At age 81, renowned folk artist Minnie Adkins is busier than ever

May 9, 2015
Folk artist Minnie Adkins, 81, in her "museum" building beside her home in Elliott County.  Photos by Tom Eblen

Folk artist Minnie Adkins, 81, in her “museum” building in Elliott County. Photos by Tom Eblen

 

ISONVILLE — Minnie Adkins turned 81 in March, nine months after her second husband died. At a point in life when most people would be slowing down, the renowned Elliott County folk artist is busier than ever.

Adkins spent the long, snowy winter whittling and painting. Her work included 11 identical statues that will be presented next year to winners of the Governor’s Awards in the Arts, which she won in 1998.

She also made dozens of colorfully painted horses, pigs, possums, foxes and roosters — especially roosters. When I visited her last week, Adkins had a table filled with roosters, each whittled from a tree limb fork.

“As you can see, I ain’t lackin’ for roosters,” she said with a wry smile. “I never do have arthritis in my hands and I’ve whittled and whittled.”

Adkins will be in Lexington on Friday from 5 p.m. to 8 p.m. for Gallery Hop at the Carnegie Center for Literacy and Learning, 251 West Second Street.

Adkins carved Bright Blue Rooster for a children's book she did with writer and folksinger Mike Norris.

Adkins carved Bright Blue Rooster for a children’s book she did with Mike Norris.

She will be showing a range of her life’s work, including dozens of figures she made for photographs in three children’s books she has done with writer and folksinger Mike Norris of Danville: Bright Blue Rooster (1997), Sonny the Monkey (2012) and Mommy Goose, which the University Press of Kentucky will publish next year.

After Gallery Hop, Adkins will get ready for the Day in the Country Folk Art Fair on June 6. Adkins started the fair at her home years ago, but it became so popular the Kentucky Folk Art Center moved it to Morehead. It is now one of America’s largest folk art fairs, with more than 50 artists from 10 states.

Then, on July 18, Elliott County will put on its second annual Minnie Adkins Day in Sandy Hook with art, crafts, food and music.

“We have a really good time at Minnie Day,” Adkins said. “Of course, I’ve just been to one Minnie Day. But it was really good.”

Adkins began whittling as a child, making toys for herself and gifts for her parents. She started selling pieces at Avon bottle shows in the early 1970s in Dayton, Ohio, where she and her first husband, Garland, had moved to find work.

“I was selling them for 50 cents or $1, and was I ever tickled when I sold a whole batch of them,” she said. “I thought I had hit the big time.”

After moving back home in 1983, she accompanied her husband to Morehead one day. While he filed for unemployment benefits, she went into a craft gallery to look around. She told the owner she made things like what he was selling, and he asked to see some of them.

Adkins has been selling work ever since with help from folk art champions such as Adrian Swain and Larry Hackley. Grandson Greg Adkins helps market her work now when he isn’t busy coaching basketball at Elliott County High School.

Adkins has been featured in several folk art books, including Ramona Lampell’s 1989 best-seller, O, Appalachia: Artists of the Southern Mountains.

“That’s really what got me recognized,” Adkins said. “People began to come here, folk art collectors from all over the country, to find me.”

Her work is in dozens of private collections and several museums, including the Smithsonian and National Gallery of Art in Washington, D.C., and New York City’s American Folk Art Museum. In Lexington, her work is sold at Ann Tower Gallery and Clark Art & Antiques.

Garland Adkins helped whittle until his death in 1997. Three years later, she married Herman Peters, a metal worker who made steel sculptures of her figures. He died last June.

Adkins lives on more than 100 acres along Right Fork Newcombe Creek, which she calls Peaceful Valley, within sight of her childhood farmhouse.

She often whittles in the easy chair in her living room, where the walls are filled with awards, including an honorary doctorate from Morehead State University, and pictures of her family, which includes a son, three grandchildren and four great-grandchildren.

Adkins has no idea how many pieces she has made: “It would be wild to even think.”

She has a workshop in her barn, as well as a little museum. In recent years, she has bought back many of her early pieces — or been given them by collectors and their families who have become friends.

Some of her biggest pieces portray Bible stories, such as Noah’s Ark, Daniel in the Lions’ Den and Adam and Eve. She also has done paintings, quilts and painted furniture. But her favorite things to make are whimsical animals.

“We always had all kinds of animals on the farm,” she said. “After I got to making pigs and horses and roosters, then I went into foxes and bears.”

Some of Adkins’ animals defy description, such as one she bought back from a collector a few years ago.

“The woman said when she come to my house I was whittling on this and she said, ‘What is that?'” Adkins recalled. “I said, ‘I don’t know what it is and I don’t know who I’m making it for,’ so I called it a Who What.”

One of folk artist Minnie Adkins' biggest pieces has been this Noah's Ark set, which she sold years ago and recently bought back.

One of Adkins’ biggest pieces was Noah’s Ark, which she sold years ago and has bought back.


New crop of ‘community supported art’ on sale this week

April 21, 2015

Central Kentucky’s farmers are just getting their plants in the ground, but a new crop of local art is ready for harvest.

For the fifth season, the Lexington Art League is selling 30 CSA “shares” of “community supported art” using a similar model to what local farmers have been doing for years with “community supported agriculture”.

csaThe 30 shares will be on sale through Thursday for $400 each. Each share includes an original piece by nine local artists: ceramics, paintings, leatherwork, screenprints and photography.

This year’s artists are Brian and Sara Turner of Cricket Press, Matthew D. Cook of Borderstate, Elizabeth Foley, Lennon Michalski, Joe Molinaro, Nadezda Nikolova, Brandon C. Smith and Melisa Beth.

The artists were chosen by the league’s curator, Becky Alley. Each artist is paid $600 for their work. Since the program began, the league says its CSA program has sold 1,890 pieces of locally produced art, providing $37,800 in income for local artists.

“CSA is a celebration of local talent and an investment in the artists whose creativity and unique abilities distinguish and enrich our community,” said Stephanie Harris, the league’s executive director.

Shares can be purchased online at Lexingtonartleague.org or by calling (859) 254-7024. Shares in future CSA “seasons” also are for sale.

The Lexington Art League, headquartered at Loudoun House in Castlewood Park, also sponsors the annual Woodland Art Fair each August.


Studying great art can help improve everyday observation skills

April 13, 2015

150330ArtPerception0088Gray Edelen, left, an art history student from Bardstown, talked with medical students Taylor Gilbert of Lexington, center, and Amanda Pursell of Louisville about Robert Tharsing’s 2011 painting “A Natural History of Kentucky”, which hangs in the University of Kentucky Chandler Medical Center. Photos by Tom Eblen

 

On a recent afternoon, small groups of University of Kentucky students huddled around paintings and sculptures on display at UK’s Chandler Medical Center.

As you might expect, some were art history majors. But they were there to help 17 medical students.

The medical students weren’t really there to learn about art, but to observe it — very closely — and then describe what they saw and what they thought it meant.

The goal was to improve the medical students’ observation and communications skills to make them better at diagnosing patients’ illnesses.

“It’s good to learn how to see the bigger picture by looking at the details,” said Taylor Gilbert, a medical student from Lexington.

The exercise grew out of a presentation by Amy Herman, a lawyer and art historian who travels around speaking about what she calls “the art of perception.” In early February, Herman spoke to a packed classroom at UK’s College of Medicine.

Herman began this work more than 15 years ago when she was education director at the Frick Collection, an art museum in New York City. She had heard how art historians at Yale and the University of Texas worked with medical students to improve their perception skills, so she set up a similar program at the Frick for the nearby Cornell University medical school.

Amy Herman. Photo provided

Amy Herman. Photo provided

When a friend heard what Herman was doing, she suggested that these skills could help other professionals, too. Homicide detectives, for example. Herman contacted the New York Police Department and, within six months, she was training every newly promoted captain.

A Wall Street Journal reporter wrote about the program in 2005 and, Herman said, “My world exploded.” She left the Frick to start her own consulting business. In addition to medical students and New York cops, she now trains agents for the FBI, CIA and even Navy SEALs.

As Herman began showing slides of paintings to the UK medical students and asking them to describe them, she forbid the use of two words: obviously and clearly.

“We work and live in a complex world, and very little obvious and even less is clear,” she said. “No two people see anything the same way, and we have to understand and enrich our appreciation for that fact.”

Herman showed what appeared to be an abstract painting, but was really a picture of a cow. Few saw the cow until she brought attention to it. She then drew lessons from landscapes, still life paintings and portraits of “handsome women of the 18th century” that held subtle clues about their lives.

“Perception goes both ways,” she said. “How do patients perceive you when you walk into the room? Do you put them at ease? Is it easy to ask questions? Your patients may have an entirely different perspective than you do.”

Herman said people often make mistakes by trying to “solve” problems too quickly, before they have taken time to assess a situation.

“Before you decide what to think and what to do, you need to say out loud what the issue is,” she said, adding that some of those things may seem too obvious or be embarrassing to mention but can be vital details.

Herman showed a painting of an elderly, obese and naked woman sitting on a sofa. When asked to talk about it, an audience member began by describing the sofa’s upholstery.

“You need to say what you see and not dance around it,” Herman said. “I always tell police officers you will never get in trouble for saying what you see. Saying what you think is an entirely different story.

“Raise the issue, even if you can’t explain it,” she added. “Raise any inconsistency, because with more information somebody else may be able to answer the question for you. Also think about what’s missing. What should be there but isn’t?”

Herman said she recommends that child abuse investigators ask a child to smile. Seeing whether a child’s teeth are clean says a lot about the care they are receiving.

“Small details can provide volumes of information,” she said. “Body language and facial expression tell us a whole lot.”

When describing observations, choose words carefully to be precise. And don’t make assumptions. The three most important questions to ask when problem-solving: What do I know? What don’t I know? What more do I need to know?

“There are often things hiding in plain sight that you are consciously or unconsciously not seeing,” said Herman, who gave an embarrassing personal example.

Several years ago, while running in New York, she noticed a man in a wheelchair walking a puppy. She loves puppies, so she asked him if she could pet it. After playing with the puppy for several minutes, they parted. Within minutes, she realized that the man had looked familiar. It was Chuck Close, a famous artist she admired but had never met.

“He’s one of my favorite artists in the world, but I was so focused on his puppy that I didn’t even notice the man was a captive audience right in front of me,” she said. “Don’t miss what’s right in front of you.”

150330ArtPerception0095Christina Romano left, an art education major from Louisville, talked with medical students Katie Donaldson, center, of Independence, and Amy Chen of Davis, Calif., about Warren Seelig’s stainless steel and fabric mesh sculpture, “Gingko”.


Gardenside Plaza bus shelter being restored, 3 new ones coming

April 4, 2015

150405ArtInMotion0008The Gardenside bus shelter when it was new, circa 1960. Herald-Leader File Photo

 

The Gardenside Plaza bus shelter, with its 30-foot brick tower and sea-green neon letters, has been an Alexandria Drive landmark since 1959 — a bit of Miami Beach in Bluegrass suburbia.

In recent years, the mid-century modern shelter has looked pretty sad: burned-out letters, cracked concrete, dingy brick. But over the next few months, it will get a $41,700 makeover in one of Lexington’s most unusual historic preservation efforts.

The stainless steel letters spelling “Gardenside Plaza” were sent off for repair over the winter. They will soon be reinstalled with their neon lighting replaced by energy-efficient LEDs.

The white brick tower and its stainless steel crown will be cleaned and rewired. The concrete bench will be repaired and its angled roof patched and painted.

And there will be a new element: a period-appropriate ceramic mosaic mural on the back wall designed by Guy Kemper, a renowned local glass artist.

“I’m really excited about the partnerships that have come together for this,” said Yvette Hurt, founder of Art in Motion, a non-profit organization that since 2008 has worked with partners to build five Lextran bus shelters that are functional works of public art.

This is shaping up to be Art in Motion’s biggest year, with construction of three new shelters on Southland Drive, Leestown Road and Georgetown Street.

The Gardenside Neighborhood Association and Urban County Council member Peggy Henson approached Art in Motion about the Gardenside Plaza shelter in 2011.

Money for the restoration came from city “corridors” funding, Lextran, Gardenside Plaza owner Pierson-Trapp Co. and the philanthropic group Lexington Directions.

Art in Motion also is working with historian Karen Hudson at the University of Kentucky to compile an oral history of the shopping center and shelter. If you have memories to share, email: khudsonlexky@gmail.com.

Something built in the 1950s may not seem “historic” to many people. But high-quality mid-century modern architecture has gained a big following in recent years.

Architects say that, in many ways, it was the first American architectural style that took its inspiration from the future rather than the past.

Inspired by vacations in Miami Beach, Lexington developer David Trapp spent $8,500 in 1959 to build the sign and shelter for his shopping center. Public transportation was a big deal then.

“When the suburbs were opening up, women were basically trapped out there because most families, if they had a car, had only one,” Hudson said. “Women were the ones campaigning to get bus service” to new suburbs such as Gardenside, Meadowthorpe and Southland.

Between 1956 and 1972, as automobile registration in Fayette County more than quadrupled, the private bus company lost 36 percent of its paying passengers and went out of business. It was replaced by Lextran, a public agency, in 1973.

Public transportation is getting renewed interest because it is more environmentally friendly, reduces traffic congestion and is essential to many low-wage workers.

Hurt, an environmental lawyer, started Art in Motion as a volunteer project in 2006 because Lextran needed more bus shelters, she liked public art, and studies showed that transit systems that used public art in their facilities had higher ridership.

AIM built its first shelter, Bottlestop, using Ale-8-One bottles, on Versailles Road in 2008. Then came East End Artstop on Elm Tree Lane, Bluegrass shelter on Newtown Pike and Gardenstop on Euclid Avenue. AIM also helped the Columbia Heights Neighborhood Association with BankStop on the other end of Euclid.

AIM will begin work this month on Industrial Oasis, a shelter on Southland Drive in front of Good Foods Co-op. Contributors include Good Foods and shopping center owner Sanford Levy. It was designed by architect Adam Wiseman of Pohl Rosa Pohl and features steel work by sculptor John Darko.

When it is finished, work will begin on Chimneystop on Leestown Road at Townley shopping center with help from developer Dennis Anderson. Chimneystop was designed at UK by Justin Menke, Chad Riddle, Martin Steffen and Ryan Hargrove.

Marrillia Design & Construction will build both shelters, which will cost a total of $198,600. Funding comes from federal transportation grants, Lextran and partner donations.

Also this year, AIM will build a music-theme shelter on Georgetown Street at Lima Drive. It was designed by Gary Murphy of Prajna Design & Construction. Its $37,000 cost will come from city funds.

These shelters are designed to be functional, beautiful and durable. But Hurt said she has received some criticism about their cost.

“What I would argue is that we are creating work for local designers, craftsmen and firms that supply the materials,” she said. “Plus, we are creating both public art and basic amenities for public transit. It’s a good investment.”

Click on each image to see larger photo and read caption:


West Sixth Brewery models “pay it forward” business philosophy

February 1, 2015

When four partners bought the Bread Box building and started West Sixth Brewery nearly four years ago, they said they wanted to do more than make money and good beer. They wanted to make their community a better place to live.

The partners donate 6 percent of profits to charity, plus make other donations and host monthly fundraisers where a different non-profit group receives 6 percent of sales. Last year, the company’s giving totaled about $100,000, partner Ben Self said.

“We expect that to increase significantly” this year, Self said, thanks to a quarterly program built around sales of the newest of West Sixth’s four canned beers, Pay it Forward Cocoa Porter.

pifWest Sixth will present a “big check” Wednesday to GreenHouse17, formerly called the Bluegrass Domestic Violence Program. It is the last of six non-profits getting checks as part of the program launched in September, when Pay it Forward Cocoa Porter began distribution statewide and in Cincinnati.

West Sixth wants to keep GreenHouse17’s award amount a surprise until Wednesday, but partner Brady Barlow said it would be larger than the others. “Lexington is a very thirsty town,” he said.

Other regional awards ranged from $800 to more than $5,000 each in Louisville and Cincinnati. The amounts were based on sales in each region.

The other recipients were Appalshop, the arts and media non-profit in Whitesburg; New Roots of Louisville, which provides fresh produce to needy neighborhoods; Community Action of Southern Kentucky; the Owensboro Humane Society; and Community Matters, which works in Cincinnati’s Lower Price Hill neighborhood.

Here’s how the program works: West Sixth donates 50 cents from each Pay it Forward six-pack, which retails for $9.99, to a non-profit organization “making a difference” in a community where the beer is sold. In all but the Louisville region, West Sixth’s distributors match the donation, for a total of $1 a six-pack.

Each can of Pay it Forward has a website link (Westsixth.com/pif) where customers can nominate a non-profit. Regional winners are selected each quarter by a democratic vote of West Sixth’s 32 employees, so the number of nominations made for each organization doesn’t matter.

Nominations for the first quarter 2015 awards are due Monday, and the brewery staff will meet Tuesday to choose the winners.

There is nothing new about business philanthropy. Most companies do something, some in substantial amounts, depending on their size and profitability.

But West Sixth is an example of a new trend, especially popular among some young entrepreneurs, that has been called Conscious Capitalism. Community responsibility is integral to the business model.

Conscious Capitalism acknowledges that businesses have an impact on and a responsibility to their communities and the environment. It is about serving all stakeholders, not just shareholders. That means three bottom lines, rather than just one: profits, people, planet.

“For us, that means everything from being environmentally sustainable to using local ingredients whenever possible and supporting the organizations doing great work in the communities we’re a part of,” Self said.

The partners’ philosophy extends beyond their core beer business, which is housed in the Bread Box, an 90,000-square-foot 1890s building at the corner of West Sixth and Jefferson Streets that used to be a Rainbo Bread factory.

In addition to the brewery and taproom, the Bread Box houses shared office space for non-profit organizations; artist studios; Broke Spoke, a non-profit community bicycle shop; and FoodChain, an urban agriculture non-profit.

There also are several like-minded businesses there: Smithtown Seafood restaurant; Magic Beans coffee roasters; and Bluegrass Distillers. The building also houses a women’s roller derby league.

Self said the company’s business model isn’t just about altruism: it is also good for business.

“I think there’s no doubt” that community involvement has boosted sales, Self said. “I don’t think we’re bashful about that. And by making a situation that can be a win for the community organization as well as the business, it’s something that can be done longer term.”

West Sixth’s sales have risen from 2,000 barrels in 2012 to 7,000 in 2013 and 11,000 last year. The company plans to add canned seasonal beers this year.

“Kentucky has been really supportive of us from the beginning,” Self said.

West Sixth plans to continue reinvesting in that support.

“If you take care of your community,” Barlow said, “your community will take care of you.”


Wendell Berry: Ky. writers have too little impact on public discourse

January 29, 2015

150128KyWriters0027After becoming the first living author inducted into the Kentucky Writers Hall of Fame on Wednesday night, Wendell Berry, right, talked with Julie Wrinn, director of the Kentucky Women Writers Conference. At left is writer Jason Howard,  editor of Appalachian Heritage, a literary quarterly. Behind them, writer Bianca Spriggs. Photo by Tom Eblen

 

As the first living author inducted into the Kentucky Writers Hall of Fame, Wendell Berry lamented that many fine books the state’s authors have written about Kentucky issues have had little impact on public discussion or policy.

In most ways, Kentucky is too fragmented a state, Berry said in remarks at a ceremony Wednesday night at the Carnegie Center for Literacy and Learning, where he and five writers from the past were inducted into the Hall of Fame.

“This fragmentation is made possible, and continually made worse, by a cloud of silence that hovers over us,” Berry said. “We have in this state no instituted public dialogue, no form in which a public dialogue can take place.

“This public silence ought to be a worry, especially to writers,” he said. “What is the effect or fate, Kentucky writers may ask, of Kentucky books devoted to urgent public issues — Night Comes to the Cumberlands or Lost Mountain or Missing Mountains or The Embattled Wilderness?”

Lt. Gov. Crit Luallen, who spoke earlier at the ceremony, said afterward that Berry underestimates the impact of those books and others like them. They may not have led to solutions for Kentucky’s many problems, she said, but things would be worse without them.

Before Berry’s remarks, excerpts from the work of the five deceased authors were read. The standing-room-only crowd that filled the Carnegie Center’s first floor included many writers likely to earn spots in the Hall of Fame someday.

The other new inductees were: Hunter S. Thompson (1937-2005) of Louisville, who created “gonzo journalism”; Guy Davenport (1929-2005) of Lexington, who during his lifetime won a MacArthur Foundation “genius” grant; Effie Waller Smith (1879-1960), a black poet from Pike County; Elizabeth Hardwick (1916-2007) of Lexington, a novelist and critic who helped found The New York Review of Books; and Jim Wayne Miller (1936-1996) of Bowling Green, an author and poet.

Watch for my column Sunday with more notes and observations from the Hall of Fame ceremony.

 150128KyWriters0009State Rep. Kelly Flood of Lexington took a picture of Wendell Berry with Lt. Gov. Crit Luallen at the Carnegie Center on Wednesday night after Berry became the first living author inducted into the Kentucky Writers Hall of Fame. In the background, writer Ed McClanahan, left, talks with Steve Wrinn, director of the University Press of Kentucky.


Wendell Berry first living inductee in Kentucky Writers Hall of Fame

January 10, 2015

111218WendellBerryTE0032AWendell Berry at home, December 2011. Photo by Tom Eblen

 

When the Carnegie Center for Literacy and Learning announced plans in July to select the first living member of its Kentucky Writers Hall of Fame, I wrote that the process should be a search for Wendell Berry.

Kentucky has many fine writers working today, but none can match the range, craftsmanship and international acclaim of Berry, 80, who writes and farms in Henry County, where his family has lived for five generations.

So the Carnegie Center’s announcement this week should come as no surprise. Berry will be inducted into the Hall of Fame at 7 p.m. Jan. 28 along with five deceased writers, who will be identified that night.

The ceremony at the Carnegie Center, 251 West Second Street, is free and open to the public. Doors open at 6:30 p.m. Kentucky Educational Television plans to live-stream the event on Ket.org.

“To be recognized in that way at home is a very pleasing thing,” Berry said when I talked with him by phone last week. “And a relieving thing, actually.”

The Carnegie Center, a non-profit organization that promotes literacy education, reading and writing, created the Hall of Fame three years ago to draw attention to Kentucky’s rich literary legacy.

In its first two years, 13 deceased writers were honored: Harriette Arnow, William Wells Brown, Harry Caudill, Rebecca Caudill, Thomas D. Clark, Janice Holt Giles, James Baker Hall, Etheridge Knight, Thomas Merton, Elizabeth Madox Roberts, James Still, Jesse Stuart and Robert Penn Warren.

hall-of-fame-logo-final-300x165Neil Chethik, executive director of the Carnegie Center, said about 200 members of the public nominated more than 75 writers for the honor this year, including about 25 living writers. A short list was sent to a committee of writers and readers headed by Lori Meadows, director of the Kentucky Arts Council, which made the selections along with the Carnegie Center staff.

“Everybody pretty much said, ‘It’s going to be Wendell, right?'” Chethik said. “His command of all three major areas of writing — fiction, non-fiction and poetry — and his influence statewide and internationally brought us to him.”

Chethik said future classes of inductees may include a living writer, but not always. The criteria for all nominations is that a writer must be published; must have lived in Kentucky for a significant period or have a strong tie to the state; and must have produced writing of “enduring stature.”

All of which makes Berry a natural for the honor. The former University of Kentucky English professor has written more than 60 volumes: novels, poetry, short-story collections and essays. A fellow of the American Academy of Arts and Sciences, he received the National Humanities Medal in 2010 and gave the prestigious Jefferson Lecture in 2012.

The major theme of Berry’s work is that people should live and work in harmony with the land and their community. “He is so rooted in Kentucky,” Chethik said. “He speaks for a lot of Kentuckians.”

The-Unsettling-of-America (1)Berry’s 1971 book, The Unforeseen Wilderness helped rally public opposition to a plan to flood Red River Gorge. His 1977 book, The Unsettling of America: Culture & Agriculture, is a bible of the international movements for sustainable agriculture and locally produced food.

Over the years, Berry has participated in protests against nuclear power and coal strip-mining. He was among a group of environmental activists who camped in Gov. Steve Beshear’s outer office in 2011 to protest state government support for the coal industry’s destruction of Eastern Kentucky mountains.

A year earlier, Berry cut his ties to UK and withdrew his papers to protest the university’s renaming of the basketball team residence hall Wildcat Coal Lodge in exchange for $7 million in donations from coal executives.

“The actual influence of writers in Kentucky is in doubt,” Berry said when I asked about his activism, and whether he thought it would ever sway public policy.

“As far as the future is concerned, I don’t sit around and think about the future in regard to what I’ve done,” he said. “It seems to me to be a distraction from the things I ought to be doing.”

Berry said he has been busy writing poetry and working on several long-term projects. He also is writing a short speech for his Hall of Fame ceremony about “Kentucky writing and what it means to be a Kentucky writer.”

“Kentucky writers over the years have given us a kind of record of life in this state, what it has been like to live in it,” he said. “Sometimes they have given us very important testimony about things that were wrong.

“They have been an extremely diverse set of people, and I think the quality of their work has been remarkable,” he added. “I don’t think there’s any worry about it continuing.”


Lexington artist, poet has made big career with tiny paintings

January 6, 2015

141218Woolfolk0007Miriam Woolfolk holds a painting she did of Loudoun House. Photos by Tom Eblen

 

When the street artist MTO came to Lexington’s PRHBTN festival last fall to paint a mural on a Manchester Street warehouse, he showed how huge, bold and controversial art can be.

141218Woolfolk0034At the other end of the spectrum, Miriam Lamy Woolfolk, an award-winning Lexington painter and poet, has been showing for decades how tiny, delicate and beautiful art can be.

Woolfolk, who turns 89 on Valentine’s Day, paints intricate watercolor landscapes that take up no more than a few square inches. About 30 of them will be on display at the Carnegie Center for Literacy and Learning beginning Jan. 16 for Gallery Hop.

She has been a regular, prize-winning exhibitor at miniature art shows around the world for decades, but this is her largest Lexington show in years. It was organized after her work was included in a Carnegie Center exhibit last year featuring images of surrounding Gratz Park.

“After that, we were fascinated by her art,” said Luisa Trujillo, the center’s art director.

Woolfolk is from Louisville, where she remembers always dabbling in art and poetry. She worked in a World War II ration office, for an oil company and for the magazine of the Louisville & Nashville Railroad before raising four children.

She moved to Lexington with her first husband in 1951. Her second husband, the late Patch Woolfolk, was a professor of animal science at the University of Kentucky.

Woolfolk’s only formal art training was in high school. But she took night classes after her interest was rekindled while working as a bookkeeper for a physician, whose office housed the Lexington Art League in its early years. (Later, she would serve as the league’s president.)

141218Woolfolk0015Woolfolk discovered a love for miniatures at her first out-of-state art show.

“I flew up to New Jersey and was absolutely stunned by all the little pieces,” she said. “I’ve always liked little stuff.”

In 1980, she won “best of show” at a prestigious art exhibit in Washington, D.C. Her pair of small watercolors were the only miniatures in that show, and the prize led to an invitation to join the Miniature Painters, Sculptors and Gravers Society of Washington.

That involvement led to many prizes at miniature art shows around the country and as far away as Russia and Tasmania. She also has illustrated several books for Lexington authors and organizations.

Trujillo said the Carnegie Center also was interested in Woolfolk’s art because she has always excelled in both images and words.

A poet since childhood, she is a past president of the Kentucky State Poetry Society and edited its journal, Pegasus, for 21 years. Two of her poems were included in The Kentucky Anthology: 200 years of writing in the Bluegrass State, published in 2005 by the University Press of Kentucky.

That book was edited by Wade Hall, a longtime English professor at Bellarmine Univeristy and a collector of regional quilts, more than 100 of which he donated to the University of Kentucky for display in the W.T. Young Library.

Woolfolk has always done needlework, too, and she wanted to contribute to Hall’s collection. But, because of her love of miniatures, and a good sense of humor, she gave him a potholder instead of a quilt.

141218Woolfolk0020Woolfolk said she never used a magnifying glass to paint her miniatures, just very tiny brushes, some with just a few hairs. Her scenes were drawn from photographs she made, many at spots around Central Kentucky she found while driving back roads with her husband.

Age finally dimmed Woolfolk’s eyesight, and she has given up painting. She recently entered what she said will be her last art show, in Maryland. She also completed a big, small project for the Carnegie Center.

As part of a November event celebrating J.D. Salinger’s classic, The Catcher in the Rye, Woolfolk made 100 tiny paper boxes that were given to attendees. Each contained a piece of paper with a quote from the book.

Woolfolk has been making similar tiny boxes for years and giving them away to friends. Usually, though, they come with a line of her own poetry: “A secret place to hold your dreams, for dreams take little space.”


Photo fun with buildings, fading light, the moon and a flock of birds

January 5, 2015

While trying to come up with a good photograph to go with today’s column, I spent some time walking around Cheapside on a cold New Year’s Eve. I thought there might be a good shot with fading light, the old Fayette County Courthouse and the 21C Museum Hotel construction site, which is now lit up inside every night. While there, I discovered a few bonus elements: a flock of birds that kept circling the area, a rising moon just over the old Courthouse dome, the statue of John C. Breckinridge and the CentrePointe tower cranes. I only needed one photo for the paper (which, unfortunately, cropped out the moon) but I thought I would share some others, too. Happy New Year.

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Thomas Hunt Morgan: history to empower, not limit, Lexington

January 3, 2015

While most of us are making plans for this year, some people in Lexington have their eyes on 2016. They are planning a commemoration of the 150th anniversary of the birth of Thomas Hunt Morgan, the most famous Lexingtonian most people here have never heard of.

The goal is not so much to celebrate someone who lived from 1866 to 1945, but to use his legacy to help reshape Lexington’s image and future. If this local boy could grow up to become one of the 20th century’s most influential scientists, what might other Lexington children be inspired to accomplish?

If Thomas Hunt Morgan’s name sounds vaguely familiar, it is probably because you have heard of his uncle, Gen. John Hunt Morgan, a dashing Confederate cavalry raider. His statue is outside the old Fayette County Courthouse.

Thomas Hunt Morgan was born in the home of his great-grandfather, John Wesley Hunt, one of Kentucky’s first millionaires. In 1955, the house was saved from demolition and inspired creation of the Blue Grass Trust for Historic Preservation, which now operates it as a museum.

THMMorgan grew up in a circa 1869 house behind it. The Woman’s Club of Central Kentucky recently deeded that house to the Blue Grass Trust, which has begun renovation.

Morgan spent his childhood collecting fossils, birds’ eggs and other natural specimens that filled his parents’ attic, inspiring him to a career in science.

After earning a degree from the University of Kentucky, he got his doctorate at Johns Hopkins University. As a professor at Bryn Mawr College, he did pioneering research in embryology there and at the Marine Biological Laboratory at Woods Hole, Mass. He moved on to Columbia University in 1904 and the California Institute of Technology in 1928.

Morgan’s experiments with fruit flies explained how the theories of genetics and evolution worked. He became the first Kentuckian to win a Nobel Prize in 1933 and wrote seven books that are now scientific classics.

But Morgan’s significance was not just in the results of his research, but in the ways it was conducted. His emphasis on collaborative, skeptical experiments over theory created the foundation for modern biological research.

The attic of Morgan’s childhood home was the first of several laboratories he would use to change the course of science. “He always said this was a key part of his success,” Tom Kimmerer, a Lexington forest scientist, said.

UK’s biological sciences building is named for Morgan, and the biology department hosts a prestigious annual lecture that bears his name. But Morgan is much more famous everywhere else than in Lexington, which has always been more fixated on his Civil War uncle.

Kimmerer thought it was time to change that. After writing a piece about Morgan for the website PlanetExperts.com, he launched an effort to make 2016 the “year of Thomas Hunt Morgan” in Lexington.

The Blue Grass Trust hosted a lunch at the Thomas Hunt Morgan House on Dec. 5 for more than 40 representatives of local government, education and business communities. Kimmerer outlined his vision for a year of events that could have a lasting impact on Lexington’s potential to become more of a center of scientific education, research and commercialization.

Kimmerer said the response has been good — especially outside Kentucky.

“We’ve gotten a very warm reception from all of the institutions where Morgan studied and worked,” he said, noting that they have offered to send speakers and lend artifacts and materials.

After the lunch, attendees formed committees to help interested groups organize events and raise some money for facilitation once a non-profit has been identified as a financial steward.

“We would like for interested companies or schools to step up and create events they think would have value,” Kimmerer said.

Among the ideas: science fairs, lectures, and an educational event called a bioblitz, where teams of volunteers work together to identify as many species of plants, animals and organisms in a defined area as possible within 24 hours.

Kimmerer is trying to organize a screening of the new movie, The Fly Room, which is set in Morgan’s Columbia University laboratory, and perhaps an exhibit of the scientifically accurate movie set.

Even more important is creating a long-term legacy, such as public art and exhibits; economic-development initiatives focused on science; scholarships or fellowships at the prestigious institutions where Morgan studied and worked; and naming a local public school for Morgan.

But the most important legacy Lexington could create for Morgan is the attitude that this city should be empowered by its history, rather than be limited by it.

“We look at this as an opportunity for Lexington to change its self-image,” Kimmerer said. “And the more we can get kids involved, the better.”


Lexington curator bringing Kentucky artists to New York gallery

December 29, 2014

141104PMJones0015Lexington native Phillip March Jones poses inside the gallery he now manages in the Lower East Side of Manhattan. The founder of Institute 193 in Lexington renovated the space for Christian Berst Art Brut, a Paris-based gallery that wanted a New York City presence. Jones plans to include Kentucky artists in the gallery’s shows. Photos by Shannon Eblen

 

NEW YORK — When Phillip March Jones started the non-profit art space Institute 193 in Lexington five years ago, his goal was to bring wider attention to little-known contemporary artists in Kentucky and the South.

Now he has taken that work a step further, opening a New York branch of the Paris-based Gallerie Christian Berst Art Brut. Already, his shows have a Kentucky flavor.

The gallery opened Oct. 30 on Manhattan’s Lower East Side with Do the Write Thing: Read Between The Lines, a collection of pieces by 17 artists who live on the margins of society and use the written word as graphic elements of their drawings.

_MG_7701Among the artists featured was Beverly Baker of Versailles, who has Down syndrome and is a member of the Latitude Artist Community in Lexington.

The gallery’s next show, which opens Jan. 10, is, Making Pictures: Three for a Dime, which until recently was on display at Institute 193’s small space at 193 North Limestone Street.

That show features tiny photo booth portraits that Jim and Mancy Massengill made in the 1930s as they traveled around rural Arkansas. Their goal was to earn extra money during the Great Depression, but decades later these souvenir portraits look like playful, strange and even haunting works of art.

Art Brut is a French term to describe art produced by people outside the mainstream of artistic culture and conventions. It is about the human urge to create for the sake of creating, rather than for academic or commercial motivations.

“We’re essentially interested in people who are doing things out of a very personal and private impulse,” Jones said. “It’s really a private exercise, one that’s based on their own vision without any concerns for audience.”

Jones, who grew up in Lexington, has had a diverse career as an artist, writer, curator and publisher. He worked with the Souls Grow Deep Foundation in Atlanta and is curator of the University of Kentucky’s Chandler Hospital art museum.

Institute 193 has published a number of books based on its shows. Others have published two collections of Jones’ photography: Points of Departure, a collection of roadside memorials, and Pictures Take You Places.

Jones had been shuttling between Atlanta and New York for two years when the Paris-based gallery hired him to create its New York space. Last summer, he moved to the city and started searching for locations. He settled on a dilapidated former hardware store and synagogue at 95 Rivington Street, just a few blocks from the New Museum, one of New York’s leading contemporary art museums.

The split-level space has the main gallery upstairs and a downstairs area Jones calls the workshop, which will show new discoveries or smaller exhibitions related to the main show upstairs.

When I visited there in early October, the place still had a long way to go and Jones was busy juggling contractors. But three weeks later, everything was done, and Jones said nearly 500 people showed up on opening night.

Art Brut would seem an odd genre for a gallery whose business is selling art. But like any genre, it has its devotees. “The goal of this space is to unearth these various things happening all over the world and to share them,” Jones said.

Baker has been displaying her work for more than 15 years. It has been exhibited three times before in New York and is in the collection of the Museum of Everything in London.

“For years, she has been making these drawings and paintings,” Jones said. “I don’t think she’s really concerned with who’s looking at them and what they think of them. I think it’s something she has always done and will always do.”

Although Jones has turned over the day-to-day operations of Institute 193 to interim director Coleman Guyon, he remains chairman of the board and sees a lot of future synergies between it and his New York gallery.

“Over the next few years, there’s probably half a dozen artists from Kentucky I would like to work with,” Jones said.

“In Atlanta or wherever I’ve been, I’ve always been an advocate for artists from Central Kentucky, because it’s my home but also because there’s really great stuff happening,” he said. “I think this will be an even more tangible way to do those things.”

141121PMJones-TE0006Dean Langdon looks at a recent show at Institute 193, a non-profit art gallery at 193 N. Limestone St. that Phillip March Jones founded five years ago. The tiny space has featured cutting-edge contemporary art from Kentucky and around the South. Photo by Tom Eblen 


The fascinating story of Henry Clay’s ‘mad artist’ younger brother

December 27, 2014

Gigi LacerPorter Clay is thought to have made this games table in his Lexington shop in the early 1800s.  Henry Clay’s younger brother made excellent furniture, and charged high prices for it. Photo by Bill Roughen from the book, Collecting Kentucky 1790-1860.

 

Henry Clay has been famous for two centuries, but almost nobody remembers his younger brother, Porter, whom the statesman once described as “the greatest man I ever knew.”

Porter Clay, born two years after Henry in 1779, was a Baptist preacher and lawyer who served as Kentucky’s state auditor and Woodford County attorney. He also was a mercurial man who lacked the people skills that made his brother the “great compromiser” — and he paid dearly for it.

But his greatest achievement came in his first career, as one of early Kentucky’s best cabinetmakers. Several pieces of furniture he is thought to have made still survive, and they are attracting new attention from scholars and collectors.

The Museum of Early Southern Decorative Arts in Winston-Salem, N.C., has just published a biographical essay about Porter Clay in its online journal (Mesdajournal.org). It includes new research by the author, James Birchfield of Lexington, retired curator of rare books at the University of Kentucky Library’s Special Collections.

Birchfield will give a free lecture about him at the Blue Grass Trust for Historic Preservation’s annual Antiques & Garden Show March 6-8 at the Kentucky Horse Park’s Alltech Arena.

And in 2016, the MESDA Journal will publish a companion article about his furniture by Mack Cox, a Madison County geologist who has become a leading scholar and collector of early Kentucky decorative arts.

PorterClay“I think he was very bright, a mad-artist kind of a guy,” Birchfield said of Porter Clay. “He was a superior craftsman, but he was always breaking up with everybody.”

Like his older brothers Henry and John, Porter was born in Hanover County, Va., to the Rev. John Clay, a Baptist minister jailed for preaching contrary to the colonial Church of England, and his wife, Elizabeth. He died in 1781, and Elizabeth remarried Henry Watkins. They moved to Kentucky in 1791 and ran a tavern in Versailles.

Henry stayed in Virginia to study law before moving to Kentucky in 1797. By that time, Porter was apprenticed to Lexington cabinetmaker Thomas Whitley. But a year before his seven-year indenture was finished, he ran away to New York, where he worked as a journeyman amid America’s best furniture craftsmen, who included Duncan Phyfe.

Porter Clay returned to Lexington a year later — his brother having negotiated a financial settlement with Whitley — and set up shop making furniture. Henry was one of his brother’s clients, and records show that not only was he charging prices higher than Phyfe was in New York, but he apparently didn’t give a family discount.

Porter Clay, like most Kentucky cabinetmakers then, did not sign his work, so identification of pieces has been based on style, provenance and available records. Henry loved to drink and gamble, and the furniture he ordered from his brother in 1803 included a pair of games tables, now thought to be in a private collection.

Porter’s first shop was in a house that still stands at the corner of Mill and Church streets. Three years later, in 1806, he built a new house and shop behind a bank on Main Street, beside what will soon become the 21C Museum Hotel.

In 1804, Porter married Sophia Grosh, a ward of the Hart family, Henry’s in-laws. Her sister married John Wesley Hunt, Kentucky’s first millionaire who built what we now know as the Hunt-Morgan House museum.

With his craftsmanship and social connections, Porter should have been a successful businessman. He took on a partner, Robert Wilson, in 1807. But a year later, they split and Porter left cabinetmaking to become an entrepreneur.

He partnered with William Smith in 1808 in an ironworks and boat-building business. But they split up within three years, and Porter moved to Richmond, Va., to follow his brother’s path and study law. He returned two years later and practiced law in Nicholasville, Versailles and Lexington and served as Woodford County Attorney. Then Porter Clay got religion.

At the time of his conversion, he later wrote, “I determined to throw myself under the protection of my Heavenly Father and wait His good providence rather than make my thousands in an unholy calling.”

Porter Clay apparently reconciled the conflict, because in 1820 the governor (perhaps through his brother’s influence) appointed him state auditor at the then-handsome salary of $3,000.

But being both a state official and preacher brought him nothing but grief. When he audited a legislator who belonged to his church, they became embroiled in a bitter dispute. Porter Clay was excommunicated from his church in 1827. His people skills, Birchfield writes, were apparently “less polished than his sideboards and tea tables.”

In 1829, tragedy struck: death claimed Porter Clay’s wife, daughter, mother, step-father and eldest brother, John. He remarried six months after his wife’s death, but his new wife came with debts and a son who didn’t like him. Porter resigned as state auditor in 1834, and the family moved to Illinois.

Within five years, Birchfield writes, Porter Clay had become an outcast in his own home and he left for Missouri to stay with a relative. His brother then got him a job with the American Colonization Society, which urged masters to free their slaves and send them back to Africa, to a colony in Liberia.

By the 1840s, Porter was an itinerate Baptist preacher in Illinois, Missouri and Arkansas. He refused further help from his brother. Stricken by fever in Camden, Ark., he died Feb. 16, 1850 at age 71. He was buried in a grave unmarked for 60 years.

Porter “has gone, poor fellow,” Henry wrote his wife, Lucretia, when he heard the news. “He had but little to attach him to this life.”


Ben Sollee art project uses music to educate about groundwater

December 9, 2014

solleeLexington musician Ben Sollee and artist Kiersten Nash are leading an art project called Livestream to educate people about groundwater. Photo by Tom Eblen

Groundwater is one of Kentucky’s most abundant, precious and endangered natural resources. People rarely think about it because they can’t see it.

But what if they could hear it?

That’s the idea behind Livestream, a public art and education project being put together by Lexington musician Ben Sollee and a group of artists and scientists working with the Kentucky Geological Survey.

The National Endowment for the Arts last week announced a $40,000 grant to help pay for the project, which will be built next year in a city park, possibly Jacobson Park. Livestream also is receiving about $20,000 from LexArts and the city’s Department of Environmental Quality and Public Works.

The project began in 2010 when Sollee met Kiersten Nash, a New York artist who previously lived in Louisville. They wanted to collaborate on a project that would educate people about environmental issues.

“After lots of phone calls and ideas and brainstorming, we came up with this idea that we wanted to connect people with groundwater,” Sollee said. “But the question was how are we going to do that?”

How they plan to do that is fascinating.

The Kentucky Groundwater Data Repository, a project of the Kentucky Geological Survey, archives data from groundwater monitoring stations across the state. It has information on more than 92,000 water wells and 5,100 springs.

So the artists wondered: what if monitoring data from a few of those wells and springs could be transmitted live and turned into music that would reflect the groundwater’s changing conditions? To figure out how to do that, they worked with artist Bland Hoke, engineer Sean Montgomery and educator Dan Marwitt.

Sollee, who has gained a national audience for his jazzy, soulful cello music and vocals, recorded a catalog of phrases on his cello. Those phrases will be activated by monitoring data transmitted every 15 minutes from four groundwater sources around the state, said Charles Taylor, the head of the survey’s water resources section.

Two stations will be at McConnell Springs in Lexington and Mammoth Cave National Park in southern Kentucky. Two other sites under consideration are a spring at Carter Caves State Park in Eastern Kentucky and one at Land Between the Lakes in Western Kentucky.

That data measures five values for groundwater: acidity, flow, temperature, conductivity (its capacity to pass electrical current) and turbidity, or clarity. Values of each measure will be assigned to Sollee’s recorded cello phrases, which will be played through 20 large pipes.

“When the data hits a certain point, it will play the note, so it’s a dynamic soundscape based on Kentucky groundwater,” Nash said in July, during a demonstration of a prototype at the Downtown Arts Center. The demonstration used recorded groundwater data.

“As a composer, I wanted to be able to give the sound of the water something that felt very at home here in Kentucky, that had that kind of landscape, a little bit of roll to it,” Sollee said of his phrases.

The installation will be interactive with viewers as well as data. Sensors installed around the pipes will cause the volume to rise and fall, depending on viewers’ proximity.

“So as you walk up to the pipe the volume increases, and as you walk away the volume decreases,” Nash said. “It’s really a project where art, science and technology meet.”

LexArts and the city have collaborated on several smaller art projects to promote environmental education, but this is the biggest yet.

Livestream’s creators see potential for school teachers to develop environmental education programs around the installation. More information: Livestreamky.com.

“Kentucky’s in a really fortunate position — we have groundwater, an abundance of it, but we take it for granted and don’t always treat it right,” Sollee said, noting the effects of surface mining, suburban development and farming. “We hope this will increase affection for that resource.”


The story behind Gratz Park’s bronze kids, soon headed for repairs

November 21, 2014

141111GPFountain0032Author James Lane Allen’s will left the city $6,000 to build a fountain dedicated to Lexington’s youth. Installed in 1933, it will get a much-needed makeover this winter.  Photos by Tom Eblen

 

Like horses, stone fences and antebellum homes, the bronze boy and girl in Gratz Park have become frequently photographed symbols of Lexington.

But early this week or next, depending on the weather, a crane will carefully remove the life-size statues from their perch on the fountain across Third Street from Transylvania University.

The kids will spend the winter at Lexington’s Prometheus Foundry for repairs and refinishing. If all goes well, they will return to the park in May after the fountain’s crumbling concrete and Depression-era plumbing are replaced and the stone and brick surrounds are restored.

The fountain “is just falling apart with age,” said Michelle Kosieniak, superintendent of planning and design for the city’s Division of Parks and Recreation. “We figured that since we were moving the statues anyway, we should take a look at restoring them, too, and hopefully get them ready to be enjoyed for another half-century.”

There is an interesting story behind these playful children and their fountain that says a lot about Lexington’s history of tension between progressive thought and conservative religion. But it has nothing to do with the statues’ lack of clothing.

141111GPFountain0024James Lane Allen was born near Lexington in 1849 and graduated with honors from Transylvania University in 1872. After a few years of teaching, he pursued a writing career and moved to New York City.

Allen became one of America’s most popular novelists and short-story writers in the 1890s. His tales, written in a flowery style popular in the late Victorian era, were often set in Kentucky and featured characters taken from early Bluegrass history.

One of his most famous tales, King Solomon of Kentucky, told the true story of how William “King” Solomon, an alcoholic vagrant, became a hero during Lexington’s 1833 cholera epidemic by staying to bury the dead while almost everyone else fled.

Novels such as A Kentucky Cardinal and The Choir Invisible became national best-sellers. But Allen’s 1900 novel The Reign of Law created controversy in Lexington because its protagonist accepted Darwin’s theory of evolution instead of a literal interpretation of the Bible’s creation story.

The Rev. John McGarvey, president of what is now Lexington Theological Seminary, castigated Allen in a widely publicized sermon. The Lexington Herald heaped on, opining that “dirt and dust” were “ruining the author’s mind.”

The criticism stung Allen, who wrote that Kentucky “never did appreciate its best people.” He never returned to Lexington — not even when the Lexington Public Library dedicated a portrait of him in 1916.

“My returning now would seem like vainly attempting to pass over into a vanished land,” Allen wrote his lifelong friend, M.A. Cassidy, the superintendent of Lexington’s public schools.

But Cassidy kept the author connected to his hometown. During the last decade of Allen’s life, Lexington schools celebrated his birthday each Dec. 21 and children would write notes and telegrams of good wishes.

Allen was touched, and he always sent thank-you letters. He ended a 1922 interview at his New York home with a journalism student from Lexington by saying, “Give my love to the Kentucky children.”

When Allen died in 1925, his will left his entire estate to Lexington to build a fountain dedicated to the city’s children. The estate was originally thought to be worth $12,000 — a lot of money in those days. Officials planned to build a swimming pool with a fountain in the middle.

But by the time the city actually got the money, Allen’s estate had shrunk by half because of the stock market crash and waning royalties as his books lost popularity. Lexington’s children had to settle for a fountain and statues.

The statues were sculpted by Joseph Pollia, an Italian-born artist in New York who had a distinguished career creating war memorials.

His sculpture depicts a boy showing his homemade boat to the girl, who expresses delight. The statues symbolize “the spirit of youth, with its tender dreams and delicate and beautiful aspirations, which found so much appreciation in the poetical soul of the author,” the Herald wrote when the fountain was dedicated Oct. 15, 1933.

But time and vandalism have aged those kids. The girl was pushed off her granite pedestal in 1969 and again in 1983, cracking her leg. Although the cracks were repaired, there is concern the statues may have corrosion inside.

“It has been likened to a muffler,” said John Hackworth, president of the Gratz Park Neighborhood Association. “It looks all right from the outside, but if you kick it, it might just disintegrate.”

Restoring the statues will cost $57,000 because their high lead content will require complicated safety procedures. The neighborhood association has given $30,000. Councilman Chris Ford recommended $150,000 in city funds for the rest of the work and restoration of the fountain with a new pump system.

The goal is to have everything finished by Gratz Park’s annual Mayfest celebration on Mother’s Day weekend.

“It’s a symbol of Lexington,” Hackworth said of the fountain, “It’s worth being preserved.”

141111GPFountain0008The fountain stands near Third Street across from Transylvania University’s Old Morrison Hall.


Artists must learn business skills to make a living from their art

November 17, 2014

lackyJohn Lackey at his studio at North Limestone and Sixth streets. Photo by Tom Eblen

 

Lexington is starting to become a city where an artist can earn a living, but it requires almost as much focus on business as art.

Successful artists tell me they have had to learn strategy, salesmanship, client management and finance to earn money from their passion. Most of all, they have had to be flexible entrepreneurs, willing to try new things and see where they lead.

I talked about these issues last week with John Lackey, an independent artist in Lexington for a dozen years. Since 2010, he has operated Homegrown Press Studio & Gallery at the corner of Limestone and Sixth streets.

Lackey is best known for his intricate block prints and colorful acrylic paintings of Kentucky landscapes. They are fanciful scenes from nature, filled with swirling clouds and curly trees that almost seem to dance.

But Lackey does a lot more, both out of passion and necessity. He has done logos and other commercial art for businesses, including Alfalfa restaurant, where he once worked, and North Lime Coffee and Donuts, which shares his studio building. He also has produced more than a dozen concert posters for his favorite band, Wilco.

Lackey, this month, was commissioned by Kroger to paint an outside mural for its new Euclid Avenue store. The five interconnected, 12-by-7-foot panels along Marquis Avenue will depict “the trees with the most personality in Woodland Park, with human activity in the background,” he said.

He also is getting into filmmaking, after years of playing with time-lapse and animation photography. Lackey has an Indiegogo.com campaign that runs through Tuesday to raise money for a full-length movie. It will be set in Lexington’s northside and focus on themes of community and sustainability.

Lackey learned figurative art and print-making at the University of Kentucky, but some of his most useful professional skills were acquired during several years of hiatus between his studies, when he worked at lumber yards and car dealerships.

“I learned a lot that I still use today when I sold cars,” he said, including negotiating skills and how to read customers.

Lackey spent 14 years as a graphic artist for two Lexington TV stations, where he learned more about art and deadlines. He was then able to begin building an independent art career, thanks to an understanding wife with a steady paycheck.

Early on, he realized the work is a lot like being a home-improvement contractor. Customers who commission work have ideas, but often don’t know exactly what they want. That’s where listening skills and artistry come in.

Lackey said that being willing to try new things has helped him both get jobs and stretch artistically.

“At first, I didn’t do a lot of saying no, because I needed the money, and it pushed me out of my comfort zone,” he said. “It’s good if you have different things you like to do in art.”

The Kentucky Arts Council helped Lackey expose his work to potential clients. After being included in a show at the Governor’s Mansion, he was chosen to create the 2011 prizes for the Governor’s Award in the Arts. The council also helped him get a commission for four seasonal landscape paintings that now hang in the Kentucky Chamber of Commerce’s board room in Frankfort.

Many artists advise against doing free work to get exposure. While Lackey generally agrees, he follows his instinct on some projects where the payoff isn’t obvious.

For example, as a Wilco fan, he engaged others on the band’s website and volunteered to do artwork for a charity event. The band liked it and hired him to create concert posters.

The head of the Clyde’s restaurant chain around Washington, D.C., also is a Wilco fan. He saw Lackey’s posters and hired him to do artwork for the restaurants. The Clyde’s work was seen by Virginia-based Potter’s Craft Cider, which hired him to design its logo and labels. Such jobs can be vital income bridges between fine art projects.

Other free artwork has enriched his life, if not his bank account. Lackey has done more than 60 posters for the Holler Poet’s series at Al’s Bar, across East Sixth Street from his studio, where he occasionally reads his own poetry. Each poster became an opportunity to experiment with new techniques that have improved his work.

“For me, one of the benefits of being an artist is not having to do the same thing twice,” he said. “It keeps your brain regenerating.”


Kentucky workshop for photojournalists shows power of storytelling

October 28, 2014

141029MtnWorkshop02 copySophomore Mackenzie Alexander is one of four girls enrolled in agricultural power and mechanics classes at Madison Southern High School. To keep the girls’ hair clear of flames during welding instruction, teacher Brent Muncy will often french-braid it for them. His skills impressed another student so much, she asked him to braid her hair for the homecoming parade. During the 39th annual Mountain Workshops last week in Berea, photojournalist Melissa Ripepi of Blacksburg, Va., did a photo story about Muncy. Photo by Melissa Ripepi. 

 

BEREA — Each October, I spend a week in a different Kentucky town with three dozen of the nation’s best photojournalists. We help 75 or so students discover and tell the stories of people who live there.

I got back from Berea on Sunday after five days of hard work and little sleep. The amazing results of those students’ work are gradually being posted on MountainWorkshops.org. A 116-page book was produced on-site and will be published next year.

I keep volunteering for this nonprofit educational enterprise because it’s my annual reminder of the power of storytelling — and of why honest and intimate photojournalism still matters in a media-saturated world.

The Mountain Workshops began as a class field trip in 1976, when I was a freshman at Western Kentucky University. I didn’t get to go, because I was studying to be a writer, not a photographer. But several of my friends were among the small group of photojournalism students who accompanied two professors to the mountains of Eastern Kentucky to document the state’s last remaining one-room schoolhouses.

The next year, the project focused on a poor neighborhood in Bowling Green. Then it began traveling to a different small town each year. WKU started bringing in top professionals as photo coaches. The workshop was then opened to photo students from other universities, as well as professional news photographers who wanted to go beyond daily assignments and learn to tell deeper visual stories.

I joined the workshop faculty in 1995, when writing coaches were added. Workshop organizers realized that even the best photographs need well-crafted words to complete the story. Since then, workshops in picture editing, video storytelling and time-lapse photography have been added.

This year, there was a new workshop in data visualization — print and online techniques for turning complex sets of numbers into graphics that help people understand information.

141029MtnWorkshop01 copy

Mary and Neil Colmer own Weaver’s Bottom Craft Studio in Berea. A shared love of art and craft have been an important part of their long marriage. During the 39th annual Mountain Workshops last week, their story was told by photojournalist Marc Ewell, who lives in Hong Kong. Photo by Marc Ewell.

Coaching at the Mountain Workshops has allowed me to get to know many of the nation’s best photojournalists, people who work for The New York Times, the Los Angeles Times, MediaStorm, the Washington Post, Time magazine and National Geographic. The all-volunteer crew frequently includes Pulitzer Prize winners, some of whom have unglamorous behind-the-scenes support roles.

One of my most memorable fellow coaches was the late Charles Moore. He made those iconic Life magazine photos of Birmingham police arresting the Rev. Martin Luther King Jr. and turning dogs and fire hoses on civil rights protesters in 1963.

The 39th annual Mountain Workshops in Berea was headquartered in the former Churchill Weavers factory, a light-filled 1920s complex that is on the National Register of Historic Places. Now called Churchill’s, it is being renovated into a beautiful event space. Thanks to the workshop’s corporate sponsors, the building was temporarily filled with computers and camera gear for everyone to use.

Workshop organizers had identified and contacted dozens of potential story subjects in Madison County, and participants literally drew them out of a hat. As they got to know their subjects over the next few days, more complex and interesting stories emerged, as they always do. By Saturday morning, the photographers had told those stories with candid images made as they tried to blend into the background of their subjects’ daily lives.

An award-winning photojournalist from New York City and I coached a team of six participants. They all found stories richer and more complex than what was on the slips of paper they drew from the hat.

An assignment about a beauty school turned into a story about the school’s only male student. The young man’s mother had recently been killed in an accident, prompting him to focus on achieving his dream of becoming a hair stylist.

A story about a couple with a craft shop turned into an intimate portrait of a long marriage nurtured by a shared love of the arts. Another participant profiled a high school farm mechanics teacher who is the kind of mentor his students will remember for the rest of their lives.

For nearly four decades, the Mountain Workshops have created an unparalleled documentation of small-town Kentucky life. But its impact has been much broader.

Each year, instructors who years earlier were participants talk about how the workshop changed their lives and careers, and how it continues to influence the way they photograph big stories around the world.

They talk about having become more thorough, accurate and compassionate storytellers, all because of an intense week they spent focused on “ordinary” Kentuckians who turned out to be anything but ordinary.


‘Room with a view’ exhibit features Lexington scenes from 1990s

August 23, 2014

140821Tharsing0004The view out the bay window of painter Robert Tharsing’s second-floor studio on High Street in the early 1990s. Below, the old Fayette County Courthouse.  Photos courtesy of the artist and Ann Tower Gallery

 

Before he retired as an art professor at the University of Kentucky, Robert Tharsing did his personal painting in downtown studios, first in the upstairs room of an old house on High Street and then above Cheapside Bar & Grill.

When he was between paintings — or stuck trying to figure out where to go with an abstract canvas — he did what many people do when they need a break: he stared out the window. In Tharsing’s case, he also painted what he saw. The result was about 20 views of the Lexington skyline and scenes of downtown life in the 1990s.

In anticipation of retirement, Tharsing built a home studio in 2001. When he moved, he left most of these paintings stacked in the Cheapside space, which wife Ann Tower uses as storage for her gallery on Main Street. Tharsing never showed them in public — until now.

Robert Tharsing: Room With A View, an exhibit of 14 pictures painted over the course of a dozen years, went up last week in the East Gallery at UK Chandler Hospital. The free exhibit will be up for six months.

140821Tharsing0003“I had seen a few hanging in his studio a long time ago and thought they were interesting,” said Phillip March Jones, who curates the hospital’s art exhibits. “I also thought it was interesting they had never been shown as a body of work.”

Jones said viewers from Lexington will easily recognize these scenes, as well as what has changed, and appreciate the bird’s-eye view Tharsing had from his studio windows.

The vividly colorful scenes are awash in light, but often devoid of people. Most of the time Tharsing spent in these studios was at night and on weekends, before downtown became a popular destination for restaurants, bars and festivals.

“Wherever I’ve been, I’ve always painted the scene as well as other interests I have,” said Tharsing, 70, who has lived in Italy and spends summers in Nova Scotia.

Tharsing said these small pictures were often a release, a distraction when he was working on large, abstract paintings. “It was a way to paint something that’s very tangible that I knew what it was,” he said. “With an abstract painting, I often don’t know what it is. In that sense, it’s like being a novelist; you have to let the characters develop and see what they’re going to tell you about themselves. The painting has to do that, too. It has to tell you what it is, what it’s all about.”

The High Street studio had a big bay window that looked down on Vine Street and a cluster of 1980s office towers. Tharsing said he liked how light played off the buildings, streets and parking lots in different seasons.

“That part of Lexington is all about very simple geometry,” he said. “There’s hardly anything that distinguishes itself as being real architecture. So what you’re left with is these volumes and planes and reflections. More than half the buildings down there have got these mirrored windows, so it’s not only the building I’m looking at but I’m looking at myself through the glass across the street. That interested me.”

Cheapside had more people on the street, and a building that did interest Tharsing: the old Fayette County Courthouse, which was then still in use. The massive circa 1900 building or pieces of it appear in six of 14 paintings in the exhibit.

“I really liked it because there was a lot of coming and going,” he said. “It was very much small-town life.”

Tharsing said “the icing on the cake” came one day when he looked down and saw perennial candidate Gatewood Galbraith in his trademark hat. He was accompanied by a single sign-carrying supporter and was being interviewed by a TV news crew.

To accompany the exhibit, Jones is producing old-fashioned perforated postcard books with 10 of the pictures, for sale ($10) at Ann Tower Gallery, The Morris Book Shop and Institute 193, his nonprofit gallery.

These paintings are reminiscent of the plain, colorful style of Edward Hopper (1882-1967), who was one of Tharsing’s inspirations. Another inspiration was the Venetian landscape painter Canaletto (Giovanni Antonio Canal, 1697-1768).

But Tharsing said he resisted Canaletto’s occasional tendency to improve the skyline, tempting though it was in Lexington’s case. “He rearranged the city to suit himself,” he said. “It is like urban renewal; it’s an interesting idea.”


Facade, light show dress up Lexington’s ugliest parking garage

August 19, 2014

140818Helix-TE0025The Helix Garage downtown got a facade of lights to help mask the fact that it is one of Lexington’s ugliest buildings. Photo by Tom Eblen

Lexington tore down one of its most elegant public buildings in 1960 and replaced it with two of the ugliest — a parking garage and the office building now occupied by the Fayette County clerk.

So the new façade and colorful light display on Helix Garage on East Main Street at Martin Luther King Boulevard is a big improvement.

That corner was previously the site of Union Station, which opened in 1907. The imposing brick railroad terminal had a big center lobby and an arched stained-glass window over the front doors.

The last passenger train pulled out of Union Station on May 9, 1957. Three years later, the station was demolished and replaced by the garage — a powerful statement about changes in the way Americans travel.

The garage, originally built for the nearby Stewart’s department store, was never a thing of beauty. But it was literally falling apart when the Lexington and Fayette County Parking Authority (LexPark) put $3.1 million into a structural renovation last year.

LexPark realized the 389-space garage, with its low ceilings and dark interior, also needed a marketing makeover to attract customers and support downtown revitalization.

The name was changed from Annex Garage to Helix Garage, after the shape of the exit ramp that has terrorized generations of teenagers who had to drive down it with a state trooper in their passenger’s seat to earn their driver’s license. (I’ve always wondered how many people flunk their driving test before they even reach the street.)

LexPark spent $40,000 to improve interior lighting. But Gary Means, the authority’s executive director, said more was needed “to cover up what’s a really ugly parking garage in a prominent spot on Main Street.”

Vincent Lighting Systems of Erlanger installed $100,000 worth of colorful, energy-efficient LED lighting on the helix ramp. To improve the façade along Main Street, LexPark chose a design by Pohl Rosa Pohl architects, which worked with Vincent Lighting, Green Giant Lighting of Lexington, Randy Walker Electric of Lexington and ProClad metal of Noblesville, Ind.

That façade, finished last month, is stunning, especially during the nightly light show. (It cost $180,000. Like the other garage improvements, it was paid for with parking revenues, not taxpayer money.)

“The existing building was a concrete frame and little more,” said architect Graham Pohl, who worked on the project with colleague Adam Wiseman. They designed a skin using a steel frame and corrugated plates of various shapes, which house the LED lights.

Means said lighting designers are about finished with computer programming that will allow the garage façade to do a lot more than we have seen so far. He envisions elaborate light displays to the beat of music during the annual Thriller parade and other special effects for downtown festivals.

“At the end of the day, it’s marketing,” said Means, noting that many garage spaces go unused at night by downtown bar and restaurant patrons. “When people start talking about ‘that cool garage with the lights,’ they’ll start using it more.”


Scholars, curators get close look at early Kentucky art history

July 12, 2014

140709MESDA0279Robert Leath, chief curator at the Museum of Early Southern Decorative Arts in Winston-Salem, N.C., held a drawer from an early Kentucky chest so he and students in MESDA’s Summer Institute could see the interior construction. The chest is part of an exhibit of early Frankfort-made furniture now on display at the Governor’s Mansion. Photos by Tom Eblen

 

FRANKFORT — Most people think early Kentucky was only a place of log cabins and coonskin caps. They don’t imagine that Kentuckians two centuries ago were producing great paintings, fine silverware and inlaid furniture as elegant as anything coming out of Philadelphia or New York.

Last week, 10 up-and-coming scholars and museum curators got a traveling lesson in Kentucky’s rich history of visual art and craftsmanship.

The Museum of Early Southern Decorative Arts in Winston-Salem, N.C., brought its prestigious Summer Institute to Kentucky for the first time. Students, faculty and guests got an intensive five-day tour of Central Kentucky landmarks and some of the state’s most valuable public and private collections.

“These are going to be the museum and institution leaders of the near future, and they have the potential to bring a lot of attention to Kentucky,” said Mack Cox of Madison County, a leading collector and scholar of early Kentucky furniture, paintings and long rifles. “We’re way behind (other states) in understanding and rediscovering our decorative arts past.”

I caught up with the group Wednesday morning at the Governor’s Mansion, where Cox was giving MESDA students and faculty an animated tour of an exhibit of pieces made by Frankfort artists between 1790 and 1820. They ranged from the sophisticated cabinetmaker William Lowry to convicts at the old state penitentiary, who made simple but elegant chairs.

“What you’re seeing, Kentuckians largely don’t know about,” Cox told the group, noting that such utilitarian objects as long rifles and powder horns were sometimes turned into beautiful works of art with elaborate engraving and metalwork.

The exhibit, part of the mansion’s 100th anniversary celebration, includes pieces from the Kentucky Historical Society, the Speed Museum in Louisville and the private collections of Cox, Mel Hankla of Jamestown and Tom Meng and Clifton Anderson of Lexington.

(The exhibit is free and open to the public during mansion tour hours through Aug. 26. For more information about the mansion and centennial events, such as a cocktail reception July 25, go to: governorsmansion.ky.gov.)

As Cox described each piece and the research that went into figuring out who made it and when, the students took photos and used little flashlights to examine details.

140709MESDA0137From Frankfort, the group traveled to Lexington for a tour of African Cemetery No. 2 on East Seventh Street, which has been restored in recent years. Its 5,000 graves include those of black Civil War soldiers and famous jockeys and trainers.

The group visited the Blue Grass Trust for Historic Preservation’s Hunt-Morgan House and Pope Villa, two of Lexington’s most significant early 1800s mansions, and then went to Madison County to see White Hall, home of the fiery emancipationist Cassius M. Clay.

Other stops during the week included the William Whitley House in Stanford; the Old Capitol and Liberty Hall in Frankfort; Shaker Village at Pleasant Hill in Mercer County; the National Underground Railroad Museum in Maysville; Hopewell Museum and Cane Ridge Meeting House in Bourbon County and the Filson Historical Society and Locus Grove mansion in Louisville.

Before their trip, the students spent two weeks attending classes. When they return to North Carolina, they must finish Kentucky-related research projects and papers. Graduate-level course credit is awarded through the University of Virginia.

In his talk to the group, Cox pointed out stylistic traits of several significant Kentucky portrait painters of the early 1800s, including William Edward West. Because some of their paintings have been misattributed over the years to Matthew Jouett, the state’s best-known early portraitist, many Kentuckians don’t know how much talent was working here at the time, he said.

Catherine Carlisle, an art history graduate student at the University of North Carolina at Chapel Hill, hopes her summer project will shed new light on one of those little-known Kentucky artists, Alexander Bradford.

“I’m thrilled to be able to see so many examples of the beautiful, beautiful portraits that were coming out of Kentucky, and so early,” she said.

While some of the students had never been to Kentucky, and knew little about its artistic heritage, it was a homecoming for Grant Quertermous, the assistant curator at James Madison’s Montpelier estate near Orange, Va. He is from Paducah.

“I really wanted to do this one,” he said. “It has been great to give everyone exposure to Kentucky.”

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Photo exhibit explores friendship between Merton and Meatyard

June 14, 2014

140615Merton-Meatyard0001Thomas Merton, left, in his monk’s robe, poses in his garden at the Abbey of Gethsemani in Nelson County with Guy Davenport, a writer who taught at the University of Kentucky.  Photos courtesy of Christopher Meatyard.

 

They would seem an unlikely pair, the Catholic monk and the optician. But through their shared interests in photography and Zen philosophy, these two creative spirits of mid-20th century Kentucky became close friends and collaborators.

Thomas Merton was a trappist monk at the Abbey of Gethsemani in Nelson County, and much more. He was a best-selling author of more than 70 books, a poet, an artist and a proponent of interfaith understanding who would gain international fame.

Eugene_Meatyard_Neg1967_Print1990_17_Spotted_CMYK_FLAT_150dpiRalph Eugene Meatyard earned his living making eyeglasses in Lexington. But he would later earn fame in the art world for his original, haunting photographs that often depicted masked or blurry models. His much-collected images are still published in books and shown at the nation’s most prestigious art museums.

The all-too-brief friendship between Merton and Meatyard is the subject of a photography exhibit that opens Wednesday at Institute 193, the tiny, non-profit gallery at 193 North Limestone.

The opening reception for the exhibit, Ralph Eugene Meatyard: Photographing Thomas Merton, is 5 p.m. to 8 p.m. Friday, during Gallery Hop. The free show runs through July 26. The gallery is open 11 a.m. to 6 p.m., Wednesday through Saturday.

This exhibit includes 17 of the 29 Meatyard photographs that were shown in Louisville in May 2013 during the visit of the Dalai Lama, the spiritual leader of Tibetan Buddhism who also was a friend of Merton.

The exhibit was originally organized by the Institute for Contemplative Practice and the Center for Interfaith Relations. Fons Vitae, a Louisville-based publisher of academic works about spirituality, produced an accompanying book, Meatyard/Merton, Merton/Meatyard: Photographing Thomas Merton ($20.)

The Institute 193 show is partially sponsored by Good Shepherd Episcopal Church, which has a Thomas Merton study group. The group plans to meet in the gallery while the show is up.

140615Merton-Meatyard0006“I think it creates a lot of opportunities for us to engage a different audience,” said Phillip March Jones, the founder of Institute 193. “And it probably does the same for them.”

Jonathan Williams, the late poet and publisher, introduced Meatyard and Merton in 1967. They immediately hit it off and visited together several times with other artistic friends, including Wendell Berry, Kentucky’s elder statesman of literature, and the late Guy Davenport, a writer and University of Kentucky professor who in 1990 received a MacArthur Foundation “genius” grant.

“Jonathan Williams, Guy Davenport and Gene Meatyard were here yesterday,” Merton wrote in his journal on June 18, 1967. “The one who made the greatest impression on me was Gene Meatyard, the photographer — does marvelous arresting visionary things, most haunting and suggestive, mythical photography I ever saw. I felt that here was someone really going somewhere.”

Some photos taken during their visits are classic Meatyard: dark and sometimes blurry images that include props and old buildings. Merton appears to be an eager subject, posing symbolically in various costumes, from work clothes to his Cistercian monk’s robe. In one set of pictures, he goofs around with a thyrsus, a decorated stick that was an ancient symbol of pleasure.

But some of the photos are just snapshots of friends enjoying each other’s company, much like we would take today with our smartphones and post to Facebook. Merton sips beer at a picnic, or poses outdoors with the late poet Denise Levertov and Berry, who holds a coffee cup. Merton also is photographed using his own camera.

In addition to writing and photography, Merton expressed himself with drawings and hand-inked prints he called calligraphies. Meatyard exhibited them in the lobby of his Lexington optical shop, Eyeglasses of Kentucky, and bought some to help finance Merton’s trip to Asia in 1968.

While on that trip, in Bangkok, Thailand, Merton was accidently electrocuted by a fan while stepping out of his bath. He was 53. Within four years, Meatyard also would be dead, a victim of cancer eight days before his 47th birthday.

“A lot of people don’t realize that they had this relationship, which unfortunately lasted slightly less than two years,” Jones said. “For me these are really portraits of friendship and of a time and a place that no longer exists in the same way.”

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