Past Exhibitions

Sequences and All At Once

Tinney Contemporary is pleased to present Sequences, an exhibition of new work by Nashville based artist Carol Mode. This exhibition presents a central theme of Mode’s work, illustrating a process of developing abstract paintings aimed at solving problems of design and color interactions within sequences.  While each work stands alone, together they offer a testimonial to my working process. As a seminal piece begins to emerge, Mode enters a ‘zone’ where possibilities multiply and alternative solutions present themselves. Choice after choice leads her to explore ever-more complex actions and outcomes, so that the process itself becomes a challenging tool for new discoveries.

All through Carol Mode’s long career as a painter, she has observed a culture where “the suspension of disbelief” is called for as one is seeking personal authenticity.  Mode’s own inclination is to seek an ‘unsafe path’ – one that challenges the idea that an earlier series of familiar perceptions can continue to be reliable.  It has led her into uncharted territory, where the freedom to re-invent a process has itself become a powerful tool for  discovery (as well as the means to share in the excitement of wrapping oneself within a private, creative world). 
At the heart of Mode’s experimentation with ideas behind ‘sequence formations’ there were complex choices that diverged over time and had to be reconciled.  One linkage came together between Blue Origins and Spring to Green with their sweeping reminders of emergent forces in nature; another sequence evolved into Shape Shifting, where a virtual triptych comes about using geometric forms “stretched out” in pursuit of color closure and  proportional relativity.   This range of expectations expressed here goes from a synthesis of pure planarity in Construct to individual concept pieces (small acrylic studies) showing Mode’s aspirations.  

In the rear gallery: ALL AT ONCE - Arden Bendler Browning

In the rear gallery, Tinney Contemporary will be showing new paintings by Philadelphia based artist Arden Bendler Browning.  Bendler Browning creates large abstract paintings referencing urban landscape and multiple perspectives.  She draws from  a wide range of sources as inspiration : the temporality of Impressionism, the gestural energy of Abstract Expressionism, and the combination of disparate forms from Postmodernism.

Travel - whether the everyday paths throughout her urban home base, or the moving landscape from a family road trip - has become the common thread throughout her work.   Her paintings reflect on a persistent tension between time and memory, the layering of images, and developing complex representations that allude to the impossibility of fully capturing, knowing, or reaching a destination. She merges seemingly disparate elements, jumbling and layering references of thousands of photographs and gestural studies of light, color, and movement, retaining a feeling of place and time and our movement through both.

Arden Bendler Browning lives and works in Philadelphia, PA. Her pieces are included in several public collections including the West Collection, the Pennsylvania Convention Center, PNC Tower, and numerous private collections. Bendler Browning's works have been featured in New American Paintings twice (2009 & 2013), Philadelphia Style Magazine, The Morning News, the artblog, polisblog, Philadelphia Inquirer, Icon Magazine, Atlanta Journal-Constutition, and Drawing Magazine, among others. She has been featured in exhibitions at the Pennsylvania Academy of Fine Arts, Arlington Arts Center, Swarthmore College, Delaware Contemporary, Kutztown University, and the James A. Michener Museum. A commissioned permanent work for the City of Philadelphia at the Philadelphia International Airport, awarded through a rigorous competition and selection process, was recently completed in early 2017. Bendler Browning holds a BFA in Art with honors from Carnegie Mellon University (1997), a Master of Studio Art with high distinctions from Sydney College of the Arts/University of Sydney (2000), and an MFA in Painting from Tyler School of Art/Temple University (2003). 

Cloud Witness

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New Work by Andy Harding
November 25 - December 23, 2017

Opening Reception: December 2nd during First Saturday Art Crawl Downtown

Tinney Contemporary is pleased to present Cloud Witness, an exhibition of new works by Andy Harding. This body of work is deeply inspired by the history of matter around us.  Dust, stone, water, and wood—every material we encounter—contains atoms with a story that extends back to the birth of time. The contents of everything from our solar system to our bodies has come from the far reaches of space and remade itself for a time before returning to the dust from which it came. Thus, the world we inhabit now is just one moment in a saga of material transformation.  

In Cloud Witness, Harding grapples with the reality that matter in all its forms has had a previous life elsewhere. Indeed, scientists have theorized that all the constituent parts that make up the whole of the universe—and life as we know it—can be traced back to the primordial clouds of gas that emanated from the Big Bang. This work serves as a totem for the elemental structures that emerged from these cosmic clouds of dust and gas. The frenetic configurations of the wood sculptures hint at the elusive nature of the particles and energy contained within all matter. 

The materials, form, and process behind the work echo this grand cycle of transformation. The compositions are made from materials with history, such as reclaimed wood and discarded acrylic. Though composed of hard-edged geometric elements, the wood and acrylic forms take on an organic, fluid nature when viewed as a whole. In addition, many of the sculptures are composed of a single, infinite loop—further embodying the concept that all matter is in a state of perpetual transition.

Andy Harding is a sculptor living and working in Nashville, TN. He developed a passion for art-making while pursuing a degree in chemistry at Belmont University in Nashville, TN. In the years following graduation, he worked in architectural metalwork and woodworking studios while engaging in an ongoing study of the scientific and philosophical subject matter that continues to inform his work. He had the honor of studying contemporary art in China with 12 other art professionals.  His work has been exhibited nationally in Boston, San Diego, Chicago, and Louisville, and can be found in numerous private and corporate collections across the United States.  

Welcome To The Orange West

New Work by Joel Daniel Phillips
October 7 - November 11, 2017

Opening Reception: October 7th, 6 to 9 pm

Tinney Contemporary is pleased to present Welcome to the Orange West, an exhibition of new work by Joel Daniel PhillipsThe exhibition comes out of Phillips' search for an understanding of his new surroundings after relocating to Tulsa, OK from San Francisco at the beginning of 2017 to participate in the Tulsa Artist Fellowship. Welcome to the Orange West explores the historical and cultural events that shaped Westward Expansion in the United States at the turn of the 20th Century. Through the lens of abandoned and decaying advertising littering the landscape along Route 66, the exhibition focuses on the sociological factors surrounding Manifest Destiny. Contrasted with renderings of historical moments central to the formation of the American West, the works examine the ways in which the United States has been shaped by, for better and worse, a deeply nostalgic relationship with Westward Expansion and the idea of the pioneer.

Most particularly, the drawings speak to the juxtaposition between history and nostalgia. We are in the midst of a cultural moment that sees many Americans hoping to return the country to their own individual understanding of its past; Welcome to the Orange West is an exploration of that past, and how our fascination with its glamour continues to shape decisions that affect our future.

Joel Daniel Phillips' work focuses on the tenets of classical draftsmanship employed in monumental formats. Inspired by the depth and breadth of human experience, he strives to tell the stories etched in the faces of those around him. Through the tip of his pencil, the artist seeks to find moments where our projected senses of self are transparent, allowing deeper, more truthful emotions to become visible. Phillips’ work has been exhibited at institutions and galleries across the United States as well as abroad, and he was recently the 3rd prize recipient in the Outwin Boochever Portrait Competition from the Smithsonian’s National Portrait Gallery.

Nano.Stasis Cosmic Garden

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New Work by Carla Ciuffo
August 26 - September 30, 2017

Opening Reception: September 2nd during First Saturday Art Crawl Downtown

Tinney Contemporary is pleased to present Nano.Stasis Cosmic Garden, a continuation of Carla Ciuffo's exploration of Stasis and the culmination of her two year odyssey as a visiting artist at Harvard. Blending art with science, Carla's unique collaboration with Harvard's Disease and Biophysics Group examined the cosmic world of nanofiber. Using this intriguing medium to bridge the divide between art and science, her endeavor is to show how artists use science to make their fantasies real and palpable; and how science uses the arts in the same way. Carla's work was sparked by Harvard's Tarr Family Professor of Bioengineering and Applied Physics, Kit Parker and his invention of a rotary jet spinning technology. Professor Parker's groundbreaking work has created a textile that is evolving for a spectrum of futuristic uses - from wound healing, tissue and organ growth to "smart" sports related products and high couture. Now, it is being made into art. After two years of working closely with the nanofiber technology at Harvard, Carla developed tiny nanofiber "canvases." Using small swatches from the canvases, SEM (scanning electron microscope) photos were taken utilizing Harvard's electron microscope. Carla expanded these images into an enormous cosmic garden. Large and small format acrylic artworks illustrate the fiber's unique strength and its ephemeral beauty.

Carla Ciuffo's work lies somewhere between narrative, photography, and collage. Imagery is stripped down to its most basic elements, light and texture. Details are taken away then integrated back into the artwork to shape new composites, constructing and deconstructing the boundaries of her photographic world.

During her time with Tinney Contemporary, she has produced a number of installations including portraiture of iconic and contemporary artists that are now a part of the permanent art collection at Nashville's Country Music Hall of Fame. Other select installations include a profile of Girl With a Scar at Tennessee's Custom's House Museum and several large format public works at Nashville's International Airport.

A recipient of the Woman Art Award 2017, for the Women's Essence Show, Espace Cominnes, Paris, France, Ciuffo's work can be found in collections and corporate installations throughout the United States and Europe.

Annual Retrospective

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July 15-August 19, 2017

Opening Reception: August 5th during First Saturday Art Crawl Downtown

Tinney Contemporary is pleased to present Tinney Contemporary Annual Retrospective, an exhibition celebrating the 11th anniversary of the gallery's opening. Throughout the duration of the exhibition works by a number of gallery artists will be on rotation, showcasing the roster's many varied talents. Featured artists will include Jason Craighead, Jaq Belcher, Kuzana Ogg, Claire B. Cotts, Jane Braddock, Carla Ciuffo, Peri Schwartz, Kay Ruane, Eduardo Terranova, and James Perrin. 

This past year was an exciting and busy one for Tinney Contemporary with the introduction of two new artists. Internationally renowned photographer David Yarrow delighted Nashville with his gorgeous large-scale wildlife photographs dazzling all who experienced them. The gallery also introduced the beautiful work of Nashville native Adam Shulman. In addition to the new artists added to the gallery's portfolio, Sarah Wilson, Tinney Contemporary's gallery director had a baby boy. Sarah and baby Hays are doing great and it appears that Hays is happiest when looking at art while Sarah works. Tinney Contemporary is delighted to be a part of the growing art community in Nashville and looks forward to introducing exciting new artists and shows in the coming year.

The Prophet's Library

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New Work by Wesley Clark
May 13th - July 8th, 2017

Opening Reception: June 3rd, 6 to 9 pm

Artist's Talk with Paul Polycarpou & Samuel Dunson: June 3rd, 5 pm

Tinney Contemporary is pleased to present The Prophet's Library, a solo show of work by Wesley Clark. It marks his exciting return to the gallery since he was first introduced in 2015 as a participant in Topography, a groundbreaking group show curated by Fisk University's Jamaal B. Sheats. 

Wesley Clark's work focuses on the issues faced by African-Americans and the African diaspora. He explores race, politics, and history using various tactile materials. Clark describes The Prophet's Library as "a narratively driven collection of artifacts." His previous showing at Tinney Contemporary offered pieces made mostly from wood, but this new work experiments with resin sculpture, mixed media printmaking, and painting. 

Each piece is heavily manipulated to appear as though it were a timeworn object, found and appropriated as art. As a true storyteller, Clark uses both subtle and overt symbolism to relay his message. He intends for his use of "real unicorn horns, large anatomical hearts, and unearthed sarcophagi" among other things, to galvanize the viewer to develop their own narrative. Like the materials comprising each work, the conversation they encourage is densely layered.

These works are deeply inspired by the writings of Ta-Nehisi Coates, the research of Dr. Joy Degruy, and civil rights advocate and author Michelle Alexander. Combining contemporary and historical social issues, they serve as a reminder of the past and an awakening to the present. Clark says The Prophet's Library exists "as a barometer for black America with the purpose of keeping certain thoughts, ideas, and goals in mind."  The show at once alludes to history and makes predictions for the future. 

Wesley Clark has exhibited works at institutions such as the Katzen Arts Center at American University, in Washington DC, Columbia College's Glass Curtain Gallery in Chicago, Illinois, and Prizm Art Fair in Miami, Florida during Miami Art Week. His works can be found in collections here in the US such as noted art collector, Peggy Cooper Cafritz. He is part of the artist collective, Delusions of Grandeur, a group of emerging artists focused on providing critique and commentary on social infrastructures within American society, while contributing to the prominence of the collective black voice and presence within contemporary art. Clark received his BFA from Syracuse University in 2001, and his MFA from The George Washington University in 2012. Today he lives and works in Hyattsville, Maryland. 

 

Artist Statement

"Frustration. Hope. Beauty. Pain. Constant trauma with few periods of respite. A Black man convicted and sentenced for choking his dog while another police officer is acquitted of all charges after killing an unarmed Black man in need of help. How do Black Americans find their equilibrium in a country that refuses to reconcile with past and present traditions of violence against their skin; assaults against their character; and the socialization of racism?

Built around a narrative construct of a curated private collection of objects, The Prophet’s Library unabashedly delves into dialogues concerning Black Americans in the only land they’ve known — yet a place hard to call home. 

Identity and reparations are two prominent recurring themes. Reparations delineates reconciliation of what is owed to Black Americans to be a regular and prominent thought leading toward action in American society. Identity responds to my recognition of how intentionally the Black image has been co-opted & distorted; the devastating effects of those actions; and the need to counter those maneuvers. Each theme mingles with economics, government, value of life, and history, intertwined and layered throughout the individual works to create a subtle yet well established thread between the objects. 

With an expansion into new materials, metal and resin, I’ve found a material contrast for the wood that suits my subject matter and aids in my narrations. Furthermore, these works directly engage my love for words and their power. When combined, these pieces make for a very literate show; where words take center stage alongside their visual co-stars. (A personal feat, as I’ve been chasing phrases attempting to capture them and convert them fully to imagery.) The phrase, “A picture is worth a thousand words,” holds true, yet my focus here is how a word creates a thousand pictures. With this in mind, I’ve dialed in both elements and fine-tuned their frequencies to coexist, complement, and fuel one another to further reach my audience. 

I aim for The Prophet’s Library to be an experience of exhalations for Black American viewers; and for them to feel comfortable, and comforted when viewing this work. For other viewers I offer a glimpse at the complexity and reality of being a Black American in this country, with the goal of being moved to consider their position in all of the subject matter presented." -Wesley Clark

Gold of Africa

New Work by Adam Shulman
April 1st - May 6th, 2017

Opening Reception: April 1st, 6 to 9 pm

Tinney Contemporary is pleased to present Gold of Africa - a new body of work by international photographer Adam Shulman. A self-taught photographer from an early age, Adam has pursued both digital and film media of various format throughout his career and has shot everything from Arizona landscapes to fashion photography. His Gold of Africa series is the culmination of the greater part of a decade immersed in two divergent worlds: the wonder-filled dream of fashion and the life it cultivates, and the painstaking pursuit of an African medical system deserving of its people.

Gold of Africa metaphorically represents the gold of Africa as being the people and the land. Showcasing beautiful African bodies covered in what appears to be golden, cracked, desert earth, each model captivates the viewer with overwhelming power and beauty. The mass of an entire continent lies behind their eyes or under the contours of each muscle or shadow. The gold seems to be a suffocating barrier at times, yet also somehow an extension of each model's body and soul.

Shot with 6x7 film on a Mamiya RZ67 manual camera, the images capture the essence and the magnitude of life. The actual film size leads to larger, crisper images, capturing the subtleties of each model. The imperfections of the film grain are representative of the subtle flaws in nature that captivate the senses, and yet the smoothness of the image as a whole is representative of the fluidity of life. The images are crisp, powerful, and yet sensual.

Adam Shulman was born and raised in Nashville, TN. He is a board-certified medical physicist as well as a medical philanthropist, having completed his training at Vanderbilt University. He has spent 6 years working in and out of Africa donating medical equipment and training local medical professionals on modern cancer treatment techniques through the NGO Radiating Hope. Adam has lived in Dakar, Senegal with his Senegalese wife Adama training medical staff, and just recently completed a year of medical training in Accra, Ghana. He has been immersed in African culture and beauty for the greater part of a decade, and for this, his series Gold of Africa is more than art on a wall. It is life.

 

Legacies of War

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New Work by Sisavanh Phouthavong
February 25 - March 25, 2017

Opening Reception: March 4th, 6 to 9 pm
Artist Talk: March 4th, 5 pm

Tinney Contemporary is pleased to present Legacies of War, an exhibition of new work by Sisavanh Phouthavong. Sisavanh Phouthavong is one of the first professional Lao American visual artists and educators of her generation. Over 5,400 Lao refugees resettled in Kansas in the aftermath of the Laotian Civil War that ended in 1975.  Through her powerful acrylic work, she confronts the challenges of bicultural memory and documentation. She considers notions of the abstract and the concrete for those who must remember both their inner and external histories in a diaspora framed by secrecy and loss. Her work probes what is shared, what is felt, and what must remain deeply personal among the lessons passed on to the next generation as it heals and rebuilds.

This new body of work is inspired by the organization Legacies of War (legaciesofwar.org). Their mission statement: "is to raise awareness about the history of the Vietnam War-era bombing in Laos and advocate for the clearance of unexploded bombs, to provide a space for healing the wounds of war, and to create greater hope for a future of peace."   As a refugee, the process of connecting and disconnecting with a place or community are abstracted ideas of migration as an immigrant.  The collage and painting process is unpredictable and is an ongoing dialogue about assimilating and relocating into another culture and space.  The work captures and embraces architecture and built environment in its state of flux. Teetering between realism and abstraction, Phouthavong folds space and time to connect with the fleeting world. To achieve a kaleidoscopic effect, she employs multiple viewpoints, rhythmic fragmentation, and strong color contrast to fuse both the contemporary and historical landscape elements into one.

Sisavanh Phouthavong is the painting professor in the Department of Art at Middle Tennessee State University. She earned a B.F.A. from the University of Kansas and an M.F.A. from Southern Illinois University-Carbondale. Phouthavong's source material for research is autobiographical and stems from her personal experience as a refugee, mother, wife, teacher, citizen, and observer of everyday culture. Her work has been seen in solo, juried, and invitational exhibitions throughout the U.S., France, Belgium, and New Zealand. She has been published in the Studio Visit magazine, recognized as a New Superstar of Southern Art by Oxford American and most recently four of her bronze work has been chosen by Arts in the Embassy for a permanent collect at the new American Embassy building in Paramaribo, Suriname. Her research has been funded several times by the Tennessee Arts Commission and MTSU grants. She partners with the Frist Center for the Visual Arts' Educator for Community Engagement; the Oasis Center; and CRIT, the Center for Refugees and Immigrants of Tennessee.

*Biography courtesy of Bryan Thao Worra.