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SUMMARY:THE INFINITE MONSOON BY SISAVANH PHOUTHAVONG
DESCRIPTION:Sisavanh Phouthavong lives and works in Murfreesboro\, TN. She is a professor of painting at MTSU and has received considerable recognition for her work. Her work draws heavily on her experience of displacement as a Lao American refugee. These large scale\, abstract paintings create a third space of cultural hybridity\, of fractured perspective and identity—a space where the artist’s Lao identity coexists with her American identity\, where landscape might be written according to the artist’s own experience rather than by supposedly objective power-structures. \nEach piece seems to resist traditional ways of seeing—the viewer is met with not one focal point but many; perspective is thwarted by the kaleidoscopic internal rhythms which create not one horizon\, but many. Her work does not (to borrow from filmmaker Hito Steyerl) “assume an observer standing on a stable ground looking out towards a vanishing point on a flat\, and actually quite artificial\, horizon”—instead\, she contravenes (white\, western\, patriarchal) art-historical notions of perspective in order to inscribe a new gaze—her own way of seeing. \nPhouthavong rebels against a post-colonial regime of “looking” by dispersion and fragmentation. Standard canvas dimensions are abandoned for asymmetrical geometric forms better suited to describing Phouthavong’s vision. Each work is experienced as a landscape of sorts\, despite the lack of recognizable geological features\, but the mapping of space that occurs is not dictated by fidelity to some objective. Instead\, the power lies with the subject—with Phouthavong in creating the work\, and perhaps with the viewer in their recognition of subjects capable of constructing their own worlds from the fragments of identity (maybe\, as Whitman said\, we all “contain multitudes”). In her smaller mixed-media pieces\, you are driving across a mosaic of cracked ground. White dashes of street lines overlap\, seem to converge at any number of “vanishing points.” And yet\, while the pieces seem to contain a sort of violence—the jagged angles and sharp contrast between colors—there is also an intricate beauty. Phouthavong has pieced together a mosaic of her own experience; overarching the tension within each piece is the unity of the whole. \nPhouthavong’s way of looking is personal\, yet shared\, emotional\, yet rooted in collective identity spanning space and time. The effect of these radically personal landscapes is Utopia\, “no-place”—a home\, but not a physical one; a diasporic unity\, created from the fragments of post-colonial identity\, the violence of civil war as well as the inner-conflict between competing cultural claims. And it is an atmosphere the viewer can enter and experience—thanks to the life and newness Phouthavong has imbued in each piece.
URL:https://artinamericaguide.com/event/the-infinite-monsoon-by-sisavanh-phouthavong/
LOCATION:Tinney Contemporary\, 237 5th avenue North\, Nashville\, TN\, 37219\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200201T100000
DTEND;TZID=America/Halifax:20200228T170000
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SUMMARY:SOFT KERNEL BY JING QIN
DESCRIPTION:Having grown up in the Henan province of China\, Jing Qin embeds subtle signifiers of cultural collision in her figurative paintings—here a folding screen\, there a tiger figurine. Elements of pattern\, landscape\, and foliage seem to pay homage to Qin’s childhood. \nAs in Phouthavong’s work\, subtle patterns of cultural hybridity underpin the works\, reflecting a coexistence of culture. Symbols of Qin’s identity as a Tennessean exist here too—there are symbols of the southern United States\, such as the Flannery O’Connor novel strewn nearby an array of busts painted in varied levels of abstraction. \nIt is through these cultural clues that Qin establishes context—an atmosphere in which her surreal\, disjointed narratives take place. Subjects of ambiguous gender and ethnicity seem to populate the unconscious space of Qin’s canvas\, which she fittingly dubbed “non-logical space.” These characters become actors in ambiguous dramas culled from Qin’s dreams and fantasies\, which manage to be both mundane and mysterious. Each piece is charged with a palpable tension; the viewer becomes immersed in the dream as they try to pin down a narrative—and are left with more questions than answers. \nJing Qin(b.1989\, China) is an artist raised in Henan province\, China. She holds a BFA from Sichuan University\, Chengdu\, China\, and an MFA in Painting and Drawing from the University of Tennessee\, Knoxville. Her work has been featured in New American Paintings\, Friend of the Artist\, Studio Visit\, 1314 Art Magazine(China) and Young Space. She has been an artist in residence at Vermont Studio Center\, Field Plus residency program(Chongqing\, China) \nShe has been included in SPRING/BREAK art show\, which is the curator driven art fair during Armory Arts Week NYC 2018 and has been awarded as the semifinalist from the emerging artist competition by Barnes Foundation\, Art Sanctuary\, partnering with Rush Arts Gallery in Philadelphia. She has been featured in exhibitions at the Art Museum of Sichuan University and her work will be upcoming in a solo booth at the Wuhan Natural History Museum(Wuhan\, China)
URL:https://artinamericaguide.com/event/soft-kernel-by-jing-qin/
LOCATION:Tinney Contemporary\, 237 5th avenue North\, Nashville\, TN\, 37219\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200104T180000
DTEND;TZID=America/Halifax:20200104T210000
DTSTAMP:20260420T112404
CREATED:20191216T222217Z
LAST-MODIFIED:20191216T222217Z
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SUMMARY:"Things to Come" Closing Reception
DESCRIPTION:Join us on January 4th from 6 – 9 PM for our closing reception of “Things to Come”\, our current show showcasing the exciting new work we will be showing in 2020.
URL:https://artinamericaguide.com/event/things-to-come-closing-reception/
LOCATION:Tinney Contemporary\, 237 5th avenue North\, Nashville\, TN\, 37219\, United States
CATEGORIES:Event,Exhibition
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DTSTART;VALUE=DATE:20191005
DTEND;VALUE=DATE:20191130
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SUMMARY:TYLER SHIELDS
DESCRIPTION:Tinney Contemporary is pleased to present “TYLER SHIELDS\,” an exhibition showcasing the provocative works of renowned fashion and celebrity photographer Tyler Shields. \n\nTyler Shields has been dubbed “Hollywood’s favorite photographer” for his work with celebrities\, but more impressive than his star-studded cast are the narrative yarns he spins in every image. His photographs contain equal parts glamor and violence\, seemingly pulling you in as they push you away. Shields pairs signifiers of wealth\, power\, violence\, beauty and the grotesque to create fantasies containing the contradictions of modern life. Featured in Shields’ photographs are movie stars\, models\,guns\, cars\, high fashion brands\, and a Tarantino-esque use of blood. \n\n\n\n\n\n\n\n\nThe tools of visual representation have been dispersed to the masses to create a new media produced and consumed by the same actors\, digitally perfected\, modified\, shared\, accelerated\, accessed by multitudes in an instant\, lost in the wake of the next thing\, rediscovered\, recycled\, remixed and memed\, all in a breath. This is Tyler Shields’ playground. \n\nShields’ work easily traverses this image-object wasteland\, in which ever-shortening attention spans crave newness and shock. Shields delivers on both of these fronts with sensational images which place their subject within a larger fantasy\, fueled by sensuality and special effects. His work cuts through a mass media-driven economy of images by engaging with the most visually represented echelon of culture—celebrity—and blowing up the traditional image making process. \n\nIn so doing\, Shields blurs the line between art and editorial\, drawing attention to the image itself rather than relying on the subject’s star power—be it Tony Hawk\, Lindsay Lohan\, or an Hermes bag. His work is in dialogue with a long tradition of fashion photographers interested in blurring this boundary. \nShields lives and works in LA. His photographs have been exhibited internationally and you can\nread about his work here.
URL:https://artinamericaguide.com/event/tyler-shields/
LOCATION:Tinney Contemporary\, 237 5th avenue North\, Nashville\, TN\, 37219\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190918
DTEND;VALUE=DATE:20190928
DTSTAMP:20260420T112404
CREATED:20190918T154812Z
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SUMMARY:Women of Abstraction
DESCRIPTION:Tinney Contemporary is pleased to present\, “Women of Abstraction”\, a group exhibition of new works by artists Mary Long\, Martica Griffin\, Carol Mode\, Sisavanh Phouthavong\, Mildred Jarrett\, and Jeanie Gooden. In their latest exhibition\, Tinney Contemporary aims to celebrate the complexities of abstraction. In not only its physical manifestation; but through its meaning\, history\, and energy\, as well as\, the artists who create it through their own unique lenses. \nAs a result of the lasting appeal of the Abstraction Movement\, there is now an increased desire to uncover and recognize the women of the many periods of Abstraction throughout history. Vanguards like Joan Mitchell and Helen Frankenthaler — who’s groundbreaking work was largely misunderstood — have paved the way for the abstract artists of the past century. In 2019\, being an abstract painter holds a highly dynamic and diverse set of meanings— especially when compared to the pioneers in the previous century. Each artist approaches material\, shape\, color\, and space in ways that uniquely reflect their own cultivated experiences and ideas.
URL:https://artinamericaguide.com/event/women-of-abstraction/
LOCATION:Tinney Contemporary\, 237 5th avenue North\, Nashville\, TN\, 37219\, United States
CATEGORIES:Exhibition
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