In Time We Shall Know Ourselves: Photographs by Raymond Smith

Ogden Museum of Southern Art, New Orleans
June 12–September 18, 2016


By John Duncan Bass


Image: Raymond Smith, Bourbon Street, New Orleans, Louisiana, 1974, 8.75″x7.25″, Gelatin Silver Print, photo courtesy of the artist

In the summer of 1974 Raymond Smith set out from New Haven, Connecticut on a cross-country road trip. Inspired by the iconic work of photographers Walker Evans and Robert Frank, Smith intended to capture a visual record of American culture. The ‘74 road trip ended with car trouble in Kansas City, but forty years later Smith’s project found new life when he decided to publish a selection of images from the excursion.

The resulting volume, In Time We Shall Know Ourselves: American Photographs, 1974, features fifty-two of the 750 exposures Smith made on that summer road trip and subsequent travels the same year. In addition to Smith’s photographs the portfolio contains essays by Richard H. King and Alexander Nemerov.

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Interview with Lance Turner


By Jesse Butcher

Lance Turner photo by Jaime Harmon

Lance Turner photo by Jaime Harmon

Lance Turner has exhibited in galleries and museums throughout the United States, including the Los Angeles Center for Digital Art in Los Angeles, CA; Memphis Brooks Museum of Art in Memphis, TN; the Visual Arts Center in Punta Gorda, FL; The Southern Nevada Museum of Art in Las Vegas, NV; The Farmington Museum of Art in Farmington, NM; and the Woodruff Arts Center and the Museum of Contemporary Art in Atlanta, GA. His work was recently published in issue 118 of New American Paintings. Lance Turner was born in North Carolina in 1985. He graduated magna cum laude from Memphis College of Art with a BFA in Painting and Art History, and a MFA in Painting at Savannah College of Art and Design.

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Interview with John Powers


By Denise Stewart-Sanabria

Denise Stewart Sanabria Locus Revenant

Locus Revenant


When you entered the Knoxville Museum of Art’s main entrance during the exhibition Contemporary Focus 2016: John Powers (May 6 – August 7, 2016), you could already hear the sounds emanating from the gallery space. The sounds were not unlike something coming from a vintage horror movie: the voices of the damned as they entered an endless inferno, or the screams and moans of the banshees.

The reason for the lack of any discernible words became obvious when you saw the source of the sound- dozens of metal rods rotating inside the mechanized arms of a massive wooden sculpture. Powers’ installation consisted of the kinetic sculpture, Locus (2015), made from oak, poplar, aspen, steel, brass, plastic and electric motor, Revenant (2014), video projection, and Omphalos (2010), carved marble and feathers.

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Location Location Location


By Mike Calway-Fagen

Tennessee Locatio Location Location

For much of the Southern creative community, finding allies engaged in similarly intensive studio curiosities, research, and production can be exceedingly difficult. Of course, these metrics are subjective and some, they are wrong in my opinion, would claim that the South is teeming with artists toeing the lines of their field.

Tennessee, a true bastion of certain forms of creative output, has never quite scrapedtogether a sense of solidarity amongst its visual artists. It, in large part, has been left up to individual artists to sort out their support systems and communities with little to no infrastructure, governmental, or institutional assistance.

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The Moon is a Tomato: Visiting Dolph Smith at Tennarkippi


By: Eileen Townsend

The Moon is a Tomato Photo Dolph Smith


Before I knew Dolph Smith, I knew about his home. It’s named Tennarkippi, so-called for Tennessee, Arkansas, and Mississippi, the tri-states where Smith has spent his life as a teacher, painter, paper-maker, bookmaker, and woodworker. Tennarkippi is located in Ripley, Tennessee. It is a slate-grey house with lots of books inside and a pond and a gravel drive, down the road from farmland and tomato stands.

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