February 2010 | 1 2 3

Nashville Arts Magazine | February 2010 | 1 2 3

2 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 3 4 5

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Publisher's Note LIKE NO OTHER

TM The legendary photographer Paul Strand was quoted as saying, February 2010 “The artist’s world is limitless. It can be found anywhere far from where Spotlight...... 8 he lives or a few feet away. It is always on his doorstep.” Strand, in this The Blakemore Trio, Centennial Art Gallery, Ink & Blood, statement, dispels the belief many beginning photographers seem to Wander and Wonder, Frist Center, Jace Freeman, Italian Cooking, share, the notion that, in order to create greatness, one must travel to Opera Education Tour, Two Moon Gallery, Space for New Media, exotic locations far away. Bethanne Hill, Ancestral Living in Northumberland On the Horizon...... 18 A well-executed photograph can record the most mundane subjects and University School of Nashville speak volumes. Think of Edward Weston’s Pepper, 1930 or Imogene Margaret Ellis...... 24 Cunningham’s The Unmade Bed. These are just two examples from masters Can’t Buy Me Love of their field creating beauty from their everyday surroundings. Marty Stuart...... 30 Bringing It All Back Home As a commercial and fine art photographer, I’ve been blessed with the Richard Heinsohn...... 38 privilege to visit and photograph a good part of the world. Those travels have given me the chance to explore lands and cultures that many don’t Intuitive Universe THE WORTH OF A HOME can be found get to experience. For example, a recent shoot took me to several very Ronell Venter...... 44 in details that truly define uniqueness- as remote villages in the Ulpan Valley region of Guatemala to photograph simple as a centuries old fireplace that Painting in Bliss Mayan culture. An example of that shoot is shown below. Stacey Irvin ...... 52 retains the historic permanence of a time past, or as grand as a rooftop promenade Humanity in Focus As much as I’ve enjoyed these travels, however, some of my best expe- atop a landscape of city lights. So, to us, Doug Regen...... 60 riences have been right here around my hometown, photographing The Wood Whisperer Nashville’s creative community for this great publication. It is a plea- it’s not about the size of the property, Just Desserts!...... 66 sure to be able to capture the personalities of those who are typically the number of bedrooms, or even the on the other side of the art. price, but more about the distinct Cumberland Gallery...... 74 character that makes a home worthy of Theater...... 80 Appraise It...... 84 Great art can emerge from your own back yard, as well as Guatemala being called exceptional. Poetry...... 88 or Paris. The successful artist can always find a world of beauty “on Anything Goes...... 90 his doorstep.” On The Town...... 92 Puzzler...... 96 Jerry Atnip My Favorite Painting...... 98 Photographer This is our world. On the cover: Favorite Loves by Bethanne Hill

Published by the St. Claire Media Group Because the worth of a home i Charles N. Martin Jr., Chairman Paul Polycarpou, President right: Ulpan is defined in its details. i Daniel Hightower, Executive Director Valley, Editorial Guatemala Paul Polycarpou, Editor and CEO Editorial Offices Katie Sulkowski, Managing Editor 644 West Iris Drive, Nashville, TN 37204 Tel. 615 383-0278 Madge Franklin, Copy Editor Ted Clayton, Social Editor Business Office: Cathy Faust, Angela Innes, Adrienne Thompson Linda Dyer, Antique and Fine Art Specialist Distribution: Josh Fuller, Sam Scarpine Jim Reyland, Theater Correspondent Subscription and Customer Service Contributing Writers 615 383-0278 [email protected] Rebecca Bauer, Beano, Wm Bucky Baxter, Lizza Conner Bowen, Letters: We encourage readers to share their stories and Lou Chanatry, Sophie Colette, Melissa Cross, Daysi, Greta Gaines, reactions to Nashville Arts Magazine by sending emails to Joe Glazer, Tony Lance, Linda York Leaming, Joy Ngoma, Lizzie Peters, [email protected] or letters to the address above. Ashleigh Prince, Kami Rice, Bernadette Rymes, Sally Schloss, We reserve the right to edit submissions for length and clarity. Eric Stengel, Katie Sulkowski, Kevin Tetz, Lindsey V. Thompson, Dave Turner, Lisa Venegas, Deborah Walden, William Williams Advertising Department Design Sales Director: Randy Read [email protected] 615.463.3333 Jeff Stamper, Design Director Cindy Acuff, Rebecca Bauer, Melissa Cross, Beth Knott, Leigh 2325 Crestmoor Road, Suite L-4 Rob Williams, Graphic Designer Mayo, Meagan Nordmann All sales calls: 615 419-2111 Photographers Nashville TN 37215 Jerry Atnip, Nick Bumgardner, Lawrence Boothby, Matt Coale, Advertising & Business Office: 40 Burton Hills Boulevard thelipmangroup.com Kyle Dreier, Tim Hiber, Brad Jones, Mark Levine, Anthony Scarlati, Bob Schatz Nashville, TN 37215 6 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 7 Budsliquors9.16.09.indd 1 9/16/09 1:55 PM Each Office Is Independently Owned And Operated. 8 9

Spotlight

The Blakemore Trio Ink & Blood: Dead Sea Scrolls to Gutenberg Premieres Gates of Silence at Ingram Hall February 19, 8 p.m. February–March Exhibit The Blakemore Trio and esteemed New York composer/soprano Ink & Blood: Dead Sea Scrolls to Gutenberg is the largest collection ever assembled Susan Botti will premiere Botti’s Gates of Silence at Ingram Hall. chronicling Western Civilization as seen through one of its most prominent and carefully The performance is part of a commissioning project, The Blair preserved objets d’art—the Hebrew, Latin and English Bible. The collection includes Commissions: Music for the 21st Century, funded by the James authentic Dead Sea Scrolls, 5000-year-old clay tablets, Hebrew Torahs, ancient Greek Stephen Turner Charitable Foundation for Vanderbilt University’s texts, Medieval Latin manuscripts, pages from Gutenberg’s Bible, and rare English Blair School of Music. Members of the Blakemore Trio, violinist printed Bibles. In addition to the more than 100 authentic artifacts, the exhibition Carolyn Huebl, cellist Felix Wang, and pianist Amy Dorfman, met includes a working replica of Gutenberg’s printing press featuring live demonstrations of as faculty members at Vanderbilt. They selected and commissioned incunabular printing. John Paul II High School in Hendersonville is hosting an exhibit Botti to write Gates of Silence and have enjoyed a collaborative in February and into early March called Ink & Blood: Dead Sea Scrolls to Gutenberg. It is process with the composer. Following their Nashville performance, a look at Western culture and religious art through the lens of the written word. Tickets the trio will travel to New York for an encore performance March are $15 and are available through JP2HS.org. 13, 2010, in Merkin Concert Hall at the Kaufman Center. Pianist Amy Dorfman has relished this experience as a musician: “We are Viewing times open to the thrilled to be given this opportunity not only to work with Susan public: evening viewings Botti on the process, which has been fascinating, but also as a trio, to (Mondays) February 15, have our New York debut.” This event is free of charge, but tickets February 22, and March are required. Tickets are available at the Blair main desk. 1. Morning viewings (Thursdays) February 18, Please call (615) 322-7651 or visit www.vanderbilt.edu/Blair/ February 25, and March calevents for more information. 4. Afternoon viewings (Sundays) February 21 and Centennial Art Gallery February 28. For more information visit www.inkandblood.com. Ad Nashville Arts 1:Layout 1 1/18/10 8:30 AM Page 1 Exhibits Paintings and Sculpture From February 5 through March 26, Centennial Art Gallery will Wander and Wonder, show the work of artists Kaaren Hirschowitz Engel and Sydney Exhibition of Photography by Byron Jorjorian, February 6–March 2 Reichman. Engel’s paintings and sculpture are composed of woven Everyone is invited to view the stunning collection of fine art nature elements in a bright palette of colors. Reichman draws inspiration photography by Byron Jorjorian at Davis Art Advisory, located at from nature for her willowy bronze sculpture. The public is warmly 75 Arcade off 5th Avenue. Featuring pristine locations in Tennessee, invited to attend the opening reception on Friday, February 5, from Wander and Wonder focuses on the unusual, fleeting moments that 5–7 p.m. Gallery Talk: March 5, 5–7 p.m. nature offers us if we take the time to wander and pay attention. Jorjorian’s reverence for nature is evident in his extensive portfolio My place in the city Visit http://www.nashville.gov/parks/cac.asp to find out and is appreciated by lovers of nature as well as collectors nation wide. more about Metro Parks’ Centennial Art Center.

left: Figure Installation by Sydney Reichman Opening Reception: Saturday, February 6, 6–9 p.m. below: Inside the Loop by Kaaren Hirschowitz Engel For additional information: [email protected].

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8 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 9 10 11

Spotlight

Frist Center for the Visual Arts Jace Freeman February visitors to the Frist are in for a special treat. Two shows On February 6 during the First featuring world-class art will grace Nashville. From the famous Saturday Art Crawl, Mir Gallery Walters Art Museum in Baltimore, the Frist will exhibit Heroes: (44 Arcade Building) will open Mortals and Myths in Ancient Greece now open in the Frist Center’s a month-long exhibit of images Upper-Level Galleries through April 25, 2010. The show features from the 90 Miles series by works crafted between the sixth and first century BCE in the Nashville-based filmmaker and heyday of classical Hellenistic art. It explores the need for super- photographer Jace Freeman human and mortal heroes in society. This interactive experience (jacefreeman.com). Shot on a allows guests to determine which Greek hero or monster best fits Holga camera during 10 days in their personalities. Havana, Cuba, the images capture the textures, color and vibrancy Masterpieces of European Painting from the Museo De Arte Ponce Freeman experienced in a coun- will open on February 19–May 16, 2010. The exhibition cele- try that “was this place secluded brates 60 paintings from the collection of Puerto Rico’s Museo to itself.” Freeman’s photography De Arte Ponce begun in 1950 by the philanthropist and gover- helps fund his primary work of nor Luis Ferré. What many people don’t know is that Nashville creating films that document is home to Luis Ferre’s grandson Dr. Trigo Benigno, Associate the work of non-profit organi- Professor of Spanish at Vanderbilt University. Dr. Benigno is zations around the world. He delighted for his family’s art tradition to be shared at the Frist creates “art for a purpose, to do with Nashville’s art lovers. Ranging in date from the 14th to a social good that I couldn’t do the early 20th century, iconic works by Francisco de Zurbarán, otherwise,” he explains. In early Peter Paul Rubens, Anthony van Dyck, Bernardo Strozzi, Dante February, Freeman heads to Gabriel Rossetti, and Edward Coley Burne-Jones are included in Haiti, Honduras and El Salvador this dazzling assemblage. for two weeks of documentary film work.

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Spotlight

Nashville Opera Education Tour Say... I Love You Presents The Three Little Pigs Beginning February 11, Nashville Opera On Tour will present an adaptation of The Three Little Pigs, which is based on the music of Wolfgang Amadeus Mozart. This delightful opera, which was created especially for elementary school students by John Davies, follows the exploits of three maturing piglets who realize they need to consult the local library in order to design their own homes. The villainous wolf, Wolfgang Bigbad, spies on the three and hatches a plot to make

them his next meal. When Wolfgang’s efforts to blow down Despina’s house of bricks backfires, she uses her intellect to trap the wolf. A reformed Wolfgang admits that even big bullies can be shrunken down to size and joins Despina, Cherubino, and Giovanni in the Be My Valentine moral of the story: “When you fear a thing that’s scary, take your questions to the library.” The self-contained production is designed to travel to schools and public venues and includes a complete set, cast, and musical accompaniment. The opera will be presented in more than 70 different locations across Middle Tennessee through- Beads from $25 in Silver out February and March. The production is under the direction of Stuart Holt, Nashville Opera’s Education Director.

U.S. PAT. NO. 7,07,507 Nashville Opera’s extensive education and outreach touring ell

mm program reaches over 30,000 students in 18 counties throughout Middle Tennessee. For the full schedule of performances eed hu 73 White Bridge Rd • 615- 352-6085 • www.2danes.com R 73 White Bridge Rd • 615- 352-6085 • www.2danes.com • Mon - Sat 10-6 • Sun 1-5 Mon - Sat 10-6 • Sun 1-5 for public viewing, visit www.nashvilleopera.org and click

Photo: Education & Outreach: In Your Community. Two Moon Gallery Grand Opening JAMIE Nashville’s 12South District welcomes a brand new gallery. Two Moon Gallery is a dream come true for owners, husband and wife team Hal and Rachel Pickle. The 1600- square-foot gallery bookends the new 12th and Paris building, and the member artists are from every region in the country. Their works, while varying in style and medium, are reflective of the gallery owners’ honed taste and ability to acquire great art.

Located on the ground floor of the three-story gallery are: wildlife art by Diana Tremaine ti a

rl from Montana, created on Zen-like backgrounds; several luminous porcelain vessels by a Appalachian artist Tom Turner of North Carolina; and leading up to the second floor, the works of Atlanta, Georgia-based Jean Glenn. An emerging contemporary artist, Sam Edelman sandals $50 her bright colors and finely engineered designs draw the eye in. Cadmium Light offers

Photo: Anthony Sc the viewer long-lasting enjoyment. Featured upstairs are original wood sculptures by Tory Burch Brad Sells of Cookeville, Tennessee. His works have been shown worldwide, including CALVIN KLEIN Authentic Italian Cooking Classes the Smithsonian, and they tell an international story. The wood he sculpts comes from J Brand Che cosa cucinare? What’s cooking? Paulette Licitra can tell you. Or distant locations, such as South Africa and Hawaii. MARNI better yet, come cook with her. There are still spaces left in this new Diane von Furstenberg series of classes. Four classes with Paulette will give you the confidence Adding to the traditional gallery model, Two Moon Gallery is available to non-gallery PRADA to cook anything Italian at home: quick pasta sauces (each takes artists who are searching for a host for their next big show. One, two or three artists Missoni under an hour), seafood favorites including calamari and scampi, can exhibit their work at a fixed rate and reduced commission during select months CHLOE wonderful specialty stuffed pastas from Liguria and Lombardia, and of the year. A number of walls will be available while others continue to exhibit the hearty meat dishes like osso buco and steak pizzaiola. For all details: gallery’s stable of artists. All events will run for two evenings at a time to keep the atmo- Milly le

http://cucinaparadiso.wordpress.com. Buon Appetito! sphere fresh and filled with variety. From this is derived the name Two Moon Gallery. a o LIDA BIDAY... C

www.TwoMoonGallery.com. tt a : M Classes begin February 3 through the end of March and are (615) 403-6787 Unit 108, 2905 12th Avenue South, 37204 s 4317 Harding Road 615-292-4188 jamie-nashville.com

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Spotlight

Space for New Media Grand Opening Bethanne Hill Rooted in the South February is a busy month for Tennessee State University Arts. by Kami Rice Launching a new arts venue located on TSU’s campus is the Space for As a young girl, Bethanne Hill discovered Australian Aboriginal New Media. Many years in the planning, the Space for New Media art and connected deeply with it. “It was like this immediate love,” will host the most cutting-edge new media artists and technology she says of the art’s bold outlines and patterns and its imagery of in the region. The space will serve as an educational resource and mythology and storytelling. Hill appreciated the way Aboriginal art exhibition gallery for cross-disciplinary projects based in technol- took license with changing perspectives. This freed her to try differ- ogy. It creates the presence of a space dedicated to African American ent approaches in her own art. Hill says she “came to understand achievements in overlapping disciplines such at the arts, sciences and painting as making one mark and then responding to it.” technology. “New media art” encompasses a range of works, including Web-based projects, sound events, virtual reality installations, The resulting work is a beautiful melding of scenes from the rural mobile cellular or PDA projects, to name a few. South with the active, patterned images of primitive art. Leiper’s Creek Gallery owner Lisa Fox first encountered Hill’s work at Also at TSU this month, The Hiram Van Gordon Memorial Gallery the Blue Spiral in Asheville, North Carolina. Fox immediately hosts Connected: Kamal Al Mansour on display for public viewing connected with the paintings, partly due to fond memories of through February 27. Mansour is a California-based digital artist growing up on a farm. “Her imagery made me feel sentimental and and software engineer. On February 18 William Pope will lecture at the same time made me laugh,” says Fox. The paintings were just on his work and his upcoming projects with TSU. An artist of inter- what she’d been searching for to fill a niche at her gallery. national acclaim, Pope was included in the 2002 Whitney Biennial, and he is a Guggenheim Fellow. Most famous for his performance From barns and animals to fence posts and rivers, the scenes in art, Pope works in a variety of media. Hill’s paintings are unavoidably narrative. Yet she doesn’t set out to tell a particular story. Instead, she notes that she is a voracious Check the Web site for upcoming exhibits and artist talks, reader, when she can stay awake long enough to read at the end of www.tnstate.edu/gallery, or call curator Jodi Hays Gresham a busy day of paint- at (615) 963-1599. ing and family life. She reads a lot of Southern writers as well as nonfiction and culture books. Green Hills’ For a “quick minute” in high school she Funkiest Little “thought about being a cultural anthro- above: Hydrangea Dogs | below: Crawfish and Coon Neighborhood Joint pologist” until she Compromises are for realized anthropology relationships, not wine. was a science. – Sir Robert Scott Caywood “When I paint,” she says, “that’s the closest I can get to writing a book, something I would love to do someday.” Stop by and see our uncompromising selection. Hill takes bits and pieces from many different places and works them into a single painting. Lunch 11-2 Mon-Sat ti

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Spotlight Ancestral living in Northumberland No expense has been spared to create this home. The architectural detail immediately catches the eye; each room contains magnifi- cent ornamental molding and boiserie by JP Weaver Company in New York, the kind usually found only in Parisian salons or pre-war Park Avenue apartments. Soaring ceilings, crystal chandeliers and sconces, an elevator and William H. Jackson marble fireplaces fill this home tucked away in a gated community.

Of special note is the spectacular powder room. Containing hand- painted Zuber wallpaper, a solid marble toilet with gilded wooden cover and Sherle Wagner fixtures and washstand, it is a space worthy of any diplomat or royal.

Royal Makkum tile, the only Dutch pottery firm still using clay from its own land, fills the kitchen. Both sitting and breakfast rooms open to the massive kitchen along with an elegantly paneled library.

Breathtaking windows fill one wall of the enormous family room. A hand-carved bar is reminiscent of those found in robber-baron estates. The master and children’s suites are big enough to host a small nation, and there is even a suite for Mary Poppins. Each of the seven bathrooms has heated marble floors. Guest suites on the second floor are reached via a sweeping stairway with custom wrought-iron railings.

For more information contact Steve Fridrich or Christy Reed Blackwell at (615) 504-2833.

16 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 17 18 19

On the Horizon

University School of Nashville Young Artists Thrive Under Creative Freedom by Lindsey V. Thompson “It’s not an art school or an athletic school,” says Rachael Durnin studios but also in their other academic classes. Many of their classes of her high school. You get everything.” At the University School of are discussion driven, which they say fosters “creative thinking.” Nashville, there is an entire building dedicated to the arts. Inside are over ten visual arts instructors that lead their students from kinder- The school’s website references education reformer John Dewey to garten through twelfth grade to create works that speak to them, that describe the fundamentals of their art program. The curriculum mean something. is one “where the student is emphasized more than subject matter, where the learning process is as essential as the lesson, and where USN seniors Rachael Durnin and Elizabeth Kidwell are only two of curiosity and imagination are encouraged.” the high school’s 359 students who have allowed the visual arts to permeate their lives. From painting to printmaking to book art to Rachael Durnin ceramics, the University School has created a lively art culture that In Rachael Durnin’s artistic world, written words, musical chords,

encourages personal growth and creative development. and the visual arts seem to blend together in a harmonious rhythm that I don’t want someone to see all angles of,” Durnin says. “If above: Self Portrait by Elizabeth Kidwell, to create a sparkling coalition. Durnin’s musical background as the there’s still something hidden, I’ll put it in a song and perform it.” Newspaper, mixed media The visual arts program at University School is not based on a drummer in a two-person band called How Cozy! makes its way into right: Gesture Drawing by Elizabeth Kidwell, strict curriculum. Rather, the students create their own classes in an her visual arts. Her own creative writing pieces and lyrics from her For example, a broken typewriter that was given to Durnin as a gift Graphite on newsprint, 12" x 24", 2009 Independent Study, a clear advantage for Kidwell. “You get to create band’s songs inspire her visual artwork. Durnin will often share her became an inspiration for a multifaceted expression of her artistic more personal pieces” under this curriculum, she says. According visual images and lyrics from songs between the different mediums voice. After taking the machine apart, Durnin began rearranging the nothing is ever truly done. Rather, the process of to Durnin and Kidwell, the arts are emphasized not only in the art to create a rounded artistic interpretation. “I never make something letters of the keyboard to say different words and phrases. Eventually, reexamining her art drives her old art to take on she landed on “MY GUTS R BAD FIX ME?” Then Durnin started new beginnings. below: right: This Is What a Feminist Looks Like by Rachael Durnin, Wait For Me by Rachael Silkscreen, poster board, thread, plastic hangers, 31" x 36", 2009 cutting out words from magazines until she could create a ribbon Durnin, Scrap metal, welding, of poetry spilling out from the typewriter that told the story of its Durnin hails from a set of decidedly artistic bottom center: collaged magazine pictures, Paper Wings by destruction and the possible owners who caused the damage. Many offspring, as her brother works as a furniture string, tea, light, plaster hands, Rachael Durnin, of the phrases from the typewriter creation have been incorporated designer and her sister is an artist. Durnin says that 14" x 16" x 20¾", 2009 Found birdcage, into songs. though her parents were not the driving force in collage, handmade their children’s artistic aspirations, once they each paper box, handmade bird, Durnin also likes to touch on political and social issues in her art, began to realize their love for the arts, their parents string, hole punched oftentimes in a “humorous, ironic way.” Among the most frequent enthusiastically jumped on board. words, 8" x 15", 2008 issues that she draws from is the idea of gender identity in modern society. “The way people think about gender is an either/or,” she says. Planning to attend an art institution after high bottom right: “There’s so much sexism in the world that I don’t fit in with.” Durnin school, Durnin has mused on the idea of following

ti Wired Wings, by a rl

a Rachael Durnin, Book thinks about how she dresses every day and what she tells people about a career in film. Filmmaking, she says, would give board, book cloth, herself through her clothes. This issue has made its way into Durnin’s her the opportunity to have a hand in everything paper, thread, found artwork in a series of prints where she depicts hanging dresses and ties from making and selecting the music to creating objects, creative writing, 5¼" x 1½" x 8½", 2009 that are intended to display the setting and even writing the screenplay. “It just Photo: Anthony Sc below: In the Shadows of Luminosity by a theme of brokenness and makes sense,” she says. Rachael Durnin, Screen-printing, destruction along with the 12¾" x 10½", 2008 idea of being able to put Elizabeth Kidwell things back together. “I layer my art with my thoughts,” says Elizabeth Kidwell, who has always felt the desire to tell the Repeatedly, Durnin finds story of her life through art. “It feels so natural,” she revisits supposedly she says. “It’s the only thing that feels natural.” finished pieces to “fix mistakes I didn’t realize For Kidwell, the people she sees every day, her

were mistakes” or add friends, her family, have propelled her artwork ti a rl

new components to the forward. “Everyone I meet inspires me,” she says. a old works. In her art, “These people are all characters in the story of my

18 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 19 Photo: Anthony Sc 20 21

life.” Though it sometimes feels “weird to work on something so personal,” she feels compelled, even obligated, to move forward and create works that document her life and the people in it.

She uses diverse mediums and symbolic ingre- dients in her works to represent her subjects in abstract and conceptual ways. Each individual component she describes as “a freckle emanat- ing a certain persona to the viewer.”

Kidwell continuously stresses the idea of bringing spontaneity into her work. When she first came to USN, photography was her favorite medium, largely because “photos suspend time” and can forever capture the “feeling of the moment.”

For Kidwell the importance of creating ’ spontaneous art that can transcend time has only increased as she has grown older. Last year, for example, her older sister left Nashville to pursue a higher education. The above: Bicycle Graveyard, by Elizabeth Kidwell, analog photographs, 20" x 15", 2008 looming idea of her separation from her below: My Sister by Elizabeth Kidwell, graphite drawing, 30" x 52", 2009 sister led her to create artworks as remind- below right: Driftwood by Elizabeth Kidwell, analog photograph, 4" x 6", 2008 ers of her sibling.

Occasionally, Kidwell will venture to create works of fiction. One piece that Kidwell made at Watkins College of Art and Design unusually tells the story of a person that Kidwell does not personally know. The sculpture, made from pages of phone books, creates a somewhat human figure with an image of a woman amidst the chaos of the miscellaneous names on the phone books’ pages. The sculpture relays the idea that a person can be surrounded by people yet still feel lonely and isolated.

Though Kidwell says that her parents have never had artistic aspirations of their own, they are completely supportive and encouraging of her pursuing a career in the visual arts. Kidwell has plans to attend an art college next year, although she is unsure of exactly where her time in school will take her, as she is still trying to “figure out what to do.” Undoubtedly, though, she will Lindsey Victoria Thompson is a junior at Hume-Fogg Academic Magnet, where she is always have a place in the arts. “Nothing studying the literary arts with aspirations to pursue a career in writing. She is currently can stop me from making everything in the Assistant Editor for the school newspaper, The Knightly News. world into art,” Kidwell says, “because after all, everything speaks art to me.”

20 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 21 22 23

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Shaping the silver wire Margaret checks the final shape with the original drawing

Margaret Ellis Can’t Buy Me Love photography by Jerry Atnip

Love is an intangible. Often characterized as a gentle, soft emotion, it is strong enough to break the most sturdy of hearts. It is, nonetheless, invisible.

Perhaps this is why we turn to tokens and trinkets to celebrate matters of the heart. Lockets, wedding rings, charm bracelets each have a story to tell. They remind us that we are loved. Margaret Ellis and Edward Tomlin discussing the design of the As Valentine’s Day approaches, Nashville Arts Magazine follows Valentine necklace/brooch the work of Margaret Ellis as she crafts a special object of beauty for the holiday. The project itself is a labor of love for the magazine and the artist. For the first time, Nashville Arts Cutting gold wire to length Applying the gold dots will auction a work to magazine readers.

We have created a photo-journal of the birth of this little Raw materials: sterling silver, masterpiece. Ellis and her assistants, Edward Tomlin and 18k gold, peach-colored Angela Smith, hand-constructed this necklace which combines pearls, and red ruby beads a sterling silver and 18-karat rose-gold heart with a chain of peach-colored pearls and red ruby beads. Ellis, whose jewelry sells all over the world from New York to Japan, has been following her love of jewelry making for 32 years. Ellis enjoyed designing this statement necklace for Valentine’s Day. She says, “I wanted this piece to have a happy feeling. There is no better gift for a lover to give their beloved than a piece of jewelry. In other words, nothing says I love you like jewelry.”

All proceeds from the sale of the Valentine necklace will benefit Magdalene House, a national charity with a branch Hand hammering raw silver here in Nashville that helps rehabilitate women who are victims of prostitution and drug culture. Magdalene is Ellis’ favorite charity.

The Beatles song Can’t Buy Me Love seems appropriate for this venture. For romantic love, jewelry functions as a powerful symbol for something money can never buy. The lives of the women at Magdalene House prove that love is something that cannot be bought and sold. The Valentine necklace designed by Ellis provides a wonderful twist, though. Readers have the opportunity to buy an object that was hand-crafted from the heart, to demonstrate their feel- ings for a loved one, and give directly to a cause that helps support the Nashville community. Maybe you can’t buy love, but every little bit helps!

Y Nashville Arts Magazine proudly presents For sale, this one-of-a-kind collectible Valentine necklace created by the Margaret Ellis Studio with peach pearls, red ruby beads, silver, and gold. If you are interested in purchasing this collectible, please call us at (615) 383-0278 with your highest offer. We will be taking offers until 5 p.m. Friday, February 11. Ellis will personally O present her creation to the lucky winner in time for Valentine’s Day. We look forward to hearing from you. Happy bidding! The starting bid is set at $500. R All proceeds will benefit Magdalene House.

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“When I finally got back to square one with traditional country music, I thought, I’m home now. This is where I shall remain until further notice.” Marty Stuart Bringing It All Back Home

by Lizza Conner Bowen | photography by Anthony Scarlati

America’s back roads, littered with colorful characters and towns that the poet of the common man Merle Haggard once deemed “the forgotten” people and places, have served as a seedbed of inspiration for artist Marty Stuart on many a heartland journey. With the breakneck speed at which the world is changing, Stuart says he has slowly observed those dirt roads rolled in asphalt and the shine of those one-stoplight map dots dulled with sameness.

But the landscape looked different back when Stuart began playing music out on America’s rural byways as a budding teen with Lester Flatt. Influenced by the sights, sounds and rich life experiences, Stuart began archiving memories that would impact his work decades later and ultimately drive him back to total immersion in traditional country culture.

The Mississippi-born Stuart has come full circle. Along the way he hit commercial success with songs like Hillbilly Rock, which paid homage to his roots. And on the horizon is a hard-core, traditional, electric country album due out this spring called Ghost Train that Stuart calls “a place to drive my sword in the dirt.”

The acclaimed songwriter, singer, producer, photographer and country music historian has now settled into his “life’s role,” which is to serve as an emissary of traditional country music the world over.

“Ten years ago, I scraped the board clean from all the ‘90s success. My only assignment for my booking agent was to book me as far back into the woods as he could. I didn’t want to see a chart by my name. I wanted to start with music, with people, with real-life circumstances, and we’d play our way out of the woods,” Stuart says.

At firemen’s carnivals, county fairs and local performance halls, Stuart and his band the Superlatives, along with Haggard, fronted the Electric Barnyard Tour. Stuart says he rediscovered the “dirt-road heartbeat that was left in America.”

30 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 31 32 33

Over the miles logged were born critically acclaimed albums, the music. Once I saw a photograph on the cover of Life including Soul’s Chapel and Badlands and several books of magazine of Louis Armstrong playing his trumpet in front photography. A museum exhibit, Sparkle & Twang, which of the pyramids in Egypt. The caption read: “The ambas- features Stuart’s vast collection of costumes, instruments, and sador of jazz.” I thought, whether it’s at the Opry House or treasures from bygone eras, also took shape. More recently, the Kennedy Center, that was my role, and I have fallen in however, Stuart spoke with Nashville Arts Magazine about love with it. finding the spark which ignited his top-rated Rural Free Delivery-TV (RFD-TV) show the Marty Stuart Show, which NA: With the way the world is changing, do you think tradi- serves and honors the family of country music. Notes Stuart, tional country music is in danger of extinction? “When I finally got back to square one with traditional country music, I thought, I’m home now. This is where I shall MS: I don’t think so. If you sign up to play traditional country remain until further notice.” music, you have to write, sing and play the truth. The newspaper this morning tells me there’s a lot of truth to report on. NA: Tell us about the inspiration for the show, which is Will it win you all the CMA Awards in town? I doubt it. now in its second season. NA: Who, in the current country music scene, do you believe MS: For years I wondered why somebody hadn’t redone the has something worth preserving? What will be deemed tradi- Porter Wagoner Show. The show was fun, and it featured tional 20 years from now? serious culture. One day I was driving down the back roads of Missouri. I was listening to FM country radio and look- MS: There’s a young girl Amber Digby whose work is worth ing out at cows, tractors, barns, clothes blowing on the line, looking at. Everything Alison Krauss does is worth looking at. and it didn’t really line up. All of a sudden I stuck a clas- Alan Jackson too. Dwight Yoakam has laid some solid rail. The sic country CD in the CD player, and I cried. It touched Old Crow Medicine Show has introduced old-time music to my heart. It came into focus: why don’t I do the Porter a new generation. Del McCoury Band and Ricky Skaggs on Wagoner Show? the bluegrass side. As far as singers go, Patty Loveless is a new Loretta. Those are the new pioneers of this millennium. But Wagoner started the syndicated Porter Wagoner Show in what’s going to make the ultimate difference is the people who 1960, and it remained on the air for 21 years and was seen by come to town with their own songs, who can play and sing an estimated 3.5 million viewers. The Porter Wagoner Show them in a timeless manner. Those are the ones to watch out for. was a key factor in popularizing country and gospel music across the United States. NA: You’ve featured young acts like the Quebe Sisters Band on your show recently. What inspires you to invest in and NA: Can you recall where you started this journey? Was mentor new talent? there a defining moment that you can point to? MS: There’s no set of rules. It’s the music. It’s a mindset. It’s MS: The first night I ever played in Nashville was with a heart. There’s not one word that needs to be said when it Lester Flatt at the Grand Ole Opry. That was like walking hits your heart right. What excites me the most are the kids into the Vatican with the Pope. The only other job I’d had who are coming along. The Quebe Sisters are the first ones was with Johnny Cash. Those careers didn’t depend on, that came through that I went, “Yes. Yes. Yes.” They get it. “What is my record going to do next Monday?” They were It’s about pure, unaffected talent that comes out of the chute part of the culture, and that is what my passion drove me right. What I’m encouraged by is that the roots of traditional toward ten years ago. country music are the empowering force that gives contempo- “I didn’t want to see a chart by rary country music its sustaining credibility. NA: That’s when you refocused? NA: The great songwriter Harlan Howard called real country MS: Yes. I drew a line in the dirt with my CD The Pilgrim. my name. I wanted to start with music “three chords and the truth.” What’s your definition? Commercial bomb, but the most heartfelt record I ever made. I saw the culture of country music disappearing. It music, with people, with real-life MS: My wife, Connie Smith, calls it the cry of the heart. had very few shepherds, and there were not many places to Traditional country music encompasses the stories, the sing and play it. I thought, it’s too important to let die. circumstances, and we’d play our triumphs, tragedies, good times and bad times of a world culture, but particularly American culture. When times are I discovered that the most important thing I could possibly good, there are fiddle tunes to dance to. When times are rough, do in my life was to get in line to help save and champion way out of the woods.” there’s true country music again.

32 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 33 34 35

A Day in the Life

On the bus A little shut-eye

Arrive at Don Gibson Theatre Building

In the office, last-minute New Homes arrangements Sound check

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www.roganallenbuilders.com34 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 35 36 37

Paintings and Giclees

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36 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 37 “Pansies and Berries” 8” x 10” oil on panel 38 39

Richard Heinsohn Intuitive Universe by Lizzie Peters | photography by Tim Hiber Richard Heinsohn and his art are spot-on in a rapidly changing Stacked canvases and works in progress fill Heinsohn’s studio in world. His intuitive style of painting connects him to the universal Inglewood. In fact, they fill a rabbit warren of rooms behind the energy that exists between all matters and has the ability to bring studio and spill into his office. Yet another 100 pieces are stored off the viewer into the explosive and exciting pieces that are his work. “I site with a friend. Done in non-toxic, water-based acrylic gels, his think an artist has a responsibility to reflect something about life, to newest creations are in varying stages of completion. The colorful be informed and to be informative, to inspire and be inspiring, most signature “craters” that are a motif of his work seem to sparkle and importantly to be relevant,” he recently observed. pulse the longer one stays in the room.

below: Looking Through, Acrylic gel polymer on wood, 10" x 11", 2009

38 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 39 40 41

below: Thought Spector, Acrylic gel polymer on panel, 16" x 24", 2007

Heinsohn is interested in the macro and micro aspects as a lake. We live on a dangerous and volatile planet. To of human existence. Each piece of his art is undeniably an artist mystery is key. We have the ability to trans- a statement of the cosmic force in nature: implosion and form, to take the microscopic to the telescopic.” explosion, creation and destruction, the obvious and the unseen. His fascination with the Big Bang was integral Upon closer inspection, one finds that Heinsohn’s in the evolution of his style. After viewing what appeared newest work, for example The Giant Leap, includes not to be an entire galaxy through an electron microscope, just an incredible array of color and form but also items colorful and seemingly infinite, he was hooked. of whimsy, such as the frog imbedded in the canvas. “It was a gift from the Chattanooga aquarium. I use planks, It is this intuitive connection that results in an array of gloves, paint caps, fabric, and plastic toys like Princess brilliant orbs and bands of color, the very same style that Leia to show how everything in life is immersed in an first caught the eye of the late, esteemed New York City ongoing process. Life is a vast process,” he concludes. gallery owner Allan Stone. Heinsohn’s consideration of existence and his ability to arouse curiosity led to his While the larger pieces of Heinsohn’s work sell in the inclusion in a show of featured works that included five-figure range, smaller pieces are significantly more renowned artists de Kooning and Kline at Stone’s gallery affordable. With an art market on the rebound, there is in 1995. This type of validation is something many no doubt that his work will find a home in many collec- artists dream of but never realize in a lifetime. tions, both big and small. Painting daily, teaching and interacting with other artists are things he intends to Works titled Carnival in Darkspace, Mega Metamorphosis, continue for the rest of his life. Someday, he hopes to The Grand Exchange, and Nature’s Chaos are all indica- take over an industrial building and create a space for tive of this visionary’s talent. Almost professorial, artistic interaction. Heinsohn is able to articulate his fascination with the ...implosion and explosion, mysteries of life using the language of abstraction. “Good art stimulates us to think about life and our responsibilities. I’m trying to get to the place where creation and destruction, the “I am a very, very intuitive painter,” he says while people are able to see synapses.” He has built it, and adding color to a work in progress. “We think of they will come. obvious and the unseen. craters as evidence of massive destruction, yet they have often resulted in the creation of ecosystems, such Richardheinsohn.com

Transit, Acrylic gel polymer on wood, 9" x 12½", 2007 40 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 41 42 Northgate Nashville Art Feb10:Northgate Nashville Art Feb10 1/22/10 9:13 AM Page 1 43 NEW YEAR, NEW ART A U C T I O N E E R S O F F I N E A N T I Q U E S A N D WO R K S O F A RT

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opposite page: Shelter From The Storm, Medium, 72” x 48”

Ronell Venter Painting in Bliss

by Deborah Walden | photography by Jerry Atnip Ronell Venter is a storyteller. With words, music and paint, she creates vivid narratives. Her art, perhaps, imitates her life. Venter’s journey as an artist is as full of adventure as one of her imaginative screenplays or active landscapes.

A petite blonde with a soft voice and a cheerful laugh, Venter smiles constantly. She is serious, ambitious, but just like her paintings, she has a sense of playfulness in her character. Her journey as an artist began as a child. A native of South Africa, she claims her childhood was idyllic. Her mother was an artist and an opera singer, so creativ- ity and imagination filled her early days. Venter’s family owned a farm outside the city that they visited on weekends. There, they churned their own butter, raised animals, and passed long days in an innocent, simple world.

When looking at Venter’s paintings, one catches a glimpse of the spirit of her early Arcadian summers in South Africa. “I always wanted to paint bliss,” she says. In her painting White Dress, a little girl dances playfully in front of an old country white church. Her arms outstretched, one toe pointing, she strikes a carefree pose, mid- twirl before the viewer. The triangular composition of the canvas with its sturdy tree, lone church, and young figure is harmonious and balanced. Its organization seems to put the onlooker at ease. In White Dress one finds a moment of windswept childhood happi- ness before longstanding monuments of strength and stability. The painting is blissful at the same time it is mature. One can sense in it Venter’s childhood love of the country and her efforts to capture innocence and beauty in her work.

Venter was inspired to paint White Dress when driving through the country in California. A heavy mist hung over the landscape that just obscured an old church from her view. The moment struck her. She captured it in a photograph and, on her return home, transformed it into a simple yet powerful oil painting. This process typi- fies Venter’s work. She often takes photographs while traveling and later translates them into dynamic canvases.

44 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 45 46 47

Travel has also characterized Venter’s life. Attracted to the television she became more active in the film industry. She started working as and film industries, she moved to Johannesburg after college and producer for DreamWorks Studios. With a national portfolio and a became a news editor with the South African Television Broadcasting career in film, it seemed that she had everything. Corporation. She left her job in news for another more lucrative position, but her employer soon went bankrupt. Where others After completing her murals in Baltimore, Venter took a fateful trip might have felt defeated or returned home, Venter saw this turn of to Italy. The journey, she claims, transformed her. “I stopped doing events as an opportunity. She sold her car for just enough money to commissioned work and began painting for myself.” Venter claims buy a plane ticket to the United States. She had friends in Texas with that throughout her career as an artist up to this point she had whom she could stay but had no prospects of a career in the States. painted only for others. With new clarity about her artistic vision, she took a chance in pursuing themes and subject matter that spoke At age 23, she landed in the U.S. with $135 in her pocket and the to her personally. Her new work was an instant hit. belief that she could paint commissioned artwork for money. She was right. She sold a painting and flew to Florida where she could again Venter’s first painting in her new style was drawn from a photograph stay with friends. Once there, she produced another commissioned of a stranger on her trip to Italy. A young baker standing outside work for enough cash for a plane ticket to Los Angeles. Venter had his family shop, he looked in at the store window and seemed to begun to dream of living in California in order to work in the film contemplate and question his place in the world and his future. industry. She hoped to get involved with a major studio, but she Soon, Venter found herself in a similar mode of introspection. Her again had faith that her artwork could see her through any lean times. project with DreamWorks’ Evolution by Steven Spielberg had not been a success. Rather than give up, Venter began to contemplate In California, she began working as a teacher and used painting life choices that would make her happy. to supplement her income. A gregarious, hardworking person, she soon made friends with luminaries of the film and design worlds. She turned to Nashville. Now a mother with a young son in tow, She completed numerous commissioned paintings for major design she finds the pleasant pace of her life in Tennessee conducive to her firms in Los Angeles. Venter also began traveling between Baltimore creative needs and her family’s well-being. Venter opened Ronell & and Los Angeles for a series of murals in the home of one of her Co. Art in the Arcade downtown where she sells her paintings and patrons. As she realized continued success in her painting career, maintains a studio.

opposite page: Daffodils For The Bride, 72” x 48” 46 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 47 48 49

She recently completed a painting that hangs in her gallery downtown. A study of a familiar Nashville monument, it features her young son kicking his soccer ball down the sunlit colonnade of the Parthenon in Centennial Park. The painting is all rigid geometry, angles, and perspective except for the playful figure of the young boy. “I love a structural setting—the balance that it represents. In a structural painting like the Parthenon, children bring a lot of movement.”

Venter shows her instinct for art by the dynamic pairing of the static architecture and the free movement of the young child. The contrast also represents the dual forces at play in her life and work. When presented above: Sunday After Church, 44" x 56" right: Bliss, 72" x 48" with walls or roadblocks in her career, her left: The Piano, 72" x 48" free spirit and innate hopefulness have below left: Girl On Stairs, 44" x 56" helped her keep moving. An ambitious below right: Sleeping Girl, 44" x 56" dreamer, she is a planner, a networker, and a opposite page: Girl In Fog, 44" x 56" “I stopped doing good businesswoman. She is also warm, fun, and creative in her approach to the world. commissioned work Speaking of the innocence and mystique of her rural paintings, she may well be describ- and began painting ing that special spark that defines her person- ality: “It’s magic.” for myself.” www.Ronellventer.com

48 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 49 50 51 Classic Doors, Inc.

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Stacey Irvin Humanity in Focus

Stacey Irvin likes to be right in the middle of the action. Like most professional photographers, Irvin is a keen observer, but she also “wants to be more of a participant.” The Texas native and Vanderbilt graduate has been infatuated with photography since she was just 14 years old. Irvin claims that her eye as a photographer developed long before she ever held a camera in her hand. Her family took yearly road trips to visit national parks. On these long drives Irvin loved “staring out windows at landscapes.” Having discovered the joy of seeing the world, she wanted to capture her vision with fine art photography. Irvin’s parents built her a darkroom in their basement, and her dad taught her the basics of photography. While at Vandy, she majored in philosophy and fatefully applied for and won the prestigious Margaret Stonewall Wooldridge Hamblet Award in Studio Art before graduating. This grant allowed her to travel to China for two months to photograph villagers. Irvin knew that she had found her calling. Since that trip, her work has literally taken her around the world. Staceyirvin.com

Stacey’s work is on display in the Sarratt Promenade in Vanderbilt University, February 15 through April 9.

“I have a passion for capturing and sharing the simple yet most essential aspects of the human spirit.” ti a rl a

opposite page: Threshold, I came across these two little girls while wandering through the heart of the Uighur Old Town in Kashgar. They were both concentrating so hard on nail painting that they

Photo: Anthony Sc barely acknowledged me as I passed by.

52 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 53 54 55

above: Bringing in the Herd, While in Kenya, I visited the Masai Mara National Reserve. I was fortunate to be out wandering around as these two young men were bringing their cattle home for the evening.

below: Id Kah Mosque, Two old Uighur men sit at the side entrance to the huge tree-filled courtyard at Id Kah Mosque in Kashgar. Id Kah is China’s largest mosque. The trees keep the interior of the mosque cool and quiet. above: Girls in a Row, Sometimes I feel like a pied piper with a camera. This group of Uighur girls found me while I was wandering through the residential lanes of Kashgar's Old Town. They were eager to greet me and, without any prompting, spontaneously lined themselves up for a photograph.

right: Laughing with Vegetables, This woman and her daughter nodded and burst into laughter after I asked permission to photograph them. Four years later, I returned to Kashgar with some prints. When they saw me and the photograph, both women burst into laughter once again!

below: Door to Exile, The view from the rear gate of Jiayuguan Fort at the end of the Great Wall in Gansu Province, China. I had read that exiled poets and travelers would throw a small stone at the back wall as they were leaving. If the stone bounced back, it would be a good omen for a safe trip. I walked around the outer walls of the fort in order to capture this view and throw my stone. My stone bounced back.

54 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 55 56 57

left: Bactrian Camels, In the small town of Upal in northwestern China there is an area next to a creek under the shade of poplar trees where domesticated Bactrian camels are sometimes sold. This rare and endangered species of camel inhabits parts of central and eastern Asia.

middle left: Sidewalk Greetings, People often ask me why the girls' hair is so short. In addition to being low-maintenance and practical, a Uighur woman told me, they believe girls’ hair will grow longer and thicker if it is kept short during early childhood.

bottom left: Prayer Lamps, Tibetan prayer lamps light the interior courtyard of Jokhang Temple in Lhasa, one of Tibet's most sacred sites. Thousands of pilgrims travel across Tibet to visit and circumambulate the Jokhang each year.

below: Morning Smile, A Kazak girl pauses with a smile during morning chores on the grasslands in China near the Kazak border. Our eyes met for an instant through this small window. Moments like this fuel my passion for communicating our common humanity.

opposite page top: Emin Mosque, Built in the late 18th century, the style of this Uighur mosque in Turpan, China, is influenced by Persian and Central Asian architecture. I happened upon this amazing and unexpected view in the side galleries only by chance.

opposite page bottom: Gyantse, The view next to prayer flags above the Pelkor Chöde Monastery in Gyantse, Tibet, is worth the steep climb. It definitely felt like I was on the roof of the world.

56 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 57 58 59

The Blakemore Trio with special guest Susan Botti, composer/soprano

Susan Botti Yeoman’s In The Fork The Blakemore Trio: Amy Dorfman, piano, Felix Wang, cello, Carolyn Huebl, violin Rare Book & Document Gallery Music of Shostakovich and Mendelssohn World Premiere “Yeoman’s just may be the finest rare bookstore in the South, Gates of Silence, a new work by Susan Botti Poetry of Linda Gregerson | Stage Design by Leslie Taylor if not in all the country! For sure, it’s the handsomest anywhere!” Friday, February 19, 2010, at 8:00 p.m. Robert Hicks, New York Times Best-Selling Author of Ingram Hall, Martha Rivers Ingram Center for the Performing Arts Blair School of Music, Vanderbilt University, Nashville, Tennessee A pre-concert discussion with Ms. Botti and Ms. Gregerson will take place at 7:15 p.m. in Ingram Hall THE WIDOW OF THE SOUTH Tickets FABU For the World Premiere: This concert is free, but tickets are required. Please call (615) 322-7651 to obtain tickets in person at the Blair School of Music main desk.

This program is part of the Blair Commissions Series: Music for the 21st Century, sponsored by the James Stephen Turner Family Charitable Foundation. Vanderbilt University is committed to principles of equal opportunity and affirmative action. “Vanderbilt” and the Vanderbilt logo are registered trademarks and service marks of Vanderbilt University. Vanderbilt University Creative Services and Vanderbilt Printing Services, 2009.

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PHONE 615-983-6460 • FAX 615-515-9060 4216 Old Hillsboro Rd. • Franklin, TN 37064 (Leiper’s Fork Historic District) www.yeomansinthefork.com - RARE BOOKS & DOCUMENTS BOUGHT & SOLD - 58 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 59 WEDNESDAY - SATURDAY 10-5 • SUNDAY 1-5 60 61

Doug Regen The Wood Whisperer by Tony Lance | photography by Larry Boothby

“It takes a certain kind of person to fall in love with my work. It’s not as polished and finished—I’m not saying that it’s not cool and wonderful, it’s just maybe not as perfect—as what you’d find in most retail furniture stores. It is all handcrafted using old techniques. It’s more organic and natural. My work is a bit rustic and unrefined. It’s going to have weirdness to it; it’s going to have interesting knots; and it’s going to have scratches. All the wood I use has imperfections. Many of the people that are buying my work are people who have really contemporary homes, and they want to bring a history and a warmth into that space.”

Doug Regen’s transition from advertising agency owner to furniture maker began because of a silverware dilemma. “I remember being in a meeting with some senior-level managers, and we were discussing why all the forks in the kitchen had disappeared,” said Regen. “And I remember sitting there thinking, ‘I am so far away from what I love doing.’ I still refer to that day as my ‘fork in the road’ moment.”

That moment marked a turning point, and a short time later Regen left the advertising business after 20 years of working on some of the most recognizable brands including Bridgestone, DuPont, HCA and Singer and soon thereafter found himself constructing furniture. The switch wasn’t as much of a stretch as it might seem.

“I come from a family of builders and architects and contractors,” said Regen, who counts William Strickland, the designer of the Tennessee State Capitol, among his ancestors. “I’ve always been building stuff.”

With time on his hands Regen didn’t have to look far to find a place to put his skills to use. “My wife and I acquired a farm up in Kentucky about eight years ago that’s adjacent to a family farm, and back behind the main house is this old barn that was built in the late 1800s. It was all chestnut and oak, and it was beyond repair, so we were going to have to tear it down. I’ve always been a big believer in trying to reuse materials and fashion new objects out of them, and I didn’t want all that wood to go to waste,” said Regen.

60 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 61 62 63

“So here we had this old house that’s got “I’ve always had this attraction to archi- all this space, and we did not have much tectural salvage. Anything old that comes furniture for it. I thought I could prob- out of a building or that can be rescued, ably figure out a way to build some inter- I have a kinship with it. It’s always been esting furniture pieces, and that’s exactly this thing that I collect this stuff. Actually what I did. I took these old beams and it’s more than collecting; I have to have it. planks, the old square nails, everything I I can’t stand to see it torn up, burned or could salvage out of the old barn, and I thrown away. started building functional yet cool rustic furniture to go in the house. “I was driving home one day, and they were dismantling this house that had “I ended up bringing a few pieces to use burned,” said Regen. “It was awful, in our Nashville house, and some friends but sitting out front were six big old fell in love with the rustic yet functional columns. And I said to myself as I designs.” Word of his talent spread, and drove by, ‘You don’t need those.’ But I within a few years Regen was in demand, creating site-specific works could not get down West End without coming back and negoti- of art. His trademark use of recycled materials may seem both utili- ating to buy them and give them a new home. “Some people would look tarian and consistent with the ethos of the day—and it is—but it comes primarily from a deep-seated emotional connection he feels “I don’t know if it’s because of the craftsmanship of things that were at some of the material with old buildings and materials, a connection that gives a meaning built pre-1900, but there’s just some attachment I have to it. I love to his work that goes beyond form and function. old textures. I love old wood. I love old paint. I love all those things,” I’ve got and say, ‘What in the world would you save that for?’”

said Regen. “Some people would look at some of the material I’ve got and say, ‘What in the world would you save that for? That’s just a piece of junk wood.’ I mainly use woods that are at least 100 years old when I can find it, and most of the things I use have a story. Once I get it and start sanding and getting into it, something new comes out of it. I try to take it and give it a new chapter.

“I basically let the wood talk to me and tell me exactly what needs to happen. It’s a total emotional connection.” After pausing and reflect- ing for a moment, he says, “I think maybe it’s my job to save this stuff.”

Regen says his pieces tend to resonate with a specific niche market. “With my work I feel like I’m taking things that were carefully and lovingly handcrafted before by someone else, and instead of seeing those things thrown away or sent to the landfill or left to rot, I take them and give them a new life alongside the contemporary. It’s really exciting when you have that juxtaposition.”

Doug Regen’s work can be seen at www.raintreecollection.blogspot.com.

62 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 63 64 65

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64 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010S H E T | 65 66 67

by Fiona Sze-Lorrain

etweenPrivileged cigars, my uncle would break hazelnut praline and vanilla truffle enrobed in milk cocoa with exactitude Teresa Blackburn, food stylist Just Desserts! and eyes shut. “One thing,” he proclaimed, When poets set their muses to food all kinds of wonder “that all great chocolates have in common emerge. It’s a subject that elicits a range of emotions—from joy to hope to melancholy and humor. And when Valentine’s is that they are all different.” In kindergarten, Day rolls around everyone gets poetic. Romance thumps in the hearts of lovers and inevitably transforms to “sweets for the I boasted about building a museum, sweet.” A box of chocolates, a luscious cake, a creamy dessert are all foods of love. where cardboard placards would disclose

Here are six poets with their own unique passions when it horoscopes of chocolates. comes to dessert. The poems are from the pages of Alimentum: Years later, in Brussels, I was cornered The Literature of Food, a literary review based in Nashville. B www.alimentumjournal.com by a blind beggar boy. His fingers The sheer poetic beauty of food inspires the verse. Nancy tore at the foil wrap once I planted in his palm Vienneau, the restaurant reviewer for The Tennessean and creator of the blog Good Food Matters, prepared these tempting pistachio nougatine. Mint truffles desserts. She has let us in on her culinary secrets by revealing her recipes, which you can find at www.nashvilleartsmagazine. that I bought at the square Kyle Dreier, photographer com. And making it all beautifully pop from the page are photographer Kyle Dreier and food stylist Teresa Blackburn. had already melted in my coat. Dreier is an enthusiastic and inventive food photographer who has photographed the delicious dishes of many local restau- rants. Blackburn’s food styling has been showcased in local and national magazines.

With Valentine’s Day as the happy heart in the middle of February, we all crave that little bit of sweetness to brighten the month and inspire our hearts. Roses are red, violets are blue, when dessert comes first, it’s a perfect menu!

www.Teresablackburnfoodstyling.com www.Dreier.com www.Nancyvienneau.com/blog/

All of the recipes for these outstanding desserts can be found at Nashvilleartsmagazine.com.

Bittersweet Chocolate-Berry Truffles

Chef Nancy Vienneau 66 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 67 68 69

Kiwi Tarts

by Dolores Stewart

ime isStill a gift of Lifechoices. Suppose,with Lemons instead of a poem on the hardness of life, today I make a rich lemon cake, yellow with eggs and butter, tubular, glazed with liquore di limone di Sorrento. Suppose that anyone who tastes this golden cake by Stephen Gibson for a moment is transformed, staredThe at the Fruit kiwi that the girl forgot transported to a grove of lemon trees on her tray at the Vatican cafeteria. ripening in the south of Italy. l had some wine, bread, bowtie pasta TSun gilds the eyelids in luminous Sorrento. but no fruit—it didn’t cost a lot Sky and the sea are the same and I had money, but l’d lose my spot blue of tender memories. at the table if l got up—the cafeteria Lemons are both sweet and tart was filling. l’d sat there watching her like long hot days and disappearing years. playing catch with the fruit. She was not at all interested in eating that kiwi ]and then my staring made her suspicious because she stopped, looked hard at me as if she were marble and l was Laszlo Toth and left. l felt embarrassed for us both then vindicated. The kiwi was delicious. Lemon Yogurt Bundt Cake with Lemon Sauce

68 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 69 70 71

Tiramisu

by Peter Marcus

by Mandy Marksteiner shleyAt informs The me Little Owl madeDessert us a tiramisu that beginning tonight we will make no more memories, and I'm going to serve it tonight. that wherever we are, we will take nothing with us: I made all the layers, used ladyfingers. Neither matchbook nor business card, I think it turned out quite all right. ticket stub or Playbill and our cell phone cameras must idle in disuse. So instead of a bowl of ice cream I know I can’t control you, she says, or a stack of cookies and milk, but I prefer you write I made a dessert that's worth extra work, no more poems about our break-up The custard is smoother than silk. ] Afor it felt to her like planting false evidence at a crime scene. She tries to explain how leaving is actually, an illusory verb, for it dwells and thrives only in the past tense. I assure her I will never use fond memories against her, that acceptance is a potent cure. We drop our white napkins on the white tablecloth, then stand above our half-drained coffee cups, a barely eaten berry cobbler and crème brulee. Rather than touch her sugary lips to my mouth, she offers me her stronger hand and looks away.

Mixed Berry Magic Cobbler

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Cumberland Gallery by Linda York Leaming Nashville’s Cumberland Gallery will celebrate its thirtieth below left: Kell Black, anniversary in April of this year. Always on the forefront of the art Let Them Eat Cake 2, Archival paper, glue, 2¼” x 3¼” x 2¾”, 2010

scene in Nashville, the gallery is pairing with Second Harvest Food below right: Kell Black, Bank of Middle Tennessee to create The Food Show, Let Them Eat Pie, Archival paper, an exhibit to raise awareness and funds for the non- glue, 7/8” x 31/8” x 2¾”, 2010 profit from February 6–27. It is a grass-roots effort of artists who live in Middle Tennessee or its environs, including Andrew Saftel, Dane Carter, Jeff Danley, Kit Reuther, Marilyn Murphy, Jim Phalen and Billy Renkl. Fifteen percent of all show sales will go to the Second Harvest Food Bank. Show organizers ask that anyone coming to the opening, from 6 to 8 p.m. on Saturday, February 6, bring a can or a box of food or make a cash donation to Second Harvest. Caterers will provide snacks and hors d’oeuvres at The

Food Show opening. below: Jeff Danley, Feet with Strawberries, Oil on linen, 13” x 11”, 2006

above: Marilyn Murphy, Flapjacks, Colored pencil, pastel on above Barry Buxkamper, Spiked Melon, Watercolor, wax on paper on paper, 30” x 22”, 2009 panel, 10” x 8”, 2010

left: Ron Porter, Endangered Still Life #10, Oil on canvas, 36” x 60”, 2010

The idea came about this summer. And there was food involved. “It was during a pizza and beer party we had at the gallery. Many of our artists came, and we brainstormed to come up with ideas for shows,” said Cumberland owner Carol Stein. “We had a whole list of concept shows interfacing with the commu- ti

a nity and partnering with non-profits. rl a This one is the second partnership fundraiser. The first one was with Tennessee Parks and Greenways, Gallery owner Carol Stein

Photo: Anthony Sc which was very successful.”

74 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 75 76 77

left: Billy Renkl, Plenty, Collage of vintage recipe illustrations, 20” x 11”, 2008

below: Andrew Saftel, Beets, Watercolor, pencil on paper, 22” x 28”, 2009

above: John Sayers, Late Summer Garden Harvest/Farm View, Oil on panel, 5” x 8”, 2009

right: Johan Hagaman, In the Soup, Concrete, found and made objects, resin, 6” x 5” x 5”, 2009

below: Kit Reuther, Bananas, Oil, graphite on canvas, 40” x 40”, 2010

Stein said the concept shows give artists the opportunity to give back to the community and allow them to expand their horizons in terms of images. “There are a couple of people who are in the food show who have never painted food before,” she said.

Tasha Kennard, Second Harvest’s director of marketing and communications, agrees the show is a good thing. She says, “During a time when we’re experiencing an all-time high demand for food bank services, it’s critical for us to have partners like Cumberland Gallery to sustain our program in the community.” Second Harvest distributes over 40 million pounds of food a year, and demand is up 38 percent from last year.

Artist Billy Renkl relates art and food in this way: “The connection between what the gallery does and what a food bank does is especially poignant, and I’m really glad to be part of this show. Art isn’t ‘useful’ in the way that food is, but it feeds a real hunger in viewers, for something beautiful or meaningful.”

And so it follows, Cumberland Gallery is offering up a little comfort food for the soul.

76 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 77 78 79 we growwe brows, grow brows, too.too. photo:margaret ellis

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Cultural Heroes by Alan LeQuire 3 7 6 -376-6010 6 0 1 0 Running Partner...Found • affordable • guaranteed• affordable results • minor medical3 7• 6 fastprocedure - recovery 6 0 1 0 • •fast affordable recovery• guaranteed • guaranteed results results •• minor minor medicalmedical procedureprocedure • fast recovery And he’ll never wear spandex. Colossal Portraits Heads of Please visit the Nashville Humane Association Leadbelly, Woody Guthrie, where you’ll find a friend who needs you, a friend Billie Holiday, Bessie Smith, who is so much more than just a pet. Paul Robeson, Marian Anderson. You can also visit us at www.nashvillehumane.org Feb 4th- 27th Tuesday-Saturday • 10-3 to select your new companion. 4304 Charlotte Avenue Please Join Us for the for more information call 615.376.6010 Nashville, TN for more information call 615.376.6010 unveiling of Josh White on lequiregallery.com 213 Oceola Avenue Nashville, TN 37209 615.352.1010 Saturday, Feb 27th - 11am. or visit www.WeGrowHair.comfor moreor visit information www.WeGrowHair.com call 615.376.6010 2205 bandywood drive • nashville tn 37215 www.nashvillehumane.org or visit www.WeGrowHair.com www.margischair.com 78 | February 2010 | Nashville Arts Magazine 615.463.3322 Nashville Arts Magazine | February 2010 | 79 80 81

Theater right: Elijah Dies and Lindsey Huffaker in One Flew Over the Cuckoo’s Nest below: James Roberts, Patrick James, Jordyn Tucker, James Rudolph, Alexandria Churchwell in Once on This Island bottom right: Kimberly Mont, Bakari King in The Wiz Theater in the Street show, and the music is unique. It is definitely in the modern, pop The Street Theatre Company Broadway bent but is very creative and witty.

Is Paving New Directions Alice in Wonderland is being written by a local playwright and features by Jim Reyland original songs. It will be cast with a combination of young students Ask anyone to name the most famous street associated with the in STC’s youth summer program as well as some area adult profes- American theater and they will likely say Broadway. But in East sional actors. The combination is going to make this a very special Nashville, there’s a theater Street with which you may not be familiar. experience. In October, we bring back Macabaret, a campy musical The Street Theatre Company is quickly making its name and paving revue about death and dying. Lyrically it is one of the most brilliantly

a new direction for the theater arts in Music City. Cathy Street, hy written pieces I have ever encountered. It has been performed and ap Artistic Director: “I was always singing growing up…my family was become a major cult sensation in major cities across the U.S., such as very creative. In seventh grade, I did my first play, and I was hooked. Chicago and New York.

Theatre gave me an escape, a place where I could be somebody else, ective Photogr sp as I was always very shy. I love being taken away, both when I am on Finally, we close out the season with Six Degrees of Separation. When

the stage and when I am watching from the audience.” venly Per I opened up the script, I couldn’t put it down. It is funny, arresting, a e H right: Joe Robinson, Cori Laemmel in and really thought-provoking. It is in a very accessible, theatrical hoto: The Great American Trailer Park Musical p style and completely engaging. With Facebook and other current below: Laura Matula in Evita social media, the idea of six degrees separating us all as human “When I opened up the beings has become even more timely!” STC offers workshops on Method Acting, Viewpoint Technique, script, I couldn’t put Vocal Auditions, Linklater Vocal Technique, and much more. STC also offers year-round youth opportunities, including fall and it down. It is funny, spring Stepping Stone acting classes, with a special daytime option for home school students, a Broadway Song and Dance camp each arresting, and really March, and a summer drama camp. Classes are geared for ages 5-16. When asked who comes to a Street Theatre production, Street responded, “Our audience really runs a wide gamut. I can’t honestly thought-provoking.” say there is a “type.” We had groups of seniors who came to The Great American Trailer Park Musical as well as a number of people from the Nashville music industry and many people who had never The Street Theatre Company, like most contemporary theater seen a musical before. That is one of the exciting things about the companies, started from, and literally with, nothing. Cathy’s vision shows STC produces—they appeal to a wide variety of people!” was to do newer, sometimes edgier shows, both musical and non- musical, to pay the artists involved, thereby promoting and honor- The creation of something new can be one of the greatest challenges ing the artists and their talents, and to eventually be the resident of our lives. The Street Theatre Company is an exciting new company company of an arts center where there are always art, music, dance, making noise both on stage and off. Those with the courage to create and theatre classes and performances happening. Until then, STC deserve our attention and our support. has been very creative, using churches, schools, function halls, www.streettheatrecompany.org and, most recently, a warehouse to produce its shows. Cathy and her company don’t mind being out on the street. “Being homeless hy obviously can make it difficult for people to know where you are, ap

hy but on the upside, it keeps things interesting and certainly supports ap the notion of ‘street’ theater!” ective Photogr sp

ective Photogr Cathy and her company are justifiably proud of what they’ve accom- venly Per sp a e

plished and what is to come. “I am really excited by the diversity of H : th s Jim Reyland is artistic director of Writer’s Stage Theatre, www.

venly Per this season. We are opening up with 25 Annual Putnam County a hoto e p writersstage.com, and president of Audio Productions, Nashville, H Spelling Bee, which is a great example of a musical that is not just www.audioproductions.com. His writing and composing credits hoto: p fluff. There is so much heart and depth to the characters ofthe include Used Cows For Sale, A Sugar-Coated Pill, Stuff, Further Than We’ve Ever Been, Shelter, A Terrible Lie, Stand, Article 4: and the 80 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | Februarymusicals 2010 21 Baker | 81 R oad with Addison Gore and The Grand Band Ballroom. [email protected] 82 GIORGIO ARMANI 83 GIORGIO ARMANI the south’s CosmetiCs THE ouse BIRDHThing finest selection of antiques and oriental rugs.

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82 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 83 615.297.0971 x 5023 84 85

Antiques Ilya Schor’s artwork embodied the spirit of life and the folk culture of the people of the small villages (shtetls) of Eastern Europe. Schor was a passionate and serious enthusiast of his culture. Using his many skills and Appraise It memories, he worked on major commissions for by Linda Dyer | photography by Jerry Atnip synagogues in the United States.

Clayton Sumner Price (American, 1874- Ilya Schor died in New York City in 1961. A 1950) The Rider, oil on board, signed retrospective of his work was held at the Jewish C. S. Price Museum in 1965. His works are included Price grew up in a large ranching family in collections worldwide, including the in Iowa and Wyoming. An accomplished Metropolitan Museum of Art. carpenter, homesteader and horseman, C. S. Price was 31 years old before he sought Each cuff link, one inch in diameter, formal art training at the St. Louis School of is decorated with a pierced and incised Fine Arts. He left the school after one year image of a musician. The back of each is signed “I Schor” and to accept a job in Portland, Oregon, as a engraved with a bird device. These precious metal works are oddly magazine illustrator. Working for Western- more highly sought after than his paintings or drawings. A conserva- themed magazines, Price created images of tive estimate, at auction, for these fine objects of art and culture rearing horses and stagecoaches that were would be $2000 to $3000. about to go off cliffs, which were very beautiful drawings but still very illustrational. Carved and Painted Ice Fishing Decoy Historically, around the Great Lakes and in upstate New York, the Wood with attached metal fins, painted nail eyes, embedded sportsman ice fishing culture was in place by the second half of the Then in 1915, at the age of 41, he traveled lead weight and original paint. Length 5 ½”, American, possibly 19th century. The activity became so popular that concerns of over- to San Francisco for a show of contem- Minnesota, circa 1940-1960 fishing resulted in the sport being regionally outlawed in 1910 for porary art. The paintings he saw, all early, Where winters are long and cold and the ice is thick, you will find the everyone except reservation-bound Native Americans. modernistic European paintings by artists sport of ice fishing. The fisherman stands next to a hole which has been like Cezanne, transformed his artistic cut into the ice. In one hand he holds a “jig” stick with an attached The beginning of the Great Depression saw the end of this prohibi- vision. He became committed to color as decoy suspended in the water. By jigging this stick and real- tion as economic conditions created a need for new ways of creating emotional expression. As Price’s paintings istically moving the decoy, the fisherman hopes to income and securing food. Ice spear fishing was resurrected into a changed, details disappeared. His figures attract a fish to spear. major enterprise for both sport and sustenance, with carvers and fish became simplified; the bodies became decoy users active on the lakes and rivers of Michigan, Wisconsin, trunk-like. He settled down in Monterey, Minnesota, and New York. California, sharing studio space to paint while supporting himself as a frame maker Minnesota decoy carvers are best known for producing “critter” and sardine packer. fish decoys. Typically ranging from three to six inches in length, these decoys resembled mice, raccoons, snakes, Returning to Oregon in 1929, C. S. Price salamanders, turtles and even mermaids. While became the major regional influence during the pre-war period by Ilya Schor (1904 -1961) utilitarian in purpose, they proved to be bringing the influences and ideas of the Paris school of Cubism and Pair of Gold Cuff Links, circa 1949 very popular with collectors of both Modernism to Portland. His work rapidly became the ideal for the Ilya Schor was born in Zloczow (Galicia), in the Austrian Empire, decoys and American Folk Art. younger artists of the region. They made pilgrimages to his studio, later Poland, in 1904. Educated in the arts and metal crafts in Poland pursuing Price to give them lessons, but he resolutely declined and Paris, Ilya Schor immigrated to the United States in 1941 from Out of the water and in a retail and was described by these art students as a modest, selfless man. Marseilles, via Lisbon, after fleeing Paris in late May 1940. setting, this whimsical critter In the final years of his life, Price received critical acclaim ashis In New York, Schor moved into a cosmopolitan circle of intellectuals decoy could be works headed toward abstraction. The Portland Art Museum gave and artists. He himself was a multi-faceted artist who earned his priced at $200 to $300. him a one-man show in 1942 and 1945. In 1946, he was included renown as a painter, sculptor, engraver, jeweler, and book illustrator. in major exhibitions at the Museum of Modern Art in New York. He was also renowned as an artist of Judaica and a master of the ornamental detail. I believe this little gem of a painting to be a rare example of his early work and would estimate its auction market value to be $4000 to TERM of The Month $6000 dollars. JUDAICA: items pertaining to Jewish life and customs, especially of a historical, literary, or artistic nature, such as books or ritual objects. 84 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 85 86 87

“Scrimmage” Punchboard/Gaming Board, When playing for cash, the player paid the Circa 1940-1950 punchboard’s operator a set amount of money Punchboards are the descendants of handmade for a chance to use a metal stylus (or “punch”) lottery gaming boards, which were used in the to break the seal on the hole of his choice and U.S. as early as the 18th century. The punch- punch out a slip of paper. If the number or board or salesboard was patented in 1905 by C. symbol found on the slip matched one of the A. Brewer and C. G. Scannell of Chicago. Once pre-determined winning combinations, the the boards became cheap to manufacture, they player was awarded the corresponding prize. quickly found their audience in gas stations, This type of game board is still generating corner stores, bars, fraternal halls, and at fund- revenue in states where the gaming laws allow raising events. In 1939, at the peak of their their use. popularity, fifty million punchboards were sold. As collectibles, these vintage boards have great Punchboards were typically played for cash gains, visual appeal and would be great additions to but some manufacturers disguised the gambling any collection of advertising, pin-ups, sports or nature of the boards by stating that prizes were history. The “girlie pin-up” and cigarette boards “for trade only” and not redeemable for cash. are the most common subject matters avail- Cigar, cigarette, and beer companies used punch- able; thus sports- and advertising-related boards boards as an advertising medium, featuring their command higher prices. products as the prizes. Zippo lighters found success with reported sales of more than three This near-mint-condition “Scrimmage” board hundred thousand lighters between 1934 and with its punch(er) still factory sealed would 1940 due to the use of punchboard advertising. have a retail value in the range of $100 to $200.

Lithographed Metal Advertising Tray, Circa 1940 Island-based Narragansett Brewing Company. Haffenreffer At the turn of the century, before mass media advertising, beer trays asked his friend to design a tray for the brewery. “Famous were one of many effective point-of-sale advertising pieces. The Narragansett Lager & Ale–Gangway For Gansett!– majority of beer sales were made for consumption within Too Good To Miss” was manufactured in 1940 a tavern. These colorful and artistically diverse trays at American Art Works in Coshocton, along with branded mugs, glasses, and foam Ohio. This tray that depicts Chief scrapers were the brewery’s best effort for Gansett is one of the most popular on-premise advertising. beer trays ever produced. It is sought by breweriana collectors Two of the first companies to produce and Dr. Seuss collectors. beer trays competed against each other in Coshocton, Ohio. Tuscarora Advertising With its iconic imagery, and Standard Advertising each produced the tray regularly fetches a variety of advertising items. In the mid almost double what it did 1890s these companies perfected the prior to Seuss’ death in process of applying lithographs to metal 1991. A collector should surfaces, including trays. expect to pay $200 to $300 for a period Dr. Seuss tray Round trays, 12 and 13 inches in diameter, in good condition. The condi- are the most common post-Prohibition form, tion issues of this particular tray whereas pre-Prohibition trays were often oval. The would hold its value to about $50. trays were decorated in an endless variety of designs, from breweries to beautiful women. Dr. Seuss (Theodor Collecting note: Reproduction trays are typically Seuss Geisel, himself the son of a brewmaster) attended Dartmouth made with a silk screening process, so on close inspection the College with Rudolf Haffenreffer, a principal figure at the Rhode imagery will have a cloth-like appearance.

Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an ti a rl

a appraiser of Tribal Arts. If you would like Linda to appraise one of your antiques, please send a clear, detailed image to [email protected]. Or send photographs to Antiques, Nashville Arts Magazine, 644 West Iris D86r., Nashville, | February TN 37204. 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 87 Photo: Anthony Sc 88 89 at Schermerhorn Symphony Center Poetry FEBRUARY Lyric by Gina Raye Felts I loved you for a moment. What my heart avows Inspiration This moment, This moment, Yet touch caresses Because there is no other, That belongs to us, On untended places Only now, Only us. Longing solace This breath This lifetime, Which whispers I wanted you for a lifetime. That belongs to us, With perfect grace This lifetime Only us. Dawns with embraced minds That hasten tender I will remember you forever.

This forever, TOURS! Schermerhorn Coral rose sunset Symphony Center offers building tours Over wind-ruffled free of charge. Call the Tour Hotline at Teal waves 615.687.6580 for the Ballet Folklórico de México on February 3 most up-to-date information. And your voice Feb.5 SOLD on February 4 & 5 OUT Shimmering Kenny Rogers With songs gifted Valentine’s Special with Jim Brickman on February 13 & 14 To my heart, concert sponsor: The Pruett Financial Group of Northwestern Mutual That belongs to you, Only you. John McDermott with Cherish the Ladies on February 18, 19 & 20 part of the Bank of America Pops Series; concert sponsor: Bridgestone Americas Trust Fund I loved you for a moment, I wanted you for a lifetime, Peter and the Wolf (English Narration) on February 20 at 11 a.m. I will remember you forever. part of The Ann & Monroe Carell Family Trust Pied Piper Series rdner a g m ick Bu

N Peter and the Wolf (Spanish Narration) on February 20 at 12:30 p.m. Photo: Sir Neville Marriner on February 25, 26 & 27 Gina Raye Felts is a fourth-generation native Nashvillian and a 2009 graduate of Nashville State part of the SunTrust Classical Series; concert sponsor: Hilton Nashville Downtown Community College with an Associate of Arts in Art. She works in various media including textiles, watercolor and, most recently, verse. She is a great admirer of beautiful handmade quilts, embroideries and laces, since these private arts were often intended to show loved ones how much they were cherished. This poem first appeared in NSCC's Tetrahedra. Nashville Symphony programs are funded in part by the TICKETS on sale now! Metropolitan Nashville Arts Commission, the Tennessee Arts 88 | February 2010 | Nashville Arts Magazine NashvilleNashvilleSymphony.org Arts Magazine | February 615.687.6400 2010 | 89 Commission, and the National Endowment for the Arts as part of the American Recovery and Reinvestment Act of 2009 One Symphony Place, Nashville, TN 37201 90 91

Anything Goes

and was writing songs…Waylon and Willie and Kristofferson Marshall Chapman and those guys…Roger Miller, Jack Clement, Johnny Cash. And What characteristic do you most like about yourself? I should mention Cindy Walker. After I started playing rock and My honesty. My attraction to things that scare me. You know…like roll, the Rolling Stones, Lou Reed, and Bob Seger. As for books, just getting up in front of people and doing anything! (laughs) off the top of my head…Truman Capote, Willa Cather, Flannery O’Connor. This past summer, I read Olive Kitteridge by Elizabeth And what do you like least? Strout. I love books that widen my parameters of judgment. My impatience. Sometimes I forget why time exists—so everything doesn’t happen at once! Who is your favorite artist? Edward Hopper. The Sleeping Gypsy by Rousseau is my favorite painting. What was the last book you read? Black Boy by Richard Wright. What are you most proud of? Pride’s a dangerous word. But the strongest sense of satisfaction I Who would you most like to meet? ever felt was finishing the first draft of my first book. I even remem- I’ve already met enough people. But if the circumstances were right, ber the date. Valentine’s Day, 2001. I wouldn’t mind meeting Leonard Cohen. Why Nashville? What are you going to be when you grow up? There’s no place like it! Hard to say. I’m a work in progress. Which of your songs are you most proud of? Who has most inspired you? The one I just finished. Musically? Well, early on…Elvis. Then the girl groups like The Shirelles and Martha and the Vandellas. After I got to Nashville If you could change one thing about yourself, what would it be? I’d have more faith.

Are you happy with where you’re heading? Yes, I am. In the sense that I enjoy what I do.

What’s your mantra? Love more, worry less.

What’s it like being you these days? I’m pretty laid back. When I’m not out performing, I’m a total homebody.

What talent would you most like to have? I don’t know…fly through the air like Michael Jordan and dunk ti a

rl a basketball? a

What is your most treasured possession? My autographed picture of Robert Mitchum. Photo: Anthony Sc

What is your greatest regret?

Marshall Chapman is a multi-award-winning singer/songwriter That I didn’t record a duet album with Tim Krekel last year like we and longtime resident in Nashville. To date, Chapman has talked about. released ten critically acclaimed albums, and her songs have been recorded by a variety of well-known artists. Most recently, Describe your perfect evening. she published her memoir, Goodbye, Little Rock and Roller, On a cold winter’s eve—eating pot roast by the fire with Chris, then described by Publisher’s Weekly as “hilarious and entertaining.” settling down on the sofa to watch a great movie. Her next anticipated memoir, They Came to Nashville, will release Downtown Nashville in fall 2010. Chapman and her husband, Chris Fletcher, live in You have five minutes left to live; what are you going to do? 615-244-3340 the Richland-West End neighborhood, where they occasionally If it’s a sunny day, hang the laundry out on the line in the back yard. pet-sit Millie, the world’s cutest Jack Russell terrier. Chapman has a new CD (working title: Big Lonesome). To sign up for her 90 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 91 newsletter, go to www.tallgirl.com.

FC10717_M2rr_NashvilleArts_Heroes_OL.indd 1 1/20/10 3:31:33 PM 92 93

On The Town

It was a cold and frigid night in downtown Nashville the second Moving on to The Rymer Gallery—director Tonia Trotter gave me Saturday of January for the monthly Art Crawl. To my great surprise, the tour of a colorful and dynamic show that certainly welcomes 5th Avenue was alive and booming with art enthu- in 2010! The artists included Charles Clary, Jamey Grimes, Dooby siasts swiftly moving from gallery to gallery, being Tomkins, Brandi Milosavich, Kristina Colucci, and Herb Williams. welcomed with hot coffee, drinks, and warm Grimes and Williams were present that evening showcasing their munchies. The first stop on the crawl was Anne art, which was outstanding. Grimes had a ceiling installation that Brown’s The Arts Company—with bright eyes and was imaginative and attention-grabbing, using synthetic materials Charlotte Burkin and Beth Foley smiling from ear to ear, Anne Brown can warm up in large scale. Freddy and artist Marleen De Waele-De Bock the coldest of nights. Anne introduced me to the My last gallery of the evening was Twist Gallery where I met the young featured artist of the evening, Rod Daniel, who Susan Tinney and John Reed welcomed me to the Tinney artist Patrick Vagrant. Patrick’s art was a bit weird to me, but who am photographs in a distinctly contemporary black Contemporary gallery. As always Susan and John were I to judge? His first piece was a pair of cassette tape players plugged and white style. His current exhibit, Canyon de glad to see me and share the latest artistic creations. Sarah into one another. He asked me to listen through the headphones to Chelly is showcasing western landscapes of Arizona. Souther was there with her incredible hand-painted silk the static sounds they produced. (OK, he first told me the cassette by Ted Clayton Now, having a sweet tooth and the love for scarves, beautiful to wear and to frame. Other artists in players were antique bread toasters, and in truth this 26-year-old did chocolate, I was most excited to be introduced the Tinney collection included Alysha Irisari Malo, Donny think the players were antiques of the past (Oh Lordy, Lordy). The to the Olive and Sinclair Chocolate Co. here in Nashville. The Smutz, Mary Long-Postal, and Sisavanh Phouthavong. second of his works was a two-spined Bible: “Is it hyper-religious or hyper-irreligious?” he asked. All in all, Patrick explained that his On to the Arcade—if work itself, comically Spartan in design and presentation, can be you did not know, this is a great Nashville hidden secret for art. I met the most interesting artist, Olga Alexeeva, origi- nally from Russia. Artists Herb Williams and Jamey Grimes She came to America with a dream in her heart of becoming an inspiring artist. Olga’s work reflects her philosophical medita- tion about “...the universe encompassed in a drop of water.” Using bold and inten- sive color reflects her active, playful, and Wade Jones, Ryan Mason, Carter Witt enduring nature, with a positive outlook and hope for tomorrow. Olga’s art may be seen in her gallery, O Gallery. Nashville has become so very international.

Lindsey and Hugh Queener Deby Samuels and Frank Crowell Casey Dailey Lori Carver and Steven Knapp chocolate is all made with cacao beans. seen as nihilistic, if you please, hopefully guiding the patron to My new very best friend Casey Dailey consider whether such things as these are superfluous or irreducibly graciously let me sample all of the complex. Did I mention this guy is in his second year of law school? chocolate goodies: sea salt, cinnamon chili, coffee, nibs, and more—incred- As the saying goes, “You have to crawl before you can walk.” Well, ible chocolate carried at The Arts I certainly have crawled my way through some of Nashville’s finest Company. Sampling the choco- art galleries. I am so proud of Nashville—who needs New York lates (when I let them) were Madge when the art is here, and it’s just as cold! Franklin, Lindsey and Hugh Queener (they were on a father-daughter date), See you at the 20th Anniversary Antiques and Garden Show, Deby Samuels, and Frank Crowell. Olga Alexeeva, owner of O Gallery (snow) shovel in hand! Bill Powell and Rod Daniel 92 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 93 94 95

LEARN TO PAINT AT EDGEHILL VILLAGE Jean D. Dortch STUDIO AND PLEIN AIR PAINTINGS

“Wine and Roses” 11x14 Oil WILLIAM PAUL PROCTOR studio: (615) 292-5493 • email: [email protected] for details call or email: www.jeandortch.com 615-587-2145 • [email protected] Represented by: all levels welcome Amsterdam-Whitney Fine Art Gallery New York, NY

Lisa Ernst and Susan Goshgarian McGrew An Intimate View of Nature February 26 – April 15 Artist’s Reception: Sunday, February 28th 3 – 5 p.m.

Branches and Streams by Susan McGrew

Reveal by Lisa Ernst jeffreydesignllc.com/blog [email protected] Marnie Sheridan Gallery at The Harpeth Hall School 3801 Hobbs Road, Nashville 615-972-3567 www.harpethhall.org

94 | February 2010 | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 95 96 97 Nashville Arts Magazine Feb. 2010 Crossword PuzzleJunction.com

Puzzler Across 52 Nimble 53 Philip Roth’s ___, 1 Oranjestad locale the Fanatic 6 Cheese and bacon 54 Cut off Artrivia features 56 Preceded by Dave Turner 11 H. Rider Haggard 57 Alcools poet The highest price ever paid at auction for a piece of antique furniture novel 62 Compass pt. is $12.1 million. Elaborately carved, the 18th-century American desk Picture. While his accolades were numerous, including knighthood, 14 Back tooth 63 Pitchfork wielder was purchased at a Christie’s auction in June of 1989. With a block- he refused to hold a conversation with anyone who didn’t address 15 Bay window 64 Give voice to and-shell front, the bonnet-topped mahogany secretary was made him as Larry. 16 Darjeeling or oolong 65 Range units (Abbr.) around 1760 by John Goddard, a master Rhode Island cabinetmaker. 17 La Mandragola 66 Ginger cookies The most valuable item ever to appear on Antiques Roadshow was a Motivated by the public’s disbelief, the Archbishop of Salzburg author 67 Troutlike fi sh collection of Chinese carved jade and celadon from the Chien Lung Sigismund von Schrattenbach is said to have locked up young 19 Wax collector Dynasty, appraised at $1.07 million, in June of 2009. Wolfgang Amadeus Mozart for a week in order to test his “suspi- 20 Sugar suffi x Down ciously great talent for writing music.” He was given nothing but a 21 Miner’s fi nd In 1948, Sir Laurence Olivier won an Academy Award for his bed, a table, music paper and pens. As the story goes, a week later the 22 Spin, as a baton 1 Magazine contents, performance in Hamlet. In doing so, he became the first person Archbishop checked on Mozart and found him tired but happy. He 24 Laurence Sterne briefl y to direct himself to a best actor Oscar. The film also won for Best also found a great pile of music. character 2 Friars Club event 29 Ave. crossers 3 Stomach woe Where Are You Now? 30 Magnifi cent 4 Dickensian epithet 31 Gregg grad 5 Orlando Furioso photography by Bob Schatz 34 Fragrant oil poet Nashville is full of architectural surprises if you know where to look. Below are six architectural details that can be found around town. 35 “___ pales in Heaven 6 Vagabond See if you know where they are. the morning star”: 7 Intense anger Lowell 8 Zilch 38 Very dry, as wine 9 Singer Shannon Copyright ©2010 PuzzleJunction.com 39 Fop’s footwear 10 Make like a snake 28 Jacuzzis 39 Ancient Greek 48 Discharge 40 Computer picture 11 The Red Pony 31 Fed. biz promenade 49 Recounts 41 Ventilate author watchdogs 40 Flying jib, e.g. 50 Upper echelon 42 Great balls of fi re 12 Got wind of (Abbr.) 42 Circulates; ___ 51 The New Yorker 43 Grandma’s epithet, 13 Premature 32 Prefi x with angle around cartoonist “Land ___!” 18 Song and dance, e.g. 33 The Cyclops 43 4th century Edward 44 Smuggle into the 23 Card game for two author church historian 55 Saucy country? 25 George Harrison’s 34 Separately 45 Bien’s opposite 58 Cygnet’s mother 46 It follows April in ___ It a Pity 36 Norma Webster’s 46 French Sudan, 59 Lab eggs Paris 26 Pierre Louys’ erotic middle name today 60 Back talk 47 Terence Rattigan’s verse 37 Coast Guard rank 47 The Crucible 61 Cash dispenser two one-act plays 1 2 3 4 27 Mongrels (Abbr.) setting inits.

Notes:

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esidence esidence R Executive Tennessee 1. 4. Memorial Chapel, Fisk University Fisk 96 | FebruaryChapel, 2010Memorial 4. | Nashville Arts Magazine Nashville Arts Magazine | February 2010 | 97 98 99

My Favorite Painting

Greg Decker’s Wheelbarrow Man Makes the Perfect by Tory Fitzgibbon, wife, mother and Valentine’s Day Gift partner in Fitz Ritter Interiors Ah! Picking my favorite piece of art is like choosing a favorite child—impossible. But (arguably) the most evocative of our pieces is one of Decker’s older works. With a seemingly limited palette, Decker evokes strength, pride and optimism. On closer examination, however, you can see in the The Gap Buckle flesh tones muted purples, blue-grays and Bachrach Pandora pinks which breathe life into this proud Apple Store True Religion (now open) figure. There is a sense of buoyancy from Wolford Cole Haan the sunlight that seems to bounce off the Kate Spade Brooks Brothers canvas. The composition is simple, and the Burberry Lacoste colors are few, but that only strengthens Juicy Couture Sephora the power of the piece. It is masculine and Louis Vuitton Tiffany & Co. monumental, both in content and in scale The Cheesecake Factory Carrabba’s Italian Grill (5’ x 6’), but we see the Wheelbarrow Man as a gentle giant.

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Nashville artist Greg Decker spent his childhood in Africa where he developed a love The perfect complement to your shopping experience for bold colors and patterns. His mysterious, luminous paintings are filled with unique iconographies and rich stories. Decker’s oil paintings feature numerous glazes which give his surfaces vibrancy and subtlety in tone. Decker recently returned to Nashville after years in New York and Asheville. A diligent student of the arts, Decker holds two ti

a master’s degrees in fine arts and has studied at Oxford University. He has taught at the rl a MoMA and The Metropolitan Museum of Art and completed sculpture and set design for composer Judith Sainte Croix at Carnegie Hall. www.Gvvregdeckerstudio.com Gift cards available from our mall concierge. Photo: Anthony Sc

TENDER Michelle Firment Reid FEBRUARY 20TH - MARCH 20TH

Wide Open 48” x 36” acrylic on canvas

100 | February 2010 | Nashville Arts Magazine