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Frist Center for the Visual Arts FRIST ART MUSEUM
Nashville, TN
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Eric Carle’s Picture Books: Celebrating 50 Years of “The Very Hungry Caterpillar”
October 18, 2019–February 23, 2020
Upper-Level Galleries

Eric Carle (b. 1929) is one of the most acclaimed and beloved illustrators of our time. The creator of more than 70 books, Carle combines winsome stories and colorful forms that appeal to young readers and adults alike. His signature artistic technique is collage, made by hand-painting many sheets of tissue paper and then cutting, assembling, and gluing the paper onto illustration board.

This exhibition presents over 100 original artworks from five decades of Carle’s picture-book career. The illustrations span in date from Brown Bear, Brown Bear, What Do You See?, Carle’s 1967 collaboration with author Bill Martin Jr., to The Nonsense Show, Carle’s playful ode to Surrealism, published in 2015. Twenty-one other familiar titles are also represented, with a special section devoted to the golden anniversary of The Very Hungry Caterpillar.

While Carle’s stories are charming, they teach essential lessons, too. As children read about animals, families, and fables, they also learn their colors, letters, and numbers. Added design elements—such as holes, flaps, and sounds—make reading accessible and fun. For half a century, Carle has inspired children to fall in love with books.

Book Nooks
While visiting the exhibition, be sure to spend some time in our book nooks, where you can enjoy reading books by Eric Carle! His stories have been translated into many of the world languages spoken in our community, including French, Italian, Kurdish, Somali, and Spanish. There is also a Braille edition of The Very Hungry Caterpillar.

Eric Carle’s Picture Books: Celebrating 50 Years of “The Very Hungry Caterpillar” was organized by The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Photography of Eric Carle’s Picture Books: Celebrating 50 Years of “The Very Hungry Caterpillar” for personal use is allowed. Flash, monopods, tripods, and video cameras are prohibited in all galleries.

Hearts of Our People: Native Women Artists
September 27, 2019–January 12, 2020
Ingram Gallery

Women have long been the creative force behind Native art. Presented in close cooperation with top Native women artists and scholars, this first major exhibition of artwork by Native women honors the achievements of more than 115 artists from the United States and Canada, spanning over 1,000 years. Exhibition co-curators Jill Ahlberg Yohe and Teri Greeves (Kiowa) are joined by two members of the Minneapolis Institute of Art’s Native Exhibition Advisory Board, heather ahtone (Chicasaw Nation, Choctaw) and America Meredith (Cherokee Nation), for this discussion of Hearts of Our People: Native Women Artists.

Jill Ahlberg Yohe is the associate curator of Native American art at the Minneapolis Institute of Art (Mia). In 2008, Ahlberg Yohe received her PhD from the University of New Mexico, and her dissertation focused on the social life of weaving in contemporary Navajo culture. Along with Kiowa artist and curator Teri Greeves, Ahlberg Yohe is the co-curator of Hearts of Our People. At Mia, Ahlberg Yohe seeks new initiatives to expand understandings of and new curatorial practices for historic and contemporary Native art.

heather ahtone (Chickasaw Nation, Choctaw) is the senior curator at the American Indian Cultural Center and Museum (AICCM) in Oklahoma City, Oklahoma. She has worked in the Native arts community since 1993 and has an established career as a curator, arts writer, and researcher. ahtone has worked at the Institute of American Indian Arts Museum (now MoCNA, the Museum of Contemporary Native Arts) and the Southwestern Association of Indian Arts (Santa Fe, New Mexico), and in several positions at the University of Oklahoma, where most recently she served as the curator of Native American art at OU’s Fred Jones Jr. Museum of Art for over six years. Her current research explores the intersection between tribal cultural knowledge and contemporary arts. She earned an associate’s degree in creative writing at the Institute of American Indian Arts, followed by a bachelor’s degree in printmaking, a master’s degree in art history, and a doctoral degree in interdisciplinary studies (art history, anthropology, and Native American studies), all at the University of Oklahoma.

Teri Greeves (Kiowa Tribe of Oklahoma) grew up on the Wind River Reservation in Wyoming and graduated from University of California, Santa Cruz. Her awards and honors from the Southwestern Association for Indian Arts Santa Fe Indian Market include Best of Show in 1999, and she was the Heard Museum Fair’s signature artist in 2003. She was named a Distinguished Fellow in Traditional Arts in 2016 by United States Artists, and served as a Mellon Indigenous Arts Visiting Fellow at the University of Virginia in 2018. Her work has been in exhibitions at the Brooklyn Museum, the Crystal Bridges Museum of American Art, the National Veterans Art Museum, and elsewhere, and is in the collections of the Birmingham Museum of Art, the British Museum, the National Museum of the American Indian, and the Portland Art Museum, among others. She is the co-curator of Hearts of Our People.

America Meredith (Cherokee Nation) is the publishing editor of First American Art Magazine and is an author, visual artist, and independent curator whose curatorial practice spans two decades. She earned her MFA degree from San Francisco Art Institute and has taught Native art history at the Institute of American Indian Arts, Santa Fe Community College, and the Cherokee Humanities Course. Based in Oklahoma, Meredith was the 2018 Sequoyah Fellow at Northeastern State University in Tahlequah and serves on the boards of the Wheelwright Museum and the Cherokee Arts and Humanities Council.

OSGEMEOS: In between
September 27, 2019–January 12, 2020
Gordon Contemporary Artists Project Gallery

OSGEMEOS: In between is an exhibition of sculptures and paintings by the Brazilian artist duo internationally celebrated for their vivid and playful public murals and studio work. The identical twin brothers Gustavo and Otavio Pandolfo—OSGEMEOS (the artists’ nom de plume; Portuguese for “the twins”)—create imagery that blends wide-ranging influences, from Brazilian folklore to hip-hop culture. The exhibition features eight mixed-media paintings and two sculptures. Many of the works are populated with large-headed, long-limbed yellow figures in whimsical settings. The works tell stories—sometimes autobiographical—of fantasy, family, social change, and how tradition and progress coexist in Brazil.

OSGEMEOS has produced many public projects, creating works on the sides of water towers, in a series of digital animations in New York’s Times Square, and even on the sides of a Boeing 737. “While their reputation in the art world is well established, with works in major private and public collections, OSGEMEOS has never lost sight of their desire to be accessible to wide audiences,” writes Frist Art Museum Chief Curator Mark Scala. Wherever their works appear, they strive to communicate the value of feeling over reason, to help people “fly away” into a realm of pleasure and childhood delight, if just for a moment.

Organized by the Frist Art Museum

Murals of North Nashville Now
August 10, 2019–January 5, 2020

With Nashville’s rapid growth in recent years, a vibrant street art scene has emerged. New murals can be seen on walls across the city, from The Nations to the Gulch to Nolensville Road. Murals found in North Nashville, a historically African American part of town, stand out because they are typically made by artists with strong ties to the neighborhood and because much of the imagery reflects both its rich history and current social issues.

A young generation of artists—many following in the tradition of Tennessee State University professors Sam Dunson and Michael McBride, and mentors Michael “Ol Skool” Mucker, James Threalkill, and Thaxton Waters—will offer their perspectives on the present position of North Nashville through newly commissioned site-specific murals. Imagery will demonstrate the multifaceted nature of its identity and speak to persistent problems facing the community such as displacement, gun violence, and incarceration, as well as positive aspects like thriving black-owned businesses, a revitalized art scene, and valuable educational institutions. Artists will work with youth at McGruder Family Resource Center to create a collaborative mural that will also be on view at the Frist.

This exhibition shines a light on a culturally and historically important, yet often underserved, Nashville community. The project also explores what role the arts play in urban redevelopment and in the expression of neighborhood and individual identities, further testifying that art can be found all around us, not just inside museums and galleries.

Participating artists:
Nuveen Barwari
Omari Booker
LeXander Bryant
Brandon Donahue
Marlos E'van
Courtney Adair Johnson
Elisheba Israel Mrozik
Norf Art Collective
XPayne

The Frist Art Museum gratefully acknowledges the generosity of our O’Keeffe Circle members in funding this exhibition:
Judy and Joe Barker
Barbara and Jack Bovender
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
Lynn and Ken Melkus
Sid and Linda Pilson
Delphine and Ken Roberts
Anne and Joe Russell
Mr. and Mrs. James C. Seabury III
Olivia L. Tyson

Monsters & Myths: Surrealism and War in the 1930s and 1940s
June 21–September 29, 2019

Monsters & Myths: Surrealism and War in the 1930s and 1940s Features Works by Salvador Dalí, Max Ernst, René Magritte, Joan Miró, Pablo Picasso, Dorothea Tanning, and Others
June 21–September 29, 2019

The Frist Art Museum presents Monsters & Myths: Surrealism and War in the 1930s and 1940s, an exhibition that explores the powerful and unsettling images created in response to the threat of war and fascist rule. Featuring works by Luis Buñuel, Salvador Dalí, Max Ernst, René Magritte, Joan Miró, Pablo Picasso, Dorothea Tanning, and others, the exhibition will be on display in the Frist’s Upper-Level Galleries from June 21 through September 29, 2019.

Through 78 objects, including paintings, drawings, film, and sculptures drawn primarily from the collections of The Baltimore Museum of Art and The Wadsworth Atheneum Museum of Art, Monsters & Myths highlights the brilliance and fertility of this period, which arose in response to Hitler’s rise to power, the Spanish Civil War, and World War II—events that profoundly challenged the revolutionary hopes that had guided most Surrealist artists in the 1920s. “In this exhibition, Surrealists’ portrayals of monsters, fragmented bodies, and other depictions of the grotesque are explored as metaphors for the threat of violence and fears and fantasies of unbridled power,” says Frist Art Museum chief curator Mark Scala.

Since 1924, artists and writers associated with the Surrealist movement had aimed to deconstruct the social order, particularly through targeting oppressive traditions by embracing the irrational and the marvelous in pursuit of psychic liberation. “Seeking access to hidden truths, the artists in this show used their darkest imaginings to confront trauma,” says Scala. “They employed the language of dreams, free association, and Freudian psychoanalytic theory to help transform both themselves and a society that seemed inescapably bound for fascism and war.”

Through each artist, the psychological power of monstrosities appears in different guises in the exhibition. The first section, titled “The Emergence of Monsters,” focuses on the symbolism of deformation, fragmentation, and hybridity to reflect the inhumanity of war as well as individual psychological torment. In this section, Picasso reintroduces the myth of the Minotaur, a symbol of the repressed forces of the unconscious. Hans Bellmer and André Masson merge violence and malevolent sexuality in images of dismemberment and mutilation. Headless bodies in works by Alberto Giacometti and Magritte symbolize the loss of reason.

The exhibition continues with the section titled “The Spanish Civil War,” which includes paintings and prints by Dalí, Miró, and Picasso, among others, capturing their despair at the brutality of the fascists in their war with the republican government. Immediately following “The Spanish Civil War,” the section “World War II” features works that portend the coming disasters and capture the emotional upheavals experienced by artists during the early years of the war. While these responses are marked by anxiety and distress, a surprising beauty can be seen in even the most horrific works, such as Wolfgang Paalen’s painting of colorful bird-like demons in The Battle of Saturnian Princes III (1939).

The section “Dislocation and Survival” features extraordinary paintings by Surrealists, including Dalí, Ernst, Masson, and Roberto Matta who fled the war, mostly for the United States. Ernst’s painting Europe After the Rain II (1940–42) spans the mutating structures and human wraiths of a post-apocalyptic Europe with the crystalline outcroppings of a desert landscape, inspired by Ernst’s experience as an exile visiting Arizona. Like the other works in this section, Europe After the Rain II underscores transitions between past and present, reality and dream, and reason and irrationality that were acutely felt by these expatriate artists.

The exhibition concludes with “Surrealism in the Americas,” showing the influence of exiled European artists like Masson and Ernst on Americans such as Jackson Pollock, Mark Rothko, and Tanning. Highlights include Tanning’s phantasmagorical painting The Temptation of Saint Anthony. Also included in the exhibition is the film Un Chien Andalou (1929) by Buñuel and Dalí, which contains a network of narratives relating to anticlericalism, unfulfilled desire, memory, and death.

Exhibition Catalogue
The exhibition is accompanied by a fully illustrated catalogue published by Rizzoli Electra with essays by exhibition curators Oliver Shell, Baltimore Museum of Art associate curator of European Art, and Oliver Tostmann, Susan Morse Hilles Curator of European Art at The Wadsworth Atheneum Museum of Art. Other contributors are Robin Adèle Greeley, associate professor of modern & contemporary Latin American art history at the University of Connecticut and the author of Surrealism and the Spanish Civil War, and Samantha Kavky, associate professor of art history at Pennsylvania State University–Berks and co-editor of the Journal of Surrealism and the Americas.
Exhibition Credit

This exhibition was organized by The Baltimore Museum of Art and The Wadsworth Atheneum Museum of Art.

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