2009 october nashville arts magazine

Nashville Arts Magazine | October 2009 | 3

6 | October 2009 | Nashville Arts Magazine

Spotlight ................................................8Yoga, Artclectic, Hey Florence!, Anton Weiss, Meriwether Lewis

Home Design ...................................... 12Robbie Calvo: Old World Artisan

Music ................................................... 14Michael Rhodes: Deep Down Cool

Painting ............................................... 18Charles Keiger: In The Realm of Possibility

Architecture ........................................24Living in Art

Neighborhood Art ..............................30The Germantown Connection

Theater ................................................34Barry Scott: A Man For All Seasons

Sculpture ............................................38Irene Ritter: A Revelation in Stone

Photography .......................................48 Robin Hood: Legendary Photographer

Painting ...............................................58 Michael Shane Neal: The Master’s TouchAppraise It ........................................................................................... 68Poetry ....................................................................................................72Theater ..................................................................................................74Anything Goes .....................................................................................76Happenings ......................................................................................... 80Openings and Receptions................................................................ 84Puzzler .................................................................................................. 92 My Favorite Painting .......................................................................... 98

October 2009

Nashville Arts Magazine team:Kat Amano, Jerry Atnip, Rebecca Bauer, Beano, Larry Boothby, Lizza Connor Bowen, Ted Clayton, Matt Coale, Melissa Cross, Daysi, Linda Dyer, Cathy Faust, Madge Franklin, Greta Gaines, Joe Glazer, Valerie Hart, Daniel Hightower, Tim Hiber, Charlie Martin, Paul Polycarpou, Rita Puryear, Randy Read, Jim Reyland, Kami Rice, Anthony Scarlati, Sam Scarpine, Jeff Stamper, Katie Sulkowski, Kevin Tetz, Adrienne Thompson, Lindsey V. Thompson, Dave Turner, Lisa Venegas, Deborah Walden, Rob Williams, William Williams

Published by St. Claire Media Group

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Spotlight

Yoga Gives!

Raquel Bueno is a board member of the Sexual Assault Center, and she also happens to be a yoga instructor. Earlier this summer, she combined her skills and passion to create a unique format for helping victims of sexual assault.

Bueno started small with a few classes on Sundays in area parks. Since then, she has launched Yoga Gives! which continues with twice-monthly classes in area parks with plans for becoming much bigger. Classes are free to participants, but donations are requested, which go directly to support the programs of the Sexual Assault Center (SAC).

The next outdoor class is October 18 at Sevier Park 10:30 a.m. Beginning November 1, the class will move indoors, meeting every Sunday from 1:00 – 2:15 p.m. at Sanctuary Yoga in Green Hills. For all schedule times, contact Raquel Bueno at [email protected]; phone: 310-849-9761.

Artclectic

University School of Nashville presents its 13th annual artclectic Art Show, October 22–25, at 2000 Edgehill Avenue. One of the city’s most prominent art events, artclectic returns with an expanded format featuring more than 50 artists from the Southeast, a two-day special events program for kids, evening events, and several opportunities to meet artists, attend demonstrations, and participate in discussions with the artists. Jerry Dale McFadden is the juror for this year’s show.

The community-wide party opens at 6 p.m. on Friday, October 23. Admission is $10 per person. Every year, the party draws city leaders, arts patrons, collectors and art lovers. A free, hands-on workshop for children and parents will take place on Saturday and Sunday in the Tibbott Center. Kids of all ages can engage their creative energies to make art out of objects that might otherwise go in the landfill. A reception for the featured artist Pinkney Herbert in USN’s Tibbott Center Gallery takes place on Friday, October 2, from 5 p.m. –7 p.m. This evening event is free and open to the public. Herbert’s work will be on display through artclectic.

Admission is free and open to the public, from 11 a.m.–7 p.m. on Saturday and 11 a.m.–3 p.m. on Sunday. Whole Foods is sponsoring all of the food for the four-day event. For more information: www.artclectic.org.

above: Featured Artist Pinkney Herbert

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There is simply no mistaking the work of Robbie Calvo. If you’ve been to the grand villas and castles of Europe, you will recognize the sensibility and ambience of his style immediately. Chandeliers, rich, opulent draperies, stenciled patterns on walls and ceilings, and warm copper and bronze recreate a grander, richer time. With Robbie, you have an award-winning artisan, skilled in traditional methods prac-ticed for centuries in Europe’s most distinctive homes. Gilding using real metals, frescos using plaster and time-tested pigments, copper that is hammered and riveted, floors that are hand stressed, and incredible marbling work that somehow not only reflects the real thing but takes it one step further into the realm of art.

If you are commissioning Robbie as a designer, then you are asking for a decorative experience that transports you to another time and place. His design concepts work wonderfully in traditionally sized homes, but his ideas are fully formed on a grander scale. That is when the scope of the work can truly transcend a room to other continents and centuries.

Let’s take a recent project: a completely gutted modern bathroom is transformed into an elegant sixteenth-century Italian bathroom with hand-painted vanities, copper sinks, beautiful painted frescos on the walls, tumbled-stone floors, a tub surrounded by draper-ies, and a walk-in Euro shower with a harlequin-patterned tile. In another project, a foyer with a vaulted and domed ceiling is painted with copper tones and a custom-designed, intricate fleur-de-lis, and a plaster treatment with intricate marbling decorates the walls.

Home Design

Robbie Calvo Old World Artisanby Lisa Venegas | photography by Reed Brown


I asked Robbie the process for transforming a room into an excep-tional space. “Most of the time the architecture inspires me—a domed ceiling or a Georgian window or a mantelpiece—some-thing in the room will dictate how you are going to approach a design. Sometimes the client will have, say, a beautiful antique rug with a medallion in the design, and you incorporate the medallion or scrollwork and the color scheme into the room. You also work to bring out the house to match the personality of the client.

“My art is an old-world art, and I think in an old-world way like the artisans of times past. Growing up in England I was fasci-nated by heraldry and the majesty of royalty. I was surrounded by incredible architecture, and it just became a part of who I am. I had a three-year apprenticeship and college for decorative painting, which included gilding, sign writing, wood graining, marbling, painting, mural work, all of the old-world arts of decorative painting. When I came to the states, I came to realize that the knowledge that I’d gained and the experience or back-ground that I had set me aside from the other people here who were doing similar things. So instead of faux finishing, I prefer to be called a decorative painter. I’m replicating the real thing, and that’s the difference. It’s truly an art, an old-world art.”

Robbie explains that every element of the process takes dedica-tion. He hand mixes plaster, adding in color in stages, and applies it by hand to add texture. Once the plaster is finished, multiple layers of molding are added, each with different colors or finishes. Perhaps wallpaper is added that is itself painted. Stencils are added in intricate patterns. Wood is stained and sanded to a fine finish. And above all, the composition of the room is enhanced through the right furnishings and decorative touches. A typical project could take six weeks, or three months of daily labor, depending on its scale.

It’s not always necessary to spend a fortune to make a room opulent, but it does take time and effort. Robbie believes the clients who are happiest with their redesigned houses are those who are able to express honestly what they want, are open to exploring what will really work for a room, and are willing to commit to the vision of a designer. With Robbie, there is no compromising the quality of the work. It is meant to give the clients what their hearts honestly desire.

“My art is an old-world art, and I think in an old-world way like

the artisans of times past.”

Before After


Painting

Charles Keiger paints colorful, folksy narratives with elements of the surreal. Keiger’s lighthearted scenes exist in a world somewhere outside this universe—perhaps in a dream, literal but more stylized. “I like to live and paint inside my head. My vision toward my art is inward.” He’s excited about what’s on his easel right now, figures he calls “silly” but “confident in their demeanor.” Concluding, “I may be a clown, but I’m comfortable with who I am.”

His highly attractive style marries the Renaissance tradition and painting technique with that of the early surrealists, poking the psyche with its humor and often-haunting symbolism. Most of his works feature one central figure in a rural setting. From there, an archetype or character reveals itself, and a familiar scene of Americana unfolds. If he does paint a city, it’s always way off in the background.

Raised in the Carolinas, Keiger is inspired by Southern imagery and shows all over the Southern region. His next exhibition will be a part of the “Art of Books” exhibit, a salute to the Southern Festival of Books, that opens October 3 through 31 at The Arts Company on 5th Avenue in Nashville. Gallery owner, Anne Brown, says, “He’s got such a narrative quality to his work, I thought this was a great way to think about the art of books. There’s implied narrative in everything he does—but you have to put the pieces together.” As a category of art, he places himself most in line with the “low brow” movement.

After losing both his parents this past year, he notices he’s done several floating figures above water. “It’s true, I feel a bit ungrounded,” he shares. Similar tensions are repeated in other paintings where speed plays in stark contrast to static figures, or an old-world costume is placed against a futurist landscape. Keiger paints everyday objects in different contexts to provoke a new meaning. While out jogging one day, he saw a pink flamingo in a yard. Of himself he asked, “What can I do to that image to make people see it differently?”

Charles KeigerIn The Realm of Possibilityby Katie Sulkowski

left: Potomac Sonata, 16x14, oil on panel, 2007

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His work challenges, entertains, and takes you someplace else. He reminds us that we’re all living in our own little world and gives us clues to seeing it differently, seeing the world inside out. Many standing in front of his work are heard saying, “I’m so interested; I’m trying to figure out what’s going on.” To that Keiger makes a prophetic statement, “Sometimes you don’t know the meaning of a painting until much later.” A mix of oddities and charm, objects come to life, giving off the feeling that in Keiger’s world, anything is possible.

“There’s implied narrative in everything he does—but you have to put the pieces together.”


far left:

The Guest, 20x18, 2006,

oil on wood

middle:

Mid-Morning Lesson, 20x18,

2006, oil on wood

near left:

Song for a Perfect Day,

24x30, oil on wood

left bottom:

A Distant Fairytale, 20x18,

oil on wood, 2006

bottom middle:

The Dream, 22x20,

oil on panel

bottom right:

Traveler From The Past,

20x18, 2006, oil on panel


Clean-lined and industrial, these high-tech residences loom like eyesores to some and

the positive future of a more design-daring and cosmopolitan Nashville to others.


1106 Woodland Street,Five Points year built: 2000

square feet: 3,600

style: contemporary

residents: Bill Brimm and Andrew Krichels

At quick glance, the exterior of this strikingly contemporary home in East Nashville’s Five Points could be confused as, well, a recent extension of the adjacent U. S. Post Office building. Soon after their 2000 move-in, owners Bill Brimm and Andrew Krichels were dining with friends on the second floor (the home’s main space and with a kitchen, no less) when a nicely dressed couple appeared. “They thought that our place was a restaurant,” says Brimm, a stained-glass maker/furniture builder/photographer. “We informed them that it was a private residence, but they could join us if they liked. Their faces turned red; they made their apologies and quickly left.”

A stroll through the Brimm-Krichels residence, designed by Nashville-based Politico, reveals nothing ordinary or traditional. For example, a metal locker (the type found in schools and YMCAs) is used for storage. A bedside night table is partly constructed from a suitcase. Two mummy-like figures (the work of local artist Adrienne Outlaw) hang from a ceiling. Radical stuff.

Of note, the first-floor rooms are used primarily for Krichel’s Pilates business. A catwalk (very cool) spans a lush courtyard/garden and connects the main building to a back structure accommodating Brimm’s studio.

Initially, Brimm and Krichels fielded criticism from neighbors. “I think some saw it as an invasion, a modern structure that could not work in a historic neighborhood,” Brimm says. Nowadays, most neighbors dig this metal and brick mini-masterpiece, its sharp lines and industrial vibe offering a dramatic contrast to the area’s hand-some bungalows and Victorians. “I think overall most people love the place,” Brimm says. “They get it.”


801 Russell Street,Historic Edgefieldyear built: The property is believed to have been constructed some time

between 1969 and the early 1970s, though Metro records are unclear.

square feet: 1,860

style: industrial/modern/contemporary

residents: Julie and Ben Sistrunk

If they chose to do so, Julie and Ben Sistrunk could spend as much time lounging on their home’s roof — yes, it’s an amazing outdoor living space — as they do inside.

The rooftop deck, accessible via a spiral staircase, spans the entirety of the house, the interior of which offers patina concrete floors, concrete spandeck ceilings, exposed cinderblock walls, sliding track doors, Venetian walls, metallic paint, a giant, walk-in shower and bathroom (boasting a faux fireplace), and some of the coolest art found in any Nashville home. Dominating the front yard are three massive pieces of outdoor sculpture, the type work that might mortify reserved types whose art tastes lean toward the dignified and historic.

Of note, previous owner Will Hendricks bought the property in the 1990s and did a fine job, Ben Sistrunk says, of improving its appearance and functionality and transitioning it from commercial to residential usage.

Then in 2003, the Sistrunks bought the home from Hendricks and began the process of radically transforming it so as to, as Sistrunk says, “truly live in art.” Sistrunk says the couple spent “a considerable sum to overhaul the home,” with the interior highlight perhaps being a kitchen that is situated within the main living space’s center yet spans from the east wall to the west.

The Sistrunks own Urban Living Design, a design-build company that reinvents existing homes (including this gem). Julie’s sister Leslie is the wife of renowned glass artist Dale Chihuly. No doubt, the Sistrunks know their art and architecture.

“While we truly enjoy ‘living in art,’ it’s not for everyone,” Ben says. “I believe most of our neighbors enjoyed the transformation of our property but not all liked it—nor would they want to live in it. And yes, I would dare say some people don’t think our ‘cute little art gallery’ belongs in an historic neighbor-hood. But isn’t this what art is all about? It invites opinion, critique and open interpretation.” As does the Sistrunk home.


3811 Harding Place,Forest Hills year built: 2001

square feet: 4,500

style: modern

residents: Kim and Richard Fletcher

Open, airy and no need for color. So is the home of Kim and Richard Fletcher, who have elevated the art of living without excess to a radi-cal level. Other than a small library filled with books, the couple’s 4,500-square-foot abode is furnished in a Spartan-like manner. Clutter? Nowhere to be found (well, except in the bedrooms of the Fletcher boys, Andrew and Nick).

In terms of color, white dominates. The home’s exterior, clad in Hardie siding, is white (except for the black asphalt-shingled roof and a dramatic red door). Inside, every wall is white. With soaring ceilings, light ash flooring, and amazing pendant lighting, the effect is nothing short of stunning. Designed by Washington, D.C.-based Hugh Newell Jacobsen, the home features no baseboards, no crown molding, no unnecessary architectural embellishments. This is clean-lined, contemporary living at its most beautiful and breathtaking, with the Fletchers’ art collection—including some massive pieces—the crowning element.

“The house is full of very large spaces, and many of the smaller pieces were more difficult to work into the house because of scale,” Kim Fletcher says. “But we have tried to incorporate them everywhere possible.” In the home are works from Anton Weiss, Will Berry, Nancy Cheairs, Paul Harmon, Jason Saunders, Michael Shane Neal, Kelly Gaidos and Ed Rode, among others. Local art is emphasized.

Adding to the flavor are various classic, modern furniture pieces, including Knoll womb chairs, a side table by Saarinen, a Florence Knoll credenza, a Mies van der Rohe daybed, and Bruno dining chairs. “We have mixed these pieces with several Indonesian antiques and comfortable upholstered furniture, some of which we will upgrade once the teenagers are gone,” Fletcher says with a smile.

Opinions of the home vary wildly. Some think the structure resem-bles, for example, an Amish church. Others likely find the place jarring for the conservative Forest Hills. But Kim Fletcher says the house has “fostered an interest in modern” in Nashville. “We have now met and talked to many fans of modern,” she says, “some of whom have now done their own modern homes.” Thus adding to Nashville’s “living in art” culture.


4211 Idaho Avenue,Sylvan Parkyear built: oldest part, circa 1930; newest addition, 2000

square feet: 2,000

style: experimental purism

residents: Lanie Gannon and Rob Ogilvie

Upon first viewing this insane-looking residence, one is tempted to blurt, “What the ----?” Those who embrace the bungalow, foursquare or Victorian might even be offended.

“Our house is made with the most humble, dignified and least expensive materials: plywood and paint,” says Lanie Gannon, an artist who owns the property with husband and furniture maker Rob Ogilvie. Various geometric-shaped windows, an expressive (putting it mildly) paint job, and two front doors define the exterior. A giant barbell sculpture anchors the house’s front.

Inside, art and mid-century-modern furniture highlight the small rooms. A circular wall encloses the “master bedroom,” its confines closely situated with the main living space. Almost every room, hallway and outdoor space is distinctively shaped and defined; most walls and doors are positioned in an unconventional manner.

“Most of the neighbors really like our house,” says Gannon, a sculp-tor. “We have a lot of gawkers on the weekend. There are a few dissenters that find our design aesthetic disturbing.”

Gannon said Sylvan Park residents who pressed for an historic overlay a few years ago pointed to the house as an example of what the historic overlay, had it passed, would have prevented. But the Gannon-Ogilvie home—the original part of which was built as a garage—has survived criticism and now stands as a symbol of sorts for the bohemian culture found among some Sylvan Park residents.

When asked why it is important for some homes to be visu-ally and functionally distinctive compared to neighboring houses, Gannon notes, “I am not sure I can answer this ques-tion, because it involves too many gray areas dealing with issues related to society, economics, politics, environmental concerns and personal taste.”


Neighborhood Art

The Germantown Connection: A Neighborhood Creative Spiritby Melissa Cross

For many Nashvillians, their first reason to venture into the Germantown neighborhood was the lure of innovative cuisine from the Mad Platter Restaurant. When Marcia and Craig Jervis opened the restaurant in 1989, the neighborhood revitalization was just getting started, and although the shining dome of the Capitol was just down the street, the worn and neglected streets of Germantown felt like worlds away from the tidy boulevards and trimmed lawns of most Nashville neighborhoods.

Twenty years later, there are still many who haven’t been to Germantown or have only experienced the select sights of Oktoberfest, held every year since 1980. But today even a quick tour of the area between the river and Eighth Avenue North reveals a neighborhood that has been physically transformed and yet has held onto its strong urban character. Look a little deeper and one also finds a unique and tight-knit community that embodies creativity and encourages imagination.

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The first wave of urban pioneers in Germantown staked their territory in the 1970s, committed to preserving the historic and diverse architecture, from simple row houses built for immigrant workers to elegant examples of Victorian, Italianate, Eastlake, and Queen Anne styles. Known as Nashville’s first “residential subdivision,” Germantown was placed on the National Register of Historic Places in 1979.

“The house found me; it was love at first sight.”

Although Germantown has attracted typical urbanites such as artists, architects, writers and photographers over the years, some people have experienced what could be defined as a “calling” to the neighborhood. In 1995 an unemployed and in-debt Michael King took a wrong turn onto Sixth Avenue and happened upon a beauti-ful 1880 Italianate Victorian home in need of a major renovation. “The house found me— it was love at first sight,” Michael says. It called to him to restore it and open a restaurant, and 23,000 biscuits a month later, Monell’s Restaurants are among Nashville’s best-loved Southern family-style restaurants.

before after

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Today, as a “mixed-use” and diverse neighborhood, Germantown’s revitalization now includes modern architecture and developments that complement the historic homes and traditional buildings. The ultimate goal of residents and planners is to create a “walkable and sustainable urban neighborhood,” a new take on an old concept that includes shops, restaurants, businesses and offices as well as residen-tial and recreational spaces.

One such development is at Fourth and Madison where Tennessee Titan Michael Roos and his wife, Kat, have begun a two-year project on the site of the old A & S Electric building.

Another historic neighborhood-conscious project includes the Neuhoff Redevelopment, located on the river end of Germantown. The site has become a focal point for the arts and a center for envi-ronmental studies with the installation of a Green Roof Prototype. The original Neuhoff meatpacking plant now houses the Nashville Jazz Workshop, the Actors Bridge Ensemble Theater, the Nashville Cultural Arts Project, the Neuhoff Art Gallery, and John Prine’s recording studio.

Another great secret of the hood is Lazzaroli Pasta, offering hand-made pasta and authentic Italian fare. Philadelphia transplant Tom Lazzaro and his family began selling fresh-made pasta out of a van at the Farmer’s Market until they found the perfect space for their pasta kitchen and Italian market on Fifth Avenue.

The 2009 Germantown Street Festival is October 10 and incorporates the unique flavor of the original Oktoberfest with the diversity and creativity of the Historic Germantown neighborhood:www.HistoricGermantown.org.

Referred to by some as “the best-kept secret in Nashville,” the Nashville Jazz Workshop includes “The Jazz Cave,” a state-of-the-art studio used for master classes and performances by local and world-class musicians, and a reception-area gallery that features the works of local visual artists. Founded and directed by Lori Mechem, a respected jazz pianist and composer, and husband Roger Spencer, a bassist, both of whom have had extensive music careers, NJW relies greatly on the support and creative inspiration of their Germantown neighbors.

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That’s saying something, given that Scott is arguably Nashville’s finest actor and clearly Music City’s highest-profiled theatri-cal performer nationally. Those stentorian promotions you hear coming out of the television during ESPN’s NBA broadcasts are just one of Scott’s numerous gigs as an in-demand voiceover artist, and otherwise you can go back 25 years to catalog his important career as foremost local thespian, with roles ranging from Othello

“I have more directing credits under my belt the past five years than acting credits,” says Barry Scott.

and Macbeth to independent films and television series and even two of Jim Varney’s Ernest comedies. Scott has also carved out a national identity as a foremost performer of the speeches of Martin Luther King, Jr., which he began doing as early as the age of 12 and has been touring regularly since he grew to manhood. Scott is also a writer of some note, with half a dozen produced scripts to his credit, often celebrating black pride, including Harlem Voices and A Joyful Noise. But the directing thing is happen-ing these days, and that’s just a logical extension of his energy, his involvement, his experience and his always-developing talent. For two summers running, Scott has directed gifted Tennessee State University students, first in a galvanizing urban/hip-hop adapta-tion of Romeo and Juliet, and, more recently, in The Complete Works of William Shakespeare (Abridged). Both of those shows exhibited Scott’s commitment to pushing younger performers toward growth by accepting unfamiliar new challenges. He also recently directed, and co-starred in, Samm-Art Williams’ The Dance on Widows’ Row at playwright/entrepreneur Jim Reyland’s Writer’s Stage venue, where he’ll return in November to direct a workshop production

Barry Scott in Macbeth

Macbeth

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Barry ScottA Man For All Seasons by Martin Brady

Theater


of Reyland’s new play, Article 4, starring another Nashville acting lion, Mark Cabus.

“I’m one of the godfathers of local theater, I guess,” says Scott, with a wry smile. “By virtue of not dying...and still being here.” By day, Scott holds the position of manager of the Cox/Lewis Theatre at TSU’s Performing Arts Center. He is also the producing artistic director for the American Negro Playwright Theatre, which he founded nearly 20 years ago. ANPT has been a foremost purveyor of great contemporary black dramas, in particular those of August Wilson, and the company has historically brought in important African American theater artists for directing assignments, including Robert Guillaume, John Henry Redwood and Woodie King.

“I’m one of the godfathers of local theater, I guess...by virtue of still being here.”


Unbeknownst to many, Scott had a potentially life-changing opportunity auditioning in Los Angeles for Norman Lear’s Good Times. “It went well,” says Scott, “but I didn’t wind up with the role. It was quite an education for me as a young boy from Nashville, living in Hollywood in the 1970s and discovering how the games are played. So, if you were not Sidney Poitier or Bill Cosby, opportunities were actually few. I was always auditioning for the ‘cool black dude,’ ‘the jive black dude,’ ‘the convict black dude,’ ‘the pimp black dude.’ You had to be a buffoon. Plus, I wasn’t mature enough to understand and digest all of that.” After 18 months on the West Coast, Scott returned to Music City. “I was willing to sacrifice,” he says, “but I wasn’t willing to sacrifice what I thought was my integrity. There were a lot of oppor-tunities to forward my career if I ran in certain circles, did certain things, but I discovered quickly that there are people who are willing to compromise their integrity for money in the professional world, whether it’s politics, business or entertainment. So I went back to school, and graduated.” Scott tried grad school, but it didn’t take. That’s sort of ironic since, virtual self-made man that he is, he’s now in demand as a motivational speaker on leadership and diversity at universities and corporations.

Despite the early flirtation with Hollywood, it was a good stretch of years before he gained his local legendary status. Scott’s high-profile local performances in Othello, 1994, and Macbeth, 1998, at Tennessee Repertory Theatre, he attributes directly to the vision of then-artistic director Mac Pirkle. “Othello was confirmation,” says Scott. “Macbeth was significant because it was not an all-black cast.” Other roles that have mattered big-time include the leads in Wilson’s Fences and the one-man show Looking Over the President’s Shoulder for ANPT, and also Wilson’s The Piano Lesson at the Rep, which was that company’s first-ever all-black cast. As for the Nashville theater scene and the future, Scott is sanguine. “It’s underfunded, as are most theaters in America, but we’re relatively a friendly community. I have received so much help and support. I see evidence of tolerance, inclusiveness, goodwill and collaboration. I don’t necessarily think we have a national reputa-tion, but I think that will change. How many black theaters anywhere are doing as much as we’re doing?” Specifically, Scott refer-ences the rise in recent years of ambitious grassroots African American commu-nity theater groups. “It’s nonstop,” he says. “I don’t see any end in sight. And maybe the black theater movement in Nashville is making theater more acces-sible to people who typically felt like that was not for them. We’re onto something here.” Comfortably in his fifties, Scott’s busier than ever.

“I’ve got so much going on,”

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above left: Egghead

top right: Rachmaninoff

above right: On The Rocks

below: Hidden Agenda


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“I basically carve to make myself happy. If I didn’t love it, I wouldn’t do it.”

above left: Crowning Glory

above right: Aurora Sings The Dawn

opposite page top: Self Made Man

opposite bottom: Rock Bottom

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In the 1960s, Irene began college as an art major. She had always been artistic. “I liked to scribble, liked to draw. I had a visceral need to be around art.” Unfortunately, after a short time at university, Irene’s academic advisor urged her to leave her study of the discipline. She had A’s in other subjects and was barely scrap-ing by in her art classes. Young and impressionable, she followed his advice. As a teenager, she put away her paintbrushes and pencils. She did not pick them up again for nearly 40 years. Irene moved to Nashville from Cincinnati to become editor of Nashville Magazine. She decided to make visual art a focus of the publi-cation. Amazed at the numerous factions that she observed in Nashville’s art world, Irene began exploring avenues to bring local artists together. Even before she became a contrib-uting artist herself, Irene’s work impacted the Nashville arts community. After leaving the magazine and acting as deputy mayor of Nashville, Irene began to feel the call of art once more. She announced that for her fifty-fifth birthday, she wanted to be a stone carver. Classes at Arrowmont followed, and soon Irene discovered that she had an innate talent for reductive stone carving. It became her new love.

A social butterfly by nature, Irene shared her work with her friends. They urged her to exhibit, but she hesitated. “This was the first career phase that was about me.” It was difficult to show and sell

such personal work. “I finally got over the fact that I didn’t want to sell anything,” she relates. At her first opening, Irene sold nearly every piece and still holds a gallery record for that achievement.

In her late fifties, a time when most people consider retirement, Irene Ritter had launched an exciting new career. “I basically carve to make myself happy. If I didn’t love it, I wouldn’t do it,” she says with a smile. Her love shows in her work. The pensive, internal Rock Bottom perches on a stand near her front door. It is worn smooth and slightly discolored from the number of people who walk inside and

instinctively reach out to touch it. Works such as Hidden Agenda and Image Maker reveal her insight into human charac-

ter and her sense of humor about art. Hidden Agenda features a sexualized female nude wear-ing a unicorn’s mask of innocence. Image Maker consists of a hollow mold that could be used to

create cookie-cutter-style businessmen on demand. In sculptures such as War and

Peace Irene explores powerful iconic imagery that achieves mythic status.

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below: While in Hawaii

photographing an ad

campaign for Del Monte,

we asked these ladies to

arrive at their high-elevation

pineapple fields at 5 a.m.

the following day so that

we might photograph them

illuminated by the first light

of day breaking over the

Pacific Ocean.

opposite page: Traditional

dancer of the centuries-

old Gion Festival in

Kyoto, the ancient

capital of Japan.

left: Fishing at midnight—

Summit Lake, Kenai

Peninsula, Alaska, for

the Alaska Tourism

advertising campaign.


left: Legendary musician and folk interpreter

Carlock Stooksbury in the smokehouse of

John Rice Irwin, for the cover of the Tennessee

Farm Bureau book Tennessee Country.

above: W. L. Richardson, member of the famed Fairfield Four gospel group,

graciously played this old, worn piano on the Peabody University campus

for a photo session, which would become the cover of The Tennesseans:

A People Revisited. The book would receive the Benjamin Franklin Gold

Medal as Best Coffee-table Book in America the year of its publication.

below: These wranglers are illuminated by golden, end-of-day rails of

sunlight playing through dust stirred by the herd of yearling horses

they had just corralled.


left: With a definite vision of Marcel Duchamp in

mind, I mounted a 50-foot American flag on a nearby

barn for an abstract reflection framing Leiper’s Fork

resident Bruce Hunt—good friend, ad man, horse

wrangler, dog trainer, and teller of tall tales.

below: Blues singer “Blind Mississippi” Morris photo-

graphed in the hotel room regularly occupied by Ray

Charles at Ernestine & Hazel’s, a pre-integration bar and

hotel popular with African American musicians, across

the street from the Memphis train station.

right: The Raven Dancer of the Tlingit Native American

tribe was photographed on an island outside Juneau,

Alaska, for the Alaska Tourism advertising campaign.

bottom right: This roadside scene is on the High Road

to Taos route and near the adobe chapel of Rancho

de Taos made famous by Georgia O’Keefe and Ansel

Adams in northern New Mexico.


Painting

Michael Shane NealThe Master’s Touchby Deborah Walden | photography by Jerry Atnip

Visitors to Michael Shane Neal’s Nashville studio

pass through a pristine wooden gate and enter directly into a more delicate world. Drooping heads of pink roses shiver off raindrops as the fence door closes. A stone path leads through perfectly trimmed hedges to the artist’s two-story backyard workplace. There is an immediate sense of a boundary between this English garden path and the ordinary rows of houses beyond its edges. A quiet seems to hush a carefully tended world stolen from another time.

As if to further the illusion that one has stepped into the Gilded Age, Neal himself flings open his studio door sporting a pink oxford shirt, suspenders, spec-tator shoes, and a perfectly knotted bow tie. “Hello there!” he shouts in a friendly, excited voice. His danc-ing eyes, rapidly gesturing hands, and persistent efforts to make his visitors comfortable immediately convey the warmth and spirit that define his life and work. Neal smiles constantly, laughs often, appears thor-oughly alive and interested in every moment. In spite of the fact that he is a father of two, there is something of the carefree schoolboy in his demeanor. One might not guess from his self-deprecating jokes, humble demeanor, and candid expression that he is a painter of international renown. Justice Sandra Day O’Connor was so impressed with his portrait of her that she personally called at his Nashville home during her last trip to town. His work hangs in the U.S. Capitol Building in Washington, D.C. He casually recounts receiving a phone call from the late Ted Kennedy to invite him to a birthday cele-bration for Senator Robert C. Byrd. His sitters include Senator Bill Frist, Arlen Specter, and esteemed actors from the Players Club in New York.

right: Morning Reflections


but I do a lot of psychology in my work. You are always trying to peel back the onion.”

Neal’s painting is unique because of two determin-ing factors: his obsessive desire to present a living, spirited version of his sitters and his pure celebration of paint on canvas. His work is defined by a style which he labels “brushy realism,” stemming directly from the schools of John Singer Sargent, Sorolla, and Anders Zorn. His heavy, gestural brushstrokes infuse his style with a sense of poetry. Richly colored and sculpted in thick impastos, Neal’s technique has been the central focus of his study for years.

The painter’s early career was decidedly inauspicious when compared to his current style. Fascinated with Bob Alexander painting programs on public television, he decided that he wanted to learn how to paint. At age 15, Neal saved his first three paychecks from H. G. Hill where he made $3.35 an hour bagging groceries. He and his mother drove to Michael’s at Hickory Hollow Mall and purchased a presentation easel that the young artist mistook for a painter’s easel. His first dramatic brushstroke as a painter sent the easel crashing to the ground. Never a quitter, Neal taped its legs to the floor to hold it steady and continued working.

Neal kept at it through college at David Lipscomb in spite of the fact that the school had a small art department. A beloved teacher, Dawn Whitelaw, fatefully suggested that he take a look at the work of portrait painter Everett Raymond Kinstler. Neal still describes the moment in dramatic and meaningful overtones. He found a couple of books of Kinstler’s work at Lipscomb’s library. Enthralled and trans-fixed by the painter’s work, he did not even leave the building. He sat on the floor between two shelves poring over the pages cover to cover. Kinstler’s work in portraiture had an immediate effect on the young Neal. “When I got up I knew that was what I wanted to do.”

Through a series of chance connections Neal began corresponding with his idol after college. One of Neal’s acquaintances phoned Kinstler in New York to let him know about a young Nashville artist who was inspired by his career. Neal recounts, “I couldn’t even sleep that night because I knew Raymond Kinstler had heard my name once.” The first time that he personally phoned Kinstler, Neal recalls, “I was so nervous I wrote down everything I was going to say. I called twice and hung


up both times.” He still speaks with rapt enthusiasm and genuine love for his role model.

Neal’s intimidation was perhaps justified. Kinstler has painted six presidents along with hundreds of luminaries from politics, the stage, and the silver screen. His training pedigree can be traced directly back to the master John Singer Sargent. Eventually, Neal and Kinstler traded letters for personal visits and struck up a lasting friendship and professional relationship. Kinstler has taught Neal in the style of Sargent and Sorolla for years, and they have developed a master/pupil relation-ship that reminds one of the workshop models that shaped the history of art before the modern era. Kinstler was kind enough to speak to Nashville Arts Magazine on Neal’s behalf. He calls his student a

“sensitive” artist, saying, “I have watched with enor-mous pride his accomplishments as a painter… He’s got his eye on the past. He believes in and follows a tradition and keeps enlarging himself.” Kinstler appreciates Neal’s open and kind personality, saying, “He’s got a wonderful attitude. I can’t think of anything negative to say about him. He is a fine human being and a wonderful talent.”

Neal’s technical method as a painter and psycho-logical approach as a student of human nature affili-ate his work with more historically rooted styles.

“Interpretive painting has been lost in portraiture. So many people are accustomed to photographs. In the past, you went to a portrait artist because you liked the way they saw people.”

Neal states that dependence on working from photo-graphs has turned many contemporary portrait paint-ers into “copyists.” He prefers to work from life, using photographs only as a “tool.” He studies each of his sitters, interviews friends, reads books, notes—any evidence that he can find relating to their inter-nal person. “I try to make each of my paintings as individual as the person I am painting,” he says. He combines his intense love of gestural painting style with his magnetic inclination towards other people: “I love paint. I love trying to find somebody out of those colors on my palette.”

top left: Luis Rinaldini

top center: Phyllis Fridrich

middle left: Kinstler

left: Sara Boyd

opposite page

top left: Gary Haynes

top right: Paul Curtis

bottom: At a Glance


Neal believes that his paintings are complete when viewers can get a sense of the unique person whom he portrays and simultaneously sense his own emotional language as a painter. “My interest is to get to the heart of something—I love that stuff! This is what I am trying to keep alive in my own work, which is disappearing. What makes it unique is the feeling of that person. There should be a feeling of the artist and a feeling of the person being painted.”

Talking to Shane Neal, the first thing that one notices beyond his innate charm and warmth is his love of stories. Neal is a consum-mate storyteller. One gets the impression that he cannot stop himself from telling them. They collide one against the other, progressing in train-like fashion. One yarn leads to another, which reminds him of another one. Neal claims that if he were not an artist, he would be a historian. He loves to investigate what makes people tick and to try to draw a narrative thread from all the contradictory and sundry aspects of a person’s behavior.

“I love to tell stories verbally, but I’m a storyteller in paint, too.” When meeting a sitter he asks himself, “What was the spark in their eye? What was the lack of spark in their eye?”

This fastidious study of the internal mechanisms of his sitters breathes life into Neal’s images. When approaching portrait art, a painter needs something more than a mere likeness of his sitter. He might capture every detail of their physical aspect and miss the very thing that makes them who they are. One might think in analogy of mounted butterflies. In reality, a butterfly is nothing more than the dead object secured by a pin. Yet no one thinks of mounted specimens when they think of “butterflies.” The fluttering, flitting movement of the object is part of its identity in our minds.

Neal’s lively brushstroke and careful study of his sitters convey a spir-ited and essential simulacrum of their person. It is his need to tell their stories, impersonate their voices, dance inside the boundaries of his canvases with paint that produces a powerful and moving portrait art. He has no movie camera or comic strip format to provide a linear narrative of a person’s life or tell a sequential narrative of how they came to be who they are. But by focusing on the delicate, evanescent flash of their personalities he tells whole stories of a person’s life in a single, silent painting.

Neal’s easy, outgoing personality allows his sitters to let him into their worlds, and viewers see in the sitter’s countenance a candid and vulner-able response to the artist himself. With powerful, simple brushstrokes Neal translates personality to paint. A gentle person, he expresses poetry and feeling with an expressive technical vocabulary. An observant student of human nature, he locates the myriad ticks and the rare essen-tial traits that flicker in the eyes, movements, and souls of his sitters. His paintings are the result of a conversational exchange between sitter and painter—stories played out in the medium of paint.

“I love paint. I love trying to find

somebody out of those colors on my palette.”

left: Mrs. Godfrey and daughter

right: Unity

below: Rising Tide

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$ 1,250,000

Extraordinary Homes and Settings

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Fridrich & Clark Realty615-327-4800 3825 Bedford Ave, Suite 102 Nashville, TN 37215

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Black, Starr & Frost Travel ClockThis antique, chased and engraved decorated silver clock is identi-fied as Black, Starr & Frost on its sterling case and on the branded clock face of the Swiss-made movement. The clock movement marks date the movement to 1895–1905, as does the overall Edwardian Art Nouveau-style decoration of this diminutive travel clock. One of America’s oldest fine jewelers, the New York City-based Black, Starr & Frost was formed in 1874 as purveyors of fine silver objects and jewelry. Like Tiffany & Company, some of their inventory was imported from Europe, some produced in-house. They catered to the social elite and the most prominent families of the time, including the Carnegies and Vanderbilts. Despite never being credited as being innovators in the realm of jewelry design, Black, Starr & Frost was as favored as Tiffany & Company. In 1876, Black, Starr & Frost was invited to exhibit at the Centennial Exposition in Philadelphia along with the renowned firms Tiffany & Company, Whiting, and Gorham. In 1939, the firm was one of five American jewelers invited to exhibit at New York’s World’s Fair. In 1929, it merged with Gorham to become Black, Starr & Frost–Gorham Inc. In the years since, the firm continued to merge with others. Though its flagship store in New York is now closed, the firm still has a loca-tion in Costa Mesa, California, primarily as a purveyor of fine jewelry. Considering this lovely clock is representative of the period that was the heyday of Black, Starr & Frost, you may wish to check the social registers of the time for the engraved initials “EEB.” Without signifi-cant provenance, this lovely object would have a modest retail value of $200 to $300.

Appraise Itby Linda Dyer | Photography by Jerry Atnip

ART NOUVEAU

A style period exemplified by flowing design elements consist-

ing of fluid lines, sinuous curves and foliate and floral themes,

with its stress on the expressive qualities of form, line, and color.

Popular from the late Victorian period through the Edwardian

period, about 1880 to 1905, it was an international movement of

architecture and decorative arts. Noted designers of the movement

include Charles Rennie Mackintosh, René Lalique, Louis Comfort

Tiffany, Alphonse Mucha and Antoni Gaudi.

FOLK ART

Works and objects in a variety of mediums created by self-

taught artists and craftsmen.

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 toappraise one of

your antiques, please send a clear, detailed

image to antiques@nashvilleartsmagazine.

com. Or send photographs to Antiques,

Nashville Arts Magazine, 644 West Iris Dr.,

Nashville, TN 37204.

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Antiques


Tramp Art Frame Tramp art, a style of woodcarving, is misleadingly named. Although some itinerant people practiced this decorative skill, it is more a sedentary folk art tradition handed down from father to son. It is said many people believe that nothing good ever comes from taxes, but a now-obscure tax act may have contrib-uted to the development of this American art form. Among the provisions of the Tax Act of 1865 was one that required cigars to be packaged in non-reusable wooden boxes. These cedar, mahogany or pine cigar boxes, along with their plywood shipping crates, became the raw materi-als of this form of woodworking called tramp art. These boxes, frames, clock cases, wardrobes, desks, china cupboards, chests and many other useful yet fanciful forms are defined by their construc-tion, layers of primarily discarded wood whittled into layers of geometric shapes having the outside edges of each layer notched or chip carved. While the art form flourished in the United States from the 1870s up to the 1940s, tracing its origins and the people who created it was not easy. After folk art began to be collected as an art form in the early twen-tieth century, collectors were charmed by the romantic notion that these whimsical creations were the vision and craft of the wandering, self-taught, itinerant artists “tramps/hoboes,” trading their art for a room or a meal. Because of these impassioned collectors, the history of tramp art continues to be unraveled. More fact than fantasy is being revealed. With its beginnings in poorhouses and jails, many makers are being identified as having had jobs and families, and although the term tramp suggests a nomadic and non-sedentary tradition, tramp art is appearing to be more related to home-based crafts like scrimshaw

and quilting than to a craft of the open road. Though it was once believed that Germany was the source of this art form, research is now placing tramp art’s origin in the United States. This extremely nice, old tramp-art frame, with good form, layer-ing, and old paint would retail for $500 to $700.

Popeye Dime Bank, circa. 1929A lithographed tin “POPEYE DIME REGISTER BANK, COPR. KING FEAT. SYND.1929” itself retailed for a dime in the mid 1930s. Such large inventories of these Popeye banks were manu-factured and sold that they remain common today. Manufactured by the Behrend & Rothchild Company of New York City, the bank automatically locks with the deposit of the first dime and opens at five dollars.

In the 1930s, a King Features syndicate license to use Popeye’s image on a product often meant profits for many struggling manufactur-ers in the cash-tight Depression, and if the product was successful manufacturing continued for years.

With the following evaluation one could almost imagine the iconic “I Yam what I Yam” Popeye muttering his trademark asides under his breath. A “Popeye Dime” bank, in fine condition without scratches or dents would have a modest value of $30 to $40 on an Internet marketplace. Nevertheless, this bank would be a great addition to a character toy collection.


The Love of the TheaterIt’s All in the Familyby Maggie Reyland | Photography by Dan Kellerby

I’ve always felt lucky that at a very young age, my parents instilled in me a love for theater that I would carry with me throughout my life. I’m here today because my parents met during a 1983 production of Stephen Sondheim’s Sweeney Todd. From that fateful day until now, my life has been filled with dazzling stage productions that I have either enjoyed from the theater or as a cast member onstage. My parents have kept their love of theater alive since day one, and now I have the chance to see my own father’s works performed right here in Nashville.

My father, Jim Reyland, who put his acting ambitions aside many years ago in order to focus on his writing, has become one of Nashville’s most prolific playwrights. For more than a decade, he has passionately pursued the life of a playwright—an endeavor that has taught him plenty about fortitude and resilience. Never more determined, my dad now drew on his own experiences as a dramatist

New play workshops don’t happen often in Nashville. If you’ve never experienced one, it’s a great opportunity to see the creative process at work.

Theater

to found Writer’s Stage, a new, nonprofit theater company whose main goal is to serve as an advocacy organization for Tennessee-based playwrights. Writer’s Stage is about the playwright. Dad knows the downside of the lonely playwright’s life, having pounded his head against the literary theatrical gatekeepers and having received his share of polite, if only occasionally helpful, rejection letters. It occurred to him that there must be other writers in Tennessee who are in the same boat—looking for that developmental vehi-cle that allows them to get their pieces read, workshopped, and maybe eventually produced. That’s the lifeblood of a playwright. If you can’t hear your play out loud, then it’s just a stack of papers. In April of 2009, Writer’s Stage produced readings of two of my dad’s new plays, the promising Further Than We’ve Ever Been and Article 4:. The idea was to determine which play was ready to be taken to the all-important workshop level. What is a workshop, you might ask? left: Jamie Farmer and Mark Cabus star in ARTICLE 4

above: Director Barry Scott and Playwright Jim Reyland


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Greta Gaines What characteristic do you most like about yourself?

I’m funny. Quick to laugh and slow to cry.

And what do you like least?

I wish I didn’t care so much about what people thought of me.

What was the last book you read?

Power Trip by Amanda Little. If you don’t think we’re irrevocably hooked on petroleum you should read this book (due out 10/09).

Who would you most like to meet?

I’ve met most of the people I am intrigued with. Malcolm X would be high on my list, later in his life though, after he’d been to Mecca!

What are you going to be when you grow up?

A rock star snowboard goddess and world-class fly-fisherman.

Who has most inspired you?

My parents, no question about it. But I tip my hat to all the song-writers who sing and write from the soul. You know who you are.

Who is your favorite artist?

Cesária Évora, a Portuguese folk singer. An amazing voice.

Who is your favorite painter?

My mother, Patricia Gaines.

What are you most proud of?

My kids, Cassidy and Ryder. Also, that I was the first woman to compete against men in extreme snowboarding.

Why Nashville?

You can still be a working artist here.

What do you like most about the city?

It’s clean, friendly, and I love fattening soul food.

What do you like least?

I seriously love everything about this town.

If you could change one thing about yourself, what would it be?

Maybe I’d have a cute turned-up nose?

Are you happy with where you’re heading?

I’m on a road that’s a little scary right now. But I like to be scared; it helps me get the job done.

What’s your mantra?

Go big or go home.

What’s it like being you these days?

It’s a mix of hilarious situations, colorful characters, and interest-ing projects.

What talent would you most like to have?

I would like to be a better visual artist. My art looks like a fifth-grader’s but not in a cool, Picasso sort of way.

What is your most treasured possession?

My black fringe cashmere poncho. I take it everywhere.

What is your greatest regret?

That I didn’t become a stand-up comedienne.

You have five minutes left to live; what are you going to do?

Start kissing everyone around me goodbye!

Anything Goes

Greta Gaines has been a lauded indie artist since the mid 90s and has released four albums. She has also hosted her own TV shows for Oxygen and ESPN. In 1992 she became the world’s first Women’s Extreme Snowboarding champion. She also competed recently in the first Women’s Pro Bass Fishing tournament at seven months pregnant while covering the event for ESPN 2.

www.gretagaines.com


Nashville Arts Magazine October 2009 Crossword PuzzleJunction.com

Copyright ©2009 PuzzleJunction.com

Solution on next page

55 60’s protest 56 Historic times 57 Delicate fabric 59 Days of ___ 60 Domesday Book money 61 Czech Republic

river port city 62 Knocks lightly 64 Poseidon’s domain

Across

1 Biz degrees 5 Grouch 10 Canyon effect 14 Aquatic plant 15 Capital west of

Haiphong 16 Three-toed bird 17 Genuine 18 Mob scenes 19 Listening devices 20 Jules Verne character 23 Decompose 24 Swarms 25 Formerly, once 27 Morse E 28 Aunt Pittypat was

one of her characters 32 Skye cap 35 The Dinner Party

playwright 37 Buenos ___ 38 Hydroxyl compound 40 Have dinner at home 42 Money maker 43 Crouch 45 Vexed 47 Distress letters 48 Dragon’s Teeth

author 50 Pricing word 52 Legal claim 53 Tough tests 56 Philip Roth’s ___,

the Fanatic

58 Shakespeare comedy 63 Cleaning tools 65 More defective 66 Greek letter 67 Massage target 68 Muse of poetry 69 Cut short 70 Stiff hair 71 Varnish ingredient 72 Coop group

Down

1 The Green Pastures playwright Connelly

2 Sheep sound 3 Slack-jawed 4 Like some peanuts 5 Curtain author 6 Parade spoiler 7 Soon, to a bard 8 Musical mark 9 Play by Edward

Knoblock, movie starring Ronald Colman

10 “Maid of Athens, ___ we part”: Byron 11 The Saint author 12 Novel character 13 Brewer’s kiln 21 Half of an old radio

duo 22 Sea predator 26 Mason’s wedge 28 Outboard, for one

29 Monogram part (Abbr.)

30 Letterman rival, once

31 Landing crafts (Abbr.)

32 Hardy heroine 33 Opposed 34 Lemare’s song,

___ and Roses

36 Crèche trio 39 Places; sites 41 Orwell’s pig in

Animal Farm 44 Entreaty 46 Actress Hatcher 49 Response 51 Debonair 54 W. Afr. republic,

Sierra ___

across: 1 Mbas, 5 Crank, 10 Echo, 14 Alga, 15 Hanoi, 16 Rhea, 17 Real, 18 Riots, 19 Ears, 20 Captain Nemo, 23 Rot, 24 Teems, 25 Erst, 27 Dot, 28 Mitchell, 32 Tam, 35 Simon, 37 Aires, 38 Enol, 40 Eat in, 42 Mint, 43 Stoop, 45 Got at, 47 Sos, 48 Sinclair, 50 Per, 52 Lien, 53 Orals, 56 Eli, 58 As You Like It, 63 Rags, 65 Worse, 66 Iota, 67 Ache, 68 Erato, 69 Snip, 70 Seta, 71 Resin, 72 Hens.

down: 1 Marc, 2 Bleat, 3 Agape, 4 Salted, 5 Christie, 6 Rain, 7 Anon, 8 Note, 9 Kismet, 10 Ere, 11 Charteris, 12 Hero, 13 Oast, 21 Amos, 22 Orca, 26 Shim, 28 Motor, 29 Init, 30 Leno, 31 Lsts, 32 Tess, 33 Anti, 34 Moonlight, 36 Magi, 39 Loci, 41 Napoleon, 44 Plea, 46 Teri, 49 Answer, 51 Rakish, 54 Leone, 55 Sit-in, 56 Eras, 57 Lace, 59 Yore, 60 Oras, 61 Usti, 62 Taps, 64 Sea.

Notes:

2009 october nashville arts magazine

Documents

nashville arts magazine

media kit

claire media groupcontact

adrienne thompson

michael rhodes

michael shane neal

kat amano

anthony scarlati