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7 Stops at Pulse Fair 2019

Unusual to the eye and truly unlike any other art we saw at the fair was a showcase by Tennessee-based David Lusk Gallery, featuring the works of artist Greely Myatt. Based on the late paintings of Philip Guston, Myatt presented a return to a body of work he worked on years ago called “The Waiter and The Gang.” Along the wall of the booth were eight of Myatt’s sculptural pieces—made of found materials from his home like wood from a tree in his yard and nails from his house—and a larger piece on its own in the front of the booth. Gallerist Lusk was there to explain Myatt’s works to us, commenting on his fascination with works by Guston and other artists before him, while reinterpreting something dear to him in these works—his dog.

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Nashville 2019: A Case for Political Art

A darker, more disquieting form of social commentary was voiced by up-and-coming artist Ashley Doggett. Her September exhibit at David Lusk Gallery titled Kept Inside: His Vices unapologetically portrayed the painful truth of white supremacy and its legacy. Accepting the artist’s role as a historian, Doggett creates provocative and explicit imagery of historical slave narratives with chains, tears, and blood. Regardless of the aggressive nature of the subject matter, her imagery is not violent. You see the result of oppression: portraits of hurt but hauntingly composed subjects with titles such as ‘Disgraced’, ‘Abuse’, and ‘Beaten’. Connecting the past to the present, her figures are covered with a transparent substance, staining and weighing them down – an invisible hold that has not yet been completely released.

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Four Memphis-based Artists Selected to Create Public Art for Memphis

In August, UAC released Calls to Artists for four key new permanent artworks including a suspended sculpture project for the new main entrance to the convention center on N. Main St, two mural projects along the Front Street corridor between the main facility and the West Meeting Rooms and at the redeveloped entrance to the convention center from the parking garage and an interior project inside the new Front Street entrance to the West Meeting Rooms. Fourteen finalists were invited to submit site-specific proposals and presented to the selection committee in October.

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Maysey Craddock | Studio Visit

As the newest team member of DLG, much of my introductory period has been saturated with getting friendly with Photoshop, meeting our community of clients, and hanging out in artist’s studios. I am so grateful to be welcomed into their places of creativity and production– and for a break from Photoshop. Seeing art through a computer screen is nothing like witnessing it in person. Colors are often unimaginable by pixels, and size is difficult to fathom from a desk chair. It is especially the delicious detail and personality of an artwork that comes to life when you place yourself in front of it. But to spend time with a body of works and their creator…well, that is perhaps the most magical part of my job.

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David Onri Anderson Explores the Rich Symbolism of Fruits

A banana already exists as something to you — it’s the basis of a pratfall, it’s phallic, it’s breakfast. The same goes for an egg — it’s a thing to throw at someone’s house, it’s a life-bearing vessel, it’s breakfast. And then, of course, there is the apple, a hieroglyph for love that appears in so many poems and songs. William Butler Yeats counted the passing of happy, love-filled days as “the silver apples of the moon, the golden apples of the sun.” In the Bible’s Song of Solomon, one lover begs another, “Stay me with flagons, comfort me with apples.”

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"Symbols and Archetypes at Vanderbilt

This section also features a pair of works by Nashville-based painter David Onri Anderson. Anderson’s abstract still lifes of oriental lanterns, bananas, and apples have made him one of Nashville’s break-out young artists. Working prolifically, Anderson has already found a recognizable style, but some viewers may struggle to see beyond the repetitiveness in his work. Thankfully, curator Emily Weiner recognized the spiritual undercurrents in Anderson’s paintings and rightly included them here. (A solo exhibition of Anderson’s paintings is also on view at David Lusk Gallery in Nashville through October 26, when he will be joined by Weiner for a public conversation at the gallery.) Snail E.S.P. and Super Ripe Nana Spiral both depict naturally occurring spiral forms found throughout nature and art history. The “E.S.P.” reference in one title recalls a nineteenth-century theory that snails became telepathically linked after mating. Sex, nature, art and spirit—these patterns all come together through Anderson’s muted palette and charmingly offhand renderings.

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Ageless Images

The psychologist Carl Jung posited the existence of the collective unconscious, a deep layer of the psyche that is shared by all humanity across time. The dynamics of the collective unconscious, which he called archetypes, find narrative expression in myths and visual expression in symbols.

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20 Questions with David Onri Anderson

When I was about 4 years old, I remember seeing a puddle and imagining a little world in that puddle with these little green floating creatures that have purple crafts that help them float around. I made little drawings of this idea with markers.

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