July at WAG: New Videos by Micaela Herrera and Henry Jeck

Posted on: June 12th, 2017 by Brendan Tapley

In this new exhibit, Herrera and Jeck present videos that explore various themes. Herrera’s work examines identity as a Mexican American by limning the differences within each culture. In a satirical approach, her “Authentic Tamales” acknowledges consumerist America by altering her grandmother’s tamale recipe with American ingredients. “Puerta Abierta,” made in collaboration with Ernesto Stewart, is a charcoal animation that represents escaping inner turmoil.

Henry Jeck’s work addresses the saturation of sports imagery that exists in American culture. Using video installation, he combines sports and religion to comment on the mythicized role athletes attain among fanatics.

Micaela Herrera is native to Nashville with family from Celaya, Guanajuato. She currently studies Fine Art at Watkins with a fascination in wearable-sculpture and painting.

Henry Jeck was born in Chicago, IL, and raised in Nashville. He studied music from a young age as a trumpet player. Having been raised in a family of artists, he shifted his focus to visual art. Jeck is also a student at Watkins with a special interest in sculpture and video.

 

 

 

 

 

Yakishime – Earth Metamorphosis

Posted on: May 23rd, 2017 by Brendan Tapley

Starting June 5, 2017, in collaboration with The Japan Foundation, the Currey Gallery at Watkins will present Yakishime-Earth Metamorphosis, a traveling exhibition that focuses on the Japanese ceramic technique known as “yakishime.” Firing unglazed wares at high temperatures, yakishime has developed in distinctive directions in Japan, with some of the earliest known wares dating to the fourth and fifth centuries. The exhibition showcases such pieces, as well as other applications of the process, including utensils used in the sacred Japanese tea ceremony, tablewares, as well as non-utilitarian objects. Yakishime is one the most ancient and unique ceramic processes, but also an ongoing and contemporary one. Its high temperatures bind clays together and vitrify them, making them waterproof. Contemporary artists have adopted yakishime, weaving together tradition and innovation in compelling ways. A sensibility and aesthetic unique to Japan, the exhibit offers powerful insights into art, craft, and the profound and constant interplay between history and our current time. Guests are encouraged to visit the Currey Gallery to view the exhibit during Watkins’s business hours. The show ends June 30th.

 

Watkins College Commencement

Posted on: May 10th, 2017 by Brendan Tapley

On Saturday, May 20, 2017, Watkins College will celebrate the class of 2017 at its Commencement. To learn more about the speaker, Nashville entrepreneur, visit here; to learn more about the day, visit here.

Fine Art Senior Show

Posted on: May 2nd, 2017 by Brendan Tapley

Four Watkins seniors in fine art unveil their senior shows:

Hannah Strobel

The works in the exhibit titled, Do They Move?, focus on the artist’s personal exploration of movement through painting, sculpture, and time-based media. These works contain the broad spectrum of everything the word “movement” encompasses, from the laborious tasks of our hands to moving from one place to another. The exhibition Do They Move? serves as a lighthearted and tender query posed by the artist to ask viewers to contemplate the conditions of a move.

Ian Corvette

In Ian Corvette’s exhibition, he uses a sound installation to ask, “What catalysts guide consumption?” Listen to mechanical reproductions and consider a dystopian connection between emotions and their potential as capital.

Lisa Harless

There Will Be Monsters is an exhibition that explores and celebrates the legacy of classic literary monsters. The body of work consists of pieces inspired by Gothic literature, architecture, and theory. The artist takes on the role the scientist, stretching, pinning, and suturing materials together to bring to life a new cult of monsters.

Corrina Joyner

In Corrina Joyner’s exhibition titled, the distance of the horizon collapses without my gaze, the artist poetically addresses perceptions of darkness and spaces of absence. Using physical and nonphysical mediums, these new works communicate absence through presence, and the ethereal nature of this as a psychological case.

 

Watkins College Film School Senior Presentations

Posted on: April 19th, 2017 by Brendan Tapley

Join Watkins’s Film School as its seniors present their powerful capstone work.

 

Interior Design Senior Show

Posted on: April 19th, 2017 by Brendan Tapley

Join Watkins’s interior design senior as they present their capstone work in the Currey Gallery.

Senior Show – Photography

Posted on: April 11th, 2017 by Brendan Tapley

Photographers Annalyse Moncrief and Joshua Ungurait present their capstone work in two shows, the opening reception of which takes place on Thursday, April 13th from 5:30 to 7:30 PM.

Annalyse Moncrief

Divination by Water

Divination by Water is an exploration into overwhelming experiences. It is designed to immerse the viewer in situations, from the deeply personal to the monumental, through the intimate narrative of the book. Viewers are encouraged to explore what it means to become lost in the enormity of an experience by interacting with the books in the show, creating through them small encounters with the immense.

Joshua Ungurait

Sit. Stand. Kneel.

The flag is the most prominent and ubiquitous symbol of the United States, yet its context and relationship to the viewer is in constant flux. As America grows and changes, so does the flag. Through an extensive body of documentary photographs, Ungurait asks the question, To whom does the flag belong, to the nation or to the people?

 

 

 

May at WAG – Patchbay

Posted on: April 10th, 2017 by Brendan Tapley

Patchbay is a Nashville-based experimental art and new music program which commissions collaborations between visual artists and music composers. This installation is the collective effort of artists Chris Strachan and Kay Kennedy, and composer Matt Kinney.

 

HERE is a video and audio performance organized around the DIKW Pyramid, a hierarchical system of categorizing insight. The piece unfolds into four movements, one for each layer of the pyramid: data, information, knowledge, and wisdom. Each tier alters the performer’s interpretation of the world they perceive. As the world becomes more complex, so does language and individual experience. The performers drift farther and farther from objectivity until it disappears completely.

Senior Show – Fine Art

Posted on: April 5th, 2017 by Brendan Tapley

Come view five emerging voices in the visual art world with this senior show:

Jazmin Lara

This work investigates childhood recollections through the use of photographs. Textiles will build the foundation of the works to create quilts of layers, allowing for a choice of discovery and mystery throughout the pieces. Delicate needlework guides through pools of confusion and solution in the investigation of comprehending the effects of pseudo-memory by using disturbances to fabricate truer versions of original reminiscences.

 

Kayla Miller

The exhibition is an exploration of the body of words built within the layers of a system, the act of the bodies that constructs the system, and the condition of the absurd crashing into the systems levels of power. Planning and chance within this relationship have no fixed identity; all that remains are obscured objects that assimilate around the concept of power in language, formed by the unexpected and the absurd and introduced through maintenance of labor as a performance.

Performance at 6:30 PM on Thursday, April 13th in the Currey Gallery

 

Micah Mathewson

In Case You Forgot is an exhibition of new work by Nashville-based artist Micah Mathewson. These works are presented as three monuments, each carrying the responsibility of a monument – to remind and protect the specifics of an ideal or happening in time. Using the vernacular of a southern type 1 diabetic, Mathewson presents discussions surrounding themes of mortality and loss in the everyday.

Carly Piccione

January through April is an exhibition consisting of paintings and sculpture created between January and April of 2017. The body of work is an exploration of color, pattern, and imagery extracted from bits and pieces of an encountered environment. Through the use of easily accessible materials, the pieces are then reconfigured in a way that changes the context of their original setting, like joining together two pieces of a separate puzzle.

 

Hayley Vanhoy

This work investigates performative play as an offering of physical language where the process becomes the strategy of making and meaning is inferred by the doing.

Performance at 6:00 PM on Thursday, April 13th in the Currey Gallery

Fragmentary Survey by Brady Haston

Posted on: April 5th, 2017 by Brendan Tapley

Nashville’s obscure landmarks, urban reference points, and geology have informed Brady Haston’s work and provide the abstract structure for the paintings featured in this show. These paintings are not restricted to chronology and are aware of many different times at once.  “My work began with a casual search for images and ideas by drawing on online resources and from brief impressions of the Dickerson Pike area where I live. As this work progressed, I had the good fortune to come across Paul Clements’ book Chronicles of the Cumberland, a collection of letters and first-hand accounts of the people who lived in the Nashville area during the tumultuous early years of the territory. As I read about the struggles and stories of these late-eighteenth-century inhabitants, a deeper understanding of Nashville allowed my work to be in influenced by older memories and the specific histories of the places I pass through on a daily basis.”

Several of the paintings in Fragmentary Survey incorporate drawings based on the local environment. Tree House and The New, Old Forest reference the large, hollow sycamore tree in which Bigfoot Spencer, one of Middle Tennessee’s first white settlers, lived one winter. Meander Corner is influenced by the stories of early surveyors imposing order and geometry over an untamed wilderness. There is a definite conceit when a contemporary abstract painting refers to the past. At best the work will engage the audience through an elaborate metaphor and create a conversation that expands their knowledge of this specific area while helping to orient the viewer in a local, ongoing history.