For most of the previous century, Southern visual artists were an afterthought when thought of at all.

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I stay open and allow myself be drawn to places and things that move me. The pictures reveal what I am seeking, a hidden story emerging from this land of ghosts, rivers, and sky. I will travel soon to other destinations and find inspiration there too, but it is here that the basis is formed.

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Anne Siems is one of those extremely versatile artists where you simply can’t help but excitedly wonder “ What will she be creating next ?”

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Catherine Erb has re-considered the urban landscape with blurred effects to expose the raw beauty of billboards, graffiti and River City landmarks. Every cloud painting tells a story, and each marble work represents an act of kindness that transcends children's games with energy and movement.

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SOUTHERN IMAGE TAKERS offers a great primer on the work of these pioneering Southern photographers, but also explores their creative relationship. Both artists contributed to establishing color photography as a legitimate fine-art medium, and their images of quotidian subjects — Southern people and places — reveal the overlooked weirdness and wonder of our unique region.

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The effort of art is to slow the rapid motion, to bring it to a halt so that it can be seen, known. - Joyce Carol Oates

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Lusk’s Nashville outpost frequently closes its calendar year with a Small show. It’s happened often enough that I’ve come to think of these exhibitions as something like a holiday tradition. This year, it’s the present you knew you were going to get, but once you unwrap it you realize that it’s even better than you had expected.

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“I’m sitting here in the yard right now, and I feel like someone’s watching me from the window upstairs,” John Roberts tells me over the phone...“There’s just so much history here." This history and the legends that linger in the fabric of his environment have, in turn, laid the backdrop for Roberts’ first solo show: “Nothing Ever Goes Unseen.” In this series of paintings, various figures from the generations before him stare directly at the viewer without shame or menace.

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“So it’s not only the history of the painting, but the way it was displayed, and how it’s treated now. For me, the vision of it behind curtains, shown in that original way, kind of led me to this framing of the painting with the triangle. There’s this on-display feel, and I’m pushing that further. The framing with the faux wood was just my way of creating an altar, a showpiece, a viewing room. Giving it all those things that I think it also originally had. It’s a deeply appreciative devotional altar to that painting."

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