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Publisher's Note
Janel Maher Growing up in Massachusetts my aspiration was to be a writer. It Equine Sculptor TM did seem like I was well on my way to success in that career path when January 2010 at 15 years old and a sophomore in high school I had a very short story Spotlight...... 8 published in Seventeen magazine that paid the whopping sum of $100. The Pilates Place, Antiques and Garden Show, Cheekwood Garden 50th Anniversary, Herb Williams, Arts Commission's New Director Since that time my home state has become Tennessee, and my On the Horizon...... 14 city of choice is Nashville. I am the in-house project manager at Richard Greathouse Lithographics, and each month my special charge is the printing Film & Television...... 18 of Nashville Arts, a beautiful magazine chock full of many styles of Writing the Perfect Script original art and stories that promote the art, history and industry of Collecting...... 24 this state I’ve grown to love and call home. David Cheatham | The Unlikely Collector Painting...... 30 By the time the graphic design files come in, I have written the job Elizabeth Brandon | The Alchemist ticket with specific instructions for every department involved and Sculpture...... 38 have ordered the paper. Files sent by the graphic designer are down- Buddy Jackson | Figuratively Speaking loaded, pre-flighted, and proofed in our Electronic Pre-press depart- Photography ...... 46 ment. After the final proof is approved and signed off on, the pace Bronze “Saddle Up” Bob Schatz | Images of Wanderlust accelerates dramatically. Nashville Arts Magazine is on press about 16 16 1/2 x 14 1/4 Profile...... 54 hours. Even before the last magazine signature has finished printing on Kathleen Lynam | The Playful Puppeteer press, the folding has begun in the bindery. Folding the large, 16-page 615.794.7840 Painting...... 58 signatures will take another 16 hours before the magazines can be www.janelmaher.com Andy’s Gift: The Paintings of Camie Davis collated, stitched and trimmed on a large machine called a saddle [email protected] Art Restoration...... 63 stitcher. As the magazines are counted coming off the stitcher, they The Reversal of Misfortune are boxed and prepared to be shipped to the Nashville Arts warehouse. Literature...... 68 Lydia Peelle | The Reason for Breathing To say that we at Lithographics are proud to be the print partner for Youth Speaks Nashville...... 72 Nashville Arts Magazine would be an understatement. We are thank- Theater...... 78 ful for the opportunity and hugely thrilled to be helping showcase Appraise It...... 82 Poetry...... 86 and support the arts in Nashville. Anything Goes...... 88 On The Town...... 90 Happy New Year, Tennessee! Puzzler...... 96 My Favorite Painting...... 98 Twyla Lambert, Printer, Lithographics, Inc.
Published by the St. Claire Media Group On the cover: The Chosen Clay by Elizabeth Brandon Charles N. Martin Jr., Chairman Paul Polycarpou, President Editorial Offices Daniel Hightower, Executive Director 644 West Iris Drive, Nashville, TN 37204 Tel. 615 383-0278 Editorial Business Office Paul Polycarpou, Editor and CEO Cathy Faust, Angela Innes, Adrienne Thompson Katie Sulkowski, Managing Editor Distribution Madge Franklin, Copy Editor THE ULTIMATE ITALIAN ART Sean Hardie, Sam Scarpine Ted Clayton, Social Editor OF CREATING JEWELS Subscription and Customer Service Linda Dyer, Antique and Fine Art Specialist Cheval Collection - robertocoin.com 615 383-0278 [email protected] Jim Reyland, Theater Correspondent Meagan Nordmann, Editorial Intern Letters: We encourage readers to share their stories and Contributing Writers reactions to Nashville Arts Magazine by sending emails to info@ Rebecca Bauer, Beano, WM Bucky Baxter, Lizza Conner Bowen, nashvilleartsmagazine.com or letters to the address above. We Walk on the wild side this Lou Chanatry, Sophie Colette, Melissa Cross, Daysi, Greta Gaines, reserve the right to edit submissions for length and clarity. Valentine’s Day with Gator Cuffs Joe Glazer, Tony Lance, Linda Leeming, Joy Ngoma, Lizzie Peters, Ashleigh Prince, Kami Rice, Burnadette Rymes, Sally Schloss, Advertising Department Sterling Silver, Made in the USA, $245 Eric Stengel, Katie Sulkowski,Kevin Tetz, Lindsey V. Thompson, Randy Read, Sales Director Dave Turner, Lisa Venegas, Deborah Walden, William Williams Cindy Acuff,Becky Bauer, Melissa Cross, Design Beth Knott, Leigh Mayo, Rita Puryear, Jeff Stamper, Design Director All sales calls: 615 419-2111 Rob Williams, Graphic Designer In Green Hills since 1978 Advertising & Business Office Photographers 40 Burton Hills Boulevard 2160 Bandywood Dr | Nashville, TN 37215 | 615-298-1404 | www.ward-potts.com Jerry Atnip, Nick Bumgardner, Lawrence Boothby, Matt Coale, Nashville, TN 37215 Tim Hiber, Brad Jones, Mark Levine, Anthony Scarlati
6 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 7 Budsliquors9.16.09.indd 1 9/16/09 1:55 PM 8 9
Spotlight
The Pilates Place Artful Bicycle Racks in 2O1O At first thought an art gallery may seem like an odd, incongruous “I choose to teach in this serene, beautiful environment because The Metropolitan Nashville Arts Commission announces the winning designs of six local place for an exercise class. But as Julee Jones begins to guide the that’s part of contributing to the spirit of the exercise,” Jones artists for the first wave of public art bicycle racks to be fabricated for installation in 2010. The members of her Tuesday morning group mat class through a series explains. There’s no loud music, no mirrors, nothing garish in the contest was open to professional artists who reside within a 200-mile radius of Nashville. Metro of Pilates stretches and strength-building movements, Leiper’s Creek room. Instead, the women in the class are surrounded by paintings Arts interim executive director Sandra Duncan states that designs were chosen based on “artis- Gallery suddenly seems like the only appropriate place for exercises on the walls and are quietly inspired by a three-figured bronze tic merit, location context, functionality, and durability.” Each bike rack relates to its specific that are intended to connect the mind, body and spirit. sculpture in the center of the gallery. location in a way that is visually interesting and creative. The northeast corner of Demonbreun Street and Music Row will delight Nashvillians and visitors alike
“With Pilates we’re taking the human body and making it as lovely with a playful gigantic microphone with a coiled cord. The design razier F eff as it can be,” says Jones, adding that on an exercise mat you get a is the work of Franne Lee, Keith Harmon, and Mac Hill. Corn J chance to make a difference in your body, just like an artist or a and Tomatoes by Paige Easter and Dan Goostree will appropriately photo: sculptor creating a work of art. adorn the Rosa Parks Boulevard side of the Farmers’ Market. The bike racks project is part of a The Tempest While she has been teaching Pilates since 2001, Jones opened The larger initiative to make The Nashville Shakespeare Festival pres- Pilates Place in Leiper’s Fork in July 2005 when she bought the public art a reality ents The Tempest at Belmont’s Trout historic home that now houses a studio, where she gives private throughout the city and Theatre January 14-31. Public perfor- classes, and a guesthouse called Miss Sweeney’s Inn. When she to enrich the lives of all mances will take place Thursday through moved to Middle Tennessee in 1992, Jones was working in corpo- Nashvillians. Here’s to Saturday at 7:30 and Sundays at 2:30. rate sales. She made a complete career change after discovering riding into a brighter Tickets are available at TicketsNashville. the way Pilates finally brought relief from chronic pain that had new year and brighter com. Denice Hicks, Artistic Director for plagued her from a decades-earlier car accident. In her 40s by then, city with the useful yet the Nashville Shakespeare Festival, says, because of Pilates her body was stronger than it had ever been. She imaginative racks to “This is a story for everyone. Anyone who wanted to help others improve their health too. mark several prominent has ever been wronged, lost or fallen in city streets next year. love will relate to it.” Jones trained with Romana Kryzanowska, which is as elite as it gets in the Pilates world, Jones notes. Because her teaching was so authentic and pure, Kryzanowska was named his successor by Joseph Pilates, the German native who immigrated to the United States with his unique exercise system.
“Pilates offers exercises for individuals at any level of physical fitness,” says Jones. Workouts are geared to help clients strengthen their core, the collective muscles of the abdominals, gluteals and lower back. Verbal cues help clients connect their minds and bodies for a mentally controlled workout, leading to conscious control of all muscular movements. Jones explains that Pilates believed that strengthening your body strengthens your mind and improves your quality of life.
Her clients include athletes ranging from bicyclists and triathletes to golfers and dancers to dressage and hunter-jumper riders. She also works with women who have had mastectomies and with clients who have multiple sclerosis, Parkinson’s disease or various injuries.
New group mat classes, which are offered in Leiper’s Fork and in Bellevue, begin in January. Visit www.ThePilatesPlace.us or call (615) 599-8700 for more information about group or
photos: brad jones individual classes.
8 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 9 10 11
20th Anniversary Antiques & Garden Christmas Day Celebration for Show Pulls Out All the Stops Homeless Families photo: margaret ellis What do you get when you combine one royal horticulturist, a Michael S. Smith, newly-named Decorator to the White House; The music and faith communities recently joined forces to create presidential designer and the Andy Warhol of plants? This sublime and Ryan Gainey, award-winning and internationally-known garden a memorable day of Christmas celebration honoring 140 of concoction is called The Shape of Things to Come—the theme for designer and author. The signature styles of these internationally Nashville’s homeless mothers with their children. It was a grey, Cummins Station by appointment the 20th Anniversary of the Antiques and Garden Show of Nashville. known experts are sure to delight attendees and provide myriad fresh wintery December Saturday as women and children arrived in vans 615-255-3255 This theme explores the diversity of shapes and patterns found in ideas and information. provided by several organizations and programs hosting the event. traditional and contemporary design. The show takes place February Inside, the families were greeted by warm smiles of volunteers and a www.margaretellisjewelry.com 11–13, 2010 at the Nashville Convention Center. The Duchess is honored to be invited to speak at the Antiques and beautifully decorated Rocketown dressed with red and green tables Garden Show of Nashville and very much looks forward to visit- sprinkled full of chocolates and cookies. Everyone enjoyed commu- Known for extraordinary gardens and exquisite antiques, the show ing this well-known city. Designing and building The Alnwick nity over Christmas dinner, face painting, and getting their profes- has earned a reputation of distinction among antiquarians and Garden, the third most visited garden in the U.K., has consumed sional photographs taken. A musical concert, Christmas in the City, garden lovers alike. The venerable American designer, Albert Hadley, her for the last 14 years, and she is determined to see it completed. featured special guest, Melinda Doolittle. a native of Nashville, serves as Honorary Chairman Emeritus. To Alnwick is recognizable as the Hogwarts School in the first two those in the know, this is comparable to a papal blessing. Harry Potter movies. “England is renowned for its gardens, but The Alnwick Garden has been created as a public space for the For this sensational anniversary show, organizers have pulled out people and is made relevant to individuals in the 21st century. all the stops. On board as lecturers are: Her Grace, The Duchess The Alnwick Garden is judged to be unique and has something of Northumberland, England, visionary behind Alnwick Gardens; for young and old alike and is the only garden in the world where armerie people can have their toenails cut on a Monday morning!” she F obert
said recently. R
avid Mary Mattson D Ever since Camelot was defined by the style of Jackie O, Americans have paid close attention to the White House style of the First photo: Family. President and Mrs. Obama wasted no time in selecting Los Angeles-based designer Michael S. Smith to represent their Come check out our fi ne wines for under $20.00 personal taste. Smith is looking forward to his Nashville stay. He recently said, “I’ve always been interested in the rich history of Southern style, particularly in Nashville. It is a center for great The Duchess of Ryan Gainey design, and I have always seen it as lying at an intriguing crossroads Northumberland for American décor.”
The iconic Ryan Gainey will design this year’s fabulous entry tnip garden. Titled A Garden of Remembrance, it is dedicated to the A erry late Rosemary Verey, a widely known garden writer who created one J of England’s most visited gardens at Barnsley House. Verey was a photo: long-time personal friend of Gainey, who is a past member of the Antiques & Garden Show National Advisory Board. “The heart is a Acting as the director, Pastor Doug Sanders of Otter Creek Church garden, and remembrance is its sweetest flower,” says Gainey. “This collaborated with music industry leaders and several nonprofit garden focuses on her internationally known potager in which she organizations to create a beautiful Christmas for these families, part Michael S. Smith used flowers and vegetables together to create patterns within the of a long-term vision and commitment to address homelessness in garden design.” Nashville. Sanders shared the spirit of the day: “These women want the best for their children. None of us can do it on our own; it comes A living Belgium fence outlines the entire garden that features a back to community.” Walking side by side with Pastor Sanders in pavilion, patterned beds decoratively filled, and two heart-shaped this initiative is Shalom Foundation executive director Allison lovers knot gardens. Bender. With their expertise and success in providing services for homeless children and their mothers in Guatemala, the Shalom For tickets and show information visit Foundation will help build a network of community resources for www.antiquesandgardenshow.com homeless families in Nashville. To learn more or provide support, or call (615) 352-9064 or (800) 891-8075. visit www.theshalomfoundation.org. 2109 Abbott Martin Road | Nashville, TN 37215 | 615.297.5220 | getfi [email protected]
10 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 11 12 13
Cheekwood Botanical Garden and Herb Williams’ Plunderland Museum of Art turns 50 this January! makes its New York Debut “Cheekwood is thrilled to be able to celebrate our golden anniver- New York City, December 10, Nashville’s Herb Williams debuted at sary with the public at our original 50-cent admission price during the Rare Gallery in Chelsea. It was a colorful event to say the least! the month of January, and we hope everyone will enjoy visiting our Williams, a celebrity on the local art scene, is known for his sculp- Botanical Garden and Museum of Art,” says Jack Becker, Ph.D., tures made from thousands of crayons. Filling the room were crayon Cheekwood’s President and CEO. Cheekwood’s 55-acre botani- clouds from above and below, and a giant, twisting, technicolor vine cal gardens and art museum will mark its golden anniversary by and lifeline for three rabbits emerging out of their hole. A mingling ohnson welcoming visitors with the original admission fee from the year of Jack and the Beanstalk, Jason’s Quest for the Golden Fleece, and Alice J avid
1960. A January visit will present Cheekwood guests their last chance in Wonderland, Williams’ Plunderland is a metaphor for the often- D to catch two exhibitions. From Washington to Warhol: Americana treacherous search for fulfillment. Redefined showcases artwork from Cheekwood’s permanent collec- photos: tion alongside loaned works. Presenting a glimpse of evolving Williams is one of the few individuals in the world with a Crayola sweet” installation Plunderland (2009), he America through the eyes of artists, this exhibit closes on January 3. account. His original sculptures may require as many as hundreds reflects on his specific journey in art: “I myself, Dichos: Words to Live, Love and Laugh by in Latin American Culture of thousands of individual crayons. He will also cast the completed as an emerging artist climbing from obscurity to celebrates an endangered tradition. Dichos refers to the hand-painted rare and original treasures of Fabergé handiwork. Becker enthuses, sculpture in a silicone jacket mold with a two-part epoxy resin and a place in the relevant yet treacherous heights of epigrams inscribed on vehicles by truck and bus drivers throughout “During the winter, there’s more happening at Cheekwood than you then paint the resin sculpture to look like the original, occasionally the art world, can appreciate all of the irony from Latin American countries. The exhibit, a traveling show curated by might think: evergreens, flowering apricots in the Japanese Garden, producing a small edition. Whatever message the beholder embraces the uneasy vantage point of standing between the Museum of International Folk Art (MOIFA), will be on display birds and other wildlife enjoying abundant berries, pansies, violas, in Williams’ work, be it whimsical, edgy or ironic, hinting at the the beast and desire.” until January 17. Cheekwood will also continue to host its ongo- and the brilliant reds and yellows of twig dogwoods. We have pieces social or political, one thing is for sure: his art has become a huge hit ing exhibition The Matilda Geddings Gray Collection of Fabergé. from our Permanent Collection on display in the museum, and among the viewing public. Many of his larger pieces can be viewed Herb Williams is currently represented by The Visitors will enjoy a world-class collection of Fabergé decorative arts, photography and video art are exhibited in contemporary galleries.” in hospitals, corporate lobbies, and museums, and he has garnered Rymer Gallery in Nashville and the Rare Gallery including three Russian Imperial Easter eggs. The show includes 57 www.cheekwood.org international acclaim. Of his “intentionally playful, sexy, seemingly in Chelsea, New York City.
Jennifer Cole named Nashville Arts Grammy Nomination, Rick Vito Green Hills’ Commission Executive Director Early December sees the announcement of Grammy nominees Dream On... Jennifer Cole was recently each year. This month, The Mick Fleetwood Blues Band featuring Through January 24 - $3195 Queen or King Funkiest Little selected from a field of Nashville guitarist Rick Vito received a Grammy nod for Blue Again more than 400 applicants in the category of Best Traditional Blues Album. Rick Vito’s recording
Neighborhood Joint and will begin work in her and performing résumé is as good as it gets. He has done session work new position on January with the likes of Dolly Parton, Little Richard, Bob Seger, and Jackson 19. Jane Alvis, who steered Browne, to name a few. Vito joined Fleetwood Mac in 1987. His the 11-month nationwide current work with Mick Fleetwood met instant success. Vito claims, search, says of Cole, “She “I am so honored that our CD, Blue Again, has received a Grammy is a passionate supporter nomination. Mick and I wanted to both of the arts with a focus revisit some of the classic blues-rock on innovative results. We of the original Fleetwood Mac, which couldn’t be happier that was very much a blues band, and also she has accepted the posi- bridge the gap into today’s music world ennifer Cole
tion.” Cole’s previous posi- J with my original songs. The recording tion involved a number of captured the magic of a
high-profile responsibilities Courtesy live show where the energy including orchestration of a nationwide Cities of Service partner- and performances are real ship with New York Mayor Michael Bloomberg and the United and exciting. This nomi- Lunch 11-2 Mon-Sat We Serve effort launched by the White House last June. Victor nation validates that our ito
Dinner 5-9 Mon-Thurs V k
Simmons, curator of the Fisk University Galleries and a Nashville concept was a good one.” c i
Friday & Sat 5-10 R Arts Commissioner who served on the search committee, said, “It is The Mick Fleetwood Band Reservations advised 2201 Bandywood • 615-383-0042
ourtesy 73 White Bridge Rd • 615- 352-6085 • www.2danes.com
clear to me that Ms. Cole has both the mind and the heart for taking was profiled in the July c VIEW OUR SEASONAL MENU AT: WWW.WHERETHELOCALSEAT.COM arts in Nashville to new levels.” issue of Nashville Arts Magazine. Mon - Sat 10-6 • Sun 1-5 photo:
12 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 13 14 15
On the Horizon
Richard Greathouse Richard Greathouse is a 24-year-old Nashville native. Currently, he resides in Florence, Italy, where he is enrolled at the Florence Academy of Art. Studying in Italy has been an enlighten- ing experience for Greathouse both personally and professionally. The young artist traveled to the epicenter of the Italian Renaissance to further his art education. His intense training has introduced him to turn-of-the-century masters such as Sargent, Sorolla, Zorn, and Repin from whom he draws inspiration. Florence has also taught Greathouse the importance of a strong artistic community. He works with students and teachers from around the world who have joined forces in order to teach and learn art. On returning to Nashville for visits, Greathouse has found yet another thriving community of artists. He is inspired by the commitment of arts communities in both cities and their efforts to promote the fine arts.
top: Mama
left: Epp
below left: Ingerlise
below: Gianni
right: Stefano
far right: Katarin arlati Sc nthony A 14 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 15 hoto: P 16 17 NEW WORKS BY In Florence, Greathouse dedicated himself to the study of representational drawing and painting in the classical style. It is only fitting that he seek the birthplace of modern classi- cal traditions for such a pursuit. Although the artist enjoys pushing the edges of his artistic horizons through international travel, he hopes to bring his newly honed skills back home in the future. Touched by the spirit of unity in the artistic communities of both Nashville and Florence, he plans to become a major contributor to Nashville art upon his return home. A humble artist, Greathouse believes he has a long way to go. Eager audiences in Nashville know his bright Trevor Mikula Shannon Nyimicz Scott Hill Matthew Hasty Jason Saunders future is just a plane ticket away.
Dean Fisher David Kidd David Arms Joel Knapp Dorsey McHugh
2104 Crestmoor Road | Nashville, TN 37215 Phone 615-297-3201 | Fax 615-269-9262 www.bennettgalleriesnashville.com Hours: Mon-Fri 9:30 to 5:30, Saturday 9:30 to 5:00
left: Carola
above: Martina
below: Gea
top right: Self-Portrait
right: Eva
16 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 17 18 19
Film & Television
"THE GRADUATE" Writing the Perfect Script by Ashleigh Prince Screenplay by What makes a good screenplay? A lot of books have been written Most producers look closely at story, characters, and dialogue in a by a lot of very good writers and producers trying to define exactly screenplay. The script should be a “fast read”—a page-turner that is Buck Henry the formula for a good screenplay. Workshops and university writing always interesting. The first few pages are critical in this regard and programs around the world endeavor to teach their screenwriting must grab the reader’s interest. The story should then hold the inter- Mr. McQuire takes Ben's arm and steers him down the hall toward the back of the house and out through the back door. students the secret that will make their every screenplay not only a est of the reader. The characters should demonstrate traits worthy “masterpiece” but a screenplay that a producer will be willing to buy. of an audience’s concern and affection. The dialogue should be well 30 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT The truth: a good screenplay is always in the eyes of the beholder. crafted, interesting, and appropriate for each character. A screenplay that 20 producers reject may be joyfully scooped up The pool is eerily lit. There are FOUR PEOPLE standing and by producer number 21 and turned into a successful movie, and TALKING, drinks in their hands, at the back of the yard. the industry is drowning in stories just like that. One of the most famous examples is Star Wars, and George Lucas’s travails being MR. MCQUIRE rejected repeatedly by every studio in town (before Fox finally agreed Ben - I just want to say one word to to produce it for a very low budget) offers producers everywhere a you - just one word - lesson in humility. In hindsight, we all agree that the script for Star BEN Wars was destined to serve as the basis for an astonishingly success- Yes, sir. ful movie. But we’re all—even producers—geniuses in hindsight. MR. MCQUIRE “I prefer a story and Are you listening? BEN characters which Yes I am. MR. MCQUIRE move me and which I (gravely) believe will improve Plastics. They look at each other for a moment.
the world we live in.” BEN Exactly how do you mean? There are qualities that almost all producers expect to find in a professional screenplay. Few producers will bother to read past the MR. MCQUIRE first page of a screenplay that is full of spelling errors and typos. There is a great future in plastics. It only takes a few such errors to turn off a producer who has a Think about it. Will you think about it? huge stack of scripts sitting on her desk, waiting to be read. As to formatting, there are only a few acceptable screenplay formats, easily BEN discoverable on the Internet. There are several good programs such Yes, I will. as Final Draft and Movie Magic Screenwriter which automatically format a writer’s work so that it is correctly laid out on the page. It MR. MCQUIRE takes a small effort and investment to get formatting right. Producers Okay. Enough said. That's a deal. often look for any excuse to reject a script. And really, why would a producer waste time unpleasantly wading through a written work Mr. McQuire turns and walks back into the house. The that the writer didn’t have the good sense to spell check and properly people at the other end of the yard look toward Ben. lay out? The producer is being asked to raise millions of dollars to produce the writer’s work. Why should the producer do that for an unreadable, amateurishly assembled script?
18 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 19 photo: hunter armistead 20 21
Many producers prefer to try to raise money for “genre” films— movies that fit comfortably into a category like “Romantic Comedy” or “Action.” These are easier to explain to people one is trying to raise money from. For starter screenwriters, you may want to find a genre you like. That said, as a producer I prefer a story and char- acters which move me and which I believe will improve the world we live in. Many producers are turned off by big messages, and others look avidly for such screenplays. What a producer likes is a matter of personal taste. But writers should write stories that they love. You could spend months working on one screenplay. Who do you want to spend hundreds of hours with— characters that bore you or leave you cold, or characters you love? Most producers feel the same way, as they will live with a selected film LORI PUTNAM Original cartoon by Tyler Davis for a year or longer. Beauty in the Skies 28x22
Sixth Annual Fine Art Show and Sale featuring works by Jeff Jamison plus 45 regional artists. February 12 -14, 2010 Friday 5 - 9 pm | Saturday 10 am - 5 pm | Sunday 1 - 5 pm David Lipscomb Campus School Westgate Center | 6019 Highway 100 | 352-5522 3901 Granny White Pike www.auldalliancegallery.net dlcs.lipscomb.edu
The 2010 Fine Art Show and Sale is made possible by these generous benefactors: Lori Putnam and Lavé MD, Judge Bean’s BBQ, MyOfficeProducts, Purity Dairies Fox and Vixen & Co. Fox and Vixen & Co. will be Distinctive Reworked Vintage Jewelry featured at Art After Hours Handbags ~ Accessories 20 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine |January January 2010 7, |2010 21 22Moonshine Hill dec. ad:Mooshine Hill ad 11/19/09 6:40 AM Page 1 23
“Mixed Berries,” acrylic on canvas by Lisa Ernst
Upcoming Exhibits Harpeth Hall Marnie Sheridan the new year Gallery looks bright
Take a of country elegance. swig
“Turn in the Fiery Gizzard II,” oil on canvas by Susan McGrew Paintings by Kelly Williams and Claire Brassil Dates: January 7 - February 19, 2010 Artists’ reception Saturday, January 30, 3:00 to 5:00 p.m.
Paintings by Lisa Ernst and Susan McGrew Dates: February 26 - April 15, 2010 Artists’ reception: Sunday, February 28, 3:00 to 5:00 p.m.
“Red“Red String,”String,” gouache gouche andand graphite “Ferry House Couches,” onon paperpaper byby ClaireClaire Brassil oil on canvas by Kelly Williams The premier event location in Leiper’s Fork for Romantic Weekends, Weddings, Family Gatherings. 2 Bedroom/ 2 Bath The Harpeth Hall School 3801 Hobbs Road, Nashville, TN Stately Cabin, Furnished Covered Pavillion for Outdoor Living, 21+ Acres for Hiking, Biking, & Trail riding. www.harpethhall.org * Located 1.6 miles from Historic Leiper’s Fork Village. www.wooskincareandcosmetics.com 2154 Bandywood Dr, Nashville, TN 37215 * Daily & Weekly Ra22te s |A Januaryvailabl e2010• 6 1|5 -Nashville500-12 Arts34 Magazine• www. Moonshinehill.tv Nashville Arts Magazine | January 2010 | 23 615 383-2170 24 25
Collecting opposite page: David Burliuk
below: Sterling Strauser
David Cheatham The Unlikely Collector
by Rebecca Bauer | photography by Anthony Scarlati
April 20, 1997 was not a good day for David Cheatham. That was the day his house burned to the ground. He remembers it like it was yesterday. Dropping his two boys, Duncan, 1, and Cameron, 4, from the second-story window into the arms of their mother and then taking the leap himself are not things that are easily forgotten. That night everything was lost . . . well, not quite everything.
Fortunately, the children were unharmed, but David and his wife suffered multiple injuries. Cindy was confined to a wheelchair for several months following the event. Support from family and friends supplied them temporary housing and a few pieces of clothing. After shopping for a new home, they found a modest, one-level brick home on a quiet street in Mt. Juliet. Sure enough, a fire hydrant sits curbside out front.
With a new roof over their heads and little to fill the blank spaces, Cheatham was looking for something to brighten up their home. “I found a nice print and had it framed to liven up one wall, but there were a lot of blank walls. Up to this point, art or original paintings had never been on my mind.” “After the fire, David has worked as a serviceman for a utility company in Nashville for the past 25 years, starting when he was just 19 years old. After everything looked a period of leave from his job following that frightful night, he was back to work and with a new outlook on life. “After the fire, different; the grass was everything looked different; the grass was greener, the sky bluer. I started respecting my surroundings more.” Years on the job had greener, the sky bluer.” required David to go into people’s homes, but it wasn’t until now
24 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 25 26 27
above: Helen La France above: Jack Savitsky Coal and Wood Hauling below: Omar Hamdi Malva bottom: Canoe Rentals Down The Road, Tom Moore above: Victor Joseph Gatto below: Paul Lancaster
that the posh homes in Brentwood and Green Hills had something He befriended artist and Nashville resident Paul Lancaster, whose to offer him. David began to notice that what were once, to him, work makes up the largest part of his collection. It was a friendship just pictures on the wall were actually beautiful works of art. that led to meeting other artists and an appreciation for different styles—plein-air, impressionist, abstract, folk, sculpture and carv- One visit to a home stands out for him. Noticing a large wall filled ings. In addition to Lancaster’s, on his walls and mantel are works with paintings, he asked the owners about them. Cheatham says, by Creason Clayton, Paige Morehead, Joel Knapp, Anton Weiss, “The couple explained that they were original etchings and paintings, Tom Moore, Phil Ponder, Bitsy Hughes, Streater Spencer, Sterling and most were by an artist named Paul Lancaster, whom I had never Strauser, David Burliuk, Anna Ray, Philip Perkins, Vannoy Streeter, heard of. Every Christmas they’d go to Lyzon Art Gallery and buy and others. Nature and floral subjects dominate his collection. another etching or painting, and this was their only gift to each other.” David became aware of how one artist can influence another and was He decided to check out the Lyzon gallery (unfortunately, now driven to collect works among the “Strauser Circle”—those discov- closed). Walking in, despite wearing his uniform and feeling like ered by Sterling Strauser and who, like Strauser, were less known but “the gas man” as he likes to refer to himself, David felt welcomed. “I still regarded as significant twentieth-century artists who employed guess that’s when my love and respect for art began. I started going their own techniques. David is intrigued by the fingerprints and in a lot after work to admire the talent that others had and shared strokes he sees on the surfaces of Strauser’s paintings. through their creations.” David would continue to go back and buy original pieces. Acquiring them was only the first step as he found He is a man that people may at first assume not to be an authority interest in learning more about the artists themselves. on art, but he sets a great example. “I have fallen in love with art, what it means, and grown to appreciate what it took to create it. I have found that to be a collector you don’t have to spend a fortune, and there are a lot of local galleries and artists willing to help anyone who walks through the doors to learn about their left: Braxton Ponder work.” In a strange twist of fate, as one fire consumed his home, another fire was lit in David Cheatham. Today he looks back at that painful day and appreciates the opportunities those burning embers have created in his life. He adds, “Stop and look at art; take the time to appreciate what [the artist] sees and welcomes you to see and you will be richly rewarded.”
left: Baxton Ponder 26 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 27 28 29
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28 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 29 30 31
opposite page: Hydrangeas Painting
Elizabeth Brandon The Alchemist
by Lisa Venegas | photography by Jerry Atnip
Arriving at Elizabeth Brandon’s studio you might think about what it feels like when you put the fork in it that you took a wrong turn in the road and ended up in and take a bite. To me, it’s a connection to everything the middle of nowhere in front of an old country church. in life. It’s my connection to the world. Inside the illusion continues as the northern light streams in through giant windows illuminating the room like I don’t want to complete a painting to the point a Van Dyke masterpiece. Watering cans and tapestries where there’s nothing for the viewer to come in are strewn among the books and the flowers. It is a and dream about or wonder or be pulled place that feels familiar and comfortable, and yet I into…. It’s not so classical and academic can’t help feeling that there is also a great deal of that it’s too stiff. That’s why we go back mystery here. to the old masters, because there’s more of that poetry and life essence. Brandon’s work is simply beautiful. It is also It’s a big idea, and it’s something you deceptively simple. On first glance her paint- could spend your entire life trying to ings are images that are well known to us, reproduce and get better at all the friendly and inviting, and yet look a little time. When it comes to putting this closer and they become far more complex nebulous idea of light and form and and intriguing. That’s the way Brandon shadow and shade, you can’t get planned it. Her paintings are meant to there from copying. It’s a different evoke a strong emotion in us. path. The principles are one thing, but it’s the person playing the music I am challenged to study, to marvel, to that makes it beautiful. explore, to want to touch, to taste. Her canvases are a celebration of the heart of nature. Q: I look around your studio and I They capture the moment of perfection, when see skulls, anatomical figures, a bust, the full, vibrant life force is at its peak. The colors shadow boxes…. How are the old-master emphasize the play of light. The impastos are moist principles of light and shadow learned by and animated. The glazes are soft and radiant. using these objects? How do they help you capture the essence of your subjects? Q: One of the things that impress me about your When light hits an object, it won’t hit the object paintings is that the subjects are so real I feel a next to it at the same level. So when I paint, I part of the experience of the painting. At the same create a shadow box around the subject so that time, I feel there’s a hidden message you want to you see what I want you to see. There’s the convey—a vision I wouldn’t otherwise see. greatest light, and there’s a place in the paint- The artist comes into the painting or the drawing. Part of ing that’s absent of any light. In the center you comes in to meet whatever that subject is saying to there are a lot of middle tones and half shad- you. We’re really into the essence of the life, of the form. ows and real shadows and a lot of different When I’m painting apples or cantaloupes I’m thinking levels of the light. So I want to get the feeling
30 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 31 32 33
that the light is permeating and moving around the object, and you’re not seeing everything equally. “…there It’s like music or poetry—you’re telling what’s more important, what’s less important, where you play, where you give a lot of attention and provide detail. When you are painting a landscape, how do you are certain paint black and white that’s in front of you and black and white that’s a mile away? Everything that’s moments out there is reflected in air and is pushed away, so not only are we painting across the canvas but we’re painting the depth and the breadth. So when the sun comes in, you have the warm blues here and the that are cool blues there, and all that’s still reflecting into every tree, every blade of grass, everything. It’s a very complicated symphony. breathtaking Q: It’s obvious that in order to translate your vision you are using not only the skills of how to and they can be draw and paint, but also craftsmanship in the creation of materials. How are the old-master traditions influencing your techniques? little breaths; The old masters knew so much, and they were scientists. They studied how to put paint on a canvas and keep the quality, the brilliance of it forever. And a lot of that was lost knowledge, especially by the time they don’t of the Impressionists. We put a lead coating on the canvas to hold the oils on there permanently instead of acrylic, which is man-made. We make our own oils, our own canvases and our own panels. It makes have to be big a difference in the quality of the colors, in the brilliance that you get. It’s not that you want to be an old and you know master—I wouldn’t want to be Rembrandt or Velázquez, because they were what they were, and I would just be a poor copy of that. So I’m trying to find out what about that sparks me. I’m painting in a different it when you time, and my subjects are different, so I’m using those principles, but I want to live today.
experience it.” Q: You’ve painted portraits, figures, landscapes and interiors, which are very challenging, and yet you’ve become most well known for your still life work. I evolved into still lifes. When I first left New York, it was difficult to get models. And then you learn how to paint objects with light so you set up still lifes, which is in itself difficult because, how do you set this up to be interesting? You go back to the old masters to learn how they did it and pull the ideas into your own compositions. Painting still lifes also allowed me to keep painting from life while I was having children and continue to evolve.
Q: Why do vegetables, fruits and flowers fascinate you? Is it their perishable nature that chal- lenges you as an artist? I think they’re beautiful, and flowers in particular are very difficult to paint. Even if you set up a flower, they’re changing, they’re dying, they’re moving…and so, like a landscape, you need to capture it as opposite page: Kundalini quickly as you can. Hopefully your skill set is present so that the craft is working for you. above: Cherries and Peaches
left: Still lIfe with Violin Q: You’ve mentioned that one of your goals as an artist is to capture “connecting moments.” Can you explain that for me? It’s like the “ah ha” moment. Like you are looking at a beautiful sunrise and you think, oh wow, this is everything. If two people are talking about their lives or their friendship and they both understood something at exactly the same time, that’s a connecting moment. So to me, those are the moments when you feel most alive. If I’m painting an apple, and I got the apple just right, then it’s like there’s the apple essence. And I nailed it with just the right brush stroke. I don’t know how I got it, and I may not be able to get it again, but oh my goodness! And someone else will know it when they see it. So I think there are certain moments that are breathtaking—and they can be little breaths; they don’t have to be big—and you know it when you experience it. To me, that’s pretty exciting.
Q: You donated to the state museum and the governor’s mansion the painting Roses and Eucalyptus. Why did you donate that particular piece, and how did that come about? I think it’s a good representation of me because of the florals that I do. We toured the mansion after the renovation, and there was some really interesting art and there was still some wall space left, so I thought, let’s get a Brandon in here! Lois Riggins-Ezzell, who runs the state museum, wanted one of my paintings, so I suggested this one. She and [First Lady] Andrea Conte were really excited about it, and I was really pleased that they were so receptive to having the painting.
32 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 33 34 35
right: White Lilies and Pitcher
center right: Sunflowers and Wild Flowers in a Pail
One of Brandon’s passions is art restoration and conservation. She is particularly concerned about current attempts to clean the artwork of the Realist masters in a manner that destroys the initial vision and science behind the paintings. She is a member of ArtWatch International, a non-profit organization whose mission is to provide a voice for these important works of art.
Q: There are obviously situations that require a damaged painting to be restored or cleaned, but I understand you feel that many times this is done needlessly. For years there has been a problem with big business and politics and cleaning older paintings in a way that lacks knowledge about the process that was used. Sometimes they do need cleaning, but you have to be careful how you do it because you take off some of the paint and the oils and the glazes. Our teacher used to talk about this, above: Les Poules and one day someone heard that they were going to take Rembrandt’s portrait The top right: Magnolias and Vase Noble Slav down and clean it. And we thought, they can’t do that! So we had a march center right: Glen's Garden on the Met, and we found out later that that really started the idea of ArtWatch. It’s bottom right: Roses and Eucalyptus in New York, London, and (I believe) Rome or Florence. bottom left: Orange Peppers
It’s just a voice to keep the old masters from being wiped off, because once they are, you can’t get it back, and the process will be lost again. So ArtWatch is really gaining ground, and the last big event they tried to tackle was the cleaning of the Sistine chapel. Well, it’s a different Michelangelo once you’ve cleaned off the breath that pulls it all together. You don’t want to use harsh chemicals, because chemicals can continue to work on the painting even after you are finished cleaning. So you have to have a knowledge of what the oils and varnishes were, and how they were put on there, and why they were put on there, and make sure the cleaning doesn’t penetrate too far. The first thing you notice if an old master has been cleaned is that all the shadows have been taken off. For us it’s important to preserve the old masters for future generations, and it even extends to sculpture. You can destroy a sculpture pretty fast by sandblasting it. When you have new administrations come in and they are more into the modern art, they are not watching carefully over those masterpieces in the way that others might in that field.
Q: With your work and the work of other Poetic Realists gathering momentum, do you think there is a trend toward rediscovering traditional methods of painting? There’s been a resurgence of the nineteenth-century academia. Now, more people are wanting plein-air, and I see a lot of workshops all over the U.S. on this type of painting. I see people going back to painting a cast and learning how to draw. I think art will move further back to the old masters and past academia. I think that we have lost so much information that artists want to gain back. I see that coming around again, a thirst for that knowledge. Why are we attracted to the old masters? Why are there some of us that want to paint that way? It’s because it gives us a way to express ourselves creatively.
Brandon is currently exhibiting at the Whistle Pik Gallery in Fredericksburg, Texas, and the Edgartown Art Gallery in Martha’s Vineyard and has recently taken time off from painting to write and illustrate a children’s book she hopes to publish. Her painting Afternoon Stroll has been accepted in the 126th Annual Members Exhibition at the Salmagundi Club in New York—a world-respected center for fine arts. Please visit Brandon’s site for examples of her 34 | January 2010 | Nashville Arts Magazine painting and writing at www.elizabethbrandon.com.Nashville Arts Magazine | January 2010 | 35 36 Northgate Nashville Art Jan10:Northgate Nashville Art Jan10 12/17/09 7:34 AM Page 1 37 M P O R T E R S O F U R O P E A N N T I Q U E S 09nashpr1877 PerformingArts 12/16/09 7:49 PM Page 1 II M P O R T E R S O F EE U R O P E A N AA N T I Q U E S
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“ Ignate et left: Adelecia Sculpture ea nimillest, officii stendi digende ped maximet poribus sectiur epellab orepudignam” Buddy Jackson Figuratively Speaking by Deborah Walden His sensitive connection “I would rather feel than think,” claims Nashville sculptor Buddy Jackson. The Tennessee native has spent his adult life in the visual to the world and his arts. His desire for immediacy and autonomy of expression has led him through a series of career evolutions and modifications. innate capacity to bend Today, his sculpture, his home, and his aesthetic approach seem to indicate his sensitivity to beauty and his ongoing romance with the human form into creative expression. expressive poses create a Art is in Jackson’s blood. “My great-grandfather on my mother’s side was a traveling portrait artist. He fell in love with one of his dynamic sculpture. sitters—my great-grandmother. My granddad was a sign painter. He would design these signs at his kitchen table in a little house in South Knoxville.” Jackson used to sit with his grandfather and watch him paint simple small-town signs for local businesses. He says, “That is how I fell in love with making art.” This love for art acts as a catalyst for Jackson. “I like making things that weren’t here yesterday. I think it comes from my own appreciation of looking at things.”
Jackson naturally majored in art when he attended the University of Tennessee. He entered college with a love for painting, and his style was studied and realistic. His professors, a generation older than himself, had all been students of abstract expressionism. Jackson was often discouraged or singled out for refusing to deny his own artistic impulses in order to pursue an abstract style. He set up a studio in the attic of an old building on campus and worked diligently at his canvases day and night.
As his college career was coming to an end, one of Jackson’s profes- sors advised him to switch from fine arts to commercial illustration, believing that his disdain for abstract expressionism meant he could never be a true painter. Jackson obediently followed his professor’s advice and left fine arts for over 20 years. arlati Sc ker
c Directly after college, a young Buddy Jackson moved to Nashville. u nthony T He intended to enroll in commercial art school, but his ambition and A ark M hoto: talent soon landed him a series of jobs as a designer. With a growing P hoto: P
38 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 39 40 41
left: Disciple right: Waiting Annointed and loyal base of patrons he founded Jackson Design. Jackson saw great success through his business as a commercial designer. His company won several Grammy awards and produced the cover art for hundreds of albums. Jackson, though, felt that something was missing. “It’s a crazy, taxing business. Deadline after dead- line after deadline.”
A friend in the music industry asked Jackson to lend his hand to a music video project, and at that point his life took a dramatic turn. Jackson received the task of making small Calderesque figures made from wire, string, and other found objects and materials to be used in his friend’s video. Tired from long days in the corporate world he would sit in front of the television at night and lose himself in these small sculptures. He decided to take a sculpture class or two and soon found that he was spending more time on his art than on his business.
After 20 years in the commercial design industry, Jackson sold his business in order to devote more time to sculpting. Sculpture finally offered Jackson the expressive freedom that he had missed in the axwell M corporate world. Free to pursue his own muses, he often sculpts female hoto: david
P figures in various powerful poses. He soaks up inspiration from axwell
travels and from encounters with M interesting people. Most impor- tantly, Jackson is energized by the hotos: david act of sculpting: “A huge part of the P process is the touch. It’s me and the clay. In some ways, I have this very His aesthetic approach traditional sense of the importance of craft. I’m married to that. I can’t get away from it.” seems to indicate his
Just two years ago, Jackson made sensitivity to beauty and another career change in order to achieve greater autonomy of expres- his ongoing romance with ker c u T sion in his art. He stopped using ark M artist’s models and ceased executing creative expression.
hoto: left: Emergence P 40 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 41 42 43
left: Smoker right: Stretch preparatory sketches for his work. figure that is simultaneously at rest Jackson claims that when using and in motion. Her head finds a soft models, “I find myself trying to repli- repose in her rhyming sinuous arms cate what is in front of me. Working crossed above her body at the same without models is liberating in terms time that her stomach and breasts of subject matter.” Jackson says that arc energetically out of the solid with these changes he “tried to create trunks of her thighs. Incline offers a vocabulary” of figurative gestures a female form that pulls the body and forms of the body. He now into a ramp of muscular activity. utilizes the human form as a vehicle Her shoulder blades pressed into for expression rather than a starting the ground, chin straining towards point for an individual study. “Part the collarbone, the figure twists of the reason I gave up working with her thighs and legs into a taut line. models is that I want those expres- The delicate, small sculpture seems sions to be solely my expressions— to defy gravity with its careful and some sort of honest expression.” impossible pose in space.
Jackson also began experiment- Jackson claims, “I want to explore ing with Hydrocal plaster, which the trunk, the torso. I don’t always presented him new opportunities in do female figures, but a huge major- terms of media. He also sculpts fired ity of them are. It’s important to me clay, terra cotta, and Hydrocal with a to show the power of women instead wax coating and produces bronze casts of this screwed-up idea of beauty of many of his works. Jackson sculpts portrayed in the media.” with handmade tools that he carves out of ebony by hand. His medium of His figures each seem to have a choice is water-based clay. Although story. Some strike exultant poses many sculptors lean towards the reaching towards the sky. Others, oil-based variety because it does not like Waiting, capture quiet, private dry, Jackson likes the added pressure moments. Waiting offers a glimpse of handling a medium that must be into the world of a small, seated finished quickly. “I finish it while it is woman. Her head outreached but wet and mold it while it is wet. I like hung low, she folds her limbs into the immediacy of that.” the central line of her body. This inward movement creates a soft The result of Jackson’s adventures in tension between the limbs and new media and his newfound free- torso, her leaning body perched dom of subject matter is sculpture on the edge of a bench. It also that produces poetry of the human produces a sense of hushed inti- form. Sculptors of the human body macy, a brief glimpse into an inter- are faced with the challenge of nal and thoughtful experience. producing more than a mere copy of a person’s physique. They must Jackson asserts, “If you look at my communicate mood, sense, feeling. work, there is not a straight line. Jackson’s sensitive connection to his Flesh that lives bulges. It has a life world and his innate capacity to bend that pushes out. I want those figures the human form into expressive poses to feel alive—like they could breathe, create a dynamic sculpture. like there is life bulging out of them trying to get out. It is part of the ker In his figure Stretch, Jackson models beauty of the human form.” ker c c u u T the torso of a woman who appears T ark ark M strong, quiet, and liberated. The Buddy Jackson is represented by M hoto: hoto: P
delicate curves of her body shape a Zeitgeist Gallery. zeitgeist-art.com P
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Omayad Entrance, Damascus These worshippers are entering the outer courtyard of the Omayad Mosque. Located in the center of the old city of Damascus, Syria, the mosque is said Photography to hold the head of John the Baptist.
Bob Schatz Images of Wanderlust
For Nashville photographer Bob Schatz, art often imitates life. His professional work has taken him around the globe on photographic assign- ments. In turn, private encounters on his journeys fuel his interests as a creative person.
Employed as a commercial artist for over 30 years, Schatz has garnered numerous awards for corporate, advertising, and editorial photography. He is also a fine-arts photographer, and his images can be found in the permanent collections of the Tennessee State Museum, Frist Center for the Visual Arts, Metro Nashville Arts Commission, and others.
Schatz has published books that feature his photographs, including Tennessee: Simply Beautiful, Tennessee Impressions, and Nashville By Design: Architectural Treasures. He claims, “I always want to be an activ- ist in the community and to find ways to point out what good archi- tecture and design are and what we should value in our community.”
Recent adventures have taken Schatz to Israel, Jordan, Syria, Turkey, Greece, and Italy, among other places. He was hired recently by Lifeway Christian Resources to take part in a mission to interpret historical sites. Schatz captured scenes of markets, streets, and locals in these foreign streets and neighborhoods. He enjoyed glancing into the worlds of other cultures arlati
and peoples. He explains, Sc “I have wanderlust; I love nthony to travel, seeking what I A hoto:
can find along the way.” P
46 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 47 48 49
far left: Jars, Jerusalem In the Arab section of Old Jerusalem I found these antique vessels sitting on an ancient staircase of an antiquities dealer.
far left bottom: Luxor Crossing Early in the morning we crossed the Nile at Luxor for the west bank of the river where the Valley of the Kings and Queens are both located. These people were waiting for the ferry to take them over to the other side.
center top: Grand Bazaar, Istanbul The Grand Bazaar is still the largest mall in the world. It is a series of barrel-vaulted skylight-lit corridors, which intersect and wind for miles. A wonderful place to get lost for a while.
center bottom: Karnak, Luxor In the temple of Karnak in Luxor I was lucky to capture this conversation framed in an opening of one of the chambers.
above: Blue Mosque, Istanbul This photo cost me $75. The night before I had noticed there would be a full moon rising the next night, so I took a compass reading to see where that would occur, as I wanted that behind the Blue Mosque. At the angle I wanted to shoot from there was a rug dealer. Inquiring if I could go upstairs for my shot I was told of course...if you buy a rug. I now have a great rug and a great photo.
right: Holy Sepulchre, Jerusalem The Church of the Holy Sepulchre in Jerusalem is located on the traditional site of Golgotha, where Christ was crucified. The earliest parts of this Orthodox Church were constructed AD 330. This is the rotunda, under which is located the Holy Sepulchre itself. Incense burns inside these hanging lamps. 48 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 49 50 51
left: Bedouin, Giza The archaeologist I was traveling with wanted to go for a late afternoon walk. Our hotel was directly across the street from the main entrance to the pyramids in Giza. We gave the guard a little baksheesh (a bribe), and we found the Bedouin living on the grounds enjoying themselves riding the same horses they had been selling rides on earlier in the day.
above: Sand Storm, Delta Region We had driven north of Cairo into the Nile Delta to photograph a couple of archaeological sites. The wind began to build as did the heat, feeling like air from a large furnace. The air was thickening with sand as I took this shot. Within five minutes we could not see past the hood of our car.
top right: Simak, Turkey The young shepherd and shepherdess are tending their herd just about five miles from the Iraq border. While I was taking this photo I heard a heated debate behind me. Our interpreter said we should leave quickly as another man was saying we were spies and contacting the authorities.
right: St.Paul's Shipwreck Church at Valletta In May of every year the gilded statue of Mary is carried out of the church and through the streets of Valletta, Malta, heading a long procession of the faithful.
below: Aswan Market In Aswan, Egypt, we walked through the tourist market and kept going until we found the market the locals use.
50 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 51 52 53
The Blakemore Trio The Ultimate with special guest Susan Botti, composer/soprano Skin Tightening Package For The New Year! Susan Botti
The Blakemore Trio: Amy Dorfman, piano, 2 YAG Treatments Felix Wang, cello, Carolyn Huebl, violin 2 Accent Treatments Music of Shostakovich and Mendelssohn World Premiere Gates of Silence, a new work by Susan Botti 2 IPL Treatments Poetry of Linda Gregerson Stage design by Leslie Taylor February 19, 2010, at 8:00 p.m. Ingram Hall, Blair School of Music, Vanderbilt University Pre-concert discussion with Ms. Botti and Ms. Gregerson at 7:15 p.m. Tickets: This concert is free, but tickets are required. Call (615) 322-7651 All For Only to obtain tickets in person at the Blair School of Music main desk. 218 20th Ave. North For information about the New York City Premiere on March 13th, 2010, visit http://kaufman-center.org/merkin-concert-hall. $1499 Nashville, TN 37203 (615)329-3900 This program is part of the Blair Commissions Series: Music for the 21st Century, sponsored (A $1000 Savings!) www.dermessrenewal.com by the James Stephen Turner Family Charitable Foundation.
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Profile
Kathleen Lynam The Playful Puppeteer by Kami L. Rice oothby B e c awren L hoto: P
The Pez dispensers in Kathleen Lynam’s home aren’t hidden away, The puppets begin with a character, and, before they’ve received but neither are they the first thing you see upon stepping inside. physical form, “they have a name, a personality, a voice, and To view them one must pass from the more formal living room a purpose,” says Lynam. Often working at her kitchen table, through the kitchen to the back-of-the-house living space, where she creates five different types of puppets: finger puppets, rod large windows gaze upon the trees surrounding the home. Here the puppets, glove puppets, hand and foam puppets, and weird- Pez collection quietly catches one’s fancy as it smiles down from its object puppets. room-circling shelf near the ceiling. Like her kitchen, Lynam’s car serves as another type of studio. There’s something very Lynam in that. Tall, slender, dark-haired and She keeps it quiet—never driving with the radio on—because gentle yet energetic, Lynam greets you as any comfortably situated this is where she gets much of the inspiration for the words her family woman might. But step a bit further into her confidence and puppets perform. She writes down ideas and records songs in this the creative quirkiness that feeds her art shines through. And you mobile incubator. “My puppets have a quickly find yourself smiling in response—even before she’s brought out her singing, dancing, story-telling, lesson-teaching puppets. Lynam and Bob, her husband of almost 35 years, moved their name, a personality, family to Franklin from Connecticut in 1988. Shortly after their Both a performance artist and a visual artist, Lynam has been a self- move, Lynam stumbled on the art of puppetry while seeking to taught puppeteer since the early 1990s, but one senses addendums help their youngest son, Brendan, with his difficulty keeping a voice, and a purpose.” to that artistic title could easily be lurking close by. With puppetry, sustained attention. When she created a puppet to tell him stories, she says, “There are so many different creative outlets. It keeps it he was able to sit through an entire tale for the first time. Though oothby B fresh and interesting.” From painting, sculpting and sewing the she hadn’t been looking for a career outside of staying home with e c puppets to writing the scripts, poems and songs for their shows her children, which she loved doing, she felt compelled to share awren L to performing the shows and connecting with audiences, Lynam this epiphany with others, knowing there were other children in hoto:
P engages creativity from myriad angles. Brendan’s position.
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“I try to bring as much magic and beauty as possible into their lives because they don’t have a lot of that.”
Lynam’s first public performances were traditional puppet shows performed at libraries in the puppet theater Bob made for her. “That was actually a perfect way to start out,” she notes. “I’m actually pretty shy.” Which means she liked being hidden by the theater while she vocalized a character’s crazy wolf voice. “Most puppeteers don’t want to be in the limelight. The puppet’s the star.”
Twenty years later, she’s surprised by “how much I still love it, how fulfilling and satisfying it is as a career. I took what I love and made it into a job.” Her professional affiliations include serving as a master artist with the Wolf Trap Institute for Early Learning through the Arts, a teaching artist with the ArtSmart program, and a Kennedy Center artist.
Now Lynam spends much of her time in schools, using puppets to teach elementary and pre-school-age students and training teachers to do the same. She is more confident as a performer, and she and her puppets are fully visible now, surrounded by students, providing an interaction with her audience that she loves.
“When Kathleen gets up there, she has this connection with the kids,” says husband Bob, clearly proud of his wife. “She changes her routine every time depending on the kids she’s working with. That’s really her gift. She’s totally developed at the receiver’s end to make sure they come away with the skills and knowledge.”
Lynam’s puppets bring to life the books and concepts the students are studying. A caterpillar glove puppet transforms into a butterfly. Humpty Dumpty’s great fall—her prequel to the nursery rhyme explains that Humpty was on the wall because he didn’t obey his mother—teaches students about respect and safety. A Picasso puppet helps prepare older students for a visit to a Frist Center exhibit.
Lynam loves the challenge of helping teachers add art to what their students are studying. “It’s always new and unique,” she says. “They give me a problem, and I come home and work on it.” Sometimes the “problem” is figuring out a way to teach a life skill; sometimes it’s an academic subject; sometimes it’s literacy, and sometimes it’s language learning for students learning to speak English.
“The teachers and the children are inspirations for my work,” she says, smiling. The Head Start students “call me Miss Gasoline because arlati
Sc they can’t say Kathleen. It’s the best job ever. I walk into the room and they cheer. The boys brush off a seat for me. They give me hugs. nthony A I try to bring as much magic and beauty as possible into their lives hotos:
P because they don’t have a lot of that.” The best job ever, indeed.
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Painting
Andy’s Gift: The Paintings of Camie Davis by Eric Stengel
I first met Andy Warhol with my Parsons art schoolmate Tom Ford at Trader Vic’s in the Plaza’s basement bar. That was 1984. Andy loved hanging out there because that’s where the “preppies” and mid-America tourists hung out. He liked that ironic vibe.
I felt so cool, a NYC art student hanging with the ultimate pop artist/anti artist of that century. His thatch of bleached straw he called hair seemed to glow in the dark. When we all went to open- ings and clubs, my favorite thing to do was to walk about ten yards behind and watch the sea of people part as Andy walked through. At the sight of him, they generally fell into three basic categories: The Tourists—slack-jawed and frozen in their tracks; The Club Noirs— conspicuously hip and conspicuously trying not to look, and The Clueless—ever present.
Andy hated hospitals, and when Tom told me Andy had to go in, I felt inexplicably weird. Andy never came out. It was February 1987.
Fortunately for us, five years before his death Andy sowed the seeds for opposite page: Portrait of Andy, 1976 by Jamie Wyeth Courtesy of Cheekwood a gift that would be a generation in the making. Andy was a founding member of the New York Academy of Art, an atelier-format art school above: Sheena, Graphite and White Chalk,11" x 16", by Camie Davis with a mission to give the same access to figurative knowledge as the great artists who have come before. Their mission statement read:
“At the New York Academy of Art, we believe that the world of “If you teach a visual art is built upon the essential cornerstones of figurative drawing, painting, and sculpture. Mastering these disciplines generation how to is critical to the development of an artist’s personal vision and, ultimately, to the creation of vital contemporary art.” paint the way the When asked by contemporaries and critics why he would do such an odd thing, being the pop iconoclast master of all time, he simply masters did, you said, “If you teach a generation how to paint the way the masters did, you will change the art world.” will change the
Twenty-seven years and a generation later I was in New York getting art world.” a teaching certificate from the Institute of Classical Architecture & -Andy Warhol
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Classical America (ICA&CA). As part of our instruction, our group went up to the sixth floor of the ICA&CA’s headquarters to the Grand Central Academy of Art for some life drawing. Reaching for the door and stepping into the blacked-out room, I saw it: a room full of that generation—Andy’s gift in the flesh.
What I saw froze me in my tracks; now I was slack-jawed. Students, mostly closer to 20 than 30 years of age, were refining their skills through a carefully orchestrated set of instruc- tions and drills. Like learning the piano or violin, each lesson is designed to augment the previous one, and progress must be made in order to move on to the next lesson. So in the end, the student, at least, had a gifted talent for anatomy, draftsmanship and painting.
The artist, Camie Davis Something else extraordinary happened left: Psyche’s Mourning, Oil on Linen, 22" x 30" that day—I met Ms. Camie Davis. She was above: Title Unknown, Graphite and White Chalk,11" x 16" working on a pencil drawing (it looked like a below left: The Athlete, Graphite on paper, 22" x 26" continuous tone sepia photograph) of a classi- below: Harpooneer, Oil on Linen, 38” x 48” cal nude with drapery. Having started my art opposite page: training in 1982 at Parsons, I was well aware top center: Narcissus, Oil on Linen, 30" x 40" of the giant gift I was witnessing. She imme- top right: Narcissus, Graphite and White Chalk, 11" x 16" diately stopped her meticulous process to take right: Caroline, Oil on Linen, 18" x 19.5" time for my basic questions, a clear indication to me that she had the heart of a teacher.
Once back in Nashville I started the Classical Arts Studio (CAS) with the mission of promot- ing all the allied arts through shows and seminars. Our first show had to be Camie’s first solo show. Present were Camie, her incredible canvases, and a three-piece string ensemble playing works by Stravinsky, whose ballets were the subject of two huge oils by her. She didn’t ask me to do any of this. Her talent compelled me to, and she helped me to see my calling at a broader level.
Andy was right. His gift did change the world, and Ms. Davis’s work is proof of that. Thanks Andy. What a great gift you left us. Eric Stengel Architecture, llc is a boutique firm specializing in the language of classical architecture. www.ericstengelarchitecture.com 60 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 61 62 63
left, before and after: Wartrace Creek by Mayna Treanor Avent, Nashville painter, 1868-1959. The painting belongs to Mary Margaret Halverson of Ooltewah, Tennessee.
below: The author’s house ablaze in January 1970
Art Restoration The Reversal of Misfortune by Melissa Cross | photography by Tim Hiber
We pulled into our driveway just as the fire trucks were leaving. Our house had suffered a major fire as we were returning from the holi- WISE day vacation. It was the start of a long and emotional process of sort- ing through our charred and smoke-covered possessions, evaluating Over the last few years we’ve each as to whether it could be saved or should simply be thrown out.
wisely invested over $10 million
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Be wise. Call Ron Martin or photo
Twyla Lambert at 615-889-1200 When you look at your possessions, most really are of no great consequence and can easily be replaced. But what was devastating for us was seeing the portrait of my mother’s mother, who had died and let our investment work for you. in childbirth having my mother, now lying on the floor, a pile of smoke-covered paint fragments barely clinging to a charred canvas. That painting was the only real memory of a mother she never got to know and a grandmother that we knew only from the life-size portrait that hung in our dining room. It was surely destroyed, beyond all efforts for salvation.
That’s when my family experienced firsthand the miraculous work that skilled art restoration professionals can accomplish. I was a young girl at the time, but the process of bringing damaged art lithographicsinc.com back to life remains basically the same, whether a family heirloom, a favorite print or a valuable Monet.
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right: Christine Young photographs and documents. She often works on art that has been damaged by water, and her projects include over 400 pieces damaged as a result of flooding from Hurricane Katrina. Surprisingly, one treatment for flood damage actually involves immersing the art in a water bath. Other common treatments include solar and ultraviolet light bleaching.
“Pastels are tricky because you can’t put those in a water bath,” Christine explains. She recently completed the painstakingly detailed conservation work on a Degas pastel for the Nelson Atkins Museum
above: Portrait of Will, pastel on paper. of Art in Kansas City, a process that took a year and a half. Removal of sludge damage and “displaced pastels” from Another common condition of damage, especially in the South, is Hurricane Katrina mold. “Everybody brings in their mold!” Christine declares. “Mold is a living thing that’s always in the environment. The adverse effects left and below: Paysage de Telemaque, remain active,” she explains. Using tiny brushes, erasers and a small photo courtesy of The Hermitage HEPA filtered vacuum, Christine removes as much mold as possible right: Cynthia Stow cleaning a and completes the conservation by creating a low-humidity environ- nineteenth-century portrait ment that will prevent further mold growth.
As a member of the American Institute for Conservation of Historic “We work on a lot of water-damaged and Artistic Works (AIC), Christine has clients that include promi- art,” states Christine Young, a paper nent museums and historical sites as well as private collectors. Her art conservation professional in most time-consuming project was as part of the team of conservators Nashville. “But often the art has who preserved the nineteenth-century block-printed scenic wallpa- simply been mishandled, badly per in the central hallway of The Hermitage, the home of President framed or improperly stored,” Andrew Jackson. The removal, treatment, reinstallation and recon- she adds. Christine is one of three trained and nationally respected art struction of missing sections of the Paysage de Telemaque wallpaper conservation professionals in Nashville along with Dee Minault and took over two years. Cynthia Stow, partners in Cumberland Art Conservation, who specialize in traditional oil paintings. In fact, while most states are lucky to have one Although a relatively simple process, another common conservation such professional, because there are several historic sites, museums and task involves removing dried-up tape from works on paper, often on prominent collections here, “Nashville is something of a mecca for art documents and manuscripts. One such project was for the Federal conservation,” Christine says. Reserve where Christine was escorted into the sub- sub-basement of the bank site and, under the watchful eyes of several armed guards, Art restoration loosely refers to just one part of the art conservation process— she carefully removed the tape from several large bills, including a the cleaning and paint repair treatments. But the complete conservation $1,000,000 bill. process involves much more and must include stabilizing the media and materials, reinforcing the structure of the art, and ensuring the proper envi- Across town in their studios off West End Avenue, Dee Minault’s “Because there are ronment to prevent future deterioration and promote long-term preservation. and Cynthia Stow’s Cumberland Art Conservation is messy busi- ness. Working with traditional oil paintings and specializing in nine- As Christine Young explains, art conservation is a multi-disciplinary field teenth- and early twentieth-century Southern art, Dee and Cynthia several historic that requires education in analytic sciences, material sciences, art history, are Fellows of the American Institute for Conservation (AIC) and hands-on preservation techniques, and studio art training, including the each has over 30 years of professional experience. They’ve seen just sites, museums and skills to fill in missing sections of art, known as in-painting. “People are about everything, mostly dry-rotted canvases, paintings that have always surprised that there is so much science involved in this field, but you been damaged by fire or water, and canvases with deep creases from prominent collections need to know the chemistry and chemical composition of the art in order being folded for storage. Much of the damage is due to neglect or to preserve it.” incompetent restoration, often done at framing shops and even by here, Nashville is artists themselves, such as a canvas that has been glued to a Masonite Christine’s East Nashville studio is immaculate, with everything in its place, board. Perhaps the most dramatic damage was after Hurricane something of a mecca an array of tools designed for intricate and detailed tasks and a large table Andrew in the summer of 1992. “The heat and high humidity were to spread her work out on. With a Masters in Conservation, Christine devastating,” Dee exclaims. “We saw three-dimensional mold on for art conservation.” specializes in art on paper, including prints, drawings, pastels, watercolors, those pieces!”
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While many paintings require only cleaning or repairs of tears in the canvas, complex conservation starts with stabilizing and reinforcing the support before tackling the “cosmetic stage”—the actual painting. In such a conservation the first step is to apply a temporary facing tissue over the front layers of paint and across any tears to protect it during treatment. Once the front is secure, they can then work on the back of the canvas, removing linings and adhesives that are causing damage such as cracking, flaking and mold due to the water content in the material. Another step is to use gentle heat to “relax” the canvas to remove distortions and creases.
EventW eddiPlanningng Invi tServicesations Working on a vacuum hot table throughout this process, tears and holes in the canvas are patched, Rehearsal Dinner Invitations Wedding Invitations and new fabric lining is applied to complete the structural support. Then the facing tissue is Save the dates • Stationery removed so the paint can be cleaned and restored. RehearsalUnique Dinner Weddi Invitationsng Gifts Save Ba bthey Gifts Dates & So • M Stationeryuch More... “Keeping in mind the whole structure of the piece, we continually think forwards and backwards,” UniqueHoliday and WeddingPhoto Card Specials Gifts from Dee states as she inspects a recently relined piece. “We’re really problem solvers,” Cynthia adds. “If Your Favorite Lines including we know the materials and we know the chemistry, we can understand the why and how to prevent Hostess GiftsW illiam& So Arthur Much More... Checkerboard that damage in the future.” Crane & Co Prince Charming Belle SweetMeade Pea and Galleria more Dee and Cynthia use a variety of lights, microscopes and visual aides to do their work, including
5133 NewHarding Fall Collection Pike, featuring Suite C3 ultraviolet light, which reveals where there has been in-painting and can disclose the conservation Nashville,Coton TN Colors 37205 history and extent of previous restoration. MomAgenda 615.353.5520 • www.yistationery.comBeatriz Ball Heartfelt Traditions Handmade Pottery “The most important thing,” Cynthia adds, “is that restoration work should always be reversible, mean- www.yievents.blogspot.comSnap Caps by M3 Girls Design Scout ing that in 50 or 100 years, when there may be superior materials and techniques, our work can be undone, and new methods of conservation will continue to preserve the art for many years to come.” Belle Meade Galleria 5133 Harding Pike, Suite C3 Nashville, TN 37205 615.353.5520 • www.yistationery.com 68 69
Literature Peelle is a researcher. To create authenticity, she reads periodicals and books, listens to early American jazz, the blues, folk and mountain “So much of my music—studying and absorbing until she is sufficiently immersed in another world. identity as a writer Lydia Peelle “It all just combines in my head, creating people and narrative, with- was developed in out anything being based on specific events or facts. In many of my The Reason for Breathing stories I write about the natural world, but for me, all the heat comes by Sally Schloss | photography by Anthony Scarlati childhood by hiding from the humans and their conflicts and the push/pull of nature. I was For Lydia Peelle, the South is a place where the past crowds the present. “I’m drawn to a rural way of life because I’m interested in the inter- once given a piece of advice—you should write your first draft and She is curious about the lives that came before. Who were the people that section between domestication and the wild. A farm is considered a then do your research. Meaning, the truth emerges in fiction from away with a book.” once lived in her house? What are the histories of people she passes domesticated place, but it’s where you can still see a hawk out in the what you invent, not from the accurate portrayal of real situations.” on the street? What lives were lived in an old abandoned farmhouse? field and the cardinal it killed on the top of the big hay bale—and you know there are snake skeletons out there. All writers have a process they use to discover their stories. Some Peelle’s award-winning collection of short stories, Reasons for and writers know the end before they begin. Some painstakingly outline Advantages of Breathing, is rooted in Tennessee soil, populated by char- “So much of my identity as a writer was developed in childhood by and take copious notes. Others start with nothing more than an acters that she has imagined into life by walking the land and research- hiding away with a book and creating my own space. I think if you image or a voice in their head speaking to them. Peelle begins when ing the past, not as a native but as a Northern transplant. Desire for want to write, you have to do that. You have to separate yourself from she gets a character or an idea and wants to see where it’s going. understanding and connection compelled her to write her way into your family and the people you love. You have to be an observer of all making Tennessee home. aspects of your life.” “I’ll think, let me see who this character is and what will happen to her. Once the story tells me its direction, I can go back and push it further. I don’t outline, but I do a lot of writing to learn about my characters’ psychologies, their beliefs, and how they see the world.”
Peelle sees writing as a daily practice much like some people do yoga or meditation. It is necessary to her well-being, even when it’s the last thing she feels like doing. “I’m the kind of writer where the birth of it is difficult. I can’t say that I’m ever excited about sitting down at my desk. There’s a long period where I’m thinking about all the other things I’d rather be doing. But once I’m really into it—and that certainly doesn’t happen every day—I just forget myself. When I go back that evening and reread, I think wow, I don’t even remember writing this! It’s very difficult for me to get to that place of transcendence. And when I’m there, it probably lasts only about 25 minutes!”
Many writers find the first draft exhilarating. It’s when the material rockets onto the page uncensored. But it can also be the most incho- In Shadow on a Weary Land, Peelle’s protagonist, a middle- ate, when the story is so embryonic and characters so unknown that aged man, is living in the outlaw Jesse James’s house built in 1875 on Brown’s Ridge outside Nashville. there are moments when the author asks, what am I doing? Where is this going? Does it make any sense? Some nights I think I can feel Jesse’s bootsteps if I lean off my mattress and press my fingers to the floor, but it is only the Inexperienced writers hate revision. An ongoing challenge for teach- rumble of the trucks coming down the Pike. Living in a place ers in writing programs is getting students to understand its value. like this, you would think it would be easy to start believing in ghosts. But I am haunted by something more real than ghosts. There are veteran writers who prefer revision to the first draft because Behind the Minute Mart, on a scrubby lot where the gas trucks it is where the gold emerges. Call it polishing; see it as an intellectual turn around, two perfect rows of daffodils come up year puzzle or as the iterative stages of perfecting the whole. Revision is, after year, just wide enough to line the drive of a farmhouse in truth, a writer’s sharpest tool. of which there is no longer a trace. Whoever planted those daffodils, a woman, I picture, in a homemade dress, did it Peelle describes the revision process as something she has grown to decades ago, without any thought of me. love. “I write longhand, and then I use the computer as a typewriter. I love laying out all the pages of the story on the floor and then rear- ranging and seeing it as a whole. When you get down to it, revision
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is a series of decisions: what word are you going to put next. Are you going to say, ‘The dog ran up to the man,’ or are you going to say, ‘The man looked over, and the dog was running up to him?’
“It can also be so paralyzing, deciding on which word, or word sequence, I choose. There’s also the realization that if I do it this way, make this choice as opposed to another, it is fixed and will never be read differently.”
Peelle has eight beautifully realized stories in Reasons for and Advantages of Breathing and confesses that there are probably 12 stories in a box that didn’t make it into the book. Some of these she has worked on for years. How does a writer know when it’s time to give up and move on? Do these stories ever become the genesis for something else? Will they be resurrected at some point in the future?
“I guess the way I think about it is that I haven’t completely given up hope on them. I always think that someday I’ll go back, but in all probability that will never happen. Sometimes I think that maybe I wrote that whole story for one thought to coalesce in my mind. I think of it as part of a big compost heap for something else. But it does feel sad when I arrive at a point where I know I’m done with a story. It feels like they’re people that I’m abandoning.”
There are a number of reasons a story doesn’t work—plot weaknesses or the underdevelopment of characters, for instance. Sometimes it’s a Specializing in carefully selected books of lasting failure of courage—the story is touching on a scary or sad place the quality, treasured classics to latest releases. writer doesn’t want to explore. For Peelle it’s a matter of voice. Just like a musician searches for the right note, Peelle is listening for the Thousands of rst editions, many signed truth of her character’s voice on the page.
and in stock at all times. “By the seventh draft, if I still haven’t nailed that overriding voice then I know it’s failing. My characters have to become whole before ORIGINAL ARTWORK the story moves. That’s why I write so much and throw it away. GREG DECKER, RACHEL KICE, BRENDA STEIN, For each paragraph, I might write dozens of pages. Each character’s TWISTED SISTERS, MARLEEN DE WAELE, & OTHERS psychology has to be fleshed out in order for me to distill them onto the page. But that is also one of the pleasures of writing—seeing the Z Z world from multiple points of view.” NEW & USED MUSICAL INSTRUMENTS She expands on her writing philosophy, “We didn’t choose to be born, A VAST ASSORTMENT OF MUSICIAN SUPPLIES & ACCESSORIES but we are all obligated to engage with each other and engage with VINTAGE GUITARS, 65 AMPS, GODIN, SEAGULL, TAKAMINE & MORE our place in the world and with nature. I hope that my stories will Z Z inspire people to be involved with their own sense of place, wherever that may be. I want people to ask themselves what happened here MUSIC GIFT IDEAS! 25 years ago, 100 years ago, and then experience what that means to them in the present.” UNIQUE HANDMADE ITEMS FROM FAIR TRADE COUNTRIES AND LOCAL ARTISTS ALL TYPES OF BOOKS ON MUSIC, MUSICIANS, GREAT COMPOSERS AND MUCH MORE In all her stories, Peelle illustrates how the past informs, even invades, the present and reminds us that the future is merely the progression of every today. Her layered portraits of human lives, time, beasts, progress, nature and place are all part of the story—and all stories are our own. 1305 Eighth Avenue South • 457.1063 LOCATED BETWEEN GRIMEY’S & THE W.O. SMITH MUSIC SCHOOL Open 10am To 6pm Monday Through Saturday www.landmarkbooksellers.com 70 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 71 72 73
Youth Speaks Nashville “Through Jessica Plowman, 18 Belmont University My Wish for the World Is . . . words, all My Wish for the World Is... photography by Anthony Scarlati Lost in translation They have the brightest eyes and smiles. They read Shakespeare and honor him in their monologues. youth They recently packed out the performance hall at Vanderbilt’s Sarratt Student Center where teens and From the English I speak to college-age youth buzzed with anticipation for the spoken word poetry they were about to hear. For claim the reality. these performers, a bare-naked stage presents their art just right; their words, only, take the limelight. Turning words to action, these youth grow into movers and shakers of our cities. power and We all chat away about what we should do, As we look to the New Year, Nashville Arts thought it would be exciting to catch up with Youth Speaks hope to Nashville, these bright minds and wordsmiths, to learn their wishes for our world. But as we move from the chatting determine to the doing The warm, steely-eyed Nashville director, Benjamin Smith, wears his paternal instincts on his sleeve We lose the power of our will. when it comes to his poets. Protective and thoughtful, he pondered rather than jumped at the idea of their doing an article. Fortunately, it took little persuasion once we starting talking about their goals and what My wish for the world is action. the kids hope to accomplish in 2010. We hope our readers will tune in as these poets change the world with their words one performance at a time. future.” –Youth Speaks This month’s featured poet, Sebastian Jones on p.86, also represents Youth Speaks Nashville, a civic organization that promotes youth literacy and artistic development. www.youthspeaksnashville.org Nashville vision
Our sincere thanks to New York City Magazine for the inspiration. statement Benjamin Smith Director, Youth Speaks Nashville My Wish for the World Is... We will stop marketing ignorance brilliantly And brilliance ignorantly. Will quit selling our children David Kelly,16 Action hero dreams McGavock High School In plastic packages My Wish for the World Is... Too hard to open. The law will show up on time Pundits will behave AK-47’s, semi-automatic weapons, Less like battle rappers and Mac 11’s And more like question marks. Couldn’t produce kapows Inertia will disquiet us, Peace would live Like untied shoelace tape And pieces of shirts Ticking off concrete failure With the names of teenage girls With every step. Who are gone Are instead in my phone.
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Samuel Amy Ashida, 19 Tompkins, 18 Belmont University Middle College High School My Wish for the World Is... My Wish for the World Is... That it would arise and rub the sleep To be as giving as my grandpa from its swollen eyes Who handed me a golden See the notes of new beginning Mexican ring Peeking through the still drawn blinds With upside down Awake and find that dreams are horseshoe jewels. plenty It would take selfish stress off And accessible like our neck The red, yellow, green, white, sugar like I remove my oak necklace coated candy when I go to bed. That fills my 10 cent gumball machine.
Kavonna Cooper, 15 Hume-Fogg My Wish for the World Is... For dreams to be finished The murdering of our young dreams leaves the earth without its creativity. I’m specifically sayin All this Slayin Rukiya Ellsberry, 15 Leaves us plain like a lion without Hume-Fogg his mane. My Wish for the World Is... Creativity is like the heart with the To eliminate stress uniqueness of its beat With a decent pair of Chuck’s. Or the grass with its emerald green See, if our minds are off our tired soles color under my feet. And our destination, So without the creativity of dreams Our hearts wouldn’t deceive us I deem the earth plain. on the journey. A world without creativity is So we’ll arrive ready. a dream unfinished. 74 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 75 76 77 JANUARY at Schermerhorn Symphony Center ‘The’ Organ Symphony January 7-9 Discover Bella Aeris SunTrust Classical Series Nashville Symphony Giancarlo Guerrero, conductor Hilary Hahn, violin
repertoire includes: MARTIN U,˚ JENNIFER HIGDON and SAINT-SAËNS
Gifted GRAMMY® Award-winning violinist Hilary Hahn performs with the orchestra, and Saint-Saëns’ Organ Symphony will serve as a magnificent showcase for the Schermerhorn’s Martin Foundation Concert Organ. Yeoman’s In The Fork Concert sponsor: Lipman Brothers Rare Book & Document Gallery Hogaku: New Sounds of Japan January 13 “Yeoman’s just may be the finest rare bookstore in the South, Special Event if not in all the country! For sure, it’s the handsomest anywhere!” TsuguKaji-KOTO, koto Yutaka Oyama, shamisen Robert Hicks, New York Times Best-Selling Author of Masahiro Nitta, shamisen Hide & Miho, percussion THE WIDOW OF THE SOUTH
This very special evening will give audiences a rare opportunity to hear some of Japan’s most gifted instrumentalists performing a mix of traditional and contemporary styles from their native country. Illuminated Flowers Preservation Hall Jazz Band January 14-16 by Bella Aeris Bank of America Pops Series Nashville Symphony Albert-George Schram, conductor Preservation Hall Jazz Band
The Preservation Hall Jazz Band has been devoted to keeping New Orleans jazz alive and kicking. Birch The group celebrates the music of Louis Armstrong, Jelly Roll Morton, Buddy Bolden and other jazz pottery vase legends who gave birth to this distinctly American art form. Lennie Lampi Concert sponsor: Corrections Corporation of America “The small town bookshop with uptown books” Media partners: 99.3 WAMB, 89.5 WMOT Penderecki Comes to Nashville January 21-23 SunTrust Classical Series Nashville Symphony Krzysztof Penderecki, conductor Barry Douglas, piano Roger Wiesmeyer, English horn
repertoire includes: PENDERECKI and SHOSTAKOVICH Raku bowl Wooden bowl One of the most influential composers of the past half-century, Krzysztof Penderecki is world- Catherine McMurray Ray Sandusky renowned for his boldly resonant music, which encompasses everything from the Romanticism PHONE 615-983-6460 • FAX 615-515-9060 of Mahler and Strauss to the bracing sounds of postwar modernism. He makes a rare visit to Nashville to lead a specially chosen program that includes his gripping Concerto for Piano. 4216 Old Hillsboro Rd. • Franklin, TN 37064
Special thanks to our sponsors: (Leiper’s Fork Historic District) TICKETS on sale now! www.yeomansinthefork.com 76 | January 2010 | Nashville Arts Magazine - RARE BOOKS & DOCUMENTS BOUGHTNashville & SOLD Arts Magazine - | January 2010 | 77 NashvilleSymphony.org 615.687.6400 WEDNESDAY - SATURDAY 10-5 • SUNDAY 1-5 www.BellaAeris.com 78 79
Theater
The Amun Ra Theatre Walking in the Light! by Jim Reyland
Actors, directors, writers or even tech virtuosos, whatever the Dr. Jeff Obafemi Carr is the founding artistic director of the Amun discipline, have all been known to start theater companies, and the Ra Theatre. “When I began my acting career in Nashville, good roles reason is always the same. Something is missing on the boards, and for black talent were scarce, to say the least. I wanted to change that. they have the vision and fire to fill the void with their own special gifts. The next few years, as I traveled the country, I devoted my spare time to studying what worked and what didn’t for African-American “Amun Ra Theatre—an theaters nationwide.” Egyptian name meaning Anyone who knows Carr knows that he has a flair for the dramatic (really?). As a student at TSU he organized a sit-in to raise money for The Hidden Light. I’ve a new theater, and more recently he took to the roof of his own new
theater space to raise awareness for Amun Ra. ogers R ando always believed it to be V “Artists have two things in common: we are creative, and we are fear- hoto: divine providence that less. If we don’t step out there with new and exciting ideas, we grow P stagnant. ART has the distinction of being the first black theater right: Carolyn German, with its own facility in Nashville since The Majestic in 1906—that’s the acronym ended up Dr. Jeff Obafemi Carr 103 years. Some people thought it couldn’t be done, but we believe far right: The adult in aiming out of the galaxy so we can at least reach the stars. Our being ART.” cast of Black Nativity philosophy is to be a professional theater ensemble, located in the – Dr. Jeff Obafemi Carr, founding artistic director, being taught by ell heart of the community. People who live across the street from the F Amun Ra Theatre dance instructor Ms. her & theater actually helped us build it. In the spring, we’ll be opening the hael gomez c c Nomalanga Eniafe. i lobby as an after-school hangout for teens, and our Performing ARTs M hoto: hoto: hat P
Academy is taking the unprecedented step of going to Ghana next P summer. Our kids, ages 9 to 13, are going to join our professional actors/instructors and students from Lipscomb University and travel story on the stage.” Signs of a New Day runs January 22–February 6, across the waters to add a theater annex/recreation room onto a needy 2010 (Fridays and Saturdays at 7:30 p.m., Sundays at 3 p.m.), tick- school and jointly learn about the performing experience with kids ets through Brown Paper Tickets, $15, Z. Alexander Looby Theater, their age. Our performances, as well as our training opportunities, 2301 Rosa Parks Boulevard, Nashville. are geared toward the symbiotic learning experience—we learn as we teach and vice-versa, all the while exposing the light within us all.” Dr. Jeff Obafemi Carr has created a strong foundation from which to create lasting good and enduring art. Dr. Carr: “Realizing we all are Amun Ra Theatre’s ambitious new season is aptly titled The Future Is gifted with something, we are compelled to share with others. That’s Now. It includes The Bluest Eye and Waiting for Godot (two challenging the magic of theater, and that’s the gift that is Amun Ra Theatre.” pieces Carr believes are going to light up the local landscape), Topdog/ Underdog, The Colored Museum, Route 66: Finding Nat King Cole, and Amun Ra Theatre, 2508 Clifton Avenue, Nashville, TN, 37209 the perennial Christmas favorite The Black Nativity. The season kicks (615) 329-4228 www.theamunratheatre.org off, however, with Carolyn German’s new play Signs of a New Day, the story of a Civil Rights legend, performed in the theater that is named Jim Reyland is artistic director of Writer’s Stage Theatre after him. A collaboration with Metro Nashville Parks, Signs of a New (www.writersstage.com) and president of Audio Day: the Z. Alexander Looby Story is based on the life and accomplish- Productions, Nashville (www.audioproductions.com). ments of acclaimed Civil Rights attorney Zephaniah Alexander Looby. His writing and composing credits include Used Cows For Sale, A Sugar-Coated Pill, Stuff, Further Than We’ve Carolyn German: “This project began about two years ago, when I Ever Been, Shelter, A Terrible Lie, Stand, Article 4: and ogers R first took on the management of the Looby Theater. As I did more the musicals 21 Baker Road with Addison Gore and The ando research about Looby, the more intrigued I became with him. So Grand Band Ballroom. [email protected] V tokes S hoto:
many aspects of his life are fascinating, and I knew I had to tell this P ralyn B left: The cast of Before the People Came written and directed by
78 | January 2010 | Nashvillehoto: Dr. Jeff ArtsObafemi Magazine Carr. Nashville Arts Magazine | January 2010 | 79 P 80 81
2010 THE BEST YEAR YET TO JOIN THE FRIST
2010 AT THE FRIST Heroes: Mortals and Myths in Ancient Greece Masterpieces of European Painting from Museo de Arte de Ponce Chihuly at the Frist The Golden Age of Couture: Paris and London 1947-1957 The Birth of Impressionism: Masterpieces from the Musée d’Orsay JOIN TODAY Receive unlimited free JOIN ONLINE AT visits and member discounts for a year. fristcenter.org
FIRST ROW: Evening dress by Cristóbal Balenciaga. Silk taffeta, 1953-4. Given by Miss C. Coombe, Collection of the Victoria and Albert Museum, London T.427-1967. © V&A Images/Victoria and Albert Museum. Dale Chihuly. Sea Blue and Green Tower (detail), 2008. 15 x 8 x 7 ft. Legion of Honor, San 3 Francisco. Photo by Terry Rishel. © 2009 Dale Chihuly. Jules Bastien-Lepage. Les Foins, 1877. Oil on canvas, 68 x 76/4 in. Musée d’Orsay, Paris, France. 9 3 1 © Réunion des Musées Nationaux. Corinthian Helmet, ca. 700-500 BCE. Bronze, 9/16 x 8 /16 x 10/8 in. The Walters Art Museum, Baltimore 3 9 SECOND ROW: Dante Gabriel Rossetti. Roman Widow, (Dîs Manibus), 1874. Oil on canvas, 41/8 x 36/16 in. Collection Museo de Arte de Ponce. The Luis A. Ferré Foundation, Inc., Ponce, Puerto Rico 60.0149. Photograph by John Betancourt. Edouard Manet. Le Fifre, 3 1 The Golden Age of 1866. Oil on canvas, 63/8 x 38/4 in. Musée d’Orsay, Paris, France. © Réunion des Musées Nationaux. James Abbott McNeill Whistler. 3 Couture is organized by Arrangement in Gray and Black No. 1, or The Artist’s Mother, 1871. Oil on canvas, 56/4 x 64 in. Musée d’Orsay, Paris, France. Photo: Downtown Nashville 80 | January 2010 | Nashville Arts Magazine the Victoria and Albert J.G. Berizzi. © Réunion des Musées Nationaux/ArtNashville Resource, Arts Magazine NY. Heroes: Mortals | January and Myths 2010in Ancient | Greece 81 is supported by an Museum, London indemnity from the Federal Council on the Arts and the Humanities. 615-244-3340
FC10526_Mmp_NashvilleArts.indd 1 12/18/09 4:55:17 PM 82 83
Antiques history of photography was secured in 1861 with a series of 30 large-scale plates and 100 stereos taken in the Yosemite Valley.
The Yosemite pictures were exhibited in New York in 1862 and Appraise It were partly responsible for the 1864 legislation which declared by Linda Dyer | photography by Jerry Atnip the valley inviolate. In 1867, his mammoth plates of Yosemite won him a medal at the Paris International Exposition, as well American Silver and Enamel Serving Spoon, Gorham as earning him international recognition as a landscape photog- Manufacturing Company, circa 1880 rapher. In 1906, he was negotiating the sale of his life’s work When clients sent this spoon for evaluation, their expectation was to Stanford University when his studio and collection were that they owned a piece of Russian enameled silver. Russian silver- destroyed by the fire that followed the San Francisco earthquake. smiths may have had a hand in the crafting of this elegant object. If they did, they were living in America and working at the Providence, These two sepia-tone prints are part of “Watkins’ New Boudoir Rhode Island-based Gorham Manufacturing Company. Gorham Series Yo Semite and Pacific Coast” series. They are albumen print was founded in 1831, and for many years their chief product was photographs on thick cardboard mounts, referred to as Boudoir or spoons. The similarity to the early 19th-century Russian silver and Cabinet cards. The mounts, each titled and identified as Watkins enamel works made famous by Fabergé was no accident. Gorham New Boudoir Series Yo Semite and Pacific Coast, 427 Montgomery hired Russian artisans during the late 1880s and early 1890 to do Street, San Francisco, are quite durable and difficult to bend. Each their enameling. has a retail value of $400 to $500.
left: B. 20 Yo Semite Falls From Camp Grove, 2,634 FT. Gorham produced exquisite enamel work, which this serving spoon Antique Oriental Wool Rug, “Lesghi Star” Shirvan, Northeast below: B. 10 El Capitan, 3,600 FT. View Down The Valley. Yosemite. affirms. The aesthetic movement design of the engraved handle is Caucasus, late 19th century, 4’8” x 3’8” enhanced by colorful champlevé enamel inlays. The elongated bowl was Tribal villages in the area of the Caucasus Mountains (bounded by the gilded with a matte finish and then wonderfully bright-cut. The engrav- Black and Caspian Seas to the east and west, Russia to the north, and ing technique of bright cutting is achieved by engraving at an angle to Turkey and Iran to the south) have produced very distinctive Oriental create reflective facets. The enamel work on this piece is particularly fine. rug types since at least the end of the 18th century. The designs are often dense all-over patterns of geometric elements—squares, diamonds, This nine-inch serving spoon is marked with Gorham’s stars, and frets. The rugs are generally small, with wide multiple borders. hallmarks of the last quarter of the 19th century (rampant loin–anchor–G), sterling, and 375. Caucasian rugs and carpets may resemble each other in general appearance but differ materially in detail. Weaving techniques I would expect this fine antique spoon, involving the warp and weft most often define the differences in like-new condition, would sell at between these regional rugs that can otherwise closely resemble each auction for $400 to $500. other in pattern. “Warp” and “weft” are technical terms for the two Carleton E. Watkins, American, 1829-1916 Mounted Albumen types of fiber. In the case of Oriental weavings these fibers would Print Boudoir Photo Cards, 8½ x 5½ inches, circa 1876 be cotton, wool, and/or silk used to create woven product. Initially Carleton E. Watkins, the son of an innkeeper, left his home in I believed I was looking at an antique Oriental “Star” Kazak wool Oneonta, New York, in 1949 after the discovery of gold in California rug, when I noticed details that determine the regional attributions and ended up working as a clerk in a San Francisco department store. TERMs of The Month of old Caucasian weavings. The rug is actually a late-19th-century In 1854, Watkins was asked by a daguerreotypist in San Jose to tend Champlevé Northeast Caucasus “Lesghi” Shirvan. As with a “Star” Kazak, the his gallery after his operator quit. Although Watkins knew nothing Champlevé is an enameling “Lesghi” designation refers to the star-like designs, and you will some- of photographic processes, he agreed. For the first few days Watkins technique in which troughs or cells times see these finely woven rugs referred to as Leshgi Star Shirvans. was simply the caretaker of the studio, but when the owner could are carved into the surface of a metal not find a new operator, he instructed him on the daguerreotype base, filled with vitreous enamel paste and From the submitted photograph, the rug appeared to be fairly worn, process. With only the briefest instructions, in a short period Watkins then fired to fuse the enamel. When cooled, the and as such a fair market value for this weaving in worn condition was able to make portraits and completely operated the gallery. surface of the object is polished, and the uncarved would have been about $1000. But upon first-hand inspection the In 1858 Watkins returned to San Francisco where he established portions of the original surface serve as the frame of weaving was discovered to be actually quite sound. The warp and weft his own photographic studio for portraits and view photography. the enamel designs. Champlevé is distinguished from the similar were stable as well as having all the richness of color of its time. The enameling technique of cloisonné in which the troughs are created by lustrous indigo blue was especially striking. Caucasian weavings from As a view photographer, Watkins did not have to travel far from soldering flat metal strips to the surface of the object. the 19th century are very collectible. Truly old Caucasian rugs in any California to find his muse. Summer after summer he useda sort of reasonable condition are quite expensive in today’s market. I specially constructed camera to photograph Yosemite and the Rug versus Carpet? would estimate the auction value of this finely woven rug, which great trees of the Mariposa Grove on glass plates ranging in size The words rug and carpet are commonly used interchangeably, but embodies the “art under foot” beauty of a true antique Oriental weav- up to 18 x 22 inches. On his early trips into Yosemite, a 12-mule typically in the world of fine art and antiques, rug refers to a weaving ing, at $3000 to $4000. train was required to carry Watkins’s equipment. His place in the measuring under 5 feet by 8 feet in size. Carpet denotes the weaving measures over 5 feet by 8 feet. 82 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 83 84 85
Chinese Export Porcelain, 18th and 19th Centuries Although Europeans had been trading with the Chinese since 1557, Americans did not enter the China trade until 1785. British mercantile regulations had prevented the colonists from trading with the Orient. Despite these regulations, seafaring men of the new nation entered into foreign trade. This is how this blue and white china became known to New Englanders as the tableware of the American Revolution.
Most of the porcelain shipped from China to the West during the 17th through the 19th centuries was known as China trade porcelain or Chinese export. Two of the most commonly known forms are the blue and white Canton and blue and white Nanking ware.
Porcelain was manufactured and fired in the kilns at the Provence of Ching-Te Chen, then sent to the seaside ports of Canton and Nanking for the final decorating process by Chinese artists and craftsmen working in the enameling shops. The names Canton and Nanking allude as much Chinese export porcelain was shipped to Europe and America to the decoration and design on the ware as to its port of export. in the holds of cargo ships, which resulted in its also beginning referred to as ballast ware. More than one ship was lost at sea. Canton has several characteristics that distinguish it from the very Technological advances have made it possible to salvage long- similar blue and white Nanking pattern. Both Canton and Nanking lost wrecks. The Oriental porcelain in their holds has driven ware are hand painted with a composition of a coastal village scene the salvage efforts. The most famous recovered shipwreck cargo, consisting of tea houses, arched bridges, willow trees, meandering known as the Nanking, came from a Dutch ship which sank in streams, distant mountains, and an absence of figures. The most 1752. The hundreds of tons of tea on board would have netted obvious difference between Canton and Nanking patterns is the the original owner a huge sum, while the 130,000 pieces of border designs of each. The border of Canton patterns has a blue blue and white porcelain in the ship’s hold was a minor concern lattice network and inner border of wavy or scalloped lines called to the paymasters. Yet when the recovered porcelain cargo of clouds. Nanking borders are ornamented with a geometric lattice the Nanking came to market in 1986, it made $20,000,000. and spearhead design and may also have an application of burnished gold. Unlike the finer quality and reliable color of Nanking ware, These handsome examples would typically sell for, in a retail setting, Canton pigments vary in intensity from a washed-out gray-blue to from left to right:18th century blue and white Nanking saucer, $50. cobalt blue, depending on the varied intensities of heat within the 19th century blue and white Canton Chinese scallop edge bowl, kiln during the firing process. $300. 19th century blue and white square saucer, $25.
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
arlati appraiser of Tribal Arts. Sc If you would like Linda to appraise one of your antiques, please send a clear, detailed image to
nthony [email protected]. Or send photographs to Antiques, Nashville Arts Magazine, 644 A West Iris Dr.,84 Nashville, | January TN 37204. 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 85 hoto: P 86 87
Poetry
Dark Star by Sebastian Jones
As I look outside my window Towards the ceiling of the universe, Away from Bones and Satchel Who drag their oversized trash bags around town like their past, I stare southward at the Northern Star. Big Carlos and Iron Mike post a frightened exoskeletal boy Up on the side of the liquor store wanted sign Attached to a telephone pole. No one cares. Just as this fragile boy glares into their eyes, I stare into the skies. In the midst of the darkness Lights shine divinity With ancient mega-sized light bulbs Illuminating the ebony top floor basement called Earth. Out the window, I see Bones and Satchel Eyes sparkle Stars in the midst of their space-colored flesh. Big Carlos and Iron Mike’s eyes become mirrors Reflecting the exoskeletal boy’s future. arlati As I stare out my window, Sc nthony I see hope. A hoto: P
Sebastian Jones is a rising spoken-word artist on the Nashville scene. He is a junior at Hunters Lane High School. He plans to attend Vanderbilt University and receive a degree in astronomy.
Youth Speaks Nashville is building a culture of literacy in Middle Tennessee through spoken- word and creative-writing residencies, workshops, open mics, slams, and shows. Contact info@ youthspeaksnashville.org for more information.86 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 87 88 89
Anything Goes Who has most inspired you? James A. Webb Jr., whom I worked for at Nashville City Bank. A true leader.
Who is your favorite artist? Ron Samuels My wife. I love the way she sees things and interprets them in her paintings. I also like Monet. What characteristic do you most like about yourself? I have a lot of energy and enthusiasm. I make things happen. What are you most proud of? Raising two wonderful kids, and my Avenue Bank family. I’m also And what do you like least? proud of the fact that I was 60 years old when we started Avenue I just can’t say no. I over commit. Bank. It is never too late to dream big!
What was the last book you read? Why Nashville? Rome 1960: the Olympics that Changed the World by David Maraniss I love the creative spirit of Nashville. It’s a place where those big dreams really do come true. Who would you most like to meet? Warren Buffett and Sarah Palin. Both are interesting people but for What do you like most about the city? very different reasons. It’s a friendly place to live and an exciting place to work. Can it get any better? What about you would most surprise people? That I play the guitar and I started the Hummingbird band. What do you like least? I hope we can figure out public education and reinvent our schools. And we need to do it soon.
Are you happy with where you’re heading? Absolutely. I’m in the right place, doing the right thing at the right time.
What’s your mantra? Show up. Be prepared, be dressed to play, and never forget that atti- tude is everything.
What’s it like being you these days? My life is a mix of interesting people, interesting projects with a big dash of comedy.
What talent would you most like to have? I always wanted to be an artist.
What is your most treasured possession? My team-autographed 1956 New York Yankees baseball that includes Mickey Mantle, and my 1970 Mercedes 280SL. tnip A erry
J What is your greatest regret? That I waited too long to become an entrepreneur. Don’t wait! Find photo something you love and stick with it.
Ronald L. Samuels is President, Chief Executive Officer and What would you most like to be remembered for? Chairman of the Board of Directors for Avenue Bank. Samuels Founding Avenue Bank and my love for the game of golf. is presently Chairman of the Nashville Area Chamber of Commerce and a board member of the Country Music Association. He played an active role in recruiting the Houston Who do you like to listen to? Oilers (Tennessee Titans) to Nashville. In addition, he served Norah Jones, Rod Stewart, Taylor Swift, Amy Grant. The Beatles were on the board of the BellSouth Senior Classic for several years, good then, and they’re still good and, of course, the Hummingbirds. an event that brought professional golf to Middle Tennessee. Samuels received an M.B.A. from Vanderbilt Owen Graduate You have five minutes left to live; what are you going to do? School of Management and is a graduate of the University of Gather my whole family, go to the golf course, kiss them all, and Mississippi where he earned a B.B.A. in banking88 and| January finance. 2010 | Nashvilledrive that Arts ball Magazine as far as I can. Nashville Arts Magazine | January 2010 | 89 90 91
On The Town The Ingram home is I must tell you how excited I was to be carded at the door. Others with full of old charm with a IDs in hand were Brett Morris and Sarah Townsend, Amy Scruggs, comfortable, welcoming Happy New Year to all. I will backtrack and share with you last Laureen Sites, Grace Clayton, Billy Pritchett, Edward Coble, Tony feel, overstuffed uphol- month’s holiday social happenings. We shall start with the ever-so- Rose Jr., Graham Worsham, John Clayton (my nephew—he is so Martha Ingram, Rodes and Patricia Hart at Symphony Patrons Ball stery, Fortuny curtains, wonderful women of the Horticultural Society at glad to be of age) with Julian Scruggs and Kenneth Adams and Santa porcelains…I was right Cheekwood. Sarah Keith Maxcy oversaw a festive (now this was trouble in the making!). The Liles boys, William at home! Libby Page and weekend starting with Jingle in the Mansion, and Layton, arrived in a huge limo with some 20 people inside Elizabeth James did their cocktails and dinner with the chance to view the already partying. Proud parents of the chairs, Celeste Reed and magic in the home as well elegant trees of Christmas. The mansion looked Don Welch, Sarah Keith and Lee Maxcy joined in all the mistletoe as under the two-tiered gorgeous; the Cheeks would have been proud of madness. The best quote of the evening came from Hugh Howser clear tent. Not a flower of their former home. Kates Fine Catering provided Jr.: “Where would we be without the Horticultural Society but in color was seen but all white the spread, which was a good one since it is the same a sea of weeds.” That just about sums up this wild and crazy party. orchids, lilies, amaryllis, menu from year to year but, make no mistake, a and roses. Libby created a wonderful menu of tenderloin, stuffed tomatoes, And you think that was all at Cheekwood? No way. There was hedge garden of amaryllis asparagus, etc.—comfort food at the Mansion. Breakfast with Santa, chaired by Pam Harnes and Fran Overby, that surrounded a replica by Ted Clayton and Sparkling Settings, a luncheon in Botanic Hall held on the statue from the west pedi- Pat Patrick and band led the patrons to an early evening of dancing in following Monday. The lunch crowd had the pleasure of viewing Totty Bradford, Gigi and Ted Lazenby, Jimmy ment of the Parthenon their holiday attire. Those enjoying the holiday spirit included Mary holiday tables decorated by table hosts. Chairs Babs Freeman and Bradford at Symphony Patrons Ball Illissos. This sculpture Follin and Bill Bivens, Woody and Linda Sims, Jo and Ben Doubleday, Kim DeMoss presented the winners’ tables which were themed in was so big it was deliv- Nan and Neil Parrish, Kerri Anderson, Gary and Rachael Oldham, ered on a huge, flatbed Barbara and David Rodgers, Kim and Edie DeMoss, Lee Pratt and truck that stopped traffic Neil Krugman, Totty and Jimmy Bradford, Lin and Bill Andrews. Jingle This, a wonderful concert featuring Nashville in Harmony, on Harding Road. By the was held at the Blair School of Music. Nashville in Harmony is way, this sculpture just My favorite tree was by Geny’s Wholesale Florist, all white and silver Music City’s first and only music performance group of GLBT happened to be stored in with silver reindeer hidden in the tree. A few years back, the powers persons and friends. Their mission is to build community and Shelby Green’s warehouse that be of Cheekwood realized that create social change through listening to music. The group was of treasures here in town. Symphony Patrons Ball this evening needed a little young founded in 2004 under the sponsorship of the First Unitarian energy, so Martinis and Mistletoe Universalist Church of Nashville. It was a most enjoyable concert was created for Nashville’s young under the direction of Don Schlosser, Eric Tyson and Claire Mily, social set. This party started at 9 board president. The chorus presentation was great and must p.m. in Botanic Hall. Talk about a not be missed in the spring for their next upcoming concert. party—500 plus arrived in limos, cabs, buses…everything but It would not be the holidays without wild and crazy Myles Maillie Santa’s sleigh (only because no Chairs: Reed Harrison and hosting his annual holiday get-together. Myles welcomed hundreds one thought of that), ready to get Liza Maxcy at Cheekwood John Clayton, Julian Scruggs, Santa, Kenneth Adams at Cheekwood of his friends to his white house on White Avenue. Great food was down and party! Martinis chairs prepared by a new chef in town, Matt Reasoner. Matt prepared and Reed Harrison and Liza Maxcy decoration Tickled Pink (Babs’ table honoring served the food wearing cowboy attire and hat—kind of reminded Jo and Ben Doubleday welcomed all of the who’s who at Cheekwood her first grandchild, Katie), Christmas at Camelot me of The Naked Cowboy of Times Square. I suggested to Matt of Nashville’s upcoming social by Rosemary Mortimer, Gayle Jaggers, Marilyn that he should become known as the “Cowboy Chef.” We shall see. generation. Harwell, Cynthia Van Ryn, and Lucy Bolding. Buying and viewing Myles' creative art were Julie and Frank Boehm, Steve and Judy Turner There was a silent auction, which was most Laurie Williams, Leeann and Jay Barron, Doug and Robinson Regan, clever—different garden clubs put themed baskets Nelson Hester and Taylor Thornton, and John and Laura Tarpley. I together. They were great and full of useful items. must add that the interior of Myles’ home is also all white. Cool man! Congrats to Jean Bowden for coordinating the auction. Peggy Warner, Nan Parrish, Sandy Zeigler, Not since my childhood days remembering my grandparents and Louise Martin, Gray Thornburg, Patsy Petway, parents entertaining have I been to a party as fine as the one that Patsy Weigle, Nants Reynolds, Annie Laurie Martha Ingram and Patricia and Rodes Hart hosted for the patrons Berry, and Joyce Hitt were all bidding on these of the Symphony Ball. Guests were cordiality welcomed into the creative holiday baskets. (You may have gotten lovely Ingram home with both Mrs. Ingram and the Harts greet- one under the tree if you were good.) OK, lock ing each and every guest and thanking them for being there. True those doors at Cheekwood. It is always a wonder- Southern hospitality as its best. There is no comparison between a ful weekend to start off the Christmas season! lovely home party and one at a hotel or any other social event venue. Sarah Keith Maxcy, Chairman, Lynne
Wallman at Cheekwood 90 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | JanuaryJoe and Anne2010 Russell | 91 at Symphony Patrons Ball 92 93
The ball was held at the Schermerhorn Symphony Center; what a The Harmony Award is the great venue for a party. The main hall is so very classical in style esteemed award presented that decorations are not a must but do add to the festivities of an to individuals who have evening. Branches did a lovely job designing the hall. Simple but demonstrated continued elegant, all white and silver for the 25th Anniversary Ball. Tables interest in and support were covered in white sequin floor-length cloths that were to kill of music in our city. The for! Centerpieces were white candelabras with white floral arrange- award was presented to the ments. The overall look was welcoming, soft and elegant, grant- talented Carrie Underwood. ing that the beautiful women and handsome gentlemen added All in all Nashville’s color in dress as well as their festive personalities to the decor. premier winter social event was a large success The chairmen looked elegant: Dara Dickson in a solid floor-length building awareness for Carrie Underwood performs at the Symphony Ball silver gown by Pamela Rowland and Perian Strang in a silver Vera the Nashville Symphony. Wang. Queen Mom, Anne Russell, in a stunning number by Manike, Morel Harvey with a wonderful cape of black mink and A most unusual auction Greek Antiquity was the theme of the evening. I was told that Martha Ingram created velvet covered in rhinestones, Kelly Beaman in a black Oscar, was held at Tinney this idea while in Greece this past summer. The tent was clear, with a Chippendale black Rhonda Small in a red with black overlay by Yoly Munoz (husband Contemporary Gallery— railing surrounding the floors, which were carpeted in a soft cream hue. Tables were Richard added that they bought the gown on Worth Avenue). Lyrics: An American Art Form draped in green and soft matte silver damask cloths. The centerpieces were breathtak- Barbara Bovender stood out in a fab one-shoulder purple Oscar, and benefitting the American ing white orchids and amaryllis contained in large concrete urns surrounded by green Martha Ingram was again stunning in a flowing blue silk organdy Music Association. It was a Kix Brooks wreaths. Columns with Ionic capitals were used to look like tent supports. Different areas of the two-tiered tent were draped in soft white sheer fabric that was backlit in a soft cream hue. I pay attention to the smallest details, and let me tell you even the dinner menu card had the patron name engraved on it, no calligraphy. Speaking of dinner, the Greek theme was followed throughout, consisting of avgolemono, a tradi- tional Greek soup of chicken and rice in a rich lemon broth; Arni Me Spanki, rosemary roasted lamb with moussaka; sautéed spinach and parsnips purée, baklava, pistachio crème anglaise and pomegranate, all followed by Borghetti Sambuca served with three coffee beans for health, happiness and prosperity (those beans were plentiful that evening!).
Kate Graykin looked, as always, beautiful in a soft green cocktail suit with a large round David Macias, Elizabeth Cook, Mary Gauthier diamond bow brooch on the back of her left shoulder. Ann Street (say no more) was Guy Clark, Tamara Saviano, Bill Lloyd radiant in a mauve-colored gown. Judy Turner was lovely in a wonderful, Christmas-red gown with matching fur collar, and Martha Ingram wore a stunning black sequin number gown. Anne Dobson got my vote for Best cocktail reception with a live and silent auction of handwrit- with black feathers flowing to the floor. Beautiful patrons included Annette Eskind, Anne Dress in a smart black lounge outfit with an ten lyrics. Now this puts a new twist on that same old same old and Joe Russell (Anne, being mom to Symphony Ball chair Dara Dickson, whispered amazing white floor-length cocktail coat by silent auction—no trips, signed guitars, furs nor rare jewels, all to me that she was the Queen Mother that weekend and what a lovely queen she is!), Pamela Rachael, quite the Audrey Hepburn lyrics. The cool thing was that many of the artists were there in Richard Ragsdale and Debbie Rouge, Lyn and Bill Andrews (Lyn is next year’s co- chair), look. All the gentlemen looked handsome. person, such as Cowboy Jack, Mary Gauthier and John Hiatt. Co-chairs Perian Strang and Dara Dickson with Carrie Underwood Kelly and Lee Beaman, Elaine and Bruce Sullivan, Totty and Jimmy Bradford, Gigi and Dancing the night away to the Craig Ted Lazenby, Barbara and Jack Bovender (Barbara in a stunning beaded Oscar), Peggy Duncan Orchestra were Lake and John Gallery owner Susan Tinney, with the help of John Reed, and Randy Kinnard, Nancy and Billy Ray Hearn, Joy and J. R. Roper, Debbie and Fred Eakin, Mary and Mike Spalding, Dr. and hosted a great evening of art and music. Those perform- Mr. Richard Cassitty, Heloise Kuhn (who shared with me that she thought the decor was peaceful and Mrs. Norman Scarborough, Judy and Steve ing besides Cowboy Jack, Mary and John were Mike Manson and Dr. lovely, most classical), Symphony Ball co-chair Perian and Sam Strang, not to forget Dara’s Turner (he was wearing an original Manuel), Farris, Sam Bush, Jim Lauderdale, Elizabeth Cook and Ruth Johnson at Symphony Ball loving husband, Jim Dickson. This was by far the finest private gathering at a residence that Mr. and Mrs. Terry Chandler, Mr. and Mrs. Guy Clark. This was so very unusual, I wonder if anyone this social writer has attended! William Sites, Alyne Massey with Dr. Bill would ever like to auction off my notes on this article? Oliver (Dr. O. shared with me that he is Some of the artists were unable to attend but did donate Mrs. Lee Beaman, Mrs. Frank Boehm, Mrs. Jack Bovender, Mrs. James Dickson, Mrs. Irwin quite the lady’s man, for he is the only one their lyrics, such as Willie Nelson, Rosanne Cash, Brooks Eskind, Mrs. Thomas Frist, Mrs. Joel Gordon, Mrs. Bronson Ingram, Mrs. Lawrence Lipman, Cowboy Jack Clements that age that drives at night!), Bettye Sue and and Dunn, and Bon Jovi. My favorite performer was and Ralph Murphy Mrs. Ellen Martin, Mrs. Jack Massey, Mrs. James McGregor, Mrs. Joseph Russell, Mrs. Martin Robert McNeilly, Sada Stewart and Francis friend Mary Gauthier singing Mercy Now—love ya, Mary! Simmons, Mrs. Samuel Strang, Mrs. Bruce Sullivan, Mrs. Steven Turner, Mrs. Ted Welch, Guess, Dr. Ruth Johnson and Richard Mrs. Ridley Wills III, Mrs. William Wilson—what do these women have in common besides Manson, Mr. and Mrs. David Mahanes III, Cathy and Martin Well, that’s about the way I feel now—mercy now, see you being beautiful, clever and gifted? They all attended and were honored at the 25th Annual Brown, Judith and Richard Bracken, Jeanne and Jeff Bradford, Joni and Cupid next month out and about in wonderful, art- Symphony Ball as past chairmen. Werthan, Mr. and Mrs. Jody Williams, and Pam and Jimmy Stein. filled Nashville!
92 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 93 94 95
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94 | January 2010 | Nashville Arts Magazine Nashville Arts Magazine | January 2010 | 95 96 97 Nashville Arts Magazine Jan. 2010 Crossword PuzzleJunction.com
Puzzler Across 58 The Adventures of ___, Terry Gilliam’s 1 Spanish wave comic look at a 4 Discoverer of legendary German Artrivia New Zealand, ___ nobleman by Dave Turner Janszoon Tasman 62 Torment Maurits Cornelis (M.C.) Escher never officially graduated from 8 Blueprints 63 Swamp high school due to failing most of his exams. In 1920, his father 13 Caddie’s offering 64 Spare, e.g. enrolled him at the School for Architecture and Decorative Arts in 14 Space suit insignia 65 Clan emblem Haarlem, Holland, to study architecture. After one week he decided 15 Kentucky Derby prize 66 Knock for a loop a graphic arts program was best suited to his skills, even though he directly from the mouth onto the cave wall. These stenciled paint- 16 Bogdanovich’s classic 67 Naval clerical types regularly complained about his lack of natural drawing ability. ings are, in effect, the very first example of inkjet printing. 1971 tale of Texas (Abbr.) life, with The The earliest known cave paintings, found in Lascaux, France, In 1995 Disney released the first full-length, all-digital movie, 19 Preface, briefl y Down dating back nearly 32,000 years, are attributed to Aurignacian Pixar's Toy Story. The project required over 800,000 computer 20 Needle continuously artists. One of the techniques for these paintings is now known as hours to render the 114,000 frames in the final cut. Each frame 21 Horrifi ed 1 Juice source stenciling. Pigments were crushed into a powder and mixed with a required between two and 13 hours for final processing. There are 23 Colony member 2 1937 Ronald Colman binder to ensure fluidity and then blown through a hollow reed or approximately one trillion, six hundred billion pixels in the film. 24 Pipe joint classic 27 Corporate V.I.P. 3 Bone cavity Where Are You Now? 28 Vessels 4 Black cuckoo Photography by Jerry Atnip 31 1935 Astaire, Rogers 5 The Art of Fugue classic Nashville is full of architectural surprises if you know where to look. Below are six architectural details that can be found around town. composer See if you know where they are. 33 Sears’ partner 6 This, in Taxco 36 Poetic “overs” 7 1944 Gene Tierney 37 2005 Crowe, classic mystery Zellweger boxing bio 8 Magician’s word Copyright ©2010 PuzzleJunction.com 40 Percolate slowly 9 Red ink amount 25 Take home, like 37 Bubbly drink 51 1939 Fonda, 41 Common cold 10 Volcano output a salary 38 ___-majesté Colbert classic, symptoms 11 The Matrix hero 26 French 39 Spring bloomer ___ Along the 42 The ___: Kyra 12 Opposite NNE connections? 40 Calendar abbr. Mohawk Sedgwick TV series 13 Hipbone-related 29 Stickers 43 Name of a person 53 Peevish 45 Indian buzzard 17 Mailed, in London 30 Bloodhound's after whom 54 Traffi c marker 46 Lawn base 18 Diatribe signal something else is 55 Huffy state 49 Summer shade 22 Toothpaste holder 32 Pear, quince, named 56 Neutral color 50 Herd of seals 24 1961 Marcello apple, e.g. 44 Gad about 58 Cave dweller 52 Rio Grande city Mastroianni crime 34 Change for a fi ve 47 Willow twigs 59 Way back when 54 Rough-cut & comedy mix, in 35 Fish Magic 48 Death, Be Not 60 Decompose 1 2 3 4 57 Red fl uorescent dye English painter Paul Proud poet 61 Female lobster
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My Favorite Painting
Eugene Vitalis Biel-Bienne’s Self Portrait by John Guider When I first saw this painting, I was drawn to it immediately. I knew that in most self-portraits, the artist usually tries to make a forceful, singular statement that says, “This is who I am.” Biel’s image is more complicated. The vulpine smile of his jowls masks the dark frown of sadness seen in his tight-lipped mouth. His eyes, set deep in their sockets, reveal the weari- Kate Spade Brooks Brothers ness of a hard-lived life. Still, his gaze Burberry Lacoste remains bright and intelligent. This is a Juicy Couture Sephora man who has literally witnessed the best and the worst of what life has to offer. Louis Vuitton Tiffany & Co. The Cheesecake Factory Carrabba’s Encrypted in the artist’s brushstrokes of this provocative image lies the story of the enigmatic Biel. The son of Austrian aristocracy, Nazi resistance advocate, friend and acknowledged contemporary of Picasso, he came to paint this, his own portrait, while living the last years of his life in a modest two-room apartment in the heart of west Nashville. arlati Sc nthony A hoto: P Featuring Complimentary Valet Parking Eugene Vitalis Biel-Bienne was born in Vienna in 1902. Biel’s After near starvation and years of exile, he and his ailing The perfect complement to your shopping experience fame as an artist grew quickly, and by the 1930s the New York wife were granted asylum in the United States in 1942. Times declared him “one of the most significant painters on With the aid of two Guggenheim grants and a teaching the continent.” Biel’s form of expressionism was a favorite position at Fordham University he was able to restructure among the critics, and soon great institutions such as the his life and continue his work as an artist. Once again his National Gallery in Berlin, the Victoria and Albert Museum works were shown in major galleries alongside the likes of in London, and the Nationale D’Art Moderne in Paris were Modigliani, Seurat, and Kandinsky. acquiring his work. However, his vehement and vocal outcries against anti-Semitism and the Nazi occupations in the late The death of his wife in 1959 left him devastated. He ’30s cost him the lives of his two children, the health of his accepted a position at Vanderbilt as a professor of art wife, and his career. history until 1965. He continued his life in Nashville and Gift cards available from our mall concierge. 98 | January 2010 | Nashvillequietly passed Arts Magazine away in 1969. Nashville Arts Magazine | January 2010 | 99 THE MALL AT GREEN HILLS • HILLSBORO AND ABBOTT MARTIN ROADS, NASHVILLE • THEMALLATGREENHILLS.COM 100 Your Peter Millar Signature Store
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