Pinkney Herbert’s exhibition “In Between” at David Lusk Gallery regards a painting less as a finished image than something unfolding in time. The title points to a place of transition where matters are not fully settled but are still taking shape. Herbert has long divided his time between Memphis and New York, and itineracy seems to carry into the work. Structure, rhythm, color, and pace energize paintings that never completely resolve. Across the exhibition, Herbert denies the viewer a stable place to land. Lines shift direction, forms collide, and constructs loosen almost as soon as they appear.
This display smartly focuses on formalist concerns rather than resorting to cliché critical content and activist lecturing. Painting and Her Women foregrounds the materials and processes that sustain artistic practices. Of course, these include paint palettes, but also implements like the biscuit cutters and rolling pins associated with traditionally feminine domestic chores. The results are elevated artworks with advocacy baked into their textured surfaces and colorful gestures. The show highlights process, labor and material intelligence as key components of authorship, challenging the meanings of labels such as mother, woman and lady painter.
Guest artist Pinkney Herbert of Memphis exhibited a variety of abstract, mystifying and colorful paintings in “Multiplicity” at the University of Tennessee at Martin’s Fine Art Gallery starting Tuesday, Jan. 6.
The exhibition features the work of Nashville-based women artists spotlighting the way women have shaped and continue to shape Nashville’s visual arts scene.
An exhibition on view at the Frist Art Museum from February 1 through April 26, 2026, spotlights the central role women have played—and continue playing—in shaping Nashville’s visual arts community.
Red Grooms's 50-year-old immersive installation is back on view after decades at the Brooklyn Museum. And it's being credited to its co-creator, Mimi Gross, for the first time.