Nashville Arts Magazine | April 2010

Nashville Arts Magazine | April 2010 | 1

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Nashville Arts Magazine | April 2010 | 6 Nashville Arts Magazine | April 2010 | 7

Spotlight ................................................8Gary R. Haynes ...................................26American Realism

John Guider ........................................34Visions in Platinum

Colin Linden ........................................43Under the Black Hat

Chihuly!................................................48Fields of Glass

Paul Vasterling ...................................62Dancing Out Loud

Nick LongIn the Real World ...........................................68Leslie SatcherA Good Song is Hard to Find ............................... 74Appraise It ............................................................................................78Theater ................................................................................................. 84 Poetry ...................................................................................................87Anything Goes .................................................................................... 88On The Town with Ted Clayton ......................................................... 90Puzzler ...................................................................................................94 My Favorite Painting .......................................................................... 98

April 2010

Publisher's Note

Art has always been my first love. I began taking drawing lessons as a child and spent my shy teenage years hiding behind a sketchpad. For me, art was always something personal, magical.

I came to Nashville for graduate school in art history and spent two years with my nose in a book, unaware of the vibrant arts community in this city. I was attracted to art history because of the communica-tive capacity of art. We can read whole narratives, tell broad histories through the power of images.

Writing for Nashville Arts Magazine has been a great awakening for me. It has opened my eyes and my heart to the diverse and compel-ling culture in my own town. I have discovered that no one has to travel the world to find active and important art communities. They are literally in our own back yards.

I feel our beautiful magazine is special. Our readers can enjoy and discover art within driving distance while enjoying art at their fingertips. These pages teem with bright images and the quiet, often previously untold histories behind them. Thumbing through these glossy pages is sure to take readers on a journey. You may end up in nineteenth-century Paris, a lonely hilltop in China, or a farmhouse in Leiper’s Fork, but surprisingly, you will still be enjoying Nashville art. It is my honor as a writer to help take you on that journey.

Deborah Walden

Writeron the cover:Dale Chihuly

photograph by Jerry Atnip

EDItORIAL OFFICES644 West Iris Drive, Nashville, tN 37204 tel. 615 383-0278

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EDItORIAL Paul Polycarpou, Editor and CEOKatie Sulkowski, managing Editor

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ted Clayton, Social EditorLinda Dyer, Antique and Fine Art Specialist

Jim Reyland, theater Correspondent

CONtRIBUtING WRItERSRebecca Bauer, Beano, Wm Bucky Baxter, Lizza Connor Bowen,

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Temple Arts Festival If you love spending a weekend afternoon viewing beautiful art that you can also take home, you won’t want to miss the wonderful vari-ety of art and handcrafted works on display during the Temple Arts Festival (TAF) in Nashville the weekend of April 10–11. In its sixth year, the TAF is earning a reputation as one of Nashville’s best arts festivals to attend; the cache of artists just keeps getting better and better. Over fifty highly acclaimed master artists and craftsmen from across the country will offer beautiful, eclectic selections of origi-nal glass, sculpture, painting, drawing, photography, outsider art, and more. Their collectible works have been displayed in museums, galleries and juried exhibitions nationwide. The Temple Arts Festival will be held at The Temple, 5015 Harding Road, Nashville, TN 37205; phone 615-352-7620; www.templeartsfestival.com. Ample adjacent free parking is available for all events. the festival is free

and open to the public Sunday, April 11, 10 a.m.–5:30 p.m. For

the full schedule of weekend events, visit the website.


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Nancy SaturnNancy Saturn was a warm and beloved leader in Nashville, well known for her leadership and mentorship in many organizations in education, health, and the arts. At her gallery, the American Artisan, she attributed her successes to following her instincts when acquiring beautiful artworks and introducing new, exciting pieces to her clien-tele. Saturn brought life and leadership through her life’s experience and wisdom to the organization and growth of the American Artisan Festival—now a hugely anticipated tradition here in Nashville each summer taking place in Centennial Park. After a breast cancer diagno-sis in ’95, Nancy was awakened to her strong desire to give back to her community and other women and co-founded the Tennessee Breast Cancer Coalition and the Gilda’s Club of Nashville. In all areas of her life, she encouraged others to pursue education and seek out mentor-ship so they could realize their dreams. Nancy will be greatly missed.

Atelier MinyonAtelier minyon is a turkish- and New york-based jewelry design

house that will premiere their newest collections here in Nashville at Cindi Earl Fine Jewelry April 8, 5–8 p.m. Atelier Minyon’s creations meld the romantic history of Turkey with modern design and offer fresh, innovative collections never before seen in the United States. Over the years, Jewel House of Minyon has created dynamic jewelry, handcrafted in 18-, 22- and 24-karat gold with diamonds and other gemstones, utilizing the traditions and architectural elements that bring the spirit of Turkey to life. At this exquisite jewelry boutique on Spring Street in SoHo, New York, you step through the doors and you are instantly transported to a very special place. Jewel House of Minyon established itself as the premier jeweler in Ankara and as an ambassador to the world by creating custom pieces for many foreign diplomats. Come join Atelier minyon’s premiere of their newest

collection of exquisite jewelry at Cindi Earl Fine Jewelry on

thursday, April 8, 5–8 p.m.

Art After Hours Every first thursday of

the month, thirty-six member galleries of the Nashville Association of Art Dealers (NAAD) are open late from 5–8 p.m., inviting the public to come and enjoy art after work. Art After Hours is a citywide art crawl that elevates awareness and support for the visual arts in Nashville. This program provides art lovers and patrons a new opportunity to explore Nashville’s diverse and growing art scene.For a gallery map and more information visit

nashvilleartdealers.net.

above: The Easy Life by Noriko RegisterRepresented by the tennessee Art League

above: by Edie maney

above: by Dian malouf

above: by Joan Rasmussen

NativeA New Exhibit Opening at gallery F, march 13

Native presents five unexpected artistic perspec-tives on native North American culture. Through photography, painting, indoor and outdoor installation, and performance video, artists rang-ing in age from twenty-four to seventy-two years old portray their connections with the Choctaw, Ojibwe, Zapotec, Cherokee, Kiowa, Wichita, and Chickasaw tribes. The pieces in this exhibi-tion pay homage to native culture. gallery F is

located at Scarritt-Bennett Center, 1008 19th

Avenue, South. www.scarrittbennett.org

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11Spotlight

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Boy with Swan by Alan LeQuire15.5 x 6 x 5 inchesBronze, Edition of 6 Painting Tennessee

Painting Tennessee is a wonderful portrait of our state by three

local artists, Tom Moore, Joel Knapp, and Jennifer Simpkins. These three oil painters traveled to and painted portraits of all ninety-five counties of Tennessee in the plein-air method—painting in the outdoors in the style made famous by John Constable (1799) and Claude Monet (1840s). Traveling and hiking to these sites, often in the scorching summer heat, the artists wrote journalist essays retell-ing their stories of their travels and from locals they met along the way. These stories make it more than just another coffee-table book; it’s a way to experience the people and wonder of the beautiful state of Tennessee. this book is available at most major bookstores.

Lauren Rolwing, International Poster Winner

Lauren Rolwing, a local illustrator, was chosen out of 1,834 entries from around the world as one of the best one hundred artists to represent Freedom of Expression, by Poster for Tomorrow, an inter-national poster competition that exists to promote various human rights causes. Two marquee exhibitions will be held in Paris at the Louvre Museum and in Milan at La Triennale museum. These posters are on view in multiple cities worldwide. Look for a feature on Ms. Rolwing in an upcoming Nashville Arts Magazine.

Rigoletto by Nashville Opera

A story of dark intrigue, Rigoletto blends Verdi’s music with Victor Hugo’s tragic tale of a father’s vengeance. Nashville Opera will present this opera as their final production of the 2009-2010 season on Saturday, April 10, at 8 p.m. and Tuesday, April 13, at 7 p.m. in the Tennessee Performing Arts Center located at 505 Deaderick Street in Downtown Nashville. Sung in Italian with projected English translations, Rigoletto is directed by John Hoomes and features the Nashville Symphony under the direction of Maestro Joel Revzen, Arizona Opera’s artistic director and principal conductor. tickets range from $17 to $80 and may

be purchased from Nashville Opera at (615) 832-5242, online

at www.nashvilleopera.org, or at the tennessee Performing Arts

Center Box Office locations.

top: Robertson County, Jennifer Simpkinsabove: Loudon County, Joel Knappbelow: Bedford County, tom moore

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13Spotlight

Andrew Jackson and the Young in Heart

When Andrew Jackson, newly elected as the seventh presi-dent of the United States, moved on horseback from his Nashville home, the Hermitage, to the White House in Washington, it was with an immense sense of loneliness, following the recent death of his beloved wife, Rachel. But the situation changed for the better when he invited young people, who themselves were facing sorrow and failure, to join him there and take up activities that would revive their spirits as well as those of the president and the nation.In Andrew Jackson and the Young in Heart, a newly released novel based on historical fact, author Wilbur Cross offers a unique glimpse into the softer side of “Old Hickory” and the romantic spirit of President Andrew Jackson. www.wilburcross.wordpress.com

Ageless are those who still suppose The rain brings petals to the rose, Who tolerate the winter’s fling Knowing it will soon be spring; Who see in dreams some lesson learned And not dark signs of passion spurned. What prompted them to be so clever? They are the Young in Heart forever. – Annie-Belle Donelson

Inside OutA Curatorial Perspective on Joyce melander-Dayton

by Herb Williams

I have a deeper understanding of Melander-Dayton’s process than most. I was lucky enough to be invited into her studio. I felt like a kid in a candy store. Like her artwork, the space was fascinating. There were huge bolts of bright-colored felt stretched out on the floor, and the surrounding walls were covered with custom-built storage cases for various fabrics and threads. What enthralled me the most was climbing up a ladder to look through her storage system of glass beads. There were hundreds, if not thousands, of various-sized glass Mason jars containing hollow glass beads of every conceivable shade and finish. The organization of the materials spoke leagues of the artist’s professionalism, attention to detail, and obvi-ous obsession with her work.

The power of an artist who has come into the stride of realizing her full voice and potential is staggering when coupled with the fact that the artist is both humble and grounded. The focus and quality in the artwork left impressions in my visual memory that I can only compare to other great artists whose work stays with you long after viewing, such as Helen Frankenthaler or Joan Mitchell.

A mid-career retrospective exhibition featuring twenty-five years of works

by the renowned Santa Fe-based artist Joyce melander-Dayton will open

at the Rymer Gallery on April 3, 2010, and will remain on view through

April 24. melander-Dayton creates contemporary textile works that pull

from her childhood experiences in Asia, her love of music, and the worka-

day elements of her life.


Nashville Film Festival by Freya West

Nashville is a town used to celebrity sightings and big events

in the music business, but come April 15, the red carpet will roll out in Green Hills, welcoming filmmakers and filmgoers alike to the Nashville Film Festival (NaFF). Celebrating its forty-first year April 15–22 at Green Hills Cinema, NaFF will boast more than 220 films from 38 countries with several guest directors, actors, and more than 23,000 filmgoers there to experience independent and international film in Nashville. Created in 1969 as the Sinking Creek Film Celebration, the Nashville Film Festival is the longest-running film festival in the South. Although the films come from as far away as Denmark (Applause) and Japan (Vampire Girl vs. Frankenstein Girl), NaFF also takes time to celebrate local talent. The Tennessee Film Night (part 1 and 2) showcases short films from Tennessee filmmakers. And NaFF is one of the only film festivals that will let you walk their red carpet even if you’re not film royalty. Along with Tennessee Film Night, opening ceremonies will include a screening of the BAFTA-award-nominated film, Nowhere Boy, a biopic of the creative childhood of John Lennon.

Artistic director Brian Owens says he has seen Nashville- and Tennessee-made films rise in number and quality over the past few years. “Unless you’re in a major city, when you run across a great local film, you feel like it might be a fluke, but there’s really some great talent here. A lot of people are doing it right.”

The festival is keeping their guest list close this year, but if past guests such as William Shatner, Vincent D’Onofrio, Al Gore, Nicole Kidman, William H. Macy, John Waters, Oprah Winfrey, and Robert Redford are any indication, the 2010 red carpet should be just as glamorous and varied.

Highlights of the festival include:

Provinces of Night. Based on the William Gay novel of the same name, Provinces of Night follows the story of Fleming Bloodworth (Reece Thompson), a young man in 1952 Tennessee who lives in solitude save for his books and dreams of being a writer. That is, until he meets his estranged grandfather E. F. Bloodworth (Kris Kristofferson) and a mysterious girl named Raven Lee Halfacre (Hilary Duff ). Dark secrets lurk in each one’s past, and Fleming must weather the provinces of night in order to find the dawn.

Applause. Thea Barfoed (Paprika Steen) is a critically acclaimed actress whose heavy drinking led to a divorce and the loss of her two boys. Now out of rehab, Thea wants to be involved in her sons’ lives again. Thea tries to prove herself to them and her ex-husband, but the hard life on stage and the ghosts from her past slowly come knocking at her door. A Southeast premiere from Denmark, directed by Martin Zandvliet.

Art House. With a cast including Iggy Pop and Greta Gerwig, Art House follows the tale of a communal house for art students. Threatened by the university dean who wants to turn the house into a home for

varsity golfers, the students’ only chance is to prove their worth as artists individually and as a whole. Directed by Victor Fanucchi, Art House will world-premiere here at the Nashville Film Festival.

Tickets are available online starting April 5 to members and April 6 to the public at http://www.ticketsnashville.com or at the Green Hills Cinema box office during the festival.

below: Reece thompson and Kris Kristofferson star in director Shane Dax taylor’s adaptation of the William Gay novel, Provinces of Night.bottom: Paprika Steen takes a star turn in the Austrian drama Applause.


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15Spotlight

Harding Academy Art ShowFor thirty-five years the Harding Art Show has been one of the principal fund-raising activities of the Parents Auxiliary of Harding Academy. The 2010 Harding Art Show will take place from April 29 through May 1. This show has grown from a modest gathering of artists in the 1970s to a large exhibition with select artists, local and out-of-state, who have been invited to participate. This year’s featured artist is Charlotte Terrell, whose life-long admiration of fine art and historic architecture in antebellum homes has strongly influenced her art. This influence can be seen in her mixed-media works, grounded in centuries-old painted finishes and trompe-l’oeil techniques, a craft of mid-nineteenth-century decorative painting. The Harding Art Show is proud to continue its tradition in the Nashville community and will be located at the Harding Academy campus, 170 Windsor Drive. this event is free and open to the

public. www.Artshow.Hardingacademy.org

Antiques and Fine Art Appraisal Day at the Factory, may 22

Nashville Public Television brings an exciting opportunity for members of the community to have their fine art and antiques appraised by famed, international appraisers. Our very own appraisal

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specialist, Linda Dyer, is a major contributor to this fundraiser event for NPT. She shares her enthusiasm: “I am absolutely delighted and extremely flattered by the willingness of my colleagues to give up one of their precious weekends to join me in volunteering their time to this Nashville Public Television fundraising effort. I personally invited each of these appraisers for their wealth of knowledge and market awareness in the areas of their expertise. Their names and faces will be very familiar to fans of the WGBH production Antiques Roadshow. So I encourage everyone to find that certain something in their possession and seize this rare opportunity. There will be a room full of world-class appraisers that know what they are talking about.” Don’t expect lights and cameras; there will not be television produc-tion crews, but this will be a fabulous opportunity to have your fine arts and collectibles examined by experts! this one-day, Saturday

event begins at 9:30 a.m. and ends at 4 p.m. there is an entry

fee of $10 per item appraised. For details, visit NPt.org.

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17Living History 103 Harlinsdale Court, Franklin, tennessee

Imagine living in a house where every window and door provides an unspoiled view of over four hundred acres of verdant pastures and protected parkland. Despite being historically accurate in every way, this Federal style home could have been built by NASA. Using the finest natural materials, it is built for extreme durability and effi-ciency, yet is warm and welcoming in every way.

There is something very special about this house, and it seems to embody the spirit of its history. Originally part of a land grant given to Daniel McMahan for Revolutionary War service, the farm has been home to Midnight Sun, emperor of the Tennessee Walking Horse dynasty. Included in the Franklin Historic Preservation Overlay, the farm and its original farmhouse were purchased by renowned photographer John Guider (featured in this issue), who lived there for numerous years with his family.

Guider’s love of the land and keen eye for preservation led him to partner with well-known historic builder Bill Powell to create this spectacular home. Each room is historically accurate down to the last detail. Twelve sets of French doors open to double-story porches that flank each side of the house. Rubber liners have been installed beneath the porch wood to prevent rot, and bead board ceilings are wired for light and sound.

Antique mantels, etched glass and silver lighting fixtures, limestone sills, marble and large-plank hardwood floors fill the home. Patented hinges allow the shutters to be functional.

Every detail has been lovingly selected. Antique brick and nine- and ten-foot ceilings lend an airiness and hominess that it is hard to define. It actually feels larger than its square footage. An original threshold adorns the breakfast area, while a light-filled, state-of-the art kitchen complete with an eleven-foot island, marble counters, and backsplashes provides exceptional dining and entertaining space.

This incredible testament to history is perfect for family living. Front and back stairs, two enormous entertaining spaces, and Jack and Jill bedroom suites are designed for today’s living. The master suite is located on the main floor, with both a beautiful handmade vanity and a walk-in marble shower. Upstairs, all bedrooms open off the large media room, which also contains a wet bar.

The lowest level of the home contains an enormous finished space with twin fireplaces. It could be used as a separate apartment, man cave, nanny quarters, or working office, and it has a separate bath. A closet has been thoughtfully wired for a potential elevator. Two separate garages and a space large enough for a recording studio or wine cellar complete this seemingly simple abode. www.bobparks.com

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Spotlight


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ELKINSE.C. Chadbourne Professorin the Department of ArtHistory, Theory, andCriticism, School of theArt Institute of Chicago

JamesGIOIAPoet and CriticPast President, NationalEndowment for the Arts

SHANLEYPlaywright, Screenwriterand Director, His playDoubt was awarded thePulitzer Prize for Dramaand the Tony Award forBest Play.

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Artistic Wildlife Portraits by johnAccepting Creative Design Work


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10avenue2463 Nash Arts_April 3/10/10 11:07 AM Page 1

35th Annual Exhibit and Sale

of Fine Art

Harding Academy170 Windsor Drive • 356-5510

Near the intersection of Harding Road and Harding Place

artshow.hardingacademy.org

Thursday April 29

6 - 9 p.m.$10 per person

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Featured Artist Charlotte Terrell

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IntroducingHAYNES GALLERIES

FeaturingAmerican Realism

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JAMIE WYETH, STUDY FOR LIGHTHOUSE (DETAIL), COMBINED MEDIUMS ON TONED BOARD, SIGNED (L.L.), 18 X 24 INCHES

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Nashville Arts - Lighthouse 021810.pdf 1 2/18/10 10:10 AM

Hit Us With Your Best Shot!Nashville Arts Magazine would like to invite you to our very first

amateur photography contest!

Send in your own photo of what best represents Nashville to YOU—whether it’s a pair of old cowboy boots, the Nashville skyline at sunset, or anything in between. The photos will be judged by a panel of professional Nashville Arts photographers. The top three winners will have their photos published in a future issue! Winners and runners-up will also be featured online for everyone to view!

Get creative and Good Luck! We look forward to receiving your best photographic work.

Submission Guidelines:

•Onlyamateurphotographywillbeaccepted.No

professionals.

•Limitthreeentriesperperson.

•Specificationsforyourhi-resimagemustbeatleast1,000

pixels by 1,000 pixels at 300 dpi.

•ContestrunsnowthroughMay15,5:00p.m.

•[email protected].

•Pleaseincludeyourfullname,aphone,andemailcontact

where you can be reached.

•Byenteringthiscontest,youareagreeingtoreleaseyour

content to Nashville Arts Magazine to publish this photo-

graph as judged.

Pho

to:

Jeff

Sta

mPe

r



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Count on ItFor a daily dose of the latest local arts and

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ONLINE tHIS ISSUE:Listen to our exclusive interview with DALE CHIHULy as he guides us through his hotshop in Seattle where he creates his glass-blown sculptures.

LESLIE SAtCHER, singer/songwriter, sings her hit song “troubadour” exclusively for Nashville Arts.

Watch singer/songwriter and blues guitar extraordinare, COLIN LINDEN, entertain us with one of his favorite songs –not to be missed!

View the NASHVILLE BALLEt with artistic director PAUL VAStERLING as they rehearse for their upcoming April performance, A Midsummer Night's Dream.


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Gary R. HaynesAmerican Realismby Jay Sheridan | photography by Bob Schatz

We all have innate abilities which, with a bit of luck, turn to

passions. If the stars align, those passions are cultivated into successful careers. These are the people the rest of us admire.

Gary R. Haynes, of Haynes Galleries in Franklin, has spent a lifetime chasing his dream.“I worked construction for a year and saved money to attend the Harris School of Advertising Art in Nashville in the early sixties,” Haynes says. “Mr. Harris taught us the fundamentals—how to draw, how to paint, how to make a figure—everything but how to get a job.” But a job was what he needed.

After a couple of entry-level jobs, he went to work for the ad firm Lavidge & Associates in Knoxville and, at night, took painting courses with Carl Sublett at the University of Tennessee. Sublett was an American Realist painter who was acquainted with Andrew Wyeth. Naturally, Sublett’s focus on Wyeth’s work influenced his students.

“My prize possession is the first Wyeth item I collected, his book on the Olsons titled Christina’s World,” Haynes says. “As a student of art, I was a realist, and I admired Andrew’s technical skills—his mastery of technique and his ability to make objects and people real enough to jump off the page were overwhelming. I was drawn to his watercolors because they were wonderfully designed. They had an abstract quality, yet they were very real.”

Haynes continued to paint in the Wyeth style for five years, but the demands of his day job began to require his full focus. By happenstance, he met Eric Ericson, who had become a leading figure in regional advertising circles. “Eric was the only man in the world who would set the type for an entire annual report and then start over because he decided he didn’t like it,” Haynes says. “But I respected that pursuit of perfection, and I learned a lot from him.”

Haynes went to work for Eric Ericson & Associates in 1975 as asso-ciate creative director. The agency grew fast, and Haynes moved to the account management side and soon became a partner.

left: N. C. Wyeth, Thoreau Fishing, 1936, Charcoal on paper 33.625” x 33” this is a charcoal sketch for one of ten illustrations Wyeth painted for the book Men of Concord by Henry D. thoreau. Wyeth was a student and admirer of thoreau.

above: Doug Brega, Maine Coastal Home, Watercolor on paper, 13.5” x 20.5” this is a portrait of Rockwell Kent’s home in monhegan Island off the coast of maine. Jamie Wyeth bought the house and lived and painted there until he moved to Southern Island.


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Ericson passed away in 1987, and Haynes eventually bought the company. Along the way, a couple of venture capital companies which he co-founded grew rapidly and became publicly traded.

Over the years, he had continued to follow the Wyeths, investing in a piece here and there. His success in business was feeding his lust for the masters of American Realism. Soon, it was artists like John Singer Sargent and Emile Gruppe and William McGregor Paxton who attracted his attention, followed by emerging contemporary painters. Before long, the Hayneses were spend-ing time in Maine, becoming friendly with the Wyeth family, and working the auction circuit in New York and New England. His passion was beginning to come full circle.

Haynes Galleries was launched in early 2010 as a specialist in American Realist art and as a resource center for collectors. The focus is on providing discreet, full-service counsel to like-minded collectors who are interested in building a personal collection or buying and selling for investment purposes. A national market-ing campaign has generated significant interest from leading art publications, emerging artists, and collectors alike.

The pieces in Haynes’s own world-class collection are for sale as well and include significant works of leading artists from the nineteenth, twentieth, and twenty-first centuries. While there is a decided emphasis on the Wyeth family—N. C., Andrew, Jamie, Carolyn, and Henriette—the rising stars of today’s Realist move-ment are well represented. A considerable selection of works from David and Doug Brega, Everett Raymond Kinstler, Jeremy Lipking, Burton Silverman, Peter Poskas and Stephen Scott Young, among others, is included.

left: Andrew Wyeth, The Pantry, 1969, Watercolor on paper, 30” x 22.5” The Pantry was one of the last paintings Wyeth did in Christina Olson’s house, which was the subject of many Wyeth paintings.

top left: Stephen Scott young, In Prayer, Watercolor on paper, 11” x 15” While young has begun to find new sources for inspiration, his sitters are often people living in rural areas of the Bahamas, Florida, and coastal South Carolina.

above: Burton Silverman, Shoka, Watercolor on paper, 15” x 10.5” Silverman’s treatment of water-color is very fluid. He works on hot press paper, which is a hard surface; the medium doesn’t blend and bleed like traditional watercolor.

He sold the ad agency in 1999, converting its headquarters at the historic Fall School building in Nashville into executive suites. After a twenty-five-year hiatus, he started painting again and hold-ing art classes in part of the sprawling, thirty-six-thousand-square-foot building. It was a creative space, and another section served as a gallery for his growing collection of American Realist art.

In 2008, he sold the building. With a substantial collection of art spanning three centuries, Haynes had unintentionally become retired. The concept for Haynes Galleries began to coalesce.

“Art had always been an integral part of my life,” he says. “But now that I was free of any professional obligations, I was able to really focus on buying and selling artwork. Along the way, I realized that there was a need for collection management services and auction representation, archival and framing advice, all the things that I would have benefitted from over the years as a collector.”

above: Brett James Smith, The Last Run, Watercolor on paper, 21” x 29” What is important in outdoor paintings is mood, a feeling of how things were and still can be. today, Smith is considered to be among the best in his field.


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Ruth Crnkovich, M.A., A.A.A., serves as director of the gallery and brings decades of experience as a highly skilled fine-art appraiser and curator to her relationships with clients. “We’re serving clients across America, and we want prospective customers to visit our web site, to become familiar with the collection, our services and our philosophy on working with people who collect on this level,” said Crnkovich. “We’ll then make an appointment to get together and talk more about goals and objectives without the distractions found in a storefront. It’s a very personal and private approach to the art business.”

Haynes admits that he’s living his dream today, perhaps to an extent which he couldn’t quite comprehend when he bought the book Christina’s World 40 years ago.

“It just happened because I focused on what I loved,” he says. “I worked hard at it, day and night, because I wanted to be better at it than anyone else. I guess that’s what it means to be passion-ate about something.”

Haynes Galleries is open by appointment only.

www.haynesgalleries.com

below: Jeremy Lipking, In Profile, 2004, Graphite on paper, 16” x 20” Lipking is an emerging talent. Well known for attaining artistic maturity early in his career, Lipking is quickly becoming an influential artist today.

left: N. C. Wyeth, Next Morning Came a Clear Hot Day, 1918, Oil on canvas , 28” x 33” this was an illustration for Scribner’s. During his life he created over three thousand illustrations—113 books, twenty-five of them for Scribner’s.


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John Guider is a quiet man, introverted, yet amicable. His gentle voice sounds like the soft warbling of an old soul. He is the kind of person who immediately puts you at ease; an air of peaceful-ness seems to hover around him. Talking to Guider and experiencing his art is like peeling back layers of onion skin. I entered his studio surprised by his shyness; I left impressed by his bold approach to life and art.

Guider is part alchemist, part Odysseus. He has spent years toiling over various chemical solutions and compounds to improve his photo-graphic art. He has also lived the last ten years with a spirit of adven-ture, braving the Mississippi, the Gulf of Mexico, and the uncharted territories of his own emotions in the solitude of a lonely boat.

For over thirty years Guider worked as a commercial photographer but slowly began to realize that he wanted something more. “I couldn’t justify doing it for money anymore. I sold my studio. I wanted a project that would be solely my own. I wanted something that would challenge me not just intellectually but spiritually.” Guider found that challenge in a small boat and later in the tech-nique of platinum printing, and his life has never been the same.

John GuiderVisions in Platinumby Sophie Colette

left: Statue of Liberty, New york, New york, 1983. On vacation with my kids, we visited New york City, leaving nothing out of our itinerary.

opposite page: tennessee State Capitol, Nashville, tennessee, 2009. Platinum/palladium print, 24” x 36”. this piece was commissioned by Lois Riggins-Ezzell and Leigh Hendry of the tennessee State museum to commemorate the 150th anniversary of the building of our state capitol.

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middle: Amish Farmhouse, Etheridge, tennessee, 1992. Bill mcNew, a friend and Harvard-trained historian, was asked by the Amish to research their community and report his findings. Amazed by what he found, he asked me to tag along and photograph. We’d leave before sunrise to catch the good light, and he’d tell me their stories all along the way.

top: Canoe at Water’s Edge, mississippi River, 2003. After a hard day of fighting the currents and whirlpools of the tricky river, I’d often land on a remote sandbar, set up my tent, and collect myself as the evening drifted into a blissful calm.

opposite page: Flowers in Storefront Window, New Orleans, 2006. A year after Katrina, the Gulf Coast was still a shambles. the image seemed appropriate for what was going on.

bottom left: Varanasi, India, 2002. At daybreak, we were loaded into an arcane wooden rowboat and set adrift on the Ganges River. Staying close to the banks of the holy city, we saw humanity come alive in ways I had never witnessed before.

below: Kendra, Nashville, tennessee, 1999. In casting a poster for the tennessee Repertory theatre, I was introduced to Kendra, who had just recently returned from myanmar, having studied to be a Buddhist nun. She agreed to reshave her head for this image.


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39In 2003 Guider pushed his small boat into a stream on his property. He followed it out to the Cumberland River and on to the Mississippi River and New Orleans. He spent hours in solitude photographing nature that often goes unnoticed. His experiences were raw. Guider describes sitting in his craft during tornado warnings and lightning storms. Once, his boat was attacked by an alligator. “I can’t tell you how many electric storms I’ve been in. You hear the sizzle and wonder when it’s your turn.”

When Guider returned to Nashville to begin processing his photo-graphs, he found the images he had worked so hard to capture seemed to fall flat. They did not measure up to the emotional caliber of his personal experiences. So he set off on a new adventure. “For a year after the journey, I printed. Nothing that I came up with emulated the emotions that I felt as I made each image.”

Finally, Guider discovered the art of platinum printing. He threw himself into mastering this new form. “I spent more time learning the art of platinum printing than I did on the journey.” For Guider, both aesthetically and emotionally, the rewards of platinum printing have been as rich as the metal with which he works. He is one of only ten or so individuals working in black and white platinum printing on a large scale, bringing a world-class art here to Nashville.

Guider explained to me the complicated technical process by which he must work. Most photographs capture only an infinitely small range of values compared to the perception of the human eye. Through platinum printing, Guider can achieve a scale of light to dark that is hundreds of times more varied than the traditional photograph. He must work on metal-free paper that has to be imported from France, and his materials are so sensitive that he has to record the ambient air temperature, humidity, and drying time when he develops. Guider does not work in a darkroom like most photographers. He explains,

“Platinum and palladium are so light insensitive that you can do it in room light.” After immersing his prints in the platinum and palla-dium concoction, Guider places them on a vacuum easel beneath a five-thousand-watt bulb.

The result is something truly amazing. My interest was piqued by the technical qualities of Guider’s process, but when he showed me his platinum print of the Statue of Liberty, I was blown away by an image I have seen thousands of times. The tone and dimension of the composition are unparalleled. I literally felt my jaw drop.

Whether he looks at a rushing fountain in Paris or a still, hot swamp on the Mississippi, Guider tries to communicate the beauty that he sees around him to those who are lucky enough to encounter his photographs. “I try to recreate the emotion that I felt when I saw it, those moments when I am looking at the simplest things. I want to make those simple things important—somehow make them as beautiful as I sense that they are.” One glance at a John Guider photograph reveals that he does in fact live in a beautiful world. Johnguider.com All images © John Guider 2009.

moai, Easter Island, 2007. On a lark, I flew out of Santiago to this diminutive special island. Arriving after dark, I found that all

the hotels were full. A frustrated cab driver drove me to somebody’s house and told

me to stay there. For the next four days I roamed the island I had once thought

would forever lie out of reach.

middle: Seagull, tierra del Fuego, 2007. I made my way to Ushuaia, hoping to catch a ride to Antarctica. the air coming off the Straits of magellan felt so fresh, I felt like life was beginning all over again.

below: tree Roots, Harpeth River, Williamson County, tennessee, 2003. the first seven days of my ninety-day journey solo by canoe was spent on the Harpeth. the intimacy of that very special river and the time I had to myself combined to create one the most spiritual experiences I had ever felt.

bottom: Hostas, Washington, D.C., 2005. I discovered this simple garden of hostas tucked in between all the iconic monuments of our great capital.



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41APRIL at Schermerhorn Symphony Center

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Colin LindenUnder the Black Hatby Currie Alexander Powers | photography by Anthony Scarlati

I know a thing or two about Colin Linden. His smile could start a fire. He loves red wine and red meat. His slide playing can make you weep. He needs very little sleep. He once had a job as a Santa Claus. He calls his mother every day. He met Howlin’ Wolf when he was eleven years old. You’ve probably seen him around; black hat and beard. He has been mistaken for a professional poker player and a Hasidic Rabbi. He’s not that complicated. He plays guitar. He plays guitar very well. The word prodigy is usually assigned to classical musicians, four-year-olds whizzing through Rachmaninoff. We don’t think of prodigies playing blues. At age twelve Linden made his first public appearance at the Mariposa Folk Festival in Toronto. He got up on stage and proclaimed, “When I left New York two years ago, I was ten. Now I’m sixty-two. So I grew fifty-two years in two years. If that ain’t the blues, tell me what is?” He ripped into some Howlin’ Wolf, and people never forgot him.

He met blues singer Howlin’ Wolf, the giant of a man with the fierce growl, when he was eleven. The Wolf was sixty-one. Most kids would have been shaking in their boots. Linden found his hero. Wolf inaugurated Linden into the brotherhood of blues, ageless music to be passed down generation to generation. When Wolf passed in 1976, Linden was already deeply steeped in country blues—Charlie Patton, Robert Johnson, the Mississippi Sheiks. At nineteen, Linden made the last recording of eighty-year-old Sheiks’ guitarist Sam Chatmon, Sam Chatmon and the BBQ Boys. At twenty he recorded his first album, Colin Linden Live! At forty-nine, he has produced eighty albums and played on over three hundred. Stepping into Colin Linden’s home studio in the Waverly area of Nashville is an experience. It’s a good-sized room, but very little floor or wall space is visible. Your first thought might be that Molly Maids should be visiting more often. CDs, cables, ampli-fiers, guitar cases are everywhere. But on closer inspection you see that there may be some method to the mess. It’s ordered chaos, evidence of a life in constant motion; music already made, being made, planning to be made. The fruits of that activity sit on the

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mantel of an ornate fireplace; awards galore, Junos, Maple Blues Awards, Grammy nominations, an IBMA, a Gabriel, a prestigious Toronto Arts Award, packed shoulder to shoulder. There’s also a framed letter from Ethan Coen asking Linden about doing a role in an upcoming Coen Brothers film. (Linden played the singing priest who marries Catherine Zeta Jones and Billy Bob Thornton in Intolerable Cruelty.) On the walls are gold records for O Brother, Where Art Thou; Down From the Mountain, Michelle Wright, Bruce Cockburn. All are evidence of the variety in Colin Linden’s career: guitar player, songwriter, actor, producer. He has played guitar with The Band, Amos Garrett, Emmylou Harris, written songs with Gary Nicholson, Pam Tillis, Keb’ Mo’, has produced Lucinda Williams, Janiva Magness, and that’s just the short list. Oh, and he also lent his voice to the “Go FedEx!” commercials. In short, he’s a busy man.

He is currently promoting his eleventh album, From the Water, and working on the new Blackie and the Rodeo Kings album Kings & Queens due out in 2010, featuring duets with Rosanne Cash, Pam Tillis, Shelby Lynne, Lucinda Williams, and Emmylou Harris, among others. there’s a rumor you’ll be turning fifty in April. Do you feel that

milestone comes with any obligations to the generation of

musicians coming up behind you?

I have always aspired to be an old blues singer, and I see myself edging towards that dream. I wish I could tell all the younger musicians, ‘Everything will be alright this morning,’ in the words of Muddy Waters. Has your choice to diversify your career been a conscious

one? What are the pros and cons of wearing—pardon the

pun—many hats?

I never had the huge hit that I was always hoping for. As a result, I stumbled into all kinds of detours that have truly enriched my artistic life. Maybe I would have had a simpler life the other way, and maybe had an easier time supporting my beautiful wife and cats… you’ve done all right and we thank you.

…but I am so grateful that I am constantly stimulated by my work, and I think that is because of this “enforced” diversification.

Judging by the army of books on your

bookshelf, you love to read.

The power of writing touches the subtleties of our thoughts. Fiction or non-fiction—I am always moved by the truth. Well said. your house has a pretty

eclectic garden. Since your wife is

more inclined to take down a tree

than plant one, is this evidence of your

green thumb? Is gardening a metaphor

for anything?

I’d like to be a better gardener, both literally and figuratively. One of the only jobs I ever had outside of music was as a gardener’s assistant, and I really valued the Zen of growing things. I think I will be a better artist as I get to be a better gardener. Let’s talk about food. men seem to have a different

approach to cooking and following cookbooks. Is it the

process or the end result?

For me, the process is a pleasure, and the end result is a marker. If the end result turns out great, I feel a sense of accomplish-ment, and it serves my basic need of spreading the love of food. But if the process is satisfying, then I know I still have the potential for coming up with a new idea on something. Does that make sense? Absolutely. the process is living. the end result is life. Who

are your heroes and why?

There are so many. I really love women and find them fascinating. As a result my two biggest heroes are my wife and my mother. Bless your heart.

They both approach life with optimism, humor, and realism in good measure. I will always admire Howlin’ Wolf, whose sensitivity and artistry—acquired without the benefit of formal education—continued to evolve throughout his life. I admire and love my friend Gary Nicholson, who is the kind of man I aspire to be—he is at the height of creativity and lives with the ethics of a holy man. I admire the President of the United States, Barack Obama, and I wish him the best in achieving his potential. My friend T Bone Burnett is a hero

General life philosophy?

It’s pretty simple. Try to bring love and happiness into people’s lives with your music, and you will bring it into your own. Honor those who came before you, and inspire those who may come after. As a Canadian, what do you like about living in the South?

The South is the “Mother Ship” of the culture I love the most. It’s forgiving, sensual, and is so connected to the music that I make. How has your spirituality formed your life and your relationships

with people?

I feel I’ve been blessed by God, with my marriage first and fore-most, and with all my wonderful friends and experiences in music. I feel compelled to write about this evolving and complex relation-ship, and music of worship—especially black gospel music—has helped me connect with the Eternal.

to me in that he venerates the art and calling of making music and imbues it with humor and passion. That guy is a genius. I also love and admire Bruce Cockburn, the great Canadian singer-songwriter-musician-activist, in that he continues to be, at age sixty-four, at the peak of his powers as an artist and still maintains his sense of wonder with this world. There are lots more…I could go on. I think it’s nearly dinnertime.

What do you feel like? Fat mo’s?

I’ll drive.

Currie Alexander Powers is the author of the novel Soul of a Man (Cold tree 2006), contributing author and editor of the anthology Gathering: Writers of Williamson County (CPO 2009). She has also been married to musician Colin Linden for twenty-two years.

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Innovative, larger than life, a visionary and a leader in his field of art as well as a major contributor to the Modern Art movement easily describes Dale Chihuly. Almost single-handedly, this extra-ordinary artist has changed the course of glass-blowing tradition with the creation of his over-sized, brilliantly lustrous pieces of sculpture. To encounter Chihuly installations is to revel in the wonder and awe of art that is both beautiful and meaningful. Through his inspired installations, we are taken on a magical journey, experienced through our senses and firing our imaginations. They can literally make your spirit soar!

“Like an explorer, you don’t want to go to places you’ve already been; you want to go someplace new.”Taking giant leaps is nothing new for Chihuly. He has always been inspired by the challenges that are inherent with glass, and he loves to create new kinds of shapes and color combinations. He is completely comfortable in the role of explorer and innovator, bring-ing into this world new things never before created, thought up, or seen by humankind. His contemporary glass sculpture is loved the world over by people of all ages. Not only has this energetic artist kept in step with the demand for his creations, but he continues to nurture and grow his vision with a seemingly never-ending source of creativity.

Nashville Arts Magazine traveled recently to Seattle to catch up with this enigmatic artist to experience firsthand his creative process, and for an intriguing, behind-the-scenes look at the twenty-foot-long glass boat that will soon be on display in our city. Under Chihuly’s influence, Seattle has become a glass-blowing Mecca rivaling Murano, Italy.

Chihuly!Fields of Glassby Katie Sulkowski | photography by Jerry Atnip


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51“I always told students that the most important thing that they could ever do was to be around artists.” Chihuly’s workshop is known as a “hotshop” and sits inconspicu-ously on Lake Union in the heart of Seattle. There are no signs trumpeting its world-renowned reputation, no fanfare—just a large, faceless, pre-fabricated building, the kind that litters industrial land-scapes. But inside, it’s a whole other world.

Conjuring up images of Dante’s Inferno, nine hot ovens bubbling with flames over two thousand degrees Fahrenheit run from early morning to mid afternoon. As many as six glass blowers, called gaffers, are hard at work at any one time, pulling, firing, molding, bringing the glass to life. Surprisingly, the gaffers wear little protec-tive gear, in some cases only sunglasses and special gloves that reach just beyond their wrists, when handling the glass in its molten state. Their movements are quick and remarkably fluid. In Chihuly’s hotshop each gaffer passes off the liquid glass from one station to another like a track team passes off a baton; once their sprint is over,

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53it’s the next person’s job. The heat in the hotshop is unimaginable, and yet no one seems to notice or care. Each gaffer stays focused, fresh, and strong to handle the glass, to bend and to mold it into Chihuly’s vision.

“Had I not been a sculptor or an artist, I might have liked to be a film director.”

Chihuly likens his role in the creation of his work to that of a film director or architect. As a motion picture is made up of a series of moments captured on film, coming together under the director’s hand, similarly the glass-blowing process is made up of series of elements coming together toward completion. Watching Chihuly working and communicating with his team in the hotshop, it is apparent he brings together a finely tuned operation.

Just neighboring the hotshop is Chihuly’s Ballard studio where he dreams up, designs, and works with engineers, architects, and weld-ers on his concepts for new creations. The destination for a new Chihuly masterpiece could be anywhere in the world. These days, he’s creating commissioned works that are going to Dubai, Kuwait,

Makaw, and Singapore. Over the past three decades his work has traveled to hundreds of the world’s top museums, including the Victoria and Albert Museum in London, the Louvre where he was one of four Americans ever to have a one-man exhibition, and the Metropolitan Museum of Art in New York. Prominent personalities including the Queen of England are among his ardent admirers.

Major creations have hung in Venice, Jerusalem, London, and Tokyo. His massive chandeliers grace famous entryways such as the Bellagio Hotel in Las Vegas. Some of his most impressive works to date include

“Light of Jerusalem,” a sixty-foot wall made from twenty-four enor-mous blocks of ice shipped from Alaska, installed in Jerusalem in 1999; a “Crystal Tree of Light” commissioned for the White House Millennium Celebration, and his largest botanical exhibit installed at the Royal Botanical Garden in Kew, England, in 2005.

From original drawings to final walk-through, every part of the design is intentional. In the museum setting, Chihuly is particu-larly detail oriented as to how the light will reveal his art forms, and he gives special attention to the flow of foot traffic around the pieces. His installations in botanical gardens have also caught the imagination of the art world. Here, Chihuly creates other worlds dancing with color and light. Gigantic glass boats and big floating

orbs brighten our world, transforming familiar places into extraor-dinary expressions. Looking remarkably like sea life resting on the ocean floor, his bright and colorful glass sculptures reflect and enhance the very nature that surrounds them.

“I had the energy to do some-thing, and I was lucky to find something that I could do well.”

In Chihuly’s great narrative there are two irreversible events: a shoulder injury that occurred while bodysurfing, and the loss of sight in one eye, resulting from a car accident, that has prohibited the artist from blowing glass and has led him to his more omni-present role as director and architect. Rather than letting these impediments stifle his creativity, Chihuly has used them for his benefit by focusing on his painting and creating more innovative, masterful works.

Chihuly’s excitement for color, for glass is contagious. In the creative core at his studio, everyone’s energy is centered around Chihuly’s obsession with expanding the field of light and glass to the next horizon. Up close, Dale Chihuly is a big personality,


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a discerning man, quick to act, and economical with his words. My meeting with him proved a rare and special occasion. He left an indelible impres-sion—he appeared like a comet for our interview, burned brightly, and was gone just as quickly when the questions were over.

On extended view from may 9, 2010, to January

2, 2011, Chihuly at the Frist will present a variety

of colorful and energetic installations designed

specifically for the upper-level galleries. Selections

will be drawn from the artist’s well-known series

including Seaforms, macchia, Ikebana, and

Persians. Highlights include a delightful garden-

like mille Fiori composition and an impressive free-

standing tower. On may 20–22, 2010, the Nashville

Symphony will celebrate a Chihuly weekend of

performances, featuring Bartok’s Bluebeard’s

Castle. Chihuly has created a spectacular set

design for this production. At Cheekwood’s Art

museum and Botanical Gardens, Chihuly will

exhibit may 25–October 31, 2010. For more infor-

mation, visit Chihulyinnashville.com.

“If I had to sum up success, I’d say ‘energy.’ Without it, you won’t be successful.”

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Chihuly In His Own WordsAs a kid, I used to go to church where there was some beautiful

stained glass. I paid more attention to that than the minister prob-

ably, but it wasn’t until I went to college and at one point started

weaving tapestries that I put little pieces of glass into the tapestries.

And then I got a little oven so I could melt the glass a little bit so it

wouldn’t cut the tapestries, so I could smooth off the edges. One

night I melted some stained glass between four bricks and put a

pipe in there—it wasn’t even a blow pipe, just a regular piece of gas

pipe I guess—gathered up some glass and brought it out and blew a

bubble, and I had never seen glass-blowing before.

and, each gaffer I deal with, probably in his or her own way. I might

talk about it; I might make some drawings. I might blow glass with

them for a day and then the next day look at the glass and decide,

is this what I’m after.

Of course they have to be told what to do. So, like the boat—I’ll tell

them make me a red and yellow boat. And then I’ll go down usually

when it’s finished and look at it and say I like it or I don’t, or let’s put

some orange into it. Or let’s try taking some pieces out and see what

it looks like if it’s half empty. Or the opposite, let’s put some pieces

on the floor and see if it’s interesting to have part of it on the floor.

The whole studio is really creative whether we’re mocking up some

piece, whether we’re designing a new show, whether we’re design-

ing a new book.

I travel to a certain degree to exotic places, but I mostly prefer to

travel when I’m doing a show. I don’t really like going to Hawaii and

lying on the beach for a couple weeks. That never has thrilled me,

but it definitely thrills me even less now. I’m supposed to go on safari

this summer—and I wouldn’t go if it weren’t for my son, Jackson,

who’s about to be twelve, and that’s what they want to do. I’ll prob-

ably go for part of it. And I happen to like trains, and South Africa

has what’s considered the most beautiful train in the world, kind of

like the Orient Express.

Film director is a term I use a lot to describe what I do. Or architect.

You know, I don’t really know how Frank Gehry works, but I can tell

you that he’s got a lot of people working for him, that’s for sure. And he

interacts with them mostly, I think, on the level of making models. You

know, and again, probably like me, he probably has certain people

who have worked for him for a long time. And they are responsible

for making it work. Probably even harder in his case because they

have all that engineering, computer stuff to figure out for those steel

buildings. And I think he was one of the first architects to creatively

use all those shapes in such a way that I don’t think he could build

those buildings if it weren’t for computers; they’d just be too hard to

figure out. And a film director—as you know, they work in different

ways. Some of them like to look in the camera to see what the shot is.

I went on the set of the making of the film Lethal Weapon. Richard

Donner was the director, and Mel Gibson, Joe Pesci, and Danny Glover

were in it. So I went there, and they were going to do a big scene where

they blow up a boat, like a three-hundred-foot boat, and all those guys

are coming up in a speedboat; they were the cops I guess. But interest-

ingly, I went out on the boat with the director and the cameraman.

The cameraman didn’t have any camera. There were five other guys

who were shooting this scene from other places, and Donner and the

camera guy never even talked about the movie whatsoever. We were

out there for half an hour until they got ready to shoot, and finally

when it’s action, they’re looking at five different videos, and from that

point he could probably tell them what to do. The way they did it, they

obviously oversaw everything the way it had to be overseen.

We are in the process of designing a museum, a Chihuly museum,

with a beautiful garden, with an exquisite glass conservatory in the

middle of the garden, with a restaurant and a museum store and a

small auditorium. And we’re hoping it will be completed by spring.

So that’s the biggest project I’ve ever done. And, fortunately, I’ve

got a lot of great, creative, talented people working with me, or I

could never even think about doing that project! That’s why you’re

lucky to have people who can work with you, just like making a

movie—there are like two or three hundred people out there on that

set. And they’ve figured out how to do it somehow. And it takes a

lot of people and a lot of money.

Years later I found myself in Venice, Italy, working at the famous

Venini factory. And that year the Rhode Island School of Design asked

if I would start a glass program, and I took that opportunity to go to

such a great institution. That was in the late sixties. Throughout the

seventies, I taught at RISD, and I had a remarkable batch of students.

If you made a list of the best glass artists in the country, I would guess

that at least ten of them would have been from RISD in the seventies.

I also started the glass school Pilchuck, which is an hour north of

here, and that’s been extremely successful. We end up with four

hundred to five hundred students there every summer. Some of them

are beginning students; some of them are advanced students; some

are professors. We get all sorts. What happened is that a lot of these

students ended up wanting to be around glass as much as they

could. Today there are about one thousand glass artists in Seattle

and about one hundred glass shops.

In the early eighties I quit teaching, and I moved back to Seattle

to be more connected with Pilchuck and more connected with my

mother, who lived in Tacoma. I didn’t really have any money at that

time. I was able to trade with a patron of the arts for a warehouse

to work in, for some of my glass. Then a few years later I had saved

up enough for a down payment, and I bought the hotshop, which

is about thirty thousand square feet. Now we have about twenty

people there making glass. Then glass from there is sent over here

to Ballard where the sculptures are built. There are probably sixty

people working in the Ballard building.

I used to show more objects, seaform sets or baskets. But over time,

what I do is make mostly commissions and installations for people’s

homes, businesses, lobbies. And then, the next most important thing

we do is have exhibitions and museums, mostly in the United States

but sometimes abroad. We do about two museum shows a year; we

do about two botanical garden shows a year, which are similar in

size to the museum shows. We do about four gallery exhibitions a

year. So that keeps us pretty busy with all those exhibitions. Then

I think we do about fifty commissions a year, which keeps us busy.

And lately we’ve been doing a lot of big commissions in Kuwait,

Dubai, Singapore, Makaw.

The guys and gals that head up the team are responsible for what

that team does. Some of them have worked for me for twenty years

“People often ask me why I don’t

blow glass anymore. I lost the

sight of my eye over twenty

years ago. It was almost like

I was meant not to blow glass,

and I was meant to be a director.

That position suits me.”


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“When I was in the sixth grade, at school dances, I loved that feeling of being free, letting the music take me where it wanted me to go, putting a physical form to it.” Paul Vasterling, artistic director of the Nashville Ballet, had a sense of where his life would take him. He would dance; he would create stunning choreographed movements that would speak volumes in the silent landscape of ballet.

As a child growing up in Louisiana, Vasterling would often cross the bayou in a pirogue to play with his friends. He would create dance moves in his head and then try them out with his buddies. Then, “When I was sixteen, I went from tap dancing to ballet almost overnight. I was already playing classical piano, and I was pulled to that music. When I went to college, there was a ballet teacher at Loyola who wanted me in class (they’re always short of boys), and I knew—I knew within days—that I was a dancer. I took every class I could take. For me, it was all about embodying the music, literally using the body as the instrument.

“I had to do this dance piece for school. I picked the music that I liked, and I did it. My ballet teacher said, ‘Where did this come from?’ It was just innate. It was the feeling I got when I was making a stretch, thinking what would happen if I did this or if I tried this move.

“But it’s not just feeling. It’s intellectually and physically challenging. My approach is intellectual. I start that way and then find my way out into feeling.”

That natural talent carried him past a back injury that could have jeopardized his career as a dancer. But, rather than sidelining him, it caused him to focus on his real work—choreography.

Paul VasterlingDancing Out Loudby Renee Armand | photography by Lawrence Boothby

“The paradox of being a ballet dancer is that the body is inherently

imperfect for the form.”

Profile


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“Being a choreographer is a collaborative effort. I’m co-creating all the time. The basics are making up the steps and then working with the dancers’ bodies. Not only their bodies but who they are as people. It’s not a stone or a piece of paper; it’s a person. I love connecting with particular dancers, understanding them, understanding what they do, how they do it. It’s extremely intimate, very personal.

“The paradox of being a ballet dancer is that the body is inherently imperfect for the form. Nobody has the perfect body, and each day you have to look in the mirror and see those imperfections. Hopefully, you move beyond that, but you must have a certain amount of flexibility, but not too much. There are the hip rotation, the shape and strength of the legs, how the feet point, straight knees. The classic aesthetics—lines of infinity.”

“I’m sort of the guy behind the curtain. I try to teach how to be an artist, how to approach layering a role, how to analyze it, how to make the dancer’s line look better. I have to create the center of who they are to see clearly how they move, how they express themselves, to find themselves in the role.”

Paul Vasterling is the kind of choreographer who gives his dancers their creative life by structuring and illuminating their artistry. Also, as the artistic director of the Nashville Ballet, he has created its vibrant outreach and education programs. He feels he is the guardian of the art, the core of the creativity that, he says, leaks out into the rest of the organization and then into the community. There is some disap-pointment, though, that more people don’t know about the Nashville Ballet, even though, as he says, “We’ve done so much and come so far. I want more.”

The last ballet of the season will be A Midsummer Night’s Dream, a perfect prelude to the long, warm days ahead. Then Paul Vasterling will try to find time to read, to be by himself, to listen to music, to store up what he needs to do the other work, to dream, to be the artist. To, as he puts it, “close the separation between body and self.”

these photographs are of rehearsals for A Midsummer Night’s Dream. Performances are April 23–25 at Andrew Jackson Hall, tennessee Performing Arts Center. www.nashvilleballet.com

I asked Paul Vasterling how the process begins for him, how he sets his creative vision into motion.

“There is always a huge amount of self-doubt. The moment I walk into the studio the first time, even months before, I always have questions. It’s just who I am; it comes with the territory. But once I start, it all goes away. It becomes translucent. It’s when I’m most alive. It can take you places you never knew existed.”

His office seems cluttered, unlike the occupant, who is a spare, economical man until he begins talking about what he loves. He shows me two piles of folders on his desk, one low, one high. The smaller pile is the ballets everyone knows and loves. The larger stack is the ballets he wants to do, his manila dreams. In a corner is a box that holds all of Carl Orff ’s Carmina Burana ballet performed last year, Vasterling’s own self-described most personal work. It was magnificent. The notebooks are full of drawings and directions, the record, from its genesis to its finish, of the ballet he created that explores again the ideas that have filled him since the beginning. He believes, “Love is something that is tangible.”


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L U M E NL A M P S

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Bronze “Saddle Up” 16 1/2 x 14 1/4

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Equine SculptorEquine Sculptor

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Abstracts • Still Lifes • MusicLandscapes • Cityscapes

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Jennifer PadgettRemains of the Day

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by Deborah Walden | photography by Anthony Scarlati

“there are things out there that people just don’t bother to look at

that have a certain kind of beauty,” says Nick Long, his smiling eyes glistening behind his glasses. In his acrylic canvases and “graphite paintings” (Long’s term for his detailed pencil drawings), he likes to expose the sublime in everyday, accidental compositions.

Long’s Thompson Station home teems with found objects from nature carefully dispersed among an impressive collection of prints and pottery. He believes that artists should support each other and has become an avid collector of works by his peers.

When looking at one of Long’s originals it is hard to believe that he is not a full-time artist. He still maintains a day job as a designer and spends late nights and weekends carefully toiling away in an upstairs studio at his home. Many in Long’s position might view the hours spent in the office as a stumbling block to an artistic calling, but he credits his thirty-eight years in the design industry with providing him the perspective that he needs for his fine-arts endeavors.

Long employs the knowledge of form, organization, and detail that he has learned through years in advertising and product branding to generate dynamic arrangements in his paintings. He knows how to guide a customer’s eye through a design using subtle visual cues. In the same way, he directs his viewer’s gaze on a course of subtle lines, shapes, and harmonies to the focal points of his paintings. “It has almost become intuitive as far as the compositions go…. There is just so much personal pleasure in being able to manipulate the world around a form and make it real.”

Long was always attracted to art. His mother wrote poetry, and his father was an amateur photographer. “As a child, I really enjoyed the smell of crayons a lot,” he says, as a smile lights up his face. Attracted since adolescence to realism as a stylistic approach, Long enrolled at The University of Tennessee in Knoxville in 1968. In the late sixties, abstract expressionism was followed dogmatically by faculty at many campuses, and Long’s realism could not find a comfortable home in many ways. He chose design as a major “because you make decisions at that age based on what you can make a living at.”

Nick LongIn the Real World


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Long took five years of drawing and painting courses at UT but on graduating left his life as an artist behind. The year was 1972. He did not pick up his pencil and brush as a painter again until the early 1990s. It was then that he began a graphite study using his wife, Jerry, as a model. He describes the drawing in excited tones: “It was an epiphany moment, a seminal moment. It was like learning to see all over again.”

Long’s artistic rebirth has come about through trial-and-error experi-ments and a healthy dose of good instinct. His eye for layout and design helps him to see interesting arrangements in unexpected places. He spends vacations or weekend drives with camera in hand, hoping to snap a shot worthy of a tribute in graphite or paint. He calls his works “silent collaborations,” because he finds the beauty in chance objects assembled by nature or unsuspecting people around him.

“I look for interesting compositions, beautifully lit compositions. I will add contrast—I’ll alter an image to create that dynamic. I look for some-thing like a beautiful fluid shape juxtaposed against a square.”

Long has won national awards for his art but is little known in his native Tennessee—a fact that he hopes to change. It is his dream to devote more and more time to his graphite and acrylic works. His paintings and drawings take months to complete, requiring hundreds of hours to achieve a meticulous level of detail.

Easily mistaken for photographs, Long’s paintings are organized on a giant grid and perfected inch by inch in a full scale of values. Long often uses graphite dust that he applies with cotton balls and Q-tips to achieve the finest nuances of shadow. His acrylic paintings are each executed on watercolor paper. With small, intentional brushstrokes, Long pores over each image with the devotion of a medieval monk. “I’m a little stubborn because I’m a purist. I’m not showing you my hand at all. That’s why I do hot press paper, because it is so smooth. Anything that is in that painting is there because I’ve done it.”

When asked about his philosophy as an artist, Long answers simply, with his characteristic friendly smile. “It’s more of a lifestyle than a philosophy. It’s all I’ve known. It’s all I do. I just like to make art.”www.nicklongart.com


“There is just so much personal pleasure in being able to manipulate the world around a form and make it real.”


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Leslie Satcher operates by her own set of rules: “I bat my eyelashes, love on the boys, and keep going,” she laughs, calling her MO a little “old fashioned.” In an industry where women songwrit-ers are the minority, Satcher, whose hits include Martina McBride’s When God Fearing Women Get the Blues and George Strait’s recent smash Troubadour, is one of country’s most in-demand songwriters, all boots and high heels aside. She’ll tell you straight up that gender is still a big issue in country music, “but it’s never hurt my feelings,” she says. After all, like death and taxes, Satcher holds that a song is the true equalizer. “Whether written by a man or a woman, a great song is a gift,” Satcher says.

Interview

NA: Is the term “good ol’ boys club,” as it relates to the

country music business, a term of the past?

LS: It’s alive and well and kicking. There is a network, and if you think there is not you’re gonna hit a big wall real fast.

NA: If there aren’t as many women competing for cuts in

the business, doesn’t that give you an advantage?

LS: If you’re a woman and you can write and sing, then there’s going to be a place for you. Every publishing company wants a great female writer. For a male, there are so many more to compete against, so they’re going to have a harder time.

NA: Have you noticed a difference in the way your female

co-writers approach a song, and vice versa, when you sit

down to compose?

LS: A lot of times men will come in with a great groove. They come at a song from the melody end. A lot of women will come in from the lyrical end. They often have more lyric ideas, or they approach a song from a more emotional place. But you’ve got to have both: the tenderness and the punch. NA: What advice would you offer to women songwriters

seeking to set themselves apart?

LS: When I came to town, I was an elementary guitar player. Then I learned open tunings, and it allowed me to write differ-ent kinds of melodies and also to stand alone on stage and play on my own. Learn to play by yourself. I’ve had a whole career doing that.

NA: With a crystal ball in hand, what do you see the future

holding for women in country music?

LS: Taylor Swift has blown the doors off [the business]. There’s no one who can say a girl can’t make it here. And Dolly Parton did it in the sixties the same way. She was a smart business person like Taylor is. No man’s rule ever stopped Dolly from what she wanted to do. She played ball with the boys, but she was good at the game. lesliesatcher.com


Nashville Arts Magazine caught up with Satcher to chat about

Venus and mars in the music business.

NA: Who has influenced you through your career as

a songwriter?

LS: Naomi Judd was so influential at the beginning of my career. She helped me pare down a lyric so it fit into a three-minute format. Max D. Barnes, a Hall of Fame songwriter, and his son Max T. helped me get my first publishing deal, and they wrote with me. Vince Gill has really helped me to look at lyrics in a unique way and to look at the heart of the song. He is a master of that. In writing with him over the years…when you write with someone that great, you want to be like him, to listen to him. His talent is so natural and God-given. NA: you have a unique guitar-playing style. How did that

come about?

LS: Big Al Anderson has what they call a “greasy” groove, like New Orleans slams into rock ‘n’ roll. He told me to quit trying so hard and just play. He said that if you mess up, people are not going to know. But they’ll know if you stop and go, “I’m messed up.” I took his advice, and it changed my life as a performer because I stopped being so serious about it and started having fun. When you’re having fun the audience is having fun. If you believe you are this rocker, sometimes you are, in spite of yourself!

NA: How is the country music business treating the “fairer

gender” today?

LS: I wouldn’t say that people make a conscious effort to put women last. Historically there have just been fewer of us. It has always been a “good ol’ boys” business, but it’s caused women to get tougher. To me, it’s been fun to jump in and play ball. I feel like it has made me a stronger, better writer because I had to compete with men or write with men. I’m from Texas, and my first job was at the lumber company, so I’ve always been in the good ol’ boys’ business.

NA: Why are there fewer women? Where are they?

LS: Men typically put their roots down, and their women will come with them to what they’re doing. That may sound old fashioned, but that’s the truth. The women I’ve noticed who are still here are very focused on themselves, and their mates are focused on helping them to stay in it. My husband is a great example of that...Reba McEntire and Naomi Judd are great examples. When there is a teamwork thing happening, the women seem to be doing good.

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Leslie SatcherA Good Song Is Hard to Findby Lizza Connor Bowen

“In the battle of the sexes on Music Row, a great song is the equalizer.”



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Vannoy “Wireman” Streeter(African American, 1919-1998)

tennessee Walking Horse, wire.

Tennessee native Vannoy “Wireman” Streeter, a self-taught folk artist, was born in Wartrace in 1919. As a young boy, Streeter first displayed his extraordinary talent as an artist creating toys for himself out of bailing wire, in the form of trucks and airplanes. Since his parents were unable to afford to purchase toys for the family, Streeter copied his toys after ones he had seen in Shelbyville storefront windows.

Raised on a farm, Streeter, the oldest of six brothers, learned the business of horse training and grooming from his father. His work as a stable boy for Strolling Jim, the 1939 Grand National Champion Tennessee Walking Horse, instilled a lifelong love of the breed. The walking horse became his signature creation, and he is credited with making hundreds of wirework walking-horse figures, most carrying a rider outfitted in a top hat and tails.

Streeter’s subject matter was not restricted to the walk-ing horse; he also created other forms using wrapped and twisted wire. He apparently enjoyed the challenge of making subjects with moving parts, such as cars with steering wheels that turned the front and rear axles, motorcycles with kickstands, and eighteen-wheelers that actually rolled. His most whimsical creations took the form of fellow Tennesseans Tina Turner and Elvis Presley.

Streeter made most of his sculptures out of coat-hanger wire; he bought the hangers by the hundreds. He worked with a regular pair of pliers and used varying gauges of wire for detailing.

To support his wife and family, Streeter worked on the railroads, at a lumberyard, and as a hospital orderly. Although he did not have the luxury of having his artwork support him, the artwork did not

go unnoticed. By the mid 1980s print and television features about Streeter’s wirework began to draw first regional then national atten-tion. Folk art collectors were warmly welcomed at his home. He participated in art events such as Bell Buckle’s Webb Craft Fair and was honored at Atlanta’s National Black Arts Festival. His work has been exhibited in the Tennessee State Museum, the White House, and foreign embassies. Vannoy Streeter died in 1998 after a lengthy illness. His works can be found at auction houses, art galleries, and antique shows. For a fine example of his work like this high-stepping Tennessee Walker, one might be prepared to spend $400 to $500 at auction.

Native American Woman’s Belt with Pouch.Northern Plains, Santee Sioux, Reservation Period circa 1920s.

Composed of glass beads, trade cloth, and native tanned hide.

This panel belt with matching pouch is one of many beadwork items that descended in the family of a Hardin, Montana, trading post owner. The trading post, which was operational until the late 1960s, was located near the Crow, Rosebud Sioux, and Cheyenne Indian reservations and fifteen miles from the Little Bighorn Battlefield, also known as the Custer Battlefield.

The materials, construction techniques, and the design elements point to a tribal attribution of the Northern Plains Santee Sioux.

The Native Americans of the plains and prairies occupied the area of North America that extends from west of the Mississippi River to the Rocky Mountains, as well as from the Saskatchewan River in Canada to Middle Texas.

In the years before European contact, decoration was native paints, shell, and porcupine quills. Quillwork was considered a sacred tribal art. Plains women formed elite societies around the practice. It was not until the mid eighteen hundreds, when glass beads became more prevalent, that designs began to change in any significant respect. Early beading followed the same basic patterns as early quillwork. When the abundance of European glass trade beads made their way to the

Native Americans of the Plains, their bright colors and smooth, lustrous surfaces had an irresistible appeal to the native people who were accustomed to the more-muted tones and duller surfaces of natural objects and materials.

Despite the general similarities of design elements between Plains tribes, the decorative work of each group can be distinctive. Yet, the identifiable patterns and colors have changed periodically with the assimila-tion of the traditional designs of other tribes and the impact of tribal goods.

During the Reservation Period, the abundance of the beadwork that was produced was for ceremonial use and the tourist trade. The older ways of bone awls, native tanned hides, and sinew thread were sometimes replaced by steel needles, commercially tanned skins, and cotton thread.

A close look at this Plains art form opens a window into the past. To a serious collector of Native American art, the focus would be on the historic period of the culture. Thus this belt and pouch would be considered too new, and, as such, interest in the piece would be as an accessory. At auction, these masterfully beaded first-quarter-of-the-twentieth-century pieces would be modestly priced at $300 to $400.

Appraise Itby Linda Dyer | photography by Jerry Atnip

Antiques

Linda Dyer serves as an appraiser, broker, and consultant in the field of antiques and fine art. She has appeared on the PBS production Antiques Roadshow since season one, which aired in 1997, as an appraiser of tribal Arts. If you would like Linda to appraise one of your antiques, please send a clear, detailed image to [email protected]. Or send photographs to Antiques, Nashville Arts magazine, 644 West Iris Dr., Nashville, tN 37204.


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81Moser Cranberry Glass Pitcher, with applied

handle, enameled and gilded in insect and foliate motif, circa

1885, 4” high. Ludwig Moser (1833-1916), a Jewish artist from the Czech Republic (then known as Bohemia), was formally trained as a painter and engraver, but he is best remembered as the founder of Moser Glass.

The Moser firm, founded in 1857 in Karlovy Vary, Czechoslovakia, employed many artists who were Bohemian. Glass had been produced in Bohemia since the sixteenth century. These artists brought their design ethic to much of the work produced at the Moser facility between the1870s and 1890s. Beautiful forms were richly decorated using indigenous themes and motifs, as well as employing heavy gilding and enameling in intricate designs. Some of the art that influenced Moser’s designs included European Baroque art, work by Islamic goldsmiths, and Japanese floral motifs.

Ludwig retired sometime around the turn of the twentieth century. Production continued and was overseen by several of his sons. The Moser family expanded the visibility of the firm at interna-tional glass expositions as well as by collaborating with members of the Art Nouveau movement’s Wiener Werkstatte, an influential work-shop of the era. During World War II, the Moser family lost control of the factory and were scattered around the world. The factory complex was taken over by the Germans for their war effort, and many of the designers and artisans were interned in concentration camps as political prisoners. Those work-ers who remained became, in essence, slave labor. This was not a wise move on the part of the German occupation. It is reported that the remaining workers deliberately altered the proportions of ingredients, causing disastrous shattering of German tank windows and military gas mask filter glasses while on the war front.

The Communist government successfully reconstructed Moser Glassworks after the war. It was one of fifteen firms

granted independent operation by the Communist government. After the transition to a free market, Moser is still in operation today, producing glassware based on designs created before the mid 1930s.

This diminutive enameled and gilded glass pitcher was undoubt-edly inspired by the designs of thirteenth- and fourteenth-century mosque lamps. Bohemian glassmakers combined the techniques of enameling and gilding of this eastern inspiration to produce colorful glass with intricate, colorful designs. One may expect to pay $400 to $500, in a retail setting, for a similar example from this period.

HOURS OF BUSINESS: MONDAY - SATURDAY, 10-5

We have a wonderful selection of decorative pillows, interesting furnishings, lamps, antiques, and accessories.

We also have selections of art at � e Belle Meade Shoppes.

Carved oak French server

Tall case clock by Josiah Alsop, London 1794

English hand carved center table English sideboard circa early 1800s

English Welsh Dresser


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the tennessee Repertory’s martha R. Ingram New Works Festival

brings us new plays by Nashville playwrights.

It’s your big night out at the theater. The actors are on stage, the lights are bright, the props, the sets, all award-winning pyrotechnic cool. Nice, but something’s strange on 42nd Street. Everything is still, just sitting there, quietly staring back at you, the actors with nothing to do, nothing to say. Oh man, did somebody forget the play?

Enter Claudia Barnett, Ross Brooks, Matthew Carlton, Diane DiIanni, Nate Eppler, McAdoo Greer, and Valerie S. Hart—Nashville playwrights in residence at the Tennessee Repertory Theatre’s Martha R. Ingram New Works Lab. Talented writers all, who together and alone will embark on a perilous journey to save us from the silence. David Auburn, the Martha R. Ingram New Works Fellow, a 2001 Pulitzer Prize for Drama winner and winner of the 2001 Tony Award for Best Play for Proof, will be their expert guide.

“I’m thrilled to be coming to Tennessee Rep,” says Auburn. I’m deeply excited to play a role in that process and to work with and get to know a new and talented group of writers—not to mention

Theater

“It’s the play, baby!”by Jim Reyland

to foster new work, and his mentoring of our seven local playwright members of the New Works Lab has been so generous and beneficial to their work. They have all been thrilled to have his thoughtful and insightful feedback on their own plays, and of course we are very excited to get to present the play he’s writing now for our New Works Festival.”

And don’t forget Lauren Shouse, artistic associate, offering the inspiration and direction every artist needs to succeed. Let’s support these brave new playwrights by attending the Tennessee Repertory’s Martha R. Ingram New Works Festival, April 28 through May 8 at the Nashville Children’s Theatre. They live by their wits, endure criti-cism from all sides, and spend countless, thankless hours looking out the window. They sacrifice much in search of new characters, new stories, and bold new works for the American Stage, all for us.

Jim Reyland is producing artistic director of Writer’s Stage theatre. His new play, A Terrible Lie, will receive a staged reading, directed by Barry Scott, on may 21 and may 22 and a fully staged workshop October 11 through November 21. Get more information at www.writersstage.com. [email protected] www.tennesseerep.org

“Programs like the Ingram New Works Lab and Festival are the bone marrow of American theater: they’re where the new life, the new energy, the new ideas come from.”

– David Auburn

far left: Nate Eppler writes questions for fellow playwrights.center: the tennessee Rep playwrights-in-residence. the Ingram New Works Lab. below: Lauren Shouse, Rep's artistic associate, and Valerie Hart.

to return to a part of the country I love and miss. I spent my high school years in Arkansas.”

Martha R. Ingram, Nashville’s most enduring champion of the arts, is their greatest supporter.

“As Tennessee Repertory Theatre continues to be a leading regional theatre, it is thrilling to see the company collaborate with nationally-recognized playwrights such as David Auburn as well as foster the development of local playwrights through the New Works Lab that culminates with the New Works Festival. I am confident that this collaboration will not only make positive contributions to the Nashville theatre community, but also the American theatre land-scape as a whole.”

Tennessee Repertory Theatre’s producing artistic director René D. Copeland will provide the encouragement.

“It has been such a pleasure to have David Auburn as our New Works Fellow this year. He is clearly committed to contributing to efforts

Upcoming Exhibits Celebrating

Harpeth Hall Student Artists

Marnie Sheridan GalleryPatton Visual Arts Center

The Harpeth Hall School3801 Hobbs Road, Nashville, TN 37215

www.harpethhall.org

Upper School Art and Photography ShowApril 15 – May 9

Patton Visual Arts Centerartists’ reception: April 15 from 5-7 p.m.

Exhibit features drawings, paintings, mixed media, 3D works, media graphics, and photography.

Upper School Advanced Placement Studio Art Exhibit

April 22-May 9Marnie Sheridan Gallery

artists’ reception: April 22 from 5-7 p.m. Exhibit features the work of the advance senior artists

who will display their Advanced Placement concentration series, a body of work based on a theme.





www.harpethhall.org












www.harpethhall.org












www.harpethhall.org












www.harpethhall.org








mailto:[email protected]

http://www.tennesseerep.org


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My Hummingbirds by Kevin Chopson

I will write one thousand poems about hummingbirds.

I will take them to Japan and study origami.

Each poem will become a cut and folded replica

of a childhood memory.

Flashing, fitful, fanciful moments that I am quite unsure of.

I will take them to France and study art.

Each poem will be painted in colors fitting of a starry night.

I will take them to New York.

They will rest deep in the pockets of my father’s camel hair coat

As I enter the Empire State Building in January.

I will ride two elevators and walk more steps than I remembered.

I will pass undetected through security.

I will pose with strangers for a picture I will not buy.

I will step out onto the observation deck and into the cold night air.

I will jump onto the ledge and grab the fencing with one hand.

I will reach into my pocket with the other.

The lining of my father’s black camel hair coat is red satin.

People on the deck will notice this stark contrast

As I toss my hummingbirds over the fence,

Switching hands when the first pocket empties.

Strangers will catch my hummingbirds. Unfolding them

At the breastplate, they will discover empty space.

Poetry

I teach College Preparatory English and Advanced Placement English Language and Composition English to juniors at Davidson Academy, and two by-invitation-only classes for seniors (Poetry and Creative Nonfiction). We study the great writers in these genres and also attempt to improve our skill in writing within those genres.

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Hunter ArmisteadWhat characteristic do you most like about yourself?

My capacity to be ridiculous—a talent I inherited from my father.

And what do you like least?

Too much of a perfectionist but I’m working on it.

What was the last book you read?

Leave the Office Earlier by Laura Stack.

Who would you most like to meet?

I’d like to meet my doppelganger to see what I’m really like.

What are you going to be when you grow up?

I have no plans to grow up. I don’t want to lose my childlike curiosity.

Who has most inspired you?

Khenchen Palden Rinpoche and Khenpo Tsewang Rinpoche, my mother, and Camilla Dahl, who persuaded me to go to Berlin.

Who is your favorite artist?

Art—Avedon. Music—John Lennon. Lennon was so honest, and he loved fearlessly.

What are you most proud of?

I’m getting kinder. I’ve worked really hard at it.

Why Nashville?

I returned from Berlin with a new appreciation for all that I have here. More than I deserve.

If you could change one thing about yourself, what would it be?

The moments where I am too sure or unsure.

Are you happy with where you’re heading?

I like what I’m trying to do but can’t see any more of the movie than where I am today.

What’s your mantra?

At the end of the day, it’s about how kind you were.

What’s it like being you these days?

It depends on the day, but I am trending up. I’m happier, more creative, and I’m having more fun.

What talent would you most like to have?

Prioritization—wait, I’ll get back to you.

What is your most treasured possession?

My photographs.

What is your greatest regret?

I wish I’d used my time better. And I’d have said yes twice as much.

you have five minutes left to live; what are you going to do?

Pray and do my best to relax.

Anything Goes

The Belle Meade Shoppes | 5133 Harding Road | NashvilleHanging Around | 1506 8th Avenue S. | Nashville

Green Hills Antique Mall | 4108 Hillsboro Road | Nashville Market Central | 2215 Central Avenue | Memphis

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25 ARTISTS 4 LOCATIONS

Vicki Shipley “Emotional” 36”x48” Acrylic/Canvas

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Hunter Armistead is a local fine art and commercial photographer. Formerly mel of college band mel and the Party Hats, he has recently returned from a year in Berlin, where he created two photographic series, one of which was a flip book of one hundred people he photographed on the street in one day. His work can be seen in the Arcade during the monthly Art Crawl at his new space, the Immediate Art Gallery, where he will also be doing performance art.

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Dinner and a movie?

by Ted Clayton

that is the question the lovely Barbara Daane

has been asking for thirteen years, and for the last thirteen years she has successfully filled the Belcourt Theatre for just that—dinner and a movie. This event benefits Park Center, a mental illness recovery facility. Barbara, in her elegant white attire, greeted each guest as they entered the theater. Enjoying popcorn and a cocktail were Becky Clayton, Emily Parrish, Catherine Cook, Peggy Joyce and MJ Davenport. The sold-out crowd was there also to honor the amazing and fearless Louise Katzman for her many years of service to Park Center. Oh yes,

On The Town

Award, and many more deserving volunteers were given awards during the evening. The highlight of the evening was the live auction emceed by those wild and crazy Jugg Sisters. The Ballet Ball has come a long way since this year’s honor-ary chairmen Clare Armistead and Elizabeth Nichols created what was then known as the Masked Ball. A fellow designer and myself created the decor for Clare and Elizabeth that first year, and I will never forget Clare saying all she wanted on the tables was a simple, low bowl of roses, and that she got! Betsy Wills and Jennifer Puryear chaired this year’s ball and with the help of Mrs. David Mahanes III did a wonderful job creating an art deco setting at the new Hutton Hotel. This was the first year the Ballet Ball was held here. The ballroom gave me somewhat of an elegant Manhattan feeling—small and cozy. James Adams created the cocktail of the evening “Irish Arabesque,” something with blue vodka. The evening started with a ballroom dance exhibition with our very own Linda and Stephen Mason performing. The Masons were wonderful, Linda in the waltz and fox trot and Stephen in the American tango. The 2010 Vasterling Award for Artistic Vision and Excellence in Dance was presented to Mr. Jacques d’Amboise. I was in the elevator with Mr. d’Amboise, and he told me that all the lovely crystal award needed was to be full of Jack Daniels—not a problem Mr. d’Amboise! Those joining the Masons on the dance floor were Lucy and Lucius Carroll, James and Jessica Adams, Emily and Lee Noel, Arlyne and Ted Cherney dancing the night away to Pat Patrick. Betsy Wills looked beautiful in her peachy beaded gown by Dez Zamek; Anne Dobson always great looking with her long black train (she said the train was the distance Matt was to stay behind her—a bit Victorian, hey?); Rachael Oldham in a stunning one-shoulder silver Muna with fox trim. My favorite dress by Dez Zamek was worn by Laura Cooper, an aqua short flowing chiffon cocktail attire that I know looked good on the dance floor. Lisa and John Campbell hosted the patrons’ party the week before the ball in their lovely home. Sandra Lipman and Nancy Cheadle will lead the ball next year—what a great duo!

I regret to end this on a sad note, but it would not be right not to mention the passing of the Ambassador of the Arts to Nashville Nancy Saturn. We at Nashville Arts Magazine and all of Nashville will miss Nancy, but I know she is with Alan, and they are plan-ning one heavenly art show! Loved you, Nancy.

top: maria and Owen Salas, Cherie Larkin and Dan Easterly

above: Sam Felker and Keith Littleright: James mcGuire

there was a movie—The Visitor by Thomas McCarthy, starring Richard Jenkins. (He was nominated for an Oscar for this performance.) The 2010 Equality Dinner “15 Years of Tribute” was held last month at Loews Vanderbilt Hotel. The Equality Dinner supports HRC, Human Rights Campaign. HRC is America’s largest civil rights organization working to achieve gay, lesbian, bisexual, and transgender equality. By inspiring and engaging all Americans, HRC strives to end discrimination against GLBT citizens and real-ize a nation that achieves fundamental fairness and equality for all.

Council member-at-large Megan Barry was the honorary co-chair along with Mayor Dean and Vice Mayor Neighbors, and most all of the Metro Council attended this award event. Dwayne Jenkins was the recipient of the Community Leadership Award; David Taylor and Michael Ward received the Legacy Award, Maria Salas the Equality

right: Lucy Carroll, Keith and Leslie Churchwell, Lucius Carroll

below left: Emily James and Betsy Wills, co-chairbelow right: James Adams, Cliff Garrard, Jessica

Adams, Karlen Garrard

top: Andrea Guennewig, Katie Hill, Dawn mosely above: Dwayne Jenkins, Steven Emmert

left: Jean Ann and Barry Bankerbelow: Ellen martin and Gerry Nadeaubottom: Emily Noel, Elizabeth Cato, Jacques d'Amboise, Sandra Lipman


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615-297-7047

[email protected]

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Come See Our New Art Gallery!

1305 Eighth Avenue South • 457.1063LOCATED BETWEEN GRIMEY’S & THE W.O. SMITH MUSIC SCHOOL

Open 10am To 6pm Monday Through Saturday

GRAND OPENING

CELEBRATION

Ray Stephenson“Johnny Cash”

18” x 24”

Twisted Sisters “More Paul”

14” x 36”

RAY STEPHENSONTWISTED SISTERS

April 5-10Reception April 8

GREG DECKERMarch 29-April 3 Reception April 1

Greg Decker"Red Guitarist"©

39.5” x 48”

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ALL RECEPTIONS ON THURSDAYS 6-8:30PM

Event planning by Front Row Center Events

Fifth AnnualJazz Writer's Night Concertfeaturing new music, new arrangements plus the greatest hits from previous writer’s nights

Turner HallBlair School of MusicVanderbilt University2400 Blakemore Avenue

with selected vocals by Christina Watsonopening performance by

Nashville School of the Arts Jazz Ensemble

Friday, April 30, 20108:00 p.m.

$20 adults$15 seniors & VU faculty/staff

$10 students$5 VU students

Tickets available at box office, night of performance

www.nashvillejazzorchestra.org615.429.6743

presents


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95ArtriviaIn 1985, a bottle of 1787 Château Lafite sold at auction for

$160,000, making it the most expensive bottle of wine ever sold. Etched with the initials "Th. J", the undrinkable Bordeaux came from the cellars of Thomas Jefferson and is now in the Forbes collection. The highest price for a drinkable bottle of wine is $23,929, paid for a 1978 Montrachet from Domaine de la Romanée-Conti. Refusing to yield while bidding on the lot of seven bottles, two avid collectors got carried away at the Sotheby's auction in New York in 2001.

yousuf Karsh

Winston Churchill, 1941, 1982 Silver Gelatin Print. The most widely reproduced portrait in the history of photography, this memo-rable portrait of a glowering, defiant Winston Churchill, which symbolized Britain’s indomitable wartime courage, brought Karsh international prominence. This is one of a fifteen-photo portfolio. Photo courtesy of Haynes Galleries.

Great art usually comes with a price—and sometimes unbelievably so. The highest-priced painting sold is Jackson Pollock’s No. 5 (1948), which sold for a record-breaking $140 million in November of 2006. The real question left now is, “Where do you hang it?” For the top ten

highest priced paintings go to Nashvilleartsmagazine.com.

Puzzler

1.Battle of Nashville monument, Granny White Pike 2. Centennial Park, Confederate Private monument 3. mt. Olivet Cemetery

4. the Recording Angel, Schermerhorn Symphony Center5. Gay Street & Woodland Street 6. Owen Bradley Park, music Row

6

1 2 3

5

4

Where Are You Now?photography by Anthony Scarlati

these beautiful statues can be found throughout Nashville's landscape. Do you know where they are?


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260 W Main St., Hendersonville, TN 37075(615) 826-9880

> Michael Flohr “Mel-ody” 30 x 40 Hessam Abrishami “Beyond Borders” 36 x 48

Visit us at www.allaboutartgallery.com


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the first time I saw the artwork of the Reverend Howard Finster in the early 1980s I was totally enchanted. I had never seen anything like it before and had never met an artist like him. A friend and I would stop by his Paradise Gardens studio near Summerville, Georgia, on our way to and from the beach. We did this for a few years and had some very funny, quirky, lovely times with him. We would usually arrive and find him alone painting, and he welcomed us and would keep right on painting and talking for as long as we stayed.

We bought a few pieces from him, some with the paint still wet, walked around his studio, discussed God, America, life, and art. He always had something very original and totally off the wall to say. All his artwork has words and phrases and imagery that reflect an intense passion, an avid interest in pop culture and the bravery to combine the two. I am still, today, absolutely enchanted with the Finster pieces hanging on my walls.

The Reverend Howard Finster’sPeeping Headsby Teresa Blackburn, Food Prop Stylist

My Favorite Painting

Howard Finster (1916-2001) was perhaps the best-known self-taught artist of the modern era, as well as the most famous folk artist of the twentieth century. Born in Alabama, he attended school for six years and was a Baptist minister for nearly forty years. In 1965, he began building his Paradise Gardens, transforming a swampy plot of land northwest of Atlanta, Georgia, into his fantastic version of the Garden of Eden, as he felt directed by God. the garden is filled with his art and architecture created from found objects such as bottle caps, discarded tools, rusted machine parts, and even old cars and bicycles in a brilliant collage of texture, light, and color. In 1976, he claimed, an angel appeared upon the paint on his finger and said, “Paint sacred art.” He became so inspired to get the Lord’s message out that he never stopped painting. He produced some fifty thousand works and signed, dated, numbered, and put the time it was completed on nearly all of them. Finster appeared on the Tonight Show, illustrated album covers for R.E.m. and talking Heads, and was featured on the cover of Time magazine and Rolling Stone.


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Documents

Nashville Arts Magazine | April 2010