Frist Center for the Visual Arts FRIST ART MUSEUM
Nashville, TN
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Connect/Disconnect: Growth in the “It” City
March 22–August 4, 2019
Conte Community Arts Gallery

In 2013, The New York Times called Nashville an “it” city because of its economic health and rising cultural profile. A 2017 article in The Tennessean stated that Nashville’s population was expanding at a rate of one hundred new people every day. Neighborhoods have transformed, downtown has become a cultural center, and the city’s art scene has come into its own, but this progress has come with challenges, such as increased housing costs and a population that is rapidly outgrowing the city’s infrastructure.

The Frist Art Museum provided a platform for individuals to share their views by issuing a call for digital photography that addresses the theme of connection or disconnection in our communities. Nearly two hundred images were submitted by more than one hundred Davidson County residents, from which fifty photographs were chosen by a panel of jurors.

The resulting exhibition explores the rising connectivity between neighborhoods and communities, and the potential for disconnection between people and socioeconomic classes as the city strives to adapt to record growth. The images represent a range of perspectives, from depictions of friends and neighbors to old and new homes, construction sites, and recognizable landmarks.

All photograph submissions will be digitally archived by the Nashville Public Library Special Collections Division.

Marty Stuart, musician and photographer
Carlton Wilkinson, educator and photographer
Susan H. Edwards, executive director and CEO, Frist Art Museum

Join us for a Community Opening for this exhibition on Friday, March 22 from 10:00 a.m. to 9:00 p.m. The Nashville Public Library will be collecting stories related to the themes of the exhibition from 2:00 until 6:00 p.m. Learn more.

The Frist Art Museum is pleased to announce the 50 artists selected for this exhibition:
Holly Abernathy
Martha Armstrong
Kim Balevre
David Bennett
Elizabeth Berger
Sayre Berman
Mariah Clemons
Rae'chel Curtis
James DeMain
D’Anelle Desire
Ray Di Pietro
Erik Doty
Jo Fields
Jacqueline Flynn
Denise Fussell
Tony Gonzalez
Caroline Gumpenberger
Betty Harper
Alan Hayes
Bernadette Hugan
D. Elizabeth Jesse
Lisa Sivess Johnson
DaShawn Lewis
Kevin Lurey
Hamilton Masters
Kalonji McClellan
Erin McDermott
Don McEwen
Donna Moffitt
David Morel
Justin Near
Joshua Ness
Huy Nguyen
Joe Nuñez
Emily Passino
Julia Lynn Perkins
Mary Phelps
David Piñeros
John Roeder
Carey Rogers
Delia Seigenthaler
Brian Siskind
Gene Smith
Ben Spalding
Laura Sturgill
James Terry
Yukiko Ueda
Ramona Wiggins
Richard Wise
Nick Zimmer

Organized by the Frist Art Museum

We thank the Nashville Public Library’s Special Collections Division and our jurors: Susan H. Edwards, Marty Stuart, and Carlton Wilkinson.

The Frist Art Museum gratefully acknowledges the generosity of our O’Keeffe Circle members in funding this exhibition:
Judy and Joe Barker
Richard and Judith Bracken
Patricia Frist Elcan and Charles A. Elcan
Jennifer and Billy Frist
Julie and Tommy Frist
Patricia C. Frist and Thomas F. Frist, Jr., MD
Sid and Linda Pilson
Anne and Joe Russell

Dorothea Lange: Politics of Seeing
March 15–May 27, 2019
Upper-Level Galleries

Dorothea Lange (1895–1965) is widely recognized as one of the most important documentary photographers of the twentieth century. She was a prominent advocate of the medium's power to effect change and used her camera as a political tool to expose what she saw as injustices and inequalities. Lange was also a formidable woman of remarkable vigor and resilience. Having overcome adversity during her childhood in New Jersey, she went on to become a successful portrait photographer of San Francisco's elite. In 1933, she took her camera to the streets for the first time to document the unemployed people—economically devastated by the Great Depression—she saw from her studio window. Later, she focused her attention on migrant farm laborers and refugees streaming into California from the Dust Bowl states in search of work. During much of this time, Lange worked for the government’s newly established Resettlement Administration (later called the Farm Security Administration), and her photographs were meant to be powerful arguments for federal assistance.

Although Lange’s photographs were taken more than fifty years ago, many of the issues they address remain relevant today: poverty, environmental degradation, treatment of immigrants, the erosion of rural communities, racial discrimination, and women’s rights. They also speak to the continuing role of visual images in shaping public opinion and political positions.

The exhibition encompasses more than 150 objects, including vintage and modern photographs, letters and a video.

Organized by the Oakland Museum of California

Van Gogh, Monet, Degas, and Their Times: The Mellon Collection of French Art from the Virginia Museum of Fine Arts
February 2–May 5, 2019

While its primary focus is on Impressionism, Van Gogh, Monet, Degas, and Their Times contains examples of French art created throughout the nineteenth and early twentieth centuries, featuring styles ranging from Romanticism to Cubism. Among the highlights are works by seminal figures, including Edgar Degas, Eugène Delacroix, Claude Monet, Pablo Picasso, and Vincent van Gogh. But the exhibition is more than an overview of art-historical achievement: it also offers a glimpse of the tastes and connoisseurship of one of the great American collecting couples of the twentieth century, Paul Mellon and his wife, Rachel “Bunny” Lambert Mellon. Philanthropists as well as collectors, the Mellons gave gifts of art to such distinguished institutions as the National Gallery of Art, the Yale Center for British Art, and the Virginia Museum of Fine Arts, where Paul Mellon served as a trustee for four decades.

Organized by the Virginia Museum of Fine Arts

Supported in part by our 2019 Frist Gala Patrons

A Sporting Vision: The Paul Mellon Collection of British Sporting Art from the Virginia Museum of Fine Arts
February 2 – May 5, 2019

With representative masterpieces of the genre—including works by Sir Francis Grant, John Frederick Herring, Benjamin Marshall, George Morland, and George Stubbs—this exhibition celebrates Mr. and Mrs. Paul Mellon’s gift of British sporting art to the Virginia Museum of Fine Arts and marks an opportunity to view the entire breadth of this outstanding and comprehensive collection. It also proposes a fresh look at sporting art within wider social and artistic contexts, including the scientific and industrial revolutions of the 18th and 19th centuries, the transformation of the British countryside, the evolutionary history of the horse and other animals, and society’s changing habits and customs.

Exhibition organized by the Virginia Museum of Fine Arts

Supported in part by our 2019 Frist Gala Patrons

Claudio Parmiggiani: Dematerialization
February 2–May 5, 2019
Gordon CAP Gallery

Claudio Parmiggiani makes room-size installations as well as two- and three-dimensional works that address the passage of time, mortality, absence, memory, and silence. His art stands against the grain of our frenetic, cacophonous, image-infused culture. In many of his pieces, sound is implied but unheard. In others, incongruous juxtapositions defy expectations. History is a constant muse, and absence is as significant as presence. Claudio Parmiggiani: Dematerialization is the first museum exhibition for the artist in North America. The art exhibited in this gallery reward patience and deep attention.

Parmiggiani was born in 1943 in Luzzara, Italy, a commune on the banks of the Po River in the region of Emilia-Romagna. From 1959 to 1961, Parmiggiani attended the Accademia di Belle Arti in Modena. During that time, he became a regular visitor to the studio of Giorgio Morandi, whose incomparable mastery of light and focus on humble subjects made a lasting impression. Marcel Duchamp and Piero Manzoni are often cited as influences. Although Parmiggiani is associated with the Arte Povera movement and conceptualism of the 1960s and 1970s, he works somewhere in between. In 1970, he devised his signature process, delocazione (displacement), inspired by contours he saw in the dust after objects had been removed. Making pictures rather than painting them, Parmiggiani arranges objects on walls, boards, or canvases, and then stokes fires burning nearby, allowing soot, dust, and pigment to settle. When the articles are removed, they leave behind silhouettes. Parmiggiani’s art is best understood in the context of its entirety. Nevertheless, this modest presentation provides insight into the artist’s consistent intentions—notably, how silence, stillness, and absence offer refuge for the viewer.

Organized by the Frist Art Museum

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