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Annesiems

Anne Siems

Ah, the ghostly, strange, and beautiful large scale {most are 48″x36″} paintings of German born, Seattle based artist Anne Siems. I wrote about her way back in 2012. Her work was lovely then, but it has evolved so beautifully.

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An Actually Useful Guide to Memphis, Tennessee

Lisa Toro wants you to forget what you’ve heard about Memphis. Unless it’s that Memphis is home to a deep, hallowed music legacy and first-rate barbecue. And no one knows better than Toro, co-owner of premiere Memphis coffee shop/retailer City & State, who has been living in the Tennessee city for over 20 years. What’s kept her there is the people, who, she says, are approachable and friendly—a Memphis point of pride. Okay, fine, the other things keeping her there involve food and music: the best juke box in the South, drive-thru beignets, and flowing Tennessee whiskey.

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David Lusk Gallery Turns Page in New Space

More than most weeks, David Lusk is especially ready for Friday this week. Eight months after renovation work began, Lusk is ready to host a public celebration officially unveiling his longtime art gallery’s new home at 97 Tillman St. on Feb. 26.

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Art: The year’s 10 Best Exhibitions

There was a lot to love in local galleries and institutions in 2015, so let's not delay and get right to my roster of the 10 Best Exhibitions. The list is ordered in backward chronology.

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Contemplative exhibits soothe stresses of holiday hubbub

If we measure the beginning of the holiday season by the first time we hear "The Little Drummer Boy" issuing from the speakers in a big box store, then we have been deep into Yuletide since before Thanksgiving. And Christmas is a week from today, and the shopping is not finished, and the traffic on Poplar between Oak Court Mall and Fayette County is manic, torturous and impassable.

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Best Books 2015: Miwa Susuda

Quiet sensibility is spread all over this beautiful monograph by the Southern-born artist Huger Foote. It is rather easy to recognize a close kinship with an important Southern master, William Eggleston (they are very close friends), although Foote’s work appears more introspective and imaginative than Eggleston’s.

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A Tangible Sense of the Ominous

Beth Foley and Veda Reed are painters who, at first glance, might seem to have little in common aside from the fact that they are both realists. But a closer look at Reed’s new series of night-sky paintings and Foley’s latest portrayals of ne’er-do-wells, both at the David Lusk Gallery, yields some unexpected commonalities. Despite wildly different subject matter, both artists manage to impart a tangible sense of the ominous nature of modern life, where unseen forces prowl just around the corner.

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Abstract masterworks by Anton Weiss, transcendent blooms by Beth Edwards

It's easy to assert that abstract art and representational art exist in different spheres. After all, abstract art has no content, so to speak, and representational art is all content, or so it would seem. The truth is that every painting creates its relationship with content, the world in which it lives and in which we perceive and understand it. Abstraction and representation often are much closer in spirit than we might suspect, a proposition confirmed, I think, in the exhibitions "Oh Happy Day," by Beth Edwards, through Nov. 24 at DLG-TEMP, and "Layers: Work through the Decades," by Anton Weiss, through Nov. 28 at L Ross Gallery.

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Ewing Gallery exhibit shows 30 years of artist’s work

The Ewing Gallery’s new exhibit, “Distilled: The Narrative Transformed” by Pinkney Herbert opened on Monday evening with a small reception.

Herbert, an artist based in Memphis, Tennessee, brought together a collection of works spanning his thirty-year career as a professional artist. Most of the pieces on display are on loan from their owners and private galleries, including some from Herbert’s own galleries in Memphis and New York.

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Huger Foote’s Scarred Photographs Expand the Photographic Moment

The stories within Huger Foote’s images don’t stop with the still moments he captures on film. For the new body of work in “Now Here Then,” currently on view at David Lusk Gallery, the artist sifted through his extensive archive of discarded images, looking for past moments that could be revived and given a new future. Between 2005 and 2008, Foote lived with and worked into the found images by exposing them to a combination of physical weathering and experimental editing processes, the result of which is a series of rough, tactile artifacts that bear the scars of time and their continuous making.

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