The Julia Martin Gallery’s New Take on the Group Show: A Six-Month Residency
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Last August, the Julia Martin Gallery hosted an opening reception for Judith Donna Fox’s notable exhibition titled L’Chaim, which I was delighted to attend and write about. In the months since, the gallery has continued to serve as a space where artists not only showcase their work but also communicate their ideas with one another and engage with the broader community, with shows such as Cowboy Kitchen with Johnny Fritz & Friends and Shabazz Larkin’s this is what it is right now. It is no surprise that the new year kicks off with an ambitious take on the group show experience, with the recent opening of a six-month residency, including the works of nine artists in nine miniature galleries.
This is a group exhibition unlike any before. From February 7 through June 30, nine artists will rotate through the space, presenting new installations each month. This exciting and unique experience provides visitors with ample time to become familiar with each artist’s work and background, while allowing the artists to settle into the space and develop their projects over time. The residency includes work by Scott Anderson, Ash Atterberry, Megan Curtin, Brooke Gillon, Julia Martin, Keavy Murphree, Bill Nickels, Noah Saterstrom, and Natasha Sud, spanning mixed media, oil on canvas, ceramics, and likely more still to come. This review discusses art from February and March.the space and develop their projects over time. The residency includes work by Scott Anderson, Ash Atterberry, Megan Curtin, Brooke Gillon, Julia Martin, Keavy Murphree, Bill Nickels, Noah Saterstrom, and Natasha Sud, spanning mixed media, oil on canvas, ceramics, and likely more still to come. This review discusses art from February and March.
Upon entering the gallery, visitors are met with the works of Scott Anderson and Ash Atterberry, a pairing that speaks to the range and daring that this residency has to offer. Anderson’s acrylic works include Stacks, Double Trouble – both from February — and Double Vision — the latter two play with a psychedelic sensibility associated with cowboy imagery and the Wild West, using line and color to distort their subjects. His sculpture, Not Far from the Tree, proves his skill in working across different types of material to create a piece with depth and cohesion; it is truly a sight to see. Atterberry’s horned ceramics bring a spirited energy to the space. Last month’s Red Tulip with Horns and Horny Blue Lamp (still featured) were reminiscent of the sculptures your favorite cartoon characters from the 90s and early 2000s owned, where Tulip Horse punctuated the serenity that flows through her art. Choo Choo Jug, Checker Bowl, and Flame Yellow Dish are a few of her newly featured works for March which support her vision in making functional pieces both playful and vibrant.different types of material to create a piece with depth and cohesion; it is truly a sight to see. Atterberry’s horned ceramics bring a spirited energy to the space. Last month’s Red Tulip with Horns and Horny Blue Lamp (still featured) were reminiscent of the sculptures your favorite cartoon characters from the 90s and early 2000s owned, where Tulip Horse punctuated the serenity that flows through her art. Choo Choo Jug, Checker Bowl, and Flame Yellow Dish are a few of her newly featured works for March which support her vision in making functional pieces both playful and vibrant.
In the next room, the works of Megan Curtin, Natasha Sud, and Noah Saterstrom follow. I recently became familiar with Saterstrom’s work and was immediately drawn to it; much of his practice centers on chronicling scenes of contemporary America through oil studies. In his February gallery, he presented a series of beautiful portraits, including Dolly Parton, Kwame Ture (Stokely Carmichael), and George Orwell — individuals who have “brought joy, insight, and authenticity to our culture,” as he noted in a recent Instagram post. Curtin’s ceramics speak to an unmatched level of poise and craftsmanship and truly left me in awe. Bull Tamer Serving Bowl features a woman and a bull swimming along the bowl’s edges like kindred spirits bringing the themes of the strength and softness of women, so present throughout her work, directly to the viewer. February’s Face Vase was particularly compelling. With its rosy, red accents and blush tones, and the blend of sharp and rounded facial features, it veiled itself as a utilitarian object but truly encouraged prolonged and attentive looking from the viewer. I adore His & Hers Vase and Mother Bell, two of Curtin’s March arrivals. Natasha Sud’s collages round out the space. In her series I Am Watching You #1–4, her roots as a photographer bring the sometimes cold and distant eyes to life, demonstrating her expertise with hand-stitched works. Additionally, I Loved Him, and Fear and Envy, Love and Hate establish Sud’s eye for repurposing found materials into meaningful compositions. object but truly encouraged prolonged and attentive looking from the viewer. I adore His & Hers Vase and Mother Bell, two of Curtin’s March arrivals. Natasha Sud’s collages round out the space. In her series I Am Watching You #1–4, her roots as a photographer bring the sometimes cold and distant eyes to life, demonstrating her expertise with hand-stitched works. Additionally, I Loved Him, and Fear and Envy, Love and Hate establish Sud’s eye for repurposing found materials into meaningful compositions.
The final room is home to Brooke Gillon, Julia Martin, Bill Nickels, and Keavy Murphree. During the February reception, as I approached the walls displaying Nickels’s work, a man introduced himself — it was Bill Nickels. He explained that his Still Life with Stick collection began as drawings on his phone. Eventually, Julia Martin encountered them, and the rest followed. These florals, accompanied by an array of canes — each distinctly shaped and featuring octopus or thumbs-up knobs — along with an immense and colorful Still Life bouquet, reflect Martin’s keen curatorial sensibility. Brooke Gillon’s ceramics and stoneware add a certain sleekness to the gallery. In her Ghostpipe Urn and Mother Pot, the viewer observes meticulous attention to detail, with painted eyes and snakes layered over masterfully crafted forms. Gillon also incorporates Murfreesboro cave clay in Mother Pot and Infinity Snake Wall Altar, a detail that many Nashville and Tennessee natives may appreciate. Julia Martin’s own mini gallery further demonstrates her curatorial skill. Spiritualized, an intense 40 x 30 oil on canvas, featured natural imagery and reflects themes of personal growth and womanly strength that recur throughout her work. That Way depicted an obscured caterpillar grasping a wasp, referencing the jarring yet often profound essence of Mother Nature. Several of her works are bound in elegantly chosen frames — The Chosen One was a personal favorite. And one would be remiss not to mention Angel, a hand-carved insulation foam work mounted over a vintage baseball board game; the piece captured her playfulness particularly well.
The ninth and final artist, Keavy Murprhee, joined this month. Her collection of Bully sculptures is a stylish assortment of bulls, in various colors and sizes. Texture is a major quality of these works. Be it polished like Bully in Turquoise, or jagged as XL Bully in Toad, Murphree’s bulls illustrate motion — the strength of adaptation as form changes. Murprhee, joined this month. Her collection of Bully sculptures is a stylish assortment of bulls, in various colors and sizes. Texture is a major quality of these works. Be it polished like Bully in Turquoise, or jagged as XL Bully in Toad, Murphree’s bulls illustrate motion — the strength of adaptation as form changes.
The first month of this show was a hit. Each of the previous installations has shifted into something entirely new, with several works I did not mention. This rotating format makes the Julia Martin Gallery’s residency an exciting and fresh approach to the group show — one that rewards repeat visits while offering an engaging experience at any point along the way.
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Rian Dennis is a recent BA in Music and Spanish graduate from MTSU. He enjoys listening to music and watching movies, in his free time, and also has an interest in fashion. He is excited to document contemporary art and music history for the Music City Review!
That’s fantastic to see the gallery continuing to support artists like Judith Donna Fox. It’s really interesting to hear about the six-month residency program.