleston-based Garden & Gun.
These design celebs join some 150 choice exhibitors and garden folks who will be showing at the January 29 through February 1, 2015 event.
Laura Roberts, Nan Evans and Shannon Shears
That lineup, incidentally, was revealed in September—society kickoff season here—when the volunteer corps gathered for coffee at Kathy and Bobby Rolfe’s Belle Meade home. Thrilled by the news were kickoff co-host Betsy Wilt plus Kate Ezell, Jane Sloan, Elizabeth Foss, Katherine Beasley, Laura Roberts, Amy Liz Riddick, Lucie Carroll, Beth Garza, Amy Richards, Julia Spickard, Donna Dalton, Shea Ghertner, Polly Fleming, Beth Moore, Anna Kristin Yarbrough, Jackie Hicks, Dana Miller, and Sandy Sangervasi.
symphony ball kickoff the 2014 Symphony Ball on December 13 at Schermerhorn Symphony Center. The vocal power couple will also perform with the orchestra. Amy Grant and Vince Gill have graciously offered to host the event’s patron party at their home.
Making their first appearances at the Symphony Ball: Virginia (14) and Claudia (12) Guerrero, daughters of Nashville Symphony Maestro Giancarlo Guerrero and his wife, Shirley Guerrero. Anne Maradik and Karlen Garrard Brian Gilleland, Steve Sirls, Margaret Boyd and Hugh Howser
So scotch away those images of Jacobean country estates and start California dreaming about the Spanish colonial and edgier, less conventional architecture that has so inspired the American actress. Keaton, who has penned a couple of books on architectural design, will deliver the
S
ymphony Ball Chairmen Anne Maradik and Karlen Garrard dropped a few household names themselves during the event’s Prelude party held at Mary and Tom Gambill’s home. The chairs were delighted to share that Grammy Award winners Faith Hill and Tim McGraw will be presented the organization’s annual Harmony Award at
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Shirley and Giancarlo Guerrero, Julie and Frank Boehm
T
hree other early-fall committee kickoffs were more about “f riendraising” than announcing precious details of the signature events themselves. That ’ ll come later.
Mary Jo Shankle, Martha Stamps,Betsy Wills, Barbara Keith Payne, Amy Lynch
Now if you’re wondering what color gown to wear, bear in mind that it is the event’s 30th anniversary. So think “pearl.”
Since its formation in 1985, the Symphony Ball has raised almost $7 million for the organization and its programs. Giving that news a big thumbs up were Alan Valentine, Joyce Vise, Robin and Richard Patton, Laurie Eskind, Sandra and Larry Lipman, Barbara Keith Payne, Rich Maradik, Jane Anne Pilkinton, Candy Bass, Julie Walker, Betsy and Ridley Wills, Mary Jo Shankle, and Kaki Pulliam.
Kim Holbrook, Carolyn Sorenson, Mindy Jacoway, Sue Fisher
T
Swan Ball Auction Chairmen Cathy East and Carolyn Taylor
Swan Ball Chairmen Barby White and Kathleen Estes
planning and enjoying nibbles by Kristen Winston Catering were Hilda McGregor, Julie Gordon, Lori Duke, Jody Hull, Nina Davidson, Sylvia Bradbury, and Claire McCall.
swan ball kickoff The Swan Ball held two kickoffs in late September: one at Edie Johnson and David Johnson’s pretty home for the formidable auction committee and another at Kathleen and Alec Estes’s Hill Place abode for the general committee. Kathleen Estes and Barby White are chairing the June 2015 iteration of the ball. Carolyn Taylor and Cathy East have agreed to head up the auction committee. The ball is Nashville’s foremost white-tie extravaganza and benefits Cheekwood Botanical Gardens and Museum of Art. In on all this good
Alice Whitson and Amy McKelvey
ballet ball kickoff
he 26th annual Ballet Ball organizers opted to locate their kickoff at a non-residential venue. Their early-October launch was held at Corsair Distillery in Marathon Village. Chairmen Melissa Mahanes and Kerri Cavanaugh’s committee enjoyed custom cocktails and wicked bites from Bacon & Caviar Catering. The ball, set for Saturday, March 7, at the Schermerhorn Symphony Center, is the Nashville Ballet’s largest annual fundraiser.
Suzanne Smothers, Marci Houff, and Eleanor Nahley
Laurie and Annette Eskind
Perennial ballet supporters on hand to toast the team included Elizabeth and Lynn Greer, Nancy Cheadle, Suann Davis, Sarah Reisner, Amy and Owen Joyner, Marci and Stephen Houff, Sandra Lipman, Elizabeth Nichols, Eleanor Nahley, and Jennifer Puryear. NashvilleArts.com
Kerri Cavanaugh, Austin, the bartender and Melissa Mahanes November 2014 | 103
PHOTOGRAPH BY JOSH MORTON
Critical i
www.juelsalon.com
Installation view of Helen Pashgian: Light Invisible at Los Angeles County Museum of Art, Formed acrylic © Helen Pashgian
light invisible by Joe Nolan
H
elen Pashgian: Light Invisible at the Frist Center is an exhibition of what can only be described as sculptures of light. The artist uses industrial acrylic and resin to form three-dimensional objects and then illuminates them to reveal dazzling, luminous gestures that appear to be encapsulated within the colorful, translucent materials.
COURTESY OF THE ARTIST AND ACE GALLERY L.A.
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It’s difficult to put this work into words because of the unique media, but also for the same reason that we invoke the “unspeakable” when we talk about the mystical. This show is mystical in how it makes a subject out of the act of seeing itself—it’s literally a psychedelic exper ience, allowing viewers to behold the perceptions of their own minds. This is what gallerygoers are talking about when they say the exhibition is “meditative.” Untitled Sphere, 2013–14, Resin and acrylic © Helen Pashgian
The work itself isn’t particularly reverent—some of it is ebullient, some tense and chaotic. But the mood in the silent galleries seems careful and deferential, and there’s a sense that a sacred space is realized by the displays of various spheres, towers, and blocks of the glowing stuff.
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Of course this perception-bending use of light to create a sacred space often finds Pashgian mentioned along with other Light and Space movement peers like James Turrell—the comparison is obvious and complimentary. However, looking at a gallery full of Pashgian’s poured and cast epoxy rectangles in minimal acrylic frames, I couldn’t stop thinking about Mark Rothko and the great, glowing portals he willed onto his canvases.
It was Rothko who once said, “The people who weep before my pictures are having the same religious experience I had when I painted them.” Some gallerygoers will probably feel like they are having a religious experience at this exhibition. Most will feel moved and changed. Helen Pashgian: Light Invisible will remain on exhibit at the Frist Center for the Visual Arts through January 4. For more information, visit www.fristcenter.org.
Poet’s Corner
My Little Heart Attack went by so fast it didn’t stop my singing or my dancing with my children— twirling Sam and Lucy, their long hair flying until ventricular tachycardia at two too many beats per measure sat me down to rest my chest. I took my tricky heart to Dr. Takahachi. He said, “Let me palpate your thorax. Breathe. Yes. Copasetic.” Someone else called nine one one when myocardial infarction hiding in my warty arteries started stallions galloping across my sternum and the EMS responded, pounded KY Jelly into my ribs, convulsed me repeatedly with portable defibrillator paddles while I danced and twirled. “Again! Again!” they called like Sam and Lucy denying it’s time for bed.
Tom Lombardo will read a selection of his poetry at the Poet’s Corner on November 20 at 7 p.m at Scarritt-Bennett. The event is free and open to the public. For more information please visit www.scarrittbennett.org.
NashvilleArts.com
November 2014 | 105
PHOTOGRAPH BY JERRY ATNIP
— Tom Lombardo
Appraise It
Common, Yet Collectible The Simplicity of Collecting a Mark Tied to World History With another action-packed summer of taping the Antiques Roadshow behind me, it may be a good time to share some of the items that are most frequently seen during the course of our stops across the country, the common items that have values well below one hundred dollars and that, while they generate great curiosity, have fewer potential buyers than sellers. “Made in Occupied Japan” is the mark found on goods made after World War II during the Allied Occupation of Japan, between 1945 and 1952. Collectors now search for these pieces of pottery, porcelain, toys, and other goods made for export during that time, simply for the mark.
The range of products that can be found bearing the mark are diverse: linens, cameras, fishing lures, tennis rackets, and tools. However, in the world of collectibles, it is primarily the tin mechanical toys and ceramic figures that collectors focus on. The majority of Japan’s ceramic output of the “Occupied Japan” period was limited to modest imitations of Hummel, Meissen, and Victorian ceramics. Unlike the windup toys, these inexpensive novelties for dime stores and copies of European ceramic favorites rarely exceed a present-day fair-market value of over a hundred dollars, with most valued under twenty dollars.
As the Supreme Commander of Allied Forces in the Pacific, General Douglas MacArthur continued in post-war service to the region when he was named the Tokyo-based Head of the Occupation Forces in Japan. Under the MacArthur rule, that nation was given a democratic constitution and internal reforms, implementing the ideals of a democratic nation into the island’s politics, business, and civics. When MacArthur set about his mission to revive Japan’s economy, he commanded that all factories print “Occupied Japan” or “Made in Occupied Japan” on their products.
PHOTOGRAPH BY JERRY ATNIP
At the end of WWII and the surrender of the Empire of Japan, it was the common intent of the Allied Powers to render Japan incapable of ever returning to the field of battle. “Demilitarization” was deemed the first policy of the Occupation authorities and was accompanied by abolishing Japan’s armed forces and dismantling its military industry.
NEW PHOTO?
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Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an appraiser of Tribal Arts. If you would like Linda to appraise one of your antiques, please send a clear, detailed image to info@nashvillearts. com. Or send photo to Antiques, Nashville Arts Magazine, 644 West Iris Dr., Nashville, TN 37204.
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For information about classes, performances, and community events, visit nashvillejazz.org or call 615.242.JAZZ (5299)
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PRINTING November 2014 | 109
My Favorite Painting
P atricia A. L ee
PHOTOGRAPH BY SHERI ONEAL
Sunset Over New Zealand Mountains, 2008, Oil on canvas with palette knife, 16” x 20”
I
Fashion Designer/Speaker
look at art and fashion as the same, just on different canvases. Having studied fashion and art, these are the center of whatever is new and innovative in my life. This is why I love paintings by my husband, Darnell Jones. My favorite painting is his Sunset Over New Zealand Mountains. I find myself in a frame of mind where the vibrating colors in the sky and the deep tones of purple peaking off the mountains create a soothing cradle. When I look deep into the mountain, I can see a subtle human form. The water gives off a deep color and reflection of peace and tranquility. Darnell’s style and use of color enlighten my eyes to style.
ARTIST BIO • Darnell Victor Jones Nashville native Darnell Victor Jones works in a variety of mediums and genres, and portraiture is his specialty. He developed his artistic skills at a young age and was encouraged to further them by his Pearl High School art teacher Ardela Thompson. He went on to study art education and art history at Tennessee State University, then pursued a degree in Communicative Design at the University of Tennessee. After college, Darnell received a commission through Quality Takes Time to paint thirty portraits of country-western stars. His art appears on canvas and clothing and evolves through his experimentation with the alla prima technique (also known as wet-on-wet) and materials such as fabric paint, soft pastels, felt pens, and gouache. darnelltheartist1@yahoo.com 110 | November 2014 NashvilleArts.com
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