2009 November Nashville Arts Magazine

2 | November 2009 | Nashville Arts Magazine

Nashville Arts Magazine | November 2009 | 3


N a s h v i l l e ’ s A r t s S t a g e H a s H a d M o r e t h a n I t s S h a r e o f M a r q u e e N a m e s .

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Nashvil le, Tennessee

Pound for pound, the most v ibrant ar ts communit y in the countr y.

Let ’s k eep the stage l ights burning. Suppor t the Ar ts .


the international Black Film Festival of Nashville

september 30–October 4

Since its inception in 2006, each year the IBFFN draws in big names to the Music City. Hosted at the Opryland Hotel in Nashville, it was a weekend to remember as it brought together a diverse crowd ranging from big stars to up-and-coming talents. Attendees ranged from renowned television executive, actor, and producer Robert Townsend; music mogul and senior vice president of Def Jam, Max Gousse; life president of Nascar, Matt Siegel; and film producer, writer, actor and director Rob Hardy, to lesser-known talents such as reality celebrity Omarosa and a very talented young playwright, Alvin Moore, who debuted his movie A Mother’s Prayer based on his original stage play. Last year over 2000 people came.

The festival offered a great way for many upcoming filmmakers, actors, composers, screenwriters, directors and other film industry professionals to network and provided workshops covering a range of topics from legal to creative. Hazel Joyner-Smith, founder of the festival, with her daughters, Ivy, Mica and Ingrid, shared that the main goal of the festival is to inspire the community.

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

Dwight eubanks with founder hazel Joyner-smith her daughters ivy,

Mica and ingrid

Playwright alvin Moore

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In a little over eight years, the Frist Center for the Visual Arts in downtown Nashville has become a jewel in the cultural crown of the Mid South. The old Art Deco post office on Broadway, built in 1934, served the city for over 60 years, but it was destined to be a museum. In April 2001, after an extensive renovation, the Frist Center opened. Since that time, a dizzying number of shows and events—a new one every six to eight weeks—have passed through its doors, many of them conceived and organized by the center’s staff.

The Frist Center’s now-gleaming, white-marble presence belies a populist conception. Thomas F. Frist, Jr. and his family, through their foundation, led a community-wide effort to create a visual arts center. The subsequent public/private partnership with the U.S. Postal Service, the City of Nashville, and the Metropolitan Development and Housing Agency led them to the historic build-ing and surrounding land. A visual art center was born. There’s still a branch post office on the lower level of the building—just to keep it real. The Frist’s Executive Director and C.E.O., Susan Edwards, agreed to sit down with Nashville Arts Magazine and talk about the museum and its current exhibit, Twilight Visions, a celebration in photogra-phy, film, and books of Surrealism in the 1920s on the streets of Paris. Photographers that included Ilse Bing, Brassaï, Man Ray and Germaine Krull documented the city’s many monuments and store-fronts, its people, and the minutiae of their daily lives.

Innovative lighting, camera angles, and processing techniques helped blur the lines between reality and fantasy in the photographs they took. The result is both beautiful and repulsive, a fascinating mix of high art and popular culture.

the surrealists seem a very

intellectual group, and

their art is specific to a

particular time and place.

will the average museum

visitor find something to

relate to in the twilight

Visions exhibit?

So many people think of Surrealism as not a main-stream notion. My position is that it’s incredibly mainstream. A lot of the images in the

Exhibition

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Susan Edwards Twilight Visionsby Linda Leaming


what is it that’s so compelling about photographs?

Actually, photography works very much in the same way music does, because one of the things that happens, in a very Proustian sense, is you may look at a photograph and have that remembrance of things past and be taken back there in the same way a song takes you back to that time in your life.

the photographs in the surrealists show have a real sense of

nostalgia—even if we’ve never seen the images before.

One of the enduring legacies of Surrealism is it has this long shadow of influence. Basically the Surrealists were trying to give us an expanded realism, to include dreams and the unconscious. Some of the concepts are psychoanalytic, a desire to look into the uncon-scious mind.

They are often looking at something that’s familiar, at once attractive or alluring but also repulsive. So in that sense they attach themselves

to what Freud defines as the uncanny— that which we look at which seems familiar, but we also may step back from it. But we can’t stop looking. These impulses are very fundamental. It’s the Eros Thanatos drive—love and death. We’re attracted to things—rubbernecking on the highway. Why do we gawk? There are some scenes in the Surrealists’ films which are hard to look at. Yet we continue to look. That instinct often leads to our preservation. What if our doctors couldn’t look at the grotesque without a desire to heal it? talk about the process of putting a show together. how do

you do it?

When I approached Therese Lichtenstein about doing a Surrealist show I said, ‘Let’s think about this part of the world and how people think about art.’ Some people think the notion of high art doesn’t have anything to do with them. They don’t know how very close to their lives this is.

how so?

[The Surrealists world] is the world of the flea market. Flea markets are very popular in the American South. It’s a world of chance encounters, finding that wonderful thing that has special meaning for you. In the peripatetic lifestyles of the Surrealists, they wandered Paris—mostly at night. And they found objects in the flea markets and then attached meaning to them. Much in the same way Freud did in dreams: you look at something and then you go back and interpret.

When she was putting together the show, Therese also thought about twilight and dusk, both literally and metaphorically, that time of day when things are both real and surreal.

you’ve referred to Twilight Visions as “breakthrough.” why is

this a breakthrough exhibition?

Because Surrealism signals a breakdown of the hierarchy. This wasn’t high art when it happened. It was just people getting together, talk-ing to one another, constantly meeting in cafés, talking about their ideas and what they found in what they were reading—an exchange of ideas and philosophy. Now many of these images are familiar to us. Advertising uses them constantly.

influence and appropriation are everywhere—it’s all there

these days in television, on the web….

Yes, the flow is either from high art to “street” or mass culture, or from mass culture to high art. The point is there’s tremendous flow and exchange of ideas.

It’s going so fast. We really have to open our minds and be aware of how much we borrow. Marcel Duchamp said that in the future our education will have to include learning to interpret photography.

left: Germaine Krull. la tour eiffel (the eiffel tower), ca. 1928.

Gelatin silver print, 9 1/8 in. x 6 1/6 in. collection of the sack

Photographic trust of the san Francisco Museum of Modern art

© estate Germaine Krull, Museum Folkwang, essen


Twilight Visions: Surrealism, Photography, and Paris is on

exhibit at the Frist center for the Visual arts now through

January 3, 2010. Twilight Visions celebrates Paris as the

literal and metaphoric foundation of surrealism and

includes photographs by such artists as Man ray, eugène

atget, Brassaï, and hans Bellmer.

right: eugène atget. the wine seller, 15 rue Boyer,

1910–1911. Gelatin-silver print [printed by Berenice

abbott], Gift of walter P. chrysler, Jr., chrysler Museum

of art, Norfolk, Va.

below: art Deco lobby, Frist center for the Visual arts

he anticipated photo shopping.

Actually Marcel Duchamp really becomes the hero of this period. He said that creativity isn’t just in the artist. The spectator adds his contribution to the creative act by deciphering and interpreting.

Do artists still congregate and share ideas?

Absolutely. A lot of the work is done in isolation, but artists, espe-cially younger artists who may not have a place to show their work, are the ones who have to get together and find a venue for them-selves. They exchange ideas, find venues, and work together, now through websites and Facebook.

at the Frist, who are you trying to reach? who is the typical

visitor to the Frist?

The founders of the Frist had a democratic mission; it was a former post office, after all. People came in to buy stamps or send mail. Always at the Frist we’re trying to make people visually literate. Our vision is to get people to change the way they see the world. But if I had to say the one group of people we absolutely try to reach, then I would say we aim for the curious.

We have the ability for everyone at every level of knowledge to get something and grow. There’s no prior knowledge required to come here. There are no educational, economic or social barriers. The museum is free to anyone under 18. We encourage people to dress casually. It’s on our website.

what’s your favorite art?

My appreciation changes. There are things I go back to, things that resonate. I’m like the general public. I like all the stuff. My interests shift every five minutes. Anyway, that’s kind of like asking which one of your children you like the most. So in answer to your question: I love them all.

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Painting

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

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

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

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

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

Emily LeonardA Walk in the Woodsby Lou Chanatry | photography by Heidi Ross

left: We Were Free, 24" x 18"

The scenes appear like

snapshots stolen from childhood

memories.


below left: From Us to Them, 30" x 48"

above: Morning Tree, 9" x 6"

right: Letter No. 20, 4" x 2.5"

below: The Fallow Season, 41"x 64"



left: Title, Medium, XX”x XX” , year

above: Title, Medium, XX”x XX” , year

right: Title, Medium, XX”x XX” , year

below: Title, Medium, XX”x XX” , year

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

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

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

top left: The Way a Traveller Knows a Traveller, 45" x 62"

above center: Come Home, 4"x 6"

above right: In Our Yard, 32" x 48"

below: left Together, 20" x 40"


Leonard denies traditions of illusionistic art. She does not attempt to create photographic or realistic images of nature. Rather, she celebrates nature and the power of human memory. In the same way that her bright, effusive personality seems familiar even to strangers and new acquaintances, Leonard’s painting technique produces a visual vocabulary of elements that is universal to her audiences. leonard’s exhibit In Our Yard opens at the rymer Gallery on

November 21.

far left: How We Fall, 54" x 84"

left: Stand Here Beside Me, 32" x 48"

bottom center: Listening to Moses, 2" x 3"

below: The Ground Remembered Her, 24" x 32"

bottom right: Next to Me, 3" x 2"


Julia Coale

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wrap Necklace with dichroic

glass on 14kt gold chain.

29.5+kt citrine wrapped

with sterling silver and

14kt gold-filled wire.

crystal formation

wrapped with

sterling and

14kt gold-filled

wire. Freshwater

pearl and green

amethyst.

14kt gold chain and

root beer citrine.

Multi-color tourmaline drops

on sterling chain.

sterling silver, freshwater

pearl, swarovski crystals.


Judith Bright

Petite rocks

Pendant with

14kt gold-filled

in iolite.

rockstar Nest

ring, 14kt

gold-filled in

ametrine.

rockstar six stone cuff, 14kt

gold-filled in ametrine.

raj rocks wrapped rings, 14kt

gold-filled. Pearl, citrine, and

white topaz shown.

lots O’ rocks

Gem cluster

earrings in

ametrine.


Karen Serafini

ring, 14kt

gold-filled wire

with copper

and bronze

freshwater

pearls, and

citrine drops

on 14kt gold-

filled band.

Necklace

with red onyx,

sapphires, and

freshwater

pearls on 14kt

gold-filled chain.

Necklace, 14kt gold-filled,

hand-wrapped wire on hoop,

with aquamarine, citrine,

sapphires, and peridot.

ring with green onyx,

peridot, and freshwater

pearls on handmade,

14kt gold-filled band.

red onyx, garnets and freshwater pearls

on handmade, 14kt gold-filled band.


Margaret Ellis

Bracelet, 22kt gold with black spinels.

Pod Necklace, 22kt gold.

earrings with

druzy quartz,

black spinels, and

sterling silver.

Fancy Band ring,

22kt yellow gold, 18kt

white gold, and white

sapphires.

caviar ring,

oxidized sterling

silver and 22kt

yellow gold.


Robin Haley

earth Goddess

Necklace in

sterling silver on

14kt gold chain.

large leaf

Necklace

in oxidized

bronze with

14kt gold star.

large sacred heart in

sterling silver on leather

with a 14kt gold leaf.

single leaf earrings in

14kt gold.


Music

Larry Weiss Cuts and Scratchesby Lizza Connor Bowen

it’s hard to imagine that one little lyric buried at the end of a second verse was the bridge that led Glen Campbell to Larry Weiss. But one passing line in a then-unknown tune called Rhinestone Cowboy caught Campbell’s ear and suddenly afforded a

“world of reputation and receptivity” to Weiss, the Nashville-based songwriter recalls.

“The thing that made Glen Campbell record Rhinestone Cowboy was not the big sing-along chorus. He told me it was two lines of lyric.... In the second verse, I was stuck on that section in the first verse that said, ‘There’s been a load of compromisin’ on the road to my hori-zon.’ I changed one phrase from ‘there’s been’ to ‘there’ll be’ and the insight of that [one change] was tremendous to Campbell,” Weiss says.

For over 40 years now, Weiss has been collecting words and dreaming up melodies that have moved artists from Campbell, Barry Manilow, and Three Dog Night to Dionne Warwick, Karen Carpenter and many others who have recorded Weiss’ insightful songs. And although the iconic Rhinestone afforded Weiss much appreciated

“mail box money,” Weiss, now in his 60s and a 17-year veteran of Music City, has no plans for retiring anytime soon.

His West Meade flat serves as ground control for Weiss’ creative pursuits: songwriting, painting, script-writing, playwriting, even

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developing a boutique hotel in Nashville called the Rhinestone Cowboy. Colorful, abstract works of art—most by Weiss’ own hand—hang from the walls. Several rooms house pianos and keyboards, while notebooks full of ideas for songs, novels and screenplays are scattered about. He has the exclusive rights to develop Rhinestone Cowboy into a musical, has written the screen-play and all the music and expects to conclude an arrangement to


Finally, the day arrives. I have waited for what seemed like an eternity to audition for The Nutcracker. My ten-year-old mind is whirling with anticipation as we drive toward the large building of the School of Nashville Ballet, and butterflies that feel more like a flock of birds flutter inside me. When we reach the studio, the halls are filled with a buzzing throng of girls and boys. I step into those halls that are now a maze of chattering children and their parents, a metropolis of unknown faces. My young eyes scarcely blink as I take everything in. My mother helps me register for the audition where we are given an audition number to pin onto my leotard. I don my pink ballet slippers, and I am ready to take on anything that presents itself to me.

At last, the audition is about to begin. I close my eyes and imagine myself performing flawlessly. To say I am merely excited would be untruthful indeed. I line up with the other children in my age group, and a tall, cheerful lady leads us into the airy, white room in which the audition will be held. I find myself beaming uncontrollably even before I begin dancing. Seated at a long table in front of us are four adults, members of the artistic staff. The glamorous ballet mistress stands up, introduces herself, and immediately begins to show us an exciting dance combination. She starts the music, and I am transported to the stage as I envi-sion myself dancing on opening night. We learn several excerpts from dances in the ballet, each more beautiful than the last. The joyful Nutcracker music is light and sparkling. I still feel nervous inside, but it is a different kind of excitement, the kind one might feel on Christmas Eve.

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

Audition!The Magic of Nutcrackerby Ara Vito | photography by Tim Hiber

Ballet


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

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

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

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

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

After weeks of tiring but wonderfully exciting studio rehearsals, dress rehearsals will now take place at the Tennessee Performing Arts Center. In this resplendent theater, I keep my eyes open wide, never wanting to miss a moment of this time in my life. A thrill goes through me; this is to be the first time that I will dance to the music of a live symphony. My life feels like a fairy tale as I prepare for the first show.

On opening night, the air outside feels like Christmas. The skies are dark, promising snow, and the freezing wind swirls icily around me. Nothing could feel more magical as we drive into Nashville. Along the way, I gaze out the window at the Christmas decorations and feel incredibly warm inside. Backstage at the theater, I carefully put on my costume and wait with shivery anticipation for the overture to begin. With the first notes of the Nutcracker Suite, the magic takes place. I am no longer myself; I am a performer telling a story.

As I step onto the stage amidst the dazzling colors and sparkling lights, I revel in the breath-taking sounds of the orchestra. I smile for all I am worth, feeling incredibly fortunate for these moments onstage. I know that this experience will be a part of me forever and will always remind me of the magic of being young.

ara Vito is a tenth-grade high school student who spent this past year in Maui, hawaii, where she was on the headmaster’s list at seabury hall Preparatory academy. also a student of the arts, ara has performed roles in numerous theater productions as well as in a Nashville Film Festival selec-tion. she has participated in various productions of The Nutcracker in Middle tennessee and was thrilled to have had the opportunity to appear in the role of clara in a past production of the Nashville Ballet’s Nutcracker.


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

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

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

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

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

The Tennessee TrailsA New Twist in the Roadby Deborah Walden

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Feature

Native americans and early explorers

The Old Tennessee Trail begins in Franklin, which also doubles as its final destination. Traveling back roads toward Leiper’s Fork, one passes burial mounds of early Native American inhabitants that are preserved on local farm property. The original residents of this region were the Cherokee, Chickasaw, and Shawnee. Artifacts belonging to their ancestors that date back over 4000 years have been found in the area.

In Leiper’s Fork one finds the ruins of the early settler’s cabin belong-ing to Thomas Hart Benton. His slave cabin, still intact, stands on private property down the street. These monuments mark the first chapter in the history of the developing American nation.

Original settlers bought this land illegally from Native Americans. According to treaties between the Native Americans and state and federal governments of the colonies, white settlers were prohibited from purchasing land in the Southwest Territory that encompassed Middle Tennessee. In the Treaty of Sycamore Shoals, a group of merchants obtained the land through the trade of 10,000 pounds of material goods.

Afraid they would lose their new acquisition under government scru-tiny, a company of 300 men, women, and children eventually made a treacherous 1000-mile journey by river and stream to lay hold of this new territory. Among these travelers was the young Rachel Donelson, who later became First Lady of the United States along-side President Andrew Jackson. Local Fort Donelson also boasts her family’s name.

Monuments such as Benton’s cabin remind travelers of the early lives of the first inhabitants of this region. The Natchez Trace Parkway runs through Leiper’s Fork. It provided an initial pathway to trade with places as far away as Mississippi. The land in this area is hilly, and the soil is hard. Timber was their most valuable export. As one drives south on the trail, the presence of vast, green fields indicates the richer farmland of these areas—a fact which led to the next chap-ter of Middle Tennessee’s regional development.

above: arts and crafts architecture in Mt. Pleasant

Hood and his soldiers were striding towards Franklin to surprise Union troops.

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above: Downtown Franklin, tennessee

above: Natchez trace Parkway

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Dynasty on the Duck

As one rolls south out of Leiper’s Fork, Nett’s Country Store in Bethel offers a refreshing break with a selection of homemade pies. The former site of local town gatherings, the general store appears to belong in an earlier time. Leaning against the counter one waits for a Model T or a swaggering WWII GI to appear outside the window. Across the street, the Community Center in the old schoolhouse hosts a foot-stomping bluegrass jam the third Saturday of every month.

Traveling onward, one crosses the Duck River, one of the most biologically diverse rivers in the world. This provides a scenic stop for nature lovers and amateur photographers. Farther down the road, the historic community of Canaan was founded by freed slaves after the end of the Civil War. Its Clayborne AME Church is a beautiful 1923 building nestled among the trees just off the highway.

Mount Pleasant punctuates the halfway point of the Old Tennessee Trail. The historic town provides a great place to stop for an ice cream float or Sunday brunch at the Mount Pleasant Grille. Most importantly though, its stunning, varied architecture allows visitors to observe the evolving history of nineteenth- and twentieth-century Middle Tennessee. It also provides the dramatic entry point for Hood’s doomed military venture in the days leading up to the Battle of Franklin.

Many Nashville residents are familiar with Andrew Jackson’s connec-tion to the area. Mount Pleasant offers residents and travelers a

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

Plantation farmers were drawn to the Mount Pleasant area surround-ing the Duck because of its fertile soil. They did not realize that this earth was so rich because the topsoil rested atop the largest phos-phate deposits on the face of the earth. Mining of these phosphates defined twentieth-century life in the town. Barons of the industry erected mansions in the Arts and Crafts style, fitted the local First Presbyterian Church with Tiffany stained-glass windows, and built a railroad out of the town to support this booming yet ultimately short-lived business.

The mixture of antebellum Old South plantations and cutting-edge early-twentieth-century houses makes a sweep through the streets around downtown Mount Pleasant a must-do detour for all trail drivers.

The most breathtaking and worthwhile feature of the entire trail can be located in the graveyard at St. John’s Episcopal Church. Constructed by the Polks in the prewar splendor of the Old South, it is a Gothic building with sculptures in its graveyard laboriously imported from New York City. Hand-carved, elaborate marble tombstones are scattered across a churchyard that impresses visitors

above and below: the Duck river

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Hand-carved, elaborate marble

tombstones are scattered across a

churchyard that impresses

visitors with the sensation that they are

treading in a sacred

grove.

with the sensation that they are treading in a sacred grove. Although the church is closed to visitors, its grounds, marked by the Polk acorns, are open to the public. Be sure to pull the car over and venture out for this stop. It will not disappoint.

hood’s Fatal Mistake

Mount Pleasant marks the gathering point for John Bell Hood’s doomed military campaign to Franklin. Realizing that the Confederates were about to lose the war after Sherman’s march through Georgia, Hood decided to make a dangerous and gutsy play to take back Nashville and effectively “restart” the Civil War. It was a crazy scheme that might have changed the tide of the war if it had worked. His big idea turned out to be one of the grandest failures of the entire war.

On the final leg of the trail, visitors pass by every site that was a part of Hood’s venture, because his soldiers took the path that was to become the current U.S. Highway 31. For those unfamiliar with the saga of the Battle of Franklin, Hood and his soldiers were striding towards Franklin to surprise Union troops. Believing their work to be done for the day, they paused for a night of rest east of Spring Hill.

While the Confederates slept, Major General John Schofield, with over 25,000 Union troops and 600 wagons, traveled past them. Hood’s army somehow slept through the entire event. When they awoke, the Union troops had dug trenches and taken position on the banks of the Harpeth in the heart of Franklin. Unable to access their weapons because the road had been so badly damaged by Union wagons, Hood’s troops were unarmed in a low-lying region directly facing their enemy.

After an emotionally charged break-fast full of fighting and disagree-ment at Rippavilla Plantation, Hood controversially determined to march his unarmed soldiers into the gunfire

of Union troops for hand-to-hand combat. The decision was desper-ate but potentially necessary to any dream of Confederate chances in last chapters of the war.

At Rippavilla, Carter House, Carnton Plantation, and the Lotz House, one encounters the deadly effects of Hood’s decision. There were over 10,000 casualties and six dead generals at the end of five hours of fighting.

After driving the trail and experiencing the history that led up to Civil War America and the minute details of Hood’s final decision, the powerful stories of the Carter House and Carnton Plantation take on new drama and accessibility. Preston’s vision that visitors see more than “the end of the movie” of the Battle of Franklin becomes

a reality. Exiting the site where soldiers’ bodies were stacked outside of homes at the end of the battle, one drives through the quaint, peaceful town square of Franklin. The battle sites so enlivened by a journey down the trail stand in sharp, quiet contrast against the city now bustling with families and businesses.

above: rippavilla Plantation above: rattle and snap Mansion

right: st. John's episcopal church

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the here and Now

Back in Leiper’s Fork, I sit with Preston at the Country Boy Restaurant. Pointing to farms visible across the street, he describes the homes and birthplaces of original Opry stars. The loss of the Civil War marked the beginning of Reconstruction in the South and a dismal period of economic stagnation for many inhabitants of the region. It was out of this poverty and brokenness that the powerful folk music we now label “country” was born. Framed portraits in local stores feature early Opry stars that captured the imaginations of rural inhabitants throughout the region.

Just down the road from Benton’s log cabin and somewhere between the plantations of Mount Pleasant and the battle monuments of Franklin, one senses the full scope of the Old Tennessee Trail. It tells a dynamic narrative of evolving American identity—an identity that is still developing today. One experiences towns and peoples who have changed and rearranged continuously—a historical process of figuring themselves out over time. For residents or travelers, the trail urges its visitors through a similar process. By situating contemporary observ-ers in a sequential historical narrative, the trail whispers something to us of our own identities. Starting off with a map and a set of stops, visitors to the trail begin with a destination—an idea of where they want to go. By the finish, one sees that just the opposite has taken place. In the end, the trail tells us less about where to go and more about how we got here.

tNtrailsandbyways.com


A Day on the Trailby Rebecca Bauer

My traveling partner, photographer anthony scarlati, and I like to take the path less beaten. We are always looking for new possibilities outside of our urban sprawl. So for us this 84-mile drive down the Old Tennessee Trail was of particular interest. This quickly became a trip of real life and whispers of life from years gone by. There were no replicas, only carefully renovated originals. No bright lights or tourist ensemble. No superficial attempts to go back in time. It was authentic, and anyone traveling these roads will discover this place just as we did—very real and very alive.

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

The Mt. Pleasant Grill sits at the southern anchor of the Trail. The food, the stories, the waitresses, the history on the walls and the graciousness of our host, Tim Porter, were all enchanting. And it was here we began to cross the threshold into the age of Polk.

Moving up the pike, the pinnacle of this trip was an open door to St. John’s Episcopal Church—a shrine open to the public only once a year. Walking through the old iron gate onto the front lawn, I was stopped in my tracks by the most beautiful cedar tree, standing tall and magnificent against the blue sky. I wondered about its age, as it looked old enough to have witnessed the Polk clan during their church visits. Entering through the front door, we found the air musty, the walls stark, and the floors dark, and an echo rang of our footsteps. We were standing where hundreds of whites and slaves intermixed elbow to elbow on Sunday.

Dawson Gray, secretary and vice president of the board of direc-tors of St. John’s Episcopal Church (Ashwood), kindly gave us the tour and small lecture. He told the tale of Major General Patrick Cleburne riding up on his horse and stopping by the very same tree I had admired. And he recited the General’s famous remark: “This is the most beautiful and peaceful spot I ever beheld. It is almost worth dying to be buried in such a beautiful spot.” This was a man who sided with the South, not because he supported slavery but because of his love for the Southern people who had adopted him as one of their own. He was a man well respected, a hero who would never marry his fiancé because he died five days later at the Battle of Franklin. He was then buried at St. John’s. His final resting place is in Helena, Arkansas.

We were immersed in our walk through the Confederate cemetery and stilled by the marker that read, “Mammy Sue—January 24, 1873—To ever trust the tender loving nurse of the eleven children of George and Sally Polk.” And what a treat it was for me to climb the bell tower and pull the rope as the bell tolled over Mt. Pleasant!

We relished a delicious meal at Stan’s Restaurant on Highway 46. Linda, who has been serving there for 18 years, offered a friendly,

“So, where you headed,” and we were strangers turned friends.

On the Columbia town square we found Ted’s Sporting Goods store where a 1920s cash register still cha-chings. We asked why the sign hangs upside down outside and learned that the story is buried with the original owner.

Suburban development aside, we took in the movement of the Civil War via plantation homes and battlefields, including that of Cleburne into the last days of his life. My appreciation for the history was awakened, and I seemed to have gained a personal attachment for the General. Our journey ended amongst the afterlife of the Franklin-Nashville Campaign. I was reminded of those who came before us and of the rich history they left behind. Anthony was moved by those he met along the way and was reminded why he now calls Tennessee home. It appears that this Trail hit us both in the heart.


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cooling jets at a paper mill. the extremely hot water is forced through

the aeration jets before it is released into the environment.


below: the top of a skyscraper in downtown louisville, Kentucky.above: the Great smoky Mountains National Park in winter.


below: the historical and picturesque south Pittsburg Bridge in

southern tennessee.

above: like agricultural patterns, when earth is disturbed by man it

always has something to offer. this image is of a ditch dug in fresh earth

on the site of the new Volkswagen plant in chattanooga. while it looks

like it could be small in scale, the water is probably 50 feet across.

top: Parking lots are of great interest as you can see patterns form from car

marks, paint, light poles and shadows. i couldn’t resist this shot, wondering how

those marks were made.

above: the Nashville skyline pops through the early morning clouds.


Painting

Marilyn MurphySurrealism and Dangerous Dessertsby Linda Leaming

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

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

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

Since her father worked for American Airlines, I assumed he was a pilot. Not so, I learned when I sat down recently with Marilyn for this interview. It was her mother who was the pilot.

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left: Just Desserts

She is a healthy sense of play married to a fierce work ethic, combined with a genuine creative talent.


was your mother a big influence on your work?

Both my parents were: my mom was incredibly creative, and my dad is intellectually curious and made me feel that I could accomplish anything I wanted to do. Mom trotted my brother John and me to every open house at the factories. I went to an open house at a Wonder Bread factory when I was a kid. She felt like it was a way for us to learn and to nurture our curiosity. It was a great way to become an artist. you enjoyed the factory tours when you were little?

I loved them. Most people don’t. you do know that, don’t you?

They don’t? I love them. I’ve been on tours to all the factories: Standard Candy, Jack Daniels, Frankoma Pottery, American Airlines, Liberty Glass. There are some great factory tours. Perhaps, if I decided to not be a professor anymore I’d give factory tours.

I did a series based on factories and images of power. I started doing drawings and paintings from images in U. S. Steel reports from the 1940s. Then I went from images of man-made power to other images of power—natural images like storms, lightning, tornadoes and fires—elements that work on us. They can be symbolic of the human experience: In my painting Oasis there are two green tents and a pool, and there’s a big cane fire in the background which is actually a controlled fire. But will the fire reach the tents and the pool? Is that truly an oasis? Or will the fire burn the tents? It’s power and mystery. There’s a lot of that in my work. talk about power and mystery then. where does that come from?

Well sometimes those images of power and mystery come from my dreams. I dream a lot about architecture. I love to dream. A recur-ring dream is finding new rooms in my house. Peter Frank the writer called my work “lucid dreaming.” The thing is my dreams are very clear, and I have all my senses going. I have so many visual ideas, and I have to get them out. That’s why I have to be an artist.

left: spectators

above: Studying Vincent and the Mystery of Vision

above right: The Getaway

below left: Making Change


that’s interesting. so you’re driven, compelled.

Um, yes. Really visual images are my first language. I didn’t feel comfort-able with words. I was shy and a little bit nerdy when I was young. I also found I could get better marks on book reports if I illustrated them. When my nun in the fourth grade made us do 25 book reports, I thought I could do less writing if I drew pictures. But I probably spent more time on the drawings than most of the kids did writing. you just finished that “conductor” drawing. how long did that take you?

It’s 30 x 22 inches. Let’s see. I’m guessing it took about 60 hours. so about a week?

Two weeks. Because I was also teaching during the day. One thing i’ve always liked about you is your well-developed

sense of play. you must have gotten “plays well with others” on

your report card in elementary school. can you talk about that

and how it influences your work?

No matter how hard I work at my art, it feels like play. In fact, I’ve done quite a few images over the years, and the people in them look like they’re playing games. those people lawn bowling into the cane fire.

Yes. you have a lot of teaching images, too. like the woman in Van

Gogh’s ear. what do you like about teaching?

It’s great fun to open people’s eyes to see the world in a new way. I first started teaching in the fall of 1980. Vanderbilt at that time was pretty homogeneous. Now it’s become much more culturally and intel-lectually diverse. The students are from all over the world with many different backgrounds, socio economic, religious, cultural. It’s interesting. what has being at Vanderbilt done for your career as an artist?

Vanderbilt has been very supportive of my work with grants and research leaves. The university provides a rich intellectual climate with visiting speakers, exhibitions, and scores of colleagues who are doing incredibly interesting work in their own fields. I got a grant from Vanderbilt to document the architecture for my work in Napier, New Zealand, a town destroyed by an earthquake in 1929 and then rebuilt in the style of art deco. They also have some patterning influenced by Maori design. It’s right by the ocean, so beautiful.

can you see in your students those that will be good artists

and those that won’t?

Occasionally, but not always. what have you not done that you want to do?

Go into outer space, particularly the moon. you’re joking.

I’m completely serious.

above: Profiterole

above right: Dangerous Jello

right: Oasis

far right: The Jello Incident

below: Lawn Bowlers


Gallery

Gallery OneThe Water is Wideby Sally Schloss

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

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

Five years ago, when Shelley opened Gallery One, she felt Nashville was ready for a new art space focused on quality work not shown here before. Personally, she was ready to make a leap of faith and own her own gallery.

A former journalism major with a minor in painting and art history, Shelley began her professional life as a business reporter, which she parlayed into a second career as the senior vice president of commu-nications for the Girl Scouts. Wherever she traveled, however, she was drawn to museums and galleries, increasingly intrigued by the techniques and craft that produced excellence in art.

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

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

left: Water Series #12 by Brian Oglesbee

right: Bend of the Harpeth by henry isaacs

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To be an advocate she must have a visceral response to the art. The 30 artists currently represented by the gallery encompass all genres and mediums—the common denominators are mastery over their mediums and artistic vision.

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

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

top: River Rest by susan hughes

above: Sky in Water by Jean hess

right: Clean Slate by Debra Fritts


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

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

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

If there are theme threads through lives, giving shape to action, then Shelley has identified her own. “I believe in living a purposeful life—if we move in the direction of our passions, then success and happiness will follow.” This, appar-ently, is the river that runs through it.

above:The Dory by Jeffrey sabolr

right: Poem for Rising Water by Jeff Faust



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Scott Kendallwhat characteristic do you most like about yourself?

That I am naturally, deeply fulfilled by great art, music, literature, nature, and the simple things of life.

and what do you like least?

Time constraints to achieve all the things I want to do with my life.

what was the last book you read?

Simultaneously, Joseph Campbell’s Pathways to Bliss and Chanel and Her World, with my 10-year-old daughter.

who would you most like to meet?

Jefferson, Goethe, or Leonardo.

what are you going to be when you grow up?

I can’t imagine life without an insatiable desire for growth, for constant rebirth, for the new adventure.

who has most inspired you?

Joseph Campbell shattered the world open for me.

who is your favorite artist?

In the various realms, Raphael, Mozart, Shakespeare, and the greatest—nature.

what are you most proud of?

My family and close friends.

why Nashville?

The people I meet come here specifically to make something of themselves, to make their unique dreams and ideas for life come true. what do you like most about the city?

Monet first sought tranquility to be prolific and then found Giverny. Nashville has an unusually high quality of tranquility, which allows us to become a world force. The greatness perhaps comes much from our landscape.

what do you like least?

As a balance to our great Symphony Hall, a wish might be for a world-class Getty or Wallace Collection (and with an adjoining Ritz Carlton on the Park). We have the potential.

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

More time with friends.

an embarrassing moment you would most like to forget?

Meeting my new neighbors after calling the pound to pick up a sickly stray cat, which was their family pet.

are you happy with where you’re heading?

Yes, the richness and vitality of the adventure continues to build. I’ve come to realize that it’s the daily journey, the daily performance that is the true great reward.

what’s your mantra?

One’s greatest responsibility is to be true to one’s own vision.

what’s it like being you these days?

We live in the most exciting period the world has ever known, with unprecedented opportunities—an exhilarating time of immense growth, discovery, and creation.

what talent would you most like to have?

To express in Annie Leibovitz-style photography, as Leonardo expresses in paint, the great mystery and wonder of the universe that exists within each of us.

what is your most treasured possession?

A fifteenth-century Flemish tapestry my wife gave me for my birth-day early in our marriage.

what is your greatest regret?

Not awakening to the inexhaustible potentialities of life until 28.

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

Embrace my family and celebrate our life together.

Anything Goes

scott Kendall specializes in developing 18th century classic Georgian style properties with modern luxuries.

92 | November 2009 | Nashville Arts Magazine across: 1 Bama, 5 raps, 9 Opus, 13 Milan, 14 area, 15 cane, 16 Georgy Girl, 18 erie, 19 areola, 20 liar liar, 22 O’er, 23 hosts, 24 roan, 27 Dad, 30 Pitt, 31 Ogle, 32 Preen, 34 res, 37 Bridges at toko-ri, 41 sec, 42 edema, 43 hung, 44 east, 46 all, 48 aten, 49 amass, 51 apr, 53 Madhouse, 57 tetras, 61 Oral, 62 stagecoach, 64 lime, 65 Pore, 66 Outré, 67 easy, 68 salt, 69 smee.

down: 1 Bier, 2 aloe, 3 Marooned, 4 angle, 5 rag, 6 aril, 7 Peri, 8 sala, 9 Ocelot, 10 Paris trout, 11 uniat, 12 seers, 13 MGa, 17 yard, 21 rhino, 24 robs, 25 Ogre, 26 alice adams, 28 apse, 29 Drama, 30 Pet, 33 et al, 35 erne, 36 sign, 38 Gesso, 39 eDt, 40 Khartoum, 45 ashley, 47 late, 49 amole, 50 Maria, 52 Pecos, 54 usPs, 55 stoa, 56 earl, 58 rate, 59 acre, 60 she, 63 Get.

Nashville Arts Magazine November 2009 Crossword PuzzleJunction.com

Copyright ©2009 PuzzleJunction.com

Solution on next page

54 Stamp sellers (Abbr.)

55 Ancient colonnade

56 Charlie Chan creator, ___ Derr Biggers

58 Evaluate 59 Farm unit 60 1965 Ursula

Andress film 63 Acquire

Across

1 Ole Miss rival, familiarly

5 Emulates Eminem 9 Musical composition 13 Where Otello

premiered 14 Bailiwick 15 Sugar source 16 1966 James Mason,

Lynn Redgrave British comedy

18 Keystone State port 19 Anatomical ring 20 1997 Jim Carrey farce 22 “___ the glad waters

of the dark blue sea”: Byron

23 Innkeepers, e.g. 24 Stable color 27 Family man 30 Brad of Burn After

Reading 31 Eye rakishly 32 Spruce up 34 ___ judicata 37 1954 William Holden,

Grace Kelly Korean War flick, with The

41 Dry, as wine 42 Swelling 43 Like some juries 44 Toward sunrise 46 Completely 48 Egyptian solar deity 49 Stockpile 51 Natl. Humor Month

53 1990 John Larroquette, Kirstie Alley comedy

57 Aquarium fish 61 Spoken 62 1939 John Wayne

western classic 64 Margarita fruit 65 Skin feature 66 Bizarre 67 Carefree 68 Seasoned sailor 69 Bob Hoskins' role in

Hook

Down

1 Funeral arrangement 2 Balm ingredient 3 1969 Gregory Peck

space epic 4 Viewpoint 5 Dust remover 6 Seed covering 7 Persian spirit 8 Hacienda room 9 Spotted wildcat 10 1991 Dennis Hopper,

Barbara Hershey flick

11 Eastern Christian 12 Prophets 13 Entertainment co.

inits. 17 Sail support 21 Safari sight 24 Sticks up 25 Fairy tale villain

26 1935 Hepburn film from Tarkington’s prize-winning novel

28 Basilica part 29 Film genre 30 Hamster, at times 33 Catchall abbr. 35 River to Donegal

Bay 36 A ___ of the times 38 Painter’s plaster

39 D.C. time zone 40 1966 Heston,

Olivier historical film

45 De-Lovely actress Judd

47 Running behind 49 Detergent plant 50 Song from West

Side Story 52 River to the Rio

Grande

Artriviaby Dave Turner

Gypsy jazz guitarist Django Reinhardt, considered by many to be the greatest player ever to pick up a guitar, played all of his solos using only two fingers. The other three fingers, which were paralyzed in a fire, he used for chord work. Reinhardt was known to skip sold-out concerts to “walk to the beach” or “smell the dew.” He died of a brain hemorrhage in 1951.

Renowned chef Julia Child was a participant in a secret spy organiza-tion formed by President Franklin Roosevelt during World War II. She

applied for the post after the bombing of Pearl Harbor. Julia was soon posted to Ceylon (now Sri Lanka), where she met her husband, Paul.

Fashion designer Roy Halston roared onto the international stage when he designed the pillbox hat that Jacqueline Kennedy wore to her husband’s presidential inauguration in 1961. Once dubbed “the premier fashion designer of all America,” Halston became his own worst enemy, undermining his success with excessive drug use. In 1984 he was fired from his own company and lost the right to design and sell clothes under his own name. His perfume, Halston, is the second-biggest-selling perfume of all time.

Puzzler


Documents

2009 November Nashville Arts Magazine