2 015 M E D I A K I T

ST. CLAIRE MEDIA GROUP 644 West Iris Drive, Nashville, TN 37204 www.nashvillearts.com • 615-383-0278

National quality...locally!Nashville Arts Magazine is the most focused and relevant resource for all creative endeavors in the central Tennessee region. Nashville Arts Magazine provides monthly coverage of the arts and culture of Nashville and the surrounding area. The visual and performing arts, antiques, collectibles, the craft of musicians, culinary, fine homes, interior design, architecture are just samplings of our monthly features. Our writers and photographers dig deep to learn what makes the artists tick and bring the magazine alive with rich articles and vivid images, taking readers to new places and immersing them in the experience.

Why we matterNashville Arts Magazine is the channel through which art and culture reverberate. In order to truly define art and culture in this area, Nashville Arts Magazine encompasses a wide array of topics and interests, and by doing so Nashville Arts Magazine appeals to a greater number of readers. There is a very rich and diverse artistic presence in the area, and Nashville Arts Magazine transforms the vast appeal of such a presence into a truly unique magazine and online presence.

Award winning designNashville Arts Magazine was recently awarded Best Editorial Design by the AIGA (American Institute of Graphic Arts) as well as Best in Show at the Annual TENN-SHOW which included design work from all over the region.

readership 30,000

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average age range 70% are ages 35-54county of residence

Davidson 50% Williamson 30% Other 20%

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$100,000+ 45% $75,000 35% $45,000 20%

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60% of readers keep them all

40% of readers keep them 2 months or more

Nashville Arts readers are steadfast supporters of the arts. They are socially active, sophisticated in taste, and love to spend a night on the town, a day at a fund-raiser, or simply entertaining guests at home. Our readers crave inspiration and increasingly seek it in our pages and on our website every day.

by Stephanie Stewart Howard

W ith all the beauty in Belmont Mansion, guests frequently find themselves astonished that many original pieces dating to Adelicia Acklen’s lifetime are no longer in the collection. Fortuitously, Belmont recently celebrated the return of 190 fine objects,

from furniture to art, original to the house, that had been passed down to her descendants, the Kaiser family of St. Louis, via Adelicia’s daughter Pauline and her husband, James Lockett. Their daughter, Pauline Adelicia, in turn was the mother of Franck Kaiser, latest inheritor of them. He passed away in 2000; his wife, Beverly Hurt Kaiser, has now moved to Nashville and presented this collection back to the mansion.

Beauty RetuRns Home to Belmont

READERSHIP & DEMOGRAPHICS

46 | July 2014 NashvilleArts.com

Hyperrealism transcends the precision of photography and the materiality of painting by merging both mediums; the result is beyond real. Coinciding with the advancement of digital cameras in the early 2000s, these works amplify the crispness

of the captured image to the entirety of the canvas. And much like the ubiquity of digital photography, hyperrealist painters can be found in all corners of the globe. The genre has most recently pervaded the art world, transferring real-life matters to pristine gallery walls. These artists have the unique ability to realistically present a range of photographable subjects—and then some. Working with image-altering software such as Photoshop or Illustrator, any surrealistic scenario can be imagined and reconfigured onto the picture plane. But while impeccable reproductions draw the viewer in, at the heart of these works is the search for life behind the image and its producer.

Hyperrealism seeks to replace the so-called “hand of the artist” with exact representation, placing an importance on the invisibility of the brushstroke rather than the use of paint as a personal trademark. This attempt to disguise the medium may at first come off as strangely conservative. Why retrogress into painting at all when photography has already rendered the real so much more accurately and efficiently? The point is that these artists are trying to do more with both art forms. While digital photography can capture a high

Left: Paul Cadden, Focus, Pencil on paper, 28” x 19”

by Catt Dunlop

Right: Juan Cossio, Source, Acrylic on panel, 67” x 43”

c o m e s a l i v e

Skillful Painting Technique That Fools The Eye

h y p e r r e a l i s m

We are dedicated to bringing our readership the very best, most beautifully presented, art-focused information and inspiration each month via our full-color print magazine, presented on top-quality heavy-gauge stock. We also deliver information every day at www.NashvilleArts.com and on Facebook and Twitter.

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Meredith Edmondson Is Spreading the Word

by Cat Acree

Breaking the Glass Ceiling

“Chihuly” was the Nashville buzzword

of 2010, when it seemed like everyone

had fallen in love with the kinetic glass

sculptures bursting from Cheekwood’s

gardens and the videos of artists

wielding soft, hot glass on the ends

of giant metal poles. And yet, since

that summer, glasswork has seen almost

no growth in Nashville’s art community

and has yet to gain the level of attention

afforded to other mediums.

Local glass artist Meredith Edmondson

fell in love with glassblowing for its

community, that feeling of being part

of a team. And that’s the tragedy of it:

Nashville’s glassblowing community

is nearly nonexistent. Combining the

artists who share Meredith’s studio in the

Fort Houston/Wedgwood area and Jose

Santisteban’s Franklin studio, Meredith

estimates it to be a community of fewer

than ten. Her frustration is palpable—and

understandable.“It’s not really something you can do very

successfully on your own,” Meredith says.

“The most fun projects to me [are when] you

turn around and [there are] six people and

everybody’s working to make this one thing.”

Twenty-eight-year-old Meredith has been

blowing glass in Nashville since graduating

in 2009 from Tennessee Tech, where she

ditched her nursing-school plans to learn

glassblowing at the Appalachian Center

for Craft. She taught herself casting and

much of the flat glasswork she does now—a

prophetic choice, as she can make fused

glass pieces by herself. She stacks half-inch

strips of sheet glass in a kiln, fires them

to a temperature between 1200 and 1400

82 | January 2O14

NashvilleArts.com

Sculptor and ceramic artist Edward Belbusti creates

works that are both cerebral and sensual at the same

time. The elegant, curving forms of his Touch series, for

example, encourage viewers to go beyond a purely visual

appreciation of the pieces’ fluid shapes and rich, clay hues

and actually feel the sculptures—to relish the tactile sensation of the

smoothly burnished, waxed terracotta.

Belbusti’s vocabulary is the clay slab, punctuated by the occasional use

of steel and wood. He manipulates these elements in various ways to

explore the balance, tension, and structure of a piece, as well as the

interplay between its constituent components. Two such sculptures

that successfully integrate wood and clay into their forms are his

E D WA R D B E L B U ST I

ARCHITECTURAL CURVES IN CLAY

Leviathan pieces. Rural Leviathan is reminiscent of a great sandstone

monolith with a curving aperture chock-full of fossilized tree limbs,

while Urban Leviathan appears to have swallowed up whole the

contents of an urban skyline and reconstituted it along the sculpture’s

peak. Belbusti sees the pair as harvesters, in a sense, consuming and

chewing up both the natural and the built environment.

One of the more striking characteristics of Belbusti’s art is its

ambiguity of scale, as if the forms could simply rise in height and

mass to rival the scale of a monument or even a building. A

tabletop-sized piece such as Windowpanes could be readily scaled up

to stand as a twenty-foot-tall public sculpture in an urban courtyard,

or perhaps a great monolith in a rolling heath.

by David Sprouse

Touch No. 33, Clay, 8” x 15” x 8”

The Arts Company • October 4 to 24

76 | October 2014

NashvilleArts.com

48 | December 2014

NashvilleArts.com

B envenuto Cellini, the patron saint of goldsmithing, is represented by a bronze bust—his face stern, his hair wild—overlooking the river Arno in Florence, Italy. He seemingly dares a new generation of metalsmiths to take up the craftsman’s mantle. Mclaine Richardson accepted his dare. During her senior year of college she spent five months under Cellini’s watchful eye, studying at Lorenzo de’ Medici School in Florence. There the native Nashvillian learned to make jewelry with metalsmithing techniques that have changed little over centuries. At the time she could not know it, but such craftsmanship would

influence her future, for in 2013 Richardson took over a legacy brand when she bought Margaret Ellis Jewelry, the Nashville-based business founded in 1983 by Margaret Ellis. Striking a balance between the line’s heritage and the market’s demand for newness—as many Italian craftsmen have done for centuries—became Richardson’s new task. “I embody a more modern take on things, but we still have traditional customers,” Richardson says on a recent day from the firm’s Cummins Station studio. A classic beauty with glossy brown hair, Richardson wears around her neck a piece that is a Margaret

The New Look at Margaret Ellis Jewelry by Karen Parr-Moody | Photography by Brett Warren

MCLAINE RICHARDSON

Amanda Collar - Bronze, 12” circumference, adjustable 2” tall

Hexagon Stud Earrings, Bronze, sterling silver, and freshwater pearls, .5” x .5” x 1”

Mclaine Richardson and Master Metalsmith Anjy Smith

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Over 14,000 readers visit www.NashvilleArts.com each month for the most vibrant visual and performing arts coverage in Nashville.

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“Since the start of York & Friends Fine Art, I have advertised monthly with Nashville Arts with excellent results . . . This publication, and the people connected with it, promote, support, and give back to the arts.”– Ron York, York & Friends Fine Art

“Through Nashville Arts Magazine, much can be learned not only from the articles, but from the advertising. As an advertiser, Williams Galleries has gained clientele from our gallery ads depicting diverse items that expand the inquisitiveness and excitement of the reader. The magazine is highly professional and is a great credit to Nashville.”– Jim Williams, Williams American Art Galleries

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“I have sold more art through this publication than any other by far.”– Lisa Fox, Leiper’s Creek Gallery

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ST. CLAIRE MEDIA GROUP 644 West Iris Drive, Nashville, TN 37204 www.nashvillearts.com • 615-383-0278

“Nashville Arts Magazine has now moved to the next stage of its evolution and has become an essential part of life in Nashville, documenting the broad outreach of the arts as part of our mainstream history. In documenting the Art City part of Music City, this publication makes a case for all of the arts as part of what distinguishes great cities . . .”

– Anne Brown, The Arts Company

ACCOLADES

34 | December 2014 NashvilleArts.com

Pieces& Parts

Rusty Wolfe is a painter, sculptor, furniture designer, and entrepreneur. His works are available at fine art galleries around the country and locally at Finer Things.PH

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This is a verse and chorus from a song I wrote and recorded almost forty years ago. How true it is still today and how well those words have served me. I continue to be romanced by a way of life that was before my time.

Often I find damaged pieces of something old that has enough of its form left to show that it was once glorious. To many people, these remnants are considered beyond repair. I enjoy the challenge of resurrecting them and dreaming about what they might become in this new, contemporary world.While shopping at a local antique mall, I found the remains of an old printer’s cabinet from a now-defunct Tullahoma newspaper. It once housed thousands of small

pieces of movable type. It had only two of its original twelve drawers. The frame was

severely damaged, and none of the slanted top was intact. I had always wanted a cabinet to hold my print-block collection, and I saw an opportunity to resurrect this one-hundred-year-old gem. I followed the lines of the original frame, adding decorative panels on the sides to replace the missing wood. I topped those panels with metal print type, creating small, framed pieces of history. I salvaged the one good drawer with a hundred small compartments inside to preserve the true spirit of the original piece of furniture and used it as the top drawer to this new cabinet. The rest of the wood was used to construct deeper, more conventional drawers. I utilized some period Eastlake bin pulls from my collection to dress up the fronts. The new cabinet is a very refined piece of contemporary furniture, although I chose to leave the primitive legs to showcase the cabinet’s original, rougher style. This one detail reveals its true worn and weathered past. Normally, you would see the entire cabinet scrapped and only the drawer salvaged because it can be used as wall-hung collection storage. For more about Rusty Wolfe and Finer Things Gallery, visit www.finerthingsgallerynashville.com.

Oil lamps sparkle on burgundy wineWhile words of old become the words of newPoetic gestures always seem to end in perfect rhymeWhile shadows frame the room with a piece of mind I was born too late I’m a hundred years behind I was born too late If I could only go back in time

Born Too Late – Rusty Wolfe

by Sally Schloss

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Word of MouthLily Hansen’s latest literary offering shines a light on those who shine

In Wunder-land

Ring of Fire, 2011, Titanium, sterling silver, 24k gold; hand swan, soldered, constructed, cold connected with rivets, 10” x 7” x ¼”

“We feel that much of our business success is due to our advertising with Nashville Arts Magazine and we are certainly looking forward to another great year.” – Kelly Harwood, Gallery 202

Three Nashville Jewelers wiTh wildly differeNT aesTheTics creaTe The way we see accessories iN 2015by Stephanie Stewart-Howard

Nashville Gem

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Attitude

Nashville Ballet’s Attitude,  the third major program in its 2014–15 season—following Swan Lake  and The Nutcracker—finds the company taking advantage of a

welcome opportunity to extend the range of its gifted dancers. Here,  the vision of established, wor ld-c lass choreographers merges with cutting-edge and classic musicians and composers, with the ensemble’s movement enhanced in part by a uniquely complementary contribution from the world of visual art. The latest Attitude,  February 13–15  at TPAC’s Polk Theater, presents three distinctive pieces to the Nashville dance audience, two of them local premieres and the third a revival of a work previously performed in Music City.   The program opener, Fanfare, features six dancers performing the choreography of Graham Lustig, an internationally recognized choreographer and teacher—and also artistic director of his own company in New Brunswick, New Jersey.Fanfare  pays homage to Lustig’s longtime friend and fellow artist Singapore’s Choo San Goh, capturing the essence of Choo’s elegant, linear style.“Fanfare  challenges the performers with its super-virtuosity,” says Sharyn Mahoney, the ballet’s director of artistic operations. “It’s difficult work, similar to dancing Stravinsky, with his wild time signatures.” This is the second time Nashville Ballet has performed one of Lustig’s works. The intricate rhythms and engaging themes of the music come courtesy of British composer and pianist  Graham Fitkin, whose oeuvre falls broadly into the minimalist and post-minimalist categories.  Fitkin is particularly known for his works for solo and multiple pianos, and here his percussively charged Flak will be rendered by four onstage pianists seated at two pianos—Bruce Dudley (a jazz pianist and professor at Belmont University), Chris Smallwood (pianist for Beatles imitation group RAIN), Elena Bennett (who has performed with Nashville Ballet multiple times), and Robert Marler (musician with the Nashville Symphony and professor at Belmont University).  

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TPAC’s Polk Theater • Feb. 13, 14 & 15

by Martin Brady

56 | February 2015 NashvilleArts.com

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