Huger Foote, photographe américain né à Memphis, est maintenant installé à New York. Connu à l'international pour avoir exposé dans de nombreuses galeries, il a également collaboré avec de nombreux titres de presse tels que le New York Times, Interview, i-D et différentes éditions du magazine Vogue, entre autres. Deux monographies de son œuvre sont parues, My friend from Memphis en 2000 et Now Here Then en 2015.

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The folksy and fantastical group exhibition Fable at David Lusk Gallery in Nashville gathers a roster of artists offering varied interpretations of the lessons found in a thrift store copy of Aesop’s Famous Tales. While we think of them as children’s stories in the twenty-first century, these ancient tales were originally aimed at adults. Aesop’s stories are packed with animal characters, and Fable is similarly populated by a magical menagerie of cats, birds, lions, and snakes. Terry Lynn’s Brer responds to Aesop’s lessons with a reference to the more modern—and strikingly more Southern—trickster tales attributed to Uncle Remus. Lynn’s large painted collage pictures a man in a rabbit head mask surrounded by a bunch of bunnies. In Leslie Holt’s paintings Slow and Steady and Fast and Foolish, “The Tortoise and the Hare” is illustrated in a diptych. Like shadow puppets, embroidered details give shape to gesturing hands that appear to cast the black-threaded shadows of the titular racers against overlapping fields of color.

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Huger Foote — son of legendary Civil War historian Shelby Foote — took inspiration from the tendency for fables to be told from an animal’s point of view, and made photographs with that perspective in mind. In his three untitled photographs — each of which echoes the artist’s time spent under the tutelage of William Eggleston — details like a scrap of snack-cake cellophane share space with power lines, which share space with ragged strips of asphalt and bundles of pansies. There is no hierarchy of visual information in these shots — it’s all just blocks of light and color.

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