nashville arts magazine may 2014

Bernstein - Chichester Psalms | Barber - Knoxville, Summer of 1915 | Brahms - A German Requiem

The Nashville Symphony Chorus celebrates a half-century of making beautiful music with Brahms’ soul-stirring masterpiece A German Requiem.

Nashville Symphony Chorus

Anniversary Celebration50th

Nashville SymphonyGiancarlo Guerrero, conductorNashville Symphony Chorus Heidi Grant Murphy, soprano

Stephen Powell, baritoneNolan Harvel, boy soprano

CLASSICAL SERIES

NASHVILLE SYMPHONY PERFORMS:

BUY TICKETS AT: NashvilleSymphony.org 615.687.6400

With Support From

Thursday, May 29, at 7 p.m. | Friday, May 30, at 8 p.m. | Saturday, May 31, at 8 p.m.

AMERICAN BALLADS: The Photographs of Marty Stuart

Marty Stuart.

John R. Cash, Last Portrait, September 8, 2003,

2003. Archival pigment print. © Marty Stuart

Opens May 9

DOWNTOWN NASHVILLE 919 BROADWAY

FRISTCENTER.ORG

Metropolitan Nashville Arts Commission

THE FRIST CENTER FOR

THE VISUAL ARTS IS

SUPPORTED IN PART BY:

Country music icon Marty Stuart is a master storyteller not only through his

songs, but also through his revealing

photographs. See how Stuart captures

memorable moments on film in

more than 60 photographs

featured in this exhibition.

FC5417_Mab_NashvilleArts_MS_JohnnyCash.indd 1 4/15/14 4:44 PM

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 $5.00 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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CONTACT INFORMATION

EDITORIAL

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REBECCA PIERCE Education Editor and Staff Writer

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DESIGN

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COLUMNS

JENNIFER ANDERSON The Great Unknowns

MARSHALL CHAPMAN Beyond Words

TED CLAYTON Social Editor

JENNIFER COLE State of the Arts

LINDA DYER Antique and Fine Art Specialist

SUSAN EDWARDS As I See It

ANNE POPE Tennessee Roundup

JIM REYLAND Theatre Correspondent

JUSTIN STOKES Film Review

BETSY WILLS Field Notes

NashvilleArts.com May 2014 | 7

on the cover: Leslie Holt, Hello Lichtenstein (Rubber Ducky), 2014

Oil on canvas, 20" x 20"David Lusk Gallery

Article on page 100

COLUMNS

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32 The Bookmark

32 Public Art

35 Film Review

40 Arts & Business Council Art and the Business of Art

46 Critical i

50 NPT

77 Unplugged by Tony Youngblood

100 Field Notes Leslie Holt

111 Beyond Words by Marshall Chapman

112 On the Town by Ted Clayton

114 My Favorite Painting

FEATURES10 Spotlights

28 Crawl Guide

30 Anna Zeitlin Mad Hatmaking

36 Justin Gaffrey Meditations in Color

42 As I See It Susan Edwards

44 Lynn Goldsmith All-Access Pass

54 Marty Stuart American Ballads

60 Kit Reuther Beyond the Edge

66 Art See

68 Yuri Figueroa Connecting the Dots to Dali

72 Lonnie Holley Artist · Preacher · Teacher

76 Poet's Corner Bill Brown

81 Jamaal Sheats Raising the Art of Repoussé

87 Nashville 6 A.M. Jerry Atnip

92 Works Featuring Jeff Danley and Joseph Seigenthaler

94 Jesse Mathison ReflectsonthePowerofCollaboration and the Meaning of Priorities . . .

96 Phil Kaufman A Life in Front and Behind Bars

102 Theatre

105 ArtSmart

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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

Now Representing

JEFF FAUST

Song of the CoastAcrylic on Canvas

36” x 48”

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Art Creates a City

PUBLISHER'S NOTE

On a crisp morning last month I attended a welcome reception for the artists participating in the Periscope: Artist Entrepreneur Training program. The room was

filled with 25 wide-eyed artists eager to begin a series of workshops that without a doubt will change their lives. Developed by the Arts & Business Council and held at the Entrepreneur Center, Periscope is designed to cultivate business skills in artists who are ready to market their creative expressions.

As I made my way around the room, I became aware of the impact this program will have on the future of Nashville’s arts. Artists from disciplines as varied as song writing, jewelry making, sculpture, film, painting, ceramics, photography, scoring, and book making were gathered to begin a journey together. These artists of all ages and backgrounds have the wonderful opportunity to share what they have picked up along the way from mentors in their fields and fill in remaining holes with expert advice. Yes, this group is going to make a difference in our creative community.

This month’s cover features a few of my favorite things: Hello Kitty, Roy Lichtenstein, and art that references the history of art. We discovered Leslie Holt’s Hello Lichtenstein painting hanging at David Lusk Gallery, and we were all cover-struck. “Is this a Lichtenstein? Is that Hello Kitty? Wait...” This is just one of many examples from Holt’s Hello Masterpiece series where our kitty friend travels through the most iconic paintings in the history of art. À la 1970s conceptual artist Cindy Sherman, she changes her attire and identity to complement her surroundings, often to humorous ends. Enjoy more of Holt’s work on page 100.

The NAM team enjoyed an evening at Lexus Art Night featuring Justin Gaffrey. We marveled as he created with complete freedom, scooping large amounts of paint onto the canvas and then with moderation as he carefully smoothed it into the form of a cherry tree branch in bloom. See Gaffrey’s Meditations in Color on page 36.

One of my greatest creative sparks last month was with artist Lonnie Holley at his workshop at the Oasis Center. I walked in and intuitively grabbed a spot at the table and began selecting objects from a pile on the table. I chose a weathered tile with a rough surface tattered with holes. Holley saw my choice and exclaimed, “Look at all those caverns.” Immediately, I grabbed the glitter and glue before me and with delight filled those caverns with the geodes they deserved. Read more about Lonnie Holley on page 72.

Inspired by the work of Anna Zeitlin, I bought my first milliner-made hat for Steeplechase. I’ve always selected a hat at the last minute based on whatever matched my outfit. See more of Zeitlin’s hats on page 30 and join me in bringing the hat back.

Sara Lee Burd Executive Editor

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Artist Wayne Brezinka has always been fascinated with history, and images of Abraham Lincoln’s rugged, lined

face have mesmerized him for most of his life. Last year, he created a portrait of Lincoln, which will hang at Ford’s Theatre from May 6, 2014, to May 6, 2015.

Brezinka created the four-by-five-foot collage portrait with historical pieces from the American Civil War time period. In Lincoln’s eyebrow, beard, and bow tie are various tintype photographs. A Rochester Express newspaper from January 6, 1863, and an 1862 page from Harper’s Weekly were used to make one of the white stripes of the f lag. Several photos of slaves were employed in the constructing of Lincoln’s ear and the shadows around his eye and right cheekbone. A photograph of slaves picking cotton on a plantation is fastened to the lower-left portion of his jacket. In typical Brezinka style, it all comes together to give the viewer a profound look into a man who changed history.

To see more of Wayne Brezinka’s art, please visit www.brezinkadesign.com. To learn more about Ford’s Theatre, visit www.fordstheatre.org. See Brezinka's work at O'More College of Design in October.

Brezinka’s Lincoln Goes to Washington

Wayne Brezinka, LINCOLN, 2013, Collage, mixed media, acrylic on canvas, 60" x 48"

Mona Lisa, Girl with a Pearl Earring, and Whistler’s Mother are portraits,

but they are also among the greatest works ever created. They have transcended time and to this day still give the viewer the chance to make an immediate, emotional connection. Celebrating the Portrait as Art, on view at Haynes Galleries through May 24, pays homage to the genre through a range of artists and styles.

“This show has an exciting mix of work by gallery favorites and young, innovative artists that are new to the gallery,” says gallery owner Gary R. Haynes. “Artists like Joseph Dolderer, Aaron Westerberg, and Stephen Bauman are cer ta in ly technically gifted, but their work is also creatively and expressively fresh. These works capture much more than a likeness—they capture mood, essence, and emotion.”

From works that evoke the Dutch Golden Age to Impressionism and Photorealism, Celebrating the Portrait as Art is much more than an assemblage of stiff, staged head shots. Suchitra Bhosle , K atie O ’ H a g a n , TJ C u n n i n g h a m , M a r c Da lessio , Set h Haverk a mp , C indy P r o c i o u s , Te r r y S t r i c k l a n d , a n d Candice Bohannon contribute works that are technically superior and also present evocative stories waiting to be told.

Celebrating the Portrait as Art will be on view through May 24 at Haynes Galleries, 1600 Division Street, on the Music Row Roundabout. Gallery hours are Tuesday through Saturday 10 a.m. to 4 p.m. and by appointment. For more information, please visit www.haynesgalleries.com.

Celebrating the Portrait as ArtHaynes Galleries through May 24

Suchitra Bhosle, Gypsy Scarf, Oil on canvas, 10” x 8”

Ford's Theatre through May 6, 2015

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

HISTORY EMBR ACING ART

Visit Us During “Franklin Art Scene” May 2, 6-9pm

NEW WORKS BY MICHAEL HOOPER

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Almost every day Chattanooga sculptor Denice Bizot sifts through the mud and dirt at Baxwin Metal & Recycling,

the inspiration for the title of this show and a place she calls her auxiliary studio. Amongst the debris, she uses her hand-held plasma torch to rescue pieces of metal with interesting shapes and colors. Bizot loves transforming what most consider junk into works of sculpture.

Bizot was a drafter in the petroleum industry for 15 years before she returned to Loyola and achieved a Bachelor of Fine Arts with a focus on sculpture. She’s been a professional sculptor for 12 years now, and recently her works have been collected by Catherine Zeta Jones, West Point, Volkswagen Chattanooga, and corporate collections in the U.S. and Amsterdam.

Baxwin’s Best by Denice Bizot will be on display through May 30 at the Tennessee Arts Commission Gallery. For more information, visit www.1.usa.gov/P5iBJc.

Baxwin’s Best by Denice Bizot

Tennessee ArTs Commission GAllery ThrouGh mAy 30

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While you may have seen their commercial work—logos, billboards, print ads, and broadcast—you probably wouldn’t

associate it with the art they create when not answering to a client. The Nashville branch of the American Advertising Federation (AAF) will exhibit the fine art and craft of local marketing creatives in the annual fundraiser and artist showcase Ads2Art.

A two-week exhibition of painting, photography, sculpture, jewelry, and fashion will be followed by an evening of live and silent auctions. Proceeds benefit AAF and the Centennial Art Center.

Fourth Annual Ads2Art

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The Ads2Art silent auction takes place at Centennial Art Center Friday, May 30, from 5:30 to 8:30 p.m. with the live auction at 7:30 p.m. The work will be on display May 15 through May 29. Visit www.ads2artauction.com or www.bit.ly/1bGcNLK for more information.

May 30 • Centennial Art Center

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Art auction at Ads2Art

516 Hagan St . Nashvil le . davidluskgallery.com

DAVID LUSK GALLERYDLG

KIT REUTHERMAY 2014

“peripherals”

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The various forms of art often inspire one another. Visual arts can inspire writers, and the written word can send

artists to their easels. Such is the case for painter, writer, and curator Rachael McCampbell. She has always loved literature and poetry and the powerful way words inspire her art.

For her new exhibition, Dreamscapes: Poetry Inspired Paintings, McCampbell has created a collection of paintings inspired by the poetry of Mary Oliver, Donald Justice, Wallace Stevens, Robert Creeley, Wendell Berry, W. B. Yeats, Maya Angelou, and Raymond Carver, as well as her own.

According to McCampbell, “Poetry can be a veritable feast for the senses . . . the delicious way the sounds roll off your tongue when read aloud, the rhythms that make you want to dance, and the visuals that, like a dream, lift you from your own reality into another world—into a dreamscape.”

One could say that the way McCampbell paints is a poetic exercise. She starts by repeatedly layering acrylic, charcoal, and oil, creating a highly textured canvas. Then she scrapes, removes, and reapplies until eventually the story she needs to tell emerges.

Dreamscapes: Poetry Inspired Paintings opens with a reception from 5 to 8 p.m. on May 16 at The District Gallery in Knoxville. The show continues through June 14. Visit www.thedistrictgallery.com for more information. To see more of McCampbel l ’s work, please vis i t www.rachaelmccampbell.com.

dreamscapes: poetry InspIred paIntIngs

Rachael McCampbell Exhibit Opens May 16 in Knoxville

Rachael McCampbell, For an Absence, inspired by the Wendell Berry poem of the same title, 2014, Oil on canvas, 2’ x 3’

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The Dance Theatre of Tennessee (DTT) rounds out its fourth season with the Middle Tennessee premiere of

Alan Hineline’s Hansel & Gretel. Set to the invigorating folk music of Edvard Grieg, Hineline’s ballet follows the classic fairy tale adventures of Hansel and Gretel.

The ballet, however, won’t be exactly like the traditional story. While the original tale had about five characters, Hineline choreographed a ballet with plenty of additional roles. “I took creative license with it,” Hineline said. “When Hansel and Gretel go into the woods, they fall asleep at night. I created a scene where there is a lot of dancing in it. There are creatures in there—birds and butterflies and fairies. It’s a scene from the opera, which I adapted into the ballet.”

With completely new sets by designer Lewis Folden, lighting by Josh Monroe, and costumes by Betty Smith, Hansel & Gretel offers delightful family entertainment filled with a multitude of choreographic twists and turns.

Opening the evening’s program is Paquita Grand Pas Classique, restaged by Artistic Director Christopher Mohnani. With Spanish flair and bravura, this technically demanding piece is a major cornerstone of the traditional ballet repertory.

Performances are slated for 2 and 7:30 p.m. on Saturday, May 3, and 2 p.m. on Sunday, May 4, at Father Ryan High School Auditorium. Tickets are $25 for adults and $20 for children and may be purchased online or at the door. For more information and to purchase tickets, visit www.ticketsnashville.com or www.dancetheatretn.org.

Master nature photographer Byron Jorjorian is working toward publishing Treasures Untold: Uncovering Masterpieces

of Nature Across Tennessee, a coffee-table book showcasing over 90 color images of Tennessee landscapes.

“Tennessee is my home and a state of diverse and stunning natural beauty. It has been one of the main subjects of my photographic exploration for much of the past three decades. In Treasures Untold: Uncovering Masterpieces of Nature Across Tennessee, I have gathered together some of my favorite images to create a full-color, fine art book,” Jorjorian explained.

The book was inspired, in part, by a very successful exhibition Jorjorian had at the Nashville International Airport. Entitled A Walk Across Tennessee, the exhibit offered visitors a visual trip from West to East Tennessee. In a similar but more extensive fashion, Jorjorian’s book will give readers a photographic journey from Reelfoot Lake in West Tennessee to the Smoky Mountains of East Tennessee, traveling from one naturally beautiful spot to the next.

Visit www.kck.st/1e8oTUG before 10 a.m. on May 7 to support Jorjorian’s endeavor. To learn more about Jorjorian’s work, visit www.byronjorjorian.com.

Byron Jorjorian’s Photographic Masterpieces

Dance Theatre of Tennessee Presents Hansel and Gretel

May 3 & 4 at Father Ryan Auditorium

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All concerts at the Blair School of Music are free and open to the public unless specifically stated otherwise. For complete details about all the upcoming events

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Details about the spring 2014 concert series may be found at blair.vanderbilt.edu

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BLAIR CONCERT SERIES 2013-2014

WEDNESDAY, MAY 7 · 8:00 P.M. STEVE & JUDY TURNER RECITAL HALL

ALIAS CHAMBER ENSEMBLE

ALIAS teams with Nashville vocal ensemble Portara to present two works by Paul Moravec: Sacred Love Songs, and the world premiere of Amorisms, which was commissioned by ALIAS, Portara, and the Nashville Ballet.

Proceeds from this concert will benefit Students Taking a Right

Stand (STARS)

Tickets: $15 adults; $5 students with ID; free for Blair School students.

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To celebrate their 30th anniversary Fossil invited design-minded fans

to create watch tins with the theme of “On the Open Road” harkening back to American travel of the 50s and 60s with its vintage automobiles, roadside diners, and the sights along Route 66.

The Tin Design Contest brought in nearly 800 entries, and the company recently announced the 30 finalists, including Michael Korfhage of

Hendersonville. The finalists’ designs will be made into watch tins and displayed at Fossil stores.

A 2011 graduate of Watkins College of Art, Design and Film, Korfhage works as a freelance illustrator and designer. “I stumbled on the Fossil contest, and they are so well known for their design work and overall style that I thought I couldn’t lose anything by giving it a try,” Korfhage commented.

The top five finalists will receive cash prizes from $1,000 to $5,000. For more information, visit www.fossil.com and www.mkorfhage.com.

Hendersonville Designer Named Top 30 Finalist

Fossil Global Tin Competition

Every ALIAS performance gives Nashville audiences a mix of chamber music that cannot be heard anywhere else, and this

year’s Spring Concert is no exception. ALIAS will team up with vocal ensemble Portara to premiere two works by Pulitzer Prize-winning composer Paul Moravec.

Amorisms, which was commissioned by ALIAS, Portara, and the Nashville Ballet, is scored for string quartet, clarinet, and five voices. “The work is titled Amorisms,” Moravec explains, “which is a musical setting of aphorisms on the subject of love, excerpted from the works of William Shakespeare.”

Sacred Love Songs, a work from 2012, was originally scored for voices with four recorders. “Moravec rewrote the recorder parts for string quartet, and in doing so he made the music much more complex and challenging,” explained Zeneba Bowers, ALIAS Artistic Director.

“We are really fortunate to have a composer like Paul [Moravec] working with ALIAS so closely,” remarked Bowers. “Not only that we would get to commission a piece from him—which we love, by the way—but that he would rearrange one of his other pieces to conform to our ensemble in particular. It’s just a great collaboration.”

Also slated for the performance is Maurice Ravel’s Sonatine for flute, cello, and harp, featuring guest flutist Philip Dikeman, and works by Douglas Hill and ALIAS cellist Matt Walker.

As always, the ALIAS concert is a benefit. One hundred percent of proceeds will go to Students Taking a Right Stand (STARS), serving schools and communities by providing services to address bullying, substance abuse, violence, and social and emotional barriers to success.

ALIAS’ Spring Concert takes place on Wednesday, May 7, at 8 p.m. at Turner Hall, Vanderbilt University’s Blair School of Music. Tickets are $15, $5 for students with ID, and free for Blair students. For more information, visit www.aliasmusic.org.

ALIAS World PremieresSPRING CONCERT MAY 7

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May 17 at 5:00 pm

Marleen De Waele-De Bock & Greg DeckerMay 17–July 12

Opening Reception May 17, 6-8 pm

Marleen De Waele-De Bock, True Colors

A Conversation with the Artists: “ Influences of Africa, Then and Now”

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Two widely recognized painters from different worlds discover a geographic commonality that now pervades their work. New Mexico-based painter Greg Decker spent his

early childhood in rural Congo, and Nashville-based Belgian painter Marleen De Waele-De Bock lived in Mozambique and South Africa. Although their experiences varied throughout time and space, African influences permeate the artists’ work both aesthetically and thematically.

Their show, Marleen De Waele-De Bock and Greg Decker: New Work, on view at LeQuire Gallery May 17 to July 12, brought the artists together as colleagues and has solidified similarities between their vibrantly colored works, similarities that allude to snapshots of overlapping pasts.

De Waele-De Bock’s early watercolors were inspired by rich market scenes and a mosaic of personalities across Mozambique. “I was looking for things I don’t have in my own culture. I wanted to depict the sceneries typical of the environment there,” De Waele-De Bock reminisced.

Her recent acrylic works are landscape based and centered on the changing seasons. She is less focused on social commentary but retains elements characteristic of African design with bold colors, dynamic patterns, and lofty natural scenery.

Decker’s paintings in oil and watercolor combine rich narrative with native shape and pattern. Although his experiences living in the Congo were many moons ago, Decker draws inspiration from his past when incorporating pattern, form, and color.

“I am guilty of loving pattern, an unstoppable tendency in all culture(s). Some I believe is imbibed from Gustav Klimt; much I am certain comes from the vivid African fabric patterning I saw for much of my childhood, having grown up in Africa,” he noted in an artist statement. “In terms of color, I love color that is bold.”

De Waele-De Bock and Decker will lead a talk at LeQuire on May 17 from 5 p.m. that marries anthropology with art history. The duo will discuss their life experiences in Africa, how their connection to the continent has influenced previous work, and why experience dictates their styles and processes today. A reception will follow.

Visit www.lequiregallery.com, www.marleensartwork.com, and www.gregdeckerstudio.com for more information.

Cross-Cultural Ties

Marleen De Waele-De Bock, The Horse Whisperer, 2013, Acrylic on canvas, 36” x 60”

by Alyssa Rabun

De Waele-De Bock and Decker at LeQuire on May 17 to July 12

Greg Decker, Woman in Red, 2014, Oil on canvas on panel, 20” x 33”

Carol Curtis, Watercolor, 8 x 8

Carol Curtis, Watercolor , 20 x 16

carolcurtisart.com

This image is also available in 18 mesh stitch- painted Zweigart

needlepoint canvas

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On April 11, Vanderbilt University Department of Art opened The Senior Show 2014 featuring work by Margaret

“Elle” Burnett , Kelsey Creel, Lesley Hill, Desiré Hough, David Krenz, Demi Landstedt, and Anisha Patel.

The opening included the announcement of the prestigious Margaret Stonewall Wooldridge Hamblet awards. The highest honor, $25,000—to be used for travel and the making of art for the year, followed by a solo show—went to David Krenz for his video installation World of Sleepers. The $10,000 merit award went to Kelsey Creel for her installation The Closet.

The Senior Show 2014 remains on view through May 9, in Space 204, at the E. Bronson Ingram Studio Art Center on the Vanderbilt campus. For more information, please visit www.vanderbilt.edu/arts.

Top Honors at Vanderbilt Senior ShowDavid Krenz, Screen shot from World of Sleepers, 2014, Video installation

Local Color Gallery has been a leading source for artwork

created by Tennesseans for the past 24 years. In celebration, the gallery will open a show of new work from local artist Thalia Kahl. Moved by the way light and shadow can transform the ordinary into an object of beauty, Kahl creates rich, colorful oil paintings of a variety of inspiring subjects, including still life, landscapes, figure, and cityscapes.

Owner Brooke Robinson purchased the gallery nine years ago and infused it with her love of art. The gallery features over 30 very diverse artists working in a variety of media and styles.

Robinson and her artists will celebrate Local Color Gallery’s 24th anniversary on May 8 from 5 to 7 p.m. For more information, visit www.localcolornashville.com.

Loca L coLor Ga LLery ceLebr at es 24 ye a r s

Thalia Kahl, And She Never Looked Back, 2014, Acrylic on canvas, 24” x 12”

RECEPTION ON MAY 8


CRAWL GUIDE

The Franklin Art Scene happens Friday, May 2, from 6 to 9 p.m. in historic downtown Franklin. Jack Yacoubian Jewelry and Fine Art will feature new work by Susan McGrew. Gallery 202 w i l l e x h ibit new work s by Michael Hooper. Bagbey House will show paintings by Linda Graves and Jack Zellner, the grandson of renowned Dutch painter John Kitslaar. Boutique MMM will present acrylic paintings by artist and attorney Chuck Blackard, III. The Heirloom Shop will display new work by Mary Walker. Town’s End General Store will showcase iron and metal work by Glen Taylor. Bob Parks Realty will premiere new work by gail Mcdaniel.

The First Saturday Art Crawl Downtown takes place on Saturday, May 3, from 6 to 9 p.m. The Arts Company w i l l u n v e i l t h r e e n e w exhibitions: The Intimate Art Life of Leonard Piha Continues by Leonard Piha, Original Collodion Photographic Prints and X-Ray Photography by Don Dudenbostel, and A Preview of New Paintings by Cynthia Tollefsrud. Tinney Contemporary will host an

opening reception for CONTINUUM, new work by Carol Mode. The Rymer Gallery will present their second annual directors' choice juried exhibition FIGURATIVELY SPEAKING: Contemporary Art and the Human Body. Hatch Show Print will exhibit the National Poster Retrospecticus, a traveling poster show featuring 300 gig posters from across the U.S.

In the Arcade, WAG will present Hell Is Hot, an exhibition of sculpture, painting, and printmaking by Fine Art junior Zack Rafuls. 40AU and HAUS will unveil a new curatorial project, Nothing Never Happens, a solo show with new work by Ann Catherine Carter. COOP Gallery will display Draw Three, drawings by Chris Scarborough, Trent Miller, and Rebecca Morgan. O Gallery will feature works by Olga Alexeeva. Hannah Lane Gallery will exhibit new work from the Pomegranate Study.

Arts & Music @ Wedgewood/Houston will take place Saturday, May 3, from 5:30 to 8:30 p.m. Zeitgeist will exhibit A Brief History of Nashville by Brady Haston and Re: Surface by Karen Seapker.

David Lusk Gallery will host an artist’s reception for Kit Reuther’s new exhibit Peripherals (see page 60). Ground Floor Gallery will display Meet of the Matter, a solo exhibition by Jake Weigel. Julia Martin Gallery will feature HEAD CASE by David Kenton Kring. Track One will present An Evening of Sound Art by graduate students from Southern Illinois

University Carbondale’s Audio Arts class. 444 Humphreys P o p U p w i l l s h o w c a s e collaboration by paper-cutting artist Kelli Shay Hix and light master Josh Gumiela.

On Thursday, May 15, at 7 p.m. UnBound Arts will host Third Thursdays at The Building featuring works by Mandy Peitz Moody and Vicki Jett Terry. Musical performances by Matt Moody and Dax Penick start at 8:30 p.m.

Michael Hooper – Gallery 202

Jack Zellner – Bagbey House

Don Dudenbostel – The Arts Company

Ann Catherine Carter – 40AU

Brady Haston – Zeitgeist

Kelli Shay Hix – 444 Humphreys

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Portrait of a Woman, 2014, Oil on canvas, 36 in x 24 in

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H AT M A K I N GM A D

Milliner Anna Zeitlin Brings Original Hats to Nashville Clientele

by Stephanie Stewart-Howard

On a blustery spring day, Anna Zeitlin busily works on exquisite pieces for her custom millinery line Fanny and June. Light pours into the room from the wide windows of the Belmont-area guesthouse that serves as her studio, set behind the house where she grew up.

When you think of milliners, it’s probably vintage literary characters like Irene Malloy in Hello Dolly! While it’s easy to imagine Anna decked out in Irene’s Edwardian finery, her work is wholly contemporary and makes you wish hats were really a thing in the U.S. Fortunately, we can bring them back—whether for Steeplechase, wedding, or dressy occasion.

Zeitlin studied film at Columbia College in Chicago, but, as a lifelong seamstress, took all the fashion classes she could as well, including the school’s single hat-making course. A trip to a custom hat shop in Charleston fired her romantic vision and love of millinery craftsmanship, and the interest stuck. After Columbia, she would study hat making in Los Angeles, New York, with Ian Bennett in the U.K., and also in Paris.

“There just aren’t a lot of places to study in the U.S.,” she says, pointing out that since the social changes of the 1960s, hats haven’t been a big part of the American fashion vernacular. “There are lots of reasons for that, I think. We just got more casual; we started to like the idea of suntans and big hair, and none of those things goes well with daily hat wearing.”

With a film degree under her belt, Zeitlin moved to Los Angeles but found herself looking actively to do more hat construction along with film. She found her niche working at the Louise Green Millinery Company, mostly in sales. Green did serve as a mentor, especially letting Anna work on ideas for men’s hats, since women’s were her own passion.

Anna designed her own hats, and along with friends formed the Millinery Guild of Southern California, whose members included Mondo Guerra of Project Runway fame. Together, they staged a runway show, sharing the hot hat gospel with the fashion-forward masses.

She returned to Nashville in 2011 with a vision, founded Fanny and June, and set to work making hats for Steeplechase and Derby goers while selling her seasonal lines at her website fannyandjune.com. She has branched out to some theatrical work, like last year’s Studio Tenn performance of My Fair Lady (full of huge hats), but mostly she aims to make a current fashion statement.

“I love to make big, over-the-top styles, but I can also get into the more casual things, like fedoras,” she says, showcasing examples of each. Most of the work she does is for women, but she does some custom design for men—a challenge, she says, since men’s hats need perfect fitting, especially since they generally have less hair than women.

Her fascinators are pretty marvelous too. Of note are the epic, handmade flowers she painstakingly creates petal by petal with a hot iron. Other examples highlight vintage floral pieces sourced in an ancient New York garment district shop.

“To understand the value of a handmade hat, you need to understand the process—it’s the equivalent of couture, all hand sewn. Yes, there are people who go to Steeplechase after buying a blank at Target and hot gluing some craft flowers on it, but it’s not the same thing,” she says, smiling. Indeed.

Quite aside from the beauty her level of quality affords, Anna Zeitlin’s hats showcase craftsmanship, with a fine band, perfect fit, and hand stitching. These days, she’s selling not only in Tennessee and Kentucky for horse races and weddings, but to fashionistas in Australia, Germany, and Canada via her website. It’s easy to see why: with exceptional quality, discerning customers follow.

For more information about Anna Zeitlin’s Fanny and June, visit www.fannyandjune.com.

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The Bookmark

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

A Monthly Look at Hot Books and Cool Reads

Thunderstruck & Other Stories ELIZABETH MCCRACKEN

This collection of nine stories comes from the author of The Giant’s House—a finalist for the National Book Award. Known for her humor, empathy, and descriptive language, Elizabeth McCracken takes on love and loneliness in these stories. Each one focuses on the choices made by characters who find themselves somewhere between heartache and joy, dismay and hope.

Meet the author at Parnassus Books on June 3.

Let’s Just Say It Wasn’t Pretty DIANE KEATON

Academy Award winner and bestselling author Diane Keaton presents a funny, insightful look at beauty, aging, and self-awareness. The wisdom she passes along was earned over her years as a mother, daughter, actress, artist, and style icon. With her distinctive voice and unique personality, only Diane Keaton could have produced this witty chronicle of what it’s like to live and work in an industry and world fixated on physical beauty.

The Painter PETER HELLER

Peter Heller first caught our attention with his debut bestseller The Dog Stars, and now he’s back with a second novel that promises to be excellent. The character at the center of this story is Jim Stegner, an artist on the run from his past. Jim has lived hard, suffered the consequences of some poor choices, and seen more than his share of loss and violence. His life is a mix of well-intentioned decisions and dark impulses, and his search for

stability and beauty takes him from New Mexico to Colorado and back again. He tries his best to forge a meaningful life, but he’s a human being —one with shadows in his heart—and it’s never as simple as just running away.

All the Light We Cannot See

ANTHONY DOERR

Anthony Doerr’s sweeping novel—ten years in the writing—tells the story of a blind French girl, Marie-Laure, and an orphaned German boy, Werner, whose lives are woven together over time. When the Germans occupy Paris in World War II, Marie-Laure and her father flee to Saint-Malo on the Brittany coast, where Marie-Laure’s reclusive uncle lives by the sea. Meanwhile, in Germany, Werner grows up with his sister, both enchanted with an old radio they find. He becomes a master of building and fixing radios, a talent that takes him into the military as a tracker of the Resistance. With its intricate yet thoroughly enthralling structure, the novel follows the journeys of these people and the relationships that hold them together.

by Anne-Leslie Owens, Public Art Project Coordinator

Walter Hood, award-winning landscape architect and educator, received the commission for the much-anticipated

public art commemorating Nashville’s leading role in the historic civil rights movement. His design, Witness Walls, is a set of fragmented sculptural walls featuring iconic Nashville photos of the events and people who made history here. The artwork will be installed in 2015 beside the historic Metro Nashville Courthouse in Public Square Park.

Hood, a professor in the Landscape Architecture Department at the University of California-Berkeley, is an expert at fusing cultural and social histories with art, site architecture, and landscape. His work is praised for transforming public spaces into community gathering places. Hood Design, his studio practice in Oakland, has been engaged in environmental design, urban design, art installations, and research commissions since 1992.

While Hood has been based on the West Coast for many years, his roots are in North Carolina. A native of Charlotte, Hood earned his bachelor’s degree in Landscape Architecture from North Carolina A&T State University. This university was home of the “A&T Four” who demonstrated at Greensboro lunch counters just twelve days before Nashville students launched their own sit-ins. Growing up during desegregation, Hood himself is a product of the civil rights movement.

Later this year, Metro Arts will be hosting a conversation with the artist. Hood will share his design concept and invite input from the public as he develops his final design.

To view the entire public art collection online, please visit publicart.nashville.gov. Sign up for our e-newsletter, Arts Alert, for the latest news on public art projects.

Iconic images are etched into concave and convex walls by a “graphic concrete” technology.

Walter Hood’s Witness Walls Selected for Civil Rights Public Art

Public Art

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

Ilex_0514FB.indd 1 3/31/14 11:01 AM

Cheekwood is excited to welcome Patrick Dougherty as our 3rd Annual Martin Shallenberger Artist-in-Residence. Dougherty is known for his giant, tangled works described by The New York Times as “startling (and delightful) … woolly lairs and wild follies, gigantic snares, nests and cocoons.” Over the last two decades, Dougherty has combined his carpentry skills with his love of nature and installed over 200 projects in many public and private places including museums, botanic gardens, college campuses, and private residencies. Photographs of other Dougherty installations will be on display in Cheekwood’s Courtyard Gallery from March 22 through June 29.

PATRICKDOUGHERTY

Litt le Bitty Pretty One

2014 Martin Shallenberger Artist-in-Residenceon display through march 2015

Film Review

by Justin Stokes

@ TPAC June 3-8, 2014ON SALE NOW! TPAC.ORG/WarHorse • 615-782-4040

TPAC Box Office Downtown • Groups of 10 or more call 615-782-4060

War Horse is recommended for audiences aged 10 and up. TPAC.ORG is the official online source for buying tickets to TPAC events.

“Theatrical magic.” – The New York Times

NationalTheatre of Great Britain and Bob Boyett present

Based on the beloved novel by Michael Morpurgo • Adapted by Nick StaffordIn association with the Tony Award®-winning Handspring Puppet Company







Hunger in AmericaThere’s an epidemic of starvation going on. And it’s right in our backyard.

From Zac Adams comes Hunger in America, a film that pushes past amber waves of grain to uncover the hidden meal crisis happening in one of the wealthiest countries on the planet. Narrated by James Denton and produced by Nashville’s Skydive Films, the documentary is more than just a public service announcement: it’s an exposé of one of America’s biggest secrets.

In the wake of the Great Recession, many hard-working Americans felt the pinch of hardship tighten into a vice-like grasp around their lives. Showing how one-sixth of the nation’s population now struggle with poverty-related food issues, the story changes from state to state to show the same picture: millions of people silently suffering because of unemployment, misconception, and pride. Deciding to fight back in the war on hunger, generous efforts such as Graceworks Ministries and “Pastor Bob’s Bridge Bunch” feed thousands every month, proving it possible for local kindness to solve a nationwide problem. Given the scope of something like hunger, the documentary’s

eclecticism will prove to be a dividing point for viewers. Certain elements—such as the duration of the film and its focal points—have potential to distance the viewer from the connection to those starving. But the elaborate character of such a problem would mean that much ground would have to be covered for the issue to be addressed properly. It is through the appreciation of this problem’s magnitude that audience

members will respect the film for telling its story in under an hour.

There are many documentaries whose call to raise awareness does very little to impact the problem. Hunger in America is not one of those films. It is an admirable call to action.

Tickets can be purchased through the Belcourt Theatre. Visit www.bit.ly/1i8RW5c.

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, as well as the Operations Manager for The Murfreesboro Pulse.

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JUSTIN GAFFREY

by Karen Parr-Moody

Painter Justin Gaffrey is currently weighing the high price of beauty like a chef meting out precious saffron threads. For twelve years he has wielded a palette knife to cover canvases

with swirls of paint as thick as buttercream frosting. Such visual flights of fancy have included themes as sweet as birds tweeting on Easter—beaches, sunflowers, poppies, and butterflies.

“The people who love my work, they gravitate toward it because it’s aesthetically pleasing,” he says.

Gaffrey, a former chef, is undoubtedly able to whip up a feast for the eyes, especially because he often paints for a live audience. But he recently began creating art that is food for his soul. And he wonders what he might lose or gain in the bargain.

“My work started out as paintings to make people really happy and excited,” Gaffrey says of the colorful paintings for which he is known. “It was about trying to make a really beautiful painting. I still try to do that. But I think as I’ve gotten older, it’s evolved into my work having more meaning. I’m challenging myself.”

Some months ago Gaffrey began to create art that he calls “contemplative” and more representative of his “authentic self.” Such paintings involve a greater degree of self-exploration both on his part and on that of the viewer. “They don’t jump at you as easily,” Gaffrey says. “You kind of have to go into them a little more. They have poetry in them, and they are based on how I feel, first, as opposed to the aesthetic.”

Gaffrey credits his artistic shift to a four-year sojourn into meditation. “As I go deeper and deeper into my meditation, my mind becomes much more clear and aware,” he says. “I go on ten-day meditation retreats and this cultivates a lot of openness, so I see things a lot differently than I used to.”

Such works have long quickened the pulses of admirers, who make annual pilgrimages to either of his Florida galleries, one in Seaside and the other in nearby Santa Rosa Beach. Nashville collector J.R. Roper is one such admirer. After discovering Gaffrey’s art years ago while making his usual trek to Seaside, he swooned over a painting he now owns, one that depicts red poppies against a yellow sun and blue sky.

“It’s a very thick paint, so it has a lot of depth to it, which gives it a lot of perspective,” Roper says. “I just love the depth perception. When you look at his paintings, they’re almost three-dimensional.”

Gaffrey, who is self-taught, cultivated his method of painting with a palette knife after selling his Santa Rosa Beach restaurant, Café Sublime, to pursue art. His is a physical style that is entertaining

Sculpted Nest, Acrylic on panel, 48” x 48”

Equanimity, Acrylic on panel, 48" x 48"

Sculpted Butterfly, Acrylic on panel, 48”x 60”

Meditations in Color


TENNESSEE ART LEAGUE

219 5th Ave N Nashville, TN 615-736-5000 www.tal5.com • www.Facebook.com/tnartleague

CORY BASIL GUEST ARTISTHELD OVER FOR A SECOND MONTH! May 3 6 pM New ColleCtioN: Where The GhosT MeeTs The Muse

Cory will also sign copies of his latest novel, The Perils of Fishboy, complete with over 60 original illustrations, some of

which will be on display.

ARTgallery

GIFT shop

hundreds of Tennessee arTisTs represenTed!

• Art• Gifts• Art Classes

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“”

Poppy Bouquet, Acrylic on canvas, 36” x 36”

My paintings have poetry in them, and they are based on

how I feel, first, as opposed to the aesthetic.

Justin Gaffrey demonstration at Lexus of Nashville

to witness, much like watching a glassblower twirl bottles in front of a furnace.

“A lot of the aesthetic pieces are repetitive in a certain way that reminds me of cooking,” he says. “When you’re cooking, you get into a flow. And without a recipe, you just go.” Working in public, however, presents a dilemma. Gaffrey admits that on occasion he has “acquiesced” to the opinions around him while painting, letting them influence his art. And in heeding such voices, he has almost literally painted himself into a corner.

So now he is faced with the ultimate question for an artist: After twelve years of success has he created something too beautiful, too popular, too tempting to truly abandon? Only time will tell. In the meantime, Gaffrey is thrilled to be moving into a different studio—a private one—where he can pursue his new direction alone. He no longer wants the public telling him how to paint.

“That’s the major catalyst for getting out of there,” he said. “I’m pretty much going to start pushing toward the things I really want to do in my life.” That said, he still hopes to create art that people will love. “That is one of my challenges right now,” Gaffrey says. “I’m going to go with the feeling first, but how do I make it aesthetically pleasing? How am I going to figure that out? Because that would be an awesome recipe.”

Justin Gaffrey's work is currently on exhibit at Lexus of Nashville. For more information about the artist visit www.justingaffrey.com.

Death & Re-Birth, Acrylic on panel, 60” x 48”

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TENNESSEE ART LEAGUE

219 5th Ave N Nashville, TN 615-736-5000 www.tal5.com • www.Facebook.com/tnartleague

CORY BASIL GUEST ARTISTHELD OVER FOR A SECOND MONTH! May 3 6 pM New ColleCtioN: Where The GhosT MeeTs The Muse

Cory will also sign copies of his latest novel, The Perils of Fishboy, complete with over 60 original illustrations, some of

which will be on display.

ARTgallery

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YEOMAN’SIN THE FORK

A Rare Book & Document GalleryLocated in Historic Leiper’s Fork, TN

RARE BOOKS & DOCUMENTS BOUGHT AND SOLD

Wednesday thru Saturday 10-5 | Sunday 1-54216 Old Hillsboro Road | Franklin, TN

ph: 615.983.6460 | fx: 615.515.9060www.YeomansIn� eFork.com

TOWARD PROTECTING AN ARTIST’S WORKby Edward Lanquist

There was once an artist who created a popular work of art. The work was copied repeatedly by third parties. Because the artist had not yet registered the copyright

in the work with the United States Copyright Office, she found that she had lost certain rights, including the right to recover attorneys’ fees and statutory damages from infringers. By the simple act of registering a copyright, significant rights are gained and copying is discouraged.

A copyright registration application is simple and can be completed at www.copyright.gov. The filing fee for an online copyright application is only $35. If you are a prolific artist, you might want to consider which works are likely to have value in order to justify the fee. That said, the benefits of copyright registration are significant, including:

(1) The right to sue for infringement;(2) The potential right to recover statutory damages and attorneys’ fees (which can be a significant hammer to stop or prevent infringement);(3) Presumptions of the validity of your copyright claim;(4) Notice to everyone that you own the copyright; and(5) Easier transfer of your copyright.

One area of copyright law that is often misunderstood by both artists and patrons is that, in the absence of an agreement to the contrary, the artist owns the copyright for work commissioned by others. In other words, even though an artist may sell a photograph, he maintains ownership of the copyright and has the sole right to copy the photograph, create prints, license the image, etc.

A final tip to protect your work: I suggest placing a digital watermark on your artwork before displaying it on online. This makes tracking the work easier and provides proof in the event of infringement.

Ed Lanquist is an AV-rated attorney who practices patent and trademark litigation, intellectual property counseling, and trademark prosecution at Waddey Patterson. Ed serves on the Arts & Business Council Board of Directors. Should you have any further questions, please contact him at www.iplawgroup.com.

“Only one thing is impossible for God: to find any sense in any copyright law on the planet.” – Mark Twain

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If you are in Madrid, be sure to visit the Prado Museum. It houses one of the world’s most revered collections. Moreover, several iconic works of

art found there never travel. Among them is Las Meninas (The Maids of Honor), 1656, by the leading Spanish artist of the seventeenth century, Diego Velázquez. The painting, impressive on every level from its monumental size and the skillful application of paint to its composition, complexity, and enigmatic meaning, has inspired and intrigued artists and scholars for centuries.

The setting is Velázquez’s studio. The central figure in the painting is the Infanta Margaret Theresa, daughter of King Philip IV and Queen Mariana. She is not facing the artist but rather gazing in our direction. The painting depicts a moment in time, a snapshot made almost two hundred years before the invention of photography. The painting’s title refers not to the Infanta but to her maids, who serve the royal family just as the painter Velázquez did. The figure on the steps at the door in the background has been identified as Don José Nieto Velázquez, the queen’s chamberlain. We cannot know if he is entering or leaving. A reflection of the King and Queen appears in a mirror on the back wall. Where are they standing? Are they the models for Velázquez’s painting or are they, like us, looking at the Infanta, her entourage, and the artist at his easel?

Velázquez guides the viewer through the canvas compositional techniques, including classical perspective and dramatic light. Notice the paintings within the painting or rectangles within the rectangular picture frame. The artist would

have seen similar organizational tropes in Dutch paintings in the royal collection. The artist includes a portrait of himself surrounded by references to painting: canvas, easel, palette, paintbrush, and finished pictures on the adjacent walls. When Las Meninas was made, a painting was seen as a window onto reality rather than as a vehicle

for commenting on the conventions of painting or the role of the spectator. In this regard, Las Meninas is a modern painting, one of the first to be self-referential rather than solely about the obvious subject. It is also classical by virtue of Velázquez’s virtuosity and discipline. Las Meninas is an infinitely fascinating painting that holds up in reproduction or online. However, by standing before the painting at the Prado, you see firsthand the tactile quality of the paint, the intricate play of light, and the full measure of Velázquez’s genius.

Diego Velázquez, Las Meninas, 1656, 10.5” x 9.1”, Courtesy of Museo Nacional del Prado

At the Prado . . .

As I See It

Susan H. Edwards, PhD Executive Director & CEO, Frist Center for the Visual Arts


Green Hills(615) 881 0427 www.atelier13-usa.com

where art meets the emotion of sound

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Even if you don’t recognize Lynn Goldsmith’s name, you’re guaranteed to have seen her photography—lots of it.

Her work has appeared in Life, Newsweek, Time, Rolling Stone, Sports Illustrated, People, Elle, Interview, and The New Yorker. The Smithsonian and the Museum of

All-Access Passby Michael Dukes

Bob Dylan and Levon Helm

Bob Marley Patti Smith


Modern Art are just two of the institutions to include Goldsmith’s photographs in their permanent collections.

But this elite photographer is best known for the deep imprint she’s made on the collective consciousness of pop culture over the past four decades.

Since taking the NYC music scene by storm during rock’s formative years, Goldsmith’s lens has projected countless music icons into the public eye. Her knack for quickly forging deep connections with complex celebrities is uncanny and arguably unmatched.

Her secret? “I’m brutally honest, but they always know there’s a lot of love behind it,” Goldsmith explains during our first conversation. “So they trust that what I’m creating is good for them, and something they’ll enjoy looking at.”

Clearly, it works. The sheer number of rock royals crowding her resume is nothing short of dizzying. The Boss. The King. Madonna. Michael Jackson. Sting. Bob Dylan. Bob Marley. The Rolling Stones. Carlos Santana. James Brown. You get the idea.

And we’re barely scratching the surface. To assemble a more complete list, you’d have to write a book.

Actually, Rock and Roll Stories is Goldsmith’s twelfth published work. Her new greatest hits collection is stunning in its scope. Most of the book’s photos are framed by the photographer’s own

wry—and often highly personal—commentary. And the stories are worth their weight in gold records.

Like the time Bob Dylan agreed to serve as a photo assistant in order to crash a Levon Helm shoot.

“Bob would hang out at my place and play the piano I kept in the makeup room,” Goldsmith confides. “One day I was leaving to shoot Levon Helm for a magazine cover, and Bob really wanted to come along. I told him no way—his presence would be too much of a distraction. Finally I agreed, on the condition that he help carry my equipment and take light readings. I also warned him to stay quiet till I was done shooting. Of course as soon as the shutter started clicking, Bob immediately picked up a guitar and walked onto the set. In the image that appears in the book, everybody is laughing because nobody could believe I was telling Bob Dylan to get out of the shot.”

Of course, it all turned out okay. And as usual, she has the photos to prove it.

Hear more of Goldsmith’s tales (including some guaranteed never to appear in print) at a slide show and book signing hosted by Two Old Hippies on May 10. Goldsmith will also deliver a talk for the American Society of Media Photographers on May 9 at Dury's. For more information visit www.lynngoldsmith.com, www.twooldhippies.com, and www.asmp.org. Patti Smith

Photographer Lynn Goldsmith with her latest book, Rock and Roll Stories


Critical I

Video Installation at Belmont University Puts Gallery-goers in the Spotlightby Joe Nolan | Photography by Rebecca Drolen

Tom Carr’s here and there is a video installation that opened at the Leu Gallery at Belmont University in March. The show includes two minimal displays that use simple expressions of color and light to make big

statements about space, place, identity, and time.

The first section of the darkened gallery is bathed in light from two separate projectors. These synchronized units emit colors, textures, and designs on the walls, dramatically affecting the feel of the whole space. We all know that light coming into or blocked from a room can make all the difference in whether you want to spend time there, and part of the fun of the space is just pretending that you’re shopping for paint or wallpaper and previewing how it will look once applied. However, certain designs and images make the walls disappear into what looks like limitless black space, emphasizing the relationship between photons and architecture to the extreme.

Arrival/Departure is projected on the wall at the far end of the gallery. It’s a big white spotlight that shows the still silhouettes of people on an escalator, moving diagonally up and down, in and out of the circular frame. Here’s the trick: When you try to get a closer look, you inevitably step in front of the projector and your silhouette also becomes part of the scene. Viewers are encouraged to leap into all of the light on display and upload their photos to a site where they are collected in an online gallery. It’s not the most engaging art interaction I’ve seen, but plenty of people have done just that and the photos are worth checking out.

It’s a neat gimmick, but there’s more going on here. Take the time to watch the figures on the escalator coming and going

and you’ll start to see aberrations: a man holding what looks like a tombstone, a woman with an elaborate Japanese parasol, another man wearing an anachronistic wide-brimmed hat, a potted plant riding the escalator unattended. Carr reveals many oddities here, even intermingling people from different eras. It puts me in mind of ideas of reincarnation, people rising up, souls coming down—an endless progression from couples in Victorian garb to contemporary girls staring down at their cellphones. Which reminds me, I need to get to the mall. I’m due for an upgrade.

Tom Carr's here and there is on exhibit at Belmont University's Leu Gallery through June 14. For more about the artist and the exhibit visit www.tomcarrstudio.com.

Me and My Shadow

(foreground) here and there, 2014, digital slide projection with the support of Devin Lamp and Belmont University. (background) Arrival/Departure, 2010-2013, digital slide projection with the support of the Streaming Museum, NY and Art Plural Gallery, Singapore

here and there, 2014, Digital slide projection with the support of Devin Lamp and Belmont University

Critical i

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Two Old Hippies & Tinney Contemporary Gallery

invite you to an evening of conversation with famed Rock n Roll Photographer

Lynn GoldsmithSaturday, May 10th

6:00 PM Drinks and food.Book purchase available

6:30 PM Conversation and slide show

401 12th Ave. South • Nashville, TNRSVP 615-254-7999

TwoOldHippies_0514.indd 1 4/15/14 4:47 PM


H AY N E S G A L L E R I E S P R E S E N T S

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GALLERIES: ON THE MUSIC ROW ROUNDABOUT IN NASHVILLE, TENNESSEE AND SEASONALLY IN THOMASTON, MAINE


Arts Worth WatchingOn May 13, 1985, a longtime feud between the city of Philadelphia and controversial radical urban group MOVE came to a deadly climax. By order of local authorities, police dropped military-grade explosives onto a MOVE-occupied row house. The fire quickly escalated, resulting in the tragic deaths of eleven people (including five children) and the destruction of sixty-one homes. All of it was captured by TV cameras. It was only later discovered that authorities decided to “ . . . let the fire burn.” In Let the Fire Burn, a Belcourt Theatre Doctober selection coming to NPT via Independent Lens on Monday, May 12, at 9 p.m., first-time filmmaker Jason Osder brings to life one of the most tumultuous and largely forgotten clashes between government and citizens in modern American history. It is one of several powerful and controversial documentaries coming to NPT this month.

On Monday, May 5, at 9 p.m., Samantha Grant’s film A Fragile Trust: Plagiarism, Power, and Jayson Blair at the New York Times tells the shocking story of a promising young reporter caught plagiarizing the work of other reporters and supplementing his own reporting with fabricated details. The ensuing media frenzy left a major blemish on the long history of the Times. The fact that Blair is African American was emphasized repeatedly as accounts of the “Blair Affair” served up sordid details in a tale of deception, drug abuse, racism, mental illness, hierarchy, white guilt, and power struggles. Accusations of favoritism, lowered standards for minorities, and racism in the newsroom were hotly debated by pundits, while minority journalists said they felt as if their work was suddenly under the microscope because of Blair’s flagrant lies.

In God Loves Uganda, another Belcourt Doctober selection prem ier i ng on Mond ay, M ay 19, at 9 p.m., A c ademy Award®-winning filmmaker Roger Ross Williams explores the role of the American evangelical movement in Uganda, where American missionaries have been credited with both creating schools and hospitals and promoting dangerous religious bigotry. The film follows evangelical leaders in America and Uganda along with politicians and missionaries as they attempt to eliminate what they deem “sexual sin” and convert Ugandans to fundamentalist Christianity. The film records the tense atmosphere of fear created

when a virulently anti-gay bill wins widespread support. It is shocking and enlightening, touching and horrifying, and reveals the conflicting motives of faith and greed, ecstasy and egotism among Ugandan ministers, American evangelical leaders, and others that see Uganda as a test case, ground zero in a battle not for millions but for billions of souls.

Famed participatory journalist George Plimpton was a writer, editor, amateur sportsman, and actor. In the American Masters presentation of Plimpton! Starring George Plimpton as Himself, premiering Friday, May 16, at 8 p.m., discover a one-of-a-kind person who lived fully, strangely, and incredibly. The documentary, a 2013 Nashville Film Festival selection, is both a chronicle of one of the last century’s most intriguing characters and a cinematic adaption of his nuanced and funny literary style. Plimpton co-founded and worked as the editor of the influential literary magazine The Paris Review for fifty years (1953–2003). The Paris Review and Plimpton’s widow, Sarah Dudley Plimpton, granted filmmakers Tom Bean and Luke Poling full access to George’s private archives, including previously unseen material. Using Plimpton’s own narration, it includes new interviews with friends, family, and contemporaries as well as extensive archival material.

On Friday, May 9, at 9 p.m. don’t miss Silk Road Ensemble with Yo-Yo Ma: Live from Tanglewood, a new documentary featuring Yo-Yo Ma’s Silk Road Ensemble’s fifteenth anniversary performance at Tanglewood in Western Massachusetts. The concert footage, interviews, and magical offstage moments are interwoven into a spectacular one-hour show.

George Plimpton

Jayson Blair

Yo-Yo Ma

May 2014

Nashville Public Television

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

Saturday 5:00 am Electric Company 5:30 Angelina Ballerina 6:00 Curious George 6:30 The Cat in the Hat 7:00 Peg + Cat 7:30 Dinosaur Train 8:00 Daniel Tiger’s Neighborhood 8:30 Super Why! 9:00 Sewing with Nancy 9:30 Martha’s Sewing Room 10:00 Garden Smart 10:30 P. Allen Smith 11:00 Simply Ming 11:30 Cook’s Country 12:00 noonAmerica’s Test Kitchen 12:30 Bringing it Home with Laura McIntosh 1:00 John Besh’s Family Table 1:30 Martha Bakes 2:00 Fons & Porter’s Love of Quilting 2:30 Best of Joy of Painting 3:00 Woodsmith Shop 3:30 The Woodwright’s Shop 4:00 Rough Cut with Tommy Mac 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 Sesame Street 6:00 Curious George 6:30 The Cat in the Hat 7:00 Peg + Cat 7:30 Word World 8:00 Daniel Tiger’s Neighborhood 8:30 Super Why! 9:00 Tennessee’s Wild Side 9:30 Volunteer Gardener 10:00 Tennessee Crossroads 10:30 A Word on Words 11:00 Nature 12:00 noon To the Contrary 12:30 The McLaughlin Group 1:00 Moyers & Company 1:30 Washington Week with Gwen Ifill 2:00 Globe Trekker 3:00 California’s Gold 3:30 Joseph Rosendo’s Travelscope 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

Weekend Schedule

Nashville Public Television

ThisMonth

wnpt.org

National Memorial Day ConcertJoe Mantegna and Gary Sinise co-host the 25th anniversary broadcast, joined bythe National Symphony Orchestra under the direction of conductor Jack Everly.

Sunday, May 25, 7:00PMRebroadcast 8:30PM

Nazi Mega WeaponsJet Fighter Me262 explores the most technologically advanced plane of World War II; April 1945 examinesHitler’s Berlin bunker.

Wednesdays, May 7 & 149:00PM

Examine our relationship to food, why we eat what we eat and how that affects our health.

Thursday, May 22 at 8:00PM

Friday, May 23 at 9:00PM

FOOD

Preview May2014pg1_9x11.qxp_Layout 1 4/14/14 2:59 PM Page 1

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Doc

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wor

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slum

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Suz

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If Marty were not such a great picker, he would be known simply as a great photographer. He has the eye and he knows all about the moment.

– Jack Spencer


by Susan H. Edwards, PhD

Marty Stuart was a child prodigy who became a music icon. What is less well known is that Stuart is also an accomplished photographer. Although barely a teenager

when he began touring with Lester Flatt and Nashville Grass, Stuart was already a student of America’s vernacular music. He quickly began making photographs of the music legends he encountered and soon developed a sophisticated photographic eye. Because of the longevity of his career and his diligence in documenting his milieu, Stuart has created a visual history of musicians, singers, and songwriters. Over the years, he expanded his subject matter to include people he encountered along the back roads of America as well as the members of the Lakota tribe, Pine Ridge Reservation (South Dakota), their hardships, and their profound dignity. Selections from these three

A m er ica n

BalladsMARTY STUART

Bill Monroe, Last Winter, 1995, Goodlettsville, Tennessee

J.R. Cash, Snorkle the Pig, and Theodore the Turkey, 1982, Hendersonville, Tennessee

THE FRIST CENTER FOR THE VISUAL ARTS, MAY 9 THROUGH NOVEMBER 2


bodies of work will be exhibited in the Conte Community Gallery at the Frist Center for the Visual Arts May 9–November 2, 2014.

Stuart’s photographic career was sparked on his first trip to New York City while touring with Flatt. There, in a Greenwich Village bookstore, he saw black-and-white photographs of jazz greats made by the renowned bass player and photographer Milt Hinton. Stuart knew he could do for country music what Hinton had done for jazz, and the timing was perfect. He borrowed a camera from his mother, Hilda Stuart, a photographer of considerable talent, and began making photographs of his fellow performers.

As Stuart’s interest in the medium intensified, he was drawn to the work of Nashville photographers Ed Clark, Jim McGuire, and Les Leverett, particularly their images in black and white. The

Eagle Dancers, 2000, Oglala, South Dakota

George Jones, Dolly Parton, and Emmylou Harris, 1994, Mount Juliet, TN

Elvis, 2001, Tupelo, Mississippi


John R. Cash, Last Portrait, September 8, 2003, Hendersonville, Tennessee

Steve Earle Talking Blues, 1995, Nashville, Tennessee

latter, as the official photographer for the Opry for over thirty years, had the same behind-the-scenes point of view Stuart had. Further study led Stuart to the work of Dorothea Lange, Eudora Welty, and Diane Arbus, and one can see how all of these predecessors informed his aesthetic.

Stuart has owned only three cameras in his life: a Kodak Instamatic, a Minolta, and a Nikon. To date, he has used only film and traditional photochemical printing. He understands that the documentary mode shares with country music a democratic alignment with working-class values. It is best unadulterated. Thus, Stuart uses available light—natural light whenever possible but also stage lighting for photographs made during performances.

Stuart has photographed musicians practicing, in recording sessions, and in quiet moments at home. His country music Masters series includes those who were front and center as well as major talents known only in the business. Frequently photographed members of Stuart’s inner circle age before the camera. On September 8, 2003, Stuart made his final portrait of one of his most frequent models, Johnny Cash. Four days later, Cash died, reminding us of the poignant association of photography with past, irrecoverable moments. In the photograph, Cash does not make eye contact with the camera or the photographer, but rather gazes downward at no one in particular. Stuart captures his friend, mentor, neighbor, and former father-in-law in a pensive moment, which conveys both dignity and frailty. June Carter Cash had died less than four months earlier. In life, the man in black was a study in contrasts, flawed and redeemed, humble yet iconic. Stuart’s last portrait is a tribute to their long and warm friendship.


During the early 1980s, the Johnny Cash band, which included Marty Stuart, played a benefit at the Holy Rosary School on the Pine Ridge Reservation in South Dakota. Stuart felt an immediate and strong kinship with the Lakota people he met there. He noticed how their observing traditional ceremonies and rituals elevated their dignity and spirits. In the late 1980s, Stuart saw Edward S. Curtis’s photograph Vanishing Race—Navaho, circa 1904, in which a group of Navajos on horseback file into a canyon with one lone figure turned to look back. Stuart realized he also had the perspectives of immediacy and hindsight. With the Lakota tribe, Stuart is not a voyeur but the keeper of an inside view. His compassionate images of the Lakota people are akin to social documents by Jacob Riis, Lewis Hine, Dorothea Lange, and Mary Ellen Mark. For decades, Stuart has revisited South Dakota not just to photograph the people but also to donate time and resources to help alleviate the crushing cycle of poverty, unemployment, and alcoholism there. For his efforts, he has been adopted officially into the Lakota tribe.

In a body of work he refers to as “Blue Line Hotshots,” Stuart chronicles ordinary people doing ordinary things. In the era before GPS, we consulted road maps that marked the highways and roads in blue, red, or gray. As a chronicler of people who reside along the blue lines, Stuart champions people, who are hotshots

in their own back yards, with empathy and respect. Stuart is an insider among the regional characters he encounters at rodeos, state fairs, and truck stops. After all, Stuart was a star-struck, vulnerable kid himself in 1970, when he borrowed his mother’s camera and approached recording artist Connie Smith and asked if he could take a photograph of her seated behind the steering wheel of her car in a blue-sequined dress. Twenty-six years later Stuart and Smith married.

Marty Stuart is a singer-songwriter, musician, performer, historian, collector, writer, entrepreneur, and photographer. His forays into photography blossomed early and never waned. He has created a world of wonder and preserved it at the same time. Being a Marty Stuart fan is its own reward. At a live performance, one is dazzled by his virtuosity as an entertainer, musician, and fan. His joie de vivre is irrepressible and infectious, a visceral reminder to live in the moment and preserve that moment whenever possible.

American Ballads: The Photographs of Marty Stuart will be on exhibit at the Frist Center for the Visual Arts, May 9 through November 2. For more information visit www.fristcenter.org and www.martystuart.net.

Father and Son, 2012, Pine Ridge, South Dakota

Sir Cordell Kemp, 2000, Defeated Creek, Tennessee

PHOTOGRAPHY

COMPETIT ION

2 · 0 · 1 · 4

Submissions due: August 15, 2014 · Winners announced: October 2014

See www.nashvillearts.com for details

Nashville Arts Magazine announces our fifth annual photography competition. Last year, we saw a stunning array of Nashville’s talent, and we can’t wait to see what 2014 brings! The top 10 winning entries will be featured in the October issue of the Nashville Arts Magazine. This is an open competition for all local and international photographers. Submit a maximum of 3 high resolution photographs to [email protected].

DEADLINE FOR SUBMISSIONS IS AUGUST 15, 2014. See www.nashvillearts.com for competition details.

First Place ($500 cash) Second Place ($250 Chromatics gift card) Third Place ($250 Chromatics gift card)

Photo_Competition2014-Final.indd 1 4/15/14 1:27 PM

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Orchid Room, 2014, Oil on canvas (diptych), 92” x 60”

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by Daniel Tidwell | Photography by Jimmy Abegg

Primitive, roughly hewn shapes dominate the visual language of Kit Reuther in her large-scale abstract paintings and sculptures. Thick, foggy grounds of white comprise painting fields in which scribbled, smudged, and crosshatched shapes float—pushing

and pulling against one another and alongside the edge of the picture plane. In Reuther’s sculptures, elemental shapes are cut, hacked, welded, stacked, and polished into totem-like effigies that are evocative of the human form.

A self-professed, self-taught artist, Reuther began her career making figurative work, and one can still see traces of figuration most clearly in her sculpture. While the path of her work’s evolution from objective to non-objective representation remains something of a mystery to her, she does cite a key shift in her visual thinking as a turning point, “transitioning away from seeing ‘things’ to seeing ‘ideas about things’ . . . or landscapes or shapes. All of the fundamentals are still in play—scale, composition, color; but the language I use to judge the work in process is completely different.”

Reuther’s abstractions are born out of an intuit ive, process-oriented approach. “I tend to work serially . . . challenging myself to think about mark making and object placement in a different way,” says the artist. “Once I start thinking differently, then I begin to see things around me differently. It starts with the thought and plays out in the work.”

In her most recent work, Reuther focuses her compositions on the edges of the picture plane, where rough, semi-geometric forms float, “leaving broad, open spaces of white toward the center.” These compositions have a decidedly Rothkoesque feel—echoing his usage of color blocks to define visual space. In Life Cycle of a Color Field,

Kit Reuther in her studio

Life Cycle of a Color Field, 2014, Oil and graphite on canvas, 64” x 72” #1203-3d, 2014, Wood and paint, 36” x 19” x 12”


Reuther throws the composition off balance with an asymmetrical arrangement of cloudy blocks of gray, green, blue, and pink. Reuther comes closest to literalism in an atypical work titled Nevermore from 2010 in which those titular words have been scrawled across a dark gray field while what appears to be a primitive, bird-like form perches at the bottom of the canvas.

Reuther lets instinct guide her color palette choices as well. “Colors represent noise and temperature to me, and most days I prefer things to be on the quiet, cool side. It’s my own little way of thinking about color. Too much color ‘noise’ on the canvas feels claustrophobic, but I am allowing a bit more to sneak in these days.” Reuther’s process results in tactile surfaces created through the layering of white paint on the canvas. “Rarely are the whites opaque and flat,” says Reuther, “but sheer layers upon layers that reveal evidence of experimentation and the struggle underneath.”

Abstract #1197, 2014, Oil on canvas, 66” x 42”

(right) Horizon Study #1082, 2011, Oil, graphite on canvas (triptych), 68” x 20”


For Reuther, the flaws created through visual exploration are a critical, content-related element of her work, transforming the paintings and sculptures into a visual history of her contact with the pieces. In this way Reuther’s process becomes the real content of these works. “I try to avoid making art with an intended outcome or message for the viewer,” she says. “My only real intention is to make work that pushes and challenges me and feels slightly odd and fresh to my eyes. Working in this manner keeps me fully engaged and completely off balance.”

The large scale in which she works informs Reuther’s process and the viewer’s experience of her paintings—creating immersive visual fields for her floating marks. “The scale allows for . . . broad

strokes and freedom of movement, leaving plenty of the white space on which my work relies. I can’t achieve that on a small scale.” Reuther sees herself continuing to work on a large scale but acknowledges the inherent challenges posed by monumental canvases, saying that “some days it feels like all I do is mix paint!”

While Reuther’s current paintings bear striking similarities to the work of Twombly, Guston, or Rothko, and her sculptures look to be inspired by Brancusi and Giacometti, she cites other influences, including Helen Frankenthaler and Susan Rothenberg. “There is such an oddness to Rothenberg’s compositions,” says Reuther. “Things float on the diagonal or come jutting into the canvas from the edge. The same applies to my three-dimensional

Nevermore, 2010, Oil on linen, 32” x 32”


work, where I am looking at abstract shapes that exist in space and trying to think about them differently. The Cubi series of David Smith comes to mind. Any artist who challenges order and balance is inspiring to me right now.”

Reuther is a Nashville native who has achieved a degree of success that would seem unlikely for an abstract artist in a city where local collectors favor traditional, representational work over abstraction. “I have been fortunate along the way to find good dealers who not only get my work but also get me,” says Reuther. As for the Nashville art market, Reuther says, “I try to avoid making generalizations about what does and doesn’t sell here. I’ve seen and heard about some very strong private collections here that run the gamut of genres. Yes, I have sold my abstract work here, but I am aware that not everybody is interested. I’m okay with that.”

Once I start thinking differently, then I begin to see things around me differently.

It starts with the thought, and plays out in the work.

“”

Peripherals is on exhibit at David Lusk Gallery through May 31. The opening reception for the exhibit is May 3 from 6 to 8 p.m. in the gallery at 516 Hagan Street. For additional information about Kit Reuther, please visit www.davidluskgallery.com and www.kitreuther.com.

Abstract #1207, 2014, Oil on canvas, 72” x 52”

#1202-3d, 2014, Wood, paint, steel, 44” x 11” x 9”

202 2nd Ave. South, Franklin, TN 37064

www.gallery202art.com615-472-1134

ANDY WARHOL

SITTING BULL

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Find INSPIRATION and IDEAS for any occasion

73 White Bridge road, Suite 114NaShville, tN 37205

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Custom frame a special memento or stop in to select the perfect gift

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Art SeeArt SeeSee

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Liz and Raina Meeks at threesquared

Katie Merna, Cheryl Dalton, John Lasiter, Cory Basil at Tennessee Art League

Jessica Hubbard at The Arts Company

Justin Gaffrey's live demonstration at Lexus Art Night

Justin Gaffrey at Lexus Art Night

Nicole Rucker at Tinney Contemporary


Art SeeArt SeeSeeCale Millican at David Lusk Gallery

Annie Blackman at 40AU Rebecca Drolen, Sara Estes at threesquared

Hunter+Gatherer Jamie Phillips, Carmen Barraza, Azad Taylor at WAG

Cory Basil opening at Tennessee Art League

Laini Brown at The Rymer GalleryLindsay Gomall, Jaime Bowers, Andrea Hayden at Tinney Contemporary

Nina Williams at WAG

I dare you to try to pin Yuri Figueroa down, to relate one image to him, to choose one medium of visual art to sum him up. To do so is like having a serious conversation over the phone, when expressions and subtle nuances

can get lost in the wavelength.

The title of his most recent show, Introductory Dialogues: The Four Monsters Inside My Head, allows some semblance of a starting point, as he does indeed recognize four individual elements of his personality, and they function as a cycle, like the four seasons of the year. That isn’t to say that these four elements are represented in his work, at least not in such stark terms as Sad Yuri, Angry Yuri, Happy Yuri, etc. But perhaps knowing that Figueroa rotates around an invisible axis will help the viewer discover the story he’s trying to tell through works that range from passionate, emotional, abstract paintings to black-and-white video performances.

Twenty-five-year-old Figueroa is a self-taught visual artist, born in the city of Colima in Mexico. His heavy, dark hair is pulled to a low ponytail, his jet-black mustache waxed stiff and slender like Salvador Dalí’s. Considering the fact that English is his second language, it should come as no surprise that language plays perhaps the most important role in his work.

Y URI FIGUEROAby Cat Acree Photography by Joshua Black-Wilkins

Three Studies of a Portrait, 2013, Oil on canvas, 16” x 12”

CONNECTING THE DOTS TO DA LI

Cosmogony of State, 2013, Chinese ink and permanent ink on paper, 14” x 11”

“Language is intended to be simple, to be comprehended. That’s the point,” Figueroa says. “I feel like if I suddenly found myself in the middle of the desert, naked, with no camera, no paints, no nothing, I would just start drawing things in the sand . . . [because art is] about communicating without talking.”

More specifically, his work is about communication from one individual to another. Consider his Sea Urchins series, a collection of ink renderings of black, spiky urchins that appear almost cosmic. They’re beautiful, each one painstakingly unique—just like the individual self. The core of each urchin is “our thoughts and our attitudes and our feelings, the natural rhythms in which we are controlled.” The spines emanating from the center are what keep other individuals at a distance, what allow each of us to stand alone. Figueroa explains: “I think of the individual [as] a combination of chaos and order, which is naturally built [into] the controversial beings that we are by nature. [It] could be contrasted as morals and instinct, which I feel is the origin of conflict.”

And then there are the mottled, deformed Changing Portraits, which are intended to represent the individual at its most truthful—which, in this case, is also its most grotesque. These portraits, often of celebrities or music icons, are intended to detach the individual from the way a photograph can capture it, falsely, as a single moment in time.

We are a self-edited people. We take hundreds, even thousands, of photos to present an edited

version of ourselves to the public eye.

With the Changing Portraits, Figueroa is doing the opposite of that. These distorted images aren’t necessarily the truth either, but they’re closer to it than your profile picture.

“Something that’s very hard for us is to accept our own reality and our own past,” he says. “That’s the most difficult thing for the human being, to come to accept that. I came to tell to myself that a photographic image of somebody was a lie, because it was mostly staged. It could only represent a moment in time that would stand for something in particular.”

Though much of Figueroa’s high-concept work inspires intense navel-gazing, his work is nothing if not varied, and his abstract

Something that’s very hard for us is to accept our own reality and our own past.“ ”

Sea Urchin 36, 2013, Chinese ink and fountain pen on paper, 10” x 9”

Abanicos, 2013, Oil on canvas, 35” x 24”

“”


Film still from The Four Monsters Inside My Head: First Movement

paintings in particular are most provocative for their simplicity. These bold, charged pieces, all of them very large and colorful, are the final stage in Figueroa’s creative process. They are the palate-cleansers, the residual elements of communication—the “ums” and “uhs,” as it were. There’s something to admire in his use of so-called “leftovers”: They are still relevant elements of the self.

You could argue that Figueroa is less an artist than he is a philosopher who exercises his theories with whatever medium he can get his hands on. But if he’s anything, he certainly is one of a kind.

For more information about Yuri Figueroa please visit www.yurifigueroa.com.

CP Self-portrait, 2013, Oil on canvas, 23” x 20” Film still from The Four Monsters Inside My Head: First Movement

Lonnie HolleyArtist · Preacher · Teacher

The creative gifts that Lonnie Holley received from the universe are exceptional. Over the past twenty years Holley’s ability to gather and reassemble discarded objects into assemblage sculptures that are

widely shown and collected by prominent museums and private art collectors throughout the United States serves as a testament to his artistic inner vision. Holley is a self-taught visual artist, a celebrated vocalist, and an inspirational teacher who motivates his students with the belief that they also possess a creative spirit. Since the late 1970s, when he began creating art, Holley has consistently fashioned forms that grab the viewer’s sensory attention.

by Jerry C. Waters | Photography by Dustin Chambers


Holley, a native of Birmingham, Alabama, now lives in Atlanta, Georgia, where he maintains an art studio and is in close contact with art historian Bill Arnett, director of Souls Grown Deep Foundation, which is dedicated to the identification, documentation, and preservation of visual art of the African American South. Through the promotional activities of Arnett and his foundation, Holley now receives worldwide recognition for his artistic talent. He was celebrated in a New York Times Magazine article (January 23, 2014) that also explores his musical gift as a vocalist. Holley remembers meeting Arnett in 1986 and said, “Meeting him opened up my mind. It was like clogged vessels [within Holley’s mind] as an artist, like things was so clogged inside of me and my art,” and yet, “I think Bill Arnett saw a little bit further than that.”

During a recent visit to Nashville, Holley conducted a series of art-making activities and workshops at the Oasis Center located near Edmondson Park. Through his interaction with high school students and teachers as well as residents from the John Henry Hale community, the housing development adjacent to the park, Holley discussed some of his life experiences and assisted the workshop participants in gathering materials from the neighborhood for their communal art activity. This process corresponds to Holley’s artistic technique that involves collecting and recycling “stuff ” (discarded materials) resulting in assemblage sculptures. And it is certainly possible that the idea of recycling everyday objects is linked to Holley’s childhood experiences as one of twenty-seven children living through impoverished conditions.

Through the workshop Holley’s students watched the sculptor transform a folded sheet of paper that he quickly sliced with scissors and unfolded, revealing a pattern. Through the pattern Holley traced shapes onto a separate sheet that he later covered with colored ink, crayon, and paint. Following this demonstration, each participant produced similar images while Holley encouraged their art activity with a spirit of warmth.

Through a conversation with Holley—between his whirlwind travel in and around Nashville while an Atlanta-based filmmaking crew recorded his experiences for a forthcoming documentary about the artist—I learned about some of the challenges he experienced as a youth living in the 1960s in the South and some of his recent memories as a celebrated artist. It quickly became clear to me that a path through which to understand Holley’s art is to view his artistic mission through the lens of “call and response,” a mechanism that is rooted in African American culture. The foundation for this

Misuse of Woman, 1988 and Early Beginner, 1994

Mule Trying to Feed Himself, 2007


mechanism is West African spiritual practices and musical techniques and today is sometimes expressed through black American music and religious experiences and through visual art. Holley was similar to a preacher as he fervently spoke about the significance of recycling that hopefully will result in salvation of the earth’s environment. Moreover, this concept is reinforced through the artist’s constant gathering of discarded elements that he collects (ranging from DVD cases, egg cartons, foliage, and paper to torn bed sheets and scrap metal) and refashions into sculptural works. Holley’s technique is a resurrection experience that produces a device, his sculpture, which is empowered with the ability to communicate.

Later this year Nashvillians will be able to view Holley’s artwork at Edmondson Park located on Charlotte Avenue between 16th and 17th Avenues. The sculpture, commissioned by the Metro Nashville Arts Commission as a tribute to William Edmondson (1847–1951),

will not only serve as a reminder of the artistic achievements of Edmondson but will also serve as a “call” to the viewer, who may indeed have an aesthetic “response.”

While I interviewed Holley, he twisted and refashioned two metal paper clips into a human face that in appearance resembles Alexander Calder’s famous wire sculptures; I was impressed. At the end of our session he presented the small sculpture to me, as a gift, and said, “Write on.” Holley’s gift of art, his stories of struggles and successes in life, as well as his creative expression—against the odds—through teaching, through preaching, and through the process of artmaking, collectively, are inspiration for me as a writer and as an artist.

For more information about Lonnie Holley, please visit www.lonnieholley.com and www.bit.ly/1q83PiK.

What's on the Pedestal Today?, 1990 (detail)African Mask, 2004

Jerry’s Artarama of Nashville5361 Mount View Rd,

Antioch, TN 37013615-731-5901

Discount Art Supplies and Custom Picture Framing

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Poet’s Corner

Tonight I dream an empty closet—missing, sneakers I save for gardening,holey T-shirts I won’t sacrifice

to rag sack, Red Wing boots,beloved and scarred. And Goodwillflannel blazer with bulging pockets, just a wire hanger, bent and lonesome.This morning the fragile and forlorntell our stories; how the years bump by,and the old and used up, become sirensof our shrunken odyssey? I awaketo find my closet full, tatters rescued, sock holes intact.A sense of loss lingers, as if clingingto the worthless, a form of vanity.Early March and snow patches comfortforest shadows. A towhee sings hermorning song and scratches leaf mold for forage. It’s easy to savor,even cherish decay, how a rottenlog grows the greenest moss,velveteen and finger fancy, how nostalgiadigests easier than the rush of the day.Out the window, the world itself a closet, sun breaks through a parade of clouds,and spotlights weathered oak on myneighbor’s barn. Across the road anabandoned scarecrow remains crucified,straw hat shading button eyes,a penitent thief, ready to confess.

— Bill Brown

The holey

Bill Brown will read a selection of his poetry at the Poet’s Corner at Scarritt-Bennett on May 22 at 7 p.m. The event is free and open to the public. For more information please visit www.scarrittbennett.org.

PHOTOGRAPH BY JOHN JACKSON


Elation, 20 x 20

A New Day, 36 x 36

Distant Dreams, 12 x 12

1912 Broadway • Nashville, TN 37203615.321.3141

www.localcolornashville.com

Please join us in celebration of our 24th anniversary on Thursday, May 8th 5-7pm

Featuring new works from outstanding local artist

THALIA KAHLMay 8th – June 28th

LocalColor_0514.indd 1 4/2/14 5:04 PM

Unplugged

Stirrings from the Nashville Underground

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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by Tony Youngblood

Wedgewood/Houston is quickly becoming Nashville’s de-facto art-making hub. abrasiveMedia’s move to a new 3,000-square-foot facility within Houston Station will seal the deal.

abrasiveMedia houses four dance companies and an art gallery, hosts classes such as trapeze and painting, and provides studio space for artists of all stripes. Executive Director Audra Almond-Harvey says the center’s mission is “to build a community by helping artists grow, connect, and produce.” Resident artists include Rebekah Hampton Barger, founder of FALL aerial/contemporary dance company, and David Landry, creator of an in-progress graphic novel about the life of Nikola Tesla in which every panel is a full-sized painting—over 300 in total.

Since its founding in 2004, abrasiveMedia has operated out of coffee shops, living rooms, churches, gyms, and briefly inside makerspace Brick Factory (now Fort Houston). Last year, they found a kindred spirit in Houston Station’s Gordon Gilbreath. “He really saw the importance of what we are doing and offered us space when we were struggling to find a home,” Almond-Harvey says. In May, they will move from a temporary space within Houston Station to their brand new home just down the hall.

Almond-Harvey sees abrasiveMedia growing into a fully staffed and funded arts organization. “This has really always been a dream of mine,” she says, “a home for artists in a variety of genres, where artists are able to grow and share resources. By ‘always’ I mean I wrote my first business plan for the idea when I was a kid, in crayons. I built my first arts center out of encyclopedias in my bedroom for my dolls and action figures. It’s awesome to see the idea become a reality and have the opportunity to share my passion for investing in artists with others.”

For more information about abrasiveMedia, please visit www.abrasivemedia.org.

Art in Formation

Rebekah Hampton Barger, FALL performance at Edgehill Artisan Fair

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Become A Part Of The Lowertown Art District.The district is home to relocated artists from around the globe who have

moved here as a result of the City's Artist Relocation Program.

Visit a colorful mix of artists, including painters, potters, bookbinders, leather crafters and jewelry makers.

For application process go to paducahalliance.org Artists Relocation Program or call 270-444-8690 Ext. 2068

By Appointment [email protected]

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Artworks include statues, masks & ceremonial regalia from all major ethnic groups of Sub-Saharan Africa.

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Register for the Sarratt Youth Art Institute at www.vanderbilt.edu/

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At the Sarratt Youth Art Institute children explore clay, painting, sculpture, drawing, printmaking, sculpture, textile arts, while making new friends and learning about the wonderful world of art.

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2160 Bandywood Dr | Nashville, TN 37215 615-298-1404 | www.ward-potts.com

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Raising the Art of RepousséCaption

by Sara Estes | Photography by Jerry Atnip

Jamaal Sheats

Nestled in the bottom floor of an inconspicuous commercial building on Charlotte Avenue, the studio of painter and repoussé artist Jamaal Sheats looks like the fusion of an art gallery and a bustling construction site. Industrial swaths of aluminum,

copper, and steel glimmer in the overhead light. A headlamp rests on a worktable next to an array of seasoned tools and rolls of wire

mesh. Dozens of painted canvases and metal relief sculptures casually lean against the white walls.

“Every piece starts with a question,” Sheats says, as we begin our tour through the expansive site of his workspace and project galleries formally known as Sheats Repoussé. Lately, he says, his work begins by asking himself one question: “What makes me me?”

Perception, 2008, Aluminum repoussé and enamel paint, 36” x 36”


A natural-born researcher and lover of history, Sheats continually draws on the past to inspire new works. From his cultural heritage to ancient folklore to his formative years at Fisk University, Sheats feels he is a composite of all the people and places he has known throughout his life, both personally and through his studies. If Plato’s sentiment that art imitates life is true, then it is fitting that Sheats’s artistic aesthetic reflects the same composite or collage effect he identifies in himself.

Sheats continually investigates aspects of his identity through his art. Positioned at a unique intersection of historical and personal narrative, each new piece attempts to navigate and appropriate history in a new and compelling way. “In many ways, my work is about charting and mapmaking, burying and excavating,” he says. Within his imagery Sheats incorporates everything from Mesopotamian maps to the Samsara to iPhone apps. In the calmer corners of his work, there is the quieting sense that time is cyclical, that all things cycle through and pick back up again.

An intrinsic love of tradition is one of the central reasons why he chooses to work in repoussé, a laborious and nearly lost art of metal relief sculpture. Repoussé is a technique by which an image is hammered into the reverse side of a sheet of metal—usually copper, steel, bronze, or aluminum—to create a relief on the front. Sheats is one of a scarce handful

Faces in the Crowd, 2003–2009, Mixed media (aluminum, copper, brass repoussé), 24" x 48"

Point of Entry: Door, Structure Three, 2011, Copper repoussé, 7” x 5”


of artists in the country working in repoussé. He learned the technique from its modern master, the late Fisk University art professor Gregory Ridley. “When I started out,” he says, “I didn’t know anyone other than Professor Ridley who did it.”

During Sheats’s undergraduate years at Fisk, Ridley, who was in his mid seventies and well known for his work in repoussé, took Sheats under his wing. Ridley sensed his natural artistic talent, and it wasn’t long before Sheats had changed his major from business to art, and Ridley began referring to the young artist as his protégé.

“I used to go over to his house when I was a student,” Sheats says. “I did most of my learning inside his house instead of at school. He was up all the time. I could go out with friends and stop by Ridley’s house on the way home, and he would be working. We’d go outside, have a drink, and sit on the patio.”

After Sheats graduated from Fisk in 2002, Ridley continued to train him in the art of repoussé and helped guide him through the art world. “He would give me a list of artists and people to

contact when I would travel. Anywhere I was going, he’d give me a list of galleries or collectors, anybody he knew, and he’d say, ‘Tell them you’re my protégé.’ So everywhere I went, I’d take fifty paper portfolios and a list of names.”

Ridley died in 2004 at the age of 78, leaving Sheats, one of his only students to fully pursue repoussé, a distinct torch to carry. Between Ridley, the faculty, and the school’s art collection that

i look at each mark as a memory, each layer of paint

as a memory. the more you build it up, the more distant

they become.

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My Ethnographical Genome: CCDNA, 2013, Mixed media on wood panel, 44” x 48”


he avidly studied, Sheats was indelibly marked by Fisk University. “Everything I do, for the most part, I try to put something about Fisk in it,” he says. Among his influences he cites Aaron Douglas, Marvin Posey, and late Fisk art professor Stephanie Pogue. “When I paint I always think about Pogue,” he says. “She made orange look so good.” He mastered flesh tones by studying James Porter’s Woman with a Jug and learned to draw hands by spending hours examining the Winold Reiss portraits in the main library.

Visually, Sheats’s work is diverse. In one corner of his studio stands a black monochrome work in progress whose gridded rigidity feels like something Louise Nevelson might have dreamed up. In another corner is an utterly serene Japanese maple expertly painted in colors so warm they wrap around the viewer like a chenille blanket. Other works still are palimpsestic and process driven. “I look at each mark as a memory, each layer of paint as a memory,” he says as we stand in front of a heavily layered abstract painting on a wood panel, its surface repeatedly gouged and chipped away. “The more you build it up, the more distant they become.”

Few artists can transition between media and aesthetic quality as fluidly as Sheats. “The reason why I can work on multiple things and bounce from different media,” he explains, “is because Ridley used to always tell me, ‘You can think; you can breathe. Just make art.’”

In 2011, Sheats received an MFA from the School of the Museum of Fine Arts, Boston where he studied under María Magdalena Campos-Pons and Gerry Bergstein. In 2013, he returned to Fisk to

join the faculty and carry on the legacy of repoussé. Perhaps he’ll even find his own protégé to continue the lineage.

I end my visit by asking Sheats the one question that I like to ask all artists: Why do you make art? “To have a voice,” he says. “Sometimes I don’t know exactly what I’m trying to say or how to say it. But I want to have a voice.”

For more information about Jamaal Sheats please visit www.jamaalsheats.com.Point of Entry: Door, Structure One, 2011, Aluminum repoussé and enamel

paint, 7” x 5”

My Ethnographical Genome: All the General’s Men, 2012, Mixed media on wood panel, 44” x 48”

Jamaal Sheats at work in his studio

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Shoes of Hatch, 2013 Jim Sherraden

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Eyes of Hatch, 2013 Jim Sherraden


There is something about walking that stimulates and enlivens my thoughts. I become, at the same moment, both present and detached from the world. Observations become more clear, and my preconceived notions of

common things and situations have a tendency to fade, making way for my perceptions to become more childlike. I develop a heightening of the senses and a new awareness of seeing what we might typically overlook. My journey is a laboratory of discovery.

When beginning the Nashville 6 A.M. project, I elected to let go of control. I didn’t set out with previsualized ideas of what I would be capturing. Rather, I decided to react to things that presented themselves to me. To allow the moment and my observational skills while walking to guide the process of seeing, then recording this “A.M.” world. In the process, I discovered that, as suspected, it is the insignificant things in life that are significant.

Nashville

6 a.m.An ongoing early morning look at our city.

Words and photography by Jerry Atnip

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Jerry Atnip is in the midst of a photographic walking journey across the state of Tennessee. For more information visit www.jerryatnip.com.


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Now open at Cumberland Gallery, Works features art from Jeff Danley and Joseph Seigenthaler. The sculptures of Joseph Seigenthaler present iconic figures in a way that is both humorous

and revealing: the heads of Shel Silverstein, Ron Paul, and Ralph Nader (among others) are mounted on the wall, each protruding almost jarringly into the space of the observer. The subjects seem as if they are on the cusp of action, wearing unique expressions that are somehow indicative of their overall character, frozen in a jeer or in contemplation. “I work from photo references provided by exhausting search engines of every image angle I can find,” states the artist. He pays close attention to the folds and wrinkles of skin as well as to hairlines, crow’s feet, and neckties. The end result is effective, as each figure has a distinct personality that is well rendered, capturing an intriguing aspect of character. Jeff Danley’s oil paintings depict solitary figures that are light and elusive. “I’ve always been interested in the language of the body,” he says, “what is being expressed by posture and movement.” The works on display all feature women in a variety of poses, adorned with flowing fabrics that allow the artist to demonstrate his skill. The emphasis is on figure and texture, and the sparse backgrounds highlight these elements while contributing to the overall elusiveness. Each piece has a sense of intimacy and playfulness,

Featuring Jeff Danley and Joseph Seigenthaler

by Jesse Mathison

workscumberland gallery • may 24

Jeff Danley, Underneath, 2013, Oil on canvas, 9” x 46”

Jeff Danley, Vortex (detail), 2013, Oil on canvas, 44” x 32”


the subjects somewhat demure. The palette, technique, and overall imagery work in combination to achieve a lithe, sensual feel. The works of the two artists are somewhat at odds with one another. The organic-feeling ceramics of Seigenthaler emphasize gritty detail, while Danley’s figures are delicate and graceful. Old, wrinkled men

are juxtaposed with young and vibrant women, pointed satire with a deliberate, ethereal aesthetic. It is an engaging concept for an exhibition, one that highlights the technical nature of both artists. Works will be on exhibit until May 24 at Cumberland Gallery. For more information visit www.cumberlandgallery.com.

Joseph Seigenthaler, Jacob Rothschild, 2012, Fired stoneware and acrylic, 29” x 15.5” x 16”

Joseph Seigenthaler, Ralph Nader, 2012, Fired stoneware and acrylic, 29” x 14” x 17”


Jesse Mathison

by Lydia E. Denkler

Photograph by Hunter Armistead

reflects on the power of collaboration and the meaning of priorities . . .


Priorities, an avant-garde art publication, will be available in Nashville this spring. Jesse M a t h i s o n , w r i t e r , p o e t ,

and Nashville native, has creatively curated this dynamic and idiosyncratic compilation of work. Its life springs from what happens when one work is juxtaposed with another. It is about the conversation and the meaning that is developed when a varied group of artists chime in on a central concept. The fledgling issue features Mathison’s poetry and work by local artists Casey Pierce, Ann Catherine Carter, Aaron Martin, and Daniel Holland, in addition to works by Marta Djourina (Berlin) and Eleanor Bennett (London).

This publication is the result of creative brainstorms Mathison had with his friends Holland and Martin at their shared Chestnut Street studio starting in 2011. They recognized a need for more creative outlets that connect visual artists, writers, and musicians. After he raided his friends’ portfolios and connected with other artists, a collaboration was born.

“For this collection, we originally worked around a few ideas: beauty, honesty, selfishness, and what we termed love beyond reason. Having no specific message, no clear border, the work as a whole is uninhibited and also playful. Priorities is in part a commentary on society and also a dialogue of the individual,” shared Mathison.

The first edition features a colorful array of voices expressed in the mediums of paint, pen, and ink, installation art, photography, and poetry. It is the synergy between the works that is key to this enterprise. Ann Catherine Carter’s work spotlights the recycling and repurposing of the visual experiences of everyday life. Artist and musician Aaron Martin uses pattern and line to evoke a distinct movement and dimension in his pen-and-ink drawings. Daniel Holland’s abstract, multilayered paintings reflect the different stages of the artist’s evolving expression. Each work has an original voice, and the sum total of all the voices expands into a choir. The deadpan expression on the face of a party guest in Casey Pierce’s Kelly’s Ghost enlivens Mathison’s poem on the adjoining page.

M a t h i s o n s a y s t h a t t h e f u t u r e publications will be an ever-evolving and forward-thinking “fine-art-zine” invigorated by new artists and the inspirations that come his way. He honors the way this publication “came together freely and organically with no external pressures.” It represents a novel way to communicate ideas, to inspire thought, and to promote his very talented artist friends.

Priorit ies is now available at www.creekspace.com and also at Frothy Monkey locations.

Eleanor Bennett, In the Workshop, 2013 Aaron Martin, Audrey, 2012 , Pen and ink

Beauty once wandered through open doors

as profligates looked onand laughed,

rectangular menwith jagged thoughts

and moldy hearts,their crooked words

irregular.

Casey Pierce, Kelley’s Ghost, Oil, acrylic and carbon on canvas, 54” x 62”

by Lydia E. Denkler

Photograph by Hunter Armistead

Daniel Holland, Bouquet, 2012, Oil on canvas

A Life in Front and Behind BarsPhil Kaufman

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What possessed you to steal Gram Parsons’ body?It was a promise I made to him. He said if anything happened to him to take his body out to Joshua Tree. He

died and I took his body out there. I kept the promise.

What characteristics do you most like about yourself?I’m funny and corny, part Irish part Jewish. I’ve got that vaudeville blood in me. Got it from my father.

And what do you like least?I’m short and sometimes I get lazy . . . but only sometimes.

What was the last book you read?Manson: The Life and Times of Charles Manson by Jeff Guinn. The definitive account of the beast.

Who would you most like to meet?Tony Bennett. I’ve always been a fan. Count Basie, Frank Sinatra. Love those guys.

What about you would most surprise people?What you see the first time you meet me is it. Won’t get any better after that.

What are you going to be when you grow up?No idea; I’m still working on it. I’m 79 but I don’t believe it. The body is old, but I’m not.

Who has most inspired you?Jack Beckett, out in L.A., took me under his wing and showed me every aspect of filmmaking. His father lit Citizen Kane. Gram Parsons taught me there was music other than jazz. He exposed me and Keith Richards to real country.

What music do you listen to?I love jazz—Errol Garner, the big bands, the standards. My dad was a piano player, played in a big band.

How do you feel about today’s country music?It’s not country music. It’s a lot of image and little substance. They need a new name for it. Too bad Pablum is taken. I told Tony Brown, “If the hat fits, sign ‘em.”

What are you most proud of?I have a lot of friends that I have never met. People introduce themselves to me. I’ve done well. I’m not wealthy, but that’s OK.

Why Nashville?I came here because Emmylou Harris came here. Everyone in her band moved here.

How do you feel about the explosive growth of Nashville?My favorite bumper sticker is Welcome to Nashville. Now go home.

What do you like most about the city?It’s user friendly and boozer friendly, even though I don’t drink anymore. The Southern attitude is conducive to niceness.

Are you happy with where you’re heading?I’m OK with it. I’m still looking for gigs. Would be nice to have a little more money so I could retire. But it’s all good.

What’s your mantra?Keep on trucking, and I hope my Social Security doesn’t run out too soon.

What has kept you young at heart?Motorcycles and young women.

Q A&If you are ever lucky enough to be invited to Phil Kaufman’s house be prepared to stay awhile. The man is a living legend with stories and anecdotes about his life on the road that will keep you laughing and guessing all at the same time. Did he really steal his best friend Gram Parsons’ body from the LAX airport? Did he really share a cell with Charles Manson? Is he really almost 80 years old? Yes, yes, and yes. As the “Road Mangler Deluxe” Kaufman has worked for the very best in the music business, including Emmylou Harris, The Rolling Stones, Etta James, Frank Zappa, Elizabeth Cook, and, of course, Gram Parsons. We spent the afternoon with him in East Nashville and couldn’t resist asking him . . .


What’s it like being you these days?It’s good. I’m going to be 80 next year. I’m still riding my Harley. The guys I grew up with are old men. I don’t believe my birth certificate.

What talent would you most like to have?I’d like to play the piano like my dad.

What is your most treasured possession?My dog Gladys and my dad’s World War II jacket.

What is your greatest regret?You won’t believe this now but when I was young I was a bit shy, afraid of rejection, and I missed out on a lot of opportunities in theatre and in film because of that.

Any other regrets?Yeah, leaving Emmylou’s gig and getting married to number four.

What film have you seen recently?I saw Grand Theft Parsons. It was OK. Johnny Knoxville plays me. T hey took some poet ic l icense w it h it . I love t he old black-and-whites; don’t need color to tell a great story.

To order a copy of Phil Kaufman’s book Road Mangler Deluxe, email him at [email protected].

Phil Kaufman shows off the hair on his chest

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24” x 24” mixed media

Contact Gerard Vanderschoot, exclusive Regional Representative of the work of International artist Matt Lamb for the

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Betsy Wills admits that she is blissfully ignorant when it comes to art curation and selection. She is, however, an avid art lover and collector and maintains the popular art blog artstormer.com. Wills is proud of the fact that her art does not match her sofa.

Field NotesA Local Look at Global Art

Leslie Holtby Betsy Wills

What is believed to be the oldest recovered “message in a bottle” was found last month floating in the Baltic Sea. At 101 years old, the missive was returned to the granddaughter of the author, Richard Platz, who had died in 1946. This is the stuff of mystery novels. As a diehard romantic, I’ve had great fun imagining why he may have penned the note. More than likely it was a lark for posterity whose mission now stands accomplished.

One of the reasons I love art is that it offers its own form of time travel. Artist Leslie Holt serves up this theme with aplomb by having syrupy-cute “Hello Kitty” pop up in imitations of iconic artworks. The viewer is forced to look more closely at the canvas and consider the intentions of both past and present artist.

Who knows where this feline rascal will show up next? Is she taking her message back—or bringing something forward?

Hello Guernica, 2014, Oil on canvas, 10" x 20"

Hello Scream (Packing Heat), 2014, Oil on canvas, 10" x 8"


ARTIST BIO – LESLIE HOLTLeslie Holt grew up in Bethesda, Maryland, but left the DC area to pursue her undergraduate degree in painting at the University of St. Louis. She continued her studies at Washington State University where she received her masters in fine arts.

Holt has built an eclectic career as a professional artist. She has exhibited her work nationally and also teaches studio art, art history, and art appreciation at the college level. One of her passions is providing support to people with mental and developmental challenges.

Her work explores themes of identity, feminism, and everyday emotions. In the Hello Masterpiece series, Holt customizes clothing and accessories of Hello Kitty, so that the fictitious feline character complements her context—a famous painting from the history of art. However, the kitsch object never quite belongs within the composition of the masterpiece. The irony of juxtaposing “high art” with a “commercial toy” leaves us wondering about the difference between the two.

Leslie Holt is represented by David Lusk Gallery. For more information, please visit www.leslieholt.net and www.davidluskgallery.com.

Hello Matisse (Blue Gown), 2014, Oil on canvas, 10" x 8"

Hello Hieronymous 2, 2014, Oil on canvas, 12" x 6"

Hello Mondrian (Fruity Delight), 2014, Oil on canvas, 10" x 10"


Theatre

tartuffeWhite Orchard Theater presents Moliere’s timeless classic

by Jim Reyland | Photography by Angela Brown

The great thing about Nashville’s growth as a theatre town is that theatre companies all over Music City are spreading their wings and flying in new and exciting directions. One

good example of this is White Orchard Theater, a theatre company that is quickly making a name for itself with a bold and stylish edge in undiscovered places.

With groundbreaking productions of The Caretaker and The Glass Menagerie on its resume, White Orchard Theater is now challenging its audience with a fresh retelling of Molière’s Tartuffe, styling the French classic as a gaudy spectacle, a richly funny portrayal not just of the con-man archetype but of family life as a whole.

“Described as a satire on hypocrisy, its target is in fact naiveté and blindness,” says director Irina Sundukova. “The credulous Orgon surrenders everything to Molière’s eponymous impostor.”

Set in France, Tartuffe is one of Molière’s most entertaining and enduring plays, a comic story of a scheming hypocrite who cons a family into believing he is a pious man in order to steal their fortune.

Originally written and performed in 1664, Tartuffe was considered so offensive at the time that it was banned by French monarch Louis XIV.

To further mix the creative pot, this White Orchard Theater production has transported Tartuffe to 1950 America, “to view this

Tamiko S. Robinson as Dorine

Allison Joy as Mariane


scathing social satire through the lens of the idiosyncratic modern social relations of that time and place,” says creative director Irina Sundukova. “The hypocritical Tartuffe is the image of all who twist ideologies to suit their own ends. What Molière makes strikingly clear is that Tartuffe only has power because ignorance gives it to him. The play encourages us all to be alert and to truly understand the truth, not simply believe what we are handed.”

The cast of Tartuffe includes some of Nashville’s finest stage actors: Jaye Phelps as Tartuffe, Lanie Shannon as Madame Pernelle, Pat Reilly as Orgon, Nettie Kraft as Elmire, Jonah Kraut as Damis, Allison Joy as Mariane, Shawn Whitsell as Valère, Tony Shannon as Cléante, and Tamiko S. Robinson as Dorine.

White Orchard Theater will hold performances of Molière’s enduring classic Tartuffe, directed by Irina Sundukova, May 15 through May 18 at the Spaghetti Theatre, 100 Taylor Street in Germantown. Tickets are $20; online $18 at www.instantseats.com.

White Orchard Theater also plans an impressive regional tour of Molière’s Tartuffe with an additional stop in Nashville at a future date. For more details please visit www.whiteorchardtheater.com.

The film version of Jim Reyland’s play, STAND, performed across Middle Tennessee in 2012 as part of The Stand Project, is now available to stream at www.writersstage.com. Watch The STAND Film starring Barry Scott and Chip Arnold and directed by David Compton. And please consider a donation to support Room In The Inn. [email protected]

Exploring the world of classical masterpieces,

White Orchard Theater seeks to present intimate stories

of human psychological drama and genuine comedy.

– Irina Sundukova, Artistic Director

“

”OZ, Nashville’s newest contemporary arts center, presents the internationally acclaimed Théâtre des Bouffes du Nord production of The Suit, directed by the renowned theatre artist Peter Brook.

The story of The Suit centers on Philomen, a middle-class lawyer who catches his wife, Matilda, in the midst of an affair. Her lover f lees, leaving behind the eponymous garment of the play. As punishment, Philomen makes Matilda treat the suit as an honored guest, preparing meals for it, entertaining it, and taking it out for walks as a constant reminder of her adultery.

The Suit will be at OZ for three nights, May 22–24. Tickets can be purchased online at www.oznashville.com.

The Suit at OZ

Nettie Kraft as Elmire

Kheswa and Ivanno promenade

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by Jennifer Cole, Executive Director,

Metro Nashville Arts Commission

It is hard these days to remember a world where 140 characters wasn’t the baseline for creative expression. Today, we are reduced to emoticons and OMGs to reflect our thoughts. But this year marks the 450th birthday of Shakespeare—the actor and playwright who helped reimagine themes of history,

desire, and revenge with a gift for ribald jokes and touching emotional insight. His body of work remains one of the largest non-religious influences on modern writing, theatre, and pop culture. Despite this gravitas, few students leave high school with more than a paltry review of his sonnets and, maybe, a reading or classroom staging of Romeo & Juliet.

Enter, Stage Left, the Nashville Shakespeare Festival. The festival and its founding artistic director, Denice Hicks, have been staples in Nashville’s theatrical landscape for more than a quarter century. Beyond the summer festival staging in Centennial Park and the winter performances at Belmont’s Troutt Theater, Nashville Shakes has a long history of helping students and teachers understand and stage the Bard.

Nashville Shakes publishes for teachers companion Guidebooks that accompany each performance in its season, works with TPAC to conduct teacher professional development seminars, and regularly stages Shakespeare Aloud! with the Nashville

SMARTART a monthly guide to art education

STATE OF THE ARTS

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Public Library. Last year alone, more than 4,000 students attended free performances, residencies, or student workshops.

Despite this long-term focus on student engagement, the company has dramatically (pun intended) increased direct work with local community and school theatre programs in the last few years in order to foster theatre integration into core subjects and to deepen opportunities for students to work directly with professional actors.

This April, Nashville Shakes worked with several local high schools to coordinate the inaugural Student Shakespeare Festival. More than fifty students from various programs worked to cast, rehearse, and stage A Midsummer Night’s Dream at Hillsboro High School. The shared work and staging helped build bridges across schools and socio-economic divides, while deepening an understanding of text and cultural literacy so critical in today’s Common Core standards. Nashville Shakes hopes to grow the student festival over the next few years, in an effort to promote cross development between pre-college theatre programs and as a way to deepen the local viewing audience for classical work.

In order to really make sure more Nashvillians experience and love Shakespeare, the company is reaching for even younger audiences. This summer they will partner with East Nashville’s Theater Bug to offer a joint summer camp for 10-12-year-olds that will include warm-ups, games, improv, iambic pentameter, and Shakespeare scene and monologue work.

I’m so glad they are taking on this Herculean effort. Shakespeare touches our every day. His plots inform everything from comic books to hip-hop songs, and his words are woven into our everyday speech. He gave us jealousy as the green-eyed monster (Othello) and literally the “Kindle Fire” (Two Gentlemen of Verona). It is critical that even in our #crazyworld all students (and adults) understand his linguistic legacy and the pure joy of watching his work live.

To find out more about Nashville Shakes’ education programs, please contact Nettie Kraft, education director at [email protected].

Apprentice Company students participating in the two-week training process before Shakespeare in the Park rehearsals

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Apprentice Company students rehearsing for A Midsummer Night's Dream

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NEW ASSISTANT CONDUCTOR ENHANCES EDUCATIONAL PROGRAMMING

by Wendy Wilson

Vinay Parameswaran took to music early in life. He started taking

piano lessons when he was not yet five, and when he was six, his dad bought him a drum set to try. “What six-year-old is going to say no to that?” he recalls.

T hou g h not mu sic a l t hem se lves , Parameswaran’s parents, immigrants from India, loved music and were eager to expose their son to its richness. Later, while he was still in elementary school, they took him to see Yo-Yo Ma play live. Sitting in the back row of the balcony, Parameswaran was struck by how the cellist was able to make his pristine music fill the hall.

As the new assistant conductor for the Nashville Symphony, the 26-year-old wants the young people he encounters today to develop a similar enthusiasm. He’s responsible for helping manage the symphony’s involvement in local schools and conducting concerts for youth at the Schermerhorn.

“Music is a universal language of expression,” Parameswaran says. “No matter what path young people choose to follow later in their lives, a connection to music is something that will always be a part of them.”

The symphony has been working on creating new programs and expanding its reach into students’ lives. This spring, the symphony is launching a program through which a string symphony conducted by Parameswaran will visit select middle and high schools. Students will hear classical pieces and learn about the composers and the significance of the pieces.

Blair Bodine, the symphony’s director of education and community engagement, says Parameswaran has a knack for working with students. “He is a natural educator,” she says. “I have seen him connect with kindergarteners and high school seniors alike, which is no easy task.”

As an adolescent, Parameswaran, a native of the San Francisco Bay area, played percussion for the San Francisco Symphony Youth Orchestra, traveling with the group on two European tours. He also played in his high school jazz band.

He says he’s fascinated with the con ne c t ion s b e t w e e n mu s i c a nd academics, especially science, given that great composers explored science as inspiration for their music. He also says music helps with thinking more creatively.

“I saw that my early exposure to music helped me think more creatively,” he says. “I think the same can happen for anyone who has an early exposure to music.”

For more information regarding educational programming, visit www.nashvillesymphony.org. Trying a cello for the first time at the Nashville Symphony Instrument Petting Zoo

Vinay Parameswaran conducts the Nashville Symphony

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PORTFOLIO GOLD AWARD

NASHVILLE OPERA EDUCATION & OUTREACH

Stories naturally appeal to children, igniting imaginations, stirring emotions, and teaching life lessons in charming

ways. Music touches the spirits of children, bringing joy and hope and stirring their natural tendency for movement. These two powerful teachers join forces to enrich the lives of children when the opera comes to visit.

Throughout the school year, Nashv i l le Opera’s Department of Education a nd O ut re a c h , u nd e r the guidance of director C h a nd ra Mc K er n , h a s carried the joy and magic of opera into classrooms and public venues throughout Davidson and surrounding counties. Sponsored by HCA/TriStar Health and utilizing the talents of four outstanding performers, t he 2013 –2014 sea son offered operatic twists on the children’s classic Billy Goats Gruff. Written by John Davies and featuring the music of Mozart, Donizetti, and Rossini, the performances address bullying while offering lighthearted lessons in friendship and kindness. In the process, young audiences also learned respect for live performance and appropriate responses as audience members.

In public venues, such as Casa Azafrán for the March 1 performance, generations have the opportunity to share the opera experience. “Our audience loved the Billy Goats Gruff!” says Tasneem Tewogbola, Casa Azafrán Cultural Engagement

The three Billy Goats (Zac Engle, Ariana Wehr, Amy Oraftik) have found a way to soften the Bully Osmin’s (Jeffrey WIlliams) heart. They sing “You must be fair and kind and true, to each and everyone no matter who”

The Appeal of Storiesby DeeGee Lester

and Events Coordinator. “Grandparents brought their grandchildren; parents came from our ESL classes, and a few families made it a Saturday morning event. It’s always great to see how theatre and singing combined with comedy and costumes can make anyone smile. From elders to toddlers, Casa Azafrán was full of song and laughter.”

Please visit www.nashvilleopera.org to learn more about Nashvil le Opera’s education and outreach programming.

Shots of children watching Billy Goats Gruff at Cockrill Elementary

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USN Student Jack Rayson Wins Portfolio Gold Award

Jack Rayson, a University School of Nashville student, is one of sixteen high school seniors from across the country to win a

Portfolio Gold Award, the highest honor of the Scholastic Art & Writing Awards. In addition to a $10,000 scholarship, Rayson’s work will be published in The Best Teen Writing of 2014, and he will be honored on stage at Carnegie Hall in June.

Rayson started writing as a hobby when he was in the 5th grade, and by 9th grade he knew he wanted to pursue it further. His favorite genre is fiction, but he also enjoys screenwriting.

Rayson told us, “Every English teacher I ever had encouraged me and helped me with my writing, but two in particular at USN really made a difference. Mr. Travieso reviewed everything I wrote last fall and helped me gain a more critical eye of my own work. Now I can identify parts of a piece that aren’t working.”

“Catherine Coke, head of the theatre department, also helped me a great deal with my screenwriting. She taught a playwriting class, and I wrote a full-length play, The Great Tragedian, which was performed at USN in March.”

The Scholastic Art & Writing Awards are presented by the nonprofit Alliance for Young Artists & Writers. The program was founded in 1923 and honors students in grades 7–12 on both the regional and national levels for their original work. Past winners of Scholastic Art & Writing Awards include Andy Warhol, Truman Capote, Richard Avedon, Philip Pearlstein, Sylvia Plath, John Updike, Robert Redford, and more.

For more information, visit www.artandwriting.org.

PHOTOGRAPH COURTESY OF ALLIANCE FOR YOUNG ARTISTS & WRITERS

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Jack Rayson


ON THE HORIZON: AUSTIN PEAY STATE UNIVERSITY

When she first spied Susan Bryant on a summer day, heavily pregnant and seeking a job, the secretary for Austin Peay State University’s

art department simply said, “I’m sorry.” There was no available position that fit Bryant’s credentials. The secretary could not have known then that Bryant would one day become a beloved photography professor and an inspiration to untold numbers of students. But in what Bryant calls a “completely serendipitous” event, an adjunct position opened two weeks later. She has now taught at APSU for thirty-two years.

O n a r e c e n t d a y, Bryant curled up in an armchair in her historic h o m e a n d r e v i s i t e d the past as we all do, meandering down memory’s avenues and side streets. It was as a postgraduate student at Indiana State University that Bryant took a photography class and “fell in love.” This was a f ter be i ng a l lowed to, as she confesses, “get away with taking

photographs of cute kittens and cute children at the playground” in an undergraduate class.

Today Bryant teaches her students both film and digital photography techniques, along with historical processes. She also introduces them to large-format 4" x 5" film cameras. As important, Bryant teaches students that photography isn’t all technique; their content must be individualized. “That’s part of finding your voice, just as if you were a creative writing major or a music major or in any of the other arts,” she says.

Bryant credits the Dutch painter Johannes Vermeer with influencing her use of light. Photographer Alfred Stieglitz inspired her with his subject matter of expansive skies and expressive hands.

Like a student, Bryant is currently pushing herself by embracing something new—the collodion process of photography’s early history. “Trying something new is exciting but terrifying at the same time,” Bryant says. “But it has also made me understand what students go through.”

by Karen Parr-Moody

PRINCESS ANDRESSEvery college campus has them: the quirky girls. Time and place may dictate what the quirky girls wear or how they talk, but throughout the ages they remain the same species. Yet walking to the beat of a different drummer loses its uniqueness when everyone walks to the beat of the same different drummer.

Enter Princess Andress, an APSU senior in possession of so much quirk that hers isn’t a case of

heeding a different drummer so much as it is creating a drum that doesn’t yet exist. (And yes, Princess is her real name; no affectation here.)

Princess has a clever sense of humor and a unique sense of style (think Weezer geek chic). But in addition to being a character herself, Andress creates characters for her photography sessions, much in the vein of Cindy Sherman, who famously photographs herself dressed elaborately as characters. Yet while Sherman has dressed up as an unnamed film noir actress and Raphael’s “La Fornarina,” to name just two characters, Andress doesn’t model for her own photos. Rather, she enlists volunteers, including her best friend, Cara (“She’s a sport”).

In a recent series about female stereotypes, Andress dreamed up the character of a “vulture” who preys on men. She then convinced Cara to pose for her while wearing a vulture mask. “I put an earring on the vulture mask to make it look more like a pretty vulture,” Andress says. “And a big, black fur coat and these heels that are gold and black. She’s a foxy vulture.”

To create the photo, Andress used a parabolic umbrella and a Paul C. Buff Busy Bee kit to get the light just right, then asked Cara to squeeze her face into a small cage. “I said, it’s going to be awkward, but you just have to caw-caw!” Andress says, screeching out “caw-caw” like some massive bird swooping through a rain forest.

True characters are not born. They’re created by artists like Andress.

Chief, 2013, Digital photograph, 75” x 45”

The Budding Photographers of Austin Peay State University

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TYLER ANTHONY DEEMA camera can be used as a shield, protecting one from dark places and emotions. Once the images are taken, the photographer reveals to viewers what we wouldn’t dare seek ourselves.

APSU student Tyler Anthony Deem is fascinated with Diane Arbus and Francesca Woodman, both adventurers who peered darkly through the camera lens. Deem, too, explores eerie visuals—an abandoned meatpacking plant, a dog’s empty eye socket, a

stairway to nowhere—and captures them unflinchingly in stark black and white.

Deem, a 20-year-old from Alabama, is a lanky blonde with big blue eyes. By age 16 he had lived on five continents due to his father’s embassy career and says exposure to global culture has largely influenced his work. “I think it just helps you to understand humanity a little better by being able to relate to other people,” he says. “That’s what I like about art and photography; you can really relate to someone through an image they make, relate to someone without even knowing them.”

If light has a psychological importance, as Viennese photographer Lisette Model taught, then its extremes speak volumes in Deem’s photographs, such as the image of a derelict basement with a staircase that ascends into clear bright light. “I’ve always been drawn to the darker, seedier parts of existence,” Deem says. “I think it’s important to incorporate the good and the bad, to see them both. You can’t really have splendor without the morbid to balance it out.”

SHEKINAH ELLISPhotographer Ansel Adams captured his first images of nature in 1916 with a Brownie box camera during a visit to the Yosemite Valley. Nature’s inspiration would define his career and lead him to become a board member for the Sierra Club for thirty-seven years. There’s a profundity and grace found in Adams’s photos of nature. The work of Shekinah Ellis, 28, also falls into that genre.

A senior at APSU, Ellis is a cheery young lady whose personality fits with her chosen major of marketing. Photography, her minor, is something that comes to her as breezily as a walk in the woods.

Ellis’ black-and-white images, including the sole tree in Alone and beautiful vistas in Morning Walk and Spoken, are the sort of scenes that she simply arrives upon and thinks, wow, that’s pretty. I need to go get my camera. The photo Spoken came to Ellis when she was taking a walk. “It just spoke to me when I saw that,” Ellis says. “I just felt like, wow, God is talking down to us. Nature speaks to me like the rays of sun reflecting a conversation from heaven to earth.”

Ellis came to APSU with a natural ability to write songs and an eye for photography. But after studying under photography professor Susan Bryant, she improved her technique and learned to resist imitating others’ work. “She really encouraged me not to just emulate people but to understand who I was and my role as a photographer, my place in the world,” Ellis says. “Susan’s passion added onto mine, and it just swelled it even more.” Spoken, 2013, Digital format

Ascension (Emulation), 2013, Silver Gelatin Print, 35mm, 7” x 10”

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KELLY JO PETERSEN

MACKENZIE COFFMAN

Many photographers have used film to capture humans’ inherent vitality and warmth of flesh. Such familiar subjects, basking in the sun, have been memorialized exquisitely by legendary photographers from Jacques-Henri Lartigue to Slim Aarons to Sally Mann.

Kelly Jo Petersen does something entirely different. With the subjects in her series The Shoes I’m to Fill, she captures her subjects’ workaday lassitude, their dull skin registering exhaustion under fluorescent lights. Petersen leans toward the tradition of unglamorous realism practiced by Juergen Teller, the German fashion photographer who shoots beautiful models in less-than-flattering light. A member of the surgical team in the U.S. Army Reserve, Petersen chose to take photos of her fellow reservists—some of them pros who had deployed numerous times—for The Shoes I’m to Fill.

“These are the people I have to replace, and it’s something I have to try and live up to,” Petersen says. “It’s hard to live up to what some of these people have done.”

Petersen shot her subjects in large-format film with “no frills,” using only a sepia-tone tint. “Most people are looking for perfect images,” Petersen says. “I don’t like that perfection. I like something that has its own character.”

Many Southern families have a story of how they lost the proverbial farm. As if standing in testimony to such tales, the Southern landscape is replete with decaying mansions, long-abandoned barns, and rusted tractors draped in kudzu.

APSU senior Mackenzie Co f f m a n t h i n k s t h i s landscape holds something worth enshrining with her camera. While the rest of us may see only Mason jars strewn in a back yard, she embodies such items with human emotion, as though imbuing them with her own brand of anthropomorphism. Such feelings leak out when Coffman speaks of inanimate objects, such as a rusted

stove she found in a Tennessee field. “This is so cute,” she says while poring over the photo. “I just love this dude. It’s so sweet.”

Coffman says her own fears of abandonment propel her to capture and cherish abandoned objects with her lens. She’s come to terms with it. This attachment to “crusty old historic places” acts as fuel for her art.

Staff Sergeant Larry Rencher, US Army Reserve, The Shoes I’m To Fill, 2014, Large Format Film, 4” x 5”, Digital Negative Scan

One such crusty place is the town of Cairo, Indiana, where Coffman shot photos of abandoned historic homes for her senior show Beautifully Forgotten. She took some images in color with a tilt shift lens, so that only a portion is in focus. For others, she used a pinhole camera and black-and-white film.

“This series to me was so sad,” Coffman says. “These beautiful homes, these nice houses where families lived and where children were raised. Poor little houses. They provided shelter, and now they’re empty and being reclaimed by nature.” Luckily, they’re being reclaimed by Coffman’s lens first.

Beautifully Forgotten, 2014, Digital Tilt Shift Lens

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Often, when I get the blues, I take a walk along the railroad track that runs near my house. I don’t know why, but seeing those iron rails looming off into the distance fills me with a sense of hope. A sense of possibilities.

Even when I approach a curve and it appears the track has ended, I realize that if I just keep walking, the track will keep unfolding until it straightens out again. It’s like a little parable—keep walking and life never ends.

Someone recently told me that walking the rails was against the law. This, however, did not dampen my spirits. All it did was add a pleasurable edge to my next walk. Let’s face it. When you’re my age (sixty-five), the list of unlawful things you can do that won’t kill you gets shorter by the day. So for now, for me, it’s walking the rails. Preceded, perhaps, by a fresh cup of decaf coffee.

Last weekend, I had a badass case of the blues. The kind of blues that just would not go away. I tried walking the rails, but even that didn’t help. So I went home and sat down in my kitchen. I just sat there and observed. After a while, my attention focused on some cobalt blue bottles on the back porch. They were there because I’d never gotten around to placing them on the bottle tree in my backyard, as is my custom each winter.

T hen my gaze shifted beyond the blue bottles to a spot in the backyard where some daffodils were blooming. A nd in t hat moment, I was struck by an idea.

Next thing I know, I am bringing the blue bottles into the kitchen. Since they were covered with dust and grime, I positioned them upside-down in the bottom of my dishwasher. Then I went outside to pick daffodils.

After the dishwasher had completed its cycle, I set the bottles on the counter. Then I placed a single daffodil in each bottle.

And just like that, my blues was gone!

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Blues Remedy . . .

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The New York Social Register of the 1930s had four hundred members. Maury Paul, aka Cholly Knickerbocker, was the social gossip columnist for the New York Journal-American, published 1937–1966. Knickerbocker’s syndicated daily gossip column consisted of the “Four Hundred,” members of the New York social elite. By no means

am I a gossip columnist (well, almost never) but a social editor that brings you the party life of the Nashville Socials. In today’s time here in Nashville most of the social gatherings are charitable events, all for most-worthy causes. An event held last month at the Belle Meade Country Club benefiting Belmont Mansion was held to honor Nashville’s social press, the “Real” Social Press! I, along with my fellow honorees Brenda Batey, Rusty Terry, Sinclair Kelly, and Brian Barry, had the most wonderful evening being the guests. In other words, we were in the spotlight, on the other side of the camera.

On entering the club the familiar sounds of the Pat Patrick Trio welcomed guests to the media celebration. So fitting to have the Pat Patrick Trio, as Pat is the social sound in Nashville! “This is just such a special, fun evening,” exclaimed Clare Armistead, one of about 300 social guests present. The atmosphere was as Clare said, a fun night at the club with one’s favorite friends. Many of the patrons expressed how they enjoyed seeing friends they had not seen in a decade (in social terms that means in about the last fifteen minutes, LOL). Every charity organization in Nashville was represented that evening congratulating us on the coverage we have given them over the years. Chairs Mary Morgan Ketchel, Jay Joyner, and Julie Stadler did an outstanding, over-the-top job! Honorary Chairs Barbara and Jack Bovender, two of the social press favorite people, were seen greeting Margaret Ann Robinson, John Bridges, Patsy and Bob Weigel, Joyce and David Hitt, Lisa Campbell, Theresa Godchaux, Brenda and Joe Steakley, Deby and Keith Pitts, Linda and Jere Ervin—you know, the Nashville Social Register. Some things just never change, and social press is a must read just as

On the Town with Ted Claytonit was back in the Cholly Knickerbocker days. My social reading goes back to the Betty Banner days when Betty Caldwell covered the socials as did Kay West and Catherine Darnell, and everyone’s favorite, Herbert Fox.

This was an evening of glamour, sophistication, and, of course, sociable socials. Without the soc i a ls I wou ld have nothing to write about, and I do so thank my readers. I also want to

thank Nashville Arts Magazine for believing in me and giving me a dream of a job. Yes, I am living the dream!

As we are in the midst of the spring social season, the press works day and night, 24/7. Only in our great city would one find so many events in one month as I am about to share with you. Believe me when I say I could write a page on each individual event, for each one is for an important cause and each a unique experience. (That was not always the case—remember, back in the Betty Banner days there were only two pay parties, the Swan Ball and the Hunt Ball.)

We, the social press, cover food, fashion, and all charitable events, such as Tennessee Flavors, an event benefiting the Randy Rayburn Culinary School at Nashville State Community College. My dear friend Alberta Doochin invited me to cover this event for her son; Jason Ritchason is the current president of the Nashville State Community College Foundation. All I can say is that there was no excuse to go home hungry after attending this third annual eat-a-thon chaired by Randy Rayburn and Bill Freeman.

A few nights later I found myself at the new Omni Hotel celebrating the Boys and Girls Clubs of America. Special guest speaker at this event was the one and only Rob Lowe, great guy and, needless to say, my new best friend! Later in the same week on the same social register of events was the first Art on the West Side chaired by Ron York and Rhonda Polen Wernick. As spring approaches so do the art shows, and this was one outstanding show exhibiting great art by Nashville artists. Yes, I went home with an amazing piece by J.J. Sneed.

Of course the socials love to dress to be seen, as they did for the Red Haute society evening. Victoria Hallman Traver chaired this lovely fashion show at the Parthenon where designer Jeff Garner

The Real Social Media Event – Shown in poster, Annette Eskind with actors for Nashville Cares

Chairs Mary Morgan Ketchel, Jay Joyner, Julie Stadler – The Real Social Media Event

Sara Bovender, Blair Steakley, Denise Johnston, Joe and Brenda Steakley – The Real Social Media Event

Honorees Ted Clayton, Brenda Batey, Brian Barry, Sinclair Kelly, Rusty Terry – The Real Social Media Event

Rob Lowe, CEO Dan Jernigan – Boys and Girls Clubs


presented his spring collection “Dreamer’s Cure.” The Parthenon was a great venue for this fashion show. As I walked in, my first thought was, look at all the beautiful ladies; this has to be the best dressed hen house in town! This oh-so-special fashion show was a benefit for the American Heart Association, and indeed Jeff showed his heart in his collection!

Coverage of our own Frist Gala was another highlight of the month. Betsy Wills and Cathy Brown chaired this event, and they turned the museum into an evening of the beauty, the mystery, of Japan. Guests were greeted at the entrance of the Center for the Visual Arts by music of the Japanese koto. Cocktails were served in the main hall, which was transformed into a garden of cherry blossoms and bonsai. Entering the dinner tent patrons were overwhelmed by the decor created by the team of Sherbe Green, Tal Howell, Roger Higgins, and Mark O’Bryan featuring multicolored paper parasols hung along the length of the dinner tent. Tables were covered in soft turquoise silk fabric embroidered in a floral pattern, with centerpieces of Japanese-inspired containers filled with peonies in all shades of pink. The Gala was inspired by the extraordinary exhibition Looking East: Western Artists and the Allure of Japan. This breathtaking exhibit makes it easy to understand why so many Western artists came under the spell of Japonisme. My lovely photographer, Sophia, and I were

seated at the table of Trish and Tommy Frist along with Jean and Denny Bottorff, Joanne and Tom Cato, Betty and Marty Dickens, Carlana and Aubrey Harwell, Noel Williams and Richard Geer, Anne and Joe Russell, the

lovely Carol Rose . . . yes, the Nashville Social Register members. A few weeks prior to the Gala an Oriental-themed Patrons Dinner was given by Mr. and Mrs. J. Barry Banker, Mr. and Mrs. Robert Jay Dennis, and Mr. and Mrs. A. Bruce Moore, Jr.

Following the splendid Frist Gala I take you to a night of dance, Dancing for Safe Haven. Once again, for the fifth year, I was honored to serve as dancing judge with starlit Heather Byrd and

former Titans Cheerleading Director Stacie Kinder. Celebrity dancers included Jerry Bostelman, Brenna Mader, Deborah Story, Francis Guess, Lari White, and Rhori Johnston. I was tapping my feet and wanting to be strutting myself across the dance floor. The Judges’ Choice went to Lari White with Michael Hosale; People’s Choice went to Deborah Story with Christopher Wayne. Of course it would not be a successful night without the evening’s hosts, Kelly Sutton, Woody Wood, and Jim Chandler. Woody and Jim made quite the couple on the dance floor, LOL.

It was a somewhat bittersweet evening for Trey Lipman, Special Projects Director for Safe Haven, as this was her last dance; Trey will be retiring. As Vicki Yates along with Rhori Johnston of Channel 5 News would say, “Breaking News—Trey Lipman has agreed to be a Celebrity Dancer for next year’s Dancing for Safe Haven!” Vicki and Darrell Freeman c h a i red wh at Ted says wa s t he Best Party of the Year. Seen performing a bit of rumba, tango, and cha-cha were Amy and Owen Joyner, Nashville’s newest addition to our Southern Society Lisa and Bob Westergan, Joni Werthan and Larry Jessen, Heloise Kuhn, Annette Eskind, Brenda and Joe Steakley (boy, what a dancer that Joe is!). A bit of social gossip, as Cholly Knickerbocker would have said: “Whitney Daane was overheard stating the following, “Last week I was in Vegas dancing for chips; tonight I am here dancing for Safe Haven!”

Ridley Wills and Co-Chair Betsy Wills, Co-Chair Cathy and Martin Brown – Frist Gala

Fred and Debbie Cassetty, Bob and Alberta Doochin, Haley West and Clay Blevins – Frist Gala

Clare Armistead, Martin Brown Sr., Patti and Brian Smallwood – Frist Gala

Chairs Vicki Yates and Darrell Freeman – Dancing for Safe Haven

Judge Heather Byrd, Mike and Sharon Pigott – Dancing for Safe Haven

Joni Werthan and Larry Jessen, Heloise Kuhn – Dancing for Safe Haven

Alan and Beth Hall, Julie and John Steele – Dancing for Safe Haven


My Favorite Painting

Italian View, (artist unknown), Oil on canvas, 28” x 22”

The painting that holds center court over the mantel in my home is one I purchased at a yard

sale in the neighborhood of Forest Hills in Nashville at least ten years or so ago. For most of my life I’ve had a love affair with Italy, and so it was no surprise I was instantly drawn to the painting.

On my first trip to Italy I was busking with a friend on the Ponte Vecchio when all of a sudden I heard a familiar childhood voice call my name from the gathering crowd. It was then I was reunited with a best friend from childhood who has remained like a sister to me ever since. This painting renews countless memories of time spent in Italy while holding the lure and promise of return each time I look at it.

The view from the balcony off my living room makes me feel like I can be anywhere in the world as I take in the endless sky and overlook the rooftops and trees. Sometimes while sitting there I imagine myself sitting in a villa in Italy.

I turn to see my favorite painting. It speaks to me and says, “I’m here waiting.”

Carrie MillsCurator, Gordon Jewish Community Center Galleries,

Artist, and Musician

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107 Harding Place • Tues-Sat 10-5615.352.3316 • [email protected] • www.yorkandfriends.com

Follow us on at Ron York Art

YORK & Friendsfine art

Nashville • Memphis

Nashville’s Newest Leading Source for Tennessee Art

CAROLYN MCDONALD Lucas Masked (detail), 12 x 9, Oil on panel

GINGER OGLESBY Spring of Solace, 40 x 40, Acrylic on canvas

RUTHIE CHERRY Spanish Queen Ametrine & golden freshwater pearls

DAVID NICHOLS A Place of Peace, 30 x 30, Oil on canvas

107 Harding Place • Tues-Sat 10-5615.352.3316 • [email protected] • www.yorkandfriends.com

Follow us on at Ron York Art

YORK & Friendsfine art

Nashville • Memphis

Nashville’s Newest Leading Source for Tennessee Art

CAROLYN MCDONALD Lucas Masked (detail), 12 x 9, Oil on panel

GINGER OGLESBY Spring of Solace, 40 x 40, Acrylic on canvas

RUTHIE CHERRY Spanish Queen Ametrine & golden freshwater pearls

DAVID NICHOLS A Place of Peace, 30 x 30, Oil on canvas

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FOCUS, 2014 Photograph 24 x 36 inches

40 Burton Hills Blvd. Suite 300, Nashville, TN 37215

NASHVILLE • ATLANTA • AUSTIN • CHATTANOOGA • DALLAS • KNOXVILLE • MEMPHIS • TAMPA

nashville arts magazine may 2014

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