Country Life

Mike Calway-Fagen’s Story Breakers at Lipscomb

What I love about Nashville is this: the more you look, the more there is to see.

I reviewed Saturday’s art crawl in Country Life yesterday, standouts being Watkins senior Marlos E’van, COOP Gallery member Robert Scobey, and James S. Weinburg’s installation “Just Add Water” at Crystalwood Studio. Check out Country Life for the full report.

Wednesday night, Mike Calway-Fagen presents “Story Breakers” at Lipscomb in the John C. Hutcheson Gallery at 6 pm. He’ll give a talk followed by the opening reception for an exhibition that asks us to “Suspend disbelief. Postpone belief. Delay the gratification of each.” Calway-Fagen is versatile: I remember when he borrowed 52 mirrors from people in the Southeast and positioned them beneath the Manhattan Bridge in Dumbo, lighting up the bridge’s underside.

“Story Breakers” is an installation of objects, sound, collage, and photographs. Check out some images of his past work.

The Progression of Regression, 2010. Taxidermied German shepherd, old wolf pelt.

The Progression of Regression, 2010. Taxidermied German shepherd, old wolf pelt.

clap-quick-the-immortal-child_500

Mike Calway-Fagen. Clap Quick the Immortal Child, 2014. Chair, paint, wheels, xylophone, bondo, etc.

Mike Calway-Fagen. Before, we were desperados, 2009.

Mike Calway-Fagen. Before, we were desperados, 2009.

The gallery is in the James C. Hughes Center, best accessible from the entrance on Belmont Blvd. Looks like you can enter across from Glen Echo Rd.

Art Review: Melissa Wilkinson at Threesquared

Check out a review I wrote about Melissa Wilkinson’s La Petite Mort, which is showing at Threesquared through October 4. Then, go get dazzled by her smart, gorgeous glitch watercolors. Here’s a teaser about her process:

“Wilkinson’s process is something to geek out over. A true appropriation artist, she pulls images from search engines and builds a narrative from them. La Petite Mort used everything from St. Teresa to Michelangelo to pornography. She reverses the image and data-bends its file by altering the raw code. Combining it with the code from other files, she produces images that overlap and grow into each other. Then, she uses bright watercolors to add strokes of realism. She includes sensual, tactile objects like feathers, satin and tentacles and renders pieces of them precisely, thus combining her classical training with her predilection for new media.”Melissa Wilkinson_Saint Sebastian