Nina Mayer’s solo show at Track 13 had the spooky, otherworldly feel of one of the hallway scenes in Stanley Kubrick’s The Shining. Part of that had to do with the massive light box that buzzed against the gallery’s back wall like an industrial-strength tanning booth (you can hear it in the 10-second video I shot of the piece below). Another part probably came from the one-point perspective the gallery's long and narrow architecture accentuates. But another factor was that the space was remarkably empty — I stopped by the Cummins Station gallery during Friday’s opening sometime between 6 and 7 p.m., and although I was told attendance picked up somewhat later on that night, I could count the number of attendees with two hands.
That's a shame — Mayer's work is weird, pensive and totally unique.
Check out some images of the exhibit after the jump, and call Cummins Station (259-0999) to let them know you want to see the show — it's up through Oct. 20, but by appointment only.
Just what you wanted to kick of your early weekend — a workshop about writing grants! But while this Seed Space event might not sound like anybody's idea of a bitchin' rager, it's actually going to be a lot of fun.
Learn how to get free money to make your art, drink some beers, and hang out with Susannah Darrow, the director and co-founder of Atlanta-based critical arts website Burnaway. She's also on the board of directors at Art Papers, and has worked as an arts administrator in Atlanta since 2007. At this event, Darrow will cover the basics of what grants and proposals are, where to find them, and how to write competitively to complete your next project.
More of what to expect, from the press release:
You will learn how to:
• Identify the best grants and residencies to apply for
• Work smarter: maintain your practice while competitively searching and applying
• Know what grantmakers are looking for in applicants
• Write the narrative
• Create a project budget
• Pull together strong support materials to represent your work
Reserve your spot at seedspace.org/workshops.
Montreal-based artist Elisabeth Belliveau will be Coop's exhibiting artist for October. It's her first time showing work in Nashville, But back to Belliveau: Her exhibition title is When you break and all inside is light, and the majority of Coop's press release outlines a stop-animation short “Go so we may see (lady of gold arms doom)," which takes its title from a poem by Sappho. In it, Belliveau has extracted scenes from films like Poltergeist and Bridget Jones' Diary that feature narratively significant walking cycles of women.
Read the poem, as translated by Anne Carson in the book If Not, Winter — Fragments of Sappho, and watch one of the artist's animated walking cycles, below.
Time magazine once named Andrew Delbanco America’s Best Social Critic. But what is Delbanco, director of American studies at Columbia University, doing in a Critic’s Pick on Vanderbilt art? Quite a lot, apparently. Delbanco’s book College: What It Was, Is and Should Be is required reading for all incoming Vanderbilt first-year students, and it’s also the inspiration behind this exhibit of art drawn from the university’s extensive permanent collection.
Delbanco’s thesis — that the role of the liberal arts education is to allow students to test and discover their values and ideas — is matched with the gallery’s selection of “difficult” works from artists such as Salvador Dali, Robert Rauschenberg, Gerhard Richter and Kara Walker.
Test the limits of your ability to experience and appreciate art — and be a part of a university-wide conversation — at tonight’s opening.
The terrible twosome of Rod Barnett and Troy Guinn return to the Cult Fiction Underground with Naschy Nights 2, a tribute to the king of Spanish monster movies, Paul Naschy. Barnett and Guinn host the locally-produced NaschyCast podcast, a freewheeling discussion and dissection of the strange, sometimes cheesy, but always fascinating films of the man who portrayed a veritable army of tragic boogeymen in his 50-year film career.
Tonight's feature, Count Dracula’s Great Love (1974), stars Naschy as the good Count in a swinging ’70s gothic feature loaded with blood, breasts and a tragic timeless love story. Take that Twilight!
Saturday night, Naschy is back, with hump in tow, in The Hunchback of the Morgue (1972). What starts out as a simple tale of tragic love and revenge takes so many left turns that the plot of the film is soon staggering about like a drunken toddler — wielding very sharp knives. Eventually this Iberian WTF-fest stumbles into Lovecraftian cataclysm. With flying rats, the world’s largest beer mugs and of course, the Naschy machismo machine working in overdrive, despite his stooped posture (hey, there are perks to being a star!)
Count Dracula’s Great Love runs at 8 & 10 p.m. tonight, and The Hunchback of the Morgue is at 8 & 10 p.m. Saturday, at the Cult Fiction Underground at Logue’s Black Raven Emporium.
Read about the first Naschy Nights in the feature I wrote about it back in January.
If you're wondering why things have been a little quiet on the Nashville DocuJournal front, well, it can be tough to shoot footage with just one hand.
Sean Clark, one of the Moving Picture Boys, had a bit of an accident and has been out of commission.
"He severed a nerve and some tendons in his wrist a couple weeks ago in a freak accident, and is slowly starting to recover," fellow MPB Jace Freeman tells the Scene. "He has no feeling in most of his left hand, but hopefully the nerve will grow back in a couple months."
To that end, a fundraiser is being thrown at the Belcourt on Monday to raise money for his medical bills and rehab. At the event, they'll screen Nashville 2012, their fantastic documentary which won the Tennessee Spirit award at this year's Nashville Film Festival.
(You can find Abby White's excellent feature on the duo for The City Paper here.)
Nina Mayer has been spending a lot of her time on construction — when I met her at her Cummins Station studio last week, she was wearing paint-splattered boots and a white tank top like some punky World War II re-enactor. Mayer's day job is at Woodstock Vintage Lumber, a restoration lumberyard on Fourth Avenue South, and that kind of traditionally dude-heavy work environment has definitely spilled over into her art. Along with paint and collage, she's introduced elements of sports — check out the pair of catcher's masks that hang like comedy/tragedy masks or a modified yin-yang — and construction materials — like the square of carpet padding she's fixed onto a canvas like a big color-splotched sponge — into her work.
Her solo show, which opens tomorrow at Track 13, the renovated train-car art gallery behind Cummins Station, is the culmination of work she's produced since she's been an artist in residence there — her studio is in the train car just in front of the gallery. After the opening, the exhibit will be on view by appointment only, so come enjoy the free wine and fancy cheese that usually accompanies the Track 13 openings.
For an even greater incentive than free cheese, check out the snapshots I took of some of the pieces that will be in the exhibit.
First-time filmmaker Ed Brown's documentary Unacceptable Levels arrives for a one-time only screening at The Belcourt, tonight at 7:30 p.m. Motivated by tragedy in his own life, Brown set out to learn more about the chemicals hiding in products we use (or ingest) every day. As seen in the trailer above, the doc takes us with him as he speaks to some of the top scientists and advocates dealing with this issue.
I spoke to Brown yesterday about what motivated to make the film and what we should take from it. Our conversation is after the jump:
For the past two years, the mad scientists programming The Belcourt have delivered an extra-large helping of Halloween goodies with their 12 Hours of Terror marathons. This year, the treats are even more plentiful, but they’re spreading the feast out over the entire month of October rather than concentrating it into one day-long tummyache-inducing binge. The program includes a series of delectable double features, multiple servings of primo Vincent Price, and a few special entrees worth sharpening your fangs.
On the double-feature front, the series kicks off Oct. 4-5 with two hippie-era classics of Satanic-power paranoia, Roman Polanski's Rosemary’s Baby (1968) and John Hancock's Let’s Scare Jessica to Death (1971). Oct. 11 brings a serving each from two directors who kept the Italian stage-blood industry in business for years, Dario Argento’s Deep Red (1975) and Lucio Fulci’s The Gates of Hell (aka City of the Living Dead) (1980). On Oct. 12, The Belcourt gets down with its own night of the bloody apes thanks to another Argento entry, the Jennifer Connelly creep-out Creepers (aka Phenomena) (1985) and the King Kong of serial-killer-baboon flicks, cult rediscovery Shakma (1990), whose insane trailer has been drawing cheers from Belcourt midnight audiences.
Rayna spends nearly the entire episode in a coma. They wake her up. She is fine. The end.
Deacon and Rayna are upside down in a bloody car full of blood and her eyes are closed and he pulls her from the wreckage and sirens are in the distance. Will she be okay? (Yes.) Will he? (Eh.) What brought them here?
A FLASHBACK brought them here. They have just purchased their lakeside dream home and I am guessing it is the late 1990s based on their clothes and the distant, gauzy shots (and wigs and CGI) that make them appear to be in their late 20s. “This is great. We are so young and so in love. Let’s login to Pets.com and Napster right now. Absolutely none of this will ever change.”
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