Category: Miscellaneous

Meet Jan!

posted by – 07/19/17 @ 1:50pm

This summer is full of (somewhat) new faces at the Tinney Contemporary! We are thrilled to welcome back Jan DeLozier who interned with us in 2013 who will now be working as our gallery assistant! We are so excited to be working with her again and want you to get to know a little bit about her! Here’s a little bit about Jan written by Jan herself!

“Hello hello ciao hello.

My name is Jan DeLozier & it feels good to be back at Tinney Contemporary. Susan and Sarah were just the sweetest to have me as an intern here at the gallery, alongside my good friend Alex Penn (hi, Alex!), back in 2013. We sometimes had to beg people to come to the Art Crawls, but oh man did we have fun shows! Through the years, I’ve always kept up with the crew here and now I am back in Nashville helping do the gallery-thing!

In between then and now, I graduated from Sewanee: The University of the South where I studied Art History and Women’s and Gender Studies. Upon graduation, I moved in with my fabulous Godmother and helped take care of her adorable dogs. Later that summer, things got serious and I attended a Scholars program at the University of Chicago’s Booth School of Business where I studied Finance, Accounting, and Marketing. Just before Chicago’s wind became too bitter, I moved to Venice, Italy where I worked at the Peggy Guggenheim Collection. My work there was dynamic as I  gave presentations, sold tickets, completed condition reports, assisted in education courses, and repeated the lines “please, don’t touch” in as many languages I could remember. From the city on the water, I then moved to the high prairie desert of Marfa, Texas, where I worked at the Chinati Foundation. I worked alongside some rock stars within the Development office, also giving tours and assisting with conservation 😉 and education 🙂

When I am not at Tinney Contemporary, you can probably find me barefoot in a yard somewhere. Happy to be here and happy to help- come by and say hi y’all!”

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“The Prophet’s Library” by Wesley Clark

posted by – 06/16/17 @ 11:23am

Wesley Clark’s show “The Prophet’s Library” is deeply engrained with symbolism, metaphor, and his experience as an African American male in this country. He began this body of work by making a stream of consciousness list of words that came to him when he thought about his experience which culminated in “Table of Contents”. He created this list of words that now make up the top of the crossword before writing out the clues which allowed him to expand what could be a clue for each word. The words are also grouped together in order to create links and imagery that can be tracked throughout the rest of the show. He invites our imaginations to move piece to piece stitching together the narrative of this prophet. With the series of books that inspired the show title he presents the audience with four cases designed to hold books yet to be written. The exterior of each of these books has been carved, painted, and stained to be representative of the made up titles on the front. What is exciting about these titles, and subsequently these carvings, is that these can be seen as revisions of the current history or simply retellings of those narratives from perhaps a more accurate perspective. This is especially true with “Master Sowers” as it is analyzing the creation of civilization. One side contains an image of Lake Tana which is the source of the Nile river in Egypt which many can argue was the seedbed for civilization and technology as we know it. While the other side depicts two hands holding a mound of dirt with fists erupting from that dirt surrounded by a few symbols including an arrow and some stars. The idea behind this is that once you can defend yourself you can start to think about stars, science, etc. Another piece that spurs our imaginations is the “My Beautiful Black Unicorn(s)”. Which once agains plays with our imagination as well as historical references. Each horn is engraved with the name of slave revolt leaders including: Nat Turner, Denmark Vessey, and Toussaint L’Overture. In theory, these people are unicorns in that they should never have existed in the world in the role of revolutionist. Many people believe that the unicorn was the East Indian Rhino but through word of mouth that narrative was skewed leaving us with the mysterious unicorn we know today. This degradation of the truth can also be tracked onto the experience of the African American as they are often portrayed in the media in a negative light. Each piece in this show has layers and layers of meaning that require the viewer to approach the work with a willingness to spend time with the work. Time spent looking at this show is extremely rewarding as there are so many hidden gems of powerful text, image, or symbol that are lost with a superficial viewing. Wesley has created a show and a body of work that is imaginative, powerful, and truly meaningful within the social and political climate of today.

New Summer Intern

posted by – 06/07/17 @ 3:53pm

Allow me to introduce myself! My name is Mattie Boyd and I’m going to be interning here at the Tinney Contemporary for the summer! I’m a Studio Art major and a rising senior at Rhodes College in Memphis, TN. I flip between painting and sculpture depending on what or who I’m looking at and inspired by. My biggest inspiration and the person who’s work I cant keep myself from going back to is Louise Bourgeois. Her work has influenced both my paintings and my sculptures over the years and no doubt will continue to do so in the future. Other than that similarity, my paintings and sculptures have become increasingly different from one another. My paintings generally use a variety of color palettes as well as a combination of graphic and painterly marks to depict an abstracted figure(s) existing in a world created for them. My sculptures, on the other hand, are much more visceral and bodily ranging from wearable sculptures to installations. I’ve inserted a few images of some of my work at the bottom of this post so you can get a sense of what I’m up to! I’m also a Center for the Outreach and Development of the Arts (CODA) Fellow which allows me to get out into Memphis and do my own projects! In the past I’ve worked with elementary aged kids in an after school art program as well as getting involved with the Brooks Museum. Some fun facts about me are: I love dogs (and miss mine back home terribly), ice cream is my favorite food, I’m an avid reader, singing in the shower is my 7th best skill, and I once threw myself a Chopped themed birthday party. I’m beyond excited to be interning here as I became interested in working in a gallery or museum post grad last fall! You may be wondering what I had intended to do before that switch and I was going to go to medical school to become a surgeon. Ever since my freshman year of high school that was the plan. Then when deciding on colleges I was attracted to the liberal arts schools because they all told me I could major in Art AND be pre-med. I thought that was the coolest thing I’d ever heard of because i could combine the two things I loved. However, last fall, as I was drowning in organic chemistry and cell biology I found myself dreading the thought of the next 4+ years of my life being nothing but those things. I decided that very day that I was not going to medical school and that i wanted to pursue a career in the Arts. The next thing I know I was talking with a friend of mine who interned at the Tinney last summer and that’s all she wrote! Looking forward to all that this opportunity and this city have to offer me before I have to head back to the 901 in the fall!IMG_6469 IMG_6798 IMG_6411

The Nashville Walls Project: An Interview with Eva Boros

posted by – 05/05/17 @ 12:28pm

The Nashville Walls Project is rapidly expanding, with Chris Zidek and Nathan Brown collaborating on a painting in the Gulch, right now!  We sat down with Co-Founder, Eva Boros, to ask a few questions about the Nashville Walls Project.
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Currently Under Construction

Nathan Brown and Chris Zidek Nashville Walls Collaboration

Nathan Brown and Chris Zidek Nashville Walls Collaboration

 

How did you get involved with/ start this project? And what role do you play in it?
      Years ago, Brian and I would drive around and take photos of blank Walls…we would then track down its owner and beg them to let us paint on it. This started in 2014, and it wasn’t until 2016 that we finally started painting. 
       The Nashville Walls Project has been Brian Greif’s dream. He came to Nashville because he wanted to bring street art to music city. I’ve just helped in its facilitation, and am co-founder. My involvement is with local and international artists, property owners, marketing, all of it. I’m still trying to define my job title. 
How are artists selected? 
     When we first start working with a property owner or developer, we expose them to a variety of street art and styles from which they decide what they like and would want on their walls.  
Are NWP artists paid?
     Yes, all local and visiting NWP artists are paid. Cost of materials and travel is also accounted for when establishing a budget with a sponsor or developer. Getting artists paid is of the utmost importance because in the creative industry, a lot of the time, artists are expected to work for free…which is unethical. 
How is content approved or denied?
     Content isn’t approved or denied. Street artists paint with a specific style they have cultivated and perfected through years of graffiti and studio work. Sometimes the artist will have a concept sketch to show the building owner, but the murals typically happen organically. Their signature style stays consistent, but the murals always look different. 
Is the NWP environmentally friendly? 
     We definitely recycle, and reuse. But when it comes to spray paint, we use mtn, a very high quality paint which has little to no cfc’s (ozone friendly paint).
What is the difference between graffiti and street art? 
         Graffiti is done illegally, street art is commissioned by property owners. Street art is usually larger and more elaborate than graffiti. This is due to the temporary nature of illegal art in the streets. 
How do you feel about the commercialization of street art?
      Commercialization of anything will always be slightly heart wrenching, but graffiti will always be illegal, so that’s good. 
Is the control of street art content harmful to what street art has historically been? (unfiltered public forum, although illegal)
   Some graffiti writers will paint a tag just to see how long it lasts, or if it gets tagged over. It’s not done for the public, but for other graffiti writers. Graffiti can’t be controlled…if someone wants to paint illegally, they’ll do it. 

Claire Morgan: Stop Me Feeling

posted by – 02/24/17 @ 2:54pm

Stop Me Feeling is Claire Morgan’s inaugural solo show in the United States. Frist Center curator Trinita Kennedy discovered her work at Art Basel Miami and organized an exhibition of six recent works by Morgan, showcasing an intricate installation, cabinet sculptures, and works on paper and canvas.

This Is Breaking My Heart, 2015

This Is Breaking My Heart, 2015

Born in Belfast, Northern Ireland, and currently living and working in Newcastle, England, Morgan has lived in many urban areas and developed a curiosity as to how animals adapt to our own manufactured world.  Her work ruminates on our complex relationship with the natural world.  She is able to create breathtaking encounters between humans and animals, and life and death.  Refusing to prescribe a precise message about her artwork, Morgan invites viewers to contemplate these ideas of beauty and destruction, environmentalism, artificiality, and transience.

Appropriate for Music City, Morgan often borrows titles and lyrics from songs and poems for her artwork. The Exhibition’s title Stop Me Feeling finds its roots in a song made famous by Johnny Cash.

Her signature works include organic and inorganic elements, such as taxidermied animals, insects, bits of plastic, and dandelion seeds.  She then creates a three-dimensional geometric shapes of varying scales utilizing nylon thread.  Within these complex and colorful geometries, Morgan creates a narrative with animals wandering in and out of these etherial forms.

Within You, Without You, 2015

Within You, Without You, 2015

A self-taught taxidermist, Morgan finds animals after they have been killed or died from natural causes. Curator Trinita Kennedy takes note of “The reverence with which she preserves the dead animals through taxidermy,” and how it “sharply contrasts with the carelessness of other humans toward them while they were alive.”

Within You, Without You is a cabinet sculpture displaying a small dunnock bird hidden among a jungle of brightly colored polythene. This foraging bird that often depends on camouflaging itself within trees is left feeling oddly vulnerable amidst this safely dense, yet threateningly colorful environment.  The sculpture’s title is borrowed from George Harrison’s song on the Sgt. Pepper’s Lonely Hearts Club Band album

If You Go Down To The Woods Today occupies its own entire room at the Frist, featuring a muntjack (a tiny deer native to the UK) following three butterflies into an overwhelming geometric cloud of orange polythene suspended on nylon thread.  The massive installation’s title features borrowed lyrics from “Teddy Bears’ Picnic,” an ominous children’s song that warns “If you go down to the woods today, you better not go alone…It’s safer to stay at home.” Morgan refuses to tell viewers how to think, but successfully introduces a new perspective on ourselves and the world around us.

Claire Morgan’s exhibit Stop Me Feeling will be on display at the Frist Center for the Visual Arts from February 10 through May 7.  See more of Morgan’s work at www.claire- morgan.co.uk.

If You Go Down To The Woods Today, 2015

If You Go Down To The Woods Today, 2015

Marilyn Murphy – Realism Subverted

posted by – 02/17/17 @ 3:49pm

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In honor of Marilyn Murphy‘s 37 years of service to the Vanderbilt Department of Art, The Vanderbilt University Fine Arts Gallery is currently exhibiting Realism Subverted – a collection of drawings and paintings featuring dreamlike scenes in which reality and fantasy are cleverly fused together.

Marilyn_Murphy_Oasis Oasis, 2009      Cumulus-Clouds-web In the Clouds, 2016

Hailing from Tulsa, Oklahoma, Murphy draws great influence from the action of wind and clouds.  This, alongside the unforgettable image of sugar cane fires in Queensland, Australia present themselves again and again in Murphy’s artwork.   Both muses are beautifully depicted in Oasis and In the Clouds, pictured above.

The Observers, 2006

The Observers, 2006

Her interest in film noir is also made apparent in the content of her artwork.  Her figures are rendered with the utmost attention paid to light and shadow, creating a mysterious atmosphere. She presents her characters in curious, investigative situations, emphasizing the acts of seeing, discovery, and creative processes.  More often than not, Marilyn enjoys creating narrative images reminiscent of film stills, often playing up an air of mystique and an aura of fascination.

As a child, her mother often took her on factory tours, of which the machinery and images of power and industrialization infiltrate her work.  She also draws inspiration from art deco architecture, and dessert cookbooks! A prolific artist, Murphy has done series upon series of dangerous desserts, floating objects, fluffy clouds, inverted architecture, complex machines, 1940’s era figures, maps, floating paper, and the looming danger of natural disasters. Wielding quite the formidable intellect and a propensity for dreaming, Marilyn is able to collage these images into spectacular works of art, utilizing everything from graphite, to colored pencils, and oil paint.

The Dunker, 2011

The Dunker, 2011

 

Murphy displays a healthy sense of humor blended together with an intense work ethic and unmatchable creative talent.  Her artwork has been shown in over 300 exhibitions internationally. It has been featured in many public and private collections, such as the Kemper Collection in St Louis, the Boston Museum School, the Siena Art Institute in Siena, Italy, and the Oklahoma Museum of Art. The Frist Center for the Visual Arts in Nashville, Tennessee, featured a survey of her work in 2004, and she participated in a two-person exhibition at the Huntsville Museum of Art with Bob Trotman. She is represented by Cumberland Gallery in Nashville, Adler and Co. in San Francisco, Carl Hammer Gallery in Chicago, and Blue Spiral Gallery in Asheville, North Carolina.

Realism Subverted will be on display through March 3rd, 2017. The Fine Arts Gallery is located in Cohen Memorial Hall, 1220 21st Ave. S., on the western edge of the Peabody College campus. Gallery hours are Monday through Friday from 11 a.m. to 4 p.m., and Saturday and Sunday from 1 to 5 p.m.

 

Ragnar Kjartansson’s The Visitors at the Frist

posted by – 01/27/17 @ 5:00pm

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Ragnar Kjartansson’s The Visitors is a nine channel video installation arranged in a black room on the second floor of the Frist.  Each camera is positioned in one of forty-three rooms in a historic mansion in New York, where Ragnar Kjartansson and seven friends begin a musical performance sitting alone in eight individual rooms.  The ninth camera is focused on the back porch of the house where a large group of people are sitting.

The musicians listen to the group via a pair of headphones, accompnaying Kjartansson on a cello, piano, drum set, banjo, accordion, and guitar. Without visual cues from their fellow performers, the begin to play a very complex and long musical composition. The song itself ebbs and flows in emotional crescendos and diminuendos.  Kjartansson pulls inspiration from Icelandic poet, Ásdís Sif Gunnarsdóttir, borrowing lines from her work, including the performance’s haunting mantra: “Once again, I fall into my feminine ways.”

The music evolves from meditative and melancholic to a thunderous intensity. Lasting for about an hour and a half, the song is full of quiet, mysterious, contemplative moments, alongside loud, emotional outbursts.  With each artist playing in isolation, the piece explores ideas of relationships and collaboration. The length of the performance alone lends itself to contemplating endurance in production and spectating.

Eventually, characters on each screen interact with each other and move between films.   While the characters walk from screen to screen, the audience moves to follow, blurring the line between audience and performance.  As the video ends, each performer gathers in a single room, where they migrate out of the home, continuing their melody into the distance of the Hudson River Valley.

Frist Center Chief Curator, Mark Scala, says that Kjartansson “…pushes the limits of endurance for himself and his collaborators, he congenially accepts that audiences will come and go as they please, experiencing the work in its entirety or in brief episodes. But…the reward of extended viewing is a heightened perception of differences in the repetition of a scene, musical phrase, or physical action. The whole world is contained in these variations.

The Visitors is certainly worth staying to view the entire performance.  The music is captivating, and the composition in its entirety is a romantic, mournful rhapsody.  It manages to become a portrait of the audience as well as the performers, showcasing their unique personalities and relationships, perhaps mirroring our own.  The immersive installation will certainly leave you feeling enchanted.

The Frist is currently offering free admission to view The Visitors until February 9th, 2017 while they are transitioning exhibitions.

Art Basel Miami Highlights

posted by – 12/08/16 @ 12:56pm

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The 15th annual Art Basel at Miami Beach came to a close on Sunday. It featured nearly 300 galleries from 29 countries in just five days.  Commonly the art market’s largest week of activity, Art Basel faced uncertainty in sales due to slowed growth in art markets, the U.S. presidential election, Brexit, and the presence of Zika in Miami.  Although the halls of the Miami Beach Convention Center were reportedly less crowded, dealers reported steady business. In times of political uncertainty, writer Alexander Forbes for artsy.net explains that it will take some time for any Trump or Brexit inspired policies to be enacted, and even more time after that to take effect on the art market. Even then, their interaction with the art market will be unpredictable. Galleries with diverse programs and international involvement will fare well.  Of course, Art Basel witnessed a small shift toward directly political artworks, due to the current political and economic conditions weighing heavily on artists and dealers alike.

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The sculpture park featured Glenn Kaino’s “Invisible Man” (2016) as a centerpiece.  The aluminum figure stands on a large concrete plinth. From behind, the figure is rendered in full textural detail portraying a man surrendering with his arms up.  The front half of the sculpture is sheared off into a flat, mirrored plane.  Since the the killing of Michael Brown by a Ferguson police officer, the “hands up, don’t shoot” gesture has become an iconic protest.

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Paintings, films, sculptures, photographs, installations, and performances from around the globe filled Miami.  Hyperallergic’s Rob Colvin details a plethora of paintings from international contemporary artists in the article, “Painting According to Art Basel Miami Beach.” Art Basel featured surrealist, Leonor Fini’s “Chthonian Deity Watching over the Sleep of a Young Man” (1946), which was created at a time when female artists weren’t really supposed to depict men in relaxed or vulnerable poses.

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On the other end of the painting spectrum, Katherine Bernhardt’s explosive “Untitled” (2016) is very street art inspired, rendered in spray paint and acrylic.  “Light Landscape 2” (2016), by seasoned Art Basel Painter Alex Katz is one of, if not, the largest paintings exhibited.

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Over the course of 15 years, Art Basel in Miami has doubled its size and witnessed the formation of hundreds of satellite fairs.  The number of galleries in Miami has increased from 6 in 2002 to over 130 today.

 

Sumida Hokusai Museum Opening

posted by – 11/29/16 @ 3:02pm

An article on Artnet details the opening of the Sumida Hokusai Museum in Tokyo on November 22nd. The museum features the work of Katsushika Hokusai, a Japanese artist best recognized for his The Great Wave off Kanazawa. This iconic 19th Century woodblock print, from his “36 Views of Mount Fuji” series will be on display in the museum alongside changing exhibitions featuring a collection of 1,800 paintings by the artist.  The museum also features a recreation of Hokusai’s Susanoo-no-Mikoto Yakujin Taiji no Zu, which had been lost in the Great Kanot Earthquake in 1923, as well as Sumidagawa Ryogan Keshiki Zukan, a 23 foot long scroll recovered from going missing for over a century when it was taken abroad.

(AP Photo/Eugene Hoshiko/Japan Times)

(AP Photo/Eugene Hoshiko/Japan Times)

Hokusai was a famous artist, best known for his illustrations, paintings, and prints done in the ukiyo-e genre, featuring a seemingly hedonistic urban Japanese lifestyle. It wasn’t until his 70’s when Hokusai created one of the art world’s most iconic images, nicknamed The Great Wave. The print can be seen in across the globe in museums from New York, Boston, Chicago and LA.  The print’s original conception was rooted in commercialism. The  “36 Views of Mount Fuji” series was intended to showcase Mount Fuji as a sacred icon of Japanese identity that had its own cult following.  The prints enjoyed attention on the souvenir market, as they were easily reproducible.  Japanese art historians are hesitant to call The Great Wave a definitive representation of their artistic culture because woodblock prints in that style were regarded as a form of expression and commercial printing, not fine art.

Today, The Great Wave enjoys status as a one of the most reproduced artworks in the world.  It has been referenced in films, modern graphic design, video games, album artwork, and even reproduced as a sculpture.  A smaller version of the work is even featured as an emoji!

Regina Jose Galindo at the Vanderbilt Football Stadium

posted by – 11/10/16 @ 1:31pm

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This Saturday, November 12th, at 10:00 AM, Regina Jose Galindo, an internationally recognized performance artist will be premiering a public performance piece in the Vanderbilt Football Stadium. Entitled Comunidad, this piece calls upon the Latinx community to exhibit its resilience in troubling times.  Galindo is setting out to “generate a real experience of the strength of the community,” rather than just a pictorial representation.

 

Regina was born in Guatemala and lives in Guatemala City.  As a poet and an artist, her work explores the ethical implications of social injustice. She uses her own body in performance art pieces to illustrate how institutional violence can impact the bodies of women and minorities around the world.  Her often graphic, courageous pieces serve as reenactments of violent history.  Regina calls on her audience to remember this history and use that memory as a tool against social injustice.

 

Galindo calls on the Latinx community of Nashville to create Communidad in the following video: http://www.vanderbilt.edu/clas/regina-jose-galindo

Other members of the Nashville community are invited to observe the performance piece as well.

For more information, or to RSVP, click here.