2013 July Nashville Arts Magazine

2 | July 2O13 NashvilleArts.com

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NashvilleArts.com July 2O13 | 3

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July 12 • Harry Connick Jr.July 13 • Barenaked Ladies with Ben Folds Five & GusterJuly 19 • The Black Crowes with Tedeschi Trucks Band

July 27 • Imagine Dragons August 3 • Old Crow Medicine Show

August 18 • OneRepublic…and more to be announced!

July 2O13

Published by the st. Claire Media GrOuPCharles N. Martin, Jr. Chairman

Paul Polycarpou, Presidented Cassady, les Wilkinson, daniel hightower, directors

editOrial Paul Polycarpou, editor and CeO

sara lee burd, executive editor and Online editor, [email protected] Pierce, education editor and staff Writer, [email protected]

Madge Franklin, Copy editorted Clayton, social editor

linda dyer, antique and Fine art specialistJim reyland, theatre Correspondent

Kayla ducklo, intern

CONtributiNG Writersemme Nelson baxter, beano, lizza Connor bowen, Judy bullington, Nancy Cason, Marshall Chapman, Jennifer Cole, Melissa Cross, Greta Gaines, John Guider, beth hall, beth inglish, MiChelle Jones, demetria Kalodimos, Nicole Keiper,

beth Knott, linda york leaming, deeGee lester, Joe Nolan, Joe Pagetta, Karen Parr-Moody, robbie brooks Moore, Currie Powers, ashleigh Prince,

alyssa rabun, sally schloss, Molly secours, daniel tidwell, lisa Venegas, Nancy Vienneau, ron Wynn

desiGNlindsay Murray, design director

PhOtOGraPhersJerry atnip, lawrence boothby, sophia Forbes, donnie hedden,

Peyton hoge, rob lindsay, Jennifer Moran, anthony scarlati, bob schatz, Meghan aileen schirmer, Pierre Vreyen

Budsliquors9.16.09.indd 1 9/16/09 1:55 PM

on the cover: Jack spencer, Nettie, from the Beyond the Surface exhibit at the Frist Center for the Visual arts

tM

Theatre ..........................................92

Appraise It with Linda Dyer ........95

Critical i .........................................96

Beyond Words ..............................97

On the Town .................................98

My Favorite Painting .................1O2

Spotlight ........................................................................................................................1O

Jack Spencer Beyond the Surface .......................................................................27

Robert Hicks A Call from On High .......................................................................38

J.H. Nelson Taming the Beast ..................................................................................44

Olga Alexeeva All About the "O" Gallery .....................................................5O

NPT Arts Worth Watching .................................................................................................54

Kathy Anderson Floor to Ceiling Reinventions .............................................. 59

ArtSmart A Monthly Guide to Art Education ..........................................................64

Teen Hoot ......................................................................................................................66

Arts & Business Council The Beat Goes on at the ABC........................7O

Arts & Flowers ...........................................................................................................74

Patricia Bellan-Gillen .....................................................................................76

Guy Clark .................................................................................................................... 8O

Field Notes Marta Penter.........................................................................................84

Gary Layda Thirty Years Behind the Lens at Metro .........................................88

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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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letters:We encourage readers to share their stories and reactions to

Nashville Arts Magazine by sending emails to [email protected] or letters to the address above. We reserve the right to edit

submissions for length and clarity.

busiNess OFFiCe: theresa schlaff, adrienne thompson

40 burton hills boulevard, Nashville, tN 37215

Art Creates a City

I recently ventured down to one of my favorite places in east Nashville, the Family Wash. Great shepherd’s pie,

Guinness on draught, and a cool vibe that feels like I could be in a pub on the Old Kent Road in South London. On the tiny stage was a guitarist that stopped me in my tracks. Hard to do in a town where even our pizza delivery guy is a phenomenal player. Jim Oblon was up there wailing away like there was no tomorrow. No fancy light show, no smoke and mirrors, no choreographed dance routines, just a huge amount of talent wrapped up in the kind of musical sincerity that rivets you to your seat. The band rocked with all the gusto of a force-nine hurricane even though there were fewer than twenty people in the room. In any other town they would throw babies in the air at this kind of performance. Just another night in Nashville. Thank you, Jim, for telling it like it should be.

Unless you've been visiting friends in Outer Mongolia, you probably have heard the great buzz about the phantasmagorical light show at Cheekwood and the ridiculously beautiful cars at the Frist. Lightning has struck twice in our fair city. Don't miss these shows; you'll be sorry.

Jack Spencer’s work fascinates me, but so does the man. It's hard to know where one ends and the other begins, impossible to separate the two. He fills a room quicker than most people can conjure a thought, and he is gone just as quick. You can find him on page 27 doing what he does best, being Jack.

Paul Polycarpoueditor in Chief

http://www.twitter.com/NashvilleArts

http://www.youtube.com/NashvilleArtsMag


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The Other Side of Russ Harrington

He has photographed some of the most recognizable faces in the music industry, including Loretta Lynn, Robert Plant, Alison Krauss, Brad Paisley, Trisha Yearwood, Tim McGraw, Faith Hill, Reba McEntire, Alan Jackson, Al Green, Brooks & Dunn, Keith Urban and more. With more than 600 album covers to his credit, you wonder what’s next for this much-sought-after photographer.

A large, thirty-year retrospective of his music and celebrity work will be on display at the Tennessee State Museum late this year, but in the meantime you can see another side of Russ at the Second Floor Gallery in Chromatics.

Mr. & Mrs. is the first-ever exhibit of Harrington’s personal fine art photography and the first time he shares billing with his wife, Brenda, whose paintings will also be on display. “Throughout my career, I have done personal work, but for thirty years my commercial work has taken center stage. Often

on vacation or during downtime on a job, I would see something that spoke to me and shoot it, but I didn’t really have time to do more with it. Now I am ready to show my personal work.”

Beginning in college, Russ chose to shoot the beauty he saw in everyday, simple settings as opposed to panoramic vistas. He trains his lens on subjects and scenes that most people would pass by without noticing. Though Harrington loves black-and-white photography, he found that in selecting works for this show he was drawn to those with vibrant colors, dramatic lighting, and rich texture.

Mr. & Mrs. will be on display at Chromatics second Floor Gallery through august 16. located at 625 Fogg street, the gallery is open Monday through thursday, 9 a.m. to 5 p.m. For more information, visit www.chromatics.com and www.russharrington.com.


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S u m m e r i s u s h e r i n g i n n e w s t y l esa n d t r e n d s . H e r e a r e a f e w o fKeith's favorites and new ar rivals, which Iam sure wil l end up in some of Nashvil le'sHOTTEST HOMES!

The Tennessee Art League (TAL) is celebrating their new location with grand opening festivities during the First Saturday Art Crawl on July 6. In addition to being in the center of the action on 5th Avenue of the Arts, TAL’s new home features five gallery areas, a teaching studio, and a gift shop. The event will include a variety of art exhibitions, live music by Duology’s Barry Coggins and Joseph Brunelle, door prizes, a silent auction and more.

Tennessee Art League On the Move

TAL’s Broadway Gallery will host the works of The Florida Highwaymen, a group of self-taught African American landscape artists active from 1950 through the ’80s. Unable to find galleries interested in selling their work, the Highwaymen sold their art door to door and from the trunks of their cars. Other exhibiting artists include watercolorist Carolyn Freeman and the Lost Boys Foundation of Nashville.

Each month TAL also features works from children taking printmaking workshops by vice president Marlynda Augelli and drawing and painting lessons by renowned Nashville illustrator and portraitist Geralda Shockey.

Founded in Nashville in 1954 as a cooperative, member-based, nonprofit organization, the Tennessee Art League's mission is to enrich the community and the lives of artists by serving as a cultural center, educational facility, and art gallery.

tal's gallery hours are 10 a.m. to 5 p.m. tuesday through saturday. the tennessee art league is located at 219 5th avenue North, Nashville, tN 37203. For more information, visit tal online at www.tal5.com.

Stanford Fine Art recently acquired La Maison Rose à Brantôme by Gustave Loiseau, which had been part of a private collection at a home in France for 50 years. Painted sometime during the 1920s, this work captures a picturesque view of the medieval town of Brantôme located in the southwestern part of France along the River Dronne.

Considered Post-Impressionist, it has been suggested that Loiseau’s style falls somewhere between Pissarro and Sisley, but his brushstrokes and subjects appear to be influenced by Monet.

View La Maison Rose à Brantôme and more nineteenth- and twentieth-century american and european paintings at stanford Fine art, 6608a highway 100. Gallery hours are 9 a.m. until 5:30 p.m. Monday through saturday and by appointment. For more information, visit www.stanfordfineart.net.

New at Stanford Fine ArtGustave Loiseau

SPOTLIGHT

James Makouc, Nashville Skyline, acrylic on canvas, 20" x 30"

Gustave loiseau, French, 1865-1935, La Maison Rose à Brantôme, Oil on canvas, 21 1/2" x 25 3/4"

SPOTLIGHT

The year 2013 marks the 30th anniversary of Big Band Dances in Metro Parks. Enjoy summer Saturday nights dancing and listening to live Big Band music played by some of Nashville's best musicians. Feel free to bring picnic baskets, lawn chairs, and the kids.

If you don’t know how to dance, you can learn on the spot. During band breaks, Dance World offers two free group dance lessons from 7 to 7:30 p.m. and again from 8:30 to 8:50 p.m. The dances taught are listed in parenthesis on the schedule below.

Enjoy music and dancing from 7 until 10 p.m. at the Centennial Park Event Shelter. The dates are: July 13 – The Jazz Alliance (Waltz), July 20 – Debbi Bailes and Her Band (Tango), July 27 – 5 Points Swing (Cha Cha), August 3 – The Bill Sleeter Band (Foxtrot), August 10 – The Merchants of Cool (Swing), August 17 – The Jerry Vinett Big Band (Waltz), and August 24 – The Moonlighters (Rumba).

the Metro Parks big band dance series is sponsored by the tennessee arts Commission, WaMb radio, dance World, and arts in the Parks. For more information, www.nashville.gov/Parks-and-recreation/Cultural-arts/Free-summer-Concerts.aspx.

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14SPOTLIGHT

The X Housewife's Portraits, by conceptual artist Kit Kite is slated for exhibition at the Sig Held Gallery in the Gordon Jewish Community Center (GJCC) this month. Originally developed on Instagram, the interactive media installation creates a living room scene with a running 1950s Predicta television. According to Kite, the show is a study that asks the question “what is home?”

In exploring the question, Kite treats the traditional self-portrait genre in reverse, where the backdrops and props are pushed to the forefront and the displaced subject lurks from behind domestic tools and household objects such as glass plates, mousetraps, and vacuum cleaner bags.

an artist’s reception will be held on Wednesday, July 10, from 7 until 9 p.m. at GJCC, 801 Percy Warner boulevard. For gallery hours and more information, visit www.nashvillejcc.org.

Kit Kite Experiments

Longtime skateboarder and icon in the Austin independent music scene Tim Kerr is exhibiting his visual art at Third Man Records. When asked about his style, Kerr remarked, “Pretty much mixed. I’m painting on everything from cardboard to school mats and blackboards. The only thing I don’t paint on is canvas. I like the idea of recycling. The art becomes more like a found object.” Kerr has a distinctive style of folk art that can be found on posters, album covers, skateboard graphics, and advertisements, and the subjects of his art include musicians such as John Coltrane and civil rights activists such as Rosa Parks. “I decided I wanted to be a positive influence, so I started painting people that were a positive influence on me,” Kerr says. “I hope that people will make the connection that these were everyday people that did something because they felt they had to, not because they wanted to be famous, and that we can do the same thing.”

starting July 3, Kerr’s art will be on display at third Man records, with the exhibit culminating in the Poetry Sucks! Art Reception, Music Concert and Poetry Reading on sunday, July 7, at 5 p.m. in addition to Kerr’s art, the reception will feature poetry by sampson starkweather, larry O. dean, and Paige taggart and music by Kerr with lee bains iii & the Glory Fires and holly Golightly. third Man records is located at 623 7th avenue south, Nashville, tennessee 37203. admission is free. For more information, visit www.thirdmanrecords.com.

Tim KerrSkateboarder Musician Artist

Coltrane, 2013, Mixed media on old maps (thick rag paper), 4' x 3'

SUMMER SELECTIONSA Revolving Group Show of Gallery Artists

June 1st - August 31st, 2013

Regular gallery hours are 10:00 AM - 5:00 PM, Tuesday - Saturday

Please note: The gallery will be closed for vacation from July 1st - July 8th 2013

Cumberland Gallery4107 Hillsboro Circle | Nashville, TN 37215

www.cumberlandgallery.com | [email protected]


15SPOTLIGHT

UnBound ArtsJennifer Anderson

Jennifer Anderson doesn’t consider herself an artist, but she loves art and she loves bringing artists together. However, we certainly enjoyed seeing her recent collages because they were, in part, inspired by Nashville Arts Magazine. She had a stack of older issues she couldn’t bear to simply throw out, so she used her favorite parts to create her own art.

Jennifer’s East Nashville Gallery, UnBound Arts, boasts an eclectic range of art, including work by Barbara Clark, Danielle Duer, and Miles Maillie, as well as vintage furniture and gifts.

Extending beyond her gallery, UnBound Arts presents Third Thursdays at The Building. Typically the events include spoken word, music, and visual

art and bring together artists from varying stages in their careers. Anderson explains, “My hope is to pair unknown artists with artists who have a following so the established artists might become mentors to the emerging artists.” She believes that helping artists make these connections will further the creative process.

Next month, Jennifer will begin writing a column for Nashville Arts Magazine entitled The Great Unknowns in which she will introduce us to emerging and unknown talent here in Nashville. Welcome aboard, Jennifer!

unbound arts is located at 729 Porter road and is open Wednesday and thursday from 11 a.m. until 2 p.m., saturday from 12 until 6 p.m. and sunday from 12 until 4 p.m. For more information, email Jennifer at [email protected].

State Line Still Standing, 12x12, plein air

DIANE MAY STUDIO

Door County Plein Air Festival: July 22-27 in Fish Creek, WIPlein Air Retreat: August 2-9 in Cape Breton, Nova Scotia

Two-Day Intensive: August 26 & 27 in Nashville, TN

facebook.com/dianemaystudioFor more information or to register for workshops please visit www.dianecmay.com

Nossi Turns 40Nossi College of Art (NCA) is celebrating its 40th anniversary, as well as its founder Nossi Vatandoost. It all began in a kitchen where Nossi originally taught art to three students. Now, NCA offers three bachelor’s degrees and two associate’s degrees, with a fourth bachelor’s degree in the planning stages. In another five years she hopes to offer a master’s degree.

The rapid growth and success of NCA is often attributed to the connection Ms. Nossi, as she is fondly known to students and faculty, shares with her students. To this day she welcomes unscheduled visits from students and is always ready to encourage their artistic endeavors.

NCa’s 40th anniversary celebration will continue through 2013 with a number of events surrounding the return of students this fall. For more information, visit www.nossi.edu.

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The eye can be easily deceived: In the right hands lines, colors, angles, and shapes can disorient, energize, and even pull a viewer right into a work of art. Expect just such an experience at Hans Hinterretier: A Theory of Form and Color, opening on July 9 at the Vanderbilt Fine Arts Gallery.

Curated by Gallery Director Joseph Mella, the exhibit features 39 of the 48 paintings and prints by Hans Hinterretier belonging to the University’s permanent collection. Vanderbilt University acquired this collection, one of the largest in the United States, through the generosity of 1953 alumnus Carl van der Voort.

Hinterretier began his career in art as an architect, but by age 27 he decided to shift his attention to painting. While he changed media, Hinterretier’s works on paper and canvas reveal the artist’s obsession with structure. Just as an architect uses steel beams, glass, and concrete to construct an inhabitable space, Hinterretier uses color, lines, and shapes to create a place where logic and beauty meet.

He was interested in the connection between art and science and developed a theory by which he made visual art using scientific and mathematical principles. The result may seem “over your head,” but the allure and elegance are undeniable.

Hans Hinterretier: A Theory of Form and Color will be on view from July 9 to september 12. the Fine arts Gallery is located in Cohen Memorial hall, 1220 21st ave. s. the exhibit is free and open to the public. Gallery hours are tuesday-Friday 12-4 p.m. and saturday 1-5 p.m. www.vanderbilt.edu/gallery

An Obsession with Structure

SPOTLIGHT

Untitled, 1967, serigraph, 12" diameter

Untitled, 1974, lithograph, 14 7/8" x 18"


19SPOTLIGHT

The Ocean at the End of the Lane: A Novel by neil gaimanGaiman's first new novel for adults since his #1 New York Times bestseller Anansi Boys is a bewitching and harrowing tale of mystery, survival, memory, and magic that makes the impossible all too real. Meet the author at the War Memorial Auditorium July 10.

The Bookmark

Sisterlandby curtis sittenfeldSittenfeld is the bestselling author of the novels Prep and American Wife. Born with peculiar psychic abilities, Kate and her identical twin, Violet, knew from an early age that they were unlike everyone else. Though Vi embraced her visions, Kate did her best to hide them. Years later, their different paths are about to collide through a devastating premonition.

The Light in the Ruinsby chris bohjalianFrom the New York Times bestselling author of Midwives and The Sandcastle Girls comes a spellbinding novel of love, despair, and revenge set in war-ravaged Tuscany.

Jack Spencer: Beyond the Surfaceedited by mark w. scalaA resident of Nashville whose work has been exhibited and collected internationally, Jack Spencer alters the surfaces of his photographs with techniques suggestive of painting—rich patinas and luminous colors, softly focused or veiled forms, and traces of the artist's hand: imperfections, marks, and painterly textures. This book has been created for his exhibition opening at the Frist on July 12.

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

A Monthly Look at Hot Books and Cool Reads

Mike Andrews: Carvings, Castings, & Constructions is currently on exhibition at the Customs House Museum & Cultural Center in Clarksville, Tennessee. Mike Andrews has been creating art in the studio behind his home for nearly two and a half decades. The artist’s oeuvre, albeit diverse in style and subject matter,

remains decisively within the self-imposed realm of always being about sculpture.

His latest body of work, a series of industrial assemblage wall sculptures, involves an additive process that includes found objects, primarily old casting molds, that were originally created for molding reproductions during the early part of the industrial age. Old-world artisans created hand-carved wooden gears, pipes, and other functional, nineteenth-century engineering patterns and molds.

The carved molds show evidence of the artisan’s hand, distressed surfaces, and physical markings from practical use. The marks serve as reminders of the object’s past life. These relics sat dormant as discarded vestiges in a warehouse storage building for nearly one hundred years before the current Clarksville Foundry owner, Charles Foust, and artist Mike Andrews met. The repository fostered an environment wherein the various works from artisans remained untouched by the

Mike Andrews Carvings, Castings & Constructions

world. Over time, the wooden molds acquired deep, natural golden, red, or brown patinas that add to the richness of the surface.

this exhibition surveys Mike andrews’ freestanding carved and monumental works as well as the wooden, wall-mounted assemblage. the exhibition runs through august 31. For more information, please visit the Customs house Museum online at www.customshousemuseum.org.

Burst Forth, Mixed media

foreground: Bound, Mixed media triptychbackground, left: Industrial Age, Mixed media

Recently the Los Angeles County Museum of Art (LACMA) added two iconic photographs by Nashville photographer John Baeder, Interior and Pop Pop’s Lunch, to its permanent collection. These works will be a part of LACMA’s Wallis Annenberg Photography Department and will hang alongside images by American scene photographers such as William Christenberry, William Eggleston, and Robert Frank.

Interior and Pop Pop’s Lunch are part of the portfolio American Roadside, assembled by Baeder between 1967 and 1980, which beautifully showcases his love for roadside America and diners.

to see more of John baeder’s work, visit www.Johnbaeder.com, www.tpaulfineart.com, and www.okharris.com.

Congratulations, Mr. Baeder

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Interior, 1974, Chromogenic photograph on Kodak endura paper, 20" x 30"

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by Caroline Vincent, Public art Manager, Metro Nashville arts Commission

PuBLIC ART

R eferencing the tremendous clean-up efforts by the community and volunteers, Fennel’s sculpture, entitled

Tool Fire, is a construction of hand tools over the existing fire pit next to the suspension bridge. The shape of each panel is built from tools welded together and painted black. Some of the tools, donated by the community, were used during the flood clean-up. Fennell intends the artwork to look like “waves within the fire.”

Fennell was inspired by the stories he heard from the community about neighbors pitching in to clear houses of wet drywall and carpet. They would use any hand tools they could find and would leave them piled up in the streets for the next volunteer crew to use.

From emergency comes emergence: Buddy Jackson’s artwork is a large face of an African-American woman emerging from the earth. This face serves as a symbol of every individual’s story of danger, loss, strength, and determination to push through the setbacks caused by both nature and man and emerging strong and proud from the swirling waters.

Jackson states, “I learned at the community meeting that unlike other areas of Nashville, the flood is very much still in the Bordeaux community. This primarily African-American community was one of, if not the, hardest hit by the flood—the rising waters and

the aftermath of this disaster. Many homes still remain abandoned, and many people are still struggling to find resolution. I also discovered a very strong sense of pride in the community of Bordeaux, pride in how the people of the community opened shelters and help centers in areas overlooked by the system. There is a determination that they will emerge from the water intact, made whole, and stronger than ever.”

For more information on the Watermarks projects and to download the classroom guide, please visit www.artsnashville.org.

Watermarks Tool Fire and Emergence

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buddy Jackson, Emergence, hartman Park


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On Friday, July 5, head to Franklin for the Franklin Art Scene, which includes more than 30 galleries and working studios. This month, Boutique MMM will host Chuck Blackard, a lawyer whose upbringing in the Deep South heavily influences his perspective and style. Damico Frame & Art Gallery will showcase Art Nouveau watercolor and ink paintings by Scott Christian Sava. The work of expressionistic artist Shelley McCoy will be on display at Bob Parks Realty. Gallery 202 will present the work of conceptual painter Bill Barnes. The Franklin Art Scene happens from 6 until 9 p.m. For more information, visit www.franklinartscene.com.

On Friday, July 5, from 6 until 9 p.m. enjoy FAM at The Factory in Franklin for a family-friendly event including food, art, music, and dancers around every corner.

On Saturday, July 6, head downtown early for 5th Avenue of the Arts summer hours from 4 until 9 p.m. Tinney Contemporary will host an opening reception for Disorderly Notions, new works by Patricia Bellan-Gillen. (See our story on page 76.) The Arts Company will showcase selections from the Art Vault, including photography, painting, and sculpture, and will continue with their exhibit Five from Memphis. The Tennessee Art League will celebrate their new location with a grand opening event including works by The Florida Highwaymen. (See our Spotlight on page 12.) The Rymer Gallery will open their First Annual Directors Choice Juried Exhibition Units of Measure with a reception.

On Saturday, July 13, check out Second Saturday at Five Points in East Nashville from 6 until 9:30 p.m. for fine art, antiques, books, and carefully curated gifts and artisan wares. Bryant Gallery continues their group show featuring work by Kieran Kane and Bryant Gallery regulars.

The Crawl GuideSPOTLIGHT

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scott Christian sava

Over 32 Years Of experience &familY Owned fOr Three GeneraTiOns

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Kieran Kane at Bryant Gallery

Country music artist Kieran Kane started painting nearly fifteen years ago because it was something he had always wanted to do. He is self-taught, but his work does seem to be influenced by German Expressionism with his use of loosely painted figures outlined in black.

Working from his home studio in East Nashville, he paints mostly people and mostly from photographs, often finding his subjects while traveling for gigs. Just as he doesn’t perform very often in the U.S., Kane has rarely exhibited here, but his paintings, like his music, are wildly popular in Australia.

Kieran Kane’s paintings will be on display through July 28 at bryant Gallery. For more information, visit bryantgallerynashville.com.

Untitled, 2012, Oil on canvas

Face in the Crowd, 2012, Oil on canvas

Maysey Craddock


25

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Very few artists can tell their story with a brush the same way a writer could with a pen. This multi-talented painter/singer/songwriter creates a narrative on her canvas. See Foster’s whimsical pieces and meet her in person.

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BILL BARNES

HISTORY EMBR ACING ART

Bubba’s Basic Food Group, 24” x 30”


27

Jack SpencerBeyond the Surface At the Frist Center for the Visual Arts, July 12-October 13

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T hrough richly toned and manipulated photographs, Jack spencer explores the passage of time and

its relationship to the mythical and fleeting nature of human experience. Jack Spencer: Beyond the Surface, at the Frist Center for the Visual Arts from July 12 through October 13, 2013, delves into Spencer’s interest in transforming the human form and landscape into repositories of mystery and memory. Spencer’s photos have been exhibited extensively; however, this is the first major museum survey of his wide-ranging body of work.

Exhibition curator Mark Scala says that Spencer’s work is primarily about the relationship between time and photography. “A photograph is thought to capture a single moment in time, but it also causes us to suspend our sense of time as a chain or sequence—a person long dead is kept forever ‘alive’ in a photograph,” says Scala. In Spencer’s work new photographs are made to look old through “patinas and

Niñas, Día de los Muertos, 2000, archival pigment print

A Jar of Light, 2012, archival pigment print

by daniel tidwell


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other surface treatments [that] add an artificial sense of the effects of aging.” Spencer’s photographs “do not mirror reality or capture the subject objectively; rather they are ways for the artist’s subjective response to the world to have a touchstone in something external.” This externalization becomes the bridge between viewer and photograph, transforming Spencer’s work into “internalized images of the self meditating upon time.”

The surface of the photograph plays a key conceptual role in Spencer’s work. To get a true sense of this, one must view his work in person. Spencer is a virtuoso printmaker—altering his prints both digitally and physically to produce works that evoke early-twentieth-century photography. In the darkroom Spencer shrouds his images, remaking them into veiled mirrors of the material world where reality is just out of the viewer’s grasp. “For him, surfaces are either obvious shields—which let us know in no uncertain terms that we can’t see what is behind or beneath them—or portals to shifting conditions behind the façade, to something ineffable and ephemeral,” says Scala. “Few of his figural works

Chang, 2012, archival pigment print

House Burning, 1998, archival pigment print


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are straightforward portraits as a reflection of identity—rather they obscure identity.”

Much of Spencer’s work has a surprising painterly quality to it, a fact that is related to his background and continued interest in painting. According to Scala, this painterliness is used to great effect in his large-scale landscapes. In these works, “Atmosphere is defined through pure color in a way that is extremely painterly and subtly invested with a sense of alterity.” Scala says that the large scale of these photos engulfs the viewer, while “their unnatural and often slightly acidic colors and soft focus yield a hallucinatory quality.”

Many of the greats of twentieth-century photography, including Robert Frank, Edward Steichen, and Ansel Adams, loom large over Spencer’s photographs. However, he has also been heavily influenced by painters such as Edward Hopper, Mark Rothko, and Francis Bacon and writers including Gabriel García Márquez and Jorge Luis Borges.

Baptismal Candidates, 1995, archival pigment print

Absolution, 2011, archival pigment print


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Spencer cites the painter Gerhard Richter as a huge influence, “not in a painterly way, although he is a great painter . . . but in his approach to making art. I think mostly it [is] his refusal to be pigeonholed and locked into a certain style. I have never wanted to be known as a Southern photographer, a flower photographer . . . a landscape photographer or [by] any other moniker that makes it easy to be defined,” says Spencer. “Richter basically said, ‘I will do whatever I feel like doing’. I think there is too much style and shtick these days that artists get caught up in . . . becoming too afraid to change for fear that someone will not approve. My work is quite diverse, and I am especially proud of that.”

These days Spencer looks inward for inspiration to create his arresting images. “I think that to be self-inspired is the penultimate for an artist,” says Spencer. “At some point, one has to listen to one's own voice only. It has great secrets to tell if you learn how to listen. Everyone has a distinct voice, but few trust it.”

For Spencer, an artist’s intent has a mystical quality and is the primary key to creative expression. He likens artistic intent to “fruit on a magical tree” which

Hombre sin Tiempo, 2002, toned gelatin silver print with oleopasto glaze

Gussie's Magnolia, 1995, Gelatin silver print


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Girl on Beach, 2010, archival pigment print


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34can be summoned through sheer force of will if an artist is in tune with their inner voice. This magical characterization of the creative process is explored in one of Spencer’s best-known series Apariciones, which portrays the shifting nature of perception. Spencer says that the figures in the series are “myths that only existed for a brief moment . . . and never will again.” According to Spencer, the series and his ideas about the creative process were heavily inspired by the writings of Juan Rulfo, Márquez, Carlos Fuentes, and Carlos Castaneda.

Like many artists, Spencer considers some of his lesser-known works to be his most successful. “A piece like Silencio . . . has all the elements I want in a work—mystery, ambiguity, poetry. It asks more questions than it answers. Even I have no idea what it means. It was simply a strange, wonderful gift that I was given one day years ago.” He considers works like these to be his “own personal rewards” and gets immense satisfaction when they are well received by viewers.

Spencer is a long-time member of the Nashville community, and so it is fitting that the largest exhibition of his work to date will take place at the Frist Center. Vanderbilt University Press is publishing an accompanying catalogue for the exhibition, and Scala hopes that “the exhibition and catalogue will spur interest on the part of other museums to produce their own exhibitions of Spencer’s work.”

One thing is certain: Spencer’s restless creativity coupled with his exacting craftsmanship will continue to evolve into even more startling and beautiful images that lead the viewer to question perceptions of time and history. “All of my various bodies of work are simply about my own curiosity,” says Spencer. “It is the documenting of things that interests me . . . sort of like a life's journal.”

Jack Spencer: Beyond the Surface will be on display at the Frist Center for the Visual arts from July 12 through October 13, 2013. For more information, visit www.fristcenter.org or www.jackspencer.com.

Caballo Hombre, 2002, Gelatin silver print

Bear Skull, 2012, archival pigment print


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“

”

At some point, one has to listen to one's own voice only. It has great

secrets to tell if you learn how to listen.

Everyone has a distinct voice, but few trust it.

Silencio, 2002, archival pigment print

Reposo Chacmooles, 2002, archival pigment print

- Jack spencer

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38

I often say that my first encounter with Outsider art came from a short article in Esquire magazine in the fall of 1979. The write-up was about an itinerant preacher, the Rev. Howard

Finster from Summerville, Georgia, who had been called by God to create “sacred art” to better lead to Christ a world that was traveling its last path toward damnation.

And while I can say that reading that piece about Howard was to change my life forever, truth is I had been prepping for that day my entire life. As a Southerner who had grown up in the South of the late fifties and sixties, I was surrounded by Outsider Art at every turn. There it was, and there it had always been, on homemade signs at every bend in the road of the pre-interstate South, extolling the glories of Heaven while it pleaded with me to repent and turn away from my sinful life before it was too late. Maybe all the rest of my fellow eight- and nine-year-olds could ignore such warnings, but these signs and wonders fascinated me.

A Call from On High

photography by Jerry atnip

Best-selling author robert hicks traces the beginning of his obsession with outsider art

COLLeCTION


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Who made them? Who paid for them? Why were these people driven to spend their lives warning folks they didn’t know about eternal doom and damnation? Along with the peaches, watermelons, and boiled-peanuts signs that linked the rural South of my childhood, my world was constantly warned of the good and bad of “eturnal life” to come.

So, while I can’t tell you how everyone else that read that article in Esquire responded to it, I can say that I was on my way to Summerville to meet the Rev. Finster. As I plotted over a map, I figured that Summerville was about an hour out of my way as I journeyed back to Palm Beach to be best man in a friend’s wedding. One hour out of the way, one hour with this guy, and an hour back to the interstate—surely this preacher was worth three hours of my life?

Well, life has a way of making an unexpected turn in the road, and those three hours turned into six hours and, in many ways, into a lifetime obsession.Howard was everything I could have wanted him to be. Sincere, passionate, full of life; he was a walking talking version of his paintings. His theology was a bit jumbled, but he had concluded that God, far from condemning, was trying His best to keep every soul on earth out of “Hell’s Great Gulf.” As Howard envisioned it all (and he was prone to visions), Hell was a hard place to end up.

I went back again and again to Howard’s Paradise Garden in Summerville. I took friends there and spent many an hour listening to Howard play his banjo and speak of worlds to come. I was rarely alone in these pilgrimages, even when I went alone. As Howard’s fame grew, so did his circle of pilgrims.

robert Gilpin, Self Portrait, 1991, acrylic on canvas, 24" x 20"

rev. howard Finster, The Shortest Message: Up or Down, 1987, tractor paint on kitchen cabinet door, 59.5" x 22"


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Micah sherrill, Drag in Blue, 1999, Paint on carved woodJimmy lee sudduth, A Duck, 1993, Paint and mud on tin, 24" x 25"

Over the years I was to meet David Byrne, then with Talking Heads, artist Keith Haring, and REM’s Michael Stipe among the countless pilgrims to Paradise Garden.

In time, I was to learn that Howard was not alone in his calling. There proved to be a countless number of men and women throughout the South who felt driven by God to create sacred art. My travels became “art cruises” as I visited Bessie Harvey in Alcoa, Tennessee, Georgia Blizzard in Virginia, and Fred Webster, the Rev. B. F. Perkins, and Jimmy Lee Sudduth in the “Black Belt” of Alabama. In Birmingham there were Joseph Hardin and Lonnie Holley, and Purvis Young got me to Miami. There was Joe Light in Memphis, Sam Doyle, a Gullah, in South Carolina, along with Raymond Coins and James Harold Jennings in North Carolina. There were Mary T. Smith and Theora Hamblett in Mississippi and Sister Gertrude Morgan in New Orleans. And still there was no end.

Truth is, as much as I first connected with these men and women out of what I perceived to be our common Southern heritage, there are no boundaries for Outsider Art. From Jon Serl in California to the anonymous artists of Fiji, the South of France, and the mountains of Northern India, men and women have been operating “outside” the framework of the entire art world—with its academies, galleries, critics, aesthetic norms and practices—throughout all the ages.

While a handful of them in recent years have eventually benefitted from the art world, it is a handful at best when you take in the reality of the countless number of men and women who have honored the calling they were given to create art. The French Modernist painter Jean Dubuffet called it art brut—raw art. I like this name. Yet, whether we call it outsider or art brut, non-traditional folk art or whatever, the glue that links all of it and all its creators together is the passion that brought them to that place.

Charlie brown, Devil Jug, 1992, Ceramic and tractor paint, 20" x 12" x 12"


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Jimmy lee sudduth, Self Portrait, 1989, Paint and mud on plywood, 48" x 24"

Over the years I made countless art cruises, first in the South and then beyond. Most of the artists I first visited—Howard, B. F. Perkins, Fred Webster, Bessie Harvey and the rest—have now passed from life into the world they spent their days heralding.

As for me, writing seems to have shifted me away from those trips I once made through rural America and into the lives of these souls on fire. At least that is the excuse I use when friends ask me why the art cruises ended. Maybe the real answer is that being in their company was too overwhelming. More often than not, they were living their lives, before a watching world, completely exposed, without pretense or the shams that protect the rest of us from whom we really are.

After awhile, if there is anything to us, it is difficult to be with folks like B.F. Perkins, who built his house out of found materials from trash piles and yet may have been the single most contented, sane person I ever met, or Bessie Harvey, who, as poor as she was, might insist that a rich visitor not pay for her constructions. How do you explain the local Human Services bringing blankets for Lonnie Holley and his children only to have Lonnie hang them from the trees around his shack so as to see how they glowed in the sunlight?

Those visits were some of the richest times in my life. There I was, face to face with men and women who believed they had been called—called from On High—to create art. Their understanding of the world around them was often completely out of touch, yet their wisdom and understanding of what really mattered most was completely intact.

As the initial group of artists I visited began to pass away, I focused on my own work. This isn’t to say that I don’t miss those times with Mose Tolliver or Charlie Lucas, for I surely do. Yet I am never far from those times as I glance up from my desk, at walls covered with their work. I am grateful to have known their world.

robert hicks is working on his third novel. several years ago, the museum dedicated to Jean dubuffet’s extensive collection—Collection de l'Art Brut in lausanne, switzerland—asked robert to come there to speak about his collection of mostly southern Outsider art. he was the first tennessean to be included in Art & Antiques magazine’s top 100 Collectors in america. For more about robert hicks visit www.robert-hicks.com.


42PH

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View our complete submission guidelines at www.nashvillearts.com or call 615-383-0278.

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Nashville Arts Magazine announces our fourth annual photography competition. Last year, we saw a stunning array of Nashville’s talent, and we can’t wait to see what 2013 brings! We will feature winning entries in our September issue. The competition is open to all amateur photographers, so send us your best shot! Closing date for submissions is August 31.

Nashville Arts Magazine announces our fourth annual photography competition. Last year,

PHOTOGRAPHY COMPETITION

... with your camera, that is!

PHOTOGRAPHY COMPETITION

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ATTENTIONIf you entered this competition before June 19

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44

M uscovy ducks are the earliest known domesticated ducks in the americas. They were being raised by various

indigenous cultures since before the arrival of Columbus. They're much bigger than Mallards, with ink-black feathers and white-tufted heads, and their scarlet faces are covered in bumpy, textured skin. They're odd ducks all right, but also exotic and striking.

These same terms can be applied to the massive, colorful, creature-filled canvases of J. H. Nelson. The first time I saw From A Burial at Ornans—a 4' x 10' portrait of nearly a dozen Muscovys spread across three panels—I didn't know what the birds in the scene were. I guessed turkeys, buzzards, and vultures before Nelson let me off the hook.

“I think they're beautiful things. They're beautiful animals, and I just wanted to take advantage of how weird they look,” says Nelson.

Taming the Beast

by Joe Nolan

The title references the famous, massive painting by Gustave Courbet, which records the funeral of the painter's great uncle in 1848. At 10' x 22' that painting had a scale normally reserved for religious or historic subjects, but Courbet filled his scene, documenting common people at a common event in the setting of their own small village. It was both a massive scandal and a massive success.

“In that Courbet painting, he painted all the people in this village. There is this lovely detail in the painting of these old ladies in white bonnets and white collars with a black background,” says Nelson. “I was like, OK. That's how I'm going to paint these ducks.” Nelson's birds bustle against a background of deep-green corn stalks and blue-slate slivers of night sky that finds the ugly ducks looking stately and noble—their black-and-white feathers taking on a formal air.

From a dingy little studio in East Nashville, artist j. h. nelson takes a walk on the wild side

ARTIST PROFILe

background: Roost, 2012, Oil on canvas, 78" x 160"

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Nelson's paintings are full of animals. However, where an artist like Walton Ford looks to Audubon's naturalist illustrations, Nelson's menageries are inspired by a childhood spent in rural Murfreesboro, Tennessee, and by the visual language of cartoons.

“I feel at ease with these forms. It's something familiar, and animals interest me,” says Nelson. “It's mainly the visual impact of them, you know? We're not that far from the agrarian society—especially when I was born. When I was born, the abstract expressionists hadn't even showed up yet, or at least they weren't on the radar.”

Nelson's West Nile includes a huge, scarlet mosquito as well as the animated magpies Heckle and Jeckle. In Thumbs Up, a troupe of anthropomorphic boars devours

Bauhaus Beetle, 2007, Mixed media on hardboard, 62" x 96"

Thumbs Up, 2011, Oil on canvas, 48" x 120"

Pastoral with G, 2011, Oil on canvas, 48" x 108"


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“I've got a background in sculpture, and I've always been comfortable with three-dimensional elements,” says Nelson, who earned a Master of Fine Arts from Ohio University. “It's something I naturally turn to if I need it. Painting on a 3D surface was actually how I started painting. You could say I'm self-taught as a painter.”

In Tick Tick, repeating butterfly and tree motifs are layered over the painting's subjects without claiming the foreground of the piece. Similar graphic elements were incorporated into pop painting when artists in the 1960s embraced the look of commercial printing. For Nelson, their inclusion comes out of years of experience with various printing techniques.

“Printmaking was interesting because of the drawing,” he says. “I've always drawn a lot—it's a constant. You just keep throwing down ideas with drawings, and eventually you find something worth trying out on a bigger scale.”

“”

a nest of vipers, and Little Orphan Annie signals the titular approving gesture from the safety of a tree line.

The cartoon stuff was part of my visual language growing up. It's also a part of the latter half of the twentieth century. It's a visual language that I understand and that other people understand.

Nelson's paintings also share a layered sensibility that speaks to his education in sculpture and printmaking. His painting Tick Tick includes a bat speaking in a cartoon dialog balloon that is a 3D element attached to the surface of the canvas.

Blue Bull, 2008, Mixed media on wood and canvas, 48" x 102"

A Burial at Ornans (detail), 2013, Oil on canvas, 48" x 120"


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While their influences differ, a love of large scale is something Nelson shares with Walton Ford, and both painters have a knack for dramatic narratives. But where Ford's storytelling—in keeping with his visual aesthetics—feels anachronistic and literary, Nelson's scenes are cinematic. He spent years working in the film industry as a scenic painter and a set designer.

“It's a language we're all aware of. We're all products of film—that's our language now. My paintings end up being a montage of scenes. A little creature ends up like a character in a play or in a movie. They're just part of the narrative. You have your character. You have your place. You don't know where your character will take you, but there is also a sense of place which is a character unto itself.”

Nelson's painting's are widescreen affairs that require months of work and carry similarly large price tags. Red dots on a wall at an exhibit of Nelson's work start at about $17,000 and go up from there. However, it's precisely the scale of the work and the sales prices Nelson has to ask that have combined to keep his paintings largely unseen. Aside from an invitational show at MTSU last fall, most of Nelson's work has stayed stored in his East Nashville studio for years.

“They're so large. It makes it hard for the gallery system to know how to market them,” he says. Tick Tick, for instance, is a full six and a half feet by thirteen and a half feet. “If I knew how to market it, I would, but I don't. I just don't let it bother me. The important thing is to keep producing art.” Part of the problem is the lack of serious contemporary fine art collectors in Nashville, paired with the fact that many efforts to cultivate and grow that audience have perversely lowered the prices a collector should expect to pay for an original work of art. Another part of the problem is even more practical.

“A lot of galleries in Nashville don't have walls big enough to show these,” says Nelson. “Many people don't have walls in their homes big enough to show these. The good news is that the people who have the room are the same people who could afford the work.”

GORGEOUS, EXOTIC, PUREBRED DUCKS for sale to the right family. Eleven silent siblings. No dropped feathers, completely housebroken and hypoallergenic. Pets or meat. Bring your wallet. Bring your tape measure.

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St. Charles' Point, 2007, Oil on canvas, 48" x 144"

Tick Tick, 2011, Mixed media and oils on canvas and hardboard, 78" x 156"

West Nile (detail), 2008, Mixed media on canvas and hardboard, 48" x 141"

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50

U nder brick smokestacks of the historic Marathon Village, floor-to-ceiling paintings fit like puzzle pieces

across the walls of Olga alexeeva’s “O” Gallery. This chic, cohesive gallery displays a vibrant blend of Alexeeva’s realistic and abstract paintings—works that reflect her journey to America and the new life she established here in Nashville.

A fiery redhead who talks with her hands and throws her head back to laugh, Alexeeva is undoubtedly an actress turned painter. Growing up in the Soviet Union, Alexeeva began her professional acting career at the age of 10 and thrived on stage until the late 1980s.

“Growing up in the Soviet Union, everything was structured, including the theatre. I worked in a government-run repertory theatre for many years and excelled. With the onset of the free market, however, the country turned to chaos. The people were in chaos, the city was in chaos, and theatres were in chaos. We were trained to be actors, not circus acts. I had to get out,” Alexeeva said.

by alyssa rabun

All About the

In 1991, Alexeeva intentionally ended her acting career and moved with her son to Nashville for a fresh start. “Maybe Americans thought Russians were all babushka-wearing vodka drinkers,” Alexeeva jokes. “Well, we had a vision of America too. Everywhere in America looks like Manhattan, of course. Imagine my surprise when we arrived to the green, grassy village they called Nashville. But Nashville was changing, embracing new cultures, developing artistically—the perfect place to reconstruct my life.”

In addition to learning English, being assimilated into a new culture, and raising a teenage son on her own, Alexeeva took up painting, as a hobby, in 2005.

Always Two, 2005, acrylic, 24" x 36"

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12 Bar Blues, 2010, acrylic, 40" x 30"

IN THe GALLeRy

Gallery


51

Moscow Alley, 2006, acrylic, 18" x 24"

“”

Color and forms were always in my life, on the stage. I craved a new creative outlet to nurture my soul and turned to painting.Alexeeva became a regular at Centennial Art Center classes, studied under local icons like painter Hazel King, and cluttered her kitchen with canvas and acrylics. In 2009, she opened the first “O” Gallery in the downtown Arcade.

“I opened the first ‘O’ Gallery to show my own work, when no one else would. With no professional training, I faced rejection often. I envisioned the ‘O’ Gallery would become a lounge for the artistic community to gather with different styles of art,” said Alexeeva.

In 2011, just two years later, she opened her second “O” Gallery in Marathon Village, began showing work at other local venues, including University Club of Nashville and the Tennessee Art League, started teaching painting classes, and began hosting arts workshops.

“I now show my work in the Marathon Village ‘O’ Gallery and utilize the Arcade ‘O’ Gallery as a venue for up-and-coming artists to show their work. I know how hard it can be to build a career in this field, and I encourage a variety of artists to utilize the space,” Alexeeva said.

Join alexeeva in Marathon Village on July 20 for an “O” Gallery two-year anniversary party from 7 to 10 p.m. Visit www.ogalleryart.com for details. Mirror, 2004, acrylic, 48" x 22"


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53

The Tomato Art Fest was founded in East Nashville by the owners Art and Invention Gallery. In 2004, the gallery hosted an art show celebrating the tomato in late

summer, and planned a few neighborhood events to promote the show. The Tomato Art Fest proved so popular that it immediately turned into an annual, signature

event celebrating local artists. The festival is a community builder and has steadily drawn larger crowds each year. Over 20,000 people come annually to celebrate

this beloved fruit/vegetable and enjoy the day’s festivities. It has been voted “Nashville’s Best Festival” fi ve years in a row. The festival is located in Historic East

Nashville’s Five Points area, which has been coined by Budget Travel Magazine as “Nashville’s version of New York’s East Village.” www.tomatoartfest.com

www.southgatebrands.com

Vicki Sawyer, Balancing Act at the Tomato Circus (detail)

“We come out here to show the love of Jesus Christ through skateboarding. I know that’s kind of weird-sounding ’cause a lot of skateboarders are looked at as punks or outcasts and whatnot, and we kind of gladly accept that image.” For young adults Garrison and Kevin, California skateboarders and the principals of the POV documentary Only The Young, this statement by their mentor and head of Ignition Skate Ministry doesn’t sound weird at all. Confronting dichotomies is what youth is about, and this beautifully filmed portrait of the two teens and their friend Skye captures it stunningly. Combining the authenticity of documentary with the narrative pacing of fiction, all the while ruminating on romance, angst, and the economic realities of adolescence in twenty-first-century America, Jason Tippet and Elizabeth Mims’ film airs on NPT Monday, July 15, at 9 p.m.

POV has four other documentaries to carry you through the steamy Monday nights of July. Kicking off the month on July 1 is Special Flight, a dramatic account of the plight of undocumented foreigners at the Framboise detention center in Switzerland. July 8 brings you Herman’s House, a portrait of a man who won’t give up fighting for his freedom and, inevitably, a critique of a justice system that has confined him for decades in solitary. On July 22, High Tech, Low Life follows the story of two of China’s first citizen reporters as they document the underside of the country’s rapid development. The month closes out on July 29 with Neurotypical, an exploration of autism from the point of view of three autistic people: child, teenager, and adult.

Public television remains one of the only places on television to continually celebrate the art of dance. This month, that commitment includes showcasing some of the masters of the form. Filmed at Jacob’s Pillow Dance Festival in Becket, Massachusetts, Dancing at Jacob’s Pillow: Never Stand Still features thrilling performances and revelatory conversations with renowned choreographers and dancers, including Judith Jamison, Paul Taylor, Mark Morris, Suzanne Farrell, and

Frederic Franklin, as well as one of the last interviews with the iconic Merce Cunningham. Narrated by acclaimed choreographer Bill T. Jones, the film interweaves the story of Jacob’s Pillow as a generator for creativity with the history of dance in America and features never-before-seen footage and images from the Pillow’s extensive archives, including those of dance pioneer Ted Shawn, who purchased the farm in 1931. It airs on Friday, July 26, at 8 p.m. on NPT and PBS stations nationwide.

The cool confines of an underground cavern sound just about right these warm days of July. Add the cool music of Vince Gill, Country Music Hall of Famer, twenty-time Grammy winner, and part-time member of The Time Jumpers, and you’ve really got something. Gill hits the stage of Bluegrass Underground, three hundred feet below ground within the labyrinth of Tennessee’s Cumberland Cavern, on Sunday, July 7, at 10 p.m. Expect razor-sharp guitar playing, expressive singing, and rich and varied songwriting as Gill delivers everything from heartfelt honkytonk ballads to hot bluegrass to full-throttle country rock.

Austin City Limits continues to bring the best in original music with uninterrupted full concerts recorded live in Austin, Texas, on Wednesday nights at 10 p.m. This July, NPT encores some favorite episodes, including The Steve Miller Band with the Preservation Hall Jazz Band (July 10), Miranda Lambert and Jeff Bridges (July 17), Tim McGraw (July 24), and The Head and the Heart and Gomez (July 31).

Arts Worth Watching


55July 2013

Nashville Public Television

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

Saturday 5:00 am Bob the Builder 5:30 Daniel Tiger’s Neighborhood 6:00 Curious George 6:30 The Cat in the Hat 7:00 Super Why! 7:30 Dinosaur Train 8:00 Thomas & Friends 8:30 Angelina Ballerina 9:00 Sewing with Nancy 9:30 Martha’s Sewing Room 10:00 Victory Garden 10:30 P. Allen Smith 11:00 Cooking with Nick Stellino 11:30 Cook’s Country 12:00 noon America’s Test Kitchen 12:30 Mexico – One Plate at a Time with Rick Bayless 1:00 Martha Stewart’s Cooking School 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 Saving the Ocean 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 Super Why! 7:30 Dinosaur Train 8:00 Daniel Tiger’s Neighborhood 8:30 Sid the Science Kid 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 2:00 Washington Week with Gwen Ifill 2:30 Expeditiions with Patrick McMillan 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 pm Globe Trekker

Weekend Schedule

Nashville Public Television

ThisMonth

Masterpiece Mystery!EndeavourShaun Evans (The Take, The Virgin Queen)stars as the young Endeavour Morse, before his signature red Jaguar but with his deductive powers already running in high gear.

Sundays July 7 – 288:00PM

(Rebroadcast) Saturdays at 9:00PM

Secrets of Althorp – The SpencersNineteen generations of Spencers, one of Britain's most eminent aristocratic dynasties, have lived for over 500 years at Althorp – childhood home to the much beloved Diana,Princess of Wales, whose life is celebrated in an exhibition featuring some of her famous outfits.

Sunday, July 77:00PM wnpt.org

Discover Innovative Tennesseans working in robotics, computers and technology.

Tuesday, July 308:00PM

Preview July2013pg1_9x11:Layout 1 6/19/13 12:13 PM Page 1

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With

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OVA

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Ste

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N

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T he picture of eclectic casual, with her loose brown hair, flowing pink blouse

and bohemian jewelry, Kathy anderson looks very much the artist that she is. As the principal interior designer and founder of Anderson Design Studio, she is the first to say that her firm is the “most forward-thinking in town.”

Interior design is an art form, she says. “It really is,” she stresses. “I don’t have one look that I put on my clients. That would make it easier. I always say I make this as hard as possible. Because, to me, if you are really doing this right, you are not always doing it the same all of the time.”

As she talks about design, Anderson is surrounded by it in her office. She sits in a Knoll Generation chair, its futuristic lines creating a cool juxtaposition against the exposed brick wall. There is an Andy Warhol print of Marilyn Monroe above her desk. For guest seating, there are molded wood Eames chairs by Knoll.

Anderson’s surroundings reflect her personal style, which she describes as “Mid-century Modern meets glam hippie.” As further illustration, she says she has in her home a portrait of Jimi Hendrix made out of license plates and the Womb Chair that was created in 1948 by Finnish designer Eero Saarinen.

ArtHouse

Kathy Anderson

by karen parr-moody

Floor to Ceiling Reinventions

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not do something different that people haven’t seen rather than the same thing?” she asks. She loves the Italian lighting company Foscarini. “We’ve used several of their selections,” she says. “In some of the suites in the Gaylord Opryland, I think we used some of my favorite fixtures.”

Born in Kentucky, Anderson attended O'More College of Design in Franklin, Tennessee, for two years and then transferred to the University of California, Los Angeles. “It was a quite different experience, going from traditional wing chairs to never heard of a wing chair,” she said of the transition.

After college, Anderson first worked at a firm owned by a Chinese and a Japanese woman, Fong and Miyagawa Design Associates, Inc. This gave Anderson a “world view.” She preserves that mindset. “I look at design from the world view,” she says. “I’m more influenced by what’s happening in Barcelona or other countries than here.”

“”

After twenty-five years of operating her own firm, Anderson says, firmly, that she knows what design is and what it isn’t. “It isn’t just ordering furniture for a room and painting it,” she says. “It’s really every little thing—floor, base, wall, trim, hardware. All of it is important.”

Anderson’s approach is drastic. She often changes the architecture of the interiors, gutting entire rooms to create a blank canvas from which to begin anew.

I love working with artists,” Anderson says. “We’re so fortunate in this area to have incredible, creative people. A lot of times we do custom carpet, custom glass, custom metal work and really bring the artists into the architecture of the space.

A flip through the Anderson Design Studio portfolio reveals how the design goes beyond the purely ornamental. There are common threads, such as strong lines, whether they are flowing and organic or horizontal and crisp.

Then there is the lighting—every room is sprinkled with or anchored by some unusual fixture—that takes the concept of ambience to a higher plane. “I think lighting’s the most important part of design,” Anderson says. “You have to have the lighting right. It’s more important than expensive finishes.”

The lighting choice depends on the project, but, regardless, Anderson opts for unusual. “There’s so much great lighting, so why


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Anderson’s firm brings that integrated flair to the homes of many Nashville celebrities. Her client list is a who’s who of Nashville’s movers and shakers, including Kid Rock, country music singer-songwriter Alan Jackson, music producer Tony Brown, and rock legend Steve Winwood.

Regardless of the client and regardless of the job, the result is always the same. “We create environments,” Anderson says. “We don’t just decorate.” For more information about Kathy anderson and anderson design studio, visit www.andersondesignstudio.com.


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The landmark exhibition from the National Archives, Discovering the Civil War, opened to great fanfare in February. Visitors are still flocking to the museum to see the original 13th amendment signed by President Lincoln which ended slavery forever in the United States. The popular traveling exhibit is free to the public and on view through September 1, 2013. Visit tnmuseum.org for more information. In conjunction with this exhibit, a series of FREE events are being offered:

Saturday, July 13, 1 to 4 p.m. - Tunes, Tales & Treasures: Discover More about the Civil WarVisitors will have an opportunity to learn more about the Civil War homefront through a special Discovery Day at the museum. This event includes live music and historical performances, children activities and more! Saturday, July 27, 2 p.m. - “The 1st (Turney's) Tennessee Infantry at the Battle of Gettysburg”

with Dr. Timothy P. MulliganThis July marks the 150th anniversary of the Battle of Gettysburg. Renowned historian and researcher

Timothy Mulligan will present a lecture on the role of Tennesseans in this famous battle. Saturday, August 24, 2 p.m. - Hollywood and History: Capturing Accuracy in Spielberg's LincolnThe program will feature the assistant sound director on the film, Greg Smith, who will talk about the lengths Spielberg went to capture authentic sounds in movie.


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a monthly guide to art education


by Jennifer Cole, Metro Nashville arts Commission

L etterpress printmaking is one of Nashville’s iconic art forms. From the commercial

beginnings of Hatch to a budding local group of art printmakers, our local letterpress landscape is hot. I’m so thrilled to announce a new community public art project partnership: Isle of Printing dynamo Bryce McCloud and Metro Arts.

Our Town is a fifteen-month project during which McCloud will collect and exhibit portraits of Nashvillians from all walks of life via his mobile printmaking “art cart.” The cart that is one part art studio, one part old Good Humor ice cream truck, and one part pure whimsy will be traveling the city beginning in June 2013 through September 2014.

Traveling to various community events and locations, McCloud and his participants will develop a series of prints “made by Nashvillians for Nashvillians.” When a citizen approaches the cart and participates by creating a portrait; they will be able to exchange their portrait for another individual’s print portrait. Featured prints are displayed and exchanged during the cart outings and will be part of a permanent collection at the end of the project.

The project is a key piece of the NashvilleNext (www.nashvillenext.net) citywide planning process. The goal is to engage a wide swath of Nashville in thinking about and

participating in community planning via art-making. A final series of portraits by Nashvillians and McCloud will become part of the permanent collection of the Nashville Public Library and will be a permanent part of our city’s history.

Those wishing to participate in Our Town and share their vision for Nashville can find McCloud and the portable print shop at NashvilleNext community meetings beginning July 9. McCloud will also make a number of spontaneous stops around Nashville each month, so watch out for Our Town on social media and around the corner!

Follow @NashvilleNext and @Metroarts1 for Our Town updates on twitter.www.nashville.gov/Government/NashvilleNext.aspx http://talk.nashvillenext.net

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State of the Arts

by rebecca Pierce | photography by tiffani bing

W hen you think about the CMA Music Festival, you probably don’t think about children making art, but this year it

happened for the first time in its 43-year history. Brainchild of Steve Moore, CEO of the Country Music Association, the Keep the Kids Playing Pavilion located in the new Music City Center gave children age-appropriate entertainment and the chance to create.

Nashville Arts Magazine was thrilled to be a sponsor for this art booth, but it would not have happened without fellow sponsors the Tennessee Art League (TAL) and YMCA Art Embrace. Mar Augelli, Teaching Artist and TAL Board Vice President, and Leslie Gregg, Director of YMCA Art Embrace, worked tirelessly in assembling an enthusiastic and very talented cadre of artists who graciously donated their time and expertise so that the children’s art area could provide an array of artistic activities throughout the four-day festival.

Art Oasis for CMA Festival Children

leslie Gregg helps a young boy leave his mark on the pavilion banner.

bryce McCloud, isle of Printing


At any given time, you could see children making their own creations with paint, markers, pencil, ink paper, and fabric. Noriko Register, Emi Watts, and Matsu Ritchie showed children the ins and outs of origami using newspaper and colored paper to make hats, boxes, and animals. Mar Augelli toted her eighty-pound baby printing press into the exhibit hall every day so she could teach several methods of relief printmaking. Illustrator and TAL Media Chair Jean Carter Wilson and portrait artist and TAL drawing instructor Geralda Shockey offered drawing instruction and helped children with their drawing projects. Art Embrace teaching artists Franne Lee, Heather Snyder, Caylin Cervetti, Leslie Gregg, and Hannah Jacques showed children how to make their own booklets, autograph books, and bracelets and helped them make their own individual mark on our banner.

Mar augelli teaches a relief printing method.

Our art oasis was consistently busy even though Keep the Kids Playing Pavilion offered a wide variety of activities, including meet-and-greets with Veggie Tales characters, demonstrations by the Ultimate Air Dogs, a global humanitarian awareness exhibit from World Vision, an interactive exhibit on the science behind music by the Adventure Science Center, fingerprinting with the Davidson County Sheriff’s Office, face painting, and a music studio experience by Notes for Notes.

At the end of the busy event, Mar Augelli commented on how she thought it went. “I would say it was a huge success overall. We had large groups of kids all four days, and the volunteers were very enthusiastic and having a great time. The parents enjoyed themselves as well, and we heard that it was one of the favorite booths. We never sat down, but I would do it again and so would the other volunteers. Many of the children were like sponges soaking up anything we could show them about making art. In the end, we had lots of hugs from children.”

For more information on the tennessee art league, visit www.tal5.com. For more information on art embrace, visit www.ymcamidtn.org, and for more information on the Country Music association, visit www.CMaworld.com.

Noriko register demonstrates the art of origami.


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D avid Malloy didn’t intend to be a visionary or a Cyber Piper luring teens with music, friendship, or

tangibility. But very quietly, without anyone over 25—especially in Nashville—noticing, he created Teen Hoot, a clearinghouse/gathering place for the myriad teen social-media sensations.

“As a kid, I was glued to the radio,” Malloy, the Grammy-winning producer and songwriter for Eddie Rabbitt, Dolly Parton, Mindy McCready, and Julianne Hough, says. “We counted on the deejay to bring us the best, coolest music. Kids don’t really talk about TV or terrestrial radio; they’re on their smartphones—and they’re all over the Internet. That’s where they get their music.

“So, Teen Hoot (the site) has become a place they know they can find stuff. I go through hundreds of videos every week, check out the ones that seem to have it to see if they can sing, they can perform . . . those are the ones we take for the Hoot.”

These thrice-yearly “concerts”—a Valenteen Hoot, a Howloteen Hoot, and the upcoming July 26–27 double Teen Hoot Fest—create a place for the young acts who’ve stormed YouTube, Twitter, and Instagram to perform and a destination for the equally young fans who love them. Held at Nashville’s all-ages Rocketown, the acts, whose ages range from 11 to 20, come from England, Canada, and across America; two-time Hooter Austin Mahone has 2.5 million

by holly Gleason

Teen HootGrant austin taylor, aria summer

skylar dayne, Peyton sanders

austin Corini

MuSIC

local music producer david malloy creates a global music phenomenon for a new generation


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Predominantly using Twitter, Malloy reached out and kept reaching out. “It went from a curiosity to a passion to an obsession. To see the way kids interact, to see a generation come together globally . . . I think the better you understand somebody, the more connected you feel to them, and that’s a good thing.”

Malloy’s father worked with another generation’s biggest names, from Frank Sinatra to Elvis Presley, so he understands how music bonds people. Receiving his first BMI Award at 17 for “Then You Walked In” by Sammi Smith, he also understands engaged young people’s passion.

“This isn’t tomorrow,” he admonishes. “This is today. Right now. The people in the business don’t get that. Onstage [these kids] have never played for a crowd that big, but they’re doing blogs live from their bedrooms with 38,000 people watching.”

On July 26–27, performers will journey from England, Canada, even Curacao in the Dutch Antilles to take part. But that’s just the surface. Malloy says, “I’ve got teens all over the world who’re dying to do the Hoot, but they can’t afford to get here. I dream of doing Teen Hoot in London, then Japan. All around the world, because that’s how big [this] music really is.”

For more information, visit www.teenhoot.com.

“”

Twitter followers, just performed two songs on the Today show, and was cited by The Wall Street Journal for viral momentum.

“It’s not about the kids getting onstage so much as the kids coming together,” notes Malloy. “It’s a chance for kids who’ve become friends over the Internet to meet, for the musicians who’re too young to get into clubs to have a place to play and be together . . .

People forget—clubs run on liquor sales, so these acts have no place to play. The fans, too. We had a girl fly from Australia to see Payton Rae. Another girl came from Cork, Ireland . . . families drive here from Maine, California, everywhere.

Beyond actually attending, the February Hoot’s live stream was seen in forty countries, cementing a global community among a generation often a decade away from legal access to music in clubs. Indeed, over 161 countries have streamed videos posted on the Teen Hoot YouTube station.

“There was a need. The teens were looking,” Malloy marvels. “I did the first one at my studio in Berry Hill with thirty-five people on the floor. I wondered what would happen if I got them all together. Would anyone care?”

Griffin saunders, alex Constancio

Kalin White and Myles Parrish with fans teen hoot Creator david Malloy

Musicians back stage sharpen their performances


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1 2

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5205 Stillhouse Hollow Farms, approx. 100 Acres $10,000,000 (up to 800 acres available)

21 Northumberland $4,999,000

5840 Hillsboro Road, 21 Acres $4,500,000

939 Tyne $4,495,000

3317 Floyd Road, 156.7 acres $3,839,150

5004 Hill Place $3,800,000

1037 Vaughn Crest $3,750,000

434 Grayson $2,950,000 Rick French 604-2323, Tim King 482-5953

110 Lynnwood $2,750,000

308 Deerwood $2,250,000 Rick French 604-2323, Cathie Renken 500-8740

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2900 Tyne Blvd $1,795,000

1500 Gale Lane $1,790,000

2006 Fransworth $1,699,000

3821 West End #102 $1,695,000

106 Clarendon $1,495,000

1208 Beddington Park $1,350,000

206 Leonard $1,295,000

413 Lynnwood $1,275,000

2312 Chickering Lane $999,000

Otterwood $949,000

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by Cat acree

T he days of artists and business professionals eyeing each other

warily from opposite ends of the brain spectrum have come and gone. Forget “suits” and “hippies”; creativity and business savvy have relevance in both camps, and due to the collaborative vision of the Arts and Business Council, this mutual respect is creating a more sustainable creative culture in Nashville.

Casey Gill Summar and Jaclyn Johnson Tidwell—the Arts and Business Council’s Executive Director and Director of Programs & Community Initiatives, respectively—are the entire staff of the ABC, save for some hard-working volunteers. With the help of an overseeing board, Summar and Tidwell are single-handedly redefining the relationships between businesses and artists in Nashville—and redefining the ABC as a whole by shifting their focus from big, perennial “happenings” to year-long programs, a transformation they call “going deeper.”

The ABC core programs work at the intersection between business and arts communities, a veritable swap meet of talents and expertise. Says Tidwell, “We get to bring this creative

The Beat Goes on at the ABC with new energy and enthusiasm courtesy of this irrepressible duo

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experience to people who don’t usually get to touch it, and alternately, [while] we don’t really help artists be more creative directly, we do give them skills.”

On one side, business professionals receive a healthy dose of crash-course creative energy. WorkCreative sends artists into offices to provide professionals with first-hand creative engagement such as songwriting and improv classes, and Arts Board Matching creates champions for the arts by placing young professionals on the boards of arts nonprofits.

One of Summar and Tidwell’s favorite events was the Bicycle Bus Mural organized by Green Fleet. Attorneys from Bradley Arant Boult Cummings adopted the project, not only providing financial support but also participating in the painting with local artist Andee Rudloff. “They really embraced it,” says Summar, a fellow lawyer who laughs at the memory of eager partners with paintbrushes in their hands “for possibly the first time since elementary school.” She goes on, “It had real ripple effects in the office after that . . . They’re really hungry for it.”

On the converse, supplying artists with business education can be, as Tidwell says, “life-changing.” The Volunteer Lawyers &

Professionals for the Arts (VLPA) provides pro-bono legal assistance to more than 1,500 artists and 350 arts nonprofits, and the Education for the Creative Community program holds monthly seminars to train artists how to self-sufficiently manage the business side of their work. Tidwell finds the Creative Capital training program, a series of workshops of artists teaching artists how to make their work sustainable, to be particularly rewarding. “It reminds people that we are a nonprofit,” Tidwell says. “We do this to serve people who don’t always have the same opportunities as others.”

As these programs continue to grow in popularity, Summar and Tidwell are excited to continue going deeper, improving the programs that already exist—a model that allows participants to make the ABC’s vision their own. Says Summar, “[These programs allow] us to do way more throughout the year than we could possibly do [if we were] coordinating each event. And so I think that’s more of the model of all of our programs, really trying to put the right pieces together and let them run with it and do great things.”

Both Summar and Tidwell have found Nashville’s creative momentum to be a profoundly positive experience on the ABC programs’ success, but they’re riding the wave with intention.

“Making Nashville more creative is such a nebulous idea,” says Summar. “We’re really focused on making that concrete and having an impact.”

For more information about upcoming events or how to get involved with the abC, visit www.abcnashville.org.

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Jaclyn Johnson tidwell and Casey Gill summar

WorkCreative bicycle bus mural project, featuring the team from bradley arant boult Cummings with andee rudloff

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w i n T H i S PA i n T i n G Maggie Hasbrouck is known for her haunting

photo-encaustic images which are in private

and corporate collections around the world.

Now you can own this original Hasbrouck

(retail value of $14,000) when you join

Gallery One and Nashville Arts Magazine

in this unique summer scavenger hunt.

Someone will take “Joy Spills Over” home

on Saturday, September 7th. Will it be you?

Unlock the mystery, solve the riddle and win.

For more information, visit Gallery One’s

website at www.galleryonellc.com or scan

this QR code on your smartphone:

“ Tr e a s u r e ”n e w w o r k s b y M a g g i e H a s b r o u c k

S a t u r d a y, S e p t e m b e r 7, 6 – 8 p m a t G a l l e r y O n e


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J ay Gatsby threw parties that wowed the senses. Important art, enchanting music, profusions of fantastic flowers, copious

amounts of food . . . all presented with excessive élan. Everyone coveted an invitation to his dazzling events (also hoping, of course, to witness the sizzling passion between Jay and Daisy).

The alchemy of beautiful art and lush flowers, melodious music, and scrumptious nibbles blended together makes an intoxicating potion for Nashville’s avid art collectors. The 4th Annual Arts & Flowers includes all of these elements.

All event proceeds benefit the charitable arm of ALIAS, Nashville’s GRAMMY-nominated chamber ensemble. In turn, each year ALIAS awards grants to three area non-profits from concert sales. This year Better Decisions, The Contributor, and STARs were selected. ALIAS will perform during the event, to be held at the ultra-cool W.O. Smith Music School.

Arts & Flowers pairs venerable artists with noted floral designers who interpret one piece of the artists’ work in flowers. This year twenty artists will exhibit their work with floral companion pieces, while another ten artists will showcase artworks featuring floral subjects. Returning artists include Charlotte Terrell, Jade Reynolds, and Jann Harrison, to name a few. Edie Maney, Lisa McReynolds, Lauren Dunn, and W.J. Cunningham will also exhibit.

4th Annual Arts & FlowersJuly 2O, 2O13by beth raebeck hall

annie tagg, Beach Lovers, acrylic on canvas, 24" x 18"

terry White of english GardenFlowers by amelie deGaulle, artist tom turnbull

exHIBIT

Floral designers include The Tulip Tree, Flower Express, Rebel Hill, Phillipe Chadwick of Cheekwood, and many others. Last year's winner, Perri Crutcher of OSHi, joins celebrity judges Jane McLeod, Meryll Rose, and Lynn Wallman.

Arts & Flowers is the brainchild of local gallery owner/artist Ron York and ALIAS executive director Jim

Robert. York is extremely pleased with the growth of the event and the interest from Nashvillians. "To have this amazing group of gifted professionals all working together to support another member of the arts community [ALIAS], it's incredible," he says. “These creative people have generous hearts."

The jewelry of Ruthie Cherry will be offered for sale, and those wanting first dibs on art can attend the Patrons Party prior to the event. The entire endeavor is under the auspices of Miss Daisy (King) and noted art collector George Clark who are serving as co-chairmen.

Gatsby would be proud.

arts & Flowers happens saturday, July 20, at W.O. smith Music school, 1125 8th avenue south. attend the Patrons Party from 6 until 7 p.m. and/or arts & Flowers from 7 until 9 p.m. For more information and to purchase tickets in advance, visit www.aliasmusic.org.

best of show: artist Perri Crutcher, flowers by Oshi

Flowers by Na-ann Williams, Jennifer Padgett, Rainy Day, Oil on board, 14" x 11"

Vicki denaburg, Orchids 2, Mixed media on canvas, 24" x 18"

Saturday, July 20 • 7-9

WO Smith Music School1125 8th Ave. S.

for tickets and additional information www.aliasmusic.org

YORK & Friendsfi ne art

Nashville • Memphis

Pearls & Ivory, 30x30, acrylic/canvas

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AND


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L ook once and Patricia bellan-Gillen’s Tsunami 2 exudes the beauty and whimsy of a classically

constructed fairytale illustration. Here is a boy protected in a hideaway of leaves and grasses. Lovely yes, but take a step closer and you enter the more dangerous world of childhood. What first looked like a place of sweet safety is, on closer inspection, a dark and threatening environment.

Almost life-size in scale, the artist’s work can’t help but draw you into this scene. You become the artist’s guest, invited to put your own story to the symbols: an innocent boy, an old TV, a saw, the safety of nature, and then, a tsunami. There’s no heavy-handed transference of meaning here. Instead she invites you to open your imagination to a range of associations and emotions.

This body of work provokes us with a clash of beauty and awkwardness. She unfolds worlds that reflect grace and humor and what she calls a “weird elegance.” Her symbolic language creates a space for conflict to reside by humor and humor by darkness.

The Very Weird Elegance ofPatricia Bellan-Gillenby lydia e. denkler

Bellan-Gillen embraces the “uncontrolled” design features in her multi-layered mixed-media creations. Vibrant images and motifs reappear throughout this body of work, many gleaned from the artist’s years studying mythologies, Jungian dream symbols, and ancient manuscripts. Her technique of layering fragmented pieces of narrative creates a reverberation in the subconscious. No two viewers will have the same experience because each brings their own interpretation to the conflicting images. Her mixing of symbols is the provocative trigger. The artist says, “My work isn’t complete until someone tells me a story about it I don’t know.”

Bellan-Gillen is a classically trained artist who can balance scholarship with wild flights of imagination. She is both a highly skilled draftsman and a master of assemblage. A native Pennsylvanian, Bellan-Gillen lives and works in rural Burgettstown, Pennsylvania, surrounded by 600 acres of wooded terrain. Carnegie Mellon University, where she is the Dorothy Stubnitz Professor of Art, has honored her with the Ryan Award for excellence in teaching. Bellan-Gillen has served as one of the

ARTIST PROFILe

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background: Clearing (A Fairytale), 2013, acrylic, colored pencil, silverpoint ground on birch panel, 82” x 120”


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jurors for the 2012 Hamblet Awards at Vanderbilt. Her work has been shown in over forty solo exhibitions across the U.S.

The larger works in the exhibition including Tsunami (2012), Clearing (A Fairytale) (2013), and Tsunami 2 (2013) are developed on birch plywood panel covered with several layers of gesso. A ground is built from several layers of washes made from acrylic paint and diluted gouache. When dry, this effect reveals layers of varying transparency. According to Patricia Bellan-Gillen, this layered surface has a texture similar to that of stone lithography. The image is then flushed out with oil-based colored pencils highlighted by a silverpoint ground. Bellan-Gillen says, “I owe a grateful nod to the influence of Marilyn Murphy, Nashville’s master of the colored pencil.”

Bouquet is a print, with a collage of hand-cut paper flowers, of an enormous bear riding in a cart pulled by a boy. There is potential for menace, yet the bear’s coat is made up of hundreds of flowers with grinning faces, and the bear’s back is to the boy who strides forward with confidence. But what if he were to turn around? What if the flowers are masking a symbol of dangerous potential? This kind of conflict gives the work life and protects it from a formulaic interpretation. Through her vast range of techniques, Patricia Bellan-Gillen creates a landscape of nostalgia, melancholy, wit, and irony.

Patricia bellan-Gillen’s solo show Disorderly Notions will be at tinney Contemporary Gallery from July 6–august 17. For more information visit www.tinneycontemporary.com and www.patriciabellangillen.com.

above: Bouquet 2, 2013, archival digital print with hand cut paper and collage, 38" x 44"

below: Tsunami 2, 2013, acrylic, colored pencil, silverpoint ground on birch panel, 30" x 30"

Tithe, 2013, acrylic, colored pencil, silverpoint ground on birch panel, 12" x 24"

“

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My work uses bits and pieces of visual history, the 'stones and bones' of memory and imagination to suggest a narrative and remix our stories. These disorderly notions are exploited and employed in an attempt to engage the viewer’s associative responses and to jar the sleeping memories and stories that lie quietly below the surface.


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ti With a new album, My Favorite Picture of You, on the horizon, the Texas troubadour admits that he's not as smart as he thought he was. We beg to differ.

Guy Clark


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“I ’m not as smart as i thought i was,” confesses iconic songwriter Guy Clark, assessing himself as an

afternoon passes slowly outside the upstairs art studio where an in-progress painting of a leathery cowboy eating a slice of watermelon is propped on an easel. “And I’m more confused than I’ve ever been.”

Understatement has always been Clark’s strong suit. The man who captured the zeitgeist of a creative class living with brio yet never surrendering their dignity, he remains unafraid. His songs boast titles like “The High Price of Inspiration,” “Hell Bent On A Heartache” and “I’ll Show Me,” the closing tracks of his new My Favorite Picture of You.

The haggard side of male heroics is a big piece of the legend: a man devoted to the truth, not the gussied-up veneer. Even the title song stems from the reckoning a little misadventure in the afternoon once held. Drawn from a real photo of his dearly loved and recently deceased Susanna, it captures a woman in the height of disgust.

“That picture was taken outside John Lomax’s house on 21st,” Clark recalls, his voice a deep rumble of hard wood and hard living. “He and Townes had been going at it all afternoon, and we were just drunk on our ass; she’d heard enough.

“It was cold outside, and she didn’t care. She put on that jacket and went out! Mad as hell, having none of it! That was Susanna. The camera just loved her. She never took a bad picture. But that? I saved it all those years; kept it pinned to my wall.”

When a songwriting appointment arrived with three typed pages of titles, that one stuck. The storied Texan didn’t even think; he knew just where to reach to paint a picture of a love that endured, strained, bucked, faltered, and ultimately sustained.

To say Clark is romantic might make him squirm, but he admits to believing “you should treat women decent.” His kind of decent is most people’s worshipful. Not that he’d call attention to that, either.

Clark prefers to focus on what’s missing, believing the essence is what’s unsaid, unplayed, unchosen. His lyrics are lean in extreme,

by holly Gleason

bare statements that stack details, bristle with emotion, and reveal much about human nature.

“I’m still learning to write simple,” he explains. “It’s what you leave out that lets the audience use their imagination . . . You don’t want to be demanding [about their investing their own lives], but you should write it so they can use their imagination and enjoy it.

“When it’s not so cluttered, or studied, or obtuse, it can just communicate. That’s the deal: the fine line that leaves room for the listener and not be preachy. It’s like great guitar players—it’s not the hot licks but the holes they leave that draw you in.”

Few people can turn a scene like Clark, whose early reputation was built with detail-driven sketches that became homages to “Homegrown Tomatoes,” an old man’s friendship with a young boy “Desperados Waiting For A Train,” or the Boy Scout Jamboree broken-tipped “Randall Knife” that his father had carried in the Second World War.

On My Favorite Picture of You, the shown-not-told lessons take an even deeper tone. Never one to proclaim his politics, Clark conjured a tug of conscience over some easily overlooked denizens of humanity: soldiers returning from the Middle East and illegals smuggled and swindled over their dream for a better life.

“Heroes” is a haunted picture of the men broken in ways that can’t be seen, struggling to fit into a world they’re too shattered for, while “El Coyote” tells the tale of Mexican laborers dying, trying to get into America to send money home. Emerging from conversations with co-writers, each burned inside Clark to be told.

“Just painting the picture shows it’s not right; that’s what it comes down to,” he says brusquely. “We’d all just read or heard on television that more young men are coming back from the war who’re killing themselves. They can’t live with what they saw or did, and we don’t help them.

“It’s not political: it’s human. Man’s inhumanity to man leads you to get a pistol and blow your brains out. Or ‘El Coyote,’ where all they wanna do is cross the border to pick fruit, send the money back

MuSIC

“”

to their family . . . only they die of the conditions before they ever get here.

“That really got me, man. Man’s inhumanity to man, to himself! I’m not coming down on either side, I’m just painting a picture—and letting the listener decide.”

While his points are strong, he’s not crusading to save anyone. Some things require addressing, plain and simple. “I’ve gotten so disappointed with the human race, and I don’t know what to do about it. I’m not out to solve anyone’s problems but my own.

People sometimes send me letters, how I saved their life. Hey, I’m just trying to save my own! Don’t put that responsibility on me.

That gravitas pervades everything Clark does. Having battled lung cancer, he looks like the hero of an old Western with his heart-shaped soul patch and swept-back hair. That chiseled granite set to his face can now be found in his voice, gravelly yet warm, musky but resolute. It echoes on everything on this new record, resonates when he speaks.

Like low thunder, he continues, “There’s nothing I can do for you; I’ve already done it. By writing that song . . . and you got it. Beyond that, it’s up to you. Make me responsible? ‘Just wait! I’ll write another one; I’ll save your life again tomorrow’? That’s too much. But maybe I can save myself.”

Maybe he can, and maybe in saving himself, he can take us along. After all, it’s the holes he leaves that, to borrow from Leonard Cohen, let the light—and us, the greedy listeners—in.

My Favorite Picture of You is set for a July 23 release on dualtone records and will be available at all local music stores. For more information visit www.guyclark.com.

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M e t r o A r t s G A l l e r y

Artist Directory Showcaseon exhibit Now through August 10

Gallery Location: 800 2nd Ave S., Nashville, TN 37210Phone: 615.862.6720 • Email: [email protected]

Free and open to the Public

This summer Metro Arts presents an exhibit of 3-D works featuring Nashville artists exclusively from the Artist Directory it co-manages with NowPlayingNashville.com.

Featured Artists: Edward Belbusti, Aletha Carr, Laura Chenicek, Diana Johnson, Shana Kohnstamm, Troy Lacey, Anthony Novak, Elizabeth Sanford, and robert bruce scott.

www.artsnashville.org

Assemblage with Hand by Aletha Carr

Contact Jeanie Smith to [email protected] • 615-337-2570

Richard is a graduate and current instructor of the Florence Academy of Art in Italy, and is represented by Haynes Galleries, Nashville. www.richardgreathouse.com

3-Day Intensive Figure Drawing Workshop with Richard Greathouse

September 5-7, 2013 (Thurs.-Sat.)

9am - 4pm • Warehouse 521 • Nashville, TN

$325 (includes model fee)

The Merrick Printing Co., Inc.Contact: Richard Barnett, Sr. VP – Sales Cell (502) 296-8650Office (502) 584-6258 [email protected]

Whether your business is in the arts, healthcare, services or manufacturing industry, choose Merrick Printing to

create your printed masterpiece.

Merrick Makes It Happen.

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the fine art of printing


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W hen my daughter Meade was six months old, i would love taking her to the grocery store because with her

as my personal accessory, everyone treated us like rock stars. You just had the feeling you were making people’s day.

Field Notes

by betsy Wills

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.

A Local Look at Global Art

marta penter

Queue at the Metropolitan Museum, 2013, Oil on canvas (diptych), 43" x 150"

Statue of Liberty, 2013, Oil on canvas, 43" x 71"

I experienced that feeling again last week on a beach vacation. This time, she’s all grown up. She and her two college friends joined us, and together they practically glowed with that fresh beauty inherent to the age. It was like traveling with the Three Graces from Greek mythology. We began referring to them as “les sirens.” Marta Penter’s paintings are so full of summer and sunshine you may need some SPF50 just to view them. I’m besotted with her monochrome palette often accented by a Bic-pen blue.


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brazilian artist Marta Penter (b. 1957) is known for her large-scale, photo-realistic works in watercolor, graphite, and oil on canvas. her images provide an intimate perspective of familiar contemporary situations—a day at the beach, standing in line, walking down the street, etc. however, she presents a broader idea that waiting places are also exposure places—a space to see and be seen. While her works are mostly in black and white, the artist adds pops of color to call attention to everyday items people wear and carry to express their individuality. her works are provocative explorations of human connections and are made to produce feelings of intimacy that she believes have been lost in our globalized, urbanized world.

Penter has had numerous solo and group exhibitions around the world. she is represented exclusively in the united states by the san Francisco gallery Caldwell snyder. www.caldwellsnyder.com

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Graffiti in Berlin, 2013, Oil on canvas, 43" x 71"

NY Fashion Week Blue Jeans, 2013, Oil on canvas, 31" x 75"

ART EXHIBITS

www.rcenter.org • (615) 740-5600

ART WORKSHOPS

� e Gaslight Dinner � eatre

August 29 - September 27

THEATRE

Collective Creativity Cumberland Valley TACA Exhibit June 1 – August 10

Flora & Fauna: Works by Bailey EarithJune 15 – August 24

Renaissance PlayersJuly 12 - 28

� e Renaissance Center Art Adjunct Exhibit June 8 – August 17

� e Renaissance Center Art Student Exhibit June 8 – August 17

Free Art Reception: Sat., July 13, 5-7pm

Alla Prima Still Life with Kay Keyes Farrar Saturday, July 13

Landscape Impressionismwith Kay Keyes Farrar Saturday, July 20

Oil Painting Tutorial Nightswith Sonja DiMeola� ursdays in July

Collaged Art Book with Bailey Earith Saturday, July 13

Art by Gayla PughDowntown Art Crawl • July 6 O Gallery in Arcade

Local HeART Show • July 26 Main Street Gallery, East Nashville

Voted Nashville’s Best Visual Artist by Nashville Scene

615-417-3050www.gaylasfunkyflowershop.comFacebook – Gaylas funky flower shop

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

By Appointment [email protected]

MailP.O. Box 1523Franklin, TN 37065

Gallery427 Main Street Franklin, TN 37064

Antique African Art for the Discriminating Collector

New Nashville locatioN oN fraNkliN road

Now opeN

fraNkliN Mon-fri 11am-9pm

sat 12pm-9pm sun 11am-9pm

Nashvillesun-thurs 11am-10pm

fri-sat 11am-11pm

2535 franklin pike, Nashville, tN 37204close to suntrust Bank

615-942-6208

102 lumber dr. ste 200, franklin, tN 37064close to kroger shopping center615-538-6018

The Arts Companytheartscompany.com

Bennett Galleriesbennettgalleriesnashville.com

Bryant Gallerybryantgallerynashville.com

Cheekwood Botanical Garden and Museum of Artcheekwood.org

Cumberland Gallerycumberlandgallery.com

Frist Center for the Visual Artsfristcenter.org

Gallery Onegalleryone.biz

LeQuire Gallerylequiregallery.com

Leu Art Gallerybelmont.edu

Local Color Gallerylocalcolornashville.com

Midtown Gallery & Framersmidtowngallery.com

Richland Fine Art, Incrichlandfi neart.com

Sarratt Gallery at Vanderbiltvanderbilt.edu/sarrattgallery

Tennessee Arts Commission Galleryarts.state.tn.us

Tennessee Arts League & Galleriestennesseeartleague.org

Tennessee State Museumtnmuseum.org

Tennessee State University: Hiram Van Gordon Gallerytnstate.edu/gallery

The Parthenonparthenon.org

The Rymer Gallerytherymergallery.com

Tinney Contemporarytinneycontemporary.org

Two Moon Gallerytwomoongallery.com

Vanderbilt University Fine Arts Galleryvanderbilt.edu/gallery

Williams 19th &20th Century American Art Gallerieswilliamsamericanart.com

York and Friends Fine Artyorkandfriends.com

Zeitgeistzeitgeist-art.com

tune in to nashville’s burgeoning visual art scene


88

S uperman has nothing on Gary layda. For art’s sake, Gary Layda has dangled from a skyscraper. He has ventured into crack houses with

cops on drug raids. Most impressive perhaps: he has served at the beck and call of five mayors.

Layda, 63, retired in June after almost thirty years as Metro’s official photographer. “I’m sort of going to miss being in the thick of it,” he muses. “I stayed at the job so long because there is no normal or regular day.”

A Connecticut native, Layda studied engineering, then history, at the University of Texas. His interest in photography developed when he became involved in documenting the anti-war movement. He moved to Nashville in 1975 and took a day job in photo sales. Later, he taught photography at institutions including Sarratt Center, Nashville Tech, and Middle Tennessee State University.

When he learned of an opening for a photographer for then-mayor Richard Fulton’s administration, he knew his passions for history, government, and photos would “go well together for that job.” His first assignment was to shoot individual portraits of the entire Metro Council—in one day.

During his career he transitioned from black-and-white shots that he developed and printed himself, to color slides, to digital photography in 2004.

by emme Nelson baxter

Gary LaydaThirty Years Behind the Lens at Metro

homeless man, 1988 - this one-handed homeless man washed his clothes with water from the Cumberland river. he sold cans he found for money. he had a lot of pride, took great care with personal hygiene but was unable to find work.

splash Park, 2005 - Kids enjoying the grand opening of the Watkins spray Park on Jo Johnston avenue.

Karl dean, 2010 - Mayor Karl dean toured the Birth of Impressionism exhibit at the Frist.


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While Layda worked his share of ribbon-cuttings, events, and “grip and grin” moments, he is perhaps best known for his exquisite skyline shots. He endured his share of risk, including hanging—without a harness—from downtown’s 28-story Fifth Third Bank building as it was being constructed in order to shoot straight down. Dicier still was documenting drug raids in the housing projects. Vest free, he photographed the police as they burst through the doors.

He experienced many heart-wrenching events, especially during candlelight ceremonies for troops or victims.

Layda agonizes over missing what he dubs “the biggest event in Nashville since the Civil War.” He was on vacation during the May 2010 flood. “The pictures I would have taken that I didn’t take . . . it’s my biggest regret.”

Gary layda can be reached at [email protected]. to see more photographs, please visit www.nashvillearts.com.

Pedestrian moving sidewalk, 2001 - this light sculpture was hung over the pedestrian moving sidewalk in the parking garage at the Nashville international airport. Notice the rising moon in the background.

arts Music dance, 1993 - "it's summer lights" the american General building appropriately lit up with thousands of music lovers amassed below for summer lights.

layda describes his mayoral bosses:

• richard Fulton: “a truly very dignified person”

• bill boner: “the most fun mayor” who was always smiling and boasted an impeccable memory

• Phil bredesen: “super intelligent”

• bill Purcell: “the finest public speaker”

• Karl dean: “shockingly truthful, honest, and open”


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Y ou Sir, “Improv,” great. Now give me a popular media, like radio or television. Yes Madame, “Print,” OK, that’s bold,

print. Now finally I need some sort of artist, maybe a painter or a singer. Yes, you holding the beaver puppet, “A writer?” Perfect! All right, so the game is . . . improv, in print, by a writer. Crazy, right?

I first became familiar with the high-octane Nashville improv scene in the ’90s. Friends Cooper Thornton, Matthew Carlton, Carolyn German, and Brian Mathis formed a group called Spontaneous Combustion. Or was it Sponcom? Actually it was both. If there’s one thing I’ve learned about improv troupes,

OK, I need a subject, any subject... by Jim reyland

it’s that they change their names like I change my socks. Floating titles like Gonzo Theatre, One Hand Clapping, Fresh Amish Produce, FuseBox, and Skeleton Crew come and go like a secret handshake. In the advertising world they call this a branding issue. In the improv world it’s called growth.

“A lot of the players in town are second- and third-generation improvisers from classes we taught along the way,” says Barry McAlister, a veteran Nashville improv player who does special-event improv with Sprocket and Fun2GrowOn.com. “It’s amazing to see how it’s growing! There have been some competitive feelings, but now

THeATRe

the original cast of spontaneous Combustion: (left to right) Cooper thornton, brian Mathis, Matthew Carlton and Carolyn German

sprocket show: barry Mcalister and Cindy Carter

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Improvisation is basically a set of communications skills. It’s a

way to be confident, open minded, and quick on your feet—all from

trusting your situation.– barry Mcalister, sprocket improv


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it’s more communal.” Regardless, there seems to be plenty of audience clamoring to see this eclectic mix of hipsters, college grads, and even a Metro police officer among their cast.

Matthew Carlton, an original member of Sponcom and now part of the wildly successful Doyle and Debbie cast: “For me, the highlight of every one of the original Sponcom shows was the five-minute musical we would end with.” (Just to be clear, that’s an entirely new musical, about a random subject, out of thin air, before your very eyes. Burn the witch!) “We were lucky to have great pianists who could go with us at every turn and in any style.”

Yes, a successful improv troupe has three very important parts: the actors, the pianist, and the audience. The pianist is key. "Playing improv piano requires a certain amount of talent but even more wit and a strong sense

of irony,” says Martin Brady, writer and former keyboardist at Second City (1992–95) now with Music City Improv. “You are the somewhat-invisible, non-verbal collaborator with a company of spontaneously creative actors. But the best part is, when the going gets tough . . . you can lay out!"

Improv can also be great training. Remember Cooper Thornton from the original ’90s Sponcom troupe—he’s currently a working actor in L.A. “I don't think I'd have a career without the improv training. The ability to make quick emotional/attitudinal choices . . . a good deal of my character's work on Parks & Recreation is improvised, as was Curb Your Enthusiasm and even my scene in the most recent Die Hard. And improv is not always about being funny. It's making quick, strong choices and committing.”

So if you’re like me and can’t even think of a good place for dinner, take on some improv (it’s just an e away from improve). It’s marvelous to watch lightning-fast minds spin original ideas like they’re tying their shoes. Here are the active improv groups working in Nashville as of this writing. Most all teach improv and do corporate gigs along with public performances. So grab your hand puppet and your imagination and make up a good time for yourself.

Nashville improv Company (NiC) features lacie Madison and Michael Kearney at bongo Java. www.nashvilleimprovcompany.com

the spontaneous Comedy Company is Carolyn German, Jackie Welch-schlicher, Frank rains Jr, and Josh Childs, with shows at darkhorse theatre or street theatre. www.theatercraftinc.com

Music City improv performs at the building in east Nashville and features artistic director scott Field and Jill Mothershed. www.musiccityimprov.com

sprocket improv with barry Mcalister and Cindy Carter, performing at the Filming station downtown. www.sprocketimprov.com

Jim reyland is the owner of audio Productions in Nashville and is the artistic director of Writer’s stage theatre. his new play, Used Cows for Sale, and a new musical, I’ll Take the Crowd, are currently in development. [email protected]

sponcom: (left to right) Frank rains Jr, Jackie Welch-schlicher, Carolyn German and Josh Childs

the cast of Music City improv: (back row, left to right) scott Field, sandella Gansheimer, stu robinson, shane luthe & Martin brady; (front row, left to right) david Vaughan, Matthew redd & Jill Mothershed

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“

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Improv is a collaborative effort where, in order to

create something memorable, both actors and audience

must perform a sort of empowered trust fall.

– lacie Madison, Nashville improv Company

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linda dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. she has appeared on the Pbs production Antiques Roadshow since season one, which aired in 1997, as an appraiser of tribal arts. if you would like linda to appraise one of your antiques, please send a clear, detailed image to [email protected]. Or send photo to antiques, Nashville Arts Magazine, 644 West iris dr., Nashville, tN 37204.

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APPRAISe IT

vintage advertising display, “esky” aka “the Esquire magazine man,” mid twentieth century, paint decorated composition“Esky,” the distinctive mascot of Esquire magazine, first appeared on the cover of the magazine’s second issue in 1934. Esky, a pop-eyed gentleman with a full handlebar mustache, slicked-back hair, and wearing a full-dress tail coat, was seen teetering on his top hat in an attempt to reach the edge of a monumental martini

glass. From that issue onward, he was an embodiment of the Esquire attitude:

well dressed, waggish, and just urbane enough to overlook his indiscretions.

Esky was the creation of the long-time Esquire cartoonist E. Simms Campbell

and appeared in more than five hundred issues of Esquire over the years. While his

likeness originated as a cartoon character in the magazine, it then became a display icon to be used in department stores and men’s specialty shops to help guide shoppers to the items that had been featured in the trendsetting magazine.

The display figures vary in size and form, but all have the signature blonde mustache and wide-eyed gaze

in common. Most composition Eskys are standing full figurines; some are equipped as sign holders (“You saw it in Esquire”), and fewer are mechanical and equipped to appear as though he was smoking.

This form of the mustachioed man of refinement, standing 24 inches tall and in original paint, would fetch his owner up to $1,200 in a retail setting. Vinyl, plastic, and polyvinyl advertising figures from the ’50s and ’60s, such as “Esky,” Alka-Seltzer’s “Speedy,” and Quaker Oats’ spaceman from

the planet Quazy, ”Quisp,” currently dominate the hearts of advertising collectors.

“handy flame” advertising collectibles, american, mid twentieth centuryIn the late 1940s, a small, Indiana-based advertising agency was tasked with selling the Handy Flame® cartoon character to natural-gas companies around the country. The Handy Flame creator, William H. Rohr Jr., believed that Handy Flame could be the gas industry’s equivalent of Reddy Kilowatt®, the spokesman of the electric utilities in those days. Rohr Jr. copyrighted the Handy Flame name and image in 1946 for the purposes of “ . . . Advertising services to the gas utilities industry—namely, preparation of advertising layouts . . . ” hoping that it would be licensed by the nation’s natural-gas providers as their advertising mascot.

While Reddy Kilowatt, created in 1926 with his lightbulb nose and limbs of lightning bolts, was a prominent promotional representative for electric energy for over six decades, Handy Flame apparently did not have the heat to ignite the interest of the purveyors of the gas industry. Handy Flame appeared to have his greatest success during the mid ’40s to mid ’50s promoting the use of natural gas in the kitchen.

Most of the anthropomorphic-form creamers, sugars, spoon rests, and salt and peppers found on the market today bear the impressed mark “Handy Flame.” As for their achievement as promotional items, the cheerful blue forms appear to have distribution attributions limited to the “Indianapolis Gas Co” and the “Indianapolis Blue Flame Gas Co.”

In a large grouping or just an individual piece, these paint-decorated, low-fired ceramic collectibles are very charming. The owner of these happy-faced Flames has not limited herself to simply one of each. Her particular collection numbers in the hundreds. Should you wish to brighten up your kitchen with Handy Flames, Internet shopping would be your ideal hunting ground. Expect to pay, on average, $100 for a group as shown. The spoon rest will be the most difficult to find and the most expensive. Please always remember that condition is very important: no cracks, chips, paint loss, or repainting.

by Joe Nolan

Critical iI 'd Leave the Whole World Round pairs Greg Pond's

newest sculptures with familiar favorites, to explore both emerging and disappearing landscapes. The Last Remnant Left Behind in Ahab's Empty Bed is a man-sized shard of white aluminum recalling a rib bone of a whale. It's mounted on a triangular, black-steel lattice suggesting the sail of a boat. The American whaling industry that Herman Melville documented conquered whole horizons for the U.S., and the landscape expanded. But, for the whales, the green ocean vistas condensed and collapsed.

Remnant is from 2011 as is Stump Erupts a Mountain. Here, Pond assembles blocks of wood to form a tree stump topped off with a mountain made of steel segments. Even in these earlier works, Pond's attention to materials along with his eloquent inquiries into space and landscape are already fully formed.

Phonotactic Plate is a sheet of shiny stainless steel sitting on its long edge in two wooden stands. Speakers attached behind it play a composition that causes the steel to resonate and make noises of its own. This piece is all about spatial presence—that of the delicately balanced steel and the sounds that it makes felt and not just heard.

Questions about space are also questions about time and, again, it's Pond's use of materials that speaks to the temporal. With Ghost in the Canyon Pond employs primitive building techniques to lash a form together out of sticks. Instead of securing the structure with natural fibers, Pond uses nylon. The piece is rather vehicle shaped, and an industrially produced lattice of acrylic is draped across it like some cybernetic saddle. Ghost is space age, manufactured, and artificial, but it's haunted by the forest, by ancient builders, and even by cowboy culture.

Ultimately, like the steel balanced near the far wall of the gallery, Whole World doesn't choose between competing landscapes. The use of printing in the show—both 2D and 3D—speaks to the relentless reproducibility of man-made landscapes, but the bronze branches of Family Tree speak to the endurance of the natural world. For more information about Greg Pond visit www.gregpond.net.

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Ghost in the Canyon, 2013 Family Tree, 2011


97BeyOND WORDS By MARSHALL CHAPMAN

L ast night, i couldn't sleep. I was tossing and turning and just generally having a hard time

calming my mind. So I decided to take a Sominex, the Old Faithful over-the-counter sleeping pill. It was about two in the morning as I stumbled toward the bathroom with the bottle of water from my nightstand.

After shaking a Sominex into my hand, I did what I normally do whenever I find myself in the bathroom in the middle of the night—I sat down on the toilet seat. After setting the bottle of water on a nearby vanity, I placed the Sominex on my tongue, then picked the bottle of water back up, placed it to my mouth, and turned it up.

After guzzling six to eight ounces, I suddenly realized something wasn't right. "Something ain't right!" said a part of my brain. "Something ain't right!! Spit that water out RIGHT NOW 'cause SOMETHING AIN'T RIGHT!!" But then another part of my brain was saying, "DON'T SPIT THAT WATER OUT, 'CAUSE IF YOU DO, YOU'LL SPIT OUT THAT SOMINEX. THEN YOU'LL NEVER BE ABLE TO GO BACK TO SLEEP!"

Right about then I came to a stark realization: The bottle in my hand was not the clear plastic bottle from my nightstand. The bottle in my hand was BROWN.

My brain went on red alert. OH, MY GOD!! I JUST DRANK A GALLON OF HYDROGEN PEROXIDE!!! (My brain tends to drift into hyperbole whenever it finds itself in a crisis.)

At this point, things get a little fuzzy, probably because I was in a mild state of shock. I remember yelling something out to my husband who was sleeping soundly in our bed in the adjacent room. I remember groping for my glasses so I could read the small print on the bottle of hydrogen peroxide. One line in particular got my attention: IF SWALLOWED, SEEK PROFESSIONAL ASSISTANCE OR CONTACT A POISON CONTROL CENTER IMMEDIATELY. Bear in mind, my husband is a physician, which means I don't have to go far to "seek professional assistance."

Chris suggested that I drink a lot of water. But I wasn't satisfied. The words CALL THE POISON CONTROL CENTER IMMEDIATELY kept ringing in my head.

So Chris indulged me and called the poison control center. A nice woman answered the phone.

"Here . . . you want to talk to her?" he asked.

"No!" I said emphatically. "I can't talk to anybody right now. I'm poisoned!"

So Chris spoke with her calmly for about five minutes. Basically, she advised I drink a lot of water.

Sensing my disappointment, Chris further indulged me by taking my blood pressure. He knows how much I love the way that rubber thingy feels on my arm as it's being pumped full of air. Like a little hug.

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98 A fine, seventeenth-century drawing room—that was my first

impression of the dinner tent at the recent Frist Gala. The exhibit at the Frist Center was Rembrandt and The Golden Ages, and Gala Chairs Ashley Levi and Dallas Wilt, along with designers Elizabeth James and Jeanette Whitson, created an evening most fitting for the Golden Age of Dutch history. Tables artistically flavored with arrangements of flowers and fruit resembling the still life oil on canvas Flowers in a Glass Vase by Rachel Ruysch were so elegantly displayed, as were other

arrangements of red tulips in reproduction cachepots in the style of the original tin-glazed earthenware with enamel decoration in the Dutch style. The north end of the tent was a tapestry-type backdrop featuring masterpieces of the exhibit with two outstanding paintings focusing on live models dressed in period attire.

Back to the entrance and the cocktail party, where life-size papier mâché gowns of the Golden Age, created by Tom Delcambre, graced the long hall. The Conte Hallway leading the patrons into the "drawing room" (dinner tent) was lined with larger-than-life-size red tulips, adding a somewhat contemporary feel to the evening. Taking part in this seventeenth-century event were Went and Barry Caldwell, Anne Parsons, Mary Davenport, and Em Crook, Linda and Steve Harlan, Elizabeth and Charles Barrett, Sandra and Larry Lipman, JoAnne and Gary Haynes, Rachel and Gary Odom, Gigi and Ted Lazenby, Sandy and Jay Sangervasi, Jean and Denny Bottorff, Lucianne and Toby Wilt, Janet and Earl Bentz, Lynne Edgerton and Jonny Harwell. I was most honored to be seated at Dallas Wilt's table with a most entertaining group—Fleming Wilt, Devereux and Gordon Pollock, Mary Perkins, Crews Johnston, Monica and Alex McDougall, Libby and

John Hagewood (Dallas’s most attractive parents), and my dinner date, Deena Drummond.

After dinner, patrons were escorted back to the hall that had been transformed into an Après Dinner Lounge under the leadership of Caroline Rhett and Grace Clayton. In my opinion this was the most beautiful Frist

Gala to date, not only the gala itself but the pre-parties leading up to this evening held at the most fitting homes of Mr. and Mrs. Wentworth Caldwell and Mr. and Mrs. Milton Johnson. Nibbling on my departure favors, Christie Cookies, I must say that taste, elegance, and culture have their place, and that place was this Frist Gala. Thank you, Dallas and Ashley!

What would one expect but a fun-filled evening, with Vicki Horne as chair and Sylvia and Al Ganier as hosts. This most certainly was the case at the recent "River REPrise" the annual fundraiser for the Tennessee Rep. The evening began with an intimate patrons party held at Gnofus, the Ganier's magnificent home overlooking the Cumberland River, followed by the cast party down the hill at The Grange, Sylvia's newly raised barn on Hidden Valley Farm. Show tunes by the Cabaret Orchestra (Kit Kat Klub orchestra) floated

through the air. What a great evening of relaxed fun and a super barbecue dinner catered by Corner Market Catering.

Seen in their Sunday-best casual attire were Galey and Bob Patterson, Gail and Steven Greil, Martha Ingram and Gil Merritt, Sally Levine and George Barrett, Lynn and Hugh Queener, and Kerri and Michael Schlosser.

A few weeks back I had the pleasure of visiting with Bruce Munro prior to his magical light show opening at Cheekwood. Asking

ON THe TOWN WITH TeD CLAyTON

randy and Peggy Kinnard with Nancy Cheadle – Frist Gala

Katherine and rhett raum – Frist Gala

sandy and Jay sangervasi – Frist Gala

toby and lucianne Wilt, Jean and denny bottorff – Frist Gala

Went and barry Caldwell – Frist Gala

Papier mâché gown by tom delcambre – Frist GalaJay and Christi turner – Frist Gala

lynne edgerton and Jonny harwell – Frist Gala

Joanne and tom Cato with Kate Grayken – Frist Gala

linda and steve harlan, Phyllis alper, shirley Zeitlin – Frist Gala

Joe and Co-chair ashley levi, Co-chair dallas and Fleming Wilt – Frist Gala


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Bruce exactly what he does started the explanation: "I design complete lighting schemes, including fitting specification, electrical load details, dimensioned CAD layouts, and component specification." OK, call me Clark Griswold, but all I really wanted to know was how many extension cords it took to light the grounds of

Cheekwood. LOL. It was and is a magical show of lights. I attended the patrons dinner the evening Bruce plugged in his lights, and the cocktails, music, and dinner were lovely. But the lights . . . well, one just cannot say enough. One has to view this Wonder of Cheekwood in person! Every Christmas holiday season, as I plug my tiny-white-light cords one to another, I can just hear NES thanking me and saying wait till your January bill arrives.

Frolicking through the light wonderland were Perlin and Bob Gordon, Susan and Luke Simons, Margaret Ann Robinson with Libby and Ben Page, Julie and Board Chair George Stadler, Heloise Kuhn, Anne Davis and Karl Dean, Elizabeth and Sidney McAlister, Quinn and Jim Bond, Barbara and Jack Bovender, the lovely Mary Evelyn and Clark Jones, and, of course, Cheekwood’s head firefly Jane MacLeod with hubby, Don.

Just when I thought Nashville could not become any more of a hip city, a Prince comes to town. Yes, HRH The Royal Prince Edward, Earl of Wessex KG GCVO graced our hip city to celebrate the work and mission of The Duke of Edinburgh's Award. This award is a commitment to youth of the world, transforming their lives by developing their skills, building their character, honoring their determination, and increasing their self-esteem.

The Royal Social Event began with quite a lovely small luncheon at the home of Gala Chair Ellen Martin. Ellen had told me that His Highness would descend the stairs at 12:30 p.m., and yes, on the dot, there stood the Prince at the foot of the staircase. Ellen introduced me to His Highness, promised only one photo, and with that walked away, leaving me face to face with HRH. Awkward moment, but as you know I am not one to be short on words, so I say, "Your Highness, we have something in common." His response was, "Do tell, this will be interesting,” and an interesting conversation it was. Quite jolly good indeed!

The luncheon was followed by the award ceremony at the Governor's Residence with First Lady Crissy Haslam serving as Honorary Chairman. Then to the Gala itself, held at Montgomery Bell Academy, for the new dining hall is similar to the Hogwarts Hall from the Harry Potter series. (I am sure HRH felt right at home.) The Gala Host Committee not only welcomed

First lady Crissy haslam with hrh the Prince edward – royal luncheon

Nancy and Mark beveridge – royal Gala

Jack and barbara bovender with hrh the Prince edward – royal luncheon

al and sylvia Ganier, Jenny littleton, Kerri and Michael schlosser – river rePrise

Gerry Nadeau and ellen Martin with hrh the Prince edward – royal luncheon beauty Queens and ted Clayton – royal Gala

Jack Wallace with brad Gioia – royal Gala

Martha ingram and Gil Merritt with Chair Vicki horne – river rePrise

rick horne, bob and Galey Patterson, Gail and steven Greil – river rePrise

sally levine and George barrett with rene Copeland – river rePrise


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The Prince Edward but Miss Mallory Hytes Hagan, Miss America 2013, as well as Miss Ohio, Oklahoma, Mississippi, Tennessee, and Alabama.

Joining Crissy and Ellen in hosting this royal visit were Lin and Bill Andrews, Janet and Jim Ayers, Laura and Charlie Niewold, Larry Trabue, Betsy and Ridley Wills, Kelley and Lee Beaman, Emily and Lee Noel, Anne and Jake Wallace, Karen and Bruce Moore, Phyllis and Steve Fridrich, Sylvia and Doug Bradbury, Barbara and Jack Bovender, Deby and Keith Pitts, Elizabeth and Jack Wallace, and Jennie and Rob McCabe. For sure Nashville is the Royal Hip City. Oh, almost forgot—at the end of this Royal Evening, His Royal Highness did ask me if I was finished photographing for I was dismissed. I guess that is a royal time out for Ted, Earl of Social!

The Swan Ball has always been a grand and marvelous tradition in Nashville, not only

a pageant of formal fashion and a gathering of the city’s social titans but an annual rite of passage that brings an extra element of charm to Cheekwood. The 51st annual gala reminded me of the gilded years when the ball had a theme that coordinated with the Swan Award recipient and decor. Swan Ball Chairs Amy Colton and Julie Walker

with the design team of H Three Events did just this, an evening of chintz wonderland.

The Swan Award was given to my new friend Mario Buatta, affectionately known as "The Prince of Chintz" (yes, there is a lot of prince in this article, haha). From the cocktail tent off the loggia, where walls and ceiling were draped in lush, floral chintz, to the dining tent with the same chintz used as chair backs to anchor the rich, solid-toned cloths, to the soft white carpeting, all in a

Cal alexander and Grace Clayton, Minnette boesel and Clay Jackson – swan ball

Co-Chairs amy Colton and Julie Walker – swan ball

Connie and Carl haley – swan ball

bruce and Karen Moore – royal Gala

Patti and brian smallwood – swan ball

Will and Maggie tucker, Caylan Cheadle and anderson Jarman – swan ballCharlie and laura Niewold, lisa and david Manning – swan ball

elizabeth akers, steve and Phyllis Fridrich – royal Gala

Pam tillis, hrh the Prince edward, lori Morgan – royal Gala

Chris and susan holmes – swan ball


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wash of pink—a breath of fresh air! I did ask ball designer Hugh Howser why he changed all the light bulbs in the mansion and party tents to pink, and his response was “eternal youth.” We all know that the color pink is becoming to everyone. Well, Hugh, you were so correct, for everyone looked youthful, happy, and excited to be there.

During cocktails and dinner the jewelry showing by JdJ was held in the drawing room, followed by the live auction and great entertainment by Kool & the Gang. The traditional

black-angus filet was the main course of the dinner by D. Kates, but as always it is hard to stay seated when that Swan Ball dance floor awaits the beautiful social patrons. In my opinion, the Swan Ball Dress Code is: if a gentleman is in full white-tie attire (socks included), the lady follows through in a true, formal ball gown. Yes, these Swan Ball ladies understood the code and were magical in their flowing ball gowns, brighter in color than past years. Co-Chairs Amy Colton and Julie Walker wore gowns designed by Australian designer Callie Tein, Amy's in azalea-pink silk satin, and Julie's silhouette gown was embroidered with an elegant, black-silk-chiffon French Chantilly lace over a blush-colored shantung silk.

Looking radiant as ever was Jane Dudley in a floor-length gown by Fiandaca in Lurex gold metallic chiffon. The Auction Chairs looked stunning: Lisa Manning in a Monique Lhuillier vermillion lace, and Laura Niewold in a black-and-white floral, silk-taffeta strapless gown. Barbara Bovender always in Oscar looked lovely in her one-shoulder green silk. Lovely as always were Sylvia Bradbury in a strapless Liancarlo Couture silk organza in raspberry, Lisa Campbell in a yellow silk gown with matching jacket by Agostino, Brenda Corbin in a two-piece fuchsia gown by Houri Barahimi, Linda Harlan wearing a Carolina Herrera ivory gown with gold baroque embroidery, Cathy Jackson in ice-blue Dupioni silk, and Jamie Eskind in a floral-skirted gown with sequin strapless top.

The evening ran ahead of schedule, which gave me the opportunity to go to Botanic Hall for the Late Party. Now this is the 30-plus social crowd that has dinner in a separate location and joins the ball after dinner, and do these younger socials know how to have a good

time. They were most well trained! I enjoyed cocktails with the younger generation, including Maggie and Will Tucker, Caylan Cheadle and Anderson Jarman, Grace Clayton and Cal Alexander, Minnette Boesel and Clay Jackson, Leighton and Melissa Liles, and Suzanne and Grant Smothers.

What a lovely Swan Ball and spring social season that have now come to an end, with the socials departing to the Hamptons, Monteagle, and all places cool.

swan ball dance Committee Gents: Clint atkins, hudson burd, William benson, lipscomb davis, scott Greer, John Clayton – swan ball

Mary evelyn and Clark Jones – swan ball

sarah Wooten and bill Knestrick – swan ball

stephen and Marci houff – swan ball

bruce and elaine sullivan – swan ball Kent and erin simpkins – swan ball Mario buatta, Jane dudley,

dwayne Johnson (standing) – swan ball

George and Julie stadler – swan ball

linda and steve harlan – swan ball

brenda and ronald Corbin – swan ball


102

I t may seem strange that i would choose a favorite from

my collection and not choose a piece of outsider art. Yet the one single piece in my collection that makes me smile every time I pass by it would not be from the outsider realm but would be William Aiken Walker’s 1886 painting Supper-Time in Old Carolina.

How the piece came to me (or should I say came back to me) is a story in itself for another time. But as a Southerner who loves country ham, in those ten years between when I first saw Walker’s painting hanging in a local gallery and when the painting was offered to me, it was never far from memory. For with the passion that drives us as collectors comes the regret of loss for the object that gets away.

Though it’s one of three paintings of the same hams painted while the artist was a guest at the Bonnie Crest Inn in North Carolina, it’s an unusual subject for an artist who spent most of his life painting small landscapes, most often including elderly African Americans in front of ramshackle shacks. As I said, I smile every time I see it.

My FAvORITe PAINTING

New York Times best-selling author, Part-time art Collector

Robert Hicks

artist biothe renowned nineteenth-century artist William aiken Walker was born and raised in south Carolina. in 1861 he joined the Confederate army and served under General Wade hampton. he was assigned to picket duty in 1864 and made maps and drawings for the military. after the war he moved to baltimore and then New Orleans, making a solid living selling his paintings to tourists who longed to return home with an idealized genre scene of the “Old south”: plantations, cotton fields, cabins, and shipping yards. he also painted the south during post-reconstruction, including representations of sharecroppers and poor yet emancipated slaves set within lush landscapes. Prolific and popular, he never stopped painting until he died at the age of 60 in Charleston.

William aiken Walker, Supper-Time in Old Carolina

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July 12–October 13

Jack Spencer. Light Vessel (detail), 2012. Archival pigment print, 31 x 41 in. Courtesy of the artist. ©Jack Spencer

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2013 July Nashville Arts Magazine