Category: Miscellaneous

ArtFields 2017

posted by – 10/11/16 @ 3:03pm

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ArtFields is a public charity created by the Lake City, SC Creative Alliance, whose mission is to contribute to the area’s education and community through creative and cultural development, connecting people through the arts.

Art fields is a weeklong celebration and competition honoring artists of the Southeast. Over 400 submissions by emerging and established artists will be displayed in locally owned venues, such as renovated warehouses, upscale restaurants, boutiques, and art galleries.  The program is offering life-changing amounts of money to artists of all media who live in Southeastern states.  A panel of judges made up of acclaimed artists and educators will be evaluating the work and awarding over $100,000 of prize money up for grabs.  $50,000 for the Top Prize, $25,000 for Juried Panel prize, and two $12,500 People’s Choice.  Various smaller prizes will be awarded, including $1,000 for a portrait painting contest!

The submission deadline is November 16, 2016, and the event will take place April 21-29, 2017.

Visit http://www.artfieldssc.org/ for more information.

Inka Essenhigh at the Frist

posted by – 10/04/16 @ 2:40pm

In Bed

In Bed, 2005

Inka Essenhigh is a New York based painter whose surrealist paintings feature dramatic figure distortions, moody palettes, impossibly vibrant hues, and mythical landscapes.  She manages to transform simple every-day situations into extraordinarily fantastic scenes from a fictitious world. Drawing on imagination, Essenhigh creates intricately detailed topographies, pulling viewers into a whole new realm of existence.

Her influence by modern Surrealism is especially apparent in In Bed, depicting a malformed humanoid blob writhing in a sea of undulant, animated blankets, battling an army of its own inner demons.  She often includes influential, dark, psychological intimations, inviting a contemplation of the unknown. Viewers are then lent to the mercy of their own imaginations.

Green Goddess II, 2009

Green Goddess II, 2009

Essenhigh also revives myth and antiquity, often including characters of lore, gods, goddesses, nymphs, sprits, and elves in her paintings.  Green Goddess II and similar are redolent of animism. The woodlands are depicted as a sentient creature, leaving the relationship between nature and humanity equivocal.

Spring Bar Scene displays a hallucinogenic theme, casting slimy, green characters in a boozy, uncouth atmosphere. The bargoers seem raucous; they sway and carouse while the bartenders maintain a seemingly affectionate demeanor.  Essenhigh recontextualizes the bar atmosphere into a grand, whimsical new territory where her ghoulish characters are fused together and their energy animates the composition.

Spring Bar Scene, 2008

Spring Bar Scene, 2008

A selection of the artist’s paintings and drawings in Inka Essenhigh: Between Worlds are on display at the Frist Center for the Visual Arts in the Gordon Contemporary Artist Project Gallery until October 9th, 2016.

Native American Artists Redefining What It Means to be “American”

posted by – 09/13/16 @ 3:43pm

Since the approval of the Dakota Access Pipeline project in July (and well before this), Native Americans have been peacefully protesting their mistreatment.  In particular, they’re working to preserve sacred and cultural sites.

At the same time, as discussed in Hyperallergic’s article, “Native American Students Fight to Remove Colonial Imagery from University of New Mexico,”  Indigenous people are rejecting labels and stereotypes perpetuated by the current Colonial American Narrative.

Cleopocahantra by Meritt Johnson

Cleopocahantra by Meritt Johnson

As art parallels history, Contemporary Indigenous Artists are growing in popularity alongside these events, such as those featured at the Cross Currents exhibition at Metropolitan State University of Denver in late 2013-2014.  More and more frequently, they are being given a voice to fill in historical gaps, preserve their own culture, and contribute to the current cultural conversation. Each artist in the exhibit explored topics of marginalization, stereotypes, and the deeper meaning of identifying as an Indigenous person in the United States.  Exhibits like this one give them a unique opportunity to draw attention to both historical and current progressions in the treatment of Native Americans.

(No)otalgia by Cannupahanksa Luger

(No)otalgia by Cannupahanksa Luger

Tinney Contemporary celebrates 10 years

posted by – 08/04/16 @ 2:47pm

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This Saturday, August 6th, Tinney Contemporary will be celebrating our 10th Anniversary by officially opening up our next exhibition titled, “A Decade in the Making: A 10th Anniversary Exhibition”. Established in 2006 by Susan Tinney, Tinney Contemporary was the second gallery to open on 5th Avenue and was a founding partner of First Saturday Art Crawl, one of the most visible and well-attended art events in the city. The First Saturday Art Crawl, a now well-known and widely celebrated citywide event, will also be celebrating its roots at its 10th Anniversary in August. In August of 2006, the first art crawl featured only a few Nashville-based galleries: The Arts Company, the Twist and Dangenart in the Arcade, and TAG. Though Twist and Dangenart no longer exists and TAG has become Tinney Contemporary, the art crawl continues to thrive and draw hundreds of visitors to 5th avenue on the first saturday of every month.

StyleBlueprintGuide_Tinney_Contemporary_PRODUCT_08-2014-1Since its founding, Tinney Contemporary has striven to present work that is collectible yet also thought-provoking. This challenge has led the gallery to exhibit work by some of the top artists in the region and around the world. Most recently, Tinney featured a three month long guest-curated exhibition featuring the work of several internationally known street artists with the goal of bringing a significant contemporary art movement to Nashville.

“A Decade in the Making” will feature works by Tinney Contemporary artists who have been with the gallery since its founding, as well as recent additions. The featured artists include: Andy Harding, Anna Jaap, Béatrice Coron, Carla Ciuffo, Carlos Gamez de Francisco, Claire B. Cotts, Dorothy O’Connor, Eduardo Terranova, James Perrin, Jane Braddock, Jason Craighead, John Folsom, Kay Ruane, Kuzana Ogg, Martica Griffin, Mary Long, Patricia Bellan-Gillen, Peri Schwartz, Sky Kim, Stefany Hemming, and Tom Brydelsky.

We hope to see you there!

Cambodian War Widows Use Art to Share Their Stories

posted by – 07/19/16 @ 12:47pm

Seven years ago, Khmer artist and poet Chath Piersath and artist Mary Oestereicher Hamill began The Cambodia War Widows Project, a project that explored photography as a form of art therapy and focused on widowed women in rural Cambodia. Today, the series of photographs, as well as paintings by Piersath, are currently installed at Sangker Gallery in Battambang.

DSC04612-e1465531333149The project stems largely from Piersath’s strong personal ties to the Cambodian war widows – he is a refugee, while his mother and two sisters are all widows of war. In 1971, Piersath was born in what is now the Banteay Meanchey Province, where he fled the Khmer Rouge by crossing the border into Thailand. At the age of 10, he reached the USA and didn’t return to his homeland for 13 years. Piersath always dreamed of returning to Cambodia and helping to rebuild his country, and in 1994 he moved back and volunteered for the Cambodian-American National Development Organization, which helps alleviate poverty. The Cambodia War Widows Project began with Piersath simply having conversations with and collecting stories from war widows in a village near where he grew up and where his sister now lives. While conversing with widows and developing ideas for the project, Piersath met Hamill, a New York-based Princeton-graduate, who first visited Cambodia in 2006. The two decided to collaborate and combine

Piersath’s plans for an oral history project with Hamill’s multi-media based practice.

In Khmer, “widow” (written “មេម៉ាយ,” and pronounced “may my”) is the same word as “divorcée,” and both are treated with equal disrespect. In the words of Piersath, “women who lose their husbands are often looked down upon. They face social isolation and discrimination.” Though it is hard to be a widow anywhere, it is particularly hard in Cambodia – society is superstitious of widows and blames divorcees for their misfortune. Widows are also discouraged from remarrying and often are forced out of economic necessity to return home and live with their families, a further disgrace. The Cambodia War Widows Project creates a community amid previously socially isolating circumstances, where widows can discuss their losses, with Piersath and among each other.

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The final artworks are prints on pillows that hang from the ceiling and feature objects that remind the women of their husbands. The faint blue prints on the dangling pillows appear dreamlike and faded, resembling the memories that the objects hold for these women of both their previous lives and their deceased husbands. Piersath chose to use pillows because of their significance in marriage – during a wedding, it is Khmer tradition for the bride and groom to place their hands together on pillows and have strings tied around their wrists to bless the newlyweds. Later, when the couple shares a bed, each has his or her own pillow that, when the individual dies, is left behind empty and reminiscent of the union’s missing half.

Piersath says, “My interest is to look at how they [the widows] adjusted their lives to these losses and how they manage to survive, and what lessons other people in the world can learn from them.” The project’s installation does portray small and beautiful hints of the intimate and moving stories of this group of women. More importantly, however, the project aids in creating positive dialogue in this rural village. Although perhaps a very small act, bringing these women together, to share, connect, and build out of their loss is an empowering act that the installation only begins to capture.

 

Lord of the Thrones

posted by – 06/28/16 @ 11:43am

Berlin_Tomas1On June 2nd in San Francisco, Spoke Art Gallery opened up a show entitled, “Lord of the Thrones”. This show serves as tribute to the two greatest fantasy epics of all time, Lord of the Rings and Game of Thrones, that have defined the fantasy genre for our time. The works featured were inspired by the works of J.R.R. Tolkien and George R.R. Martin. Over 70 internationally recognized artists were invited to participate, and they created an array of original paintings and limited edition prints that featured everything from character portraits, iconic themes and motifs to extremely detailed environments.

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The major link between the two series is the incredible amount of detail that both Martin and Tolkien poured into their hand-crafted worlds. Both authors have not only created a setting, but an entire culture, filled with different peoples and creatures, each with their own language and customs. Both authors also include a complex story line and an element of the epic. Because of this abundant detail, the featured artists had a vast amount of subject matter to choose from, and the wide-ranging and beautifully rendered work of the show reflects that freedom. The pieces reveal themes of loss and triumph, knowledge and sin, but above all the power of fate.

Several of the participating artists include: Stuart Whitton, Bruce White, Geoff Trapp, Maria Suarez-Inclan, Deangus, Meghan Stratman, Nick Stokes, Allison Reimold, Rebecca Rose, Michael Ramstead, Rich Pellegrino, Ruel Pascual, David Moscati, Guillame Morellec, PJ McQuade, Jeff McMillian, Paige Jiyoung Moon, Jeremy Hush, Gene Guynn, Sam Gilbey, Monica Garwood, Alex Garant, James Eads, Matt Dye, Emily Dumas, Sandi Calistro, Adam Caldwell, Joshua Budich, Robert Bowen, Eric Bonhomme, Cory Benhatzel, Oliver Barrett, Derek Ballard, Mia Araujo, Brianna Angelakis, Paul Ainsworth, Bungaloo, Epyon5

Askew defines difference between “Graffiti” and “Street Art”

posted by – 06/23/16 @ 12:15pm

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Askew, a New Zealand-born artist, has worked with both graffiti and street art. However, he considers his own work “post-graffiti”. Often tossed under the label of street artist, Askew argues that there is a definite distinction between street art and graffiti. Askew also views large scale muralism as a category of its own, rather than either graffiti or street art.

He claims that graffiti differs from street art in that it is a wholly dissimilar experience and lifestyle from street art. Askew says that young graffiti artists respond to very specific energies and situations that comprise a distinct experience that is not often found through street art. Many early street artists in Auckland seemed to have a formal art education, while many graffiti artists did not. In addition, many street artists include characters and other public friendly images, while graffiti artists tend to shy away from characters. Instead, they create the illusion of characters through the contorted shapes of the letters. However, this often leads to the public hating the work of graffiti artists, applauding the more relatable wheat paste and stenciled images of street artists.

47_askew_bushwick_2016-594pxhPerhaps the largest difference between graffiti and street art is the risk factor. Much of street art is prepared elsewhere and then applied, whereas graffiti artists create their work in the moment and with much higher risk due to its illegality. For Askew, graffiti is associated with intense pressure, high risk, violence, paranoia, loss and heartbreak. Success is fleeting, and the sacrifice is immense – there are many broken people in graffiti. Furthermore, success in the graffiti world often doesn’t transfer to success in the art world or even in society, and you get no recognition except from the few others in this small world.

Askew claims that the term “Street Art” is too liberally applied, and it doesn’t reflect the entire scope of graffiti, street artists, muralist artists and others who work outdoors. He hopes that “festival organisers, curators, galleries, academics and the media become a bit more respectful of these distinctions”.

Contemporary Female Artists Diversify Portraiture

posted by – 06/21/16 @ 11:55am

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Jordan Casteel, Miles and Jojo, 2015. Image courtesy of the artist.

Last February, the Metropolitan Museum of Art’s European Paintings department featured the first-ever solo exhibit of Élisabeth Louise Vigée Le Brun, an 18th-century French master who is often overlooked in favor of her male contemporaries. This exhibit was the first solo show for a female painter at the Metropolitan Museum of Art’s European Paintings department in over 40 years.

Today, many women are exploring figurative painting, particularly the way that people respond to the topics of this century, such as gender, race, war and violence, social media, personal privacy, and love. Building on the progress of female masters from previous centuries, such as Alice Neel, Leonora Carrington, Faith Ringgold, Nicole Eisenman and Mickalene Thomas, these contemporary female artists are exploring how the big political questions of today influence our perception of what it means to be a human.

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[Left: Amy Sherald, Girl in Purple Dress, 2016; Right: Amy Sherald, Miss Everything (Unsurpressed Deliverance), 2014. Images courtesy of the artist and moniquemeloche, Chicago.]

20 female artists in particular are lauded for their unique and perceptive portrayal of their subjects: Jordan Casteel of Colorado, Sanam Khatibi of Iran, Becky Kolsrud of Los Angeles, California, Nina Chanel Abney of Chicago, Illinois, Pamela Phatsimo Sunstrum of Botswana, Genieve Figgis of Ireland, Tschabalala Self of New York, Alejandra Hernández of Columbia, Jesse Mockrin of Los Angeles, California, Grace Weaver of Vermont, Hayv Kahraman of Iraq, Gina Beavers of Athens, Greece, Louisa Gagliardi of Switzerland, Firelei Báez of New York, Amy Sherald of Maryland, Aliza Nisenbaum of Mexico City, Mexico, Mira Dancy of the UK, Anna Bjerger of Sweden, Heidi Hahn of Los Angeles, and Emily Mae Smith of Austin, Texas.

Each of these talented women has created a personal style and method of portraying her subjects, and their pieces are inspiring in the contemporary art world, as well as promising for the future.

New York Artist Creates a Masterpiece Using Pigeons

posted by – 06/14/16 @ 4:37pm

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Artist Duke Riley’s project, “Fly by Night”, uses pigeons to create a work of art. Riley’s project is essentially a performance – the audience waits for 90 minutes along a Brooklyn waterfront for the sun to set and stars to emerge, when 2,000 homing pigeons, each fitted with an L.E.D light, will take the to air and create intricate, swooping patterns of light against a Manhattan backdrop. It was created to draw the attention of New York City residents towards the sky and the 2,000 pigeons that also call that city their home. Riley directs the pigeons from above, standing on the deck of an aircraft carrier in the Brooklyn Navy Yard.

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The home of the pigeons is the Baylander, stationed in the Brooklyn Navy Yard. This decommissioned and refitted naval aircraft is now home to the pigeons, who a century ago, would have carried mail for military purposes. Though many New Yorkers now view pigeons as merely a nuisance in their bustling city, the project that Riley has created gives the birds newly-found captivating and beautiful qualities.

Though the performance is organized and directed by the artist, it is by no means perfectly orchestrated. The birds have a directed course that they are urged to follow, however, many stray birds rebel, flying far from the other birds to observe the human audience below, even swooping close to the seated viewers. Other pigeons fly away mid-flight, intersecting the careful arcs and flying patterns of the flock.

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Through his project, Riley tries to create for the audience the sense of wonder that he finds in observing only one pigeon. Even in a city sick of them, pigeons are still marvelous and beautiful to Duke Riley, and his project calls light to that child-like wonder. His work will grace the Brooklyn sky throughout June.

 

Opportunity for Artists to Gain Gallery Advice

posted by – 06/14/16 @ 2:15pm

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Thursday, June 23, will  jump start a two-part informational series hosted by galleries and geared towards artists. From 11:30 am to 1 pm at The Arts Company gallery, artists are invited to attend a seminar that will relay information about getting into the gallery scene.

Part I of the seminar will consist of a panel discussion monitored by Kirk Schroder, a nationally recognized entertainment attorney with significant expertise in visual art law. It will feature representatives from several galleries in Nashville, including The Arts Company, The Rymer Gallery, Red Arrow Gallery, Zeitgeist Gallery and our very own Tinney Contemporary. The discussion will give artists information on getting into the gallery scene, the responsibilities of each party when in a gallery relationship, how to successfully approach a gallery, how contractual relationships function and much more.

Part II of the seminar is scheduled for Monday, October 17 from 2-5 pm, and attendees of the seminar will be able to register for a portfolio review with the galleries that are featured in the panel. Participants in Part II must have attended Part I to be eligible.

Seminar: $10 Members | $15 Nonmembers

Seminar plus CLE Credit for lawyers: $35 Members | $50 Nonmembers