Tonight, from 6-8, there will be an opening for Tad Lauritzen Wright's "The Bacchus Sessions" at David Lusk Gallery. Lauritzen Wright's paintings— murky portraits of Anna Nicole Smith, scrawled classical scenes and messages such as "civilization begins with distillation"—have the feel of Art Brut paintings with the attitude of R. Crumb cartoons and the morals of a Richard Linklater movie.
On view through November 15th
The second annual Five-in-One steamroller printmaking event will happen on Broad Avenue Saturday, October 18th, noon-10 p.m. Artists and friends of Five-in-One carved larger-than-life woodcuts, soon to be inked up and printed onto large sheets with the help of a rented steamroller. Last year's event drew a big crowd and was a lot of fun to watch, and, weather permitting, this one should be the same. The event info online tells us that "printmaking is a social artform!" and, in light of that, there will be an afternoon party in front of the Five-in-One store.
Also on Saturday, Emily Ozier will lead an art class from 10:30 a.m. to 11:30 a.m. at Church Health Center Wellness, (1115 Union Ave.) Ozier, who has exhibited work at the Church Health Center in the past, is a painter and educator who will coach participants to create self-portraits and write accompanying haiku. To sign up for the class, contact Kimberly Baker at email@example.com or call 901-701-2238.
This past weekend at Crosstown Arts, artist and U of M professor Cedar Lorca Nordbye began the install for his upcoming show, “To Frame - To Construct - To Occupy," with two materials: more than a ton of fresh lumber and four big, empty walls.
"There is a sense of wonder,” Nordbye says, “to coming into a room and seeing this much wood...I thought, ‘When am I ever going to have piles of lumber and a huge empty room again?”
Nordbye is no stranger to wood-centric installation (past works include cluttered and colorful “Everything Connects to Everything” as well as a sparse and dark related work, “Everything Connects to Emmett”), but “To Frame” is the artist’s most ambitious installation to date. For the project, Nordbye sourced lumber from several local sources and recruited around 30 people to help paint the boards.
Using the wood, Nordbye will construct a small house inside the Crosstown Arts gallery space. The gallery walls are painted to appear as an active deconstruction of the house — Nordbye brings his talent as a draftsman into several huge, fragmented murals. Following the exhibition, the lumber will be donated to Habitat for Humanity and used to construct a new home.
Nordbye says, “This project goes back to a fantasy that I had about 10 years ago. I thought, ‘I would love to have a contractor deliver the whole lumber load and let me work on the wood and then have it be randomized into the construction of a real house.”
“To Frame” treats themes of diaspora and residence. The show, rapidly and intuitively drawn together, takes place in a spare moment of the whole project. Nordbye plays the role of artist-as-orchestrator — pulling together disparate people and materials — for the final structure, a marked record of its journey.
Opening is Friday, April 25th from 6-9 at Crosstown Arts (422 N Cleveland.) Show runs through May 24. Casual artist's talk at 6:30 on Friday.
Don’t miss "Cerebral Settings" tonight from 6 to 11 p.m. at GLITCH (2180 Cowden).
Brooklyn-based sculptor Esther Ruiz will present a series of “imagined landscapes” inspired by “space operas, pop culture, geometry, and the setting sun.” Her landscapes — miniature geometric line drawings and brightly colored plexiglass tableaus — are backed up by a series of star-scape murals by painter (and GLITCH founder) Adam Farmer, as well as soundscapes by musician Todd Chappell.
When I stopped by GLITCH earlier this week, Farmer and Ruiz were busy figuring out where to plug in a yellow neon orb (Ruiz, laughing: “I’m not sure if this sculpture is finished”) and how exactly the guest book — an old legal pad — should be attached to one of the walls. The remnants of last month's show by digital artist Lance Turner were mostly concealed beneath the more minimal ("cerebral") current display. Painted blue cardboard, left over from Tyler Hildebrand's November installation served as a light-blocker for windows.
Ruiz is a Rhodes graduate and Houston native who has made her mark in New York upstart galleries such Brooklyn Wayfarers and Airplane Gallery. She has also shown locally at David Lusk. Her strange, compact figurations make reference to digital odysseys and sand gardens, Los Angeles swimming pools and futuristic fictions. They bring out a clean, meditative aspect in the post-psychedelic GLITCH space.
Painter and Material Art Space founder Hamlett Dobbins has been spent the last several months in Italy, having been selected for a prestigious fellowship at the American Academy in Rome.
Tonight, Dobbins' "The Attendant," which includes he's created during the fellowship, opens at David Lusk Gallery.
Dobbins took the time to discuss his work and the fellowship with Exhibit M.
It seems as you went from working in a largely curatorial role in Memphis to being able to totally focus on your own work in Rome. How has this been for you? What are you working on? What are you looking forward to?
I've always been a person who has done a number of things: running Material Art Space, curating and teaching at Rhodes, being a parent and a painter. I'm not a parent who teaches or a curator who paints; I see all these things as one practice. I am just doing what I need to do to be a whole person living a full life in art.
That said, this time has been interesting to just focus on painting. I spend my other time with the brilliant and generous Rome Prize Fellows who are here with me. This is a magical place, it really is. I haven't made any huge changes to the work I do in the studio, aside from savoring this amazing gift of time. It allows me to take more chances, re-investigate old paths while exploring new ones. I'm looking forward to seeing the two dozen new paintings in the space there at David Lusk Gallery and seeing how they interact with one another.
This February, Memphis will see the return of gallerist, art consultant, and painter Jay Etkin. Etkin previously operated first-of-their-kind galleries in the Cooper-Young and South Main neighborhoods. His South Main gallery closed in 2008, and Etkin relocated from Memphis to Santa Fe. After six years away, Etkin will re-enter the Memphis art scene by opening another Cooper-Young space, at 942 S. Cooper, only a stone's throw away from the location of his first Memphis gallery.
The new Jay Etkin Gallery is an old storefront space (formerly an overstuffed odds-and-ends shop) incarnated into a large, track-lit white room. Floating display walls are buttressed by steel columns. Etkin worked collaboratively with architect Jeff Blackledge to leave parts of the building's original structure revealed: cement floors and wooden rafters provide some context for the white box gallery space.
Valerie Pirainowill be giving a talk at Crosstown Arts tonight (Wednesday, Nov. 20), 6 p.m.. The emerging artist, who lives and works in New York, was previously a resident artist at The Studio Museum in Harlem, and has shown work at Queen's Sculpture Center and Chicago's Jane Addams Hull-House Museum. Her Crosstown show, "Reconstruction" combines recent works with earlier installations.
Piraino works largely with transfer process, a method that she says is "very much embedded with photography." Most recently she has been working with fabric transfers, though her Crosstown show contains earlier iterations of this interest: slide projection, printmaking, even embossed wax seals.
The show consists of five correlated installations: an array of small, handmade prints depicting old furniture; a row of vignette-shaped, framed mirrors; 11 wooden frames that contain projected slide images from several decades ago; and another slide image, projected into a corner at slightly below waist-height. The gallery space is bisected by a makeshift wall, giving the room a sense of front and back.
The idea of a transfer operates in "Reconstruction" in a couple different senses. There is the obvious transfer of one material to another, but there is also the thematic transfer of memory, both personal and historical. Piraino's work attempts to reconstruct personal and family history but pays material reference to Victorian-era (read: American Reconstruction-era) furniture.
Piraino began this work when she inherited a large collection of family slides. She says, "Much of the context [of the photographs] has been lost as family members passed away. All of that has since been folded into the work and has really become a central question for me... how to you reconcile having personal objects with very little context?"
History, in Piraino's work, is repressed, evidenced only by its inexplicable leftover objects. Her row of vignette-shaped mirrors are marked with a centered, creme-colored wax seal. They cast ovals of light onto the gallery floor. There's a domestic simplicity and beauty to the mirrors, but the work is frustrating. It doesn't tell a viewer what she or he wants to know. It does so purposefully, with reference to one of the most egregious "forgetting" of civil rights for African Americans, post-Reconstruction era.
Piraino's work elegantly conveys a sense of muted history, the artifacts of which have an undeniable coldness. Her installations are less about what were, than what could have been, were history better remembered.
Matthew Hasty, a landscape painter and featured artist in this year’s Art of Science exhibition (opening Friday at Hyde Gallery), has no idea what cell mitosis looks like up close. His painting, The Echoes of Pneuma, would flop in any science fair, due to its imaginative take on cell walls (Hasty: “I used beef tripe for reference”) and inclusion of some antediluvian forms that seem, at best, misplaced in the cell world (Hasty: “...those parts kind of looks like Grover?”)
It’s a good painting, even if (actually, because) it makes a human cell look like a Dantean underworld. For the hard science side of things, there’s Dr. Sharon Frase, an electron microscopist whose research was Hasty’s inspiration.
Frase and Hasty will both be on hand at this Friday’s opening to answer questions and talk about their work.
This is the third year that St. Jude has put on the Art of Science, a project that partners local artists with St. Jude’s scientists. This year’s pull includes video installation, dance, clothing design, painting, sculpture, and graphic art.
This Friday at 6 p.m., Memphis-based sculptor and installation artist Jessica Lund will be giving a talk about her most recent show, "WREFORD," in the gallery at Crosstown Arts.
Attendees of the talk might hear stories about Lund’s former landlord (Wreford himself), or the resident apartment complex cat (Elvis), or about what it is like to live in an apartment that, according to Lund, “looked like a scene from Hoarders.”
Lund, who recently received her MFA from the University of Memphis, says that her interest is in how people relate to the spaces they inhabit; how architecture shapes people and their habits. Lund's concern is with mundanities of property: a neighbor who threaded his failing fence together with an old garden hose, or a weekly $2 fine levied on apartment residents who failed to correctly dispose of their trash.
"WREFORD" is a paean to life in a low-budget apartment complex. (Plexiglass sliding doors, whitewashed metal fences, hair-grain carpeting over cement floor. Rooms that have been vetted by flea bombs and laden with roach motels. For those with an architectural bent: last-ditch Corbusian modernism, rentable for $600ish bucks a month.)
The back wall of the show is composed of insulation, layered concentrically, a zen mounting of that sublime pink stuff usually only seen in half-lit attics. The wall works as a humorous backsplash for other elements of Lund's show, including an axial sculpture of plywood and intricately cut carpet samples, located center-gallery and looking something like an imploded building.
Lund’s show also conveys a sense of constantly being monitored through motion-censored lights, placed above a series of wall-mounted shoe box sculptures. It is a clever play on the practice of lighting individual paintings in a gallery from above. Rather than unobtrusive track lighting, Lund includes intrusive high wattage outdoor lighting; rather than paintings, small boxes coated in camo duct tape and mesh, arranged into pseudo floor plans.
Lund’s show is cleanly executed without losing a sense of the intuitive. It is successful at communicating the indefinable atmosphere of a place without sacrificing humor.
The talk, and following keg party, will be held at Crosstown Gallery from 6-9 p.m., Friday August 30th.Images: Katie McWeeney
The opening will take place at Greely Myatt’s Wrong Again Gallery, a short jag away from Sun (Solar?) Studios on Marshall Avenue. Wrong Again Gallery, according to Myatt, is “more of a project than a gallery” (The “actual” gallery exists behind a nonfunctional door inside Myatt’s sculpture studio. It’s a concept.) For exhibitions, Myatt skypes in a remotely located artist, who discusses his or her work via a large projector screen. The only rule, Myatt says, is that the artist cannot be in physical attendance of the show.
It is fitting that the title of Close’s show should have dual meaning: tying her directly to the land on which she has been walking and camping, and beaming her through space traffic to arrive at her own opening.
Close’s past work has concerned intersections of race, history, and cyclical violence. Travel sheds a different light on these elements.
It is easy to be suspect of the artist/writer on a journey who makes work about that journey, that the all-too-easy trope of the artist who goes on a trip to wherever and finds themselves.
The court of the public opinion is particularly hard on female artists who leave their lives to go on quests. Think about the backlash to Elizabeth Gilbert’s Eat, Pray, Love. In the 2012 movie, Tatu, many characters are racists, expatriates and imperialists, but it is the female lead who arguably receives the most directorial flack. A contemporary performance artist, Ellie Ga, who recently took a trip to the Arctic, got a lot of attention for her work, but every interview with her has some ring of “…and what was your business up there?”
It is not that travel works by women are criticized; it is how they are criticized. Compared to the vast body of man-on-a-motorcycle literature and photography, there are few records of women going on journeys for reasons other than escape. When they do appear, they are read as self-absorbed and naive.
It will be interesting to see how Close handles this in her recent works, as a woman of color, as a critic of history, as a tourist, as (perhaps) a pilgrim, and as an artist with the ability to share her work globally.
The “Present Tense” exhibition at the Dixon is in the last couple weeks of its run. It is a successful exhibition, in the sense, that so many artists are talking about it. One of the hopes John Weeden, organizer of the “Present Tense” exhibition, and the Dixon had was that it would spark such a conversation about the visual arts in Memphis, and it has.
One of those conversations was about the artists who were not included in the Dixon exhibition. As soon as I saw the list of participating artists, of which I am included, I could not believe those artists that were left out of the exhibition. I thought to myself, “I should put together an exhibition of the artists not in the Dixon show.” So I did. “Hanging Participles” opens Friday, March 15, 2013 6-9 p.m. at Marshall Arts.
The “Hanging Participles” exhibition should not be considered anything other than a continuation of the conversation started with the Dixon show.
The list of participating artists is always changing, even the day before the exhibition. But there is roughly 35 pieces from more than 40 artists including: Alex Paulus, Lindsay Overbey, Ronald Herd, Kiersten Williams, Tim Crowder, Emily Walls Cifaldi, Beka Laurenzi, Ed Rainey, Kat Gore, Allison Smith, Leadra Urrita, Jill Wissmiller, Chloe York, John Ryan, Mary Jo Karminia, Bryan Blakenship, Patrick Graves, Melanie Spillman, Brantley Ellzey, Cedar Nordbye, John Hood Taylor, Carrol Harding Mctyre and Mary Long. Even with all these great artists and more, there are still many that could not realistically fit in Marshall Arts. There definitely needs to be a part 3, 4, and 5 of this exhibition.
So, this weekend you can celebrate over 50 years of visual arts in Memphis. That is a hell of a thing.
Images — courtesy of David Lusk (installation shots)
Courtesy of Alex Paulus and Lindsay Overbey ("Hanging Participles")
This weekend is the beginning of Unveil South Main, where 20 artists will display work for 20 days in various shops and businesses on South Main. There was the Unveil Downtown early this year. I wonder if they will be doing an Unveil Pinch District or an Unveil Raleigh. (Being from Raleigh, I support this idea fully. Raleigh Springs Mall would be perfect.) The kick-off event is at Jack Robinson Gallery, 44 Huling, Friday, November 30th, 5-7 p.m. Then the openings at the assigned locations happen from 7-9pm.
There are a couple of artists that has some interesting work on view for this event.
Howard Paine’s work for the past decade has been an investigation on the way technology can affect organisms. On his daily walks, Paine collects botanicals, leaves, seed pods, flowers as well as insects. He then photographs or digitally scans in the objects, prints these out then manipulates the objects with drawings, etchings, ink washes, and other mark-making processes. A recent development that came from working this way is the mortality of the individual. He has become interested in what remains after death both physically and as a source for memory.
Howard Paine’s work will be on view at SOB|South of Beale, 361 S. Main Street.
Chloe York, a recent graduate from the Memphis College of Art, is interested in all things colorful and oceanic. She is particularly interested it was is deemed ugly by society and what is the standard for what is considered beautiful. This led making a statement about the manner in which we decorate ourselves, covering up what is already there. Her use of pattern and decoration explore this idea of what is beautiful and pleasing to the eye.
Her work can be seen at Muse Inspired Fashion, 546 S Main.
Also on South Main Friday night but not as a part of the Unveil South Main is work by Justin Bowles, current MFA candidate at MCA, at Ameriprise Financial, 465 S. Main Street #101.
“Making fun of boys is fun,” Bowles states. Her exhibition "Boys Are Stupid," is about exactly that, making fun of her ex-boyfriends. These text-based works came about partly to memorialize the relationships and the rest is simply a purging. The exes are represented as animals that are based on the boyfriends personality. One is a cat because, “that guy was a self-involved sybarite.”
Other animals are more of a representation of the type of boyfriend she viewed them as, for example, a way younger boyfriend is “a super cute baby bunny” makes an appearance in one of the works. Most of that work lives in that liminal space between disappointment and the ridiculous, exploring the point when one stops viewing the failed relationship as tragic and accept the lameness of it all. She is saving the scorned lover material for future projects.
Since you will be downtown to see these three exhibitions, you might as well stop by and see the MFA exhibition at the Memphis College of Art. “Hysterics” features the work of Raquel Adams, Rebecca Coleman, Shirin Shahin, and Lindsey Gwaltney Todd. The opening is Friday 6-9 p.m. and runs through December 15th at the Nesin Graduate Center, 477 S. Main.
Since you have seen the MFA show at MCA, why not be sure to check out the BFA show as well. The exhibition at MCA’s main campus in Overton Park features the work of 15 BFA candidates and includes a variety of media. The opening is Friday 5-7 p.m. and runs through December 12th.
Since you are in the mood to see student exhibitions, see the previous post about the work at Marshall Arts, why not visit the University of Memphis’s MFA exhibition at the Art Museum at the University of Memphis. “Corner” features the work of Katie Maish, Jennifer Burton, Brian Bundren and Kathleen Murray. The opening is Friday 5-7:30PM and runs through January 12, 2013.
I always like it when there are some many simultaneous exhibitions of student work. I like to think of it as a battle royale where the students and the institutions battle it out for Memphis Art World supremacy. I think I may be the only one that thinks this way.
Is there such a thing as too many art openings? I would never have thought this would be the case, especially for Memphis. Sure, New York City can have 514 art opening on a particular night. There are enough people interested in art, at least feign interest, to have a good turnout for most of the galleries. Besides, they can simply go back and see the other shows during the rest of the month.
This is not the case in Memphis. People really only ever attend the opening and that is it. They usually do not go to a gallery the next day or during the month of the exhibitions run because they missed the opening. Unless it is a friend or lover, have you? I do, but this is because that is what I do, go to art exhibitions.
Friday night is one of those nights in Memphis where just about every gallery, museum, and art space is having an opening. There are more than twenty additional openings in banks, restaurants, bars, clothing stores, and coffee shops tomorrow night. Let’s not forget the South Main Trolley Tour.
And people say Memphis is not an art city.
It would be impossible, in one post, to talk about every art show that needs to be mentioned. You would not be able to see half of the exhibitions tomorrow night, even if you tried really hard. It is more impossible to write reviews for these shows, even for just a couple of them. I think I need to try to perfect the 140 character art review for twitter (@dwaynebutcher if you want to follow and see my attempts in defining a future for art criticism)
With all that is going on, there is one thing I think you should be sure to see.
That is “Flat Mates,” the University of Memphis BFA exhibition at Marshall Arts Friday, November 30, 2012 6-9PM. When you go, be sure to get there at exactly 6PM or wait until 8:30. They, for some reason, always do their student awards during the middle of this exhibition and it takes roughly an hour, during which time no one can walk around and see the art.
And you should see the art.
Anna Roach has a salon-style exhibition of 20 oil and graphite on panel paintings of various sizes. Roach’s subject matter is children, and, despite all of us once being innocent children, our future is undetermined and this innocence will inevitably disappear. There are paintings of a baby Bill Clinton, Ted Kaczynski, and Sarah Palin. While finishing up the pieces for this exhibition, Roach was afraid that the Sarah Palin piece would not be dry in time. So, she took it to the tanning bed and let the UV rays speed up the drying time. A perfect metaphor for Sarah Palin, I believe.
Ashley Watts has a slight obsession with food. Specifically, Chick-fil-A waffle-cut french fries. She prefers the term "slight," as a complete and unregulated obsession would leave her penniless and overweight. She has created 25 mixed-media pieces that examine the simplistic beauty by trying to capture the “glistening, rolling hills connected by deep, almost crimson valleys” that is found in every waffle-cut fry. Watts will even be serving freshly fried fries at the opening (even more of a reason to get there at 6PM sharp.)
Kelly Baldwin has three large grids of photographs printed on silk that are suspended from the ceiling. Each of the silk pieces contains a series of nine photos shown in a grid that offer private glimpses into the artist’s life. The silk pieces are then hung in a circle to provide an intimate setting in which to view and contemplate the photographs.
As a U.S. Army Combat Illustrator during the Gulf War, Paul Eade was inspired by the landscape of the Middle East. Through abstract painting that is influenced on the colors and shapes of the patterned textiles of the ancient churches, mosques, and temples of this region, Eade is attempting to bridge the gap between Western and near Eastern cultures. This offering works best in Effero Extuli Elatum, a 72” x 96” oil on canvas painting.
Phillip Johnson’s watercolor pieces are about manipulation — how an object can change from one form to another, in this case the object is a chair. He is interested in trying to create as many different forms as possible by experimenting and altering the positive and negative shapes of the chair. In the end the pieces are not about an utilitarian object but the abstract forms that result from process.
Cameron Showalter uses a mannequin as a stand-in for himself. Showalter has a tendency to be uncomfortable around people and in social settings. The mannequin is a way to try to deal with these anxieties. The installation is in the back of Marshall Arts in a seldom-used room, a fortuitous location for these prints and their intention.
This is really a nice exhibition and gives me hope for the future of the Memphis art scene. The only problem is that the exhibition is one night only. The art administration has to find a way to have these exhibitions be on view longer. It is a disservice to the students, who have spent the last four years and an ungodly amount of money pursing a degree to only be given one night for an exhibition.
But, we only ever go to the openings anyway, right?
Those of you who know me know that I am not above self-promotion. Those of you who know me really well know that I love putting together art exhibitions anywhere and everywhere. Tomorrow night, I am once again putting together an exhibition called “The Car Show.” All the work in the show will be based on automobiles (and in one case, boats) either literally or conceptually. There will even be a Lamborghini Gallardo and an Aerial Atom at the exhibition. If you do not know what an Aerial Atom is, google it. Now. They are truly fascinating automobiles.
This event will bring together two groups that usually do not coexist anywhere, the car people and the art people. Their works definitely do not get many chances in Memphis to share the same space. So, we will see what happens when we all get together. In the end, it may just be about having a good time and making what each of these groups do more accessible. I am all for that.
"The Car Show" will run for one night only Friday, November 16th, 6-9 p.m. The exhibition will be held at Word of Mouth Detailing 7585 Highway 64 Suite 100 Memphis, TN 38133. Word of Mouth Detailing is located on Hwy 64 between Kate Bond and Appling Rd.
Speaking of things that are truly fascinating, I have always been very fond of quilts, especially those from the Gee’s Bend Quiltmakers of Alabama. Several years ago, the Brooks Museum of Art held an exhibition of these quilts. It was the best painting exhibition I have ever seen. Yes, that is correct, these quilts are like paintings. Currently at the Brooks is another exhibition “Early Quilts from Southern Collections” through January 6th, 2013.
Saturday, November 17th at 1 p.m., Greely Myatt will be giving a talk at the Brooks. Myatt will be discussing his work that is based on these historic patchwork quilts. He makes these quilts from recycled and reclaimed street signs.
Are we really already in the holiday spirit of giving? Should I bring my Christmas/Hanukkah/Kwanzaa aluminum pole down from the attic and install it next to my cat condo tower? It seems people are already being nice to each other, doing nice things for each other, with little or no benefit expected. This is the case with the Memphis College of Art and Beth Edwards, painting professor at the University of Memphis. Edwards has curated the 2012 Alumni Invitation Exhibition opening at the Memphis College of Art Thursday, October 11th, 5-7 p.m.
Is it a good thing that these two competing institutions work together for the common good of an art exhibition? Perhaps. There is precedent for such a collaboration. Last year's "Impressionistic Summer" between the Dixon and Brooks Museum seemed to work. Kevin Sharp and Cam Kitchin, the museums' respective directors, were not fighting in the streets. (Though, I would give anything to see that.) I do hope that MCA alumni Emily Jacir made the cut for this invitational. That would be spectacular.
UrbanArt Commission will be dedicating a new public work Friday, October 12th, 3-5 p.m. Mark Nowell’s The Wave was recently installed at the Skate Park in Tobey Park at 2617 Avery. The Uptown Hotdogs food truck will be there and there will be a performance by ARTISTIK APPROACH. My broken left foot is doing much better now. I think I will go and give this “wave” a try. At least dance and eat a hotdog.
If you can find it and if you are in the mood, The Wrong Again Gallery is having its third exhibition of its second season Saturday evening 7-9 p.m. Niki Johnson will not be present for the opening of her exhibition "Behind Closed Doors: An Evening of Rockwellian Taboo." Instead, she will be skyping in from an, as of yet, undisclosed location. But do not worry yourself with that. Just make sure you can find the Wrong Again Gallery at 648 (W) Marshall Avenue. It will be the right place to be.
Go see some art.
If you like to go to art openings for the free wine, beer, and cheese cubes, then this Friday night is the one for you. But, you may want to leave the house early to be able to attend all the art openings Friday night. Actually, it may almost be impossible to go to every opening. It will be even more impossible to be able to enjoy the free wine, beer, and cheese cubes at each event. So, be prepared to drive like mad to see the exhibitions.
Here is a likely plan for your night of free drinks and snacks and art.
Start at the University of Memphis’ PLA(I)N(E) Gallery in the Art and Communication Building, room 100, for M. Foster’s "The Bee House". The exhibition examines loneliness, hermit-hood, memory, and decay through the recreation of a Long Island woman's home. There will be no free wine or beer here, as it is a university. However, it will still be a good place to start as the opening begins at 4:30 p.m.
Then head to Poplar and take your pick from these three exhibitions: Keiko Gonzalez at Lisa Kurts or Lisa Jennings and Carolyne Morrison at L Ross Gallery or Tad Lauritzen Wright at David Lusk Gallery.
There will be plenty to drink at these openings. But you will run out of time attempting to visit all three. The most interesting of the exhibitions will be Lauritzen Wright’s "Garden & Gun" show at DLG. This will also have the most people. Go here to see all the cool art kids in town and make fun of the hipsters.
After you take a taxi back to Laurelwood Shopping Center to pick up your car Saturday morning, grab your dull knives and head down to the National Ornamental Metal Museum, between 10 a.m.-5 p.m. for their annual Repair Days. There will be plenty to do and the museum grounds has, without a doubt, the best view of the Mississippi River in the city.