Anton Weiss Demetria Kalodimos Byron Jorjorian Farrar Hood The

Transcription

Visual ar ts | Photography | Culinary Ar ts | Architecture | Music
September 2009
Anton Weiss
Freedom of Expression
Demetria Kalodimos
A Heartfelt Thanks
Byron Jorjorian
Photography with a Mission
Farrar Hood
Finding Her Muse
The Hermitage Hotel
Aging Beautifully at 100
Nashville Arts Magazine | September 2009 | 1
I
M P O R T E R S
O F
E
U R O P E A N
A
N T I Q U E S
“Fewer and fewer Americans possess objects that have a patina, old
furniture, grandparents pots and pans / the used things, warm with generations of
human touch, essential to a human landscape. Instead, we have our paper phantoms,
transistorized landscapes. A featherweight portable museum.”
-Susan Sontag (American Writer, Activist and Critic, 1933-2004)
Over
22,000 sq. ft.
Showroom
www.northgategallery.com
1690 M ALLORY L ANE
615.221.4341
B RENTWOOD , TN 37027
2 Moores
| September
2009 Mallory
| Nashville
Arts Magazine
65 South, Exit 69,
Lane (west),
(turn right)
Behind the Shell Gas Station
André Kertész. Eiffel Tower, 1929. Gelatin-silver print, 9 1/8 in. x 11 3/4 in. Purchase, gift of Mr. Edwynn Houk; Renée & Paul Mansheim; Mr. and Mrs. Thomas Lane Stokes, Jr.; Mr. and Mrs. Robert K. Molloy; Mr. Robert McLanahan Smith, III; Mr. and Mrs. Richard M. Waitzer; Mr. Calvin H. Childress;
Mr. and Mrs. Howard M. Martinez, Jr.; and in memory of Alice R. and Sol B. Frank, Chrysler Museum of Art, Norfolk, VA. © Estate of André Kertész/Higher Pictures
See the
city of lights.
I n a w h o l e n ew l i g h t .
TWILIGHT VISIONS:
SURREALISM, PHOTOGRAPHY, AND PARIS
AT THE FRIST
I L L U M I N AT E S C I T Y M O V I N G F R O M T R A D I T I O N T O M O D E R N I T Y
september 10, 2009 - january 3, 2010
Organized by the Frist Center for the Visual Arts
FRIST CENTER FOR THE VISUAL ARTS
D o w n t o w n N a s h v i l l e f r i s t c e n t e r. o r g 6 1 5 - 2 4 4 - 3 3 4 0
MEMBERS AND CHILDREN 18 & UNDER ARE FREE.
Opening October 2: Georgia O’Keeffe and Her Times • Thomas Hart Benton in Story and Song.
4 | September 2009 | Nashville Arts Magazine
Jean D. Dortch
STUDIO AND PLEIN AIR PAINTINGS
p u b l i s h e r ’ s NOTE
TM
September 2009
Spotlight.................................................8
Tomato Fest, Garden of the Stars, Greek Fest and more
Culinary................................................ 12
TomKats: Feeding the Arts
Performing............................................ 14
Stage Fright: Take It or Leave It
Collections........................................... 16
Walter G. Knestrick: A Colorful Life
People..................................................22
Demetria Kalodimos: Tells It Like It Is
Music....................................................30
Jonell Mosser: Behind the Shades
Painting................................................34
And now, more than ever, is
a very exciting time to live here—this city has become so culturally
rich and diverse in the arts! From attracting world-class musicians to
visual artists, dancers, actors, professionals in the healing and culinary arts, Nashville has everything to offer artists and patrons alike.
I’ve lived in Nashville my whole life.
Adding to that, our best-kept secret as an internationally recognized
artsy city is the accessibility we have to our artists. Being neighbors,
living and working in the same zip codes and enjoying the arts together gives us that coveted small-town feel. It’s a magical experience
getting to know our artists. There’s a lot going on in this city, and I
couldn’t dream of a better place to be than Nashville Arts Magazine.
It is my address, and I’m proud to live here!
Farrar Hood: Finding Her Muse
Feature ................................................38
Colorful Spain
studio: (615) 292-5493 • email: [email protected]
www.jeandortch.com
Represented by:
Amsterdam-Whitney Fine Art Gallery New York, NY
Anton Weiss: Freedom of Expression
Architecture.........................................48
The Hermitage Hits 100
Photography........................................56
Byron Jorjorian
Appraise It............................................................................................ 64
Poetry.................................................................................................... 68
Art at Work.............................................................................................70
Theater...................................................................................................72
Anything Goes......................................................................................76
Happenings.......................................................................................... 80
Openings and Receptions................................................................ 84
Puzzler................................................................................................... 92
My Favorite Painting........................................................................... 98
Nashville Arts Magazine team:
Kat Amano, Jerry Atnip, Rebecca Bauer, Beano, Larry Boothby,
Ted Clayton, Melissa Cross, Daysi, Linda Dyer, Cathy Faust,
Madge Franklin, Joe Glazer, Valerie Hart, Daniel Hightower, Tim Hiber,
Daniel Lonow, Charlie Martin, Olivia Sarratt McCarthy,
Paul Polycarpou, Rita Puryear, Randy Read, Jim Reyland,
Kami Rice, Anthony Scarlati, Sam Scarpine, Jeff Stamper,
Katie Sulkowski, Kevin Tetz, Adrienne Thompson, Dave Turner,
Lisa Venegas, Deborah Walden.
In this issue, there’s a new section I have the great pleasure to introduce. Poetry features poems by you, the community, that come
straight from the heart: Nashville’s heart. As the first piece we are excited to present a poem by Tracy, one of the residents at Magdalene
House. It’s a great way to celebrate poetry in our community.
I hope you enjoy this section, and please don’t hesitate to post online
or email us with your poetry, comments, and ideas.
With great pleasure, we give you the September issue.
Katie Sulkowski
Managing Editor
Publisher’s Correction: Several of the photos accompanying
the August “Manuel: The Rhinestone Rembrandt” article
were taken by London photographer, Cambridge Jones.
Published by St. Claire Media Group
Contact Us at the Editorial Offices 644 West Iris Dr., 37204 Phone 615
383-0278 nashvilleartsmagazine.com © 2009 St. Claire Media Group.
All Rights Reserved. No reproduction in part or in whole without written
permission from the Publisher.
Send any requests to reprint material to [email protected].
Subscription Customer Service
615 383-0278 [email protected]
Letters We encourage readers to share their stories and reactions to
Nashville Arts Magazine by sending emails to
[email protected] or letters to the address above.
We reserve the right to edit submissions for length and clarity.
ON THE COVER
Anton Weiss
Advertising Inquiries For ad sales and media kit, visit
Nashvilleartsmagazine.com or email [email protected].
spotlight
Tomato Art Fest 2009
Photo: Katherine Bomboy
Ushering in the season of the tomato was the sixth annual Tomato
Art Fest in East Nashville’s Five Points. A New Orleans-style Second Line parade kicked off a hot August day with city blocks filled
with people in red fashion, tomatoes adorned with decorations, and
plenty of vendors displaying one-of-a-kind art, crafts and jewelry. It
was an eclectic display of neighborhood camaraderie and everything
tomato. What began six years ago as a small art exhibit to celebrate
the best part of summer—the tomato—drew in an estimated 20,000
visitors this year.
Barbara Mandrell and Pat Bullard
Founded by neighborhood artists Meg and Bret MacFadyen, the
festival has grown to include tomato-inspired competitions and exhibits accompanied by three stages of live music and a colorful art
display at the MacFadyens’ own Art & Invention Gallery.
Aside from paying homage to the herbaceous plant, the festival highlights an active and friendly neighborhood. “It’s about the community and people coming together,” says Meg. Bret is quick to add,
“The tomato is a uniter, not a divider, bringing together all fruits
and vegetables.” Only in Nashville!
Dedication of Rose Garden of the Stars September 29th
The Nashville Music Garden is the first nationally celebrated rose
garden dedicated solely to artists, songs, and industry leaders synonymous with Nashville. This garden was created by Barbara Mandrell and Pat Bullard, LifeWorks Foundation Trustee, to celebrate the
music community as well as beautify the downtown landscape. The
floral oasis is located within the Hall of Fame Park at the corner of
Fourth Ave. and Demonbreun (across from the Country Music Hall
of Fame® and Museum) and it is home to over six dozen roses and
daylilies. A public dedication of the garden will take place September 29 at 10:30 a.m. During this year’s 120th Tournament of Roses
Parade, six of the roses from the Nashville Music Garden Collection
were featured on the RFD-TV’s Hee Haw-themed float. Nashvillians
can look forward to seeing more Music Garden roses in future Rose
Parade events. For information on the dedication,
visit www.nashvillemusicgarden.com.
Photo: Anthony Scarlati
Breakfast with the Authors Saturday, October 10th,
9:15 a.m. – 11:00 a.m. at the Nashville Downtown Public Library.
This Women’s National Book Association event kicks off National
Reading Group Month and the Southern Festival of Books. Complimentary breakfast and discussion with five
best-selling authors, Marie Brenner,
Apples and Oranges; Holly Goddard
Jones, Girl Trouble; Perri Klass,
The Mercy Rule; Inman Majors,
The Millionaires; and Kathryn
Stockett, The Help. Master of
Ceremonies is Nina Cardona,
Nashville Public Radio, host of
“All Things Considered.” Space is
limited and on a first-come, firstserved basis; RSVP to Joanne Slaughter at [email protected] or call
279-9799. Book signing follows at the Festival
Signing Colonnade.
For more information or to join visit: www.wnbanashville.org.
Rodin at Bella Luce
Dragon Fine Arts, in association with Twenty 21 Collections/Gallery Rodin, and
Jimmy Franks’ Bella Luce, introduces an exquisite collection of limited edition posthumous original bronzes by Auguste Rodin, offering the private collector a rare opportunity of ownership of this great master’s art. Provenance is traced to Auguste Rodin,
Alexis Rudier, George and Eugene Rudier and the Rudier Foundry.
Twenty-four acclaimed artists and sculptors will also be included in this exhibition and sale. Including: Bruce Peebles, Matt Lamb, Frederick Hart, John Davis, Charly Palmer, Gustavo Torres, Jane Braddock, Benny Andrews, Jean Larson,
Joseph Guay, Meghan Sisko, Frank Hyder, Bill Starke, Brother Mel, Mark Carson English, Dante Yarbrough, Clint Herring, Sebastian Picker, Vladimir Shapakovsky, and
Patrick McGannon.
This collection brought together as “The Rodin Bronzes Museum Collection,” is being
made available for limited exhibition at select Museums and Institutions in the United States.
Gala Event Wednesday, September 9, 6 p.m.–9 p.m. Public exhibition is September
10–13, 11 a.m.– 6 p.m. at Bella Luce located at 414 Lake Valley Drive,Franklin, TN
37069. Admission is $15. Proceeds will benefit New Hope Academy. For more information: dragonfineart.com, or call John Davis 615-593-0123.
Greek Fest
Celebrate the 2nd Annual Nashville Greek Festival, September 11-13 at Holy Trinity Greek Orthodox Church
located at 4905 Franklin Pike. The festival highlights the
cuisine, music, and culture of Greece. Admission is $2;
children under 12 free. Free parking is available. Contact the church office 333-1047. Rain or shine, look for
the “big fat” blue and white hilltop tent.
Www.holytrinitynashville.org.
The Cumberland Society of Painters along with a few friends traveled to Door County, WI, August 9-15. The group set about capturing the landscape in plein-air sketches and enjoyed the comradeship
of painting together. Harbors, the rocky beach, village, farmland,
cherry orchards and barns filled their canvases. Artist members of
Cumberland Society: Dawn Whitelaw, Roger Dale Brown, Paula
Frizbe, Pam Padgett, Jason Saunders, Kevin Menck, and Michael
Shane Neal. Guest painters were Gary Young, Beverly Ford Evans,
and Lisa Fox. These artists are found here locally at: Leiper’s Creek
Gallery, Richland Fine Art, and Southgate Studio & Fine Art.
photo courtesey of humanities Tennessee
Southern Festival of Books: October 9-11
20th Annual Event, The Southern festival of Books: A Celebration of
the Written WordSM is a three-day literary Festival celebrated each year
during the second full weekend of October. Located on War Memorial Plaza, it is free and open to the public. No advance registration or
tickets are required. All seating is on a first-come basis. This festival
welcomes more than 200 authors from throughout the nation. Book
lovers have the opportunity to meet some of America's foremost writers, attend panels, readings, and book signings. In addition, the festival
hosts popular book exhibitors and three performance stages. For information about the festival, visit www.humanitiestennessee.org.
culinary
“...he prepared
TomKats
gourmet cuisine that
Feeding the Arts
by Olivia Sarratt McCarthy | Photography courtesy of TomKats
New
York’s top television caterer isn’t in New York. America’s A-list production caterer is right here in Nashville. For over 20 years, TomKats,
Inc., has been the preferred choice for top movie stars and producers.
From My Cousin Vinny to Sesame Street, from A Beautiful Mind to
Ugly Betty, TomKats has catered over 500 television and movie sets.
Hollywood’s hottest movie caterer isn’t in Hollywood.
Founding the company in 1986, with a taco truck he disguised as
a full mobile kitchen, Tom Morales, along with his wife Kathie—
the Kat of TomKats—revolutionized the movie catering industry
from their very first production. In the movie business, every second
counts, and every second costs. The traditional way of lining up the
cast and crew to place an order at a window cost a lot of time and
money. Inventing out of ignorance, Tom set up tables and saved
the producers thousands of dollars with a simple two-sided buffet.
With his now-famous grill, he whipped up fresh meats, seafood, and
could be efficiently
WE OFFER FREE SHUTTLE SERVICE
With Dinner Reservations To:
above:
TPAC,
Bill Murray and Tom Morales
delivered to hundreds
Symphony,
Ryman Concerts,
of people in a matter
Sommet Center Events,
& Downtown Hotels.
of minutes.”
Affordable Casual Fine Dining
Between West End & Broadway at 19th Avenue
615-320-7176
midtowncafe.com
vegetables, and prepared gourmet cuisine that could be efficiently
delivered to hundreds of people in a matter of minutes. Word spread
quickly, and TomKats became a movie catering legend.
When asked what makes movie catering different from other event
catering, Jesse Goldstein, president of TomKats, explains, “The main
challenge of a movie set is stretching the barriers of what you can do
with cuisine. With four entrées a day, plus all the veggies and sides
and bread and salad spreads, fresh desserts, and then add everyone’s
individual dietary needs for the same people, every day, five days a
week...you get to know the people you’re taking care of, unlike a restaurant where you serve strangers most of the time. But the last thing
they want is the same food. We try to keep it interesting but familiar.
People want to be surprised but don’t want to have to try new things
all the time. And it’s not like you can have an off day on a movie
set. They expect every day to be a home-run performance. So we’re
known for mixing things up. We’ll fly a sushi chef in for a week to
shake things up a bit. We’ve done outrageous gimmicks, like on Sopranos, they would deep fry White Castle hamburgers and poke holes
in the top and fill it with ketchup like jelly donuts. We were threatened by wardrobe that the stars weren’t fitting into their costumes.”
no online shuttle reservations
above:
A movable feast
they cater. Recently in Dallas, he donated his time at a Habitat for
Humanity weeklong event—grilling, serving, clearing plates, and,
most of all, talking to and connecting with the people he fed. It’s
no wonder TomKats has a fiercely loyal following of A-list stars. On
the recent set of Zombieland, Woody Harrelson sent his private chef
home after three days. Sharon Stone has TomKats written into every
contract. Tyler Perry won’t do a movie without them. Tina Fey makes
sure to have TomKats on every TV and movie set she works on.
The art of food in the heat of the battle is what movie catering is all
about. It requires juggling unique situations and operating in intense, high-pressure environments, often in remote locations under
difficult weather conditions, working with strong personalities who
have demanding palates, and coping with local food logistics and
sometimes even language barriers.
With their vast experience working in extreme conditions in remote
locations, Tom decided to put their expertise to charitable use with
Home on the Range Emergency Relief Catering, a subsidiary of
TomKats, Inc. The concept came about when he was 30 blocks away
on the set of Sex and the City as terrorists attacked the World Trade
Center. Wanting to help, Tom was turned away because he was not
on the federal approved list. The helplessness he felt led him to create Home on the Range. He soon got on the federally approved list
and has subsequently aided in catastrophes like New Orleans after
Katrina and Southern California during the wildfires, offering not
only great food and sustenance but comfort and hospitality.
Going the extra mile is what made TomKats famous. Tom maintains,
“You’re either serving people or serving yourself. We serve people.”
And he means it. Tom can still be found on nearly every movie set
It is a company with heart and soul, which is why they have been
the best in show business for over two decades, all the way from
Nashville, Tennessee.
Our ego leads us to feel
performing
an exaggerated sense
of importance and need
Stage Fright
Take It or Leave It
for perfection—at the
When you see a performer doing their thing,
in the flow, in the
zone, fully connected to what they are doing, you are experiencing
their artistry in the way it was meant to be expressed. And that performer is experiencing connection to something beyond their mind
and physical abilities—something transforming, even divine—they
are a vessel for the channeling of an energy coming from a place
beyond themselves, expressed in their own unique voice. Stage fright,
in whatever degree, takes the performer away from this sacred space
and into a realm of self-consciousness, fear and loathing, distraction
and discomfort. It is something that affects musicians, actors, public
speakers, preachers, even visual artists who are afraid to show their
work to the public.
There are very practical, effective ways to overcome stage fright, if
one is willing to work at understanding what is causing it and if one
undertakes a course of action designed to develop another way of
thinking, feeling, performing...of being as an artist.
I dealt with mild to moderate stage fright for the first 25 or 30 years
of my 37 years of playing, starting with piano recitals, then in college
playing situations, and on into my career. This was especially true on
important gigs, radio, and TV tapings, and in the studio. I found that
I was often playing at a level less than my best, and, more importantly,
I was unable to experience fully the joy of performing. I found myself
distracted, caught up in my own thoughts and judgments, and concerned with the potential judgments of those in my audience. At least
I was able to continue performing and to pursue a career in music, for
at its most serious level, stage fright causes one to avoid performing
altogether. I tried various approaches to making it better: smoking
weed, certain physical routines, trying to be well prepared, and others.
Happily, through a variety of means—mostly personal/spiritual
means—I’ve gotten to a place where I’m consistently comfortable,
centered, often even blissful when playing and singing, even when it’s
way less than perfect.
Photo: Ann Shaw
As is the case with overcoming any problem related to our psyche and
way of being, overcoming stage fright begins with understanding what
is going on—psychologically, physiologically and spiritually—when
we experience it. It starts with the mind—judging, worrying, playing
out scenarios of mistakes/inadequacy/judgment of others, bringing
in baggage from disappointing or disastrous past performing experiences. This often happens at a subconscious level. At a conscious level,
we are distracted and our mind shuts down a bit. Much of stage fright
is the work of the ego, which has us believe that our performance is of
some earth-shattering importance and that everyone else is as freaked
out and concerned as we are. (It isn’t; they aren’t.)
That is not to say that our performance is unimportant, but rather
that our ego leads us to feel an exaggerated sense of importance and
need for perfection—at the expense of our enjoyment—and leads to
a compromised performance, seemingly validating our concerns and
creating a vicious cycle.
Sometimes we don’t hear the conversations and inner workings of
the mind, but they are present, and they make themselves felt on
expense of our enjoyment.
the physiological level. Our throat tightens, our mouth gets dry, our
breathing is more shallow—all of this doing us no good, especially
if we’re singing, speaking, or playing a wind instrument. Our hands
might shake a little, and they’re stiffer and have less dexterity, which
is a drag if we’re playing an instrument, especially in playing music
where chops (advanced technique) are involved. So, basically, we’ve
compromised the vessel through which our performance is being
channeled. This has the effect of breaking one’s spirit as a performer.
OK, that’s what is happening with stage fright on a psychological,
physiological, and spiritual level, and it sucks. So what to do about it?
The way I’ve presented this chain of events leading to stage fright provides a key to a way to approach changing one’s way of being and performing. I believe a change on the spiritual side of the equation is fundamental. By spiritual I mean attending to the spirit, connecting to a
source beyond the mind with all its judgments, fears, and distractions.
There are two fantastic and practical books I recommend for getting
into the spiritual side of performing. One is by Kenny Werner, a renowned jazz pianist, though the wisdom and techniques in his book
apply way beyond the jazz genre and even beyond music. It is called
Effortless Mastery, and it employs practical techniques/approaches
from meditation to teach one how to practice the Zen thing on
one’s instrument. These same techniques and approaches could also
be applied to a variety of art forms and performance mediums.
The other book is The Power of Now by Eckhart Tolle, and it
has to do with living and being. While it is about more than
performance per se, I believe it is highly relevant for the performer. It is about living in the now, the present moment. As
performers we want to be focused on what we’re playing, not
what we already played (that phrase or note that didn’t come
out just right) or what we’re about to play (that hard or new
thing coming up). Tolle really speaks to that but also helps us
to understand the sabotage our overactive minds cause to our
sense of peace and well-being. The more we develop our sense
of peace and the more we’re in the now, the more this will be
reflected in our performance.
by Will Barrow
There are exercises and practices that can counteract some of the
physical symptoms of stage fright. Breathing exercises are very helpful in reducing things like rapid heart rate, shallow breathing, and
shaking. Meditation helps to quiet the mind.
From the standpoint of one’s psyche and of the conversations going on in
the mind, some important things to practice and put in your mind are:
1) gratitude—it is hard to be genuinely grateful and stressed out at the
same time; 2) acceptance—recognize that your performance is human
and therefore imperfect, and that is cool; and 3) focus on the process
and flow, not the result—this is easier to do when we learn how to be
less judgmental. We should do our best in practicing to make something
as good as it can be, then let go of judgment and enjoy what comes out.
These are generalized concepts that can be practiced if we are aware
and if we have those kinds of positive and helpful conversations in
our mind. Stress, when it comes to performing, is mostly self-created, a figment of our imaginations. Given the fact that we create
our own reality, we can create a new reality where performance is
consistently calming, centering, and enjoyable.
It didn’t happen overnight, but I can’t wait to get up in front of
people and play music—even when the sound isn’t quite right, the
band isn’t totally gelling, and I’m not on my “A” game. Relaxed and
connected performance is something that can be practiced and a
way of being.
Will Barrow is a Grammy award-winning singer/
songwriter, producer, and educator. Barrow has
performed and recorded with an array of artists, and
appeared on national radio, and TV music channels,
BET, VH1, and GAC. Barrow’s new CD release Find A Way
combines his eclectic taste and musical influences.
www.myspace.com/willbarrowmusic
Nashville Arts Magazine | September
2009 | 15
collections
Walter G. Knestrick
Before Knestrick
became an
A Colorful Life
art collector and
by Lindsey Victoria Thompson | Photography by Jerry Atnip
Over
philanthropist, he had
a lifetime to realize his
love for the arts.
60
years
ago,
in
1947,
a
ten-year-old
walked into a classroom in Burton
School, where he had been transferred mid semester. There he would meet a fellow fifth grader who
introduced himself as Charles. These two young
boys could not know at the time that they would
seriously influence each other’s adult lives and
remain friends decades later. Of course, at the time,
neither could even begin to know that they would
become Walter G. Knestrick, well-known patron
of the arts, and Charles “Red” Grooms, celebrated
modern artist.
Around Nashville, Walter Knestrick is very often
recognized as the name behind his reputable construction
company, but, in a different circle in town, he is known as an
important part of Nashville’s art community. Most notably,
Knestrick has acquired the greatest Red Grooms print collection on the globe and has worked to make Grooms’ works
accessible to a large audience.
Walter
Knestrick has contributed monetarily and volunteered countless hours of his time to organizations including Cheekwood,
The Frist Center for the Visual Arts, the Nashville Symphony,
and the Tennessee State Museum, to name a few. Most recently,
he has been working with Watkins College of Art and Design.
But before Knestrick became an art collector and philanthropist, he had a lifetime to realize his love for the arts,
which he developed alongside his lifelong friend. Even
at a young age, Knestrick and Grooms both had a natural
affinity and aptitude for the visual arts. In fact, Grooms’
earliest known work is a colored-pencil piece that he
created for an assignment in history class in the fifth
grade. His teacher kept the drawing and passed it along to
Knestrick over 20 years later.
Knestrick recalls that among his best childhood
memories were when Grooms’ mother would roll
up the carpet in her living room so that the two
could work for hours, and occasionally an entire day,
sketching and painting watercolors. Unfortunately,
at that time, Knestrick and Grooms’ options in terms
of art education didn’t extend from their living room
to their school, so their parents enrolled them in
classes. They learned new techniques and mediums
and gained confidence in their abilities.
After learning that the Tennessee State Fair had art contests in their age bracket, both were excited to enter
their work. Knestrick smiles when he remembers that
he, in fact, won first place, while Grooms took second.
However, Knestrick says, “Red is quick to add that we were
never in the same category, so he does not accept defeat.”
opposite page:
left:
Self Portrait, 2007
Portrait of Knestrick by Red Grooms while
both were in high school, 1956.
Knestrick insists that he
will never grow old; he is
simply too busy.
Knestrick’s goal with his collection has always been to expose
Grooms’ art to a greater and wider audience, and, with the help of
the Tennessee State Museum, he arranged that 125 prints in his collection would go on a traveling exhibition.
Although Knestrick had not dreamt of being a professional artist like
his friend, he still enjoys making art as a hobby to this day. His medium of choice is watercolor, primarily because he doesn’t have the
patience to wait for an oil painting to dry. “It’s a very demanding
medium,” says Knestrick, “but if you do it for 50 or 60 years, you feel
very comfortable with it.” Though he has worked in watercolor for
over half a century, he still considers himself an amateur, because he
has never sold a painting—he prefers to give them away. In his own
home, there are not many of his original works, but several Knestrick
originals can be found in the homes of his close friends and family.
above:
Peking Delight, 1979
below:
Dali Salad II, 1980
bottom:
Knestrick looks at self portrait of Red Grooms
At 72, Knestrick has never even considered slowing down.
Currently, he is traveling around the globe with his wife, Sarah, trying to take a few strokes off his golf game and attempting to understand how to use his new iPhone. In between, he is still finding
time to paint. With all this on his plate, Knestrick insists that he will
never grow old; he is simply too busy.
As the two budding artists transitioned into
high school, they were ecstatic to learn that
Hillsboro High School, where they would
be attending, was among the few schools in
Nashville that offered art classes. Ms. Helene
Connell, their teacher, took a supreme interest in both Knestrick and Grooms and was
extremely enthusiastic about their artwork.
She encouraged them throughout high
school, a kindness that Knestrick has never
above: Moonstruck
forgotten. Looking back, Knestrick considers Ms. Connell one of his greatest influences and thinks that her
support gave him a great deal of self-confidence that has stayed with
him through his life.
“I really never thought about being a serious artist,” says
Knestrick. He remembers when he and Grooms were in their
teens and Red declared, “I’m going to be a famous artist, and if
I have to cut my ear off to be like Van Gogh, I will!” Knestrick,
though, never thought himself willing to lose body parts to be a
professional artist. “I labored over my drawings, and I watched
Charles Grooms’ brush just flow through,” Knestrick says. He
decided that being a full-time artist was “too
hard a work,” so he focused his interests in a
career in construction.
Lindsey Victoria Thompson is a junior at Hume-Fogg
Academic High School and plans to pursue a career in
writing. She is an editor for her school’s newspaper as well
as a long-time volunteer for the Frist Center. She has combined her love of writing and art in this feature piece on her
step-grandfather, Walter Knestrick.
As adults, Knestrick and Grooms had both gone
on to pursue their individual fields; Knestrick
lived in Nashville, and Grooms relocated to
New York. In 1969, the former opened up his
construction business, Walter Knestrick
Construction, Inc., while the latter was working
on his first prints. In 1971, Grooms completed
his first print series of six pieces titled No Gas. Knestrick flew to New
York to support his friend and ended up falling in love with his new
style and medium. He bought all six pieces. “It really never had anything to do with thinking I was making a good investment,” says Knestrick, whose interest in collecting stemmed solely from his belief that
Grooms is a truly talented artist.
Since 1971, Knestrick collected every graphic work that Grooms produced and many originals. In 2001, Knestrick published Red Grooms:
The Graphic Works, a compilation of his entire collection, with Abrams
& Co. Publishing, Inc. The first edition sold out in three months.
“ Take a
swig of country elegance.”
Benefitting Monroe Harding
Stroll through beautiful downtown historic Leipers Fork
Enjoy live music and select wines paired with cuisine
from outstanding restaurants
Main Event • Friday • September 25, 2009 • 6:00 - 9:00 pm
Wine • Cuisine • Music • Cigar Bar • Silent Auction
$100 • Limited number available • [email protected]
Patrons’ Party • Thursday • September 17th, 2009 • 6:30 - 8:30 pm
At Moonshine Hill Inn ...Leipers Fork premier lodging and event location
$250 • ticket includes addmission to Cork in the Fork Friday, September 25th
Call 500-1234 for more information
Visit any of the Leipers Fork Merchants to purchase tickets
Hosted by the Leipers Fork Community Association
Honorary Chair • Kix Brooks
Sponsored by:
The
Martin
Foundation
Del Rio Wine and Spirits • F & M Mortgage, Brentwood • Hills & Hamlets
Southern Events • Tennessee Golf Carts
Participating Restaurants:
108 Grille, Franklin • City House, Nashville • Country Boy, Leipers Fork • Koi, Franklin
Puckett’s, Leipers Fork • Red Pony, Franklin • SOL, Franklin • Square Market Cafe` & Deli, Columbia
Twisted Fork Cafe`, Leipers Fork
Moonshine Hill invites you to attend
The Fork
“ Bottling memories one
weekend at a time.”
2 Bedroom/ 2 Bath Stately Cabin, Furnished Covered Pavillion for
Outdoor Living, 21+ Acres for Hiking, Biking, & Trail riding.
* Located 1.6 miles from Historic Leiper’s Fork Village.
Sept. 25th, 6-9pm • In Historic Leiper’s Fork
Patrons’ Party hosted at Moonshine Hill
Sept. 17th, 6:30 - 8:30pm
See adjoining ad for more info. Nashville Arts Magazine
* Daily & Weekly Rates Available • 615-500-1234
| September 2009 | 21
www.Moonshinehill.tv
September, 2009
An open letter
A Heartfelt Thanks
They’re
in a basket under my desk. And stuffed into one of those photo
boxes at home. One is taped on the wall in the kitchen; some are tucked
into books and drawers; they’re all over the house. Dozens of cards and
letters from my friends and neighbors in Nashville. More mail than I could
ever imagine, and certainly more than I could ever respond to.
When I was off the air for several weeks last October, Dan Miller
filled you in. In his collection of online essays, Dan Miller’s Notebook,
he described (in beautiful detail) my wondrous backyard wedding. He
explained that while I had gotten married, I wasn’t on a honeymoon. I
had returned home to Chicago, where my precious dad was to spend the
last days of his life, surrounded by his kids and grandkids, our mom, and
all the love we could possibly give.
Dan’s column brought tears to my eyes and was the greatest wedding
gift I could ever ask for. And I told him so.
Equally moved by his words, hundreds of viewers wrote emails and sent
cards…they shared poems and prayers. They poured their hearts out
with well wishes that were understanding and uplifting.
Those letters sustained me through the most difficult time I
had ever spent in my life. So did Dan. He was on the receiving end
of countless telephone calls from hospitals and bad news, it
seemed, always very bad news.
Six months after Dad died, I had begun to pack the letters away. Making a
list of the senders and contemplating thank-yous was just too daunting.
I didn’t even try. But I saved every letter and even every envelope. For some
reason, the date stamps were meaningful, and the handwriting as well.
Then a phone call. A middle-of-the-night phone call. Death had taken
another of the most important people in my life. My trusted partner and
big brother, Dan.
Once again, your letters came in stacks and bundles to the newsroom.
In my mailbox at home. Over the computer and by telephone, just the
right words at just the right moments.
How do I thank each and every kind soul who paused to share my pain? How
do I repay the kindness of well-chosen words and meaningful scripture?
I hope these few words sum up what I’d love to send each of you,
on pretty stationery, in my very best handwriting.
photo Jerry Atnip
Thank you, Nashville, for sharing your enormous heart.
People
Demetria
Tells It Like It Is
by Lisa Venegas | Photography by Jerry Atnip
There’s probably not a single person in Nashville who doesn’t know her. They invite her into their homes every evening, keep her busy MC’ing events,
and rely on her to tell it like it is—good or bad. She is so well known, in fact, that one need only say her first name, although her last name is just as
distinctive. And believe it or not, children are named after her. That’s how loved she is in this town.
Demetria Kalodimos is most famous for her big brown eyes, beautiful smile and the smooth tenor voice that delivers the news for Channel 4. She has won
numerous prestigious national awards for journalistic excellence, but for nearly 25 years she has also been working behind the camera to provide an artistic voice,
to tell incredible stories that matter, and promote art in its many faces in Middle Tennessee. To visit her home is to revel in sculpture, religious imagery, modern
art, retro furnishings, and an instrument collection. To view her films is to celebrate relentless curiosity that uncovers notorious characters and unique stories.
Q. Is there anything that people would be surprised to find out
about you?
DK: I think people are surprised when they see me at Home Depot
just like anyone else, hauling my own stuff around. Just a normal
person that definitely gets their hands dirty. And I think it’s probably
surprising that I love classic cars. I have a 1956 Corvette (convertible
with black exterior, red leather interior) and a 1972 Olds Cutlass
convertible. I grew up in a car culture; my Dad was a car racer and
mechanic extraordinaire. I have a long list of cars I’d love to have
someday. So maybe that’s one of the
most surprising things, that I’m a
gear head in some ways.
the outdoor sculpture movement, from Chet Atkins, Owen Bradley
and Musica to the Athena. I even love Ghost Ballet. The Nashville
Film Festival—I can’t be a big enough cheerleader for that—one of
the oldest film festivals in the country. I hope everyone recognizes
that it is a jewel. And so many places to soak up great music in a
unique setting. I’m encouraged every day by the arts and how much
value people place on it.
Q. What else do you find encouraging?
Q: What changes have you seen
in the arts in Nashville since
you’ve been here, and which
changes would you like to see?
DK: All changes for the good. I
mean, how cool is that to step off of
an airplane and hear acoustic music,
like bluegrass or jazz? I think it gets
you primed for having a great time
in Nashville. Ditto with the arts
in the airport. The Frist has been
incredible, the fact that the building
has been preserved and recognized
for the piece of art that it is. I love
There’s talk of starting an artists’
colony in an abandoned church on
Charlotte and making it into a cooperative so you could have it all under one
roof, so that people don’t have to sell
their own homes to be able to have their
creative endeavor—that would be cool.
And for a while they were talking about
opening a film studio where the fairgrounds are now. I would love to see a
big sound studio in Nashville; it’s such a
natural. And a shout-out to Nashville Arts
Magazine! If we could really expose
people to the incredible folks creating
things in our state and communities, I
think people will be so surprised, because I think every single person walking
around here does something creative.
DK:
“As long as your pulse
gets a little bit faster
when a good story’s
happening I think that is
a good indication you
should stick with it.”
but then I fell into news, probably at a very exciting time when CNN
was just coming around. In fact, my first job offer was at CNN, and I
turned it down, because I thought, this thing is not going to last. And
now, of course, you can see why I’m so wise in my decision making!
Q. Your other projects seem like a way of completing these
Q. There have got to be so many markets out there, bigger markets,
other aspects of your interests. For instance, your love of music
that would love to have you. Why have you stayed here in Nashville?
has translated into several projects, including music videos.
DK: Really, is there a better place to live than Nashville? I really enjoy the people, the climate, so many places to soak up great music
in a unique setting, the arts scene, the film-making community…
we are having a lot of fun with the 48 Hour Film contest—and
again, the Nashville Film Festival. I’m very encouraged by the arts
and how much value people place on it here. I think you could
do a lot worse than spend 25 years in Nashville. That’s a blessing.
And doing concert performance presentations for the Country Music Hall of Fame, live shows for some artists. That’s really
fun, because I think I do have a pretty good sense of what’s
happening with the music, and that makes it easier to direct and
edit, I think.
DK:
Q. How does your production company, Genuine Human Productions, select the stories that you film?
DK: I try to keep it down to four words: real people, true stories. What really happens is often way more fascinating than you
could ever imagine. A lot of times I’ve used uniquely Nashville
or Middle Tennessee underground material that’s not readily exposed to people. Because, let’s face it, I can’t just take off and
go to the Himalayas and spend time with indigenous peoples
like some documentarians. This is my world, and I have to do
things around a 2-to-11 job every day where I’m constantly on
call. Right now I’m sitting on about seven half-started, easilyfinished projects, but something always seems to come up. And
it’s obviously been a couple of really tumultuous years.
Q. You actually had a talk show on the radio.
DK: Yeah, I had the first irreverent talk show on this small, liberal arts
campus in the late ‘70s. Donahue was getting really hot then, and I
thought, oh, we could do this on the radio. The power of the thing was
like a Dixie cup on a string, just to the edge of campus, but we thought
we were doing something very edgy. And I thought, this seems like
fun. Not that it was easy, but it was less effort than the music; it came
naturally. That was part of the journey in deciding to study journalism.
Q. You sure make it look easy.
Q. I consider you an artist for your work in journalism and film
making. Would you agree?
I would like to hope that I’m an artist on some level. I
certainly grew up surrounded by art. Both of my parents were
very creative. Even though my dad was an auto mechanic, he
created some of the greatest looking sculpture and other art that
I’ve ever seen. And my mother was always encouraging art. So it’s
no coincidence that my older sister is an art teacher; my brother
(although he works as an industrial engineer) is an incredible
painter; my younger sister writes songs and is a graphic artist,
and I love to paint too, although my path was really more music
than visual art.
DK: Well, I enjoy it. It’s always different; that’s the best thing about the
news game. It’s different than when you are working long-term on a documentary, trying to get the most out of the same story and looking at it in a
variety of ways. Not that we don’t do that in news, but news is changing so
much that it satisfies your appetite for doing something different every day.
DK:
I’ve always been a musician. I’ve played flute since I was in the third
grade, and I don’t do it much anymore, but that’s what I studied in college. I always either wanted to play in an orchestra or conduct. Then I
got involved in a campus radio station, of all things. Originally I thought
I’d combine my arts background with journalism and maybe be a critic,
Q. How has news changed since you became a newscaster?
DK: On a technical side, in so many ways. When I first started we
were carrying gear that was practically connected with umbilical
cords. We couldn’t get that far from the battery belt, and we had
50–60 pounds of stuff. It took forever to edit it together, and half
the time we were waiting for film to process. We’ve gone from tape
that is two inches wide to now using computer cards. And along
with those technological advances we’ve got immediacy also. Now
we can broadcast live as it’s happening, and that’s not necessarily
always good, because you don’t always understand what’s unfolding
in front of you. Can you offer decent context or explanation for
what is happening? So there’s still room for pause in the immediate
news-gathering world—pause to make sure we’re doing the right
thing, that we’re telling the right story, and that we’re not presenting
information in such a way that is skewing the story by its immediacy.
Despite her very public life, many people may not realize that in the last two
years Demetria’s mother and sister were both diagnosed with breast cancer (both
are well today); her beloved father was first diagnosed with terminal lung cancer
then passed soon after to a stroke, and her cherished cat of 14 years passed away.
All this before losing her best friend unexpectedly several months ago.
DK: On April 8 I got the call in the middle of the night that Dan [Miller]
had passed away, on this trip to Augusta, Georgia, that he had talked
about for months and months. That day he had written in his Facebook
that he had just seen Arnold Palmer and some other legend play, and it
had been a great day. I wrote back, “I hope it was everything you ever
dreamed it would be.” And that turned out to be my last communication with Dan, never knowing, of course, that he would never come back
from that trip. But I felt so good that that was the last thing that I put in
words to one of the best friends that I ever had in my life. It’s still pretty
raw at times, but now you start thinking about the little things that you
did right. We never, ever argued, except that we constantly bickered. And
that’s a great sort of bond to have with someone else, where you have this
great static discourse. That’s such a rare thing, and I consider myself so
lucky to have had that kind of a partnership with someone. But that’s
what happens when you sit next to someone every day for two and a half
hours a day, literally elbow to elbow for almost 25 years.
Q. How incredible that two newscasters that are so loved, Dan
Miller and Walter Cronkite, should pass away months apart.
DK: I don’t think I’m overstating it—Walter Cronkite and Dan
dying in the same year was a real blow [to journalism]…because,
like it or not, Dan was the Walter Cronkite of Nashville. And in a
local way, he did it better than anyone else will ever do it. I firmly
believe that.
KirK Seufert
Q. Do you see yourself continuing on in the news?
DK: I hope so! It still excites me. I’m still very interested in doing stories.
I go out; I’m always working on something—not only my own endeavors but for the station as well. I really enjoy investigating stuff, either
finding stories that haven’t been done or getting to the bottom of things
that might have been untold. And I think that as long as your pulse gets
a little bit faster when a good story’s happening, I think that’s a good
indication that you should stick with it, and there’s still so much to do
and say and discover.
graphics & glass
Tennessee State Museum
The Visual Designs of Jane Davis Doggett
Nashville native and graphic design pioneer Jane Davis
Doggett is known for her award-winning designs. This
traveling exhibition will feature several new images.
Saturday, Sept. 19 at 2 p.m. - Artist Gallery Tour
State Museum Changing Galleries
“Originally I thought
I’d combine my arts
Left: After releasing a tiger back into the wild, it is hard to catch the tiger,
2007, by Jane Davis Doggett
background with journalism
customized commissions
www.kirkseufert.com | 615.957.4209
[email protected]
Sept. 17 – Oct. 25, 2009
Talking Graphics:
Demetria has an interesting effect on people. When you spend time with her,
and you see her face light up talking about her classic cars or hear her gush
about a musician’s great performance, you find yourself smiling long afterward. At the same time, you leave her presence almost feeling smarter…realizing that you suddenly know a lot more than you did before you met her.
But that’s part of Demetria’s magic. This warm, generous personality who is
so well liked and respected is a loud promoter of the arts in this town, and
she tells it like it is, every night, in our living rooms. How lucky are we?
SOMetHiNG DiffereNt
•
and maybe be a critic, but
then I fell into news.”
A Unity of
Opposites:
Recent Glass Work by Michael Taylor
Melting Grid 36x40
A Tennessee artist of international acclaim, Michael
Taylor’s glass work has been exhibited around the globe.
This traveling exhibit, organized by The Memorial Art
Gallery of the University of Rochester, New York, includes
Taylor’s most recent works.
Sand Box 24x48
Right: Dystopian, Duchamp-Villon, 2009, by Michael Taylor
Tennessee State Museum
5th & Deaderick Streets • Downtown Nashville
FREE ADMISSION
Hours, directions & parking information:
www.tnmuseum.org or 615.741.2692
Aura 24x30
Over Heated 28
24x48
| September
2009 | Nashville Arts Magazine
Music
Jonell Mosser
Behind the Shades
by Rebecca Bauer | Photography by Anthony Scarlati
“True, we love life, not because we are used to living but because we are used to loving.
There is always some madness in love. But there is always some reason in madness.”
by Nietzsche are committed to memory by Jonell
Mosser, who, aside from being the popular and much-loved Nashville songstress, has a profound appreciation for the spoken and written word. She likes to punctuate her conversation with quotes from
her favorite authors and philosophers, and at times it almost sounds
as if she’s singing instead of talking.
These words
When we meet for lunch, she
has just come from teaching a
songwriters symposium to nine
kids at Battle Ground Academy’s summer performance
camp. There, Mosser mentors
and guides these young music
aspirants through composing a
song based on their own input
and ideas. She will admit it’s hard
conveying her own knowledge to
these kids. But she loves it, nonetheless, when things start to come
together. One student in particular
she describes as having “a special
focus and personal style,” which
he proved while playing an original,
hip riff on his guitar. Mosser describes the creation as if “something
lit a candle in that boy.” After class
that day, the assignment turned to
fitting a song idea around it, and she
is confident
they will finish with a good song. Mosser proudly speaks of her adoration for young artists like these in the making. “I love to see people
[figuring out] how to become,” she says, stressing the word become.
Mosser, who turned a youthful-looking 50 years old this year, reveals
in our conversation how she has come into her own over the past two
decades as a singer/songwriter. She’s a warm and spirited individual,
strong in her words, with a lively personality appropriately framed
by her curly, strawberry-blond hair. She brings up losing her parents at a rather young age—her father passed
away when she was three and her mother
when she was almost 30. As a result, “You
become a different person,” she maintains.
Her mother’s death occurred while Mosser
was in the midst of a divorce, a particularly
hard time for her. During her grief a friend
told her, “It’s the only way to be; you can
stand it. Your mother couldn’t have taken
it, losing you.” Little did I know we shared
this common bond of losing parents early
in life. I shared my personal loss with her,
and, after a little exploration, we agreed
“there is no looking back.”
The Kentucky native moved to Nashville in
the mid ‘80s with plans to be a demo singer
but soon took on songwriting. She recalls
performing her first song, Mama’s Dream, at
a writers night. Shortly after singing the first
line of the song, “My Mama and I never really got along,” she remembers seeing a man
sitting in the front row, cowboy hat on, cigar hanging
from his mouth, when he shouts out, “You can’t say you never got along
with your mama!” With an appalled look on her face, she continues to explain, “I remember just trying to get through the song and thinking to myself, I’ll never do this again.” At the end of the song, as she hurriedly packed
“Harlan Howard told me,
‘There’s nothing like you.
Be that with no apologies.’”
Nashville, Artistically Speaking September  rd - October  st
up, slamming the guitar case shut and hustling towards the door, she remembers, “I ran into this tall man, handsome, great big eyes, with tears in
his eyes, and he says to me, ‘Did you write that song about your mama?’
I said yes, and the man says, ‘That’s the best song I’ve ever heard.’ And I
thought, I’m going to keep doing this forever!” she laughs. A testament to
the fashions of Music Row—that man who loved the song was songwriter
John Hall, of famed group Orleans and co-writer on songs like Still the One,
with wife, Johanna, who both convinced Mosser to keep writing.
Pointing to the challenges of songwriting, Johanna Hall shared what
Janis Joplin once told her: “You’re a woman, a writer, and you have
a story to tell—write it.” Out of that conversation between Hall
and Joplin came the song Half Moon, the b-side to Bobby McGee
and a radio hit. That was added encouragement for Mosser, whose
looks and sound, incidentally, have been compared to Joplin. Mosser
claims the comparison is a compliment but says, “I hope I sing with
less gravel; her voice was raw power from deep pain.” She indicates
her songs come from different places, and, as evident in this meeting,
she can certainly bring personal emotion and experience into a song.
The vocalist has an obvious affection for America and free speech, as
she has been a regular performer for Freedom Sings, the musical arm
of the First Amendment Center in Nashville. “Where else can you
say what you like; we have that freedom,” she says. Disenchanted by
anyone “using a word as a weapon,” Mosser can accept that people
“have a right to say it” but will add, “I have a right to disagree with it.”
Mosser’s love for music bloomed early on while singing alongside her
mother, molding a style that reflects the influences of Otis Redding, Sam
Cooke, and Billie Holiday. Her career has flourished around friends like
Townes Van Zandt, John Prine and Leon Russell, though her soulful
sound has been considered somewhat less conventional. Nonetheless,
she has evolved as an artist with a long list of credentials, has entertained
many audiences and lent her voice on numerous major recordings.
LOCAL COLOR GALLERY
Local Color Gallery invites you to view new works that
represent Nashville through the eyes of our local artists
“Eyes need great
color; ears need
great sound; the
Sandee Sander “Scene from the Curb”
12 x 12, Oil on Canvas
Lee Hamblen “Majestic Parthenon”
Bridgette Raitz Nashville Moon
20 x 24, Mixed Media
body needs great
movement.”
Faced with her share of doubters, she questioned herself at times.
“I had so many people tell me, ‘You’ll never make it.’” She found
inspiration from friend and songwriting legend Harlan Howard,
who told her, “There’s nothing like you. Be that, with no apologies.”
So while settling in Nashville to record and sing, she says, “I have
grown to become myself.”
Sarah Kaufman and Kirk Seufert
"Nashville Quietly Waits" (detail)
36 x 44, Acrylic & Oil on Board
Jennifer Padgett "Broadway Blues"
Marilyn Wendling
“Wightman Chapel at Scarritt-Bennett”
6 x 8, Oil on Canvas Board
Her newest CD, Trust Yourself, was released earlier this year. “There’s a
lot of me in it,” she says. It’s a stellar album with several original songs
she wrote with John and Johanna Hall, surrounded by a brilliant band
and backing vocals and led with one honest and compelling voice.
Before we go our separate ways, I ask for a few words to describe her
adage in life: “Don’t let anything steal your joy.” Again she quotes Nietzsche: Now I am light, now I fly, now I see myself beneath myself, now
a god dances through me. Thus spoke Zarathustra. I can tell that she loves
the way those words sound and the way they make her feel. “Words like
that feed me as songs feed me,” she says. A woman of compassion
and mother of two, Jonell Mosser is truly an artist who has prevailed,
with the passion and courage to seek and find her own truth.
To sample Trust Yourself from Mosser’s newest CD,
visit www.jonellmosser.com.
Emily Miller "Music Man"
11 x 14, Acrylic on Canvas
Streater Spencer "Nashville at Night"
24 x 30, Oil on Board
Gay Petach "Approach of Night "
Opening Reception
Thursday, September rd, -pm
 Broadway -
Gallery Hours: Tues - Sat -
www.localcolornashville.com
left:
Hone oil on wood panel, 80” x 48”
pa i n t i n g
Farrar Hood
Finding Her Muse
by Deborah Walden
daughter of photographer Robin
Hood, recently returned home to the Music City. Closing a chapter on her life as an artist in New York City, she has traveled back
to her roots. Hood was raised on photography. She grew up taking tiny footsteps behind her father on photo assignments. She was
personally trained in art lessons with her parents. Hood says these
experiences “built up a visual language” in her mind “from a very
early age.”
Hood left Nashville for graduate study at the prestigious Pratt Institute in Brooklyn, New York. There, she earned an M.A. in art
history and an M.F.A. in painting. She notes that before attending
Pratt, her work was portrait-based, but she says, “Graduate school
forced me to home in on my intention with paint.”
Lush paintings infused with artificial light and executed in minute
detail, Hood’s works represent the marriage of her divergent influences. She sets up props, backdrops, and models into a meticulous
arrangement and photographs them. Clearly she is her father’s
daughter: one source of her inspiration is the photograph. For Robin Hood, photos offer a final product; for his daughter, they represent a starting point.
Until recent months, the theme of the sleeping woman has defined
Hood’s canvases. The settings of her paintings and the appearance
of her subjects remain diverse, but each image captures a woman
lost in an unconscious state. These subjects inhabit a dream world
that is dislocated from the experience of the viewer. Often, they
twist their hands as if in struggle or contort their bodies into painfully unnatural poses. Their worlds are electrified by a tremor of
nervous activity in spite of their rest. Hood says that depicting a
sleeping subject allowed her to “strategically place bodies in more
interesting compositions.”
Rising Cool features Hood’s sister asleep on a floral chair balanced
precariously between the floor and wall. The subject appears so lost
photo Robin Hood
Nashville native Farrar Hood,
above:
right:
top left:
S.S. Pause, oil on wood
panel, 40” x 48” 2004
top right:
Rising Cool Settling
Warmth, oil on canvas,
40” x 60” 2002
left:
Breaking the Hours, oil on
wood, 72” x 48” 2005
right:
There It Pulls, oil on wood
panel, 48” x 48” 2003
below:
Faster, But Still Yet, oil on
wood panel, 48” x 84” 2003
Liaison, oil on wood, 46” x 96” 2005
Forward and Turning, oil on canvas, 40” x 60” 2002
in her dormition that she has been swept up and moved against
the wall: the sensation of transport permeates the arrangement.
The intricate diamond pattern on the wall and ceiling is actually
from Hood’s childhood room. She remembers that the wallpaper sometimes felt like a protective enclosure and at other times
like a “constrictive net.” She captures this dual reality in the busy
pattern that surrounds the clinging, twisted body of the sleeping
woman in this painting.
The inanimate objects of Hood’s paintings manifest a tangible,
palpable presence. Based again in her choice of subject and style
of arrangement, these objects reveal texture, presence, touch. Such
visceral, tactile elements define the lavish realism of her work.
Lush paintings infused
with artificial light and
executed in minute detail...
Since returning to Nashville, Hood has taken a new direction
with her painting. “In the last six months I started to resubmerge myself in painting. I was more interested in developing
my art than in developing a New York art career. I had to allow
myself room to step back and look.” Inspired by these changes,
she has begun a new series of women waking. She is now painting “women who are active, awake, moving toward something.
[They are] to some degree about struggle and changing patterns
in life—moving out of one state and into a higher conscious
state.” These new works echo Hood’s personal journey, both
aesthetic and geographic, to find her own muse.
Hood has an upcoming exhibit at Vanderbilt’s Sarratt
Center October 1–November 1. Opening Reception and
Gallery Talk: Thursday, October 1, 5–6:30 p.m.
You can view Hood’s gallery online at www.farrarhood.com.
feature
Anton Weiss
Freedom of Expression
by Katie Sulkowski | Photos by Anthony Scarlati
the most definitive movement in American art captured the global imagination. Abstract Expressionism dramatically transformed visual culture as the world had known it. Figures like Jackson Pollock and
Clement Greenberg championed Abstract Expressionism as the culmination of all art history to date. Artists and critics, fueled by American
political and economic prominence, used Abstract Expressionism to
relocate the art capital of the world from Paris to New York City.
Waves of Eastern European painters departed for the United States
and brought with them the cultural richness and classical training
that they had received in their homelands.
Anyone who appreciates modern art knows that the year 1945 is
the watershed moment for this style. Postwar America bebopped
in local dance halls, drove fast cars, and lined up at drive-in movies.
The pride of victory in war and economic flourishing permeated
American culture. European artists made the journey from war-torn,
occupied Paris to the bustling streets of New York City. In this environment, Abstract Expressionism exploded in popular culture. This
painting style forever changed the course of modern art.
One can trace the same geographical and stylistic motifs in the career
of Nashville artist Anton Weiss. Weiss, who is Austrian, arrived on
American shores from behind the walls of a Russian concentration
camp. His brother and grandfather dead, his father forced into years of
conscription with Hitler’s army, Weiss’ life was shattered and broken.
For him, the colorful sidewalks of New York City and the freedom of
Abstract Expressionism determined the arc of his life as an artist.
Weiss spent his boyhood summers at his mother’s family’s winery in
Yugoslavia. The country was invaded by the Nazis at the outset of
World War II. Before the war, Weiss’ childhood had been quiet and
peaceful. His parents were both painters, and his early memories are
dotted with recollections of their work. When Hitler’s army exited
Weiss’ ravaged homeland, the echoing footfall of soldiers’ boots fell
on a life altered and damaged for the teenage artist.
In the years directly following World War II,
Forced into a Russian concentration camp in Yugoslavia, Weiss and
his mother both courageously escaped. Weiss was 10 when he entered and 13 when he escaped six months after his mother. This
turning point in his formative years allowed the artist to take part in
an activity that has characterized his career and painting process to
this date: the quest for freedom has played like a leitmotif throughout the artist’s personal and professional life.
In Weiss’ opinion, his experiences in the prison of a concentration
camp fuel a greater freedom of expression in his paintings today. He
says, “I don’t feel bad about what happened to me. I reveal or address
those experiences to make me a better individual, and I will perform
in a much deeper sense than if I block them out. There’s no such
thing as a bad experience if you use that experience as a positive gesture for the future. I think that you survive by that, and eventually it
makes you a broader individual.”
During the war, Weiss had watched a documentary on the stormy
life of the artist Michelangelo with his father while the latter
was on leave from war. The film made a vivid impression on the
young boy. He knew as he left the theatre that his true passion and
Weiss’ desire for artistic
identity would be found in
art. After leaving the concentration camp, Weiss enrolled in an apprenticeship
in which he restored damaged frescoes in venerable
Austrian cathedrals. Already,
art was helping him to repair
the damage of war and captivity. Internally, he continues the process to this date.
Weiss directly confronts his
memories and experiences
from the past to inform his
painting technique: “A revolt
is stimulated within me and I will probably exercise a much stronger action to that revolt than if I were to paint all pretty things . .
.It depends on the individual how they want to approach life. I find
myself digging into the past to be stimulated by a positive reaction
to that.”
In the aftermath of the war, Weiss and his mother were reunited
with his father by the Red Cross. A Catholic charity helped bring
them to the United States. The family by which they were sponsored lived in Middle Tennessee. After a couple of moves to different
towns in the area, Weiss settled in Nashville. Neither the city nor the
artist has ever been the same.
Weiss attended Watkins Institute, the forerunner of Watkins College
of Art and Design. Studying at Watkins gave Weiss the opportunity
to continue pursuit of the great traditions of Western art. In his
adulthood, the artist returned to Watkins as a professor and later
became head of the art department.
In 1956, Weiss began a four-year sojourn in New York City. This
visit allowed the painter to experience the Big Apple in the full
bloom of post-war American painting. The city was buzzing with
new artists, immigrants, jazz music. Weiss enrolled in the legendary Art Students League in New York. Originally hopeful about his
involvement in this organization, Weiss gradually became disillusioned with the traditional approach to art that it fostered. He left
the Art Students League in search again for freedom. Just as his quest
for political and personal liberation had carried him from a concentration camp to the United States, Weiss’ desire for artistic freedom
demanded that he find a mode of painting and expression that he
could own.
Weiss enlisted in courses with the now-legendary Hans Hoffman.
Time spent under the tutelage of this trailblazer of the Abstract Expressionist style opened Weiss’ eyes to a new thought process and
way to approach and execute painting. He found lasting freedom
and stylistic liberation in this movement. The very atmosphere
of New York City directly impacted his nascent ventures into an
freedom demanded
that he find a mode of
painting and expression
that he could own.
exiting new style. “I spent quite a bit of time in New York. The sidewalks
gave me so much energy…the energy of existence and travel and accidents
that were on those sidewalks! I took a multitude of sidewalks, just sections
of that sidewalk, all the way from the Village to Spring Street—and a lot of
the paintings come from that.”
In 1960, Weiss triumphantly returned to Nashville. He was armed with a
new stylistic approach and full of the spirit and activity of the burgeoning
New York arts scene. Photographs from this period capture a confident,
masculine artist—the typical image of the Abstract Expressionist painter.
Clinching a pipe between his teeth, a lock of hair carelessly falling over
one eye, he wields authority over his canvases. Inside, though, the artist
experienced trepidation about the manner in which the Nashville community would respond to his new art. To his surprise, both art and artist
were embraced with excitement. He remains a local icon and holds historic
importance to the Nashville area. He helped to found both the Tennessee
Art League and the Tennessee Watercolor Society.
Abstract Expressionism with its liberated attitude about what art is, and
emphasis on the event of making it, allowed Weiss freedom of technique
and execution that he exercises to the current date. Abandoning mimetic
approaches, naturalism, and even paintbrushes, he brings a host of selfmade tools and unconventional approaches to work at his easel. He attacks
the canvas with homemade trowels, power drills, and palette knives.
Today, Weiss is more engrossed than ever in experimenting with “chaotic elements” that happen on his palette, more so than what he’s doing to the canvas, explaining, “I have total control on one hand what I’m composing, but
I also have the chaotic experiences leading up to it.” Experimenting today
means switching or changing his energy, doing something to stimulate himself to get over a stagnation in the process, in order to get to another plateau.
The painting shown on the following page, bottom, is a work on a handmade metal substrate. Bright, almost bloody hues of red are modeled on
the surface. They are scratched, scraped, and eventually diffused into a
flesh-colored boundary at the edge of the painting. Divided into two uneven regions, the red fields are torn and dislocated from each other. In
the empty, gray segment that divides the red zones, metal rings pierce the
surface. The viewer cannot discern if the rings are there to suture a torn
painting or torture and puncture the surface of the metal. These elements
are synthetic at the same time that they are damaging and corrosive.
This type of painting is essential to Weiss’ oeuvre. It asks the viewer questions rather than providing them with answers. It uses deconstructed elements, allowing the viewer to assimilate them mentally and recognize their
original power as forms. Weiss combines the Abstract Expressionism that
he learned from Hoffman with the technique of opaque transparency borrowed from painter Richard Diebenkorn. This style features the layering
of numerous glazes to enliven and provide depth to the surface painting
that meets the eye.
Color is central to Weiss in achieving this phenomenon. He says, “There
are certain colors that will react to certain situations. It’s very rare for me
to use the color purple. For me, it brings out too much of the dark side
of an experience. Now red, most people say ‘red, blood.’ Whatever. It
doesn’t matter to me. I think red is a very flamboyant color. . .. Most
of [my paintings] are concerned with earth color. I don’t analyze
myself and the reasoning for it, but, at the same time, this is how
it happens.”
Through courage and hard work, Anton Weiss has pursued political, personal, and artistic freedom throughout his life. He has
taken part in trends and events that have become part of the
fabric of twentieth-century history. In doing so, he has created
an artistic legacy that is itself historic. Weiss’ personal life spans a
constellation of cities in Europe and the United States. His art is
known globally. And yet, he has chosen to be a local man. Through
his work as director of the art department at Watkins and invaluable
contributions to the Tennessee Art League and Tennessee Watercolor
Society, he has shaped the Nashville arts community. A local treasure and
an icon of a vital American style, he has enriched the lives of generations of
artists and art lovers. He says, “I probably feel better about my painting process
than I ever have—because it’s exciting!” Nashville shares his excitement.
Anton Weiss
(Laughs.) Everything that I achieved was mine. And it still is. It’s
not going to reflect on my parents; nobody gave it to me. I created
it, you see.
The Interview
KS: Talk about your painting technique and what it is you want
to accomplish.
by Katie Sulkowski | Photography by Anthony Scarlati
It was a beautiful sunny morning when Anton Weiss and I sat down for
this interview. He came straight from his studio, creative and energized,
a little guarded at first, but in no time we were into interesting waters.
He looked a lot younger than I expected, dressed comfortably in his sandals and with a smile that simply wouldn’t quit.
There was a lot of ground to cover. I knew he had survived 2½ years in
a Russian concentration camp in Yugoslavia, and yet, rather than being
bitter, he has found a way to accept it and to use the experience in a positive way. I thought it was a good place to start.
AW: The
experience for me is that you exist from one period to another period, and your experience is elevated automatically because
you can’t help but gain knowledge. This is what I have lived. At the
end of the day, I’ve gained a tiny bit of experience or knowledge,
“There is no such thing
as a bad experience, if
you use that experience
KS: Let’s start at the beginning. What was it like for you grow-
to your benefit....”
ing up during the war?
Anton has asked that we leave his images untitled for the article, preferring not to influence your perception of his art.
I was on my own a lot, especially for those 2½ years. I was 10
years old, and survival was the only solid issue that you were concerned with. They were trying to take those kids and convert them
into Communism and control their destiny. My mother escaped
from the camp six months before I did. I knew where she was crossing the border; in case something happened once I left the camp, I
knew where to find her.
AW:
KS: You were 13 when you got out of the camp. Were you able
to pursue art at that point?
AW:
Yes, when I went to apprentice in Austria. In the summertime,
we didn’t go home or on vacation; we were allocated to do labor for
the country, and you were paid while you performed those acts. It
was such a beautiful experience. I loved it! Of course, when my parents decided to come to the States, I didn’t want to leave. Looking
back now, the life that I chose, it’s all been good ever since then. I
don’t have any complaints about life.
KW: Your father was employed by Peabody. What were you doing at that point in your life?
AW: That’s
right. My father wanted me to be something other than
an artist. He said, you need to get a degree. I said, Dad I could care
less about a degree; I want to paint! I signed up for two months
at Peabody, and it didn’t take. I would spend more time with the
teacher there, Alfred J. Pounders, in his private studio painting with
him. So I said, why am I doing this? Pounders said the same thing:
unless you’re going to be an educator, why are you going through
this agony?
and what I did yesterday becomes obsolete. This is the process of
putting pigment on top of pigment. I’ve learned you can become
paint-transparent with opaque pigment. What that means is you will
use a flat area of canvas, or whatever, then you will use overlays of
another color, not necessarily a complementary color, but a color of
your choice. And you will leave fragrances of the underneath color
evident. And you do this like 20 times, and what happens in this
sequence is you create depth. This is what I’m concerned with now;
I’m painting with a concept of transparency, with an opaque fashion.
This is where I departed from Hoffman.
KS: As you’re painting and taking away from a surface, are
there other things going in your mind; are you reaching back
The thing is, my father would never spend a dime on my art education. Not one single dime. And later, I found out why. He thought
if this is something you’re passionate about, you agonize over it.
into the past when you paint?
Oh yes. Let’s put it this way—it may reach a point of explanation: your experiences that happen in the past, whether they were
AW:
good, bad or whatever,
they’re still experiences. The majority of
the time if they were
bad, you sort of block
them out, and you
erase those experiences. Well, I’ve never felt
that way. I don’t feel
bad about what happened to me. Those
experiences make me a
better individual, and I will perform in a much deeper sense than
if I block them out. There is no such thing as a bad experience, if
you use that experience to your benefit as a positive gesture of the
future. For instance, a lot of people…you talk about disasters in society like concentration camps, even imprisonment or whatever—
I could say to myself, the people that were behind those actions
are shunned by me. I don’t feel bad about those things. I was in
a Russian concentration camp. I can’t say to myself those people
who were behind that were bad. They’re not. I don’t have anything
against them, those people. But I think that you survive by that,
and eventually it makes you a broader individual. If somebody does something, even
in words or whatever, you know, does that
person really realize what he said or what
he did? A lot of times he doesn’t.
don’t have to be pretty in order to be appreciated. Take Goya for
instance; they don’t have to be pleasant in order to be good. That’s
all I’m saying. And it depends on the individual, how they want to
approach life. I find myself digging into the past to be stimulated by
a positive reaction to that. That’s all it is.
KS: There must be a lot of chemical reactions going on inside
of you when you’re at the easel.
Well, there is. There are certain colors that will react to certain
situations. It’s very rare for me to use the color purple. For me, it
brings out too much of the dark side of an experience. Now red,
most people say red, blood, whatever—it doesn’t do that to me. I
think red is a very flamboyant color. Now some of the purples, and
sometimes deep blues, have a tendency of arousing a different reaction to my experience. Other artists may have completely different
experiences. It’s very rare I will use purple in my paintings. The majority of them are concerned with earth color.
AW:
posed to do. This is what
your teacher told you to
do. But I didn’t want to
do that. I had to change.
At one point, I painted in
watercolor and used an
enamel palette, and the
color came off in sheets.
I thought, this is so beautiful; why can’t I put this
back on my canvas. I
enjoy painting more so
than ever because I’m not
afraid to venture.
KS: Are you that way
in life?
Yes. Most people
don’t have the courage
to make a statement. I
enjoy the process. For a
while, I was forcing it,
but now I can always get
a drill and a sanding pad
and mutilate it…. And
sometimes, I don’t know
what the past will reveal.
This is the beauty of it. It’s
not just a process where you add and add and add. The majority of
the time, depending on the material, you take away, and you leave
whatever you feel is necessary.
AW:
KS: How did you arrive at the techniques that you are using now?
AW: When I changed from classical to abstract, I had to get rid of the
classical instruments. It was a crazy process. You have this dictatorial
message that your brain gives you if you hold a certain implement
in your hand. This is what it’s going to do; this is what it’s sup-
I’m not saying it justifies what they did,
but to me, see, I question my reaction to
what they did, they probably don’t even
know; they’re probably not aware of what
they did. That’s a matter of reactions to
things that I may have said.
KS: You said that sometimes being under stress or duress can actually make
some of the best paintings.
For a period of time, I did some
paintings that were related to those early
experiences. What I find myself doing is
reinitiating or digging up specifics of what
happened. A revolt is stimulated within
me, and I will probably exercise a much
stronger action to that revolt than if I were
to paint all pretty paintings. Paintings
AW:
elements that happen on my palette. It’s stimulating to me [because]
they were not mixed on purpose. I’ll start out with a blank canvas
with those elements, and then I’ll start filling in values and colors
to connect those pieces. When I reveal it, I can feel the stress and
activity and excitement of working this palette. I have total control
on one hand, what I’m composing, but I also have the chaotic experiences leading up to it.
Prime example is the painting that’s in the gallery now. I literally had
to go and scrape off 50 percent of the surface in order to regain the
quality that I felt I needed. About a month later, I got it to a point
where I’m satisfied with it. It revealed what I wanted it to reveal.
Just underneath the friendly exterior, I was surprised to learn how courageous this man is, to get in constant touch with those experiences of his
past to instigate better painting, a better process, a better self. What surprised me the most is that he’s not afraid to go there, nor does he dwell on
his past. Certainly, I’ll never forget his warm smile and Southern drawl.
But, now that I know him, I’ll never forget his perspective on his own
experiences. And what some would see only as a tragedy in the world, he
has chosen to use for good in the creative process of his art.
KS: Where else do you find inspiration for your art?
Anton Weiss is represented locally by Leiper’s Creek Gallery and
KS: What do you do when a painting goes cold on you?
Let’s say if I worked on a painting for three or four days and
the surface has gone dead—in order to reactivate, I will take a drill
to rebel against my actions, to recover and go back. It’s almost like
going back and rediscovering a day in the past. And you get a new
insight, a new foundation, and go on.
AW:
AW:
Right now, I’m so engrossed with experimenting with chaotic
by Bennett Galleries in Knoxville and L Ross Gallery in Memphis.
Architecture
The Hermitage
Hits 100
by Deborah Walden | Photography by Jerry Atnip
Dinner
parties for presidents, golden-age starlets of young Hollywood, mothers and daughters dining on
the hallowed post-shopping lunch, honeymooners, high-society belles and beaux have filled the
banquet halls and bedrooms of the grand estate for almost a century.
In September, the Hermitage toasts its centennial with a coffee-table book that celebrates its rich history as a cherished Nashville institution. Featuring detailed, gorgeous photographs taken throughout its history, the collection conjures up the hotel’s colorful past and boasts of its glorious present.
The Hermitage remains a building of both local and
national importance. The hotel is included on the
National Register of Historic Places and is a member of the Historic Hotels of America. The stories
that have played out behind its walls have done so
on the world stage. The structure is central to the
spirit of Nashville. The city’s defining monument
in the early twentieth century, it is still the location
of numerous weddings and receptions. Many Nashville couples and families have begun their lives together in this establishment.
The Hermitage deserves its status as an icon of
the Nashville skyline as much for what it is not as
for what it is. The building casts a powerful relief
against some of its less fortunate contemporaries
that have fallen victim to demolition or destructive
updates. The rare, original Art Deco structures of
the Sudekum Building and the Tennessee Theatre
were destroyed, only to be replaced with the hastily
built stucco exterior of the Cumberland downtown.
At one time, the Hermitage faced a similar threat.
The ‘70s, ‘80s, and ‘90s marked difficult decades
for the once-glowing establishment. After closing
its doors in 1977, the hotel was slated to be transformed into another downtown office complex.
Ah, if only the walls of the Hermitage Hotel downtown would give up their secrets.
... a sense of the past permeates the
living space of a bustling five-star hotel.
Through tumultuous years of the ‘80s and ‘90s the grand dame underwent several ownership changes and renovation upgrades. In June 2000
the Historic Hotels of Nashville, LLC, took over the fallen angel of Nashville’s heyday. The story of the rise, decline, and ultimate salvation
of the Hermitage Hotel is one of romance, luck, imagination, and good old-fashioned grit and determination. In a way, it tells the story of
Nashville itself as a city evolving and growing at the lightning pace of American history.
If one walks into the Hermitage today, a sense of the past permeates the living space of a bustling five-star hotel. Terra cotta-colored paint and
Parisian blue accents bathe the interior in warm light. An original skylight restored to its former brilliance diffuses a palette of Venetian color.
A rich oil portrait of a group of engaging young women invites one to converse with the past.
“Meet me at the Hermitage”
became the motto of
Nashville socialites.
It takes little imagination to picture oneself in the exciting
early years of the hotel’s life. One feels that train passengers
should shuffle into the lobby from a foggy exterior, wearing
mink stoles and cloche hats.
Founded in 1908 by 250 Nashvillians, the Hermitage was
Nashville’s first million-dollar hotel. It soon became the
symbol of thriving city culture downtown. Only the finest materials were employed in its construction. The Grand
Ballroom, which saw the glittering white dresses of many a
debutante ball, was paneled in Circassian walnut that sailed
from Russian ports. Both Italian and Siennese marble graced
the entrance. Glazed terra cotta lions adorned its exterior,
and hand-cast plasters decorated its richly painted ceiling.
Hotel architect John Edwin Ruethven Carpenter was the
first Tennessean to complete architecture school. He attended The University of Tennessee, Knoxville; the school
now known as the Massachusetts Institute of Technology,
and Les Ecole des Beaux Arts de Paris. Carpenter is famous for working in the Beaux Arts style named after the
institution that he attended in Paris. This style, inspired
by both classical and French Renaissance influences, features prominently among many American buildings from
this era, such as Grand Central Station and the New York
Public Library in Manhattan. Carpenter himself is most
famous for his design of the 630 Park Avenue building that
was considered to be the finest apartment plan conceived
for the Big Apple.
When the doors of the Hermitage opened in 1910, it
signaled a new chapter in the exciting city life of the developing Southern metropolis. “Meet me at the Hermitage” became the motto of Nashville socialites. The story
of its early days is the tale of the early-twentieth-century
American city. Malls and shopping districts were located in
downtown areas. The Arcade in Nashville was the popular
destination for mothers in smart new dresses holding the
hands of daughters in tiered skirts and shiny new shoes.
These excursions were often punctuated by a visit to the
Hermitage for sandwiches and teas.
At night, young Nashville crowded the Oak Bar and Grille Room to
dance to the tunes of the Francis Craig Orchestra. Craig, the man
responsible for introducing Dinah Shore to American audiences, enjoyed a stint at the Hermitage from 1929 to 1945. His radio show
was broadcast nationally by NBC.
Stars and starlets stayed at the hotel when in Nashville. Greta Garbo,
Bette Davis, and Al Capone all spent nights on a Hermitage mattress.
Gene Autry, dressed in his signature cowboy attire, famously lodged
his horse at the fine establishment during a stay in the Music City.
The Hermitage boasts a rich political history. It was the site of suffragist battles when both pro- and anti-suffrage ambassadors made
the hotel their campsite during the historic 1920 ratification. Tennessee Representative Harry Burn cast the deciding ballot that enabled women to vote nationwide.
Six presidents, including Taft, Franklin D. Roosevelt, Johnson, and
Nixon stayed at the hotel. Memphis politico Edward H. (Boss)
Crump, known as the Red Snapper of Tennessee politics, made the
Hermitage his political headquarters. It became the home of the state
Democratic Party. Events that took place at the Hermitage shaped
the future of the American public. Roosevelt and his wife promoted
New Deal politics while in Nashville; many of the programs supported by this strategy were ushered through Congress with the aide
of Tennessee Senator Joseph W. Byrns. The hotel served as a headquarters for John F. Kennedy’s 1960 presidential run. While visiting
Nashville, the would-be president addressed the city’s hopeful residents from the hotel steps.
As suburban sprawl began to take its toll on American downtowns,
the city center that had once been the heartbeat of Nashville’s cultural life began to decline. Malls began to appear in outlying areas, such
as Green Hills, and the hustle and bustle that defined the downtown
Arcade began to quiet. During these years, the Hermitage finally
closed its doors to a glorious past, signaling an end to an era and a
sad trend in the fate of historic American buildings.
In 2000, Historic Hotels of Nashville, LLC, began a $17 million renovation of the long-neglected establishment. Their goal was not to rip
down its Beaux Arts exterior in order to replace it with more contemporary material or to “update” its early-twentieth-century décor.
They wished simply to return the landmark to its former glory while
fulfilling the needs of contemporary Nashville residents and travelers.
The original plasters were painstakingly copied and recast for repair.
Years of smoke and varnish were stripped from the Russian walnut. A
palette of fresh paint was selected from the richly colored skylight that
adorns the capital of the lobby. Bedrooms were gutted and updated.
The result is Tennessee’s only AAA Five Diamond and Mobil Five
Star Hotel. Featuring spa services, televisions in suite bathrooms,
and a myriad of modern accommodations, the Hermitage remains
true to its heritage as the city’s luxury hotel establishment. The
hotel restaurant, the Capitol Grille, has been named a AAA Four
Diamond restaurant and was lauded by Gourmet magazine as one of
America’s best restaurants in 2004.
With September signaling the centennial year for Nashville’s grande
dame of hotels, the Hermitage looks back at its exciting and diverse
history. The only commercial Beaux Arts building remaining in
Nashville, it is a landmark of the city’s architecture. Returned to its
former glory, the old building continues to shape the lives of Nashvillians just as it defined the experiences of generations past. A visit
for tea, a dinner at the Capitol Grille, or a much-needed “staycation”
at the hotel should be penciled in on the calendar of any proud
Nashville resident this year.
“I get so pumped; I’m there to
get one thing and one thing
only—the perfect shot.”
below:
It was late fall during this visit
to Cades Cove. I was walking and
photography
shooting my way around the loop.
I decided to shoot this using a really
wide-angle lens, capturing as much
of the scene as possible so your eye
focuses on the clouds and the fence
rows as much as the trees.
Byron Jorjorian
Photographer
Byron Jorjorian’s award-winning photography has been
appreciated and admired all over the world. His work has appeared
in major publications including Time, National Geographic, Outdoor
Photographer, Smithsonian Books and the Audubon Field Guides. He,
like most, began humbly. His interest in photography started at age
11, when he got his first camera as a gift from his grandfather. This
small event was life-changing for the young Byron and awakened in
him an insatiable passion for photographing nature.
With operations based in Nashville, Byron and his wife, Susan, have
grown the business to a staff of seven employees. Each month thousands of images are sold worldwide through their website.
“My favorite thing is to explore the unknown. I do a lot of photography for conservation groups, and they send me to far-away, unknown areas they hope will become preservation sites. I take a GPS,
a protein bar, and 40 pounds of camera equipment. I get so pumped;
I’m there to get one thing and one thing only—the perfect shot.”
For more information go to: www.byronjorjorian.com.
above:
This image was taken not far from
my home one evening. I happened to
have my camera with me in the car while
I watched the approaching storm. I pulled
above:
This was the last tree with any fall color remaining in a
forest of gray. All the other trees had already shed their leaves,
leaving this lone maple tree.
below:
I was on my way to teach a photography workshop early
my car off to the side of the road and
one morning and saw the sunlight streaming through trees. I
captured this image of the stormy sky.
pulled my car over to the side of the road and took this image.
above:
This is one of my favorite
places in the world to visit. My
son calls this place “the healing
waters,” and I think it aptly fits.
To me this image has three
different perspectives: one is
the overall feeling of being
in a rainforest; the second is
the waterfall tumbling over
the rocks, and the third is the
abstract union of the water,
moss, and rocks.
right:
Fall colored leaves
reflected in water along Fiery
Gizzard Trail, Tennessee.
far right:
Sunlight streaming
through the foggy forest at
Redwood National Park.
below:
The frost on these leaves
right:
I canoed past this spot
below right:
The vast
far right:
Sometimes I am
greeted me one January
the afternoon before and found
abundance of the
surprised by nature and
morning just outside my front
out that it was accessible by
wildflowers offers so much
end up with the perfect
door. This image alone proves
land. Early the next morning
color and almost limitless
image. On this particular
that there is beauty to be
I drove over and caught the
opportunities for composition.
trip, I had this image in
noticed everywhere around us.
early morning sunrise.
mind before arriving at the
water gardens. I was in
pursuit of a water lily that
had perfect proportions
and glowing color. I spent
two entire days shooting
the flowers and plants
before I found this one
perfect lily. I was fortunate
to be able to capture it in
just the right light.
Block Party
Ron York
30”x 40”
AULD
ALLIANCE
GALLERY
Westgate Center
6019 Highway 100
352-5522
www.auldalliancegallery.net
Antiques
Appraise It
by Linda Dyer | Photography by Jerry Atnip
19 th Century Walking Stick
In the collecting world of walking sticks, the varieties
of forms and functions are classified in three types: decorative, folk art, and system. While the distinctions can be
vague, they provide a good foundation for categorizing the
thousands of canes that have been produced over the past several hundred years.
Decorative walking sticks, as the name
implies, are a fashion accessory. The
variety of materials and forms of these
decorative canes was limited only by
the imagination of highly trained artisans. Folk art sticks, by definition, often
were made by untrained artisans. They were
an expression
of the artist’s skill and personality. And then there is the system
stick. This category of canes is highly collectible. They have a
dual or hidden purpose, occupational and recreational, such as
a weapon, a musical instrument, a whiskey flask and glass, or
a physician’s stick containing scalpels and syringes. More than
1500 patents for gadget canes were applied for during the 18th
and 19th centuries. They were more utilitarian, used in much
the same way as we use a purse or wallet today and usually not
as beautifully embellished as decorative canes. Many have been
discarded over the years after they fell from fashion in the 1920s.
Balleste Art Deco Period Lady
Spherelight, circa 1920
This Art Deco “Spherelight” lamp belongs to the golden age of the ‘20s and
‘30s. The very term “Art Deco” conjures up
an image of luxury and decadence. It is signed
on the foot by Enrique Molins-Balleste. Original vintage works were signed as Molins or
Balleste. These lamps were marketed as
affordable quality decorative lighting.
With its color-enhanced horn handle, it is my opinion this
would be defined as a late-19th-century decorative stick made
for the common market. Based on the materials, the bamboo
shaft (a less-formal wood) and the painted tin ferrule, I would
place the value of this walking stick at $400 to $600. While
canes are rarely offered at the top six international auction
houses—and when they are, they are typically Fabergé, Tiffany or nautical folk art—there does exist an extremely active and aggressive retail market and many collectors’ clubs.
Balleste was born in Barcelona and
worked as an artist in Paris. He was
most noted for his theatrical and genre
groups and figural lighting. In this “offering” pose, the graceful dancer holds
an original crackalure-glass globe shade.
The figure is cast in spelter, with a coldpainted, polychromed surface. Considering she was created in the 1920s to 1930s,
the surface appears to be in great condition.
The polished Italian marble or alabaster
plinth is also a standard of the period. I would place this lamp’s replacement value at
$1800 to $2000.
TERM OF THE MONTH
SPELTER is an inexpensive
metal alloy of zinc, lead and
tin with a surface color ap-
Gods’
Man:
A
Novel
in
Woodcuts,
1st
Edition
This stunning volume’s artwork employs aspects of Art Deco
and Expressionism styles. American author, Lynd Kendall
Ward (1905-1985) was a prize-winning engraver, lithographer, and illustrator. Ward studied in the U.S. and Germany, where he was taught the art of wood engraving and
was exposed to other artists that were exploring the limits
of storytelling with pictures and no words. Upon his return to the U.S., Ward produced his concept of a wordless novel with the evocative, pictorial “woodcut” narrative,
Gods’ Man in November of 1929.
Autobiographical in nature, the 139 engravings recount
Ward’s struggles with his craft and with life in the 1920s
entirely in visual terms. The intricate woodcuts transcend
all barriers of language. Despite having been released the
week of the stock market crash, Gods’ Man sold quite well
and went to a third printing by January of 1930. Over
the next eight years Ward produced five additional novels
in woodcuts, Mad Man’s Drum, Wild Pilgrimage, Prelude
to a Million Years, Song Without Words, and Vertigo. This
volume appears to be in “fine” condition, fetching $300 to
$500 on a retail market.
The importance of condition in book collecting cannot
be overemphasized. Copies in exceptional condition are at
a premium, and the oft-repeated adage is that a collector
should buy the best possible copy that he or she can afford.
plied to imitate bronze. If the
Like any area of collecting there are certain related terms
that bear explanation when discussing the anatomy of a
stick. The first is the handle; secondly, the shaft, and,
when the shaft and the handle are made of different
materials, they are often held together by a band or
collar. Finally there is the ferrule, the termination that
protects the end of the cane.
underneath color is warm
yellow, it is bronze; if the color is cool gray, it is spelter.
Spelter figures are hollow,
and weight is added by a
plaster filling covered with
felt across the bottom. Also,
This means no substantial wear: chipping, fading, darkening, staining, mildew and tears. However, please keep in
mind everything is based on the particular title, its printing history, and its scarcity. A very modern, signed first
edition might be obtainable in “mint” condition, but a
mid-19th-century narrative has probably not survived
without at least some foxing, wear or repair to the binding.
unlike bronze, spelter is nev64 | September 2009 | Nashville Arts Magazine
er cold to the touch.
Tennessee Chair
This handsome side chair is a Tennessee treasure, the work of Richard
“Dick” Poynor (1802-1882), a freeman from Williamson County who is the
best-known 19th-century African American furniture maker in Tennessee.
Poynor was born a slave in Halifax County, Virginia, in 1802. He migrated to Williamson County, Tennessee, in 1816 with the Robert Poynor
family. Dick Poynor obtained his freedom, and by 1851 he acquired his
own 150-acre farm off Pinewood Road in western Williamson County,
where he produced hundreds of chairs in his horse-powered chair factory. His chairs were made of maple and hickory, and his trademark
tight construction was achieved by driving dry rungs into green posts,
thus eliminating the need for nails or glue. Other classic signatures of
Poynor’s work are the arching “mule-eared” posts secured at the top slat by
a single wooden peg and the distinctive turning seen on the front posts.
Since moving to Tennessee, I have discovered similar examples of Poynor’s
chairs for as little as $20. Armed
with the knowledge of the
form and their “signatures,”
these highly prized chairs can
still be discovered.
With this chair’s wonderful
surface and bulletproof attribution, it could easily achieve
$300 to $400. Linda Dyer serves as an appraiser,
broker, and consultant in the field
of antiques and fine art. She has
appeared on the PBS production
The Dermess Staff
Antiques Roadshow since season
one, which aired in 1997, as an appraiser of Tribal Arts.
If
you
would
like
Linda
to
appraise one of your antiques,
please send a clear, detailed image
to
antiques@nashvillearts-
magazine.com. Or send photographs
to
Antiques,
Nashville
Arts Magazine, 644 West Iris Dr.,
Nashville, TN 37204.
poetry
Left: Larr y Spears
Center: Marilyn Greenwood, Kevin Harrington
Right: David Owen
A Garden’s Love
by Tracy
In my life I had a friend so dear
To me, she was the garden in my heart.
She would feed me things I’ve never
Seen. So actually she taught me taste.
www.tennesseecrafts.org
There was such a love in her heart
She gave to me. My gratitude is real and
Deep, for now I will always share a love
So strong not fake.
Newberry & Sons’ Chairs
will be featured in a special guest demonstration Saturday, September 26th.
Join us for a behind-the-scenes look at the techniques and creative processes of chairmaking.
So if I take it slow, I feel the love
Through what I eat.
Produced by Tennessee Association of Craft Artists
Tracy is a part of Magdalene House, a two-year residential community founded in 1997 in Nashville for women with
a history of violence and drug addiction. Thistle Farms is their non-profit business, producing hand-made, natural
bath and body products. All sales proceeds
go back2009
into the
program.Arts
www.thistlefarms.org
68 | September
| Nashville
Magazine
ART AT W OR K
Chef Margot McCormack
12:15 am
At the Farmer’s Market
Photos by Anthony Scarlati
In 2001, Chef Margot McCormack with her business partner,
Jay Frein, opened Margot Café & Bar, offering her customers the flavorful cuisine of Southern France and Italy. The freshness, simplicity
and seasonality of the food have won over diners across Nashville
and the Southeast. Margot Café & Bar is located at Five Points in
Historic East Nashville. With its marble bar, mezzanine-level dining,
and an open kitchen, Margot’s has a unique vibe all its own.
decided to follow Margot to see her art
at work.
10:42 am
At the fish market
1:45 pm
Working on the day’s menu
4:16 pm
Chopping away
www.Margotcafe.com.
2:00 pm
The menu takes shape
4:52 pm
Straining the pasta
5:00 pm
7:42 pm
Waiting for the dinner crowdNashville Arts
Margot
in full
flight!2009
Magazine
| September
| 71
Theater
Grab the People’s Branch
and Hang On!
Chip Arnold, Erin Whited and
by Jim Reyland
Wilkerson in Einstein’s Dreams
Thomas Jefferson said, “Every generation needs a new revolution.”
bottom:
People’s Branch Theatre, founded by visionary artist Brian Niece in
2000, has established itself as Nashville’s professional progressive
theatre, celebrating ten years of producing radically innovative and
socially progressive plays. That’s a hard thing to do for one year,
much less ten. Audiences like the familiar; it’s safe for them and safe
for producers. It’s hard getting people in the seats for shot-in-thedark theatre.
photo by brendon lapier
left:
Buddy Raper photo by rb
below:
far left:
Jenny Littleton
and Mary Bailey in
Waiting for Godot
below left:
left:
Ross Brooks
Hanging Mary by
Matthew Carlton with
Omisade Eniafe and Brian
Webb Russell
photo by brendon lapier
below:
Hedwig with Martin
Lynds, Eric Tichenor, R
Alex Murray and Brooke
Bryant photo by ross brooks
are trying to come up with
new stories to tell, new ways
to tell old stories. So looking
for new ideas all the time as
a writer puts me in a position to take risks, and that’s
what theatre is all about.
Theatre as an art form will
survive only if it and its participants are able to adapt,
and that means coming up
with new ideas and new
ways to tell stories.”
But People’s Branch Artistic Director Ross Brooks isn’t listening. An
accomplished actor and playwright
and graduate of the Creative Writing program at Boston University
and an alumnus of the Boston Playwrights’ Theatre, Ross has prepared
himself well to swing from a precarious branch; running a cutting-edge
theatre organization in a realityshow world.
“I think that being a playwright
helps, mainly because playwrights
Death Of A Maiden with
People’s Branch Theatre is consistently expanding the boundaries of
what is possible on a local stage. PBT adds a dynamic and exciting
voice to Nashville’s cultural landscape. And, according to Brooks,
the key is to embrace as many new voices as possible.
“High-concept stuff fits in well with PBT’s mission, but we can like
a play just for its originality of approach. Hanging Mary is a great example of that. Not only is it a really fascinating story—a true piece of
Tennessee history—but the conceptual idea surrounding the way Matthew Carlton staged the play was compelling and innovative as well.”
People’s Branch Theatre marks its tenth year with a season of anniversaries and triumphs. The 2009-2010 season celebrates the lives of
extraordinary people and extraordinary events, including Galileo by
Brian Niece and David
Rhino with Brandon Boyd
Bertolt Brecht, one of the twentieth century’s most radical and influential playwrights; a new musical about the quintessential American,
Straight Outta Hannibal! The Life of Mark Twain, Rock Star by Ross
Brooks, music and lyrics by Brooke Bryant and NaTasha O’Brien;
the return of Hedwig and the Angry Inch by John Cameron Mitchell,
music and lyrics by Stephen Trask; and 10x10x2, the second installment of PBT’s Short Play Festival, featuring three evenings of tenminute plays written by Nashville’s best local high school, college,
and adult playwrights.
These are wild economic times for all the arts, especially for local
nonprofit theatre companies with a bent for the untried. But Ross
says he’s not scared. “Scared? Nah. It is difficult to get people to take
a chance on something unproven, when there’s no guarantee it will
sell. However, there are always a few who have faith and who are
willing to take the leap with you, and thanks to them.”
Actually, the current arts economy is a little like a typical People’s Branch production as Ross describes it. “I like not knowing
what’s coming next. It’s okay to come to the theatre with a sense
of uncertainty. It’s okay not to know what to expect, to come
with an open mind. That’s when the theatre can truly affect you,
when you’re open to the experience of something you’ve never seen before that is happening live right in front of your eyes.” Hard work and calculated risk can bring big rewards. PBT is doing
the work, work designed to capture a new generation of arts lovers
willing to take a chance. If that sounds like you, then do your part
by attending productions offered by People’s Branch and other companies like them. Seek out emerging artists and applaud their work.
People’s Branch has proven itself a true theatre revolution, and it
deserves our support.
Jim Reyland is the producing artistic director of Nashville’s Writer’s
Become a member of PBT and receive tickets to each production as
well as information about classes, workshops, and special events that
make you a part of Nashville’s vibrant arts community.
People’s Branch Theatre, P. O. Box 24412, Nashville, TN 37214,
615-495-4030
www.peoplesbranch.org [email protected]
Stage Theatre www.writersstage.com and president of Audio
Productions, Nashville www.audioproductions.com. His writing and
composing credits include Used Cows For Sale, A Sugar-Coated Pill,
Stuff, Further Than We’ve Ever Been, Shelter, A Terrible Lie, Article IV
and the Musical 21 Baker Road with Addison Gore.
[email protected]
N ashville ’ s
loNgest ruNNiNg
performiNg arts series
guido’s eAr
featuring
Aaron Brown
January 28
Blair School
of Music
A perfect introduction to violin
music of the early
baroque
2009 / 2010
AustrAliA’s
strAnge
Fruit
Swoon!
September 16—Centennial Park
September 17—VU Alumni Lawn
Australia’s internationally
acclaimed festival company with
four high-flying daredevils
Kidd Pivot
Lost Action
September 24 • Ingram Hall
Canada’s unrestrained and
inventive dance company with a
seven member team possessing a
keen sense of invention
l.A. theAtre WorKs
gruPo
CulturAl
AFroreggAe
February 25
Langford Auditorium
An epic world music
event direct from Rio
de Janeiro – a musical
movement recognized
the world over as a social
revolution
nrityAgrAm dAnCe
ensemBle
March 25 • Ingram Hall
The best in Indian
dance straight from the
Nrityagram dance village
blending movement from
the ancient classic form
with modern concepts
War of the Worlds and
The Lost World
October 8
Langford Auditorium
Two literary masterpieces of
science fiction and adventure by
America’s premiere radio theatre
company
trey mCintyre
ProjeCt
April 7 • Ingram Hall
Fresh and forward thinking
contemporary ballet
delivers vocabulary that’s
innovative in the world of
American art
jenney petrikin
dAniel BernArd roumAin
(dBr)
Darwin’s Meditation for the
People of Lincoln
October 17 • Ingram Hall
Haitian-American artist — an
innovative composer, performer,
violinist, and band leader
www.vanderbilt.edu/greatperformances
Photos: Jonas Lundqvist • Trey McIntyre Project
Bottom: David Murray • Australia’s Strange Fruit
NashvilleArtsMag GP09 1-2V.indd 1
74 | September
8/21/092009
3:43:13|PMNashville Arts Magazine
Nashville
Arts Magazine
2009 | 75
1233 Nichol Lane, Nashville,
TN
37205| •September
www.jpdesigns.com
• 615 . 498 . 7802
anything goes
Douglas Regen
What characteristic do you most like about yourself?
Who would you most like to meet?
My willingness to try anything…to be an explorer. I’m honest and
fair and, of course, my creativity.
My ancestors…especially William Strickland, the builder of our
state capitol.
And what do you like least?
What are you going to be when you grow up?
Starting too many projects at the same time and not being able to
say no.
A well-rounded adult.
What was the last book you read?
It’s more about what inspires me, and that would be finding ways to
reuse materials in creative, unexpected ways.
Regrettably, I have not had much time to read.
Who has most inspired you?
Who is your favorite artist?
Mark Rothko. I love the scale of his work.
What are you most proud of?
My work and my family.
Why Nashville?
I grew up here and love how Nashville has grown and matured. We
have a thriving art scene, great restaurants and an amazing diversity
of cultures. It’s a great city to raise a family in.
What do you like most about the city?
I like the diversity of people, the awesome old neighborhoods and
cool new revitalized areas of town. The mix of the old and the new
is what makes Nashville the place to be.
What do you like least?
It’s too far from the Florida Keys.
If you could change one thing about yourself, what would it be?
I would want perfect vision. Without glasses or contacts I’m blind as a bat.
An embarrassing moment you would most like to forget?
An awful interview at NBC in New York.
Are you happy with where you’re heading
Absolutely!
What’s your mantra?
You get what you give.
What’s it like being you these days?
Scattered. I’ve got a couple of furniture commissions underway, designing a series of music books for a client, and starting to teach a class
in the fall. And, of course, still working at the farm in my spare time.
What talent would you most like to have?
The ability to help people see the world with unbiased eyes.
What is your most treasured possession?
A set of woodworking tools that belonged to my great-grandfather
that was used during the construction of Union Station.
What is your greatest regret?
That I did not spend enough time with a friend before they passed away.
Douglas Regen is an advertising agency executive turned full-
You have five minutes left to live; what are you going to do?
time furniture designer/builder working with recycled materials.
Change my Facebook status.
You can see his work at www.raintreecollection.blogspot.com.
h a pp e n i n g s
liams, Carey Floyd, Michael Oyler, Brooks McDonald, Tracey Steel,
Mary Beth Stillwell, and Lyle McKinney.
The First Saturday Gallery Crawl on 5th Avenue continues to rock—if
you do not know about this event, it is a must. Each first Saturday of
the month, all the art galleries on 5th Avenue and in the Arcade are
open for an open house. The August lineup was spectacular. The Rymer Gallery’s show titled Southern Metal (sounds like a rock band) was
super—the exhibit featured Gordon Chandler, Drew Galloway, Herb
Williams, and introduced Jeffrey Bertrand. Speaking of The Rymer
Gallery, director Tonia Trotter informed me of the opening of Posterma,
an unveiling of the newest paintings from artist Julia Martin. Julia is a
native Nashvillian and has created quite a stir in the art community.
Her masterful use of oil on canvas portrays the complexities of human
emotion and experience with an edge. This show starts September 12. Around Town
by Ted Clayton | Photos by Mark Levine
with folks heading back to Nashville from the beach, summer
breaks in Michigan, the Hamptons and North
Carolina. One group that has been in town and
socially working is the Bacchanalian Society—
the young, upcoming social generation. Their
event benefited the Adventure Science Center.
Chad Blackburn, an event host, informed me
that this event was a relaxed, social, bling tasting with a twist. “Some of you will take home a
lot of wine,” Chad said. The tasting consists of
teams of three people. Each team is responsible for three bottles of
the designated wine, which was South American reds. As the teams
arrive, the bottles are taken wrapped and numbered—and then the
fun begins. The team that brought the top five favorite wines will
take home everyone’s third unopened bottle of wine and so on. This
sounds like great fun, but you certainly could not be over-served,
for you would never know what is going on. This is for sure a young
people’s event! Other hosts and patrons tasting with a thousand of
their closest friends were Ann Stuart Banker, Grace Clayton, Reed
Harrison, Lisa McWilliams, Tony Rose, Teddy Hillard, Diana Wil-
photo courtesy of avenue bank
Summer is almost to an end,
Avenue Bank’s corporate offices served as the site for a reception
celebrating the company’s art and architecture in July. (L to R): Avenue
CEO Ron Samuels, Jerry Atnip of Creative Intelligence Agency, Seab
Tuck of Tuck Hinton Architects and Avenue Bank COO Kent Cleaver.
My Magic Carpet at Tinney Contemporary featured works by Don
Evans, the always-effervescent Myles Maillie (check out his new
neckwear line of ties and bowties), Brandon Donahue, Keith Harmon, and Ellen Stevens. The 12th Annual Avant-Garage Sale Expo
at Anne Brown’s Arts Company is always the place to be and be seen!
It is so exciting to see so many Nashvillians supporting the arts and
having a rocking good time doing it! Does your car make you look fat? Well, my former SUV did, or that
is what I felt driving it, the ever-so-popular vehicle that reminded me
of an egg. Call it stupid, waste of time and money…whatever—here
is the story. I was out in Metro Center for an audition, sent by my
agent (obviously I did not get that commercial). Feeling good about
the audition and knowing it was my 56th birthday (thought it was
my 57th till my mother corrected me), I decided to cruise the lot at
Crest Cadillac just for fun. Well, you know the rest. There it was,
this sleek sculpturesque SRX. This car looks the way I wish I did.
Ok, all this sleek, sculptured new car stuff leads to another story that
I will share in another article. This was all preceded by an upcoming
surgery by my close friend and surgeon Joe DeLozier, who was to
give me a new sculptured look. (No, I am not trying to look like the
statue of David, but Joe did a great job.) I cannot wait till the social
season resumes, for too much spare time on my hands is a dangerous
thing? Back to Crest—I have never been treated as kindly as I was
by the staff. J. C. Ward met me in the lot, and after we had introduced ourselves, I mentioned it was my birthday (that’s a surprise).
Guess what—his birthday was the week before, and we are the same
age. That sealed that deal! It was the best birthday celebration I can
remember; any dealership that has a Starbucks machine with unlimited refills is my kind of party. Those celebrating with me were
General Manager Darren Palmer, Jeff Cost, John Scott, and Edith
Smith. I do want to mention that Crest Group are new supporters
and advertisers in Nashville Arts Magazine, and we are most proud
to have them. So if you are looking for a different venue for a birthday celebration, head on over to Crest. They have great party favors
(with four wheels!).
Mike Anthony, Kristen Anthony
at The Arts Company
Michael Bush, Madonna Bush,
Liz Winkler at The Arts Company
Nancy Robinson, Phil Armor at
The Arts Company
Kay Stauffer and Kirk Seufert
at Rymer Gallery
Uche Sampson and Jill Peeples at Rymer Gallery
Rymer Gallery
The Arts Company
Ellen Pryor, John Dotson, Marsha Rusk, Doug
Regen, and Miss Hall at Tinney Contemporary
Rob Turner, Jennifer Cyr, David
Berndt at Rymer Gallery
Myles Maillie at Tinney Contemporary
at Tinney Contemporary
Jeff Rymer, Tonia Trotter, Drew
Galloway, and Herb Williams at
Rymer Gallery
Claude McKnight and Missy Harns
1877 historic lAndmArk
A unique, vibrAnt
entertAinment
venue in historic
downtown FrAnklin.
Available for rehearsal
dinners, private dinner
parties, music showcases,
corportate functions,
luncheons, showers and
receptions, photo and film
shoots, fundraising events,
holiday parties.
Make your next event the one to remember.
OurRedHouse.com
138 Third Avenue North
Franklin, TN 37064
615.435.3503
Op e n i n g s & R e c e p t i o n s
publisher’s note:
All openings and receptions are supplied by
Now Playing Nashville. Please contact them with your event
Glinda the Good Witch makes for “the most complete and completely satisfying new musical in a long time” (USA Today). On
Broadway and around the world, Wicked has worked its magic on
critics and audiences alike. Winner of 20 major awards, including
a Grammy and three Tony Awards, Wicked is “Broadway’s biggest
blockbuster” (The New York Times).
information. Also, this is only a sampling of local events.
No entries are guaranteed.
Shakespeare Allowed! Romeo & Juliet
For a more complete list of Nashville area events please see
Sept. 5
www.nowplayingnashville.com.
Nashville’s Main Public Library
The Nashville Shakespeare Festival hosts this monthly gathering at
the Nashville Public Library (Main Library) on the first Saturday
of each month to read one of the works of William Shakespeare,
beginning with the first play he wrote and ending with his last.
No need to commit to the whole canon, and all voices, ages and
dialects are welcome. Listeners are also encouraged! This month
features Romeo & Juliet.
SEPTEMBER
Garden Gallery Tours: Dig Deeper
Wicked,Sept. 2 – 20
Sept. 5 – 26
Andrew Jackson Hall
Cheekwood Botanical Garden and Museum of Art
So much happened before Dorothy dropped in. Long before that
girl from Kansas arrives in Munchkinland, two girls meet in the
Land of Oz. One-born with emerald green skin-is smart, fiery and
misunderstood. The other is beautiful, ambitious and very popular.
How these two grow to become the Wicked Witch of the West and
Just as our museum staff manages our art exhibits, our horticulturists and gardeners are continuously assembling, editing, and
designing the plant collections at Cheekwood. Take a tour of our
living exhibitions with our expert botanical garden staff, stopping
to “dig deeper” and further explore a different garden each month.
The September tours will be of the Robertson Ellis Color Garden.
From London’s
West End to Ours!
(your new spot for wine & spirits)
Scarecrows
Sept. 5 – Nov. 1
Get ready for some good old-fashioned fall fun at Cheekwood!
Scarecrows is an annual outdoor exhibition that is created by individuals, families, community groups, and corporations. It showcases dozens of fabulous, weird, frightening, serious, funny, and
traditional scarecrows lurking along the Garden’s paths.
Contemporary Jazz Series featuring The Marcus Finnie Band
Sept. 6,Nashville Jazz Workshop
NJW presents a new series starting Sunday, August 2. The Contemporary Jazz Series features local contemporary jazz artists, and
takes place the first Sunday of each month in the Jazz Cave. The
series is hosted by Rahsaan Barber. The September 6 show features
The Marcus Finnie Band.
Blair Signature Series presents John Johns on Guitar
Sept. 10
by either fingers or quills.
When played in combination, they produce color
sonorities. The program
features Fantasia para
un gentilhomme by the
great Spanish composer
Joaquin Rodrigo, Sonata
in C Major, BWV 529 by
Johann Sebastian Bach,
Sonata in A Major by
Antonio Vivaldi, and the
Introduction and Fandango by Luigi Boccherini. Johns also presents a
set of his own solo guitar
transcriptions of Bach,
Mendelssohn and Gluck.
This event features complimentary valet parking.
Twilight Visions: Surrealism, Photography, and
Paris, Sept. 10 – Jan. 3
Frist Center for the
Visual Arts
Including more than 120
André Kertész’s Eiffel Tower from 1929
photographs by such artis part of the Frist Center’s Twilight
ists as Man Ray, Eugène AtVisions:
Surrealism, Photography, and
get, Brassaï, Hans Bellmer
Paris from Sept. 10 – Jan. 3
and André Kertész, Twilight
Visions will celebrate Paris as the literal and metaphoric foundation
of Surrealism.
Hill Center, Belle Meade
4322 Harding Road • (615) 386-0133
www.thewinechap.com
galleries
Featuring
All-Beethoven Opening Gala with Lang Lang
Sept. 11, Schermerhorn Symphony Center
All-Beethoven Opening Gala with Lang Lang featuring Nashville
Symphony, Giancarlo Guerrero, conductor, and Lang Lang, piano.
Beethoven’s genius shines through brilliantly in a trio of works that
all include the number 3. Celebrated young pianist Lang Lang is
a superstar in his native China, where he made an unforgettable
appearance last summer at the Beijing Olympics. This international sensation will light up the stage of Laura Turner Concert
Hall with his dramatic stage persona and passionate performance
style, which have rocketed him to worldwide acclaim. The evening
closes with the powerful Symphony No. 3 “Eroica,” a major turning point in the composer’s towering oeuvre.
Ingram Hall
Blair Signature Series presents John Johns on guitar in Ingram
Hall, A Plucked String Event featuring duets with Blair’s Marian
Schaffer, harp and Amy Dorfman, harpsichord. Even though the
guitar, harp and harpsichord have their individual sounds and tone
colors, they share one thing in common - their strings are plucked
beNNett
Jason saunders & david arms
Jason Saunders Garrison Valley
40” x 48” Oil on Canvas
David Arms Not Always What You Expect
Oil on Wood Panel
oPeNiNg reCePtioN: saturday, oCtober 10th From 6 to 9 Pm
Curator’s Perspective: The City in Twilight:
Surrealism, Photography, and Paris
the show will haNg through the eNd oF the moNth
2104 Crestmoor road | Nashville, tN 37215
Sept. 11, Frist Center for the Visual Arts
PhoNe 615-297-3201 | Fax 615-269-9262
Join Therese Lichtenstein, Ph.D., independent guest curator and
organizer of the Twilight Visions: Surrealism, Photography, and Paris
beNNettgalleriesNashville.Com moN-Fri 9:30 to 5:30, saturday 9:30 to 5:00
exhibition, as she focuses on the Surrealists’ conception of twilight,
as seen in the photographs of Paris taken during the 1920s and
1930s. Lichtenstein will discuss how Brassai, Ilse Bing, Germaine
Krull, Andre Kertesz, Man Ray and other photographers transformed iconic views of the city and its monuments by shooting
at strange, disorienting angles and focusing on unexpected details.
Everyday streets, signs and cafes become unfamiliar and evocative;
the ordinary is seen as extraordinary.
Tango by Moonlight
Sept. 11
Centennial Park Bandshell
Metro Parks and Tango Nashville present Argentine Tango dance
lessons, demonstrations and dancing to live music with Tango Trio
PAD at the Centennial Park Event Shelter. Café will sell food and
beverages. Some of the music will be original compositions by local composers from the Nashville Composers Association.
The Tennessee Art League
presents
The 10 th Annual Americana Music Festival and Conference
Sept. 16 – 19
Nashville Convention Center and Various Live Music Venues
The 10th Annual Americana Music Festival & Conference
will offer seminars, panels and networking opportunities at the
Nashville Convention Center by day, and bring a stellar lineup
of musical showcases each evening at premiere venues like the
Mercy Lounge, Cannery Ballroom, The Station Inn, the Basement and 3rd & Lindsley. As always, the Festival’s capstone will
be the annual Americana Music Association Honors & Awards,
scheduled for September 17th at the historic Ryman Auditorium.
The ceremony will toast winners in six member-voted of the year
categories and bestow Lifetime Achievement Awards on several
honored guests.
An Evening in
the Tennessee Countryside
A casual evening
of music, food and art
in beautiful Leiper’s Fork
October 10,
October
10, 2009
2009
Lunch and Lecture: Delightful Daffodils
Sept. 17
Path and Pen Spiritual Writer’s Conference
Sept. 11 – 12
Scarritt-Bennett Center
Join us for the Fourth Annual Path and Pen Conference: a hands–
on weekend encounter with various forms of spiritually oriented
writing including memoir, poetry, liturgy, inspirational writing
and creative nonfiction. Attend practical workshops for learning
new techniques and sharpening old skills facilitated by some of
Nashville’s most creative writers and lyricists.
It may be early fall, but it is time to start thinking about spring
color in your garden! Join us as we host Becky Fox Matthews of
the Middle Tennessee Daffodil Society and 2nd Vice President
of the American Daffodil Society for a program on all things
daffodil. We will explore the 13 divisions of daffodils, discover
some exciting new varieties, and learn about the best performers for our area. You will leave wanting to start your very own
daffodil collection.
For
Contact
info contact
the Tennessee
the Tennessee
Art League
Art League
for
information &atreservations
615-736-5000
at 615-736-5000
Salute to Excellence 2009
Frist Center Kids Club: Cityscapes that POP!
Sept. 17
Sept. 12
Renaissance Nashville Hotel
Frist Center for the Visual Arts
Every year, The Center for Nonprofit Management hosts a dinH H Hfor
H Htheir
H H H H H H H H H H H H H H H H H H H H H H H H H H Come get your “just
ner and awards presentation that honors area nonprofits
commitment to management excellence. Nine awards and more
off the beach” look
than $155,000 will be awarded to deserving nonprofit organizawith our
tions and leaders.
Designed for children ages 5-10, the Frist Center Kids Club offers exciting opportunities for children to discover, explore, and
create art. In September Kids Club members will take traditional
cityscapes one step further by creating low-relief FUNscape skylines. Free membership includes a Kids Club card, a variety of art
classes and activities, and rewards for participation. Due to a limited number of spaces in each class, reservations are strongly suggested and can be made two weeks prior to each class. Walk-ups are
welcome as long as space is available.
The Second Saturday Summer Drive-In: Young Frankenstein
Sept. 12
Belcourt Theatre
It’s a Drive-In. It’s a Walk-In. It’s a Bike-In! Starting after sunset,
the evening kicks off with a pre-show hodgepodge of fun shorts,
kitsch commercials and serials of yesteryear followed by the evening’s feature presentation: Young Frankenstein. A laugh riot from
beginning to end, this classic parody from director Mel Brooks
stars Gene Wilder as Frederick Frankenstein, who detests his family history but ultimately can’t resist the temptation to follow in his
infamous grandfather’s footsteps. It’s FREE and be sure to bring
your favorite chair or blanket.
Sunless
Tanning
27 Annual African Street Festival
th
Sept. 18 – 20
by Norvell
Tennessee State University
The African Street Festival is the phenomenal festival that features
approximately 150 street vendors and has grown to attract more
than 50,000 people interested in African American culture. The
festival will feature automotive displays, spoken word, dance, a
new African Expo pavilion, a children’s pavilion, authentic cuisine
and an eclectic mix of live music. This celebration has expanded
to even include the cultures of the Caribbean, North, Central and
South America and other places around the world where Africa is
also represented.
Wine on the River
HHHHHHHHHHHHHHHHHHHHHHHHHHH
Reserve your
experience today:
615.321.1363
www.eyecandysalon.net
HaiR STyliNg + ColoR SPeCialiSTS + exTeNSioNS + WaxiNg
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
Sept. 19, Shelby Street Bridge
In its seventh year, Wine on the River features wine tastings
from vineyards across the country and around the world, and an
1201 Villa Place, Suite 103 Nashville, TN 37212
educational insight into the wine-making process. Enjoy live Jazz
music featuring local musicians and the Nashville Symphony
Quartet. A portion of the funds generated by the event will go to
benefit l’Ete du Vin, a non-profit corporation dedicated to raising
money to fund programs, services and research projects directly related to the treatment, patient assistance and eradication of cancer.
Modern and Timeless
St. Charles Cabinets
Cumberland Heights presents Boz Scaggs with John Hiatt
Ryman Auditorium
Adventures of Tom Sawyer
Sept. 22 – Oct. 11, Nashville Children’s Theatre
THE ULTIMATE ITALIAN ART
OF CREATING JEWELS
In 2004, TIME magazine rated the Nashville Children’s Theatre as
one of America’s top five children’s theatres after their theatre critic
attended a production of Ludwig and Schlitz’s The Adventures of Tom
Sawyer. This toe-tapping Broadway musical is back again this year as
part of Nashville’s yearlong celebration of America’s greatest author!
Sophisticated beauty never goes out of style. Now it’s available
again at Kitchen & Bath Concepts. Stop in today and see
why the enduring design of St. Charles cabinetry has been a
mainstay in Nashville’s finest homes for decades.
Tony Herrera’s
Blair Nightcap Series: The Violin Now!
Featuring Guest Artist Peter Sheppard Skaerved
Sept. 24, Turner Recital Hall
Cheval Collection - robertocoin.com
Sept. 21,
Grammy-winning singer, songwriter and guitarist Boz Scaggs joins
John Hiatt for his annual concert benefiting Cumberland Heights,
a nationally recognized alcohol and drug treatment center located
west of Nashville.
In Green Hills since 1978
209 10th Avenue South, Suite 213 • Nashville, Tennessee 37203
T: 615.256.3007 • F: 615.251.3001 • www.kitchen-bathconcepts.com
Blair’s Nightcap format is the perfect vehicle for this evening’s guest
artist, world-class violinist Peter Sheppard Skærved and Blair faculty
member Michael Alec Rose, who will explore in a lecture/demonstration style what it is to be a violinist today, drawing on Skærved’s
unique repertoire of rare works from the 18th and 19th centuries,
and the many works written for him. A dedicatee of well over 200
works for solo violin, Peter is the only living violinist to have been
invited to play on Paganini’s, Viotti’s and Kreisler’s violins. Leader of
the acclaimed Kreutzer Quartet, Fellow of Performance Studies at
the Royal Academy of Music, Peter also directs a series of concerts at
the world’s oldest music hall, Wiltons Music Hall in London. This
year Peter is curating an exhibition at the National Portrait Gallery,
holding a residency at the British Museum and proudly collaborating with Blair School on the third exchange program with the
Royal Academy of Music, which will be launched as part of the Blair
Nightcap Series visit. He plays Joseph Joachim’s 1698 Stradivari.
Great Performances at Vanderbilt: Kidd Pivot presents Lost Action
Sept. 24, Blair School of Music
Catch Canada’s very current choreographer Crystal Pite, unrestrained and defiant with her exceptional seven member team of
performing strategists – mercurial and spectacular.
Glen Campbell and Jimmy Webb
Sept. 24 – 26, Schermerhorn Symphony Center
This Bank of America Pops Series will feature Glen Campbell
and Jimmy Webb performing with the Nashville Symphony
and Albert-George Schram, conductor. Webb and Campbell are
SunTrust CLASSICAL SERIES
responsible for some of the most enduring songs in the history
of popular music: “Wichita Lineman,” “By the Time I Get to
Phoenix,” and “Galveston.”
Sept. 25 – 27, Centennial Park
Showcasing the craftsmanship of 200 exhibitors, the Tennessee
Association of Craft Artists (TACA) Fall Craft Fair offers shoppers the opportunity to meet and talk with exhibiting artists, enjoy
children’s activities, visit special exhibits and demonstrations, and
purchase a wide variety of uniquely handcrafted art.
12 th Annual Harvest Days
Sept. 26 – 27, Nashville Zoo at Grassmere
Step back to the days of yore, and help the Zoo celebrate its favorite “past” time, Harvest Days. Taking place on the lawn around the
Zoo’s Historic Home and Farm, Harvest Days is a celebration of
life at harvest time in the 1800s. Crafts people and artisans will be
demonstrating 19th century trades, such as yarn spinning, weaving, blacksmithing, pottery, woodcarving and more.
2009/10
Season
0
0
31st Annual TACA Fall Craft Fair
September 17-19
October 1-3
October 15-17
November 5-7
November 19-21
December 3-5
January 7-9
January 21-23
February 25-27
March 4-6
March 18-20
April 1-3
April 29-May 1
May 20-22
Bank of America POPS SERIES
September 24-26
October 29-31
November 12-14
January 14-16
February 18-20
March 11-13
April 15-17
May 6-8
International Black Film Festival of Nashville
Glen Campbell & Jimmy Webb
Hawaii — 50 at 50
Soldiers’ Chorus of the U.S. Army Field Band
Preservation Hall Jazz Band
John McDermott with Cherish the Ladies
That’s Amore!
Cherryholmes
Christopher Cross
Adams and Reese JAZZ SERIES
Sept. 30 – Oct. 4, Tennessee State University
The International Black Film Festival of Nashville (IBFF) brings African American and other communities together to showcase their
work as emerging and skilled independent filmmakers, actors, composers, screenwriters, directors and other film industry professionals.
Russia’s Greatest Hits
Mozart & Shostakovich
Classical Guitar, German Genius
A Musical Space Odyssey
Tango & Ravel’s Bolero
Rachmaninoff & Stravinsky
‘The’ Organ Symphony
Penderecki Comes to Nashville
Sir Neville Marriner
Bach’s Masterpiece
Brahms & ‘Big Sur’
Thibaudet Returns
Chopin & Mahler
Bluebeard’s Castle
October 9 Al Jarreau
January 29 Branford Marsalis
April 9 Stanley Clarke
The Ann & Monroe Carell Family Trust
PIED PIPER SERIES
October 31
December 19
February 20
April 17
Halloween on the High Seas
Happy Holidays! A Winter Wonderland
Peter and the Wolf
Scheherazade
SPECIAL EVENTS
September 11 First Tennessee Special Event —
September 12
September 25
October 26
November 13
December 10
December 17-19
February 3
February 13 & 14
March 12
March 26
April 25
May 9
May 15
May 30
All-Beethoven Opening Gala with Lang Lang
First Tennessee Special Event — Classical Americana
Lunchtime Organ Recital
Silent Film featuring Organist Tom Trenney
Home for the Holidays
Handel’s Messiah
Ballet Folklorico de Mexico
Valentine’s Special with Jim Brickman
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Organ Showcase with David Higgs
Fourth Annual Community Hymn Sing
Los Angeles Philharmonic with Gustavo Dudamel
Voices of Spring
Regions COMMUNITY CONCERTS
October 10 Regions FREE Day of Music
January 17 Let Freedom Sing!
Buy tickets TODAY!
615.687.6400 or NashvilleSymphony.org
p u zz l e r
Artrivia
By Dave Turner
Walt Disney Studios
in Burbank, California. He was invited there to lecture the staff as part
of an ongoing art education program. After being shown sections of
the then-in-progress Fantasia, Wright was quite vocal in his dislike for
the project. It was simply absurd, in his opinion, to illustrate music.
He suggested
Disney
take a long
vacation and
reconsider
his position.
Nashville
Arts
Magazine
September
2009
Crossword
In 1940, architect Frank Lloyd Wright visited
Across
1
4
8
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25
28
32
35
36
37
39
42
43
45
47
48
52
53
54
57
61
Roadside sign
Herring relative
Competent
Track shape
Wing (Fr.)
Nose, to some
Old West painter,
Frederic
Old two-door car
Jagged
More than one or two
Store events
Author LeShan
Broke bread
Olympia painter
Antitrust laws
protector (Abbr.)
Exhausts
Greek letter
Spring
Heightened
Part of USDA (Abbr.)
Golfer Palmer, to pals
Ancient
Football positions
(Abbr.)
Painter of colorful and
primitive rural scenes
Mineo of Exodus
Sparkler
Rascal
TV installment
Plains tribe
the first-ever subject of a Playboy interview in September of 1962. The interviewer was Alex Haley, who
went on to write the bestselling Roots.
While some controversy exists as to exactly when high heels
were first worn, and by whom, many credit their invention to
Leonardo da Vinci.
PuzzleJunction.com
Jazz legend Miles Davis was
63 Sir or madam, e.g.
65 The Night Watch
painter
67 Fragrant oil
68 Magazine contents
69 I, Claudius role
70 Night light
71 Advance funds
72 Wrecker’s job
Down
1
2
3
4
5
6
7
8
9
10
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13
15
17
21
23
26
27
29
30
31
Horror film staple
Certifies
Pago Pago’s place
Droop
Some plays
Burn balm
Mile-High City
Celebes dwarf buffalo
The Slave Market
painter
Cut off
Summer on the Seine
Cotton thread
Skedaddles
Exigencies
Actor Byrnes of 77
Sunset Strip
Skyrocket
Beguile
States (Fr.)
Reuters rival inits.
State in NE India
Subsidy
Copyright ©2009 PuzzleJunction.com
32 Mastheads
33 ___ cotta
34 Painter Giovanni
Antonio Canal’s
AKA
38 Brooch
40 Freudian topic
41 Famed loch
44 More uptight
46 Designer’s
concern
49 ___ amis
50 Unprincipled
51 Paradise Lost
figure
55 Haystacks painter
56 California's San
___ Bay
58 Scheme
59 Showroom model
60 Jane Austen
heroine
62 Pack away
63 Tartan cap
64 Former Japanese
prime minister
66 ___ vivant
down : 1 Gore, 2 Avers, 3 Samoa, 4 Sag, 5 Hits, 6 Aloe, 7 Denver, 8 Anoa, 9 Boulanger, 10 Lop, 11 Ete, 13 Lisle, 15 Scrams, 17 Needs,
21 Edd, 23 Soar, 26 Tempt, 27 Etats, 29 Upi, 30 Assam, 31 Aid, 32 Flags, 33 Terra, 34 Canaletto, 38 Pin, 40 Ego, 41 Ness, 44 Edgier,
46 Decor, 49 Mes, 50 Amoral, 51 Satan, 55 Monet, 56 Pedro, 58 Plan, 59 Demo, 60 Emma, 62 Stow, 63 Tam, 64 Ito, 66 Bon.
across : 1 Gas, 4 Shad, 8 Able, 12 Oval, 14 Aile, 15 Snoot, 16 Remington, 18 Coupe, 19 Erose, 20 Several, 22 Sales, 24 Eda, 25 Ate,
28 Edouard Manet, 32 Ftc, 35 Saps, 36 Sigma, 37 Leap, 39 Risen, 42 Dept, 43 Arnie, 45 Aged, 47 Rts, 48 Grandma Moses, 52 Sal,
53 Gem, 54 Scamp, 57 Episode, 61 Otoes, 63 Title, 65 Rembrandt, 67 Attar, 68 Ammo, 69 Nero, 70 Moon, 71 Loan, 72 Tow.
Extraordinary Homes and Settings
$ 3,450,000
$ 3,850,000
Chickering Meadows • 170 Chickering Meadows
Belle Meade • 114 Clarendon Ave
$ 2,950,000
Belle Meade • 4400 Chickering Lane
$ 2,195,000
Belle Meade • 313 Lynnwood Blvd
$ 1,375,000
Belle Meade • 4409 Tyne Blvd
$ 1,295,000
Green Hills • 4025 Dorcas Court
Steve Fridrich
Fridrich & Clark Realty
615-321-4420
615-327-4800 3825 Bedford Ave, Suite 102 Nashville, TN 37215
et
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Anton Weiss
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5040 Sanderlin Ave Memphis TN 38117
901.767.2200 www.lrossgallery.com
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Exhibition September 1 - 30
Emerge III oil on panel 30 x 48 2009
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Sonata acrylic on canvas 72 x 60 2009
8/14/09 12:50 PM
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Nashville’s Premier
Nashville, Tennessee
Arts Publication
paintings shown by appointment
615.298.9699
[email protected]
Subscriptions are $30.00 per year for 12 issues.
Mail check with address to: 644 West Iris Dr., Nashville, TN, 37204
...
www.anneblairbrown .com
TM
“Having a Moment”
12 x 12 inches
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M y F av o r i t e Pa i n t i n g
Michael Shane Neal’s Inspired by Vista
by David Fox, President and CEO, Praxis Communications, Inc.
Brooks Brothers
Kate Spade
Cole Haan
Photo: anthony scarlati
Burberry
Juicy Couture
Lacoste
Louis Vuitton
Sephora
Tiffany & Co.
The Cheesecake Factory
to
this painting, as the subject
is my wife, Lisa. The painting was done on a Cumberland Society painting trip to
Monhegan Island, Maine.
I am especially amazed at
how Michael Shane Neal
captured the very essence
of her with so few brush
strokes and without even
showing her face!
I’m obviously partial
Michael Shane Neal is among the most sought-after young por-
Singer Sargent), Neal exhibited alongside Kinstler in a 2003
trait artists in America today. He recently completed portraits of
show entitled Realism Now: Mentors and Protégés at the Vose
such luminaries as Supreme Court Justice Sandra Day O’Connor,
Galleries in Boston, Massachusetts. Neal is the Grand Prize win-
former Secretary of Energy Spencer Abraham, U.S. Senator Arlen
ner of the 2001 Portrait Society of America International Por-
Specter, U.S. Senator Robert C. Byrd, and Federal Chief Judge An-
trait Competition. In 2004, he received The Artist’s Magazine
thony Scirica.
Award of Excellence at the Oil Painters of America National
a celebration of true style.
Exhibition. He recently received the Catherine Lorillard Wolfe
Neal was listed among 20 contemporary artists “On the Rise” in The
Award from the National Arts Club and the Tara Fredrix Award
Artist’s Magazine’s annual survey in 2004. His unique, sensitive, and
from the Audubon Artists of America, both for landscape.
insightful paintings display a commitment to portraying not just the
outer likeness of his subjects, but their character and personality as
Recently selected as a participant in the Leadership Nash-
well. A self-described “people person,” Neal enthusiastically shares
ville class of 2010, Neal is a member of the Exchange Club of
his excitement for interpreting his clients on canvas in a traditional
Nashville and an active member of his church. He enjoys com-
yet painterly style.
munity outreach projects, golf, plein-air landscape painting,
and reading, with a particular interest in history. With his wife
and two children, Neal resides near his studio located minutes
A protégé of the nation’s leading artist and presidential portraitist
98 | September
Arts Magazine
from downtown
Nashville.
Everett Raymond Kinstler (a second-generation
student of2009
John| Nashville
Gift cards available from our mall concierge.
THE MALL AT GREEN HILLS • HILLSBORO AND ABBOTT MARTIN ROADS, NASHVILLE • THEMALLATGREENHILLS.COM

Anton Weiss Demetria Kalodimos Byron Jorjorian Farrar Hood The

Transcription

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