Monday, August 31, 2009

Twist visits 1979

Twistin' The Night Away
At Welcome To 1979

Like Visual Art?
Like Music?

Saturday, September
12th Twist Art Galleries and
Welcome to 1979 Recording
Studio are joining forces to
present a visual art showing in an audio setting. The
event is designed to blur the line even further amongst the
arts community by engaging all 5 senses.

Upon entering visitors will experience installations by
Mandy Stolle and Nick Stoller, photographs by Elizabeth
Streight, paintings by Kelly Bondies, and prints by Beth
Gilmore. After marveling at all that the first level
has to offer, guests are encourgaged to journey upstairs for
the interactive audio portion of the night which takes place
in the recording studio. This shall include a performance
painting by Kat Dickie, an interactive artistic
collaboration/gallery facilitated by Natalie Prass, 1,000+
vinyl records that guests are encouraged to play,
refrigerator art by Jay Millar,
and snacks. Bring a friend, an open-mind, and all of
your senses.

September 12th 8
p.m. - 1 a.m
Where: Welcome
to 1979 Recording Studio

1110 48th Ave. N.
Neil "O'Neill" Anderson

Thursday, August 27, 2009

ohhh la la



Tuesday, August 25, 2009

Joe Nolan Live at Short Sets

Joe Nolan Live at Short Sets
Happy Songs That Make You Cry

a musical event

This will cost you your precious, precious time.

Tuesday, September 1, 2009

8:30pm - 9:00pm

The Family Wash

2038 Greenwood Ave

East Nashville, TN

Monday, August 24, 2009

The Last Roll: Kodachrome 64

The Last Roll: Kodachrome 64
4 photographers pay their respects in light of the death of film

Twist Art Gallery #58

Saturday, September 5, 2009
6:00pm - 9:00pm

In conjunction with the FIRST SATURDAY Art Crawl, Anthony Doling, Jonathan Rodgers, Scott Simontacchi, and Elizabeth Streight present photographs using a dying medium, Kodachrome Film.

Kodak announced only several months ago its discontinuation of the highly revered and well-loved slide film. Currently, only one lab (located in rural Kansas) will officially process this film.

Twist Art Gallery presents this funeral service of sorts...
"Peace, love, and Kodachrome!"

Friday, August 21, 2009

THE DIVINE WITHIN: Documenting the Secrets of Childhood

Children's art show ...opening Sept 5th 2009, from 6-9pm as part of
the art crawl
show runs though sept 5 -27th 2009

The Downtown Presbyterian Church
154 5th Ave North
Nashville, TN 37219

Contact: Sarah Masen-Dark

Documenting the Secrets of Childhood
At our most artful and receptive moments--Sarah Masen suspects—we all
understand that paying close attention to the creative wisdom of a
child is every bit as enriching as meditating, reading sacred text, or
taking in a good French film. For Masen, the Director of Children’s
Education at Downtown Presbyterian Church, moving out of comfort zones
and past an easy sentimentality in our openness to the what children
would show us is probably our best—our only—hope for emotional
development. Opening September 5th in collaboration with the first
Saturday Art Crawl, The Downtown Presbyterian Church presents: “The
Divine Within: Documenting the Secrets of Childhood”.
This years children’s art show features works of collaboration which
tweak the conventional mentor/mentored model. The guiding vision
places a child-artist in the role of instructor and a collaborating
adult as the recipient of theological instruction afforded by the
child. This partnering flips the script on curriculums often
associated with churches (Point #1 “You’re a sinner”) and presumes,
from the outset, what Masen frequently cites as “thealready holy
spirit” of the child. Prepare your hearts for illumination. Opening
begins at 6:00pm. Light fare will be provided for small and grown
If you would like more information about this show, the participants
and origins, or to schedule an interview with Sarah Masen, please call
her at (248)505.1476 or email her at

The Downtown Presbyterian Church
154 5th Ave North
Nashville, TN 37219

Wednesday, August 19, 2009

life on mars? maybe , come back in time with the Twist Art Gallery to 1979

Twist Art Gallery and Welcome to 1979 studios present a show ing of visual art in an audio environment September 12th 2009 starting around 7 pm till whenever we feel like it. expect wax tracks and snacks as usual for the studio and a dance party!!

visual artists include:
Liz Streight
Mandy Stoller
Nick Stolle
Kelly Bonadies
Beth Gilmore
and others....

twist art show in 1979 september 12th 2009

Sunday, August 16, 2009

even more mad men happiness

Mad Men me 2

Mad Men me

Thursday, August 13, 2009

A shift in perspective yields hidden meaning in Angela Burks' arresting work

A shift in perspective yields hidden meaning in Angela Burks' arresting work

Nashville Scene
By David Maddox
Published on August 12, 2009 at 8:10am

Paintings By Angela Burks
Through Aug. 29 at Twist Art Gallery

Artworks can have an uncanny ability to change character in front of your eyes. An initial impression, perhaps triggered by the most vivid element in the piece, may suggest one set of qualities—hot or cold, violent or peaceful—or subject matter that reflects either world events or private dramas. As you spend time staring at the thing, sometimes it turns 180 degrees, and what seemed dark now seems light. The paintings by Angela Burks at Twist Gallery play these games. Initial impressions of violence give way to something much more measured, and overtones of historical cataclysms blend into portraits of everyday life.

This show at Twist marks the first solo show in Nashville by Burks, a faculty member in the art department at MTSU, and it also marks Twist gallery's third year of operations. Twist has become a reliable source for just this sort of opportunity—a thorough look at local artists who have developed a mature body of work.

By virtue of size and composition, two paintings of a person seated in a simple interior may draw a viewer's attention first. In both, the person's face explodes into bloody slashes of red. It seems like a premonitory forensic picture, catching the person in a calm moment, but imagining violence to come.

This is a case where getting closer changes the painting. The red colors are an undercoat, covering much of the canvas and seeping out in seams of windows or the outlines of a baby doll. Seen this way, the red elements read like a sketch of the body's interior musculature, as if Burks started with illustrations from Gray's Anatomy and then layered on skin. From this perspective, the painting is not a premonition of violence, but a piece of careful, almost scientific construction. The quiet interiors are not about to erupt in noise and destruction, and the vivid colors reveal life underlying the surface, not death to come.

Those two paintings are older. The more recent pieces in the show continue to work with processes of rupture, but move into different images and materials. They are painted on quilted or floral print fabric, and several combine images of the female body with discordant elements like train wheels, planes or ants. The most striking take the fabric out of a frame and present it hanging loosely.

One set of paintings uses a whole sheet of fabric, hung unframed but stiffened with glue. They show a woman's body, but in each case her head is not visible—either obliterated by a thicket of trains where her head would be, or cut off by the framing of the image. The flesh is intimate, but the person is anonymous; the trains and planes intrude into the quietness of a human body at rest.

Another set of paintings goes a step further by working with shredded pieces of fabric. After dipping them in glue and letting them take a shape, Burks paints on a bit of a female body, like arms crossed against the chest. Over this layer she applies prints of ants—producing a woman's image atop shreds of household detritus, her space literally invaded. The juxtaposition suggests someone holding on to her sense of self in the face of decay.

Burks got her MFA from Tulane, and it is tempting to see these paintings in reference to New Orleans and the destruction left by Katrina, whose floodwaters scattered the ruined contents of people's private lives. But this is another case where first impressions give way to something quieter. The combination of materials and images suggests the way the physical and social lives of women intertwine with life's inevitable imperfections. No one needs a cataclysm like Katrina to have an experience of fragmentation, decay and unwanted intrusion.

What's more, the sense of these paintings as fragments gives way to a more integrated vision. The loose fabric, like a sheet, begins to take on the shape of the bodies it covers. Any time a painting betrays its three-dimensionality with visible variations in surface depth, it moves toward sculpture. Burks' bits of stiffened fabric are objects as much as images. In the case of the full sheets, they resemble nothing so much as the Shroud of Turin, the sheet of cloth said to retain the impression of Christ's dead body.

The shredded paintings come across as relics in a more secular context—scraps of material culture awaiting excavation. The shredded fabric takes on complex shapes that look more like the shape of a body, not just something to cover it. Here, a woman's body converges with cast-off bits of domestic life and even invading pests. In the end, what seems to telegraph disintegration unveils a process that deeply integrates shapes and images. Angela Burks' paintings may touch upon decomposition, but in truth they compose themselves as you look.