nashville arts media kit 2015
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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.
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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
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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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“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
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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).
IT’S ALL ABOUT
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TPAC’s Polk Theater • Feb. 13, 14 & 15
by Martin Brady
56 | February 2015 NashvilleArts.com
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