Month: July 2014

Tull & Talulah

posted by – 07/30/14 @ 7:16am

Take a look at this new painting (above) by Brian Tull, “XOXO.”  Do those red lips look familiar? Yes, that’s right, they belong to the same woman as the one featured in Tull’s 2012 piece (below), “We Walk by Faith Not by Sight.”  Who is this mystery muse?  Her name is Talulah Blue – a popular British burlesque dancer.

So how did British Blue and Nashville-based Tull get connected? Blue explains on her blog that the first painting was a result of a social media post.  After seeing photos of Blue from a 2011 photo shoot with Grace Elkin, Tull got in touch with Blue about painting the images.  Two years later, Tull has completed a second painting of Blue this time from photographs taken by Paul Needham.  This vintage-inspired piece will be featured as part of the upcoming photorealism show, The New Real 2: Figure-Focused, curated by Tinney Contemporary Gallery Director, Sarah Wilson.  Read below for additional details about the exhibition.

Brian Tull’s pieces will be featured in the upcoming exhibition, The New Real 2: Figure-Focused, at Tinney Contemporary along with works by Eric Zener, Yigal OzeriAli Cavanaugh, and Kevin Peterson.  The show will run from August 2nd through September 13th with an opening reception on August 2nd from 6 – 9 pm and a closing reception on September 6th from 6 – 9 pm.

A Fresh Take on Fresco

posted by – 07/19/14 @ 1:44pm


If you are as excited as I am to see the three new Ali Cavanaugh pieces in the upcoming show, The New Real 2: Figure-Focused, then I would highly recommend checking out this video, Ali’s World, to learn more about the artist, her process, and her sources of inspiration.  Cavanaugh, who was recently featured in the June edition of the Nashville Arts Magazine, says her process of using watercolor paint on wet kaolin clay is best categorized as “neo fresco secco.”  Describing her process in depth in one of her blog posts, she writes, “I use small controlled strokes of overlapping colors to create depth while letting the white clay surface illuminate through the pigment. These small strokes of color are built upon a wet plaster surface.”  For her newest pieces, Cavanaugh has innovated this process further by using a new type of watercolor paint that holds up to forty-percent more pigment.  This technology, combined with her meticulous layering process (one of her paintings may have as many as fifty layers), leads to pieces that are even more luminous and nuanced.  As follows, since photographs cannot fully capture the iridescent quality of these works, I am antsy to see these paintings in person.  Read below for additional details about the upcoming show.












Ali Cavanaugh’s pieces will be featured in the upcoming exhibition, The New Real 2: Figure-Focused, at Tinney Contemporary along with works by Eric Zener, Yigal Ozeri, Brian Tull, and Kevin Peterson.  The show will run from August 2nd through September 13th with an opening reception on August 2nd from 6 – 9 pm and a closing reception on September 6th from 6 – 9 pm.

Connecting Collections

posted by – 07/17/14 @ 12:29pm

Every summer, the major art museums of New York host workshops in an effort to expand the landscape of modern nd contemporary art in the classroom. Teachers of grades 3-12 are invited to attend forums on a variety of subjects at institutions such as the MoMa, Guggenheim, Met and Whitney museums. Perhaps one of the biggest concerns in the pedagogy of art is how to keep conversations alive which encourage further exploration of both past and current art practice. Programs such as these are an effective catalyst for ensuring that art stays in the classroom and that teachers and students alike can converse about some of history’s greatest works.

Connecting Collections workshop at the Guggenheim.


Through the educational efforts of museums today, teachers are encouraged to form a comradery in which lesson development is embarked upon together, expanding the paradigm of how to meet common core standards while still incorporating modern and contemporary art. Experts in the field of public pedagogy in the arts share their expertise and open up new areas where teachers can express their own creativity. It may seem daunting at first to dialogue in the classroom about more contemporary works, but through hands on learning and experimentation, teachers gain their footing in this area. Workshop activities include drawing from description, practice classroom discussions, research methods, communicating aesthetics, learning to personally connect to a piece and many more!

Contemporary works by Clyfford Still at the Met.


Workshops in progress at the MoMa.

Connecting Collections and programs like it promote the idea that art reflects our culture and thus should continue to be incorporated into the education system. For teachers all over the country, these few days become an essential part of understanding how to keep modern and contemporary art in the forefront of classroom standards, allowing generations to come the opportunity to explore their cultural heritage in a new way!


Beauty in the Overlooked

posted by – 07/02/14 @ 2:51pm

Due to the upcoming photorealism show in August at Tinney Contemporary, I decided to focus on paintings by Laura Shechter. Shechter is a Brooklyn based artist who focuses on “solving the aesthetic conundrums each photo-based painting presents.” By looking at the photo above, it becomes apparent that Shechter has an interest in making her paintings come alive through using uncommon New York cityscapes and graffiti. In the painting below titled, FSM Packing Corps, Bronx, Shechter finds ways to create a vibrant painting of what would normally appear as a soon-to-be torn down storefront. Not only does her painting bring the building to life, but it also preserves the life of the storefront and the graffiti. Shechter is drawn to the graffiti based on its intricate beauty. The recreation of the graffiti in her painting serves as an ode to the artists whose work will soon be demolished through urban renewal.

Her work helps bring the forgotten cityscapes to life in ways that a photograph cannot capture. If you want to read more about her thought process and view her other works click here.