Perambulating the Bounds

Tuesday, March 31, 2009

Nashville Visual Arts Events and Other Stuff April 2009

Last month, I missed the fact that Sisavanh Houghton is exhibiting in the small gallery at Tinney Contemporary, in addition to the show by Rachel McCampbell in the main room (which features a big sculpture in the middle that looks energetic and fun, maybe a little creepy in a way that seems appropriate given the show’s theme of endangered species, the environment under threat). Anyway, Sisavanh’s one of the more versatile artists around, nice to see that she’s showing at Tinney.

Update: Beth's show has been pushed out to Sunday May 10. One of the more unusual things this month will be Beth Gilmore’s installation at the Belmont Mansion. Beth works there (and is sometimes called on to channel Adelicia Acklen) and has used images from Ward-Belmont College in her work. She’s getting a chance to bring things together in a one afternoon/night show in an unused room at the Mansion on May 10.

I’ve got a few readings here—I don’t really mean to get into that business with this listing, but one’s at an art gallery so it goes in, and others involve friends.

As always, if you have an email list of your own, feel free to forward this.

If someone wants to get added directly to my list for the email, send me an email at dcmaddox@comcast.net. To get taken off the list, email to that effect at the same address.

April 1

Portland Brew 12 South, David Dark book release event. David is releasing his third book, The Sacredness of Questioning Everything, and celebrating with a gathering at Portland Brew. He’s inviting everyone to bring a story, song or poem to read/perform, in keeping with an interest in people talking to each other. The new book is very good, a mix of media and pop culture criticism, social philosophy, and theology, and probably a bunch of other areas of inquiry if I spent some more time thinking about it. I think of David’s stock in trade being his reading of pop culture as sources for insight on the divine and on politics and community as aspects of the Divine. In this book he engages that, but also addresses more conventional political and theological discourse. He’s particularly convincing in his interpretation of the Civil Rights Movement as a basis for theory and practice of social and political life in the broadest terms. Things get going at Portland Brew at 7:00.

April 2

Zeitgeist, reading by Amanda Little. Little is a journalist who covers energy and the environment and will be reading from her book Power Trip, about the roots of the current energy crisis in America’s history of energy use. It’s based on reporting from the front lines—oil rigs, power stations, etc. 6-8 PM


April 4

Twist, Jen Cartwright and Off the Wall. Cartwright is doing a room-sized sculpture made from paper bound to wire forms, built up from small units. The Off the Wall group is showing work from an exhibition they did this winter at the Renaissance Center in Dickson—I’m glad they’re showing the work in Nashville. Janet Heilbronn has some luscious paintings, Iwonka Waskowski continues to develop her small drawings and paintings (to mention just two). The other members are Mahlea Jones, Quinn Dukes, Jenny Luckett, and Jaime Raybin.

LeQuire, Contemporary Portraits. In keeping with their mission to promote the vitality of traditional forms and methods, LeQuire’s showing work by several portraitists: Murat Kaboulov, Joshua Bronaugh, Alan LeQuire, Brody Vincent. Vincent makes interesting, technically polished symbolic images. LeQuire’s ability is this area is obvious (some small sculptures of nudes come to mind), and Kaboulov is one of several Russian artists connected to the gallery.

Estel, Deb Garlick and Tim Yankosky. Two artists focusing particular visual motifs. Many of Garlick’s paintings feature a simple white dress, on an anonymous figure or by itself. Yankosky’s totem is a goldfish. Both artists place their highlighted elements into different setting that represent psychological states and play around with stock verbal phrases.

Rymer, Hunt Slonem. A solo show of paintings of animals and bayou scenes.

The Arts Company, John Baeder. Nashvillian Baeder has created well-known photorealist paintings and watercolors of places like diners, hamburger stands, and Nashville neighborhood landmarks. For the last two months the Arts Company has been showing the photographs he took and used as references for his paintings, and they have one more installation of these photos scheduled for this month.

Downtown Presbyterian Church, Exhale: Breath Becomes Word. For Art Crawl night, the church will host a spoken word/reading organized by Chris Leonard and featuring a bunch of folks, including David Dark (see April 1). And the annual group show for the Lent season continues, including a delightful drawing by David Hellams that was awarded a purchase prize.

Sera Davis: Kin Froshin, Griffin Norman, Jennifer Hecker.

Terrazzo, Zeitgeist artists. It seems like Zeitgeist is expanding its monthly series at the Terrazzo—they’ve got shows in 3 of the building’s suites with work up by Ciprian Contreras, Mike Calway-Fagen, Shane Doling, David Wright LaGrone, Brady Haston, Richard Feaster, Lain York, John Donovan, Buddy Jackson, Will Berry, Hollis Bennett. And Hollow Ox will be playing.

BelArt (Arcade), Marleen De Waele De Bock. This is Marleen’s space, a steady participant in the Art Crawl. She’ll show some of her recent work this month.

Tennessee State Museum, The People's House: A Temple of Democracy. A show celebrating the 150th anniversary of the Tennessee State Capitol building. Part of the show is 66 paintings of the Capitol.


April 5

Family Wash, Franne Lee. A new set of paintings of birds and animals on old wood panels by Franne, one of the founders of the Plowhaus Coop. The opening is from 3-5.

Frist Center, Paul Vasterling and Trinita Kennedy lecture. A talk on the 13th century Latin poems that Carl Orff set in Carmina Burana, and the process of choreographing the Nashville Ballet’s interpretation of it (being presented April 24-26 at TPAC). The talk’s also in conjunction with the collection of Medieval art from Cleveland on display at the museum.


April 9

TSU, Chester Higgins, Jr. lecture. Higgins has been a photographer for the New York Times sine the 70s, and has published his photos of African-American and African experience in Time magazine and in book form. The lecture begins at 4:00 in the Floyd Payne Campus Center

Gallery F., Surface + Insight artists’ talk. This show opened in March and continues through April 26. The artists involved are Ruth Zelanski, Laura Young, Stephanie Brooke West, Jennifer Campbell, and Ryan Hogan. They are giving a talk at 7:00 on the 9th.


April 10

Watkins College, Michael Jones and Justin Patterson, senior shows. Reception from 6-8, the show closes on April 22.


April 15

Cheekwood, William Christenberry lecture. I reviewed this show in last week’s Scene. Christenberry is a major figure in photography and Southern art, and an experienced teacher. He’s at Cheekwood to give a lecture at 6:00. Whether or not you make it to the lecture, you should see the show.

Sarratt, Charles “Teenie” Harris. Photos of African-American life in Pittsburgh by Harris, lent by the Carnegie Mellon Museum of Art and the August Wilson Center for African-American Culture. It’s odd how often you get a confluence like this exhibit and the Higgins lecture at TSU.


April 16

Frist Center, Andrea Zittel lecture. Zittel is a major artist, making self-enclosed environments, and designing clothes (uniforms) and furniture that are part utopian experiment, part critique of fashion and consumption. Lecture starts at 6:30

APSU, Terminal Short Video Festival. Austin Peay’s on-line project Terminal will be going in Barry Jones’ words a “real world” event at 8:00 projecting videos onto the front of the Trahern Building.

Parthenon, Hans Goette lecture. Goette, from the German Archeological Institute in Berlin, will speak on the architecture and history of classical Greek theatres and how they were used for the presentation of plays, choral competitions, sacrifices, and civic ceremonies. The lecture is at 7:00 and free, but you need to call 862-8431 to reserve a seat.


April 17

Twist, Camille Jackson, Watkins Senior Show. Show open from 4-6

214 3rd Ave. N, Ellie Odom, Watkins Senior Show. Like the other one, running from 4-6 one day only.


April 18 and 19

4 Bridges Art Festival, Chattanooga. This is what Jerry Dale McFadden ran off to direct. It’s a big 2-day show with 150 artists at the Tennessee Pavillion, covering all media, “crafts” as well as “fine arts.”


April 21

Sewanee University Art Gallery, Art Majors Senior Show.


April 22

Belmont, Edie Maney. A solo show by a Nashville painter who takes an abstractionist’s approach, but sometimes with hints of figurative results.


April 23

TSU Art Gallery, Senior Show. Reception from 4-7


April 24

Watkins College, Erin Plew, Myrna Talbot, and Ashley Steverson Senior Shows.

Customs House Museum (Clarksville), David Farmerie lecture. Lecture by the artist in conjunction with a photo series on the theme of the 7 Deadly Sins.


April 25

Gallery One, Katharina Chapuis, Marc Civitarese Meditative abstract paintings by Chapuis, hazy wetlands landscapes by Civitarese.


May 10

Belmont Mansion, Beth Gilmore. As I said in the intro, Beth is getting to install her art in an unrestored room of the mansion, which is so appropriate since that’s where a lot of the images come from. Her whole approach is based on appropriating and absorbing images, and then looking for a home that allows a vivid sense of historical presence to express itself. This show will let a couple of ways of telling history reside together. And I think it’s been a while since Beth has shown her work on its own, and I’ve probably never seen it with this opportunity to occupy a space. The show will run from 6-9 on the 10th.

Sunday, March 29, 2009

Pegram needs a Godard festival

Yesterday Maria and I went to see the Godard movie playing at the Belcourt, Made in U.S.A. It was made in 1966 but never released in the US because of rights issues. It was made quickly, and does seem tossed off, a bunch of riffs barely strung together. Now some of the riffs are good, like a scene in a bar that works out an extended language philosophy game and ends with Marianne Faithfull singing "As Tears Go By" a capella. There are also lots of nice looking people in the movie, starting with Anna Karina.

In one of the early scenes in the movie, she is in a hotel movie reading a book, and later on one of the other characters is reading the same book. It's Adieu La Vie, Adieu L'Amour, which is the French translation of a book by Horace McCoy. I assume it's the French title for Kiss Tomorrow Goodbye, which was the basis for a Jimmy Cagney movie. It's one of a bunch of nearly constant film references in the movie, starting with a dedication to Sam Fuller and Nicolas Ray, and including a name check to the King Vidor movie Ruby Gentry and a major character is named David Goodis, who was the author of Dark Passage and the book that Truffaut turned into Shoot the Piano Player.

Now here's the interesting thing. Horace McCoy (1897-1955) was born, in off all places, Pegram, TN, and grew up in Nashville. Pegram really needs to capitalize on the Godard connection to their native son. (Sounds like a job for Lain York!)

Wednesday, March 25, 2009

Review of Christenberry show

Here's my review of the Bill Christenberry show at Cheekwood. Christenberry is one of those artists every Southerner (or fellow traveler) should know about.

The other shows at Cheekwood right now are very good also--nice selection of abstract paintings from around the state, very cool Michael Baggarly sculptures, and another set of video curated by Greg Pond.

Saturday, March 07, 2009

What a metaphor

Slogging my way through Augustine's Confessions--I say slogging because I've got a short attention span--and getting towards the end I came across a metaphor that stopped me in my tracks. For those of you who haven't read it the Confessions has an odd structure--it starts out as autobiography, taking you through Augustine's whole life up to the point at which he becomes baptized as a Christian. This being the whole point of telling his life story, he promptly moves into discussions of philosophical and theological questions.

Towards the end of the book, in what in my translation (the translation is by John K. Ryan from 1960--I'm not sure it's very good, but let's hope it's not too far off) is Chapter 15 of Book 13, he describes the scriptures as a firmament of authority over our existence. "Who except you, our God, has made for us a firmament of authority over us in the form of your divine Scriptures? For 'the heavens shall be folded together like a book' and now they are stretched over us like a skin." It's actually a double metaphor, of the book (the Book) as sky and the book as skin. To me this seems the opposite of the more common metaphor, that the sky is a book upon which meaning has been inscribed. In this case, the book, the bearer of words and meaning is seen as doing what the sky does in its primary state--which would be something like envelope, enclose. What does the sky do functionally when seen from a human perspective--it brings down sun and rain, it defines the extent of the possible field of vision. Like I said, this seems a reversal of metaphorical position, and it forces new, strange questions about what Scripture does functionally.

But there's more. He goes on to say "Other waters there are above this firmament...immortal and kept free from earthly corruption." It is the realm of supercelestial beings who have in one instant, no need of reading, but also see God's face and "read upon it what your eternal will decrees." I really need to check this translation, but its fascinating to think that Augustine sees waters above the sky. And of course the sky here is Scripture, so what is the "water" that takes position above the scripture. The idea of angels or the blessed transcending the need for earthly language seems familiar enough, but this idea of an ocean above the sky is odd. Among other things it reverses the relationships on the horizon line.

I'm not sure I have that much to say about this, other than commenting on how striking this sequence of metaphors is. I have a sense that these metaphors--book as sky, book as skin--will prove useful in time to come. It also connects a little with Stellet Licht, which starts and ends with images of the night sky--the firmament for sure--and the sky figures prominently in many of the shots. Augustine's metaphor gives me another way to think of those skies--not as something to read and interpret, but as a reminder of the all-encompassing structures that envelope and define us.


Photo of night sky by Andew Crampton from Wikimedia Commons.

Friday, March 06, 2009

Silent Light


We just got back from seeing Stellet Licht (Silent Light) at the Belcourt. It's a remarkable film by Mexican director Carlos Reygadas about people in a German-speaking Mennonite community in Mexico. It's a story about adultery, filmed with non-professional actors in their dialect, which is a version of Plattdeutsch. It operates on so many levels, and I'm not sure I'm up to writing about it. The main thing I want to do is let people know it's playing, because it's only going to be at the Belcourt for this weekend. There was some sad story with distributors so the film has never gotten decent distribution here.

Its portrayal of the psychological, emotional, and spiritual effects of adultery hit me really hard. It also all goes much farther, into the questions about the nature of divine in human experience, the difficulty in discerning how God speaks to us. Aspects of the film are devastating, but the people and the story are so firmly grounded in steady corporeality that the divine goodness comes out, the goodness behind the formation of the world out of formlessness. In this setting, and with the movie opening with the night turning to light and then closing back into night, creation is on your mind.

I found myself identifying strongly with the leading character Johan's weaknesses. There were other personal connections, some small details, like film of Jacques Brel (an artist I'm quite fond of) showing up at one point, and the fact the dialogue is in Plattdeutsch, which as I understand it is the dialect spoken in my Grandfather's community in Nebraska before WWI.

It's also about the most beautiful thing I've seen in a long time. The countryside in this part of Mexico (Chihuahua) is stunning, the farmlands and interiors beautiful and beautifully filmed.

This seems like a perfect film to see during Lent. It's an extended contemplation about the things Lent contemplates, if not seen through a devotional lens.

Another small detail--in a funeral scene, the people sing passages from the scriptures. It's strong, ancient stuff, and it reminds me a lot of Scots Gaelic psalmody. Some of my distant ancestors were Mennonites, and it was amazing to listen to this and think this is what my family sounded like 150 or 200 years ago. It would have sent a shivver down my spine except that it's part of a complex scene and I had a lot of other emotions going on simultaneously.

Wednesday, March 04, 2009

Nashville Visual Arts Events March 2009

Cheekwood is opening several shows at once, and I’ll get to that in a minute, but I think the biggest news is that Nancy Saturn is closing American Artisan gallery on March 31. (BTW, this edition contains a lot of deep thoughts from me—I wouldn’t blame you for scrolling down to the listing of events.) The card in the mail says she’s been in business for 38 years. And I should say upfront that the American Artisan Festival in Centennial Park will continue. I don’t know the reasons for the closure—she’s been doing it for quite a while, but you’ve got to think this economy can’t be good for business. Its closure will leave a hole. The craft world and market place consists in part of a network of stores around the country like American Artisan that specialize in crafts at a high level. They vary in the degree of emphasis on wearability/usability and collectibility/investment—American Artisan was on the useable end. Other stores and galleries in town carry work by a few to a bunch of jewelers, and the Arts Company carries some fine art potters and wood turners, but a place like American Artisan brings in a wide range of artists and offers pieces that represent much more of the range of craft art, and it edges closer to fine art. As the economy change, and has been changing, the fabric through which a scene like the crafts stays alive starts to fray. Other models to connect artists and buyers emerge like the big fairs—especially the ones sponsored by the American Craft Council, but they won’t penetrate as far. There’s also a shift of energy from the traditional high crafts to the DIY and Etsy world. The idea of say jewelry as fine art may fade significantly, ornaments as art objects giving way to ornaments as fashion, which in a way is a return to origins. As (OK, if) the country gets poorer overall, art as object of collection, investment and speculation may give way to art for use, even if it for decoration or reflection. This may not be unhealthy, but it would be a shift in the nature of art as produced and experienced.

Nancy Saturn deserves thanks and respect for bringing this art to Nashville for so long. Maybe someone will step into the vacuum, but that will certainly have to wait until happy days are here again.

Cheekwood’s shows this month include one that’s important for sure, the William Christenberry exhibit in the main galleries. Christenberry is an important figure, one of the first photographers known for color work, along with William Eggleston. Like Eggleston, Christenberry’s a southerner, from Alabama, and his work dealt with the vernacular landscape of the South. Over the years he has expanded into sculpture, and has always had an interest in social critique, like pieces on the KKK. It’s important for artists and art audiences from or living in the South to know Christenberry’s work. This exhibit was one of the inaugural exhibits for the renovated galleries of the Smithsonian American Art Museum, and was displayed next to the installation of that museum’s fine folk and outsider art collection—I think Christenberry chose the works for that exhibit as well. The show at Cheekwood is just Christenberry’s work, but it’s useful to keep in mind his affinity for vernacular and self-taught artists. Cheekwood’s exhibit of William Edmondson’s sculptures in the gallery next door is very appropriate.

At the same time, Cheekwood is opening a show of abstract paintings from Tennessee and Michael Baggarly’s work. Baggarly’s show will include the really fun metal sculptures he had at Zeitgeist and maybe more along the same lines.

APSU’s on-line Terminal project has launched a new piece, From Red Paint Hill by Phillip Andrew Lewis. This is the first piece they’ve commissioned you can find it here.

I should plug the Belcourt more, and am remembering to do so because of the film Silent Light coming up this weekend only. It’s by Mexican director Carlos Reygadas, about a German Mennonite community in Mexico. The descriptions remind me of another great film of spiritual stillness, Why Has Bodhi-Dharma Left For The East? Another highlight for me, the dialogue is in Plattdeutsch, which was the dialect they spoke in my Grandfather’s community in Nebraska.

As always, if you have an email list of your own, feel free to forward this.

If someone wants to get added directly to my list for the email, send me an email at dcmaddox@comcast.net. To get taken off the list, email to that effect at the same address.

March 6

Watkins, Jeff Daniel Silva. An exhibit of work by experimental filmmaker and video and installation artist from Boston.

Customs House Museum (Clarksville), David Farmerie. A photo series on the theme of the 7 Deadly Sins by a photographer who has worked for National Geographic among others. There will be a poetry reading by R. MonaLeeza during the opening (7:00).

March 7

Twist, Shana Kohnstamm and John Dowell. Shana will be in the main (main? original? most westward?) gallery, John Dowell in Twist 58. Shana’s got a bunch of new work, abstraction that morphs into surrealistic organisms. Dowell is a printmaker from Philly, and his exhibit here will be part of a project where he goes to cities and makes photographs and lithos of what he sees in the streetscape. If this works, the effect of someone coming into the city fresh should yield unexpected perspectives on familiar scenes.

Plowhaus at TAL, Mel Davenport, Ayjey, Dirk Mooth, Mar Augelli. Mel will be showing a pop art style painting and several sculptures.

Tennessee Art League, Brenda Stein. A new exhibit from wood-turner Brenda Stein.

The Arts Company, John Baeder. Nashvillian Baeder has created well-known photorealist paintings and watercolors of places like diners, hamburger stands, and Nashville neighborhood landmarks. Last month the Arts Company exhibited a show of the photographs he took and used as references for his paintings, and this month they have a new set of those photos, these ones focusing on street signs and Nashville in the early 80s.

Downtown Presbyterian Church, DIG Show: Embodiment. The church’s annual group show, part of our Lenten observance. Like usual it’s a mix of people, artists from around the community and people affiliated with the church (these are not mutually exclusive groups). The show went up last weekend and one of my favorite pieces so far is a drawing by David Hellams. I won’t say more and let it be a surprise. BTW, we are also starting our annual Tom Wills-curated Lenten film series at the Church this Thursday with a viewing of John Carpenter’s remake of The Thing. The series runs every Thursday into April. There’s a couple of silent films this year and some unusual older films.

Sera Davis, Group show curated by Ron Lambert. I got over at the last minute to see Ron’s February show at Sera Davis. I especially like a video piece that I hope I’ll get a chance to post about. This month Ron curated a group show of works on paper, several of the people with Watkins affiliations: Iwonka Waskowski, Brady Haston, Kristi Hargrove, John Whitten, Erin Plew, David Hellams, Terry Thacker, Jodi Hays, and Ron. One of Iwonka's pieces is the visual with this post.

Terrazzo, Zeitgeist artists. Zeitgeist is curating their second show at this new building at 12th and Division, with work by Caroline Allison, Will Berry, Alicia Henry, Farrar Hood, Buddy Jackson, James Perrin, Greg Pond, Bjorn Sterri, and Lars Strandh.

March 11

Gallery One, Chamber Music and Lori-Gene In a nice bit of cross-programming and collaboration, Gallery One will present a chamber music recital in the gallery “accompanied” by Lori-Gene making drawings during the performance. The musicians will be Sean Neukom (violin), Alicia Storin (cello) and Evan Cobb (oboe), and they perform a Ravel cello sonata, a solo sonata for violin by Ysaye, and a trio by local composer Alyssa Weinberg. So far Nashville hasn’t gotten big into classical music programming in unconventional venues (it’s happening in New York, like at Le Poisson Rouge), but it’s really worth exploring. As for making art during music performance, we in the Transcendental Crayon Ensemble had painters working away during our shows for years, and I think the practice should be encouraged. This concert marks the opening of Lori-Gene’s exhibit in the gallery.

March 12

Vanderbilt Fine Arts Gallery, The Printed Page. An exhibit of Old Master and modern prints from the gallery’s Anna C. Hoyt Collection. Reception from 5-7.

Vanderbilt Sarratt Gallery, Edie Maney. Maney's paintings work their way through the process of their to arrive at non-objective figuration. Things that emerge from pure shape take on enough aspects of figures to suggest the human form. A reception at Sarratt from 5-6:30.

March 13

Untitled, Barely Legal, at the Icon. The quarterly show of this group probably promises more trouble with obscenity statutes than it delivers, but really it’s all about the group’s 18th birthday. More significantly, it’s another effort to bring the visual arts world into the Gulch, and like the monthly series by Zeitgeist untitled is borrowing space in one of the new residential developments going up. There is a sense that the visual arts community belongs in the Gulch, given its status as a hot area. I think it’s great if people can find good spaces for what they are doing, but the visual arts usually lead, don’t follow, real estate development of this sort. Anyway, back to the untitled show, this time out they’re hooking up with the Nashville Film Festival, who will be showing shorts at the event.

March 14

Snow Gallery, Eggshibition. This is a group show of work by 8 women exploring, you guessed it, the symbolism of the egg. Like everything Catherine does, it promises to be a thoughtfully constructed exhibit. First of all the artists exhibiting—Lesley Patterson-Marx, Nicole Pietrantoni, Gina Binkley, Claudia Lee, Laura Chenicek, Julia Chenicek Korn (maybe Laura’s daughter?), Joan Curry, and Paula Heaphy. It looks like it will include work that Nicole has done since she headed off for her MFA program at Iowa. The piece on the gallery PR looks like a new direction, possessed of a completely different internal sense of motion. And I always fuss on Lesley’s work, so here I go, but the PR says she’ll have a new art book in this show, called the Egg Book, which sounds like one more step forward with the ideas she’s been going to deeply for several years now. And again, as is Catherine’s practice, she’s matching the contemporary work with vintage prints from her collection, in this case hand-colored 19th century prints of eggs.

Cheekwood, 4 Exhibits. First, the big Christenberry. See the intro for more on that. Then there’s Michael Baggarly’s show in Temporary Contemporary. Again, check out the intro. The Tennessee Abstract painting show was picked well—Brady Haston, Carol Mode, Terry Thacker, Dwayne Butcher, Hans Schmitt-Matzen, John Tallman, Hamlett Dobbins, Richard Feaster, Ron Buffington, Melissa Dunn, Rocky and Mandy Rogers Horton, Jered Sprecher, and Lain York. This really does capture most of the best energy in abstract painting happening in the state right now. And there’s a new installation in the video galleries, Lens with a Conscience.

March 17

Parthenon symposium, Rabun Taylor, “Reassessing the Pantheon in Rome.” A talk by a professor from the University of Texas at Austin. The talk will be at 7:00; call 862-8431 to reserve a free ticket.

March 18

Estel, Deb Garlick and Tim Yankosky. This show opens on the 18th but the reception will be on April 4 in conjunction with First Saturday. So I’ll have more on this in April missive.

March 21

Tinney Contemporary, Rachael McCampbell. Paintings of endangered species with a percentage of sales going to the Land Trust for Tennessee

Cumberland Gallery, Kit Reuther and Allison Stewart. Reuther’s painting have something of Cy Twombley’s nervous scratchiness. They are near abstractions in which parts of scenes have been broken apart and simplified, but rendered almost as if rather than painting objects, she has painted out objects.

March 26

TSU Hiram Van Gordon Gallery, Student Art Show. Art by TSU students selected by their faculty. Given the quality of recent outings by TSU students, a TSU student show deserves as much attention as Watkins student shows. Reception from 3-6