Big Blonde by Eleanor Aldrich

Art of the Week

Where would art be without its patrons? Some may say the creative world would be in a better place sans the need for and influence of those with the financial means to commission and collect it. But, in many cases, art patronage has proven to be a powerful way of spurring and preserving cutting-edge creative work and Nashville is not without its convincing examples.

For instance, there’s the Cheekwood Permanent Collection of Fine Art, originally collected by Nashville’s Cheek family, brimming with historical touchstones of abstract expressionist, impressionist and pop art paintings. And there’s Nashville’s Frist family, whose patronage eventually yielded the city’s largest visual arts center in the Frist Art Museum. And now, on display in Channel to Channel gallery’s latest exhibition, visitors can find The Jobe Collection.

Carolyn and Brian R. Jobe are local artists and directors of the non-profit Tri-Star Arts, which highlights contemporary visual art in Tennessee through programs that promote art dialogue. They are also prolific art collectors whose joint effort to acquire, finance and preserve creative work has been ongoing since 2005. Celebrating this legacy, Channel to Channel is exhibiting pieces from their collection until January 17, 2020, in its show “15 Years.”

In addition to visiting thought-provoking examples of contemporary art, “15 Years” is the chance for attendees to think about what it means to collect such pieces, to live with them and serve as their steward to the outside world. In this sense, the collection may become more than the sum of its parts.

“This exhibition is a celebration of contemporary art, collecting and the power of living with art,” per the gallery. “Themes found in their collection include an engagement with mystery, iconography, color theory and broadly the impact of small daily encounters with art.”

Among the work on display, visitors will find Big Blonde by Eleanor Aldrich, a thickly-rendered oil painting. Even among the other pieces in the collection this work stands out for the artist’s contemporary use of texture and presence, creating a faceless figure with a surprising amount of personality.

“My work is textural and alchemical; I match materials … and techniques to the subject matter they look like, thereby approaching verisimilitude without realistic rendering,” according to Aldrich’s artist statement. “I work with a kind of mimetic literalism that embodies the subject but serves pictorial conventions as well, posing questions about physicality as the standard of reality.”

Aldrich lives in Knoxville and holds a Master of Fine Arts degree in painting from the University of Tennessee. Her work has been exhibited in Boston, Arizona and Alabama, among other places, and has been reviewed by several significant art publications.

Channel to Channel is located at 507 Hagan Street in We-Ho.

Preservation by Amelia Briggs

Art of the Week

“Playful” is likely one of the first words that come to mind when assessing local artist Amelia Briggs’ work. As in a recent show at North Nashville’s Elephant Gallery, her signature abstract sculptural “inflatables” are made from a variety of materials and invoke something whimsical and fantastic, with generously-rounded features, bright colors and unconventional shapes.

But her work is more than merely “playful” in the sense that it is experimental and zany. It also speaks to some fundamental and powerful elements of “play”: nostalgia, world building, fantasy and more. Most recently, her studio research has been built around fairy tales by Hans Christian Anderson, whose work persists as a bedrock of childhood imagination.

This research has informed “Playlet,” Briggs’ latest exhibition at Belmont University’s Leu Center for Visual Arts, open from December 16, 2019 to January 24, 2020. Within, Briggs deploys her work to help visitors recapture some of the power of play that they may have forgotten and to help them escape into worlds of fantasy of their own.

“‘Playlet’ focuses more specifically on the idea of play, the jumping off point to an invented world,” according to a press release from the gallery. “Comprised of inflatables as well as textile pieces, this show references the toys that function as tools to create or invent abstract worlds. As such, Briggs explores the means by which a child can use a simple prop to enter a vast world of their own making.”

In one example from the show, Preservation, Briggs has created something unlike anything else a visitor is likely to have seen. It embodies the inflatable nature of much of her work, but a furry exterior and colored, reflective material in the center makes it all the more imaginative. The combination of materials and shape, as well as its sheer fantastical boldness, may instill a feeling of exciting yet comfortable whimsy in a viewer — the perfect “jumping off point” for them to explore their own playful fantasies.

Briggs is a local gallery director who regularly exhibits her own work at studios throughout Nashville (as well as the rest of the country) and has been featured at Red Arrow Gallery, Zeitgeist Gallery and David Lusk Gallery, among others. She received her Master of Fine Arts degree from the University of Memphis.

Belmont University’s Leu Center for the Visual Arts is located at 1930, 17th Avenue South.

Oracle by Merrilee Challiss

Art of the Week

Among the more popular forms of visual art, representation is, in a way, everything. Paintings and sculptures are generally formed to represent something the viewer can (consciously or unconsciously) relate to — a feeling, a figure, a place. But how does that dynamic change when a visual artist works with the real thing? Rather than represent a figure through visual materials, what if they apply those materials to the actual figure itself?

It’s a challenging and engrossing question that’s answered in the latest exhibition at WeHo’s Julia Martin Gallery, “In the Key of Moon” by Merrilee Challiss, running until January 25, 2020.

The show features a range of sculpture and painting by Challiss, a multimedia artist who lives and works in Birmingham, Alabama. Perhaps most notably, it features work from Challiss’ “spirit animal taxidermy” collection, a process in which she adorns stuffed deer with sequins and costume jewelry to create pieces that seem to be coming through gallery walls from another realm entirely. The pieces ultimately convey something that the artist can feel as she works with actual animal remains: the living spirit of their former selves.

“As I ‘remake’ the animals into fantastical creatures, my hands in contact with the fur and skin, I am often overwhelmed with feelings for the creatures, for what their life was like and what their life, and death, represent in my hands,” as Challiss put it on her website. “I am interested in metamorphosis, transformation and evolution. The deer are in the act of becoming something else — a dragon, a bird, a lizard, a serpent, for example — transforming alchemically into other beings.”

Orcale provides a clear example of this alchemy. Instead of the more traditional mounting used for taxidermy, the heavily-adorned version Challiss has created appears more like a portal, an entry or exit point through which the figure is transforming — an effect that is accentuated with the use of colored lighting. The deer itself is decorated with mosaic patterns and reflective shards, elements that appear to reinterpret natural coloration and symmetries in a cosmically touched way.

The elaborate spangling is a process for the artist that may speak to the effect the work will ultimately have on viewers. As Challiss creates a spirt animal, the reverence and thankfulness she feels is clear in the elevation and celebration apparent in the final product.

“The act of asking animals for forgiveness has become a meditation in my work, and is meant for the deer as well as for all the animals of the world,” she wrote. “I believe we must all do this spiritual remediation work here in our lifetime on earth, say we are sorry, ask for forgiveness, to begin to heal our rift with mother nature.”

Challiss holds a master of fine arts degree in sculpture from the Pennsylvania Academy of Fine Arts. Her work has been exhibited throughout the Southeast, including at Art Basel, and throughout the country since the early 2000s.

“In the Key of Moon” will be accompanied by a simultaneous exhibition of drawings and pages from Kevin Reilly’s graphic novel Birthplace of the Saints and the gallery will also host a selection of pieces from jewelry designer Ruby Jack.

Julia Martin Gallery is located at 444 Humphreys Street in WeHo.

Walk Across Water By Scott E. Hill

Art of the Week

A guiding impetus for centuries of painting has been the attempt to represent sheer forces of nature, in all of their power and overwhelming glory. It’s an edict that has inspired countless landscape paintings — not to mention poems, novels and more — and one that remains just as compelling today as it was in the 19th century.

For proof, look no further than Scott E. Hill’s latest work on display at Bennett Galleries in Green Hills, Walk Across Water. While it echoes the legacy of Romantic landscapes, it does so with some thoroughly contemporary sensibilities.

“The work of artist Scott E. Hill is at once old-fashioned and sophisticated,” according to a statement provided by the gallery. “His paintings are reminiscent of a long-gone style found in the brooding landscapes of 16th century Spanish artists and the shadowy, gilt-framed works of 19th century Romanticism.”

Though the tempest in Walk Across Water harkens to the somber, overwhelming landscapes of centuries-old art movements, Hill balances this legacy force with a gentle and magical figure in the foreground. In one interpretation, this glittering insertion of fantasy may speak to the work’s underlying balance — the weight and power of landscape painting as a history raging in the background while an undaunted manifestation of contemporary imagination glides before it.

Hill grew up in Northwest Georgia and his memories there serve as inspiration for much of his work. Many of his pieces employ a technique called glazing — one that was, perhaps, most famously leveraged by Vermeer — which involves brushing oil or varnish over a layer of paint and allowing the colors below to bleed through. This adds a richly aged element to the paintings, further emphasizing the parallels between Hill’s work and the history of visual art.

However, much like the dual elements in Walk Across Water, Hill’s larger oeuvre contrasts a penchant for art history with contemporary experimentation.

“Although he works primarily with oil, Hill also experiments with watercolors, coffee stains and oil pastels, and has an impressive body of graphite drawings as well,” per Bennett Galleries. “Regardless of medium, a limited palette and a skilled hand convey a certain mood … much the same as that sense of tranquility that follows a summer storm, as well as the quiet violence that precedes it.”

Bennett Galleries is located at 2104 Crestmoor Road in Green Hills.

Rose by Dylan Moss

Art of the Week

Levity and absurdity can be more poignant lenses for exploring the human condition than overly self-serious avenues. Visual art in particular articulates this dichotomy, at once undercutting themes as complex as mortality and the passing of time while also interpreting them in valuable and thought-provoking ways (see: surrealism).

Adding to this legacy is Dylan Moss and his current show at Elephant Gallery, “Infinite Goof,” the title of which alludes to novelist David Foster Wallace’s own subversive, high/low epic exploration of life’s greatest mysteries. The show, Moss’ first solo exhibition, includes illustration, large-scale airbrush and acrylic paintings in which he wrestles with significant philosophies in unconventional ways. It runs until December 30, 2019.

“A native of Baltimore, Moss settled in Nashville in 2017 and immediately attracted attention with his unique, trippy line and subject matter ranging from social justice and consumerism to the oddity of being a human being in this insane world,” according to a release from the gallery.

Rose, a large-scale airbrush painting, for instance, puts an obvious focus on one of our most overly-symbolized blooms. But through airbrushing and emphasis on the flower’s thorns, the piece seems to beckon more toward tattooing or black light posters than it does toward, say, a Monet. The large safety pin and cartoonish hummingbird engulfed in the tangled, winding flower seem also to add to the “trippyness,” subversion and overt symbolism.

This is not the first time Elephant Gallery has put the spotlight on art’s ability to be both comedic and dramatic, perhaps even cynical, simultaneously. Its recent production of “Smoke Show” featured artists from around the country elevating one of life’s most maligned simple pleasures in original and interesting ways. The approach is becoming something of a trademark for the North Nashville curators.

Moss has exhibited previously at OZ Arts.

Elephant Gallery is located at 1411 Buchanan St.

Redskin by Omari Booker

Art of the Week

Those who follow the art scene in Nashville are likely familiar with Omari Booker. He’s a graduate of Montgomery Bell Academy and Tennessee State University; a visual artist whose work is regularly exhibited in the area; and he has served as a local curator, instructor and founder of the Jefferson Street Art Crawl.

Booker’s work often reflects issues of race and class in America, usually through a lens that is unique to his experience in Nashville. He ‘s framed portraits of African Americans using salvaged wood from demolished houses in Germantown and North Nashville and reflected on discriminatory lending practices in a local mural art project. The latest exhibition of his work here, a solo show called “Red Line” on view at Channel To Channel gallery until December 14, 2019, again elevates an issue of social justice that touches much of the country, including his hometown.

“The name [of the show] refers to the federal government’s creation of color-coded maps from the 1930s seeking to expand homeownership in America’s metropolitan areas,” according to a press release shared by the gallery. “The maps delineated areas preferred for investment based on racial and ethnic populations. Those deemed suitable for investment were outlined in blue or green while areas less desirable or considered hazardous were outlined in red.”

A historical map showing designations from the federal government’s Home Owners’ Loan Corporation between 1935 and 1940 illustrates 48 percent of Nashville in red, including its northern and eastern neighborhoods.

Booker’s work for “Red Line” includes oil portraits on wood, outlined with red razor wire. It’s a material he used to accentuate societal barriers in a mural for Frist Art Museum’s “Murals of North Nashville Now” exhibition. In a historical context, the intention might be plain — figures of historic segregation literally oppressed by violent material. But, as he often does, Booker has also made a salient point about contemporary society that may be more uncomfortable and critical to grapple with.

“Booker believes current development, though no longer driven by redlining, still follows in the spirit of segregation,” Nashville’s News Channel 5 reported. “Especially when the development involves brand new modern homes popping up in historically black neighborhoods.”

In Redskin, for instance, the history of segregation against Indigenous Americans comes quickly to mind. But Booker’s portrait for the piece is nearly identical to the logo of the Washington Redskins, a professional football team that has maintained the same controversial moniker since 1933. In this piece, it’s clear that the segregating practices that were once commonplace in the country have left a lasting legacy to still be addressed.

“As [my work for the show] progressed, I investigated how division based on race has affected nearly every aspect of society in the United States,” Booker explained in a statement provided by the gallery.

Channel to Channel is located at 507 Hagan Street in We-Ho.

June Carter by Wayne White

Art of the Week

As any Nashvillian knows, it’s fairly common for interpretations of country music and its associated icons to emphasize the commercial and cliché. Take a walk down Broadway, for instance, and you’ll see the Johnny Cash gift shop and hear countless honky-tonk covers of Jolene.

But in “Bacon Grease & The Lost Song,” the exhibition on view at Julia Martin Gallery until November 30, 2019, the history of country music is interpreted in a way that is all too rare: as fine art.

In roughly 30 mixed media pieces from artists Jon Langford and Wayne White, figures like Hank Williams, Loretta Lynn and George Jones are rendered in intimate, personal and thought-provoking ways.

“Jon and Wayne are working to preserve these artists’ legacy, by bringing it to a medium not often associated with country music, fine art,” guest curator Daniel Lonow said in an statement provided by the gallery. “The goal of this exhibit is to honor the heroes who made this city what it is, by showing the work of two of my favorite artists.”

That goal is quickly achieved when assessing nearly any piece in the show.

Death of Country Music, a 2008 acrylic and mixed media piece on wood by Langford, portrays a skeletal country crooner in cowboy boots and hat, strumming a guitar, surrounded by the lyrics of the Waco Brother’s eponymous song. It creates a visual memento mori to match, underscore and elevate the (perhaps surprisingly) intense country music ballad.

June Carter, a 2019 mixed media piece on paper by White, presents the subject in colorful yet limited fashion, perhaps to emphasize her fleeting place in memory. Carter appears in mid-dance step, the fringes of her figure fading into a stark white background. Scrawled text floats at the top of the frame. It at once diminishes Carter’s persona as a legend of country music, one who may more regularly be portrayed in larger-than-life fashion, while adding new depth and intimacy to a viewer’s relationship with her.

“I’ve been a disciple of old ’40s, ’50s and ’60s country music since I was in high school,” White told The Tennessean. “I love illustrating the intimate, looked-over human moments. The small scale draws you in. I do it as an excuse to experiment with line and color, with looking and interpreting. I also do it out of love for these musicians.”

White is originally from Chattanooga and is now based in Los Angeles. He’s worked as an illustrator for The New York Times and Village Voice, a designer for the television show Pee-Wee’s Playhouse and as an art director for award-winning music videos. He is perhaps best known for his “word paintings,” which stylize massive text in otherwise traditional landscapes.

Julia Martin Gallery is located at 444 Humphreys Street in WeHo.