More Stories
Gone, South

Gone, South 
Reception Friday, July 20, 7-9pm
Work on display July 17-31
West Memorials
2481 Broad Avenue
Gallery hours Monday - Friday, 8:30am-5pm
Facebook Event

This show brings together the work of three Memphis photographers with a focus on documenting their southern roots. Their work brings to light subjects such as social injustice, ever changing physical and cultural landscapes, and in some cases a lack there of.

Cheeto Ryan is a graduate of Memphis College of Art and has been shooting the rural city of Helena, Arkansas which is steeped in Civil War History and presently overrun by kudzu and impoverishment. The community has an embedded segregation which has formed a social activism that leverages Ryan’s experiences. Whilst there, through collecting materials and documenting the social life in different neighborhoods Cheeto attempts to reveal these layers and complexities.

Marcus Menefee is an interdisciplinary artist and photographer born in Hot Springs, Arkansas to a family of painters and sculptors. He received his BFA from Memphis College of Art and currently lives and works in the Memphis area. His work is influenced by cultural traditions of the surrounding areas as he explores themes of irony, identity and manipulation.

Ben Wilson is a Memphis native who has been capturing the landscapes, cityscapes, and urban lifestyle of Memphis for over a decade. By taking photographs of the city observed in the moment, Wilson has created a living documentary, cataloging the constant change in Memphis’ people, places, and art as a fluid cultural landscape. The featured photographs capture locations in Memphis that no longer exist.

Tunnel Vision

Tunnel Vision
Work by Frances Berry and Jenny Fine
Opening reception Friday, July 27, 7-9pm
Work on display July 27- September 2
Crosstown Arts
Crosstown Concourse, Suite 280

Artists/Friends Come Together to Present TUNNEL VISION Installation at Crosstown Arts
Frances Berry and Jenny Fine’s exhibition explores the family photographic archive

Crosstown Arts is pleased to present TUNNEL VISION, a collaborative installation that explores the family photographic archive and the space of memory. TUNNEL VISION runs from July 27 through September 2. The opening reception will be held in Crosstown Arts’ East Gallery in Crosstown Concourse (suite 280) on Friday, July 27 from 7-9 pm.

For this installation, artists/friends Frances Berry of Memphis and Jenny Fine of Enterprise, Alabama, combine the historical form of the tunnel card (a type of greeting card with a framed oval cutout in the center) with overlapping projections of still and moving imagery culled from the artists’ family archives.

Both artists studied photography at the University of Alabama under professor Gay Burke, who provided them with a similar foundation in their understanding of the photograph.

“I think the thing that has united our friendship is our mutual interest in exploring the limitations and possibilities of the photograph,” says Fine. “After all, a photograph is flattened time — a moment extracted from the present —  magically compressed down to a piece of paper that holds the place of memory. We hold dear these fading images that tell us who we are and the culture/peoples we come from. Yet, in this digital age of photography, photographs have become numbered files tucked away in the clouds that we might stumble upon.”

Berry’s grandparents were avid travelers, and her grandfather would often take photographs of gardens. Fine’s grandmother, a retired geography instructor at a junior college in southeast Alabama, left behind a vast collection of photographic slides picturing worldwide vistas she had never visited in life.

“TUNNEL VISION is our attempt to use imagery from these family archives to create a photographic memory space, not bound to the page, but an image that the viewer can step inside of,” says Fine.

Also opening on July 27 at Crosstown Arts is Art of the South 2018, an open-call, juried exhibition presented by Number: and featuring work by artists from across the South. Art of the South will be shown in the West Gallery through September 2.

Crosstown Arts is a contemporary arts organization dedicated to further cultivating the creative community in Memphis. We provide resources and create opportunities and experiences to inspire, support, and connect a diverse range of creative people, projects, and audiences.

Learn more about the artists on their websites:

Female Form

Female Form
Reception August 3, 6-9pm
Work on view August 3-31
Jay Etkin Gallery

A group show of paintings and sculptures will be on display for the month of August at the Jay Etkin Gallery, from August 3rd until August 31st.

“Female Form” explores the way the female body is glorified, fractured, obfuscated, multiplied, and rebuilt through the artist’s gaze. Some of the earliest art forms depicted the female body: the goddess figure, Mary, and so on, and it continues to be one of the most pointed subjects of art. Still, with so much artistic attention on the female body, there is no doubt that it holds mystery and controversy even today. This show coincides with the opening of AWAKEN space + shop, located within the gallery, which is a women’s health and creativity focused space for workshops and groups.

Featured works range from traditional to contemporary, formalist to tribal. Notable artists include Roy Tamboli, Juan Rojo, and Mark Landis, among others.

Join us from 6-9pm on August, 3rd, 2018 at the Jay Etkin Gallery.
Screen Door

Screen Door

Ann Craven, Dana Frankfort, 
EJ Hauser, Margaux Ogden
curated by Hunter Braithwaite
Opening Saturday July 21st 6-8pm

July 21st - September 8th

Tops Gallery

Tops at Madison Avenue Park

A screen door allows circulation: of air, light, conversation. It is a porous boundary, used to mark the transition between inside and out, the personal and public. In the South and beyond, the screen door, like the porch, is a social mediator. It exposes the home to the neighborhood, while still maintaining a veil of privacy. In summer's heavy heat, it is of the utmost importance. The four painters in this exhibition have set up a screen, a scrim, a partition in their paintings that allows them to operate within the exterior, coaxing out the mercurial habits of painting behind a seemingly sound surface.

Ann Craven has appropriated images of bird photography to deconstruct ideas of duration and seriality. Using a tropical palette mixed on another canvas, Craven renders the birds as iterations of themselves, as if they were photographed in a high-speed burst like Étienne-Jules Marey. But instead of being captured in the swift applause of flight, they sit so still they might as well be taxidermied. After the bird is painted, leftover paint is applied in minimalist swaths of colors on another canvas of the same size. Finally, the palette painting is displayed as well. These three accumulations of paint on canvas playfully question notions of materiality and representation, asking the viewer to look past what has been painted in order to see the act of artmaking itself.

In her densely layered paintings, Dana Frankfort investigates the liminal zone between language and sight. Beginning with a word, not so much as a linguistic prompt, but as a dissociated point of departure, she lays down washes of oil. As the surface thickens, forms overlap, colors adulterate. The surface is sanded down. She starts again. The result has no clear relation to the semiotic starting place, and any attempt to connect the word with the work is bound to frustrate: a perfect allegory for chasms between observation, thought, and language.

EJ Hauser's singular compositions tumble through categorization. The determined, though indeterminate line work seems both pixelated and prehistoric as her pictographic subject matter shapeshifts from landscape to still life to figure to back again. In a similar circulation, her finished paintings seem like inspirations for their own preparatory sketches. Hauser locks the eye in a whirling cycle of chance and causality, dodging expectation at every turn.

Margaux Ogden paints on raw canvas, undercutting her exacting compositions with a delicate, hand-drawn touch. Each painting is a performance in which there can be no false steps; nothing can be painted over, nor redone. As such, she walks a thin stage between the material backdrop of the canvas and the art-historical barricades of geometric abstraction and minimalism. Here, she refreshes the dogmas of nonrepresentation with a liberating breeze.

About the Artists

Ann Craven lives and works in New York City. Karma Books recently published a  560-page monograph of 20 years of Craven's paintings. Craven has exhibited widely, including Karma, New York (2018); Nina Johnson, Miami (2018); Southard Reid, London (2017); Maccarone, New York (2017); Hannah Hoffman Gallery, Los Angeles (2014); the Green Gallery, Milwaukee (2013); Galerie Perrotin, Paris (2013); White Columns, New York (2013); Eva Presenhuber, Zurich (2013); Gladstone, New York (2012); and Marianne Boesky, New York (2012); Time, curated by Yann Chevalier at Le Confort Moderne in Poitiers, France (2014); Shadow's Moon and Abstract Lies,curated by Florence Derrieux and Francois Quintin, at Le FRAC Champagne Ardenne in 2008. Craven's work has been reviewed in publications including the Los Angeles Times, Art in America, the New York Times, Artforum, Flash Art, the New Yorker, Frieze and Modern Painters. Her paintings are in the public collections of the Museum of Modern Art, New York; the Whitney Museum, New York; the New Museum, New York; and the Museum of Contemporary Art in Chicago, among others.

Dana Frankfort received a BA in Art History from Brandeis University in 1995 and an MFA from Yale University in 1997. She attended the Skowhegan School of Painting and Sculpture, also in 1997. From 1999-2000 Frankfort was an Artist in Residence at the Core Program, Museum of Fine Arts, Houston. One-person exhibitions include: Southwest School of Art, San Antonio (2018); Inman Gallery (2012, 2010, 2007); James Harris Gallery, Seattle, WA (2011); Sorry We're Closed, Brussels (2008); Bellwether Gallery, New York, NY (2007); and Kantor/Feuer Gallery, Los Angeles, CA (2006). Her paintings have been included in the group exhibition Abstract America: New Painting from the U.S., Saatchi Gallery, London (2009-10); and locally in Learning by Doing: 25 Years of the Core Program, Museum of Fine Arts, Houston, TX (2008-09). Frankfort received a John Simon Guggenheim Memorial Foundation Fellowship in 2006. Her paintings are in the permanent collections of the Museum of Fine Arts, Houston, Rice University, Houston, St. Edward's University, Austin and The Jewish Museum, New York. Frankfort lives and works in Houston, TX.

EJ Hauser is an artist in New York; her work was exhibited at Cheim & Read, Gavin Brown's enterprise, Sperone Westwater, The Journal, and Regina Rex. In 2018, she has exhibitions coming up at Yossi Milo Gallery, New York; Aspect/Ratio, Chicago; and Galleri Thomassen, Gothenburg, Sweden. Her work has been discussed in The New York Times, New York magazine, Art in America, and The Brooklyn Rail. She teaches at Pennsylvania Academy of the Fine Arts (PAFA), Hunter College, and Columbia University. This Fall, she will serve as acting head of the painting department at the Cranbrook Academy of Art.

Margaux Ogden lives and works in Brooklyn, New York. Recent solo exhibitions include Space Never Moved at Rental Gallery, East Hampton (2018), Nothing Had Yet Been Sacrificed at Embajada, San Juan (2016), Chekhov's Gun at LTD, Los Angeles (2015) and Down the Rabbit Hole, Freight & Volume, New York (2015). Her work has been featured in the Los Angeles Times, Modern Painters, Artinfo, Art Critical, Cultured, and the Paris Review Daily. In 2018 she received the Pollock-Krasner Foundation Grant. She was in residence at Yaddo in 2017, and at Skowhegan in 2011. She has an MFA from Boston University, a post-baccalaureate from Brandeis University, and a BA from Bard College.
Strokes for Stroke

Strokes for Stroke 
Art Therapy Class for Stroke Survivors
The American Heart Association and Saint Francis Hospital - Memphis
Tuesday, July 31, 6pm
Saint Francis Hospital - Memphis (Library)
5959 Park Avenue, Memphis, TN 38119

 Memphis area stroke survivors will have the opportunity to express themselves through art during the American Heart Association’s first Strokes for Stroke art therapy class. Participants in the Strokes for Stroke class will be taught by local artist Stacey Ferguson, and their artwork displayed at Saint Francis. 

“I’m honored to be working with the American Heart Association to improve the lives of those affected by strokes and heart disease,” says Ferguson. “As the daughter of a stroke victim, I wish to bring that same feeling art gives me to the individuals who have suffered the loss of mobility and peace of mind like my father did.” 

 Art therapy is an innovative method used to help stroke patients recover and has shown early promise in assisting with recovery issues such as verbal communication, depression and the physical pain associated with stroke. While traditional therapy helps stroke patients regain mobility and brain function, art therapy combines both cognitive and physical abilities to stimulate the brain’s ability to adjust and form new pathways, while providing a new form of expression for those who have lost other abilities. 

“In addition to inspiring the patient to express their emotions, one of the first things we see with art therapy are the specific deficits the patient may have in their vision or function,” says Dr. Robert Greene, Medical Director for Saint Francis Hospital-Memphis, Inpatient Rehabilitation. “If they draw more on one side than the other, we can identify and treat that specific defect more quickly than with traditional therapy. We are excited to participate in this new program with the American Heart Association and help more stroke survivors in the Memphis community recover.” 
Stroke is the fifth leading cause of death in the United States; however, it remains a leading cause of permanent adult disability. 

American Heart Association 

The American Heart Association is devoted to saving people from heart disease and stroke – America’s No. 1 and No. 5 killers. We team with millions of volunteers to fund innovative research, fight for stronger public health policies, and provide lifesaving tools and information to prevent and treat these diseases. The American Heart Association is the nation’s oldest and largest voluntary organization dedicated to fighting heart disease and stroke. To learn more or to get involved, call 1-800-AHA-USA1, visit 
Art of the South 2018
Michael Giles 

Jessica Wohl

Art of the South 2018
Opening reception Friday, July 27, 7-9pm
Work on view July 27 - September 2
Crosstown Arts
Crosstown Concourse, Suite 280

Crosstown Arts is pleased to host Art of the South 2018, the fifth annual exhibition presented by Number:, from July 27 through September 2. The opening reception will be held in Crosstown Arts’ West Gallery in Crosstown Concourse (suite 280) on Friday, July 27 from 7-9 pm.

The juried exhibition features work by artists from Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Maryland, Missouri, Mississippi, North Carolina, Oklahoma, Tennessee, Texas, South Carolina, Virginia, West Virginia, and Washington, D.C.

Number:, an independent arts journal serving the above-mentioned states, held an open call earlier this year to collect pieces for Art of the South. The exhibition will be juried by Brian R. Jobe, artist, educator, independent curator, and co-director of the Nashville-based nonprofit, Locate Arts.

“This exhibition presents work born of varied, dynamic, and expansive art practices created by artists living and working in the Southeastern United States,” Jobe says. “More specifically, it is an exhibit that reveals the experimental energy and consciousness of Southern artists working in a range of media and features a confluence of images, forms, linguistic devices, and ideas.”

Featured artists include Richard Armendariz, Silvan Laan, Tad Lauritzen Wright, Ryan Steed, Natalie Tyree, Omari Booker, Nancy Cheairs, Sage Dawson, Brian Edmonds, Beth Edwards, Terri Phillips, and Averell Mondie, among many others.

“It’s certainly the case that global digital communication and the growth of visual interfaces has contributed to the further decentralization of the art world, and the South is a geographic and cultural zone with facets not always seen, studied, or contextualized,” continues Jobe. “The artists in this show unpack some of those nuances in a way that gives the assemblage of these works of art a particular force.”

In 2015, Brian and his wife Carolyn founded Locate Arts, an organization that connectsand promotes contemporary visual art in Tennessee. Presently, he is the Co-ExecutiveDirector of Locate Arts + Seed Space. He also teaches art courses at LipscombUniversity. Jobe's studio practice is focused on sculpture, installation, and public art.

Number: Inc. advances the visual arts of the South by publishing critical discourse that educates, advocates, and informs. This mission is realized through the publication of Number:, an independent journal of the arts. This free journal was created in 1987 to bring a voice and presence to vital communities of visual artists, arts organizations, and art enthusiasts.

Also opening on July 27 at Crosstown Arts is TUNNEL VISION, a collaborative installation by Memphis artists Frances Berry and Jenny Fine. TUNNEL VISION will be shown in the East Gallery through September 2.

Crosstown Arts is a contemporary arts organization dedicated to further cultivating the creative community in Memphis. We provide resources and create opportunities and experiences to inspire, support, and connect a diverse range of creative people, projects, and audiences.

ArtUp Open House featuring Paul Thomas

ArtUp Open House featuring Paul Thomas
Saturday, July 14, 2-5pm
138 St. Paul Avenue, Memphis TN 38126

Join ArtUp for a CELEBRATION in our new headquarters at South Main Artspace Lofts!

The ARTUP OPEN HOUSE will be featuring a new art installation by Paul Thomas. 

Get a sneak peak of our new workspace, 
hear about our upcoming programs, 
meet our partners, and 
tour South Main Artspace Lofts!

Paul Thomas, known as the “Recycle King,” is an artist and designer based in Memphis, TN. As the Artist In Residence (AIR) for ArtUp, Thomas helped to activate and transform a former liquor store into what is now OMG: Orange Mound Gallery. He is a resident-artist at the South Main Artspace Lofts in Memphis and its Memphis Liaison in charge of community engagement and outreach. Thomas is a strong advocate for cleaning up the environment and encouraging people to be creative with their resources. As his appellation and commitment to advocacy suggest, Thomas uses recycled materials and discarded items to create beautiful and unique pieces of art that have been exhibited in renowned museums and fashion shows throughout the United States.

Catering provided by Chef Eli's Table
by Chef Elijah Townsend

More posts are loading...