The Bluegrass and Beyond

The old building doesn’t look like much, standing across East Third Street from a demolition site and the King Cobras motorcycle club. A small sign in a window behind a steel-bar security door says: LOT Parrish Rash.

Since early this year, it has been the Land of Tomorrow, an occasional gallery, and the workshop of Parrish Rash & van Dissel, a small company with big ambitions.

PR&vD hopes to encourage artists and industrial designers around the world to innovate by creating new and more profitable ways for them to produce and market their work.

At the company’s workshop last week, there were three projects under way: A high-design chaise being made of Styrofoam and urethane for a Vienna art museum; a stage set for The xx, a British rock band; and another UK professor’s project that involves creating a LED lighting system for a large model of a planned community in China that will be exhibited in Germany.

Upcoming work includes a piece for a show at the Pompidou Centre in Paris and two pieces for a show at the Art Institute of Chicago.

Later this month, LOT will bring collectors from across the country together with an international group of designers represented by the NOUS Gallery of London, England. The event will include a mixed-media show called Boys and Their Toys, which will be on display from Oct. 30 to Nov. 8. The opening reception Oct. 30 at 7 p.m. is open to the public.

Why would these collectors and designers travel thousands of miles for an event in Lexington?

“High-end collectors are looking for new places to discover work,” said LOT founder Drura Parrish. The event will include a dinner, an afternoon at Keeneland and plenty of bourbon. “You sell the destination, not the art.”

It also didn’t hurt that one of the British gallery’s principals, designer Melissa Woolford, is originally from Evansville, Ind., across the Ohio River from Parrish’s hometown of Henderson.

Good connections and a “why not?” attitude have enabled Parrish and his business partner, Rives Rash, to build an international reputation over the past six years by working with contemporary artists and architects to produce their designs. Their work has appeared at such venues as New York’s Museum of Modern Art, Vienna’s MAK Center and the San Francisco Museum of Modern Art.

Parrish and Rash are faculty members at the University of Kentucky’s College of Design. They’re also workshop wizards who never outgrew playing with sticks and glue.

“The reputation got out there that if you wanted to do something crazy, there’s these guys from Virginia and Kentucky who will help you do something crazy,” said Parrish, who, like Rash, earned a graduate degree from the Southern California Institute of Architecture.

During the past 15 years, technology has revolutionized architecture and design. Parrish, 33, and Rash, 30, have created a niche by exploring the possibilities of new design geometries and materials.

The company’s newest partner, Bart van Dissel, 55, a former Harvard Business School professor and McKinsey & Co. consultant, sees an opportunity for PR&vD to change the economics of design by connecting designers, manufacturers and customers.

That means working with designers to build prototypes and figure out manufacturing processes and costs. PR&vD would do some manufacturing itself and outsource some work to other Kentucky manufacturers.

In addition to fine art, PR&vD is interested in making furniture and household items — really, any object that might be improved by innovative design.

“There needs to be a democratization of design,” Parrish said. “People used to not give a damn about design because they couldn’t afford it.” That is changing as high-design items show up on the shelves of such retailers as IKEA and Target.

Designers haven’t been well-served by traditional retail models, where mass production and big sales volume are necessary and retailers get as much as 60 percent of the price. It gives designers little incentive to innovate or take risks.

For that reason, PR&vD also is interested in exploring new retail models, from online sales to distribution through museum stores.

“The key point is to shift the way the designers do business,” Parrish said. “Our paradigm is simple: Put designers first, and they become the brand.”

PR&vD has begun making several products for sale on www.etsy.com, an arts and crafts site. They include flatware, lamps, chairs and decorative items made from a mix of urethane and tree limbs salvaged from last winter’s ice storm.

There are limits to what can be made in PR&vD’s rented workshop, which also must accommodate the building owner’s bass boat. It is moved around the room as space is needed.

“It adds soul to the workshop,” Parrish said of the bass boat.

“And it reminds us that we don’t go fishing enough,” van Dissel added.

Parrish thinks Kentucky is an ideal place for the kind of creative, specialized manufacturing that PR&vD has in mind. The state has a wealth of aluminum and plastics fabricators who located here for the auto industry but could use more work.

“Kentucky, more than any place I know, is tied to making and doing,” he said. “If we don’t do it as a profession, we often do it as a hobby. It’s just what we do.”

After all, look what PR&vD has done so far with limited equipment in an old building on East Third Street. In the land of tomorrow, what’s important are ideas — and people with the knowledge and connections to make them work.

Non basta una vita - Italian for “one life is not enough” - was the late John Regis Tuska’s motto to describe his artistic ambitions.

Now, his son is discovering that two lives may not be enough, either.

For the past dozen years, Seth Tuska has worked to preserve and publicize the legacy of his father, a prolific artist and University of Kentucky art professor who died in 1998 at age 67.

Seth Tuska, 51, turned the family home at the corner of Old Park and Central avenues into a museum of his father’s art. He engaged a filmmaker and curator to put together a documentary film about his father and catalog and traveling show of his work.

He sought commercial outlets for reproductions of Tuska pictures and sculptures, which depict the human form in motion. And he started a bronze foundry on Walton Avenue to support regional sculptors.

But last November, after a bronze-pouring at the foundry, Tuska said he went home with a ringing in his ears. Then, on Christmas morning, he awoke at 4 a.m. with an intense pain in his chest. Foolishly, he didn’t see a doctor for three weeks. When he did, he was taken straight in for quadruple heart bypass surgery.

But the worst was still to come.

Tuska said when he resumed normal physical activity in March, the ringing in his ears, which had never really gone away, got much worse. He now suffers from a severe case of tinnitus - a constant sound like cicadas in his head that makes it hard to sleep, read or concentrate.

Tuska said he now needs to deal with his medical crisis and entrust his father’s legacy to others. “I have to move on and figure out what’s ahead for the rest of my life,” he said.

The first public steps in that direction will come Friday. Mayor Jim Newberry is to issue a proclamation honoring John Tuska and his work, and he will accept the loan of a bronze figure, Energy Source, for display at city hall.

That evening, during Gallery Hop, the Kentucky Theatre Gallery will display 18 Tuska pieces. The theater will have two showings, at 5:30 p.m. and 6:30 p.m., of  Non Basta Una Vita, a 2008 documentary about John Tuska by Arthur Rouse and Kiley Lane.

Thanks to the event’s sponsors, attendees also will be given a film poster, popcorn and a drink. Tuska said he has worked with local arts educators to distribute many of the 600 tickets to students.

Where things go from there, Tuska said, depends on community interest - both artistic, and financial.

Tuska sold the foundary to artist Amanda Matthews Fields and enlisted a group of community leaders to advise him on how to proceed with setting up a non-profit Tuska Museum and Learning Center foundation to take over the family home and his collection of his father’s art.

Tuska lives upstairs in the home, but is in the process of moving out. He wants to keep the collection of his father’s work in Lexington.

His vision is to continue the home’s first floor museum. But, more importantly, he wants to use the upstairs apartment to house visiting artists and the 2,500-square-foot lower level for educational space.

Downtown developer Phil Holoubek, a member of the advisory group, said several strategies have been discussed. “Seth will have to decide what he feels most comfortable doing,” he said.

Holoubek said the Tuska collection includes outstanding art that could not only enrich the community culturally, but promote economic development.

LexArts President Jim Clark, who for six years directed the New York Public Art Fund, agreed. “If John Tuska had done this work in New York City he would have been a very prominent sculptor,” he said.

Clark sees a lot of potential for the Tuska Museum and Learning Center, if it gets the right leadership that can attract the necessary money.

“Having a house museum is perfect for Lexington,” Clark said. “It is intimate in scale. It’s in a beautiful neighborhood. Anybody flying into Lexington for the (horse) sales, that would be a perfectly lovely discovery. Part of that is just working with what they’ve got and marketing it.”

With more regular museum hours, more advertising and an experienced curator, Clark thinks the Tuska museum could become an important cultural destination. And he thinks Seth Tuska has the right idea about using his father’s legacy to encourage arts education.

In addition to the high quality of John Tuska’s work, Clark said, what made him special was his dedication to teaching. Great artists who also are great arts educators, like Tuska and Centre College’s Stephen Rolfe Powell, are rare.

A learning center that promoted arts education - and honored arts educators with a “Tuska prize” and residency - could put Lexington on the arts map. “That would be a very big deal in this country,” Clark said.

What’s needed now is for people to step up and help Seth Tuska make it happen.

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Today I have updates on two previous columns, plus a tip on how you can help a new neighbor while scoring a cheap set of wheels.

You may remember the story of Gordon Burnette of Lexington, a tool-and-die maker and amateur art sleuth.

After a neighbor died and her house was sold, Burnette noticed several old, beat-up paintings on the curb. One showing a mare and foal caught his eye. Written on the back was the mare’s name, the artist’s name and June 1882.

Gordon Burnette and Genevieve Baird Lacer with the Thomas J. Scott painting Burnette found on the curb. Photo by Tom Eblen

Impressed by the painting’s quality, Burnette had it restored. Then he began a quest to learn more about the mysterious Thomas J. Scott, one of the top equine artists of the 19th century. He also created a Web site (www.thomasjscott.com) in hopes of identifying other Scott paintings, many of which have been lost over time.

Since the column appeared in May, the Headley-Whitney Museum has agreed to host an exhibit next year of paintings by Scott and his more-famous teacher, Edward Troye. And Burnette has heard from several people with Scott paintings who had no idea what they had.

A Louisville woman bought one at an auction, where it was propping open the door.

The strangest call came from a Lexington woman with a painting almost identical to Burnette’s, only smaller.

“She was so thrilled because she had had this painting all these years and didn’t know who the horses were, who the artist was or where it came from,” Burnette said. He thinks it was the study for his painting, or a copy made for a subsequent owner of the horse.

Where had the painting been hanging all these years? About three blocks away.

Money for Tanzania

Like Burnette, Flaget Nally had no intention of embarking on a quest. But that’s what happened as she was ending a three-year stint as a Catholic lay missionary in Tanzania.

Flaget Nally

A group of nuns asked Nally to raise money for them to build an English-language boarding school for as many as 800 girls of all faiths in a part of Tanzania where girls rarely have a chance to be educated. The Bardstown native had no idea how to do that — or even if she could.

Nally formed Giant Steps for African Girls (www.educateafricangirls.org), which held a fund-raising walk in Lexington last April and other events around Kentucky. So far, it has raised more than $104,000. About $50,000 of that has come from the Lexington area.

A cheap set of wheels?

While writing about Bike Lexington in May, I mentioned Shifting Gears, a partnership between Pedal Power bicycle shop and Kentucky Refugee Ministries, a multi-denomination Christian group that works with the U.S. State Department to resettle legal refugees.

Shifting Gears takes good-quality bikes, which are either donated or taken in trade by Pedal Power, and fixes them up to give to refugees, many of whom have no other transportation. Shop employees and volunteers fix bikes; others are sold to raise money for parts.

The goal is 52 bikes a year. “We’ve been able to beat that every year,” said Brad Flowers, a partner in Bullhorn Marketing who started Shifting Gears in 2003 while working at Pedal Power.

Last year, more than 80 bikes were given away. In addition to adult bikes for refugees, children’s bikes are given to The Nest, a non-profit social service agency off North Limestone.

Pedal Power owner Billy Yates said community response has been so strong that he has far more donated bikes than Shifting Gears can fix. They’ve filled his shop’s attic, and some have to go.

Beginning at 9 a.m. Saturday, Yates will be selling about 200 of the bikes for between $25 and $75 in the parking lot of his shop at Maxwell and Upper streets. There also will be bike parts for as little as a dollar each. All proceeds go to Shifting Gears and Kentucky Refugee Ministries.

“This sale will raise money to allow us to continue fixing up some bikes and give us some space to get more organized and efficient,” Yates said.

Theo Edmonds spent the first 15 years of his adult life chasing traditional success.

From his native Breathitt County, he moved to Lexington and earned an art and theater degree from Transylvania University.

Then he went to New Orleans, where he earned a master’s degree in health care administration and a law degree from Tulane University. He was admitted to the Louisiana Bar and had good jobs in corporate America.

Then, one day, it hit him: “I realized I was doing something that wasn’t making me happy on any level. I knew I needed to be creative. So I called in one morning and quit.”

He returned to Lexington, where he spent much of the past two years in a rented industrial building on Manchester Street writing poetry, painting and creating large mixed-media pieces of art.

Edmonds, 39, is now finding a new kind of success with his art, thanks to talent, hard work and a generous patron. For the past five months, he has been living and working in New York City, where he opens a two-week show Thursday in rented space in Manhattan’s trendy SoHo district.

After the show, Edmonds will move to France and create work for a solo show in September in Deauville, Lexington’s sister city, during its annual American Film Festival. After that, another show of his work is planned in Dublin, Ireland.

Edmonds was having modest success as an artist in Lexington, where he said the contemporary art scene has begun to blossom. “Lexington has immense potential,” he said. “It’s an amazing place; you never know what’s going to happen.”

But living and working in Harlem has been a whole ‘nother world.

“The influence and energy in New York has been incredible,” he said. “My work has fundamentally changed and evolved since I’ve been here. It has become much more varied. I have more confidence in my work. I feel very blessed; I don’t know how else to say it.”

Many of Edmonds’ pieces are a combination of paint and castoff items that tell stories, often Appalachian stories.

“The idea of things having a second life is authentic to me, and very Appalachian,” said Edmonds, whose father, Teddy Edmonds, represents Breathitt, Lee and Estill counties in the General Assembly.

Since moving to New York, Edmonds also has spent a lot of time in art museums. He has studied the work of fellow abstract expressionists such as Jackson Pollock and Willem de Kooning, and he has developed a new appreciation for the old masters.

“If you don’t know where you came from, you don’t know where you might be able to go,” he said.

Edmonds’ show is built around three themes: Appalachian storytelling pieces he created in Lexington; a series called Gabba Gabba Hey, inspired by New York street culture; and a series called Circus Maximus, which uses circus characters to tell universal human stories.

Edmonds’ work in New York and France is being made possible by patron Martine Head, who comes from a French horse-breeding family and now lives in Lexington.

Head said she met Edmonds last May at a show of his work in Lexington and was impressed. “I think that Theo has got depth,” she said. “He’s a true artist … a profound soul.”

Lexington has always embraced traditional art. Since moving to Lexington, Head has noticed a growing appreciation for contemporary art. Still, many fine local artists receive little recognition.

Head remembered the first time she visited Tuska Studio, which exhibits the work of the late Lexington sculptor John Tuska in his former home near downtown. “I walked into that house and thought, Wow! There is this gem in Lexington and nobody knows it’s here,” she said.

Head thought that living and working in New York and Europe would allow Edmonds to develop his artistic talent and receive more exposure.

While Edmonds has spent most of his time in New York painting, he also has been writing poetry. On April 5, three Kentucky poets flew up and joined him in a performance at the Bowery Poetry Club.

The opening reception for Edmonds’ show in SoHo will have a decidedly Kentucky flavor: Acoustic music, country ham hors d’oeuvres, bourbon and Ale 8 One.

Edmonds said he is proud of his Appalachian roots, and is surprised by how many other proud Kentuckians he has met in New York.

“It’s a city of people like me who have a burning desire to say something through their art,” he said. “But hopes and fears and joys are the same in New York as they are in Breathitt County.”