Monday, May 31, 2010

Souvenir: part 2

Souvenir: part 2


Beth Gilmore's senior show for Watkins College of Art and Design



Souvenir: part 2 ...continuing at Belmont Mansion ..

.opening June 11th 2010 from 6:00pm till 8:30pm.

show runs June 11th through June 30th


this show includes new pieces not seen at the Downtown Presbyterian
Church part 1 opening.


Belmont Mansion
1900 Belmont Boulevard Nashville, TN 37212-3757 - (615) 460-5459
Open Mon-Sat 10am-4pm; Sun 1pm-4pm

David Lynch on Consciousness, Creativity and the Brain (Transcendental M...

Saturday, May 29, 2010

Intercessors/Icons at Twist Art Gallery







Nashville Scene
Intercessors/Icons at Twist Gallery
When: Thursdays-Saturdays. Continues through June 26
Opening reception 6-9 p.m., June 5.

Lately, local multimedia artist Margaret Pesek's muses have been visiting in the forms of the Catholic-style saints she celebrates in her homemade, goofball reliquaries. With titles like “Patron of the Romantically Ambiguous”, “Protector of New Restaurants” and “Our Lady of Perpetual Medication”, Pesek brings a healthy dose of humor to her creations which are fashioned from disparate materials including: photographs, jewelry, wood, stones, dolls and artificial flowers. To hear Pesek's side of the story, purchasing one of her ironic icons might grant the buyer an inside track with the almighty. “There seems to be a saint assigned as a go-to for almost any problem,” she explains. “It's always left me feeling very much protected in a large and uncertain world.” Amen.
— Joe Nolan

Friday, May 21, 2010

Don't Forget tonight is the: We ART Nashville: Flood Relief Benefit

Don't Forget tonight is the:
We ART Nashville: Flood Relief Benefit

Please join us tonight from 6 p.m. to 9 p.m. for the "We ART Nashville" fundraiser benefiting the Community Foundation Disaster Relief Fund.

In addition to a great show, we will have a piece of the Chocolart Art series by Isle of Printing and Olive and Sinclair chocolate for sale. For $10 you get a limited edition print from Isle of Printing wrapped around a bar of local Olive and Sinclair chocolate. 50% of the proceeds from the sales of the 2.75 oz bars will go to Hands On Nashville. The BAIL OUT BAR was created to help raise funds and awareness for the flood victims


Artists showing at Twist include:

Patrick DeGuira, Brady Haston, Keith Herzik, Mark Hosford, Chris Kerr, Jennifer Leach, Lesley Patterson Marx, Hans Schmidt Matzen, Bryce McCloud, Paul Nudd, Onsmith, DeeDee Scacci, Tom Stack and Manuel Zeitlin

Wednesday, May 19, 2010

more good press for Twist Art Gallery

http://www.nashvillepix.com/

Munger & White at Twist Gallery
Story by Sara Estes
Printmaker Jessica C. White and bookmaker Elizabeth Munger have occupied the downtown Arcade’s Twist Gallery since the opening at the January Art Crawl. The exhibit contains prints, drawings, mixed media paintings and books fashioned out of tympan paper. White and Munger both graduated from University of Iowa with an MFA in printmaking and a graduate certificate in book studies.
Curator of Twist Gallery Beth Gilmore said that she met the two women through Jerry Dale McFadden, gallery director and owner of the former neighboring Arcade gallery TAG. Gilmore immediately fell in love with the artists’ work when she saw White’s “Hellfire” print, which depicts a storybook-like scene of a young girl standing atop a hill with a rabbit and deer peering down at a massive fire in the distance, under which is written “It’s not hellfire. It’s just a regular fire.” As she lead me to the framed 16 by 12 inch print, Gilmore raved, “If you can have a favorite child of a show, this is it!”
Munger and White’s body of work synchronize quite well in this exhibition. At first glance, their work seems naïve and child-like, but as you venture into the details, it becomes apparent that the subject matter is much darker. White’s artwork contains imagery one might find in children’s books; however, the borderline sinister text provides a balancing layer of real-life metaphor. Playful and thought-provoking narratives are strung across long canvases in fragmented sentences. In the ink and watercolor piece titled “Heroes and Criminals,” White sparsely inserts enigmatic sentences such as “Could be an act of heroism or a crime. Occcasionally it is both” and “They feverishly worked on, unaware of the futility of their actions.”
In the large scale painting “The Inspection,” White uses simple and repetitive ink and watercolor line drawings to depict the story of a group of kids poking wooden sticks at an invisible entity. The children are accompanied by captions like “What is it?” and “I think I saw it move.” There is an underlying sense of panic and mystery beneath the images.
Munger’s body of work consists mostly of artist books with a few paintings and poems on display. She produces small handmade books with a vast array of subjects and employed materials.
I was intrigued by the first piece I came to in the gallery. Munger’s dark and daunting book, “A Murder by Ocular Sinister,” offset the lighthearted veil that seemed to cover the entire exhibit. Beyond the insouciant first impression of her work, there is a wealth of imagery that evokes feelings of fear and predation. When I asked the artist about her motivation for the dark subject matter, she replied, “Much of my art is self exploratory. I tend to process information slowly, and by working on ideas, thoughts, and experiences in a visual manner, I can take the time to understand them better. A lot of these tend to be geared toward emotions that I’m having a hard time with such as loss, depression and the passing of time. By putting these feelings out there, I hope to be able to connect with other people. “
The closing sentence in her letterpress book, “A Wolf in Sheep’s Clothing,” reads, “I’m always afraid that I am the wolf.” I had the chance to ask Munger what that particular line meant to her. “It is an inner conflict that I have with myself about who I am, and whether or not I am who I project myself as,” she said. “Although I don’t believe you can be one without the other, good or bad, I worry a lot about self motivations, and whether or not I’m being a good person regardless of the consequences.”
Each artist has a press of her own that can be found online. White’s print shop and bindery, called Heroes and Criminals Press, has images, a book shop and description of her printing accessibilities. Munger is behind Wolf in Sheep’s Clothing Press.




Christy Showcase at Twist 58
Story and photo by Sara Estes
I am sad to announce that Twist’s sidecar gallery, Twist 58, has hosted its final show. Located in the top floor of the Arcade, Twist 58 had been a brilliant venue, hosting a variety of emerging local artists and displaying installations and unpredictable, atypical work.
The last show featured the work of Nashville artist Matt Christy. A graduate from Watkins College of Art and Design, Christy’s metier is the versatile collage. In his show titled Wrench, Rupture, Suture, he interpreted collage through painting, drawing, photography, digital composition and installation. Despite being a traditionally-trained artist, Christy is known for his sexually explicit imagery, complex themes and undertones, and his work appears to have been executed by a random, angst-ridden, hormone-raging teenager. Make no mistake, that characteristic is just what he intends. “The work is meant to be relatable. I’m not interested in showing people a perfectly rendered painting.” And if it’s true that showcasing a perfected skill can arrest the viewer from moving onward into the conceptual content of the work, Christy insists that he will have none of it. “I like when people can look at my work and say ‘I could’ve done that.’”
When asked about the thematic and aesthetic schemes of his show, Christy said, “I want my shows to have the quality of a sketch, yet the viewer has the sense that it is fully-rendered and complete.” He said his aim was to create an atmosphere dripping with “low-brow pleasure.” He used packets of Sweet-N-Low in a collage and in a tissue box piece, claiming that the ordinary condiment was a perfect symbol for his artistic concepts. The empty tissue box was a particularly attention-grabbing visual element. Due to the juxtaposition with collages showing butchered images of fashion models, the tissue box pulled open by ribbon bore an uncanny resemblance to female genitalia. It was blatant, crude sexual innuendo that forced the viewer to take a trip into the gutters of their mind with Christy as their tour guide.
Christy said that he spent a great amount of time examining the concepts of “the frame” and “the stain.” Each collage was framed in a specific and distinctive way. “I examine what is inside the frame just as much as what is outside the frame,” Christy said. “I use the frame as a metaphor.”
The stain, embodied in the muted pigment smeared on the gallery walls, was a visual conduit for the “ephemeral, fleeting nature of pleasure.” This concept also tied into his photographic work, which included images of ice cubes melting atop three different photographs. “The photographs catch pleasure in the moments of its passing. They catch bliss, intimacy between words. They are quiet moments of play,” explained the artist.
Christy is an artist-in-residence at Studio 1 at the Scarritt Bennett Center. Tour his studio and check out his new work at the Studio 1 Open Studio Night in March 2010.

What comes after postmodern?

Beth Gilmore


What comes after postmodern?

What comes after Post Modern? There have been many art movements and
periods throughout time. What will the people and artists of the
future call our current period? There is a quote which I need to look
up the name of who said it.. i really hope someone said it and im not just imagining things again… culture is like water, fish are in water
like we are in culture. Do fish know that they are in water? Do we
know we are in culture? What are the cultural markers that will define
us as a people to those in the future who will study us? Are landfills
the archeological goldmines of the future?


The future is already here - it is just unevenly distributed. William Gibson

The past isn’t dead. It isn’t even past. William Faulkner

In medias res: we enter in the middle of the story. Post-modernism is still going on from what has been told in the casual survey that I’ve been conducting in the hallways here at school and also online through various social media outlets. I have found many different answers. Many agree that we are not past post modernism at all but still immersed in it under the guise of several names. what do you think?

beth.gilmore@gmail.com

we art nashville

Nashville Scene
We Art Nashville Flood Benefit
When: Fri., May 21, 6-9 p.m.
The last First Saturday Gallery Crawl was the wettest on record, due to the tragic flooding in Middle Tennessee. Another, lesser tragedy was the miscommunication that found Fifth Avenue galleries effectively “canceling” the Crawl while their neighbors in the Arcade, the Downtown Presbyterian Church and Estel Gallery crawled on. This event will give Nashville gallery gawkers a chance to see what they missed the first time around, while providing much needed support for flooded friends and neighbors. It will also give the downtown art venues a chance to reboot and reconnect regarding the monthly mass convergence that owes its success specifically to the participation of the wide variety of venues on Fifth Avenue and beyond. Venues for this event include the regular Fifth Avenue and Arcade galleries as well as the Frist Center. $10 suggested donation.
— Joe Nolan

theprojectcontinues

the project continues......

Monday, May 17, 2010

Anthropology Ethnographic project

Beth Gilmore

Anthropology

Ethnographic project for Molly Graves awesome class

“Look at this (a pocket watch). It's worthless - ten dollars from a vendor in the street. But I take it, I bury it in the sand for a thousand years, it becomes priceless,” said Beloq, a character in the feature film “Indiana Jones and the Raiders of the Lost Arc.” Beloq refers to how everything that was old was once new and commonplace. And everything that is in a museum was once part of a modern culture. Today, people tend to view museums as being about the past and galleries as being about the future. Everything that is around us now could be in a museum some day. At Belmont mansion, the employees look at the dance cards, the luggage tags for the first time someone leaves home, and the scrapbooks. They are all souvenirs. The word “museum” comes from Latin and also Greek, and means “temple or place of the muses.” Museums are dedicated to the arts and protecting collections of all different kinds of things from the past. They preserve memory. Galleries preserve something else entirely. By focusing on the differences between the people who go to galleries and the people who go to museums, one may derive meaning or a sense of connection between the two.

Museums are collections. To be a museum, an organization technically needs to have a collection. Galleries do not have permanent collections, but rather show bodies of work temporarily, which represent artists. Museums are examples of public collections. There is evidence of humans collecting as far back in time as human life has been found. There are paintings on cave walls. Archaeologists find objects made of shells and bones. The very terms hunter and gatherer speak to humans as being collectors. In the 18th and 19th centuries museums became public, as opposed to being private recently. Most of the time showing exotic finds from far away brought back to Western Europe. In some ways, collecting is a reflection of a human’s need to control the world around him or her by controlling the objects that represent what they desire.

To investigate the differences in perceptions around museums and galleries, I put together a brief survey of the following questions:

What is a museum?

What is an art gallery?

How are these two places different from each other?

What purpose do these places serve in society, civilization, etc?

Why do we as people collect things?

What do you collect?

Responses came in through email and twitter from a broad range of individuals, from all walks of life. Their responses are outlined and explored below.

Nashville Native, Film Collector

"Galleries are dirtier than museums and they are more likely to provoke arguments and hugs. Museums are cleaner and safer, so that conflicts are patiently mediated and thus encased in emotional bubble-wrap. There are no hugs," says Tom Wills, who has a large collection of 16 mm films. Wills is a Nashville native and a supporter of the arts in his community. His perspective is amusing and unexpected. It shows how the humanity is removed from object in a museum and emotions are on full display in galleries.

Pastor, Theologian

"I don't care to go to a museum more than once or twice a year but I have always wanted to live in towns that have art museums. I think the presence of a museum or gallery has a positive effect on local culture, " says Ken Locke, who once collected coins. Locke is the Pastor of the Downtown Presbyterian Church in Nashville, TN. Locke was born in Hong Kong, served in the army, came from a conservative background, and became a Presbyterian minister later in life, which wasn’t part of his original life plan. His response is interesting as it gives the perspective of someone who is not immersed in the arts. His response is surprising because his life experiences wouldn’t necessarily lead him to that conclusion.

Tweep, Stranger

In answer to the question, "Why do we as people collect things?" which was posted on Twitter, follower "Pete Newcurator" posted the following response: "Too big a question to ask. Status? Addictive materialism? Intense interest?" "Pete Newcurator" makes a good point. In the past putting away grain for the winter, grain for the harvest, fruit canning, and preservation of food over the course of winter was not only a status symbol but security for the lives of your family members. A happy home has a full pantry. Many responses, like this one from a communication and marketing method developed within the last two years, came from surprising places. Although "Pete Newcurator’s" real name is unknown, a question like was intriguing to a total stranger. Collecting this information is in of itself a collection.

Writer

In answer to the question, "Why do we as people collect things?" Russel Johnson replies, "Oh boy. I'm sure there are lots of reasons, many underwritten by some form of denying death. I get a feeling of safety from gathering and preserving things, and it feels like a way of expressing values, even if only to myself. Motivations are notoriously hard to untangle, of course, even one's own." Johnson is a writer for the Nashville Scene, who writes primarily about classical music. He calls himself "one of those complete-set people." His response is reminiscent of the Egyptian tombs they built to honor their dead and they placed objects around them from their everyday life to make their transition into the afterworld an easy one. They fulfilled their quest for immortality in that when modern archaeologists have discovered their tombs their stories are told again. Many religions have similar themes of immortality. It is actually hard to find a religion that doesn’t have some reference to immortality. The Egyptian book of the dead is fairly detailed in providing maps and detailed information for new arrivals. People had personalized books of the dead made by their families to guide them in the afterlife.

Historian, Museum Professional

"A museum is typically a place where items are exhibited, collected, and used to educate the public. Typically these items are held in public trust by a non-profit or for-profit entity or business," says John Lancaster, who collects Parian ware, typically statuary and vases which is a ceramic material to simulate marble and statues that are typically copies of larger marble originals. Lancaster is a museum professional. His perspective is both modern and traditional, and direct. It feels the most like what an “old school” museum person might say.

Visual Artist, Motor Cycle Enthusiast

"Galleries bring artists together. Museums bring collectors together. Historically, we assume that both galleries and museums carry some authority in validating the merit or value of an artist's work," said Mary Addison Hackett, who collects rocks and rides a motorcycle. Hackett is a professional visual artist. When institutions choose to put objects on public display, they are speaking with the authority of their education and cultural knowledge in order to do all of the things Hackett has mentioned. There can be a social hierarchy involved in these processes.

Neurophysiologist, Podcaster

“Museums are like our long-term memory, history books brought to life. Galleries serve a purpose helping to drive art forward. Without galleries, art would not be supported as easily, and artists would have a much harder time being artists,” says Kirsten Sanford, PhD, who collects spoons from traveling and science-based books she receives from publishers. Sanford has an extensive background in lab science (Neurophysiology) and broadcasts the weekly podcasts “This Week in Science” and “Dr. Kiki’s Science Hour.” This perspective seems rare, coming from a scientist, because they are not often asked their opinions on art. Her points are consistent with many of the responses collected.

Museum Curator

“Galleries give new artists an opportunity to test whether or not they can communicate with the public, and whether the public finds anything in their work that speaks to them on a personal level. Museums are places that celebrate the paths that lead us to where we are now. They trace the lives of artists, movements, thoughts, science, history, and cultures. We collect to bring beauty into our everyday life, to celebrate life’s journey, and preserve what we find important,” says Jim Hoobler, who is the curator of the Tennessee State Museum. He is so smart.

Visual Artist

“The museum tells a story, often attempting to fit its exhibitions into a larger historical context. It has an important role in telling us what stories are important and what stories can be left out. The art gallery has more immediate monetary interests and is perhaps prone to fashionability a little more than a museum. It serves a community by exhibiting local and contemporary artists, and by contributing to a place’s contemporary culture,” says Matt Christy, who collects junk, paper, magazines, rocks, shells, and people. Christy is a visual artist, an art writer, and a graduate of Watkins College of Art and Design. The present cultural component Christy is talking about is important. Galleries are where museum collections of the future will come from. Then again, so are landfills. Landfills are where the archaeologists will dig in the future.

High School Student

“Museums are about things that have already happened. Galleries show new art. I like galleries better,” says 15-year-old Jasmine Rich, who collects pillows and cat figures. Rich is currently a student at Hillsboro High School. She displays the perspective of a young person, but is unique in the fact that she has been going to galleries and museums her entire life. Other people her age don’t have the knowledge of art communities like she does. Art communities in both the forms of museums and galleries are beneficial to children in that they can change a child’s view of the world.

Museum people do not always understand gallery people. Gallery people do not always understand museum people. This applies to both employees and patrons, who may view themselves as being associated with one more so than the other. Like scientists in the age of enlightenment having two different words for what we now call oxygen, museums and galleries often deal with the same thing although they may have a hard time agreeing on it. Of the different kinds of people asked, scientists, preachers, and curators, the responses were surprising. It seems the present is the connection and the bridge between museums and galleries. People are the connection between the past and the future. “Indiana Jones and the Raiders of the Lost Arc” speaks to this clearly in Beloq’s archetypal response to Indiana: “You're about to become a permanent addition to this archaeological find. Who knows? In a thousand years, even you may be worth something.”

new survey new project....

Hello Friends and Strangers alike,

the last survey was so much fun i thought we should have another one.
This will be the beginnings of a new art project.

I received so many wonderful responses, wish i could have used them all.
my paper turned out well an A-. If you'd like to read it i will post
to my blog soon...
http://talesfromthelittlepinkhouse.blogspot.com/






What is Post-modern?

Are we still in the post-modern time, if so what comes after?

what will future historians say about our time period?

How do you participate in culture?

What do you make?



beth.gilmore@gmail.com

Tuesday, May 04, 2010

coolpeoplecare: The call to "cut water use by 1/2" is too abstract. So, here's what that looks like, what you can do to save water. http://ow.ly/1GOV

coolpeoplecare: The call to "cut water use by 1/2" is too abstract. So, here's what that looks like, what you can do to save water. http://ow.ly/1GOVJ

CoolPeopleCare®

FEATURE TUESDAY, MAY 4, 2010 What One-Half Looks Like By Sam Davidson


Ways to Conserve Water
Saving water is easy. Real easy.
Here's how to cut your usage by one-half.


City officials in Nashville are asking people to cut their water usage by one half. The math seems easy, but the call is too abstract. The intentions are great, but the call isn't urgent enough - nor is it easy to understand.
After all, who out there can tell me - right now - how many gallons of water you use each day? Anyone? Of course not. It's not something you normally keep track of. You never needed to. It was never a concern. You could easily tell me what you spent at Starbucks yesterday or how often you fill your gas tank. But no one knows how much water they use. How then can you know if you cut your usage by 50%?
Instead, the city needs to be direct on how to use (or not use) water. Don't give me vague numbers. Tell me what to do. If they won't, we will.

Don't wash your car. Don't.

Cut off your sprinkler system at home and at work (we're looking at you, Bicentennial Mall).

Smell your armpits. Do you stink? No? Don't shower. Your friends will still be your friends.

Don't wash your clothes unless you're out of underwear. Put on jeans and a T shirt and go to work. If your boss gives you crap, let him know there is a flood.

Let the dirty dishes stack up. No one will judge you.

Use and reuse the same drinking glass all day.

If you must shower, get in and out in four minutes. Set a timer. Be diligent.

Don't shave. Armpits, legs, face, back, or knuckles.

Your dog? He can also go without a bath for a few days.

It's time to use a bucket. Any time you turn the faucet on, catch the water and use it to wash what needs washing. Don't toss it out or just let it run down the drain.

Don't use a hose to clean off debris and dirt from your sidewalk. Let it dry and use a broom. If you're unfamiliar with what a broom is, click here.

You don't have to flush your toilet every time you use it. We'll let you be the judge on how often you flush. Just see what happens if you let it mellow for a bit.

Chances are, if you do the above, you'll cut your usage by more than half. But who's counting?
Got ideas? Hit us up at @coolpeoplecare on Twitter.
Also:
More ways to help
Donate to flood relief
Sign up to volunteer
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