Emily Leonard

Visual arts | Jewelry | Ballet | Architecture | Music

November 2009

Emily Marilyn Gallery Tennessee Leonard Murphy One Trails A walk in the woods Dangerous Desserts T he water is wide a new twist in the road

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Nashville, Tennessee Pound for pound, the most vibrant arts community in the country. Let’s keep the stage lights burning. Support the Arts.

4 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 5 Publisher's Note

TM November 2009 I am not a writer; I am a photographer. Trying to put my thoughts Spotlight...... 8 on paper is not something that comes easily to me. I guess that is the C hristie's, Tennessee Art League, Meriwether Lewis, Architectural reason that I prefer to hide behind the lens. Treasures, Belle Meade Winery, Cat in the Hat Bronze and more Exhibition...... 14 I thought I would start by calling all the writers I know and asking S usan Edwards | Twilight Visions them for some helpful advice. Fat chance. They are all too busy with Painting...... 20 their own deadlines to help me out. Now I am in real trouble. E mily Leonard | A Walk in the Woods So I did what I always do when I have a creative block. I got up and Jewelry...... 30 went to the couch and turned on an old black and white movie, drank Jingle, Jangle, Jewelry coffee, and flipped through the stacks of magazines that clutter my table. Music...... 38 L arry Weiss | Cuts and Scratches It’s hard to describe the feeling I get working on a story for the Ballet...... 40 Nashville Arts Magazine. You get the chance to meet with some of A udition! | The Magic of Nutcracker most talented people. To sit and get to know them on a personal level Feature ...... 44 and then capture a very private moment in time in the form of an T he Tennessee Trails | A New Twist in the Road image is a creative high for me. All I need you to do is to sit and open A Day on the Trail...... 52 up a copy of Nashville Arts Magazine and read it from cover to cover. Photography ...... 56 The creative talent that spills from the pages is amazing. The maga- W endy Whittemore | Abstract Aerials zine is unique in so many ways, from the editorial to the photogra- Painting...... 62 phy, to our amazing writers, right down to the layout and the paper it is printed on. As it states, we are the Nashville Arts Magazine team, Marilyn Murphy | Surrealism and Dangerous Desserts and I have never been so proud to be a part of this group. Gallery...... 68 Gallery One | The Water is Wide Appraise It...... 72 As the world spins out of control and you feel as if you have hit the Poetry...... 74 wall, all you really need to do is to sit back and turn on an old black Anything Goes...... 76 and white movie and open up a copy of Nashville Arts Magazine. On The Town...... 80 Openings and Receptions...... 84 Puzzler...... 92 I hope you like what we have created, and I hope to see you on down My Favorite Painting...... 98 the road. Nashville Arts Magazine team: Kat Amano, Jerry Atnip, Rebecca Bauer, Beano, Larry Boothby, Lizza Connor Bowen, Ted Clayton, Matt Coale, Melissa Cross, A nthony Scarlati Daysi, Linda Dyer, Cathy Faust, Madge Franklin, Greta Gaines, Photographer Joe Glazer, Valerie Hart, Daniel Hightower, Tim Hiber, Mark Levine, Charlie Martin, Joy Ngoma, Paul Polycarpou, Rita Puryear, on the cover: Emily Leonard's If You Can Flower So Red, 48 x 66 Randy Read, Jim Reyland, Kami Rice, Anthony Scarlati, Sam Scarpine, Jeff Stamper, Katie Sulkowski, Kevin Tetz, Adrienne Thompson, Lindsey V. Thompson, Dave Turner, Lisa Venegas, Deborah Walden, Rob Williams, William Williams Published by St. Claire Media Group C ontact Us at the Editorial Offices 644 West Iris Dr., 37204 Phone 615 383-0278 nashvilleartsmagazine.com © 2009 St. Claire Media Group. All Rights Reserved. No reproduction in part or in whole without written permission from the Publisher. Send any requests to reprint material to [email protected]. Subscription Customer Service 615 383-0278 [email protected] The Dermess Staff Letters We encourage readers to share their stories and reactions to Nashville Arts Magazine by sending emails to [email protected] or letters to the address above. We reserve the right to edit submissions for length and clarity. Advertising Inquiries For ad sales and media kit, visit Nashvilleartsmagazine.com or email [email protected].

6 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 7 Spotlight C ourage Undaunted On October 7 respect was finally paid to Meriwether Lewis. Perfect weather comforted those attending the moving ceremony honoring one of America’s true heroes—Meriwether Lewis of famed expedition team Lewis and Clark.

A 200-year mystery has followed the untimely death of Lewis who, over- arlati c whelmed by political enemies, never had a chance to defend himself. He was S thony

C hristie’s Country Music Sale, December 3 n

finally mourned at his grave, while the 101st Airborne Division Band played. A Christie's Auction House at 20 Rockefeller Plaza, New York, announced the Country Music sale, the first sale dedicated to the “We determined the best way to honor Lewis on the 200th anniversary of Photos: creation, history and evolution of Country Music. his death was to give him the public memorial service he was due in 1809,” says Tony Turnbow, chair of the commemorative ceremony at Grinder’s Leading the sale is a collection directly from the Estate of Hank Stand in Hohenwald, Tennessee. Descendants stood before the crowd of Thompson, which consists of unique Nudie suits, instruments, an estimated 2500, which included authors, historians and tribal chiefs, to photos, and other ephemera. Other notable highlights include a Bill acknowledge Lewis for his many contributions, leadership, perseverance, Monroe mandolin faceplate, instruments and clothing from June “trail breaking and undaunted courage.” and Johnny Cash and Roy Rogers and Dale Evans. Stephanie Ambrose Tubbs, program chair, concluded with these words: “Well Kerry Keane, musical instrument specialist and director of this 150-lot done, Captain Lewis, well done. May you rest in peace.” A bust of Lewis sculpted sale, travels to Nashville frequently and sees many instruments with by Harry Weber was presented by the Lewis and Clark Heritage Foundation. lots of provenance. He shared, “We were able to gather many exciting items. A highlight is a 1947 Martin D-18 owned by Hank Williams, The Strand Theatre in Hohenwald also played host to the moving live perfor- which he used while in Shreveport, Louisiana, performing with mance Inquest on the Natchez Trace—The Curious Death of Meriwether Lewis. Louisiana Hayride. This was prior to moving to Nashville and switch- Playwright, Tony Turnbow said, “The play explores the contradictory ing his guitar to a D-28, his next iconic instrument.” Keane summed historical accounts of how Lewis died. It recreates a historical coroner’s inquest and allows the prosecutor to make the same charges against up this catalog as “very broad and very deep.” For more information, A n Evening in the Tennessee Countryside—October 10 suspects that historians have made over the years. Not only does the play give voice to Lewis’ defense against suicide, but it allows the actors visit Christies.com or contact (212) 636-2680. Members of the Tennessee Art League gathered on a cool evening to speak for the many suspects who can no longer defend themselves against historians’ charges.” in Leiper’s Fork at the home ofBoB Ted Schatz Kromer, former TAL president, PHOTOGRAPHER

Bob Schatz has won numerous awards DeSign By naShVille and his wife, Karen Duffy, for duringtheir his over 30annual years as a fundraiser. Located in a Belle Meade Winery Ribbon Cutting Ceremony, November 16 commercial photographer. His editorial This is a uniquely successful photographs have appeared in The New “collaboration of images and words. York Times Magazine, Forbes, barn on the property, it was a Newsweekcasual, Fortune ,eveningElle, National enjoyed under low-litChristine Kreyling understands the Everyone is invited to the Grand Opening of Belle Meade Winery Monday, November Geographic Traveler, and Us. built environment of Nashville like chandeliers, with a tasteful displayBob’s books include ofTennessee, food, Simply wine, art and liveno oneand else and her words here naShVille By DeSign The critical16, eye is the4 gift p.m.–6 of the p.m. After the ribbon-cutting ceremony and dignitary talks there will Beautiful and Nashville Impressions, artist. The artist-with-the-eye Asheville Impressions, Tennessee ideally explain both the pieces and ARCHITECTURALTREASURES Impressions and most recently sees the big picture and the silent auctions. On the barn walls,Memphis Impressions TAL. His fine art members exhibitedthe their place - and why we love it so.. telling detail,be presenting a tour both and wine tasting. Wine is available for purchase and can be enjoyed in the prints are represented in the collections –MAYOR BILL PERCELL” to show us what is well made, of the Tennessee State Museum, the what is beautiful. art depicting the local countryside.Frist Center for theProceeds Visual Arts, the from the event will go garden. Each individual label features a famous Belle Meade racing horse and was Metro Nashville Arts Commission, Cheekwood Museum of Art and the The eye at work in Nashville By Nashville Public Library. His Design: Architectural Treasures toward the TAL in support of theirphotographic artcommunity is represented in programs. TREASURES ARCHITECTURAL is that of renowneddesigned from an original painting also on display in the mansion. Just in time for Tennessee by The Arts Company, photographer Bob Schatz. Nashville. His current portfolio can be viewed online at www.stockschatz.com. Through the lens of his camera This book is he brings intothe sharp holidays, focus here are four classic wines from a label with 150 years of tradition: Red “a tour-de-force, what is all around us: the art of The night was capped off with music and dancingand lead through by his the coun- some of Nashville’s finest Muscadine (Bonnie Scotland), chriStine Kreyling architecture. His photographs WRITER lens we see both PhotograPhy by bob Schatz introduce new ways of looking try vocals of Kevin Harris. GuestsChristine Kreyling were is an architecture joined theby familiar honorary and chair TExT by CHRISTInE KREyLIng at major monuments as well as Carriage House White (Gamma), and urban design critic and historian. some hidden gems embedded She has contributed to Architectural the less-familiar FoREwoRd by govERnoR PHILIP bREdESEn in the city’s landscape seen Record, Competition, Nashville City landmarks of our Paul Harmon and his wife, KarenPaper, NFocus Roark., Planning, and only by a few. Blackberry (Luke Blackburn), Preservation. In almost two decades of city interpreted writing for the Nashville Scene, she Bob Schatz collaborates with received three awards from the with a fresh and Christine Kreyling, an award- and Bramble Blush (Bramble). American Planning Association for creative eye. best writing in the nation. winning writer whose books –GOVERNOR PHIL” BREDESEN and journalism have been Christine’s book-length studies include: The Tennessee Art League was organized in 1954 as a nonprofit orga- KREyLIng bREdESEn PHILIP govERnoR by CHRISTInE FoREwoRd Schatz by bob TExT by PhotograPhy The Plan of Nashville (Vanderbilt telling the ongoing story of University Press, 2005), From Post Office architecture in Nashville for to Art Center: A Nashville Landmark in two decades. Her words nization in the state of Tennessee.Transition The(Frist Center primary for the Visual mission of the TAL is illuminate the built facades, Belle Meade Plantation and Arts, 2001), Classical Nashville the method of their making (Vanderbilt University Press, 1996), and to assist local visual artists by providingA Plan for SoBro (City Press gallery Publishing, space, workshops, and and the history behind them. Winery is located at 5025 Harding 1997). Essay contributions include: “Swimming in Watercolor,” Red Grooms: In Nashville By Design, educational programs. In addition,What’s All the Ruckus League About? endeavors to enrich the photographer and writer bring Pike. Bellemeadeplantation.com. (Cheekwood Museum of Art, 1995), Nashville’s architectural “Reading the Row,” Reading Country Music (Duke University Press, 1998) and treasures out of the chest, and “The Things of Shape to Come,” display them on the page for community by providing professional artist materials to schools and Forest Be on the lookout for a future Nashville: An American Self-Portrait Hills all to see. (Beaten Biscuit Press, 2001). PRESS teaching art in community centers, senior centers and homeless shelters. Nashville by Design: Architectural Treasures story about the winery in Nashville Nashville photographer Bob Schatz has turned Arts Magazine. his lens on some of our city’s finest architecture. In his new book Nashville by Design, Schatz collaborated with writer Christine Kreyling to introduce us to new ways of looking at major arlati c S monuments and hidden gems in the city’s land-

thony scape usually seen by only a few. In Nashville by n

Franklin, Tennessee A Design, photographer and writer bring Nashville’s

615.595.2544 Photo: architectural treasures out of the chest onto the artisanguitars.com Paul Harmon, Karen Roark, Terri Jordan, Ted Kromer, Karen Duffy page for all to see.

8 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 9 nter e C arlati cal i c d S thony rsity Me n e A v i n U Photo: rbilt e

Mike Cotter, founder with Hall Hardaway d Y eoman’s In The Fork well Van o The rural, eclectic and arts-filled village of Leiper’s Fork in Williamson H County is now home to a new Rare Book and Document Gallery,

Yeoman’s In The Fork. The richly appointed bookstore is filled Photo: Joe with volumes of great American and world literature and important from left: Claire Stadler, Kathryn Brown, Ann Carell, Julie Stadler and Edie Johnson. historical documents. T he Cat in the Hat Bronze Installed at Vanderbilt Children’s Daughter Julie Stadler shared, “We thought long and hard about Hospital—October 1, 2009 where to place The Cat in the Hat statue. The hospital is full of On display are a land grant to an American citizen penned by Grandparents, parents, and children alike know well the beloved wonderful art, because my dad wanted it to be a place where chil- Thomas Jefferson; a document founding the Society of Cincinnati, characters of Dr. Seuss; he’s practically synonymous with child- dren could find joy as well as healing. In that spirit, we wanted this the first real veterans group, penned by George Washington; and hood in America. As one of the finest illustrators and authors there sculpture to have a home that felt just right. It seemed perfect that an appointment to an Ambassadorship to Portugal in the hand of ever was, Dr. Seuss, or rather the late Theodor Geisel, just hit the its home should be on ‘Main Street,’ and it’s in the middle of the Abraham Lincoln. 500-million-books-sold mark. Wow! And now, Nashville has its own ‘street.’ Children can walk around The Cat in the Hat, see him up reason to celebrate Dr. Seuss. A life-size bronze of The Cat in the close, touch him, because the statue is intentionally at their level. You will also find first-edition copies of Hemingway’s The Old Man Hat was permanently installed at the Vanderbilt University Medical That’s exactly what my dad would have wanted. It is a great way to and the Sea, John Steinbeck’s Of Mice and Men, and a 1923 edition Center Monroe Carell Jr. Children’s Hospital. This wonderful sculp- celebrate his life and what this hospital meant to him.” of Flaubert’s Madame Bovary among the many literary treasures. ture is a memorial to the late Mr. Carell from the Carell family and Curator to the Dr. Seuss Enterprises Estate, Bill Dreyer, was an Y eoman’s In The Fork is located at 4216 Old Hillsboro Road. a great inspiration to the patients at the hospital. honorary guest at the unveiling, attending from San Diego. Jean D. Dortch STUDIO AND PLEIN AIR PAINTINGS

“God’s Tree” 5 x 7 Oil 2205 bandywood drive nashville tn 37215 studio: (615) 292-5493 • email: [email protected] www.margischair.com www.jeandortch.com 615.463.3322 Represented by: Amsterdam-Whitney Fine Art Gallery New York, NY

10 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 11 “New Directions” T he International Black Film Festival of Nashville opens with September 30–October 4 Artrageous 22 Since its inception in 2006, each year the IBFFN draws in big names to the Music City. Hosted at the Opryland Hotel in Nashville, it on November 14 was a weekend to remember as it brought together a diverse crowd and runs through ranging from big stars to up-and-coming talents. Attendees ranged from renowned television executive, actor, and producer Robert December 12, 2009 T he Castle Townsend; music mogul and senior vice president of Def Jam, Max Few dwellings in the Nashville area are richer in diversity or more Gousse; life president of Nascar, Matt Siegel; and film producer, “Fiori Rossi” rampant of rumor than The Castle on Old Hillsboro Road. Sheathed in writer, actor and director Rob Hardy, to lesser-known talents such by Anne Smaldone majesty, myth and legend, it has shuttled between a point of both elegant as reality celebrity Omarosa and a very talented young playwright, and sinister interest in Williamson County since it was built in 1930. Alvin Moore, who debuted his movie A Mother’s Prayer based on his original stage play. Last year over 2000 people came. Midtown Gallery’s The sauciest Castle legend is that it was built by Al Capone as a stop- featured artist off between his Chicago and Florida “businesses.” It’s mostly true. for Artrageous 22. Construction was overseen by Jack Welch, a Capone lieutenant. Welch and his wife operated the casino covertly for years and out in the open for one decadent night ending its career as a high-society gamble-a- rama. In its hand-carved stone walkway there are stones emblazoned with diamonds, clubs, hearts and spades and a roulette wheel.

Beyond its birth as a casino, it has been a spectacular restaurant, a BBFN

riding academy (more than once), a splashy private home, and a I for world-renowned recording studio. The resume of residents is as m culturally diverse as the quintessentially remarkable architecture itself. arles Putna h C Photo by Dwight Eubanks with founder Hazel Joyner-Smith her daughters Ivy, Mica and Ingrid The festival offered a great way for many upcoming filmmakers, “Music City 355” actors, composers, screenwriters, directors and other film industry by Barbara Coon professionals to network and provided workshops covering a range of topics from legal to creative. Hazel Joyner-Smith, founder of the Keys To The City series festival, with her daughters, Ivy, Mica and Ingrid, shared that the main goal of the festival is to inspire the community.

This year’s creative crowd proves that when you work hard and find the support for your project, you are guaranteed to bring something of great value to your community.

Playwright Alvin Moore For Subscriptions 383-0278

$30.00 per year for 12 issues.TM gers o R

Mail check with address to: d 644 West Iris Dr., Nashville, TN, 37204 h p oto: Van

12 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 13 1912 Broadway | Nashville, TN 37203 | 615-322-9966 | midtowngallery.com Exhibition “The impact of show appeared in popular media of the day, even on postcards. The photography was Surrealists had to make a living. And they worked in different genres with equal integrity but not always with equal opportunity. In fact, international. Susan Edwards many of our most original voices have come not from positions of Twilight Visions privilege but from the need to find a way to say what they want to say. Everyone understood arlati c by Linda Leaming I t was a particularly interesting time and place, Paris in S its power.” In a little over eight years, the Frist Center for the Visual Arts in the 1920s. thony n downtown Nashville has become a jewel in the cultural crown of Yes. What happened in Paris in the 1920s paralleled what was A

the Mid South. The old Art Deco post office on Broadway, built going on in the rest of the world. Photo: in 1934, served the city for over 60 years, but it was destined to be Surrealism took hold in this inter- below: E ugène Atget. Rue du Figuier, 1924. Albumen print, 9 in. x 7 in. Gift of Walter P. Chrysler, Jr. by a museum. In April 2001, after an extensive renovation, the Frist war period—the time between Exchange, Chrysler Museum of Art, Norfolk, VA. Center opened. Since that time, a dizzying number of shows and the two world wars. There was events—a new one every six to eight weeks—have passed through global recession. Governments its doors, many of them conceived and organized by the center’s staff. were in flux. Governments, workers’ unions, artists, magazines, The Frist Center’s now-gleaming, white-marble presence belies a everyone began to realize how populist conception. Thomas F. Frist, Jr. and his family, through important photography was. It their foundation, led a community-wide effort to create a visual was available for both art and for arts center. The subsequent public/private partnership with the political movements. The impact U.S. Postal Service, the City of Nashville, and the Metropolitan of photography was international. Development and Housing Agency led them to the historic build- Everyone understood its power. It ing and surrounding land. A visual art center was born. There’s was readily available. still a branch post office on the lower level of the building—just to keep it real. A nd there were innovations. Yes. Hand-held cameras became The Frist’s Executive Director and C.E.O., Susan Edwards, agreed to available during that time. Rolled sit down with Nashville Arts Magazine and talk about the museum film came on the scene. Printing and its current exhibit, Twilight Visions, a celebration in photogra- techniques also improved. These phy, film, and books of Surrealism in the 1920s on the streets of things were huge. Paris. Photographers that included Ilse Bing, Brassaï, Man Ray and Germaine Krull documented the city’s many monuments and store- Did they make photography fronts, its people, and the minutiae of their daily lives. more of an art form? The histories of photography Innovative lighting, camera angles, and processing techniques and art are inextricably linked. helped blur the lines between reality and fantasy in the photographs Photography is now taught in art they took. The result is both beautiful and repulsive, a fascinating departments. And that’s because mix of high art and popular culture. from the time of its invention it always had these dual roles. What’s T he Surrealists seem a very fascinating about the interwar intellectual group, and period is photography becomes their art is specific to a used in both realms. It flows nicely particular time and place. in both and straddles many worlds. Will the average museum visitor find something to Obviously it has a huge role in relate to in the Twilight advertising and media. It has a Visions exhibit? huge role in fine art. Photographs come from a not-very-long tradi- So many people think of tion, because we’re only looking at Surrealism as not a main- from 1839 to the present. What

arlati stream notion. My position is the Surrealists did is to make every- c S that it’s incredibly mainstream. thing blur. The hierarchies break thony n

A A lot of the images in the down, and the genres blend.

Photo: Frist Center For the Visual Arts 14 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 15 right: E ugène Atget. The Wine Seller, 15 Rue Boyer, 1910–1911. Gelatin-silver print [printed by Berenice W hat is it that’s so compelling about photographs? to what Freud defines as the uncanny— that which we look at which Abbott], Gift of Walter P. Chrysler, Jr., Chrysler Museum Actually, photography works very much in the same way music does, seems familiar, but we also may step back from it. But we can’t stop of Art, Norfolk, VA. because one of the things that happens, in a very Proustian sense, is looking. These impulses are very fundamental. It’s the Eros Thanatos below: Art Deco lobby, Frist Center for the Visual Arts you may look at a photograph and have that remembrance of things drive—love and death. We’re attracted to things—rubbernecking past and be taken back there in the same way a song takes you back on the highway. Why do we gawk? There are some scenes in the to that time in your life. Surrealists’ films which are hard to look at. Yet we continue to look. That instinct often leads to our preservation. What if our doctors T he photographs in the Surrealists show have a real sense of couldn’t look at the grotesque without a desire to heal it? nostalgia—even if we’ve never seen the images before. T alk about the process of putting a show together. How do One of the enduring legacies of Surrealism is it has this long shadow you do it? of influence. Basically the Surrealists were trying to give us an When I approached Therese Lichtenstein about doing a Surrealist He anticipated photo shopping. expanded realism, to include dreams and the unconscious. Some show I said, ‘Let’s think about this part of the world and how people Actually Marcel Duchamp really becomes the hero of this period. of the concepts are psychoanalytic, a desire to look into the uncon- think about art.’ Some people think the notion of high art doesn’t He said that creativity isn’t just in the artist. The spectator adds his scious mind. have anything to do with them. They don’t know how very close to contribution to the creative act by deciphering and interpreting. their lives this is. They are often looking at something that’s familiar, at once attractive Do artists still congregate and share ideas? or alluring but also repulsive. So in that sense they attach themselves H ow so? Absolutely. A lot of the work is done in isolation, but artists, espe- [The Surrealists world] is the world of the flea market. Flea markets are cially younger artists who may not have a place to show their work, very popular in the American South. It’s a world of chance encounters, are the ones who have to get together and find a venue for them- finding that wonderful thing that has special meaning for you. In the selves. They exchange ideas, find venues, and work together, now peripatetic lifestyles of the Surrealists, they wandered Paris—mostly at through websites and Facebook. night. And they found objects in the flea markets and then attached meaning to them. Much in the same way Freud did in dreams: you A t the Frist, who are you trying to reach? Who is the typical look at something and then you go back and interpret. visitor to the Frist? The founders of the Frist had a democratic mission; it was a former When she was putting together the show, Therese also thought about post office, after all. People came in to buy stamps or send mail. twilight and dusk, both literally and metaphorically, that time of day Always at the Frist we’re trying to make people visually literate. Our when things are both real and surreal. vision is to get people to change the way they see the world. But if I had to say the one group of people we absolutely try to reach, then I Y ou’ve referred to Twilight Visions as “breakthrough.” Why is would say we aim for the curious. this a breakthrough exhibition? Because Surrealism signals a breakdown of the hierarchy. This wasn’t high art when it happened. It was just people getting together, talk- We have the ability for everyone at every level of knowledge to get ing to one another, constantly meeting in cafés, talking about their something and grow. There’s no prior knowledge required to come ideas and what they found in what they were reading—an exchange here. There are no educational, economic or social barriers. The of ideas and philosophy. Now many of these images are familiar to museum is free to anyone under 18. We encourage people to dress us. Advertising uses them constantly. casually. It’s on our website.

I nfluence and appropriation are everywhere—it’s all there W hat’s your favorite art? these days in television, on the web…. My appreciation changes. There are things I go back to, things that Yes, the flow is either from high art to “street” or mass culture, or resonate. I’m like the general public. I like all the stuff. My interests from mass culture to high art. The point is there’s tremendous flow shift every five minutes. Anyway, that’s kind of like asking which one and exchange of ideas. of your children you like the most. So in answer to your question: I love them all. It’s going so fast. We really have to open our minds and be aware of how much we borrow. Marcel Duchamp said that in the future our education will have to include learning to interpret photography. Twilight Visions: Surrealism, Photography, and Paris is on exhibit at the Frist Center for the Visual Arts now through January 3, 2010. Twilight Visions celebrates Paris as the left: Germaine Krull. La Tour Eiffel (The Eiffel Tower), ca. 1928. Gelatin silver print, 9 1/8 in. x 6 1/6 in. Collection of the Sack literal and metaphoric foundation of Surrealism and

arlati includes photographs by such artists as Man Ray, Eugène

Photographic Trust of the San Francisco Museum of Modern Art c S © Estate Germaine Krull, Museum Folkwang, Essen Atget, Brassaï, and Hans Bellmer. thony n A 16 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 17 Photo: K S I L E b O

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4096 hillsboro road 2104 Crestmoor Road | Nashville, TN 37215 386-0502 n mon-sat 10-5:30 Phone 615-297-3201 | Fax 615-269-9262 THE GALLERY AT GREEN HILLS THE HILL CENTER OF BELLE MEADE www.bennettgalleriesnashville.com 2210 Crestmoor Road, Just behind F. Scotts 4322 Harding 18Pike |Suite November 105, next to Publix 2009 | Nashville Artswww.bRAdFORdSINTERIORS.cOm Magazine Nashville Arts Magazine | November 2009 | 19 M-F 10am-6pm. Sat 10am-5pm M-F 10am-6pm. Sat 10am-5pm hours: Mon-Fri 9:30 to 5:30, Saturday 9:30 to 5:00 463-2514 298-5149 Painting

left: We Were Free, 24" x 18"

The scenes appear like snapshots stolen from childhood Emily Leonard memories. A Walk in the Woods

by Lou Chanatry | photography by Heidi Ross

E mily Leonard’s paintings rest somewhere between the categories of representational and abstract art. A landscape artist by subject, an expressive painter by technique, and rich colorist by tradition, Leonard creates work that is born from an assemblage of diverse styles and influences.

Blurring edges, smoothing boundaries, Leonard produces empty forests or lonely roads that seem to exist in a dreamlike space. Observers stand before her large canvases, captivated by the impres- sion that they have seen her landscapes in their actual experience. The scenes appear like snapshots stolen from childhood memories. Viewers feel that they know these images already. They are both familiar and unfamiliar territory.

The artist herself has something of the same quality. Vivacious, passionate, she is a gregarious and friendly soul. On meeting Leonard, it is as if one has encountered an old friend. A smiling, warm, spirited individual, Leonard charges her work with the liveli- ness and brightness of her person.

Leonard makes her studio in a refurbished Quonset hut. A mass- produced pre-fab dinosaur of the WWII era, this corrugated-steel environment provides an industrial backdrop to Leonard’s organic design. She can be found pacing its spacious interior, struggling to get every element of her paintings to the point of perfection. In spite of the fact that her landscapes possess an immediacy of expression and an unstudied gestural approach, each one is the product of months of meticulous labor.

Borrowing her glazing technique from the celebrated traditions of the Dutch masters and the French Academy, Leonard layers hundreds of light washes and glazes on top of each other to achieve a translucent surface that evokes an illusion of spatial depth. Where painters of historical traditions executed glazing techniques over grisaille or black and white images, Leonard simply adds color over color in rich, intense relationships and configurations.

20 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 21 “These are the kinds of mornings when the trees are weary and so sink into their roots, the deepest and the oldest ones. These days feel like the oldest days.”

below left: From Us to Them, 30" x 48" right: Letter No. 20, 4" x 2.5"

above: Morning Tree, 9" x 6" below: The Fallow Season, 41"x 64"

22 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 23 left: Title, Medium, XX”x XX” , Year top left: The Way a Traveller Knows a Traveller, 45" x 62"

above: Title, Medium, XX”x XX” , Year above center: Come Home, 4"x 6"

right: Title, Medium, XX”x XX” , Year above right: In Our Yard, 32" x 48"

below: Title, Medium, XX”x XX” , Year below: left Together, 20" x 40"

Leonard’s artistic roots go back to the golden age of American popular illustration. Her grandfather Thornton Utz painted cover illus- trations for the Saturday Evening Post along- side iconic figures such as Norman Rockwell. A famed portrait artist and painter, Utz passed along his love of art and his work ethic to his young granddaughter.

It is Leonard’s commitment to work and rigor- ous schedule that allows her painting process to take flight. Entering the studio every morning for an hour and a half of work before breakfast, Leonard continues at a steady pace through the day on a rigid schedule to finish works that appear lively and spontaneous.

Her brushstrokes are rhythmic, broken, and energetic. They seem to have been created by a momentary, expressive, and immediate sweep of the paintbrush. Pastel oranges the tint of sorbet, quiet lavenders, intense ocean blues flicker and fade across Leonard’s canvases. Silent forest landscapes emerge and disappear from a scumbled region of white that hovers on the surface layer of the painting. The artist forges a lush and luminescent world in which she positions her viewers before a rich, albeit disorienting, visual experiment.

24 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 25 far left: How We Fall, 54" x 84" Leonard denies traditions of illusionistic art. She does not attempt left: Stand Here Beside Me, 32" x 48" to create photographic or realistic images of nature. Rather, she bottom center: Listening to Moses, 2" x 3" celebrates nature and the power of human memory. In the same way below: The Ground Remembered Her, 24" x 32" that her bright, effusive personality seems familiar even to strangers bottom right: Next to Me, 3" x 2" and new acquaintances, Leonard’s painting technique produces a visual vocabulary of elements that is universal to her audiences. L eonard’s exhibit In Our Yard opens at The Rymer Gallery on November 21.

26 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 27 The Way of Wood Sculpture and Woodcut Prints

Olen Bryant, William Kooienga, Alan LeQuire, Jim Sherraden, Brenda Stein Kim Barrick will be Opening November 27-28, Tuesday - Saturday 10-3 One-of-a-kind hand turned bottle stoppers. One-of-a-kind byhand Brenda turned Stein bottle stoppers. the featured artist at by Brenda Stein Auld Alliance Gallery for Art After Hours November 5 from 5-8pm Contemporary Sculpture & Paintings 4304 Charlotte Ave. • Nashville, TN 37209 Contemporary Sculpture & Paintings 615-298-4611 • lequiregallery.com Contemporary Sculpture & Paintings 4304 Charlotte Ave. • Nashville, TN 37209 4304615-298-4611 Charlotte Ave. • •lequiregallery.com Nashville, TN 37209 615-298-4611 • lequiregallery.com

Come check out our ﬁ ne wines for under $20.00

KIM BARRICK Streaming Down 40” x 30” Oil on canvas

Westgate Center 6019 Highway 100 352-5522 2109 Abbott Martin Road | Nashville, TN 37215 | 615.297.5220 | getﬁ [email protected]

28 | November 2009 | Nashville Artswww.auldalliancegallery.net Magazine Nashville Arts Magazine | November 2009 | 29 Jewelry

Jingle, Jangle, Jewelry by Katie Sulkowski | photography by Jerry Atnip “Great design is great design whether it’s a building or a painting or a piece of jewelry.” – Cindi Earl, Owner, Cindi Earl Jewelry Store

Get ready to be charmed! In the following pages Nashville Arts Magazine features five local jewelers, each with a distinctive style and flare 29.5+kt citrine wrapped for creations made of gold, silver, and colored stones. Setting the stage for this production of boldly inspired vignettes is a word from jewelry with sterling silver and store owner Cindi Earl. Cindi has watched the jewelry scene in Nashville grow and evolve over the past two decades. 14kt gold-filled wire.

“I think it is wonderful we have this pool of local talent. Our clients are fashion-forward; they know what they like. The key to a great piece is that the workmanship must be stellar, and the design must stand the test of time. A great piece of jewelry is of the moment but will last forever.” You can find Cindi Earl at 5101 Harding Pike. W rap Necklace with dichroic So, let us celebrate great design with five of Nashville’s finest jewelry artisans. Enjoy! glass on 14kt gold chain.

Julia Coale’s colorful line includes handmade glass beads, hand-forged sterling chain necklaces with Tahitian pearls, African bead and freshwater pearl pendants, and celestine crystal clusters wrapped in sterling and gold. Julia began beadworking while rediscovering her Cherokee heritage. “A lot of what I do within a day is what I feel in my heart. That’s usually how I make my choices when I’m just stepping into the workshop. On days that I have a really open heart and I’m feeling a lot of joy, I tend to work with wire and beads, because that’s the place I feel the most joy. I feel Crystal formation wrapped with like I’m in my purpose.” Galswithglass.com sterling and 14kt gold-filled Judith Bright’s passion for beautiful jewelry goes back to her earliest memories of childhood where she would play in her mother’s jewelry box. Before she became a full-time jeweler, Judith enjoyed a robust career as a music executive in wire. Freshwater Hollywood where she and her husband lived for 16 years. Judith and her family moved to Florence, Italy, where they pearl and green lived for a year while she studied jewelry design privately with teachers from the prestigious Le Arti Orafe School of Jewelry. amethyst. After returning from Italy, she and her family relocated to Nashville, Tennessee, where Judith continues to make jewelry 14kt gold chain and that she considers to be the ultimate expression of individuality. JudithBright.com root beer citrine.

Karen Serafini’s love for creating beautiful things began early. She recalls as a child, “I made Christmas ornaments for friends and family. I've always been drawn to pearls and colored stones. I love combining the natural textures and colors of both into the intricate, wire-wrapped designs that I create.” Her current line is inspired by the rich colors and timeless elegance of Italian art and architecture. “I was born in the Philippines, in a culture rich with old, Spanish romantic tones and Asian influence, giving me a deep appreciation for the past and for the natural beauty around us.”Karinaserafini.etsy.com

Margaret Ellis learned her metal-hammering techniques from the master, Heikki Seppä. Her interpretation of his methods is very primitive and ethnic and the heart of what she does. “When I first started doing jewelry professionally, 26 years ago, I said that I wanted to go straight to New York to sell my work, because if I tried to sell it in Nashville and failed, I might get so discouraged I would quit. I thought that if I was going to fail, I wanted to fail big. Interestingly enough, over the past several years, our business in Nashville has become more and more important to us, and a larger and larger part of our sales. It's great to be appreciated in your own home town.” Margaretellisjewelry.com

R obin Haley earned a fashion degree from the Fashion Institute of Design and Merchandising in Los Angeles, California, in

eurs Multi-color tourmaline drops l F

1980. She then apprenticed for three years in Calabasas, California, with the prestigious Bertonneau Jewelers. Her experience s e

d on sterling chain. there was focused on one-of-a-kind custom pieces made from the lost-wax method and metal fabrication. She is noted for her unique use of diamonds, precious stones, pearls and metals. “As an artist, I feel it is my job to put it out there. Developing a line le’s Marche l E

around my inspiration drives me to spend more energy and time to create it than I had originally planned. I don’t look at other

m Sterling silver, freshwater people’s art or jewelry; I do what feels right to me.” R obinHaleyJewelry.com pearl, Swarovski crystals. Julia Coale l 30 | November 2009 | Nashville Arts Magazine F owers fro Nashville Arts Magazine | November 2009 | 31 Necklace with red onyx, Karen Serafini sapphires, and freshwater pearls on 14kt gold-filled chain. Petite Rocks Pendant with 14kt gold-filled RockStar Nest in iolite. Ring, 14kt gold-filled in ametrine.

Lots O’ Rocks Gem Cluster Earrings in Necklace, 14kt gold-filled, ametrine. hand-wrapped wire on hoop, with aquamarine, citrine, sapphires, and peridot. Ring, 14kt gold-filled wire with copper and bronze RockStar Six Stone Cuff, 14kt freshwater gold-filled in ametrine. pearls, and citrine drops on 14kt gold- filled band.

Raj Rocks Wrapped Rings, 14kt gold-filled. Pearl, citrine, and white topaz shown.

Red onyx, garnets and freshwater pearls Ring with green onyx, on handmade, 14kt gold-filled band. peridot, and freshwater pearls on handmade, 14kt gold-filled band.

Judith Bright 32 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 33 Margaret Ellis Pod Necklace, 22kt gold.

Earth Goddess Necklace in sterling silver on 14kt gold chain.

Large Leaf Necklace in oxidized bronze with 14kt gold star.

Bracelet, 22kt gold with black spinels. Earrings with druzy quartz, black spinels, and sterling silver.

Fancy Band Ring, Single Leaf Earrings in 22kt yellow gold, 18kt 14kt gold. white gold, and white sapphires.

Caviar Ring, Large Sacred Heart in oxidized sterling sterling silver on leather silver and 22kt with a 14kt gold leaf. yellow gold. Robin Haley

34 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 35 Moonshine Hill oct. ad:Mooshine Hill ad 10/23/09 6:39 PM Page 1

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FC9652_Mmp_NashArtsMag.inddFC9652_Mmp_NashArtsMag.indd 1 1 FC9652_Mmp_NashArtsMag.indd 1 10/15/09 2:32:2310/15/09 PM 2:32:23 PM 10/15/09 2:32:23 PM FC9652_Mmp_NashArtsMag.inddFC9652_Mmp_NashArtsMag.indd 1 1 FC9652_Mmp_NashArtsMag.indd 1 10/15/09 2:32:2310/15/09 PM 2:32:23 PM 10/15/09 2:32:23 PM Music move the project further along. Says Weiss, “The creative spirit is something you cannot take for granted. As soon as you do, it dissi- pates. It’s a gift you have to honor.” ‘There’s been a load of Larry Weiss His philosophy of making art is best summed up by a quote from his ex-wife, Weiss notes. “She said to me, ‘Larry, after witnessing compromisin’ on the Cuts and Scratches your madness, I notice that you write two types of songs: one shoots by Lizza Connor Bowen through you like lightening. The other you struggle with because road to my horizon.’ It’s hard to imagine that one little lyric buried at the end of God is busy talking to the neighbors.’” Weiss says he still keeps it iss a second verse was the bridge that led Glen Campbell to Larry simple: “I pretty much sit down at the piano and look up.” e W Weiss. But one passing line in a then-unknown tune called Rhinestone Cowboy caught Campbell’s ear and suddenly afforded a When he started writing songs as a teen in Queens, New York, Weiss

“world of reputation and receptivity” to Weiss, the Nashville-based says he was merely looking for a way out. “My father ran a textiles Photo: Jennifer songwriter recalls. business, and I wanted no part of it.” His childhood was filled with opposite page: God's Words below right: Fire Sky music. He vividly remembers the intoxicating sounds rising from below left: Life Signs below: The Way and the Way it is “The thing that made Glen Campbell record Rhinestone Cowboy the mixed cultures in his working-class neighborhood. was not the big sing-along chorus. He told me it was two lines of lyric.... In the second verse, I was stuck on that section in the first Weiss’ first major break came when Nat “King” Cole recorded Weiss’ verse that said, ‘There’s been a load of compromisin’ on the road to Mr. Wishing Well. Other cuts followed suit: Hi Ho Silver Lining (Jeff my horizon.’ I changed one phrase from ‘there’s been’ to ‘there’ll be’ Beck), Help Me Girl (Eric Burdon), Bend Me Shape Me (American and the insight of that [one change] was tremendous to Campbell,” Breed), Mr. Dream Merchant (Jerry Butler) and Evil Woman (Spooky Weiss says. Tooth) among others.

For over 40 years now, Weiss has been collecting words and dreaming Weiss moved his family from the East Coast to the West Coast in the up melodies that have moved artists from Campbell, Barry Manilow, early ‘70s after his writing career had begun to bloom. In California, and Three Dog Night to Dionne Warwick, Karen Carpenter and he felt a calling to capture his own artistic vision on disc. With many others who have recorded Weiss’ insightful songs. And developing a boutique hotel in Nashville called the Rhinestone singer/songwriter music thriving during that era, Weiss recorded although the iconic Rhinestone afforded Weiss much appreciated Cowboy. Colorful, abstract works of art—most by Weiss’ own and released his debut, Black & Blue Suite, on 20th Century Records. “mail box money,” Weiss, now in his 60s and a 17-year veteran of hand—hang from the walls. Several rooms house pianos and Music City, has no plans for retiring anytime soon. keyboards, while notebooks full of ideas for songs, novels and Rhinestone Cowboy was among the tracks. “It was a laborious writing screenplays are scattered about. He has the exclusive rights to process, because something told me I had to spend a lot of time on that His West Meade flat serves as ground control for Weiss’ creative develop Rhinestone Cowboy into a musical, has written the screen- song,” recalls Weiss. “It took me about three to four months to write, pursuits: songwriting, painting, script-writing, playwriting, even play and all the music and expects to conclude an arrangement to and it was really a reflection looking back on where I had been in New York. I was picturing myself walking the streets like I used to.” Campbell heard Weiss’ version from Black & Blue Suite, and soon the whole world was singing the song born from Weiss’ personal, nostalgic moment.

Weiss took a 34-year hiatus from recording and in the interim continued to write songs for other artists. It wasn’t until a few years ago that he crafted his follow-up CD, Cuts and Scratches.

“I was scared to death to record the very first time,” he admits, even going so far as to see a hypnotist to help him get over his insecurity. “But I wasn’t waiting for somebody to say yes [to release Cuts and Scratches]. I did what I wanted to do and wrote my own check for it,” he says.

He credits his curiosity, abundant then and now, with pushing him on toward the next project. “I try to keep my life as interesting as possible and develop things I believe in,” he says.

arlati L arry Weiss' new CD is called Cuts and Scratches c S www.Rhinestonecowboy.com thony n A

Finally, the day arrives. I have waited for what seemed like an At last, the audition is about to begin. I close my eyes and imagine eternity to audition for The Nutcracker. My ten-year-old mind is myself performing flawlessly. To say I am merely excited would whirling with anticipation as we drive toward the large building of be untruthful indeed. I line up with the other children in my the School of Nashville Ballet, and butterflies that feel more like a age group, and a tall, cheerful lady leads us into the airy, white flock of birds flutter inside me. When we reach the studio, the halls room in which the audition will be held. I find myself beaming are filled with a buzzing throng of girls and boys. I step into those uncontrollably even before I begin dancing. Seated at a long halls that are now a maze of chattering children and their parents, table in front of us are four adults, members of the artistic staff. a metropolis of unknown faces. My young eyes scarcely blink as I The glamorous ballet mistress stands up, introduces herself, and take everything in. My mother helps me register for the audition immediately begins to show us an exciting dance combination. where we are given an audition number to pin onto my leotard. I She starts the music, and I am transported to the stage as I envi- don my pink ballet slippers, and I am ready to take on anything sion myself dancing on opening night. We learn several excerpts that presents itself to me. from dances in the ballet, each more beautiful than the last. The joyful Nutcracker music is light and sparkling. I still feel nervous inside, but it is a different kind of excitement, the kind one might feel on Christmas Eve.

As I am dancing, my mind momentarily wanders to imagine the part I would get, if indeed I were cast in the production. I know that I would enjoy performing whatever role I might be given, because

“...my mind momentarily wanders to imagine the part I would get, if indeed I were cast in the production.”

40 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 41 dancing on a stage is all that truly matters. On the stage, there is no time or weight or space; it is a rare, blissful world of magic and mystery. For me, this is the place where I feel the happiest because it is closest to how I feel within.

Our group executes one last sweeping dance across the expansive floor, and I am in heaven. I waltz out the door and exclaim to my mother that I found the whole experience enchanting. Now I must be patient enough to endure the grueling wait for my letter from Nashville Ballet. This one letter will reveal if I have been cast in the ballet and what part I have received. Now Serving

One week drags by. Each day I eagerly throw open the door of the mailbox, and each day I am disappointed by the lack of a letter from Nashville Ballet. I attempt to be patient and concentrate on other things but to no avail. It occupies my mind day and night, like a melody playing over and over again.

Then finally one day, exactly two weeks after the day of the audition, I open the mailbox. The letter is here. It lies there like a tantalizing present in its clean white envelope, almost too precious to open. I draw it out slowly, and then all willpower vanishes. Within seconds, the envelope is torn apart, and the letter is in my hands. I read with ecstasy that I have been Lunch cast in The Nutcracker! The part does not matter to me; all that matters is that I will be able to perform in the most beautiful ballet I have ever seen. So many times I have watched other children dance on the glorious TPAC stage, and now I can hardly believe that I am going to be a part of it too. I jump up and down and twirl around the house, unable to contain Brunch my joy.

The weeks that follow are long and blissful, filled with rehearsals and many exciting new experiences. As I sit behind the massive glass window looking into Studio A and watch the adult company dancers rehearse for their challenging roles, I am inspired beyond measure. Already, I feel the spirit of the stage begin to enter my heart as I practice diligently. I feel incredibly lucky to be a part of the ballet production, and I put all that I have into dancing and playing my part.

After weeks of tiring but wonderfully exciting studio rehearsals, dress rehearsals will now take place at the Tennessee Performing Arts Center. In this resplendent theater, I keep my eyes open wide, never wanting to miss a moment of this time in my life. A thrill goes through me; this is to be the first time that I will dance to the music of a live symphony. My life feels like a fairy tale as I prepare for the first show. A ra Vito is a tenth-grade high school student who spent this past year in On opening night, the air outside feels like Christmas. The skies are dark, promising snow, Maui, Hawaii, where she was on the and the freezing wind swirls icily around me. Nothing could feel more magical as we drive Headmaster’s List at Seabury Hall into Nashville. Along the way, I gaze out the window at the Christmas decorations and feel Preparatory Academy. Also a student of the arts, Ara has performed roles in incredibly warm inside. Backstage at the theater, I carefully put on my costume and wait numerous theater productions as well with shivery anticipation for the overture to begin. With the first notes of the Nutcracker at Belle Meade Plantation as in a Nashville Film Festival selec- Suite, the magic takes place. I am no longer myself; I am a performer telling a story. tion. She has participated in various Lunch Mon thru Fri 11 a.m. to 3 p.m. productions of The Nutcracker in Middle As I step onto the stage amidst the dazzling colors and sparkling lights, I revel in the breath- Tennessee and was thrilled to have had taking sounds of the orchestra. I smile for all I am worth, feeling incredibly fortunate for Brunch Sat and Sun 9 a.m. to 3 p.m. the opportunity to appear in the role DINNER of Clara in a past production of the these moments onstage. I know that this experience will be a part of me forever and will Dinner Wed thru Sat 5 p.m. to 10 p.m. Nashville Ballet’s Nutcracker. always remind me of the magic of being young. 42 | November 2009 | Nashville Arts Magazine Ph: 615.356.0096 Fax: 615.352.8003 5025 Harding Pike Nashville Arts Magazine | November• Nashville, TN 37205 2009 | 43 bellerestaurant.com Feature

The Tennessee Trails A New Twist in the Road by Deborah Walden

A hard rain pours down as I make my way to Leiper’s Fork. In fact, it’s raining so hard I decide to pull over. I look over a peaceful field hedged on all sides by dark hollows and strong, old trees. Verdant stretches of farmyards, shrouded by mist, sleep on the horizon. Drinking in a scene so pristine, so untouched by suburban sprawl, I do not have to worry that it might change someday.

Fourteen years ago, Aubrey Preston was sitting on a friend’s front porch surveying this same scene. He realized that he needed to protect the diminishing Tennessee countryside. He started fighting to preserve the integrity of rural towns. He enlisted friends to purchase all property that might be of interest to developers and placed conservation easements on his properties with the Land Trust for Tennessee.

Anyone who has visited Leiper’s Fork has seen the success of this venture. The architecture and lifestyle of the area have been preserved. The local economy has been revitalized. Celebrities, painters, and musicians have flocked to this quiet little gem of a town for its inspiration and authenticity.

Some would have stopped there. But Preston is not the type to stop anything. He is a lanky, wide-eyed force of pure energy. He thinks big but acts practically. Preston seems to dream smart. His latest idea is the direct outgrowth of his success with Leiper’s Fork.

The Tennessee Department of Tourism was so excited about it that they have launched a statewide initiative based on his plans. Nashville Arts Magazine has the distinct pleasure of introducing the Discover Tennessee trails to our readers. Fifteen driving trails will be established across the state as part of this new program. In the current issue, we focus on the trail that includes the greater Nashville area: the Old Tennessee Settlers to Soldiers Trail. d o o H bin o R Photo: 44 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 45 d o o H bin o R Photo: above: Aubrey Preston

right: L eiper's Fork arlati arlati c c S S below: Puckett's Grocery, thony thony n

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above: Downtown Franklin, Tennessee above: Arts and Crafts architecture in Mt. Pleasant

Native Americans and Early Explorers The Old Tennessee Trail begins in Franklin, which also doubles Hood and as its final destination. Traveling back roads toward Leiper’s Fork, his soldiers one passes burial mounds of early Native American inhabitants that are preserved on local farm property. The original residents of were striding Photo: Anthony Scarlati p this region were the Cherokee, Chickasaw, and Shawnee. Artifacts ni t A S ettlers to Soldiers belonging to their ancestors that date back over 4000 years have towards The Old Tennessee Trail takes drivers on you have been meaning to tap your feet to a real country bluegrass been found in the area. oto Jerry

h Franklin to p a circular route from the Town Square of jam or taste caramel pecan pie at a decades-old country store? Are

Franklin through Leiper’s Fork, Mount you a weekend hiker? A fisherman? One of the many who had to In Leiper’s Fork one finds the ruins of the early settler’s cabin belong- arlati c

S surprise Union Pleasant, Columbia, Spring Hill, and cancel a planned vacation because of the tough economy? ing to Thomas Hart Benton. His slave cabin, still intact, stands on thony n

Thompson’s Station on an 84-mile loop private property down the street. These monuments mark the first A troops. that finally ends in the same place where Friend, you are in luck. The Old Tennessee Trail rolls out before you. chapter in the history of the developing American nation. hoto: it began. It was developed in order to There are no tickets to buy, no deadlines to meet. Just get in your P take travelers on a journey through the car and drive. Original settlers bought this land illegally from Native Americans. rich history of this region. According to treaties between the Native Americans and state and By the time the trail nears its end, ghosts seem to walk the lonely federal governments of the colonies, white settlers were prohibited

rian Most Nashville residents and visitors hills behind desolate country fields or recently constructed nail from purchasing land in the Southwest Territory that encompassed o j possess some level of awareness about the salons and chain stores. An experience of the trail is real—“the Middle Tennessee. In the Treaty of Sycamore Shoals, a group of ron Jor

y Civil War attractions or country music unvarnished truth” of the rural South as Preston likes to call it. The merchants obtained the land through the trade of 10,000 pounds B

oto: legacy of Middle Tennessee, but many State of Tennessee’s hope for it is just as real. Parts of the rural regions of material goods. h p would be surprised to find out the deep covered by the path boast rising state unemployment rates. roots of early American history that can be experienced minutes Afraid they would lose their new acquisition under government scru- outside of Nashville proper. The powerful, succinct narrative of Trail organizers believe that bringing residents and tourists to the tiny, a company of 300 men, women, and children eventually made regional culture provided by the trail is perhaps its greatest attraction. small towns and local stores on the trail will help them survive. a treacherous 1000-mile journey by river and stream to lay hold They do not want to create a polished Disney World of coun- of this new territory. Among these travelers was the young Rachel Preston claims that his inspiration came in part from an early trip try life. The hope is that people will enjoy and participate in Donelson, who later became First Lady of the United States along- to the Carnton Plantation and Carter House in Franklin. Touring authentic rural America while experiencing a powerful narrative side President Andrew Jackson. Local Fort Donelson also boasts her these historic Civil War battle sites, he felt he saw “the end of the of Tennessee history. The goal of the Old Tennessee Trail is to family’s name. movie” in terms of the significant Battle of Franklin in the American remind us of who we are both historically and existentially by Civil War. By taking drivers through Leiper’s Fork and down to leading us on an invigorating country drive through a compelling Monuments such as Benton’s cabin remind travelers of the early lives Mount Pleasant, the trail allows visitors to glimpse both the early journey to our current times. of the first inhabitants of this region. The Natchez Trace Parkway homesteads of the first settlers of this region and the entire dramatic runs through Leiper’s Fork. It provided an initial pathway to trade saga of John Bell Hood’s disastrous final campaign that resulted in a Why are there Arts and Crafts-style mansions in Mount Pleasant? with places as far away as Mississippi. The land in this area is hilly, tragic dénouement at the Battle of Franklin. Why did two American presidents come from this area? Why did and the soil is hard. Timber was their most valuable export. As one more Confederate soldiers die at the Battle of Franklin than at the drives south on the trail, the presence of vast, green fields indicates p ni t How many times have you wanted to do something different for a Battle of Shiloh? Curious? Well, read on. Drive on. The story is a the richer farmland of these areas—a fact which led to the next chap- A Saturday or wished to show visiting friends around town? Maybe tank of gas away. ter of Middle Tennessee’s regional development. oto Jerry h p

above: Natchez Trace Parkway connection to the world of President James K. Polk. The Polk family counted among early farmers in the area of the Duck River. The acorn, their family symbol, still dots driveways along the trail, and the region bears their powerful signature in its layout and architectural heritage.

Plantation farmers were drawn to the Mount Pleasant area surround- arlati c ing the Duck because of its fertile soil. They did not realize that this S rian thony o n j

earth was so rich because the topsoil rested atop the largest phos- A phate deposits on the face of the earth. Mining of these phosphates ron Jor Photos: y B defined twentieth-century life in the town. Barons of the industry above: R ippavilla Plantation above: R attle and Snap Mansion

h erected mansions in the Arts and Crafts style, fitted the local First p oto: Presbyterian Church with Tiffany stained-glass windows, and built with the sensation that they are treading in a sacred grove. Although of Union troops for hand-to-hand combat. The decision was desper- above and below: T he Duck River a railroad out of the town to support this booming yet ultimately the church is closed to visitors, its grounds, marked by the Polk ate but potentially necessary to any dream of Confederate chances in Dynasty on the Duck short-lived business. acorns, are open to the public. Be sure to pull the car over and last chapters of the war. As one rolls south out of Leiper’s Fork, Nett’s Country Store in venture out for this stop. It will not disappoint. Bethel offers a refreshing break with a selection of homemade pies. The mixture of antebellum Old South plantations and cutting-edge At Rippavilla, Carter House, Carnton Plantation, and the Lotz The former site of local town gatherings, the general store appears to early-twentieth-century houses makes a sweep through the streets H ood’s Fatal Mistake House, one encounters the deadly effects of Hood’s decision. There belong in an earlier time. Leaning against the counter one waits for around downtown Mount Pleasant a must-do detour for all trail drivers. Mount Pleasant marks the gathering point for John Bell Hood’s were over 10,000 casualties and six dead generals at the end of five a Model T or a swaggering WWII GI to appear outside the window. doomed military campaign to Franklin. Realizing that the hours of fighting. Across the street, the Community Center in the old schoolhouse hosts The most breathtaking and worthwhile feature of the entire trail Confederates were about to lose the war after Sherman’s march a foot-stomping bluegrass jam the third Saturday of every month. can be located in the graveyard at St. John’s Episcopal Church. through Georgia, Hood decided to make a dangerous and gutsy play After driving the trail and experiencing the history that led up to Constructed by the Polks in the prewar splendor of the Old South, to take back Nashville and effectively “restart” the Civil War. It was Civil War America and the minute details of Hood’s final decision, Traveling onward, one crosses the Duck River, one of the most it is a Gothic building with sculptures in its graveyard laboriously a crazy scheme that might have changed the tide of the war if it had the powerful stories of the Carter House and Carnton Plantation biologically diverse rivers in the world. This provides a scenic stop imported from New York City. Hand-carved, elaborate marble worked. His big idea turned out to be one of the grandest failures take on new drama and accessibility. Preston’s vision that visitors see for nature lovers and amateur photographers. Farther down the road, tombstones are scattered across a churchyard that impresses visitors of the entire war. more than “the end of the movie” of the Battle of Franklin becomes the historic community of Canaan was founded by freed slaves after a reality. Exiting the site where soldiers’ bodies were the end of the Civil War. Its Clayborne AME Church is a beautiful On the final leg of the trail, visitors pass by every site that stacked outside of homes at the end of the battle, 1923 building nestled among the trees just off the highway. was a part of Hood’s venture, because his soldiers took one drives through the quaint, peaceful town square the path that was to become the current U.S. Highway of Franklin. The battle sites so enlivened by a journey Mount Pleasant punctuates the halfway point of the Old Tennessee Trail. 31. For those unfamiliar with the saga of the Battle of down the trail stand in sharp, quiet contrast against The historic town provides a great place to stop for an ice cream float or Franklin, Hood and his soldiers were striding towards the city now bustling with families and businesses. Sunday brunch at the Mount Pleasant Grille. Most importantly though, Franklin to surprise Union troops. Believing their work its stunning, varied architecture allows visitors to observe the evolving to be done for the day, they paused for a night of rest east history of nineteenth- and twentieth-century Middle Tennessee. It also of Spring Hill. Hand-carved, provides the dramatic entry point for Hood’s doomed military venture elaborate marble in the days leading up to the Battle of Franklin. While the Confederates slept, Major General John Schofield, with over 25,000 Union troops and 600 tombstones are Many Nashville residents are familiar with Andrew Jackson’s connec- wagons, traveled past them. Hood’s army somehow tion to the area. Mount Pleasant offers residents and travelers a slept through the entire event. When they awoke, the scattered across a Union troops had dug trenches and taken position on churchyard that the banks of the Harpeth in the heart of Franklin. Unable to access their weapons because impresses the road had been so badly damaged rian

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Photo: grove. right: S t. John's Episcopal Church 48 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 49 T he Here and Now Back in Leiper’s Fork, I sit with Preston at the Country Boy Restaurant. Pointing to farms visible across the street, he describes the homes and birthplaces of original Opry stars. The loss of the Civil War marked the beginning of Reconstruction in the South and a dismal period of economic stagnation for many inhabitants of the region. It was out of this poverty and brokenness that the powerful folk music we now label “country” was born. Framed portraits in local stores feature early Opry stars that captured the imaginations of rural inhabitants throughout the region.

Just down the road from Benton’s log cabin and somewhere between the plantations of Mount Pleasant and the battle monuments of Franklin, one senses the full scope of the Old Tennessee Trail. It tells a dynamic narrative of evolving American identity—an identity that is still developing today. One experiences towns and peoples who have changed and rearranged continuously—a historical process of figuring themselves out over time.

For residents or travelers, the trail urges its visitors through a similar process. By situating contemporary observers in a sequential historical narrative, the trail whispers something to us of our own identities. Starting off with a map and a set of stops, visitors to the trail begin with a destination—an idea of where they want to go. By the finish, one sees that just the opposite has taken place. In the end, the trail tells us less about where to go and more about how we got here.

T Ntrailsandbyways.com d o o H bin o R 50 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 51 Photo: A Day on the Trail by Rebecca Bauer My traveling partner, photographer Anthony Scarlati, and I like to take the path less beaten. We are always looking for new possibilities outside of our urban sprawl. So for us this 84-mile drive down the Old Tennessee Trail was of particular interest. This quickly became a trip of real life and whispers of life from years gone by. There were no replicas, only carefully renovated originals. No bright lights or tourist ensemble. No superficial attempts to go back in time. It was authentic, and anyone traveling these roads will discover this place just as we did—very real and very alive.

We can certainly say we loved Franklin and Leiper’s Fork for all their glory. We loved Nett’s Grocery; we loved finding the Zion Presbyterian Church surrounded by a stunning cemetery. We loved the pastures graced with horses and quiet areas where time stood still. Anthony loved the locals who happily obliged to have him “make their picture,” and I fell in love with the Civil War story of Major Patrick Cleburne.

The Mt. Pleasant Grill sits at the southern anchor of the Trail. The food, the stories, the waitresses, the history on the walls and the graciousness of our host, Tim Porter, were all enchanting. And it was here we began to cross the threshold into the age of Polk. We were immersed in our walk through the Confederate cemetery Moving up the pike, the pinnacle of this trip was an open door to and stilled by the marker that read, “Mammy Sue—January 24, St. John’s Episcopal Church—a shrine open to the public only once 1873—To ever trust the tender loving nurse of the eleven children a year. Walking through the old iron gate onto the front lawn, I was of George and Sally Polk.” And what a treat it was for me to climb stopped in my tracks by the most beautiful cedar tree, standing tall the bell tower and pull the rope as the bell tolled over Mt. Pleasant! and magnificent against the blue sky. I wondered about its age, as it looked old enough to have witnessed the Polk clan during their We relished a delicious meal at Stan’s Restaurant on Highway 46. church visits. Entering through the front door, we found the air Linda, who has been serving there for 18 years, offered a friendly, musty, the walls stark, and the floors dark, and an echo rang of our “So, where you headed,” and we were strangers turned friends. footsteps. We were standing where hundreds of whites and slaves intermixed elbow to elbow on Sunday. On the Columbia town square we found Ted’s Sporting Goods store where a 1920s cash register still cha-chings. We asked why the sign Dawson Gray, secretary and vice president of the board of direc- hangs upside down outside and learned that the story is buried with tors of St. John’s Episcopal Church (Ashwood), kindly gave us the the original owner. tour and small lecture. He told the tale of Major General Patrick Cleburne riding up on his horse and stopping by the very same tree Suburban development aside, we took in the movement of the I had admired. And he recited the General’s famous remark: “This Civil War via plantation homes and battlefields, including that of is the most beautiful and peaceful spot I ever beheld. It is almost Cleburne into the last days of his life. My appreciation for the history worth dying to be buried in such a beautiful spot.” This was a man was awakened, and I seemed to have gained a personal attachment who sided with the South, not because he supported slavery but for the General. Our journey ended amongst the afterlife of the because of his love for the Southern people who had adopted him as Franklin-Nashville Campaign. I was reminded of those who came arlati c one of their own. He was a man well respected, a hero who would before us and of the rich history they left behind. Anthony was S

never marry his fiancé because he died five days later at the Battle of moved by those he met along the way and was reminded why he thony n Franklin. He was then buried at St. John’s. His final resting place is now calls Tennessee home. It appears that this Trail hit us both in A

in Helena, Arkansas. the heart. Photos:

52 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 53

[ [ [ [ [ November 5th - December 24th. Our annual event featuring small works from over 30 local and regional artists. These are [small treasures items that will fit nicely under any holiday tree. LOCAL COLOR GALLERY

Opening Reception Thursday, November 5th., 5-8pm 1912 Broadway�321-3141 Gallery Hours: Tues-Sat 10-5 www.localcolornashville.com

54 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 55

5422-TDTD_DTT_NashArtsM.indd 1 10/20/09 9:29:47 AM Photography C ooling jets at a paper mill. The extremely hot water is forced through the aeration jets before it is released into the environment.

Wendy Whittemore Abstract Aerials

T he photographers of Aerial Innovations of Tennessee, Inc., enjoy the opportunity to see the world from a very different perspective—between 500 and 1000 feet above the earth. Owners Wendy Whittemore and Rachel Paul began the company in Tennessee with the help of clients in the construction and real estate industries. Together with their photographers Coral Smith and Will Sullivan they are bringing their creative work to a public stage with a year-long exhibit at Nashville International Airport featuring a broad range of images, including Nashville and Middle Tennessee landscapes, abstract aerials, and construction details of urban development.

Wendy Whittemore, who has been photographing from the sky for the past nine years, states that she is not a pilot, but she enjoys the collaboration with them to achieve her photographic vision. Cruising along just above the earth, everything takes on an interesting dimensional perspective. Creativity has to be captured quickly through the lens, editing on the fly as scenes whiz by. For Wendy this is the very essence of abstract aerials.

left: I couldn't resist photographing this formation of three sailboats.

56 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 57 above: L ike agricultural patterns, when earth is disturbed by man it always has something to offer. This image is of a ditch dug in fresh earth above: The Great Smoky Mountains National Park in winter. below: The top of a skyscraper in downtown Louisville, Kentucky. top: Parking lots are of great interest as you can see patterns form from car on the site of the new Volkswagen plant in Chattanooga. While it looks marks, paint, light poles and shadows. I couldn’t resist this shot, wondering how like it could be small in scale, the water is probably 50 feet across.

those marks were made. below: T he historical and picturesque South Pittsburg Bridge in above: T he Nashville skyline pops through the early morning clouds. Southern Tennessee.

58 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 59 Music City Gallery of Fine Art 1143 Columbia Avenue, Franklin, TN www.MusicCityGallery.com (615) 500-3732

Cummins Station

by appointment 615-255-3255

www.margaretellisjewelry.com

Deborah Allen www.DeborahAllen.com oil on canvas by Murat Koboulov photo: margaret ellis

60 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 61 left: Just Desserts Painting

Marilyn Murphy Surrealism and Dangerous Desserts by Linda Leaming

Those of us who know and love artist Marilyn Murphy understand that jello is a particular passion of hers, although it’s unlikely she’ll She is a healthy ever make any, or even eat any, for that matter. She likes to look at it and think about it doing strange things, taking on inappropriate size sense of play and bulk, and then she likes to draw and paint it.

Jello is just one of her many preoccupations, and it is featured married to a prominently in her prodigious work, as are numerous other fluffy desserts, DC-3 airplanes, diving figures, weird machines, specta- fierce work tor pumps, and clothing and hair from the 1940s. She enjoys things that drape, like tents and bedspreads, and floating things ethic, combined like clouds and bits of paper and balloons—especially if there’s something dangerous and menacing looming nearby, preferably a with a genuine cane fire or a tornado. creative talent. The surrealist vision of another world she has created in her over 30 years as an artist and educator comes from her feverish imagina- tion and dreams and her formidable intellect. She is a healthy sense of play married to a fierce work ethic, combined with a genuine creative talent. Above all else, Marilyn Murphy is a storyteller. But her medium of expression isn’t words—it’s images she draws with pencil or paint.

She grew up in Tulsa, Oklahoma, was parochially educated, and attended Oklahoma State for her B.F.A. and the University of Oklahoma for her M.F.A. in art. She had a nice, middle-class upbringing in a family that prized education and learning. She is a Professor of Art at Vanderbilt University and has been represented for 28 years by Cumberland Gallery in Nashville. Owner Carol Stein says, “Marilyn has it all—technical proficiency, a unique vision, and a provocative approach to her art.”

Since her father worked for American Airlines, I assumed he was a

pilot. Not so, I learned when I sat down recently with Marilyn for arlati c this interview. It was her mother who was the pilot. S thony

n A Photo:

62 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 63 T hat’s interesting. So you’re driven, compelled. Um, yes. Really visual images are my first language. I didn’t feel comfort- able with words. I was shy and a little bit nerdy when I was young. I also found I could get better marks on book reports if I illustrated them. When my nun in the fourth grade made us do 25 book reports, I thought I could do less writing if I drew pictures. But I probably spent more time on the drawings than most of the kids did writing.

Y ou just finished that “conductor” drawing. How long did that take you? It’s 30 x 22 inches. Let’s see. I’m guessing it took about 60 hours.

S o about a week? left: S pectators Two weeks. Because I was also teaching during the day. above: Studying Vincent and the Mystery of Vision above right: The Getaway One thing I’ve always liked about you is your well-developed below left: Making Change sense of play. You must have gotten “plays well with others” on

W as your mother a big influence on your work? your report card in elementary school. Can you talk about that above: Profiterole

Both my parents were: my mom was incredibly creative, and my dad and how it influences your work? above right: Dangerous Jello

is intellectually curious and made me feel that I could accomplish No matter how hard I work at my art, it feels like play. In fact, I’ve right: Oasis

anything I wanted to do. done quite a few images over the years, and the people in them look far right: The Jello Incident

like they’re playing games. below: Lawn Bowlers Mom trotted my brother John and me to every open house at the factories. I went to an open house at a Wonder Bread factory when I T hose people lawn bowling into the cane fire. was a kid. She felt like it was a way for us to learn and to nurture our Yes. curiosity. It was a great way to become an artist. Y ou have a lot of teaching images, too. Like the woman in Van Y ou enjoyed the factory tours when you were little? Gogh’s ear. What do you like about teaching? I loved them. It’s great fun to open people’s eyes to see the world in a new way.

Most people don’t. You do know that, don’t you? I first started teaching in the fall of 1980. Vanderbilt at that time was They don’t? I love them. I’ve been on tours to all the factories: pretty homogeneous. Now it’s become much more culturally and intel- Standard Candy, Jack Daniels, Frankoma Pottery, American Airlines, lectually diverse. The students are from all over the world with many Liberty Glass. There are some great factory tours. Perhaps, if I different backgrounds, socio economic, religious, cultural. It’s interesting. decided to not be a professor anymore I’d give factory tours. W hat has being at Vanderbilt done for your career as an artist? I did a series based on factories and images of power. I started doing Vanderbilt has been very supportive of my work with grants and drawings and paintings from images in U. S. Steel reports from research leaves. The university provides a rich intellectual climate the 1940s. Then I went from images of man-made power to other with visiting speakers, exhibitions, and scores of colleagues who are images of power—natural images like storms, lightning, tornadoes doing incredibly interesting work in their own fields. and fires—elements that work on us. I got a grant from Vanderbilt to document the architecture for my work They can be symbolic of the human experience: In my painting Oasis in Napier, New Zealand, a town destroyed by an earthquake in 1929 there are two green tents and a pool, and there’s a big cane fire in the and then rebuilt in the style of art deco. They also have some patterning background which is actually a controlled fire. But will the fire reach influenced by Maori design. It’s right by the ocean, so beautiful. the tents and the pool? Is that truly an oasis? Or will the fire burn the tents? It’s power and mystery. There’s a lot of that in my work. C an you see in your students those that will be good artists and those that won’t? T alk about power and mystery then. Where does that come from? Occasionally, but not always. Well sometimes those images of power and mystery come from my dreams. I dream a lot about architecture. I love to dream. A recur- W hat have you not done that you want to do? ring dream is finding new rooms in my house. Peter Frank the writer Go into outer space, particularly the moon. called my work “lucid dreaming.” The thing is my dreams are very clear, and I have all my senses going. I have so many visual ideas, and Y ou’re joking. I have to get them out. That’s why I have to be an artist. I’m completely serious.

64 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 65 far left: The Seamstress

left: The Conductor

middle: Adjusting the View

Do artists have hard lives? The great majority of artists have a full-time job like a graphic designer or teacher, then go into the studio to work long hours to create their art. It is great to live your life with a passion that goes beyond yourself. It would be harder for me not to be an artist.

W hat makes a good artist? A passion to create and an articu- late voice.

W hat percentage of your time is making art? What percentage is self-promotion? Mostly making art. A good day for me is drawing or painting from Building seven in the evening to midnight.

Do you just work, or do you watch TV? Are you afraid of anything? I listen to CSpan. It’s just interesting stuff in the background. New Homes Not really. If I was I wouldn’t have become an artist. I decided when I Y ou’re at the height of your game, and you’re in a good place. was in the fourth grade I wanted to You have always been generous with your time and your

arlati be an artist. Both my parents were advice and help. What would you tell young artists just start- c S and Restoring supportive. Of course I’ve had ing out on a career? thony n setbacks. I’ve had rejections. But Being an artist is a great life—you can spend a lifetime learning. A you can’t take it personally. Well, The more you travel and read, the more you experience—good Photo: you can. But that would be the and bad—the more interesting your work becomes. As an artist, C urrently, Marilyn Murphy’s end of you. you will be able to go to all sorts of places and meet all kinds Old Ones art can be seen at of interesting people. If an artist in Nashville has a triumph, it Cumberland Gallery in the W hat are you going to do when makes us all better. “Small Packages” show. you get older? She also has work in From Washington to Warhol: I’ll still be an artist, and the older I Marilyn Murphy’s need to explore how and why things work, her Americana Redefined at get, the better I’ll become. If people love of the surreal and things that fly and flip, her fascination with Cheekwood, and The Road don’t like it then, oh well. When I odd mechanical objects, weather formations and, yes, even jello, Not Taken: 30th Anniversary was in grad school, my work didn’t surprise and delight us. Likewise, her skill as an artist allows her to ROGAN ALLEN Exhibition at the Carl have the fashionable look. But even carry this vision. Hammer Gallery in Chicago. then, I knew it was folly to follow BUILDERS RESIDENTIAL & COMMERCIAL BUILDING CONTRACTOR LLC One of her images of fashion, because by the time you As gallery owner Carl Hammer said, “Murphy’s control with the dangerous desserts will be realize it’s fashion, you’re too late to paintbrush is equaled only by her superb drawing technique. And her the cover for the next two nashville | green hills | belle meade be on the bus. bewitchingly surrealistic drawings are all the more compelling due to issues—Winter and Summer 2010—of Alimentum, an their eerie, enigmatic, fifth-dimensional story-telling effect. Both 615.269.9644 award-winning literary W hat do you think about jeal- reassuring yet unsettling, Murphy’s intriguing visual scenarios are journal. You can see a lot of ous people? magical in their improbability yet scorchingly insightful, challenging her paintings and drawings I don’t. the viewer to rethink the reality of any given situation.” online. She’s also in Who’s Who in American Art for 2010, the 30th Anniversary Edition. 66 | November 2009 | Nashville Arts Magazine www.roganallenbuilders.comNashville Arts Magazine | November 2009 | 67 Gallery

Gallery One The Water is Wide by Sally Schloss

For Shelley Liles McBurney, owner of Gallery One, her space is her canvas. She populates the walls and floors with works of art that reflect her eclectic tastes. “Hanging a new show is deeply creative for me. I get lost in it, absorbed by some of the same challenges an artist faces: balancing shape, color, and texture; dealing with surface and light.”

The goal is to create an experience that is meaningful for every gallery visitor. “They may see something very different from what I see, but I hope they make their own connections.”

Five years ago, when Shelley opened Gallery One, she felt Nashville was ready for a new art space focused on quality work not shown here before. Personally, she was ready to make a leap of faith and own her own gallery. arlati c A former journalism major with a minor in painting and art history, S Shelley began her professional life as a business reporter, which she thony n parlayed into a second career as the senior vice president of commu- A

nications for the Girl Scouts. Wherever she traveled, however, she Photo: was drawn to museums and galleries, increasingly intrigued by the techniques and craft that produced excellence in art.

She began to paint again. Restless after 13 years in non-profit, she was poised to make a change. While looking into the space that once housed Zelda’s clothing store off Harding Road, she imagined the possibilities. Opening a gallery seemed like a natural next step, combining her passion for art, education, and community.

“This is my life’s work. I come here every day feeling lucky to be doing this for a living. I’m inspired by the art that surrounds me, as well as by the company of artists. Artists are a courageous lot. Their example and the work they produce feed my soul.”

left: Water Series #12 by Brian Oglesbee

right: Bend of the Harpeth by Henry Isaacs

68 | November 2009 | Nashville Arts Magazine To be an advocate she must have a visceral response to the art. The 30 artists currently represented by the gallery encom- pass all genres and mediums—the common denominators are mastery over their mediums and artistic vision.

Opening December 3 at Gallery One is a benefit for the Harpeth Valley Watershed Association. The Harpeth River winds though 125 miles and six counties in Middle Tennessee, feeding over 1000 miles of tributaries. It’s a critical water resource and is home to a great variety of aquatic life. It’s also where Shelley comes from.

“My family goes back five generations on bottom land by the Harpeth in Kingston Springs. I’ve camped, fished, ridden canoes and painted there. It’s a lifeline for community, offering recreational and historic value—once it was home to Native Americans and their sacred burial grounds. I’ve held painting workshops along the Harpeth and organized outings for hundreds of inner-city children, bringing them out to the family land for a rare day on the river. The Harpeth River is deeply intertwined with my own family and memories. I want to do whatever I can to preserve it for future generations to enjoy. Hosting this benefit brings

together my passion for art with protecting this river. I want above:The Dory by Jeffrey Sabolr

to help save a place I love.” right: Poem for Rising Water by Jeff Faust

Dorie Bolze, executive director of the Harpeth River Watershed Association, is excited about the upcoming show. “It was Shelley’s idea to have an arts fundraiser to create awareness about this natural treasure in our own backyard. What people may not realize is that the Harpeth River runs through one of the fastest growing areas in Tennessee. It simply can’t absorb the polluting runoff and the industrial sewage that gets dumped into it. A quiet threat to this hard working river is the oxygen reduction in the water and its impact on the aquatic life dependent on the river’s good health. By investing in the art of the Harpeth, you’ll be investing in the beauty of the real thing.”

Shelley put out the call to artists statewide and nationally to submit work. She used the quote from the book by Norman Maclean, A River Runs Through It, as a point of inspiration.

“Eventually, all things merge into one, and a river runs through it. The river was cut by the world’s great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters.”

If there are theme threads through lives, giving shape to action, then Shelley has identified her own. “I believe in living a purposeful life—if we move in the top: River Rest by Susan Hughes direction of our passions, then success and happiness will follow.” This, appar- above: Sky in Water by Jean Hess ently, is the river that runs through it. right: Clean Slate by Debra Fritts

70 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 71 Antiques him to recover much of his factory equipment. For about two years, Glass collectors often confuse the iridized gold glass of Tiffany and he made rugs again as well as important commissions. Nichols was Steuben’s patented Aurene glass. Steuben was granted a patent on particularly proud of making carpets for the ambassadorial residence the technique in 1904, a year after the company’s founding. Carder’s of General George C. Marshall and, in 1947, a wedding gift from the Aurene was so successful that Steuben’s earliest years were largely Appraise It British people to then-princess Elizabeth. In 1948, a heart attack sent devoted to its production. Gold was a favorite color, sometimes by Linda Dyer | photography by Jerry Atnip Nichols to a hospital in Hong Kong. As the Communists approached paired with white, shades of green, or red. Blue Aurene was a Steuben Tientsin, Nichols’ business associate flew to China to close out the glass mainstay. Today, Steuben Glass continues to produce stunning Pyrite and Silver “Bow” pin, circa 1930 business and to retrieve what he could of the inventory. With the crystal. But for collectors of antique Steuben, the pre-1933 Aurene Nice vintage “marcasite” pin, well-marked and identified Communist takeover, Nichols’ fortune was again lost. remains the most highly prized. “sterling” “Germany.” Constructed of high-grade wools, this charming, densely made rug Steuben’s and Tiffany’s creative paths sometimes led to bitter rivalry Pyrite and marcasite have almost identical physical with a smooth finished back should be appreciated for the “art under between Tiffany and Carder. In 1894, Tiffany had produced a type properties, making it difficult to distinguish them foot” that it is. Similar examples can be found in specialty retail of iridescent glass which he called Favrile. Inspired, he said, by the apart unless you are a mineralogist. Adding to the markets ranging in price from $400 to $1200. shimmering wings of butterflies and the neck feathers of pigeons, confusion between marcasite and pyrite is the Tiffany mixed together glass of various colors while hot to achieve use of the word marcasite as a jewelry trade the desired effect. Court records show that Tiffany filed a lawsuit name. Jewelry sold as “marcasite” is really in 1914 against Steuben for $50,000 claiming Carder copied his polished pyrite. The term is applied to the trademark iridescent Favrile glass. Carder succeeded in getting the small, polished and faceted stones that case dismissed by pointing out that Bohemian glassmakers had been are inlaid in sterling silver. Marcasite As for the identification marks on this lovely pin, “sterling” and using iridescent techniques since the is too unstable for gem use. Over “Germany”, jewelry pieces marked just “Germany” are almost certain middle of the nineteenth century. time or with exposure to bacteria and to be pre-WWII (1948) unless they are newer (1990–present). water, specimens may break down into a Costume jewelry produced in the divided country of Germany after In the art glass marketplace, it’s important crumbly mass of whitish-yellow iron sulfates. 1948 bore an assortment of marks that spoke of the turmoil of the to learn to distinguish makers and not place time: “Western Zone Germany,” “American Zone Germany” and importance on signatures. With increased So why call it marcasite jewelry versus pyrite jewelry? I really do not “Made in West Germany.” In East Germany, items were marked interest in Tiffany during the 1960s and know the when or hows of that decision, but I could assume that the “German Democratic Republic.” ‘70s, people were taking any unsigned pieces fact that pyrite is also referred to as “fool’s gold” may have played a and engraving “Tiffany” on them. There are part in the marketing plan. Similar vintage examples marketed as marcasite are available in retail many glassmakers, such as Durand, Quezel settings for $50 to $100. and Loetz, that sold wares similar to Tiffany Pyrite has held a place in adornment history that goes back to and Steuben. Tiffany generally tends to sell for the time of the Incas. In the history of jewelry manufacturing, it C hinese Art Deco Rug, circa 1920 a higher price than its competitors. has been used as an ornamental stone by being faceted, polished This Art Deco period rug with dragon figures representing the Yin and set as a jewel. It is believed that Cleopatra wore pyrite and Yang beautifully illustrates the twentieth century Chinese rug- Steuben has great iridescent glass, but it rarely because she felt it helped preserve her beauty. Britain’s Queen weavers’ art under the direction of American entrepreneur Walter reaches the price levels of similar types of Tiffany Victoria popularized pyrite for over 40 years. After the death of Burns Nichols (1885-1961). glass. On a retail market, the Steuben Aurene her husband, with access to all the diamonds in the royal vaults, candlestick would retail for $600 to $700, with Victoria chose to wear black clothing and jewelry symbolic of In 1920 Nichols went to work in Tientsin for American wool merchants. the signed Tiffany Favrile bud vase selling for $400 widowhood. Her subjects followed her lead, and somber cloth- As a young man, he was recognized as a first class wool grader working to $600. ing and accessories in dark and muted shades were the fashion in China’s great wool producing region along the country’s northern for many years. Iron pyrite’s darker hues made it ideal for this border. The Nichols name has come to be used almost synonymously type of jewelry, and its low price tag made it a favorite. with the “Chinese Deco” rugs manufactured in the Northern China S teuben Glass Gold “Aurene” Twisted Candlestick treaty port city of Tientsin (Tianjin) in the 1920s and 1930s. Nichols Tiffany Glass Gold “Favrile” Bud Vase did not originate the Chinese Deco style, but he did a great deal to popu- The art glass of American Louis Comfort Tiffany (1848-1933) and larize this weaving style and to promote high standards of manufacture. the English-born Frederick Carder (1863-1959) became popular in America during the late nineteenth and early twentieth centu- L inda Dyer serves as an appraiser, broker, and With showrooms and agents worldwide, at the height of his business in ries. Their glass creations were the result of personal innovations and consultant in the field of antiques and fine the ‘20s, he had 14 factories in China. Nichols gained and lost fortunes the study of older techniques and handmade craftsmanship tracing art. She has appeared on the PBS production repeatedly. His business struggled through the Depression. Another back to antiquity. Their stories are intermingled. Antiques Roadshow since season one, which fortune was lost in the late 1930s after the Japanese invaded China aired in 1997, as an appraiser of Tribal Arts. and World War II began. Nichols attempted to stay in China but soon With the mere mention of Steuben Glass Works of Corning, If you would like Linda to appraise one of your sought safer working space in Mexico. After the war ended, Nichols New York, two distinct styles come to mind: the first an irides- antiques, please send a clear, detailed image returned to Tientsin to find that the Japanese had used his factory’s cent glass called Aurene created by Steuben co-founder and chief arlati c S to [email protected]. Or rug-washing equipment to wash army uniforms and turned his home designer Frederick Carder in 1903. The second would be crystal.

thony send photographs to Antiques, Nashville Arts into a hospital. Nichols’ former workers, delighted at his return, helped n A Magazine, 644 West Iris72 Dr., | Nashville, November TN 37204.2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 73 Photo: Poetry Warrior By Mary Elizabeth Holden Survivor

Now…You…Lose! I won’t be silenced by your thoughts. Nor by the words you say. I won’t be buried in my hole. Today is a brand new day.

The wrong you did won’t be forgot. And I won’t hide my tears. The strength that grew – You cannot stop. I threw away the fears.

For God turns good the evil thoughts. You have the power no more. For it is gone; its death has come, As life begins to soar.

I will not give you ONE MORE DAY. You thought you had a ploy? Your darkness lost – It’s gone for good. Replaced with God’s great joy.

I let you live inside my head. Each breath you took was mine. I take them back. No breath’s for you. Today I draw the line.

And now a creature has been made, That you did not expect. For I am strong and fight for good, With kindness and respect.

You can’t kill me, for I am back I’m not against the wall. No more to hurt the ones like me For we are standing tall.

I did not quit – You thought I’d lose, You thought I’d walk away? But I did not. I just grew strong, And I AM HERE TO STAY. arlati

You…now…lose. c S thony n Mary Elizabeth Holden is a sexual assault survivor. Her poem Warrior is prominently displayed at the Sexual A

Assault Center (SAC), where she remains actively involved, using her voice to help others. SAC works to end Photo: sexual violence in our community and offers healing for children, adults and families who have suffered the effects of sexual assault through counseling74 and | November education. 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 75 Anything Goes

W hat are you most proud of? Susan Goshgarian McGrew Scott Kendall My family and close friends. The Fiery Gizzard Series W hat characteristic do you most like about yourself? at The Parthenon That I am naturally, deeply fulfilled by great art, music, literature, W hy Nashville? nature, and the simple things of life. The people I meet come here specifically to make something of themselves, to make their unique dreams and ideas for life come true.

A nd what do you like least?

Time constraints to achieve all the things I want to do with my life. W hat do you like most about the city? Monet first sought tranquility to be prolific and then found Giverny. W hat was the last book you read? Nashville has an unusually high quality of tranquility, which allows Simultaneously, Joseph Campbell’s Pathways to Bliss and Chanel us to become a world force. The greatness perhaps comes much from and Her World, with my 10-year-old daughter. our landscape.

W ho would you most like to meet? W hat do you like least? Jefferson, Goethe, or Leonardo. As a balance to our great Symphony Hall, a wish might be for a world-class Getty or Wallace Collection (and with an adjoining Ritz

W hat are you going to be when you grow up? Carlton on the Park). We have the potential. I can’t imagine life without an insatiable desire for growth, for constant rebirth, for the new adventure. I f you could change one thing about yourself, what would it be? The Parthenon, West Gallery More time with friends. Centennial Park, Nashville 2600 West End Avenue W ho has most inspired you? Joseph Campbell shattered the world open for me. A n embarrassing moment you would most like to forget? October 31,2009 – February 20, 2010 Meeting my new neighbors after calling the pound to pick up a Reception: Friday, November 6, 2009 W ho is your favorite artist? sickly stray cat, which was their family pet. 6 to 8 in the evening In the various realms, Raphael, Mozart, Shakespeare, and the greatest—nature. A re you happy with where you’re heading? Yes, the richness and vitality of the adventure continues to build. I’ve come to realize that it’s the daily journey, the daily performance that is the true great reward.

W hat’s your mantra? One’s greatest responsibility is to be true to one’s own vision.

W hat’s it like being you these days? We live in the most exciting period the world has ever known, with unprecedented opportunities—an exhilarating time of immense growth, discovery, and creation.

W hat talent would you most like to have? To express in Annie Leibovitz-style photography, as Leonardo expresses in paint, the great mystery and wonder of the universe that exists within each of us.

W hat is your most treasured possession? A fifteenth-century Flemish tapestry my wife gave me for my birth- day early in our marriage.

W hat is your greatest regret? arlati c S Not awakening to the inexhaustible potentialities of life until 28. thony n A Y ou have five minutes left to live; what are you going to do?

Photo: Embrace my family and celebrate our life together.

S cott Kendall specializes in developing 18th century classic Georgian style properties with modern luxuries.76 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 77 NOVEMBER at Schermerhorn Symphony Center A Musical Space Odyssey November 5-7

SunTrust Classical Series Nashville Symphony Giancarlo Guerrero, conductor Yefim Bronfman,piano Repertoire includes: MIGUEL DEL AGUILA, BARTÓK, GYÖRGY LIGETI and R. STRAUSS

We pay tribute to two unforgettable pieces of music featured in Stanley Kubrick’s 2001: A Space Odyssey — Györgi Ligeti’s Atmosphères and Strauss’ Also Sprach Zarathustra. GRAMMY®-winning pianist Yefim Bronfman returns to perform Bartók’s Piano Concerto No. 2, a work noted for its fireworks at the keyboard and its brilliantly conceived orchestration. Soldiers’ Chorus of the U.S. Army Field Band November 12-14

Bank of America Pops Series Nashville Symphony Albert-George Schram, conductor Soldiers’ Chorus of the U.S. Army Field Band For more than half a century, the Soldiers’ Chorus has traveled the world, serving as musical ambassador for the U.S. Army. With their diverse backgrounds, the 29 members can sing a wide range of music with gusto, and their show promises an inspiring mix of Broadway, opera, classic American songs and choral music. Tango & Ravel’s Bolero November 19-21

SunTrust Classical Series Nashville Symphony Giancarlo Guerrero, conductor Tianwa Yang, violin Daniel Binelli, bandoneón Repertoire includes: ASTOR PIAZZOLLA and RAVEL

Laura Turner Concert Hall will crackle with the bracing, sensuous rhythms of tango music. The hypnotic rhythms and dynamic orchestration of Ravel’s always popular Bolero will close the evening with a rousing finish. TICKETS on sale now! Special thanks to our sponsors: 78 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 79 NashvilleSymphony.org 615.687.6400 On The Town Campbell, Elizabeth and Welling LaGrone, Julie and George Stadler, Nancy and Billy Webb, Lillian and Will T he kick-off to the fall social season began with a flourish: Fall Sylvia Bradbury and Debbie Best, Frist Gala Johnston, Stephanie and John Ingram. Fest at the Belle Meade Plantation, Vino on the Veranda, Authors in the 2009 Auction Chairs, put together quite a fine C indy and Bill Sites Of course, here a Frist, there a Frist— Round, and The Frist Gala—all in the second weekend of October. Not silent auction including luxury trips, priceless Trish and Tommy, Karyn and Bill, Nancy Saturn, Howard and Hope Stringer being able to attend all the events, let me tell you about the two I did attend. parties, fine jewelry and fabulous finds. The Bill and Karyn Frist Julie and Tommy, Jennifer and Billy. The Frist Gala, featuring the much-anticipated exhibit Georgia O’Keeffe Westminster Kennel Club Annual Dog Show and Her Times, wins my vote for the best follow-through in design, food got my (low) bid. I did think it was interest- The chill in the air brought out the first of and decor. Chairwomen Jennie McCabe and ing to see a number of Nashvillians opening their the furs. Anne Russell looked stunning in C hairs—Jen Bottorff and Lise Morrow Lynne Rhett saw to every detail for this magic, homes for auction parties, including Tawnie and Vic a silver and white chinchilla wrap. Barbara dramatic, and contemporary Santa Fe evening. Campbell, Theresa Payne, Sylvia Roberts and Deby Bovender’s jewels matched the evening and Keith Pitts—all such generous homeowners. decor. I told Barbara how smart she looked in the Joe Smith of Ilex used Santa Fe and Georgia amber jewels, and she replied that she had no idea of the

O’Keeffe’s color palette as inspiration. In the I do want to mention the featured artist Georgia S teven and Linda Mason décor; she is just a bit psychic. (Just love that woman!) main tent, tables were covered in turquoise, O’Keeffe. O’Keeffe was one of the first female painters to goldenrod and vivid orange overlays, center- garner both widespread popularity and critical acclaim A nsel and Jona Davis Next on the agenda was “Authors In The Round,” a dinner to kick L isa Borne, Kate Prichard, Trisha Ping pieces of turquoise, manzanita branches with during the 1920s and start the 21st Annual Southern Festival of Books. This event was held succulents and contemporary candelabras 1930s through her sensual at the wonderful War Memorial Auditorium, with proceeds from the Mary Ruth Shell, Jane and Larry Brown, covered in fresh bittersweet vines. Upon enter- flower paintings. O’Keeffe evening benefiting Humanities Tennessee. Jen Bottorff and Lise Morrow Lee Ann and George Anderson, Jamie and by Ted Clayton ing the tent I was stunned by the large-scale traveled throughout chaired this intellectual evening. Jen, Jeffrey and Verina Buntin Spook Stream, Margaret Ann Robinson, aspen tree filled with thousands of lights anchoring the center of the New Mexico and was so daughter-in-law to Jean Bottorff, had Kate and Steve Ezell, Lee room—so very unexpected. The tent walls were draped in white, impressed by the desert large shoes to fill, being that mom- Pratt and Neil Krugman, sheer fabric backlit in hues of orange, gold, and aqua. The presence of landscape that she eventu- in-law chaired last year’s gala. Jen and and my new friend Ken Georgia O’Keeffe was certainly felt throughout this wonderful evening. ally moved there, devot- Lise did an outstanding job and did Roberts Jr. with Robin ing her creative energies not let the passing rainstorms dampen Haney (Robin is owner For dinner (and I mean dinner!) Danielle Kates created a Southwestern to capturing the simple L ee Noel, Larry Papel, Steven Ezell any detail. There were cocktails in the of Apropos, that really menu of fried oyster on corn tortilla with Pico de gallo for hors courtyard with the signature drink L iza Brunson, Laura Bowen, cool spa under F. Scott's). d’oeuvres. Tamale tart with roasted garlic custard with lump crab for “The Pageturner” and entertainment Christy Dismukes the first course was followed by braised short ribs with cheddar jala- by visiting rock star Steve Moakler. I knew I was in good peno grits, haricots vert, red and yellow tomato confit as the main (Whitney Daane is quite proud of company when I was introduced to my dinner partner, Serenity. course. Dessert was an amazing almond cake with caramel sauce and Steve!). Johnny Haffner created a festive Bob and Mary Ruth Shell Speaking of good company—this is a hoot!—who should I run into at candied orange peel. (This is what I call Sunday night comfort food!) fall dinner—loved the wild-mushroom- this delightful evening but my third grade Palmer School teacher. How Well, after this feast I felt that I needed to take a hike to Santa Fe! stuffed breast of guinea hen with bourbon demi-glace. What event excited and gratified she was to see one of her students at such a scholarly can go wrong in this grand facility? I get chills each time I am there. event. But wait, it gets even better—I could not stop and informed her Nancy and John Cheadle Jack and Barbara Bovender that I was there covering the event and that I was sort of an author There were 30-plus authors in attendance, each seated at a patron table myself. (Oh please let me have this one fantasy!) forms and spiritual essence of the with his or her latest book. My table author host was Silas House with land. This artist completed more his book Eli the Good. Silas is the recipient of the Kentucky Book of the “Fashion After Dark” is a new and upcoming event to be held than 2000 works, an oeuvre that Year Award and the James Still Award from the Fellowship of Southern November 21. Elizabeth Scokin Productions and Lexus of Nashville has left its stamp on American art. Writers. I need to mention that the favors for the evening were the have a vision to imitate the same event that was held in New York authors’ books, always a useful and thoughtful idea. Other outstand- by Vogue magazine, “Fashion Night Out.” This will be a two-night Those viewing the O’Keeffe ing authors included Madison Smartt Bell, author of 12 novels; Rick event, first a charity fashion show to benefit the Minnie Pearl creations and enjoying the fall Bragg, winner of the Pulitzer Prize for Feature Writing; River Jordon, Cancer Foundation and second, a shopping night out. The second evening were Rob McCabe and a critically acclaimed novelist and playwright; Jacquelyn Mitchard, evening will have selected shops in town giving a percentage of sales Moorey Rhett, proud husbands New York Times best-selling author, and Nashville’s own Alice Randall. to the foundation, a “kick start” to the Christmas shopping season. of the co-chairs; Claire Armistead The fashion show will be held at Lexus of Nashville–Cool Springs. and Allen Sullivan, Cindy and Patrons having their books autographed were Nancy Saturn with Hope Elizabeth had a few of her models at the kick-off, including the Bill Sites, Anne and Bill Whetsell, and Howard Stringer (Hope shared with me her newest addition to beautiful Susan Spears and Stephanie Williams. Santa with his elves Kelly and Lee Beaman, Larry her jewel collection, a diamond-encrusted snake ring and earrings—so (maybe I should say Santa in his Lexus!) and Elizabeth with her Trabue and Peggy Craig, Sue Hope, so Cleopatra; only difference is Hope has more jewelry!), Barbara models are both working with diligence to make this a stately affair. and Douglas Joyce, Stephanie and Eric Chasen, Jeffrey and Verina Buntin, Richard and Beth Courtney, and Pat Maxwell, Lisa and John John and Delores Seigenthaler (John being MC, of course), Bob and H ave a great Thanksgiving! R ob and Jenny McCabe, Lynn and Moorey Rhett 80 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 81 KIRK JAMIEJAMIE SEUFERT

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82 | November 2009 | Nashville Arts Magazine www.kirkseufert.com | 615.957.4209Nashville Arts Magazine | November 2009 | OPENING 83 OCTOBER 3, 2009 [email protected] WEDNESDAY - SATURDAY 10-5 • SUNDAY 1-5 Literary Award Gala honoring Doris Kearns Goodwin Nov. 7, Nashville’s Main Public Library The annual Literary Award Gala will honor distinguished author Doris Modern and Timeless publisher’s note: A ll openings and receptions are supplied by Kearns Goodwin. Her publication Team of Rivals: The Political Genius Now Playing Nashville. Please contact them with your event St. Charles Cabinets of Abraham Lincoln was winner of the prestigious Lincoln Prize, winner information. Also, this is only a sampling of local events. AWARD WINNING of the inaugural Book Prize for American History, a 2006 National No entries are guaranteed. Book Critics Circle Award Finalist, and a New York Times bestseller. FRAME SHOP For a more complete list of Nashville area events please see www.nowplayingnashville.com. IS NOW DOWNTOWN Music for a Cure, Nov. 7, 12th and Porter featuring the newest fine art gallery Join us for an evening featuring performances by Halfway to Hazard, on the Avenue of the Arts Kaci Bolls, Joshua Armstrong, 74 Southbound, Brian White, Jamie Floyd, Pete Sallis, and many more.

First Saturday Gallery Crawl, Nov. 7 November 2009 Nashville Downtown Partnership T hree Part Harmony, Oct. 29 – Nov. 30, Richland Fine Art Every first Saturday of the month, multiple downtown galleries Richland Fine Art presents Three Part Harmony featuring new work open their doors to avid art lovers as well as anyone else who is by Roger Dale Brown, Paula Frizbe and Dawn E. Whitelaw. The just curious to see what the Gallery Crawl is all about. Over 1,000 Sophisticated beauty never goes out of style. Now it’s available exhibition, which runs through November, includes ten new pieces people attend this very popular monthly event. Most galleries serve again at Kitchen & Bath Concepts. Stop in today and see why the enduring design of St. Charles cabinetry has been a by each of the three artists. free wine and other refreshments, and the Nashville Downtown mainstay in Nashville’s finest homes for decades. Custom Framing | Fine Art Gallery Partnership provides a free shuttle between galleries. Participating W illie Nelson, Nov. 5, Ryman Auditorium galleries subject to change. 219 5th Ave N • Nashville, TN 37219 615-866-7545 www.Picturethis-Gallery.com The legendary Willie Nelson comes to town this fall! You won’t want Curator Chris Gowen Tony Herrera’s to miss his show at Nashville’s historic Ryman Auditorium. H ansel and Gretel, Through Nov. 7, Belcourt Theatre Olde Worlde Theatre presents a not-so-grim fairy tale, retelling 209 10th Avenue South, Suite 213 • Nashville,Tennessee 37203 T: 615.256.3007 • F: 615.251.3001 • www.kitchen-bathconcepts.com Recently recognized by Décor Magazine as one Leonard Cohen World Tour, 2009 Nov. 5, the adventure of Hansel and Gretel Schnitzel. It’s a timeless classic of the top ten custom framers in the country. TPAC – Andrew Jackson Hall of hunger and hope, cruelty and courage, life and love. When the To the delight of his legions of fans, Leonard Cohen will once again return to the U.S.—and to TPAC’s Jackson Hall—this fall for the freshfinal legcut of pastahis critically acclaimed 2009 World Tour. Since taking the Enchanting Home and Gifts... stage earlier• this year at New York’s Beacon Theatre, his first stateside homemadeperformance ravioli in more than 15 years, Mr. Cohen has enchanted audiences, earning• rave reviews and sold-out concerts across the globe. homemadeWhile the acclaimedsauces singer/songwriter/poet is currently dazzling crowds across• Europe, his fall return to the U.S. will mark the final oliveengagements oils & vinegars of the intimate, superbly crafted concert tour. • A rt Asalumifter Hours, Nov. 5, Nashville Association of Art Dealers (NAAD) Art After• Hours, Nashville’s first monthly citywide art event, seeks to breadselevate & awareness cheeses and support for the visual arts in Nashville. On the the way first Thursday of each month participating galleries and museums Nashville’swill be own opening pasta andshop previewing new shows and presenting art talks pasta with insightful discussions. THE ULTIMATE ITALIAN ART & Italian grocery OF CREATING JEWELS Cheval Collection - robertocoin.com should be. 1314A Musical 5th Ave Space No. Odyssey, Nov. 5 – 7, Schermerhorn Symphony Center The615-291-9922 Nashville Symphony pays tribute to two unforgettable pieces of www.Lazzaroli.commusic featured in Stanley Kubrick’s 2001: A Space Odyssey. Featuring Giancarlo Guerrero as conductor and Yefim Bronfman on piano. fresh cut pasta • handmade ravioli • homemade sauces

olive oils & vinegars • salumi • breads & cheeses W ine Down Main Street, Nov. 6, Historic Downtown Franklin Wine Down Main Street is a unique wine tasting that takes place in Nashville’s own pasta shop & Italian grocery more than 30 shops along Historic Main Street in Franklin. Taste In Green Hills since 1978 1314 5th Ave No. • 615-291-9922 • www.Lazzaroli.com wines, shop, sample food from area restaurants, and listen to music www.BellaAeris.com from many live acts. 615.279.1877

84 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 85 family unexpectedly falls to hard times, Hansel and Gretel’s journey we grow brows, too. begins. Our heroes then learn how to be resourceful, cooperative, we grow brows, too. and grateful for what they have. Please come and enjoy mime, movement, colorful characters, special effects, and dynamic music, as Olde Worlde unfolds an interactive extravaganza for all ages. Everyone is invited to dress in costume for all performances!

Nashville Jewish Film Festival, Nov. 7 – 12, Belcourt Theatre Celebrating its ninth year, the Nashville Jewish Film Festival brings Jewish history and culture to the Nashville community through educational, entertaining and thought-provoking Jewish-themed films, panel discussions, and special events.

Victorian Christmas: A Celebration of a Century…1899 Nov. 7 – Dec. 31, Belle Meade Plantation Learn how excited and optimistic Americans were in 1899 to see the we grow brows, too. dawn of a new modern age. As you tour the Belle Meade mansion this holiday season you will become a guest of William and Annie Jackson as they host a party celebrating the end of one era and the beginning of another.

M UteMAth, Nov. 8, War Memorial Auditorium In the wake of the announcement of the long-awaited release of its new studio album, New Orleans rock innovator MUTEMATH announced its Fall 2009 ARMISTICE Tour in support of the band’s second album for Teleprompt/Warner Bros. Records. 3 7 6 -376-6010 6 0 1 0 WE OFFER FREE SHUTTLE SERVICE With Dinner Reservations To: • affordable • guaranteed• affordable results TPAC, Symphony, • minor medical3 7• 6 fastprocedure - recovery 6 0 1 0 Ballet, Opera • guaranteed results Ryman Concerts, • •fast affordable recovery • guaranteed results •• minor minor medicalmedical procedureprocedure Sommet Center Events, • fast recovery & Downtown Hotels. A ordable Casual Fine Dining Between West End & Broadway at 19th Avenue 615-320-7176 for more information call 615.376.6010 midtowncafe.com for more information call 615.376.6010 no online shuttle reservations or visit www.WeGrowHair.comfor moreor visit information www.WeGrowHair.com call 615.376.6010

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88 | November 2009 | Nashville Arts Magazine Nashville Arts Magazine | November 2009 | 89 Classic Doors, Inc.

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Artrivia applied for the post after the bombing of Pearl Harbor. Julia was soon by Dave Turner posted to Ceylon (now Sri Lanka), where she met her husband, Paul. Gypsy jazz guitarist Django Reinhardt, considered by many to be the greatest player ever to pick up a guitar, played all of his solos Fashion designer Roy Halston roared onto the international stage using only two fingers. The other three fingers, which were paralyzed when he designed the pillbox hat that Jacqueline Kennedy wore to in a fire, he used for chord work. Reinhardt was known to skip sold- her husband’s presidential inauguration in 1961. Once dubbed “the out concerts to “walk to the beach” or “smell the dew.” He died of a premier fashion designer of all America,” Halston became his own brain hemorrhage in 1951. worst enemy, undermining his success with excessive drug use. In 1984 he was fired from his own company and lost the right to design RenownedNashville chef Arts Julia Magazine Child was Novembera participant 2009 in a secret Crossword spy organiza- and sell clothes under his own name. His perfume, PuzzleJunction.com Halston, is the tion formed by President Franklin Roosevelt during World War II. She second-biggest-selling perfume of all time.

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65 South, Exit 69,94 Moores | November Lane (west), 2009 Mallory | Nashville (turn right) Arts BehindMagazine the Shell Gas Station Nashville Arts Magazine | November 2009 | 95 1233 Nichol Lane, Nashville, TN 37205 • www.jpdesigns.com • 615.498.7802 Palm Tree Paradise Calming the Fear Solitude Red Eyed Tree Frogs 30x40 Oil on Canvas 14x11 Oil on Board 8x10 Acrylic on Canvas 12x9 Acrylic on Canvas Susan Allsbrooks Lee Hamblen Jade Reynolds Gary English

After more than eleven years in business as Nashville’s premier antiques and interiors market, we thought we should remind our customers to shop our store for moderately priced original art work, as well as what we have always had… a wonderful selection of decorative pillows, interesting furnishings, lamps, antiques, and accessories. Come by and see a selection of these Joan’s Old truck artist’s works at our Belle Meade store. Two Too Many 10x12 Oil on Canvas 12x12 Oil on Canvas Sherrie Russ Levine Lela Platt

96 | November 2009 | Nashville Arts Magazine NashvilleHOURS Arts Magazine OF BUSINESS:| November 2009 | 97 MONDAY SATURDAY, 10 5 My Favorite Painting

Tony Breuer’s This Is My Body Broken For You by Nan Parrish, Volunteer and Community Activist I was drawn to it—it wasn’t something I thought about—it just This is the first piece I bought that started my collection of Southern happened. I’m amazed with his story too. He started a whole new living artists. I fell in love with Tony’s work from a postcard sent to me career at age 50. He’s the kind of guy who’d go out in a teepee, clear by the Greenville Museum of Art. It has a kind of spiritual feel to it, but his mind, and have one of those visions that he would be an artist. you don’t necessarily see his work as religious paintings. I’m glad he did! Kate Spade Brooks Brothers Burberry Cole Haan Juicy Couture Lacoste Louis Vuitton Sephora The Cheesecake Factory Tiffany & Co. arlati c S thony n A

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Dr. Anthony “Tony” Breuer is both a physician and an artist. He was educated at Oxford University, Princeton University, and Harvard Medical School where he actively pursued an interest in molecular neurobiology and brain function. It was this curiosity in the sub-cellular level and in the unseen that led him to pursue the study of fine arts. He received his M.F.A. from East Carolina University.

Breuer, who was born in Venezuela, has traveled the world extensively and uses those experiences for his inspiration. His work is often a multilayered matrix of colors and recognizable shapes that seem to be in constant motion, always moving, always traveling. For Breuer, “still life” is not.

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100 | November 2009 | Nashville Arts Magazine Acquire your masterpiece at A-1 Appliance.

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