july 2015 nashville arts magazine

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LaVon Williams

August 1–September 10

5TH AVENUE OF THE ARTS DOWNTOWN

EXHIBITION/ARTIST NAME Artist name or title of artwork

Show dates

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

The Arts CompanyIn Collaboration With The Kentucky Folk Art Center

Introduces

Make the word “Introduces” red and add a copyright for LaVon Williams for his images.

Then send me a copy of the final.

©LaVon Williams

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TM

Nashville Arts Magazine is a monthly publication by St. Claire Media Group, LLC. This publication is free, one per reader. Removal of more than one magazine from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office for free, or by mail for $5.05 a copy. Email: All email addresses consist of the employee’s first name followed by @nashvillearts.com; to reach contributing writers, email [email protected]. Editorial Policy: Nashville Arts Magazine covers art, news, events, entertainment, and culture in Nashville and surrounding areas. The views and opinions expressed in the magazine do not necessarily represent those of the publisher. Subscriptions: Subscriptions are available at $45 per year for 12 issues. Please note: Due to the nature of third-class mail and postal regulations, issues could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Call 615.383.0278 to order by phone with your Visa or Mastercard number.

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EDITORIAL INTERNSKRISTIN MOORE The Art Institute

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COLUMNSEMME NELSON BAXTER Paint the Town

MARSHALL CHAPMAN Beyond Words

JENNIFER COLE State of the Arts

RACHAEL McCAMPBELL And So It Goes

JOE NOLAN Critical i

ANNE POPE Tennessee Roundup

JIM REYLAND Theatre Correspondent

MARK W. SCALA As I See It

JUSTIN STOKES Film Review

TONY YOUNGBLOOD Art in Formation

www.nashvillearts.com

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8 | July 2015 NashvilleArts.com

on the cover: Lori Field, Chick Magnet, 2008

Mixed Media, 17” x 14” Article on page 66

COLUMNS

ulyJFEATURES

2O1537 And So It Goes by Rachael McCampbell

40 5th Avenue Under the Lights

48 Symphony in Depth

50 As I See It by Mark W. Scala

77 Poet’s Corner by Alexis Woodard

87 Film by Justin Stokes

88 Art & the Business of Art Arts & Business Council of Greater Nashville

90 Art in Formation by Tony Youngblood

91 Public Art by Van Gill Maravalli

92 Theatre by Jim Reyland

94 The Bookmark Hot Books and Cool Reads

95 Critical i by Joe Nolan

96 Art Smart by Rebecca Pierce

100 Art See

102 Paint the Town by Emme Nelson Baxter

104 NPT

109 Beyond Words by Marshall Chapman

110 My Favorite Painting

12 Spotlights

17 Crawl Guide

22 Vivian Maier at Sherrick & Paul

24 Hank DeVito at Tennessee State Museum

32 A Vision for the Arts Mayoral Candidates

42 Wendy Seaward Nashville Arts Magazine Best of Show Winner

44 Carrie Nygren A Return to Naturalism

53 Nina Covington Calls Her Own Shots

59 Hannah Lane Mixed Media Work

62 Bill Myers Sketches of Nashville

66 Summer Selections at Cumberland Gallery

70 Land Rush at David Lusk Gallery

72 Wiener Werkstätte at The Frist Center for the Visual Arts

74 Imaginative Landscapes Marleen De Waele-De Bock

78 Meghan Linsey The Unmistakable Voice

80 Fossils Gardening, Not Architecture

84 Laura “Friday” Boulay Q&A

91

24

59

42

74

96

44

66

THE RYMER GALLERY !! !

IMAGE ATTACHED !

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Hannah Maxwell Rowell “ B l o o m ”

N e w d r a w i n g s i n c h a r c o a l a n d m i x e d m e d i a

July 3 - 30 2015

Open Reception: Downtown First Saturday Art Crawl FRIDAY July 3rd, 6-9pm !

The Rymer Gallery / 233 Fifth Avenue / Nashville 37219 615.752.6030 / www.therymergallery.com

DOWNTOWN NASHVILLE5TH AVENUE OF THE ARTS

THE RYMER GALLERY !! !

IMAGE ATTACHED !

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Hannah Maxwell Rowell “ B l o o m ”

N e w d r a w i n g s i n c h a r c o a l a n d m i x e d m e d i a

July 3 - 30 2015

Open Reception: Downtown First Saturday Art Crawl FRIDAY July 3rd, 6-9pm !

The Rymer Gallery / 233 Fifth Avenue / Nashville 37219 615.752.6030 / www.therymergallery.com

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Art Creates a CityPUBLISHER'S NOTE

Paul Polycarpou Publisher

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

MeredithKeith

new work from

A Weekend in Nashville, 40” x 40”

Bennett Galleries

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I moved to Nashville in 1980. An odd series of events led me here. And even though at times I felt a little like a fish out of water I was very grateful for the opportunity I was given. I was

also grateful for the ease with which I could move around my new hometown. Never needed a dinner reservation or valet parking. Just pulled right up, always got a table. Tickets for a hot show, no problem, I’ll call tomorrow. Need the air conditioning worked on, someone will be right over. I started feeling bad for my friends back in London wrestling with their nightmare traffic problems, the constant jockeying for position, and the never-ending queue for just about everything.That was then. This is now. And things have changed. Dramatically. If you have lived here a while you know just how dramatic those changes have been. Further proof of that comes by way of a new photo exhibit at the Tennessee State Museum. Places I Remember, by Hank DeVito, shows us Nashville the way it was during the 80s. But this is not a show about nostalgia or a simple trip down memory lane. These are great photographs that capture a time when the city was lining up its assets and getting ready for its close up. Check out this show if you need a reminder of the way we were. I’m still extremely grateful for the opportunities this wonderful city has afforded me, but today I always make sure I have a handful of singles for the valet.

Cory Willms, Principal Broker

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by Stephanie Stewart-Howard

Cleveland, Tennessee, artist luciana ja’vonne’s paintings are a rich, vibrant panoply of primary color—striking the eye from the moment one encounters them. Vivid and full of

life, it’s impossible to tell by looking that this self-taught artist has been working with paint as her medium for only a few years. You’ll get a chance to judge for yourself at her forthcoming show pu-ri-na kaleidoscope at the Customs House Museum in Clarksville, the next exhibit in the yearlong series curated by Nashville Arts Magazine.“I’ve been in the arts for most of my life, starting with the theatre,” says ja’vonne. “I’d always loved creating and making art, but when it came time to declare a college major, I wasn’t aware of as many artistic opportunities as I might have been, and I stuck with my first passion, which was theatre.”That passion took her from Spellman College in Atlanta for her bachelor’s to New York and a master’s program at the New School. From New York, like many theatrical gypsies, she eventually made a move to California, and several years ago she moved to Cincinnati to be close to her family. When her mother made a move to Cleveland, Tennessee, near Chattanooga, luciana followed.When she began painting, she knew she’d have to explore exhibition opportunities in Chattanooga and Nashville to gain a wider audience. With this show at the Customs House, that journey has now begun.

pu-ri-na kaleidoscope

Customs House Museum • July 1 – August 2

The impetus to paint lies deep within, she says. “When I decided to start making this kind of art, I literally just went out and bought paint, bought acrylics and canvas and said, I’m going to do this, and did.”

Asked about her use of color, she replies, “You know, I really go with my instincts, with what my gut tells me to do. When I first began, I started with primary colors of acrylic, knowing you could make everything from them, and it all developed from there. Instinct inspires me too, although I think I’m inspired by everything in life, by everyday things.”

Even so, she mentions the Dadaist movement as an early influence, along with artists such as Robert Rauschenberg and the Modernists of the 40s and 50s. See pu-ri-na kaleidoscope at the Planter’s Bank Harvill Gallery, Customs House Museum July 1 through August 3. For more, visit www.customshousemuseum.org or www.lucianajavonne.com.

by luciana ja’vonne

slither., 2015, Acrylic on canvas, 18” x 24”

The Estate Sale., 2013, Acrylic and glue on canvas, 20” x 20”

Untitled., 2014, Acrylic on canvas, 16” x 20”

Nashville Arts Magazine and Customs House Museum present

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NashvilleArts.com July 2015 | 17

JULY CRAWL GUIDEThe Franklin Art Scene Friday, July 3, from 6 until 9 p.m.

Gallery 202 is hosting artist and sculptor Emily Allison. Franklin Visitor Center is featuring paintings by abstract artist Carol Saffell. Jack Yacoubian Fine Jewelry and Art Gallery is exhibiting work by artist Sketch Bourque. Early’s Honey Stand is presenting a collection of functional ceramic wares created by Summer Triangle Pottery. Historic Franklin Presbyterian Church is showing impressionistic paintings by Susan Elizabeth Jones. A new stop on the Art Scene, Golden Yeti Art Collective is featuring the work of artists Brad Hill, Caitlyn Campbel l , and Jeff Barnard. Jamba Juice is showcasing handcrafted jewelry and accessories by Linda Pellegrino of Baya Designs. The Registry is exhibiting paintings by Morgan Fyfe. First Saturday Art Crawl Downtown Friday, July 3, from 6 until 9 p.m.Due to the downtown Independence Day celebration on Saturday, the Art Crawl Downtown will take place on Friday, July 3.

The Arts Company is unveiling the exhibition Americana Summer. The Rymer Gallery is opening Bloom, new drawings in charcoal and mixed media by Hannah Maxwell Rowell. Tinney Contemporary is featuring Romancing Banality: A Mash-up of Anti-Artistry, Folk, and Contemporary Themes, New Work by Lyle Carbajal . Downtown Presbyterian Church is hosting a group show by their artists in residence in the Browsing Room Gallery (see page 95). In the historic Arcade, WAG is showing paintings by Watkins Fine Arts major Casey Payne. Hannah Lane Gallery is presenting new work by Hannah Lane (see page 59). Studio 66 is exhibiting Dolls of Industry, Vol. 1.5: South Facing Windows, mixed media, portraits, photography collage, and digital works by artists Audie Adams, Bart Mangrum, Barbie Qualls, Christopher Robin, Michael Lax, and Pearl Nichols.

Corvidae Collective Gallery is launching the exhibition Freefall, in which artists Joshua Roman, Jen Lightfoot, Bella Harris, Brian Somerville, Ella Beyer, Dolly Georgieva-Gode, Kristen Frenzel, and John Yandall, explore the state of chaos and change. Blend Gallery is hosting an opening reception for I Bet You Think This Show Is About You, crochet and text paintings by Briena Harmening. Hatch Show Print’s Haley Gallery is presenting a retrospective look at the work of Master Printer Jim Sherraden in a new installation featuring personal woodcuts dating to the beginning of his 30-year career.

Arts & Music @ Wedgewood/Houston Saturday, July 11, from 6 until 9 p.m.In observance of the July 4th holiday, Arts & Music @ Wedgewood/Houston will take place on Saturday, July 11. Fort Houston is presenting Thru Felted Dark, paintings by Meagen Crawford and Lillian Olney. Julia Martin Gallery is featuring

The Nashville 9 including work by Tim Hooper, Delia Seigenthaler, Buddy Jackson, Sheila Bartlett, Lesley Patterson-Marx, Harry Underwood, Emily Holt, Seth Conley, and Julia Martin. CG2 Gallery is unveiling Recent Works by C.J. Pyle and No Fights Won by Jen Uman, a diverse exhibition that brings together the works of two self-taught artists. Sherrick & Paul exhibits Vivian Maier, a specially curated selection of the photographer’s black-and-white images taken between 1950 and 1971 (see page 22). Ground Floor Gallery is showing Taking Things Apart, a solo exhibition by David Willburn. David Lusk Gallery is opening Land Rush, a group exhibition featuring paintings, sculpture, and photographs by 21 nationally and internationally renowned artists (see page 70). Channel to Channel is showcasing work by Alexander Wurts.

East Side Art Stumble Saturday, July 11, from 6 until 9 p.m.Red Arrow Gallery, KT Wolf Gallery, Sawtooth Printshop, Plan Left, Jodi Hays Gallery, DADU, Main Street, and The Idea Hatchery are participating in this month’s East Side Art Stumble. Second Sundays at The Building Sunday, July 12, from 3 until 6 p.m.UnBound Arts presents Art, Jazz & Blues at The Building featuring music by Jonell Mosser and art by Jim Osborn.

Carol Saffell – Franklin Visitor Center

Jim Sherraden – Hatch Show Print

Briena Harmening – Blend Gallery

Tim Hooper – Julia Martin Gallery

David Willburn (detail) – Ground Floor Gallery

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China holds one of the oldest and most historically rich cultures. Spanning its vast historical timeline are many forms of traditional Chinese art, such as paper cutting,

black pottery, embroidery, and painting, which reflect life in the periods from which they arose. However, these folk art forms and the histories they embody are slowly deteriorating as skilled masters die and young people in China move to metropolitan areas to seek more prosperous lives.

Brothers Zhao Zuo and Ning Zuo want to save these priceless and historic art works and hope to help them survive by introducing them to America. Traveling across China and learning about the histories of these works, the brothers have complied Traditional Chinese Art, an exhibit that—according to Zhao Zuo—reflects “elegant simplicity with deep spiritual pursuit and rich historical aspects.”

Chinese Art Blossoms at the Gordon Jewish Community Center

The goal of the exhibit is not only to introduce those who are not familiar with these types of works to beautiful Chinese art, but to understand the deep connection and importance of art in Chinese culture—a culture that has only recently opened its doors to the rest of the world. Featured artists include Hezi Cong, Chunming Jia, Genyou Li, Yingke Peng, Zhanyuan Sun, Jingfeng Tian, Jingquan Wang, Xin Wang, Liahong Wang, Zhiqi Xu, Lijun Zhang, and Yongsheng Zhang. Zhao Zuo hopes that visitors to the exhibit will see that “the world is a large and fascinating place, yet it is one place. Expand the horizon of your own life while connecting to the root of human nature and to other people.” Traditional Chinese Art will be on display at the Gordon Jewish Community Center from July 1 to July 31, with a reception scheduled for July 8 from 7 to 9 p.m. For more information visit www.nashvillejcc.org.

July 1 – 31by Keeley Harper

Chunming Jia, Singing Spring, 2014, water-ink on rice paper, 32” x 32”

Zhiqi Xu, Snow and Trees, 2010, Handmade paper cut, 16” x 22”Zhiqi Xu, Beyond The Great Wall, 2010, Handmade paper cut, 68” x 27”


HISTORY EMBR ACING ART

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

Artist Reception • July 3, 6-9 pm

EMILY ALLISON

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A quintessential example of French Impressionism, La promenade dans le jardin by Marcel Adolphe Bain,

1878–1937, is now on view at Stanford Fine Art. In this scene at the artist’s home in Bois le Roy outside of Paris, Bain’s wife hurries after their young daughter as she runs through their garden on a summer day. Bain’s masterful brushwork captures the movement of a fleeting moment. A Paris native, Bain exhibited at the Salon des Artistes Français beginning in 1903 and won several medals throughout his career. He is best known for his impressionist scenes of the Yonne region of Burgundy just east of Orleans. Recently, Stanford Fine Art was recognized by American Art Awards as the 2015 “Best Gallery in Tennessee” and one of the top twenty-five galleries in the nation, along with galleries from New York to Miami and Los Angeles.To see La promenade dans le jardin by Marcel Bain, and the gallery’s outstanding collection of 19th and 20th century Amer ican and European paintings, sculpture, and works on paper, visit Stanford Fine Art, 6608 Highway 100, www.stanfordfineart.net.

Marcel Bain’s La promenade dans le jardinStanford fine art

Marcel Adolphe Bain, La promenade dans le jardin, Oil on canvas, 40” x 50”

The Tennessee Arts Commission is exhibiting Joanna Higgs Ross: A Mini-Retrospective 1956–2015,

which highlights the work of an artist whose portfolio covers nearly 60 years. This show displays not only Ross’s artistic journey, but in many ways her life journey. As she explains, “I think we are painting ourselves to some degree.” Ross’s career began after her graduation from the University of Tennessee Knoxville and would lead her across Tennessee and to Illinois to complete her Master of Fine Arts at the University of Illinois. This journey, however, did not come so easily. After graduating with her bachelor’s, Ross remembers, she had much to learn. She describes her love for abstract expressionism, the popular style at the time, and her conviction that things would always stay the same. Instead, Ross found a succession of new styles and the feeling that

she couldn’t keep up. “I thought, oh, well I can’t do that. I can’t change every year.” However, what she would soon realize would characterize her entire journey. “I was sitting there worrying about whether to be more abstract or more this or more that, and I said, Do you think those people in New York are just waiting to see what you’re going to do? And I thought, Well no, those people will never care what I do if I never do anything. If I don’t care, no one will.” That’s the spark Ross needed to get back to work creating and eventually to become a member of The Knoxville Seven, a group of artists credited for producing Tennessee’s first abstract paintings.Joanna Higgs Ross: A Mini-Retrospective 1956–2015 will be on display until July 24 at the Tennessee Arts Commission Gallery. For more information, please visit www.tnartscommission.org.

Tennessee Arts Commission Gallery • Through July 24

Joanna Higgs Ross A Mini Retrospective

White Sweater, 1956, Oil on canvas, 36” x 20”

V i V i a n M a i e r

p r o c e s s e dA L i fe Revea led

Self-portrait, 1957

Sherrick & Paul • Through August 1

by Sara Lee Burd

Photography was a personal passion for Vivian Maier, something she never shared with anyone. She left behind an extensive collection of black-and-white and color negatives that amount to a roll of film per day in her lifetime. Although she carved out, for film, a

significant amount of her limited income as a live-in domestic and nanny, much of it remained unprocessed. Maier’s photography came to light the year she passed, 2007, at the age of 83. The story of how this elusive artist became public begins when John Maloof purchased a cache of negatives for $400 from a sale of the contents of Maier’s defaulted storage unit. He is credited with disseminating her prints around the world. Contemporary taste for images of this era, social media, and the genuine perspective of the artist are the fundamental origins of her acclaim.

Her fame has taken a non-traditional trajectory, skipping the growth that often comes from formal education, mentorship, gallery critiques, and academic articles—a refreshing break, some would claim, from the constraints of the system. Her name and images became widely recognizable through social media, a kickstarter-funded documentary by John Maloof and Charlie Siskel (Finding Vivian Maier available on Netflix) and continues to gain momentum through exhibitions, books, blogs, and interviews outlining the life and work of this mysterious figure. Although her prints are yet to belong to major museum collections, her work caused a stir in the art market, gleaning attention from critics and collectors. Maier’s photography has hit center stage and will likely continue to dominate.

Though she is shrouded in mystery, we know that Maier picked up a Kodak Brownie in 1949 while living in New York City and began documenting the streets and people flowing through her urban environment. After moving to Chicago, Maier purchased her iconic Rolleiflex made famous in her prints. Self-portrait, 1957 presents the artist capturing, in a mirrored storefront, a distracted passerby in addition to her own reflection snapping the shutter of the large box-style camera. The juxtaposition of the disengaged pedestrian and Maier’s intent gaze into the mirror reveals her comfort with the camera as a means to relate with the world.

Her photographs express the magic of an ordinary moment and provide a document of a time gone by, idealized yet genuine. For example, in Chicago, July, 1961 amongst the chaotic movement of two men sorting through a portfolio, she seized the opportunity to catch a strong pyramidal composition and one man’s face showing through the rectangular matte—a curious, humorous, and sensitive way to frame his face. An eclectic photographer, Maier also took chances to connect directly with people as demonstrated in Chicago, IL, September, 1957 where the couple continues smoking while subtly leaning together to pose for the camera.Sherrick & Paul’s exhibit Vivian Maier will feature 33 black-and-white images shot between 1950 and 1971. Strictly sold in editions of 15, some of the prints will even make world premieres in Nashville. Susan Sherrick has curated a definitive survey of Maier’s Chicago, depicting a diverse array of people, cityscapes, and the poetry of everyday life. While we still know very little about Maier and her motivations, the mystery does not cloud the power of her photographs. Vivian Maier will be on display at Sherrick & Paul, located in Houston Station, through August 15. For more information visit www.sherrickandpaul.com.

Chicago, IL, September, 1957

Chicago, July, 1961

Untitled

Place matters. Especially to photographer, composer, and multi-instrumentalist Hank DeVito, who moved to Nashville from Los Angeles in the early 1980s. Even though Nashville traffic is now forcing him to

take back roads as he once did in Los Angeles, DeVito still considers Middle Tennessee perfect. “People are nice, and it’s a creative safe haven, a music center filled with wonderful photographers and artists.”

Hank DeVito

Tennessee State Museum • July 3 through October 4

Places i RemembeR

by Susan W. Knowles

Tennessee Theatre, 535 Church Street

As Nashville continues to experience explosive growth, photographer Hank DeVito’s new exhibit shows us the way we were in the 80s


DeVito was in the right place (New York, San Francisco, and Los Angeles, in the clubs and studios) at the right time (the 1970s) for the beginnings of country-rock. He broke onto the scene in New York in 1968 as a composer and player. By 1975, he was a sought-after instrumentalist, anchoring Emmylou Harris’s Hot Band with his pedal steel guitar. In 1980 while touring with fellow Hot Band member Rodney Crowell, DeVito, who was tired of big-city living, began to find respite in between tour schedules in the slow pace and pastoral green surroundings of Nashville. In February 1981, he moved to town, followed six months later by Crowell and Rosanne Cash, just as her career also shifted into high gear. Today, DeVito remains a vital force in Americana music with three cuts on Harris and Crowell’s recent Grammy-winning Old Yellow Moon. Yet not all of his fans know that he has led a parallel life as an artist. His recording credits, which run to twelve pages, include a Grammy-winning album cover photograph. After high school, DeVito won a scholarship to the prestigious School of Visual Arts in New York where he studied graphic arts. Portfolio in hand, he hit the streets. But starting at the bottom to make a career in graphic design paled in comparison to the opportunity to play View South from Commerce Street along 4th Avenue North

Music Row at Demonbreun and 16th Avenue South


live music and make money. Of San Francisco in 1974 he says, “You could play every night of the week there were so many clubs,” and by February 1975 he was in the midst of a burgeoning music scene in Los Angeles. Inspired by photographer Berenice Abbott’s Changing New York series of the mid 1930s, and by Walker Evans, who often trained his lens on odd and unique buildings, DeVito began to carry a camera whenever he was on tour, hitting the streets of small and large cities across the country on afternoons before sound check. His project was to capture the cities of his own time, saving memories for the future just as Abbott and Evans had done. The formality and

simplicity of DeVito’s presentation and his exacting compositions and crisp resolution join him to the same distinguished history of documentary photography. At times the music and images coalesce, as with a hand-colored shot of a Louisville record shop owned by Gene King, brother of country star Pee Wee King, who co-wrote “Tennessee Waltz” and introduced rock instruments, such as drums and electric guitars, into country music. DeVito used the store as a backdrop, superimposing his own portrait of Rosanne Cash. King’s Record Shop (1987) won a Grammy for CBS Art Director Bill Johnson and produced four #1 hits for Cash, including “Runaway Train.”

Fair Park, Nashville Fair Grounds, 500 Wedgewood Avenue Welcome Opry Boys, Ryman Alley, 115 5th Avenue North

Resting Place Corner of Broadway and 4th Avenue South

12th Street South and Broadway

W.T. Stringfellow, 125 12th Avenue North and Grundy


With Nashville now on its own runaway train of development, we are fortunate to have DeVito’s Nashville images, assembled by Tennessee State Museum Curator Renée White into an exhibition entitled Places I Remember. Taken with a large-format camera, they record “mom & pop” establishments and the plainsong utility of signage painted directly onto brick and concrete. In the alley next to the Ryman, Welcome Opry Boys behind Tootsie’s Orchid Lounge reminded players to stop in after the show. Sho-Bud is the shorthand logo of Harold “Shot” Jackson and Buddy Emmons, the 1955 inventors of the pedal steel guitar. Mostly, DeVito photographed on Sunday mornings when the town was emptied out. The vulnerability of a sleeping figure passed out in the covered entrance to the old Merchant’s Hotel, at the corner of 4th and Broadway, with an electric cross in the front window speaks eloquently of the needs and wants of those on lower Broadway before it became a historic district. Nashville’s past as a shipping center for agricultural and industrial materials is revealed in Acme Farm Supply, Tuxedo Feeds, and Steiner Scrap Metals. The Block Building, just south of Broadway, advertised walnuts, ginseng, and hides in tall, hand-painted block letters that enhance the geometry of the façade itself—the words remnants of a time when Nashville was a frontier trading post.DeVito explains, “It has taken thirty years for these images to have validity. Most of these buildings are now gone.” His wish is that his photographs might reclaim for us our own memories of Nashville’s many vanished common places. “It’s hard to describe something that is gone out of your mind unless you have a visual.” Places I Remember will be on exhibit at the Tennessee State Museum from July 3 through October 4. For more information, please visit www.tnmuseum.org.

Tuxedo Feeds, 2nd Avenue South and Broadway

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Photographer and Musician Hank DeVito



The National Cor vette Museum in Bowling Green, Kentucky, will celebrate the reopening of its Exhibition Hall,

which was destroyed by a massive sinkhole in February 2014, with an exhibition of Car Part Art. Any and all who are interested in submitting artworks made from car parts are welcome to apply. “We have seen a number of cool pieces of art made from everything from hub caps to tires and thought that doing our own exhibit would be a great way to not only convert trash to treasure, but also to create an amazing display,” said Katie Frassinelli, Museum Marketing & Communications Manager.Artist and Guest Curator Andee Rudloff commented, “As a curator, I want to create access to the arts. This is a show where anybody can enter and any age can participate. It could be an individual artist; it could be a team of artists; it could be a Girl Scout troop, or a garden club.” To assist participants and to further promote recycling, the museum has opened their preservation and car maintenance area where artists can find Corvette parts to use in their creations.

“I think when people hear about this exhibit they immediately think they have to create a gigantic sculpture, and what we’ve been trying to remind people is however you create art, that’s what we want. We want someone to think as small as the wiring they find in a car and what sweet, gentle little delicate sculpture could you create with that,” Rudloff explained.In addition to the contest and featured works, the Museum has partnered with Michelin, the Official Tire of the National Corvette Museum, and NCM Motorsports Park to display several entries from the InTIREnational Art Contest, which challenged schools, businesses, and nonprofits to convert ordinary scrap tires into extraordinary works of art.

Applications to participate, along with a $20 entry fee, will be accepted until July 31, and finished works will be accepted August 1 through August 31. The Car Part Art exhibit opens with an awards ceremony and reception on September 18 and will be on display through January 8, 2016. Guest Curator Andee Rudloff will lead workshops on making art from car parts on Thursday, July 16. For applications and information, please visit www.carpartart.org.

Car Part Art Exhibit Call for EntriesNational Corvette Museum • Through July 31

Artist Doug Regen working with two Corvette stainless steel dual exhaust mufflers

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Paper Quilt 6, 20 ” x 20 ” (2015) Jim Sherraden

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JULY 3 – AUGUST 8

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OPENING RECEPTIONFRIDAY, JULY 3 • 6:00 – 9:00 pm

A s a youngster in his hometown of Portland, Jamaica, Larrie Brown amazed neighbors and teachers with his ability to draw, paint, and make art. He won every art

competition he entered and earned a full scholarship to the Jamaica School of Art. By the time he graduated from college he was regularly showing his work while working on assignments and commissions. When he immigrated to the United States, Brown’s art had to take a back seat to work and family. Now, with a newly constructed studio and his Nashville debut at TSU, Brown hopes to give up nursing and create art full time. His show Realism: Art with a Message includes approximately 25 new oil paintings with subject matter ranging from landscapes and portraits to still life and market scenes. Joyce B. Radcliff, Assistant Professor, Librarian, and Curator of the Library, is enthusiastic about the show. “When we saw his work we were just blown away. It is so natural and real. I was looking at one of his beach scenes with a boat in it, and I felt like I was in the boat. We are so pleased to introduce him to the community.” Brown says painting gives him an amazing sense of gratification and a way to share his thoughts and ideas. “For example, if it is a seascape, I want you to get a sense that you are by the ocean touching the pebbles and feeling the cool breeze.”Realism: Art with a Message by Larrie Brown opens with a reception on July 1 from 3:30 to 6 p.m. at the Avon Williams Library at Tennessee State University and remains on view through August 31. For more information, visit www.tnstate.edu. To see more of Larrie Brown’s artwork, visit www.ptaart.com.

REALISM Art with a Message

Papine (detail), Oil on canvas, 2015, 24” x 36”

Tennessee State University • July 1 through August 31

Many years ago, moved by an exploding love of American roots music and curiosity about the South, I took advantage of winter break at grad school to be a pilgrim.

My aim was to get from North Carolina to New Orleans by way of the Mississippi Delta and its storied Highway 61. I wanted to see for myself the cradle of the blues.It was a formative trip, with some memorable nights in juke joints and zydeco dance parlors. But I was traveling rather blind in a challenging landscape. I could definitely have used the Americana Music Triangle (AMT) as a guide. The AMT, spearheaded by Williamson County preservationist Aubrey Preston and launched this spring in a ceremony at the Franklin Theatre, is web-based orientation for musical pilgrims. Consult its curated driving tours before and during a trip and you’ll be sure not to miss the hidden shrines and holy places of American roots music, including museums, theaters, honky-tonks and gravesites. You’ll find help about where to eat, sleep, and shop for vinyl records as well. The great music cities of Nashville, Memphis, and New Orleans are the anchoring points of this vast, stretched out triangle, though its borders are blurry. Tupelo, Mississippi (Elvis’s hometown), and Muscle Shoals, Alabama (the legendary recording hub), are clearly inside the AMT. But historically charged places like Bristol, Tennessee (birthplace of country music recording), and Georgiana, Alabama (boyhood home of Hank Williams), are also implicated. You can explore by region or through detailed timeline histories of nine anchoring genres: jazz, blues, bluegrass, country, soul/R&B, gospel, Southern gospel, Cajun/zydeco, and rock and roll.The closest thing conceptually that’s already out there are heritage roads supported by state tourism offices, such as the Mississippi Blues Trail or the Crooked Road in Virginia. Preston sought the cooperation of such entities and dozens of regional officials with a message that more people cumulatively would visit a variety of

Americana Music Triangle

destinations (many in deep need of tourism dollars and development) if they joined efforts.Americana was conceived as a movement to get traditional country music on the radio when FM country left roots and blues influence behind. Since then, Americana has become a trade association and annual conference and music festival in Nashville, a Grammy Award category, and an accepted framework for developing and deepening cherished American music traditions. It’s had striking commercial success. Now Americana has a literal place on the map. For more information visit www.americanamusictriangle.com.

by Craig Havighurst | Photographs by Anthony Scarlati

Aubrey Preston and Rick Hall, Florence, ALJanet and Will McFarlane, Florence, AL

Red’s Bar, Clarksdale, MS

Launches at the Franklin Theatre, Next Stop the World



Z.L. Feng, Christine Krupinski, Vera Dickerson, Dean Mitchell, and Bill Bailey won top honors in the Southern Watercolor Society ’s 38th Annual Juried

Exhibition. Hosted by the Customs House Museum in Clarksville, the show, which remains on view through July 5, features 87 of the region’s finest watercolor paintings.

The Best in Show was awarded to Z.L. Feng for In the Wood. Feng is a signature member o f t h e A m e r i c a n Watercolor Society, the National Watercolor Society, and the Pastel Society of America, and his work can be found in numerous private and corporate collections, including Walt Disney, the U.S. Gulfstream Aerospace Center, and Orlando International Airport. Christine Krupinski,

winner of more than 100 national awards and honors, took the Gold Award for her painting Lemons and Grapes. The Silver award went to Vera Dickerson and the Bronze to Dean Mitchell.Tennessee artist Bill Bailey’s painting Fly Creek was honored as the Customs House Museum’s 2015 Board of Trustees Purchase Award, and it will become a part of the museum’s permanent collection.The Southern Watercolor Society’s Juried Exhibition will be on exhibit through July 5 at the Customs House Museum in Clarksville. For more information, visit www.customshousemuseum.org and www.southernwatercolorsociety.org.

Southern Watercolor Society Winners

Customs House Museum • Through July 5

Z.L. Feng, In the Wood

Bill Bailey, Fly Creek


A Vision for the Arts

ChArles robert bone

MegAn bArry

Over the last fifteen years, as a participant in our entrepreneurial community, I have come to understand the importance of the creative class and know it’s the foundation of Nashville’s identity and authenticity and vital to ensuring our future. I believe every Nashvillian should have an equal opportunity to be exposed to and participate in the arts and cultural activities, that we must increase funding to support our creative sector, and that we must emphasize creativity in all that we do.As mayor, I will have a dedicated focus in my office to coordinate and support the implementation of both the Nashville Arts Coalition Creative Edge Platform and the Arts Commission’s new five-year plan. This will contain the inclusion of creatives in developing a community development strategy specific to each of Nashville’s unique neighborhoods and communities, leveraging private

participation in expanding public-private co l l aborat ions , and re too l ing codes , land-use pol ic ies , and permitt ing, to encourage creative investments and growth.Children, youth, and their families will be my highest priority, and I believe that a r t s e x p o s u r e a n d e d u c a t i o n c a n and should be integral in their lives. In MNPS, the Music Makes Us model should be supported and expanded to include all of the arts at all levels. The arts, too, must be core components in the expansion of out-of-school opportunities and support for all of our young people. I look forward to working with you to make sure Nashville is able to both sustain and build upon our momentum as a creative city for everyone. www.boneformayor.com

Art is at the core of everything we do in Nashville. In the fabric of our city, it is an essential thread, not an embellishment. Personally, I have been committed to supporting the local arts community, whether it is filling my home with almost entirely locally produced artwork or serving

on the board of the Belcourt Theatre. I believe that government has an important role in promoting and expanding access to the arts because of the impact they have on Nashville. The arts create prosperity, bringing people together regardless of our differences and building bridges within the community.

The arts can improve academic performance. Studies show that four years of art or music in high school can translate into a student scoring 100 points higher on verbal and math scores.

The arts strengthen our economy, sparking creativity and innovation while making our city a more attractive place to visit and live.

That’s why, as Nashville’s next mayor, I will strengthen funding for the arts and focus on creating affordable housing and workspace options for artists and creative entrepreneurs. In order to accomplish these goals, I will put a greater emphasis on the “community” aspect of the Mayor’s Office of Economic and Community Development, because a strong and vibrant arts community is essential to building a creative economy that will keep Nashville moving forward. www.meganbarry.com

As Nashville’s mayoral race heats up this summer, we caught up with the candidates to learn more about their visions for the arts in our city. Each candidate supplied a statement to provide Nashville Arts

Magazine readers a real look at what each of us could expect to develop in our creative community under their leadership over the next four years. To remain impartial, we listed the candidates in alphabetical

order. Don’t forget to take action and vote on August 6! Until then, please share your thoughts, ideas, and questions for the candidates with us through email, Facebook, and Twitter.

DAViD foxFox for Nashville is all about protecting and projecting the Nashville Way, that intangible formula of kindness, generosity, civility, inclusiveness, and CREATIVITY that inspires pride in Nashville’s residents and admiration in our visitors. At a time when mass-produced global brands threaten

to round out the distinctions of the world’s cities, Nashville, with its rich artistic history and dynamic creative community, is poised to build on a unique identity that balances tradition with modern aesthetics. At no time in my 50 years here has there been a stronger push to build a healthier, more connected and more walkable city. Let’s seize

that momentum and meet the challenges of growth with updated infrastructure and accessible housing for all parts of the city, not just downtown. As we update our built environment, let’s leverage every opportunity to engage local artists, to elevate structures and corridors to community spaces and landmarks that unite Nashvillians with a shared sense of place. Successful place-making will require an inclusive approach to design, as well as a funding process that channels meaningful resources to projects that will make the most lasting impact on the most people. We are at a pivotal point when it comes to protecting what is special about Nashville and projecting it into the future. We will succeed only by engaging our creative class, which embodies so much of what defines The Nashville Way. www.foxfornashville.com


howArD gentryWith music as our city’s signature, Nashville was always destined to be an arts city, but it has taken the dedication of our philanthropic and nonprofit community in partnership with our government leaders to make it work. Today, we ranked number four in the national Creative Vitality Index in the Western States

Arts Federation, behind L.A., Washington, DC, and New York. Those are among the heaviest arts hitters in the nation. As a member of the Frist Center for the Visual Arts, I know how critical it is for us to bring arts engagement to our children for their intellectual development. I also serve on the board of directors of the Tennessee State Museum Foundation and see firsthand the

impact art and history have on more than 100,000 children. While people may come here to visit the honkytonks, which present our country music art form, they also attend concerts at the Ryman and the Schermerhorn, visit the Frist, Cheekwood, the Parthenon, and our many parks with statuary and fine art. They purchase posters at Hatch Show Print, as well as paintings, carvings, sculptures, and jewelry made by our many local artisans from galleries. They attend plays and dance recitals at TPAC.As mayor, I will continue to strengthen the bonds between public-private partnerships in existence. I want to see growth in arts programs for tourism engagement and opportunities for the creative class to put us on top of that vitality index for good. www.howardgentryformayor.com

bill freeMAnI am certainly not an art expert, but as the saying goes, I know what I like. I also know that our city has a lot of local talent in the arts, and I admit that I would like to see more of their work get the spotlight from time to time. Who knows if the next Red Grooms is here in Nashville already? We have some great arts venues here in the Frist, Cheekwood, and some great private galleries, but I am most interested in our public art. It may be the time to look at new funding mechanisms beyond the “Percent for the Arts” and make sure that local and regional artists are included in the conversation. I think as mayor, the biggest contribution I can make is in providing

leadership. My plan for a new Metro Office of Creative Economy is intended to help Nashville’s 40,000-plus residents who make their living in the arts and entertainment media. Right now, we are at risk of losing young, budding artists to cities that give them more material support, such as Charlotte and Austin. I hope to turn that around soon in my administration with incentives for affordable performance and production space and ways to pursue grants and sponsorships more easily. www.freeman2015.com

JereMy KAneNashville is a city of the arts—visual, performing, and otherwise. Many Nashvillians have dedicated their lives and careers to the arts. The mayor’s role is to encourage further private and public investment in the arts and ensure that artists of all types have an affordable place to live and work. We must use smart zoning and incentives to encourage collaborative coworking spaces like those in Wedgewood-Houston and the Nations. A robust, integrated regional transit system will benefit our artists struggling from job to job the most. Arts education in our schools—the paying job for many artists—needs to be properly funded and staffed. The beauty of funding arts education in our schools is that we also encourage lifelong art supporters and appreciators. As your mayor, I will continue to support “1% for the Arts,” which

directs one percent of certain funds for capital improvement projects to commission and purchase art. I will go further by asking that the downtown code include a provision for privately owned monumental art installations in plaza and courtyard areas. I would love to see our downtown populated by the next generation’s Alexander Calder and Louise Nevelson like lower Manhattan. Meanwhile, we need to continue to support our arts institutions like Cheekwood, the Frist, the Symphony, and the Carl Van Vechten Gallery at Fisk, whose collection is a crown jewel of Nashville. www.kaneformayor.com

linDA esKinD rebroViCKNashville wouldn’t be Nashville without the arts, and it would be unwise for us to remove our support for the arts here in Nashville. The city has a tremendous opportunity to expand our support for the arts by building on the communities that already exist and making sure that we create the

best conditions for the arts to thrive. The model that will be most successful at achieving this is the public-private partnership, and I plan on building these partnerships.There are two success stories that we can look to as we strengthen our support for the arts. The first is Music Makes Us. Music Makes Us came about when MNPS, the Music City Council, and the

private sector partnered to invest in contemporary music education programs in Nashville public schools. With the support of the Recording Academy and Warner Music Nashville, Music Makes Us opened a professional recording studio at Pearl Cohn High School. Not only do the students have the chance to develop artistic and technical skills, but private companies are able to train a new generation of the creative workforce. Everybody wins.The second example is the Entrepreneur Center. I worked on the private side to help make the center a success; however, Metro was crucial in helping coordinate the effort to create the EC. With the help of the EC, many startups are already success stories. If we make similar efforts in the various arts industries we’ll see more creative jobs and a more successful Nashville. www.lindafornashville.com


OZ Arts Nashville Launches New Season of Performances

OZ Arts Nashville’s third season is fresh, exciting, and full of new ways to enjoy and interact with the city’s arts culture. Bizarre instruments, film discussions, dance, theatre, and

poetry are just a few of the things that are planned for the progressive new season. Some of the events are meant to simply entertain, but interaction is the real star of Season 3. Artistic director Lauren Snelling talked about how the increased interactivity in the arts is, ironically, because of our cell phones. With the ability to make music, pictures, video, and whatever else you want at your fingertips, it’s easier than ever for everyone to create.“Everyone is an artist now with their own individual device,” Snelling said. “So I think because of that power and that ability that every person now has, there’s a real sense of a desire for interactivity when it comes to art.”Early next spring Taylor Mac takes on the massive task of charting the complete history of popular American music, from 1776–2016, with each decade showcased in a one-hour performance. The years 1806–1836 will be performed at OZ. Mac encourages laughing, talking, and moving around the room while engaging with the history of American music. Interaction with the arts is also met with interaction amongst the arts. Kid Koala is a popular DJ and music producer, but at OZ he’s presenting a live multimedia adaptation of a graphic novel he wrote. Robert Milazzo is bringing three celebrity guest artists to OZ to screen their favorite films then talk to Milazzo about how the films have shaped them and their art. Family Day is going to be full of indoor and outdoor arts activities for the whole family, and the main attraction is a collection of 15 newly invented instruments and sound sculptures available to play.Season 3 comes to a close with a three-day visual art festival full of indoor and outdoor art. Everything from light installations and pod galleries, to street art and massive murals will be included. Finally, TNT (Thursday Night Things) is continuing at OZ outside of the regular season and will feature Tennessee-based artists like Bryce McCloud’s workshop for the creation of large-scale tapestries and Tony Youngblood’s maze of 4x4-foot modular art pods. For the full schedule of Season 3 events and to buy season tickets, visit www.ozartsnashville.org.

by Adam Wolnski

Bang on a Can All-Stars perform Steel Hammer (November 20 & 21, 2015)

Kyle Abraham/Abraham.In.Motion, When the Wolves Came In, Jeremy Jae Neal, Tamish Guy, Catherine Ellis-Kirk (October 8 & 9, 2015)

Kid Koala, Nufonia Must Fall Live (March 4 & 5, 2016)

Bryce McCloud featured during TNT (December 7–11, 2015)

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H ave you e ver driven only an hour from home a n d t a k e n a

mini-vacation for the day? The weather, architecture, flora, and fauna are almost identical to your hometown, yet because you ’ve been t ranspor ted f rom your ordinary life to somewhere new, you see these surroundings with different eyes. You take pictures at every corner; the people intrigue you; even the coffee tastes better! You feel happier and more creative. Suddenly you want to paint and write a novel. Is it the town? Before you sell your home and relocate, consider that you may simply have created the ideal situation to boost your creativity. The science behind creativity is big business. As corporations understand the importance of a good imagination in the workplace, fostering creative e nv i ron m e n t s i s on t h e r i s e—th ink Goog le and their fun-centric workplace. Businesses now encourage e m p l oye e s t o t a k e w a l k s during the day and mini-naps. Alice Flaherty, a renowned neuroscientist, says that two things are crucial to creative flow: dopamine and distraction. Relaxing events increase dopamine flow, but our brains also need to be distracted. An incubation period for our brain allows our subconscious mind to surface and give us the creative solutions to problems we were trying so hard to solve on our own. Traveling to that new spot near home was the magic bullet because you were happily relaxed (dopamine) and distracted from conscious thoughts and routines, which allowed your subconscious, creative mind to come out and play.

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

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And So It Goes...

This explains why we have so many of our best ideas when we are in the shower, about to sleep, washing dishes, walking, or dr iving. Salvador Dalí understood this and used it to help his work. He would hold a heavy key in his hand above a ceramic plate so that when he started to nap and was in that zone on the edge of conscious thought, hypnagogia, he would drop the key and wake to find himself invigorated and full of new ideas. Being creative can be more of a conscious, daily endeavor as well—a lifestyle, if you will. You don’t have to leave on a mini-vacation to achieve this. Being curious helps. Look closely at things in your life that you normally take for granted. The dishes piled in the sink could be a great composition for a painting. A cracked wall, or the striped-shadow pattern on the ground of a picket fence, is creative fodder. What about your f r iend ’s of f-the-wal l comment that would make a fabulous title for a poem or a song? Keep a notebook and camera/video recorder ready to capture anything that piques your interest. There’s even a product called AquaNotes to

write down your brilliant ideas when you are in the shower. Remember the plastic bag floating around in the film American Beauty? It’s often the most ordinary that becomes the most extraordinary when we really look.

by Rachael McCampbell

DOPAMINE

DISTRACTION&

Where on earth does creativity come from?

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Surrealist artist Salvador Dalí with his pet ocelot, Babou


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5th Avenue Under the Lights

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In downtown Nashville, the endless array of artistic events and activities appeal to a diversity of visitors, all wishing for the Music City experience. During this season, our neighborhood

boasts the biggest July 4th fireworks extravaganza in the country, and for the first time, the visual arts will be featured as part of the celebratory weekend with the First Saturday Art Crawl Downtown (one day early on July 3). Approximately 2,000 people attend this event on a monthly basis, and this holiday weekend is expected to break all records. In fact, according to state tourism officials, a record-breaking 100 million people visited Tennessee in 2014, with Nashville leading the way as the top destination in the state.

From the perspective of a local gallery that has been open on 5th Avenue of the Arts in downtown Nashville for almost nine years, Tinney Contemporary has felt the measurable impact tourism has had on this visual arts block, as well as the overall success throughout all of the downtown arts businesses in this high-profile, historic entertainment district. Tourists continue to be hungry for meaningful cultural moments that give them a sense of who we are as a city, and we are increasingly finding they are looking to art as a means of making these connections. At its best, Nashville’s personal connection to tourists is a symbiotic relationship between a place, its people, and those who come to find out about Nashville. We, along with the other art galleries on 5th Avenue of the Arts, are excited to have the opportunity this summer to share Nashville’s “brand” with tourists through world-class art exhibitions and free community events such as the popular First Saturday Art Crawl Downtown ( July 3 and August 1, 6 p.m.) and the informative Collectors Art Night ( July 31, 5:30 p.m.). We are equally grateful for their support of our businesses and look forward to tourism’s continued positive impact on our city’s vibrant visual arts scene.

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Lyle Carbajal exhibit at Tinney Contemporary

by Sarah Wilson, Tinney Contemporary


Atnip’s African Adventure

O ne of the many benefits I enjoy as a professional photographer is the opportunity to observe and record people and cultures beyond my immediate sphere. I’ve been fortunate to be able to do shoots and

exhibit in locations all across our planet.

I was recently on assignment in West Africa to tell the story of the people, culture, and environment of the area. This small sampling of the more than 2,600 images taken while shooting throughout the region shows a part of my journey made mostly in the cities and remote villages of Senegal and Niger.

As an artist, my intent when photographing cultures is to free myself of preconceived notions of what I have been conditioned to expect, of prejudices I may have developed, and of the thoughts of images I preplan in my mind’s eye. I attempt to see as a child, being as open as I can, to respond in an honest way to the flood of images I encounter. My job is to share that truth in a way that is clear to the viewer who doesn’t have the opportunity to experience it. You may see more of Jerry Atnip’s stunning photographs at www.jerryatnip.com.

Photography and words by Jerry Atnip


by Stephanie Stewart-Howard

Wendy Seaward’s beadwork looks worthy of a Neil Gaiman book cover. There’s something utterly sorcerous about the brilliant layers of

beads and semi-precious stones, invoking the otherworldly, the magical. It’s no surprise, likewise, that she was chosen as show favorite at May’s Tennessee Craft Fair by Nashville Arts Magazine. Whether it’s an intricate mask as likely to

Face to Facewith Wendy Seaward

Nashville Arts Magazine Tennessee Craft Fair Best of Show Winner

Night and Day


be hung as worn or a stunning fringed necklace of pearls, fossils, seed beads, and Swarovski crystals, her work tantalizes you with its contrast of shimmery and matte components, textures that draw the eye, and color that woos you with its intensity.

Her work has ended up on the likes of witchy romantic crooner Stevie Nicks, but she’s got quite the following among Nashville’s stylists to the stars as well. At this writing, she fairly bubbled with excitement about a new piece for Christina Horn of Hudson K to wear performing at Bonnaroo.

Seaward travels the Southeast, visiting craft and art shows where she sells her pieces easily—you can find a list of her shows on her

website. Expect her back here for the fall Tennessee Craft Fair in September; this is important, because the elusive artist doesn’t sell online at the moment.

“I actually don’t have an art degree,” she says. “I got my degree in horticulture, but I’ve always loved making things with my hands—tie dye and weaving, among other things, and my grandmother was a very well known intuitive painter in Cocoa Beach, Florida, Mona Jordan.”

Perhaps the impetus to art is genetic, but Seaward’s

inspiration came from a Peace Corps assignment in southern Africa, seeing collections of tribal beadwork of exquisite quality, like wedding aprons of the Zulu culture in Johannesburg.

She came home with beads she’d bought and wanted to learn the techniques to string them. That led her down a rabbit hole of books on beading and bead weaving. The self-taught nature of her craft makes her work especially distinctive.

If she has a philosophy, she says it’s influenced by the Japanese concept of wabi-sabi, finding beauty in imperfection. “My work is not too perfect or symmetrical; the lack of perfect symmetry intrigues me,” she says. Even so, her work has a distinct, tight tension between beads that makes them solid and well made—don’t mistake asymmetry for weak construction.

“Lately I’ve been using the wabi-sabi idea to layer oval elements, piecing them together and pairing them with the over-the-top fringe I’m known for,” she says. The resulting pieces, often using jewel- and earth-toned beads and crystals, precious and semi-precious stones with distinct matrices, ammonites and other fossils, instantly make the wearer stand out.

Lest you wonder, there’s no mechanical aspect. Seaward strings all her beads on heavy line by hand, using only the finest materials. From Japanese-made beads to sterling-silver clasps, they aren’t just works of art—they’re built to last. For more about Wendy Seaward, visit www.wendyseaward.com.

Wendy Seaward, 2015 Tennessee Craft Fair

Organic Waterfall

Pools of Lapis

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Carrie NygreN A Return to Naturalism

by Bob Doerschuk

Y ou look at a person and you start to draw conclusions about his or her character, rightly or wrongly. Maybe it’s how contrived the smile, how direct the eye contact, the posture—all elements that artists use to bring out their subjects’ inner qualities.

But what do you see when you look at, say, a horse? How many see beyond its surface? Or do most of us see, at best, the enigma behind its chestnut eyes?Growing up in Nashville, Carrie Nygren always knew that every horse and dog was unique. She inherited her insight from her father, Tom Griscom, who combined a successful executive career at Opryland, TNN, CMT, and the Grand Ole Opry with a love for painting and then sculpting wildlife.“My dad painted ducks and wildfowl in our playroom. To keep me entertained, he gave me some paints and oils—basically, so I would leave him alone,” she recalls with a laugh.

Encouraged by her father and by family friend Paul Harmon, Carrie “went the art route” during high school at Harpeth Hall and afterwards at Ohio University in Athens, Ohio, where she would earn her MFA. Coming home to Nashville, she found work with the advertising agency Eric Ericson & Associates, did freelance work drawing storyboards for Nashville directors and production companies, and began painting. She and her dad even had a show together at the University Club.Then life took a different turn—marriage, children, and eventually a job as VP, creative director, and senior producer at Laughlin Constable in Milwaukee. With that, her artwork went on hold for thirty years, until a year ago, with the kids off on their own and a little more free time in her schedule.“I had no idea if I could even paint anymore,” Nygren admits. “Being a realist painter, trained in the old atelier techniques going back to the Renaissance and egg tempera painting, I had to remember

It’s Just the Wind, Oil, 30” x 40”


everything from color theory to layers and glazing and try to get to where I felt comfortable again with control of the paint so I could concentrate on capturing the character without focusing too much on the technique. I had to dig up all my college notes and books. It was a little intimidating at first, but it’s been fun and challenging at the same time.”Apparently the layoff did nothing to dim Nygren’s capabilities. She has produced several large-scale oil works on canvas, each one settling any argument over whether one can discern individual traits in horse or other animal images. Recognition has already come her way, with It’s Just the Wind taking second place, animal category, and Paris on the Rise making the finals in the Art Renewal Center International Salon.Both works exemplify Nygren’s use of light to illuminate the essence as well as the external aspects of each animal. She photographed Braveheart, the subject of It’s Just the Wind, just as a gust of wind hit him.“That’s why he’s in a very hard side light, as he pulled his head up really hard,” she says. “He was one of the strongest horses I’ve ever been around—a jumper, an event horse. Paris was a jumper as well, but she was completely different, out there on her own and very proud. She was standing midday with the sun directly over her when she had just finished a workout, so she’s kind of veiny

Gyps in Her Red Collar, Oil, 30” x 40”

Dyson (detail), Oil, 36” x 24”


and sweaty. She kept turning her head with that trace of independence that she had.“Horses’ eyes are kind of like those of humans—the entry to their soul,” she continues. “Being flight animals, they’re skittish. A wind blowing in a tree can catch their attention and they’ll go crazy. Dogs are looking for trust and energy because they’re so much closer to humans than horses are. Both animals have very distinct personalities.”Despite her relocation up north, Nygren assures that Nashville remains essential to her as an artist. “My heart is still in Nashville,” she insists. “My sister and my aunt are still there, so I’ll keep coming back. I don’t ever want to lose my roots there.” For more information about Carrie Nygren please visit www.cnygrenart.com.

Ty Leaning In (detail), Oil, 36” X 44”

As the Nashville Symphony’s audio engineer for nearly a decade, Gary Call Hanley has watched

hundreds of concerts from behind the Schermerhorn’s soundboard and overseen several orchestra recording projects. But come July 3, he will be sitting in the concert hall with friends and family for a very different concert experience—his debut as a classical composer.That evening, Hanley’s first symphony, Pl ight o f th e Common Man , wi l l be premiered by the orchestra on the eve of Independence Day, marking the first time in recent memory the Nashville Symphony has performed a work written by one of its own staff members. While Plight of the Common Man is Hanley’s first foray into classical repertoire, he is no stranger to music or songwriting. He began his journey as a Suzuki violin student and moved on to the trumpet and choral groups in high school before

undertaking classical guitar at the State University of New York at Schenectady. A Tennessee resident for more than twenty years, he has also been active on the Nashville music scene, playing and singing in bands across several genres, touring nationally, and recording more than half a dozen albums.

In the last year, Hanley put the finishing touches on the work, which reflects his own experiences as both an individual and a musician. The symphony features a lush middle section framed by a more minimal introduction and conclusion, with a mix of melancholy overtones and euphoric passages throughout, which Hanley likens to a metaphor for life itself. After he submitted the work for review to artistic leadership at the Nashville Symphony, Plight of the Common Man was chosen for the July 3 performance, which features Tchaikovsky’s 1812 Overture, along with works by Copland, Gershwin, and more.

“It’s a good fit,” Hanley says. “The piece has some patriotic overtones, particularly in certain sections highlighted by the brass instruments, and overall it touches on the resilience of the human spirit and how we overcome obstacles.”

It has been quite a journey for a man who once played New York’s famed nightc lub CBGBs to have his f i rs t symphony soon to be presented to the world by an award-winning orchestra. But with Plight of the Common Man currently under consideration by several other orchestras and a second symphony already underway, Hanley has his eyes set on eventually becoming a full-time classical composer. It would be a fitting next step in the musical evolution of a creative and ambitious artist.

Tickets are available for the Nashville Symphony’s July 3 concert featuring Plight of the Common Man. Please visit www.NashvilleSymphony.org.

Symphony in Depth

Nashville Symphony Recording Engineer Gary Call Hanley Makes Debut as Classical Composer

Plight of the Common Man

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Get the best seats at NashvilleSymphony.org or call 615.687.6400.

N A S H V I L L E S Y M P H O N Y & Y O U

Perfect Together

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YO U R N A S H V I L L E SY M P H O N Y. L I V E AT T H E S C H E R M E R H O R N .


As I See It

In previous articles, I focused on the constructed visual narrative as a means of posing questions about justice, power, and personal responsibility. The artists I discussed addressed themes of capital punishment, Islamophobia, and

war, while maintaining a critical distance that tempered emotion with objectivity.

In House on Fire (2008–2009), Winnipeg artist Sarah Anne Johnson created an intimate experience that is closer to the volatile epicenter,

geographically and emotionally. This installation features sculptures representing Johnson’s grandmother Velma Orlikow in which her body has been subtly altered to suggest stress or disorientation, as well as painted photographs that frequently show her wearing a squirrel’s head or a box, denoting mental fragility and the suppression of identity. The central element of the installation is a large model house with flames coming from the roof. Looking through the windows we see rooms containing tableaux that range from the familiar to the nightmarish. We sense that the house is a metaphor for the woman’s

by Mark W. Scala

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Burning, 2009, Acrylic and graphite on inkjet, 9” x 10”

House on FireArtist Sarah Anne Johnson Explores the Public Meaning Behind Private Pain


Mark W. Scala Chief Curator Frist Center for the Visual Arts

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brain, the rooms holding memories, the flames a sign of living trauma and, perhaps, a desire for obliteration. For children, the family house is generally the stable center of the world. But this one clearly shook with rage and sorrow. Johnson recalls growing up in the home with her grandmother, who suffered from depression and other psychological maladies and was alternately nurturing, confused, and angry. When Johnson got older, she learned the story behind her grandmother’s behavior. As a young woman, Orlikow experienced a deep postpartum depression from which she seemed unable to recover. Her family learned about a psychiatrist at McGill University in Montreal who specialized in such difficult cases. They sent her there for several rounds of treatment over the course of months. When Orlikow returned to Winnipeg, her mind was disoriented and her spirit was in shambles. Only later did the family learn that the doctor, Ewen Cameron, had been covertly funded by the U.S. Central Intelligence Agency to conduct and document mind-control experiments involving LSD, shock therapy, medically induced prolonged sleep, and sensory deprivation. Orlikow was only the first of his guinea pigs, whom he code-named Miriam and with all due professionalism reported on in scientific journals.We might dismiss this as an old story from the golden age of psychiatric overreach and the excesses of the Cold War, when medical researchers on both sides conducted experiments that would be considered grossly unethical by today’s standards. But we are reminded that during our wars in Iraq and Afghanistan, psychologists were used to justify and at times facilitate torture, to back up the government’s contention that interrogation techniques were humane.1 Whether in the Cold War or in Guantanamo, medical rationalizations for human rights abuses, especially when we see the broken bodies, minds, and families that result, inspire cynicism rather than trust; Dr. Mengele over Hippocrates. House on Fire cannot heal Velma Orlikow or bring justice to the doctor. The central actors in the tragedy are all dead. But the artist has created a potent reminder that even the most private pain can have public meaning. We can join her in grieving the life of someone we never knew, while acknowledging the invisible hand of history that shapes later generations in ways that we cannot fully recognize or understand. 1. See The New York Times, April 30, 2015, James Risen, “American Psychological Association Bolstered C.I.A. Torture Program, Report Says”

Birthday Party, 2008, Chromogenic print, 11” x 14”

White Out, 2008, Whiteout and graphite on inkjet, 24” x 21”


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After A Life In Front Of The Lens This International Model Picks Up The Camera And Calls Her Own Shots

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by Karen Parr-Moody

T here exists an inherent drama in model Nina Covington’s appearance. She possesses the complexion of an English rose, her milky-pink skin contrasting starkly with her fiery-red hair. There’s also a pocket pixie aura that surrounds

her 5-foot-3 f rame. And whatever Covington lacks in height, she compensates for with presence and tenacity, emoting for the

camera—at times reaching tears.

She uses a Shakespeare quote to describe her ability to tease dynamism out of her diminutive package: “Though she

be but little, she is fierce.”

During Covington’s time spent posing for photographers, including Jack Spencer, Ara Karei, Adrian David Payne,

and Thomas Dodd, she examined where they put their lights and what angles they used. Now this

flame-haired muse has parlayed that knowledge into a new life behind the lens. And she brings the same

verve to photography as she does to modeling. Self-portrait by Nina Covington

Covington says, “I am so passionate that when I want something, I go after it with everything in my power. Everything I do, I go after it hard; I don’t do anything halfway.” Covington recently created Machisma, a black-and-white photography series that celebrates women’s strength and masculinity. Four works from the series appeared in the Rebel & Riot show at the Arcade’s Corvidae Collective. As with most of her work, she used only one light, a softbox. “I just like it simple,” she says. “I like the moods and the shadows it creates.”Each model in Machisma also happens to be topless. This is Covington’s nod to the “Free the Nipple” movement, which advocates that women have the same constitutional right as men to go bare-chested in public. “Part of that is to demystify the breast, desexualize the breast,” Covington says. “Ours aren’t that different from the man’s breast, other than we can feed children.” She feels that, in 2015, it is “ridiculous” to have laws governing a woman’s body in ways that are not gender equal. This was the inspiration for an ongoing series entitled Privates. And when people ask her why the Machisma models are topless, her response carries the same hint of devilry as does her fiery hair.“I say, they’re topless because you ask me that question.” The Machisma series also celebrates the beauty of strength in women. For this, Covington

featured a variety of strong women, including one who had undergone a double mastectomy. “That’s strength,” Covington says. “She had something that’s considered her womanhood taken away from her, and she had to overcome that.” Next up? Covington plans to photograph her 75-year-old grandmother for the Machisma series. “She’ll be topless,” she giggles. “And she is completely thrilled. It’s all about empowerment.” Since childhood, Covington dreamt of becoming a model. She ultimately overcame obstacles of height and age upon discovering that fine art photography didn’t put her into what she calls a “cookie

cutter” mold. (Clearly, she is not one to fit into a mold.) Covington recently turned 40, and she commemorated the milestone by taking a self-portrait in which she wore no makeup and didn’t edit her skin. It was published in a Giuseppina magazine piece about ageless beauty. She explains: “I put it out there and said, I’m 40 years old; age doesn’t matter. Beauty doesn’t have an expiration date. We put so much value on numbers—like our weight and our age—and try to equate all of these things with beauty. It’s ridiculous. Beauty isn’t about how tall you are, how much you weigh. It’s your overall package.” And Covington proves the old idiom true: the best things do come in small packages. Nina Covington’s photographs can be seen at www.ninacovington.net. SE

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Privates, an ongoing series addressing censorship

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The atmosphere I enter is airy and bright, clean and colorful as many sheaves of paper flutter in the slight breeze. Hannah Lane herself is likewise bright and full of light, inviting me into the quiet nook that serves as a studio within her gallery space in the Historic Downtown Arcade building.

A Conversation of Many Voices The Mixed Media Work of Hannah Lane

by Megan Kelley

Figure Collection 2, Acrylic on canvas, 36” x 24”


With the walls filled with pieces both finished and unresolved, it’s important for Lane to invite audiences into the space of her work, allowing them to join her in unlocking its secrets. “I’m always enjoying the question of what I’m processing,” Lane says, “and I’m very comfortable inviting the audience to view each step of my process.” As a mixed-media painter whose paper, paint, and drawn work fluidly blend into a single visual statement, Lane is thoughtful and articulate in explaining how the work moves through one stage to the next, delighting in her joy in the materials.

Though fluent in the language of paint, Lane finds expression in the manipulation and exploration of paper as a mixed-media element within her painting works.

“I started really collecting papers after I spent time in Italy,” Lane explains, pointing out favorites in the piles of bright scraps that fill her studio. “I became obsessed with the marbling of paper and fascinated by how tangible they were.” They served first as visual inspiration, until Lane found new processes after a workshop on pigmenting papers and began engaging paper as a vital part of her constructive process. “Pressing soft, ground paints into the papers gave them my own marks. It allows them to become something more and individual.”

Her paintings reflect this individual nature and intimate attention to detail.

Though her various series are easily identifiable as part of the same visual language, their aesthetic vocabulary provides

a breadth of work that explores several avenues of dialogue.

Some of her work continues the discussions of flora and fauna from her native Louisiana, pairing the recognizable forms and figures of the swamps and marshes with flat expanses of color and subtle shifts in hues. More recently, Lane’s Mindscapes series explores the Tennessee outdoors, using abstracted elements of landscape—horizontal shifts in layered color through chunks of paper and piled paint—to create suggestions of the changes in elevation and a visceral exploration of space that Lane experiences while hiking and camping in the state’s wild spaces.

Lane’s work shines in moments that it includes the evidence of sketches and process, letting the hand-marks of the artist peek through the painting as drawn lines and notations, or where windows of underpainting shine up or peek through the large, graphic areas of subtle color shifts. Much like Lane’s Arcade studio itself, these visual engagements reveal not just the steps of the physical treatment of the materials, but the mental

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On Lookout, Mixed media on canvas, 40” x 30”

Cottonland, Acrylic on canvas, 30” x 48”


articulation of the artist’s decision-making and editing process. Lane’s Crowds series exemplifies this process, visually evoking an extended conversation of color and diversity, with each drawn figure holding their own tilt and treatment as they exist within the paint and paper of the suggested architectural spaces.

The joyous nature of the crowd paintings mimics Lane’s celebration of the crowds that visit her studio space and her delight in inviting them to share her conversation. “When you make in a space—when you allow the work to inhabit the space with you and you give yourself permission to inhabit the space of your work—you unlock so much,” Lane explains. “I wanted to invite the viewer to have that personal response within this space and an explorative experience.” View more of Hannah Lane’s work online at www.hannahlane.com or visit her Arcade studio and gallery space during the First Saturday Downtown Art Crawl between 6 and 9 p.m. or on weekdays by appointment. [email protected]. PH

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Crowd Series Diptych, Mixed media, 36” x 8” each



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by Martin Brady

Poster for Robert Altman’s Nashville

Nashville born and bred, J. William Myers is an award-winning artist and illustrator whose work has graced book and magazine covers, albums for musical artists ranging from James Galway to Willie Nelson, numerous high-style posters

for arts organizations, and also prestigious commissions, such as a series of historically inspired murals for the Vanderbilt University Law School.

But Myers’s impressive career has been bookended by two major media projects that have each been responsible for thrusting his hometown into the international show-biz spotlight.

Back in 1974, a much younger Myers found himself on the set of Robert Altman’s Nashville, filming in Music City. “I created the artwork used in the opening credits, the soundtrack cover, movie poster, and cover of the screenplay,” he says.

A fortuitous friendship with veteran entertainment writer Harry Haun helped Myers gain access to Altman and his extraordinary cast, observing the rigors of their twelve-hour days. “Harry was doing a freelance story,” Myers explains, “and he wanted an illustration for the movie’s twenty-four main characters, so I was there with him, sort of under the radar. It worked out well for me.”

Indeed. Altman’s film became revered as a critical masterpiece that somehow successfully matched the tense relationships of its leading characters with its somewhat peculiar sociopolitical point of view. Thus Myers’s now-famous rogue’s gallery of actors such as Lily Tomlin, Keith Carradine, Henry Gibson, Barbara Harris, and Ronee Blakley has become a special part of the movie’s lore.

Nashville TV series storyboard panel for “Telescope” music video


“The last day of the shoot I had just finished my 30-by-40-inch illustration poster, and I took this huge board over to Centennial Park,” Myers says. The late actor Bert Remsen, a regular in Altman’s films, led Myers to the director’s trailer, whereupon Altman said: “You’ve captured my movie. This is fantastic. Bring it back to the motel and we’ll talk.”

Myers was made a fair offer for the artwork and subsequent rights fees. “I still remember where every scene of that movie was shot,” the artist says fondly.

Myers taught storyboard design for ten years at Nashville’s Watkins College of Art, Design & Film, and he’s also had a career track in that specialized craft, working on films and music videos and television commercials. His first major job was Living Proof: The Life Story of Hank Williams Jr., an NBC feature starring Richard Thomas.

Fast-forward nearly forty years after the movie Nashville, when one of Myers’s former Watkins students, Kendall Bennett, happens to be the production designer for the ABC prime-time soap opera Nashville, a new show in need of a storyboarder.


“Now my students were getting me jobs,” Myers says with a grin. “But I didn’t actually get hired until after my Skype meeting with director R.J. Cutler.” Myers was later handed the pilot script for the show and storyboarded the entire first and second episodes.

“I meet with the director and cinematographer,” says Myers. “They tell me what they want, but there are a lot of things in a storyboard that are not in the script. And there are budgetary considerations that can restrict the storyboards’ ideas.”

With his teaching background and in-the-trenches experience, Myers is an articulate spokesperson for this specialty art form: “Storyboards are a series of drawings which reflect the desires of the director or illuminate the script and show the visual narrative of the scenes. They also show the positions of the actors and other elements of the composition, like cars and rooms—while also indicating the time of day, the lighting, the costumes, even the emotions of the actors, and in particular the movement of the camera.”

Nashville has been renewed for a fourth season, which means Myers will continue taking on assignments in which he plays his role visualizing the look and feel of the compelling country music drama featuring Rayna, Deacon, Juliette, Scarlett, Avery, Gunnar, and the rest of the show’s popular characters. Myers was most recently back at work doing storyboards for the eventful Season 3 finale, written and directed by show creator Callie Khouri.

The ageless and energetic Myers, now 75, is a 1962 graduate of the Harris School of Advertising Art in Nashville. Besides his TV and movie work, his client list has included Mercury Records, Encyclopedia Britannica, the Franklin Library, Simon & Schuster, commercial and video production studios, and religious publishing houses.“I have to be versatile,” he says, citing other projects such as his collaboration on graphic novels or athlete portraits for Athlon Sports Communications. “I couldn’t do just one thing and make it as a freelancer.” For more information about J. William Myers, please visit www.jwilliammyers.com.


Even her unusual silver jewelry reflects Carol Stein’s enduring love for art. Thirty-five years ago, when that passion inspired her to open the Cumberland Gallery instead of finishing a PhD in Clinical Psychology, artists and collectors gained an ally with a fabulous eye.

Whatever else you do this season, don’t miss Summer Selections, a revolving group show of gallery artists, which features limited-edition prints, paintings, works on paper, sculpture, and photographs by emerging talent and others who are already well established. Displayed on a “focus wall,” New Works will rotate every few weeks from July 11 to September 8, so make sure you plan on multiple visits.

One Passionate Decision

Cumberland Gallery • July 11 through September 28

by Jane R. Snyder

Gallery owner Carol Stein Presents a Challenging Selection of New Art

Kristina Varaksina, Purity, 2014, Archival digital print, 15” x 12”

“For this show,” Carol explained, “we’re going after imagery that is a little more controversial.” In that they have succeeded—Cumberland’s initial group includes artists who have obviously stretched their creative wings and taken flight. The contemplative women captured by Russian-born photographer Kristina Varaksina will make you ask, what could they possibly be thinking? These meditative compositions and the gentle infusion of light on her subjects may remind you of Andrew Wyeth’s interiors or the gentle atmosphere in Dutch masterpieces, especially canvases by Johannes Vermeer. Kristina’s solitary figures face dilemmas you can only guess at, but viewers will be drawn in easily. This photographer, now living in San Francisco, has earned MFA degrees on two continents, so it is no surprise that her vision is far-reaching.

Carol is enthusiastic about the “fantastical creatures” in Lori Field’s one-of-a-kind silverpoint drawings. A demanding technique originally used by medieval scribes and artists such as Dürer, da Vinci, and Raphael, these intricate drawings will change, over time, from silver to a warm sepia tone. They are bursting with images of flowers and lush vines, fish and comical baboons, fairies and strange armored beings. I Know Who You Are and I Saw What You Did fascinates because the repetitive phrase “I CANNOT SLEEP” enfolds one entire figure but is in direct contrast to the dreamlike renderings that surround this form. Carol believes that “Lori is quite remarkable—one of the best working in this medium today.” One can only speculate as to what images her vibrant imagination will conjure up next. You might think the pieces in Dan Gualdoni’s Coastal Redux series are encaustics or even photographs, but his process actually involves many layers of oil paint and glue, which he smears, scrapes, or pokes into ghostlike horizons evocative of foggy coastlines. As you look

Hydeon, Cutting the Light, Mixed media, india ink on Rives BFK paper, 13” x 10”

at his work, you can almost feel sand beneath your toes. Born in St. Louis, Dan received his BFA from Washington University and his MFA at Otis Art Institute. He taught for many years, and, as these trancelike paintings indicate, those university students were lucky Dan did so before he retired to paint full time. A recent MFA graduate from the University of Georgia, Patrick Brien “is doing phenomenally exciting work” as he explores how technology impacts and alters our daily existence. His striking

Marcus Kenney, I Ain’t Tryin’ To Be A Hater, Mixed media on canvas, 36” x 36”

Fred Stonehouse, Ash Wednesday, Acrylic on paper, 20” x 18”


paintings include representational elements interrupted by abstractions that recall glitches in computer software. Patrick’s concern about loss of privacy due to invasive computer applications and rampant social media is one we can all share. Disengaging from technology isn’t easy, but his bold canvases may tempt you to do so. In Nashville, where you can view collages by grade school children at the Frist Center and encounter public art installations

in almost every neighborhood, Carol Stein’s passionate decision to create a place where artists’ work can be seen and acquired helped make Music City a place where all types of art are embraced. When you stop by the Cumberland Gallery, make sure to thank her.

Summer Selections will be on exhibit July 11 to September 28. For more information, please visit www.cumberlandgallery.com.

Margery Amdur, Tracings #1 (detail), Silkscreen and acrylic ink on cosmetic sponges, 12” x 20”

Kristina Varaksina, Soldier, 2013, Archival Giclée print, 15” x 12” Lori Field, Headtrip, 2014, Silverpoint on paper, 16” x 12”


107 Harding Place • Tues-Sat 10-5 • 615.352.3316 [email protected] • www.yorkandfriends.com • Follow us on at Ron York Art

YORK & Friendsfine art

Nashville • Memphis

Day at the Beach, 11 x 14, Oil on canvas

BETTY WENTWORTH

Country Church, 12 x 12, Mixed media on canvas

VICKI DENABURG SHARI LACY

Aqua & White in Rust, 16 x 16, Mixed media on canvas

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We’re trying to broaden the definition of what a landscape can be,” says Dane Carder, who co-curated Land Rush,

the new group exhibit that’s running through July at the David Lusk Gallery in Nashville. While summer can be slow for galleries and a time when most shows consist of work from inventory already on hand, Carder says that he and owner David Lusk wanted to expand what was on the walls. “We wanted to give people an incentive to get here.”And that’s what they’ve done. Land Rush is a dynamic show that dilates the notion of what landscape is. From straightforward representations of the land in the paintings of Bruce Brainard and Peggy Root to the more abstract work of Kathleen Holder, Kit Reuther, and even Karla Wozniak, the exhibit features over twenty artists expounding on a theme rather than remaining anchored to it. There’s a sense, as well, that the disparity of shape, size, and mediums

that include paintings and photography, sculpture and bronze work reflects the variance of land itself. And there is work from Grandma Moses, who didn’t begin painting until her seventies. Her personal story and the rural paintings she produced in those final years are reason enough to make it out to the opening reception on July 11. Local artist Rob Matthews, who draws primarily with graphite, explains his approach to landscape saying, “It freezes a patch of land in time.” Matthews recently returned to Nashville after fourteen years in Philadelphia and says, “It’s an honor to be included in this exhibition. The Lusk has been a great addition to Nashville.” In addition to art, Matthews terms a landscape “a historical register,” something that documents growth and decay. “Everything represented in a drawing is in process,” he says. “Trees are either growing or past their peak and on their way out; rocks are being gradually smoothed over by water.”

LAND RUSH IS ONby Luke Wiget

David Lusk Gallery • July 7 through 25

“

The GreaTBruce Brainard, Twilight, 2015, Oil on canvas, 18” x 24”


Moss Garden by Nora Sturges perhaps most completely encapsulates the exhibit as it calls attention to the relationship between landscape, art, and observer. The landscape in the painting has itself become a canvas as the beginnings of words have formed in the moss. Sturges can’t remember exactly when she started working in such a small form. “It’s been ages,” she says and adds, “I think of my paintings as head-sized—an extension of an interior vision.” That translation, from interior to exterior, perhaps explains why there’s something in all of her obsessively detailed paintings that points to the absurd—whether it’s large spaces held to a mere 8” x 11” or how Sturges manages, by use of proximity, such odd combinations. A steak, an egg, and a chicken leg in Floats, for example, are mounted on stages next to some junk set against a horizon. Or Mounds. What’s under there? Why are they scattered in that field?

So much of this show is about reflection. Tennessee native Maysey Craddock’s body of work in particular speaks to the relationship between nature and us, as well as nature and itself. There’s a Rorschach-Test-like balance, a mirror image of landscape on landscape. Sometimes it’s two trees mirror-imaged directly below. With others it ’s branches hatched in the foreground of other trees. Craddock typically combines drawing and gouache paints on sewn found paper and admits that, at least in terms of materials, her work in Land Rush is “a bit of a departure.” After the Rains is a photograph printed onto three large panels of glass that, as they lean toward the wall, cast shadows of the image, “staggering the visual experience and creating a sense of movement, fragmentation, and perhaps,” she says, “insinuating

the always-present forces of decay and regeneration in the landscape.”She posits that in addition to introspection and the sublime, her work speaks to the idea that “perhaps we have a need for nature/landscape to give us a spiritual jolt—a reality check—hence the idea of reflection.” This need, this reciprocal relationship goes both directions. It seems as if a landscape is only a landscape when it is observed. The same could likely be said about art.

Land Rush will be on exhibit at David Lusk Gallery July 7 through 25. The gallery is located at 516 Hagan St. and hours are Tuesday–Saturday, 11 a.m. to 5 p.m. For more information please visit www.davidluskgallery.com/nashville.

Paul Strand, Crocus and Primroses, Orgeval, 1957, Silver gelatin print, 10” x 8”Jeane Umbreit, Mystical Highway #19, 2012, Pigment print, 23” x 34”

Nora Sturges, Mounds, 2013, Oil on MDF, 7” x 9”

Nora Sturges, Moss Garden (detail), 2014, Oil on MDF, 9” x 10”


by Adam Wolnski

Postcards! The excitement of receiving one from a friend or family member is largely forgotten, but there was a time when they were the favorite form of communication. Small as they were, receiving a “Wish you were here,” a regional

picture, or a beautiful design had an enormous impact. The Frist is bringing that lost art back to life with its new Wiener Werkstätte exhibit, featuring more than 300 antique postcards designed by a special group of Viennese artists.Wiener Werkstätte, German for Vienna Workshops, was a collection of artists in Vienna in the early 1900s that were determined to keep art and quality alive during the mass production of the industrial revolution. Katie Delmez is the in-house curator of the Wiener Werkstätte exhibition. “They created this group in 1903, the Wiener Werkstätte, as a way to elevate what we think of as the decorative arts and the craftsperson,” Delmez said. “So having objects that were made largely by hand and were designed to be made in very limited editions, all of that was a reaction to the mass production of the industrial revolution and the cheap, low-quality objects that were being produced in that manner.”Paris may come to mind as the center of the art world in the early 1900s, and while Delmez said that Paris was a nucleus, she explained how Vienna was also a very lively and thriving artistic community at the time. A strong middle and upper class was able to support the artists, paired with good schools to help cultivate and sustain the arts. Wiener Werkstätte is a testament to this culture; the workshop itself was a work of art. From the moment you walked in the door, everything was crafted in pursuit of Gesamtkunstwerk. “Gesamtkunstwerk is a fancy, long word for ‘total work of art’, and that really expresses their whole ideology: that every part of a space should be well designed,” Delmez said. “From the chairs and the tables to the keys, and then, of course, postcards.”

Postcards of the Wiener Werkstätte

The Frist Center for the Visual Arts • October 12

Wish You Were Here

Moriz Jung, Tête à Tête on the 968th Floor of a Skyscraper, 1911


Wiener Werkstätte was operating in the age of the postcard, when the most efficient and timely way to stay in touch was through widely available postcards. With Gesamtkunstwerk in mind, Wiener Werkstätte wanted staying in touch to be an artistic experience.“On the other side of this more-functional purpose of the postcards, they also were popular collectors’ items,” Delmez said. “It is thought, I believe, that more Wiener Werkstätte postcards were collected than actually sent. People recognized at that time that this was an opportunity to own a little miniature work of art.”Many of the beautifully crafted works of Wiener Werkstätte were auctioned off at the split of the Austro-Hungarian Empire after World War I, and many of them have since disappeared. But because of the intrinsic value of the postcards, nearly the entire collection has survived. Mela Koehler is a name to watch for at the exhibit. Koehler was an artist that created

more than 200 of the postcards, many of them featuring designs and fabrics from the Wiener Werkstätte fashion and textile department.“They were their own works of art on the one hand, but they also advertised some of the other wares that the Wiener Werkstätte was carrying,” Delmez said. “Her designs are just really so charming, and they really are evocative, in some ways, of a broader aesthetic at the time. You see some of Gustav Klimt’s love of decoration and pattern and these neutral backgrounds and a real elegance and refinement to her work.” Koehler is in company with other, famous names like Egon Schiele, Oskar Kokoschka, and co-founder of Wiener Werkstätte Josef Hoffmann.

See the collection of more than 300 of these postcards now on display at the Frist Center for the Visual Arts through October 12. For more information visit www.fristcenter.org.

Maria Likarz, Fashion, Postcard, 1911, Chromolithograph

Moriz Jung, Viennese Café: The Man of Letters, 1911, ChromolithographJosef Divéky, Mr. Jumping-Jack, 1911, Chromolithograph

by Gracie Pratt

Marleen De Waele-De Bock is many things: she is an artist, a teacher, a fashion designer, a seamstress, and an interior designer. She has what she calls “a good eye

[and] good taste,” characteristics that inform her creative senses and are beautifully demonstrated in her recent work. De Waele-De Bock has no trouble defining the stages of her art. First, there was the early work she did while in art school in Belgium, the country where she grew up. Then, when she moved to South Africa, she started a fashion line and continued painting, focusing on the colorful marketplaces and traditional African sculptures. After yet another move over a decade ago, this time to the United States, the subject of her work transitioned again. “I’m not in Africa,” she explained. “I can’t do that anymore.” De Waele-De Bock’s newest work offers a fresh, calm quality and an insightful look into where she is today, both in terms of location and state of mind. Her imaginative landscapes reflect a new set of ideals and express the desire to honor the small glimpses of beauty and life peeking through even in unlikely circumstances.

the Imaginative Landscapes of

Marleen De Waele-De Bock

Summer feeling, Acrylic on canvas, 48” x 36” Daisy’s, Acrylic on canvas, 36” x 48”

Rain forest, Acrylic on canvas, 48” x 60”

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The inspiration to capture nature in her paintings surprised De Waele-De Bock, and yet now she acknowledges that she finds inspiration everywhere. Recently, when on a trip to Cincinnati, De Waele-De Bock recalls, she noticed a small bit of grass growing between two slabs of concrete. The light fell on the grass and cast a distinct shadow. “That might be my next piece,” she said. Though the small things get her attention—“a movement, a curve, the music of it”—her paintings are large and imaginative in scope and only vaguely resemble her original inspiration. As she says, “It starts in reality and ends in fantasy.”De Waele-De Bock’s paintings are crafted and textured with skillful techniques and a keen eye. The first layer is done in gel, a flexible paint that allows her to create an abstract background before she incorporates a more distinct color palette. When she has created the base and some initial outlines of shapes with acrylic paint, she begins

the scraping process. To “scrape,” she uses a small craft metal to make sometimes-wide, sometimes-intricate cuts and dashes. Then she paints another layer. Then more scraping. Then another layer of paint. The process is long and requires a dedicated hand, but the result is a masterpiece. Her finished paintings have a unique texture and depth, almost a three-dimensional component. De Waele-De Bock’s paintings are highly esteemed, and she has been featured in exhibitions in Belgium, South Africa, and the United States. Her work is sought after by curators worldwide and is currently featured at LeQuire Gallery in Nashville, Reinike Gallery in Atlanta, Ann Tower Gallery in Lexington, Gallery Veronique in Cincinnati, and the gallery she opened herself after moving to Nashville, the BelArt Studio & Gallery in the historic Arcade, downtown. For more information about Marleen De Waele-De Bock and her work, visit her website www.marleensartwork.com.

Pond 2, Acrylic on canvas, 60” x 48”


2160 Bandywood dr • nashville, Tn 37215 615-298-1404 • www.ward-poTTs.com

find us on faceBook

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Portrait Paint ings &

Works on Tul leVisit www.meghanvaziri.com or call (901) 246-4250 for portrait commissions or other inquiries.

Untitled II, 2014, Wool, cotton and silk thread on tulle fabric, 32” x 31”

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(615) 646-2422 • WWW.NATCHEZSTONE.COM

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Hunger

Poet’s CornerFEATURING THE YOUNG POETS OF SOUTHERN WORD

He told me that God instructed him to do this,To mark stranger as brethren.His greatest memories made up the teeth in his smile.We spoke like catching upAt the family reunion I never had.He told the cashier, “Don’t listen to her.Do as I say. I’m paying for her meal.”He could hear the loud whispers in my stomach.We parted ways at the corner of 47th and Charlotte.He flagged down cars to buy The Contributor,Waving the paper in hands that once carried hungerOn its fingertips.

Alexis Woodard is a graduate of Lead Academy who just completed her freshman year at Southern

Illinois University. She was featured in Nashville Arts Magazine in January 2012 as part of the Southern

Word article. Learn more at www.southernword.org.

by Alexis Woodard

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by Adam Wolnski | Photography Anthony Scarlati

You might know Meghan Linsey as the runner-up in the popular TV singing competition The Voice, as the winner of another singing competition Can You Duet?, from the group Steel Magnolia,

Meghan Linsey

The Unmistakable Voice of


or maybe this is your first time hearing about her. Regardless of your previous knowledge of Linsey, when you hear her powerful voice dripping with soul, you may cry, you may wreck your car or drop your dinner, but you won’t forget her name.

Ron Browning, Linsey’s vocal coach since she started on The Voice, didn’t soon forget her. “I really feel that she could very easily be the next big and important singer to come along,” Browning said. “I mean, seriously, this little gal is made of the same legendary fabric that singers like Aretha, Whitney Houston, Etta James, Bonnie Raitt—all those gals are made of.”

Browning works with names like Alison Krauss, Wynonna and Naomi Judd, Patti LaBelle, Allen Stone, RaeLynn, Lennon and Maisy, and more that he couldn’t mention because of confidential ity agreements. So when he says that she is a “master of style that makes you stop and listen,” it packs a punch.

“He changed my l i fe, ” Linsey sa id of Browning. “I learned so much. He really taught me to protect my voice, my instrument, ’cause that’s so important . . . I was hitting notes I didn’t know I could hit; he really made a difference in the way I sing.”

Linsey isn’t new to the spotlight, but she knows from experience that the fame and stardom can slip away just as quickly as it comes. “It’s more about just living in the present,” Linsey said. “Obviously you have to plan for the future, but I try to live in the moment and enjoy each moment, and really be present. I learned a lot watching Pharrell on [The Voice], actually, because you can tell that’s just how he lives his whole life.”

The present for Linsey is currently moving toward soul . . . rather, back to soul. The New Orleans native grew up in a legendary city for soul music, but felt a strong draw toward country when she moved to Nashville. But after the breakup of Steel Magnolia, Linsey felt like she was fighting her natural style to continue in the very established country-music mold.

“For me I just wanted to make the kind of record that I wanted to make,” Linsey said. “It was easier to go back to my roots and do something more soulful, and I think in pop music it’s almost encouraged to push the envelope, whereas if you wanna get played on country radio it’s almost like you have to fit within these confines, you know?” The Voice was a great platform for Linsey to

make the transition for her existing fans and to make plenty of new ones. Tune in to PBS on July 4 to watch Meghan

Linsey perform with the National Symphony in Washington, DC, for the 4th of July show, A Capitol Fourth. For more information visit www.meghanlinsey.com

A L L T H E B E S T I N F I N E J E W E L R Y

5101 Harding Road Nashvi l le , Tennessee 37205 615.353.1823

Summer SaleI see the

July 16, 17, and 18

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Gardening, Not Architecture’s lead singer Sarah Saturday had big plans for their third studio album. What began as

a search for a director to film a long-form video for the album, titled Fossils, became a three-part anthology film with three directors and a producer. However, the expanse of the project doesn’t end there. Fossils and its creators have established a yearlong collaborative effort that attempts to span Nashville’s film, music, visual arts, and dance communities by combining work from each. Dycee Wildman, director of part three of the film, describes how this transition and growth came to fruition: “For me the idea for part three sprang from the music, and then that required the paintings. It was the desire for the three pieces to feel connected—from the same universe—that led to the dancing. It was like a lily-pad effect, just jumping from one to the next logical lily pad.” So how does such a vast project with so many different visions come together?For director Jonathan Rogers, establishing this cohesiveness throughout the project was one of the b igges t cha l l enges . “The slippery slope for this project was allowing the three of us directors to create something unique and personal for our own sections of the album, while at the same time incorporating themes, ideas, and art to create a cohesive film. The three of us shared various props like the paintings, and we used elements of dance choreographed by Rachel Tolbert for each section. We cast each film to create a particular arch throughout the piece, which in turn creates a sort of cohesiveness. And of course we had Sarah’s voice, thoughts, and music to pull together all the different stories we each tell.” And there are many stories told throughout the project, but all of these come together to create an overarching theme.“Fossils is about so many things; it’s about love, loss, hope, self-growth, life. But ultimately, it is a unique tale of how we as humans often stumble, yet always find our way,”

says producer Jennifer Bonior. For Sarah Saturday, the importance of Fossils is found within its namesake: “I’ve been writing these songs over the course of the past two years, which have been two of the most evolutionary years in my life. I’ve had to do a lot of digging, you could say. So the ideas of fossilization and discovery, the way we grow and change and keep searching for the deeper meaning or the true self, they helped us in discussing the overall storyline for the film—these glimpses back at moments that have become fossilized in our own minds and that process of self-discovery.”Not only does Fossils work to span multiple art communities in Nashville, but also to create unique viewing and listening events that each serve as their own insulated art experiences. These events have so far included an online listen to the album paired with dance performances by the Numinous Flux troupe, and the Fossils Gala, which was held at the Rymer Gallery. The gala displayed visual art and sets from the film while viewers listened to the album, creating an immersive experience and bringing viewers into the world of Fossils.

Look for the Fossils album on July 10. See the exhibit at The Rymer Gallery through July 28. To learn more about the project and upcoming f i lm screenings, vis i t www.fossilsfilm.com.

F O S S I L Sby Keeley Harper

Indie-rock band Gardening, Not Architecture presents a unique, across-the-arts collaboration to produce a film, an album, and an art exhibit

Lisa Bachman, Heavy, 2015, Acrylic, 20” x 16”’

“The Botanist,” played by Jordan Stephens on the set of “Part Three: And What Remains” by director Dycee Wildman

Gardening, Not Architecture on the set of “Part One: A Delicate Decay” by director Motke Dapp

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I f there’s one thing that Nashville loves more than anything else, it’s Nashville. Chuck Beard channeled the energy of the city into Based On: Words, Notes, and Art from Nashville, a guided collaboration from the eclectic community of Nashville artists.

“It’s like everybody’s learning from each other,” Beard said. “It enriches their story whether you’re homegrown and meeting someone that came here because they wanted to see Nashville, or vice versa.” Naturally, music is involved in the project. Music City musicians were asked to write original songs “loosely inspired” by the stories. The result is a collection of songs and a collection of stories. Both are able to stand on their own, but by bringing them together, Based On dives deep into the belly of Nashville creativity. “Every art inspires each other,” Beard said. “You go to the art crawl then somebody goes home and writes a song that night or writes a story or something.” The only rules the artists faced were length and that Nashville had to show up somewhere in the story’s theme or scene. The result is a collection as diverse as the city itself, with an underlying current that ties it all together. “It’s pushing each other to do something not only better but also something outside of the box that you might not normally do,” Beard said. “It’s keeping one foot inside your comfort zone and then stepping outside and doing something special.”Chuck Beard is a freelance writer, editor, and author and runs the all-local Nashville bookstore East Side Story. For more information on East Side Story and to get a copy of Based On, visit www.eastsidestorytn.com.

Bringing it All together

Absolute AuctionComplete framing inventory of Lyzon Art Gallery of Nashville

moulding/framing equipment/tools & more!

411 W. Thompson Lane • Nashville, TN 37211

Saturday, auguSt 8, 201510 am cSt (Selling onSite)

preview at 9 am cSt day of Sale

Special friday night viewingauguSt 7, 2015, 5 pm–7 pm cSt

Join Music City Auction as we sell at ABSOLUTE AUCTION the complete inventory of Lyzon Art Gallery of Nashville, TN. Since 1948, this iconic business has provided framing and art services to the Southeast and beyond. We are selling 1000s of feet of picture moulding and frames, along with framing equipment, tools, office furniture & more! All items will be sold with NO RESERVE! This is a “must attend” event for any person or business who values the art of framing.

For complete details and information, visit our website www.musiccityauction.net or call 615.335.6261

10% Net Buyer’s Premium • David Allen, Auctioneer, #5600 • Music City Auction, #4976 All announcements made Day of Sale take precedent over any previous written, oral, or electronic announcements.

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Chuck Beard Curates Across the Arts


www.mclemoreauction.com10% Buyer’sPremium470 Woodycrest Avenue, Nashville, TN n 615-517-7675 n

56 lots of fine art, engravings, etchings and high grade coins from a single collector will sell to the highest bidders via absolute online auction.

Closes July 8 n Beginning at 10:00 AM CT

Art, Musical Instruments & High Grade Coins from a Residence in Middle TN

ABSOLUTE ONLINE AUCTION

Summer Workshop OpportunitiesSTILL AVAILABLE!

Blacksmithing • Clay • Fibers • Glass • Metals • Wood • Other Media

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

tntech.edu/craftcenter(931) 372-3051 or (615) 597-6801

Facebook: @Appalachian Center for Craft • Twitter & Instagram: @TTUCraftCenterIJL


Christy Reed Tinius615-504-2833 • [email protected]

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pathologically hopeful bloggerLaura “Friday” BouLay


What characteristic do you like least in people?People who don’t put all their cards on the table. I don’t have time for that.

Why Nashville?Nashville has a strong heartbeat right now. I like that a lot.

What’s your mantra?When in doubt, bake.

What talent would you most like to have?I would love to be able to sing.

What is your greatest regret?Harsh words. Those words that come out before

the brain connects.

Who are your heroes?Jane Goodall, Francis Mayes, amazing women.

How would you like to be remembered? As someone that made you feel valued, respected, and welcomed.

What music do you like to listen to?I’m stuck on James Taylor right

now.

What would you have done differently?I would go back to school and study comparat ive religion. What question would you ask me? I’d ask you what is the most important thing in your life?

What is your greatest extravagance?

I own a horse, Twilight Tui.

What film have you seen recently?

None, but I’m looking forward to the next Bond movie. Good guys and bad

guys, you can’t go wrong.

Q A&What characteristics do you most like about yourself?I’m resilient. I can bounce back. I can have a two minute pity party then I move on.

And what do you like least?I’d like my right knee to be fifteen years old again. I can also be incredibly judgmental and that’s not very pretty.

What was the last book you read?I’m in the middle of The Goldf inch, and I just finished re-reading A River Runs Through It.

Who would you most like to meet?Dolly Par ton. She a lways brings her “A” game. I’d enjoy meeting Bill Clinton to talk about chess.

What are you going to be when you grow up?Happier, hopefully much happier. What have the last five years been like?A bit like a hysterical version of hell. Divorce and all that junk.

Who is your favorite artist?I love Lisa Boardwine; she’s doing great work with oils and cold wax. I’m a sucker for a good landscape. I like Jason Saunders and Charles Brindley.

What is your most treasured possession?Only if I can plead the fifth on how I got it, I own a pre Columbian Chimu monkey god pot. The monkey god and I cannot be separated.

by Paul Polycarpou Photograph by John Guider


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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.PH

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Film Review

A scene from the documentary Web Junkie, directed by Shosh Shlam and Hilla Medalia

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NPT • July 13

Web Junkie Explores Internet Addiction in China

by Justin Stokes

Giving its viewership another reason to beat the summer heat and stay indoors, NPT’s broadcast of niche content from the PBS global documentary curator POV brings

tales from around the world right to your living room. Among the lineup, one movie stands out from the rest of the month’s schedule. Boasting a topic as bizarre as it sounds, Web Junkie christens China as the first country facing a scaled addiction to the Internet. Visiting a Beijing rehabilitation center, the movie goes into the halls of a facility housing teenagers as they are detoxed from video games and other online media. Mentally distant from home and school, the escapism-turned-crutch of digital entertainment is widely blamed for sick behavior that has spawned delinquency. Dissecting the lives of several young men, Web Junkie packs so much into less than an hour—a new way of life, a new problem, and unorthodox solutions against the backdrop of a mystery of social guilt.With respect to the parents, patients, and filmmakers, the documentary is interesting because you don’t fully trust it. The film itself may be accidental propaganda, as it limits its continuum to a military hospital whose patients claim to be literally kidnapped. What are the facts here? What’s being withheld and distorted from our view? And is comparison of Internet use to heroin fair? Or is the Internet a scapegoat for greater problems found in China?The inquisition against the grain of the film’s objectivity makes it an analytical pleasure to decode. The real enjoyment comes from the provoked discussions on technological reliance that are bound to follow the film’s viewing.Web Junkie screens July 13 at 9 p.m. as part of POV’s latest season. Be sure to visit www.npt.org for full details about their schedule, including their online film festival.


[email protected]

Glenn Merchant

GlennMerchant_0715.indd 1 6/12/15 10:35 AM

The Artist/Gallery Relationship

The relationship between a visual artist and an art gallery is something like a love affair. At the beginning stage, both

parties are in love—maybe not with each other, but with the prospect of realizing untold wealth when the art-collecting public finally has the

chance to appreciate the beauty, the uniqueness, the message, and the value of the artist’s work. Like a love affair though, the beginning stage can wear off very quickly with the daily intervention of the mundane details and hard work it takes to make their dreams a reality. Often communication issues develop. Sometimes “he just doesn’t understand me” leads to financial quarrels and mutual distrust. Like a divorce, a high percentage of artist/gallery relationships end bitterly. The way to mitigate that risk is with a written agreement. The contract between an artist and gallery is very much like a prenuptial agreement. It is there to settle potential disputes in advance when the parties are presumably more rational and less emotional. Like a prenuptial agreement, it should be clear and concise and cover all of the issues that might typically lead to conflict when the relationship is over. Most of these issues tend to center around money, custody, or both. For example, the artist/gallery contract should spell out how the relationship is terminated, when and how the works held by the gallery are to be returned, and who pays transportation costs. There should also be a final accounting that details who gets paid and how much and, as is sadly often the issue, who gets paid first when there is not enough money to satisfy everyone. Memories fade, and these rights and obligations should be put in writing. Typical contract provisions: where notices should be sent and how and where any disputes are to be settled should be included. Leaving these out of the contract only makes it more difficult to achieve anything close to a mutually satisfactory resolution and makes it more difficult to dissolve the relationship. Even if the gallery and the artist start out with complete trust in one another, it only makes good business sense to put the deal in writing. For more about the Arts and Business Council Nashville visit www.abcnashville.org.

by Mary Neil Price, Attorney at McKenzie Laird and volunteer for ABC’s Volunteer Lawyers & Professionals for the Arts

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by Tony Youngblood

Tony Youngblood is the founder of the Circuit Benders’ Ball, a biennial celebration of free culture, art, music, and the creative spirit. He created the open-source, multi-artist, scalable “art tunnel” concept called M.A.P.s (ModularArtPods.com) and runs the experimental improv music blog and podcast www.TheatreIntangible.com.

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Art in FormationStirrings from the Nashville Underground

Marcel Duchamp, L.H.O.O.Q., 1919, Post card reproduction with added moustache, goatee, and title in pencil, 8” x 5”

In his book Everything Is Obvious: *Once You Know the Answer, sociologist Duncan J. Watts asks what makes the Mona Lisa the world’s most famous painting. Experts may focus on

the brushstrokes, the shading, that mysterious smile—in other words, the painting’s inherent, absolute greatness. But Watts asserts that a series of random events brought the painting to the fore. If history took a few different turns, the Mona Lisa might be just another page in The Works of Da Vinci.This is a tough pill to swallow for those who believe in objective measures of aesthetics. Surely the Mona Lisa, Beethoven’s 5th, and Hamlet have intrinsic qualities that would have propelled them to prominence in any universe. But this is essentialist thinking, or, as psychologist Bruce M. Hood ca l l s i t in his book of the same name, SuperSense. Hood contends that humans are hardwired to seek out an object’s essence, that ineffable quality which, for example, makes Starry Night worth more than a perfect replica.F o r a s l o n g a s a r t has existed, critics have been using essentialist arguments to rationalize their own tastes. In his book What Good Are the Arts? John Carey argues that value is not intrinsic in objects but ascribed to them by those doing the valuing. He writes, “Taste is so bound up with self-esteem, particularly among devotees of high art, that a sense of superiority to those with ‘lower’ tastes is almost impossible to relinquish without risk of identity-crisis.” Carey also criticizes neuroaesthetics, a burgeoning field that attempts to explain responses to art in neurological terms—a fascinating science up to the point it posits absolute aesthetic standards, essentialism disguised as science.Experiencing art brings me tremendous pleasure, but I don’t need the universe to back me up. I like art that I like. That may be a circular argument, but it’s also probably the most accurate.Further reading: What Good Are the Arts? by John Carey, Everything is Obvious by Duncan J. Watts, SuperSense by Bruce M. Hood, and The Tell-Tale Brain by V. S. Ramachandran.


by Van Maravalli, Public Art Project Coordinator, Metro Nashville Arts Commission

In 2013, Metro Arts commissioned internationally known, self-taught artist Thornton Dial to create a site-specific public artwork for the revitalized Edmondson Park. Named for Nashville artist William Edmondson, the park

is located on Charlotte Avenue, between 16th and 17th Avenue, North. Dial’s design for Edmondson Park, Road to the Mountaintop, is composed of steel, sheet metal, and automotive paint. The industrial materials create a rich surface texture and give the sculpture a weathered appearance. After installing the artwork in July of 2014 the artist reflected on the inspiration behind Road to the Mountaintop:“I make my art for people to learn from, but I only have made one piece to go outdoors before this one. I loved the idea that people would be driving down the street and looking at my art outdoors. More people can see it that way and maybe understand what it is that artists like me think and are trying to tell people. The piece is about Martin Luther King and Civil Rights in some ways, but it is also about the struggles that every person faces if they’re a woman or a man, a black person or a white person. We all got to struggle to get up. That’s our job, our duty.”The park and the three public artworks sited there honor 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 will live on for many generations to come.For more information about this and other public art projects, please visit publicart.nashville.gov or on mobile devices www.explorenashvilleart.com.

Thornton Dial’s Road to the MountaintopPublic Art

Thornton Dial in front of Road to the Mountaintop at Edmondson Park

1912 BROADWAY • (615)321.3141www.localcolornashville.com

ERIC BUECHEL

Urban Picnic, Oil on Canvas, 27” x 44”

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So I’m sitting in my office maybe six years ago when I get a call or an email from Greg Greene wanting to know if I would meet with him and his creative partner Wes Driver

to talk about Writer’s Stage perhaps jumping in on a new musical they were writing. Addison Gore and I had just done 21 Baker Road with Jamey Green and crew, and there was plenty of possibility in the air that this was something that could be done—that creative friends could take an idea and work hard and will it into a full-fledged piece of musical theatre. Sure, it had been accomplished by well-connected, well-funded Rep types but hardly ever by a mere mortal in Music City.

“Wes and Greg,” I said, “no one else will love your work like you do. If you want to let this ten-thousand-pound gorilla out of its cage, you have the key. Set up your own theatre company and do it yourself.”

Theatre

BlackBird, Flying into the

MYTHHillsboro High School Theatre • July 17 to 26

Fast-forward six years, and I’m happy to announce that after four critically acclaimed seasons, Blackbird Theater will produce its magnum opus, the story of how and why the gods were cast from Mt. Olympus, their new musical Myth, July 17–26 at the Hillsboro High School Theatre in Green Hills. It’s an ambitious, full-scale musical set in the world of Greek mythos, written by Wes Driver and Greg Greene, with music by Michael Slayton, Chair of Composition at Vanderbilt’s Blair School of Music. What’s it all about, guys?

by Jim Reyland | Photography by Eric Winton


JJ Rodgers as Hera

David Arnold as Zeus with JJ Rodgers as Hera

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

“The princess of Athens and the prince of Thebes are to be married,” explains Blackbird artistic director Wes Driver. “But an oracle portends doom. The mortals challenge the Fates. The gods intervene. And what follows is an impassioned tale of surprising romances, unlikely heroes, and, of course, the incomparable gods in all of their majestic, decadent glory.”Blackbird managing director Greg Greene notes that “since 2010, Blackbird Theater has earned a reputation for theatrically and intellectually adventurous works in collaboration with some of the region’s top theatre talent, presenting rarely produced plays and musicals by some of the stage’s greatest writers and creating bold, original works.”

“This is undoubtedly our most ambitious production yet,” says Driver. “It’s an epic musical that explores the wondrous world

of Greek mythology while winding between outrageous comedy and harrowing tragedy. Our hope is that the production not only entertains and ultimately inspires, but proves that original works of this scale can be successfully developed with the talented collaborators, actors, and theatre artists we have right here in Nashville.”

In addition to producing great theatre, these guys are prolific too. Driver and Greene’s critically acclaimed comedic thriller Twilight of the Gods—which has been staged twice in the Memphis area since its 2010 Nashville premiere—receives its fourth and fifth productions this spring. It will be presented by The King’s Players, April 17–19, at King’s College in New York City and by Four and Twenty Blackbirds Productions April 23–25 in Jefferson City, Missouri.

Congratulations, Blackbird Theater, for creating a new page in the lexicon of American Musical Theatre. Myth appears at the Hillsboro High School Theatre in Green Hills, July 17 to 26. Tickets for this limited engagement of Myth are on sale at www.blackbirdtheater.com. This production is recommended for ages 13 and above.


Corinne Bupp as Acacia and Brad Brown as Kakisto

Brad Brown as Kakisto, David Arnold as Zeus, and JJ Rodgers as Hera

The Bookmark

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

A Monthly Look at Hot Books and Cool Reads

Circling the Sun: A Novel PAULA MCLAIN

This is the novel everyone will be reading this summer. Lush settings, memorable people, and themes of adventure, romance, friendship, individuality, and defiance make this one that will appeal to a wide range of readers. It ’s a fictionalized version of the life of Beryl Markham, the British-born Kenyan aviator, horse trainer, and author of West with the Night. If you loved Out of Africa—or if you were a fan of McLain’s last book, The Paris Wife—this is for you. Meet the author at the Salon@615 event on August 4.

A Full Life: Reflections at NinetyJIMMY CARTER

Here’s a must-read: Following up on his wonderful An Hour Before Daylight, Jimmy Carter gives us A Full Life: Reflections at Ninety. The 39th President, Nobel Peace Prize winner, and international humanitarian reflects on his life with eloquent candor here. He describes the highs and lows of his military career, the influence his family and upbringing in rural Georgia had on the man he became, his marriage to Rosalynn, and the path his career has taken since his presidency—plus opinions on current events and world leaders. Meet President Carter at the Salon@615 event on July 23.

The Festival of InsignificanceMILAN KUNDERA

Publisher’s Weekly writes, “This novel is a fitting bookend to Kundera’s long career intersecting the absurd and the moral,” and we’d have to agree. That’s Kundera’s sweet spot. Fans of his writing will snap up this highly anticipated new novel by the author who brought us classics such as The Unbearable Lightness of Being and so many more. You have to read it to “get it” (this is one that sort of defies description), so please: read it.

Go Set a WatchmanHARPER LEE

It’s the book no one ever expected to see . . . until now. Readers everywhere are still reeling from the news that after decades of insisting she’d never publish another book, Harper Lee has agreed to release Go Set a Watchman. The “new” novel centers around familiar characters, including Scout Finch, set years after the events of To Kill a Mockingbird. Some are calling it a sequel, although Lee supposedly wrote it years before Mockingbird. We’re as curious as you are.

Call 615.383.0278 or email [email protected]

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Magazine delivered to your door each month for only $45 per year.

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Critical i

A new exhibition by the Artists in Residence at the Downtown Presbyterian Church opened during June’s First Saturday

Art Crawl at the group’s Browsing Room gallery space in the church. The exhibition is notable for the variety of work on display, including heartfelt community portrait photography by Cassie Ponder, painting by Sarah Shearer, and intricate, abstract ink drawings by Anna Marchetti.

Cary Gibson’s untitled mixed-media collage seems to speak to religious iconography and features a figure with a warm orange halo. The lack of a title and the abstracted subject make this piece a hard one to glean much more insight on, but perhaps that’s actually the point. Of course art studios

are laboratories for chance-taking and experimenting, and Gibson’s contribution to this display may just be a document of her ongoing practice, a place-keeper of her current interests, and perhaps a sign that points in the direction of new projects to come.

Hans Schmitt-Matzen has recently shown his neon sculptures and laser-cut steel designs at Zeitgeist. Algorithm is a pair of flat, steel wall sculptures that have been cut into maze-like designs recalling the fractal forms we find in nature. One sculpture is painted dark gray, and the other is white. The pieces could actually fit inside one another, an elegant statement about holistic systems that also points to the figure-ground relationship that often contextualizes the subject of a given work of art.

Richard Feaster’s Traveler is a multimedia painting featuring a ghostly black, white,

and gray cascade of dripping textured shapes. Feaster has done more formal studies of drips, but I find his organic, imprecise panels like this one to be the most powerful and attractive.

Variety is an inoculation against boredom, but it can be distracting in an exhibition. In this show, it creates an energized space that highlights a vibrant community.

The Browsing Room Gallery is located at the Downtown Presbyterian Church, Nashville, 154 5th Avenue N., at the corner of Church Street and 5th Avenue. The 2015 Group Show of recent and new works by the Artists-in-Residence at Downtown Presbyterian will remain on view through July 26. The gallery is open to the public 9 a.m. to 3 p.m., Monday through Friday. Guests should go to the church office on 5th Avenue N. for visitor access. For more information please visit www.dpchurch.com.

by Joe Nolan

Artists-in-Residence at The Browsing Room

Richard Feaster, Traveler, 2014, Mixed media on panel, 68” x 29”

Cary Gibson, Untitled, 2015, Mixed media encaustic collage on panel, 24” x 24”

Downtown Presbyterian Church • Through July 26


ARTSMARTA MONTHLY GUIDE TO

ART EDUCATION

STATE OF THE ARTSby Jennifer Cole, Executive Director, Metro Nashville Arts Commission

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IP In East Nashville, you know when August has arrived. The Tomato

Art Festival takes over our streets, our conversations, our dreams. We bask in the glor y of that

misunderstood fruit—drinking it, eating it, buying themed art, even dressing our dogs like a Better Boy. Madison and Old Hickory have their Bluegrass Festival, Jefferson Street its Jazz Festival, and Hillsboro Village its Dragon Parade. Neighborhoods are where we live, where we meet friends, go to school, get our dry cleaning, catch the bus, and grab an empanada or a cup of coffee. But neighborhoods also are places that reinforce and celebrate the rituals of culture, place, and people. At Metro Arts we believe that artists are a critical part of community life and that they are uniquely positioned to interpret traditions new and old and enliven neighborhood gathering spaces through their creative practice. We know that Nashville is changing. Increasingly neighborhoods are ground zero for how we experience differences like income, religion, gender, race, and language. However, neighborhoods are also ground zero where we create conversations and build connections and knit new narratives around shared loves like Jazz and Tomatoes and Dragons. That is why we launched THRIVE, a fund designed to fuel artist- and neighborhood-driven cultural projects. Our goal is quite simple, to leverage art as a tool to illuminate the places and people that make Nashville home. Since October, through funding made possible by the Metro Council, Metro Arts has invested $40,000 in 12 projects that span 31 neighborhood locations and involve more than 70 local artists. Each project is a sort of chapter in a larger novel—using music, film, visual art, and theatre to weave a narrative of place. From MYCanvas, a series of art-making projects in Buena Vista, to

the Nashville Lantern Festival that brought students and community together at West End Middle School to explore Chinese heritage, to Insights Salons that connected residents through storytelling, visual art, and traditional music, to Hispanic, African, Persian, and Kurdish communities of Woodbine. Through THRIVE investments, we’ve fueled a folk song on gentrification, an art therapy program for individuals in recovery at Meharry, two murals, and the city’s first art crawl featuring the work of homeless and formerly homeless artists. In each project we’ve directly invested in artists, by funding artist fees and project materials.

In each project residents have come together across age and class and ethnicity to create or celebrate the arts. Through the projects we’ve invested in artists, but, most important, we’ve invested in Nashville. Each project showcases what makes us the same, but, most important, what makes us different. Everyone’s Nashville is special, and we hope that through more projects we can begin to tell the action adventure/rom-com/sci-fi/historical mystery that is our city. We hope you’ll be part of the story. To read more about our completed project “stories” or to apply to write the next chapter, please go to www.nashville.gov.

Nashville Lantern Fest

Creative Coffee House by Poverty & the Arts

MYCanvas project by TN Lutheran Services

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SMART METRO PARKS DISABILITY PROGRAM

The Metro Parks Disabilities P r o g r a m w a s f o u n d e d i n 1969 when Special Olympics

was in its infancy, and, until a few years ago, the majority of its programming revolved around the Olympics. Now, with increasingly frequent performances, like Songs Through Sign staged at Chaffin’s Barn Dinner Theatre this spring, the Drama Program is rapidly growing and meeting the needs of even more adults with disabilities. For those who are not able to participate in Special Olympics due to health issues, the Drama Program gives them many of the same opportunities, so they too can learn teamwork and feel like winners.

It started two years ago when Program Coordinator Glen Adkins recruited Joyce Segelhorst to lead a sign language class. He explained, “In our program, we have some that are deaf, and we wanted to be able to communicate with them, and then we had some that don’t speak well, so the whole goal was to get everybody to be able to converse more.”

Recreational Leader Segelhorst was pleasantly surprised by how quickly the initiative grew into more than signing. “When I first started we did a Martin Luther King Day, and one of the things that they wanted to do was be on stage and perform. They wanted to experience things that people of their age would be doing if they didn’t have disabilities.” With the help of Carolyn German, a

volunteer who used to be with Metro Parks, a Drama Program began to take shape.

Initial shows were held at the Centennial Black Box Theatre and The Looby (Z. Alexander Looby Theater), but this year Chaffin’s offered to let them perform there. The one-hour show at Chaffin’s was specifically created to showcase the abilities and talents of each individual performer. It included monologues, comedic skits, songs and sign, dance, elaborate costuming, and hair and make-up by Paul Mitchell’s Dream Team.

“What makes our jobs rewarding is that we get to find the abilities in each person, and our challenge is to figure out where we can highlight that. We have such a wide range of people that can do such a wide range of things,” Adkins explained.

Segelhorst and Adkins have seen many additional tangible benefits for participants. Performing has helped develop both fine and gross motor skills,

and participants are gaining confidence in themselves and in their fellow performers. They have a new arena in which to learn life skills and a new community of peers.

Adkins hopes that the Metro Parks Disabilities Program will soon be moved to Centennial Sportsplex, because a more conveniently located facility would offer better access to the arts community and make it easier for volunteers to contribute.

For more, visit www.Nashville.gov/Parks-and-Recreation.

Songs through Sign Takes to the Stage

by Rebecca Pierce | Photography by RuthAnn Blackwood

Joanie Crowley with Program Coordinator, Glen Adkins


ART SHOW A LA MODEby Cassie Stephens, Art Teacher, Johnson Elementary

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A W hy do artists create? Is it because of

some creative itch that is scratched only when what one envisions is translated into reality? And what

happens once a work of art is complete? Is the creator then satisfied having made their vision exist or do they want to share it with the world?What if I said the words “free ice cream”? Would you then think an artist would be willing to showcase their masterpieces? Well, it works in elementary-school land, let me tell you. Every spring, just before school is out for the summer, my four hundred-plus kindergarten through fourth grade students share their artwork in an art show. Now I’m not talking an art show of one or two pieces created by select kids like the ones when I was growing up. Our art show is a display of every work of art that every kid has created all year long. That’s well into the thousands. It’s a tall order to prepare, but I am a very fortunate art teacher with an army of volunteer mamas and papas that understand the importance of their children’s visual voice. And what better way to honor an artist’s work than by showing it off?Wait, did somebody say “free ice cream”?

That’s right, our school has a long-standing mantra: if you feed them, they will come. We host an ice cream social to bring in the crowds, and with well over four hundred attendees at this show, it works. But what stays with the children, parents, and staff as they nosh on ice cream and peruse the artwork so lovingly hung and displayed isn’t the sweet treat. It’s the hard, creative work of the kids. It’s their passion for painting, weaving, sculpting, sewing. It’s their unique artistic voice just singing off the walls.

With our current focus on testing and rating children’s intelligence based on how well they can scribble in bubble A, B, or C, it’s important that we share the creativity and visual intellect of all young artists. That’s why simply having them create isn’t enough, in my opinion. Showcasing their masterpieces inspires pride in the artist and justifies another form of intelligence to the children, their parents, and my colleagues. Not to mention, there’s that ice cream.

Photography by Mitch McMichen

Chandler Bell, Cassie Stephens, Avery Bell


GLOBAL EDUCATION CENTER: DISCOVERING COMMONALITIES

We are all related. We always have been. We always will be.

These words of the Lakota people are the motto of Nashville’s Global Education Center (GEC), and their truth can be attested to by anyone who has undertaken DNA analysis to discover their ethnicity. The strands of many ethnic groups and cultures run through our veins. The GEC offers each of us the opportunity to tap into our own cultural roots and to explore what we have in common with all people.

The celebration of Nashville’s booming cultural diversity stretches beyond the founding of the GEC by Ellen Gilbert in 1997 or the establishment of Scarritt Bennett ’s Celebration of Cultures. “We saw the diversity in the immigrant and refugee groups in the 80s with the Cubans, Haitians, Vietnamese, and later with the Sudanese, Mexicans, Coptic Egyptians, Kurdish, and others,” says Gilbert. “It has been interesting to see the various pathways to the community, and we had our fingers in all of these populations before we started the Global Education Center.”

The key to the survival and thriving of the GEC, Gilbert says, is “approaching cultures from commonalities rather than differences, and to put aside our own ideas and to show cultures their way.” The non-profit organization’s staff of three is enhanced with the addition of 110 artists

f rom 40 countries/cultures. In addition to its Charlotte Pike location for on-site classes and camps, the GEC outreach has served over 100 schools annually, partners with organizations such as Meharry Medical College for health and lifestyle programs, and has now expanded to a second site at Casa Azafrán.

July’s Multicultural Arts Camp (K–5) allows kids an opportunity to discover the world through drum, dance, crafts, storytelling, sports, and culinary arts. Campers also have the opportunity to meet and interact with 40 students from the Shijiazhuang Foreign Language School in ShiJia Zhuang City, HeBei Province in China, who will be staying with host families and studying art forms at GEC.

September through mid October, the GEC hosts a residency with Winship Boyd and Agatha Moubembe from Lyons, France, and Sory Diabate from Guinea, who will teach and perform traditional West African dance and music as well as Afro Modern dance. Mid October (18–23) offers Appalatin: Appalachia Meets Latin America, an exciting project blending the music traditions of Appalachia with the folkloric music traditions of Latin America, showcasing the commonalities of the art forms while promoting cross-cultural sharing and respect.

For more information check their website at www.globaleducationcenter.org.

by DeeGee Lester | Photography by Gwendolyn Clinton

GEC Atlanta’s 2014 Afro Latin concert

Global Birthday Bash

GEC Residency Afro Cuban performance


Art SeeArt SeeSee

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Studio 615 Grand Opening

Crowd at The Rymer Gallery

Crowd at The Arts Company Rob Matthews at David Lusk Gallery Human Landscape opening at the Frist Center

Marcia Masulla, Poni Silver, Leslie Stephens, Ayana Ife at Human Landscape/Italian Style opening at the Frist Center

Packing Plant Mural, Jack Stephens, Bill Puryear Steven Roy, Nicole Trimble at Fort Houston Sam Pierce at Julia Martin Gallery

Music City Sisters of Perpetual Indulgence at The Arts Company Jimmy Ruderer at Fort Houston

Debe Dohrer, Richard Sturtridge, Jennifer Anderson at The Rymer Gallery

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Art SeeArt SeeSeeKay Kennedy and Sharyn Bachleda at Zeitgeist

Eric L. Hanson, Marleen De Waele-De Bock at Corvidae Collective Matt Gifford at Zeitgeist

Lyle Carbajal, Melissa Icban at Tinney Contemporary

Mica Agari at Out of PlaceNick Rossi, Carl Stream, Mykael LaBar, Ale Delgado, Ashley Skowronski at Zeitgeist

Danielle Hall and Whitney Yeldell at Studio 615 Grand Opening Crowd at Infinity Cat

Chad Burton Johnson at Fort HoustonNiki Adams, Lacie Endrizzi, Danielle Rice at The Arts Company

Joe and Keri Pagetta at Human Landscape/Italian Style opening at the Frist Center

Seth Pomeroy and Nikki Kvarnes at Julia Martin Gallery

Brandin Generts at Fort Houston

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Paint the townWITH EMME

Emme is a seventh-generation Nashvil l ian and president of Nelson Baxter Communications, LLCPH

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symphony fashion showby Emme Nelson Baxter | Photography by Tiffani Bing

It was fifty shades of gray at the Brunello Cucinelli fashion show in May at the Schermerhorn Symphony Center. Grays, creams, blacks, and every tone

in between were the color pa le t te for the I ta l i an designer’s fall women’s wear collection. The crowd of 600-plus oohed and ahhed as the models slinked down the runway.

The designer ’s yummy collection was in Nashville thanks to a partnership between the

Nashvil le Symphony Orchestra League and Jamie Inc. Everyone loved seeing Jamie Stream, her daughter Gigi Grimstad and the smart and stylish granddaughters India and Jamie Grimstad back in town for the big event. The collection was made available to buyers at Jamie’s eponymous boutique in Belle Meade.

The 2015 edition of the annual Nashville Symphony Fashion Show was chaired by the perennially chic duo of Collie Daily and Sissy Wilson.

Kelley and Lee Beaman graciously hosted a patron party at their home prior to the main event in May.

The evening began at 6 p.m. with cocktails al fresco in the Ingram Courtyard. There it was fun to bump into groovy girls including Leah Sohr, Lee Ann Ingram, Jana Davis, Peggy Andrews, Judith Bracken, Laurie Eskind, Lynn Scarola, Pamela Jackson, Sandra Lipman, Diane Edwards, Kathleen Estes, Elizabeth Dingess, Sally Nesbitt and Shannon

Biesel. During that time preceding the show, guests also enjoyed staking out the silent auction and jewelry on display.

A r o u n d 7 p . m . , o n c e everyone was settled into seats at the Laura Turner Concert Hall, the show commenced. Nashvil le entertainment industry dynamo Anastasia Brown was delighted to serve as the evening’s emcee. Everyone agreed afterwards a certain homegrown, Manhattan-bound talent was a standout among the models. Blue-eyed redhead Laura Hanson Sims was at her professional best on the catwalk. When the ambulatory display of wool, strappy sparkly leather

sandals with crew socks, furry vests, and crop pants ceased, guests enjoyed a video tribute to the Symphony’s first-rate education programs.Versatile singer-actress Mandy Barnett then blew everyone away with her powerful vocals. She is clearly as comfortable on the Schermerhorn stage as she is on that of the Grand Ole Opry.


Symphony Fashion Show Runway

Gigi, Jamie and India Grimstad

Jamie Stream and Collie Daily

AJ Bentz, Janet Bentz, Collie Daily, Camille Barrett, Mariel Rich and Johnna Watson

Kate Grayken and Martha Ingram Mandy Barnett and Suzanne Kessler

Alberta Doochin and Tiffany Ritchason

Emily Grenaway, Kristina Wilson, Anastasia Brown, Kathy Anderson, Katie Stix

Jeanette Whitson, Elizabeth James and Clay Whitson

Argie Oman and Sally McDougall

In late May, major patrons of Cheekwood assembled at Botanic Hall to celebrate the opening

of the blockbuster Jaume Plensa: Human Landscape exhibition at the botanical gardens. The summery chic—albeit rain-soaked—affair was enhanced by the presence of the cordial Spanish sculptor himself and his wife and studio manager, Laura Medina. Patrons enjoyed cocktails, dinner, and mingling with the internationally renowned artist. The monumental installations are on display through November 1, 2015.

plensa at cheekwood


When the applause ended, attendees exited the hall for other areas of the center to enjoy a bit of Italian cuisine and more libations.Proceeds from the show support the Thor Johnson Scholarship, which is administered by the Nashville Symphony Orchestra

League and provides local students with opportunities to advance their studies. The show also helps fund free education and community engagement programs, which annually serve more than 100,000 children and adults in Middle Tennessee. Symphony Fashion Show Runway

Diane Edwards, Barbara Bovender and Nancy Hearn

Lee Ann Ingram, Bob Deal, Peggy Andrews and Jason Bradshaw Andra Perkerson, Susanne Cato and Julie Frist

Felice Oldacre, Susan Cooke and Kathy Thomas

Jaume Plensa and Jane MacLeod

Judith and Richard Bracken Heloise Kuhn

David Manning, Meredith Manning and Lisa Manning

Joanne and Michael Hayes Ted and Gigi Lazenby

Human Landscape at Cheekwood Entrance


Arts Worth WatchingJuly on NPT opens with a bang with our annual July 4th live broadcast of A Capitol Fourth

from Washington, DC. This month’s arts programming also offers quite a few fireworks.

LEGENDS AND ICONSFor a great evening of theatre, start with Alfred Uhry’s Pulitzer Prize-winning play Driving Miss Daisy and add in Tony Award-winners Angela Lansbury as wealthy Atlanta matron Daisy Werthan; James Earl Jones as her chauffeur, Hoke Colburn; and Boyd Gaines as her son, Boolie Werthan. That’s the cast of a Great Performances presentation of Uhry’s 1987 play set during the Civil Rights era. Tune in Friday, July 17, at 8 p.m.With 49 Academy Award nominations (and numerous melodies that waft through the minds of filmgoers), John Williams is one of the most prolific and successful film composers of all time. On Friday, July 24, at 8:30 p.m., Great Performances features a gala celebration of Williams in Dudamel Conducts a John Williams Celebration with the LA Phil, recorded in L.A.’s iconic Walt Disney Concert Hall. The concert includes music from Schindler’s List (with violinist Itzhak Perlman), Fiddler on the Roof, Amistad, and the Star Wars epic. Interviews and photographs round out this program hosted by Natalie Portman.

In the fall of 1864, Samuel Clemens was desperate after losing his newspaper job and on the hook for $500. He left San Francisco and headed to the Sierra Nevada where he listened to miners tell stories he would one day spin into humorous tales as Mark Twain. Airing Thursday, July 16, at 11 p.m., 88 Days in the Mother Lode: Mark Twain Finds His View combines scenes of the mountain areas with reenactments in this depiction of a pivotal three months in Twain’s life.

LATE-NIGHT SCENERYIn Tibet Diary: Beauty and Mystery, two young athletes begin their exploration of Tibet with a 23-hour train ride through the Qinghai Tibetan Plateau, the world’s highest plateau. Their journey is all up-mountain from there in a country with an average elevation of 16,000 feet. The travelers meet Buddhist monks, sample traditional food, and visit the rooftop of the Potala Palace, where no other film crew has been allowed for the past seven years. Watch Tuesday, July 14, at 11 p.m.There’s high-altitude scenery of a different kind in CloudStreet: Soaring the American West, airing Thursday, July 30, at 11 p.m. Filmed with specially developed aerial video technology, CloudStreet offers breathtaking views of the Rocky Mountains from the cockpits of sailplanes flying three miles above sea level across New Mexico, Colorado, Idaho, and Wyoming.

SONGS OF EXPERIENCEFounded by retired Eastman School of Music professor Dr. Roy Ernst, New Horizons has grown from a 30-member band in upstate New York to an international organization of 215 bands with 10,000 members. Music for Life: The Story of New Horizons chronicles the program’s 20-year development as well as the stories of some of the musicians. This inspiring and entertaining documentary airs Friday, July 17, at 7 p.m.

Please support public television in July by going to wnpt.org and clicking on the “donate” button. And don’t forget about NPT2, our secondary channel, where you’ll find an assortment of special-interest shows as well as encore presentations of your favorite programs.

Angela Lansbury and James Earl Jones in Great Performances: Driving Miss Daisy CO

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The BombThe powerful story of the atomic bomb’s creation and legacy. Tuesday, July 287:00pm The Doctor Blake Mysteries

Dr. Lucien Blake takes over his father’s practice and solves crimes in postwar Australia.Thursdays, beginning July 98:00pm

Weekend Schedule Saturday 5:00 am Martha Speaks 5:30 Angelina Ballerina 6:00 Curious George 6:30 Curious George 7:00 Daniel Tiger’s Neighborhood 7:30 Daniel Tiger’s Neighborhood 8:00 Sesame Street 8:30 Dinosaur Train 9:00 Sewing with Nancy 9:30 Sew It All 10:00 Garden Smart 10:30 BBQ with Franklin 11:00 Simply Ming 11:30 Cook’s Country 12:00 noon America’s Test Kitchen 12:30 pm Joanne Weir Gets Fresh 1:00 Mind of a Chef 1:30 Martha Bakes 2:00 Fons & Porter’s Love of Quilting 2:30 Best of Joy of Painting 3:00 Painting the Town with Eric Dowdle 3:30 American Woodshop 4:00 Woodwright’s Shop 4:30 This Old House 5:00 Ask This Old House 5:30 Hometime 6:00 PBS NewsHour Weekend 6:30 pm Tennessee’s Wild Side

Sunday 5:00 am Sid the Science Kid 5:30 Peg + Cat 6:00 Curious George 6:30 Curious George 7:00 Daniel Tiger’s Neighborhood 7:30 Word World 8:00 Sesame Street 8:30 Dinosaur Train 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 Operation Wild Life on the Reef (July 26) 11:30 Washington Week with Gwen Ifill 12:00 noon To the Contrary 12:30 pm The McLaughlin Group 1:00 Music Voyager 1:30 Family Travel 2:00 Globe Trekker 3:00 California’s Gold 3:30 Dream of Italy 4:00 America’s Heartland 4:30 Rick Steves’ Europe 5:00 Antiques Roadshow 6:00 PBS NewsHour Weekend 6:30 pm Charlie Rose: The Week

Daytime Schedule 5:00 am Classical Stretch 5:30 Body Electric 6:00 Odd Squad 6:30 Wild Kratts 7:00 Curious George 7:30 Curious George 8:00 Daniel Tiger’s Neighborhood 8:30 Daniel Tiger’s Neighborhood 9:00 Sesame Street 10:00 Dinosaur Train 10:30 Super Why! 11:00 Peg + Cat 11:30 Sid the Science Kid 12:00 noon Caillou 12:30 pm Thomas & Friends 1:00 Sesame Street Shorts 1:30 The Cat in the Hat 2:00 Clifford the Big Red Dog 2:30 Curious George 3:00 Arthur 3:30 Arthur 4:00 Wild Kratts 4:30 Odd Squad 5:00 Martha Speaks 5:30 WordGirl 6:00 pm PBS NewsHour

Nashville Public Television wnpt.org

July 2015

Nashville Public Television

THIS MONTH

A new three-part series exploring Australia’s Great Barrier Reef, one of the planet’s richest

and most complex natural ecosystems.

Life on the Reef

Wednesdays, beginning July 228:00pm

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read

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:00

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rim

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:00

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inta

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:00

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Ret

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:00

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Win

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fe o

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piso

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yes

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ork

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play

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:00

Nov

a

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nes

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ova

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cue.

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:00

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:00

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fata

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:00

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som

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:00

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tory

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atom

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b. 8

:30

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:00

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:00

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:30

Film

Sch

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Liv

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lobe

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ango

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self

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Gar

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:00

Pold

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cop

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V

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Win

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:00

Edi

tor

and

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Dra

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orac

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win

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pu

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right

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clea

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:00

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wis

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th

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P

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Earth

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cont

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r-si

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lem

ents

. 10

:00

BB

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:30

Las

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11:0

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piso

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wet

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ings

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expl

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life

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:00

Nov

a

Nuc

lear

M

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Di-

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clea

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9:0

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the

Dra

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exp

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Win

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:00

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7:0

0 Te

nnes

see

Cro

ssro

ads

7:3

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lunt

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Gar

dene

r 8

:00

The

Doc

tor

Bla

ke

M

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ries

B

roth

erly

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e. A

dea

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row

inm

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retra

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9:0

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10:0

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10:3

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Win

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:00

Clo

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tree

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the

Am

eric

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the

Roc

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7:0

0 N

PT

Favo

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:00

BB

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:30

Las

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:30

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vori

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lobe

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7:0

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lan

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to fo

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:00

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ark

o

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aste

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ce

Par

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oncl

usio

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n ep

idem

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rag-

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11:0

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vis

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iley

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cully

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Wor

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how

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:00

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inta

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altim

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B

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th

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nton

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:00

BB

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orld

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:30

Las

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:00

JFK

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BJ:

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Gre

atne

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LB

J’s ro

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the

1964

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217:

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Thur

sday

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00pm


Merrick Printing Company Richard Barnett, Sr. VP – Sales

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Beyond Words by Marshall Chapman

Among the many great things about being an American are the rights we have that we often take for granted. Like the right to go anywhere we want at any given time. Unless you’re in prison or on probation, you can get in your car

and just take off. You don’t have to get permission. Or even tell anybody.

Lately, I’ve been thinking a great deal about this. About getting in my car and just taking off. Being a musician, whenever I head out in a car, it’s usually to play a gig somewhere, but, in the past year, I’ve cut way back on gigs. These days, I play only one a month. Which leaves a lot of time to dream and stare out of windows, which is something I’m real good at. And also time to turn my attention toward my house and garden, which is something I haven’t done in years. All that touring had my house looking more like a war room/warehouse than a place where somebody actually lived.

I’m happy to report that those cardboard boxes filled with books and CDs have now been replaced by elegant chairs and sofas. When my mother died last fall, my sisters insisted I take some of her furniture. Old-lady furniture, I called it. Wingback chairs with nice upholstery. Dining room chairs with floral-needlepoint, cushioned seats. I guess the joke’s on me. Because the longer this stuff stays in my house, the less old-ladyish it feels.

Have I retired? I’m not sure. Drive and ambition seem to have been replaced by grounded happiness . . . and a new sense of wanderlust. One that’s not work-related. These days, I often think about driving somewhere I’ve never been before. Like South Dakota.

South Dakota?

Yes. South Dakota.

I have been to all fifty states except South Dakota. So a trip there is at the top of my bucket list. Besides, I’ve always been intrigued by the names of its national parks and forests. Names like Black Hills . . . Badlands. Sounds tailor-made for a girl like me. So maybe this fall, I’ll just . . . take off!

www.tallgirl.com

Sponsored By:

www.FranklinArtScene.com

There’s no cost to attend.

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Historic Downtown

Franklin, TN& The Factory

A variety of venues and working studios throughout a 15-block

area—join us for original art, live music, refreshments and more!

Friday, July 3, 6-9 p.m.

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

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My Favorite Painting

HeatHer LefkowitzExecutive Director of ALIAS Chamber Ensemble

David Lefkowitz grew up in Nashville, Tennessee, and was a member of the quasi-legendary pop combo The Young Nashvi l l ians . After receiving a BA from Carleton College and an MFA from the University of Illinois in Chicago, he became a Professor of Art at Carleton College. David Lefkowitz’s paintings, installations, and mixed-media art (including repurposed refuse like cardboard, s t icks , sheet rock, and Styrofoam) address everyday paradoxes of perception and larger questions that arise from them. Much of the work explores the blurry boundary between the human-built environment and the natural world. Recent solo exhibits include Other Positioning Systems at the Rochester Art Center and Facilities and Grounds at the Carrie Secrist Gallery in Chicago. His art is represented in several collections, including the Walker Art Center in Minneapolis, the Langen Foundation in Neuss, Germany, and the Miami Art Museum in Miami, Florida. He is represented by the Carrie Secrist Gallery in Chicago.

ARTIST BIO

DAVID LEFKOWITZ

David Lefkowitz, Port Glomwater Village, 2011, Oil, acrylic and latex on wood, 20” x 20”

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When my husband, Paul Lefkowitz, and I got married and bought a house, we scrounged around Paul’s parents’ basement in Green Hills looking not for furniture, but for art. We wound up with lots of early David Lefkowitz

originals. I love these early pieces David did while a student at Hillsboro High School and Carleton College (where he’s now an Associate Professor of Art). But I have to admit that I always wanted a more recent David Lefkowitz painting.

Our family draws names for holiday presents, and David drew my name last year. I was thrilled to be gifted not with a sweater or purse or gift card, but with a recent painting by him, Port Glomwater Village. It is my favorite.

I love David’s art because it reflects so deeply on the relationship between nature and society. As a Southerner, the concept of place has always been significant to me, especially in literature. David thinks about this sense of place in a more global way, thinking about the conversation that has always existed between the natural and the human-made world. In this series, David used “mistinted’ paint abandoned at hardware stores for a series of topographical maps, encouraging us to consider the overlooked features of the landscapes we inhabit. Port Glomwater Village portrays an untethered dock and an abandoned fishing boat, which remind me of hours spent fishing on docks as a child, and the colors of the painting remind me of the ocean that I love. David’s paintings remind me to stop and notice things that I do not see and help me to reconsider my relationship to familiar landscapes. I am grateful that we were gifted with this painting and that I see it every morning.

601 8th Ave SouthNashville, TN 37203615-736-5200ilexforflowersnashville@gmail.comwww.ilexforflowers.com

F L O W E R S F O R E V E R Y O C C A S I O N

Name: Rose and Bradford PearBotanical Name: Rosa and Pyrus calleryanaPhotography by Brett Warren, shot in the Ilex studio

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INQUIRIES: [email protected] 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

T H R O U G H A U G U S T 1 5 , 2 0 1 5

MATTHEW DERIC GORE, B.1969. LIFE’S JUST A BOWL OF CHERRIES. OIL ON CANVAS. 40 X 30 INCHES.

ART NASHVILLE H AY N E S G A L L E R I E S

P R E S E N T S

july 2015 nashville arts magazine

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