F A L L 2 0 1 6

In This IssueART 4 Samurai: The Way of the Warrior

6 Ragnar Kjartansson: The Visitors

10 Artist Q&A with Harmony Korine

12 2016 Young Tennessee Artists: Selections from Advanced Studio Art Programs

HIGHLIGHTS 8 The Annual Fund

9 All-Access: Bellissima!

13 Accessibility at the Frist

14 Get Involved

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Saturday 10:00 a.m–5:30 p.m.

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The café opens at noon on Sunday.

Martin ArtQuest Gallery is open until 5:30 p.m. daily.

We are closed on New Year’s Day, Thanksgiving,

and Christmas.

Our exhibitions, programs, and events are generously

funded in part by grants from the Metropolitan Nashville Arts

Commission, the Tennessee Arts Commission, and

the National Endowment for the Arts.

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COVER: Composite armor with bust in two parts and laced in red silk, Japan, second quarter of the 16th century and first half of the 18th century. Steel, copper alloy, silver, gilded copper, ivory, Asian water buffalo horn, wood (Japanese foxglove), silk, lacquer, and silk brocade, 63 x 23 5/8 x 23 5/8 in. Collection of Museo Stibbert

ABOVE: Ryan Carpenter. Orderville Canyon, 2015. Photograph from film, 9 1/2 x 11 1/4 in. Courtesy of the artist. © Ryan Carpenter. In 2016 Young Tennessee Artists (see page 12)

See Page 4

In This Issue

BOARD OF TRUSTEES

Billy Frist, Chair and President

Jean Ann Banker

H. Lee Barfield II

Clay Blevins

Laura Chadwick

Karyn McLaughlin Frist

Frank M. Garrison

Howard Gentry

Bob Gordon

Claire Gulmi

James Harbison

Aubrey B. Harwell, Jr.

Melvin N. Johnson, DBA

Ellen H. Martin

Ken Melkus

Robin I. Patton

Stephen S. Riven

Luke Simons

John Smithwick

Joe N. Steakley

Gloria M. Sternberg

Deborah E. Story

Jay Turner

Julie W. Walker

Gail P. Carr Williams

Susan H. Edwards, PhD

Executive Director and CEO

Directors Emeriti:

Thomas F. Frist, Jr., MD, Chair

Kenneth L. Roberts, President

Martha Rivers Ingram

Ex-Officio:

David Briley, Vice Mayor

2017 Frist Gala Co-chairs:

Julie Dretler

Betsy Wilt

Advisors:

Peter F. Bird, Jr.

Jack F. Stringham II

Honorary Trustees:

Bernice W. Gordon

J. Stephen Turner

Greetings,

In an increasingly interconnected world, we gain a competitive edge and help secure our goals by knowing more about cultures other than our own. In culture, as in nature, diversity gives us resilience. By bringing the best and most diverse range of exhibitions available to Nashville, the Frist Center strives to expand everyone’s horizons. Explorer, scientist, and philosopher Alexander von Humboldt said that the most limited worldview is the worldview of someone who has never seen the world.

There is a stone sculpture of an allegorical figure titled Future, created by Robert Aitken in 1935, at the northeast corner of the National Archives Building in Washington, DC. Carved into the base of the sculpture is a quote from William Shakespeare’s play The Tempest: “What’s past is prologue.” By considering the past, we find inspiration to ensure a better future.

The Frist Center was initially accredited in 2007. In June, the Frist Center was reaccredited by the American Alliance of Museums (AAM) following a rigorous yearlong self-study, a review by a visiting committee, and an assessment by a national accreditation commission. Accreditation recognizes professional operation, adherence to evolving standards and best practices, continued institutional improvement, public service, accountability, and fulfillment of mission.

The Frist Center’s mission and vision statements guide our decisions about exhibitions, programs, and expenditure of resources. We are deeply committed to providing opportunities for you to see and study all cultures.

Join us at the Frist Center to see the world and get inspired to view it in new ways.

Susan H. Edwards, PhDExecutive Director and CEO

F R O M T H E D I R E C T O R ’ S D E S K | A T T H E F R I S T | 3

Connect with us!

@fristcenter#FristNewcombPottery#SamuraiAtTheFrist#KorineAtTheFrist#RagnarAtTheFrist#YTAatTheFrist

The mission of the

Frist Center is to present

and originate high-quality

exhibitions with related

educational programs

and community

outreach activities.

The vision of the Frist Center

is to inspire people through

art to look at their world

in new ways.

ABOVE: Carol M. Highsmith (b. 1946). Sculptor Robert I. Aitken’s statue “The Future,” completed in 1935, sits on the Pennsylvania Avenue side of the National Archives Building, Washington, DC. Courtesy of Carol M. Highsmith Archive, Library of Congress Prints and Photographs Division, Washington, DC 20540

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Samurai: The Way of the WarriorNovember 4, 2016–January 16, 2017Ingram Gallery

Supporting:Platinum:

Sponsors

This fall and winter, we feature an exhibition in the Ingram Gallery that will interest a broad range of visitors, from curious children to scholars of Japanese art, culture, and history. Samurai: The Way of the Warrior explores many of the codified traditions surrounding these legendary figures who dominated Japanese politics from the late twelfth through the nineteenth centuries. Their shogunate military rule lasted until 1868 when, in the wake of Commodore Matthew Perry’s so-called opening of the country to the West, the emperor was reinstated as the supreme head of state through the Meiji Restoration and the samurai class was abolished. The legacy of the samurai continues to resonate today, however, as their prominence profoundly affected the art and the utilitarian objects produced in Japan for nearly seven hundred years.

The term samurai roughly translates to “those who serve” and, as early as the eighth century, samurai existed as armed supporters of regional wealthy landowners. The imperial court based in centrally located Kyoto increas-ingly relied on these professional warriors to squash rebels in outlying areas. Over time, the samurai consoli-dated enough political power and financial resources to rival those of the emperor. The Genpei War (1180–85) established the primacy of the warriors over the nobility and led to the emperor’s appointment of Minamoto no Yoritomo (1147–1199) as the first shogun (supreme military commander). From that point, forty-one largely consecutive shoguns would become the de facto rulers of the nation under three dynastic shogunate eras—Kama-kura (1185–1333), Ashikaga (1336–1573), and Tokugawa (1603–1868)—with the emperor presiding in name alone.

A pyramidal hierarchy developed within the shogunate government system. Under the shogun were the daimyo (regional lords), and under the daimyo were various levels of samurai. These warriors pledged their allegiance to a lord, promising to sacrifice their lives for him if necessary, while the lord in turn vowed to protect and provide for his samurai and their families. A strict code of ethical

Fig. 1. Unidentified artist. Spectacular helmet (tokamuri-nari tetsubari kawari kabuto), Japan, mid-17th century. Steel, gilded copper, lacquer, silk, and leather; 13 3/4 x 15 3/4 x 11 3/4 in. Collection of Museo Stibbert

The Frist Center gratefully acknowledges the support of the Friends of Asian Art.

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conduct emphasized extreme loyalty, honor, and bravery. This once unwritten “way of the warrior” is now often called bushido, although the actual term wasn’t used until the turn of the twentieth century, when samurai were no longer an official class, and is now considered a reflection of the over-romanticization often associated with them.

Our exhibition includes more than ninety beautifully ornamented functional and decorative objects created between the fifteenth and nineteenth centuries that relate to samurai life. Many are directly connected to their military role, including nine full suits of armor and twelve kabuto (helmets). Armor for the elite samurai was very striking, intricately constructed with materials such as bearskin, buffalo horn, horsehair, ivory, lacquer, and silk (see, for example, the cover of this issue). Yet it was also very functional, providing exceptional protection as well as freedom of movement. Additionally, the armor expressed the individuality and power of the warrior and, when not in use, was often displayed in his home. As the part of the armor typically seen first by an enemy, helmets were elaborately adorned, often with represen-tations of Shinto spirits and demons meant to intimidate opposing forces (fig. 1).

The samurai were highly trained warriors, skilled in cavalry and the use of multiple weapons. In early times, they primarily used the yari (spear) and yumi (longbow). The long, curved katana sword, however, is the weapon most associated with the samurai and perhaps the most important part of a suit of armor. By the later Edo period, in fact, it was illegal for anyone who wasn’t a samurai to carry a daisho , a combination of a katana and a shorter sword. The extreme sharpness of katana blades has become legendary, but some are also noteworthy for decorative scenes and motifs forged on the blade itself (fig. 2) as well as on the tsuba (guard). Sword making was revered as an important art form, with only the best craftsmen able to attain the desired perfect polish and balance between flexibility and stiffness.

The Edo period (1615–1868) under the Tokugawa shogunate brought 250 years of stability and isolation. The samurai lost much of their military function, but in-creased their attention to administrative duties and adopted aristocratic pastimes such as poetry, music, and tea ceremo-nies. This exhibition will also include luxurious objects such as lacquered calligraphy and smoking boxes, an incense tray, a mother-of-pearl inlaid saddle and stirrups, and a gilded folding chair that was part of a bridal trousseau. Another highlight will be a sixty-foot handscroll depicting the Procession of a Thousand Warriors, during which samurai walked from the city of Edo (modern-day Tokyo) to Nikko (fig. 3).

All these magnificent objects are drawn from the Museo Stibbert, a museum primarily devoted to arms and armor in Florence, Italy. The Stibbert’s Japanese collection is considered one of the oldest, larg-est, and most important outside of Japan. In sharing their objects with us, the Stibbert provides an opportunity for Frist Center visitors to see firsthand the exemplary craftsman-ship displayed by artists of this time and to investigate the moral, cultural, and aesthetic codes of the samurai warriors.

Samurai: The Way of the Warrior was organized by Contemporanea Progetti in collaboration with the Museo Stibbert, Florence, Italy.

KATIE DELMEZ,curator

Fig. 3. Unidentified artist. Horizontal scroll (emakimono) detail, Japan, first half of the 19th century. Paper, black ink, colored inks, lacquer, and rock crystal; 708 5/8 x 11 3/8 in. Collection of Museo Stibbert

Fig. 2. Mutsu Kami Tachibana Terumasa (Kuniteru School of Settsu). Sword (katana) detail, Japan, second half of the 17th century. Steel; blade: 24 3/8 in. Collection of Museo Stibbert

Icelandic artist Ragnar Kjartansson is internationally celebrated for his live performances and films. They present hypnotic, languid, and absurd situations that often play on the tradition of the tableau vivant, the living picture. These staged scenarios can take hours—even days or months—to unfold. This initially makes viewers excruciatingly attuned to time’s flow, but it eventually leads to a feeling of suspension as time’s passage becomes subordinate to the singular awareness of viewing in the perpetual now. As viewers allow themselves to become absorbed by Kjartansson’s minimal performances, they take pleasure in the slowness, beauty, and sublime irrationality of the artist’s orchestration.

Kjartansson’s The Visitors is widely regarded as his masterwork to date. This 9-part video

installation was filmed in the 43-room Rokeby Farm, a run-down mansion in Dutchess County, New York, that has been owned by the famed Astor family and their descendants for over 180 years. Eight musicians—one per screen—are spread throughout the nearly two-hundred-year-old home, each in his or her own room, wearing headphones through which they can hear one another perform. A ninth screen shows people outside on the front porch—the home’s inhabitants and neighbors, as well as friends of the artist—who form a choir that sings along with the musicians in the house. Although the musicians are connected by technology, they play and sing while being totally alone, collaborating without bodily cues, eye contact, or other sensory interactions beyond the electronically delivered music. The spectacle of inward-looking musicians

creating a communal expression seems to offer a microcosm of a culture in which meaning is often formed through technological interfaces between the isolated self and a larger community. Together and apart, the musicians, all friends of the artist, create a haunting melody built around the phrase “once again I fall into my feminine ways” (a line from a poem by Kjartansson’s ex-wife, artist Ásdís Sif Gunnarsdóttir). They are led by Kjartansson himself, who cuts a commanding yet somewhat comical figure as he sits—pale, pudgy, and naked—in a sudsy bathtub. Strumming his guitar and singing, the artist occasionally raises an arm, either as an expression of emotional intensity or in parody of a musical conductor.

The filmed vignettes of musicians in each room are beautifully illuminated and composed, rich

Ragnar Kjartansson: The VisitorsNovember 18, 2016–February 12, 2017Upper-Level Galleries

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Ragnar Kjartansson. The Visitors (stills), 2012. Nine-channel video projection, 64 minutes. Photos: Elísabet Davids. Sound: Chris McDonald. Video: Tómas Örn Tómasson. Courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik. © Ragnar Kjartansson

with the details of a fadingly glorious mansion that contains the ghostly vestiges of its past occupants. Matching the home’s sense of wistfulness and loss, the music is like a dirge. It starts softly with a near-painful melancholy and slowly swells to an emotionally stirring crescendo. Arranged on nine large screens throughout the gallery, The Visitors prompts viewers to become physically engaged and to move from one screen to another to follow the sweet intimacy of the music. As the performance comes to a close, the musicians leave their posts and, still singing, join the group on the porch. No longer alone, they slowly walk away from the house to the field below, continuing to sing together in transcendent harmony.

As with Andy Warhol’s films, such as Empire (1964), an eight-hour-long shot of the Empire State Building, this and other works by Kjartansson acknowledge boredom and repetition as intrinsic

conditions of contemporary existence. The artist doesn’t mind if the audience members stay for the duration or come and go as they please. Even a small amount of time is precious. But, as happens with Warhol, the reward of extended viewing is a heightened perception of differences in the repetition of a scene, musical phrase, or physical action. The whole world is contained in these variations.

Ragnar Kjartansson: The Visitors was organized by the Frist Center for the Visual Arts.

MARK SCALA, chief curator

Please join us onFriday, November 18for the Community Openingof The Visitors10:00 a.m.–9:00 p.m.

Lecture by Mark Scala at noon in the AuditoriumFree

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GivingAs we head toward the end of this fantastic year, we invite you to think about what makes the Frist Center special to you and to show your support with a gift to our Annual Fund. Gifts to the Annual Fund help us bring the world of art to Middle Tennessee and enable free educational and community programs. These include:

FREE FAMILY DAYSInviting the whole community toenjoy the Frist Center free of charge.

TRANSPORTATIONSUBSIDIESAssisting schools and communitygroups with field trip costs.

SENIOR MONDAYSOffering discounts on special daysto visitors who are 65 or older.

Your gift will also allow us to keep providing FREE admission to

all children 18 and younger.

You can make a gift online at fristcenter.org/donate or call 615.744.4927.TH

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Throughout the run of Bellissima!, Jeffrey Middleton and David Jaron Walker, youth

correspondents enlisted by the Frist Center’s communications department, covered

the programs and people around the exhibition with panache and impressive reporto-

rial instinct. During the exhibition installation in mid-May, Middleton was finishing

sixth grade at St. Bernard Academy and Walker was finishing fifth grade at Head

Middle Magnet School. Supportive parents and creative scheduling allowed the two

students to attend their first assignment—the spectacular vehicle load-in.

Part “Click and Clack, the Tappet Brothers,” part Woodward and Bernstein, the

preternaturally mature duo of Walker and Middleton contributed video interviews and

blog posts to fristcenter.org and their own social media outlets from fresh angles that

veteran journalists might have overlooked. At the end of his first video interview with

Bellissima! guest curator Ken Gross, Middleton disarmingly asked, “Why do you love

cars so much?” Gross, typically never at a loss for words about automotive engineer-

ing and history, had to pause for a moment to think back. He then chuckled warmly

and explained his lifelong fascination.

Covering the media and member previews and the “Hoods Up!” events allowed the

correspondents to learn more about how the Frist introduces an exhibition to the

public. Dapper in sport coat and pocket square, Walker spoke with car sponsors and

owners—including Chris Ohrstrom, owner of the Alfa Romeo 6C 2500 Speciale, and

Dr. Thomas Mao, owner of the Lancia Stratos HF Zero, about the design and history of

their prized rides, and later posted about what he learned.

“We’re grateful to David and Jeffrey for devoting a significant amount of time during

their summers to give their peers a glimpse of the exhibition through their youthful

eyes,” says Frist Center director of communications Ellen Pryor. “We look forward to

reading their ‘What I did on my summer break’ essays!”

View the correspondents’ work on their blogs, “View from the Backseat” and “Can’t

Wait to Drive,” at fristcenter.org.

Youth Correspondentson the Bellissima! Beat

All-Access

A L L- A C C E S S | A T T H E F R I S T | 9

TOP: David Jaron Walker. BOTTOM: Jeffrey Middleton

1 0 | A T T H E F R I S T | A R T I S T Q & A

While he is best known as a highly original indepen-dent filmmaker, Nashville-based Harmony Korine is also a painter who has exhibited his work in galleries around the world. In each medium, he employs im-provisation and provocation to unveil the strangeness of the world as he imagines it. Movies such as Julien Donkey-Boy (1999) and Spring Breakers (2012) contain edgy nar-ratives and surprising twists. Simi-larly, Korine’s paintings are raw and unexpected. In some, a gritty textural physicality is paired with street art’s rough spontaneity, while others feature trippy optical effects that disorient the viewer’s sense of space.

Korine’s figurative paintings have the untutored immediacy of outsider art. In Caker Plino (2015), a powerful red-hooded figure emerges from a ground of rough surfaces and loose brushstrokes, exemplifying his “call and response” approach to image-building. A closer connection to his films appears in the odd and nightmarish The Kotzur Gift (2014), in which Korine violently smeared paint over photographs of two characters wearing masks of grotesque elderly people, such as those seen in his 2009 film, Trash Humpers. Mini Sitter 2 (2014) continues with this filmic thread; this small painting features a filmstrip-like grid of black-and-white photographs of his own babysitter in a chair. The image is overpainted with

abstract expressionist bravura, giving it the quality of two layers—of being very nearly two paintings.

Such layering sets the stage for Korine’s purely abstract pattern paintings, most notably his Chex se-ries. In these dynamic works, gestural underpaintings

create a shadow world, one that is almost entirely obscured by a checkerboard pattern, providing a repetitive motif that reinforces the notion of the loop. The patterns do not appear to lie flat on the surface;

they ripple, buckle, fold, twist, advance, and recede, creating a vertiginous sensation that approaches the dizzying effects of Op Art or a hallucination of an elastic room. The works seem ready to explode with pent-up energy.

Here, chief curator Mark Scala converses with Korine:

MS: From Kids to Julien Donkey-Boy, Gummo, Trash Humpers, and Spring Breakers, your films have offbeat humor, dynamic pacing, and a sly subversive-ness. For me, they offer the pleasure and shock of the gothic imagination. This is less overt in your paintings. Can you put these two aspects of your creative life together for me?

HK: With the artwork like the films, I’m chasing something that is more of a feeling, something more inexplicable, a connection to colors and dirt and character, something looping and trance-like, more like a drug experience or a hallucination. Like watch-ing a soccer player score a goal with no ball, a lot of times it’s what’s missing that creates the humor and illusion.

MS: I like this notion in painting of the power of the gap, the importance of an experience that takes you out of rational thought, leaving everything open. When did you start painting? What inspired you?

HK: I had a best friend in high school who was missing his arms and used to paint with crayons with his feet. I thought I could do that. It was around that time that I huffed paint for the first and only time. As a joke I painted a scarecrow with an afro. It took off from there.

Artist Q&A with Harmony Korine

Special Needs Chex, 2014. House paint, oil, and collage on canvas, 102 x 84 in. Private collection, New York. © Harmony Korine. Courtesy Gagosian Gallery. Photography by Robert McKeever

A R T I S T Q & A | A T T H E F R I S T | 1 1

MS: So while you have been making art for a very long time, and your work has been consistent in its embrace of discovery, you are essentially self-taught as a painter, as you are in filmmaking. Not surprisingly, you’ve spoken about the impact of out-sider art on your work, and your paintings do have some of that energy, that lack of refinement. How does this come through in your studio practice?

HK: I really don’t know what I’m doing. I never had any training with anything I’ve done. I try and turn my total incompetence into a virtue.

MS: I get that. There can be a feeling of being closer to pure sensation when you don’t entirely control your medium. It is the staging of possibility through a mix of purpose and randomness— allowing raw material to have its own voice— that is so pleasurable.

Harmony Korine: Shadows and Loops was organized by the Frist Center for the Visual Arts and will be on view in the Gordon Contemporary Artists Project Gallery from November 4, 2016, through January 16, 2017.

The Frist Center gratefully acknowledges the support of the Friends of Contemporary Art.

Caker Plino, 2015. Oil, acrylic, house paint, and ink on canvas, 101 x 72 in. © Harmony Korine. Courtesy Gagosian Gallery. Photography by Robert McKeever

The Frist Center’s Turner Courtyard leads into the Conte Community Arts Gallery, a multipurpose space dedicated to art that has particular relevance to Tennesseans. Currently on view is the sixth biennial Young Tennessee Artists exhibition, a juried showcase of drawings, paintings, photographs, digital works, and mixed-media creations by talented upper-level high school art students.

The members of the jury were Frist Center curator Katie Delmez, painter and curator Jodi Hays, artist and Vanderbilt professor Vesna Pavlovic, and Rosemary Brunton, associate educator for community engagement and the exhibition curator. They selected thirty works from more than eight hundred entries, which were submitted from public, private, and home-school studio programs with Advanced Placement (AP) or International Baccalaureate (IB) certification.

During the selection process, Delmez noted that these artists are “brave in reflection and self-awareness, with a noticeable interest in personal histories,” representing various ethnicities and cultures in diverse works from women and men. Hays highlighted a shift in youth approaches to creating art, observing that “selfie culture has really influenced portraiture.” Pavlovic agreed, saying that one can see the reach of digital culture in the framing and composition of works throughout the exhibition, as well as the merging of classical and contemporary media.

AP and IB programs make it possible for students to refine their artistic processes and concepts through ongoing critical investigation, whether they are employing digital or traditional techniques or a mixture of both. Kathryn Manzo, an IB art teacher in Memphis, asks her students to “make the connection” when they see a masterpiece, encouraging them to realize that they too can create “masterful works that will stand the test of time. The Frist’s Young Tennessee Artists exhibition provides students the ideal opportunity to make that connection—to see their artwork hung in a world-class museum.” AP art instructor Michael Quinn of Bell Buckle feels encouraged by and proud of students “who are willing to take the additional, sometimes awkward and courageous action to share [their work] with an unknown audience.” With the support and commitment of dedicated AP and IB teachers across the state, the Frist hopes young artists will find their voices and inspire us all to see our world in new ways.

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Presenting Sponsor

2016 Young Tennessee Artists: Selections from Advanced Studio Art ProgramsSeptember 23, 2016–February 26, 2017Conte Community Arts Gallery

Advanced Placement is a registered trademark of the College Board. International Baccalaureate is a registered trademark of the IB Organization. The institutions were not involved in the production of and do not endorse this exhibition.

2016 Young Tennessee Artists: Selections from Advanced Studio Art Programs was organized by the Frist Center for the Visual Arts.

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As an Americans with Disabilities Act (ADA)–accessible art center, the Frist Center is dedicated to welcoming everyone to its programs. Frist staff and volunteers have benefited from the guidance of Tennessee Disability Coalition assistant director Donna DeStefano, often in collaboration with representatives from Bridges, Easter Seals, Empower Tennessee, the Tennessee Council on Developmental Disabilities, and other organizations. Our high level of awareness concerning how best to serve all visitors has led to our Nashville Convention and Visitors Corp certification as “accessibility friendly.”

Our approaches include providing assistive listening devices for lectures and films, producing Braille, large-print, and audio guides (available both on-site and online) for exhibitions, and coordinating monthly walk-up and architecture tours with sign-language interpretation (in partnership with Bridges). We also offer special tours to early-onset Alzheimer’s patients and their caregivers through the Middle Tennessee Alzheimer’s Association.

Since 2014, multisensory experiences have enhanced some of our docent-guided tours. For example, during Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, visitors could smell incense while looking at an altarpiece, touch leather and vellum as they viewed manuscripts, and listen to a thirteenth-century chant. During Women, Art, and Social Change: The Newcomb Pottery Enterprise (open through November 6), tour participants can run their fingers over samples of Newcomb techniques, glazes, and textured designs, and smell some of the flora and fauna depicted by the artists.

These strategies encourage all Frist Center visitors to see their world in new ways through art. To learn about additional accommodations at the Frist, including accessible and family restrooms and loaner canes and wheelchairs, visit fristcenter.org/accessibility.

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ANNE HENDERSON,director of education andcommunity engagement

Visitors enjoy an ASL tour of Bellissima: The Italian Automotive Renaissance, 1945–1975.

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AccessibilityAT THE FRIST

Multisensory experienceswill be available for Samurai: The Way of the Warrior, which opens on November 4.

Architecture Tours Sponsor

Messer Construction

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Circle Membership The Frist Center gratefully acknowledges all of our Circle Members as of August 15, 2016. Their gifts make it possible for us to provide free admission to visitors 18 and younger, as well as funding programs for seniors and families.

Get Involved

PICASSO CIRCLEMr. and Mrs. J. Barry Banker Judy and Joe BarkerClaiborne BlevinsBarbara and Jack BovenderRichard M. and Judith K. BrackenMrs. Thomas H. CatoJohn and Laura ChadwickKevin and Katie CrumboFrank and Claire DrowotaSheryl and Steve DurhamPatricia Frist Elcan and Charles A. ElcanDottie FristJennifer and Billy FristJulie and Tommy FristPatricia C. Frist and Thomas F. Frist, Jr., MDBernice and Joel GordonPatricia and Rodes HartSpencer and Marlene HaysMartha R. IngramMr. and Mrs. R. Milton JohnsonCarol and Howard KirshnerTom and Darlene KlaritchEllen H. MartinLynn and Ken MelkusBen and Joan RechterJan and Stephen S. RivenDelphine and Ken RobertsAnne and Joe RussellMs. Virginia SeveringhausLuke and Susan SimonsLaura Anne TurnerLeslie and Robert Waterman

REMBRANDT CIRCLEAnonymousDavid and Linda AndersonMr. and Mrs. H. Lee Barfield IIAnnie Laurie BerryMr. Martin S. Brown, Sr.Iris BuhlJohn E. Cain IIIMr. and Mrs. Ansel L. DavisSusan H. EdwardsDr. and Mrs. Jeffrey EskindKaryn McLaughlin FristRobert and Carol FristAmy and Frank GarrisonBob and Julie GordonMrs. Kate Ransom Wilson GraykenTracy Guarino

Claire and Jim GulmiMr. and Mrs. J. Michael HayesGlenna and Sam HazenMr. and Mrs. Martin F. McNamara III Ms. Nancy Menke and Ms. Sara RossonKaren and Bruce MooreMr. and Mrs. Mike Nacarato Mr. and Mrs. Richard C. PattonMrs. Susan D. PattonDrs. Jonathan and Donna PerlinMr. and Mrs. Sid PilsonSandy and Jay SangervasiMr. and Mrs. James C. Seabury IIIDanny and Caroline ShawJoe and Brenda SteakleyMr. and Mrs. John M. SteeleDonald and Elizabeth M. StinnettSteve and Judy TurnerNoel Williams

PRESIDENT’S CIRCLEAnonymousPhil Bredesen and Andrea ConteBob BrodieAnn and Frank BumsteadDr. and Mrs. Brian R. CarlsonMr. and Mrs. John W. Clay, Jr.Anita K. CochranHarvey and Helen CummingsMrs. Annette S. EskindLaurie and Steven EskindMike and Jeanne ExnerMr. and Mrs. James A. Fitzgerald, Jr.Tom and Judy FosterMr. and Mrs. John GawaluckDr. Richard GeerFrank and Gwen GordonMr. and Mrs. J. Leigh GriffithMr. and Mrs. Aubrey B. Harwell, Jr.Mrs. Charles W. Hawkins IIIL. O. Heidtke and Cynthia H. LunaDr. and Mrs. Robert W. Herring, Jr.Mr. and Mrs. Damon T. HiningerMs. Patricia Hollander and Mr. Marc HollanderMr. and Mrs. Ephriam H. Hoover IIIGail and Jeff JacobsKatherine A. Johnson and Bob P. DeBastianiWill Kendrick and Emily VerchotaMark and Kay KimbroughRobin and Bill KingMr. Neil B. Krugman and Ms. Lee Pratt

_________________From February through June 2017, people of all ages and abilities will be invited to participate in a

CommunityArt Project inspired by the work of visual artist Nick Cave. Works from the project are meant to be accessed through the five senses and will be on view in the Conte Community Arts Gallery from October 13, 2017, through February 25, 2018, in tandem with the exhibition Nick Cave: Feat. (November 10, 2017–April 1, 2018). To receive details as they become available,sign up for eNews at fristcenter.org._________________

RECENTLY PUBLISHED Shinique Smith:Wonder and RainbowsEdited by Kathryn E. Delmez

Frist Center for the Visual ArtsDistributed by VanderbiltUniversity PressList price: $29.95 softcoverMember price: $26.95

Nick Cave. Soundsuit, 2011. Mixed media. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz

G E T I N V O L V E D | A T T H E F R I S T | 1 5

Get InvolvedJeff and Andrea LaneMr. and Mrs. Fred W. LazenbyJohn and Monica MackieJames A. McKanna and Vivien A. CasagrandePatricia and James MunroJana and Randy ParhamPaul and Susan RutledgeMark and Vicki Scala Mr. and Mrs. John Claiborne SiffordJoe and Joanne SowellGloria and Paul SternbergAnne and Jack StringhamChris A. and Linda G. TaylorMr. and Mrs. James S. Turner, Jr.Julie and Breck WalkerJim Womack and Anne Henderson

DIRECTOR’S CIRCLEAnonymous (5)Mr. and Mrs. Clint B. AdamsDr. and Mrs. Jeff AdamsCarolyn E. Amiot and David B. AmiotLee Ann and George AndersonMr. and Mrs. William F. AndrewsAlexandra and James ArmstrongKevin and Colleen AtwoodGrace and Carl Awh Mr. and Mrs. David J. BaulchMr. and Mrs. Robert E. Baulch, Jr.Mr. and Mrs. Robert E. Baulch IIIMr. and Mrs. David A. BerezovMr. and Mrs. Kenneth Berry, Jr.Phil and Amberly BillingtonKaren and Pete BirdMr. and Mrs. Bill BlevinsMr. and Mrs. Dan K. BorsosSara and Richard BovenderCathy and Martin BrownKathryn and David BrownLinda and Dan BrownMelinda and John BuntinSarah and Terry CalvaniMr. and Mrs. William H. CammackDebbie and Fred CassettyBeth R. Chase Barbara and Eric ChazenMr. and Mrs. Sam E. ChristopherConnie and Tom CigarranMr. and Mrs. G. William Coble IIMr. and Mrs. Neely Coble IIITeri and Alan CohenChase ColeJohn O. ColtonMr. and Mrs. Charles W. Cook, Jr.Ms. Linda G. CooperJon and Kate CorneliusElise and Harvey CrouchJanine and Ben CundiffMr. and Mrs. G. Thomas CurtisKim and Eddie DeMossThe Rev. and Mrs. G. Fred DettwillerMarty and Betty DickensSheryl and Mark Donnell

Nicholas E. Dugger Margaret and James DunnRobert and Deborah DurrettPeg and Andrew DuthieKatharin and Barry DyerAnn and Glenn EadenMr. and Mrs. Mark J. EddyMark and Deborah EdwardsJane and Richard Eskind and FamilyMr. and Mrs. DeWitt EzellJill L. FachillaJason Facio and Paul VasterlingMr. and Mrs. John D. FergusonAdmiral and Mrs. James H. FinneyDara and Craig FreibergChip and Heather FridrichDr. John C. Frist, Jr.Mr. Bruce S. GalloDodie and Carl GeorgeMr. Andrew D. Giacobone and Mrs. Krysta J. McNaughton-GiacoboneJames C. Gooch and Jennie P. SmithGail Greil Mr. and Mrs. C. David GriffinKathy and John GriffinBarbara and Lee GrubbsCarolyn and Hartley HallMr. Joel Hall and Ms. Amanda GrossBen and Brittany HanbackRuth Ann and Bill HarnischJonathan HarwellDr. and Mrs. Daniel A. HatefMary Jeffords HawkinsMr. and Mrs. Gary R. HaynesDr. Stephan Heckers and Ms. Christine KonradiHelen and Neil HemphillDr. Alice A. Hinton and Mr. Peter Vanlingen Ms. Sheri HornAshley and Joe HowellEllen W. HudsonMr. and Mrs. Thomas W. HulmeMr. Charles Heath Jackson and Dr. Gretchen Purcell JacksonEllen and Kenneth JacobsMr. and Mrs. Clint JenningsEdie and David JohnsonMelvin N. Johnson, DBAMr. and Mrs. William P. JohnstonDr. and Mrs. David Scott JonesMarty and Roy JordanMr. and Mrs. Joseph S. Judkins

David KingPeggy and Randy KinnardChris and Beth KirklandWalter and Sarah KnestrickSusan Knowles and Andrew SaftelLucy and Sam KuykendallMr. and Mrs. Randolph M. LaGassePaul and Dana LatourTrish and John LindlerMr. and Mrs. Bryan LipinskiGage and Shelley LoganJane and Jim MainMaxine and Frank MajorsPat and Dave MaloneDavid and Lisa ManningMr. and Mrs. Stephen S. MathewsLeon MayMr. and Mrs. Robert A. McCabe, Jr.Mr. and Mrs. Mark McDonaldMr. and Mrs. F. Max MerrellRichard L. and Sharalena MillerMr. Stephen P. Miller and Ms. Connie V. DowellMr. William T. Morris and Mrs. Debbie MorrisEric and Amy NeffLeslie and Scott NewmanGerald and Donna NicelyAgatha L. NolenMr. and Mrs. N. Jack Nuismer, Jr.Dr. Harrell Odom and Mr. Barry CookKatherine and Robert OlsenSonny Palmer and Jean PattonHannah ParamoreMs. Autumn ParrottMr. and Mrs. George M. ParrottHal and Peggy PenningtonMr. and Mrs. Philip M. PfefferMr. and Mrs. R. Shannon Pollard, Jr.Scott M. and Carol Len Frist PortisEllen Jones PryorDouglas and Sharon PughMr. and Mrs. Hugh M. Queener Jan and James RamseyDr. Edgar ReedMr. and Mrs. Dudley C. RichterMrs. Walter M. Robinson, Jr.Dr. and Mrs. Charles E. RoosMr. and Mrs. John F. SaidyDr. Norm Scarborough and Ms. Kimberly HewellRick and Lynn ScarolaDr. William Schaffner and Ms. Lois C. KnightSandra Schatten

Mr. and Mrs. Robert D. SchatzWalter and Mary SchatzMr. Jim SchmitzMr. and Mrs. Robert SewellJoan Blum ShayneMr. and Mrs. Tom SherrardNicholas and Sue SievekingPatti and Brian SmallwoodMr. and Mrs. Overton T. SmithRuth and Neil SmithJames and Leah SohrMr. and Mrs. Edward A. StackMr. and Mrs. James R. StadlerMr. and Mrs. Thomas Rye SteeleDr. and Mrs. Robert SteinMr. and Mrs. David StewartMr. and Mrs. James P. StonehockerDeborah StoryHope and Howard StringerBruce and Elaine SullivanMrs. Robert L. SullivanRev. and Mrs. Tim TaylorJulianne and Scott ThomasJackie and Dewitt ThompsonCurt and Heather Thorne Alex and Emily TownesByron and Aleta TraugerDianne and Tom TrueSeab and Patti TuckJudy and Tom TurkMs. Linda Van AukenMs. Joyce A. ViseRobert and Nancy WahlBayard H. Walters and Rosemary Lab WaltersPeggy and John WarnerJonathan and Janet WeaverAlix and Monica Weiss SharpMr. and Mrs. Morris WerthanMr. Stacy WidelitzGail and David WilliamsJerry and Ernie WilliamsMr. and Mrs. W. Ridley Wills IIJustin and Barbara WilsonMr. Matthew W. Wyatt and Mr. William B. LylesJanet and Alan YuspehShirley ZeitlinNicholas S. Zeppos and Lydia A. Howarth

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Frist Center for the Visual Arts, Inc.919 BroadwayNashville, Tennessee 37203fristcenter.org

NONPROFIT

ORGANIZATION

U.S. POSTAGE PAID

NASHVILLE, TN

PERMIT NO. 4196

The Frist Center for the Visual Arts is

supported in part by

Secrets of Buddhist ArtTibet, Japan, and KoreaO p e n i n g Fe b ru a ry 1 0 Tibet, Japan, and Korea practice a form of esoteric or “secret” Buddhism that utilizes works of art to reveal a complex array of both human and divine figures. This exhibition demonstrates the dazzling aesthetics of Buddhist art and provides a basic understanding of how objects function within the practice.

Secrets of Buddhist Art: Tibet, Japan, and Korea was organized by the Newark Museum.

Crowned Buddha, Tibet, 15th–16th centuries. Mercury gilding, copper alloy, and turquoise. Newark Museum, Purchase 1920 Shelton Collection, 20.454

Supporting Sponsor:

Frist Center gift certificates are available at Visitor Services.

Members receive 10% offmost items in the gift shop.