Now that we’re talking about statues, who else should we honor?

July 14, 2015
Mayor Jim Gray has asked the city's Arts Review Board to study, take comments and make recommendations about this 1911 statue of Confederate Gen. John Hunt Morgan and an 1887 statue of John C. Breckinridge outside the old Fayette County Courthouse. Photo by Tom Eblen

Mayor Jim Gray has asked the city’s Arts Review Board to study, take comments and make recommendations about this 1911 statue of Confederate Gen. John Hunt Morgan and an 1887 statue of John C. Breckinridge outside the old Fayette County Courthouse. Photo by Tom Eblen

 

One consensus that seemed to emerge from last week’s public forum on local Confederate statues and symbols of slavery was that Lexington’s history should be presented in a more accurate and complete way.

Mayor Jim Gray opened the forum organized by the Carnegie Center for Literacy and Learning by announcing he had asked the city’s Arts Review Board to study, gather comments and make recommendations about the placement and presentation of two controversial statues and an historical marker about slavery outside the old Fayette County Courthouse.

The statues are of Confederate Gens. John Hunt Morgan and John C. Breckinridge, also a former U.S. vice president, who lived in Lexington. The statues were erected in 1911 and 1887, respectively, at the behest of Confederate memorial groups with considerable funding from taxpayers. The slavery marker was erected in 2003 and paid for by Alpha Phi Alpha, a black fraternity.

Several people spoke against the statues at the forum, saying they should be moved or removed. But I thought the wisest comments came from panelist Yvonne Giles, who knows more about and has done more to promote black history in Lexington than perhaps anyone.

“Rather than spending money moving statues, create new ones that tell the rest of the story,” Giles said. “African Americans were crucial to the development of Lexington.”

“We wouldn’t be talking about it if it weren’t for those monuments,” she added. “Public art creates conversations.”

Giles named a couple of black Lexingtonians worth memorializing, and I can think of several more. I also can think of several great women from Lexington history — and white men who did not fight for the Confederacy.

What other people from Lexington’s history do you think are worth honoring and remembering? Comment on this column online, or send me an email.

For the sake of this exercise, let’s keep the nominations to people who are no longer living. In fact, I like the state Historic Properties Advisory Commission’s rule that people honored with monuments should have been dead for at least 40 years so their place in history can be more accurately assessed.

Here are some names I would suggest:

William Wells Brown (1814-1884) the first black American to publish a novel, a travelogue, a song book and a play. He also wrote three volumes of black history, including the first about black military service in the Civil War. He then became a physician, and he did all of this after escaping slavery. Brown said he was born in Lexington, but new research shows he probably came from Montgomery County.

Lewis Hayden (1811-1889) was born into slavery in Lexington, escaped and settled in Boston, where he became a famous activist against slavery. After the Civil War, he also worked for black education and women’s suffrage. Like Brown, his dramatic life story would make a great movie.

Mary E. Britton (1855-1925) was Lexington’s first and, for many years, only licensed black female doctor. Educated at Berea College, she also was a journalist and influential civil rights and women’s rights activist.

Madeline McDowell Breckinridge (1872-1920) was a social reformer from Lexington whose many causes included women’s suffrage, juvenile justice reform, tuberculosis treatment, job training, parks and recreation.

Laura Clay (1849-1941) of Lexington was another nationally known advocate for women’s suffrage and equal rights. At the 1920 Democratic National Convention, she became the first women nominated for president by a major political party.

Thomas Hunt Morgan (1866-1945) was the first Kentuckian to win a Nobel Prize, in 1933 for medicine. More than that, he was one of the most influential scientists of the 20th century because of his research into genetics and embryology and his approach to scientific experimentation. And, by the way, he was the Confederate general’s nephew.

I can think of several others, but that’s a good start. Send me your ideas. If I get enough good ones, I’ll write about them.

Statues of bronze and stone are not the only ways to memorialize notable people with public art. One of my favorite additions to the downtown skyline is Brazilian artist Eduardo Kobra’s colorful 2013 mural of Abraham Lincoln on the back wall of the Kentucky Theatre.

Kentuckians of all genders and races have made important contributions, not only to this city and state but to civilization. It is important to remember them not just because of what they did, but for the examples they provide for what is possible.


Convergence of gay rights, civil rights complex for black churches

July 7, 2015

Like other conservative churches, many historically black congregations are unhappy with the U.S. Supreme Court’s ruling that legalized same-sex marriage.

And for many of them, there is an additional rub: the court majority’s acceptance of the legal argument that same-sex marriage is a matter of civil rights.

Black churches were at the forefront of the civil rights movement that swept away legal discrimination against black people in the 1960s. The Rev. Martin Luther King Jr., a Baptist minister, is that movement’s icon.

The more the gay rights movement has likened its struggle to the black civil rights movement — and the more the public has accepted that analogy — the more many black Christians have bristled.

“You can’t equate your sin with my skin,” Bishop Harry Jackson Jr. of Mt. Hope Christian Church in Maryland famously said after his state legalized same-sex marriage in 2012.

The Roman Catholic Church still opposes same-sex marriage, but some mainline Protestant denominations recently have changed their policies. The Episcopal Church now allows it, following the Presbyterian Church USA and the United Church of Christ. But many individual churches and members strongly disagree.

The Evangelical Lutheran Church in America lets its congregations decide for themselves. The United Methodist Church prohibits gay marriage in its churches or by its clergy, but some pastors have performed them in protest.

Many black churches are affiliated with Baptist denominations and the African Methodist Episcopal Church, which remain opposed to same-sex marriage because of their understanding of Scripture.

The Pew Research Center reported recently that while 59 percent of white Americans now support same-sex marriage, only 41 percent of blacks do.

The 225-year-old First African Baptist Church, the oldest black congregation in Lexington, believes in the traditional definition of marriage as being between one man and one woman. But the Rev. Nathl Moore said the Supreme Court ruling hasn’t been a big topic of conversation in the congregation.

“We don’t condone all activities,” Moore said, “but we still love.”

Main Street Baptist Church’s website lists the traditional definition of marriage among its beliefs. Church leaders have discussed the court ruling, the Rev. Victor Sholar said.

“Our concern as a church at large is that there will be much slander and attack” because of religious objections to same-sex marriage, Sholar said. “We are still a pluralistic society. People will still have different views.

“But we continue to make mention that we welcome all persons in our church,” he added. “We’re like a hospital. We want to make people well.”

Main Street Baptist has a unique association with black civil rights. The church was founded in the 1850s on land Mary Todd Lincoln’s family owned beside her childhood home. Her husband, President Abraham Lincoln, personally conveyed the property to the church for $3,000 in 1863, the year after he issued the Emancipation Proclamation freeing slaves in the Confederate states.

Sholar is among those who objects to comparing the gay rights movement with the black civil rights movement.

“It was an issue of human rights,” he said of the black civil rights movement and “had nothing to do with sexual preference or orientation. I think that is somewhat offensive to those who look at history. It’s apples to oranges, really.”

The Rev. Anthony Everett of Wesley United Methodist Church, whose denomination opposes gay marriage, respects the various religious beliefs on the issue. But he disagrees with trying to distinguish black civil rights from gay civil rights.

“It’s problematic sometimes for African Americans, because people are saying we haven’t really accomplished all the things we need to do with race and now here comes the next group that’s using the civil rights movement as a platform,” he said.

“It’s like my pain is worse than their pain,” he said. “We’re all in pain. Let’s all deal with the pain without worrying about whose pain is worse.”

Everett noted that Bayard Rustin, one of King’s main advisers and strategists during the civil rights movement, was gay.

“There wouldn’t have been a March on Washington had it not been for him,” Everett said of Rustin. “Do we just ignore him and ignore the battles he had to deal with? If you’re about social justice and human rights, you’re about all of that for everybody.”


Would a better flag boost Kentuckians’ pride in their state?

June 20, 2015

KyFlag

 

Kentucky needs many things: better health, more education, less poverty, less political corruption, a more-prosperous middle class, a less-polluted environment.

And a better state flag. I have thought that for years, but I’ve always considered flag design a trivial issue in a state with so many bigger challenges.

Ben Sollee changed my mind.

If you don’t know Sollee, he is an enormously talented singer, songwriter and cellist (yes, a cellist) whose unique style of folksy, bluesy, socially conscious music has attracted an international following. He also is a proud Kentuckian.

Ben Sollee. Photo by Tom Eblen

Ben Sollee. Photo by Tom Eblen

Sollee performed in Frankfort this month at the Kentucky Historical Society’s annual Boone Day festivities. I sat on stage and interviewed him between songs about his Kentucky roots and how they influence his art.

Kentuckians have a lot to be proud of, Sollee said, but they don’t express that pride as much as do residents of some other U.S. states and Canadian provinces. He thinks part of the problem is our flag.

“When I travel and I see people in British Columbia or Colorado or California, they are proud of where they’re from,” he said. “And they wear it all over. Everyone’s sporting the state flag, the state image, the state logo.

“We don’t have that in Kentucky,” he added. “Our state flag is not adopted on a cultural level. We need a better state flag!”

Two men wearing antique clothing and shaking hands in the middle of a blue flag, surrounded by goldenrod weed and a lot of words just doesn’t cut it graphically.

The handshake guys make a fine official seal. “United We Stand, Divided We Fall” is a great motto for a commonwealth, which is a more noble thing to be than a mere state. Goldenrod is pretty,  even if it does make me sneeze. But all thrown together, these things make a boring flag.

“Sitting here at the Kentucky History Center, I understand that’s a bit of blasphemy,” Sollee said, although his comments drew loud applause from the audience.

“There’s a lot of heritage behind that flag,” he added. “But there’s a lot of new heritage that’s not being represented by that flag. It’s a bad design, and it doesn’t communicate to a wide swath of people easily.”

I think Sollee is right, and so do flag design experts. Yes, there are experts who study the design, use and cultural significance of flags. They are called “vexillologists” and among the places they hang out is the North American Vexillological Association.

Last year, the association published “guiding principles” for good flag design. Kentucky’s flag violates most of them. It is what vexillologists call an S.O.B. — seal on a bedsheet.

When you see Kentucky’s flag flying at a distance, which is the way we usually see flags, it is blue with a vague golden blob in the middle, virtually indistinguishable from the flags of a half-dozen other states.

What state flags do the vexillologists like? Those of New Mexico, Texas, Maryland, Alaska, Colorado and Arizona, to name a few. They approach the quality of great national flags, such as the United States, Canada, Great Britain and South Africa. Even some cities, such as Chicago and Washington, have flags designed so well that residents embrace them.

With few exceptions, well-designed flags are simple, with two or three basic colors and meaningful symbolism that is easily recognized. They are distinctive, and they avoid seals and writing of any kind.

As Ted Kaye, author of the book Good Flag, Bad Flag, puts it: “A flag should be so simple that a child can draw it from memory.”

When designing a flag, experts recommend starting with a rectangle 1 by 1½ inches. If a design doesn’t work in that small a space, it just doesn’t work.

“We could have a crowd-sourced campaign, which is to say let’s get the in-state artists to submit designs and have a competition,” Sollee suggested. “Let’s create a new piece of art that can be our state flag that we can all get behind and adopt.

“It would do wonders for people outside of Kentucky recognizing and visiting this place,” he said. “It would do wonders to have a banner that we could all wave around. I think it’s a small step that we could make big strides with. Let’s do it!”


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.


Despite moves from Argentina to Alaska, writer rooted in Kentucky

March 17, 2015

Nearly 40 years after he left Lexington in search of language, literature and academic adventure from one end of the Americas to the other, Johnny Payne said he still gets emotional each time he flies into Blue Grass Airport.

“I’ve lived many beautiful places,” said Payne, a novelist, poet and playwright. “But when the plane is coming in over those fields, I just get teary-eyed every time. This is the most beautiful place in the world. It’s kind of my mythic space.”

Payne has lived in nine states, Peru and Argentina. He now teaches English at the University of Alaska Fairbanks, where he and his wife, Juana, and their three dogs live atop an isolated mountain in a yurt — a round wooden hut.

Their nearest neighbors are foxes and moose, and temperatures can reach 20 below zero. But, he said, Lexington got a lot more snow this winter than they did.

PaynePayne’s plane touched down Saturday for a visit with family and to give two talks about his newest book, “Vassal” (Mouthfeel Press, $16), a re-imagining of The Odyssey, Homer’s epic poem from the 8th century BC.

He will speak at 4 p.m. Wednesday at Transylvania University’s Cowgill Center, Room 102, and at 7 p.m. Thursday at Joseph-Beth Booksellers. Both events are free and open to the public.

Payne’s 10th book grew out of re-reading The Odyssey and writing a poem about it that an editor urged him to expand it into a book.

“I was coming to terms with myself at this time in my life,” Payne said, and he identified with the ancient Greek hero Odysseus and his decade-long journey home. “A book can be very personal without talking directly about my own experience.”

Payne, 56, and I were friends at Lafayette High School, where he says Spanish teacher Marcia Miller was the best teacher he ever had. She gave him the confidence to go to college. He earned a bachelor’s degree at Indiana University, a master’s at the University of Alabama and a doctorate at Stanford University.

As a 22-year-old graduate student, Payne learned the Quechua language and traveled to mountain villages in Peru recording the stories of peasant farmers. He translated them into Spanish, and after finishing his academic project edited them into a book for Peruvian children.

“That’s the most unusual thing I did in my life, and it made me really happy,” he said. “I wasn’t trained in that area; I just did it. I could never do it now. I would have too much self-doubt.”

Payne taught at Northwestern University and started two master of fine arts programs in creative writing. The MFA program at the University of Texas-El Paso that he founded and directed for eight years is the nation’s only bilingual English-Spanish program.

“It was very quickly successful and probably the most significant thing I’ve done in my career,” he said.

Payne thought he wanted to be a dean, so he moved to the University of Alaska at Fairbanks to head the College of Liberal Arts. Within a year, he realized he hated high-level administration and stepped down to teach and write.

He comes home occasionally to visit his parents, John and Joy Payne, but returns to Kentucky most often in his imagination. Six of his books are set completely or partly in Kentucky. A musical play, “The Devil in Disputanta,” is named for the Rockcastle County community where generations of Payne’s ancestors farmed.

His other books have been set in Europe and Latin America, including his first novel written in Spanish, “La Muerte de Papi” (2014). Payne recently finished a novel about an Irish serial killer in 1840s London, and he is working on a book of poetry about people’s complex relationships with technology.

Payne said he keeps returning to Kentucky in fiction not because of nostalgia but for the state’s rich storytelling possibilities.

“It really ripens in your imagination,” Payne said. “You kind of have an objective distance where you see it in your mind’s eye, and half of it you invent. It’s this quest of always finding a new Lexington and new Kentucky.”


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.


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.”


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 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.”


‘Lost Lexington’ a reminder of great buildings and people

November 1, 2014

The cover of Lost Lexington explains why Peter Brackney’s new book is so timely: It shows a mothballed old courthouse in desperate need of renovation beside the gigantic crater that has replaced the city’s oldest business district.

141102LostLexington002Brackney, a lawyer and writer of the local history blog Kaintuckeean.com, said the plight of the old Fayette County Courthouse and the CentrePointe boondoggle were big motivations for writing his book.

So was the University of Kentucky’s controversial demolition this summer of several significant mid-century modern buildings on his alma mater’s campus to make way for new construction.

“Everywhere you see a parking lot, something once stood,” Brackney said in an interview. “I think the more you learn about some of these historic structures, the more you appreciate what we have left.”

Brackney focuses on what is gone, and it is an impressive collection of special buildings and places once central to community life. They include elegant mansions, a racetrack, an amusement park, a football stadium, railroad stations and a private garden that early settlers referred to as “paradise.”

Lost Lexington (The History Press, $19.95) includes a forward by Mayor Jim Gray and many photographs. But what makes it most interesting is Brackney’s thorough research into these places and the remarkable people associated with them. I know a lot about Lexington history, but I learned some things.

Brackney begins with Lexington’s best-known preservation story: the 1955 demolition of the 1798 Hart-Bradford House for a parking lot. That act, and fears that the 1814 Hunt-Morgan House across the street would be next, led to creation of the Blue Grass Trust for Historic Preservation and the city’s first preservation laws.

“If you looked at the Hart-Bradford House and didn’t know a thing about who lived there, you would think there was nothing special about it, just a nice two-story brick house,” Brackney said.

brackneyBut, as the book explains, that house was built by Henry Clay’s father-in-law, Thomas Hart, a Revolutionary War veteran and influential land speculator. The next resident was John Bradford, Kentucky’s first newspaper publisher and a major civic leader. Clay was married in that house, and Confederate Gen. John Hunt Morgan may have been, too.

Few people now remember another longtime resident of the house: Laura Clay, an early champion of women’s rights. She learned about the subject the hard way: watching her father, emancipationist Cassius Clay, cheat her mother out of property after their divorce.

Among the several fabulous, long-gone estates featured in the book is Chaumiere des Prairies, where three U.S. presidents were entertained and the traitor Aaron Burr was held under arrest.

Col. David Meade’s estate was famous for its beautifully landscaped gardens. When he died in 1832, a farmer who bought the property destroyed them with grazing livestock, prompting neighbors to post signs about “paradise lost.”

Brackney tells the stories of such 20th century landmarks as the Phoenix Hotel, Union Station, the Southern Railway depot and Joyland Park. Joyland Park was famous for its amusement rides and the huge dance pavilion where Duke Ellington, Artie Shaw and other big band leaders performed.

One interesting story was about how, for 23 years, the afternoon Lexington Leader gave every white kid in town free swimming lessons at Joyland’s public pool. In those segregation days, the newspaper provided free swimming lessons for black children at Douglass Park.

The book tells about two sporting venues that no longer exist: the Kentucky Association racetrack and Stoll Field/McLean Stadium, the home of UK football games and other community events before Commonwealth Stadium replaced it in 1972.

UK’s recent demolitions and the CentrePointe project, which destroyed more than a dozen downtown buildings and 51/2 years later is nothing more than a hole in the ground, were a wakeup call for historic preservation in Lexington.

But Brackney, who lives in Jessamine County, laments that many other communities still haven’t gotten the message. Nicholasville’s oldest Main Street commercial building, built in the early 1800s, was recently demolished.

“While we do have to balance preservation and progress, we have to make sure there’s an understanding that people lived and worked in each of these places; they’re not just bricks and mortar,” he said.

“Drive down Nicholasville Road, drive down Richmond Road, and there’s nothing that separates them from Glendale, Ariz., or any new city,” Brackney added. “There’s nothing that makes them unique. And it’s Lexington’s history and uniqueness that helps make it a great city.”

If you go

Peter Brackney will speak and sign copies of Lost Lexington:

5:30 p.m. Nov. 3: Thomas Hunt-Morgan House, 210 N. Broadway, hosted by the Blue Grass Trust for Historic Preservation. The event includes a panel discussion about historic preservation in Lexington.

2 p.m. Nov. 9: The Morris Book Shop, 882 E High St.

6 p.m. Nov. 9: Barnes & Noble bookstore, Hamburg Pavilion.

7 p.m. Dec. 2: Joseph-Beth Booksellers, Lexington Green.


Revenue Cabinet employee a finalist for Ireland’s Rose of Tralee

July 29, 2014

roseClaire Curran, left, of Frankfort, is as one of 23 finalists in the Rose of Tralee pageant, a 55-year-old competition next month for young women of Irish ancestry. Lexington’s Irish community threw a sendoff party for her Saturday night at McCarthy’s Irish Bar. Among the well-wishers was Penny O’Brien, right. Photo by Tom Eblen

What Miss America is to this country, the Rose of Tralee is to Ireland. And for the first time in the competition’s 55-year-history, a Kentuckian is a finalist for the crown.

McCarthy’s Irish Bar was packed Saturday night as the Lexington Celtic Association threw a sendoff “hooley” for Claire Curran, complete with traditional Irish musicians and the McTeggart step dancers.

Curran, 23, spent four days in Ireland in May competing against more than 60 young women of Irish descent from Ireland and as far away as New Zealand and Dubai. She will soon head back. The 23 finalists will make appearances around Ireland and take part in festival activities for two weeks before this year’s Rose is chosen during two televised broadcasts from Tralee’s Festival Dome, Aug. 18-19.

“For us, this is huge,” said Liza Hendley Betz, a Dublin native who owns Failte, The Irish Shop. “As a kid in Ireland, watching the Rose of Tralee on television was a family tradition. Now to think that our Kentucky Rose could win it all.”

The Rose of Tralee began in 1959 as a local pageant in County Kerry, taking its name from a 19th century love ballad. It soon went national, and in 1967 opened to young women of Irish descent everywhere.

Ireland has fewer than 4.6 million people — only about 255,000 more than Kentucky. But for two centuries, Ireland’s biggest export has been people.

More than 10 percent of Kentucky residents are of Irish descent. Early Irish stone masons built many of Central Kentucky’s iconic limestone fences. The horse industry has lured hundreds of recent immigrants, who say Central Kentucky reminds them of home because of its lush green meadows and stone fences.

Betz estimates the area has at least 300 “off the boat” Irish, as she calls them. Irish comfort food for expatriates is a big draw for her imports shop. It shares an old red-and-green building on South Upper Street with McCarthy’s, where the bartenders know how to properly pour a pint of Guinness.

Betz and other Irish immigrants started a Kentucky Rose organizing committee, called a centre, in 2012. It joined a dozen other U.S. centres, as well as eight in Britain, four in Canada, two in continental Europe, seven in Australia and New Zealand and four in the Middle East. All 32 Irish counties have them.

“The first year, we had our event on St. Patrick’s Day out in the mud at CentrePointe,” Betz said. “It was almost comical, so we said we need to get serious about this.”

Curran was chosen from among eight contestants March 22 at the second annual Rose Ball at Saints Peter and Paul School. Betz said she is thrilled that a Kentucky girl made the finals this quickly.

The Rose of Tralee International Festival says it is not a beauty pageant. There is no swimsuit competition, and while contestants perform, their talent is not judged. The winner is selected based on her personality and ability to be a “confident, hardworking, intelligent role model” and goodwill ambassador.

Carole Whalen, who went to the preliminaries in Port Laoise, Ireland, thinks Curran impressed the judges with her wit and humor. During her talent performance, she dramatically unrolled a long scroll to read a funny poem she had written.

Curran said she was born in California, grew up in Frankfort and graduated from Murray State University. She works for the Kentucky Revenue Cabinet where, she said, “I’m one of those people in the division of sales and use tax who writes letters that make people’s day all over the Commonwealth.” Her hobby is acting.

“Being Irish has always been an important part of our family,” she said. “If my grandparents were still alive they would be beside themselves about this.”

Lexington’s Irish community raised several thousand dollars to help pay for Curran’s festival expenses.

“There’s so many Irish here, we try to help each other out,” said one of her sponsors, Pat Costello, an owner of the Thoroughbred firm Paramount Sales. “We grew up at home with the Rose of Tralee as a huge contest.”


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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New Lexington radio station to focus on community engagement

June 21, 2014

If Lexington were to have a small, community-oriented radio station, what should its programming be? What roles should it play? Whose voices should be heard?

Those are some of the questions being asked by a local group now organizing such a station. They will convene several public meetings to get answers, and the first one is 10 a.m. to 2 p.m., June 28 at Sayre School’s Buttery Building, 194 N. Limestone St.

The Federal Communications Commission recently awarded the group a construction permit for a 100-watt FM station. It must be on the air by October 2015 and would have a broadcast radius of 3.5 miles from its transmitter on the Bluegrass Community and Technical College campus at Leestown and New Circle roads.

The small coverage area would include downtown, Northside, the East End and as far west as Cardinal Valley. This diverse area of 93,000 people includes some of the largest concentrations of Latino and black residents in Lexington.

“We want to serve that community in a way that has never been done before,” said Mick Jeffries, a photographer, graphic artist and radio host on WRFL-FM, the University of Kentucky’s student-run station that he helped start 25 years ago.

lexonairlogo“The low-power FM movement has to do with trying to restore radio as a kind of education and community resource,” he said. “It’s largely educational and has a laboratory component to it. It’s nothing like commercial radio as we now know it.”

After commercial radio was deregulated in 1996, a dozen or so corporations quickly bought up most of the nation’s locally owned stations. They cut costs by replacing local staff and programming with syndicated content.

In reaction, the FCC in 2000 started granting licenses to non-profit organizations to operate low-power FM stations for community service. But, within months, radio-industry lobbyists pressured Congress to stop the FCC from issuing more licenses.

That changed in 2011 with the Local Community Radio Act, which allowed a new round of license applications last October. More than 1,200 have been granted. Lexington’s successful application was spearheaded by Debra Hensley, an insurance agent and former Urban County Council member.

Community engagement is Hensley’s passion. She has organized “social stimulus” events and produced videos and podcasts about neighborhoods and citizens. While they were working together on a podcast last year, Jeffries told Hensley about the low-power FM opportunity.

Hensley created a radio station organizing group that is seeking non-profit status. In addition to Jeffries, other board members include Hap Houlihan, formerly of The Morris Book Shop; Kakie Urch, another WRFL founder who now teaches new media in UK’s School of Journalism and Telecommunications; and Tanya Torp, a neighborhood leader in the East End.

They have reached out to many others for assistance, including BCTC, the local Latino arts and culture organization FLACA, the Urban League, WUKY-FM and the city’s Division of Emergency Management.

John Bobel, the division’s information officer, said a low-power FM station could be a valuable tool for reaching people in many of these neighborhoods during emergencies, as well as for communicating public safety messages.

“I am president of the William Wells Brown Neighborhood Association, and the way we get our word out is that I have to knock on doors to tell people what’s going on,” Torp said. “So having this kind of resource in our community is vital. A lot of people do not have Internet access. But a lot of people, including the elderly, have radios.”

The organizers see many potential roles for the station: covering neighborhood meetings; convening and broadcasting public forums; call-in shows discussing local issues, including wellness and nutrition; school music concerts and shows; and coverage of youth and league sports, including a Spanish-language show about Lexington’s Latino soccer leagues.

“Part of my job at UK is expanding use of different media to tell stories in different ways,” said Urch, who also sees educational opportunities for youth. She wants to create after-school workshops to teach middle and high school students to use technology and tell stories they care about.

Plans call for the station to have a free smartphone app that would allow broadcasts to be heard from anywhere, as well as a website with text, photos and video. Hensley wants a storefront studio in a visible location to increase public engagement.

“It’s not like we’re looking for syndicated programming that’s going to appeal to a certain market,” Jeffries said. “We want to engage people to actually help create the content for the station.”

Hensley knows the biggest challenge will be raising money to make it happen. She estimates about $50,000 in startup costs and an annual operations budget of as much as $150,000.

She is working on a three-year business plan, which would include grants, donations and, primarily, sponsor messages from local businesses and organizations, such as public radio does.

“We envision this as something the community sees, feels, embraces,” Hensley said. “So at this meeting we want to say, this is what we’ve got, this is what it could look like. What do you think?”

 


Story magazine founder wanted to tell Kentucky stories

May 4, 2014

story1 Julie Wilson is founder, publisher and editor of Story magazine. Photo by Tom Eblen

 

How does a woman born in Detroit become the founder, editor and publisher of a magazine dedicated to telling Kentucky stories? Well, there’s a story there.

Julie Wilson’s father was born into a big family in the Harlan County community of Pathfork. Like thousands of Kentuckians after World War II, he migrated north to seek his fortune. And, like many of those thousands, he eventually got homesick and returned to Kentucky.

Wilson, who has lived in Lexington since she was 4 years old, thinks her father’s experience nurtured her love for Kentucky in all its diversity. She now shares that love in each quarterly issue of Story magazine.

“There are so many unique stories in Kentucky,” Wilson said. “And every time we go out and talk to somebody, we get two more story ideas.”

With nearly two years of publication under their belts, Wilson and her partners are expanding Story magazine into a broader brand built around Kentucky culture and pride.

Kentucky Educational Television on May 14 will show the first episode of backStory, a quarterly program about the making of the magazine. Story is producing the show with Lexington-based Locker Public Relations.

Another project in the works, called Sessions, will feature collaborations of Kentucky musicians from a variety of genres. For that, Wilson is partnering with the magazine’s National Avenue neighbor, Duane Lundy of Shangri-La Productions.

story2Musicians scheduled up for the first session, on June 25, include Willie Breeding of The Breedings; Mark Heidiger of Vandaveer; and Stephen Trask, composer of the 1998 rock musicalHedwig and the Angry Inch, a revival of which opened recently on Broadway.

Wilson said a limited number of tickets for each session will be sold through The Morris Book Shop. An edited video will be posted online soon afterward. Event details will be available soon at Storythemagazine.com.

Wilson, 43, is a graduate of the University of Kentucky journalism program who worked as a free-lance writer for the Herald-Leader and a reporter for the Richmond Register. Then she spent a decade learning the magazine business at Host Communications, where she edited business-to-business magazines for the tour and spa industries.

After a year and a half as publisher of Kentucky Bride magazine, Wilson got to thinking about all of the interesting Kentucky stories she heard about but wasn’t seeing in other publications.

The cover of Story magazine’s first issue, which Wilson wrote, was a profile of Ashley Brock, a successful young model who travels from her home in Leslie County to do photo shoots in Europe and Asia.

“We look for how we can tell stories about Kentucky that are debunking the myths that are out there,” Wilson said.

She seeks out stories about Kentuckians doing cutting-edge things. Some are famous, such as the current issue’s cover subject, the late Louisville-born journalist Hunter S. Thompson. But many stories are about people whom readers might never have heard about otherwise, such as Dr. Joseph Yocum, a Nicholasville veterinarian who is a pioneer in animal stem-cell therapy, or Tim Hensley and Jane Post, gourmet mushroom farmers in Madison County.

story3Regular features focus on successful Kentucky expatriates, artists and craftsmen, musicians, philanthropists and people doing good things in their communities. Wilson said she tries to include features from across the state “so people won’t think we’re just a Lexington and Louisville magazine.”

She developed Story’s concept with Tim Jones, who as creative director oversees the magazine’s sophisticated design, and Laurel Cassidy, the associate publisher, who focuses on advertising sales. Bart Mahan is chief operating officer, and Allison May and Sara Plummer are account executives.

Wilson said the business is close to breaking even. The magazine has a distribution of about 18,000 copies and 2,200 paid subscribers, many of them Kentuckians living out of state. Eventually, she hopes to publish bimonthly.

Wilson’s husband, David Wilson, is chief operating officer of Yonder Interactive Neighborhoods, a sustainability education consultant. They have a daughter, who turns 9 this week.

“And, yes, her name is Story,” Julie Wilson said. “She says she was the first Story — but we didn’t name the magazine after her.”

The Lexington chapter of the National Association of Women Business Owners recently gave Wilson an award as small business owner of the year.

“It has been more rewarding than I ever expected,” she said of the magazine’s first two years. “But I’m just doing this by the seat of my pants. I hope they know that.”


Derby Day at Keeneland: all that was missing was live horses

May 3, 2014

140503Keeneland-DerbyTE0124Derby Day at Keeneland was a laid-back affair. Photos by Tom Eblen

 

Billy Hargis of Danville got to Keeneland early on Kentucky Derby Day to stake out a bench and start studying the program in the hope of picking a winner.

“I’ve been coming to Keeneland for a long time, since I was 16,” said Hargis, 64, adding that it is his favorite place to be on Derby Day because of the family atmosphere and smaller crowd.

“I went to Louisville once,” he said. “All I saw was a horse’s tail.”

Before long Saturday, Hargis had plenty of company. A picture-perfect day brought 19,344 people to the Lexington racetrack, which had everything a Kentucky Derby fan needed — except actual horses.

The horses were on TV screens, including the big one across the track in Keeneland’s infield. Spectators gathered in the stands and on the plaza benches below, picnicked in the paddock and tailgated in tents and RVs outside the gates at perhaps the world’s largest Kentucky Derby party outside Churchill Downs.

Jeff and Lisa Kayes have been coming to Kentucky from the Buffalo, N.Y., area each first Saturday in May for 18 years to catch the Derby action. Only four of those years were actually spent at the Derby in Louisville.

“We’ve done that; the riff-raff in the infield gets old,” Jeff Kayes said of Churchill Downs. “This is more laid-back.”

Keeneland has long allowed people to gather at the track for Derby, but it started making a bigger event of it in 1995. Now, as many as 20,000 fans come each year, wearing fancy hats and toting picnic supplies.

There was a hat contest, children’s activities and plenty of beer, mint juleps, other refreshments and souvenirs for the adults. For $5 admission, it was quite a show for both horse fans and people-watchers.

Debbie and Bill Viney of Georgetown set up a family picnic in the paddock with son, Tom, who lives in Louisville, and his daughter, Allie, 10. They were all dressed up, enjoying the sunshine and games of corn hole until it was time to eat.

“This is great,” Tom Viney said. “I’ll come to Keeneland seven days out of seven vs. going to Churchill.”

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Kentucky Derby’s little sister has her own style

May 3, 2014

140502KyOaks0020A giant, new video screen at Churchill Downs emphasizes the feeling that the 140th Kentucky Oaks on Friday is like one big reality television show.  Photos by Tom Eblen

 

LOUISVILLE — Whenever friends from out-of-state complain about how Kentucky Derby tickets are expensive and hard to get, I tell them about the Kentucky Oaks.

Both races have been run for 140 years, but until a few years ago, the Friday event for 3-year-old fillies was a secret Kentuckians kept to themselves.

The Oaks is no longer a secret. The crowd of 113,071 that saw the favorite, Untapable, win by 4½ lengths Friday, was the third-largest ever. But the Oaks is still a less costly, less crowded and less crazy day at the races.

Neither Oaks nor Derby may be the same again, though, thanks to Churchill Downs’ newest addition. The Big Board is a 90-foot-wide video screen that rises 170 feet above the backside and is visible throughout the track. When the sound is cranked up on its 750 speakers, the multimedia experience can almost rival the human and equine circus that surrounds it.

Several months ago, my younger daughter called wanting advice about getting Derby tickets. Shannon lives in New York now but was coming home to meet up with Lisa Currie, her pen-pal of 20 years, who was flying in from Australia.

Lisa wanted to go to the Derby, but was easily persuaded that the Oaks might be more fun. It is the same with Australia’s famous Melbourne Cup, she said. She and other locals prefer to go on one of the preliminary race days.

Walking around Friday, I found a lot of people who have discovered the Oaks’ charm.

“I like the Oaks better, although we’ll be here tomorrow, too,” said Denise Needham of Long Island, N.Y., who was here for her fourth Oaks-Derby weekend. “It’s just as much fun, but less crowded. And it’s for a good cause.”

She was referring to Churchill Downs’ partnership with the Susan G. Komen organization, which has made Oaks Day an annual celebration of breast cancer survival and awareness.

Before the big race, there is a parade down the track of breast cancer survivors chosen from all over the country. Almost all of them wore pink. But, anymore, almost everyone wears pink to the Oaks.

“I get to wear pink and not get judged,” Rickey Spanish of Des Moines, Iowa, said with a laugh. He was wearing a pink shirt, pants and feather boa, and his Iowa friends were similarly attired.

“Today is all flash,” Spanish said. “Tomorrow, I’ll just wear a regular old suit to Derby.”

All of that pink has helped make the Oaks as good a people-watching event as Derby Day.

“The horses are OK, but the people are more interesting,” said Kitty McKune of Louisville, who stood people-watching as her husband, Mike, filmed the paddock crowd with a small video camera.

“Derby weekend brings out the best in everybody,” said Mike McKune, who shocked his wife by buying and learning how to tie a bow tie to go with this suit.

Frequently overcast skies and temperatures that barely broke into the 60s caused many men to lose their suit coats to women who draped them over their fancy dresses. Gusty winds had many women keeping at least one hand on their big hats.

“It was supposed to be warm!” said Katie Daniel of Louisville, who walked through the paddock wearing Daniel Nusbaum’s suit coat.

The weather definitely put a dent in beer sales, said Andre Williams, who said he has been hawking cold ones at Churchill Downs on Derby weekends for more than 10 years.

“They keep saying it’s too cold to drink cold beer,” Williams said, noting that his fellow vendors selling champagne and vodka “Lily” cocktails seemed to be doing better. “But it will pick up some the later the day goes.”

Judging by all of the crushed beer cans I walked over after the big race, he was right. By Saturday morning, though, they will all be gone so an even bigger, crazier crowd can leave many more beer cans. Derby Day is supposed to be much warmer.

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Irvine festival celebrates wild and tasty morel mushrooms

April 19, 2014

140417MushroomFest0211Jen Collins scans the forest floor for tiny, tasty morel mushrooms in Estill County. The 24th annual Mountain Mushroom Festival in Irvine is April 26-27. Photos by Tom Eblen

 

IRVINE — “I found one!” Jen Collins called out from the top of the ridge. Her fellow mushroom hunters groaned and giggled.

By family tradition, Collins’ older sister, Joan Murphy, is supposed to find the first tasty morel mushroom each spring when they hike into the woods to search for them. But within a few minutes, Murphy had found one, too.

Collins and Murphy are fifth-generation ‘shroom hunters. They have walked these hills each spring since their father, Dennis Stacy, brought them and their five siblings here as teenagers more than 40 years ago. Now, they hunt mushrooms with their children and grandchildren, and many other Estill County families do the same.

“We know when it’s spring we go mushroom hunting,” Collins said. “It’s just a way of life.”

140417MushroomFest0054This local tradition prompted Irvine to start the Mountain Mushroom Festival in 1991. About 20,000 people are expected April 26-27 for the 24th annual festival, which will include a mushroom market and cooking demonstrations.

The festival also incorporates another local specialty: Kentucky agates. The gemstones are found only in Estill and parts of five surrounding counties. There will be public agate hunts along creek beds April 22-24 and an agate, gem and mineral show in town April 22-27.

Festival activities include a pancake breakfast, tractor and car shows, a parade and the annual Fungus 5k race. Festival admission is free. (More information: mountainmushroomfestival.org.)

“We’re trying to educate, and promote our cultural heritage,” said Francine Bonny, the festival’s chairman. “We want to highlight what is unique about our home and share it with visitors.”

Morel, or Morchella, mushrooms are difficult to cultivate, but grow wild in deciduous forests around the world. They can be found across Kentucky and surrounding states. The mushrooms start popping up in late March or early April, when overnight temperatures have warmed and there has been enough rain to dampen the soil.

140417MushroomFest0050A morel looks like a sponge or honeycomb and is hollow. Old-timers called them “dry-land fish” because they taste a little fishy. Hunters must take care not to confuse them with “false morels” — mushrooms that look more like brains than sponges and are poisonous.

Estill County hunters rarely find more than one or two morels growing together. The mushrooms range in color from black to golden and are often only one-to-three inches long. It takes skill and experience to see them poking up among the dead leaves and wildflowers on the forest floor.

The sisters took me mushroom hunting last Thursday, along with Collins’ son, Michael Collins Jr., president of the Estill County Chamber of Commerce, and Bonny, the festival chairman.

We drove up into the hills outside Irvine to their favorite spot, then hiked down one ridge and up another. Every few minutes, each hunter would stop to carefully scan the forest, poking a walking stick at fallen leaves when they thought they saw something — a mushroom or a snake.

When a morel was found, it was picked with a pinch of the stem. Hunters take care to protect the roots so they will produce more mushrooms. They carry picked mushrooms in a net shoulder bag on the theory that loose spores will fall off as they walk, increasing the chances of more mushrooms in the forest in the future.

When the hunters found leaves that looked disturbed, it often meant wild turkey had been there. “Deer and turkey both like mushrooms,” Collins said. “So you have to beat them to ’em.”

After a couple of hours, the hunters had found 28 small morels. That explains why they sell for about $40 a pound at the festival’s mushroom market. I hadn’t found a single one. I’m sure it was because I was too busy taking pictures. That’s my story, and I’m sticking to it.

The sisters were kind enough to give me a handful of their morels, plus cooking instructions. When I got home, I cleaned and sliced them in half, soaked them in saltwater, rolled them in cornmeal and a little flour and fried them in butter. Delicious!

The next time I go mushroom hunting, I will leave my cameras at home. I want to focus on dinner.

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Creating a city where people want to move, natives want to stay

March 29, 2014

In a 21st-century economy where jobs often follow people instead of the other way around, what assets help a city prosper?

That question has led researchers, civic and business leaders to focus on things previously considered nice but not essential: arts, culture and a sense of place that make people feel engaged and invested in their community.

Anne Gadwa Nicodemus, a dance choreographer-turned-urban planning researcher, has studied one variation on this phenomenon called “creative placemaking.”

She was here Thursday to speak at the annual Lafayette Seminar in Public Issues put on by the University of Kentucky’s Gaines Center for the Humanities. It was co-sponsored by LexArts, the McBrayer law firm, the North Limestone Community Development Corp. and Commerce Lexington.

Nicodemus has researched the economic and social vibrancy created when various community sectors — government, business, non-profit organizations and citizens groups — come together to use arts and culture to strategically shape the physical and social character of a city.

That kind of development has been happening organically in many parts of Lexington in recent years. “Lexington has become a place that people are excited about,” said Steve Kay, an Urban County council member. “This conversation couldn’t have happened five years ago.”

Three recent examples were discussed at the seminar. The first is Walker Properties’ redevelopment of National Avenue, a former light industrial street east of downtown, into a mixed-use retail, restaurant and arts district.

The second was Jefferson Street, which has blossomed into a restaurant district thanks to early investments by Wine + Market, Stella’s Deli and West Sixth Brewery. The brewery’s four partners played a big role in that, because they chose to buy a 90,000-square-foot former bread factory, now called the Bread Box. One of their challenges was figuring out what to do with all of that space.

Rather than just try to rent to other commercial tenants, Ben Self said, they wanted to foster a community of people, businesses and organizations that shared their values and vision for creating a vibrant community. He added that city regulators helped the partners cut through red tape to make it all work.

In addition to the brewery and tap room, the Bread Box now houses a non-profit bike shop, a coffee roaster, artist studios, a restaurant and an urban agriculture non-profit that grows fish and greens for the restaurant. “It just felt like the right way to do it,” Self said. “It’s a development that has a heart to it.”

Later this year, the Bread Box also will house an expanded Plantory, which has co-working space for non-profit organizations. The Plantory has outgrown its space in the Community Ventures Corp. building at East Third Street and Midland Avenue.

A third example in Lexington is the North Limestone neighborhood, where young entrepreneurs have been restoring century-old homes and commercial buildings and starting new businesses.

The North Limestone Community Development Corp. recently won a $425,000 grant from Artplace, a consortium of private foundations, banks and federal agencies that is investing in creative placemaking efforts around the country.

The money will be used to begin renovation of a former factory and 40 old shotgun houses to create studios and homes for artists and craftsmen. The idea is to turn a neighborhood liability — old buildings needing rehabilitation and occupants— into a cultural and economic asset.

An important key to creative placemaking is that, in addition to economic activity, it creates a sense of place that people find attractive. It makes a city a place where natives want to stay or return, and others want to move to.

“What we’re seeing now is a tying together of the economic and the sentimental,” said Jeff Fugate, president of the Downtown Development Authority. “That’s what’s exciting.”

For creative placemaking to reach its full potential, civic and business leaders must make sure public policy supports it and strategic thinking helps small initiatives add up to something bigger.

“It’s about bringing disparate groups together to make something special happen,” LexArts President Jim Clark said. “There is no cookie-cutter way to make a creative place. But you recognize it when you see it.”


Lecture highlights camera club that produced photography stars

March 13, 2014

Coke1Van Deren Coke (1921-2004) made this photo in 1952 in Lexington’s old Union Station, which was on Main Street where the Helix garage, Lexington Police Department and Fayette County Clerk’s office are now located. Photo: UK Special Collections.

 

Before there were pixels and iPhones, back when photography required film, darkrooms and chemicals, almost every American city had a camera club. Most members were hobbyists who wanted to learn how to make pretty pictures.

The Lexington Camera Club was different.

From its founding in 1936, Lexington Camera Club members, who included doctors, lawyers and businessmen, were unusually serious about developing their craft and exploring artistic expression.

By the time the club disbanded in 1972, it had produced two major figures in the art photography world and many more accomplished photographers.

James Birchfield, the retired special collections curator of rare books at the University of Kentucky, will give a free lecture about this remarkable camera club at 2 p.m. Sunday in the Presidents Room of UK’s Singletary Center for the Arts.

“It was not a provincial outlook,” Birchfield said of the club. “It was a big vision of the history of photography and what contemporary photography was doing. This particular cluster of people seemed to generate an extraordinary flowering of fine photography.”

Birchfield’s lecture is in conjunction with an exhibit at the university’s Art Museum of prints from an impressive photography collection it has assembled since the 1990s, thanks to one of the camera club’s members.

When Robert C. May died in 1993, he left the museum 1,200 of his own photographs and his collection of original prints from some of photography’s greatest names. He also left a substantial bequest so the museum could purchase more photography and create an annual lecture series that brings major photographers to UK’s campus. Eugene Richards, the noted documentary photographer, speaks at 4 p.m. Friday in Worsham Theater in the UK Student Center.

The museum exhibit, Wide Angle: American Photographs, continues through April 27 and features prints by famous photographers including Ansel Adams, Elliott Erwitt, Edward Weston, Lewis Hine, Walker Evans, Harry Callahan, Russell Lee, Doris Ulmann, Robert Frank, Andy Warhol and Cindy Sherman.

The exhibit also includes nine photographs by Lexington Camera Club members, including its two biggest stars: Ralph Eugene Meatyard (1925-1972) and Van Deren Coke (1921-2004).

140316CameraClub-a2The club began in 1936 with monthly meetings that included formal critiques of each member’s prints. Guest speakers included Ansel Adams, America’s most celebrated landscape photographer.

Many early club members were interested in landscape and travel photography, while others focused on historical and documentary pictures. Among the documentarians was lawyer and historian J. Winston Coleman, who photographed throughout Kentucky and collected nearly 6,300 historic images that are now at Transylvania University.

The club took an artistic turn under the leadership of Van Deren Coke, who was then president of his family’s Van Deren Hardware Co. on Main Street. Coke’s early photographs of Lexington scenes soon gave way to abstract, artistic images.

Coke got to know many celebrated photographers and became one himself. After graduate school, he went on to be photography curator at the San Francisco Museum of Modern Art and director of the International Museum of Photography at the George Eastman House in Rochester, N.Y.  He taught for many years at the University of New Mexico and started its art museum.

Meatyard was an optician who joined the club in 1954. He became famous for his unusual photographs, which often involved people wearing masks or posing in abandoned Central Kentucky farmhouses.

Over the years, his images were acclaimed for their unique expression. He also was a major influence on other club members who became well-known photographers, including Robert May, James Baker Hall and Guy Mendes.

Meatyard was president of the club when he died of cancer at age 46 in 1972. The club disbanded within a few months.

“Meatyard fostered exploration and discovery within the Camera Club,” May wrote in a 1989 essay. “As photographers, the members did not look just for new things but for new ways of seeing.”

Meatyard’s photographs are still published frequently in books, and his prints command big prices at galleries and auctions. As recently as 2005, the International Center of Photography in New York mounted a major retrospective of his work.

Mendes was one of the club’s youngest members when he joined in 1968. A retired producer for Kentucky Educational Television, he remains an active photographer.

In an interview last week, he recalled that writer Wendell Berry introduced him to Meatyard. “Gene was something else,” Mendes said, adding that Berry’s young son told him: “He makes really strange pictures.”

Mendes accompanied Meatyard and May on weekend photography outings in the countryside around Lexington. He said they and other club members showed him how photography could do more than record reality; it could express feelings and be a medium for artistic experimentation.

“They taught me lessons I still use today,” Mendes said. “For all of the changes photography has gone through, the basics are still the same.”

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